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.
DONNY HATHAWAY-NEVER MY LOVE: THE ANTHOLOGY.
DONNY HATHAWAY-NEVER MY LOVE: THE ANTHOLOGY.
Described by some as a musical genius, Donny Hathaway never got the opportunity to fulfil his potential. No. Tragedy intervened in Donny Hathaway’s life, when his career was cut shot in January 1979. Donny was just thirty-four. He’d released just a trio of solo albums between 1970 and 1973. His debut album was 1970s Everything Is Everything, followed by 1971s Donny Hathaway and 1973s Extension Of A Man. In between Donny Hathaway and Extension Of A Man, Donny contributed the soundtrack to Come Back Charleston Blue, his Live album and an album of duets with Roberta Flack.
Entitled Roberta Flack and Donny Hathaway, it was released in 1972 and was certified gold. It featured the number one US R&B single Where Is The Love. Five years later, in 1978, the pair enjoyed another number one US R&B single with The Closer I Get To You. Just like Where Is The Love, it was certified gold. Both of these tracks, feature on the recently released Donny Hathaway box set Never My Love: The Anthology. It was released on Rhino and is best described as a celebration of Donny Hathaway’s career over four discs. Before I tell you about the music on Donny Hathaway-Never My Love: The Anthology, I’ll tell you about Donny Hathaway’s career.
Donny Edward Hathaway was born in October 1945, in Chicago. He was the son of Drusella Huntley, but was brought up by his grandmother Martha Pitts, a professional gospel singer. While many children are referred to as a musical prodigy, this was true of Donny. At the age of three, Donny joined his grandmother in her church choir. After graduating from Vashon High School, he headed to Howard University in Washington’ DC to study music on a fine arts scholarship. During his time at Howard, Donny formed a jazz trio. He was joined by drummer Ric Powell, and they played around the Washington area. In 1967 Donny received various offers to work within the music industry.
After leaving university, Donny’s first job within the music industry was as session musician, songwriter and producer. His first job was with Twilight Records in Chicago. Later he worked as an arranger, and was responsible for the arrangements on two of The Unifics singles Court of Love and The Beginning of My End. Donny went on to work with The Impressions, Aretha Franklin, Jerry Butler, The Staple Singers, Leroy Hutson and Curtis Mayfield.
Working with Curtis lead to Donny becoming house producer at Curtis Mayfield’s Curtom Records. It was there, that Curtis started recording as one of the Mayfield Singers. In 1969, he recorded his first track under his own name. This was a duet with June Conquest entitled I Thank You Baby, with another duet by the pair Just Another Reason as the B-side.
Later in 1969, Donny signed to the Atco Records label. This came about after being spotted by King Curtis, a musician and producer at a music industry trade convention. This lead to Donny releasing his first successful single The Ghetto Part 1, which he cowrote with friend Leroy Hutson. Like Donny, Leroy Hutson would later go on to find success as a singer, songwriter and producer. The Ghetto reached number eighty-seven in the US Billboard 100 and twenty-three US R&B Charts.
Now signed to Atco, Donny Hathaway began work on his eponymous debut album Everything Is Everything. Released in July 1970 Everything Is Everything reached number eighty-seven in the US Billboard 100 and twenty-three US R&B Charts. Everything Is Everything was critically acclaimed.
Having released such a well received album, the pressure was on Donny to record his second album. Recorded at the Atlantic Recording Studios in New York, during 1970 and 1971, were nine songs. With Jerry Wexler, Arif Mardin and Donny producing the album, these nine songs were mostly cover versions of soul, gospel and pop music, which Donny gave his own unique twist. With an all-star band accompanying him, that included a rhythm section of Cornell Dupree and Chuck Rainey on bass, drummer Al Jackson Jr and guitarists Phil Upchurch and Cornell Dupree and the unique sound of tenor saxophonist King Curtis gracing the album, nine tracks were soon recorded. Adding backing vocalists were two of The Sweet Inspirations Cissy Houston and Myrna Smith. Once Donny Hathaway recorded, it was scheduled for release in April 1971.
April 1971 saw Donny’s second album Donny Hathaway released. With songs by Van McCoy, Leon Russell, Billy Preston and Mac Davis on the album, plus one song co-written by Donny with Nadine McKinnor, the album was well received by critics. On its release, it reached number six in the US R&B Charts and number eighty-nine in the US Billboard 200. Sales of Donny Hathaway surpassed Everything Is Everything, although it’s considered to be Donny’s finest album.
Having released what was his second critically acclaimed and commercially successful album, Donny would enter one of the busiest times of his tragically short career. In 1972, he released a trio of albums, two of which were huge commercial successes. Roberta Flack and Donny Hathaway reached number three in the US Billboard 200 and number two in the US R&B Charts, while his Live album reached number fourteen in the US Billboard 200 and number four in the US R&B Charts. Both were certified gold, having sold over 500,000 copies. The only album from this trio that failed commercially, was the soundtrack album Come Back Charleston Blue, which reached just number 198 in the US Billboard 200. Little did anyone know it, but after this Donny would only release one further album, before his life ended in tragedy.
The final album of Donny’s career was Extension of A Man, released in June 1973. Recording of the album had taken place between 1971 and 1973, and featured some of the most memorable music of Donny’s career, including the brilliant and powerful Someday We’ll All Be Free. When the album was released, it didn’t sell as well as it’s predecessor Donny Hathaway, only reaching number sixty-nine in the US Billboard 200 and number eighteen in the US R&B Charts, After this, Donny would release no new albums, only a Greatest Hits album in 1978, which reached number fifty-one in the US R&B Charts.
Sadly, tragedy struck for Donny and his family, when in January 1979 Donny became unwell during a recording session with Roberta Flack. They were recording what became Roberta Flack Featuring Donny Hathaway, which was certified gold upon its release in 1980. Having become paranoid and delusional, the recording sessions were stopped and Donny sent back to his hotel. Later he committed suicide, by jumping out of the fifteenth floor of his room at New York’s Essex House Hotel.
After his death, his wife Eulaulah thought that over time, Donny had gradually become less careful about taking his medication. Tragically, the problems with mental illness that caused him problems throughout his career resulted in him taking his life. That day, music lost one its most talented singers whose musical influence is still felt over thirty years after his tragic death. Donny Hathway could’ve and should’ve enjoyed a long and illustrious career. That wasn’t to be.
Instead, during Donny’s lifetime, he released just three studio albums, a live album, a soundtrack album and an album of duets with Roberta Flack. Some of the music on these albums, plus a whole host of unreleased tracks feature on Donny Hathaway-Never My Love: The Anthology, which is a four disc celebration of Donny Hathaway’s music.
DISC 1-FAVORITES.
Disc One is entitled Favorites and features twenty-two tracks. This includes some of the best music Donny Hathaway ever recorded. One of these is The Ghetto – Part 1 and 2. It was Donny’s 1970 debut album Everything Is Everything. The Ghetto is a classic. With lyrics full of social comment, it’s a timeless classic. Other tracks from Everything Is Everything include Voices Inside (Everything Is Everything), a truly powerful, emotive opus. On the promo edit of Thank You Master (For My Soul), emotion and gratitude feature in Donny’s vocal, which has a spiritual quality. To Be Young, Gifted And Black is another track from Everything Is Everything. An oft-covered song, Donny follows in the footsteps of Aretha Franklin and Nina Simone and makes the lyrics come to life.
Of the other tracks on Disc One, there’s tracks from Donny’s two other studio albums 1971s Donny Hathaway and 1973s Extension Of A Man. Only two tracks from Donny Hathaway, which was released in 1971 feature on Disc One. They’re Giving Up, penned by Van Mccoy and Magnificent Sanctuary Band which was written by Dorsey Burnette. The heartfelt, soul-baring Giving Up is the best of the two. No wonder. It features one of Donny’s best vocals. A year later, Donny released on of his overlooked albums.
Released in 1972, Come Back Charleston Blue is an often overlooked album. It was a soundtrack, that was written and conducted by Donny. He worked on the album with Quincy Jones. Two tracks from the soundtrack to Come Back Charleston Blue feature on Disc One. They’re the title-track and Little Ghetto Boy. Released in 1972, it’s an often overlooked album. These two tracks are two of the highlights of Come Back Charleston Blue. A year after Come Back Charleston Blue was released, Donny released his final studio album.
Extension Of A Man was Donny’s final solo album. Released in 1973, Donny penned five of the eleven tracks on Extension Of A Man. He cowrote Someday We’ll All Be Free with Edward Howard. It’s one of six tracks from Extension Of A Man on Disc One. The others are I Love You More Than You’ll Ever Know, Valdez In The Country, I Love You More Than You’ll Ever Know, Come Little Children, Love, Love, Love. Of these six songs are Someday We’ll All Be Free is the best. Donny’s vocal is full of hope, with an almost spiritual quality. Like a musical Moses in search of a promised land, Donny’s vocal is biblical in terms of quality.
SIDE TWO-UNRELEASED STUDIO RECORDINGS.
Most box sets boast unreleased tracks. All too often, it’s obvious why these tracks haven’t been released. Usually, they’re very much a mixed bunch. Not here. There’s more than a few hidden gems on Disc Two. Never My Love a piano lead track features a tender impassioned vocal. A Lot Of Soul sees the tempo increase, but Donny still deliver a vocal that’s truly heartfelt. The jazz-tinged Let’s Groove, sees Donny and his band swing. Memory Of Our Love is an understated, mid-tempo track where Donny sounds not unlike Stevie Wonder. As you listen to this track, it strikes you just how much potential Donny had. Even his unreleased tracks ooze quality. Brown Eyed Lady is a piano lead instrumental which has a wistful, melancholy sound. It’s a real find, and is a track I’ll never tire of hearing.
DISC THREE-LIVE AT THE BITTER END 1971.
Given Donny Hathaway’s career was cut tragically short, a whole generation never saw Donny Live. Going by the ten tracks on Disc Three, which are entitled Live At The Bitter End 1971, it must have looked like Donny Hathaway was going to become one of the giants of soul music. From the opening notes through his cover of Marvin Gaye’s What’s Going On, Donny unleashes a variety of cover versions and original tracks. There’s covers of You’ve Got A Friend, John Lennon’s Jealous Guy and He Ain’t Heavy, He’s My Brother. Then there’s songs that became synonymous with Donny Hathaway. This includes Little Ghetto Boy, Voices Inside (Everything Is Everything, I Love You More Than You’ll Ever Know and The Ghetto, which closes Disc Three. These ten tracks are a tantalising taste of one of the giants of soul in his prime. So good are the ten tracks which have never been released before, that they almost make it worth buying the box set just for Disc Three.
DISC FOUR.
Roberta Flack recorded two albums of duets with Donny. The first was Roberta Flack and Donny Hathaway, which was released in 1972. It was certified gold and featured the number one US R&B single Where Is The Love, which features on Disc Four. So does I (Who Have Nothing). So does the rest of Roberta Flack and Donny Hathaway. During the ten tracks, Roberta and Donny are like ying and yang, encouraging each other to greater heights of emotion and soulfulness.Among the highlights are You’ve Got A Friend, Be Real Black For Me, Where Is The Love and When Love Has Grown. Eight years after Roberta Flack and Donny Hathaway was released, Roberta and Donny released another album of duets. Sadly, much had changed.
By the time Roberta Flack Featuring Donny Hathaway was released, Donny had been dead nearly a year. On the release of Roberta Flack Featuring Donny Hathaway, it reached number twenty-five in the US Billboard 200 and number four in the US R&B Charts. This resulted in another gold disc. When The Closer I Get To You was released as a single, reaching number two in the US Billboard 200 and number one in the US R&B Charts. Just like Roberta Flack Featuring Donny Hathaway, it was certified gold. The Closer I Get To You was one of three tracks on Disc Four are from Roberta Flack Featuring Donny Hathaway. Along with You Are My Heaven and Back Together Again this trio of track close Donny Hathaway-Never My Love: The Anthology, a celebration of Donny Hathaway’s career.
Donny Hathaway-Never My Love: The Anthology is best described as a celebration of the career of Donny Hathaway. It’s a career that was cut tragically short. Who knows, maybe if circumstances were different, Donny would’ve enjoyed a long and successful career. Maybe critical acclaim and commercial success would’ve been familiar friends in Donny’s life. Sadly, that wasn’t the case. Having released just a trio of solo albums, Donny’s career was cut short. Granted he released a live album, a soundtrack album and an album of duets with Roberta Flack. These six albums represent the sum total of the music Donny released during his life. While that might not sound much, it’s much more than many artists achieve during their career.
While Donny achieved more in the way of critical acclaim and commercial success than many other artists, his music should’ve been more successful. After all, in Donny’s hands, songs came to life. He breathed, life, emotion, heartache, hurt and passion into lyrics. Sometimes, like on Someday We’ll All Be Free, Donny’s vocal takes on a spiritual quality. On this anthemic track he offered hope for a better future, and like a musical Moses, heading towards a promised land. He delivers a vocal that’s biblical in terms of quality. That’s just one of a whole host of musical highlights on Donny Hathaway-Never My Love: The Anthology, which was recently released by Rhino.
Over four discs, we hear not just some of the best music Donny Hathaway recorded, during his ten year career. There’s also two discs of previously unreleased material. Whether it’s the disc featuring tracks that didn’t make it onto Donny’s three albums, or the live set, they’re compelling and captivating performances. You’re spellbound as you listen to Donny. That’s the case with all the music on Donny Hathaway-Never My Love: The Anthology.
During Donny Hathaway-Never My Love: The Anthology, Donny’s takes you on a musical journey. It’s best described as captivating, enthralling, mesmeric, soulful spiritual and uplifting. Donny’s fuses elements of soul, jazz, funk and gospel music. You’re transfixed, awaiting the next song with anticipation, listening to every subtlety and nuance. When one song ends, you await the next hungrily, especially, the previously unreleased tracks. You find yourself pressing repeat, listening again, just in case you missed anything the last time. Then there’s the tracks from Donny’s back-catalogue. They’re like old friends, who you’ve know all your life. These tracks are a tantalising taste of Donny Hathaway in his prime, when he looked like becoming one of the giants of soul.
Tragically, that wasn’t to be. Fate intervened and robbed us of Donny Hathaway. He died aged thirty-four. That day in 1979, soul music lost one of its most talented sons. A poignant reminder of this is Donny Hathaway-Never My Love: The Anthology. Over four discs, Donny Hathaway-Never My Love: The Anthology is a celebration of Donny Hathaway’s musical career and is a reminder of a musical colossus who during the seventies, looked like he was on his way to becoming one of the biggest names in soul music.
DONNY HATHAWAY-NEVER MY LOVE: THE ANTHOLOGY.
PIED PIPER PRESENTS A NEW CONCEPT IN DETROIT SOUL.
PIED PIPER PRESENTS A NEW CONCEPT IN DETROIT SOUL.
When the definitive history of soul music is written, several cities will loom large in the story. A triumvirate in particular, have played a hugely important part in the development of soul. This triumvirate are Memphis, Philadelphia and Detroit. Some of the best soul music ever released, came out of these three cities. They however, are the gift that keeps on giving. Why? Well, hidden in the vaults of the record companies that called these cities home are a whole host of unreleased tracks.
This includes the twelve unreleased tracks that featured on Pied Piper Presents A New Concept In Detroit Soul, which was released on Kent Soul, a subsidiary of Ace Records, earlier this years. They’re not just any unreleased tracks. No. The unreleased tracks on Pied Piper Presents A New Concept In Detroit Soul are some of the most exciting Detroit and Northern Soul tracks to be discovered in recent years. Quite simply, this is sixties soul gold. These unreleased tracks feature plus contributions from Lorraine Chandler, Nancy Wilcox, The Cavaliers and Willie Kendrick. Of the other twelve tracks, they were released on labels like Giant, Kapp, Karate, Musicor, Ruby and Wand. Each of these tracks have one thing in common, they were produced by the magic words: “A Pied Piper Production.” That as you’ll soon discover, means quality is guaranteed. Before I pick the best of the Pied Piper Production’s I’ll tell you about the men behind Pied Piper Productions.
Pied Piper Productions was founded in 1965 by Sheldon “Shelley” Haines, a music industry veteran. His first job in the music industry, was as a distributor for King Records. This was the late-forties. By, 1952, Sheldon and Jack Gale, a local DJ, formed the short-lived Triple A record label. It lasted a mere five releases. After that, Sheldon became interested in Detroit’s emerging R&B scene.
Soon, Sheldon was a familiar face on the Detroit R&B scene. By 1954, Sheldon and songwriter Perry Stevens found themselves working with doo wop group The Spartans, for the Capri label. A year later, Sheldon and Irving Lief formed a production partnership and several record labels. This included labels like Pix, Plaid, Sterling and Studio. Groups and artists like The Coronets, Cool Papa Jarvis and The Jet Tones. The pair also recorded The Womack Brothers, who later, became The Valentinos. Sheldon and Irving’s partnership lasted until 1960, where they recorded artists at their own studio. It wasn’t just artists signed to their own labels, but artists signed to RCA’s Groove imprint. This was a sign of how well thought of the production partnership were. Despite this, Sheldon returned to becoming a distributor in 1961.
For the next four years Sheldon was happy working as a distributor. Occasionally, he produced artists, and in 1965, made his comeback. Ed Wingate hired Sheldon as Vice President and General Manager of Ric-Tic, Golden World and Wingate record labels. His remit was overseeing marketing, promotion and product control. For his new business venture, Sheldon called the company Pied Piper Productions. The first two single produced by Pied Piper Productions were releases by Bob Santa Marie and Frank Meadow and The Meadowlarks. While they were neither successful nor groundbreaking releases, once Sheldon put together his production team, success wouldn’t be far away.
The two men who masterminded Pied Piper Productions were Jack Ashford and Mike Terry. Jack Ashford had studied music at college. He was a vibes player and a familiar face in Philly’s jazz scene. When he was asked to become a member of Marvin Gaye’s touring band, Jack went from jazz musician to Funk Brother.
Through meeting the Motown musicians, Jack decided to base himself in Detroit. Soon, he became part of Motown’s legendary studio band The Funk Brothers. Jack’s trademark tambourine sound became a staple of Motown recordings. However, Jack was more than a tambourine player. He studied arrangers, engineers and producer and soon, was able to learn from them. Jack was also a talented songwriter. Essentially, Jack Ashford was a musical all-rounder, which made him perfect for Pied Piper Productions. His partner would be Mike Terry.
Mike Terry played baritone saxophone first in Popcorn Wylie’s Mohawks, then with Joe Hunter’s band. Like many musicians, he gravitated to Motown, which in the sixties, was one of soul music’s most successful labels. He was part of the touring and studio bands, and his trademark sound features on numerous Motown recordings. Despite being on Motown’s payroll, Mike, like other musicians, including Jack Ashford, Mike felt the fees they were paid weren’t enough. So the pair left Motown.
Having left Motown, Jack and Mike briefly worked for Ed Wingate’s Golden World label. Mike with George Clinton and Sidney Barnes, formed the Geo-Si-Mik songwriting and production partnership. At the same time, Jack and Mike formed a songwriting and production partnership. One of their songs, Lonely One, for The San Reno Strings album on Ric-Tic came to the attention of Sheldon “Shelley” Haines. He realized this was a partnership to watch.
He was right. Jack and Mike head to Jack’s hometown Philly, to produce I Can’t Chang for The Sensations with Yvonne Baker. This was their first production, which was released on the Junior label. Later in 1965, the pair produced Joe Douglas for the Playhouse label. With Bobby Martin penning the B-Side, this was a single that was made has Philly. Ironically, it wasn’t in Philly Jack made his name as a producer. No. It was in Detroit, where with Mike Terry they masterminded Pied Piper Productions. Twenty-four Pied Piper Productions feature on Pied Piper Presents A New Concept In Detroit Soul.
There are four tracks from Lorraine Chandler on Pied Piper Presents A New Concept In Detroit Soul. One of these, I Can’t Hold On is a previously unreleased version of this Northern Soul classic. The only difference from the original, is the tempo is quicker. Written by Jack Ashford, Ermastine Lewis and Ray Monette, it’s a truly irresistible track. Especially with the blazing horns enveloping Lorraine’s emotive, vocal powerhouse. Lorraine contributes a trio of other tracks, including the unreleased, heart-wrenching and deeply soulful Mend The Torn Pieces Of My Heart. Then there’s her 1966 single Tell Me You’re Mine, written by Jack and Mike. This was released after Pied Piper folded. With a vocal that’s heartfelt and needy, Lorraine brings the lyrics to life. Previously unreleased is I Hear Music which was penned byJack Ashford and Ermastine Lewis. It has a wistful, thoughtful sound, it’s a real find and falls into the category of hidden gem.
Nancy Wilcox’s Gamblers Blues has Northern Soul written all over it. Penned by Jack Ashford, Ermastine Lewis and Joseph Hunter, for some reason, it’s lain unreleased since it was recorded in July 1967. Arranged by Joe Hunter, bluesy and soulful, horns, piano and a stomping beat ensures this track swings. Especially when Nancy sings: “you lost me baby.” In The End Nancy’s other contribution is an unreleased track. Although it’s a slower tracks, it’s still dance-floor friendly, with a vocal that’s accusing and full of hurt.
Back in 1967, The Hesitations released their debut album Soul Superman on Kapp Records. It featured She Won’t Come Back and I’m Not Built That Way. George Scott’s lead vocal on She Won’t Come Back is best described as soul-baring. Delivered against what’s the arrangement to Tell You’re Mine it’s a hugely powerful, emotive outpouring of heartache. As for I’m Not Built That Way, penned by Jack Ashford, Joseph Hunter and Ed Hillert, it’s a real Northern Soul stomper.
The Cavaliers’ We Go Together was written by Shelley Haims and Perry Stevens. Recorded in 1966, it’s never been released before. It reminds me of the type of music Chess were releasing during the first half of the sixties. As for the lyrics they’re best described as innocent. A fusion of soul and doo wop, it’s a song that’s a reminder of another and more innocent musical era.
It wasn’t often that Jack Ashford got the opportunity to dust off his vibes. He did on Freddy Butler’s That’s When I Need You. Just like I Fell In Love (Can’t Help It), it’s taken from his 1967 album on Kapp, With A Dab Of Soul. Jazz-tinged, soulful and understated, with a late-night sound, it’s one of the highlights of Pied Piper Presents A New Concept In Detroit Soul. I Fell In Love (Can’t Help It) featured on With A Dab Of Soul. This is an alternate version, but hasn’t been released before. Listening to the two version side-by-side, I’d suggest that this version is better than the original. Why? Gone is the ponderous rhythm section. This to me, brings new life to the song and improves this slice of Northern Soul.
Recorded in February 1967, Willie Kendrick’s version of Time Changes Things transforms a track made famous by The Metros. Written by Jack Ashford, Ermastine Lewis and Ray Monette, the tempo is quicker and the track is much more dance-floor friendly. Willie’s vocal is vampish and powerful. Behind him, the band fuse elements of soul, funk and psychedelia. That’s the recipe for a groundbreaking and innovative track.
September Jones has a trio of tracks on Pied Piper Presents A New Concept In Detroit Soul. Only I’m Coming Home was released as a single, on Kapp, in 1967. Moody, broody and dramatic describe a track written by Jack and Penny Ashford with Joseph Hunter. Waves of harmonies unfold, while September’s vocal is an outpouring of emotion. Sassy and soulful describes Give Me All Of Your Love, this uplifting, joyful track. Quite simply, it’s one of the highlights of the compilation. The other contribution from September Jones is Chink A Chank Baby. It bursts into life, featuring an arrangement that is not unlike many other tracks released in 1967. That’s down to the guitar, which punctuates the arrangement, which over forty years later, has stood the test of time.
The Sandpipers’ Lonely Too Long closes Pied Piper Presents A New Concept In Detroit Soul. Written by Ed Hillert and arranged by Mike Terry this track by the little-known Sandpipers, has lain unreleased since it was recorded in 1966. With a vocal that’s full of sadness and loneliness, and an arrangement that draws inspiration from pop, rock and soul, it’s a moving tale of heartbreak and love gone wrong.
When Kent Soul, a subsidiary of Ace Records released Pied Piper Presents A New Concept In Detroit Soul, it was one of the most anticipated compilations of 2013. After all, Pied Piper Productions were know for the quality of their productions. They’d high standards. Jack Ashford and Mike Terry, just like the man who hired them Sheldon “Shelley” Haines, had high standards. Theirs was a quest for musical perfection. Nothing else was good enough. That’s obvious here. Even the tracks that have lain unreleased for over forty years are the highest quality. That’s testament to Jack Ashford and Mike Terry. It’s also credit to compiler Ady Croasdell, who compiled Pied Piper Presents A New Concept In Detroit Soul.
Ady brought together twenty-four tantalizing tracks that showcases Pied Piper Productions. Jack Ashford and Mike Terry, two former Funk Brothers, discovered that there was life after Motown. Their time at Pied Piper Productions was the first step in what would be long and successful careers. At Pied Piper Productions, they worked with Lorraine Chandler, Nancy Wilcox, The Cavaliers, September Jones and Willie Kendrick. Artists were discover, careers were rejuvenated and stars were born. Sheldon “Shelley” Haines’ decision to bring Jack Ashford and Mike Terry to Pied Piper Productions was vindicated. For a few short years, they were a potent and successful partnership. Proof of this is the music on Pied Piper Presents A New Concept In Detroit Soul. For anyone with an interest in either soul music, soul music recorded in Detroit or Northern Soul, then Pied Piper Presents A New Concept In Detroit Soul is a compilation that belongs in your record collection. One listen to Pied Piper Presents A New Concept In Detroit Soul, and you’ll realise why. Standout Tracks. Standout Tracks: Lorraine Chandler I Can’t Hold On, Nancy Wilcox Gambler’s Blues, Freddy Butler That’s When I Need You and September Jones Give Me All Of Your Love.
PIED PIPER PRESENTS A NEW CONCEPT IN DETROIT SOUL.
GLADYS KNIGHT AND THE PIPS-I FEEL A SONG.
GLADYS KNIGHT AND THE PIPS-I FEEL A SONG.
For too long, Gladys Knight had been in the shadow of Diana Ross at Motown. Between 1967 and 1973, Gladys Knight and The Pips released eight albums. Then in 1973, when her contract with Motown ran out, she signed to a label where she would be wanted and appreciated. That label was Buddah Records, where Gladys Knight and The Pips enjoyed the most successful period in her career. During this period, Gladys Knight and The Pips released released I Feel A Song, which was recently rereleased by Funky Town Grooves.
Many people within the music industry felt Gladys should’ve left Motown Records years ago. It’s no exaggeration to say that Gladys was under-appreciated at Motown. Although Gladys Knight and The Pips had an abundance of talent,it seemed that other Motown acts were given special treatment when it came to new material and producers. That must have proved frustrating and for Gladys Knight and The Pips, they must have felt they deserved better. So when the chance came to sign to Buddah Records, Gladys realised that this was her opportunity to step out of Ms. Ross’ shadow and enjoy the most successful period of her career.
Now signed to Buddah Records, Gladys Knight and The Pips released Imagination in October 1973. Imagination reached number nine in the US Billboard 200 and number one in the US R& Charts. Not only did Imagination surpass the success of any of Gladys Knight and The Pips’ ten previous albums, but it gave the group their first gold disc. It also featured three US R&B number one singles, Midnight Train To Georgia, I’ve Got To Use My Imagination and You’re The Best Thing That Happened To Me. This was the start of the most successful period in the Empress Of Soul’s career.
Following Imagination, Gladys Knight and The Pips were asked to record the soundtrack to Claudine. Written and produced by Curtis Mayfield, Claudine was released in March 1974 reaching number thirty-five in the US Billboard 200 and number one in the US R& Charts. This resulted in another gold disc for Gladys Knight and The Pips. Although there weren’t any number one singles, On and On reached number five in the US Billboard 200 and number two in the US R& Charts. Gladys Knight was on a roll.
For what was Gladys Knight and The Pips’ first studio album since Imagination, some of the biggest names in songwriting contributed nine songs. These nine songs became I Feel A Song. Jim Weatherly, who’d penned Midnight Train To Georgia and You’re the Best Thing That Happened To Me, contributed a trio of tracks. They were Love Finds Its Own Way, The Going Ups And The Coming Downs and The Need To Be. Bill Withers wrote and produced Better Go Your Way and Tenderness Is His Way. Burt Bacharach and Neil Simon cowrote seconds, Ronnie Miller Don’t Burn Down The Bridge and Tony Camillo and Mary Sawyer cowrote I Feel A Song (In My Heart). The other track was a medley of The Way We Were and Try To Remember. The Way We were was written by Marvin Hamlisch with Alan and Marilyn Bergman, while Harvey Schmidt and Tom Jones cowrote Try To Remember. With the material for I Feel A Song ready, Gladys Knight and The Pips headed to the studio.
Recording of I Feel A Song took place at Bell Sound Studios and Bell Sound Studios in New York. Just like Imagination, various production teams and musicians worked on I Feel A Song. Although Gladys Knight and The Pips co-produced seven tracks, along with other production teams, they only produced Don’t Burn Down The Bridge. With so many producers working on I Feel A Song, this could either be a success like Imagination, or sound like a disparate collection of songs? One way to measure this success is through album and single sales.
On the release of I Feel A Song in November 1974, it reached number seventeen in the US Billboard 200 and number one in the US R&B Charts. This made in three consecutive gold discs for Gladys Knight and The Pips’ albums released on Buddah Records. Even better, the lead single, I Feel A Song reached number twenty-one in the US Billboard 100 and number one in the US R&B Charts. Then in 1975, Love Finds Its Own Way reached number forty-seven in the US Billboard 100 and number three in the US R&B Charts. The final single was the live medley of The Way We Were and Try To Remember. It reached number eleven in the US Billboard 100 and number six in the US R&B Charts. According to record buyers, I Feel A Song was a commercial success. What about the critics?
Critics gave I Feel A Song a positive response. They were maybe being to hard on the album. Many compared I Feel A Song to Imagination. In many ways, that’s unfair. After all songs like Midnight Train To Georgia and You’re The Best Thing (That Happened To Me) are once in an artist’s career. Comparing I Feel A Song To Imagination was never going to be a fair fight. There was only going to be one winner. Instead, I’ll look at I Feel A Song on its own merits.
I Feel A Song (In My Heart) opens I Feel A Song. Arranged, conducted and produced by Tony Camillo, it’s the perfect song to open the album. Emotive and dramatic describes the arrangement. Driven along by a piano and funky rhythm section, Gladys unleashes a vocal that’s full of hurt, heartache and hope. She’s down, but not out. Not that she’s found someone new. Joy and hope, hope for the future fills her defiant, powerful vocal. It’s swept along amidst swathes of strings, blazing horns, harmonies and the piano, which is ever-present.
Love Finds Its Own Way has an almost melancholy, thoughtful piano-lead, introduction. It’s understated, with the rhythm section marking time while memories come flooding back to Gladys. Swings sweep in, harmonies coo, horns growl and the arrangement grows in power, beauty and drama. Kenny Kerner and Richie Wise’s arrangement and production are masterful. They set the scene for one of Gladys most emotive, heartfelt and soul-searching vocals.
It’s obvious that Burt Bacharach arranged and produced Seconds. It has his “sound.” You can neither fault the quality of his arrangement nor production. Far from it. From its understated, melodic introduction and the moment Gladys’ heartbroken, grief-stricken vocal, you admire the quality of the song. The way the bursts of Fender Rhodes and lush, floaty strings are used provide a wistful, thoughtful backdrop. Then at the bridge, the drama builds and builds, as Gladys showcases a vocal that sounds as it’s lived, loved and survived the lyrics. Despite all that, and the song’s undeniable quality, it sounds as if it belongs on an album released circa 1967 or 1968, not 1974.
The Going Ups And The Coming Downs, just like Love Finds Its Own Way, is a Jim Weatherly song. Produced by Kenny Kerner and Richie Wise, the arrangement literally floats into being. Woodwind and strings combine with the rhythm section and keyboards. After a burst of drama, things settle down and Gladys’ vocal is ushered in. It’s a mixture of confusion, frustration and even anger. She’s almost exasperated, at her boyfriend’s constantly changing his mind. As the bass leads the arrangement along, her vocal is a cathartic outpouring of frustration, in the hope he’ll mend his ways. Whether he will, is another thing? Deep down, her exasperation means she knows he won’t.
The decision to a add a medley of live tracks midway through a studio album seems strange. However, if you must The Way We Were and Try To Remember seem as good a choice as any. Gladys’ half-spoken vocal during sets the scene for what is a vocal masterclass. In her hands, the song comes to life, as question, probes and ponders: “would we, should we.” It seems very real. Pathos and poignant describes her vocal. With the orchestra behind her the song comes alive and reaches a dramatic, emotive crescendo. Given how Gladys transforms these tracks, a studio version should’ve been recorded, especially with an orchestra behind her.
Better You Go Your Way marks a change in direction. Uber funky and soulful, The Pips are transformed into foxy funakateers. They set the scene for Gladys. She becomes a disco diva and struts and vamps her way through the song. Behind her wah-wah guitars, swathes of strings and the funky rhythm section provide the backdrop on a track that’s funky, soulful and dance-floor friendly.
Don’t Burn Down The Bridge was penned by Ronnie Miller and sees another change in direction. Flourishes of strings and piano give way to an arrangement that’s a real fusion of influences. Everything from country, funk, Motown, rock and Southern is thrown into the mix. There’s also a funk influence, as Gladys unleashes a feisty vocal. The Pips add accusing vocals and harmonies, and like the piano and Hammond organ, add to the drama of this mini soap opera.
Straight away, The Need To Be, which was written by Jim Weatherly, reminds me of You’re The Best Thing (That Happened To Me). The similarities are uncanny. It’s the chords used, lyrics and arrangement that lead to this comparison. With a similarly understated arrangement the song unfolds. Sometimes, you’re almost waiting for Gladys to sing You’re The Best Thing (That Happened To Me). She doesn’t though. Similarly, strings and harmonies are used as a backdrop for Gladys’ vocal. Despite the similarities Gladys immerses herself in the song and makes the song work. It’s an outpouring of power, passion and sincerity.
Bill Withers’ Tenderness Is His Way closes I Feel A Song. A crystalline, jazz-tinged guitar and piano usher in Gladys’ vocal. Needy, heartfelt and impassioned, she slowly and almost dramatically delivers the lyrics. Behind her, the arrangement unfolds. Strings sweep, while vibes, the rhythm section and Hammond organ combine, while the guitar plays a leading role. Gladys is the leading lady and without a doubt, delivers the definitive version of this song.
Although Gladys Knight and The Pips released the soundtrack to Claudine between Imagination and I Feel A Song, to compare like with like, Imagination and I Feel A Song were compared. As I said earlier, that’s almost unjust. After all, Imagination featured a trio of tracks that were among the best Gladys Knight and The Pips ever recorded. They’d never been given a trio of songs as good as Midnight Train To Georgia, You’re The Best Thing (That Happened To Me) and Where Peaceful Waters Flow at Motown. Mind you, never again would they have three songs as good as this trio. Imagination was essentially, a turning point in Gladys Knight and The Pips’ career. It was their most successful album. That was their musical nirvana. Gladys Knight and The Pips had climbed their mountain, now the only way was down.
Good as I Feel A Song is, far from a flawless album. Mind you, neither was Imagination. At least on Gladys takes charge of lead vocal on every track. We’re spared the intervention of The Pips on lead vocals. As for I Feel A Song’s faults, they’re minor ones. Seconds which Burt Bacharach arranged and produced, has a dated, sixties sound. It’s as if he’s sticking to his previously successful formula, despite the seventies being well underway. The times they were a changing. It’s just shame Burt didn’t seem to realise this. Then there’s Jim Weatherly’s The Need To Be. Just like Seconds, the quality is undeniable. The problem is, it’s just like the long lost relation of You’re The Best Thing (That Happened To Me). Maybe Jim hoped that he’d enjoy a similar success with The Need To Be. My only other criticism is the inclusion of a live medley on I Feel A Song. Even given how potent and moving a medley it is, studio versions would’ve been much better. Gladys was made for The Way We Were and Try To Remember. She could’ve made the song her own, especially with an orchestra behind her. Apart from these three minor points, I Feel A Song is one of Gladys Knight and The Pips finest albums for Buddah Records.
Indeed, I Feel A Song, which was recently rereleased by Funky Town Grooves, along with Imagination are essential listening for fans of Gladys Knight and The Pips. This was during a period where Gladys Knight and The Pips reinvented themselves. Between Imagination, which was released in October 1973 and Second Anniversary in October 1975, Gladys Knight and The Pips released five albums. Each of these albums were certified gold and four reached number one in the US R&B Charts. Gladys Knight had stepped out of the shadow, taking centre-stage, where she rightly belong. Motown’s loss was Buddah Records gain, as albums like Imagination and I Feel A Song prove. Both Imagination and I Feel A Song feature Gladys Knight and The Pips as this golden period unfolded. Standout Tracks: I Feel A Song (In My Heart), Love Finds Its Own Way, The Need To Be and Tenderness Is His Way.
GLADYS KNIGHT AND THE PIPS-I FEEL A SONG.
HALL OF FAME VOLUME 2.
HALL OF FAME VOLUME 2.
Without doubt, one of the most influential record labels in the history of Southern Soul is Fame Records. It released some of the most important music in the history of not just Southern Soul, but soul music. Then there’e the music recorded at Fame Recording Studios, Muscle Shoals.
The artists who recorded at Fame Recording Studios, Muscle Shoals with the legendary Muscle Shoals Rhythm Section, reads like a who’s who of soul music. Everyone from Arthur Alexander, Arthur Conley, Candi Staton, Etta James, Otis Redding and Wilson Pickett. That’s just a few of the names who recorded at Fame Recording Studios, Muscle Shoals. What about Clarence Carter, George Jackson, Joe Simon, Otis Clay and Prince Phillip Mitchell, who all feature on Hall Of Fame Volume 2, which was released by Kent Soul, a subsidiary of Ace Records.
Hall Of Fame Volume 2 features twenty-four tracks. Of these twenty-four tracks, only four have been released before. This was on labels like Amy, Chess and Cotillion. Another track, George Soule’s and on a previous Kent compilation Kent 6Ts Anniversary. The other twenty tracks have never been released before. Among them, are some real hidden gems, which I’ll tell you about.
Spooner Oldham and Dan Penn enjoyed one of the most successful songwriting partnerships in the history of Southern Soul. They’re responsible for a string of classics, including It Tears Me Up, which was made famous by Percy Sledge. He’s responsible for the definitive version of the song. Back in 1966, James Barnett’s second single for Fame Records was meant to be It Tears Me Up. That was dependent on his debut single Keep On Talking being a commercial success. It wasn’t. So James’ version of It Tears Me Up was never released. What could’ve been a huge hit, was lost to the world. We missed out of a soul-baring song full of heartache, hurt and regret. Thankfully, at last, this emotive opus sees the light of day.
Despite a recording career that lasted between 1963 and 1972, June Conquest only ever recorded about six singles. Her debut single was 1963s Almost Persuaded, which was released on Fame Records. It wasn’t a commercial success and she was dropped by Fame Records. She left behind the dramatic piano driven Don’t Let It Be Said. Written by Earl Montgomery, it features a vocal powerhouse from June. Mixing power, pride and emotion, June’s vocal is defiant and dramatic. Describing this track as a real hidden gem, is almost an understatement. It’s much better than that. It’s essential listening for fans of Southern Soul.
George Jackson played a huge part in the success of Fame Records. He’s a talented and successful singer and songwriter. There are two unreleased tracks from George on Hall Of Fame Volume 2, Take Me Back and George Jackson. Of the two tracks, Take Me Back is a real find. Penned by George with Dan Greer, Larry Chambers and Melvin Leakes. It’s an uptempo track, with a real raw, gritty sound. Here, George’s vocal is needy, pleading and heart-wrenching as he makes this some come to life.
I Can’t Stop (No No No), which was written by Roger Hawkins and Dan Penn, is a track that’s been covered by any number of artists. This includes Big Ben Atkins, who recorded it on a demo. As this classic bursts into life, there’s a Motown influence. Indeed, the drums sound as if they’ve been recorded in Motown by one of The Funk Brothers. They weren’t. No. Instead, they were recorded in Muscle Shoals, where Big Ben Atkins gives turns a familiar song into a joyous stomper.
Billy Young was well travelled when he arrived at Fame. He released Glendora as a single on Original Sound in 1963. After that, he worked with Otis Redding, and had singles released on Otis’ Jotis label. Then when he was dropped by Jotis, Chess released two of his singles. This includes the Tommy Roe penned Have Pity On Me. Dramatic, needy and heartfelt describes Billy’s vocal on I Need You. Accompanied by blazing horns, chiming guitars and dramatic drums, this is the perfect backdrop for Billy’s impassioned, needy, pleading vocal. Why a single as potent and powerful as this wasn’t a commercial success, seems almost unjust.
From the opening bars of Linda Carr’s Are You Teasing Me, you’re enthralled. Briefly, you wonder if this is a lost Diana Ross track. That’s how similar the two are. Linda’s vocal veers between sensual, sassy and ethereal. Rick Hall thought he’d won a watch when he signed Linda to Fame Records in 1966. So much so, that he refused to sell Linda’s contract to Berry Gordy at Motown. Sadly, the success that Rick foresaw, never materialised. Linda released two singles, which were released on Bell during 1967. She recorded four other tracks, including a cover of Ira and Charlie Louvin’s Are You Teasing Me? Groovy, sassy, sensual and soulful, it’s a tantalising taste of Linda Carr.
Prince Phillip Mitchell, like George Jackson, has two songs on Hall Of Fame Volume 2.They’re Fool For A Woman and How Much More Can A Poor Man Stand, which he wrote. Fool For A Woman has an understated arrangement. Phillip’s accompanied by just a piano. This allows his vocal to take centre-stage. Raw, sincere, soul-baring and soulful describes his delivery. How Much More Can A Poor Man Stand is a track that will appeal to Mods with its stomping beat and a raw, powerful vocal from Phillip. He unleashes a vocal that’s controlled power and emotion. Despite his undoubted talent as a vocalist, Phillip enjoyed more success as a songwriter, writing a string of soul classics.
Clarence Carter is another artist who contributions two tracks to Hall Of Fame Volume 2. Although they’re just demos or unfinished tracks, they leave you wondering what would they have been like if they’d been finished? The first is Take It All Off, which Clarence wrote. The other is They’re Gonna Find Us (At The Dark End Of The Street), which is Clarence’s take on Dark End Of The Street. Building on what’s a classic track, Clarence somehow add to the emotion and heartache. In Clarence’s hands, the lyrics comes to life. The danger, the anticipation and the fear of being caught it all seems very real. Only a singer and songwriter as talented as Clarence Carter is capable of this.
Joe Simon’s Get In A Hurry is my final choice from Hall Of Fame Volume 2. During his long career, Joe Simon enjoyed commercial success. He worked with a variety of producers. This includes Rick Hall. Their partnership wasn’t a long-lasting one. It may have lasted just one session, which resulted in the hit single Let’s Do It Over. Another track from that session was Get In A Hurry, which is a deliciously melancholy slice of country soul. One of the highlights of Hall Of Fame Volume 2, it’s one of many reasons why you should explore Joe’s back-catalogue.
Featuring twenty-four tracks, Hall Of Fame Volume 2 is a glimpse of the music recorded at Fame Recording Studios, Muscle Shoals. Twenty of the tracks have never been released before and are a tantalising glimpse of what might have been. Some of the tracks, the quality is indisputable. You wonder why the songs never saw the light of day? Among them are June Conquest’s Don’t Let It Be Said, Linda Carr’s Are You Teasing Me and Joe Simon’s Get In A Hurry. Then there’s contributions from George Jackson, Prince Phillip Mitchell and Clarence Mitchell. Then there’s a quartet of intriguing tracks.
These are the tracks that compiler Tony Rounce couldn’t work out who recorded them. They’re credited to unknown female and unknown male. Of this quartet, the version of Another Good Woman Gone Bad stands head and shoulders above the other three tracks. If only we knew who this unknown singer was? All we know, is she’d the voice of a soulful angel.
Of the four tracks that have been released before, Billy Young’s Have Pity On Me will make your life all the better for hearing it. It should’ve been a huge success. Sadly, maybe the problem was when it was released, music was changing and changing fast. However, despite that, Have Pity On Me has a timeless quality. That could be said of many of the tracks on Hall Of Fame Volume 2.
No wonder. They’ve all got one thing in common. That’s that they were recorded at Fame Recording Studios, Muscle Shoals. Backed by some of the greatest session musicians of all time, they were responsible for a string of hit singles. Then there’s all the other sessions they played on. Not every session they played on, resulted in a single or album. Not at all. So, there’s no end of hidden gems awaiting discover in Fame Records‘ vaults. Hopefully, further volumes of this Hall Of Fame series will be released and Kent Soul, a subsidiary of Ace Records, will continue to released compilations like Hall Of Fame Volume 2, which cherry picks the hidden gems tucked away in Fame Records’ vaults. Standout Tracks: June Conquest Don’t Let It Be Said, Billy Young Have Pity On Me, Linda Carr’s Are You Teasing Me and Joe Simon’s Get In A Hurry.
HALL OF FAME VOLUME 2.
VAN MORRISON-MOONDANCE.
VAN MORRISON-MOONDANCE.
When Van Morrison released his third album, Moondance, in February 1970, little did he know he’d just released not only a classic album, but an album he’d never surpass. This wasn’t unexpected. After all, two years earlier in February 1968, Van Morrison has released Astral Weeks, an album which was a game-changer.
Astral Weeks has been described as concept album. That’s wrong. It was a song cycle where Van fused jazz, blues, poetry and classical music. Full of symbolism, this stream of consciousness was an exploration of earthy love and heaven. Critically acclaimed upon its release, Astral Weeks was very different from Van’s debut, 1967 Blowin’ Your Mind.
Critics was spellbound by Astral Weeks, this groundbreaking album from Van Morrison, who was seen as part-poet, part-musical visionary. On its release, Astral Weeks wasn’t originally a huge success. It was certified gold in the US, but failed to make much of an impression in the UK, where it stalled at number 140. Things would be very different when Van Morrison released Moondance, which was recently rereleased as a double album by Warner Bros.
Van Morrison was only twenty-five when he released his third album, Moondance in February 1970. Moondance had been two years in the making and was an introduction to Van’s Caledonian soul. It had taken Van ten months to write the lyrics to Moondance. The lyrics were written at Van’s mountaintop home, not far from Woodstock village, in upstate New York. For some time, Van had been living in Woodstock, which was now home for him and his wife. This was the perfect place to write a classic album, Moondance.
Inspired by his surroundings, family and memories, Van set about writing the lyrics to Moondance. They are poetic, evocative and mystical. Like an artist used his palette to create pictures, Van used words. He takes you on a series of journeys. On And It Stoned Me, Van takes you back to the Belfast of his youth, while Caravan conjurs up images of living life as a gypsy. You can imagine the pictures unfolding before your eyes. These were the lyrics that Van took into A&R Studios, in New York.
For the recording of Moondance, Van recruited his band from musicians based in Woodstock. They headed along to A&R Studios, in New York. When they got there, they discovered that Van hadn’t written the music to Moondance. No. The music and the arrangements existed in his head along. Somehow, Van had managed to make his band understated what he was hearing in his head. That’s no surprise. Van had recruited a crack band of musicians.
The musicians who played on Moondance included a rhythm section of bassist John Kingberg, guitarist John Platania and Gary Mallaber on drums and vibes. Jef Labes played clavinet, organ and piano and Guy Masson played congas. Horns came courtesy of Jack Schroer on alto and soprano saxophone, while Colin Tilton played tenor saxophone and flute. Adding harmonies were The Sweet Inspirations, Doris Troy, Cissy Houston and Jackie Verdell. As for Van, he played acoustic and rhythm guitar, plus harmonica and tambourine. Moondance marked Van’s debut as producer. Producing a critically acclaimed and commercially successful classic, was quite a start to Van’s production career.
When critics heard Moondance, they hailed it an instant classic. There were no dissenting voices. Moondance was perceived as a coming of age for Van Morrison. He’d set the bar high with Astral Weeks, but surpassed it. Moondance was no ordinary album. Far from it. Genres melted into one. Blues, country, jazz, rock and soul combined with Van’s Celtic roots. The result was a cerebral, challenging and genre-melting of poetic genius, which showcased Van Morrison at the height of his powers. Just like the critics, music lovers loved Moondance.
On its release, in February 1970, Moondance reached number twenty-nine in the US Billboard 200 and was certified triple-platinum. In the UK, Moondance reached just number thirty-two. Come Running was released as a single, but reached just number thirty-nine in the US Billboard 100. Then when Crazy Love was released as a single, it failed to chart. Maybe the problem was, that the singles released from Moondance didn’t work in isolation. Instead, they were part of something bigger, a classic album, Moondance, which I’ll tell you about.
Opening Moondance is And It Stoned Me, is a song about an experience Van had as a child. He was on his way fishing, when he asked an old man for a glass of water. Van was given some water the old man got from a stream. When Van drunk it, he remembers time standing still and heading into another dimension. With its mystical, almost surreal lyrics, Van paints potent pictures. There’s references to rural Ireland, where there’s county fairs and mountain streams. Van even references veteran jazzer Jelly Roll Morton. It’s as if when Van’s delivering the lyrics, he’s transported back in time. He’s right there, the scene unfolding before him. Behind him, a jazz-tinged piano, rasping horns and the rhythm section provide the perfect backdrop to this outpouring of surreal memories. Later, Van adds an acoustic guitar that’s a perfect foil for the piano. It sets the scene for his impassioned vocal, on this fusion of blues, jazz, country and Celtic soul.
Very few songs are as recognizable as Moondance. With its familiar jaunty arrangement, it skips and swings along. Driven along by an electric bass, the jazz-tinged arrangement is mostly acoustic. A guitar, flute, piano, saxophone and drums combine to create a small jazz band. Over-dubbing the flute was a masterstroke. It transforms the tracks. So does the piano solo, before the blazing saxophone panned left takes centre-stage. Together, the band ensure the song swings, as Van unleashes a vocal masterclass. Feeding off the band, he delivers the lyrics about autumn. You close your eyes and Van the poet, paints pictures. Evocative, images of Woodstock village where Van wrote Moondance come to mind. Later, as Van scats and the song reaches its dramatic crescendo, there’s only one word to describe this track “classic.”
Crazy Love shows another side of Van Morrison. An understated ballad, Van’s tender, heartfelt and needy vocal is joined by The Sweet Inspirations. They’re the perfect foil to Van. Bursts of their tender harmonies soar above the arrangement. Meanwhile, the band play thoughtfully, taking care not to overpower Van’s vocal. The result is an ethereal and beautiful paean, which shows Van’s romantic side.
Flourishes of piano open Caravan, a song about gypsy life. Straight away, Van unleashes a vocal powerhouse. Soon, he’s delivering lyrics which are full of imagery. So much so, you can imagine life on the open road, no worries, just days stretching in front of you. There’s a romanticism in the lyrics, which seems idealistic. There’s a melancholy, romantic sound. Van’s band provide the backdrop for his vocal. One minute his vocal is wistful, the next minute it’s a scat, as he trills. The guitar and Van’s vocal feed off each other. They’re crucial to the song’s success. As for the arrangement, it veers between understated to dramatic. Horns blaze adding drama, and with the piano add a jazz-tinged sound to this evocative, Joycean track.
Just an acoustic guitar, then meandering, thoughtful bass open Into The Mystic. As Van’s vocal emerges, it’s pensive and thoughtful. There’s a mysterious sound, as gradually, the arrangement unfolds. The band play gently, as if deferring to Van’s vocal. Piano, bass and acoustic guitars play an important part in the song. So do bursts of growling, jazzy horns. Again, imagery and romanticism are omnipresent. Van describes the sea, and the foghorn blowing as he makes his way home. Just on cue, a saxophone replicates the foghorn. Then his vocal grows in power and passion, as he unleashes another of his trademark vocal powerhouses. Along with his band, the lyrics come to life as Van poet and painter, create one of Moondance’s highlights.
Come Running has a country influence that’s obvious from the opening bars. Just the rhythm section, driven along by the bass, and the piano join forces to accompany Van. He sets the scene with even more imagery. You can imagine the train running down the track in the wind in rain. In the train, is Van lover. He’s sure of that. So sure, he delivers the line: “you’ll Come Running to me.” There’s a certainty that almost borders on arrogance. No wonder. This seems to be a game they play, given Van’s confident, feisty vocal. Their relationship is a turbulent one, one that’s brought to life in this fusion of blues, country, jazz and rock.
These Dreams Of You are driven along by a bluesy harmonica and the rhythm section. Chiming guitars accompany Van’s grizzled, heartbroken vocal. There’s a reason for this heartache. Van dreamt his idol Ray Charles had been assassinated. Soon the song becomes a mini soap opera. Soon, growling horns and Hammond organ are dropped in. They ensure the song swings and add the finishing touch as Van lays bare his soul and dreams for all to hear.
Brand New Day has a melancholy sound as piano and country guitars combine. Van’s vocal is slow and full of hope, hope for the future. He wrote the song when he was having problems spiritually. What follows is a cathartic outpouring of doubt. Cleansed of this doubt, it’s as if spiritually, his life begins again. His masterstroke on Brand New Day was having The Sweet Inspirations add gospel-tinged harmonies. Dramatic and spiritual, they’re the perfect accompaniment to Van on this spiritual awakening.
A clavinet opens Everyone, as the song explodes into life. It’s played powerfully and confidently. That describes Van’s impassioned vocal. It’s a mixture of power and passion, while the rhythm section provide a pounding, driving 12/8 beat. Later, a flute is overdubbed. It carries the melody, while acoustic guitar and occasional drums play supporting roles. With the 12/8 beat and choice of instruments, this track is very different from the rest of Moondance. Having said that, it showcases Van and his band’s versatility and undoubtable talent.
Closing Moondance is Glad Tidings. Inspiration from the song came from a letter Van received, marked that said “Glad Tidings” from London. With its R&B and soul influence, it’s as if Van’s been inspired by labels like Fame and Stax. That’s no bad thing. There’s a joyous, celebratory sound to the track, as Van’s vocal becomes a scat and vamp. Horns blaze, growl and rasp, punctuating the arrangement while the rhythm section provide the heartbeat and a Hammond organ adds its atmospheric sound. Van seems determined to close Moondance on a high. Encouraging his band, he vamps his way through this joyful, celebratory track. This seems a fitting way to end what’s a classic album.
Following up an album as critically acclaimed and commercially successful as Astral Weeks wasn’t going to be easy for Van Morrison. However, he wasn’t like other artists. Although he’d only released two albums, he was already establishing a reputation as one of the most talented singer-songwriters of his generation. Van was part-poet, part-musical visionary. Proof of that are the ten tracks on Moondance.
Van Morrison’s lyrics are on Moondance are poetic, evocative and mystical. Van’s songs takes you on a series of journeys. Full of imagery, he conjurs up images. These pictures unfold vividly before your eyes. Using inspiration from his life and everyday life, you’re introduced to a cast of characters and scenarios. Other tracks feature lyrics that are almost mystical and surreal. Then there’s songs about love, and love gone wrong. This includes Crazy Love and Come Running. Brand New Day is Van’s spiritual awakening. Of course, there’s the classic title-track, Moondance, which since 1970, has been a staple of radio stations everywhere. It’s one of the best known songs Van Morrison wrote, while Moondance is perceived as Van’s finest album.
Think of that. Van Morrison wrote Moondance, the best album of his career when he was just twenty-five. Moondance was just Van’s third album. After that, he’d go on to release another twenty-nine albums. While many of them were critically acclaimed and commercially successful, they never quite matched the quality of Moondance. Following Moondance, Van was constantly trying to replicate such a groundbreaking, critically acclaimed and commercially successful album. That must have been hugely frustrating. There were times when we heard tantalising glimpses of the quality of music on Moondance, which was recently rereleased as a double album by Warner Bros.
Quite simply, the music comes alive on the newly remastered version of Moondance. You hear subtleties and nuances you’ve never heard before. They clarity of music is much better than previous CD versions. It assails you and surrounds you. There’s a depth to the music. Layer upon layer of music reveal themselves. You can’t help but let the music wash over you and revel in is ethereal, emotive and spiritual beauty. As the music washes over you, Van Morrison’s unique brand of Caledonian Soul comes alive on Moondance.
Genres melted into one on Moondance. Blues, country, jazz, R&B, rock and soul combined with Van’s Celtic roots. The result was Moondance, a cerebral, challenging and genre-melting album which showcased Van’s Morrison’s poetic genius. Moondance, like its predecessor Astral Weeks, featured Van Morrison at the height of his powers. That’s why Moondance is worthy of being referred to as a classic, which belongs in the record collection of anyone remotely interested or passionate about music. Standout Tracks: And It Stoned Me, Moondance, Crazy Dreams and These Dreams Of You.
VAN MORRISON-MOONDANCE.
DAMON- SONG OF A GYPSY.
DAMON- SONG OF A GYPSY.
For any collector of psychedelia, if they’re lucky enough to find a copy of Damon’s Song Of A Gypsy, it becomes one of their most prized possessions. Finding a copy is another thing. Copies are rarer than hen’s teeth and are changing hands for large sums of money. Recently, copies have changed hands for thousands of dollars. Song Of A Gypsy, which was recently released on Now Again Records, you’ll realise is no ordinary album.
Far from it. Privately pressed in 1969, Song Of A Gypsy was released on Ankh Records. It’s an album that pushed musical boundaries to their breaking point. A lysergic, genre-melting album, Song Of A Gypsy wasn’t a commercial success on its release. As a result, Damon didn’t release another album. Over the next twenty-five years, Song Of A Gypsy became a hugely influential album. It enjoyed a cult following. Meanwhile, the man behind Song Of A Gypsy was blissfully unaware of what was going on.
By the late-nineties, David Del Conte was a middle-aged former musician, who’d settled into a routine of running his family business. That was a bowling alley he’d inherited from his father. He’d been sober for twenty years, when he’d found God. Since then, he’d began rebuilding his relationship with his daughters, who he’d previously been estranged from. David had turned his life around. When he wasn’t working, he lived in a house that near Capistrano Beach. With its view of the Pacific Ocean, life was good for David. It wasn’t until he received an anonymous caller that his previous life as a musician became public knowledge.
David had become used to people asking of he was the Damon, who’d recorded Song Of A Gypsy. His reply was that he used to be. He’d gradually sold most of the copies of Song Of A Gypsy he’d left. Then one day, curiosity got the better of David, and he asked a caller how much a copy of Song Of A Gypsy was worth. When he was told a copy of Song Of A Gypsy was worth $3,000 dollars he was shocked. He agreed to sell the last copy for the $500 they’d agreed on, as long as the buyer didn’t resell the album for more that $500. It was only after David asked how much the record he recorded in 1969 was worth, that he realized he’d a cult following he knew nothing about. So what was the story behind Damon and Song Of A Gypsy? That’s what I’ll tell you.
David Del Conte was born in Rochester, New York in 1941. His parents owned a beauty parlor and over the years, saved enough to buy a bowling alley in California. Packing their belongings into their car, they followed the sun to California. In Los Angeles, the moved throughout the city limits. This is when David believed his: “predestined life as a gypsy began.” Eventually, they settled in Inglewood, where his parent’s business blossomed. Then when David was nineteen, his life changed forever.
His girlfriend told David she was pregnant. This was a very different era. So the pair married and went on to have three daughters. By the time David was married, he’d immersed himself in music. He was a natural musician, who’d learnt to play in high school. His first instrument was clarinet, so it’s no surprise that Benny Goodman was his hero. Soon, he was experimenting musically.
A keen surfer, it was only natural that David recorded a couple of surf rock tracks. This included Lonely Surfer, which was released on Merri Records, as David Del Conte and The Castaways. Then David released his first version of Don’t Cry. After that David moved to Harmony Records, where he released Bowling Alley Jane and Don’t Cry Davy. Next stop for David was United Artists, where It Don’t Mean A Thing was released under his name. That’s despite David only supplying backing vocals. Having become a musical nomad, wandering between labels, it was only natural that David founded his own label, Del Con.
Having formed Del Con, David released two singles, A Face In The Crowd and I Lie. Both are best described as garage rock soul. Then Merri Records asked David to record another single Cry, which was credited to Damon Lane. After that, David disappeared for a while,
It was the mid-sixties when David returned. He released singles on his Del Con label. This includes Lovin’ Man, whose B-Side is an impassioned ballad They Call Me A Fool. David’s final single for Def Con was I Wonder Why, was also released on the Ankh Records in 1968. Ankh Records was another label David founded. Tucked away on the B-Side of Ankh Records’ version of I Wonder Why was Song To A Gypsy. It was a tantalising taste of the direction David’s music was heading.
Although the original version of Song To A Gypsy, which was released as a B-Side wasn’t psychedelic, David must have been considering a change of direction. After all, why did he found two separate record labels and release two different versions of the same single? David admired two very different singers, Jim Morrison of The Doors and the purveyor of faux psychedelia, Donavon. It seemed David was caught between two styles of music? One man who’d help David find his musical direction was guitarist Charlie Carey.
Charlie and David met in 1967, when Charlie stood in for David’s guitarist. Soon, the pair formed a firm friendship. David’s life had been turned upside down. He was divorced from his wife, and almost estranged from his three daughters. Music was all David had now. So when Charlie met David, it was an opportune meeting. From the first chords Charlie played, David knew this was the man he’d been looking for. Here was someone with a unique style, who could almost make the guitar sing. This was a result. Despite this meeting with Charlie, David was overcome with the breakup of his marriage and not seeing his children.
So, David turned to drugs. He tried what were the drugs of choice, L.S.D. and dexies. Soon, David was trying heroin. That was the last straw. Things got so bad, that David was unable to standup, never mind make it concerts he was booked to play. Quickly, David got a reputation as unreliable. That resulted in David becoming determined to get straight.
Borrowing his grandmother’s cabin in Portland, Oregon, David went cold turkey. Now clean and free of heroin, David started making journey’s between his hometown and San Francisco. One day, when traveling to San Francisco, David entered the Esalen Institute in Big Sur.
Having dropped two tabs of acid, David walked twenty miles to the Esalen Institute, which was managed by his school friend Charlie Farrington. Best described as a retreat or residential community, it was like nirvana for David. He wandered around playing his guitar and reveling in the atmosphere. The only thing that bothered David, was when a guitar strong broke. Later, Ravi Shankar and George Harrison visited. Tuning his guitar to the same tuning they used, David played alongside them. That tuning would prove inspiration for Song Of A Gypsy.
Having left the Esalen Institute, David walked back to San Francisco, where his car was. He drove back to Los Angeles, where he and Charlie Carey began work on a two singles, Song Of A Gypsy and Poor Poor Genie. Various versions were recorded, with the final version recorded at Western Recorders, in Los Angeles. Song Of A Gypsy and Poor Poor Genie were released simultaneously in 1968. Ankh Records hired a promotion company to plug it. They worked the singles well. There was a problem though. When Poor Poor Genie was well received on American Bandstand, there was a problem, the B-Side Don’t You Feel Me was reviewed. Sadly, despite the marketing campaign, neither single sold well. Maybe the album Song Of A Gypsy would fare better?
Accompanying Damon for what became for Song Of A Gypsy, were a tight, talented band. They recorded ten songs Damon wrote. The band included a rhythm section of drummer Carl Zarcone, bassist Atley Yeager and Charlie Carey’s “singing” guitar. Lee and Mike Pastora added percussion, Helena Vlahos finger cymbals and Richard Barham goblet drum. Damon sang lead vocal and played guitar on Song Of A Gypsy, which was released in 1969.
Just like the two singles, success eluded Song Of A Gypsy. Released on Damon’s Ankh Records, the label didn’t have the budget to promote the album. Instead, Damon tried promoting Song Of A Gypsy by performing live. That didn’t work. He wasn’t well received. Worse was to come. The original master tapes of Song Of A Gypsy disappeared. Things couldn’t get much worse. Could they? That’s what I’ll tell you. once I’ve told you about Song Of A Gypsy.
Opening Song Of A Gypsy is the title-track. Guitars scream and soar above the arrangement. They answer Damon’s browbeaten vocal. His vocal is almost bereft of emotion, as if life has ground him down. Behind him, a meandering arrangement features a myriad of percussion and rhythm section. As psychedelia and rock melt into one, Damon’s vocal is a soul-baring cry for attention.
Poor Poor Genie sounds as if it was recorded around 1968. It’s very much of its time. That’s no bad thing. It’s something of a hidden psychedelic gem. As the rhythm section and percussion provide a pulsating heartbeat, fuzzy, muted guitars match them every step of the way. Damon’s wistful vocal is punchy and urgent, sadness and regret in his voice as he sings: “ Poor Poor Genie why don’t they leave her alone.” Then almost enviously, he adds” “at least she’s got some soul.
As Don’t You Feel Me unfolds, crystalline guitars are panned left, while percussion and the rhythm section join forces. Damon seems to draw inspiration from the Lizard King, Jim Morrison. His vocal is best described as haunted and melancholy. Like a Byronic figure, he delivers the lyrics dramatically. He brings meaning and emotion to the lyrics, with what’s his best vocal so far.
There’s an element of mystery in Did You Ever, where rock, folk and psychedelia melt into one. Like a lysergic sage, Damon delivers the lyrics to this surreal, love song. Charlie Carey’s guitar answers Damon’s vocal. When the vocal briefly drops out, Charlie showcases his virtuoso skills, against the shuffling arrangement. Filters are added to Damon’s vocal, adding a further sheen of mystery in this lysergic, surreal paean.
Funky Funky Blues is very different from the previous tracks. Damon jives while his band fuse musical genre. Everything from funk, blues, rock and psychedelia are fused by the band. Vamping and jiving his way through the track, Damon again looks to Jim Morrison for inspiration. There’s also a nod to the vocal talents of B.B. King, Donovan and Rufus Thomas, during three genre-melting minutes of sassy, funky, blues music.
Do You has a real Eastern influence. It’s apparent from the opening bars. Damon’s vocal has a dreamy, lysergic sound. With its laid-back sound, harmonies accompany him while Charlie Carey’s guitar is ever-present. It plays a huge part in the track, add layers of sound and adding a contrast to Damon’s dreamy, faraway vocal. Sunshine pop, psychedelia and rock. It’s all gone into the making of this dreamy slice of wistful psychedelia.
During The Night, Damon paints pictures evocative pictures with his vocal. His delivery is deliberate and dramatic, while a myriad of percussion and the rhythm section provide a backdrop. Playing a starring role is Charlie Carey. His guitar playing is a perfect foil for Damon’s vocal. It sings, answering Damon’s call. While melodramatic describes Damon’s vocal, Charlie’s playing is no frills. They both play their part in what sounds like a musical period drama, with Damon and Charlie playing starring roles.
Feel Your Love has a much more thoughtful, understated sound. This is perfect for Damon’s slow, seductive vocal. Needy and sensual, his vocal is full of longing. Guitars chime, while the rhythm section and percussion meander along. Adding the finishing touches are the harmonies. It’s as if they’re giving thanks for Damon’s heartfelt and beautiful vocal.
Guitars reverberate into the distance on Birds Fly So High, as the shuffling arrangement introduces Damon’s dreamy vocal. Like a slice of aural sunshine, his vocal paints pictures. Harmonies accompany him while guitars chime and the rhythm section and percussion provide the melancholy heartbeat.
Closing Song Of A Gypsy is Road Of Life. A hesitant guitar reverberates, before Charlie plays his way into the track. Way deep down, the bass booms and drums mark the beat. Damon’s vocal is half-spoken. He sounds like a psychedelic seer, as he delivers the lyrics. They’re a reminder of the idealism of the sixties. As he scats, psychedelia, rock, jazz and folk unite, bringing back memories of another era, when life was very different and Damon looked like having a successful career in front of him.
Sadly, that wasn’t to be. After Song Of A Gypsy’s commercial failure, Damon decided to try other career paths. An agent tried to get Damon a job in the film industry. That wasn’t for him. Then his life spiralled out of control. By the mid-seventies, Damon was reduced to robbing drug dealers at gun point. Then when someone pulled a gun on Damon, he realised it was time to change his ways. He couldn’t go on hustling.
So in 1979, Damon found himself in a drug program. His real reason was, he was hiding out from a couple of drug dealers he’d robbed. Then there was this woman who Damon had taken a shine to. Whether it was fate, Damon decided to mend his ways. He found religion and gave up drugs. Turning his back on his wild ways, he somehow, managed to turn his life around. Twenty years later, and Damon was back living in Capistrano Beach, running his family business. That’s when he discovered that his debut album Son Of A Gypsy, had acquired a cult following. More than that.
Son Of A Gypsy was a lost psychedelic classic. With copies changing hands for several thousand dollars, very few people were able to hear Song Of A Gypsy. Even previous rereleases on CD were rarities. So, when Now Again Records decided to rerelease Song Of A Gypsy, it was a welcome rerelease. Best described as a lovingly compiled and lavish rerelease, Now Again Records’ rerelease of Song Of A Gypsy, is like a mini hardback book. Featuring in-depth sleeve-notes, including an interview with Damon, it’s one of the most lavish rereleases of 2013. As for the sound quality, it’s exquisite. Time has been taken and money spent on getting the sound on Song Of A Gypsy, as Damon originally intended. This is a fitting makeover for Song Of A Gypsy.
After all, Song Of A Gypsy is an innovative, genre-melting, boundary pushing album. For anyone whose interested in psychedelia, then Song Of A Gypsy is a must-have album. Everything from blues, folk, funk, psychedelia, rock and soul can be heard on Song Of A Gypsy. With its lysergic, ethereal and dreamy sound Song Of A Gypsy is now within the budget of music lovers everywhere, who now can hear this lost psychedelic classic in all its glory for the first time. Standout Tracks: Song Of A Gypsy, Poor Poor Genie, As Don’t You Feel Me and Birds Fly So High.
DAMON- SONG OF A GYPSY.
BOB MARLEY AND THE WAILERS-CATCH A FIRE.
BOB MARLEY AND THE WAILERS-CATCH A FIRE.
Forty years ago, Bob Marley and The Wailers released the album that launched their career, Catch A Fire which was recently rereleased by Island on vinyl. Catch A Fire was certified in the UK and was the start of a career where critical acclaim and commercial success were ever-present. It also introduced the world to Bob Marley, a man who was much more than a singer. Much more.
Poet, philosopher and political activist describes Bob Marley. He was someone who spoke up for the Jamaican people, someone who was a force for good and peace. Religion played an important in his life. A devout Rastafarian, Bob Marley was a deeply religious and spiritual man. Religion played an important part in his life. Bob Marley also played an important role in raising reggae music’s popularity.
Back in the 1970s’, Bob Marley was hugely influential in increasing the popularity of reggae music. Before that, although reggae music was something enjoyed by some people, it hadn’t crossed-over and gained mainstream appeal. Thankfully, Bob Marley were instrumental in raising reggae music’s profile. Catch A Fire was the album that launched Bob Marley and The Wailers’ career and was their debut album for a major record label.
Catch A Fire was Bob’s first album for his new record label Island Records, owned by Chris Blackwell. Bob Marley and Chris Blackwell had first met in London in 1972, when Bob Marley and The Wailers were stranded in London. They’d entered in a deal with CBS Records, and gone on tour with Johnny Nash, the American soul singer. However, things went badly wrong, and Bob, stranded in London, thought he’d approach Chris Blackwell about recording a new single. Instead, Chris Blackwell said he wanted the group to record a whole album. This, at the time, was unheard of, but Chris Blackwell was adamant. He asked Bob how much an album would cost, and Bob said between £3,000 and £4,000. Blackwell gave Marley £4,000 and headed back to Kingston, Jamaica to record Catch A Fire.
Now that Bob Marley and The Wailers had the funds to record a new album, they headed for Harry J’s recording studio in Kingston. It had an eight track recording studio, the type that rock bands were using then. Again, this was a first, as previously, no reggae band had used such a facility. Blackwell wanted more than a reggae album, he said he wanted “more of a drifting, hypnotic-type feel than a reggae rhythm.” To achieve this, Bob travelled to London to oversee Chris Blackwell’s overdubbing of the tracks. Chris Blackwell had enlisted the help of Wayne Perkins and John “Rabbit” Bundrick, two American musicians. Wayne Perkins was responsible for re-recording some of the lead and rhythm guitar parts. John Bundrick meanwhile, added organ, synths, clavinet and electric piano to the UK mix of the album. Another of Blackwell’s decisions, was to lessen the heavy bass sound. Two songs were then left off the album. This “new mix” didn’t go down well back in Jamaica. However, music critics love the album. Their reception was positive, now the only people to convince were the record buying public.
On Catch A Fire’s release in April 1973 it initially sold 14,400 copies. Although this wasn’t going to make Bob Marley a star, it had increased his profile and gained a good reception from music fans. Catch A Fire was hugely instrumental in launching Bob Marley and The Wailers. After Catch A Fire, the band embarked on a period where they released several classic albums one after another. Suddenly, after many years of trying, Bob Marley and The Wailers, were household names. One thing that saddens many people, is how the original Wailers weren’t part of this success story. They’d split up in 1973, tired of struggling for success. Little did they know in 1973, that success was just a year away.
One of the attractions of Catch A Fire for critics and music fans alike, were Bob Marley and Peter Tosh’ lyrics. Peter Tosh penned 400 Years and Stop The Train, while Bob Marley wrote the other seven tracks. Both Peter and Bob were socially aware and militant. Neither Bob Marley, nor Peter Tosh, were afraid of raising subjects and issues that would be deemed confrontational and controversial. Both wished for a future where people in Jamaica, and elsewhere, would be free from oppression. Their view of the world was an optimistic one, and this is apparent in the music on Catch A Fire, which would eventually be successful.
The nine tracks on Catch A Fire showcase the talents of Bob Marley and The Wailers. On its release, it may not have been their most successful album. Eventually though, it was certified silver and launched the career of Bob Marley and The Wailers. Not only that, but Catch A Fire has stood the test of time well, and the messages within it, are as relevant today, as they were in 1973. You’ll realise that when I tell you about Catch A Fire.
Catch A Fire opens with Concrete Jungle. It begins somewhat hesitantly, with a guitar, rhythm section and organ combining. Quickly, the arrangement opens out. Tough, edgy and pulsating rhythms emerge as Bob delivers a heartfelt, frustrated vocal. Behind him, the arrangement has an understated quality, with a bass reverberating, an organ gently playing, drums steadily keep the beat. The track gently pulsates, as instruments emerge, joining and leaving the mix. A guitar soars, but is played subtly. One constant is the buzzing bass. It’s a feature of the track. Like all the tracks on Catch A Fire, the lyrics deal with important social issues. Here, the issue is the poverty and conditions faced by people in the poorer areas of Jamaica. Bob Marley highlights their plight in this poignant, moving song.
Slave Driver deals with the effrontery that was slavery, one of the most abhorrent shameful things in history. Bob Marley’s lyrics tackle the subject head on. His vocal takes centre-stage, while the arrangement frames it. Drums and organ, accompanied by backing vocals, open the track. When Bob sings, he surrounded by reverberating rhythms, that sound melodic, yet the bass sounds slightly brittle. The arrangement has a similar understated quality to Concrete Jungle, it meanders along, never threatening to overpower Bob’s vocal. This suits the song, allowing the you to focus on Bob Marley’s vocal and his righteous anger as he tackles one of of the most shameful and despicable things in history, slavery.
The militant Bob Marley can be heard on 400 Years. With its dark, heavy, sound, it’s very different from the two previous tracks. Even Bob’s voice sounds different, it’s deeper, there also is an edge to it. Maybe it’s because he’s airing his frustration and anger. Likewise, the arrangement is fuller. Back is that brilliant buzzing bass, accompanied by drums and guitar. Backing vocals provided by The Wailers are the perfect accompaniment to Bob’s vocal. They drench his vocal beautifully, bringing a real spiritual feel to the track. All of this, contributes towards a powerful track, which demonstrates both Peter Tosh’s talents as a songwriter and Bob Marley and The Wailers talents as singers and musicians.
One of the best known songs on the album is Stop the Train I’m Leaving, another song written by Peter Tosh. It begins with drums, guitar and organ combining, with the drums almost cracking, whilst in contrast, the organ is melodic as it meanders in and out of the track. When Bob sings, his vocal sounds strong, yet relaxed. His vocal sits right at the top of the arrangement. Behind him, one of the best arrangements on the album is emerging. A chiming guitar, throbbing bass, subtle drums, a dreamy melodic organ make a potent, musical combination. When you add Bob’s powerful, charismatic voice, you’ve the recipe for one of the highlights of Catch A Fire.
On Baby We’ve Got A Date (Rock It Baby), we see another side to Bob Marley. Here we see his romantic side, on what is a much lighter, brighter track. This is apparent when the organ plays, gently and melodically. Drums play, they’re subtle, similarly, the bass is way back in the mix. Neither overpower the organ which is a constant presence, nor do they overpower Bob’s vocal. It’s very different, it’s gentler, the edge that was present on earlier tracks is gone. Instead this is Bob Marley the romantic, the lover. Quickly, Bob’s vocal is surrounded by the most beautiful arrangement on the album. It reverberates and chugs along, a magical musical combination, supplemented by some stunning female backing vocalists.
Another track that may be familiar to many people is Stir It Up. This is one of the tracks Chris Blackwell changed, bringing in Wayne Perkins to redo the lead guitar on the track. As the rhythm section opens this track, a bass reverberates and drums play. They’re joined by Wayne’s guitar while the bass then throbs way down in the bottom of the mix. Bob’s voice sounds lighter and happier. By now, music is emerging in waves, beautifully washing over you. Although the guitar playing is of the highest standard, it sometimes overshadow other instruments. You’re drawn to solos, and miss other things that emerge during the track. Another guest artist is Tyrone Downie, who plays organ. His playing is understated and is much more suited to the track. Although Stir It Up is one of the album’s highlights, it would’ve been interesting to hear what the track sounded like before it was overdubbed by Chris Blackwell. Maybe, it would’ve been even better without the addition of the overdubbing lead guitar parts?
Kinky Reggae has a a lovely laid back feel to it when it begins. It just gently pulsates, as it emerges out of your speakers. Straight away, it’s beauty just washes over you, and envelops you. A glorious sounding track emerges, straight from the opening bars. The rhythm section play and as the track unfolds, Bob sings. His voice is much more relaxed, happier as he sings lyrics loaded with not so subtle innuendo. Backing vocals join in, they suddenly emerge, to accompany and compliment Bob’s vocal. With its laid back feel, a myriad of beautiful rhythms and melodies unveil themselves. That combination and Bob’s vocal make this a track to treasure.
It’s a combination of spacious sounding bass, drums and backing vocalists that open No More Trouble. Here the tempo, is slow, pedestrian even, laden with drama as the song opens out. There is spiritual sound to the backing vocalists, and eventually, when Bob sings, his vocal is equally spacious and dramatic. This track sees Bob sing about peace, and a cessation to trouble and war, which back then, was tearing his country apart. Behind him, the arrangement is understated and dignified. As drums and percussion punctuate the arrangement, they reinforce the lyrics, which succinctly, poetically and powerfully see Bob Marley get his message across.
Midnight Ravers closes Catch A Fire. It’s another of Bob Marley’s protest songs. Here, he was ahead of his time, when he wrote about the problem of pollution. A drum roll opens the track, a guitar plays, as the song meanders along. Backing singers join in. Then, when Bob sings he and his backing singers combine masterfully and melodically. Gone is the happiness and joy that was previously present in Bob’s voice. Instead, he sounds almost sad, as if saddened by the destruction he’s singing about, and it’s effect on everyone. Behind him, glorious rhythms can be heard, they play brightly. This is a complete contrast to Bob’s vocal. There is almost a darkness present in both his vocal, and that of The Wailers. No wonder, given what he foresaw. Here, Bob Marley is akin to a seer with a social conscience.
Catch A Fire was the album that announced Bob Marley and The Wailers arrival to the wider world. Before that, they were a huge success in Jamaica. Following Catch A Fire, their popularity spread far and wide. Although Catch A Fire didn’t match the success of later albums, including Natty Dread, Exodus and Kaya, it’s an important album in Bob Marley and The Wailers’ back-catalogue, which was recently rereleased by Island Records on vinyl.
Full of lyrics that are socially aware and militant, neither Bob Marley, nor Peter Tosh, were afraid of raising subjects and issues that would be deemed confrontational. Both wished for a future where people in Jamaica, and elsewhere, would be free from oppression. Their view of the world was an optimistic one. This is apparent in Catch A Fire’s lyrics. Although the subject matters are controversial, the music on Catch A Fire that’s no bad thing. Subjects like poverty, slavery and pollution all deserved to be tackled. The man to do that was Bob Marley. On Catch A Fire, Bob Marley and The Wailers tackled these subjects head on. Despite releasing an album of music with a social conscience, Catch A Fire wasn’t initially a commercial success.
On its release, Catch A Fire wasn’t a commercial success, selling only 14,400 albums. Eventually though, Catch A Fire was certified silver and launched the career of Bob Marley and The Wailers. Not only that, but Catch A Fire has stood the test of time. Catch A Fire is a timeless album. After that, Bob Marley and The Wailers released a string of classic albums, including Natty Dread, Exodus and Kaya. These album may have been more successful, but since the release of Catch A Fire, it has been recognised as a classic album.
Featuring Nine tracks, with lyrics that are both militant and socially aware, Bob Marley deals with some of the problems affecting the people of Jamaica. Many of these problems affected people worldwide, and sadly, these problems persist today. In some ways, it was brave of Bob Marley to include such songs on Catch A Fire, as many people would be put of by his militancy. However, it was these subjects that made Catch A Fire what it is. That’s an important and potent classic album. To me, it’s one of Bob Marley’s greatest albums. Along with Natty Dread, Exodus and Kaya, Catch A Fire contains some of the best music Bob Marley and The Wailers records, is worthy of being called a timeless classic, with a social conscience. Standout Tracks: Stop the Train I’m Leaving, Baby We’ve Got A Date (Rock It Baby), Kinky Reggae and No More Trouble.
BOB MARLEY AND THE WAILERS-CATCH A FIRE.
CHIC-NILES ROGERS PRESENTS THE CHIC ORGANIZATION-BOX SET 1/SAVOIR FAIRE.
CHIC-NILES ROGERS PRESENTS THE CHIC ORGANIZATION-BOX SET 1/SAVOIR FAIRE.
Considering how influential Chic proved to be, and the commercial success and critical acclaim they enjoyed, it’s about time a lovingly compiled and lavish box set celebrating their career was released. After all, for their first three albums Chic could do no wrong. Their 1977 eponymous album was certified gold, while 1978s C’est Chic surpassed Chic, and was certified platinum. Then as disco crashed and burned, Risque which was released in July 1979, was certified platinum. Another five albums were released between 1980 and 1992, but Chic never recaptured the commercial success they enjoyed. However, the music Chic released and produced for other artists, continued to influence further generations of producers, including Daft Punk.
Earlier this year, Niles Rodgers collaborated with Daft Punk on their 2013 album Random Access Memory, which included the huge hit Get Lucky. Suddenly, Chic were big news again. Soon, Niles Rodgers was playing the festival circuit with the latest incarnation of Chic. For a new generation of music lovers, they were able to hear a taster of what Chic in their heyday sounded like. Realizing that their was a market for Chic’s music, Rhino recently released a “new” box set Niles Rogers Presents The Chic Organization-Box Set 1. However, all wasn’t as it seemed. I’ll tel you why, once I’ve told you about Niles Rogers Presents The Chic Organization-Box Set 1/Savoir Faire.
Spread across the four discs that comprise Niles Rogers Presents The Chic Organization-Box Set 1 /Savoir Faire are forty-six songs. This includes tracks from Chic’s fifteen year career, plus just a few of the artists Niles Rodgers and Bernard Edwards produced. Among them are some of their best known productions, including Sister Sledge and Diana Ross. Then there’s a fifteen previously unreleased tracks.
Granted there’s some hidden gems tucked away on Niles Rogers Presents The Chic Organization-Box Set 1 /Savoir Faire. Among them are contributions from Norma Jean, Diana Ross, Teddy Pendergrass and Fonzi Thornton. However, there’s a few unreleased tracks that might have been better remaining unreleased. They might be better lying unreleased in a record company vault. After all, Niles Rogers Presents The Chic Organization-Box Set 1 /Savoir Faire should be a celebration of all things Chic. Is that the case?
DISC ONE.
Disc One of Niles Rogers Presents The Chic Organization-Box Set 1 /Savoir Faire opens with a stonewall disco classic, the original 12” mix of Everybody Dance. It’s Chic at their very best. This was a track from their 1977 debut album Chic. Dance-floor friendly and hook-laden, it’s a reminder of how potent the Bernard Edwards and Niles Rodgers’ partnership was. Two other tracks from Chic are Est-Ce Que C’est Chic and another classic Dance, Dance, Dance (Yowsah, Yowsah, Yowsah). Again, the 12″ Mix of this timeless disco classic has been chosen. Talking of classics, they keep on coming.
Le Freak from 1978s C’est Chic, was one of Chic’s biggest selling singles. It reached number one in the US Billboard 100 and US R&B Charts. It sold over six-million copies. Talking of classics, there’s the 12” mix of Dance, Dance, Dance (Yowsah, Yowsah, Yowsah). It’s one of six tracks from C’est Chic. The other two are Chic Cheer, Savoir Faire, Happy Man and At Last I am Free. There’s also a unreleased outtake of Funny Bone (Previously unreleased outtake). These tracks are representative of Chic at the height of the powers. Back then, Chic could do no wrong, whether as a band or producers.
The two other tracks on disc one of Niles Rogers Presents The Chic Organization-Box Set 1 /Savoir Faire are from Norma Jean’s 1978 album. Norma Jean was one of Chic’s backing vocalists. Her eponymous album was produced by Niles and Bernard. Sorcerer was one of the singles released from Norma Jean. It’s the 12” version that features on disc one. Saturday is the other track, with the Dimitri From Paris remix transforming the track to a near ten-minute epic.
Overall, disc one of Saturday Niles Rogers Presents The Chic Organization-Box Set 1 /Savoir Faire is quality all the way. From the opening bars of Everybody Dance, right through to the closing notes of Funny Bone, Chic don’t disappoint. No wonder. During this period, they could do no wrong either as a band or producers. Their talents as producers were in-demand and soon, Chic would become the go-to-guys for artists looking for a producer to revive their career.
DISC TWO.
That was the case with Sister Sledge. Before they teamed up with Bernard and Niles, their career was going nowhere. They’d released two of albums, but success eluded them. Then in 1979, Sister Sledge hooked up with Niles and Bernard. The result was We Are Family, which was certified platinum. It featured We Are Family, Greatest Dancer, Lost In Music and Thinking Of You.Dimitri From Paris works his magic on Lost In Music and Thinking Of You. These four tracks represent Sister Sledge at their best and reinforce why Niles and Bernard were so in-demand.
Of the other artists on disc two, there’s a previously unreleased long version of Norma Jean’s Hold Me Lonely Boy. It’s something of a find and is worthy of its place on disc one. So is Sheila and B. Devotion’s Spacer. There’s also a previously unreleased outtake of Love Devotion. Surely, it would’ve made more sense to include the original version? This outtake will be interesting to fans of Sheila and B. Devotion, but can hardly be described as one of Chic’s finest moments, unlike the other tracks on disc one.
I Want Your Love, Good Times, My Feet Keep Dancing and My Forbidden feature Chic at their best. Of this quartet, Good Times is a disco classic. Timeless, it’ll still fill dance-floors four decades later. Soulful, funk and dance-floor friendly, Chic were Kings and Queens of disco.
Just like disc one, most of the music is a celebration of Chic at their best. As a band, they enjoyed their most successful period between 1977 and 1979. During that period, they released a trio of classic albums, Chic, C’est Chic and Risque. They also worked with some of the biggest names in music, giving their career a musical makeover. On disc three, this includes Diana Ross and Debbie Harry.
DISC THREE.
As the eighties dawned, and disco was but a fleeting memory. Still, the anti-disco backlash was still being felt. Sister Sledge released their second Chic produced album Love Somebody Today. It featured Got To Love Somebody and Reach Your Peak. Sadly, despite its undoubtable quality, Love Somebody Today reached just number thirty-one in the US Billboard 200 and number seven in the US R&B Charts. These two tracks are a reminder of an album that’s a hidden gem.
Diana Ross was one of the biggest artists Chic worked with. They produced her 1980 album Diana. Two of the singles from Diana feature on disc three. Upside Down and I’m Coming Out are stonewall classics and feature two of the best tracks on Diana. This wasn’t the only big name Bernard and Niles worked with in the early eighties.
A year after producing Diana, Bernard and Niles were asked work with Debbie Harry. They wrote and produced her 1981 single Backfired. It’s a track from Debbie’s debut solo album KooKoo. Although Backfired proved to be a prophetic title, KooKoo was a huge commercial success, and was certified gold in the US and silver in the UK.
Two of Chic’s vocalists feature on disc three. Norma Jean contributes the 12” version of High Society. Fonzi Thornton delivers a sassy, strutting version of She Works Hard For A Living. This version is the Niles Rodgers long version. What these two tracks show, is how important Chic’s vocalists were in the group’s success.
Of the other five tracks on disc three, they’re all from Chic. Among them, are Rebels Are We and Chip Off The Old Block from their fourth album, 1980s Real People. Stage Fright and Burn hard are from 1981s Take It Off. By then, Chic were no longer enjoying the same commercial success. Chic were seen unfairly as “just” a disco band, and after the disco backlash, their record sales suffered. Still they were producing music that was innovative and genre-melting. Just it was no longer as fashionable. There’s some hidden gems tucked away on Real People and Take It Off. The other track on disc three is a previously unreleased outtake of What About Me.
Featuring a mixture of music from Chic’s fourth and fifth albums, plus their productions, disc three is an eclectic selection of classics and hidden gems. With two classics from Diana Ross, plus contributions from the voices of Chic, Fonzi Thornton and Norma Jean,
DISC FOUR.
Given how Chic released eight albums and produced albums for numerous artists, there should’ve been more than enough material for a four disc box set. However, there’s some serious barrel scraping going on. Eight of the eleven tracks have been unreleased. This includes a trio from Johnny Mathis, who was jumping on the disco bandwagon with I Want To Fall In Love, It’s Alright To Me and Something To Sing About. These three tracks are really disappointing and are three reasons why disco received such a bad name. The 12” mix of Carly Simon’s Why isn’t exactly her finest moment. It was track from the soundtrack to the 1982 movie Soup For One. Just like the Johnny Mathis tracks, Why’s inclusion leads me to ask Why? At least some of the other unreleased tracks make up for these four tracks.
Niles Rodgers remix of Teddy Pendergrass’ Dream Girl is a real find. It falls into the category of hidden gem. Why it’s never been released before is something of a puzzle. Another unreleased track is Fonzi Thornton’s fabulously funky I’ll Change My Game. It’s a welcome inclusion, on disc four.
The remaining six tracks are from Chic. This includes the 12” mix of Soup For One. This shows another side to Chic. A fusion of electro, funk, jazz and post-disco Chic exploit a groove to its fullest. Then there’s Hangin’ On and I Feel Your Love Comin’ On from 1982s Tongue In Chic. You Are Beautiful is taken from the overlooked Believer album, released in 1983. It was the last to feature the classic lineup of Chic. The final two tracks on Niles Rogers Presents The Chic Organization-Box Set 1/Savoir Faire are Just Call Me and Will You Cry, two previously unreleased tracks. They’re a somewhat disappointing way to end the box set. After all, Chic have released and produced much better music than this.
For three discs, Niles Rogers Presents The Chic Organization-Box Set 1/Savoir Faire looked like being the box set that celebrated the career of Chic. Things went awry on disc four, where the barrel was scraped somewhat. That’s a great shame. After all, there’s more than enough music to ensure that Niles Rogers Presents The Chic Organization0Box Set 1/Savoir Faire was crammed full of quality music. It should’ve been an album that’s all killer and no filler. Indeed, I could’ve put together five discs of music celebrating the career of Chic. Sadly, here it was a struggle to fill four discs. That’s not the worst of it.
No. Back in 2011, a Chic box set released, it was only available in the UK as an import. That was Niles Rogers Presents The Chic Organization-Box Set 1/Savoir Faire. The problem with that box set was the sound quality. It didn’t do the music justice. Far from it. At the time the box set released, that was the gripe most people had with Niles Rogers Presents The Chic Organization-Box Set 1/Savoir Faire. So when Niles Rogers Presents The Chic Organization-Box Set 1/Savoir Faire was recently rereleased, the problems would be rectified. Were they?
They weren’t. It’s the same version of Niles Rogers Presents The Chic Organization-Box Set 1/Savoir Faire that was released back in 2011. Looking at the box, it was made in 2010. The only difference is it’s no longer available as just an import. Sadly, the same problems persist. What could’ve and should’ve been a fitting homage to one of the most important groups of their generation is still to be released.
Niles Rogers Presents The Chic Organization-Box Set 1/Savoir Faire came close to being the box set that pays homage to one of the most innovative, inventive and influential groups of the late-seventies and early-eighties, Chic. They were responsible for a string of timeless disco classics. Chic were equally innovative, inventive and influential as producers, working with some of the biggest names in music. Among them were Diana Ross and Debbie Harry. They also reinvented Sister Sledge and transformed their career, writing, producing on playing on their classic album We Are Family. These are just a few of the artists Chic worked with and whose careers were transformed. During that period, everything Chic touched seemed to turn sliver, gold or platinum.
That’s why Chic deserve a box set that celebrates their career and pays homage to a group who were innovators. They pushed musical boundaries to their limits. Innovators describes Chic perfectly. Chic were one of the most influential groups of the last forty years. Since then, they’ve gone on to influence several generations of musicians and producers. Niles Rogers Presents The Chic Organization-Box Set 1/Savoir Faire could’ve been the box set that paid fitting homage to Chic. For three discs that looked like being the case, Sadly, that wasn’t the case. Instead, Niles Rogers Presents The Chic Organization-Box Set 1/Savoir Faire came up short and we’re still waiting for the definitive Chic box set.
CHIC-NILES ROGERS PRESENTS THE CHIC ORGANIZATION-BOX SET 1/SAVOIR FAIRE.
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