HAROLD MELVIN AND THE BLUE NOTES-REACHING FOR THE WORLD.
HAROLD MELVIN AND THE BLUE NOTES-REACHING FOR THE WORLD.
Wake Up Everybody marked the end of an era for Harold Melvin and The Blue Notes. Not only was To Be True the last Harold Melvin and The Blue Notes’ album to feature Teddy Pendergrass, but it was their last album to be released on Philadelphia International Records. It was the end of an era for a band that started back in 1954.
Harold Melvin and The Blue Notes had originally been formed back in the early fifties, as The Charlemagnes, and became The Blue Notes in 1954. Two years later, Harold Melvin and The Blue Notes released their debut single If You Love Me (Really Love Me) in 1956. Since then, they’d toured and released singles, but struggled to make a living. Harold Melvin and The Blue Notes had struggled for success on the supper club circuit for fourteen years. They were no overnight success story. It was only when Harold Melvin brought Teddy Pendergrass onboard that their fortunes improved. Originally the drummer, the charismatic baritone became lead singer. Teddy Pendergrass was an unknown quantity, but Harold Melvin took a chance on him. Sadly and ultimately, Harold’s generosity wasn’t rewarded.
Between 1972 and 1975, Harold Melvin and The Blue Notes released a quartet of albums. This included two number one US R&B albums and four number one US R&B singles. By the time Harold Melvin and The Blue Notes released Wake Up Everybody in November 1975, Teddy Pendergrass felt he deserved star billing. That’s despite the group being billed as Harold Melvin and The Blue Notes featuring Theodore Pendergrass from the release of Wake Up Everybody, their fourth album. Teddy believed the success of the group was down to him. What he forgets in the Blue Notes’ trademark harmonies. Then in 1976, Teddy Pendergrass quit the group over money.
Gamble and Huff who founded Philadelphia International Records, offered Teddy a recording contract. However, Teddy was only willing to sign the contract if Harold Melvin and The Blue Notes weren’t signed to Philadelphia International Records. So forgetting how Harold Melvin and The Blue Notes helped transform Philadelphia International Records, from a small unknown label into one of the biggest soul labels, Teddy Pendergrass got his way. Harold Melvin and The Blue Notes found themselves without a label.
Then in 1977, Harold Melvin and The Blue Notes signed to ABC Records. Their debut album for ABC Records was Reaching For The World, which was recently released by PTG Records. This was the start of a new era for Harold Melvin and The Blue Notes. Their lineup was transformed. Three new members joined the group. Replacing Teddy Pendergrass was David Ebo, while Dwight Johnson and William Spratley replaced Blue Notes Bernard Wilson and Jerry Cummings. It was this new lineup that featured on Reaching For The World. Before I tell you about Reaching For The World, I’ll tell you about their career since they joined Philadelphia International Records.
It was in 1970, that Teddy Pendergrass joined Harold Melvin and The Blue Notes. Two years later, they were signed to Philadelphia International Records. During 1972, Harold Melvin and The Blue Notes enjoyed their first taste of chart success. I Miss You (Part 1) reached number fifty-eight in the US Billboard 100 and number seven in the US R&B Charts. Then If You Don’t Know Me By Now, reached number three in the US Billboard 100 and number one in the US R&B Charts. Harold Melvin and The Blue Notes. were on the way to becoming one of the label’s biggest acts.
In August 1972, that the group released their debut album, originally entitled I Miss You. However, after the success of If You Don’t Know Me By Now, the second single released from the album, Philadelphia International Records decided to repackage the album, giving it a new cover and title, Harold Melvin and The Blue Notes. The now entitled Harold Melvin and The Blue Notes, reached number fifty-three in the US Billboard 200 and four in the US R&B Charts. This was a more than satisfactory outcome for what many people perceive is the classic line up of the group. This was Teddy Pendergrass singing lead vocal, with Harold Melvin, Lloyd Parks, Lawrence Brown and Bernie Wilson singing harmonies and backing vocals.
After this, the group embarked on its most successful period, with Black and Blue their second album, released in September 1973, reaching number twenty-seven in the US Billboard 200 and five in the US R&B Charts. It featured one of their most successful singles, The Love I Lost (Part 1), which reached number seven in the US Billboard 100 and number one in the US R&B Charts. Soon, Harold Melvin and The Blue Notes were rivaling The O’Jays for the title as Philadelphia International Records’ most successful group.
1975 saw the group’s popularity soar, with them releasing two hugely successful albums. The first was To Be True, which was released in February 1975. It reached number twenty-six in the US Billboard 200 and number one in the US R&B Charts. It became the group’s first album to be certified gold. Things were about to get even better.
Later that year, in November 1975, To Be True’s success was surpassed by Wake Up Everybody. It reached number nine in the US Billboard 200 and number one in the US R&B Charts. Not only that, but it was certified platinum, have sold over one million copies. As if that wasn’t enough, Wake Up Everybody (Part 1), the first single released from the album reached number twelve in the US Billboard 100 and number one in the US R&B Charts. Harold Melvin and The Blue Notes were enjoying the most successful period of their career. What could go wrong?
Then in 1976, Teddy Pendergrass, left the group after an argument over money. Teddy seemed to think he was bigger than the group. He wanted top billing, so Harold Melvin agreed to group being billed as Harold Melvin and The Blue Notes featuring Theodore Pendergrass. From the release of Wake Up Everybody, this was how the group were billed. That wasn’t enough for Teddy. So, he quit the group and signed to Gamble and Huff’s Philadelphia International Records.
Ironically, 1975 proved to be the end of an era for Philadelphia International Records. The label lost many of the founding members of its legendary studio band M.F.S.B. They’d been involved in a lengthy dispute with Gamble and Huff over money. When it couldn’t be resolved, many of the best musicians in M.F.S.B. left the label. This included Baker, Harris, Young and Vince Montana Jr. They were much more than musicians. Indeed, they were arrangers, producers and songwriters. This hugely affected Philadelphia International Records, who never enjoyed the same commercial success. Apart from The O’Jays and Teddy Pendergrass, Philadelphia International Records was never enjoyed the same commercial success as they were between 1972 and 1975. After that commercial success was sporadic. That was the golden period. So were Harold Melvin and The Blue Notes leaving at the right time?
When Gamble and Huff offered Teddy a recording contract as a solo artist, he said he’d only sign on one condition. That was that Harold Melvin and The Blue Notes weren’t signed to Philadelphia International Records. It was an ultimatum. Gamble and Huff forgetting how Harold Melvin and The Blue Notes helped transform Philadelphia International Records, from a small unknown label into one of the biggest soul labels, agreed. At a stroke, Harold Melvin and The Blue Notes found themselves without a label. The unknown drummer and singer they’d rescued from obscurity, had made sure they were without a record label.
Then in 1977, Harold Melvin and The Blue Notes signed to ABC Records. Their debut album for ABC Records was Reaching For The World, which was recently released by PTG Records. This new era for Harold Melvin and The Blue Notes began with their fifth album Reaching For The World.
For Reaching For The World, Harold Melvin penned He Loves You And I Do Too and Big Singing Star. Harold cowrote two other tracks He wrote Where There’s A Will, There’s A Way with Melvin and Mervin Steals, then cowrote After You Love Me, Why Do You Leave Me with Kenny Gamble. Hubert V. Yarborough wrote Sandman and Hostage Part 1&2. Derek Floyd wrote the title-track, while MacFadden and Whitehead cowrote Stay Together with Victor Castarphen. These eight tracks became Reaching For The World.
Recording of Reaching For The World took place at Joe Tarsia’s Sigma Sound Studio, in Philly. This was where all the Harold Melvin and The Blue Notes had been recorded. Producing Reaching For The World was Harold Melvin. Once Reaching For The World was finished, it was released in 1977.
On the release of Reaching For The World in 1977, it reached just number fifty-six in the US Billboard 200 and number fifteen in the US R&B Charts. The lead single was Reaching For The World, which reached number seventy-four in the US Billboard 100 and number six in the US R&B Charts. Then After You Love Me, Why Do You Leave Me, which featured Sharon Paige reached number 102 in the US Billboard 100 and number fifteen in the US R&B Charts. Hostage Parts 1&2 was chosen as the final single, but failed to chart. Although Reaching For The World hadn’t matched the heights of their four album for Philadelphia International Records, their was life after Teddy Pendergrass. Indeed, some people on hearing David Ebo said Teddy who? Is that the case or was Teddy missed on Reaching For The World?
Opening Reaching For The World is the title-track. Swathes of the lushest strings sweep and swirl, horns rasp usher in David Ebo’s vocal. Straight away, you’re hooked. David’s worldweary vocal is full of emotion, sadness and regret. He brings the lyrics to life. It’s as if he’s lived the torment he’s singing about. Meanwhile, the rhythm section and percussion provide the pulsating heartbeat, while stabs of growling horns add drama. The Blue Notes add soaring heartfelt, harmonies and strings sweep on this delicious dance-floor friendly track that introduces us to David Ebo.
Melancholy horns bray while drums mark the time on Where There’s A Will, There’s A Way. Then after dramatic bursts of drums and stabs of piano, impassioned, soul-searching harmonies sweep in atop the lushest of strings. With Vince Montana Jr’s vibes for company, they set the scene for David Ebo on his first ballad. He unleashes an emotive powerhouse, vamping his way through the lyrics. His vocal oozes emotion and drama. Matching him for drama are the drums. They play a huge part in the arrangement. So do the harmonies. Then when the vocal changes hands, there’s no weak links. It’s as if the new Blue Notes are determined to prove their worth. This they do and then some. As for David, his soul-baring vocal oozes emotion and hurt.
After You Love Me, Why Do You Leave Me has a jazzy introduction. Horns blaze, strings sweep and the rhythm section roll back the years to another musical era. Propelled along by the bass, an school jazz track unfolds. Sharon Paige takes charge of the lead vocal. Her vocal veers between tender, feisty and sassy, while the Blue Notes add questioning, hurt-filled harmonies. As Sharon’s vocal drops out, David takes centre-stage. He drops his vocal. It’s much more tender, but wistful. Harmonies from The Sweethearts Of Sigma sweep in, before drums pound, horns blaze and strings dance. Then David and Sharon feed off each, driving each other to greater heights of soulfulness. All the time, The Sweethearts Of Sigma sweep in, adding harmonies on this hook-laden, jazz-tinged track.
Strings cascade as Sandman shares his secrets. With a jaunty arrangement the rhythm section provide the heartbeat, while strings dance and The Sweethearts Of Sigma add tender, wistful harmonies. They set the scene for David, whose vocal is heartfelt and tender. Delivered with sincerity, he shows that he’s a versatile frontman. He’s equally comfortable delivering a powerhouse of a vocal as he is a tender, gentle vocal. Drums pound adding dramas, harmonies sweep in. Their beauty caress your ears and are the perfect foil for David’s vocal. Needy, sincere and joyous he pleads: “don’t wake me from my dreams, I might never have this dream again.”
Hostage Part 1&2 bursts into life, Philly Soul and funk colliding head on. The band are given the opportunity to stretch their legs. Driven along by the rhythm section, horns growl, string swirl and Larry Washington adds congas. David’s vocal begins as a vamp, before become a Pendergrass-esque powerhouse. It’s an impressive sound. Especially, when accompanied by some of Philly’s finest musicians in full flight. Stabs of piano, percussion, horns and strings all play their as David vamps and testifies. Quite simply, this is one of the highlights of Reaching For The World and a forgotten gem in Harold Melvin and The Blue Notes back-catalogue.
A soaring, soul-searching falsetto opens He Loves You and I Do Too. It gives way to the harmonies, before the falsetto returns. An outpouring of emotion, it’s accompanied by an understated arrangement. Just the rhythm section, piano, Vince Montana Jr’s vibes and lush strings combine. Then drums pound and David’s vocal enters. He delivers his vocal with power and emotion, proving the perfect foil for the falsetto. When it drops out, The Blue Notes’ harmonies fill the spaces. Their harmonies are poignant and melancholy, adding the finishing touch to this tug of love.
Big Singing Star was the second track written by Harold Melvin. Not only does it show that Harold is a talented songwriter, but a talented producer on this epic fusion of funk and Philly Soul. Despite his undoubted talent, it’s seems strange that Gamble and Huff didn’t allow Harold to write or produce his own music. At ABC Records he had a fresh start and was coming into his own. This is obvious from the opening bars. Against a myriad of growling horns, thunderous drums and dancing strings, David vamps his way through the arrangement. Stabs of piano and urgent harmonies add to the drama of this epic track that sees Harold Melvin blossom as a songwriter and producer. As for David Ebo, he’s comfortably settling into the role of frontman and seems to be relishing the role.
Closing Reaching For The World is Stay Together, which was written by McFadden and Whitehead with Victor Castarphen. Horns rasp, strings cascade, strings chime and the rhythm section provides the heartbeat. They set the scene for needy, tender harmonies from the Blue Notes. As strings quiver, David’s vocal is needy, almost pleading: “let’s forget about the past… we can Stay Together.” As his vocal drops out, the an equally needy falsetto sweeps in. Adding the finishing touch are harmonies. They add to the drama and emotion, all the time encouraging them to “Stay Together.”
Reaching For The World is a truly underrated album in Harold Melvin and The Blue Notes’ back-catalogue. It’s proof that Harold Melvin and The Blue Notes career didn’t end when Teddy Pendergrass left. There’s no question that there was life after Teddy Pendergrass and Philadelphia International Records. The loss of Teddy Pendergrass hurt Harold Melvin and The Blue Notes, but was not a fatal blow. It definitely, affected the group as a commercial entity and couldn’t have come at a worse time.
When Teddy left Harold Melvin and The Blue Notes in 1976, they’d they’d just released their most successful album Wake Up Everybody. ironically, Teddy left over an argument over money. Who knows what heights and riches they’d have enjoyed if they’d stayed together. Harold Melvin and The Blue Notes this must have been hugely disappointing. For Harold Melvin, who rescued Teddy from obscurity, this must have been akin to an act of betrayal. However, Harold had a secret weapon…David Ebo. He was one of three new members of Harold Melvin and The Blue Notes.
On Reaching For The World, David brings the music to life. He grabs songs and makes them work. Whether it’s ballads, dance-tracks or funky vamps, he makes the song his own. He’s no Teddy clone. No. Far from it. David is his own man with his own unique style. On the slower songs, he doesn’t over-sing the songs. He’s not like some soul singers, whose style is almost a parody of a soul singer. That’s not David’s style. Then on the uptempo tracks, David unleashes a series of vocal powerhouses. He vamps his way through songs as Philly Soul and funk becomes one. There’s even an opportunity for David to demonstrate his versatility on the jazzy After You Love Me, Why Do You Leave Me. For David Ebo, Reaching For The World saw him fill Teddy’s shoes for the first time. As for Harold Melvin, he blossomed having left Philadelphia International Records.
Having signed to ABC Harold Melvin got the chance to show he was a talented songwriter and producer. He wrote two tracks and cowrote two others. This was very different to Philadelphia International Records. Despite his undoubted talent, Gamble and Huff didn’t allow Harold to write or produce his own music. At ABC Records Harold Melvin, just like David Ebo had a fresh start and was coming into his own.
Sadly, Harold Melvin and David Ebo’s fresh start wasn’t the commercial success it deserved to be. Reaching For The World reached just number fifty-six in the US Billboard 200 and number fifteen in the US R&B Charts. When the title-track was released as a single, it gave Harold Melvin and The Blue Notes the final hit single in the US Billboard 100. Despite not matching the success of their four previous albums, Reaching For The World is a full of slick arrangements and music that’s infectiously catchy, hook-laden and dance-floor friendly. Then there’s funky tracks and gorgeous, heartfelt ballads. That’s why Reaching For The World, which was released by PTG Records, is a hidden gem in Harold Melvin and The Blue Notes back-catalogue. Reaching For The World also proved there was life after Teddy Pendergrass. Standout Tracks: Reaching For The World, Where There’s A Will There’s A Way, Hostage Part 1&2 and Big Singing Star.
HAROLD MELVIN AND THE BLUE NOTES-REACHING FOR THE WORLD.
SKADEDYR-KONGEKRABBE.
SKADEDYR-KONGEKRABBE.
Recently, Skadedyr have been establishing a reputation as one of Norway’s most exciting up-and-coming bands. Skadedyr however, are no ordinary band. Far from it. Described as an anarchist/democratic band, Skadedyr feature twelve members. These twelve musicians play an eclectic selection of instruments. This includes a brass, string and rhythm section. Even their rhythm section is unlike most other bands. Skadedyr’s rhythm section features two drummers. Then there’s guitars, keyboards and even an accordion. As you can see, Skadedyr aren’t more like other bands.
Instead, Skadedyr are more like pioneering collective of avant-garde musicians. They’ve just recorded their debut album Kongekrabbe, which will be released by Hubro Music on 13th January 2014. Kongekrabbe is no ordinary album. That’s what I’d expection from a pioneering group like Skadedyr, who I’ll tell you about.
Skadedyr were founded by Heida Karine Johannesdottir Mobeck and Anja Lauvdal. They were previously, members of Your Headlights Are On, who released their eponymous debut album in 2011. It was well a received debut album. A great future was forecast for Your Headlights Are On. Sadly, that wasn’t to be. Your Headlights Are On, spilt-up. From the ashes of Your Headlights Are On, came Skadedyr, which Heida and Anja are determined to make a success of. They’re very much the driving force to Skadedyr. They’ve also acted as talent spotters.
Since founding Your Headlights Are On, Heida and Anja have brought together members of some of Norway’s best bands. Among them are Broen Osk, Karokh, Moskus, Skrap and Hullyboo. The result is another Norwegian supergroup which features twelve pioneering, innovative musicians. Harnessing this amount of creativity might sound difficult? That’s turned out not to be the case though. Skadedyr are very much a democracy, which meant recording their debut album Kongekrabbe went smoothly.
When it came to recording Kongekrabbe, Skadedyr recorded four songs that Heida and Anja cowrote four songs. The other track Partylus, was penned Ivar Aasen. These songs had been honed in lengthy practice sessions. So, by the time Kongekrabbe entered the studio, they were ready to go. Everything had been worked out beforehand. This included the arrangements to the five tracks on Kongekrabbe. Every member of the band’s point of view was listened to. It’s very much a democratic decision. Rather than have everything written down, it’s was all what Skadedyr hear and feel. This is music as it used to be made.
On the five tracks on Kongekrabbe, Skadedyr use this eclectic selection of instruments like an artist uses their palette. They paint pictures, musical pictures on Kongekrabbe. Incredibly, Skadedyr recorded Kongekrabbe in just one day. This is a really refreshing. Far too often, bands spend months, even years recording an album. When this happens, too often, the result is a bland, overproduced album. This isn’t the case on Kongekrabbe. Not at all.
Kongekrabbe features five tracks which are best described as unyielding, innovative, energetic and enthralling. You’re captivated by this melting pot of musical influences. Psychedelia, rock, Krautrock, prog rock and jazz are some of the musical influences that shine through. That’s why Kongekrabbe is an album that will appeal to an eclectic selection of music lovers. You’ll realize that when I tell you about Kongekrabbe.
Intro Linselus opens Kongekrabbe. An eerie, haunting and chilling the twenty-second intro grabs your attention. After a silent interlude, the track heads in the direction of avant-garde, experimental, free jazz and industrial. Short bursts of grizzled horns, chilling strings, percussion and an accordion join forces as the track reaches an eerie, discordant ending. Following another silent interlude, synths buzz, strings shriek, horns growl and an accordion wails. It’s akin to the musical equivalent of Primal Scream Therapy. A cathartic outpouring of emotion, it’s enthralling, experimental, dramatic and thought provoking.
Linselus/Due has a much more understated sound. Tender, ethereal and jazz-tinged female vocals are accompanied by a standup bass. It propels the arrangement along, while free jazz horns meander in and out. It’s a case of opposites attract. Then the arrangement literally explodes into life. A frenzied combination of scatted vocals, percussion and bursts of braying, blazing horns. They signal the rest of Skadedyr to join this fusion free jazz, rock, experimental and industrial. Boundaries are pushed to their limits, sometimes, even beyonds. Skadedyr seem determined to explore sonically. Then just as quickly as the drama and energy came into being, it disappears, becoming an ambient soundscape. Eno-esque, it has an ethereal quality. You revel in it. It’s as if you’ve strayed onto a lost excerpt from Music For Airports. There’s even a hint of Sigur Ros on what’s best described as four minutes of ethereal beauty.
The title-track Kongekrabbe, unfolds in waves. Again the music is understated and ethereal sound. There’s also a cinematic sound to this fusion of ambient and jazz. It’s as if Skadedyr draw inspiration from Brian Eno’s ambient classics, Harold Budd, Sigur Ros, Liz Fraser of the Cocteau Twins and Ry Cooder’s Paris Texas. That’s just for the moment. Who knows what curveball Skadedyr may deliver. Any minute, they could spring any number of surprises. They do. Horns are dark, pensive, moody and hopeful, before becoming urgent. Guitars are crystalline, sing-song harmonies joyous and ethereal. The plink plonk piano has an experimental, ambient sound. Later, the track heads in the direction of rock, growing in power and drama. Influences melt into one. Everything from avant-garde, ambient, experimental, free jazz and rock can be heard. The result is mesmeric, as an eclectic musical tapestry takes shape before you. It’s woven by Skadedyr, in their own unmistakable style.
As Partylus unfolds, it’s like journeying back in time. Suddenly, you’re in an old jazz club in New Orleans. It only lasts ten seconds. Then Skadedyr are pushing musical boundaries. The unmistakable snap, crackle and pop of old vinyl ushers in an arrangement that’s inspired by ambient, experimental and jazz. A genre-melting pot pourri of musical influences, you’re captivated. You never know what’s coming next. There’s even a tantalizing cover of Bob Dylan’s Rolling Stone. All to quickly, it gives way to old style jazz. Next a heartfelt, vocal gives way then machine gun guitar licks. The vocal is almost punk in style. Raw and raucous, it’s the just the next part in this musical roller coaster journey where surprises aplenty are in-store for the unsuspecting listener. Best to climb onboard and enjoy the ride.
Lakselus closes Kongekrabbe, Skadedyr’s debut album. Gradually, the arrangement unfolds. It rumbles ominously in the distance. Strings quiver, producing a spine-tingling chilling sound. A myriad of beeps and squeaks are added and the track takes on a space-age sound. Instruments drift in and out. They make their presence felt, but only briefly, and in an unorthodox way. Experimental, industrial and free jazz are the inspiration for Skadedyr. What follows is akin to a chilling, eerie soundscape. Later the drama builds, before the track blossoms, revealing its ethereal beauty. That comes courtesy of strings, piano and ethereal, angelic harmonies. This haunting, cinematic track proves the perfect way to close Kongekrabbe and leaves you wanting to hear more from Skadedyr.
Featuring just five songs, and lasting thirty-six minutes long, Skadedy’s debut album Kongekrabbe is a tantalizing taste of one of Norway’s most exciting up-and-coming bands. Featuring twelve talented and innovative musicians, they’re determined to make music their way. This means with everyone having a say in how the album is made. That’s musical democracy. As for the recording process, Skadedyr don’t waste time. They recorded in just one day. That’s refreshing and resulted in a musical tapestry.
Kongekrabbe is best described as a pot pourri of influences. Ambient, experimental, electronica, industrial, free jazz, Krautrock and rock can all be heard on Kongekrabbe. They’re part of the five atmospheric, dramatic, ethereal and evocative soundscapes. It’s bold, brave and inventive music that paints pictures in your mind’s eye. There’s a cinematic quality to the innovative and imaginative music on Kongekrabbe. I’d also describe Kongekrabbe as cerebral cinematic soundscapes. Sometimes, they’re understated and pensive, while other times they range from dramatic, challenging and futuristic, to moody and broody. Then seamlessly, the music can become crystalline and ethereal, as influences and genres melt into one. All the time the music on Kongekrabbe is articulate and intelligent. One thing Kongekrabbe never are, is boring. No way. This is music that’s guaranteed to pique your imagination and keep you interested. Indeed captivating describes Kongekrabbe perfectly. Kongekrabbe which will be released by Hubro Music on 13th January 2014 is also an innovative, inventive and genre-melting album from Norwegian musical pioneers Skadedyr.
SKADEDYR-KONGEKRABBE.
CAKEWALK-TRANSFIXED.
CAKEWALK-TRANSFIXED.
It was May 2012, when Cakewalk released their genre-melting debut album Wired. Released to critical acclaim, Wired featured intense, mesmeric music. Featuring three experienced and talented musicians, Cakewalk became one. Each member of Cakewalk seemed to have know exactly what the other was about to do. The interaction between them was peerless. They fed off each other, and seamlessly, Cakewalk fused musical genres. Krautrock, experimental, electronica, free jazz and punk all melted into one. The result was music that veered between lively and vibrant, right through to frantic and frenzied. Influences included David Bowie’s Berlin trilogy, plus the Krautrock of Neu and Can. Wired was akin to a musical tapestry, full of nuances, surprises and subtleties. Critics who were won over by Cakewalk, hungrily awaited the followup to Wired. Thankfully, they’ve not had to wait long. No. Transfixed, Cakewalk’s sophomore album, will be released by Hubro Music on 6th January 2014. Before I tell you about Transfixed, I’ll tell you about Cakewalk.
For anyone whose yet to discover Cakewalk, they’re best described as a supergroup of three innovative Norwegian musicians. Their lineup includes Stepan Meidell, Oystein Skar and Ivar Loe Bjornstad. Since they formed, Cakewalk have established a reputation as a groundbreaking group. Their music is melting pot of seventies psychedelia, Krautrock, industrial, experimental, electronica and noise rock. That’s partly because of the three members of Cakewalk’s different musical backgrounds.
Away from Cakewalk, Stepan Meidell is a member of The Sweetest Thrill. He plays bass, guitar, boxes and tape machines. Previously, Stepan was a member of jazz group Mr. Eart, and played on their 2007 album Facts In The Case Of The Mysterious Pop Machine. Two years later, in 2009, Stepan was a member of Vanilla Riot, who fused jazz and electronica. They released their only album Stitch in 2009. Since then, Stepan has been a member of The Sweetest Thrill and Cakewalk.
Oystein Skar, who plays synths, in Cakewalk is a member of two Norwegian groups, Highasakite and Sacred Harp. He played on Sacred Harp’s 2009 eponymous E.P. Then in 2012, Highasakite released their debut album All That Floats Will Rain. Best described as indie rock, ll That Floats Will Rain was well received.
The final member of Cakewalk is drummer Ivar Loe Bjornstad. He’s also a member of The Hedvig Mollestad Trio. They’ve released two albums, 2011s Shoot and 2013s All Of Them Witches. As you can see, the three members of Cakewalk have very different musical backgrounds. This shines through on Transfixed, where Cakewalk change direction.
In some ways, it’s no surprise that on Transfixed, Cakewalk have decided to change direction musically. After all, Cakewalk feature three innovative, groundbreaking musicians. They’re mavericks, and the thought of standing still musically, wouldn’t appeal. Cakewalk want to continue to push musical boundaries. This they do on Transfixed. Gone are short songs of Wired. Replacing them are longer, darker songs. Transfixed is also a bigger album. It’s Cakewalk’s experimental Magnus Opus. That’s not changed, the music on Transfixed is still improvised.
The music on Transfixed were recorded at Cakewalk’s Bergen studios. During the recording sessions, Cakewalk focused on experimenting. They jammed, sometimes for hours. Through these jam sessions, ideas for songs came about. Sometimes it was just riffs. Other times, it was melodies. If they were lucky, Cakewalk found the structure for a song. They were following a well trodden path. Groups like Can had been here before. So, Cakewalk are keeping the improvisational flame alive. Once a song has evolved, that doesn’t mean they’re finished. No. Cakewalk continue to improvise, honing the song until it’s the finished articles. Cakewalk sculpt songs, resulting in mini modernist works of art. Six of these feature on Transfixed.
For recording of Transfixed, the three members of Cakewalk wrote the six songs. Stepan Meidell played bass, guitar, boxes and tape machines, Oystein Skar plays synths and drummer Ivar Loe Bjornstad. They were joined by guest artist Espen Sommer Eide, who plays modular synthesizer on Transfixed, which I’ll tell you about.
Ghosts opens Transfixed, Cakewalk’s sophomore album. Immediately, genres unite. Quickly, the drama builds. It’s ever-present, as jazz, experimental, Krautrock, psychedelia and rock melt into one. Drums provide the hypnotic heartbeat. They’re joined by shredded, machine guitars and a myriad of synths. Cakewalk are in groove and are determined to exploit it fully. As synths add space-age sound effects, others drone and a wall of sound assails you. Best described as a soundscape, it marches towards you, marching to the beat of Cakewalk’s drum. Dramatic, melodic, grandiose and dark describes this track. So does ethereal, explosive and enthralling.
At first glance, Bells sees Cakewalk pay homage to Krautrock Kings Can. However, there’s much more to Bells then that. It’s a fusion of jazz, Krautrock, ambient, funk, experimental, electronica and psychedelia. Cakewalk’s rhythm section lock into a groove. The mesmeric drums drive the arrangement along, while Stephan’s bass adds some funky licks. With the rhythm section providing the foundation, Cakewalk develop this soundscape. It flowers and blossoms. Subtleties, surprises and nuances unfold. This includes Bells that ring, washes of synths and pizzicato strings. All the time, layers of music reveal themselves. The result is music that’s captivating, enchanting and full of surprises aplenty.
Transfixed has an experimental, space-age sound. Cinematic and haunting best describes this track. It would make the perfect soundtrack to a dark, gothic novel. Cakewalk do what they do so well. That’s combine musical genres. Electronica, experimental, industrial, Krautrock and rock combine. As the rhythm section, synths and sound effects lock horns, they make eerie, disturbing, overbearing and gothic music. A six-minute cinematic Magnus Opus, Cakewalk supply the music, you supply the script.
Just a gently strummed, spacious guitar opens Swarm. Then from the distance, guitars Swarm and charge in. They’ve a sense of urgency. This is replicated by the banks of keyboards. They’re almost prog rock in style. Dramatic sound effects, like sonic fireworks are launched, assailing and surrounding you. That’s the signal for Cakewalk to kick loose and find their inner rock god. Searing, scorching, shredding guitars join the rhythm section. As usual, the rhythm section have locked into the tightest of grooves. Joining them are banks of synths and keyboards. You can’t help but be impressed by Cakewalk in full flight. Drawing inspiration from classic rock, psychedelia and noise rock, Cakewalk pay a fitting homage to everyone from Brian Eno, Can, Jimi Hendrix and Led Zeppelin.
Synths drone, as the meander and provide a moody backdrop to Dive. It’s an understated, experimental soundscape. A myriad of eerie beeps and squeaks provide the backdrop to what sounds like someone asleep. Sometimes, the sounds veer grow in power, becoming dramatic, discordant and challenging. However, you never lose interest. You always wonder what’s about to happen? Are Cakewalk about to spring a surprise? What follows is an eerie 21st Century experimental soundscape, which again, has a cinematic sound. Think The Blair Witch Project set in Bergen and you’re halfway there.
Dunes closes Transfixed. Drums provide a dramatic heartbeat. It’s as if we’re on a voyage of discovery. Cakewalk paint pictures. It’s as if we’re heading deep into the jungle. Synths and sound effects escape from the arrangement. They ring out and reverberate, adding to the drama. Influences include Can, Afro-beat, experimental, jazz and rock. Dramatic, grandiose and cinematic, Dunes has an evocative and atmospheric, as it assails and surrounds you and proves a fitting finale to Transfixed that has you Transfixed.
Just under two years after the release of their debut album Wired, Cakewalk return with their sophomore album Transfixed. It’ll be released on Hubro Music on 6th January 2014. Transfixed is aptly titled. It’s an album that has you Transfixed from the opening bars of Ghosts to the closing notes of Dunes. During the six tracks, the music is variously atmospheric, cinematic, dark, dramatic, eerie, ethereal, evocative, experimental, gothic and haunting. Subtleties, surprises and nuances unfold. Soundscapes flower and blossom as genres and influences melt into one.
Everything from ambient, experimental, electronica, free jazz,funk, jazz, Krautrock, prog rock, psychedelia and rock. Influences include Brian Eno, Can, Jimi Hendrix, Kraftwerk, Led Zeppelin, Neu and Pink Floyd can be heard on Transfixed. One of the most obvious influences is Can. Just like Can, Cakewalk improvised on Transfixed. Cakewalk are keeping the improvisational flame alive Transfixed. They hone and sculpt a song until they’re mini modernist works of art. The other way to describe Transfixed, is a cinematic Magnus Opus, where Cakewalk continue to push musical boundaries to their limit and beyond.
CAKEWALK-TRANSFIXED.
PLEASURE-SPECIAL THINGS.
PLEASURE-SPECIAL THINGS.
Having spent spent several years honing their style and sound, Pleasure were “discovered” by Wayne Henderson of The Crusaders. Pleasure’s persistence had paid off. Pleasure had worked hard at improving and honing their style. They’d also made sure any band that swung through Portland, were handed a copy of Pleasure’s demo. Grover Washington Jr. received a copy. He liked the band, and realised they had talent. So Grover told Wayne Henderson of The Crusaders about Pleasure.
Pleasure were formed in 1972, after a merger of two high school bands, Franchise and The Soul Masters. Franchise were led by guitarist and vocalist Marlon McClain. Their music was a fusion of disco and rock. The Soul Masters, whose music was jazz-tinged and soulful, were led by Donald Hepburn. These two groups became one, who they named Pleasure.
For two years, Pleasure played around the Portland area. They soon attracted a loyal following locally. Word started to spread further afield, about this Portland band called Pleasure. No wonder. They were good. Very good. Every band who swung through Portland were handed a copy of Pleasure’s demo. Grover Washington Jr. received a copy. Liking what he heard, he told Wayne Henderson of The Crusaders about Pleasure.
So, Wayne Henderson headed to a club in Portland, where he heard Pleasure. Immediately, he realised Pleasure were a band with a big future. Wayne recommended Pleasure to Fantasy Records, a forward thinking and successful label. Fantasy always keen to sign talented artists and groups. Pleasure were certainly talented and keen to sign to the label, groups like The Blackbyrds called home.
Now signed to Fantasy Records, Pleasure released six albums between their 1975 debut Dust Yourself Off and 1980s Special Things. Their final album for Fantasy Records, 1980s Special Things, which was recently released by BGP, a subsidiary of Ace Records, marked the end of an era for Pleasure.
Having signed to Fantasy Records, they hooked up with The Crusaders’ trombonist Wayne Henderson. Wayne would produce their first four albums. Their debut album was 1975s Dust Yourself Off. Most of Dust Yourself Off, was written by Pleasure. The exception was Midnight At The Oasis, which was given an uber funky makeover. On its release in July 1975,Dust Yourself Off reached just number fifty-four in the US R&B Charts. For a debut album, this was a positive start to Pleasure’s career.
Pleasure’s sophomore album was 1976s Accept No Substitutes, which reached number 162 in the US Billboard 200 and number thirty-two in the US R&B Charts. Accept No Substitutes featured Pleasure’s first hit single. Ghettos of The Mind reached number seventy-one in the US R&B Charts. It seemed Pleasure’s music was reaching a wider audience.
This proved to be the case with Pleasure’s third album Joyous, released in 1977. Not only did Joyous reach number 113 in the US Billboard 200 and number thirty-four in the US R&B Charts, but featured an anthemic track. This was the title-track Joyous, which reached number thirty-five in the US R&B Charts. Since then, this anthemic track has been a dance-floor favourite. Having released their most successful single and album, the future looked bright for Pleasure.
That wasn’t the case. 1978s Get To The Feeling was the last album produced by Wayne Henderson. Rather than building on the momentum of previous albums, it stalled at number 119 in the US Billboard 200 and number forty-two in the US R&B Charts. Get To The Feeling didn’t even feature a hit single. Pleasure had a problem. Their music seemed to have stood still while music changed. Maybe Pleasure and Wayne Henderson’s partnership having run its course? Either that or they’d run out of ideas. Regardless of what the problem was, changes were made.
Out went producer Wayne Henderson. Replacing him was Phil Kaffel, who co-produced their fifth album Future Now with Pleasure’s guitarist Marlon McLain. This marked not just the beginning of a new chapter in Pleasure’s career, but the most successful album of their career. Future Now.
When Future Now was released in 1979, it reached number sixty-seven in the US Billboard 200 and number twenty-seven in the US R&B Charts. Future Now featured two hit singles. The title-track reached number seventy-five in the US R&B Charts. The Glide gave Pleasure the biggest single of their career, reaching number fifty-five in the US Billboard 200 and number ten in the US R&B Charts. Having enjoyed the most successful album of their career, Pleasure would only release one more album for Fantasy Records, Special Things.
For their sixth album, Special Things, Pleasure wrote the eight tracks. Nathaniel Phillips penned the title-track, Marlon McClain wrote Law Of The Raw and Michael Hepburn contributed You Are My Star. Michael cowrote Living Without You with Fred Reed. Donald and Michael Hepburn cowrote Now You Choose Me with Nathaniel Phillips, while Nathaniel and Donald wrote Take A Chance. Marlon McClain and Donald Hepburn penned Yearnin’ Burnin.’ The other track was Spread That Feelin’ All Around, a collaboration between Michael, Nathaniel and guitarist Doug Lewis. These eight tracks became Special Things.
Recording of Special Things took place at Fantasy Studios, Berkeley, California. Producing Future Now was Phil Kaffel and Marlon McLain. The lineup of Pleasure featured a rhythm section of drummer Bruce Carter, bassist Nathaniel Phillips and guitarists Marlon McLain and Doug Lewis. Donald and Michael Hepburn played keyboards, Bruce Smith percussion, Denis Springer soprano and tenor saxophone and Tony Collins flugelhorn and trumpet. They were joined by session musicians. This included Jerry Hey on flugelhorn and trumpet,alto saxophonist Larry Williams and Tim Gorman added synths. The Waters Sisters and Marti McCall sang backing vocals. Once Special Things was recorded, it was released in 1980.
On the release of Special Things in 1980, it reached number ninety-seven in the US Billboard 200 and number twenty-seven in the US R&B Charts. Two singles were released from Special Things. Real Thing reached number sixty-five in the US R&B Charts. Yearnin’ Burnin’ then reached number thirty in the US R&B Charts. Neither Special Things, nor the singles matched the commercial success of Future Now, despite being heavily promoted by Fantasy Records. They wanted to build on the success of Future Now. To do this, Pleasure returned to the formula that made Future Now a success. Soul, funk and dance music were combined by Pleasure over Special Things’ eight tracks. It didn’t match the commercial success of its predecessor though. Why was that? That’s what I’ll tell you, once I’ve told you about the music on Special Things.
Now You Choose Me opens Special Things, what was Pleasure’s final album for Fantasy Records. Stabs of urgent, blazing horns, washes of synths and a gloriously funky bass join drums that crack. The drums have a real eighties sound. That ensures Pleasure have your attention. Now Sherman Davis delivers a powerful, impassioned vocal. It’s delivered with feeling as harmonies soar soulfully above the arrangement. Pleasure it seems, have picked up where they left off on Future Now, combining soul and uber funky, dance-floor friendly grooves.
Thoughtful, pensive keyboards open Special Things. Synths usher in Nathaniel Phillips’ bass. Just like the previous track, he plays an important role in the arrangement. Funky, soulful, dreamy and spacious describes the arrangement. It’s the perfect backdrop for Sherman’s vocal. He unleashes a tender, heartfelt vocal. As the band play around his vocal, thoughtful harmonies, keyboards and synthetic strings sweep. Later, the arrangement heads in the direction of jazz. So does Sherman’s vocal. All this plays it’s part in a quite beautiful, dreamy and genre-melting track that should’ve been a single.
Yearnin’ Burnin’ is a tough, funky track. Pleasure lock into a tight, funky groove, Nathaniel’s bass and the chiming guitars become one. They’re augmented by keyboards. As for the vocal, it changes hands. One minute it’s tough and edgy, the next it’s a tender, sassy falsetto. All the time, Pleasure keep things tough and funky. Their rhythm section are at the heart of the action, before stabs of grizzled horns add to this slice of sassy funk.
Law Of The Raw sees a rock, funk and electronica join forces. Searing rocky guitars, keyboards, synths and the rhythm section create a tough, dramatic arrangement. Cymbals crash, drums roll and pound. Machine gun guitars and banks of keyboards see genre melt into one. Pleasure seem to be enjoying jamming, feeding off each other and seeing what the result is. Towards the end of the track, sizzling rock guitars are added. It’s as if you’ve strayed on to a Van Halen album. That’s not the case. It’s Pleasure, but as you’ve never heard them before. During this instrumental, you realise how good musicians they were.
Bursts of braying horns open Take A Chance. Then washes of synths, chiming guitars, pounding drums and hissing hi-hats join forces with Nathaniel’s bass. They keep things funky as Sherman’s tender, punchy vocal enters. It’s urgent and needy. Meanwhile, there’s a sense of urgency to the arrangement. That comes courtesy of the rhythm section, keyboards and bursts of flugelhorn. Soon, harmonies and horns interject. They play their part in providing the backdrop for Sherman’s vocal. Urgent, sensual and needy it’s one of his most emotive and one of the Special Things on the album.
Living Without You sees the tempo drop. The rhythm section create a slow, floaty and spacious arrangement. Sherman’s vocal is full of heartache, hurt and confusion, as jazz, soul and funk combine. Percussion, melancholy horns and keyboards combine, before a pensive rhythm section are joined by harmonies. Nearly everything falls into place at the right time. That’s apart from some rogue percussion. This is one of Nathaniel, Michael Hepburn and Phil Kaffel’s best productions. Just like on the title-track, Pleasure are at their best when things are soulful.
The drums set the scene on Spend That Feelin’ All Around. Then the bass, stabs of horns and keyboards enter. Gradually, the arrangement’s revealing its secrets. Next comes the vocal and harmonies. One wonders what’ll happen next? What follows, is a joyous, hooky track. It’s as if Pleasure have sought inspiration from The Jacksons. They dig deep and mix soul, funk and jazz horns. There’s even some rocky guitars thrown in for good measure on this delicious and joyous dance track.
Closing Special Things and Pleasure’s time at Fantasy Records, is You Are My Star. Space-age synths meander along. They add a melancholy sound, while the bass, guitar and flugelhorn add to the atmospheric sound. Jazz and funk are combined to create a wistful, melancholy farewell from Pleasure, that showed the direction their music could’ve moved towards.
Special Things represented the end of an era for Pleasure. It was their final album for Fantasy Records. They picked up where they left on Future Now. It marked a change in sound and style. There was still funk, soul, jazz and rock. However, on Future Now, Pleasure’s music took on a space-age, experimental sound. To some extent Special Things featured more of the same. That’s no bad things.
Sadly, Special Things didn’t see Pleasure leave on a high. Neither Special Things, nor the singles matched the commercial success of Future Now. That’s despite Special Things being heavily promoted by Fantasy Records. They wanted to build on the success of Future Now. To do this, Pleasure returned to the formula that made Future Now a success. Soul, funk and dance music were combined by Pleasure on Special Things’ eight tracks. It didn’t match the commercial success of its predecessor though. There’s a reason for that.
Music had changed in the last year. Disco had died and there had been a huge backlash against anything remotely connected to disco. This was affecting sales of soul and funk music too. Special Things despite its quality, was caught in the crossfire. The musical environment had changed. Soon, another musical genre would replace disco. In the meantime, music was at a crossroads. So were Pleasure. What the Future Now held for them was still to be decided.
Having left Fantasy Records after the release of Special Things, which was recently released by BGP, a subsidiary of Ace Records, Pleasure released just one more album. That was Give It Up in 1981. It reached a disappointing number 164 in the US Billboard 200 and number thirty in the US R&B Charts. That was the last album Pleasure released. Looking back, the best music of Pleasure’s seven album career was the music they released at Fantasy Records. This started with their 1975 debut Dust Yourself Off, and finished with 1980s Special Things. Standout Tracks: Special Things, Take A Chance, Living Without You and You Are My Star.
PLEASURE-SPECIAL THINGS.
THE DETROIT EMERALDS-LET’S GET TOGETHER.
THE DETROIT EMERALDS-LET’S GET TOGETHER.
By 1978, when The Detroit Emeralds released their final album, Let’s Get Together, much had happened to them. The last few years had been eventful, and marked a change in the The Detroit Emeralds’ fortunes. For their first three albums, The Detroit Emeralds it seemed they could do wrong. Their three albums charted and The Detroit Emeralds enjoyed ten hit singles. Then in 1974, The Detroit Emeralds were in chaos. The group was on the verge of splitting up. Indeed, there were two versions of The Detroit Emeralds touring. The end looked neigh for The Detroit Emeralds. Somehow, they came back from the brink.
After three years away from the recording studio, The Detroit Emeralds recorded their fourth album Feel The Need. On its release, it became The Detroit Emeralds’ first album not to chart. At least the title-track reached number twenty-two in the US R&B Charts. However, The Detroit Emeralds were at a crossroads. For a group whose music had been part of the soundtrack the seventies, things weren’t looking good. Their next album would be crucial. It had to be a commercial success. Would The Detroit Emeralds’ fifth album, Let’s Get Together, which was recently released by Ace Records, mark a revival in their fortunes? That’s what I’ll tell you, once I’ve told you about The Detroit Emeralds’ career.
Originally, The Detroit Emeralds were formed in the sixties, they were just called The Emeralds. They were formed by the four Tilmon brothers from Little Rock, Arkansas. The original lineup featured Ivory, Abrim, Raymond and Cleophus Tilmon. Then when The Emeralds headed to Detroit, there were some changes afoot.
Raymond and Cleophus decided they didn’t want to relocate to Detroit. So, Ivory and Abrim were joined by their friend James Mitchell. The other change was the name. No longer were group called The Emeralds. No. Now based in Detroit, they became The Detroit Emeralds. This just happened to coincide with their first hit single.
Show Time was released in 1968, on the Ric Tic label. It reached number twenty-two in the US R&B Charts. This was the first of a trio of singles The Detroit Emeralds released for Ric Tic. Shades Down and (I’m An Ordinary Man) Take Me The Way I Am. These three tracks marked the start of a ten year musical journey for The Detroit Emeralds. Two years later, The Detroit Emeralds’ career began in earnest. Before that, their career stalled.
Having released three singles for Ric Tic, suddenly, the label was taken over by Motown. For The Detroit Emeralds, that was a disaster. Like so many other artists, The Detroit Emeralds were lost in the Motown machine. So they decided to sign to a newly formed label. At least they were wanted there.
Armen Baladian had just founded Westbound Records, when The Detroit Emeralds signed to the new label. This would prove to be a home from home for The Detroit Emeralds. They recorded the best music of their career at Westbound. During the next few years, The Detroit Emeralds were a hit-making machine. This started in 1970, in Memphis.
When The Detroit Emeralds were on tour in 1970, the tour swung through Memphis. So, they took the opportunity to start recording some demos. With Willie Mitchell, a few rhythm tracks were laid down at United Sound. The Detroit Emeralds were given a Hi sound makeover.Then when The Detroit Emeralds were back home in Detroit, their vocals and strings were over-dubbed. This approach worked, resulting in two hit singles and for The Detroit Emeralds.
If I Lose Your Love was released as a single in 1970, on Westbound Records, who The Detroit Emeralds had signed to. It reached number thirty-two in the US R&B Charts. Then I Can’t See Myself Doing Without You reached number forty-one in the US R&B Charts later in 1970. The following year, The Detroit Emeralds enjoyed one of the most successful years of their ten year recording career.
Do Me Right was The Detroit Emeralds’ debut album. Released in 1971, Do Me Right reached number 151 in the US Billboard 200 and number twenty-three in the US R&B Charts. The Detroit Emeralds enjoyed two hit singles. This included the title-track, which reached number forty-three in the US Billboard 100 and number seven in the US R&B Charts. Wear This Ring (With Love) then reached number ninety-one in the US Billboard 100 and number eighteen in the US R&B Charts. The Detroit Emeralds career at Westbound had started well. It would soon get even better.
1972 saw The Detroit Emeralds release their sophomore album You Want It, You Got It. It surpassed the success of number seventy-eight in the US Billboard 200 and number thirty-seven in the US R&B Charts. The title-track reached number thirty-six in the US Billboard 100 and number five in the US R&B Charts. Then Baby Let Me Take You (In My Arms) reached number twenty-four in the US Billboard 100 and number four in the US R&B Charts. The final single of 1972s Feel The Need In Me, reached just 110 in the US Billboard 100 and number twenty-two in the US R&B Charts. Little did The Detroit Emeralds realize, that they’d just enjoyed the most successful year of their career.
After enjoying the most successful album of their career, plus a trio of hit singles, The Detroit Emeralds’ third album I’m In Love, failed to replicate the success of its predecessors. It stalled at number 181 in the US Billboard 200, but reached number twenty-seven in the US R&B Charts in 1973. The singles didn’t fare as well as previous ones. Things started well when You’re Gettin’ A Little Too Smart reached number ten in the US R&B Charts. A reissue of You Want It, You Got and then I Think Of You failed to chart. At least Lee reached number seventy-nine in the US R&B Charts. After that, The Detroit Emeralds almost split-up.
Things started to go wrong in late 1973, when Abrim Tilmon left The Detroit Emeralds to pursue a solo career. He released two singles as A.C. Tilmon and The Detroit Emeralds. Meanwhile Ivory Tilmon and James Mitchell decided to form a new group. They added Carl Johnson of Chapter Eight. However, they couldn’t use The Detroit Emeralds name. It had been copyrighted by Westbound, who now owned the name. So, Ivory, James and Carl signed to Fee Records as Now. However, neither Abrim nor Now were enjoying much in the way of success. Given disco was now a huge commercial success this was a lost opportunity.
As 1976 dawned, disco was the most popular musical genre. Disco was providing the soundtrack to American life. The Detroit Emeralds who could’ve and should’ve been disco Kings were the forgotten men of music. Then out of nowhere, The Detroit Emeralds’ career was kickstarted.
Remixes were now the flavor of the months. Remixers, who often, weren’t musicians or even musically trained, were forging careers by giving tracks a musical makeover. Breaks were extended and songs became much more dance-floor friendly. The Detroit Emeralds’ Feel The Need In Me was remixed, and transformed into a seven minute epic. Suddenly, The Detroit Emeralds were back in the public eye.
Woody Wilson, who owned Fee Records, urged the members of The Detroit Emeralds to put their differences aside. So, Abrim Tilmon made amends with Ivory Timmon and James Mitchell. Abrim was now ready to become part of The Detroit Emeralds again. However, there was a problem. The Detroit Emeralds were signed to Fee Records. To allow the group to record, Woody leant Ivory Timmon, James Mitchell and Marvin Willis to Westbound. Now four years after the release of their third album, The Detroit Emeralds released the followup Feel The Need.
On its released in 1977, Feel The Need failed to chart. This was a first. Never before had an album by The Detroit Emeralds failed to chart. For everyone involved that worked so hard to make the album happen, this must have been disappointing. However, The Detroit Emeralds had been away for four years. Music had changed a lot since their previous album. Maybe the followup to Feel The Need, Let’s Get Together would chart?
As work began on Let’s Get Together, The Detroit Emeralds must have known it was make or break. Eight songs were chosen for Let’s Get Together. Abrim Tilmon cowrote and co-produced five tracks. In total, seven tracks were written by members of the band. Only Call Me (Traveling Lady) wasn’t written by the band. These eight tracks were recorded by The Detroit Emeralds at various studios, including Ardent Recording Studios, Memphis.
Recording of Let’s Get Together saw The Detroit Emeralds accompanied by a rhythm section that featured bassists Eddie Watkins and Roderick Chandler, drummers Jerry Jones and Michael Calhoun plus guitarists Dennis Coffey and Bruce Nazarian. The Detroit Symphony Orchestra added strings and woodwind, Brandye contributed backing vocals and Lorenzo Brown played percussion. Production was split between members of the band. Let’s Get Together saw The Detroit Emeralds pulling together. It was as if they realized their future career was at stake.
On the release of Let’s Get Together in 1978, the album failed to chart. Despite being a “Tom Moulton Mix,” the album failed commercially. The Detroit Emeralds career was all but over. They’d released their last album. That was Let’s Get Together, which I’ll tell you about.
Let’s Get Together opens with the title-track. It was written by McKinley Cunningham, James Mitchell and Marvin Willis. Bursts of blazing horns join cascading, dancing strings and a pounding, funky rhythm section. Along with sweeping harmonies, this sets the scene for the lead vocal. Helped along by harmonies, James Mitchell struts and vamps his way confidently through the track. Behind him, some of Detroit’s session musicians seamlessly fuse soul, funk and disco.
Turn On Lady like the first three tracks, was produced by James Mitchell, Mike Theodore and Marvin Willis. Brandye supply breathy, sassy harmonies while swathes of strings sweep and swirl. Horns bray and rasp, while punchy harmonies give way to The Detroit Emeralds. Urgent and soulful, the baton passes to James. He feeds off the harmonies and they urge each other to greater heights. It’s as if they realise the seriousness of the situation. Failure wasn’t an option. Having swept along, a breakdown sees the arrangement stripped back. Latin and funk combine, as The Detroit Emeralds vamp their way through the arrangement. Then the arrangement builds back up and heads towards its dramatic, dance-floor friendly high.
Traveling Man has a much more understated sound. Flourishes of harpsichord give way to a dark, cinematic sound. That comes courtesy of the strings. They provide the backdrop for James half-spoken vocal. It gives way to a heartfelt and heartbreakingly beautiful vocal. He becomes the “Traveling Man.” He wants to fill his partner’s life: “with beautiful things” and “treat her like a Queen.” What follows is quite simply, one of the best songs on Let’s Get Together. James vocal brings the lyrics to life. So much so, they seem real. The harmonies compliment his vocal and feature The Detroit Emeralds at their best.
I Can’t Seem To Forget sees the tempo rising. Immediately, you realise The Detroit Emeralds haven’t spared the hooks. No way. Lush, dancing string, rasping horns and soulful from Brandye are joined by a pounding disco beat. This is the backdrop The Detroit Emeralds deliver their joyous vocals to. Harmonies trade licks with James lead vocal, before each member showcases their vocal prowess. Later, joy turns to be betrayal and heartbreak. Despite this, you’re still swept along atop lush, dancing strings, rasping horns and harmonies. Add to this a pounding disco beat, and the result is a track from The Detroit Emeralds that “I Can’t Seem To Forget.”
Thunderous drums, soaring, defiant harmonies and dancing strings join blazing horns on What’s The Deal. Sassy, feisty and defiant, there’s a tougher edge to this track. The Detroit Emeralds are almost confrontational as funk and soul combine with disco strings. Add to that rocky guitars and stabs of growling horns. The horns add to the drama as The Detroit Emeralds wonder “What’s The Deal?”
Cleveland Horne, Anthony Jones and Abrim Tilmon penned Treat Her Like A Lady. It’s an uber funky track, where The Detroit Emeralds veer between tough, vampish vocals to a much more soulful, then urgent style. This they do against an arrangement where wah-wah guitars join a funky rhythm section, braying horns and cascading strings. For four minutes, The Detroit Emeralds seem to be inspired by The Temptations, circa the early seventies. Soulful, funky, slick, edgy and tough describe this track perfectly.
Chiming guitars and flourishes of strings open I Just Don’t Know About This Girl Of Mine. Heartfelt, wistful harmonies are accompanied by the rhythm section and keyboards. Bursts of grizzled horns and strings provide the backdrop for James vocal. Confusion, frustration, suspicion torment him, while cooing harmonies join the lush strings in accompanying him. This results in a track that’s dramatic, heartfelt, soulful and sometimes, sassy.
Have A Good Day closes Let’s Get Together. Horns blaze, strings sweep and the rhythm section drive the arrangement along. James vocal is like a rap, before the harmonies strut in. They’re in the groove, just like the rhythm section. As James struts his confidently through the song, strings dance and the bass buzzes. Harmonies sweep in and out. James vamps and raps. All the time, the rest of The Detroit Emeralds sing: “Have A Good Day” as disco, soul and funk unite one last time.
Let’s Get Together was make or break for The Detroit Emeralds. Their career rested on the commercial success of Let’s Get Together. Their fourth album Feel The Need, had failed to chart. This was a first. Never before, had a Detroit Emeralds failed commercially. There was, as they say, a first time for everything. Then lightning struck twice in the same place, when Let’s Get Together failed commercially. After that, The Detroit Emeralds called it a day. They went their own way. Part of the problem was, music had changed in the four years they’d been away.
Between The Detroit Emeralds’ third album, 1973s I’m In Love and 1977s Feel The Need, music changed. Disco became a musical phenomenon. The Detroit Emeralds had previously been a soul and funk band, but decided to jump on the disco bandwagon. For some groups, this rejuvenated their career. Not even the much vaunted “Tom Moulton Mix” rejuvenated The Detroit Emeralds career. No. It’s because the disco roller coaster was about to come off the rails. A year later, disco had died. Maybe, if Let’s Get Together had been released a year earlier, it would’ve been a commercial success? Instead, Let’s Get Together was the wrong album at the wrong time. Let’s Get Together failed to rejuvenate The Detroit Emeralds career.
Ironically, the highlight of Let’s Get Together, which was recently released by Ace Records, was the soulful delights of Traveling Man. Sadly, it was the only slow song on Let’s Get Together. It’s easily the highlight of Let’s Get Together. Maybe if Let’s Get Together had featured more soulful songs like Traveling Man, the album would’ve been a bigger success? Who knows, maybe a side of soul and a side of dance-floor friendly tracks would’ve resulted in an album that rejuvenated The Detroit Emeralds career. Sadly, that wasn’t to be.
Let’s Get Together proved to be The Detroit Emeralds’ final album. After that, they went their own ways. At least it saw them end their career with an album of quality music. During the eight tracks on Let’s Get Together, disco, funk and soul were combined by The Detroit Emeralds, as they took their musical bow on Let’s Get Together. Standout Tracks: Let’s Get Together, Traveling Man, I Can’t Seem To Forget and I Just Don’t Know About This Girl Of Mine.
THE DETROIT EMERALDS-LET’S GET TOGETHER.
GEORGE JACKSON-OLD FRIEND-THE FAME RECORDINGS VOLUME 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, when he recored his debut single.
George was only eighteen when 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 and the studio of Cosimo Matassa to record Nobody Wants To Cha Cha With Me. It was released on Ike’s Prann label, but 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. Before I tell you about George Jackson-Old Friend-The Fame Recordings Volume 3, I’ll tell you about George’s career.
It was in March 1945, that George Jackson was born. Until he was five, his family lived in Indianola, Mississippi. Then when he was five, his family moved to Greenville, in Washington County. From an early age, it was apparent that George would become a singer or songwriter. He was already writing songs when he was just a teenager. Then when he was eighteen, he met a famous producer.
This was Ike Turner. The encounter took place in 1963. George was just eighteen. Despite his youth, George found the confidence to introduce himself to Ike Turner. George told Ike about his music and showed him some songs. So impressed was Ike, that he took George Jackson to New Orleans, to Cosimo Matassa’s studio. They recorded Nobody Wants To Cha Cha With Me. It was released on Ike’s Prann label, but wasn’t a commercial success. This however, marked the start of George’s career
Two years later, in 1965, George recorded Rufus Come and Get Your Dog for Doro. The same year, he released Blinkity Blink for Dot Records. Neither single gave George the commercial success he was wanting. He wasn’t going to give up though.
After that, George headed to Memphis, which was home to Stax Records. George auditioned for Stax, but they passed him over. Little did they realize they’d missed out on a prolific and talented singer and songwriter. Next stop for George was Goldwax, where he cofounded The Ovations with Louis Williams. George penned and sang on their 1965 classic, It’s Wonderful To Be In Love. It reached number twenty-two in the US R&B Chart, while reaching number sixty-one in the US Billboard 100. For George Jackson, this was his first hit single.
Soon, he was writing for other artists on Goldwax’s roster. Spencer Wiggins and James Carr were beneficiaries of George’s songwriting skills. George also teamed up with Dan Greer, forming the duo George and Greer. They recorded for Goldwax, but never released any singles. Then in 1968, The Ovations were no more. They split-up. That marked the end of George’s time at Goldwax.
Having left Goldwax, George enjoyed a brief spell at Hi Records. He recorded for them, but this never came to anything. Neither did the recordings he made for Decca, Mercury or Capitol. The Decca recordings were released using the alias Bart Jackson. Whether it was George or Bart, success eluded George as a solo artist. Then producer Billy Sherrill suggested George should get in touch with Rick Hall at Fame Records.
Fame Records at Muscle Shoals, was what George Jackson was looking for. It was like a homecoming of sorts. He felt as if he belonged. Soon, he was writing for some of Fame’s biggest stars. Among them were Candi Staton, Clarence Carter and Wilson Picket. George enjoyed instant success, when Clarence Carter’s Too Weak To Fight became a huge hit. It reached number thirteen in the US Billboard 100 and number three in the US R&B Charts. Buoyed by this success, George penned a string of hits for Fame’s artists. This included Candi Staton’s I’d Rather Be An Old Man’s Sweetheart (Than A Young Man’s Fool), I’m Just A Prisoner (Of Your Good Lovin’) and Never In Public. Then in 1970, George wrote the biggest single of his career so far.
Originally, George had written with One Bad Apple with The Jacksons in mind. Then in 1970, The Osmonds visited Fame Studios. When they heard One Bad Apple immediately, they liked the song. They decided to record it and it gave them the first hit of their career. Not only did it reach number one in the US Billboard 200, but number six in the US R&B Charts. For any songwriter, including George Jackson, this was the ultimate accolade. Despite writing a number single, George hadn’t given up hope of becoming a successful single.
Over the next couple of years, George divided his time between songwriting and singing. He continued to be a prolific and successful songwriter. As a singer, he was noted for his versatility and ability to make lyrics come to life. If lyrics needed hurt, heartache or joy, George could deliver that. Despite this, commercial success eluded him. Right up until George left Fame in 1972, he was more successful as a songwriter than singer. This must have frustrated George. After all, he was blessed a hugely, soulful, emotive, expressive and mesmeric voice. Anyone whose heard any of George’s music will agree with that. The twenty-four tracks on George Jackson-Old Friend-The Fame Recordings Volume 3 reinforce that.
None of the songs on George Jackson-Old Friend-The Fame Recordings Volume 3 have ever been released before. Twenty-three of them have lain in Fame Records’ vaults until compiler Tony Rounce discovered them. The other track is a home demo of George’s debut Nobody Wants To Cha Cha With Me. These twenty-four tracks are a poignant reminder of George Jackson the singer and songwriter. I’ll now pick the highlights of George Jackson-Old Friend-The Fame Recordings Volume 3.
Opening George Jackson-Old Friend-The Fame Recordings Volume 3 is It’s Up To His Woman. This explosive slice of Southern Soul was written by Osbie Burnett McClinton. Bursts of urgent blazing horns usher in George’s vocal as he sings about the power of a woman. Braying horns envelope a vocal that’s emotive, and sometimes feisty and sassy. Other times it’s full of confusion. Then when George sings: “It’s Up To His Woman,” it’s as if he can’t believe how his friend has changed. Accompanied by a sultry, Southern Soul arrangement George vamps his way through song wondering what happened to the man he used to know?
Straight away, you wonder why I’m In The Middle Of A Good Thing was never released as a single? It was written by George with Raymond Moore and Claude Williams. They certainly didn’t spare the hooks. The legendary Muscle Shoals Rhythm Section seem determined to make this song work. As they drive the arrangement along, George’s vocal is joyous and full of disbelief: “at the way my baby is loving me.” Quite simply, this glittering, hook-laden, hidden gem is one of the highlights of George Jackson-Old Friend-The Fame Recordings Volume 3.
Dan Greer, who George collaborated with at Goldwax, wrote Don’t Let A Good Thing Go To Waste. Here, George demonstrates his versatility. While the Hammond organ is at the heart of the arrangement, his vocal is delivered in urgent bursts. Then power and passion gives way to a loose, languid vocal. When George leaves space, drums pound, then George yelps and vamps, mixing elements of Southern Soul and funk seamlessly.
Just Another Day which was written by George, Earl Cage and Ronald Townsend, sees the tempo drop. Washes of Hammond organ provide the backdrop to the piano and George’s heartfelt, soul-baring vocal. Needy, he pleads: ”can I have just one more day?” You can share and feel his hurt. Guitars chime, drums mark time and stabs of piano add to the drama, as George delivers a heartbreaking paean to the one he loves and looks like losing. A truly captivating and beautiful song.
On You Got To Make A Decision, which George and Ralph Brown cowrote, we hear another side of George. His vocal’s a mixture of anger, frustration, defiance and despair as he delivers his ultimatum. “You Got To Make A Decision” he tells his two-timing woman. Defiantly, he tells her:“decide who do you want, you can’t love him and me too.” Behind him, the Muscle Shoals Rhythm Section match him every step of the way, mixing Southern Soul and funk, as George delivers his ultimatum. However, the only thing is, we never discover who she chose?
Bad Case Of You is another tale of love gone wrong. It was written by George and Raymond Moore. A mid-tempo track, it features a heartbroken vocal. George has loved, lost and is struggling to get over his loss. His vocal is akin to a cathartic outpouring of emotion. Driven along by the piano, George’s pain and hurt is very real, as he brings the lyrics to life. So realistic is George’s portrayal of the lyrics, it’s as if he’s loved, lost love and survived to tell the tale.
All He Can Do Is Love You, which George wrote, is another of the slower tracks on George Jackson-Old Friend-The Fame Recordings Volume 3. Again, the Hammond organ provides an atmospheric backdrop. It’s accompanied by hypnotic drums and chiming guitars. Meanwhile, George digs deep, delivering an impassioned vocal. His vocal oozes emotion, sadness and regret. He regrets not being able to offer his former the material things other men can. However, he cares for her still, and worries that she’s being treated properly. This outpouring of concern, emotion and love results in one of the most moving and beautiful songs George on the compilation.
Add A Little Sunshine is a breezy, uptempo track written by George. The Muscle Shoals Rhythm Section provide the heartbeat as George unleashes a joyous vocal. Having found love, he’s finding his way in life. Suddenly, everything seems right. He gives thanks, his vocal joyous, sincere and thankful, on what’s essentially a three minute fusion of soul and pop perfection.
Without doubt, Jimmy Webb is one of the great American songwriters. He cowrote Old Friend (You Ask Me If I Miss Her). It’s a heartbreaking tale of love lost. Here, producer Rick Hall is responsible for a mini-masterpiece. A harmonica adds a heartbreaking backdrop for George’s vocal. It’s tender and full of heartache and hurt. It’s accompanied by cooing harmonies, lush strings and rasping horns. Later, the harmonica adds the finishing touch to this lost country soul gem.
My final choice is That From The Heart, which features an arrangement that has Southern Soul written all over it. At the heart of the arrangement are The Muscle Shoals Rhythm Section. They provide a slow, melancholy heartbeat. Meanwhile, a piano accompanies George’s vocal. As he delivers the lyrics he wrote, he seems to draw inspiration from Sam Cooke and Otis Redding. His vocal is a mixture of emotion, passion, sadness and joy as the track reaches it dramatic, emotive crescendo.
During his time at Fame Records, George Jackson was better known for his songwriting skills. Accompanied by The Muscle Shoals Rhythm Section, who included some of the best session players in the South, George had the ability to bring songs to life. Whether it was heartache, hurt or happiness a song needed, George could bring all that and more to a song. Blessed with a voice that can inject emotion, meaning, and energy into a song, lyrics come alive. It only takes one listen to George Jackson-Old Friend-The Fame Recordings Volume 3 to realise this. Whether its sadness or joy, hurt, heartbreak and happiness George can deliver this and more. Love songs, breakup songs and makeup songs George delivers them with feeling. Grabbing the song by the scruff of its neck, he can makes songs come to life. Despite being able to do this, George Jackson never enjoyed the success his talent deserved.
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 recently released by Kent Soul, an imprint of Ace Records. George was certainly not lacking in talent. Far from it. One listen to George Jackson-Old Friend-The Fame Recordings Volume 3 and you’ll realise that. The problem was Lady Luck never shawn on him. George never got the break his career needed. As a result, he ended up writing songs, not singing them.
At least George enjoyed a tantalising taste of commercial success when he was a member of The Ovations. Back in 1965, commercial success made a fleeting visit. Having enjoyed a tantalising taste of commercial success, George Jackson never enjoyed its delights during his time at Fame Records. That’s why he’ll be forever remembered as one of Southern Soul’s nearly men. That’s a great shame, but not unknown.
Often, when talented songwriters who just happen to be singers, sign to a record label, those running the label are more concerned with getting them to write songs, not record them. After all, it takes time and money to develop an artist’s career. That would’ve been the case with George Jackson. That time, maybe people thought, could be better spent writing songs. After all, that was what George was good at. So, in many ways, George’s success as a songwriter was a double-edged sword. The more success he enjoyed, the less chance he had of becoming a successful singer. That must have been frustrating. He wanted to be a star, not the star-maker. Sadly, that never happened. However, it should’ve happened.
George Jackson had the talent and desire to be a successful singer. George Jackson-Old Friend-The Fame Recordings Volume 3 is proof of this. Featuring twenty-four previously unreleased tracks, produced by Rick Hall and featuring The Muscle Shoals Rhythm Section, George Jackson-Old Friend-The Fame Recordings Volume 3 feature one of Southern Soul’s best kept secrets at its best.
George Jackson-Old Friend-The Fame Recordings Volume 3 is also a poignant reminder of a talented singer and songwriter who died in April 2013, aged just sixty-eight. That day, Southern Soul lost one of its most talented sons, and one of the men who made Fame Records one of the greatest labels in the history of Southern Soul. Standout Tracks:and Old Friend (You Ask Me If I Miss Her).
GEORGE JACKSON-OLD FRIEND-THE FAME RECORDINGS VOLUME 3.
SOUL IN HARMONY-VOCAL GROUPS 1965-1977.
SOUL IN HARMONY-VOCAL GROUPS 1965-1977.
Whether your preference is for country, crossover, deep, modern, Northern, Philly or Southern Soul, everyone will have their favourite group soul single. It may be an old favourite or hidden gem, however, for you, it epitomises everything that’s good about group soul. For three minutes, that single tugs at your heartstrings. You’re won over by that slice of musical perfection. You can’t resist the charms of the impassioned, heartfelt, harmonies. Resistance is impossible. You’ve fallen hook, line and sinker for what, to you is, a group soul classic. Betrayal, heartbreak, hurt and joy shine through, on what are often like a short story or kitchen sink drama. That’s the case on Kent Soul’s latest compilation Soul In Harmony-Vocal Groups 1965-1977.
Soul In Harmony-Vocal Groups 1965-1977 features twenty-four soulful soap operas. This includes mini soap operas that are gritty examples of life gone wrong. You’re listen as someone’s life unravels. They’ve been betrayed, and are heartbroken. Harmonies full of hurt bring the lyrics to life. This becomes like a cathartic outpouring of grief. The result is deeply moving and powerful. That’s the case on other tracks, where joy and jubilation shine through.
Harmonies give thanks, thanks for finding someone special, someone to love. Four or five voices become one, and in unison, bring lyrics to life. They tell the story with emotion and passion. So much so, that it becomes very real. That’s group soul at its best. So is Soul In Harmony-Vocal Groups 1965-1977.
For Soul In Harmony-Vocal Groups 1965-1977, compilers Ady Croasdell and Tony Rounce have dug deep. Rather than just pick the a selection of the best known group soul singles, Ady and Tony have compiled familiar tracks and hidden gems. This includes contributions from The Imaginations, The Dramatics, The Webb People, The Pretenders, The Mad Lads, The Love Experience, The Magnificent 7 and The Mark-Keys. These tracks were released on labels like Spring, Volt, Carnival, Dial, Boo and Colossus. Twenty-two of the tracks on Soul In Harmony-Vocal Groups 1965-1977 are new to CD, while six have never been released before. For anyone whose a fan of group soul, Soul In Harmony-Vocal Groups 1965-1977 will be a welcome release, which I’ll pick the highlights of.
Opening Soul In Harmony-Vocal Groups 1965-1977, is The Imaginations’ Strange Voice. This was the second single The Imaginations released on Fraternity. Released in 1968, it was a cover of a track originally recorded by Gene McDaniels in 1963. Produced by Ray Allen and arranged by Rod Bedenbaugh, the single wasn’t a commercial success. That’s despite The Imaginations’ harmonies being an outpouring of betrayal, emotion and hurt. Tinged withe desperation and disbelief, they sing” “she left me.” This heartache seems very real. So much so, that they play their part in a hidden gem
Often the reason a single or album is a commercial failure is nothing to do with the music. That’s the case with The Dynamic Soul Machine’s Boom-A-Rang. It was released as a single in 1975, on Respect, an imprint of Stax Records. Unfortunately, Stax was on the verge of insolvency. With no budget for promotion, the single passed music lovers by. For the quartet from Birmingham, Alabama, that was the end of their musical dream and they never released any further singles. That’s a great shame, because The Dynamic Soul Machine were hugely talented. Slow, sensual and sultry it’s a beautiful slice of soulful perfection.
When The Dramatics released their debut single Bingo, they were signed Wingate. Four years later, they were signed to Volt, a subsidiary of Stax. Their Volt debut was 1969s Your Love Is Strange, which failed to chart. Tucked away on the B-Side, is Since I’ve Been In Love. Written by Fred Bridges, Bobby Eaton and Richard Knight, and produced by Don Davis, it’s very different from The Dramatics’ best known singles Whatcha See Is Whatcha Get and The Rain. Featuring a tender lead vocal, tight, soaring harmonies and cascading strings, it’s truly beautiful, and one of the highlights of Soul In Harmony-Vocal Groups 1965-1977.
We Can Make It Baby was one of two tracks recorded by The Reputations for Carnival Records. It was written by Marvin Gaye and James Nyx, and originally, recorded by The Originals. The other track was a cover of The Delfonics’ I Gave To You. These tracks were never released. Instead, thet lay in the vaults of Carnival Records. That’s a great shame. Music lovers missed hearing a track that features needy, reassuring and hopeful harmonies.
During their time on Carnival Records, The Pretenders released six singles. They’ve one thing in common, their quality. This was the second lineup of The Pretenders, with Pat Tandy replacing Valerie in the quartet. One listen to Just You Wait And See and you’ll realize that. Written by Kenneth Ruffin and produced by Joe Evans, this heartbreakingly beautiful ballad was released in 1974. A tale of heartbreak, defiantly, The Pretenders promise: “Just You Wait And See” to their departing lover. There’s a strong Philly Soul influence on this slick, emotive and dramatic tale of love lost.
Don’t Have To Shop Around was recorded by The Mad Lads for Volt, but never released. That’s despite The Mad Lads releasing a trio of albums for Volt between 1965 and 1973. This track demonstrates why The Mad Lads are perceived as one of Memphis’ best soul groups. With an understated arrangement, The Mad Lads’ harmonies take centre-stage. They shine like a beacon. Tender, heartfelt and impassioned, The Mad Lads sweet harmonies are truly irresistible.
Dramatic. That describes the introduction to The Love Experience’s Waiting For Your Love. Penned by Warren Foster and James Greene, it was produced by George Benz and released as the B-Side to Are You Together. It was released on the little-known Cherry Red label in 1971. Best described as uber rare, original copies of this track change hands for ever increasing sums of money. No wonder. As the arrangement unfolds, you realize something special is happening. Oozing emotion and sincerity, tight, tender and heartfelt harmonies and rasping horns accompany the lead vocal. The result is a track that’s best described as beautiful and, heartfelt outpouring of emotion. That’s why copies of this single change hands for £1,200.
Flourishes of lush, cascading strings open The Festivals’ Take Your Time. Written by Woody Price, it was the B-Side of Baby Show It, which was released on Colossus in 1971. Baby Show It reached number twenty-nine in the US R&B Charts. For anyone whose heard the track, that’s no surprise. Produced by Jerry Ross, a sometime collaborator of Gamble and Huff, there’s a Philly Soul influence to this needy, pleading ballad. Sadly, Baby Show It was the extent of the commercial success The Festivals enjoyed. They never fulfilled their potential and remain the nearly men of Philly Soul.
David Blake and Bert Keyes’ decision to stick with The Radiations’ falsetto lead vocal was vindicated on Love Be Not A Stranger. It was released in 1972, on Valise Records. Written and produced by David Blake and arranged by Bert Keyes, the lead vocal stops you in your tracks. It takes centre-stage after a meandering guitar and cooing harmonies set the scene. Delivered with feeling and sincerity, the falsetto lead vocal is at the heart of the track’s success. Harmonies and strings play a supporting role as the arrangement heads towards its dramatic, emotive crescendo.
Closing Soul In Harmony-Vocal Groups 1965-1977 is The Lovettes’ I’ll Be Waiting. The group were named after Blue Lovett of The Manhattans. He advised The Lovettes to sign for Carnival Records. They released a trio of singles for Carnival, Little Miss Soul, I Need A Guy and Crush. I’ll Be Waiting should’ve been their fourth single. A tender, heartfelt ballad, it’s as good, if not better, than anything The Lovettes ever released. Who knows what they have achieved if this soulful delight had been released?
The ten tracks I’ve mentioned are just some of the highlights of Soul In Harmony-Vocal Groups 1965-1977. There’s much more awaiting discovery. I could just have easily have picked any of the twenty-four tracks. Quite simply, it’s quality all the way on Soul In Harmony-Vocal Groups 1965-1977. Familiar tracks that are like old friends, rub shoulders with hidden gems you may never have heard before. It’s a voyage of musical discovery, where delicious soulful delights are part of a musical feast. During that musical feast singles and B-Sides tug at your heartstrings. You’re won over by their delights. You can’t resist the charms of the impassioned, heartfelt, harmonies and lead vocals oozing with emotion. Resistance is impossible. Betrayal, heartbreak, hurt and joy shine through, on what’s essentially musical theatre.
Soul In Harmony-Vocal Groups 1965-1977, which was recently released by Kent Soul, a subsidiary of Ace Records features twenty-four soulful dramas. They’re full of heartache, hurt and love gone wrong. You’re listen as someone’s life unravels. They’ve been betrayed, and are heartbroken. Lyrics come to life and take on a cinematic quality. You can imagine the scenes unfolding before you. Especially, on the tales of heartache, where the vocals are akin to a cathartic outpouring of grief. The result is deeply moving and powerful, like so much of Soul In Harmony-Vocal Groups 1965-1977.
On other tracks on Soul In Harmony-Vocal Groups 1965-1977, joy and jubilation shine through. Rhe lyrics are a celebration, where they’re give thanks, thanks for finding someone special, someone to love and share their life with. During these songs, four or five voices become one, and in unison, bring lyrics to life. They tell the story with emotion and passion. So much so, that it becomes very real.
By the time you’ve heard Soul In Harmony-Vocal Groups 1965-1977, you’ve experienced a roller coaster of emotions. You empathise, sympathise and feel saddened, frustrated and angry at the plight of the characters on Soul In Harmony-Vocal Groups 1965-1977. That’s testament to the quality of music on Soul In Harmony-Vocal Groups 1965-1977, that the songs come to life. That’s why I’ve compared them variously to short stories, soap operas and theatre. Essentially, the music on Soul In Harmony-Vocal Groups 1965-1977 are mini works of art. These mini works if art epitomise everything that’s good about group soul music. Don’t just take my word for it. No. Taste the musical feast that’s Soul In Harmony-Vocal Groups 1965-1977 for yourself. Standout Tracks: The Dynamic Soul Machine Boom-A-Rang, The Pretenders Just You Wait And See, The Festivals Take Your Time and The Radiations Love Be Not A Stranger.
SOUL IN HARMONY-VOCAL GROUPS 1965-1977.
CHICO HAMILTON WITH PAUL HORN-CHICO HAMILTON WITH PAUL HORN.
CHICO HAMILTON WITH PAUL HORN-CHICO HAMILTON WITH PAUL HORN.
From an early age, Chico Hamilton looked destined to become a jazz drummer. Born in Los Angeles in September 1921, Chico was already a talented drummer by the time he reached high school. Away from school, he was playing alongside some of the greatest jazz musicians of his generation. Chico could hold is own alongside Charlie Mingus, Illinois Jacquet and Dexter Gordon. After high school, Chico was a member of Lionel Hampton’s band, where he played alongside fellow Los Angeles’ native Dexter Gordon. Not long after that, Chico made his recording debut, as Slim Gaillard’s drummer. During that period, where Chico was the resident drummer in Billy Berg’s nightclub. Unfortunately, just as Chico Hamilton’s career was taking off, he had to spend four years in the US Navy.
Between 1942 and 1946, Chico Hamilton has to spend four years in the US Navy. Like so many musicians, their careers were interrupted by the war years. These were four years they’d never get back. So when Chico came out the Navy, it was a case of making up for lost time. That’s when Chico’s career began. Within a few years, Chico Hamilton went from sideman to bandleader at Pacific Jazz. That’s where he recorded the tracks that can be found on Chico Hamilton With Paul Horn, which was recently released by Boplicity, a subsidiary of Ace Records. Before I tell you about Chico Hamilton With Paul Horn, I’ll tell you about Chico’s career.
After leaving the Navy, Chico played alongside Count Basie and was a member of Lester Young’s studio band. Not long after that, Chico joined forces with Charlie Mingus and Dexter Gordon. They knew each other well and were a potent partnership. Soon, Chico was getting calls to work with some of the biggest names in music, including Wardell Grey, Nat King Cole, Lena Horne, Sammy Davis Jr. Then as the forties drew to a close, and a new decade dawned, music changed.
Miles Davis’ seminal classic Birth Of The Cool, which was released in 1949, proved a game-changer. It heralded the birth of West Coast Jazz. Featuring a band that included saxophonist Gerry Mulligan, Birth Of The Cool’s importance can’t be understated. The effect it had, sent shockwaves through music. By the early fifties, bebop was no longer King. Replacing it, was the West Coast Jazz. This would prove a crucial development in Chico’s career.
In 1952, saxophonist Gerry Mulligan hired Chico as a member of the Gerry Mulligan Quartet. Featuring trumpeter Chet Baker, bassist Carson Smith, saxophonist Gerry Mulligan and Chico on drums. They recorded for two of the newly founded labels, Pacific Jazz and Fantasy. For the next few years, the Gerry Mulligan Quartet were one of the finest purveyors of West Coast Jazz. Chico’s performances were lauded. So it’s no surprise that Chico went from sideman to bandleader in 1955.
Chico Hamilton Quintet was released in 1955, on Pacific Jazz. It featured a rhythm section of Chico on drums, bassist Carson Smith and guitarist Jim. Fred Katz played cello and Buddy Collette clarinet, flute, trumpet and alto saxophone. Critical acclaim, plaudits and praise accompanied the release of Chico Hamilton Quintet. Later in 1955, Chico released another album. Billed as the Chico Hamilton Trio, their eponymous album was released on Pacific Jazz. With the Cool School at the peak of its popularity, Chico was riding the crest of a wave.
During 1956, Chico was just as busy. He was working as a sideman and released two albums. There was also another album from the Chico Hamilton Trio. Then the Chico Hamilton Quintet released their sophomore albums. The Chico Hamilton Quintet In Hi-Fi. By then, there had been changes in the lineup.
Musicians like Paul Horn, Eric Dolphy and Howard Roberts all came and went. Despite the changes in lineup, the quality never suffered. Still, Chico was one of the golden boys of the Cool School. The eight tracks on Chico Hamilton With Paul Horn were recorded during this period. When West Coast jazz was no longer the musical flavor of the month, Pacific Jazz sold a number of unreleased tracks to Modern Records. Chico Hamilton With Paul Horn was released in 1963, on Modern Records’ Crown Records imprint. That was still to come. Chico had one more year left at Pacific Jazz.
1957 saw Chico working just as hard. He accompanied Tony Bennett, Fred Katz, John Lewis and Corky Hale. The Chico Hamilton Quintet released their third album, Pacific Jazz Presents. It was released on Pacific Jazz, and would be the last album he’d release for West Coast. Between the release of Pacific Jazz Presents and Chico Hamilton With Paul Horn in 1963, Chico would drift from label to label.
During the next five years, the Chico Hamilton Quintet released albums on World Pacific, Warner Bros, Columbia and Impulse, where Chico recorded some of the finest music of his career. The Chico Hamilton Quintet made a brief return to Pacific Jazz, releasing The Spectacular in 1962. As for the Chico Hamilton Trio, they released one more album on World Pacific. Chico hadn’t lost his appetite for making music. Whether it was as a bandleader or sideman, Chico was still one of the hardest working musicians in jazz. In 1963, he was about to enter one of the most productive periods of his career at Impulse. The first was at Pacific Jazz, where he recorded the eight tracks that became Chico Hamilton With Paul Horn.
Chico Hamilton With Paul Horn features eight songs were recorded over several sessions. This includes a quartet of tracks penned by Fred Katz, Pluck It, Katz Up, Crazy Cats a.k.a. Classical Katz and Lord Randell. Bassist George Duviver wrote Porch Light and Autumn Landscape. Lolly Pop was written by Chico and Gerald Hamilton with Gerald Wiggins. These tracks became Chico Hamilton With Paul Horn.
Very little is known album the lineup that appeared on Chico Hamilton With Paul Horn. Paul Horn only plays on the final four tracks. Bassist George Duviver is joined by either Jim Hall or Howard Robbins on guitar. They’re joined by Chico on drums. Chico Hamilton With Paul Horn is an enthralling insight into the music of Chico Hamilton, one of jazz’s finest drummers, which I’ll tell you about.
Opening Chico Hamilton With Paul Horn is Porch Light. Chico’s drums and George Duviver’s bass drive the arrangement along. George leaves spaces, Chico fills them. Above them is a cinematic guitar solo. Shakers are ever-present adding an atmospheric sound. Soon, it’s time for the solos. Everyone gets the chance to showcase their skills. It’s George’s bass and the guitar that steal the show. If I’d to choose between the two, the mesmeric guitar solo comes out on top. If only we knew who they were?
Autumn Landscape has a pensive, wistful sound. The guitar is at the heart of the arrangement. It provides a melancholy sound, one whose beauty tugs at your heartstrings. Rolls of bold, dramatic drums from Chico open the track. Then when the guitar enters, it’s very different from the previous track. Played with power and aggression, experimental and free jazz shine through. Then it’s all change. The band veer between a more traditional and experimental sound. It’s as if Chico and his band are pushing musical boundaries. Dramatic, bold, melodic, avant-garde and thunderous, are ways to describe this track.
Lolly Pop bursts into life. The rhythm section join forces with the guitar. It’s played at breathtaking speed. Fluid and accurate, you’re enthralled by this mesmeric solo. Somehow, Chico manages to keep up. He plays with brushes, adding crashing cymbals and drum rolls as he adds drama and flamboyance, as he goes head to head with the guitar. Good as Chico’s playing is, he’s overshadowed by some of the best guitar playing on Chico Hamilton With Paul Horn.
Paul Horn makes his debut on Pluck It. He plays clarinet, as the track unfolds in short, sharp and urgent bursts. He joins the bass, which propels the arrangement along. The guitar playing is muted, almost subdued. Later, it’s more like the sound of earlier tracks. Chico meanwhile, is content to let other people take centre-stage. Here, it’s bassist George Duviver and Paul Horn. Their playing veers between urgent, abrupt and fluid on an enthralling track.
Katz Up is the quite different to anything that’s gone before. That’s down to the cello, which ensures the arrangement swings along. It has a scratchy lo-fi sound. Then there’s the clarinet that’s played fluidly. The rhythm section provide the heartbeat, aided and abetted by the guitar. Together they create a swinging track, that occasionally and briefly, heads in the direction of avant-garde and free jazz.
Crazy Cats a.k.a. Classical Katz is a fusion of jazz and classical music. Paul Horn produces his best performance on Chico Hamilton With Paul Horn. He plays a soul-searching solo. Accompanied by a cello, which adds a classical influence, they prove a potent partnership. They force each other to greater heights. Inspiring each other, they play their part in what’s one of the album’s highlights.
Closing Chico Hamilton With Paul Horn is Lord Randall. Heartbreaking, emotive and dramatic describes this track. It has a cinematic quality. That’s down to the cello and flute. They play starring roles, painting pictures. You can imagine Lord Randell preparing to head off to fight in a war. The sombre tones supplied by the cello could well be some tragedy that’s befallen him. The guitar, it adds a melancholy quality, while the bass sounds like an army marching into battle. For over seven magical minutes, Chico and his band create what’s best described as an epic example of musical theatre.
Chico Hamilton With Paul Horn featured eight tracks Chico recorded for Pacific Jazz. Once West Coast jazz was no longer as popular, and the Cool School was out, Pacific Jazz sold a whole host of unreleased tracks to Modern Records. They were released on Modern Records’ Crown Records imprint in 1963. Sadly, Chico Hamilton With Paul Horn wasn’t a commercial success. By then jazz had moved on and Chico was now signed to Impulse, where he’d enjoy one of the most successful periods of his career. However, Chico Hamilton With Paul Horn is an important musical document.
Featuring music that’s variously dramatic, bold, challenging, melodic, melancholy and cinematic, Chico Hamilton With Paul Horn is full of subtleties and surprises. Sometimes, the music briefly heads in the direction of avant-garde, bebop, experimental and free jazz and. Other times the Cool School is back in business. Then on the seven-minute cinematic opus Lord Randall classical music has influenced Chico. Quite simply, Lord Randall is the highlight of Chico Hamilton With Paul Horn. If you close your eyes, Chico and Paul paint pictures. Lord Randall becomes a story waiting to be told or a film to be made. Crazy Cats a.k.a. Classical Katz is another track where there’s a classical influence. It sees jazz and classical music unite seamlessly. These two tracks are just two reasons why Chico Hamilton With Paul Horn which was recently released by Boplicity, a subsidiary of Ace Records is well worth discovering.
Whether you’re a fan of Chico Hamilton, Paul Horn, West Coast jazz or just jazz music in general, then Chico Hamilton With Paul Horn will be a welcome addition to your record collection. Why? Well, Chico Hamilton With Paul Horn features some hidden gems from Pacific Jazz’s back-catalogue and features music from one of the most successful period in Chico Hamilton’s career. During his time at Pacific Jazz, Chico Hamilton had established a career as a pioneering musician who pushed musical boundaries. The eight tracks on Chico Hamilton With Paul Horn are proof of that. Standout Tracks: Porch Light, Autumn Landscape, Crazy Cats a.k.a. Classical Katz and Lord Randal.
CHICO HAMILTON WITH PAUL HORN-CHICO HAMILTON WITH PAUL HORN.
CHET BAKER QUINTETTE-CHET BAKER QUINTETTE.
CHET BAKER QUINTETTE-CHET BAKER QUINTETTE.
Chet Baker’s big break came when he joined Charlie Parker’s band at the Tiffany Club, in Los Angeles. That was in May 1952, when Chet was just twenty-three. Even then, it was widely recognized that Chet Baker was a prodigious talent. A great future was forecast for the former member of the 298th Army Band. No wonder. Whether it was trumpet, flugelhorn, piano or as a vocalist Chet Baker, the James Dean of jazz delighted audiences.
Capable of spellbinding performances, it’s no wonder Chet Baker was one of the most sought after sidemen. He played with the Gerry Mulligan Quartet, Dizzy Gillespie, Stan Getz and then, Bird. Soon, Chet was heading out on his own. He signed to Pacific Jazz in 1954, the year he released Chet Baker Sings. Suddenly, Chet’s music found a wider audience. However, while Chet was enjoying critical acclaim and commercial success, a dark shadow hung over him.
Like many jazz musicians, Chet Baker lived life to the full. He realised he was only here for a visit and lived life to the fullest. Sometimes, this caught up with him. Chet had first taken heroin in the fifties. Sadly, he never could shake the habit. It was like an itch he couldn’t scratch. This resulted in Chet’s life becoming chaotic. During the fifties, Chet was imprisoned several times in America. Then in 1960, Chet spent eighteen months in an Italian prison. He released a comeback album in 1962, Chet Is Back! That proved an ironic title.
Later in 1962, Chet headed to West Germany, where he was arrested. This lead to him being expelled to Switzerland, France and then in August 1962, England, where he appeared in the movie The Stolen Hours. Chet was then deported to France after being found guilty of a drug offence. France was home to Chet for a while. Then he headed to Spain and West Germany. Then his lifestyle caught up with him again. He was deported from West Germany to America and returned home in March 1964.
Back home, Chet flitted between New York and Los Angeles, where he played live. Chet didn’t have a record deal. Recent releases had been albums of outtakes Pacific Jazz sold to Modern Jazz. After all, West Coast jazz was yesterday’s news. People wondered whether Chet Baker was yesterday’s news? So when Chet signed a deal with Crown Records, they wondered whether the years of hard living had affected Chet? They awaited the release of the Chet Baker Quintette’s eponymous album. Chet Baker Quintette which was recently rereleased by Boplicity, an imprint of Ace Records marked the comeback of a jazz giant. Was it a successful comeback? Before I tell you that, I’ll tell you about the tumultuous life of Chet Baker.
Chet Baker was born at the height of the depression. It was November 1929. His father Chesney, a professional guitarist, struggled to find work during the depression and ended up working a series of dead end jobs. His mother Vera, a talented pianist, worked in a perfume factory. Chet’s first exposure to music came through singing in the church choir. Then his father bought Chet a trombone. It proved too cumbersome, so was exchanged for a trumpet, which became Chet’s instrument of choice. Indeed, it was playing the trumpet that Chet found fame.
Having left Glendale Junior High School, where Chet had some musical education, he joined the US Army in 1946. He was just sixteen. His first posting was Berlin, where he became a member of the 298th Army Band. Two years later, Chet’s spell in the army was over.
Heading home, Chet started a two year course in musical theory and composition at Camino College, Los Angeles. Chet didn’t finish the course. Instead, he dropped out in the second year, and in 1950, rejoined the US Army. That didn’t last long. Soon, Chet was spending more time in San Francisco’s jazz clubs. Luckily, Chet received a discharge from the army and his career as a professional musician began,
It was as a member of Vido Musso’s band, that Chet made his professional debut. This was in 1951. Soon, Chet found himself playing with the Gerry Mulligan Quartet. Straight away, he clicked Gerry. It was as if they were musical soul mates, who knew what the other was about to play. Playing with the Gerry Mulligan Quartet lead to Chet playing with Dizzy Gillespie, Stan Getz and then, Charlie Parker in May 1952, at the Tiffany Club, Los Angeles. That made people sit up and take notice. Over the next two years, Chet’s star shawn bright. So it was no surprise he headed out on his own.
Signing to Pacific Jazz in 1954, Chet’s debut was 1954s Chet Baker Sings. Chet Baker and Strings followed later in 1954. Soon, Chet was cutting two albums a year. They were a mixture of studio and live albums. The Trumpet Artistry Of Chet Baker was released in 1955. For the next few years, touring, collaboration and soundtracks kept Chet busy. He toured Europe and released Chet Baker In Europe in 1956. Little did anyone know it, but this was the most consistent and productive period of his career. Ironically, in 1957, Chet provided part of the soundtrack to The James Dean Story.
The irony is, that Chet already had a reputation as one of jazz’s rebels. Chet liked living life fast. This wasn’t a joie de vivre. No. It was something darker and more destructive. During the fifties, Chet had tried heroin. He was hooked. Despite this, he released well received albums. Among them were like 1956s Chet Baker Sings, 1957s Big Band and Grey December. 1958s Chet Baker Sings: It Could Happen To You and In New York both found Chet in form. However, when Chet left Pacific Jazz, where he recorded some of the best music of his career, things started to go wrong.
When Chet left Pacific Jazz, they sold unused recordings to Modern Jazz. Essentially, they were outtakes. West Coast jazz was yesterday’s news. So when these recordings were repackaged and released as albums, Chet wasn’t exactly painted in the best light. That’s all he needed.
During the fifties, Chet was imprisoned several times in America. Then during his five year spell in Europe, Chet spent eighteen months in an Italian prison. He was jailed in 1960 and released in 1962. To celebrate, he released a comeback album in 1962, Chet Is Back! That proved ironic.
Later in 1962, Chet headed to West Germany, where he was arrested. This lead to him being expelled to Switzerland, France and then in August 1962, England, where he appeared in the movie The Stolen Hours. Chet was then deported to France after being convicted of a drug offense. France was then home to Chet for a while. Then he headed to Spain and West Germany. Sadly, his lifestyle caught up with him again. He was deported from West Germany to America and returned home in March 1964. This proved to be a blessing in disguise.
Now home in America, Chet played live in New York and Los Angeles. He also signed for Crown Records and started work on Chet Baker Quintette. It featured six tracks, three of which were written by Phil Urso. He penned Extra Mild, Halema and Luscious Lou. Al Haig wrote Jimpin’ Off A Clif and Bill Loughborough wrote Pawnee Junction. Chet cowrote The Route with Art Pepper and Richie Kamuca. These six songs became Chet Baker Quintette.
Recording of Chet Baker Quintette featured a rhythm section of bassist Jimmy Bond and drummer Peter Littman. They were joined by pianist Bobby Timmons, tenor saxophonist Phil Uros and Bill Loughborough on timpani. This was the band that played on five of the tracks. Chet played trumpet and added vocals. A different band played on The Route. The bad featured drummer Leroy Vinnegar, pianist Stan Levey, alto saxophonist Pete Jolly and tenor saxophonists Art Pepper and Richie Kamuca. When the two bands finished recording Chet Baker Quintette, it was released in 1964.
Opening Chet Baker Quintette, is Extra Mild. It has an understated, carefree sound as if unfolds. Soon, the arrangement is propelled along by the rhythm section, while the horns carry the melody. The band are a tight, talented unit who seem to second guess each other. They appear to know what the other is about play. This really helps. Especially when it gets to the solos. Chet’s still able to carry a tune. His chops don’t seem to have been affected by his years of hard living. He sets the bar high and the rest of the band don’t disappoint. Pianist Bobby Timmons deserves a special mention. So does drummer Peter Littman and saxophonist Phil Urso. They play their back in the second coming of Chet Baker.
Halema, like the previous track was penned by Phil Uros. Slow, with a soul-searching, melancholy sound, it’s perfect late-night listening. Especially, for the newly brokenhearted. The horns plaintive cry is full of hurt and sadness. It’s as if it’s asking why, why me? Pathos gives way to poignant and beauty in four minutes of music. This proves Chet as a trumpeter and bandleader still has what it takes.
Jumpin’ Off A Cliff is very different from the previous track. The band come out of traps at breakneck speed. Horns blaze and bray, cascading urgently over the arrangement. It’s driven along by the rhythm section and piano. It fills the gaps with flamboyant flourishes. However, it’s the horns that have your attention. Along with Bobby Timmons’ piano, they play starring roles. When Chet steps forward to unleash his solo, the band can be heard in the background encouraging him on. After that, Bobby Timmons, bassist Jimmy Bond and drummer Peter Littman unleash a series of spellbinding solos. It’s as if they don’t want to let Chet down. They don’t and join together to bring they track to a dramatic crescendo.
The Route features the other version of the Chet Baker Quintette. Chet’s part of a three piece front line. This includes tenor saxophonists Art Pepper and Richie Kamuca. Pete Jolly’s the other part of the horn section, playing alto saxophone. Here, the arrangement driven along the bass before Stan Levey’s piano enters. Soon, the horns take centre-stage. Then when it’s Chet’s time to step forward and deliver a solo, he plays thoughtfully and within himself. Despite his problems, Chet doesn’t seem out of place. He holds his own, as if relishing the opportunity to share the same studio with such talented musicians. It’s as if this rubs off, bringing out the best in one of jazz’s wayward sons.
Luscious Lou is third and final song penned by tenor saxophonist Phil Uros. He and Chet work well together, producing a slinky, sometimes swinging track. In the background, the band can be heard. It seems they’re enjoying the session and as a result, play freely and fluidly. When the solos arrive, the rhythm section show what they’re capable of. Then the horns take charge, they don’t disappoint. Playing within themselves, the arrangement meanders along to a flamboyant finale.
Pawnee Junction closes sees Chet Baker Quintette. Here, the band play their way into the track. They seem to jam, as if looking for an “in.” When they find it, they’re off. The horns carry the melody, while the rhythm section provide the heartbeat. Driving the arrangement along with the piano, everyone is playing their part. There’s no passengers. Chet indulges in some showboating. So Bill Loughborough on timpani. Next up is the rhythm section and piano. They play together, never missing a beat. Sometimes, Latin and Afro Cuban influence makes an appearance. Then the arrangement becomes a dramatic, joyous, flamboyant and uplifting, like a call to dance. That seems a fitting way for the Chet Baker Quintette to take their bow.
On the release of Chet Baker Quintette, it sank without trace. The problem was, Crown Records released it on one of their budget imprints. This meant the second coming of Chet Baker went unnoticed. That’s a great shame. After all, jazz’s wayward sons was neither washed up, nor yesterday’s news. Chet was still able to carry a tune. His chops don’t seem to have been affected by his years of hard living. He sets the bar high and the rest of the band don’t disappoint on Chet Baker Quintette.
That’s no surprise. Chet had worked with the same musicians before. They’d been by his side for what proved to be some his finest moments. Chet Baker Quintette saw Chet draw inspiration from these glory days. He dug deep, and pulled off a series of solos that showed just what he was capable. If you wanted drama, emotion, joy or heartache, Chet would give you it and then some. Sadly, Chet Baker Quintette which marked a return to form for the James Dean of jazz passed everyone by..until now.
Boplicity, an imprint of Ace Records, have just rereleased Chet Baker Quintette. This reissue comes with sleeve-notes from Dean Rudland. The rerelease of Chet Baker Quintette allows a new generation of music fans to hear one of Chet Baker’s lost albums. Chet Baker Quintette marks a return to form for Chet Baker, jazz’s wayward son and marks his second coming.
CHET BAKER QUINTETTE-CHET BAKER QUINTETTE.
COLEMAN HAWKINS-THE HAWK SWINGS.
COLEMAN HAWKINS-THE HAWK SWINGS.
There aren’t many musicians whose career traversed the big band, swing and bebop eras. Coleman Hawkins did. He was one of the finest tenor saxophonists in the history of jazz. Born in 1904, Coleman Hawkins was around when jazz was born. His recording debut came in 1921, as a member of Mamie Smith’s Jazz Hounds. Then after a gap of twenty-four years, Coleman Hawkins’ solo career began.
His solo career began when he released his debut single Bean Stalking in 1945. Eleven years later, in 1956, Coleman released debut album, The Hawk In Hi-Fi. By then, he was fifty-two. However, he was determined to make up for lost time. Whether it was as a sideman or bandleader, Coleman was creating music that was ambitious, bold and cutting-edge. Soon, Coleman’s career took off. He recorded for labels like Prestige, Verve, H.M.V. and Crown Records who released The Hawk Swings in 1961. The Hawk Swings has recently been rereleased by Boplicity, an imprint of Ace Records. before I tell you about The Hawk Swings, I’ll tell you about Coleman Hawkins’ career.
Coleman Hawkins was born in November 1904, in Saint Joseph, Missouri. When he was nine, he started playing the saxophone. That wasn’t his first instrument. He was already able to play piano and cello before he picked up a saxophone. Already a talented musician, Coleman attended high school in Chicago, then Kansas. By the time he was in his mid-teens, he was already playing with bands around Kansas. That was the start of Coleman’s career.
It was with Mamie Smith’s Jazz Hounds that Coleman Hawkins made his professional debut. He was just seventeen, when he played on the recording of Got To Cool My Doggies Now in 1921. For the next three years, Coleman was a member of Mamie Smith’s Jazz Hounds. Then in 1924, he joined Fletcher Henderson’s Orchestra. This was a turning point in Coleman Hawkins’ career.
Coleman Hawkins was one of the stars of Fletcher Henderson’s Orchestra. Audiences were mesmerized by Coleman’s ability to improvise at breakneck speed. This meant his tenor saxophone was at the heart of the Orchestra’s sound. He played with a fluidity that other tenor saxophonists marveled at. However, Coleman’s ability to play quickly and fluidly, was down to his ability to think quickly.
With his talent, Coleman was treated as a star. When he wasn’t playing, Coleman enjoyed life. Realising he was a star, he lived life like one. He realized we aren’t just here for a visit, so enjoyed the finest cars and clothes. While this satisfied him for a while, eventually, Coleman became restless. So, he decided in 1934 to head to Britain, where he’d play with Jack Hylton’s Orchestra.
Originally, Coleman planned to play just a few concerts with Jack Hylton’s Orchestra. However, he grew to like Britain and Europe. He ended up staying five years, touring Holland, Denmark, France, Sweden and Switzerland as a soloist. Coleman played and recorded with some of the biggest names in European music. Among them were Benny Carter and Stephen Grappelli, who he recorded with in Paris during 1937. Coleman also collaborated with legendary jazz guitarist, Django Reinhardt. This was a meeting, of minds, of two pioneering jazz musicians. Coleman’s time in Europe had been time well spend. This five year adventure came to an end in October 1939, when Coleman returned home to make a landmark recording.
On his return home, briefly, Coleman joined Fletcher Henderson’s Orchestra. Then he took up a residency at Kelly’s Stable, New York. It was there on October 11th 1939, that Coleman recorded the old standard, Body and Soul. This became a landmark recording of the swing era. An innovative recording, Coleman improvises, exploring the song’s subtleties and nuances. He eschews most of the melody, as he transforms the song. It’s almost a new song in the hands of Coleman Hawkins. Little did anyone know of the effects this session would have.
During the forties, Coleman’s residence at Kelly’s Stable, New York proved hugely important in the future development of jazz. With a band that variously included Miles Davis, Max Roach, Thelonious Monk and Oscar Pettiford, gradually, bebop evolved. Little did patrons at Kelly’s Stable realize the importance of what was happening. Coleman was leading the band that helped create one of the most important jazz genres, bebop. Having seen the big band and swing eras unfold, Coleman was central to the future development of jazz, as a new decade unfolded.
The fifties saw Coleman recognized as one of the innovators of jazz. Musicians looked up to Coleman, as if looking for guidance. He was much in demand as a sideman, collaborating with everyone from Stan Getz, Dizzy Gillespie, Milt Jackson, Red Gartland, and Thelonious Monk. As bandleader, Coleman recorded his debut album during the fifties.
In 1956, Coleman released debut album, The Hawk In Hi-Fi. By then, he was fifty-two. Determined to make up for lost time, The Hawk Flies followed in 1957. Then in 1958, Coleman released a trio of albums, The Saxophone Section With Coleman Hawkins, Soul and The High and Mighty Hawk. As the fifties drew to a close, The Genius Of Coleman Hawkins was released in 1959.
As a new decade dawned, Coleman Hawkins released At Ease With Coleman Hawkins in 1960. At Ease With Coleman Hawkins was criticised as muzik rather than music. It neither challenged the listener, nor was perceived as groundbreaking music. Surely Coleman Hawkins wasn’t at a crossroads?
The same year, 1960, Coleman released the first of two albums for Crown Records, Coleman Hawkins and His Orchestra. It featured a small, tight and talented band. This included bassist George Duvivier, drummer Osie Johnson, trumpeter Thad Jones and Eddie Costa on piano and vibes. With Coleman adding tenor saxophone, here was an album that saw Coleman Hawkins back to his bluesy, hard bopping best. After the disappointment of At Ease With Coleman Hawkins, it seemed Coleman was back. Not only was he back, but was back to doing what he did best. Would his next album for Crown Records, The Hawk Swings, match the music on Coleman Hawkins and His Orchestra?
For The Hawk Swings, Coleman Hawkins penned the five tracks, Cloudy, Almost Dawn, Stake Out, Cross Town and Shadows. He then took the same band that played on Coleman Hawkins and His Orchestra into the studio. This included a rhythm section of bassist George Duvivier and drummer Osie Johnson. They were trumpeter Thad Jones and Eddie Costa on piano and vibes. With Coleman adding tenor saxophone, would The Hawk Swings be a return to form from the Hawk?
Cloudy opens The Hawk Swings. Drums give way to a standup bass which, with the horn section and piano propels the arrangement along. The band are as one. A tight unit, they play with a fluidity. Soon, it’s time for the solos. Coleman unleashes a blistering, blazing horn solo. It’s a mixture of speed, accuracy and fluidity. When it drops out trumpeter Thad Jones gets a chance to shine. His performance is spellbinding. Pianist Eddie Costa is next up. Light and airy describes his solo. After that, Coleman and Thad step forward. What follows is like a game of daring do. Driving each other to greater heights, they bring out the best in each other. The result is a blistering slice of hard bopping jazz.
Almost Dawn has a real late-night feel. You can imagine the sun rising and unveiling the Brooklyn Bridge. Stragglers adjust their eyes as they leave a smoke-filled jazz club. Providing the musical backdrop and Coleman and his band. On this piano lead track, rhythm section provide the melancholy heartbeat, before the gently rasping horns enter. There’s a much more understated sound. Think cocktail jazz and you’re not faraway. Coleman doesn’t unleash any lung-bursting solos. Instead, he plays with a tenderness. So do the rest of the band. They leave space within the music, allowing this melancholy, late-night slice of delicious smokey jazz to breath and shine.
As this Stake Out begins, it has an understated, subtle sound. Just the standup bass takes centre-stage. Soon, the horns enter, driving the arrangement along. They play with an urgency, ensuring the song swings. Coleman and Thad are in a groove and become one. That’s until the solos begin. Thad’s solo tugs at your heartstrings. He plays with similar a fluidity to Coleman. So when Coleman picks up the baton, the changeover is seamless. Coleman plays as if he’s been inspired by Thad. His fluidity becomes urgent and emotive. Not once does he miss a beat. Neither does pianist Eddie Costa. When he plays he leaves space. Just like the pregnant pauses left by bassist George Duvivier, they add a sense of pathos and prove poignant. Then when the band unite, they ensure the songs swings to its dramatic crescendo.
Dramatic. That describes the introduction to Cross Town. A braying, soul-baring tenor saxophone solo is accompanied by drum rolls. After that, Coleman and his band deliver a heartbreakingly beautiful track. Coleman’s tenor saxophone, the piano and bass play leading roles. The tempo is slow, the arrangement variously moody, broody, sultry and heartbreaking. There’s a real late-night sound, as drummer Osie Johnson marks time and pianist Eddie Costa add dramatic flourishes. As for the horns, they add to the emotion, sadness and heartbreak during this soul-baring opus.
Shadows closes The Hawk Swings. Again, the tempo is slow and the track has a late-night sound. There’s a cinematic quality to the music. Much of that is because of Coleman’s tenor saxophone. It’s as if he’s unburdening his troubled soul. This musical confession is cathartic. The rest of the band play around him. They play with care, as if wary of overpowering what’s one of his best solos. Emotive, the saxophone’s plaintive cry is full of pathos. When Coleman’s saxophone drops out, Eddie Costa adds a memorable vibes solo. It’s as if Eddie’s trying to cheer Coleman up. That doesn’t work. It’s as if a shadow has cast a burden over Coleman. Nothing it seems will lift these Shadows, which seem to loom large in Coleman’s life. His pain and hurt can be heard in his playing, which is akin to a window into his very soul. This makes Shadows a truly moving way to close The Hawk Swings.
Four decades after his career began, Coleman Hawkins released his second album for Crown Records, The Hawk Swings. That’s a a fitting title. After all, The Hawk Swings and then some. Other times, it’s as if he’s unburdening his troubled soul. For Coleman, his playing sounds cathartic. It’s akin to an act of confession, as if this will cleanse his soul. The result is, music that’s deeply moving and beautiful. With fives songs that variously swung, or were beautiful, moving and heartfelt, Coleman Hawkins’ career it seemed, had been briefly rejuvenated. Before he’d signed to Crown Records, his career was struggling. Sadly, the rejuvenation of Coleman Hawkins’ career didn’t last long.
For the next few years, Coleman’s health continued to suffer. So did his music. It was a vicious circle. For a man who’d been a pioneer of jazz, coping with this must have been hit him hard. As a result, and just like so many musicians in similar circumstances, Coleman Hawkins took to drinking heavily. For the next few years, Coleman Hawkins’ output was mixed. There were fleeting moments of genius, mixed in with some mediocre music. The Hawk Swings proved to one of Coleman Hawkins’ last great albums. Thankfully, Boplicity, a subsidiary of Ace Records, have rereleased Coleman Hawkins’ The Hawk Swings. Released in 1961, forty years after he made his recording debut, The Hawk Swings finds Coleman Hawkins, one of the pioneers of jazz back to his hard bopping best.
COLEMAN HAWKINS-THE HAWK SWINGS.
THE KINKS-MUSWELL HILLBILLIES.
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 1967s 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. Would their luck change with the release of their ninth album Muswell Hillbillies? It was recently rerelease by Universal Marketing as a Deluxe Edition? That’s what I’ll tell you, once I’ve told you about the background to Muswell Hillbillies.
Muswell Hillbillies 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. Would this mean a reinvention of The Kinks?
Given The Kinks had released a trio of albums that hadn’t been commercially successful in Britain, many people wondered if The Kinks would reinvent themselves. After all, the commercial success The Kinks enjoyed in America was limited. Only four of their first eight albums reached the top hundred in the US Billboard 200. So, maybe, signing to RCA would mark a new chapter in The Kinks’ career. Maybe their dalliance with concept albums would be at an end, and their music would evolve?
That wasn’t the case. Muswell Hillbillies was another concept album. Ray Davies wrote the twelve songs. The themes that ran through Muswell Hillbillies were poverty and working class life. Ray commented on what he saw as the devastation and ruination of the old Victorian neighbourhoods of North London, where Ray and Dave Davies grew up. Back in the seventies, many of the large Victorian properties fell into the hands of property developers, who subdivided the houses. No longer were they home to the large, extended families of Ray’s youth. Essentially, he was lamenting the North London of his youth. This made Muswell Hillbillies a very personal album for the Davies brothers.
Recording of Muswell Hillbillies took place in Morgan Studios between August and October 1970. The lineup of The Kinks featured a rhythm section of bassist John Dalton, drummer and percussionist Mike Avory, plus Dave Davies on lead guitar, slide guitar and banjo. John Gosling played piano and organ, while Ray Davies sang lead vocals, played acoustic guitar, harmonica, trombone, tuba, trumpet and resonator guitar. Among the other musicians who played on Muswell Hillbillies were The Mike Cotton Sound. This included trumpeter Mike Cotton, John Beecham on trombone and tuba, while Alan Holmes played saxophone and clarinet. It was these musicians that spent three months recording The Kinks’ ninth album Muswell Hillbillies. Would their RCA debut rejuvenate their career in Britain.
The answer to that is a resounding no. Muswell Hillbillies was released in November 1971 to critical acclaim. However, yet again, Muswell Hillbillies never troubled the British chart. Neither did 20th Century Man, which was released as a single in December 1971.The commercial failure of Muswell Hillbillies in Britain was disappointing, but not unexpected. How did Muswell Hillbillies fare in the US?
Over the Atlantic, Muswell Hillbillies reached number 100 in the US Billboard 200 Charts. Considering The Kinks previous album, Lola Versus Powerman and The Moneygoround, Part One reached number thirty-five in the US Billboard 200 Charts, this was a disappointment. Worse was to come. 20th Century Man failed to chart, reaching just number 111 in the US Billboard 100. RCA must have been wondering why Muswell Hillbillies hadn’t been a bigger commercial success. After all, critics liked Muswell Hillbillies. They understood the album and its themes. These themes were just as relevant either side of the Atlantic. Yet the album failed commercially. Should Muswell Hillbillies have been a bigger commercial success.
Opening Muswell Hillbillies is Twentieth Century Man. From a thoughtful, wistful introduction The Kinks’ rhythm section provide a pounding heartbeat. Meanwhile, Ray’s vocal sounds as if he’s been born at the wrong time. Born in the “Twentieth Century Man” he’s: “disillusioned…doesn’t want to be here… gotta get out of here.” Fed up of poverty and being controlled by the state, he feels he’s lost control of his life. Behind his vocal, the arrangement veers between blues, R&B and rock. Driven along by the rhythm section, waves of Hammond organ and searing guitars. The result is a track where The Kinks sound like a cerebral and eloquent version of The Who.
Acute Schizophrenia Paranoia Blues is a track that draws inspiration from everything from the music of New Orleans, vaudeville and the soundtrack to early black and white movies. All of these things have influenced Ray Davies. The song sounds as if it was recorded in New Orleans. The Mike Cotton Band add authentic New Orleans’ horns, while the piano and crystalline guitars provide the perfect accompaniment to Ray’s vocal. Full of pain, misery and despair, it’s as if he’s found himself trapped in a world he no longer understands, and that we’re witnessing his unravelling.
Holiday sounds like a song from another era. Maybe Ray uses his childhood for reference points. Again, there’s a vaudeville influence, while an accordion adds a French influence. As a result, the arrangement sounds as if it belongs midway between the Left Bank and Broadway. Ray’s vocal has a melodramatic, lived-in sound. Sometimes, he reminds me of Alex Harvey, who incorporated vaudeville into the Sensational Alex Harvey Band’s music. Indeed, here The Kinks sound like the Sensational Alex Harvey Band. Their playing veers between sloppy and tight. When this is combined with Ray’s vocal, it’s a delicious reminder of another musical era.
Not only does Skin And Bone have a really noticeable country influence, but it’s hook-laden. This is The Kinks at his best. They fuse Americana, blues, country and rock. While they fuse musical genres, they paint pictures with Ray Davies’ lyrics. As he sings of people suffering for hunger and poverty, you almost feel guilty. Especially when reveling in Dave Davies’ slide guitar playing. Just like Ray’s lyrics, it plays an important part in a track where hooks and social comment sit side-by-side.
After unleashing jagged guitars, Alcohol takes on a “New Orleans” sound. That’s thanks to the horns. They come courtesy of The Mike Cotton Band. As the arrangement meanders along, Ray draws inspiration from vaudeville, to tell the story of a man who becomes addicted to Alcohol. Quickly, his life spirals out of control, and he’s left a shadow of his former self. The way Ray delivers the lyrics, they seem very real. They take on a cinematic quality, helped no end by Ray’s melodramatic delivery.
Slide and acoustic guitars combine with a Hammond organ on Complicated Life. They join the rhythm section in providing the backdrop for Ray’s worldweary vocal. Delivered in a mid-Atlantic accent, Ray tells how he’s been advised by his doctor to cut out his “Complicated Life.” There’s a sense of resignation as he delivers the lyrics. Especially when he sings: “life’s overrated when it’s complicated.” He’s joined by harmonies. They add to the song’s memorable, singalong sound. Drawing inspiration from Americana, blues, country and rock, Ray’s created an irresistible, genre-melting melange of music and emotion.
Here Come The People In Grey write about his native North London. In the early seventies, compulsory purchase orders were being used to force people to sell their houses to the council. This tore the life out of the community and was the start of the decline of the sense of community. Ray rails against this. Like a seer, he realized what would happen. Anger, frustration and sadness fills his voice that the “people in grey” can do this. It’s all too sudden. With communities being broken up, his vocal is equal parts anger and sadness. He’s almost resigned to his fate, when he sings: “here come the people in grey, to take me away.”
Have A Cuppa Tea sees Ray’s famous humor shine through. The British answer to any crisis, big or small is “Have A Cuppa Tea.” Drawing inspiration from vaudeville, Ray’s uses his caustic humor to introduce us to another cast of characters. Aunties and uncles, faced with a crisis in their life, their answer is “Have A Cuppa Tea.” So to pay homage to them, Ray puts his songwriting skills to good use.
On Holloway Jail, Ray laments that his girlfriend has been taken to prison. From an understated introduction, one of the finest songs on Muswell Hill unfolds. Sadly, it didn’t get the credit it deserved. If it had been written by Lennon and McCartney, it would’ve been hailed as a minor classic. Fusing everything from Americana, blues, country, gospel-tinged harmonies, pop, rock and soul, The Kinks have your attention. For four minutes, you’re spellbound. Best described as musical perfection, the interplay between Ray’s vocal and backing singers is crucial. So is Dave’s guitar playing. The success of Holloway Jail is definitely down to the Davies’ brothers.
There’s a melancholy sound to Oklahoma USA. Just a piano and tender vocal combine. Strings sweep in and envelop Ray’s vocal. His vocal paints pictures. They’ve a poetic quality and unfold before your eyes. Adding a poignancy is the accordion and piano. A purely acoustic, understated arrangement, this suits this quite beautiful track.
Uncle Son sounds as if The Kinks are just sitting round the studio jamming. It has a loose sound and feel. It’s as if The Band and Crosby, Stills, Nash and Young have influenced The Kinks. They play with freedom, as if they’re really enjoying themselves. Dave unleashes his slide guitar, which an acoustic guitar and harmonies accompany Ray’s heartfelt, soulful vocal. With its almost ab-libbed, loose sound, it shows another side to The Kinks, who are proving a versatile band.
Closing Muswell Hillbillies is the title-track. Bursting into life, crystalline guitars and the rhythm section drive the arrangement along. Ray’s vocal sounds not unlike Bob Dylan. It has a gruff, throaty drawl. His vocal is fiery, defiant and full of emotion. The cause of his anger is watching his community be destroyed. Defiantly, he sings he won’t be driven out of Muswell Hill. He could see what would happen. People would be forced to live in shoddily built boxes, which were the result of a sociological experiment. Planned by grey people who didn’t have to live there, it’s no wonder Ray is angry. As The Kinks mix musical genres seamlessly, they create a poignant track to end Muswell Hillbillies.
Although Muswell Hillbillies 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.
Critics realized that The Kinks’ latest concept album, Muswell Hillbillies saw The Kinks at their best. During the twelve 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 humor. Sadly, record buyers didn’t “get” Muswell Hillbillies. it either passed them by, or they didn’t understand it.
For RCA, who The Kinks had just signed to, Muswell Hillbillies wasn’t the best way to start this new era. Commercial success in Britain had eluded them. At least Muswell Hillbillies was successful in the US. That would be the case for the rest of The Kinks’ recording career. They never enjoyed another successful album in Britain, while each of their albums charted in the US. The Kinks were more successful in the US than Britain. Despite this, there’s been a resurgence in interest in The Kinks’ music.
Since the mid-nineties, a new generation of musicians have been influenced by The Kinks’ music. They’ve been flying the flag for The Kinks. Now somewhat belatedly, The Kinks are recognized as one of the most important groups in British musical history. They may not have enjoyed the commercial success of their contemporaries, but their music has stood the test of time. Much of The Kinks music has been hugely underrated, including Muswell Hillbillies, their ninth album. A concept album full of social comment and humor, Muswell Hillbillies is one of the hidden gems in The Kinks back-catalogue. Full of intelligent, thoughtful, satirical and thought-provoking music, Muswell Hillbillies is a timeless album, which forty-two years after its release, is just as relevant as the day it was released. Standout Tracks: Twentieth Century Man, Skin and Bone, Holloway Jail and Muswell Hillbillies.
THE KINKS-MUSWELL HILLBILLIES.
THE BETA BAND-THE REGAL YEARS 1997-2004.
THE BETA BAND-THE REGAL YEARS 1997-2004.
Although The Beta Band were only together eight years, their music made a huge impact. 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. Inventive, influential and cutting-edge 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 I’ll tell you about.
It was 1996 in St. Andrews, Scotland when The Beta Band were formed by vocalist and guitarist Steve Mason and Gordon Anderson. Originally, they’d planned to call their nascent band The Pigeons, but decided instead, to call it The Beta Band. Soon, they began working on their debut E.P. Champion Versions. That’s when drummer Robin Jones and John McLean, a DJ, who played keyboards and sampler joined. The other member was bassist Steve Duffield. He only played on their debut E.P. Champion Versions. After that, Steve left the band. So did Gordon Anderson. Replacing them was bassist Richard Greentree. That was still to come. Before that, The Beta Band released their debut E.P. Champion Versions.
DISC ONE-THE THREE E.Ps.
Champion Versions was released in July 1997, and featured a quartet of tracks. Featuring Dry The Rain, I Know, B + A and Dogs Got A Bone, Champion Versions was released to critical acclaim. Critics hailed the E.P. as groundbreaking and innovative. It featured a guest appearance from Jonathan Levein. He played trumpet on Dry The Rain, emulating the sound of a whale. This reinforced the fact that The Beta Band weren’t like other bands.
No. They were unique, and also ambitious, bold and brave. Their music was constantly evolving.The Beta Band drew inspiration from a variety of sources. Among them were electronic, experimental, folk, trip hop and rock. This resulted in The Beta Band having their own musical genre, folktronica. It can be heard on their sophomore E.P. The Patty Patty Sound. It was released in March 1998. Lasting forty-minutes and featuring Inner Meet Me, The House Song, The Monolith and She’s The One, it built on Champion Versions. By now, word was spreading about The Beta Band. Not only were they know for releasing cutting-edge music, but were establishing a reputation as one of the best live bands. Building on the momentum of The Patty Patty Sound, The Beta Band released their final E.P.
Los Amigos Del Beta Bandidos was released in July 1998, just four months after their previous E.P. The Patty Patty Sound. Just like their two previous E.P.s, it was produced by The Beta Band. Featuring four new tracks, Push It Over, It’s Over, Dr. Baker and Needles In My Eyes the music was innovative fusion of influences. It’s no surprise it was released to critical acclaim. Later in 1998, Regal Records decided to release The Beta Band’s first compilation.
The Three E.P.s compilation was released in September 1998. It reached number thirty-five in the UK and established The Beta Band not just in the UK, but in the US. Since then, Pitchfork magazine hailed The Three E.P.s as one of the best British albums of the nineties. In the UK, Q magazine went further. They included The Three E.P.s in their best hundred albums of all time. The Three E.P.s features on disc one of The Beta Band-The Regal Years 1997-2004. For anyone new to The Beta Band, The Three E.P.s is essential listening. Was that the case for The Beta Band’s debut album?
DISC TWO-THE BETA BAND.
Released in June 1999, The Beta Band is best described as a sonic experiment. Multilayered and full of nuances and subtleties, the music is dense and detailed. The Beta Band is a complex and challenging album. It draws inspiration from a whole host of sources and genres. Essentially, The Beta Band take you on a musical journey, where they tell the story of twentieth century music.
Starting with blues, bubblegum pop, psychedelia, rap, rock, rockabilly, folk and hip hop can be heard on The Beta Band. Quite simply, it’s a journey full of twists and turns. Never scared to be bold, The Beta Band drew inspiration from a variety of sources. Proof of this is The Beta Band Rap, where bubblegum pop, rap and rockabilly unite. The result is an album where orthodox musical beliefs are challenged. Don’t expect the usual verse, chorus, verse, chorus, bridge. That’s not The Beta Band’s way. Just like the Chairman of The Board, they do it their way, albeit with a little help from Frank Zappa, Sun Ra and Captain Beefheart. On its release in 1999, The Beta Band was a huge success.
Reaching number eighteen in the UK The Beta Band should’ve been overjoyed by the success of their debut album. That wasn’t the case. Far from it. The Beta Band called their album: “the worst made this year.” That’s not the case. You’ll realize that when you listen to disc two of The Beta Band-The Regal Years 1997-2004. It features The Beta Band and two bonus tracks.
DISC THREE
Just over two years after the release of their eponymous debut album, The Beta Band released their sophomore album Hot Shots II. Released in July 2001, it was The Beta Band’s most successful album. Not only did it reach number thirteen in the UK, but number 200 in the US Billboard 200 Charts. That’s no surprise. Hot Shots II features the band’s finest music.
Very different from The Beta Band, this was a much more mellow, understated album. The songs were thoughtful, minimalist and with a darkness that descends. One thing stayed the same though. The Beta Band were creating groundbreaking music. Sometimes, the music is fragmented, other times ethereal, bold, dramatic, lush, melancholy and grandiose. Trip hop, folk, electronica, jazz, pop, rock and soul melts into one. Just like their debut album, Hot Shots II is multilayered, full of nuances and secrets. It’s also music that’s wistful, thoughtful, timeless and often, beautiful. What’s The Beta Band’s best album, Hot Shots II, features on disc three on The Beta Band-The Regal Years 1997-2004, along with seven bonus tracks.
DISC FOUR-HEROES TO ZEROES.
When work began on Heroes To Zeroes in 2002, little did The Beta Band realise that it would be their final album. Sadly, that proved to be the case. They’d entered the studio with producer Tom Goodrock. Although a number of tracks were recorded, the band weren’t happy with the result. So, Nigel Godrich was brought in to mix the album. Eventually, what became Heroes To Zeroes was completed by early 2004. Then Heroes To Zeroes was released in April 2004, it reached number eighteen in the UK. Featuring twelve tracks, Heroes To Zeroes proved to be The Beta Band’s finale.
The Beta Band weren’t going to fade away. Instead, they announced their breakup on their website in August 2004. Ironically, their final album Heroes To Zeroes, was the first album The Beta Band were pleased with. Veering between tight to gloriously sloppy, the two sides of The Beta Band shawn through. They combined musical influences and genres to create an album that was enchanting, jagged, haunting, psychedelic, tender, thoughtful. laid-back and at moments, surreal. Drawing inspiration from ambient, experimental, lo-fi, pop, psychedelia and rock, The Beta Band’s career finished as it began, innovating and creating music that was ahead of the musical curve.
Heroes To Zeroes saw The Beta Band end their career as heroes, musical heroes who enjoyed critical acclaim, commercial success and cult status. The album plus four bonus tracks feature on The Beta Band-The Regal Years 1997-2004. That’s not the end of The Beta Band-The Regal Years 1997-2004. Far from it. There’s still two discs to go.
DISC FIVE-BBC LIVE.
Disc five of The Beta Band-The Regal Years 1997-2004 features fifteen live tracks. These tracks were recorded between 1997 and 2004. This includes tracks recorded for sessions with Radio 1 and Radio 6. There’s even a version of Out-Side recorded at T In The Park. This was a homecoming for The Beta Band, given T In The Park is held in their native Scotland in 2004. That features a very different band from their early days in 1997.
Listening to the fifteen tracks, they chart the development of The Beta Band. You can hear the band evolving and maturing as musicians. Dry The Rain and Monolith feature The Beta Band in 1997. Then at T In The Park in Scotland, The Beta Band are at their best and tightest. Inspired by an audience of their fellow countryman, they pull out the stops on tracks like Inner Meet Me, She’s The One, Dry The Rain and Broke. These tracks are a reminder of just how good a live band The Beta Band were. It’s no exaggeration to say, that they were one of the best and most exciting live bands of their generation.
DISC SIX-DEMOS, LIVE AND SESSIONS.
Demos, Live and Sessions is the title of disc six of The Beta Band-The Regal Years 1997-2004. Featuring sixteen tracks recorded between 1997 and 2004, they chart the development of The Beta Band. The first four tracks, Idea For A House Track, Longer Idea For Above, Bed In The Sunlight and B +A are demos. Listening to this quartet of tracks, it’s obvious that here is a band with not just potential, but who are talented and innovative. It’s no surprise that a year after The Beta Band were formed, they were signed to Regal Records.
Poignantly, nine of the tracks on disc six were recorded in 2004, the year The Beta Band split-up. These tracks feature The Beta Band at the peak of their powers. Among the tracks are Dogs Got A Bone, Out-Side and Simple. They were recorded at the XFM Radio Session. Then closing disc six were six tracks recorded live at Shepherd’s Bush Empire. From Squares, Simple, Easy, Dr. Baker, Quiet and House Song you’re enthralled by The Beta Band. Seamlessly, the fuse musical genres and influences creating their unique brand of folktronica.
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.
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, is a reminder of one of the best bands of a generation. 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 BETA BAND-THE REGAL YEARS 1997-2004.
JULIEN DYNE-DECEMBER.
JULIEN DYNE-DECEMBER.
One of the most anticipated albums of recent months, has been Julien Dyne’s third album December. It’s just been 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. Before I tell you about December, I’ll tell you about Julien Dyne’s career.
Julien Dyne was born in Montreal, Canada and was brought up in New Zealand. He graduated from the University of Auckland, with a Bachelor of Fine Arts. A talented visual artist, Julien Dyne’s work has been exhibited throughout New Zealand. Then in 2004, Julien headed to Rome, where he attended the Red Bull Academy of Music. At the Academy, Julien was fortunate to be taught by influential session drummer Bernard Purdie. He also learnt from the various guest lecturers who visited the Academy. Each of the inspired and influenced Julien. On graduating, Julien’s career began.
Before Julien’s solo career began, he was a member of Opensouls. He played drums and produced much of their music. Opensouls released In Your Hands and Turn It Up in 2004. He co-produced the B-Side of Turn It Up, What Do You Do. Then in 2006, Julien produced Opensouls’ debut album Kaleidoscope. However, there was more to Julien’s career than Opensouls. Much more.
During this period, Julien was working with a variety of New Zealand’s top soul and hip hop artists. This included Fat Freddy’s Drop, James Duncan, Opensouls, She’s So Rad, Sola Rosa, Eru Dangerspiel and Christoph El Truento. Then in 2007, Julien got the opportunity to work with the Mizelli Brothers.
Previously, the Mizelli Brothers had worked with such luminaries as Donald Byrd and Sun Ra. Now in 2007, Julien had the opportunity to learn from them. This was as part of the A Class Of Its Own recording sessions, which were held in Cologne, Germany. Later that year, Julien released his Phantom Limb E.P. All the time, he was working with other artists and was still a member of Opensouls.
In 2008, Opensouls released their single Dollars. Julien produced the B-Side Sweet Love, which featured vocals from Ladi 6. This would be the last Opensouls’ release for a couple of years. In the interim period, Julien could concentrate on his solo career.
2009 saw Julien release his debut album Pins and Digits. It was originally released on the Japanese boutique label Wonderful Noise. Then BBE Music picked up on Pins and Digits, releasing it in the UK and Europe. Released to critical acclaim, Pins and Digits was a favorite of DJs and tastemakers. So much so, that critics hailed Pins and Digits as one of the best albums of 2009. Given the success of Julien’s debut album, it looked like he’d a big future ahead of him. Surely his sophomore album wouldn’t be faraway?
There was a gap of two years before Julien Dyne released Glimpse on BBE Music. In between the release of Pins and Digits and Glimpse, Opensouls released their sophomore album Standing In The Rain during 2010. Then when Glimpse was released, it had been well worth the wait. It built on Pins and Digits, and saw Julien explore new directions musically. Boundaries were pushed and he continued to innovate. Following the release of Glimpse, Julien headed out on tour, and for the next two years, spent his time touring, collaborating, producing and working on his third album December.
December has just been released by BBE Music. It sees Julien build on the music of Glimpse. In some ways, December is a continuation of the music on Glimpses. However, Julien takes this music to the next level. He does this with the help of Parks, Mara TK of Electric Wire Hustle and Dalziel of Dear Time’s Wast. The result is fourteen futuristic, innovative, genre-melting 21st Century soundscapes. Everything from ambient, experimental, funk, hip hop, house, post-industrial and soul melts into one on December. The music envelops you, its fuzzy, feel-good sound developing and evolving. Growing, heading in new and different directions, December is a magical, mystical, musical mystery tour, which I’ll pick the highlights of.
Given the quality of December, choosing just a few of the highlights isn’t easy. Fools, which opens December, certainly grabs your attention. So much is happening at the one time. A myriad of nuances, subtleties and secrets await discovery. Everything from ambient, hip hop, electronica, experimental and funk unite. Bass bins are punished while washes of synths, handclaps and bursts of vocals escape from the arrangement. Then the arrangement settles down, meandering melodically along. Melodic, wistful and enchanting, the track doesn’t reveal all its secrets at once. Several listens later and you’re still hearing something new.
The title-track December features a guest appearance from Parks. Racing along like an express train, Parks’ light, airy vocal is accompanied by cascading harmonies. Then there’s the buzzing bass, synths and keyboards. They provide the perfect foil for Parks’ vocal, on this fusion of hip hop, electronica, pop and soul. Indeed, soulful and catchy describes this track.
Fog has an old school sound. A combination of hip hop, dub, electronica, jazz and ambient music. Elements of A Tribe Called Quest and Nightmares On Wax shines through. It’s best described as a collage of influences and instruments. With a crackly, old school sound, drums pound while the Fog shelters the mainstay of the mesmeric, jazz-tinged, hypnotic arrangement. Filters shelter everything from stabs of keyboard, melancholy horns, synths and samples. You’re drawn to this track, hypnotised, mesmerised and enchanted by its ambient, old school sound.
Real Life features another of Julien Dyne’s guest artist. Here, She’s So Rad plays a part in this ethereal soundscape. Waves of music assail you. They’re akin to a musical journey across a stormy sea. You’re swept away, While part of the arrangement is elegant and ethereal, thanks to bursts of vocal and synths The other part is dramatic, thanks to thunderous, pounding drums. They add an element of drama and seem to be part of Julien’s trademark sound. Despite being polar opposites, the two part of this ethereal soundscape prove to be like ying and yang.
Dirtcrystal unravels at breakneck speed. Bursts of a buzzing bass synth are joined by crisp drums and washes of synths. Ethereal harmonies glide in. They givie way to Mara TK’s vocal. Heartfelt and soulful, his vocal matches the urgency of the arrangement. Jazzy horns, cascading harmonies and the hopeful vocal are joined by the myriad of synths and drums. The result is a soulful, dramatic and urgent track, where Julien Dyne innovates by creating genre-melting music.
Wood and Break is full of surprises. After a couple of curveballs, which seem designed to wrong foot you, is a real gem. What follows is an ethereal, ambient track that cocoons you with its sci-fi soulful sound.
Tonight which features Dalziel’s vocal, has a much more understated arrangement. Space is left within the soulful, dance-floor friendly arrangement. This allows the music to breath. As for Dalziel’s vocal, it’s crucial to the success of a track that’s one of December’s highlights.
Cron features a space-age, ambient, dubby sound. Atop the arrangement are the pounding drums. They thunder across the arrangement. Behind them, the arrangement is a fusion of musical genres. Ambient, jazz, hip hop, funk, soul and dub are combined seamlessly. The result is a multilayered, hook-laden, dance track that’s truly irresistible.
Best described as a fusion of hip hop, electronica and dub, Kingawesome is another example of what Julien Dyne does so well. He draws inspiration from a wide range of musical influences and genres, and incorporates them into his music. What follows is a musical tapestry. Everything from ambient, dub, electronica, funk, hip hop, jazz and soul melts into one. Featuring Julien’s trademark drum sound, plus a whole host of musical surprises, it’s another example Julien’s reinvention.
Closing December is Thinking One Thing and Doing Five Others. It has a dreamy, ethereal and wistful sound. You’re cocooned and floaty away in this fuzzy musical bubble. Brian Eno and the Cocteau Twins spring to mind as influences on what’s one of Julien’s finest moments. You float away, without a care in the world. Accompanying you, are a backdrop of melancholy, jazzy horns and percussion. So do drums and synths. They’re part of a dreamy, lysergic and a wistful track envelops and cocoons you.
Although I’ve just picked ten of the fourteen tracks on December, I could’ve just as easily have picked any of the tracks. 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. Standout Tracks: Fog, Real Life, Wood and Break and Thinking One Thing and Doing Five Others.
JULIEN DYNE-DECEMBER.
ANGOLA SOUNDTRACK 2.
ANGOLA SOUNDTRACK 2.
Following three aggravated uprisings in 1961, the Angolan authorities were forced to act. There was no denying it, Angola was in crisis. The country could implode. Something had to be done. The status quo wasn’t an option. What followed was a double edged sword of repression and reform. For the first time, foreign investment was allowed into Angola. Another first, was that children were allowed access to education. This was the good news. However, the program of reform proved to be a double edge sword.
At a stroke, the Angolan authorities banned the carnaval groups which had proved popular since 1958. This was perceived as an act of cultural censorship and vandalism. Angolans weren’t going to stand for the suppression and repression of cultural expression. They didn’t take this lying down. Soon, a new generation of Angolan entrepreneurs and musicians started promoting concerts, opening clubs and forming bands. Before long, Angolan music had a thriving, underground music scene. However, it wasn’t until 1969 that Angola had its own recording industry.
Sadly, the Angolan recording industry lasted only nine years. Between 1969 and 1978 just a few record companies dominated the Angolan music industry. They released over 800 records, most of which were singles. Twenty-one of these tracks feature on Angola Soundtrack 2, which was recently released by Analog Africa. These twenty-one tracks documents the musical legacy left by these Angolan labels. Before I pick the highlights of Angola Soundtrack 2, I’ll tell you how the Angolan music scene came about.
After the banning of carnaval, Angolan music started to change. Angolan musicians didn’t take this cultural suppression lying down. They reasoned that Carnaval was just one type of music. Music hadn’t been banned. So, new musical genres evolved. The turmas, which were musical groups, began to incorporate guitars into their music. This influence came from the Congo and Cape Verde. Soon, more bands were formed and the Angolan music scene expanded. What they needed, was somewhere to play.
Montes had been a stalwart of the Angolan music scene since about 1958. Six years later, he was just as supportive of Angolan music. He wanted to take bands to other parts of Angola, where these bands had never played before. Having gotten sponsorship from a beer company, Montes was able to take the bands on a tour of various parts of Angola. This circuit was called the Kutonoca, and eventually, took in nine different venues. At each venue, the bands had a chance to showcase their talent. Most of the songs were sung in the Kimbundu dialect, and became part of Angola’s cultural identity. The only problem was, that the only way people could hear this music was live. Angola didn’t have a recording industry.
That was when Mr. Llorente, formerly of the Congolese record label Ngoma record label, founded Fadiang (Fabrica de Discos Angola). This was Angola’s first record pressing plant. It was pivotal to the future development of the Angolan music industry.
Not only did Angola have its own record pressing plant, soon Angola had its first record company. This was Valentim de Carvalho. They had their own recording studio and released Dicanzas de Prenda’s Brinca Na Areia. It was released on Valentim de Carvalho’s subsidiary Ngola. This was the dawn of Angolan music industry.
A handful of record companies dominated the Angolan music industry. This included the triumvirate of Rebita, Bonzao Discos and Ngola. They released some of the best Angolan music between 1969 and 1978. It can be found on Angola Soundtrack 2, which I’ll pick the highlights of.
Os Anjos’ Avante Juventude opens Angola Soundtrack 2. A truly irresistible and mesmeric track, a guitar meanders its way across the arrangement. Beguiling and fluid, its cinematic sound takes centre-stage. Meanwhile the rhythm section and percussion play supporting roles. Everything from Afro-beat, jazz, funk, Latin and surf music melt into one, during three magical minutes.
Tony Von’s vocal on N’Hoca is slow, pensive and soul-baring. Then all of a sudden, it’s all change. The song bursts into life. It’s akin to a call to dance. A myriad of percussion, chiming guitars and drums provide the backdrop to Tony’s joyous vocal. What follows is a slice of aural sunshine guaranteed to brighten even the dullest, darkest Winter days.
Urbano De Castro contributes two tracks to Angola Soundtrack 2. The first is Kialo Mingo, a single released on the Rebita label. It’s a fusion of influences. Everything from Afrobeat, samba, folk, funk, merengue and soul is combined. As Urbano delivers an impassioned, spirited vocal, he sings call and response, and this musical melting pot threatens to bubble over. The other track Fatimita, is a much more laid-back, understated and wistful sounding track. This allows us to hear two sides Urbano’s music.
One of the highlights of Angola Soundtrack 2 is Agarrem, the first of two tracks from Africa Ritmos. Released on the Rebita label, it’s an instrumental, allowing you to hear some of the best guitar playing on the compilation. It’s truly mesmeric. You’re enthralled by its delights. Then there’s Africa Ritmos’ pulsating, hip swaying rhythms. Truly, this is a potent partnership. Having enjoyed Agarrem, Africa Ritmos don’t let their standards slip on Olha O Pica. It doesn’t disappoint. Far from it. It’s more of the same. You’re swept away by this fusion of influences and genres. Drawing inspiration from jazz, Afro-beat, Latin and funk, you’re left longing to hear more from Africa Ritmos, formerly one of Angola’s musical secrets. Thankfully, not any more.
Negoleiros Do Ritmo released Lemba on the Bonzao Discos label. Written by Almerindo Cruz what follows is an innovative and infectiously catchy track. Percussion, drums and chiming, crystalline guitars usher in a heartfelt, joyous vocal. Soon, you’re caught up in the spirit of what’s an anthemic, joyous dance track where African and Western influences melt into one.
Carlos Lamartine’s Basooka is one of the hidden gems on Angola Soundtrack 2. Previously, it was tucked away on the B-Side of Jesus Diala Ua Kidi, a single released on N’Gola. After Carlos yells “Basooka” a blistering track unfolds. Driven along by guitars, blasts of braying horns, drums and percussion, it’s a glorious melange of merengue, Afro-beat, jazz, funk and soul. There’s even a ska influence. Mostly instrumental, Carlos only intervenes to encourage his band to even greater heights. In doing so, he ensures this is one of the highlights of Angola Soundtrack 2.
Africa Show released Inspiraçáo De Nito on the N’Gola label. This was one of several singles they released on N’Gola. Inspiraçáo De Nito is more than a little special. It has a cinematic, languid and jazz-tinged sound. Elements of Latin and funk shine through, as the guitar melts and wah-wahs into the distance. Shakers. drums and percussion punctuate the arrangement providing the perfect backdrop to this melancholy, wistful track.
Closing Angola Soundtrack 2 is Teta Lando’s Fuguei Na Escola (Para Jogar A Bola). Teta has enjoyed a long and successful career. It started in the seventies, when he released his debut single on CDA. His career spanned four decades, where Teta became one Angola’s most successful musical exports. A heart-wrenching, jazz-tinged ballad Fuguei Na Escola (Para Jogar A Bola) is an emotive and quite beautiful way to close Angola Soundtrack 2.
The twenty-one tracks on Angola Soundtrack 2 span the period between 1969 and 1978. Sadly, in 1978, the Angolan music industry collapsed. A civil war had engulfed Angola in 1975. It lasted twenty-seven years, ending in 2002. By 1978, the country had descended into chaos. Angola’s music industry, which looked like thriving, was no more. Its legacy was 800 releases, most of which were singles. They’re a tantalizing reminder of Angola’s rich musical heritage.
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 on Angola Soundtrack 2. 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 tantalizing taste of Angola’s rich and vibrant musical legacy. Standout Tracks: Os Anjos Avante Juventude, Urbano De Castro Fatimita, Carlos Lamartine Basooka and Teta Lando’s Fuguei Na Escola (Para Jogar A Bola).
ANGOLA SOUNDTRACK 2.
JETHRO TULL-BENEFIT.
JETHRO TULL-BENEFIT.
If I was to ask what group had nine albums certified gold, and one certified triple-platinum, between 1969 and 1979, how many people would say Jethro Tull? That’s because most people forget how successful Jethro Tull were. They were one of the most successful, groundbreaking and innovative of the prog rock bands in musical history. Several times, Jethro Tull reinvented themselves musically. Jethro Tull weren’t content to stand still. Far from it. In their early years, Jethro Tull were experimenting musically, so they could come up with their trademark sound and style. This saw Jethro Tull become one the most groundbreaking and inventive bands of the prog rock era. Despite having sold over sixty-million albums, Jethro Tull never receive the credit they deserve. Mind you, none of the prog rock bands did.
Nowadays, prog rock has almost been airbrushed from musical history. When it’s mentioned, it’s always a sideways snipe from Napoleonic critics. That means the careers of some of the most talented, innovative and creative musicians are overlooked. Instead, overrated and overhyped musical genres are given undue prominence. These musical genres are seen as more significant and culturally important than prog rock. That’s despite it being some of the most successful and complex released in the last fifty years.
A fusion of art rock, avant-garde, baroque, classical, folk, free jazz, jazz, pop and psychedelia, prog rock is a melting pot of musical influences and genres. Innovative and groundbreaking, it was a move away from the throwaway pop songs that had dominated music until then. Prog rock was cerebral, intelligent music. Sadly, for many years, prog rock has fallen out of favor. Now, thankfully, the tide is turning, and gradually, prog rock is receiving the credit it deserves. This includes a rerelease of Jethro Tull’s 1970 album Benefit.
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. Before I tell you about the music on Benefit, I’ll tell you about Jethro Tull’s musical career up until then.
The origins of Jethro Tull can be traced to Blackpool, in 1962, That’s when Ian Anderson formed his first group The Blades. Originally a four piece, featuring Ian Anderson on vocals and harmonica, they became a quintet in 1963 and septet in 1964. By that time, they were a blue eyed soul band. After three years, the band decided to head to London.
Having moved to London, the band split-up within a short time. Just Ian Anderson and bassist Glen McCornick were left. This proved a blessing in disguise. They were soon joined by blues guitarist Mick Abrahams and drummer Clive Bunker. This was the lineup that featured on their debut album This Was. That was still to come.
Before that, the band had to settle on a name. Various names were tried. Then someone at a booking agent christened them Jethro Tull, after the eighteenth century agriculturalist. Not long after that, Ian Anderson acquired his first flute.
Up until then, Ian Anderson played just harmonica and was trying to learn to play the guitar. He realized wasn’t a great guitarist though. So, decided the world had enough mediocre guitarists, decided to expand his musical horizons. So he bought his flute. Little did he realize this would be one of Jethro Tull’s trademarks. After a couple of weeks, Ian had picked up the basics of the flute. He was learning as he played. Not long after this, Jethro Tull released their debut single.
Sunshine Day was penned by Mick Abrahams, with Derek Lawrence producing the single. On its release, the single was credited to Jethro Toe. It seemed thing weren’t going right for Jethro Tull. The single wasn’t a commercial success and failed to chart. Despite this disappointment, thing got better when they released their debut album This Was.
Having released their debut album This Was in October 1968, it reached number ten in the UK. Then when This was released in the US in February 1969, it reached just number sixty-two in the US Billboard. Critics praised This Was, which cost just £1,200 to record. Featuring mostly original material, which was penned by members of Jethro Tull, This Was a fusion of blues rock, folk, jazz and prog rock. This Was was a successful start to Jethro Tull’s career, which was about to enter a period where critical acclaim and commercial success were almost ever-present.
Prior to the recording of Stand Up, Jethro Tull’s sophomore album, Mick Abrahams left the band. Mick and Ian Anderson disagreed over the future direction of Jethro Tull. The problem was, Mick wanted Jethro Tull to stick with blues rock. Ian Anderson realised there was no real future in blues rock. He wanted to take Jethro Tull in different directions, exploring a variety of musical genres. So Mick left Jethro Tull and was replaced by Michael Barre. Little did either Mick nor Michael realise that Stand Up marked the start of a period where Jethro Tull sold over sixty-million albums.
Drawing inspiration from everything from blues rock, Celtic, classical, folk and rock work began on Stand Up. With Mick Abraham having left Jethro Tull, Ian Anderson was the primary songwriter. He penned nine of the ten tracks. They became Stand Up, which was released in August 1969 in the UK, where in reached number one. A month later, in September 1969, Stand Up reached number twenty in the US Billboard 200 Charts. This resulted not just in the start of Jethro Tull’s first gold disc, but the beginning of a golden period in their career. The next album in this golden period was Benefit.
For what became Benefit, Ian Anderson had written ten tracks. These ten tracks were recorded at Morgan Studios, London, during December and January 1970. Ian played flute, keyboards, guitar and sang lead vocals. The rest of Jethro Tull included Clive Bunker, who played drums, guitarist Martin Barre and bassist Glen Cornick who also played Hammond organ. John Evan, who’d later become a member of Jethro Tull, played piano and organ. David Palmer took charge of the orchestral arrangements, while Ian Anderson produced Benefit. It was released in April 1970.
Unlike Jethro Tull’s two previous albums, Benefit was released simultaneously in the US and UK and was well received by critics. Upon its release in April 1970, Benefit reached number three in the UK and number eleven in the US Billboard 200 Charts. This meant another gold disc for Jethro Tull. No only were they were on a roll, but as Benefit shows, continually reinventing their music.
Opening Benefit is With You There to Help Me. Straight away, there’s some studio trickery at work, with a flute played backwards. Then, Jethro Tull remind me somewhat of The Moody Blues. Ian’s earnest, heartfelt vocal is enveloped by harmonies, while searing, scorching guitars answer his call. Soon, we hear a different side to Jethro Tull. They’re rocking, and rocking hard. Driven along by the rhythm section and bursts of scorching, sizzling guitars, while flourishes of flute cascade above the arrangement. They prove a foil for the vocal and guitar, on a track where folk, blues, jazz and rock intertwine seamlessly and mesmerically.
Despite being recorded in 1970, Nothing To Say sounds way ahead of its time. It sounds more like a track recorded around 1973 or 1974. Again musical genres are fused. Rock becomes prog rock and then thanks to Ian’s wistful vocal and the languid arrangement, almost pastoral and then rocky. Then thanks to echo and filters, a lysergic, psychedelic sound can be heard. With Jethro Tull’s rhythm section joining forces with fiery guitars and piano, they provide a fitting backdrop for Ian’s dramatic, hurt-filed and defiant vocal. Shrouded in echo, it takes on an almost mysterious sound. From there, harmonies combine with the band as a timeless track unfolds where Jethro Tull, musical visionaries, showcase their inconsiderable skills.
A piano sets the scene for Ian’s vocal on Alive And Well And Living In. Stabs of piano are matched by the bass before Ian’s vocal enters. It’s deliberate and definite. He seems to be taking care as he articulates the lyrics. Meanwhile flourishes of flute and bursts of guitar are fired off. By now we’re hearing a harder rocking side of Jethro Tull. Then the arrangement is stripped back to the piano and bursts of flute which accompany Ian’s dramatic, powerful vocal. A fusion of blues, orchestral, classical, prog rock and rock it’s a continuation of Jethro Tull’s reinvention.
Son is a stomping, hard rocking number. Here, Ian Anderson reminds me of Alex Harvey, of the Sensational Alex Harvey Band. His vocal is almost a theatrical sneer. Strutting his way through the track, machine gun guitars accompany him, while the rhythm section provide the heartbeat. Midway through the track, it’s all change. The tempo drops and Ian’s vocal becomes pensive, probing and questioning. Then the drama returns as the track heads to its glorious hard rocking crescendo.
Crystalline, chiming guitars join Ian’s tender vocal on For Michael Collins, Jeffrey and Me. The meandering guitars and vocal are a potent partnership. You’re drawn to them. Soon, you’re enchanted. Then with a burst of guitar the tempo picks up and Jethro Tull combine folk, blues, rock, classical and Celtic music. Just like what’s gone before, what follows is enthralling, beguiling and enchanting. It also shows another side to Jethro Tull.
To Cry You A Song sees a return to Jethro Tull’s blues rock sound. Driven along by a powerhouse of a rhythm section and dual guitars, it’s Jethro Tull at their best. Ian’s vocal is a mixture of power and emotion. When it drops out, Jethro Tull concentrate on mixing blues rock with prog rock. A captivating combination the music of the past, present and future collides head on. Later, Ian’s vocal is enveloped by harmonies and bursts of guitar, showcasing Jethro Tull at their hard rocking, bluesy best.
A Time For Everything bursts into life. It’s best described as a fusion of rock, Celtic and folk. Scorching guitars, boron, flute and acoustic guitar create a wall of dramatic, rocky music. As if inspired, Ian launches himself into the lyrics. He becomes a seer or philosopher, as he delivers the lyrics. A wash of feedback envelops a vocal that’s pensive, thoughtful and dramatic. Later, as the track heads towards a sudden and poignant ending Ian’s vocal is akin to an unanswered question. It’s as if he’s asking is there: “A Time For Everything?”
Inside is one of the highlights of Benefit. A rousing, anthemic combination of folk, rock and blues music. Meandering gently, there’s a slight Eastern influence. That’s maybe down to Ian’s flute. His vocal has a folk influence. Tender, veering between wistful and joyously, his vocal is crucial to the song’s success. Behind him, the rest of Jethro Tull combine musical genres on this breezy, joyous and irresistibly catchy track.
The rhythm section are at the heart of this hard rocking, bluesy Play In Time. Ian adds a grizzled vocal and plays the flute. Again, there’s some studio trickery, with the piano and guitars speeded up. This works, adding a psychedelic influence on this driving, dramatic and genre-melting track. Cascading flute, thunderous drums and wizened guitars provide the backdrop for what’s one of Ian’s best vocals. Strident and confident he struts his way through the track, as Jethro Tull kick loose. They’re a tight and talented unit who never miss a beat. As they jam, the earlier psychedelic influence adds the finishing touch.
Sossity You’re A Woman which closes Benefit, is very different from any of the other tracks. It’s like something from an other age. It’s as if Ian Anderson has been transported back in time as has been given the job of entertaining at a medieval feast. Just acoustic guitars accompany him, before later an organ adds an almost gothic sound. Later, the arrangement is a mass of acoustic guitars, tambourine, shakers and organ, before reaching its melancholy, thoughtful ending.
Benefit was just the second album in the most successful and productive period of Jethro Tull’s career. Between 1969 and 1979, nine of Jethro Tull’s albums were certified gold. Aqualung Jethro Tull’s 1971 Magnus Opus was certified triple-platinum. It seemed Jethro Tull could do no wrong. That was the case. Sadly, Jethro Tull never received the recognition they deserved.
After the advent of punk, critics and music lovers shied away from prog rock. Confessing to liking prog rock wasn’t the done thing. No. It wasn’t fashionable. Critics who previously, had championed prog rock, referred to prog rock groups like Jethro Tull as dinosaurs. Despite that, Jethro Tull gold discs kept coming Jethro Tull’s way. Right through to 1979s Stormwatch, Jethro Tull were hugely successful. The reason for that was their music never stood still. It constantly evolved. Jethro Tull’s music was groundbreaking, genre-melting and innovative. That’s why Jethro Tull enjoyed so much critical acclaim and commercial success.
Having released their debut album This Was in 1968, Jethro Tull went on to release another twenty studio albums. Their final album was 2003s The Jethro Tull Christmas Card. Over five decades, where they released twenty-one albums, Jethro Tull were more successful in the US than the UK. Ten of their albums were certified gold and one triple-platinum. Over in the UK, five of Jethro Tull’s albums were certified silver. Worldwide, Jethro Tull sold over sixty-million albums, making them one of the most successful prog rock bands ever. Despite that, Jethro Tull haven’t received the critical acclaim and recognition their music deserves.
Hopefully, that’s starting to change, especially with the rerelease of Jethro Tull’s third album Benefit. Recently, it was rereleased by PLG. This is no ordinary rerelease of Benefit. Far from it. Instead, this release of Benefit should be the benchmark for rereleases. It’s a Collector’s Edition box set, that’s best described as luxurious and lavish. No effort has been spared. As for the sound quality, it comes to life, assailing and surrounding you. Especially with Stephen Wilson’s 2013 Stereo Mix of Benefit. Quite simply, the music on Benefit comes to life. That’s what makes this rerelease of Benefit the perfect introduction to Jethro Tull’s music. Along with Benefit, I’d recommend EMI’s 2011 rerelease of Aqualung. They’re the perfect starting point to Jethro Tull, one of the most innovative, groundbreaking, commercially successful and critically acclaimed prog rock bands of all time, whose music is truly timeless. Standout Tracks: With You There to Help Me, To Cry You A Song, A Time For Everything and Play In Time.
JETHRO TULL-BENEFIT.
END OF NEIL-GAS STATION COFFEE.
END OF NEIL-GAS STATION COFFEE.
In an age when artists take years to record an album, it’s refreshing to come across an artist as prolific as End Of Neil. During 2013, End Of Neil has released a trio of E.Ps. The first of this trio was Less, released back in April. Then six months later, My Games was released in October. My Games was a coming of age for End Of Neil. It was his best release, with songs that were cinematic, evocative and emotive. My Games was another glimpse into the world of End Of Neil. During the six songs, End Of Neil, the troubled troubadour, introduces us to a compelling cast of characters. Their lives unfold during the six songs. Like mini kitchen sink dramas full of betrayal, heartache, love lost and love found, My Games left me wanting to hear more from End Of Neil. Much more. So, you can imagine how pleased I was to hear that End Of Neil had released another E.P. Gas Station Coffee.
Gas Station Coffee was released on on 1st December 2013. It’s available via Bandcamp, and features B-sides, demos and what End Of Neil refers to as “special tracks.” It’s another insight to the world of End Of Neil and will keep fans occupied until his next E.P. of new material. After that, End Of Neil will begin work on his debut album, which will be released during 2014. Somehow, End Of Neil manages to find time to fit a whole host of live dates. It’s no exaggeration to say, that End Of Neil it seems is the hardest working musician in Scottish music and has been since he founded End Of Neil in 2008. He’s packed a lot into five years. You’ll realize that when I tell you about his career so far.
Earlier this year, when I wrote about End Of Neil’s My Games E.P, I did what I always do when I come across a new artist, I asked him to tell me a bit about himself. I wanted to know not just about End Of Neil’s music, but Neil Stewart, and his life. What I was trying to do, was build a picture, so that I can tell his story. Often, the information I’m given, varies. It various in quality, quantity and substance. End Of Neil’s was different. It was a refreshing first.
Unlike many new musicians I come across, End Of Neil is modest, unassuming and ego free musicians. That’s really refreshing. It seems, he prefers to let his music do the talking. End Of Neil is a hugely talented singer-songwriter. He’s also one of the most modest men in music. I discovered that when I first came across him. When I first heard End Of Neil’s music, I got in touch with Neil Stewart, the man behind End Of Neil, and asked him to tell me about his career so far. Unlike other artists, Neil provided a short, ego-free CV. Straight away, I liked Neil Stewart. Here, was a really talented, singer-songwriter, who despite his obvious talent, remained humble and modest. He helps other bands, is supportive of his local music scene and is “part a strong community of songwriters.” Neil Stewart, I realised is an anomaly in modern music, an ego-free musician.
Based in Stirling, Scotland, End Of Neil is the alter-ego of Neil Stewart. End Of Neil was founded in 2008, and since then, has been honing their unique sound. Best described as a combination of acoustic and folk, it’s won over audiences throughout Scotland, and more recently, much further afield.
Most of End Of Neil’s music is written by Neil Stewart. He’s just the latest in a new generation of Scottish singer-songwriters. Neil’s been influenced by John Martin, Nick Drake, Bob Dylan, Jeff Buckley and Neil Young. It’s not just folk music that influences End Of Neil. Not at all. Neil says anyone “with a guitar and sense of feeling” influences him. Interestingly, this includes Nirvana. These influences are reflected in End Of Neil’s music, which has been honed through constantly touring.
After founding End Of Neil, Neil played mostly Glasgow, Stirling and Edinburgh. His idea was, to refine his music through playing live. This is the old-fashioned way. Through playing live, an artist refines his sound and songs. Having played mostly in Glasgow, Stirling and Edinburgh, End Of Neil started playing further afield and opening for some big names.
No longer was End Of Neil playing much further afield. Audiences at concerts and festivals were won over by End Of Neil. So too, were The Vaselines, Ken Stringfellow and Rachel Sermanni, who End Of Neil supported. This summer, End Of Neil will be supporting Simon Townsend, the brother of Who guitarist, Pete Townsend. Whilst constantly touring, End Of Neil has released four E.P.s.
It was back in September 2012, that End Of Neil’s recording career began. Escape At The Zoo and 62 were the debut tracks from an undoubtably talented artist. Best described as joyous and celebrating being young and free, Escape At The Zoo features intelligent lyrics, thought provoking lyrics, about whether human instinct can be repressed by work and social pressures and norms. 62 is an atmospheric song, one that paints pictures in your mind, while Neil’s voice is needy and emotive. Just a month after End Of Neil’s debut single, came his first E.P.
September was released by End Of Neil in October 2012. This was End Of Neil’s debut E.P. It certainly didn’t disappoint. Both Escape At The Zoo and 62 featured on September. The other three tracks were of a similar quality. End Of Neil brought Forget The Afternoon, Save My Soul and Knights In Armour to life. Neil’s lyrics are a cut above what we’ve come to expect from modern singer-songwriters. Just like the seventies singer-songwriters who’ve influenced End Of Neil, Neil delivers his songs with passion and emotion. He’s like a master storyteller, his songs painting pictures, asking question, probing and provoking your emotions. For a debut E.P. September was the perfect way to begin End Of Neil’s recording career. Just seven months later, came the followup, My Games.
Released in April 2013, My Games was End Of Neil’s sophomore E.P. It featured six new tracks from End Of Neil. It built on September, which had been the starting point for his recording career. The songs are even better, tighter and slicker. Now six months later, Less was End Of Neil’s third E.P.
Less was released in October 2013 and featured another six new songs. Again, we were introduced to a diverse cast of characters. Many of them are complicated. Some of them are troubled. All of the characters are intriguing. Just like on My Game, Less saw End Of Neil introduce us to a diverse cast of characters. Many of them are complicated. Some of them are troubled, some heartbroken and some frustrated or angry. All of them are intriguing. In many ways, that makes it a very Scottish collection of songs. After all, we Scots are complicated, troubled and intriguing. We certainly have stories to tell and always have. It’s in our D.N.A. End Of Neil is storyteller, he’s also a poet and songwriter. His lyrics paint pictures and his characters come to life. That’s been the case on each of his E.P.s and is the case on the wonderfully named Gas Station Coffee. It features six songs which were written and produced by End Of Neil. So I’ll tell you taste Gas Station Coffee, End Of Neil’s latest E.P, and tell you about its flavours and aroma.
Opening Gas Station Coffee is Dry Land. It’s a demo where End Of Neil’s talent and passion shines through. A guitar driven track it’s perfect to open the E.P. Having set the scene with waves of his crystalline guitar, his vocal drifts in. There’s a sense of relief and joy as he sings of seeing “Dry Land.” You wonder who or what he’s looking forward to see? Is it a lover, his family or has the journey been fraught with danger? He sings call and response, harmonies answering his call and adding to the singalong nature of this track. Joyous, with plenty of slick hooks, End Of Neil does what he does so well, painting evocative pictures with his lyrics.
Gimp is a slower track, with a thoughtful, melancholy sound. The lyrics remind me of Loudon Wainwright. They tell the story of two people who’ve met on the internet, who’ve embarked upon a masochistic relationship. There’s a sense of guilt and sadness in the lyrics. It’s as if he knows or feels he’s doing something wrong. He’s angry and disappointed with himself. Deep down, he knows this is no basis for a relationship. That becomes apparent in Neil’s vocal. Tinged with irony and humor, there’s a very Scottish sense of guilt that shines through in the lyrics.
Heavy World grabs your attention straight away. This is what I’d describe as essential late-night listening. Especially, for any night owls or insomniacs. End Of Neil is speaking for them. With the guitar, bass and handclaps accompanying Neil’s vocal, he delivers vocals that are powerful and impassioned. Harmonies accompany him, as Neil, sings of how it’s a Heavy World during the night. Problems grow, things suddenly no longer make sense. Midway through the track, Neil’s vocal almost becomes a rap. He thinks back, remembering things he wish he’d done and people he’d been. Regrets it seems, End Of Neil has a few. He’s also capable of writing and delivering a slick, hook-laden, stomping track.
Straight away, Years In The Wilderness has a country influence. Just a guitar accompanies heartfelt Neil’s vocal during this paean. Full of regret, but truly heartfelt, Neil’s delivery of the lyrics are sincere and full of hope. He regrets his “Years In The Wilderness” and not being in touch. A couple of postcards, he knows wasn’t enough. Only now, does he realize what he’s risked losing. With punchy harmonies for company, Neil lays bare his soul. Delivering a needy, heartfelt and hopeful paean, this is one of the highlights of Gas Station Coffee.
With a melancholy harmonica and drums combining, they set the scene for Neil’s vocal on Villains. The harmonica and later, Neil’s vocal results in a real Neil Young influence. Apologetic describes his vocal, as he sings: “sorry I can’t save you.” As the drums and percussion provide a backdrop for his vocal, confusion, frustration, regret and sadness fill his vocal. Soon, his vocal is an outpouring and hurt. Harmonies accompany his vocal, and coo above the crystalline guitar. It’s one of the best guitar solos on Gas Station Coffee. As the arrangement builds to a dramatic close, Neil’s vocal veers between a vamp and scat. A cathartic unburdening, harmonies accompany every step of the way, while a radio plays in the distance. Together, they play their part in a track that epitomizes all that’s good about End Of Neil’s music.
Closing Gas Station Coffee is Deception. After Neil counts the band in, guitars drive the arrangement along, before his vocal enters. Soon, you’re hooked. Neil paints pictures with his lyrics. So evocative are they, that you can picture the scene unfolding before your eyes. Then with sadness and frustration filling his voice, he questions and probes, asking: “why is everyone playing these games?” That game is “Deception.” Now Neil’s a victim of this dangerous and deadly game. Full of bitterness, heartache and regret, it’s a poignant tale of love gone wrong from a hugely talented singer-songwriter.
For fans of End Of Neil, Christmas has come early in the shape of Gas Station Coffee. A delicious, aromatic blend of Americana, country, folk and rock, one cup isn’t enough. No. Far from it. It’s a truly irresistible drink, best tasted often. Indeed, from Dry Land right through to Deception, Gas Station Coffee oozes quality. Mind you, that’s what we’ve come to expect from End Of Neil.
That End Of Neil can consistently release quality music is the result of five years hard work. End Of Neil has dedicated himself to his craft. He’s now a hugely talented singer-songwriter. Long-gone are the rough edges. They’ve been smoothed away by five years touring. That has been time well spent. Inspired by and following in the tradition of seventies singer-songwriters, End Of Neil is troubled troubadour with stories to tell. Proof of that is his the triumvirate of My Games, Less and Gass Station Coffee.
These three E.P.s feature songs that are compelling and enthralling. You’re introduced to a diverse cast of characters. Many of them are complicated. Some of them are troubled. All of them are intriguing, interesting and compelling. These characters have been introduced during 2013. This has been akin to End Of Neil’s musical apprenticeship. Now he’s more than ready to record his debut album.
Unlike other artists, End Of Neil hasn’t released a debut album. It’s as if he’s doing things on his terms. That’s the way to do things. Far too often, do bands sign a recording contract and record an album early in their career. Sometimes, they never recover from that. That’s not the case with End Of Neil. No way. Gas Station Coffee is a tantalising taste of what are, End Of Neil’s hidden secrets. B-Sides, demos and his “special songs” feature on Gas Station Coffee. Incredibly, he hasn’t released them until now. These songs show End Of Neil developing, evolving and maturing as an artist. Along with My Games and Less, Gas Station Coffee shows that End Of Neil is ready to make the next step. That next step is his releasing his debut album. Why?
Well, Gas Station Coffee, with its fusion of folk, acoustic, Americana, country and rock features music that’s cerebral, intelligent, evocative, expressive, poetic and thoughtful. End Of Neil sings of hurt and heartbreak, love and loss, life and the meaning of it. Poignancy sits side-by-side with pathos. There’s a sense of melancholia, wistfulness and vulnerability on several tracks. Other songs feature irony, humour and guilt. Crucial to the success of Less, is Neil’s lived-in, world-weary, soulful vocal. Sometimes, Neil’s vocal is a cathartic unburdening. This is hugely powerful and emotive. It’s as if we’re seeing a glimpse of End Of Neil’s soul, as he introduces us to a cast of new characters on Gas Station Coffee, which represents the close of another chapter in End Of Neil’s career.
The next chapter of End Of Neil’s career begins with the release of his highly anticipated debut album. By then, word will have spread even further about the multitalented End Of Neil. Until then, you can enjoy a some of End Of Neil’s delicious and irresistible Gas Station Coffee.
END OF NEIL-GAS STATION COFFEE.
JO MANGO-WHEN WE LIVED IN THE CROOK OF A TREE.
JO MANGO-WHEN WE LIVED IN THE CROOK OF A TREE.
One of the best kept secrets in Scottish music is Jo Mango, who released her new E.P. When We Lived In The Crook Of A Tree on 2nd December 2013, on Olive Grove Records. It features some of the most beautiful music I’ve heard for a long time. Best described as ethereal, bewitching, captivating and haunting, the four tracks only last nine minutes, but believe me, they make a lasting impression. Quite simply, these are no ordinary songs. Far from it. Mind you, Jo Mango is no ordinary singer.
Jo Mango wrote the songs for a Celtic Connections show, held in Glasgow in 2012. That night, Jo was supporting Laetitia Sadlier of Sterolab. She’d written and recorded the four sings within a month The songs were based upon Angela Carter’s Book Of Fairy Tales. This was the perfect inspiration for Jo. After all, here was a collection of enthralling stories, with stories that range from bleak, dark, joyous and surreal. Soon, Jo had the four songs that became her latest E.P. When We Lived In The Crook Of A Tree. This was just the latest release from Jo Mango, who many people will know from being a member of Vashti Bunyan’s band.
It was back in 2005, that Glasgow based Jo Mango released her debut album, Paperclips and Sand. This was the debut album from Scotland’s latest folk singer, who had spent the least few years finishing her musicology doctorate. Released on Lo-Five Records, Paperclips and Sand introduced us to a talented singer, songwriter and multi-instrumentalist.
Not only does Jo write her own songs, but plays a whole host of instruments. A true multi-instrumentalist, Jo plays harmonium, kalimba, omnichord, piano and glock. If she’d been born a generation earlier, Jo could’ve been a member of the Penguin Cafe Orchestra. Then there’s Jo’s voice. What a voice it is. Enchanting, beguiling, fragile, vulnerable and whispery, it demands you listen. Having released her debut album, Jo split her time between being a member of Vashti Bunyan’s band, finishing her doctorate and her solo career.
Two year later, Jo released her single My Lung, in 2007. Just like Paperclips and Sand, it was released on Lo-Five Records. After that, Jo collaborated with David Byrne in 2007. Then in 2010, Jo released the limited edition The Moth and The Moon on Lo-Five Records. The following year, was a busy year for Jo. She worked with Glasgow based Teenage Fanclub, Devendra Banhart and Coco Rosie during 2011. In 2012, Jo worked with another another Scottish band, Admiral Fallow. That year, Jo released her sophomore album Murmuration.
Murmuration was released on Olive Grove Records. Producing Murmuration, was Adem Ilhan, who Jo knew from her time touring with Vashti Bunyan. On its release in November 2012, Murmuration received critical acclaim. Critics were enchanted by her voice and the way she delivered her cerebral, thoughtful lyrics. Then there’s the eclectic choice of instruments that feature on Murmuration. This was a winning combination. A month later, Jo was asked to support Laetitia Sadlier of Sterolab. Within a month, she’d penned and recorded what became her latest E.P. When We Lived In The Crook Of A Tree.
The songs on When We Lived In The Crook Of A Tree, are based upon Angela Carter’s Book Of Fairy Tales. This famous book was the perfect inspiration for Jo. An eclectic collection of enthralling stories, they gave birth to the four songs that became Jo Mango’s When We Lived In The Crook Of A Tree E.P. which I’ll tell you about.
Opening When We Lived In The Crook Of A Tree is the title-track. Stabs of piano provides a melancholy backdrop for Jo’s vocal. Her worldweary vocal paints pictures. Memories come flooding back. With a sense of sadness she sings “we used to hide when the bailiffs came.” You sense she’s seen too much too young. As a result, she’s old, wise and weary before her time. What’s obvious is the bond between her mother and her. That’s unbreakable, unlike her bond with the tree they lived and hid in. Jo’s had enough of it. It brings back memories, memories best forgotten, Wistfully and hopefully, she sings: “cut it down now.” Meanwhile, a melancholy arrangement takes shape, all the time tugging at your heartstrings, just like Jo’s vocal has.
Seasonless opens with the unmistakable sound of a harmonium. Perfectly, it sets the scene for Jo’s vocal. Tender, thoughtful and wistful describes her vocal. As the arrangement meanders along, slowly and gradually revealing its secrets. Similarly, Jo unburdens herself. There’s a fragility and vulnerability in Jo’s vocal. She’s almost despairing and heartbroken. It’s as if her life is almost over. This is apparent when she sings: “everything exhausts me, as I sink into the earth.” Accompanying her is a mournful arrangement which envelops her vocal and proves the perfect, potent and poignant foil for it.
Drums are beaten, while percussion and guitars combine as Send in the Crows unfolds. Jo’s vocal is higher. The despair and despondency of the previous track is gone. Airy and ethereal, her vocal is captivating and enchanting. As she sings, the song sounds like a fusion of a nursery rhyme and traditional folk music. Full of imagery, imagery and words unspoken, the crow becomes a messenger, but what of? Is it the bringer of bad luck as is so often the case. Similarly, is everything is as it seems, or is there a darkness to the slightly surreal lyrics? That’s what makes this such a bewitching track.
Take Your Medicine closes When We Lived in the Crook of a Tree. A myriad of percussive delights and a glock usher in Jo’s thoughtful vocal. Straight away, she’s painting evocative images. Close your eyes and you can see the “blackened land” Jo is singing about. Then as she song unfolds, a darkness descends as she sings “he took the medicine.” She makes it sound like a punishment for a betrayal. As Jo sings the lyric: “I drank your kindness down,” she sounds both grateful and angry. It’s as if she’s saying this is what we had, and now look what we are. There’s a twist in the tale though. She sings: “lift her high and shake the dust of her desire.” This is just the latest chapter in what sounds like a turbulent relationship that’s gone badly wrong.
For anyone yet to discover Jo Mango’s music, When We Lived in the Crook of a Tree is the perfect starting place. It’s the introduction to another of Scotland’s best kept musical secrets. When We Lived in the Crook of a Tree features some if the most beautiful music I’ve heard for a long time. Best described as ethereal, bewitching, captivating and haunting, the four tracks only last nine minutes, but believe me, they make a lasting impression.
Based upon Angela Carter’s Book Of Fairy Tales, this is cerebral, intelligent music. Full of symbolism and imagery, there’s a surreal quality to some of the lyrics. Everything’s not what it seems. Far from it. It’s like a lysergic musical journey. Best described as a musical hall of mirrors, When We Lived in the Crook of a Tree is full of nuances, subtleties and surprises. It’s also music that’s enchanting and ethereal.
Sounding not unlike a mixture of Katrine Polwart, Jerry Burns and Suzanne Vega, Jo Mango is an artist who deserves widespread critical acclaim and commercial success. Maybe that will come. After all, Jo has only released two albums. When We Lived in the Crook of a Tree which was recently released on Olive Grove Records is a reminder, if any was needed, that Jo Mango is a hugely talented artist.
JO MANGO-WHEN WE LIVED IN THE CROOK OF A TREE.
PHAROAH SANDERS-ELEVATION.
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.
Recorded in September 1973, with two different bands accompanying him, Elevation was the first album Pharoah’s recorded since he returned to the West Coast. ABC Records who owned Impulse, decided to move the label back to Los Angeles from its New York base. Elevation was a homecoming for Pharoah Sanders.
Produced by Ed Michels, who was chosen to replace Bob Thiele in 1969, Elevation was another album of spiritual jazz from Pharoah Sanders. Elevation which was recently released by Sounds Of The Universe, an imprint of Soul Jazz Records was Pharoah Sanders’ penultimate album for Impulse. Love In Us All was Pharoah’s final album for Impulse and marked the beginning of a turbulent time in Pharoah Sanders’ life. That was all to come. Pharoah Sanders was enjoying one of the most productive period in his career. It seemed he could do no wrong. An innovator, he was one of the jewels in Impulse’s crown. You’ll realise that when I tell you about Elevation. Before that, I’ll tell you about Pharoah Sanders’ career.
Born in Farrell Sanders, in Little Rock, Arkansas, in October 1940, Pharoah Sanders’ career began in Oakland, California. That’s where he made his professional debut. A tenor saxophonist, played in local blues and R&B bands. That’s where Pharoah developed and honed his distinctive style. As the fifties drew to a close, Pharoah wanted to widen his horizons. So he headed to New York.
Initially, Pharoah’s time in New York wasn’t the happiest of his life. He was homeless, reduced to sleeping on the streets, under stairs or just about anywhere warm and dry. With his clothes reduced to rags, many a lesser man would’ve headed home. Not Pharoah Sanders. Luckily, he caught a break when he met Sun Ra.
Not only did Sun Ra give Pharoah a place to stay and bought him some new clothes, but brought him into his band. This was just the start of Pharoah Sanders’ career. Then in 1964, Pharoah released his debut album Pharoah’s First, on ESP Disk. A year later, Pharoah joined John Coltrane’s band, where he came to the attention of a much wider audience.
It was during the two years he spent as a member of John Coltrane’s band, that he perfected his sheets of sound technique. Once heard, it’s never forgotten. Best known for his overblowing, harmonic and multi-phonic techniques, Pharoah was the perfect addition to ‘Trane’s band. Pharoah played on albums like Ascension, Meditation and Om. Playing alongside ‘Trane was a musical apprenticeship worth its weight in gold. Sadly, Trane’s career was cut short, when he died in July 1967, aged just forty. Having learnt from the master, Pharoah returned to his solo career.
During his time playing with ‘Trane, Pharoah had released two solo albums,1965s Pharoah and 1966ss Tauhid, his debut for Impulse. It was at Impulse where Pharoah would release the best music of his career. Just like before, Pharoah split his time between his solo career and accompanying some of the giants of jazz. Among the artist Pharoah accompanied, were Alice Coltrane, McCoy Tyner and Don Cherry. Pharoah collaborated with Terry Callier, Sun Ra and Ornette Coleman. From 1969 right through to 1974, Pharoah was at his creative peak, whether as a bandleader or collaborator.
From 1969 right through to 1974, Pharoah was releasing two solo albums a year. In 1969 he released Karma, an album of spiritual jazz. A fusion of avant-garde, free jazz, Indian and African music, it seemed Pharoah trying to fill the void left by the death of ‘Trane. Just like ‘Trane’s album Pharoah played on, Karma featured music that was innovative and progressive. So did Jewels Of Thought, released in October 1969. Featuring an all-star band that included Leon Thomas, Lonnie Liston Smith, Cecil McBee and Idris Muhammad, Jewels Of Thought, is an often overlooked album in Pharoah’s back-catalogue. Jewels Of Thought marked the end of the sixties for Pharoah. Little did he know he was about to enter one of the most productive and creative periods of his career.
1970 saw Pharoah release one of his most ambitious and spiritual albums. Summun Bukmun Umyun or Deaf Dumb and Blind, was influenced by African music. The album is an exploration of faith, spiritual truth and enlightenment. Deaf Dumb and Blind are the “non-believers,” those who have rejected faith. Joining Lonnie Liston Smith and Cecil McBee were Gary Bartz and Woody Shaw. They played their part in what was an album that was hailed as ambitious and groundbreaking. Sadly, critics didn’t say the same thing about the followup, the underrated Thembi, one of three albums Pharoah released during 1971
Thembi, which was released in 1971, saw a change in style from Pharoah. Gone were the lengthy jams. In their place were short. breezy and uptempo tracks. These tracks see Pharoah’s band deploy an eclectic selection of instruments. Recording took place in two sessions. This resulted in the criticism that Thembi didn’t flow. Instead, it seemed like parts of two albums. That’s somewhat unfair. After all, Thembi saw embark on a transition. Granted it was still a fusion of avant-garde, experimental and free jazz, but these musical journeys were much more concise and just as captivating as previous albums. So was the other album Pharoah released during 1971, Black Unity.
Black Unity was released in December 1971. It marked the end of era. Pharoah decided to change tack. He decided to innovate rhythmically. Concentrating on the groove, he brought onboard younger musicians, who could fuse Afro-beat, funk, free jazz, avant-garde and experimental. His front line played their part. They can be heard innovating, pushing musical boundaries to their limits, sometimes, even way beyond. The result was a musical melting pot, that produced a mesmeric, hypnotic, genre-melting, groove-laden album. This was one of Pharoah’s greatest albums. Having concentrated on his solo career for much of 1971, where he released two studio albums and his Live album, Pharoah briefly, returned to being a sideman.
The other album Pharoah featured on during 1971, was Alice Coltrane’s Journey In Satchidanada. A year later, Pharoah also played on Alice’s 1972 album Ptah, The El Daoud. It featured Pharoah and Joe Henderson. Along with drummer Ben Riley and bassist Ron Carter, the result was truly, space-age, genre-melting album. Alice Coltrane pushed musical boundaries to breaking point.
1972 wasn’t the most productive period of Pharoah’s career. His only release was Wisdom Through Music. It was well received by critics, who forecasted this would be the start of a golden period for Pharoah. How wrong they were.
Village Of The Pharoahs was released during in April 1974. It had been recorded at sessions held during 1971, 1972 and 1973. There’s not the same spontaneity. This was an album that didn’t flow, As a result, Village Of The Pharoahs was an album that critics didn’t take to. Featuring a brand new band, it didn’t match the quality of previous albums. Pharoah only played tenor saxophone on just one track. His weapon choice is the soprano saxophone. He also adds some vocals on Village Of The Pharoahs, which stylistically, was like a return to his earlier album. Thankfully, there was a return to form from Pharoah Sanders on Elevation, his penultimate album for Impulse.
Elevation features five tracks. They’re a mixture of four live tracks and one recorded in the studio. Each track was written by Pharoah Sanders. Recording took place during two sessions. The title-track, Ore-Se-Rere, The Gathering and Spiritual Blessing were recorded live at the Ash Grove, Los Angeles, on 9th September 1973. Pharoah was accompanied by a rhythm section of drummer Michael Carvin and bassist Calvin Hill. Joe Bonner played piano, cow horn flute and percussion. Jimmy Hopps and John Blue added percussion, while Lawrence Killan played congas and bell tree. This lineup played on Greeting To Saud (Brother McCoy Tyner). It was recorded a week later, on 13th September 1973, at Wally Helger Recording, San Francisco. These five tracks became Elevation, which was released in 1973.
On the release of Elevation, this fusion of a Afro-beat, avant-garde, free jazz, post bop and progressive jazz was well received. It didn’t receive the same critical acclaim as previous album. That’s no surprise. Free jazz was no longer as popular. Even ABC Records realized this and closed Impulse a year later, in 1974. What didn’t help, was that Elevation was neither a live, nor studio album. Instead, it was a hybrid. That puzzled critics? However, forty years after Elevation’s release, it’s time it was reappraised. Is Elevation one of the highlights of Pharoah Sanders’ career? That’s what I’ll tell you.
Opening Elevation is the title-track. It’s one of the four tracks recorded live. A blazing, broody tenor saxophone takes centre-stage, before being enveloped by bells and percussion. Meanwhile, the piano finds a groove and exploits it to its fullest, as the rhythm section provide a shuffling beat. Pharoah’s saxophone is akin to a plaintive cry. Mournful, full of sorrow, it’s a cathartic outpouring from a troubled soul. As if having exercised his demons, Pharoah plays with much more hope and freedom. Then all of a sudden the demons and turmoil comes to the surface. This results in a dramatic, frantic arrangement. Free jazz, avant-garde and experimental music combine. Instruments are almost punished. Joe Bonner pounds his piano in protest. What follows is not unlike Primal Scream therapy. It’s the equivalent of musical exorcism, with demons being expunged. Later, as if spent, a sense of calm is restored, the band almost spent, find a much mellower, melodic sound. Even then, demons are lurking just below the surface ready to surprise you.
Straight away, Greeting To Saud (Brother McCoy Tyner) has an Eastern feel. Waves of wistful piano are enveloped by percussion, tamboura and bells. Pianist Joe Bonner has a leading role. Flourishes of piano grab your attention. His modal piano playing is crucial to the track’s success. Pharoah plays a supporting role. He adds subtle, understated wailing, pleading and atmospheric saxophones. Their otherworldly sound adds the finishing touch to Elevation’s best track.
Again it’s Joe Bonner’s modal piano playing that’s at the heart of Ore-Se-Rere as it unfolds, He’s joined by a myriad of percussion, bells and drums that have an African influence. Chants and bursts of vocals are added, as this infectiously catchy track reveals its subtleties and nuances. An impassioned, heartfelt and joyous, vampish vocal scats above the arrangement. You’re always awaiting Pharoah’s saxophone. You wait and wait. It never arrives. Instead, he’s happy to let his band take centre-stage and allow them to showcase their considerable talents on this infectious and joyous call to dance.
Stabs and flourishes of piano open The Gathering. Joe Bonner takes charge, playing confidently and stridently. A myriad of percussion, bells and the rhythm section accompany him. They match Joe for power. Pharaoh adds a vampish vocal. It’s best described as a scat. Then there’s his saxophone playing. He plays tenderly and thoughtfully. You find yourself enthralled by his playing as it drifts in and out of. The rest of the band play with power and freedom. They’re very much the stars of the show. That’s until Pharaoh blows his saxophone. Veering between improvisational and a much more traditional style, he gives a virtuoso performance. Often the music is sweet, melodic and mesmeric, other times dramatic, bold and challenging. Like the pioneering jazz colossus he is, Pharaoh steals the show, helped no ended by Joe Bonner. No wonder at the end of this epic track, they received the rousing reception they did. It’s richly deserved.
Closing Elevation is Spiritual Blessing. It has a challenging, Eastern sound as the track unfolds. A crescendo of percussion and Pharoah’s saxophone intertwine. Gradually, the arrangement takes on a melodic sound. That’s because it sounds as if Pharaoh’s performance is an unburdening of his soul. Wistful and melancholy describes his playing. Around him the droning arrangement rises and wraps itself around his saxophone. They’re an unlikely ying and yang. Although they work well together, I long to turn down the faders on everything but Pharoah’s solo. Only then can let its ethereal beauty wash over me. That’s not possible though. However, Pharoah’s playing on this track is some of his best on Elevation and an example of why Ornette Coleman referred to Pharoah as “probably the best tenor player in the world.”
That’s high praise indeed. However, Ornette Coleman had been around and played with some of the giants of jazz. This includes the legendary John Coltrane, who brought Pharoah into his band in 1967. Pharoah spent the next two years in ‘Trane’s band. Indeed, Pharoah was in ‘Trane’s band right up until his death. That was part of Pharoah’s musical apprenticeship. So was working with Alice Coltrane, McCoy Tyner and Don Cherry, plus collaborations with Terry Callier, Sun Ra and Ornette Coleman. Working with such venerable musicians was a musical education. After that, Pharoah would go on to release some of the best music of his career.
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.
PHAROAH SANDERS-ELEVATION.
HOLGER CZUKAY-ON THE WAY TO THE PEAK OF NORMAL.
HOLGER CZUKAY-ON THE WAY TO THE PEAK OF NORMAL.
Holger Czukay’s name is synonymous with Can, the group he cofounded in 1968. Soon, Can went on to become one of the most innovative, influential and groundbreaking groups in musical history. Their music is best described as a fusion of ambient, avant-garde, electronic, experimental, industrial, jazz, psychedelia and rock. Known for their ability to improvise, Can became famous for what they referred to as spontaneous composition.
When Can headed into the studio they improvised. Feeding off each other, genres and ideas melted into one. It was spontaneous and off-the-cuff. Can played with freedom and in doing so, pushed musical boundaries to their limits and sometimes, beyond. Afterwards, the results would be edited and the result would be some of the most exciting music released between 1969 and 1979, when Can split-up.
In total, Can released eleven albums between 1969s Monster Movie and 1979s Can. During this period, Can released classic albums like Tago Mago, Ege Bamyasi, Future Days and Soon Over Babaluma. This was music that’s bold, challenging, innovative, inventive and influential. Expecting the unexpected, a new Can album featured exciting, innovative and progressive music, where a fusion of musical influences and genres became one. For ten years and eleven albums, Can released cutting-edge music. Sadly, in 1979, Can split-up. Thankfully, they reconvened in 1989 for Rite Time.
After Can split-up in 1979, Holger Czukay returned to his solo career. Holger released Movies in 1979. This was the long-awaited followup to 1969s Canaxis 5. Then two years later, as a new decade took shape, Holger Czukay released On The Way To The Peak of Normal, which will be released on Groenland Records on 8th December 2013. Before I tell you about On The Way To The Peak of Normal, I’ll tell you about Holger Czukay’s career up until 1981s On The Way To The Peak of Normal.
Holger Czukay was born in March 1938, in what was then the Free City of Danzig. Nowadays, it’s known as Gdansk. As war broke out, Holger and his family became refugees. This impacted upon his education. Like so many displaced children, Holger’s education suffered. Despite this, Holger managed to get a job in a radio repair shop. Not only did he learn how to repair electrical equipment, but became fascinated by radio and the opportunities it offered. This would prove crucial to Holger Czukay’s later career. Before that, Holger served his musical apprenticeship.
For a three year period between 1963 and 1966, Holger Czukay was privileged to study music under the legendary Karlheinz Stockhausen. A true pioneer, Karlheinz was way ahead of time. He wasn’t just a visionary in terms of electronic music, but was fascinated by aleatoric music, where some element of piece is left to chance. Granted there will only be a certain number of outcomes, but the musician has to choose the outcome they believe is correct. Serialism was another subject Karlheinz was interested in. With serialism, a series of values are used to manipulate musical elements. This form of composition fascinated Karlheinz. So did musical spatialism, which would influence Can. Karlheinz was an evangelist, encouraging his pupils to investigate, examine and scrutinise each of these subjects. So it’s no surprise that once Holger had finished studying, he became a musical teacher.
Having settled into life as a music teacher, Holger was enjoying life as a teacher. Then when he heard The Beatles’ I Am A Walrus in 1967, he was captivated by this psychedelic rock single. With the innovative use of bursts of radio and the experimental sound and structure, Holger went in search of similar music. Soon, Frank Zappa and Velvet Underground became favorites of Holger. Inspired by what he’d heard, Holger decided to form his own band in 1968…Can.
During his time studying under Karlheinz Stockhausen, one of Holger’s fellow pupils was Irmin Schmidt. After graduating, Irmnin headed to New York, where he spent time with avant-garde musicians like Steve Reich, Terry Riley and La Monte Young. Soon, Irmin was aware of Andy Warhol and Velvet Underground. This inspired him to form his own band when he returned home to Cologne.
In Cologne, Irmin a pianist and organist formed Can with American flautist David C. Johnson and bassist Holger Czukay. Up until then, the trio had exclusively played avant-garde classical music. Now their ambitions lay beyond that. Their influences included garage, rock, psychedelia, soul and funk. So they brought onboard three new members of the group which started life as Inner Space, and then became The Can. Eventually, they settled on Can, an acronym of communism, anarchy, nihilism.
The first two new additions were guitarist Michael Karoli and drummer Jaki Liebezeit. Vocalist and New York-based sculptor Malcolm Mooney joined the band midway through 1968. By then, they were recording material for an album Prepare To Meet Thy Pnoom. Unfortunately, record companies weren’t interested in the album. So the group continued recording what would become their debut album Monster Movies. However, David C. Johnson left the group at the end of 1968. He was disappointed at the change in musical direction. Little did he realise he’d lost the chance to be part of a groundbreaking band Can.
Monster Movies which was released in August 1969, marked the debut of Can. It started their career as they meant to go on. A groundbreaking, genre-melting fusion of blues, free jazz, psychedelia, rock and world music, Monster Movies has a Velvet Underground influence. It’s as if Can have been inspired by Velvet Underground and pushed musical boundaries to their limits. Experimental, multilayered and an example of Can’s spontaneous composition and editing skills, Monster Movie wasn’t just the album that launched Can’s career, but saw the term Krautrock coined. The founding father’s of Krautrock were Can, lead by Holger Czukay.
1969 saw the release of another Holger Czukay album. Credited to the Technial Space Composer’s Crew, Canaxis 5 was a collaboration between Holger and Ralf Dammers. Canaxis 5 is an often overlooked album, which features two lengthy tracks. It shows two innovative musicians pushing the musical envelop, as Can would continue to do.
Released in 1970, Soundtracks, was Can’s sophomore album. Essentially, Soundtracks is a compilation of tracks Can wrote for soundtracks. It’s the album that marked the departure of vocalist Malcolm Mooney. Replacing him, was Japanese busker, Damo Suzuki. He features on five of the tracks, contributing percussion and vocals. The addition of Damo wasn’t the only change Can were making.
Soundtracks was a coming of age for Can. It marked a move away from the psychedelic jams of Monster Movie and a move towards their classic sound. That saw the music becoming much more experimental and avant-garde. The music took an ambient, meditative, mesmeric and thoughtful sound. This marked the beginning of what became known as Can’s classic years, when albums like Tago Mago, Ege Bamyasi, Future Days and Soon Over Babaluma were released.
Tago Mago was released to critical acclaim in 1971. This was the start of a golden period for Can. They could do no wrong. Kenji Damo Suzuki had joined the band officially. Now a permanent member of Can, the band spent a year living in a castle near Cologne recording Tago Mago. Songs started as lengthy jams and improvised pieces. Then Holger worked his magic. He edited them and they became mini masterpieces.
Seven songs featured on a double album released in February 1971. On Tago Mago’s released, it was hailed as their best album yet. Jazzier with an experimental sound, the music has a mysterious, mesmeric sound. Innovative, genres and influences melted into one on Tago Mago. Multilayered, nuances, subtleties and surprises reveal themselves. Since its release, several generations of musicians have been inspired by Tago Mago, a true Magnus Opus, that belongs in every record collection. So does the followup Ege Bamyasi.
Can were on a roll. It seemed they could do no wrong. Ege Bamyasi was released in November 1972 to critical acclaim. Recorded in a a disused cinema, which the band lived in, the result was an album that was a fitting followup to Tago Mago. Just like its predecessor, it’s an essential part of any self respecting record collection. A fusion of jazz, ambient, world music, traditional music and rock, Ege Bamyasi saw Can continue to innovate and influence musicians and music lovers. As of another critically acclaimed classic album wasn’t enough, Can enjoyed their first hit single.
Spoon was chosen as the single from Ege Bamyasi. It reached number six in Germany. That was helped no end, by the single being used as the theme to a German thriller Das Messer. It seemed nothing could go wrong for Can.
That seemed the case when Can released Future Days, in August 1973. It marked a change of direction for Can. Their music moved in the direction of ambient music. The tracks especially, demonstrate that, Future Days and Bel Air. The move towards ambient music may have surprised some Can fans. However, Brian Eno was just one artist pioneering ambient music. This move towards ambient music must have pleased Holger’s guru Karlheinz Stockhausen. He must have looked on proudly as Can released the third of a quartet of classic albums. The final album in this quartet was released in 1974.
Soon Over Babaluma marked the end of Can’s golden period. It was the end of a period where they were releasing some of their most innovative and groundbreaking music. There was a change of direction on Soon Over Babaluma. Can were without a vocalist. Despite this, when Can released Soon Over Babaluma in November 1974, it received praise from critics. With a myriad of beeps, squeaks and sci-fi sounds, Soon Over Babaluma is like musical journey into another, 21st Century dimension. A musical tapestry where layers of music are intertwined during five tracks on Soon Over Babaluma, which brought to a close the most fruitful period of Can’s career.
Following the “golden quartet,” Can didn’t go into decline. Instead, Can continued to reinvent themselves and their music. Landed was released in September 1975. It had been recorded between February and April 1972. It was the first Can album to be released on Virgin Records. Gone is the ambient sound of Soon Over Babaluma. Only Unfinished on Landed has an ambient influence. Instead, Landed has a poppy, sometimes glam influence. With uptempo, shorter songs, Landed was a much more traditional album. Surely Can weren’t conforming?
Flow Motion was Can’s eight album. Again, Flow Motion was an album that drew inspiration from everything from funk, reggae, rock and jazz. Released in October 1976, Flow Motion saw another change. The album featured lyrics written by Peter Gilmour. This was the first time someone outside the band had written for the band. However, this resulted in Can’s first UK single I Want More. It was later rerecorded by Fini Tribe and then Italo disco group Galaxis. With what was just their second hit single in seven years, maybe Can were about to make a commercial breakthrough?
Sadly, that wasn’t to be. Saw Delight which was released in March 1977, wasn’t the commercial success many people forecast. That’s despite embracing world music. To add a percussive element, Holger added a myriad of sound-effects. This was Holger at his groundbreaking best. Experimental sounds including a wave receiver was used. Holger didn’t play bass on Saw Delight. Instead, he brought onboard former Traffic bassist Rosko Gee and percussionist Rebop Kwaku Baah, another member of Traffic.
Despite the all-star lineup and a bold, progressive and experimental album, Saw Delight wasn’t a commercial success. It was well received by critics. The problem was, Saw Delight was way ahead of its time. If it had been released in the eighties, like albums by Paul Simon or Peter Gabriel, it would’ve been a bigger commercial success. Sadly, by then Can would be no more.
Out Of Reach which was released in July 1978, proved to be a prophetic title. After all, commercial success always seemed to elude Can? This would prove to be Can’s most controversial album. So much so, that they disowned Out Of Reach. On Out Of Reach Holger was left toadd myriad of sound-effects. Bassist Rosko Gee and percussionist Rebop Kwaku Baah of Traffic returned. They were part of the problem.
Unable to play with the necessary freedom Can were famed for, the two ex-members of Traffic stifled Can. Rebop’s percussion overpowers Jaki’s drums, which have always been part of Can’s trademark sound. At least Michael’s virtuoso guitar solos are a reminder of classic Can. A nod towards Carlos Santana, they showed Can were still capable of moments of genius. There wouldn’t be many more of these. Can would breakup after their next album.
Can was released in July 1979. Holger didn’t play on Can. Instead, edited the album. That was his only involvement. The two ex-members of Traffic were still present on Can. They played their part in what would prove to be a farewell for Can. What was their final album to their 1989 reunion album Rite Time, didn’t replicate the success of their golden quartet. Shortly afterwards Can split up and Holger’s solo career began.
Movies, the first album Holger released since Can split-up, saw Holger play everything from keyboards, bass, synths and guitar. Other members of Can made guest appearances on the four tracks. Rejuvenated after playing a supporting role in Can, Holger pushed musical boundaries. Fusing musical genres, Movies was released to widespread critical acclaim. Revitalized and rejuvenated Holger Czukay was back. Two years later, he released On The Way To The Peak Of Normal which will be released on Groenland Records on 8th December 2013.
On The Way To The Peak Of Normal featured five tracks. Four of them, Ode To Perfume, On The Way To The Peak Of Normal, Two Bass Shuffle and Hiss ‘N’ Listen were written by Holger. The exception was Witches Multiplication Table, which was written by Conny Plank. These five tracks were recorded at Inner Space Studio, Cologne.
At Inner Space Studios, Holger played keyboards, vocoder, organ,bass, harmonica, congas, synths and guitar. A number of musicians made guest appearances. Most played just on one or two tracks. This included Can drummer Jaki Liebezeit, bassists Jah Wobble and Uli Putsch and guitarist Uwe Jahnke. Conny Plank played synth violin, Jurgen Wolter organ and Harry Rag added vocals on On The Way To The Peak Of Normal. These five tracks became On The Way To The Peak Of Normal, which was released in 1981.
Just as had been obvious on the release of Movies, two years earlier, On The Way To The Peak Of Normal a found a rejuvenated Holger ready to innovate and create music that was groundbreaking and capable of challenging and pushing musical boundaries. Hailed as a return to form from Holger, On The Way To The Peak Of Normal marked a new era in his career.
Ode To Perfume opens Side One of On The Way To The Peak Of Normal. A fourteen minute soundscape unfolds. Bursts of guitar give way to rolls of drums and scorching, searing guitar solos. Washes of synths ring out, while a vocal is sung through a vocoder. Then there’s the pulsating bass, sound effects and keyboards. The arrangement assails and surrounds you. Layers of music reveal their hidden secrets and depths. Subtleties and nuances unfold. With each listen something new appears. Grandiose, ethereal and symphonic, the music’s inherent beauty and drama inspires, lifts and tugs at your heartstrings. It’s music you want to tell people about, evangelize about and introduce to a wider audience. That’s how good this opus is.
Opening Side Two of On The Way To The Peak Of Normal is the title-track. Haunting and broody, describes the introduction. A faint, whispery, vocal that best describes as eerie and sinister vocal joins broody, moody bass. In the distance, a crystalline guitar almost dances. Atmospheric and evocative describes this captivating combination. As the arrangement meanders along, washes of Hammond organ are surrounded by a myriad of sound effects and percussion. All of a sudden, a funky slap bass is unleashed, while searing, rocky guitars compete for your attention. So do bursts of Holger’s radio frequencies. By now, genres are melting into one. Ambient, electronica, funk, jazz, Latin, psychedelia and rock are thrown into the melting pot. Together, they create a dramatic, atmospheric and evocative soundscape, that’s innovative and bold, just as you’d expect from Holger Czukay.
Guitars reverberate as Fragrance unfolds. Like a 21st Century, space age symphony, synths and vocoder combine with the rhythm section and crystalline guitars. Veering from bursts of dramatic sci-fi funky to a much more understated, meandering arrangement, it’s a track that pushes musical boundaries. To do that, Holger combines P-Funk, electronica, jazz, rock, psychedelia and ambient. It’s best described as a track that’s genre-melting, mesmeric, hypnotic, dramatic and understated.
Witches Multiplication Table is the final track on this version of On The Way To The Peak Of Normal. Hiss ‘N’ Listen is omitted. So this haunting, eerie track closes the album. As was often the case on Can albums, space is used effectively. Just like Can, there’s a free jazz influence. That comes from the braying horns. They’re the perfect foil to a haunting vocal and are part of a band who are in the groove. They exploit this groove fully. Whether it’s the constant churning bass, tormented horns, shakers or sound effects, they’re ying to the vocal’s yang. They also play their part in a haunting, eerie and atmospheric track that’s a fitting finale to On The Way To The Peak Of Normal.
Although On The Way To The Peak Of Normal was released to critical acclaim, it wasn’t a commercial success. Granted it found an audience, but not the audience it deserved. On The Way To The Peak Of Normal was more of an underground album, rather than a widespread commercial success. It seemed that history was repeating itself all over again. Just like Can, the group he cofounded, Holger Czukay didn’t enjoy the commercial success his music deserved. That meant Holger Czukay and Can were in good company.
Holger Czukay and Can followed in the footsteps of a whole host of innovative artist who didn’t enjoy the commercial success their music enjoyed. Among them are Velvet Underground and Frank Zappa, two artists who influenced Holger Czukay and Can. A small crumb of comfort for Holger Czukay is that both the music he recorded with Can and his solo albums, including On The Way To The Peak Of Normal went on to influence several generations of musicians. Why?
Well, the music on On The Way To The Peak Of Normal eclectic, genre-sprawling and ambitious. It’s music that pushes boundaries to their limits, and sometimes, beyond. It’s a fusion of ambient, avant-garde, electronic, experimental, funk, industrial, jazz, psychedelia and rock. Genre-melting describes an album of bold, challenging, innovative, inventive and influential music. Expecting the unexpected on On The Way To The Peak Of Normal, Holger Czukay’s third solo album, which will be released on Groenland Records on 8th December 2013. It features exciting, innovative and progressive music, where a fusion of musical influences and genres became one.
Whilst innovative is an overused word, Holger Czukay is a truly innovative musician. Whether it was with Can, or on solo albums like On The Way To The Peak Of Normal, Holger Czukay wasn’t afraid to push musical boundaries. In doing so, he fused musical genres. Throwing everything into his musical melting pot, Holger Czukay gave it a stir. The result was On The Way To The Peak Of Normal, a unique, enthralling and captivating album that was way ahead of its time. Indeed, Holger Czukay was way ahead of his time.
Holger Czukay’s career has lasted over five decades. In 1989, Can reunited and they released their farewell album Rite Time. Maybe this was the Rite Time for Can to go their separate ways? They’d been together for twenty years, on and off. They’d released groundbreaking music, music that pushed musical boundaries. Can’s best albums were their golden quartet of Tago Mago, Ege Bamyasi, Future Days and Soon Over Babaluma. After that, Holger returned to releasing solo albums and collaborating with other artists. One of the finest moments of Holger Czukay’s solo career is On The Way To The Peak Of Normal. It features this charismatic, enigmatic and mercurial musician at his best. The forthcoming rerelease of On The Way To The Peak Of Normal, will allow another generation of music lovers the opportunity to discover the music of an innovative and visionary musician Holger Czukay.
HOLGER CZUKAY-ON THE WAY TO THE PEAK OF NORMAL.
LEON THOMAS-SPIRITS KNOWN AND UNKNOWN.
LEON THOMAS-SPIRITS KNOWN AND UNKNOWN.
In 1969, Leon Thomas released his debut album Spirits Known and Unknown for Bob Thiele’s Flying Dutchman Records. This eleven years after he released his “other” debut album. Confused? The story begins in 1958, when Leon Thomas, aged just nineteen years old, signed to RCA Records.
Now signed to RCA, Leon headed into the studio and recorded what should’ve been his debut album. Once the album was completed, RCA decided not to release the album. Disappointing as that must have been, it allow Leon Thomas evolve as a musician and find “his sound.” In the eleven intervening years, Leon Thomas’ was transformed totally. By 1969, when Leon Thomas released his debut album Spirits Known and Unknown for Bob Thiele’s Flying Dutchman Records, Leon was an innovative musician, who embraced free jazz and avant-garde music, producing music that was ground-breaking and genre-melting. Proof of that Spirits Known and Unknown, which was recently released by BGP Records. Before I tell you about Spirits Known and Unknown, I’ll tell you about Leon Thomas’ career.
Leon Thomas was born in East St. Louis, Illinois, in October 1937. From an early age, Leon’s life revolved around music. His parents were avid music lovers and his hometown had a thriving musical scene. Inspired by a blues’ shouters like Big Joe Turner, Leon was a familiar face on the local music circuit. Then when Miles Davis came to town, Leon had a musical awakening
The night Miles Davis played St. Louis, Miles’ band featured John Coltrane. That night, they embraced improvisation and pushed musical boundaries to their extremes. For Leon Thomas, this showed him what was possible musically. Here was musical that was inventive, innovative and influential. So much so, that it inspired Leon to study musical at Tennessee State University.
Having left Tennessee State University, Leon became a familiar face on the jazz circuit. Having signed to RCA in 1958, Leon recorded what should’ve been his debut album. It wasn’t released. After that, When Leon was the vocalist with Count Basie’s band in the early-sixties right through until the mid-sixties. During that time, Leon’s style is best described as traditional blues. However, his style changed when he headed to Los Angeles.
It was is Los Angeles that Leon Thomas embraced free jazz. Already an admirer of improvisation within jazz, free jazz took things further. Even better, Leon met musicians who not only shared similar musical philosophies, but political and social values. This included saxophonist Arthur Blythe, drummer Leroy Brooks and pianist Horace Tapscott. Together, they were the Underground Musicians and Artists Associations. Meeting these three musicians, resulted in Leon finding his real voice. With their help, Leon’s voice became like an instrument. He fused musical influences, with blues, jazz and Afro-beat combining with soul, as Leon’s vocal veered between a scat and yodel. This was unique, avant garde and groundbreaking. Leon Thomas was a pioneer, as he headed to New York, looking for fellow travelers.
By 1967, Leon Thomas had met saxophonist Pharoah Sanders. This was a perfect match for Leon. Here were two groundbreaking musicians. In Pharoah Sanders’ hands, the saxophone was transformed. He’d been a member of John Coltrane’s band, until his death in 1967. After that, he formed his own band. Comprising Leon, pianist Lonnie Liston Smith and Pharoah, this was a band of musical pioneers recorded Pharoah Sanders 1969 album Karma, which was released on Impulse. It featured The Creator Has A Master Plan, which showcased Leon’s unique vocal style. A compelling, spiritual track where Leon yodels and scats his way through the track, it was truly groundbreaking. One man who realized Leon Thomas’ potential was Bob Thiele, founder of Flying Dutchman Records.
Having heard Leon Thomas feature on Pharoah Sanders’ Karma album, Bob Thiele signed Leon to Flying Dutchman Records. Bob realized 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.
For Spirits Known and Unknown, Leon penned three tracks, One, Echoes and Damn Nam (Ain’t Goin’ To Vietnam). Leon and Pharaoh Saunders penned Malcolm’s Gone and cover their classic track The Creator Has A Master Plan. The other two tracks were Ellen May Shashoyan and Horace Silver’s Song For My Father and Let The Rain Fall On Me which was written by Aaron Bell and Carl Huston. These seven tracks became Spirits Known and Unknown.
When recording of Spirits Known and Unknown began, a tight, talented band accompanied Leon. This included a rhythm section of drummer Roy Haynes and bassists Cecil McBee and Richard Davis. Richard Landrum added bongos and Lonnie Liston Smith played piano. Horns came courtesy of alto saxophonist James Spaulding and Pharaoh Saunders on tenor saxophone. Once the seven tracks were recorded, Spirits Known and Unknown was released in 1969.
Released in 1969 to critical acclaim, Spirits Known and Unknown critics heralded Leon as jazz’s future. Hailed not just as innovative and groundbreaking, but soulful, spiritual and full of social comment, Spirits Known and Unknown launched the career of Leon Thomas. You’ll realise why, when I tell you about Spirits Known and Unknown.
Opening Spirits Known and Unknown is The Creator Has A Master Plan. A bass, flourishes of strings and wistful horn combine as this melancholy track meanders into being. Leon’s vocal is tender and wistful. No wonder. The lyrics are idealistic, with “peace and happiness for every man, the creator has a master-plan.” There’s a spiritual quality to Leon’s vocal. Sincere, assured and heartfelt describes his vocal. He seems at peace as he scats, as if imagining this supposed nirvana. Around him percussion, flute and the rhythm section envelop Leon’s vocal. They provide the perfect accompaniment for Leon on what’s a classic track and a song that’s become synonymous with him.
One is a much more uptempo piano lead track. Driven along by the bass, drums add drama as Leon sings about unity and togetherness. Soon, he unleashes a scat and yodel. Delivered at breakneck pace, the band almost struggle to keep up. Somehow, they manage though. When Leon’s vocal drops out, the band take charge over. A blistering, blazing horn solo takes charge, while piano and percussion play below and around it. As soon as Leon returns, he launches himself into the track, his vocal becoming a breathtaking scat, where soul, jazz and free jazz melt into one. Throughout the song, the message remains the same, unity and togetherness, delivered with power, passion and sincerity by Leon.
Bells chime, a piano adds a melancholy twist and a flute floats above the arrangement to Echoes. Space is left within slow, thoughtful arrangement. It frames Leon’s vocal. Delivered tenderly and thoughtfully, Leon paints pictures, singing: “there is a place, where love is king, where Echoes shine and reflections ring.” Full of imagery, Leon uses his vocal like an artist uses his palette. Pictures form in your mind’s eye. Meanwhile the band accompany Leon, his vocal veering between soulful and heartfelt, to an impassioned scat. This brings his lyrics to life. They’re a poetic, hypnotic and mesmeric quality and win you over by their beauty and ethereal quality.
Song For My Father gradually unfolds, meandering and shuffling. A bass takes centre-stage, while a piano, percussion and drums provide the backdrop for Leon’s vocal. His vocal is deeper, slower and delivered tenderly, and with care. Soon, as the drama builds, Leon unleashes a vampish scat. His voice becomes an instrument. He uses his voice like a horn, recreating the cry and bray of a horn, Soon, he’s improvising, his voice a cathartic outpouring of emotion. It’s moving and powerful, as if Leon’s opening the window to his soul. As he does, everything from soul, jazz, free jazz and soul jazz seamlessly become one and create one of the most moving moments of Leon’s time at Flying Dutchman Records.
As Damn Nam (Ain’t Goin’ To Vietnam) opens, it’s like an old-fashioned slice of slinky jazz. The horn rasps and dances above the rhythm section. It’s more like something you’d expect from the late-fifties. It’s the bluesy horn and piano that lead to this comparison. Inspired by blues shouter Big Joe Turner, delivers lyrics full of social comment. His voice is full of anger and frustration. It’s almost as if Leon is affronted by being asked to go to Vietnam? What follows, is an eloquent protest song. Leon defiantly sings: “you can throw me in jail, but I’m not going to Vietnam,” against an arrangement that swings. This results in a hugely underrated and often overlooked protest song.
Drama builds and builds as Malcolm’s Gone unfolds. Horns bray and blaze, the flute protests, while drums add rolls of drama and flourishes of flamboyant piano set the scene. Then as if spent at the loss of Martin Luther King, the band pass the baton to Leon. His vocal is full of sadness and hurt as he sings: “I know he’s gone, but he’s not forgotten.” Disbelief fills voice. It’s as if he’s asking why, how and who. Behind him, the band stir and with a vocal that’s full of emotion and grief I know he died, just to set me free.” Then as Leon sings: “”yes, Malcolm’s gone, but he’s not forgotten, he died to save me, to gave me my dignity,” a heartfelt homage to Malcolm Luther King unfolds. With one of his trademark vocals, Leon gives thanks to the life of a man who fought for justice, equality and equity. Quite simply, what follows, is a truly moving outpouring of gratitude, grief and thanks.
Let The Rain Fall On Me closes Spirits Known and Unknown. It has a melancholy, understated sound. Leon’s tender, wistful vocal is accompanied by a flitting flute, pensive bass and piano. They provide the perfect backdrop for Leon’s vocal as he rolls back the years, becoming an old style jazz singer. Similarly, his band roll back the years, enjoying creating an old school jazzy sound. Lead by the meandering piano the band take centre-stage, before passing the baton to Leon who delivers one of his finest vocals on Spirits Known and Unknown, where we hear another side to his music.
Innovative, influential and way ahead of the musical curve, describes Leon Thomas. As the music on Spirits Known and Unknown shows, Leon Thomas was way ahead of his time. Here was a musician determined to reinvent the musical wheel. Maybe that was his problem, and why his music wasn’t the huge success it deserved to be. Leon embraced free jazz and avant garde music, pushing musical boundaries to their limits and beyond. Despite enjoying critical acclaim, Leon Thomas never enjoyed the commercial success enjoyed by John Coltrane and Miles Davis, who influenced Leon’s career.
Back when Leon Thomas was growing up, he saw Miles Davis’ band. That night he was lucky enough to see the classic lineup, which featured John Coltrane. After that, Leon’s approach to music changed. Before that, blues shouters like Big Joe Turner influenced him. After seeing Miles live, Leon Thomas embraced improvisation. His route to jazz pioneer wasn’t straightforward. Far from it.
Having established himself on the jazz circuit, he then recorded what should’ve been his debut album for RCA. It was never released though. Following that disappointment, Leon spent several years as the vocalist in Count Basie’s band. It was only when he left Count Basie’s employ, and headed to Los Angeles, Leon Thomas career began in earnest.
Meeting likeminded musicians, resulted in Leon Thomas becoming a jazz pioneer. He embraced free jazz and found his own, unique vocal style. Combining blues, jazz and Afro-beat, Leon’s style veered between a soulful and jazz-tinged, to a scat and then yodel. This resulted in Leon’s vocal being transformed into an instrument. In Pharoah Sanders’ saxophone, Leon found a musical soulmate. With Pharoah Sanders, Leon recorded Karma, which featured the classic The Creator Has A Master Plan. It was following the release of Karma, that Bob Thiele signed Leon to Flying Dutchman Records.
Spirits Known and Unknown was Leon’s debut for Bob Thiele’s Flying Dutchman Records. Released to critical acclaim, Spirits Known and Unknown is a truly genre-melting album. Everything from Afro-beat, 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 1973. 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. Standout Tracks: The Creator Has A Master Plan, Damn Nam (Ain’t Goin’ To Vietnam), Malcolm’s Gone and Let The Rain Fall On Me.
LEON THOMAS-SPIRITS KNOWN AND UNKNOWN.
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