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.
KING CRIMSON-RED.
KING CRIMSON-RED.
King Crimson burst onto the scene in October 1969, with their debut album In The Court Of The Crimson King. A prog rock classic, it reached number five in the UK and was certified gold in America, when it reached number twenty-eight. Following the success of In The Court Of Crimson in America, King Crimson headed on their first American tour. On their return home, King Crimson lost two members Ian McDonald and Michael Giles. This was the first of numerous lineup changes in the history of King Crimson.
The next member of the band to exit stage left was Greg Lake. He’d been approached by Keith Emerson to join what became Emerson, Lake and Palmer. Having lost three members of the band, Robert Fripp was left as the only member of King Crimson. This presented a problem, King Crimson had an album to record.
So former members, Peter and Michael Giles returned to play bass and drums, while Keith Tippett played piano. Robert played keyboards and guitars, while session musicians augmented the band’s lineup. Without a lead singer, an unknown singer Elton John nearly became the lead singer. Instead, Greg Lake sang the lead vocals. This proved a winning formula.
On its release in May 1970, In The Wake Of Poseidon reached number four in the UK and number thirty-one in America. In The Wake Of Poseidon would prove to be King Crimson’s most successful album, during a five year period where King Crimson were one of the most successful prog rock bands. The album that close this golden period was Panegyric. Before I tell you about Red, I’ll tell you about the remainder of what was the most successful period in King Crimson’s long and illustrious career.
Following the success of In The Wake Of Poseidon, King Crimson released their third album seven months later. Again, King Crimson’s lineup seemed to be constantly evolving. Jazz pianist Keith Trippett and flautist and saxophonist Mel Collins returned. They were joined by drummer Andy McCulloch and Yes’ frontman Jon Anderson. Lizard, which was produced by Robert Fripp and Peter Sinfield was a much more jazz oriented album. Despite its undoubtable quality, Lizard stalled at a disappointing number twenty-six in the UK and number 113 in the US Billboard 200. Equally disappointing was that this lineup of King Crimson never got the opportunity to tour. Having released two albums in seven months, it was another year before King Crimson released their fourth album, Islands.
Islands marked the end of era for several reason. The first was that Islands was the last album to feature Peter Sinfield’s lyrics. This was the last album to feature what was King Crimson’s trademark fusion of progressive and symphonic sounds. Again there were changes in lineup. Boz Burrell played bass and sang lead vocals, while Ian Wallace played drums and percussion. On the release of Islands, the album divided opinion.
Some critics felt that Islands didn’t match the quality of King Crimson’s three previous albums. Despite this, Islands, which was released in December 1971, reached number thirty in the UK and number seventy-six in the US Billboard 200. Then there was the controversy surrounding Ladies Of The Road. King Crimson found themselves in the midst of a controversy where they were accused of misogyny. For King Crimson this was a disappointing way to end an era.
For what was their fifth album Larks’ Tongues In Aspic, this marked the debut of the third lineup of King Crimson. Joining Robert Fripp were bassist John Wetton, ex-Yes drummer Bill Bruford, percussionist Jamie Muir and David Cross, who played violin, viola, Mellotron, electric piano and flute. This new lineup saw the band head in a new direction. King Crimson incorporated different instruments, including percussion and African mbiras. They moved away from their jazz sound, to a fusion of prog rock and experimental music on what became Larks’ Tongues In Aspic. It was released in March 1973, to critical acclaim, reaching number twenty in the UK and number sixty-one in the US Billboard 200. With a new lineup and having released their strongest album in recent years, King Crimson looked as if they were about to become one of the biggest bands of the early seventies.
Just about every prog rock band released a concept album. Starless and Bible Black, which is a quotation from the first two lines of Dylan Thomas’ Under Milk Wood, was King Crimson’s concept album. The album is a commentary on the sleaziness and materialism that was blighting society. Richard Palmer-James, a former member of Supertramp, cowrote four of the songs on Starless and Bible, which saw King Crimson take a different approach to recording.
Unlike previous albums, there’s no drums on Starless and Bible. Despite the lack of drums, drummer Bill Bruford played percussion and cowrote three tracks. While he played on Starless and Bible, Jamie Muir didn’t. He’d left the band. Another change was that only the first two tracks on Starless and Bible, The Great Deceiver and Lament recorded in the studio. The rest of the tracks were recorded live, with the applause edited out. This was a very different approach from previous King Crimson albums.
Despite this, Starless and Bible Black was well received. Some critics hailed Starless and Bible Black as King Crimson’s best album since their debut. With its fusion of prog rock and experimental music, it was an ambitious and groundbreaking album. On its release in March 1974, it reached number twenty-eight in the UK and number sixty-six in the US Billboard 200. With King Crimson having released two consecutive critically acclaimed albums, it looked as if they were about to join the royalty that included Pink Floyd and Led Zeppelin. However, that wasn’t to be.
Having released to consecutive critically acclaimed albums, 1973s Larks’ Tongues In Aspic and then Starless and Bible Black, critics and fans wondered what direction King Crimson seventh album Red would take? Being King Crimson, fans and critics had learnt to expect the unexpected. The first change was in the lineup. After their 1974 summer tour, David Cross left King Crimson. This meant the band was now a trio consisting of Robert Fripp, bassist John Wetton and drummer Bill Bruford. They cowrote much of Red.
Red featured just five tracks. The title-track was penned by Robert Fripp. He and John Wetton penned One More Red Nightmare. They the cowrote Fallen Angel with Richard Palmer-James. Province and Starless were written by King Crimson with former violinist David Cross. These five tracks became Red.
Recording of Red began on 30th June 1974 at Olympic Studios, London and finished in August 1974. Four of the songs on Red were recorded live. The exception was One More Red Nightmare, which was recorded live. In the studio, Robert Fripp played guitar and mellotron. He was joined by bassist John Wetton and drummer Bill Bruford. They were augmented by a variety of musicians who often, played on just one track. This included violinist David Cross, soprano saxophonist Mel Collins, alto saxophonist Ian McDonald, Robin Miler on oboe and Mark Charig on cornet and bass cello. These musicians played their part in not only what’s a landmark album, but an album that marked the end of an era.
On its release in October 1974, Red reached just number forty-five in the UK and number sixty-six in the US Billboard 200. Critics hailed Red as an innovative album. There are obvious similarities with Larks’ Tongues In Aspic and Starless and Bible Black in sound and quality. One change was the lack of the acoustic guitars that featured on previous albums. With its fusion of prog rock and classic music, Red proved to be a hugely influential and innovative album. I’ll now tell you why.
Opening Red is the title-track. It’s one of the reasons why Red was chosen by Q magazine as one of the fifty heaviest albums of all time. The trio of Robert Fripp on guitar, bassist John Wetton and drummer Bill Bruford give a masterclass in hard rock. A hard driving tracks, Robert’s guitar is at the heart of the action. It’s over-dubbed, so that it sounds as if you’re being assailed by a wall of searing, scorching, driving guitars. Meanwhile, John and Bill power the arrangement along. Seamlessly, King Crimson switch between time-signatures. From 4/4 they take detours via 5/8 and 7/8. This allows King Crimson to indulge in some musical showboating, as they demonstrate why they were one of the most talented and versatile bands in the history of prog rock.
Eerie, moody, discordant and melancholy describes the introduction to Fallen Angel. It has a much more understated sound. John’s vocal is accompanied by strings and a thoughtful, spacious rhythm section sounding not unlike Pink Floyd. Partly, that’s down to the harmonies that accompany the vocal. Then as the drama and emotion increases, King Crimson kick loose. The track takes on harder, rockier sound. That’s down to the rhythm section and screaming, soaring guitars. Sometimes, it heads briefly in the direction of free jazz. That’s not surprising, given King Crimson’s background. From that dramatic high, the arrangement takes on a more thoughtful understated sound. Keyboards and guitars take centre-stage, as the track takes on a melancholy, sometimes, sci-fi sound, before the rhythm section and harmonies and horns drive the arrangement to a dramatic crescendo.
One More Red Nightmare has a dramatic, moody, and almost disturbing sound. One thing’s obvious though, and that’s how good King Crimson. Although their just a trio, they’re a multitalented trio, who seem to relish the opportunity to showcase their inconsiderable skills. Having set the scene, John’s vocal matches the drama of the rocky arrangement. Swathes of driving, gnarled, guitars add to the drama. Then just as you least expect it, the tempo drops. From there, King Crimson toy with you. The arrangement veers between dramatic, disturbing and jazz-tinged, thanks to Ian McDonald’s alto saxophone. He unleashes a blistering solo, which seems to drive the rest of the band to even greater heights. They surpass everything that’s gone before, fusing prog rock, blues and jazz seamless to create a blistering, genre-melting opus.
David Cross’ wistful violin opens Providence. It constantly threatens to reach a discordant. That never quite happens. Despite that, you’re always wary, wondering what direction this experimental sounding track is heading. Bursts of percussion and scorching electric guitar threaten to interrupt the strings. For over three minutes the track threatens to explode. There’s everything from pizzicato strings, percussion and searing guitars thrown into the mix. With three minutes of this eight-minute epic left, free jazz, experimental and rock are combined by King Crimson. It sounds as if they’re jamming, experimenting and trying to play their way into the track. Having found an in, Robert’s guitars are at the heart of what becomes an innovative and explosive fusion of experimental, rock and free jazz.
Starless a near thirteen-minute epic closes Red, and would be their swan-song for seven years. Fittingly, there’s a gloriously wistful, melancholy sound. The arrangement is thoughtful and understated. So too is John’s heartfelt, pensive vocal. Behind him swathes of strings, woodwind and the rhythm section combine. They ensure they never overpower his vocal. Instead, it’s a case of complimenting his vocal, which is the best on the album. Similarly, Robert’s guitar playing is neither as power, nor aggressive. This allows you to hear another side to his playing. Then after four minutes, the arrangement is pared back. Just chiming guitars and a broody bass join shrill strings. Gradually, the arrangement unfolds, taking on a rockier sound. As the song progresses, King Crimson are at their heaviest. Powered along by machine gun guitars and a powerhouse of a rhythm section, lush strings sweep in. The rocky sound melts into King Crimson’s symphonic sound, as two side of the band become one, Given what was about to happen, this would prove fitting.
Following the release of Red, Robert Fripp called time on King Crimson. It was always meant to be temporarily, but lasted seven years. By the time King Crimson returned with Discipline in 1981, music had changed. So had King Crimson. They were now a quartet, but only Robert Fripp and Bill Bruford remained. This was just the latest change in King Crimson’s lineup. It was a very different lineup of King Crimson that featured on Red that featured on their debut album In The Court Of Crimson. Although the lineups were different, they both had one thing in common, their quality.
Red marked the end of a five year period when King Crimson were one of the most innovative, influential successful prog rock bands. The newly rereleased version of Red which was recently rereleased by Panegyric, is a double-album. Disc one features Robert Fripp and Simon Heyworth’s 2000 remastered version and two bonus track. Then on disc two, there’s the 2013 stereo mix of Red, plus two bonus tracks. Having listened to both discs, the sound quality on both is exquisite and which you prefer will be down to personal preference. That Red has been given this sonic makeover is fitting.
After all, Red marked the end of an era for King Crimson. They’d released seven albums in a five year period. These seven albums saw King Crimson at their very best. They never bettered this run of innovative, influential and groundbreaking albums. It began with In The Court Of Crimson and finished with Red. Remarkably, throughout this period, King Crimson’s lineup was constantly changing so often that the studio should’ve had a revolving door. Maybe this is part of King Crimson’s success.
With a constantly changing lineup, the new personnel brought new with them new and fresh ideas. That was the case with Red. The new lineup ensured King Crimson’s music never became stale or predictable. Robert Fripp made sure of that. After their seventh album in five years, Robert called time on King Crimson. They’d never stand accused of being dinosaurs. Instead, they were innovators, whose music influenced future generations. Starting with In The Court Of Crimson and finishing with Red, King Crimson were responsible for innovative, genre-melting music that pushed musical boundaries to their limits.
KING CRIMSON-RED.
PERU MARAVILLOSO: VINTAGE LATIN, TROPICAL AND CUMBIA.
PERU MARAVILLOSO: VINTAGE LATIN, TROPICAL AND CUMBIA.
As the sixties unfolded, British and American music was on the cusp of a revolution. This began in 1962, when The Beatles released Love Me Do. Soon, the sixties were swinging. Over the Atlantic in America, the British Invasion proved a game-changer. For the first time, British music was influencing American music. Then as the second half of the sixties took shape, another revolution took place, a psychedelic revolution.
No longer was music gradually evolving, like it previously had. Far from it. Instead, it was revolution not evolution. It wasn’t just in Britain and America that this psychedelic revolution took place. No, it was throughout the world. This includes Peru, which was in the midst of political turmoil.
Whilst psychedelia and rock music was influencing Peruvian music, Cuban communists inspired their Peruvian comrades. They used guerrilla tactics to try and win political power. With two revolutions taking place simultaneously, both Peruvian politics and music would change throughout the sixties and seventies. The changes in Peruvian music during the sixties and seventies are documented on Peru Maravilloso: Vintage Latin, Tropical and Cumbia, which was recently released by Tiger’s Milk Records, an imprint of Strut Records.
Peru Maravilloso: Vintage Latin, Tropical and Cumbia features fifteen tracks that are a taster of Peruvian music during the sixties and seventies. Some of the tracks are a reflection of the political turmoil the country underwent. This is no different to what happened in the sixties in America. Back then, groups like Country Joe and The Fish became the voice of a generation. However, there’s more to the music on Peru Maravilloso: Vintage Latin, Tropical and Cumbia than politics. Much more.
It’s not exaggeration to describe Peru Maravilloso: Vintage Latin, Tropical and Cumbia as a truly eclectic compilation. No wonder. Peru had a rich and vibrant music scene during these two decades and this is just a taster of the music being released. This is a reflection of the sheer vibrancy and eclectic nature of Peruvian music.
During the sixties and seventies, Peruvian music was influenced by everything a whole host of influences. This includes the music coming out of America and Britain. Two obvious influences during the sixties were The Beatles and Jimi Hendrix. Throughout the fifteen songs on Peru Maravilloso: Vintage Latin, Tropical and Cumbia, musical genres seamlessly melt into one. Everything from Cumbia, folk jazz, Latin, psychedelia and rock. Add to these influences African, Andean, Cuban and Spanish music. These songs were released on labels like Dinsa, Iempsa, FTA, Sono Radio, and Infopesa. This was very different to the music Peru was known for. As Bob Dylan sang, “The Times They Are A Changin.” They certainly were. Proof of this is Peru Maravilloso: Vintage Latin, Tropical and Cumbia, which I’ll pick the highlights of.
I’ve often said that the opening track is the most important on any album. It’s got to grab your attention and hold it. The compilers have chosen well here. Opening Peru Maravilloso: Vintage Latin, Tropical and Cumbia is Lucho Neves Y Su Orquesta’s Mambo De Machaguay. It’s a huayno track from the 1964 album Lima De Noche. It was released on Sono Radio label. Although it’s an oft-covered and familiar track, this piano jazz version injects new life and meaning. With stabs of blazing horns for company, this finger clicking, hip swaying slinky slice of piano jazz is the perfect way to open the compilation.
Chango Y Su Conjunto’s Salsa 73 was released as a single on Rey Records in 1973. It’s a real fusion of influences and genres. Salsa and Cumbia are thrown into the melting pot and given a stir. Back then, exiles living in New York were combining musical genres and drawing inspiration from various sources. As a result, Afro Cuban rhythms and fused with what became known as the “New York sound”. Bursting into life, a myriad of percussion and vocals combine. Stabs of horns punctuate the arrangement before later, the song literally explodes. Blazing, braying horns ensure the song reaches a dramatic crescendo.
From the opening bars of Los Zheros’ Para Chachita you’re hooked. It’s impossible not to be swept away by this songs considerable charms. Para Chachita was a track from their only album Cuarta Oscura. Released on the Dinsa label in 1971, it was penned by Choco Alvan. The quartet combine Peruvian and Western music. At breakneck speed, a glorious fusion of Latin rhythms, percussion and scorching, searing electric guitars melt into one. Elements of rock, surf and Latin music combine to create a hidden gem that’s one of the highlights of Peru Maravilloso: Vintage Latin, Tropical and Cumbia.
It’s not difficult to date Paco Zambrano Y Su Combo’s Meshkalina. No. It sounds as if it was released in 1968. That’s when this trippy, lysergic, psychedelic sounding single was released. This single was a reflection in musical revolution that was unfolding. Veering between shuffling, to stomping and dubby, the addition of bursts of growling horns in the finishing touch to this hidden psychedelic gem.
Under his Zulu alias, bassist Miguel Angel Ruiz Orbegozo a trio of albums for the Iempsa label. After his third album, Zulu’s music was finding an audience in America and much of Latin America. Despite being on the verge of huge commercial success, Zulu decided to retire from music and became a preacher. Sueño De Amor is a track from his 1974 eponymous album. Sueño De Amor, which translates as Dreams of Love, was written by Bill Morgan. Wistful, melancholy and thoughtful sounding, it’s a delicious reminder of one of the forgotten men of Peruvian music.
Covers of Beatles’ songs are two-a-penny and vary in quality. Los Ecos’ breath new life and meaning into Lennon and McCartney’s I Feel Fine. Me Siento Felíz is a track from Los Ecos’ 1975 album Perigrosal, which was released on FTA . It’s best described as a joyous take on a familiar song that results in a slice of aural sunshine.
El Zambito Rumbero is a track from a man whose credited with playing a leading role in Peru’s musical revolution. Manzanita fused musical genres. He combined various genres of Brazilian music with Western music. If you want to know what a fusion of cumbia, huayno, guaracha, rock and post-rock sounds like, then Manzanita Y Su Conjunto’s El Zambito Rumbero is the answer. Released as a single in 1971, there’s even elements of psychedelia and stabs of prog rock keyboards thrown in for good measure. The only way to describe this track is genre-melting.
Aniceto Y Sus Fabulosos’ Los Fabulosos En Onda which was released as a single in 1971, closes Peru Maravilloso: Vintage Latin, Tropical and Cumbia. It sees the music of two decades unite. Elements of sixties sunshine pop, psychedelia and rock combine with a shuffling Latin beat. What makes the track are some of the best guitar licks on the compilation. Sparse and spare, there’s neither frills nor showboating. Instead, the crystalline guitar licks wouldn’t sound out of place on a Santana album. That’s how good they are. This seems a fitting way to close Peru Maravilloso: Vintage Latin, Tropical and Cumbia.
The eight tracks I’ve chosen from Peru Maravilloso: Vintage Latin, Tropical and Cumbia are just some of the highlights on this compilation. There’s much more for to Peru Maravilloso: Vintage Latin, Tropical and Cumbia than eight tracks. I could just as easily have chosen tracks from Pedro Miguel Y Sus Maracaibos, Gato Blanco, Los Orientales or Félix Martinez Y Sus Chavales. That’s how good the music on Peru Maravilloso: Vintage Latin, Tropical and Cumbia. Indeed, the standard of music never drops. That’s no bad thing, given it’s the first release from Tiger’s Milk, an imprint of Strut Music. They’re starting as they mean to go on. Let’s hope that the next instalment in this series matches the quality of music on Peru Maravilloso: Vintage Latin, Tropical and Cumbia, which is essential listening for anyone interested in Peruvian or Latin music.
For newcomers to Peruvian music, then Peru Maravilloso: Vintage Latin, Tropical and Cumbia is a good introduction. It might be your first compilation of Peruvian music, but it won’t be your last. No way. This is just a tantalising taster of Peru’s rich and vibrant music scene during the sixties and seventies. It’s also a reflection of the eclectic nature of Peruvian music. There’s elements of jazz, sunshine pop, psychedelia, folk and rock. Add to that cumbia, huayno, guaracha, African, Andean, Cuban, Latin and Spanish music. Musical genres seamlessly melt into one on this musical tapestry which is a taster of what lies in Peruvian record companies back-catalogues.
Peru Maravilloso: Vintage Latin, Tropical and Cumbia features music from labels big and small. Among them, are labels like Dinsa, Iempsa, FTA, Sono Radio and Infopesa. Many of these labels will be new to most people, but not any more. I’m sure when you head out on crate-digging expeditions, you’ll be looking for albums and singles from these labels. After all, who knows what delights are lying undiscovered? Going by the music on Peru Maravilloso: Vintage Latin, Tropical and Cumbia, Peruvian music is a treasure trove awaiting discovery. Standout Tracks: Lucho Neves Y Su Orquesta Mambo De Machaguay, Los Zheros Para Chachita, Zulu Sueño De Amo and Aniceto Y Sus Fabulosos Los Fabulosos En Onda.
PERU MARAVILLOSO: VINTAGE LATIN, TROPICAL AND CUMBIA.
Z.Z. HILL-THE BRAND NEW Z.Z. HILL.
Z.Z. HILL-THE BRAND NEW Z.Z. HILL.
The story behind how Z.Z. Hill found himself in Muscle Shoals, Alabama, recording with producer Swamp Dogg is the equivalent to a game of musical pass the parcel. It all started when Swamp Dogg bought Z.Z. Hill’s contract from Quin Ivy, one of the stalwarts of the Muscle Shoals music scene. There wasn’t much Quin hadn’t done. He’d been a DJ, songwriter, owned a record shop and opened the Quinvy Studios. Quin had also produced Percy Sledge, but wouldn’t be producing Z.Z. Hill. No. The pair didn’t get on. There was a good reason for this though. Quin had been tricked into buying Z.Z. Hill’s contract from Phil Walden, who’d managed Otis Redding and founded Canyon Records.
Phil Walden was another music industry veteran. He’d managed and founded Capricorn Records. It was to Capricorn Records that Z.Z. Hill was signed. Z.Z. Hill and Phil didn’t see eye-to-eye. However, when Phil sold the contract to Quin, it was like jumping from the frying pan into the fire. Now his contract had changed hands again. Swamp Dogg owned the contract.
There was a problem though. Z.Z. Hill was avoiding Swamp Dogg. The only way to contact Z.Z. Hill was through his brother Matt. There was a reason for this. Whilst under contract to Quin, Z.Z. Hill had recorded Don’t Me Pay For His Mistakes. It had been a huge hit. As Swamp Dogg owned the contract, he was entitled to a royalty. That’s why Z.Z. Hill was avoiding Swamp Dogg. Eventually, when the pair met Swamp Dogg agreed to forego any royalties. He also paid Z.Z. Hill $5,000 and a small royalty to record what became The Brand New Z.Z. Hill, which was recently released by Alive Records. Ironically, Swamp Dogg had chosen Quinvy Studios to record The Brand New Z.Z. Hill. Surely, that was a step to far for Z.Z. Hill?
It wasn’t. Z.Z. Hill agreed to record the blues opera that was The Brand New Z.Z. Hill, at Quinvy Studios. Most of the songs were written by Swamp Dogg and one of his regular songwriting partners Gary US Bonds. A total of ten tracks were recorded by Z.Z. Hill at Quinvy Studios. Accompanying Z.Z. Hill were some of the best musicians in Muscle Shoals.
When recording of The Brand New Z.Z. Hill began, Swamp Dogg had put together a crack band of musicians. The rhythm section included Bobb Wray, Butch Owens and Charles Haywood, while Jesse Carr and Jimmy Evans played guitar plus drummers Fred Proudy, Jasper Guarino and Lou Mullenix. Chuck Levell, Clayton Ivy, Ronnie Oldham and Swamp Dogg played piano and organ. Trumpeter Gene “Bowlegs” Miller was part of the horn section on The Brand New Z.Z Hill. Swamp Dogg produced eight tracks and Quin Ivy two tracks. These ten tracks became The Brand New Z.Z Hill.
On its release in 1971, The Brand New Z.Z Hill reached just 194 in the US Billboard 200. Of the singles released from The Brand New Z.Z Hill, Faithful and True reached the US Billboard 100, then Chokin’ Kind reached number fifty in the US Billboard 100. Despite what seems like a commercial failure, Swamp Dogg claims six singles recorded at the The Brand New Z.Z Hill sessions, sold over a million copies. Swamp Dogg and Z.Z Hill were doing something right. You’ll realize what on The Brand New Z.Z Hill.
It Ain’t No Use opens The Brand New Z.Z Hill. Waves of drama unfold, as the rhythm section and crystalline, chiming guitars create a shuffling beat. They introduce a half-spoken vocal. It’s no Z.Z. though. No it’s Bob Carl Bailey, a local DJ, who filled in for Z.Z. who only spent three days in the studios. He vamps his way through the lyrics, his vocal sassy, feisty and tinged with humor. Leawill Little plays the female role in this mini soap opera. Then having set the scene, Z.Z. Hill’s unmistakable vocal takes centre-stage. A raspy, throaty vocal, it’s full of emotion and despair, as his relationship has gone wrong. Enveloped by blazing horns and chiming, B.B. King-esque guitars, Z.Z. defiantly sings: “you wanna come back home it’s too late, you’ve done me wrong.” It’s as if this is payback, revenge for the hurt she’s caused. A delicious fusion of blues and Southern Soul, this is indeed The Brand New Z.Z Hill.
It’s not the half-spoken vocal from Bob Carl Bailey that grabs your attention as Ha Ha (Laughing Song) unfolds. No. It’s the band’s performance. They’re a tight and talented unit. Seamlessly create a sultry, bluesy backdrop.This comes courtesy of the rhythm section, driving guitars and piano. Then midway through the track Z.Z. makes his entrance. His vocal is full of frustration and anger. Meanwhile horns growl and rasp, as he unleashes a growling, gnarled vamp. He’s almost mocking his partner who he’s come to despise.
The dialogue that opens Second Chance, is like eavesdropping on a relationship gone badly wrong. Z.Z. realises that their relationship is over. Despite that his partner begs for a Second Chance. His vocal is wistful and full doubt as he delivers the line: “do you believe you deserve a Second Chance?” It’s like a rhetorical question. Behind him, the arrangement has Southern Soul written all over it. Washes of Hammond organ, piano, stabs of blazing horns and a slow, thoughtful rhythm section provide the perfect backdrop for Z.Z’s soul-searching, melancholy opus.
Our Love Is Getting Better is quite unlike the previous tracks. There’s no dialogue. Instead, it bursts into life. Bursts of blazing horns, a powerhouse of a driving rhythm section and piano joins provide the backdrop for Z.Z. He matches the band every step of the way. Power and passion are combined, while dramatic bursts of soaring harmonies are the finishing touch. The result is a swinging fusion of blues and Southern Soul that features Z.Z. at his best.
As a church organ opens Faithful And True, you’re captivated by the dialogue between two of Z.Z’s friends. They speculate why Z.Z’s getting married and are almost laying bets whether he’ll tie the knot. After that, Z.Z. accompanied by a Hammond organ, stabs of braying horns and melancholy rhythm section, delivers a gut-wrenchingly beautiful vocal. Laden with emotion and sounding like Otis Redding, it’s an affirmation of his wedding vows, where he promises to be “ faithful and true.”
The Chokin’ Kind was one of the singles released from The Brand New ZZ Hill. No wonder. From the opening bars you’re hooked. As Z.Z. delivers a heartfelt, impassioned vocal, the band create a wistful Southern Soul arrangement. It’s ying to Z.Z’s yang. As guitars chime, a bass explores the same groove and horns rasp and growl. A Hammond organ and hissing hi-hats add to the drama and emotion of this heart-wrenching track.
Hold Back (One Man At A Time) sees the tempo drop and the arrangement take on an understated sound. That allows Z.Z’s vocal to take centre-stage. As he delivers the lyrics, the band play around him. There’s a mixture of irony and pathos in his vocal. He’s not going to be used, cheated on and then cast aside. No way. That’s obvious from his vocal. Behind him, bursts of braying join with the rhythm section and piano to add bursts of drama. They never overpower Z.Z’s vocal and compliment his vocal which brings meaning and emotion to the lyrics.
A Man Needs A Woman (A Woman Needs A Man) is another slower song. Against a slow, melancholy arrangement Z.Z. delivers a needy, soulful vocal. Stabs of braying horns answer his call, while harmonies soar above the arrangement. They’re the perfect accompaniment to Z.Z’s vocal. Equally soulful, they match him for emotion. When they drop out, just the piano and rhythm section accompany Z.Z, before grizzled horns add the finishing touch to what’s one of the best ballads on The Brand New ZZ Hill.
Early In The Morning has a real bluesy sound. It’s the rasping horns that lead to this comparison. Then there’s the bursts of chiming, crystalline guitars that remind me of B.B. King. As for the rhythm section, they up the tempo slightly. Z.Z’s vocal is swept along above it. He unleashes a vocal that’s a combination of power and emotion. Vamping his way through the arrangement, chiming guitars and braying horns drive Z.Z. to even greater heights of drama and emotion as he mixes blues and Southern Soul seamlessly and successfully.
Just drums opens I Think I’d Do It, which closes The Brand New ZZ Hill. Stabs of horns then usher in Z.Z’s vocal. He struts and vamps his way through the track, unleashing a myriad of hollers and shrieks. His band decide to kick loose. The blazing, braying horns are at the heart of the action. So are the rhythm section and piano, as Z.Z. closes The Brand New ZZ Hill on a bluesy, soulful and dramatic, vampish high.
Sadly, The Brand New ZZ Hill wasn’t the commercial success that it deserved to be. It was his third album. Z.Z. had released The Soul Stirring ZZ Hill in 1965, with A Whole Lot Of Soul following in 1969. Two years later came The Brand New ZZ Hill. Ironically, it was the same old story, with Z.Z’s music not finding the audience it deserved. All it needed was the right label behind him. Maybe Mankind, a short-lived and unsuccessful subsidiary of Nashboro was the wrong label for The Brand New ZZ Hill? After all, everything else was in place for The Brand New ZZ Hill to be a commercial success.
There was nothing wrong with Swamp Dogg, Gary US Bonds’ and Quin Ivy songs. The same goes for Swamp Dogg and Quin Ivy’s their production skills. Quite the opposite, The Brand New ZZ Hill was an innovative concept album where blues and Southern Soul became one. Accompanied by a crack band of top session players, Z.Z. Hill made the music come alive. Blessed with a voice that can inject emotion, meaning, and energy into a song, lyrics come alive. It only takes one listen to The Brand New ZZ Hill which was recently released by Alive Records and you’ll realise this. Whether its sadness or joy, hurt, heartbreak and happiness Z.Z. Hill can deliver this and more. Love songs, breakup songs and makeup songs Z.Z. delivers them with feeling. However, there’s more to his music than that. He can grab a song by the scruff of its neck, making a good song a great, and an average song good. Not every singer can do this. Z.Z. Hill could and did. Sadly, he never enjoyed the success his talent deserved.
No. After The Brand New ZZ Hill, fame made fleeting visits to Z.Z. Hill. He briefly met the seductive temptress that is fame. Like many other singers, he enjoyed a tantalising taste of what fame had to offer. Sadly, although he never experienced its delights to the fullest. Having glimpsed and tasted its delights, tragically, Z.Z. Hill’s career was cut tragically short. Aged just forty-nine, he died in 1984, having recorded eighteen albums. One of the highlights of Z.Z. Hill’s back-catalogue is The Brand New ZZ Hill, the blues opera that could’ve and should’ve transformed his career. Standout Tracks: It Ain’t No Use, Second Chance, Hold Back (One Man At A Time) and A Man Needs A Woman (A Woman Needs A Man).
Z.Z. HILL-THE BRAND NEW Z.Z. HILL.
OMAR SOULEYMAN-WENU WENU.
OMAR SOULEYMAN-WENU WENU.
Prolific. That’s a good way to describe Omar Souleyman. After all, how many artists have released over 550 albums? However, not all that glitters is gold. Many of these albums are recordings of Omar singing at weddings. They’re sold at kiosks in Omar’s native Syria. That’s where his nickname The Wedding Singer comes from. Despite Omar’s prolificacy and nearly twenty years in the music industry, he’s still hadn’t released a studio album. That was until recently, when Omar Souleyman released Wenu Wenu on Ribbon music.
Somewhat belatedly, Wenu Wenu was released just as Omar’s profile was rising. He’d come a long way from Ras Al Ain, in northeastern Syria, where Omar was born and brought up. Life wasn’t easy back home. What with the conflict, drought and stifling heat. Temperatures regularly rise to over 130 in Ras Al Ain. It was in this blistering heat that Omar Souleyman made his musical debut.
Omar was born in 1968, and when he was just seven years old, he sang at his first wedding. The Wedding Singer was born. Soon, he was performing almost daily with his band, which included Rizan Sa’id. Then as technology improved, Omar incorporated a Korg synth into his band. This was able to replicate the traditional Dabke band. Omar continued to play at weddings right up until 2000. He was the go-to-guy for anyone looking for a Dabke band.
With their mesmeric, joyous, stomping beat, dabke music is infectious and truly irresistible. Listen to a tape of his band live, and you’ll realize why he’s a hero to fellow Syrians. Despite this, he continued to work as a laborer. However, cassettes of his band were sold at kiosks throughout northeaster Syria. Then as the new millennia unfolded, Omar’s popularity grew.
Gradually, Omar Souleyman’s music found the wider audience it so richly deserved. From being just a Syrian phenomenon. Seattle-based Sublime Frequencies, a label that releases an eclectic selection of folk, pop and urban music. Sublime Frequencies released Highway To Hassake (Folk and Pop Sounds Of Syria) in 2007. This was the first in the Folk and Pop Sounds Of Syria series. Dabke 2020 followed in 2009, with Jazeera Nights released in 2010. By then, Omar Souleyman’s profile was in the ascendancy. He was playing at high profile events in America. This was down to Omar hooking up with Sublime Frequencies. Soon, the name Omar Souleyman was known much further afield.
Now Omar Souleyman was the first Syrian singer to enjoy commercial success and critical acclaim in America, his reputation spread to Europe. He released Leh Jani in 2011, for the Sham Palace label. His popularity was soaring. The usual hipsters and bandwagon jumpers were suddenly “fans” of his music. Omar was appearing at some of the biggest festivals in Europe and America, including Glastonbury in 2011. Big name artists wanted to work with him. So did Bjork and Gorillaz. DJs were remixing his music, making it dance-floor friendly. The only thing Omar still had to do, was release a studio album. This he did recently.
Wenu Wenu features just seven songs which were written by Omar Souleyman. He and Rizan Sa’id play on Wenu Wenu, which was recorded at Studio G, New York. Producing Wenu Wenu was Kieran Hedben. Once Wenu Wenu was finished, it was released on Ribbon Music. So after a lifetime of releasing live albums Omar Souleyman somewhat belatedly, released his debut studio Wenu Wenu. Was it worth the wait? That’s what I’ll tell you.
Opening Wenu Wenu is the pulsating title-track which in English translates as Where Is She. Seamlessly, Western and Arabic music melts into one. Having said that, there’s a contemporary sound to the track. It’s a fusion of traditional Arabic and dance music. As the song bursts into life, you’re hooked. You’re swept along, atop the thunderous, pounding beats. Swathes of strings carry you above the myriad of Arabian and Western instruments. There’s what sounds like an arghul and traditional Arabian drums plus keyboards and handclaps. They provide a mesmeric backdrop for Omar’s heartbroken, distraught vocal, as he brings to life the needless violence in the lyrics.
There’s no drop in tempo on Ya Summa or Oh Mother. Describing it as infectiously catchy and irresistible is an understatement. Resistance is impossible. Best just to submit to the track’s considerable charms. Musical genres are fused over four minutes. Elements of avant-garde, experimental, Arabic, dance, funk and soul are thrown into Omar’s melting pop. As he delivers an impassioned vocal, drums pound, providing the heartbeat, Omar and Rizan Sa’id give virtuoso performances. All manner of traditional instruments provide a delicious, dance-floor friendly backdrop. The result is no ordinary Dabke band, but one infused with the spirit of Jimi Hendrix .
Nahy which translates as My Precious, literally explodes into life. It’s a love song, where Omar lays bare his soul. His vocal is heartfelt and emotive. Meanwhile a combination of thunderous drums combine with flutes, arghul and handclaps. A potent combination, they’re the perfect foil to Omar’s soulful, impassioned vocal.
Straight away, it’s obvious Khattaba or Promise Of Marriage is something special. Stabs of keyboards and bursts of drums combine before an atmospheric, evocative and Arabian sounding arrangement unfolds. Swathes of sweeping strings add to the drama. Omar’s rasping, worldweary vocal is full of emotion and joy. His vocal drifts in and out of the arrangement. You’re left mesmerised and spellbound by what’s one of the highlights of Wenu Wenu.
Warni Warni (Come To Me) has a thoughtful, pensive sound. Very briefly, there’s a drum ‘n’ bass influence. Then the arrangement explodes. At breakneck speed, guitars and thundering, galloping drums drive the arrangement along. Omar vocal is a needy, heartfelt plea. As his vocal drops out, he and Rizan Sa’id push musical boundaries. They take this ancient, sacred music and reinvent it. Adding a contemporary twist, a seven minute, genre-melting, dramatic Magnus Opus unfolds. It demonstrates Omar Souleyman at his best, innovating and reinventing traditional Syrian music.
Dramatic and emotive describes Mawal Jamar (Mawal). It’s the stabs of keyboards and swathes of strings, not forgetting Omar’s vocal. He’s almost distraught and grief-stricken. Deeply moving, it’s heart-wrenching. Especially with lyrics that translate as: “he did not bury me.” Emotion, sadness and frustration fill his voice, while the arrangement frames his vocal. It’s the backdrop for this cathartic outpouring of emotion and anguish.
Yagbuni (Sweet Girl) closes Wenu Wenu. From the opening bars, you’re translated to Syria, Omar’s homeland. Then as the sound unfolds, it takes on a more contemporary sound. It’s a fusion Western and Arabic music. They prove a potent partnership. As the arrangement grows in power and drama, it almost becomes frenzied. Not quite though. It’s setting the scene for Omar’s seductive, alluring vocal. Soulful, sincere and seductive, it’s accompanied by an arrangement that’s a dramatic fusion of the music of two continents.
Wenu Wenu, Omar Souleyman’s debut album is long overdue, but has been well worth the wait. Granted he’s released over 550 live albums. Most of them were recorded when Omar sung at weddings in his native Syria. That’s how he acquired the nickname The Wedding Singer. He’s now forty-five and has gained recognition much further afield.
From America, Europe and Britain, belatedly, people are discovering one of Syrian music’s best kept secrets. It’s better late than never. Now some of the biggest artists in music are wanting to work with Omar Souleyman. At last his talent has been recognized. So has Omar’s ability to create genre-melting music. That’s the case on Wenu Wenu, Omar’s recently released debut album on Ribbon Music. Wenu Wenu sees Omar fuse everything from Arabic, dance, electronic, folk, funk and soul. It’s combined by producer Kieran Hedben on Wenu Wenu.
When anyone listens to Omar Souleyman’s debut album Wenu Wenu, they can’t help but be captivated by his voice. As he sings in Arabic, his rasping vocal veers beteen worldweary, lovelorn, heartfelt and heartbroken. Tales of love and love gone wrong are familiar themes for Omar. A man of few words, Omar takes the music of Syria’s past and reinvents it. The result is Wenu Wenu, a fusion of Arabian and Western music from Omar Souleyman, the one time Wedding Singer who now looks like being a worldwide star and belatedly enjoying commercial success and critical acclaim. Standout Tracks: Ya Yumma, Nahy, Khattaba and Yagbuni.
OMAR SOULEYMAN-WENU WENU.
SANDRA PHILLIPS-TOO MANY PEOPLE IN ONE BED.
SANDRA PHILLIPS-TOO MANY PEOPLE IN ONE BED.
Producer Swamp Dogg hadn’t known Sandra Philips long, before he signed her to Canyon Records. Swamp Dogg was introduced to Sandra by her ex-husband. He let Swamp Dogg hear a single she cut for Epic. This was kismet. Not only was Sandra hugely talented, but she’d potential. She was desperate to forge a career in music. Her soulful, emotive voice could make lyrics come to life. This was just what Swamp Dodd needed. It would fill a void left by Doris Duke who Swamp Dogg had previously worked with.
Doris was proving unreliable. She’d stopped taking Swamp Dogg’s calls, was missing concerts. Then there was the small matter of a Buick Estate Wagon Swamp Dogg bought her. It had been shot up by her new “manager.” Doris Troy looking unlikely to have much of a future with Swamp Dogg. That was a huge loss. After all, Doris had released the Deep Soul classic I’m A Loser. Doris could’ve and should’ve been one of the biggest female soul singers of the late-sixties and early-seenties. Sadly, that wasn’t the case. She’d gone A.W.O.L. and someone was needed to fill that huge void.
That’s where Sandra Phillips came in. Realising the potential Sandra clearly had, Swamp Dogg signed her to Canyon Records. He then took Sandra down to Macon, Georgia, where with a crack band in tow, Sandra Phillips recorded Too Many People In One Bed for Canyon Records, which was recently rereleased by Alive Records. Would Too Many People In One Bed see Sandra Phillips fill the void left by Doris Troy? That’s what I’ll tell you, once I’ve told you about Sandra’s career.
Sandra Phillips was born in Mullins, South Carolina. From an early age, she was entering talent contests and sang in her church choir. When she left high school, she headed to New York to try and fulfil her dream of becoming a singer.
Now living in New York, she was signed by Sue Records, releasing two singles on their Broadway imprint. You Succeeded and World Without Sunshine were released in 1967. Although neither were commercially successful, they’ve become of favorites on the Northern Soul scene. Next stop for Sandra was Okeh, where she released I Wish I Had Known and I Still Love You. Still success eluded Sandra. She was no quitter though.
Not only was Sandra confident in her own ability, but so was her ex-husband. When he met Swamp Dogg, he let Swamp Dogg hear a single she cut for Epic. Given the problems Swamp Dogg was having with Doris Duke this was fate. Here was a singer who could fill the void Doris left at Wally Roker’s Canyon Records, were Swamp Dogg had a production deal. Swamp Dogg signed her to Canyon Records and work began on her debut album Too Many People In One Bed.
For Too Many People In One Bed, Swamp Dogg wrote or cowrote eleven of the twelve tracks. Swamp Dogg as Jerry Williams Jr, penned Rescue Song, Ghost Of Myself and If You Get Him (He Was Never Mine). With Charlie Whitehead, Jerry cowrote My Man And Me, Now That I’m Gone (When Are You Leaving) and Some Mother’s Son. They cowrote She Didn’t Know (She Kept On Talking) with Gary US Bonds. Jerry and Gary cowrote I’ve Been Down So Long,To The Other Woman (I’m The Other Woman), After All I Am Your Wife and Please Don’t Send Him Back To Me. The other track was Someday (We’ll Be Together), which was written by Jackey Beaver, Johnny Bristol and Terry Johnson. These twelve songs became Too Many People In One Bed, which was recorded in Macon, Georgia.
To record Too Many People In One Bed, Swamp Dogg took Sandra down to Macon, Georgia, where with a crack band in tow, the recording began. The band included a rhythm section of drummer Johnny Sandlin, bassist Robert Popwell and guitarist Pete Carr. Paul Hornsby played organ and piano, while Swamp Dogg played piano. Once the recording of the rhythm section and vocals were completed, Swamp Dogg headed to Philly where strings were added. Recording took place at the Cameo Parkway studios, with Swamp Dogg’s favourite arranger, Richard Rome taking charge of proceedings. Then when Too Many People In One Bed was completed, Sandra Phillips had to stand in for Doris Troy, who’d gone A.W.O.L, again.
With Doris Troy missing in action, Swamp Dogg had a problem. He’d shows booked in th Midwest and a lot of money riding on them. Doris was nowhere to be seen. So Swamp Dogg convinced Sandra to pretend to be Doris. This worked and I’m A Loser stayed in the top ten for two months. Sadly, Too Many People In One Bed didn’t enjoy the same success.
Canyon Records which was owned by Wally Roker folded before Too Many People In One Bed was released. Too Many People In One Bed was meant to be released in 1970. Sadly, Sandra Phillips’ debut album was never released. It was dispatched to retailers and before the release date, Canyon Records folded. Since then, Too Many People In One Bed has never been released…until now. Will Too Many People In One Bed prove to be a hidden gem that could’ve transformed Sandra Phillips’ career? That’s what I’ll tell you.
Rescue Song, which opens Too Many People In One Bed, has Southern Soul written all over it. With washes of Hammond organ and soaring gospel tinged harmonies for company, Sandra’s vocal is a mixture of power and emotion. Needy, she almost pleads for “somebody to rescue me.” It’s as if she’s lived the lyrics. Behind her Swamp Dogg’s band fuse Southern Soul with rocky guitars. It’s the perfect accompaniment to Sandra’s vocal tour de force.
I’ve Been Down So Long sees the tempo dropped way down. That’s perfect for this song. So too is the wistful sounding arrangement. Again, bassist Robert Popwell plays an important part, while guitars chime, horns rasp and drums add a melancholy heartbeat. As Sandra sings: “I’ve Been Down So Long” there’s a defiance and hope in her voice. She’s not given up yet and never will. With harmonies matching her every step of the way, Sandra unleashes a vocal dripping in emotion, defiance and hope.
Chiming, crystalline guitars open My Man And Me, before a sassy, feisty Sandra vocal struts centre-stage. Horns growl, harmonies soar dramatically and the Hammond organ adds its unmistakable atmospheric sound. The rhythm section adds a funky heartbeat and some boogie woogie piano proves the finishing touch to Sandra’s strutting, feisty vocal.
From the opening bars of To The Other Woman (I’m The Other Woman) you realize something special is unfolding. The song takes on a cinematic quality. Pictures unfolds before your eyes. That’s down to the washes of Hammond organ, piano and the rhythm section provide the backdrop for Sandra’s vocal. It’s a mixture of controlled power and emotion. Accompanied by strings, she lays bare her soul. Veering between confusion, defiance, joy, melancholy and sadness, Sandra makes the lyrics come to life. Proud and defiant, her parting shot is that: “the other woman will always be the wife.”
A pensive piano opens Now That I’m Gone (When Are You Leaving), before Sandra unleashes a powerhouse of a vocal. The arrangement unfolds, sometimes just at the right time. Swamp Dogg builds up from just the piano and the rhythm section providing the heartbeat. He drops stabs of blazing horns and soaring, gospel-tinged harmonies in at the right time. They provide a foil for Sandra’s embittered, angry and dramatic vocal.
Jazz-tinged. That’s the best way to describe Someday (We’ll Be Together). Sandra scats while horns rasp, strings swirl and guitars chime. Bassist Robert Popwell is at the heart of the action, his playing intricate and thoughtful. Sandra however, plays the starring role. As horns bray and blaze, strings sweep and jazz and soul unites. She transforms the song. In her hands it becomes an anthemic track. This plea for unity and togetherness could’ve and should’ve become the anthem for generation.
After All I Am Your Wife sees a lonely and heartbroken Sandra realize her marriage is all but over. She realises this and lay bare her soul. Sadness, frustration and anger, it comes to the surface. It’s a cathartic outpouring of emotion. Sung against a backdrop of lush strings, Hammond organ and bubbling bass, years of emotion come pouring out. Deep down though, she’s not over him though. The clue is when she sings: “after all, you’re my life.” Whether it’s a case of love gone wrong or unrequited love there’ll be no happy ending. So convincing is Sandra’s delivery, that you almost share her hurt. That’s why it’s one of the highlights of Too Many People In One Bed.
Stabs of piano provide a dramatic backdrop to Sandra’s vocal on Ghost Of Myself. Her vocal isn’t as powerful as on other tracks. It’s as if she’s singing within herself. That’s no bad thing. You focus on her every word. Her heartfelt, impassioned vocal is truly compelling. Her relationship is over and she’s a “Ghost Of Myself.” Swamp Dogg’s arrangement reflects this heartbreak and drama. Hammond organ, swathes of strings and the rhythm section accompany Sandra. Later, her vocal grows in power. She unleashes a vocal that’s a fusion of controlled power and emotion.With harmonies for company, this proves the perfect way to close this heart-wrenching, confession.
Gospel-tinged harmonies sweep as If You Get Him (He Was Never Mine) unfolds. Straight away, Sandra’s vocal is defiant and dramatic. Delivered against a backdrop of quivering strings, Hammond organ and meandering bass Sandra’s angry vocal takes centre-stage. Harmonies drift in, adding to the drama and emotion of Sandra’s feisty vocal. With a combination of defiance and heartbreak her parting shot is: “If You Get Him (He Was Never Mine).”
Bluesy horns open the melancholy She Didn’t Know (She Kept On Talking). With a slow, thoughtful arrangement where horns, piano and swathes of lush strings combine a quite beautiful song unfolds. A song about a two-timing, good-for-nothing guy, Sandra delivers what’s easily her best vocal. It’s not just the way she breathe life and emotion into the lyrics. No. It’s that she resists kicking loose and delivers a tender, wistful and heartbreakingly beautiful vocal.
Please Don’t Send Him Back To Me bursts into life. Swamp Dogg’s band and the backing vocalists spring into action. Sandra’s vocal is sassy and feisty, oozing with confidence. Harmonies accompany her, soaring above the arrangement. Meanwhile, horns growl and the rhythm section add a driving beat. As for Swamp Dogg he unleashes some of the best piano playing on the piano. It’s the finishing touch to this slice of good time music.
Some Mother’s Son closes Too Many People In One Bed. Moody, broody and dramatic describes the arrangement. Then it’s all change. Stabs of grizzled horns, searing guitars and probing bass join the piano as Sandra seems determined to close the album on a high. She does, delivering a needy, hurt-filled vocal. Her lovelorn vocal is a mixture of loneliness, emotion and hope, that one day, Some Mother’s Son will be the one.
Sandra Phillips’ Too Many People In One Bed could’ve and should’ve been the album that launched her career. After all, Sandra was talented singer, capable of bring lyrics to life. Songs takes on a cinematic quality. Pictures unfolds before your eyes. The characters within the twelve songs become very real. So much so, you end up sharing their hurt and pain. Not every singer can make music come alive like that. No. Far from it. However, Sandra Phillips could.
Too Many People In One Bed is like a twelve short stories. Tales of betrayal, heartbreak, loneliness and love gone wrong, it’s all on Too Many People In One Bed. A whole range of emotions come pouring out. We also see different sides to Sandra Phillips. One minutes she’s heartbroken, the next defiant, feisty or sassy. Whether Sandra’s vocal is powerful or tender, it’s equally effective. Mostly, it’s powerful though. Sometimes, I wish she’d just reign in the power. She doesn’t need to always unleash a vocal powerhouse to be effective. Not at all. Proof of that is She Didn’t Know (She Kept On Talking), which features a tender vocal. It’s the highlight of Too Many People In One Bed. Mind you, there’s many highlights on Too Many People In One Bed.
Indeed, there’s no disappointments on Too Many People In One Bed. Instead, Too Many People In One Bed is a reminder that Sandra Phillips could’ve and should’ve enjoyed a successful career. Sadly, it wasn’t to be. Sandra’s musical career petered out. She retrained and enjoyed commercial success and critical acclaim as an actress, even portraying Bessie Smith, The Empress Of The Blues, on Broadway. However, Sandra Phillips’ life and career could’ve been very different, if Canyon Records hadn’t folded. Maybe then, she’d have enjoyed the commercial success and critical acclaim that later came her way as an actress. Too Many People In One Bed which was recently rereleased by Alive Records, is a tantalizing reminder of one of Southern Soul’s best kept secrets, Sandra Phillips. Standout Tracks: Rescue Song, I’ve Been Down So Long, If You Get Him (He Was Never Mine) and She Didn’t Know (She Kept On Talking).
SANDRA PHILLIPS-TOO MANY PEOPLE IN ONE BED.
NEAL FORD AND THE FANATICS-GOOD MEN.
NEAL FORD AND THE FANATICS-GOOD MEN.
Between 1964 and 1968, Neal Ford and The Fanatics were Kings of the Houston music scene. They spent several years honing their sound and were now enjoying the fruits of their labor. Their unique and slick fusion of rock, R&B and garage won friends and influenced other groups all over Texas. Neal Ford and The Fanatics it seemed were riding the crest of a musical wave with their amalgam of American and British music. The next step was to release their debut single.
This was I Will Not Be Be Lonely, which was released on the Gina label in 1966. It was garage rock with an English influence. English groups like The Kinks, The Yarbirds, The Animals and The Zombies had influenced Neal Ford and The Fanatics. So had a whole host of American groups. However, in 1966, the English interest shawn through. A year later, having dominated their local music scene, Neal Ford and The Fanatics signed to Hickory Records and hoped to enjoy nationwide success.
Success at a local level was all very well. What Neal Ford and The Fanatics really wanted, was to translate this success to a national level. Hickory Records, a bigger label, with more resources, gave them a better chance of achieving this success. The combination of Neal Ford and The Fanatics and Hickory Records looked like a winning combination. Sadly, that wasn’t the case. After releasing a handful of singles and their 1967 eponymous album, Neal Ford and The Fanatics and Hickory Records parted company with Hickory Records. That wasn’t the end of Neal Ford and The Fanatics. No. They released a few more singles. These tracks feature on Neal Ford and The Fanatics’ Good Men, which was recently released on Big Beat Records, a subsidiary of Ace Records. Before I tell you about the highlights of Neal Ford and The Fanatics’ Good Men, I’ll tell you about the band and their history.
Neal Ford was born in San Antonio, but moved around during his childhood. This was his due to his father’s work. He was a steelworker, so had to move to where they work was. They settled in Houston, Texas, where Neal a talented athlete, went to high school. Having won a scholarship to the Howard Payne University in Brownwood, his musical career inadvertently began.
At Payne University, Neal met Kim Espy, who was on a basketball scholarship. The pair became good friends. At night in the dorm, Neal sang and played ukelele. Then one night, Kim joined him and the pair sang harmonies. Next to join them, was Ray Hildebrand, who was also on a basketball scholarship. They started singing together. Then Ray left the trio to cut a single with Jill Jackson. As Paul and Paula, they recorded Hey Paula. Now just a duo, Kim and Neal called themselves The Ramadas and started performing live. After that, they recorded their debut single.
Teenage Dream was The Ramadas debut. Released in 1963, on the Phillips label, it came attention to a local music impresario, Major Bill Smith. Teenage Dream and its followup, Summer Steady. The following year, 1964, The Ramadas moved to the New World label, where they released a trio of singles. Later in 1964, The Ramadas formed their own label and as the VIPs, released another single. By then, music was changing, when the British Invasion changed American music forever. Something else was changing, Neal was drafted into the US Army.
When he left the army, Neal set about forming a new band. This band would be influenced by the British Invasion. Each of the band were much older than Neal. He was the youngest member and in charge. This didn’t trouble him. Neal’s first recruit as guitarist Johnny Stringfellow. Then bassist W.T. Johnson, drummer John Cravey and Jon Pereles guitar and vocalist. Keyboardist Dennis Senter was thought to be the final member. That wasn’t to be. After one of their first concerts, Dennis asked how much they’d made. However, when Neal told them they each owed him sixty-seven cents, Dennis quit. His replacement until January 1966 was Steve Ames. After that, Lanier Greg filled the role. That was still to come. Before that, Neal Ford and The Fanatics were about to record their debut single I Will Not Be Be Lonely, which features on Neal Ford and The Fanatics’ Good Men.
I Will Not Be Be Lonely is one of twenty-six tracks on Neal Ford and The Fanatics’ Good Men. There’s the nine singles Neal Ford and The Fanatics released on Hickory Records, plus two album tracks. Then there’s the three singles released on Tantara and four singles for the Caped Crusader label. As an added bonus, there’s seven previously unreleased tracks. These twenty-six documents the musical career of Neal Ford and The Fanatics and demonstrate why over forty years after they released their last single, there music is fondly remembered.
It was on 1st January 1965, that Neal Ford and The Fanatics’ cut I Will Not Be Be Lonely. This was one of a number of songs the group recorded that day. Just like the B-Side Be Mine, it was written by Neal Ford. With its stomping beat, washes of keyboards and jangling guitars the arrangement is a fusion of American and British music. There’s a strong Kinks’ influence. As for Neal’s lead vocal and the harmonies, they melt into one. They play an important part in the song’s success. Listening to this single, it’s obvious that all of the band are experienced musicians.
While Neal Ford was completing his time in the Army Jon Pereles took charge of the lead vocal. Steve Ames also replaced Dennis Senter on keyboard. When Neal returned home, Neal Ford and The Fanatics signed to the Tantara label.
There are four tracks from Neal Ford and The Fanatics time at Tantara on Good Men. They’re a quality quartet, where the group’s influences shine through. Neal remembers writing Bitter Bells when he was in the US Navy. It’s a trippy fusion of rock and psychedelia. As Don’t Tie Me Down, The Animals seemed to have influenced them. It has a wistful and cinematic, before becoming dramatic and emotive. Better Slow Down is best described drama-laden and three-minutes of timeless theatre. Lysergic, moody and psychedelic describes I Will If You Want To, which is the highlight of Neal Ford and The Fanatics time at Tantara.
After the band left Tantara, where they were one of the label’s biggest acts, their manager decided that it was all very well enjoying local success, but nationwide success was where the money was. So, he shopped the band around various labels. Capitol were interested, but eventually, the band decided upon the Nashville based Hickory Records. They were a subsidiary of publishers Acuff-Rose. When Neal Ford and The Fanatics signed to Hickory keyboardist Steve Ames left because of health problems. Lanier Greg replaced him and completed the classic lineup of Neal Ford and The Fanatics.
From Tantara, Neal Ford and The Fanatics headed to Hickory Records. There’s eleven tracks from this period on Good Men. Among them are some of the singles they released on Hickory. This includes 1967 I Have Thoughts Of You, which was written by Jon Pereles and produced by manager Richard Ames. It has a much more thoughtful, ethereal and soulful sound. That’s because of Neal’s wistful, heartfelt vocal and the tender harmonies. So good is this track, that it’s one of the best tracks the Good Men recorded. Tucked away on the B-Side is That Girl Of Mine. It’s much more what we’ve come come to expect from Neal Ford and The Fanatics. There’ a British Invasion influence, especially The Who.
Shame On You is another of the singles Neal Ford and The Fanatics released on Hickory. Neal is very much the showman, vamping his way through the track, while rock, psychedelia and garage are combined by The Fanatics. They also add cooing harmonies on what is a quirky, hidden gem. Flip over to the B-Side and you’ll find the Jon Pereles penned Gonna Be My Girl. People realized it was way too good to be a B-Side and deserved a better fate. When Joe Ford a DJ at KNUZ radio station played Gonna Be My Girl, it became a hit right through the Gulf Coast, selling 20,000 copies and reaching number one in the region. This showed that Neal Ford and The Fanatics were on the cusp of making a commercial breakthrough. Sadly, it never came.
In 1967, Neal Ford and The Fanatics released their eponymous debut album. Featuring eleven tracks, this included Gonna Be My Girl, Nothing Left To Do, Bitter Bells, Shame On You, That Girl Of Mine and (I’ve Got A) Brand New Girl. All of these tracks feature on Good Me. They feature the classic lineup of Neal Ford and The Fanatics at their tightest. Here’s a band that are experienced and have spent years honing their sound and mixing musical genres. Proof if any was needed, is the fusion of blues and rock that’s One Times One Ain’t Two. Here, Neal Ford and The Fanatics fuse the Rolling Stones and Chess blues. It’s a mesmeric masterstroke. Sadly, despite the undoubted quality of songs like One Times One Ain’t Two, Neal Ford and The Fanatics wasn’t a commercial success. This hadn’t been helped by the loss of a Fanatic.
Although Neal Ford and The Fanatics enjoyed a degree of success further afield, the band remained a Texan success story. The most successful period of their career was between 1966 and 1967. Unfortunately, just as the only album of their career was released, John Stringfellow was drafted. This meant one of the group’s most important members was missing. The continued to release singles and even opened for Jimi Hendrix. What should’ve been a momentous evening wasn’t. They weren’t as well received. Catcalls from the audience signaled music had changed. Their contract with Hickory ran out in 1968. After a one-off single deal with ABC, Neal Ford and The Fanatics seemed to run out of steam.
There were arguments about whether the group should “go psychedelic.” Then members of the band left and replacements drafted in. They recorded four or five songs before in the summer of 1970, Neal Ford and The Fanatics split-up. That might have been the end of Neal Ford and The Fanatics, but isn’t the end of Good Men.
There’s ten other tracks on Good Men. This includes four released on Caped Crusader in 1994. This includes Good Men Are Hard To Find and For You. Good as they are, the other two tracks are real finds. I Can’t Go On is a driving, choppy and needy slice of psychedelia. Dramatic with some peerless guitar playing it’s a real find. So is Woman where rock, garage and psychedelia unite.
The other songs on Good Men are the previously unreleased tracks. Amongst them are a couple of real gems. This includes The Seasons, a genre-melting fusion of funk, garage, rock and psychedelia. Save Your Affection is a melodic, infectious track that unfolds in waves. Featuring some of The Fanatics’ trademark harmonies, you wonder where this track has been all these years? Then there Night Time, where The Rolling Stones and Lou Reed seem to influence Neal’s strutting, sneering vocal. Behind him, The Fanatics mix musical genres and influences in their melting pot. This trio of track are another three reasons why Good Men is the definitive Neal Ford and The Fanatics’ compilation.
Featuring twenty-six tracks, Neal Ford and The Fanatics’ Good Men covers every part of Neal Ford and The Fanatics’ career. This includes from their first single I Will Not Be Be Lonely, right through to the end of their career at Hickory Records it’s all on Good Men, which was recently released on Big Beat Records, a subsidiary of Ace Record. Whether you’re an old fan rediscovering Neal Ford and The Fanatics or a new fan wanting to hear their music for the first time, Good Men is the perfect starting place. It’s not just the music that makes me say this, but Alec Palao’s sleeve-notes. They’ll tell you everything you want to know about Neal Ford and The Fanatics, but were afraid to ask. They’re also the perfect introduction to a group who could’ve and should’ve enjoyed a longer and more successful career.
For six years, Neal Ford and The Fanatics created genre-melting music. Originally, they’d been influenced by the British Invasion, and groups like The Kinks, The Yarbirds, The Animals and The Zombies. Having said that, there was still a strong American influence to their music, including blues, garage, classic rock and psychedelia. Despite their undoubted talent and ability to combine genres and influences, commercial success and critical acclaim eluded them. There’s maybe a simple explanation for that.
That’s that Neal Ford and The Fanatics stood still. Between 1966 and 1967, they were producing cutting-edge music. This continued into 1968. Then when John Stringfellow was drafted. This meant one of the group’s most important members was missing. They continued to release singles and even opened for Jimi Hendrix. What should’ve been a momentous evening wasn’t. They weren’t as well received. Catcalls from the audience signalled music had changed. That should’ve resulted in Neal Ford and The Fanatics changing direction. They considered heading in the direction of psychedelia, but didn’t.
After that their contract with Hickory ran out in 1968. After a one-off single deal with ABC, Neal Ford and The Fanatics seemed to run out of steam and the band split-up in 1970. However, the music on Neal Ford and The Fanatics’ Good Men features the band at their best, pushing musical boundaries and combining a disparate and eclectic selection of influences. Standout Tracks: I Will Not Be Be Lonely, Gonna Be My Girl, One Times One Ain’t Two and Night Time.
NEAL FORD AND THE FANATICS-GOOD MEN.
WOLFMOON-WOLFMOON.
WOLFMOON-WOLFMOON.
Swamp Dogg first encountered Tyrone Thomas in 1964, when Brooks O’Dell first brought him to his Philadelphia home. Brooks had given Swamp Dogg the hard sell about Tyrone Thomas. Swamp Dogg wasn’t disappointed. He was so impressed that he invited Tyrone into his house. This was the start of a tumultuous musical partnership. As partnerships go, it was more off than on. Somehow though, it lasted until 1973, when Tyrone Thomas using his Wolfmoon alias, released his eponymous debut album, Wolfmoon, which was recently rereleased by Alive Records. Before I tell you about the music on Wolfmoon, I’ll tell you about Tyrone Thomas’ career.
It was in his hometown of Richmond, Virginia that Tyrone Thomas’ musical career began. He was just ten and known as Lil Tommy. Not long after that, Tyrone formed The Teenagers with Major Harris. They quickly established a reputation as a talented quartet. So much so, that they found themselves opening for Sam Cooke, Jimmy Reed, Mary Wells and Fats Domino. Then when The Teenagers changed their name to Lil Tommy and The Parakeets, they won the prestigious Amateur Night At The Apollo. That wasn’t the group’s last name change. No. Lil Tommy and The Parakeets became Lil Tommy and The Out Of Sights. Soon, Lil Tommy would be out of sight.
Having enjoyed success with his various groups, Lil Tommy decided to the time was right to embark on a solo career. Aged just fourteen, he recorded I’m Hurt, which he’d written. This resulted in him embarking on his first tour. He was opening for LC Cooke and The Upsetters. Then when the tour ended, Lil Tommy found himself opening for another artist in Richmond.
This was Brooks O’Dell, another singer from Richmond. Brooks had enjoyed a degree of success as he singer. His biggest hit single was You Better Watch Your Step. That Lil Tommy had been chosen to open for him was fate. Standing in the wings listening to Lil Tommy sing, Brooks knew this was a young man who could’ve a big future. So he phoned a friend of his, Swamp Dogg.
By the time Jerry Williams Jr, a.k.a. Swamp Dogg first encountered Tyrone Thomas in 1964, he was already a successful singer, songwriter and producer. He knew a talented artist when he heard one. Despite this, Brooks O’Dell gave Swamp Dogg the hard sell about Tyrone Thomas. This was unnecessary. Tyrone lived up the hype. Swamp Dogg was so impressed, that he invited Tyrone into his house.
Tyrone moved into the house Swamp Dogg and his wife shared in Philly. The idea was, that Swamp Dogg and Brooks were going to co-produce and co-manage Tyrone. However, Tyrone was far from the ideal house guest. Soon, he was trying Swamp Dogg’s patience. Then when Tyrone recorded two new songs, I’m Hurt and L-O-V-E which Swamp Dogg wrote and produced, their relationship became even more strained.
Not long after that, Tyrone hot-footed it to Richmond, Virginia, where Swamp Dogg claims Tyrone passed the songs of as his own to Mr. Wiggles, a local record producer. That however, wasn’t the last Swamp Dogg heard of Tyrone Thomas.
Five years later, in 1969, Swamp Dogg had signed a lucrative record deal with Canyon Records. He was cultivating the Swamp Dogg, Raw Spitt sound that he became famous for. This meant signing artists who fitted or could be moulded to fit that sound. One artist who fitted the bill was Tyrone Thomas. Deciding to let bygones be bygones, Swamp Dogg signed Tyrone to Canyon Records.
With Tyrone Thomas now signed to Canyon Records, Swamp Dogg set about cultivating his image. Gone was Lil Tommy. So too was Tyrone Thomas. Replacing him, was Wolfmoon. This fitted with the album’s theme. It was a fusion of gospel, R&B and Southern Soul, which Swamp Dogg decided would be entitled Wolfmoon.
Wolfmoon features ten tracks, seven of which were penned by Jerry Williams Jr. This includes Cloak Of Many Colors, If He Walked Today, My Kinda People, God Bless, What Is Heaven For, Treasure That I Found and The Artist. The other three tracks were cover versions. They were an interesting trio of tracks. Curtis Mayfield’s People Get Ready, John Fogerty’s Proud Mary and Pete Seeger and Lee Hayes’ If I Had A Hammer. These ten songs were recorded by Wolfmoon with Swamp Dogg and his band accompanying him at a studio in Macon, Georgia. Swamp Dogg also produced Wolfmoon, which wasn’t released for another four years.
Sadly, the deal that Swamp Dogg had with Canyon Records fell through. Canyon Records reneged on the deal. This was a huge disappointment for Wolfmoon and Swamp Dogg. They’d recorded an album, but it had never been released. At least Canyon Records didn’t ask for their money back. It looked like Wolfmoon and Swamp Dogg’s luck was changing.
That proved to be the case. Four years later, Swamp Dogg was contacted by Fungus Records. They wanted Swamp Dogg to set up a record label for them to distribute. It was on Fungus Records that Wolfmoon was released.
Despite the popularity of Southern Soul and soul music in general, Wolfmoon’s release passed almost unnoticed. Since then, Wolfmoon has been something of a hidden gem among soul connoisseurs. Given its rarity, copies of Wolfmoon have changed hands for ever increasing sums of money. That’s what makes Alive Records’ recent rerelease of Wolfmoon, which I’ll tell you about, such a welcome rerelease. Now everyone can hear Wolfmoon.
Opening Wolfmoon is Cloak Of Many Colors, the first of seven tracks penned by Jerry Williams Jr. Here, Southern Soul, R&B, gospel and funk combine head on. Accompanying Wolfmoon’s impassioned, vampish vocal is a stomping beat, piano plus washes and stabs of Hammond organ. Then there’s chiming guitars and the bass that marches the arrangement confidently along. Add to that, dancing strings and the result is a joyous, hook-laden, genre-melting track that introduced the world to Wolfmoon.
If He Walked Today has a thoughtful, understated sound. Just the bass and drums set the scene for Wolfmoon’s heartfelt, soul-searching vocal enters. He breathes life and meaning into the cerebral, gospel-tinged lyrics. His vocal grows in power, as musical genres melt into one. Everything from gospel, soul, funk and rock combine, as the arrangement veers between understated to dramatic. When Swamp Dogg’s band kick loose, it’s a joy to behold. Guitars chime, horns blaze an the rhythm section add the heartbeat. Similarly, when the arrangement takes on an understated sound, Wolfmoon’s vocal takes centre-stage as he delivers a truly compelling and enthralling vocal.
Guitar licks and blazing horns open My Kinda People, where blues, country, rock, soul and R&B are thrown into the melting pot. As horns punctuate the arrangement the rhythm section, searing guitars and piano accompany Wolfmoon’s throaty, rasping and vampish vocal. Soon, he’s unleashing another of his trademark vocals. As he adds hollers and shrieks, he makes this anthemic song his own.
If I Had A Hammer seems a strange choice for Wolfmoon to cover. Its not though. He absolutely transforms the track. Grabbing the song by the scruff of the neck, Wolfmoon breathes life, meaning and energy into the song. Spurred on, Swamp Dogg’s band feed off Wolfmoon. They deliver one of their best performances. Crucial to the song’s success are the grizzled horns, piano and pounding rhythm section. With them for company, Wolfmoon struts his way through the track, turning it into soulful opus.
For anyone covering People Get Ready, there’s only one problem, Curtis Mayfield recorded the definitive version. It’ll never, ever be bettered. So, Swamp Dogg takes a different approach for Wolfmoon’s version. For one minute forty seconds, the band build and build the drama. Then they drop the tempo, and an emotive, spiritual and uplifting slice of Southern Soul unfolds. This comes courtesy of Wolfmoon’s vocal and an arrangement where chiming guitars reverberate into the distance while the rhythm section provide the heartbeat. As a piano adds a gospel twist, a Hammond organ adds an atmospheric backdrop. This is the perfect backdrop for Wolfmoon’s heart-wrenching vocal, which brings the lyrics to life and breathes new meaning to them.
Proud Mary is the last of the cover versions. Originally recorded by Creedence Clearwater Revival, it’s given a makeover by Wolfmoon. His vocal is enveloped by scorching, searing guitars and blazing horns, Wolfmoon, with a little help from Swamp Dogg, transforms Proud Mary. As Southern Soul and rock combine Wolfmoon unleashes a vocal powerhouse. Mixing power and passion, he delivers a storming version of a familiar track. In Wolfmoon’s hands, Proud Mary swings.
God Bless is very different from the other tracks on Wolfmoon. With just a piano accompanying his half-spoken vocal, it’s a much more understated track. Even when the rasping horns, rhythm section and swathes of strings join the piano there’s still an understated, spiritual sound. Not only is this a beautiful song about togetherness, but features some of the best lyrics on Wolfmoon.
What Is Heaven For is another of the spiritual songs on Wolfmoon. Written by Jerry Williams Jr, swathes of the lushest strings, braying horns and piano are crucial to the arrangement. The rhythm section are left to provide the heartbeat, while Wolfmoon’s vocal is a combination of power, hope and sincerity. As the song heads to its dramatic and emotive crescendo, it’s as if Wolfmoon means every word.
It’s the piano that sets the scene before Treasure That I Found unfolds. Soon, horns growl, strings sweep and stabs of piano provide the backdrop for Wolfmoon’s vocal. It’s Best described as heartfelt and impassioned. As for the arrangement, it matches Wolfmoon’s vocal for drama and emotion every step in the way. So much so, that Jerry Williams Jr’s arrangement is ying to Wolfmoon’s yang.
Rolls of drama open The Artist, which closes Wolfmoon. The drama comes courtesy of drums and strings. They give way to crystalline guitars and Wolfmoon’s half-spoken vocal. It’s accompanied by blazing horns while the bass and guitars add a thoughtful contrast. From there, Wolfmoon delivers a soul-baring vocal. It’s best described as an outpouring of emotion. Accompanying the vocals what’s one of Jerry Williams Jr’s best arrangements. Given this is a beautiful, emotive and dramatic track, it’s a fitting way to close Wolfmoon.
Four years after Wolfmoon was recorded for Canyon Records, in 1969, it was eventually released on Fungus Records in 1973. Sadly, Wolfmoon wasn’t a commercial success. It passed almost unnoticed. That’s not surprising. In that four year period, music had changed. The sixties, when Wolfmoon was recorded, seemed but a distant memory. As the seventies took shape, the fusion of Southern Soul, R&B and gospel that’s Wolfmoon, was no longer as successful. Soul had taken on a sophisticated sheen. Philly Soul was now seen as the future of soul. The brand of Southern Soul like Swamp Dogg produced was seen as yesterday’s sound. Granted fashion changes, but class is permanent.
It’s no exaggeration to say that Wolfmoon has stood the test of time. A true hidden soulful gem, Wolfmoon’s recent rerelease by Alive Records means a new generation can discover this hidden Southern Soul classic. This is part of Swamp Dogg’s Soul and Blues Collection which Alive Records are in the process of rereleasing. Previously, I’ve reviewed Doris Duke’s I’m A Loser and Raw Spitt’s Raw Spitt. Wolfmoon is just the latest instalment in this series. It’s a welcome rerelease of a hidden gem.
Featuring Southern Soul with a social conscience, Wolfmoon made not just his debut, but his final bow on Wolfmoon. He was no longer Lil Tommy. Nor was he a Teenager. Wolfmoon was all grownup, and looked like forging a career as a Southern Soul singer, Sadly, that wasn’t to be. Wolfmoon released just one album, Wolfmoon. Mind you what an album Wolfmoon was. There was no followup up to Wolfmoon and for forty long years, Wolfmoon has lain unloved, apart from a few discerning soul connoisseurs. Now this hidden Southern Soul gem is available for everyone to discover. So take a tip from me and let the Wolfmoon into your life and record collection. Standout Tracks: Cloak Of Many Colors, If He Walked Today, People Get Ready and The Artist.
WOLFMOON-WOLFMOON.
ISRAEL NASH GRIPKA-ISRAEL NASH’S RAIN PLAINS.
ISRAEL NASH GRIPKA-ISRAEL NASH’S RAIN PLAINS.
One of music’s best kept secrets is Israel Nash Gripka, who recently released his third album Israel Nash’s Rain Plains on Loose Music. A fusion of Americana, classic rock, psychedelia, alt country and folk, Israel Nash’s Rain Plains is a musical coming of age for Israel Nash Gripka. Israel Nash’s Rain Plains surpasses his two previous albums, 2009s New York Town and 2011s Barn Doors and Concrete Floors. As albums go, Israel Nash’s Rain Plains should be a game changer. I’ll tell you why, after I’ve told you about Israel’s career so far.
Originally, Israel Nash Gripka was born and brought up hight is the Ozark mountains in the Missouri countryside. From an early age, Israel loved music. It was his passion. Then in 2006, Israel left Missouri, to follow his dream of making a career out of music.
As any musician knows, there’s no such thing as an overnight success. Instead, a musician serves an apprenticeship. That’s what Israel did. He spent three years honing sound. Through practicing and playing live, Israel was ready to record his debut album in 2009.
When Israel started recording New York Town, he was unsigned. The situation hadn’t changed by the time New York Town was released in 2009. Israel did what so many artists were doing, and released his album independently. By the time Israel came to record his sophomore album, he was signed to a record label and had a high-profile producer.
Barn Doors and Concrete Floors was released in March 2011. Produced by Steve Shelley of Sonic Youth, the album was released on Continental Records Services, who rereleased New York Town. On the release of Barn Doors and Concrete Floors, it was well received throughout Europe. Critics were won over by Israel’s unique, genre-melting sound. So were concert goers.
During this period, Israel was a familiar face throughout Europe. He was constantly touring and his first live album, Barn Doors Spring Tour, Live In Holland was released in 2011. Since then, he’s continued to tour. That helped sales of Israel’s first two albums. The more he toured, the higher his profile became. Then late in 2011, with Israel’s reputation rising, he decided to leave New York.
Having made the decision to leave New York, Israel relocated to Dripping Springs, in Texas. Having settled into his new home, Israel began work on his third album Israel Nash’s Rain Plains during the summer of 2012.
Israel Nash’s Rain Plains features nine tracks written and produced by Israel. He’s accompanied by a band featuring guitarist Joey McClellan, bassist Aaron McClellan, drummer Josh Fleischmann and Eric Swanson on pedal steel. This was the band that played on Israel Nash Gripka’s game changing album Israel Nash’s Rain Plains, which I’ll tell you about.
Opening Israel Nash’s Rain Plains is Woman At The Well. Straight away, you realize how similar to Neil Young Israel and his band sound. It’s not just the vocal, but the arrangement, the choice of instruments and they way they’re combined. If you close your eyes, it’s like listening to a lost Neil Young track. What follows is a fusion of elements of country, folk and classic rock. With guitars at the forefront, the rhythm section provide the arrangement’s melancholy heartbeat. Having set the scene, Israel’s vocal enters. Pensive, thoughtful, tender and heartfelt, it’s enveloped by the arrangement. As searing guitars are panned high left, an acoustic guitar that’s almost ever-present is panned high right. Adding the finishing touch to this melancholy, but beautiful genre-melting track are cooing harmonies.
There’s a real country influence to Through The Door. That comes courtesy of the pedal steel. It provides a wistful, thoughtful backdrop, as the tempo drops. Then as Israel’s needy, pleading vocal enters, his band play around him. They leave space, allowing his soul-baring vocal to breath. The use of space is dramatic and atmospheric, adding to the emotion. Then it’s all change. The arrangement becomes rocky and dramatic, as the band threaten to kick loose. Although they do it adds to the sheer emotion of the track where Israel unleashes a needy, heart-wrenching vocal.
Just Like Water just meanders into being. There are similarities with Woman At The Well. That’s partly down to the arrangement. The guitar is at the forefront of the arrangement, with the rhythm section providing a thoughtful backdrop. Then there’s the pedal steel, which add an evocative, emotive sound. As Israel’s tender, melancholy vocal drops out, the pedal steel weeps, as if heartbroken, as drums provide a hypnotic backdrop. When his vocal returns, harmonies and searing guitars accompany him. By now, Israel’s won you over, with this irresistible fusion of classic rock and country.
Who In Time sounds as if Israel and his band are playing themselves into the track. It’s as if they’re just jamming and suddenly, find an in. What follows is a fusion of Americana, blues, country and rock. Again, there’s the inevitable comparison with Neil Young. That’s no criticism. Given the quality of this track, it’s a compliment. Tender and thoughtful describes Israel’s vocal, while his band play within themselves. The combination of a bluesy harmonica and the weeping pedal steel proves a potent combination. Especially when searing, crystalline guitars are added to the equation. What makes the song is Israel’s is enigmatic and his pensive vocal where he sounds like Neil Young at his best.
Moody and broody describes Myer Canyon. It almost rumbles into being, Meanwhile guitars chime, soar and sear. They’re almost menacing. Then it’s all change. What follows is akin to a song from the late-sixties or early seventies. Israel decides to combine country, blues and West Coast rock. Accompanied by harmonies, pedal steal, scorching guitars and an understated rhythm section, Israel draws inspiration from the past, creating a vintage sounding track that sounds as if it’s been recorded at Bearsville Studios, Woodstock during the late-sixties, early-seventies.
Rain Plains has you hooked from the start. That’s down to the combination of pedal steel and crystalline guitars. They create a dreamy, melancholy sound. Israel’s vocal taps into this. It’s tender and thoughtful, in tune with the harmonies and guitars that prove a perfect foil. When all this is combined the result should be a beautiful track. Then when the vocal drops out, for some reason, Israel and his band decide the time is right to kick loose and indulge in some musical posturing. Good as Israel and his band are, and they’re top class musicians, they pick the wrong time to showboat. Maybe a producer would’ve reigned Israel in somewhat? This slightly takes the edge of the track, albeit they get the back on track just as the song drifts dreamily into the distance.
Just a lone guitar opens Iron Of The Mountain. It’s as if the guitar is wondering where it’s heading. Eventually and purposefully, it plays its part on what’s best described as an understated and thoughtful fusion of Americana, country, folk and rock. There’s a melancholy sound to Israel’s vocal, as if he misses the mountains he grew up surrounded by. Especially when he sings: “make up for lost time.” As his emotive vocal drops out, chiming, crystalline guitars, harmonies, heartbreaking strings and the rhythm section combine. Then as if realizing what he’s missed, the band kick loose. This is akin to a cathartic outpouring of frustration and sadness, which proves moving, emotive and poignant.
Gradually, Mansions unfolds. Strummed guitars, harmonies and Israel’s scatted vocal combine, before the track heads in the direction of Neil Young. As his band fuse Americana, country, folk and rock Israel delivers some of the best lyrics on Israel Nash’s Rain Plans. He breathes life and meaning in lyrics that are cerebral, descriptive and evocative. This includes: “you build your mansion on the rocks, just to find it sinking on the sand.” Then as the track builds, the band kick loose. Swathes of scorching, searing guitars are unleashed join the pounding, driving rhythm section. They relish the opportunity to showcase their considerable musical talents on what’s one of the highlights of Israel Nash’s Rain Plans.
Rexanimarum sees Israel Nash Gripka close Israel Nash’s Rain Plans doing what he’s been throughout the album, fusing musical influences and genres. Here, it’s the Rolling Stone and Neil Young fusing country and rock. There’s a tougher edge to Israel’s vocal, that sometimes, comes close to becoming a feisty vamp. As for his band they unleash waves of crystalline, scorching and chugging guitars. As Israel Nash’s Rain Plans closes on a glorious, rocky high.
Israel Nash’s Rain Plans which was recently released by Loose Music, should be a game-changer for Israel Nash Gripka. After all, how many artists write, play and produce their own albums? Israel Nash Gripka did. What’s more Israel Nash’s Rain Plans surpasses the quality of his two previous albums. It’s also brought his music to the attention of a new audience. No wonder. From the opening bars of Woman At The Well right through to the closing notes of Rexanimarum, everything from Alt Country, Americana, country, folk and classic rock melts into one. That’s why most critics were won over by Israel Nash’s Rain Plans, an albums that’s the result of seven years hard work.
During the last seven years, Israel has concentrated on honing his sound and building a fan-base. To do this, Israel’s spent much of the last seven years on the road. So much so, that Israel is familiar with many small and medium-sized venues throughout Europe. Surely, after Israel Nash’s Rain Plans the venues will be getting bigger, as will Israel’s record sales?
That should be the case. After all, Israel Nash Gripka is a talented singer, songwriter, musician and now producer. The only thing that can derail the rise and rise of Israel’s career are accusations that his music isn’t new. With its undeniable vintage sound and similarities to Neil Young, some people have wondered are we hearing the real Israel Nash Gripka?
Granted there are similarities with Neil Young on Israel Nash’s Rain Plans and Israel sounds as if he’s been influenced by the music of the late-sixties and early-seventies. That’s no bad thing though, given how much important music was recorded then, Israel is neither the first nor the last person to be influenced by this era. However, there’s much more to his music than that. There’s the Atl Country of the nineties, plus traditional country music, Americana, blues, folk, sixties-psychedelia and rock. He’s taken this eclectic selection of influences and genres, then given them his own twist. The result is Israel Nash’s Rain Plans, a refreshingly eclectic album where each track offers something different and new.
As musical journeys go, Israel Nash’s Rain Plans is one I can recommend. It’s a journey you’ll relish and revel in. Twists, turns and surprises aplenty await the unwary on Israel Nash’s Rain Plans. Each time you play Israel Nash Gripka, you’re guaranteed to hear something new. Some subtlety or nuance reveals itself. That’s no surprise though. Israel Nash’s Rain Plans is best described as a musical tapestry of influences and genres, and should be the album that transforms Israel Nash Gripka’s career. Standout Tracks: Woman At The Well, Iron Of The Mountains, Mansions and Rexanimarum.
ISRAEL NASH GRIPKA-ISRAEL NASH’S RAIN PLAINS.
SYL JOHNSON-BACK FOR A TASTE OF YOUR LOVE.
SYL JOHNSON-BACK FOR A TASTE OF YOUR LOVE.
During the early to mid-seventies, Hi Records were producing some of the best Southern Soul of that time. With Willie Mitchell producing, The Memphis Rhythm Section, Memphis Horns and legendary backing vocalists Rhodes, Chalmers and Rhodes, one great record after another was recorded at the famous Royal Recording Studios and Allied Recording Studios. Back then, Hi had a roster that included some of the most talented purveyors of Southern Soul. Their best known artist was Al Green, who released some critically acclaimed and commercially successful albums, resulting in four of his albums certified gold, and one platinum. However, there was more to Hi Records than Al Green, with Ann Peebles, O.V. Wright, Otis Clay and Syl Johnson all producing some stunning albums for Hi. Of these artists, Syl Johnson is often overlooked when people discuss Hi Records. In doing so, some wonderful Southern Soul goes almost unnoticed, because Syl released four albums for Hi, all of which feature some quality Southern Soul. Before I tell you about Sly’s first album for Hi Records, 1973 Back For A Taste of Your Love, which was recently rereleased by Fat Possom Records, I’ll tell you about Syl Johnson’s career up until them.
Syl Johnson was born Sylvester Thompson in July 1936, in Holy Springs, Mississippi, the youngest of seven children. Two of his brothers like Syl, would go on to have careers as musicians. Mac Thompson and Jimmy Johnson would go on to have successful careers, with Jimmy becoming a famous blues guitarist. Later in life, Syl and Jimmy would record an album together, entitled Two Johnsons Are Better Than One, which was released in 2002. That was still to come. Before that, Syl would enjoy a long and successful career.
By the 1950s’ Syl, Mac and Jimmy were based in Chicago, and Syl was working with people like Junior Wells, Magic Sam and Eddie Boyd. His first recording session was playing guitar for Billy Boy Arnold in 1956 which was released on the famous Vee Jay label. During this period, Syl worked with the great and good of Chicago’s blues players, including Jimmy Reed. This was a good grounding for Syl’s solo career, when it began at King Records.
Syl’s first solo record contract was with King Records, and he recorded six singles on their Federal label between 1959 and 1962. These singles were a mixture of blues, soul and much more pop oriented material. However, none of the singles sold particularly well, despite being well promoted by his label. It was after recording with one of the best known producers of the day Sonny Thompson, that Syl decided to produce his own material. This he did for the two singles he recorded for the Zachron label. Like his singles on Federal, but apart from selling well locally, they too, failed commercially. After that, he recorded for TMP-Ting and Tag Ltd, and still he couldn’t make a commercial breakthrough. That would come at a new label based in Chicago, Twilight.
It would be 1967 before Syl issued a successful single, entitled Come On Sock It To Me, on the new Twilight label based in Chicago. He followed this up with Different Strokes and I’ll Take These Skinny Legs. In 1969 Syl’s released his most successful single and album both entitled Is It Because I’m Black? This was a a single and album that was socially aware and tapped into the social problems of the era. Suddenly, after years of trying, Syl had a first a hit single, and then a hit album. By now Syl was a star, and was also head of A&R at Twilight, which had now been named Twinight. As if this wasn’t enough, he started setting up Shama, his own label in 1968. Shama signed acts that Twinight decided not to sign, and to record sessions for his new label, Syl enlisted the musicians that played on all the Twinight recordings.
In 1969 Syl decided to head south to Memphis to record sessions for his Shana label. The reason for the trips to Memphis was Syl wanted to change the label’s musical style, and admired the sound coming out of Memphis. Some of the sessions took place in the Hi Records studios. Once there, he realised that Willie Mitchell had put in place one of the best studio bands in music. When Shama and Twinight experienced financial problems, Syl decided it was now time to sign to Hi Records. This was the summer of 1971, and in the next seven years he’d release four albums for his new label.
Now signed to Hi Records, Syl began work for his new label. His Hi Records debut was Back For A Taste Of Your Love, released in 1971. Ten songs were chosen for the album. Syl cowrote three of them, the title-track Back For A Taste of Your Love, I’m Yours and Feelin’ Frisky, which he cowrote with Earl Randle. He wrote four tracks, including I Let A Good Girl Go and Anyway The Wind Blows. Along with three other tracks, they became Back For A Taste Of Your Love which was recorded at Royal Recording Studios, Memphis.
Producer Willie Mitchell brought in his A-Team for recording of Back For A Taste of Your Love at Royal Recording Studios, Memphis. The rhythm section included guitarist Teenie Hodge, bassist Leroy Holdge plus drummer Howard Grimes and Al Jackson Jr. Charles Holdges played organ and piano, while The Memphis Horns joined legendary backing vocalists Donna Rhodes, Charles Chalmers and Sandra Rhodes. As Rhodes, Chalmers, Rhodes, their sprinkling of musical magic was the finishing touch to what would become Syl’s Hi Records debut Back For A Taste of Your Love, which was released towards the end of 1973.
On Back For A Taste of Your Love’s release towards the end of 1973, the album sold well, reaching number nineteen in the US R&B Charts, the highest chart placing of any of Syl’s Hi albums. In total, three singles were released from the album during 1973. The title track Back For A Taste of Your Love, reached number sixteen in the US R&B Charts, while We Did It reached number twenty-three in the US R&B Charts. The only disappointment was I’m Yours, which peaked at number sixty-eight in the US R&B Charts. Overall, Back For A Taste of Your Love, Syl’s Hi Records career had been a success. You’ll realise why, when I tell you about Syl Johnson’s Back For A Taste of Your Love.
Back For A Taste of Your Love opens with the title0-track Back For A Taste of Your Love, which gave Syl a number sixteen US R&B hit single. With horns blazing ,the track swings into life. A driving rhythm section accompanies Syl’s sultry vocal. A guitar plays the same line repeatedly, while a Hammond organ wails and horns punctuate the arrangement. The arrangement just swings along, hooks aplenty during what’s a really catchy, swinging track. With the horns and rhythm section playing leading roles in the track’s success, your swept along for just under three minutes of this horn laden, driving track. You become caught up in this uptempo and uplifting track, with Syl’s joyful vocal sitting atop Willie Mitchell’s arrangement.
I’m Yours was another of the three singles released from the album, but only reached a rather disappointing number sixty-eight in the US R&B Charts. This didn’t reflect the quality of the song, which again, sees braying horns, Hammond organ and punchy rhythm section open the track, before an emotive and confident Syl’s vocal enters. With Rhodes, Chalmers and Rhodes accompanying Syl throughout the track, their sweet, soulful harmonies help make a good track even better, and provide a contrast to Syl’s more powerful vocal. As the track progresses, horns constantly punctuate the track, while the Hammond organ and rhythm section provide the mainstay of the arrangement. They’re the perfect backdrop for a besotted Syl, whose smitten by his new love, willing to do anything to please her. Together, they combine to produce a joyous and emotive sounding track, with Syl sassy and confident throughout.
I Let A Good Girl Go, a very different sounding track to the two previous tracks. It’s slower and full of sadness and regret. It has a much more understated and lush arrangement with strings sweeping sadly and slowly, while the rhythm section play carefully and thoughtfully and guitars chime. Adding to the emotion and sadness is a heartbroken Syl whose full of regret at the girl he mistreated and let go. When a Hammond organ enters, it’s the perfect addition, helping to bring out the heartache and regret in the lyrics, and a perfect accompaniment for Syl’s desperate vocal. This is easily one of the album’s highlights, a track that you’ll never tire of hearing.
With horns blazing Anyway the Wind Blows, another Earl Randle track opens. The horns are joined, chiming guitars and rhythm section, before Syl’s soliloquy enters. He’s despairing, his girlfriend threatening to leave him, and has come to the conclusion he can’t stop her. He’s done all he can to make her happy, so if she chooses to leave, so be it. Against an atmospheric and emotive backdrop of stabs of Hammond organ, rasping horns, lush sad strings and rhythm section, a despondent, but realistic Syl’s voice rises and falls, pain and frustration in his voice ever-present. Here, the addition of the Hammond organ and strings is a masterstroke, adding to an already sad and despondent sounding arrangement, and by combining horns adds to the frustration and anguish in Syl’s voice. This is a classic Willie Mitchell arrangement. It suits the lyrics and Syl’s delivery of them. Willie’s arrangement and Syl’s vocal brings Earl Randle’s lyrics brilliantly to life, resulting a deeply moving and sad song, but one that’s quite beautiful and thoughtful.
You Don’t Know Me is another slow track, where swathes of strings, rhythm section and Hammond organ combine, before a despondent and thoughtful Syl enters. He’s unhappy, having let his chance of love pass him by, his love unrequited and unnoticed. While a heartbroken Syl sings, Rhodes, Chalmers and Rhodes add subtle and tender backing vocals, as the song meanders sadly along. The strings add to the sadness, as does the Hammond organ, while a thoughtful rhythm section provide the song’s heartbeat. This is a powerful and thoughtful combination, made all the better by the slow tempo and of course, Syl’s heartbroken vocal.
Feelin’ Frisky was co-written by Syl and Earl Randle. It’s a faster and much more uptempo track, with a more uplifting sound. Blazing horns, Hammond organ and rhythm section provide a swinging backdrop for another sassy vocal from Syl. As horns bray and rasp, the Hammond wails and punchy drums are occasionally joined by Rhodes, Chalmers and Rhodes. Together with Syl and the band, they combine to produce a great sounding track, albeit one where the lyrics don’t have the depth of some of the other tracks on the album.
Another of the three singles released from the album was We Did It, which reached number twenty-three in the US R&B Charts. Here, the tempo increases, with swirling, sweeping strings joining rasping horns, piano and rhythm section before Syl makes his entrance. It’s a happy, joyful Syl we meet, happy that his relationship has lasted, and that they’ve made it through the bad times. With Rhodes, Chalmers and Chalmers sweetly yet soulfully accompanying him, the arrangement sweeps along, with a Hammond organ accompanying the punchy, growling horns and swirling strings that play a key role in the arrangement. When all this is combined with the quicker tempo and Syl’s joyous vocal, the result is a much better track than the previous one, thanks to the joyous, uplifting lyrics.
Earl Randle wrote Wind, Blow Her Back My Way which straight away, you realise has a classic Willie Mitchell arrangement. A Hammond organ and rhythm section combine to produce heartbreaking arrangement, even before a despondent Syl or the saddest strings enter. Add to this rasping horns and you’ve one of the saddest and emotive arrangements on the albums. Stabs and flourishes of the Hammond add to the sadness, as Syl sings about who he told his girlfriend to leave, and is now desperate for her return. Willie Mitchell provides one of his stunning, trademark Southern Soul arrangements, perfect for a despondent and inconsolable Syl. Although just two and half minutes long, it’s one of the best and saddest tracks, Syl ever recorded for Hi.
I Hate I Walked Away has similarities with the previous track, with swathes of the lushest strings, a wailing Hammond organ and slow rhythm section combining before Syl’s vocal enters. He’s full of regret and despair, having left his girlfriend, and realizing his mistake wants her back. As the emotion results in his voice rising, Rhodes, Chalmers and Rhodes enter, their harmonies swoop in, sympathetically accompanying Syl. With the strings sweeping and swirling, sometimes adding drama, the Hammond adds to the atmospheric slightly bluesy sound. Full of remorse and regret, Syl pleads forgiveness, his voices soaring as he apologises. This is hugely effective and seems so realistic, that you almost start to get caught up in the scenario, hoping that Syl will be forgiven. That’s testament to both Syl’s vocal and Willie Mitchell skills as a producer.
Back For A Taste of Your Love closes with The Love You Left Behind, which Syl released as a single in 1971, reaching number forty-three in the US R&B Charts. Bursts of braying horns punctuate the arrangement, while the rhythm section add drama, before Syl’s powerful, roaring vocal enters. WIth Rhodes, Chalmers and Chalmers accompanying him, their subtle backing vocals provide a welcome contrast to the power of Syl’s vocal. Throughout the track, punchy, growling horns, Hammond organ and rhythm section combine, playing quickly, matching the passion displayed by Syl. Although it’s a track laden with drama and passion, it has a slightly different sound to the other nine tracks. Whether this is because it was recorded at a different time, or just because Syl and the band kick loose, it seems somewhat out of place. However, given the passion displayed and a punchy, blazing arrangement, it’s a good way to end the album.
Syl Johnson’s music is often overlooked when the music of Hi Records is mentioned. During his career, he recorded for a variety of labels, with one of his best albums 1969s Is It Because I’m Black? A close second must come Back For A Taste of Your Love which features Syl at his very best. No wonder. He was accompanied by some of Memphis’ best musicians. Among them are The Memphis Horns, the Memphis Rhythm Section and Memphis Strings, with Rhodes, Chalmers and Rhodes adding backing vocals. Add Willie Mitchell as producer and some great material, and you’ve the recipe for a commercially successful and critically acclaimed album, Back For A Taste Of You’re Love, which was recently rereleased on vinyl by Fat Possom Records.
That was the case with Back For A Taste of Your Love. It reached number nineteen in the US R&B Charts, giving Syl his most successful album of his Hi career. Of the four albums he recorded for Hi Records, they all featured some of the finest Southern Soul Syl ever released. None of the other three albums were as complete as Back For A Taste Of You’re Love. Each of the ten songs feature Syl at his best, bringing a song to life. Whether it’s heartache and despair or happiness and joy, Syl brings the lyrics to life. On each song, he launched himself into it, making the lyrics come alive, so much so, that it made you believe in the characters. This is similar to a good book or film. That Syl could do this, is testament to his talent and versatility as a singer. If you’ve never heard the music of Syl Johnson, Back For A Taste Of You’re Love is the perfect place to start. Back For A Taste Of You’re Love just so happens to be the best and most successful of the four albums Syl Johnson released for Hi Records and is the perfect introduction to one of Southern Soul’s best kept secrets. Standout Tracks: I Let A Good Girl Go, Anyway the Wind Blows, Blow Her Back My Way and I Hate I Walked Away.
SYL JOHNSON-BACK FOR A TASTE OF YOUR LOVE.
ANN PEEBLES-I CAN’T STAND THE RAIN.
ANN PEEBLES-I CAN’T STAND THE RAIN.
During the first half of the seventies, Al Green enjoyed unmatched critical acclaim and commercial success. There’s no doubt about it, Al was the King of Hi Records. While Al was King, Ann Peebles was Queen of Hi Records. Ann Peebles released seven albums on Hi Records and nearly twenty singles. She is regarded one of the best female vocalists in the history of Southern Soul. Her most successful album was her 1974 album I Can’t Stand the Rain. It was her fourth album and will be released on vinyl on 2nd December 2013 on Fat Possom Records. Not only was I Can’t Stand the Rain Ann’s most successful album, but featured her biggest single, the title track. It’s a single that’s become synonymous with Ann Peebles and is regarded as a Southern Soul classic. I’ll tell you why, after I’ve told you about Ann’s career.
Ann Peebles was born in April 1947 in St Louis, Missouri, and discovered by bandleader, Gene “Bowlegs” Miller, in 1968, when Ann was singing in a Memphis nightclub. Gene had helped other musicians and artists get started in the music business, including many of the famous Hi Records rhythm section. Ann became the latest of Gene’s discoveries, and very soon, Ann began writing songs with Don Bryant, who was the Hi Records staff songwriter, who she eventually married in 1974.
By 1969, Ann had released her debut single and album. Walk Away was her debut single and This Is Ann Peebles, was her debut album. Although her debut album failed to chart, Walk Away reached number twenty-two in the US R&B Charts. Two years later, things were about to improve for Ann.
Her second album Part Time Love, released in 1971 was a commercial success, reaching number forty in the US R&B Charts. Part Time Love was released as a single, reaching number seven in the US R&B Charts and forty-five in the US Billboard 100. Having enjoyed the biggest single of her career, Ann looked like becoming one of the biggest female vocalists in Southern Soul.
Straight From the Heart was Ann’s third album, released in 1972. It reached number forty-two in the US R&B Charts. There was no hit single on Straight From the Heart. There would be on her fourth album, I Can’t Stand The Rain.
For I Can’t Stand The Rain, Ann would cowrote eight of the tracks. She penned Do I Need You and One Way Street with Don Bryant. With Bernard “Bernie” Miller they penned I Can’t Stand The Rain, Until You Came Into My Life, A Love Vibration and You Got To Feel The Fire. Ann and Don cowrote Run, Run, Run with Daryll Carter. Earl Randle wrote I’m Gonna Tear Your Playhouse Down and If We Can’t Trust Each Other. The other tracks was Ira Allen and Buddy Mize’s (You Keep Me) Hanging On. These ten tracks became I Can’t Stand The Rain, which was produced by Willie Mitchell at Royal Recording Studios, Memphis.
At Royal Recording Studios Willie Mitchell put together some of the best session musicians and backing vocalists Memphis had to offer. The rhythm section included guitarist Teenie Hodge, bassist Leroy Holdge plus drummer Howard Grimes and Al Jackson Jr. Charles Holdges played organ and piano, while The Memphis Horns joined legendary backing vocalists Donna Rhodes, Charles Chalmers and Sandra Rhodes. As Rhodes, Chalmers, Rhodes, their sprinkling of musical magic was the finishing touch to what would become the most successful album of Ann Peebles career, I Can’t Stand The Rain.
On its release in 1974, I Can’t Stand the Rain provided Ann with her biggest selling album and single. The album reached number twenty-five in the US R&B Charts and number 155 in the US Billboard 200. I Can’t Stand the Rain the single, reached number six in the R&B Charts and number thirty-eight in the US Billboard 100. For Ann I Can’t Stand the Rain had been a game changer in terms of commercial success and critical acclaim. You’ll realise why, when I tell you about I Can’t Stand the Rain.
I Can’t Stand the Rain opens with the title track, I Can’t Stand the Rain, which Ann wrote with future husband Don Bryant. It has an atmospheric opening with percussion and drums combining, before an equally atmospheric yet thoughtful, vocal from Ann enters. She’s then accompanied by guitar, rhythm section and the blazing sound of the Memphis Horns. Together, they combine to produce the perfect backdrop for Ann to sing lyrics laden in sadness, about the loss of her lover. Throughout the track, The Memphis Horns dramatically, interject providing the perfect contrast to Ann thoughtful and soulful vocal. Quite simply, it’s one of Ann’s best ever tracks.
Do I Need You opens with a guitar chiming brightly, before the rhythm section enters. When Ann sings, her voice is loud, clear and full of pride, as she sings, trying to decide whether she needs her lover in her life. Behind her the Memphis Horns and rhythm section combine with guitars and organ, producing an arrangement that’s dramatic and atmospheric. When the horns and drums punctuate the track they provide the drama, a total contrast to the thoughtful and calm vocal from Ann. As Willie Mitchell’s A-Team provide the backdrop to Ann’s vocal, her vocal takes centre-stage. There’s no doubt it’s the highlight of the track. At times it’s calm and thoughtful, sometimes louder, stronger, but constantly questioning whether she needs him in her life.
When Ann starts singing the vocal on Until You Came Into My Life, it’s instantly noticeable that her voice is much softer and tender. Likewise, the arrangement has a much more subdued feel and sound, with backing vocalists accompanying Ann. As the track opens, strings and rhythm section combine with guitars and organ to produce am understated and almost lush arrangement. Ann gives one of her best vocals on the album, as she give thanks for the love of her life. The addition of Rhodes, Chalmers and Rhodes on backing vocals, really helps, with their voices the perfect accompaniment to Ann’s tender vocal. Later, the horns enter, briefly punctuating the track, their addition the perfect finishing touch, to quite simply, one of the most beautiful tracks on the album. The reasons for this are Ann’s tender vocal and Willie Mitchell’s subtle arrangement.
A guitar slowly plays as (You Keep Me) Hanging On begins, before Ann sings, accompanied by the rhythm and string sections. Her vocal although restrained, quiet and tender is full of drama and passion. Again, the backing vocalists accompany her, their voices similarly tender as they unite. An organ plays subtly, as the strings sweep lushly, and drums sit at the front of the mix, providing the track’s heartbeat. The arrangement like Ann’s vocal, is restrained and subtle, and here, horns aren’t used, so as not to overpower Ann’s beautiful vocal. Like the previous track, Ann demonstrates how good she is at singing songs which require a tender and thoughtful vocal.
Braying horns open Run Run Run, a track that’s the polar opposite of the previous track. Here, Ann’s vocal is much louder and stronger, but is drenched in emotion and passion. Similarly, the arrangement is much fuller, with the rhythm and brass section combining to produce an arrangement that has Southern Soul written all over it. Horns interject throughout the track, and the drums are loud, sitting at the heart of the mix. In the background, an organ and percussion play, while guitars chime. Matching the fullness and volume of the arrangement isn’t a problem for Ann, as her voice is loud and powerful, but laden with passion and emotion. This allows her to demonstrate that she’s just as good, singing tracks that require a much stronger and louder vocal as she is singing songs that require a quiet and tender vocal. Similarly, the much louder and fuller arrangement suits the song, and features some of Memphis’ best musicians at their best.
If We Can’t Trust Each Other is a much quicker track. Guitars, rhythm section, strings and horns combine as the track begins. Stabs of horns announce Ann’s arrival. It’s a vocal that deserves heralded in, as she sings emotionally, and with passion and pain, lyrics about mistrust within a relationship. Her emotive vocal is accompanied by horns that pepper the arrangement. It’s as of they’re in tune with Ann’s passion and pain. Meanwhile, the strings sweep along, as the rhythm section contribute yet more drama to this arrangement that mixes emotion and drama masterfully. Combined with Ann’s emotion laden vocal, this is one of the most emotive and dramatic tracks on I Can’t Stand The Rain.
The rhythm and string section combine with Charles Hodges’ organ playing to produce an introduction that’s both atmospheric and dramatic as A Love Vibration unfolds. When Ann’s vocal enters, it matches the arrangement that’s unfolding. It’s a mixture of sadness and regret, as she sings about missing the opportunity for love and happiness. Here, the organ and later the horns, are responsible for helping to create such an emotional, dramatic and sad backdrop for Ann’s vocal. Sensing that this is one of the best arrangements on the album, Ann rises to the occasion, producing a fantastic performance, one that’s drenched in emotion, regret and sadness.
A guitar and organ combine to produce a quick, bright and emotional sounding introduction to You Got To Feed the Fire, another song about love lost. When Ann sings, her voice is loud, yet bright and emotional, as she remembers the past. Behind her, the arrangement says “Made In Memphis,” and is an emotional roller coaster. Horns interject, brightly and theatrically, drums provide drama and a Hammond organ provides atmosphere, while lushly, strings sweep in and out. Completing the sound are the backing vocalists, who sing emotionally, but sweetly, complimenting Ann’s vocal perfectly. Together the arrangement and vocal combine to produce a track that demonstrates what Southern Soul is about.
Another of Ann’s best known singles was I’m Gonna Tear Your Playhouse Down, which reached number thirty-one in the US R&B Charts. Like I Can’t Stand the Rain. It has been covered by many artists. The definitive version is Ann Peebles.’ Nothing else comes even close. Strings and an evocative Hammond organ open the track before Ann sings, accompanied by horns. When her vocal enters, it starts of gentle, almost thoughtful, but later is a combination of emotion, power and passion. As she sings, horns punctuate the arrangement, while strings beautifully lush sounding, sweep. Percussion plays and the rhythm section provide the track’s heartbeat. At the heart of the track, is Ann’s vocal, by now a combination of power and passion, as she forecasts the downfall of an unfaithful playboy. Like, I Can’t Stand the Rain, this was one of Ann’s finest songs, and easily, one of the album’s highlights.
I Can’t Stand the Rain closes with One Way Street that opens with strings and rhythm section combining with piano and percussion, before Ann sings. When she sings, there is a gospel feel to the song and her delivery. Backing vocalists provide gospel drenched backing vocals as Ann sings in a way that reminds me of Aretha Franklin and Candi Staton. It’s almost call and response that Ann and backing vocalists sings, as the arrangement of piano, strings and rhythm section combine beautifully. Although very different from the other songs on the album, in that it’s a track that has its roots in the church, I find it incredibly moving and beautiful. Personally, this style of song suits Ann’s voice, and the arrangement is perfect for the song. Willie Mitchell’s use of the strings, piano and backing vocalists was a masterstroke, and combined with Ann’s vocal, is a song Aretha would be proud of.
The seven albums Ann Peebles recorded with Willie Mitchell for Hi Records contain some wonderful music. Of these seven albums, I Can’t Stand the Rain was Ann most successful album. There’s a reason for I Can’t Stand the Rain’s success. By 1974, Ann was enjoying a parallel career as a songwriter. Her songs were variously emotive, heartbreaking, poignant, soul-baring and joyous. Many songs written Don Bryant and Bernard Miller. Of the ten songs on the album, she cowrote eight of them, with (You Keep Me) Hanging On and I’m Gonna Tear Your Playhouse Down, the only two cover versions on the album. What surprises me, is that with the ability to write such great songs, and such a stunning voice, Ann wasn’t a much bigger star. That to me, seems strange, as she’d everything going for her. Whether if she’d been on a major label, she’d have been a much bigger success, we’ll never know?
If that had been the case, she’d neither have had Willie Mitchell nor all the brilliant musicians or backing vocalists at Hi to accompany her on her seven albums. Ann won’t be the first artist whose work hasn’t found a much wider audience, sadly this is a familiar story. Talent doesn’t equate to success is just as true now as it was then. Today, people with little talent seem to find huge commercial success, while hugely talented artists struggle to get their music heard. Hype and marketing seem to be the order of the day, and this sadly, has will only get worse. This means that hugely talented artists like Ann Peebles, will remain loved by people who are familiar with her music, but largely unknown to most people. Some people may only have heard her two best known tracks I Can’t Stand the Rain and I’m Gonna Tear Your Playhouse Down, or cover versions of these songs. However, there’s much more to her music than that. Much more. The place to start is I Can’t Stand The Rain which will be rereleased on vinyl by Fat Possom Records. I Can’t Stand The Rain was Ann Peebles’ most successful album and is the perfect starting introduction to one of Southern Soul’s best female vocalists. Standout Tracks: I Can’t Stand the Rain, A Love Vibration, I’m Gonna Tear Your Playhouse Down and One Way Street.
ANN PEEBLES-I CAN’T STAND THE RAIN.
PUNK 45-KILL THE HIPPIES! KILL YOURSELF! THE AMERICAN NATION DESTROYS ITS YOUTH-UNDERGROUND PUNK 1973-1980 VOLUME 1.
PUNK 45-KILL THE HIPPIES! KILL YOURSELF! THE AMERICAN NATION DESTROYS ITS YOUTH-UNDERGROUND PUNK 1973-1980 VOLUME 1.
Some musical historians regard 1976 as ground zero. That was the year punk exploded. A supposed game changer, it divided, and continues to, divide opinion. Depending upon who you ask, punk was either a musical revolution or a musical wasteland. Punk although a new musical genre, was actually a fusion of genres and influences. Everything from sixties garage rock, proto-punk, no wave, experimental, industrial and postindustrial music went on to shape punk. This includes the New York Dolls, The Ramones, Patti Smith, Lou Reed, Iggy Pop, MC5 and Velvet Underground. These artists and bands are always quoted as influencing the first wave of punk artists. They may even have influenced the twenty-one artists who featured on Soul Jazz Records’ recently released compilation Punk 45-Kill The Hippies! Kill Yourself! The American Nation Destroys Its Youth-Underground Punk 1973-1980.
Featuring twenty-one tracks, Punk 45 features contributions from Electric Eels, Pere Ubu, The Flamin’ Groovies, Theoretical Girls, The Pagans and Johnny Thunders and The Heartbreakers and documents the music that influenced punk. An eclectic compilation, Punk 45 may divide opinion for two reasons.
Unlike similar compilations, Punk 45 eschews some of most innovative and influential artists who influenced punk. There’s no New York Dolls, The Ramones, Patti Smith, Lou Reed, Iggy Pop, MC5 or Velvet Underground. The nearest Punk 45 comes to an innovative and influential group are The Flamin’ Groovies,’ the oldest track on Punk 45. However, digging deeper is admirable. So Punk 45 will feature garage bands and a whole host of innovative music released between 1973 and 1976, when punk exploded, changing the musical landscape. Sadly, that’s not the case.
Punk 45 is billed as a compilation that features music released between 1973 and 1980. Technically, that’s right. Of the twenty-one tracks, one The Flamin’ Groovies’ was released before punk exploded in 1976. Then Pastiche’s Flash Of The Moment was released in 1976, as punk changed the musical landscape for good or bad. The other nineteen tracks were released between 1977 and 1980. For some musical historians, they’ll describe most of Punk 45 as post punk. Granted 1977 was the start of the post punk era, but the nineteen tracks released between 1977 and 1980 aren’t post punk. Not at all. They’re much more eclectic than that. You’ll realise that when I tell you about the highlights of Punk 45.
The Urinals’ I’m A Bug opens Punk 45. Released in 1979, on their sophomore E.P. Another E.P. It was released on their own label, Happy Squid Records. Produced by Vitus Matare of The Last, a Los Angeles’ based power pop band, The Urinals became an influential band. The Another E.P. and I’m A Bug showcases a band that are much more competent than many punk and post punk bands. Nor are they punk revivalists. They forge their own sound on this driving track. Everything from punk, garage, rock and post punk is thrown into the mix on this genre-sprawling track.
New Orleans isn’t exactly know for punk bands. R&B, jazz, blues and soul provides the soundtrack to the Big Easy. For a moment in time, The Normals, a short-lived band, tried to introduce punk to New Orleans with their only single Almost Ready. Released in 1979 on the Lectric Eye label, the guitar driven Almost Ready is an explosion of energy, frustration and anger. Best described as a tribute to The Ramones, you can’t fault their commitment and passion, maybe though, The Normals should’ve found their own voice?
Pere Ubu who contribute The Modern Dance to Punk 45, are one of the biggest names on Punk 45. They’d been around since 1975, when they released their debut E.P. 30 Seconds Over Tokyo on vocalist David Thomas’ Hearthen Records. By the time they released The Modern Dance in August 1977, on Hearthen Records, they’d developed their own sound. Unlike many bands, Pere Ubu weren’t a guitar band. They took a different approach creating music that’s unique, innovative and influential. Fittingly, The Modern Dance is a fusion of influences, including punk, avant-garde, art rock and experimental music. Since then, several generations of musicians have claimed that Pere Ubu have influenced them.
Bizarros’ Ice Age was released on Clone Records in 1977. It’s proof that not every punk band were third rate musicians writing inane lyrics. Not Bizarros. Far from it. They’re much better than that. They sound as if they’ve been weened on classic rock, blues and R&B. Then there’s Nick Nicholls‘ vocal. Sneering and strutting, he sounds as if he’s born to be a frontman. So good is Ice Age, that it’s the highlight of Punk 45.
Tuxedomoon are best described as group who created genre-melting, groundbreaking music. Everything from avant-garde,electronica, experimental, punk and rock is thrown into the melting pot. Joeboy The Electronic Ghost which was released on Time Release Records in 1978, is proof of that. They deploy a similarly eclectic selection of instruments A saxophone, clarinet, violin join keyboards and a guitar. The result is a track that not only pushes musical boundaries, but is strangely melodic and memorable.
The Flamin’ Groovies are easily the best known group on Punk 45. They released their debut album in 1968. Five years later, in 1973, they released their Grease E.P. It featured Dog Meat, which is a fusion of rock, garage rock and proto-punk. In some ways, Dog Mean is reminiscent of what the New York Dolls were doing around this time. With a tight, driving, rocky rhythm section and proto-punk vocal, this is a potent partnership and unsurprisingly, one of the highlights of Punk 45.
Although The Deadbeats’ Kill The Hippies is far from even coming close to being a highlight of Punk 45, the sheer yawningly predictability of the title, and what passes for lyrics must be highlighted. Released in July 1978 on Dangerhouse Records, The Deadbeats are the musical equivalent of an attention seeking child. A parodic group, they thrash guitars, while the lead vocal is the equivalent of Primal Scream Therapy. A word of warning though, listening to Kill The Hippies is two minutes of your life you’ll never get back.
Pastiche released Flash Of The Moment in 1976, on Boston’s Euphoria label, just as punk exploded into life. Produced by vocalist and guitarist Mr. Curt, it’s something of an anomaly. Strangely, they’re almost too good to be referred to as a punk band. The five members of Pastiche are much better musicians than those that formed punk bands. As for their music, it has a much more slick and sophisticated sound and sheen. Mostly, their influences seem to be rock music, albeit with a sprinkling of proto-punk. There’s even a Thin Lizzy influence in the guitars and vocal, of a track that falls into the category hidden gem.
My final choice from Punk 45 is Johnny Thunders and The Heartbreakers’ Chinese Rocks. Having left the New York Dolls, Johnny Thunders joined forces with The Heartbreakers. Together, they released Chinese Rocks on London’s Track Records in May 1977. There’s a noticeable New York Dolls’ influence, as punk, glam rock and garage unite. Edgy with a tough sound, Johnny Thunders and The Heartbreakers just like the Dolls, achieve what seems impossible, being both sloppy and tight simultaneously. That’s quite a feat, but what do you expect from a former New York Doll?
Punk 45 is best described as mixed bag of eclectic music. There’s everything from sixties garage rock, electronica, experimental, industrial, no wave, postindustrial, proto-punk and punk. Some of the music on Punk 45 is innovative, groundbreaking and genre-melting. This includes contributions from Bizarros, The Flamin’ Groovies, Tuxedomoon, Pastiche and Johnny Thunders & The Heartbreakers. They’re some of highlights I mentioned earlier. As for the rest of Punk 45, it’s very much a mixed bag.
The other tracks vary in quality. They’re best described as the good, bad and indifferent. The bad and indifferent range from parodic, predictable and derivative. There’s wannabes and never-will-be’s. Then there’s tribute bands and attention seeking, punk wannabes, whose music is designed to shock. They’re the equivalent of an attention seeking child. Maybe the problem is, Punk 45 has focused too much on the period between 1977 and 1980.
If Punk 45 had featured more music released between 1973 and 1976, maybe it would’ve been a much better compilation? Among the artists whose inclusion would’ve transformed Punk 45 are the New York Dolls, The Ramones, Patti Smith, Lou Reed, Iggy Pop, MC5 and Velvet Underground. These artists would’ve transformed Punk 45 into a must-have compilation. Sadly, that isn’t the case. Far from it. Instead, Punk 45 is combination of a few familiar faces and groups who aren’t even household names in their own houses. Among them are X Blank X and The Deadbeats who are responsible for two of the low-points of Punk 45, which is a somewhat disappointing way to end 2013 for Soul Jazz Records. Standout Tracks: Bizarros Ice Age, The Flamin’ Groovies Dog Meat, Pastiche Flash Of The Moment and Johnny Thunders and The Heartbreakers Chinese Rocks.
PUNK 45-KILL THE HIPPIES! KILL YOURSELF! THE AMERICAN NATION DESTROYS ITS YOUTH-UNDERGROUND PUNK 1973-1980 VOLUME 1.
AL GREEN-LET’S STAY TOGETHER.
AL GREEN-LET’S STAY TOGETHER.
There’s a certain irony that just after the release of Al Green’s third album, 1971s Al Green Get’s Next To You, critics thought that his career was in decline. Al Green Get’s Next To You, his second album for Hi Records, stalled at a disappointing number fifty-eight in the US Billboard 200 Charts and number fifteen in the US R&B Charts. Given Al’s debut for Hi Records, Green Is Blues had reached number nineteen in the US Billboard 200 and number three in the US R&B Charts, critics wondered if Al Green’s career was over before it had began. How wrong they were.
What followed was a run of unmatched commercial success and critical acclaim. Between January 1971, when Al released Let’s Stay Together and Al Green Explores Your Mind in October 1974, Al released five albums. Four of these were certified gold and the other was certified gold. Al also enjoyed a run of six consecutive number one US R&B albums. The album that marked a run of critically acclaimed and commercially successful music was a stonewall Southern Soul classic, Let’s Stay Together which was recently released on vinyl by Fat Possom Records, and which I’ll tell you about.
For Let’s Stay Together, nine tracks were chosen. Al wrote five tracks, including So You’re Leaving, What Is This Feeling, Old Time Lovin,’ Judy and It Ain’t No Fun To Me. He cowrote La-La For You with producer Willie Mitchell. The pair also cowrote the title-track For Let’s Stay Together, with Al Jackson Jr, the legendary drummer and founding member of Booker T. and The MGs. Little did they know, that they’d just penned their pension plan. Three other legends of Stax Records and Southern Soul Eddie Floyd, Al Bell and Booker T. Jones cowrote I’ve Never Found A Girl. Along with a cover of Barry and Robin Gibb’s How Do You Mend A Broken Heart, Let’s Stay Together on paper, was an album oozing with quality. Was that the case?
Producer Willie Mitchell brought in his A-Team for recording of Let’s Stay Together at Royal Recording Studios, Memphis. The rhythm section included guitarist Teenie Hodge, bassist Leroy Holdge plus drummer Howard Grimes and Al Jackson Jr. Charles Holdges played organ and piano, while The Memphis Horns joined legendary backing vocalists Donna Rhodes, Charles Chalmers and Sandra Rhodes. As Rhodes, Chalmers, Rhodes, their sprinkling of musical magic was the finishing touch to what would become not just a classic album, but the most successful album of Al Green’s career. Once Let’s Stay Together was recorded, it was up to Terry Manning to work his magic. He mixed Let’s Stay Together at Old Ardent Studios. Terry played his part in what was for a game-changing album for Al Green, Let’s Stay Together.
On the release of Let’s Stay Together, it reached number eight in the US Billboard 200 and number one in the US R&B Charts. This resulted in Al’s first gold disc. Critics loved the album. Let’s Stay Together saw Al Green’s style range from crooning to scatting, and veering from the smoothest falsetto to the deepest, funkiest rasping, growl. Strangely, only one single was released from Let’s Stay Together. It was the title-track, Let’s Stay Together, which reached number one in the US Billboard 100 and US R&B Charts was also certified gold. Producer Willie Mitchell had transformed Al Green’s career. Let’s Stay Together, which saw Al Green become one of soul music’s biggest stars. You’ll realise why, when I tell about Let’s Stay Together,
Opening Let’s Stay Together is the title track Let’s Stay Together, a single that sold over two million copies. It only takes one listen to realise why it’s regarded as one of the best songs of all time. track. As the Memphis Horns rasp and bray, Al’s vocals a whispery, needy vamp. Straight away, you’re hooked. His vocal is smooth yet strong, and the way he delivers the song, it’s as if he means every word. Sincere describes his pleading, heartfelt vocal. This is vintage Al Green. As for Rhodes, Chalmers and Rhodes, they add cooing, caressing harmonies. They’re subtle, a perfect foil for Al’s voice. The rhythm section’s contribution is equally important. They provide the song’s heartbeat, and along with The Memphis Horns, played their part in what was the greatest song Al Green had recorded. Whether he ever bettered Let’s Stay Together is debatable?
After starting Let’s Stay Together with a classic, how do you follow it? What Willie Mitchell did, was put a very different sounding track next on the album. La-La For You has a very dramatic, pensive opening. The Memphis Horns, Charles Hodges’ piano and rhythm section set the scene, dropping the tempo. When Al sings, his vocal’s different. He sings the song slow, real slow, leaving space within the song that has the effect of increasing the drama and tension. His vocal is heartfelt, dramatic. He sounds insecure, as he pleads, delivering he songs beautiful lyrics. Soulful, gospel-tinged and with a masterclass from some of Memphis’ greatest musicians, it’s heartfelt and passionate song, delivered emotionally by Al Green.
The Memphis Horns and the rhythm section provide a wistful backdrop as So You’re Leaving unfold. Having set the scene for Al, his vocal is best described as soul-baring. Veering between needy, heartbroken and frustrated, he sings to his lover that’s leaving him. In the song he attempts to get her to stay, even offering to marry her. He sometimes sounds defiant, but changes, and almost pleads, desperation not far away. Midway through the song, Al scats and vamps. Behind him, The Memphis Horns and the rhythm section deliver a masterclass. Their contributions play a huge part in the track’s success. Most important is Al’s vocal, as breathes, life and meaning into this tale of love gone wrong.
What Is This Feeling sees The Memphis Horns set the scene agin. This time, they don’t sound so harsh. This suits Al’s vocal. His vocal is powerful and joyous, happiness etched deep in his voice. No wonder. he’s singing about being in love, and it’s obvious he’s glad to be in love. Rhodes, Chalmers and Rhodes backing vocals have an understated quality. They coo subtly in the background, never once threatening to overpower Al. The way the Memphis Horns play, their sound much sweeter, they too, sound pleased that Al’s in love. Their playing adds to the joyous sound on what’s one of Let’s Stay Together highlights.
Old Time Lovin’ has an understated, melancholy sound. Just drums provide the heartbeat, before an atmospheric Hammond organ and growling horns envelop Al’s vocal. As the band keep tempo is slow and moody, Al’s vocal is sultry and seductive. This is Al at his best. His vocal is quieter, much softer. Sometimes he let’s go, his voice soaring, yet still singing within himself. His delivery of the lyrics is moving, you feel as if he means them. Willie Mitchell’s arrangement is perfect, the rhythm section and Memphis Horns combining masterfully, and the backing vocalists adding the finishing touches to a beautiful slice of the finest Southern soul.
I’ve Never Found A Girl is a cover of Eddie Floyd’s 1968 hit. This is the first of two consecutive cover versions on Let’s Stay Together. The track starts brightly, the Memphis Horns playing as if announcing the introduction of Al Green. When Al sings, he continues the much more restrained delivery of Old Time Lovin’. Here, his voice sounds strong and confident, but when he sings, he again, sings well within himself. Instead, he leaves Rhodes, Chalmers and Rhodes to sing the louder parts, only really letting his voice briefly, soar, towards the end of the song. The interplay between Green and his backing vocalists is highly effective, and they’re allowed to demonstrate just how talented they are. Al isn’t afraid to let them shine, and they make a huge contribution towards the track’s success.
How Can You Mend A Broken Heart is the second cover version on Let’s Stay Together. Written by Robin and Barry Gibb, it was later recorded by The Bee Gees song. This to me, is the definitive version, and will never be surpassed. Just an understated, meandering arrangement sees the guitar and drums combine. They’re then joined by a Hammond organ, moodily playing in the background. Even before Al’s softly sung vocal enters, the mood is set. The mood is sad, it’s a track that can’t fail to pull at your heartstrings. Al’s delivery is heartfelt, as if he recognises the emotions described in the lyrics. It’s one of his best vocal performances, and highlights how a softer, quieter and more restrained delivery can be much more moving. For six and a half spell binding minutes, you’re enthralled at Al’s heartfelt rendition this song.
After the magnificence of How Can You Mend A Broken Heart, it’s an almost impossible act to follow, comes Judy. Compared to the emotional roller coaster of the previous track, this is much more laid back. Just the rhythm section and strings combine, as the track unfolds. Al’s performance lacks the emotional intensity of How Can You Mend A Broken Heart, and here, he seems happy, at peace with the world. As he sings his voice is light, it has a brightness as he sings the song slowly, with an understated quality. Even the arrangement is subtle, the band seem to have caught Al’s vibe, and play within themselves. This is highly effective, and works, and what they produce is gorgeous track, one that has a lovely laid back vibe
Let’s Stay Together closes with Ain’t No Fun For Me. It has a similar tempo to the previous track. The big difference is the song’s tougher edge. As the rhythm section provide the heartbeat, The Memphis Horns play, announcing the presence boldly. They rasp and growl, playing around Al’s vocal, and behind it. On this track, they’re playing is louder, which suits the arrangement. Al’s vocal is louder,stronger and sassier, unleashing a vamp, full of shrieks, and hollers. At times, his passion almost overflowing. There is nothing understated about this track. Not at all. Soulful, funky, sassy and bold, and its a perfect way to end Let’s Stay Together, the album that launched Al Green’s career.
Although Let’s Stay Together was only Al Green’s fourth album, it’s a highly mature and polished album. From the opening bars of Let’s Stay Together, right through to the closing notes of Ain’t No Fun For Me, Al never lets the quality drop. He’s forever the consummate professional. On each track, he breathes life, meaning and emotion into the lyrics. Often, the lyrics Al sings, he wrote. Of the the nine tracks on Let’s Stay Together, Al Green wrote five and cowrote two, including the Magnus Opus that is, Let’s Stay Together. Despite that being a million selling single, there’s much more to the album than one song. Ironically, How Can You Mend A Broken Heart, one of two cover versions features one of Al’s most emotive and captivating performances. These are just two of nine reasons to discover or rediscover Let’s Stay Together, which was recently rereleased on vinyl by Fat Possom Records. It’s a welcome rerelease of a classic album.
Not only is Let’s Stay Together a classic album, but an album that transformed Al Green’s career. if Let’s Stay Together had failed commercially, that might have been the end of his career. Thankfully, it wasn’t. Between January 1971, when Al released Let’s Stay Together and Al Green Explores Your Mind in October 1974, Al released five albums. Four of these were certified gold and the other was certified gold. Al also enjoyed a run of six consecutive number one US R&B albums. Al Green went on to become one of the most successful soul singers of the early-seventies. For a few years, Al Green was untouchable.
Indeed, for six albums, Al Green could do no wrong. No wonder. Accompanying him were some of the greatest musicians and backing vocalists in the history of Southern Soul. Along with producer Willie Mitchell, they played their part in some of the greatest Southern Soul ever recorded. The album that started this run of commercial success and critical acclaim, is Let’s Stay Together, a stonewall classic that belongs in every record collection. Standout Tracks: Let’s Stay Together, Old Time Lovin’, How Can You Mend A Broken Heart and Ain’t No Fun For Me.
AL GREEN-LET’S STAY TOGETHER.
HARTLEY AND WOLFE-BESPOKE FUTURE.
HARTLEY AND WOLFE-BESPOKE FUTURE.
Last year, DJ Vadim released his tenth solo album, the critically acclaimed Don’t Be Scared. One of the singles from Don’t Be Scared was I’m Feelin’ U, which featured Essex’s finest purveyor of all things soulful, Greg Blackman. Now a year later, DJ Vadim and Greg Blackman are about to release their first collaboration as Hartley and Wolfe. Their debut album Bespoke Future, will be released on BBE Music on 18th November 2013.
Bespoke Future is best described as a genre-melting album. Musical influences and genres are thrown into the musical melting pot by Hartley and Wolfe. There’s everything from Americana, dub, electronica, funk, hip hop, Nu Soul, R&B and soul on Hartley and Wolfe’s Bespoke Future. Drawing inspiration from everything both American and British soul and R&B. Listen carefully, and you’ll hear everything from Rick James, The Isley Brothers, Omar, Loose Ends and Soul II Soul. It’s a musical journey with more than a few unexpected twists and turns. No wonder, with DJ Vadim taking charge of production, while Greg Blackman, tunesmith extraordinaire, laying down some of his trademark vocals.
Over the twelve tracks on Bespoke Future, Hartley and Wolfe create music for the head, the heart and the dance-floor. Songs of life, love, betrayal and rejection see Hartley and Wolfe paint pictures with their music. Evocative songs, where Hartley and Wolfe use music like an artist uses paints. Bespoke Future is their canvas, where they explore the vagaries of life, love gone wrong, rejection and politics. Cerebral and intelligent, Hartley and Wolfe don’t forget about hooks. They’re certainly not in short supply. Neither are songs for the dance-floor. Whether you like your music soulful, funky or dance-floor friendly, then Bespoke Future has something for you. Hartley and Wolfe see to that. You’ll realise that’s the case, when I tell you about Bespoke Future.
Opening Bespoke Future is You’ve Got Nothing. As it opens, there’s a real laid-back, summery vibe. Greg scats above an arrangement that reminds me of Nightmares On Wax. Maybe its the sound of crackly vinyl and the filters? Soon, it’s all change and a thunderous bass drives the arrangement along. Still it has a summery vibe, with reggae, soul, funk, gospel and hip hop thrown into the melting pot. Greg’s vocal is heartfelt and powerful. Full of frustration he threatens to walk away, having been pushed to far. Yet he doesn’t, he’s loyal and tells her that. He then adds scatted harmonies, before singing call and response, demonstrating that powerhouse of a vocal that, for far too long, has been one of British music’s best kept secrets.
Wistful and melancholy describes the introduction to The Little Things. Again, there’s the sound of crackly vinyl, that gives the track a vintage sound. Then when Greg’s vocal enters, it’s reminiscent of D’Angelo and Prince. He uses his full vocal range, his vocal a sassy, emotive and needy vamp. Behind him, keyboards, crispy beats and the pounding bass join harmonies. The backing vocals drive Greg to even greater heights on this sassy, soulful, funky opus.
Behind Close Doors sees another change in direction. Space-age synths are joined by hypnotic beats and Greg’s impassioned, but pensive vocal. Soon, the track’s heading in the direction of hip hop. Greg’s lays down wistful vocal, before a feisty rap takes charge. Despite that, it’s Greg’s vocal that you focus on. It sounds as if he’s loved and lived to the tell the tale, on this fusion of hip hop, funk and soul.
It’s as if the scene’s being set on the cinematic Room To Breathe. With its big, bold and dramatic cinematic arrangement, it’s like a track from a seventies Blaxploitation movie. That’s partly to do with the swirling, sweeping strings, funky rhythm section and keyboards. Then there’s Greg’s vocal and the harmonies that accompany him. Dramatic, with an authentic seventies sound, they’re ying to the arrangement’s yang. By the end of this three minute musical journey, you’re almost convinced that you’re listening to a forgotten seventies Blaxploitation movie. That’s how good this cinematic, hidden gem is.
What I’ve Been Told almost picks up where Room To Breathe left off. Bursting into life, Greg delivers his vocal against an arrangement that’s uber funky. Driven along by the rhythm section, stabs of blazing horns punctuate the dramatic, galloping arrangement. Again, it could be another track from a Blaxploitation movie. Especially given the lyrics, which are full of social comment. They’re a reflection on 21st Century society, about being taught not to trust establishment figures. It’s as if this inspires Greg. As he sings calls and response, his vocal is full of frustration, anger and disgust. Adding the finishing touch, are the soaring harmonies. They play their part in a track that’s soulful, funky, cerebral and has a strong social conscience.
Turn The Volume Down sounds like a track about the morning after the night before. A fragile, thoughtful and introspective Greg delivers a gloriously soulful vocal against a backdrop of synths, handclaps and harmonies. Realising he’s got to change, he wonders if now’s the time to “Turn The Volume Down” on his hedonistic lifestyle?
A myriad of beeps and squeaks open Console, a track where electronica, funk, soul, R&B, Nu Soul and hip hop unite. Against a futuristic backdrop of synths, crispy beats and harmonies, Greg combines hip hop and soul effectively. With its 21st Century sound, this demonstrates another side to Hartley and Wolfe.
This World has an experimental sound, as Hartley and Wolfe take you on an intergalactic journey. Electronica, hip hop, funk and soul are combined during this four-minute adventure. Sci-fi synths, hypnotic drums and harmonies provide the backdrop to Greg’s vampish vocal. His vocal is full of frustration and confusion as he sings: “there’s so much I don’t understand.” A powerful comment on life in general, Greg breathes life and meaning into the lyrics, delivering them with emotion and power.
Dancing In Circles sees a return to the sound of You’ve Got Nothing and The Little Things. It’s the chords and instruments used that lead to this comparison. There’s even a brief similarity to The Style Council, when chiming guitars, keyboards and crispy beats combine. Then Greg’s heartfelt, soulful vocal enters, it’s one of his best. He sounds like Robert Palmer, and is fed up “Dancing In Circles.” How he’s “grabbing the chance.” Nervously and hopefully, he hopes he’s not left it too late. His vocal is replaced by a rap, and we never find out whether he’s still “Dancing In Circles. Despite that, it’s one of the highlights of Bespoke Future.
Larry The Cat is totally different from the other tracks on Bespoke Future. With his tongue placed firmly in his cheek, Greg introduces us to Larry The Cat. Funky, dramatic and dance-floor friendly, Greg vamps his way through the track with beats and squelchy synths for company. The result is a track that shows just how eclectic an album this is.
Lady Sunshine sees Hartley and Wolfe fuse soul, funk and electronica. Greg seems inspired by Rick James, D’Angelo and Prince. There’s also a nod to Robert Plant and old blues shouters, as his vocal is transformed. It’s quite unlike previous tracks. As for the track, it’s dance-floor friendly, funky and soulful. The tempo is dropped, with drums and bass providing the heartbeat, while synths adding sci-fi sounds and drama. As genres melt into one, an irresistible and infectiously catchy track unfolds.
Closing Bespoke Future is Never Understand. Slow, with an eerie, ethereal, sci-fi sound, the sound of crispy vinyl, then whispery vocals, joins beeps, squeaks and crunchy beats. Greg’s vocal is urgent, full of emotion, frustration and confusion during this tale of love gone wrong. This increases as stabs of synths, marching drums and urgent harmonies come towards him. Despite that, he still manages to despairingly, deliver the line: “you’re a fool.” An emotive, dramatic relationship song, this bookends Hartley and Wolfe’s debut album Bespoke Future nicely.
Bespoke Future, the debut album from Hartley and Wolfe, is proof that the musical partnership of DJ Vadim and Greg Blackman, works, and works well. With DJ Vadim’s production expertise and Greg Blackman supplying some of his most soulful vocals, this is a musical marriage that won’t end up in the divorce courts. During the twelve tracks on Bespoke Future, Hartley and Wolfe never let the quality drop. As they do this, musical genres and influences melt into one.
Indeed, Bespoke Future is a genre-melting, roller-coaster musical adventure. Hartley and Wolfe innovate and push musical boundaries. This they do throughout the Bespoke Future. They’re continually reinventing themselves, crossing and criss-crossing musical genres and boundaries. There’s everything from ambient, drum ‘n’ bass, dub, electronica, funk, hip hop, Nu Soul, R&B, reggae and soul, within the twelve tracks on Bespoke Future. Influenced by everyone from Rick James, The Isley Brothers, Prince, D’Angelo, Omar, Robert Palmer, Loose Ends and Soul II Soul. All these influences and genres are combined within Hartley and Wolfe’s melting pot. The result is Bespoke Future, a delicious dish, best tasted often.
Another way to describe Bespoke Future, is as a musical journey. As musical journeys go, it’s one with more than a few unexpected twists and turns. A genre-melting journey from the innovative duo of Hartley and Wolfe, Bespoke Future will be released on BBE Music on 18th November 2013. Hopefully, Bespoke Future will be the first of many collaborations between DJ Vadim, the John Coltrane of hip hop, and Greg Blackman, Essex’s very own purveyor of all things soulful. There’s a reason for that. The reason is Bespoke Future, Hartley and Wolfe’s debut album is full of innovative, genre-melting music, that’s funky, deeply soulful and dance-floor friendly. Standout Tracks: You’ve Got Nothing, The Little Things, The Little Things, Room To Breathe and What I’ve Been Told.
HARTLEY AND WOLFE-BESPOKE FUTURE.
BRENDA HOLLOWAY-THE ARTISTRY OF BRENDA HOLLOWAY.
BRENDA HOLLOWAY-THE ARTISTRY OF BRENDA HOLLOWAY.
It was in 1962 that Brenda Holloway released her debut single, Hey Fool on the Donna record label. She was just sixteen years old. Later that year, Brenda first released a cover of Ed Cobb’s Every Little Bit Hurts for Del-Fi Records, a subsidiary of Donna Records. Two years later, when Brenda rerecorded Every Little Bit Hurts, she was signed to Motown’s Tamla imprint. It reached number thirteen in the US Billboard 100, resulting in the biggest hit of Brenda Holloway’s career. During the three years Brenda spent at Tamla, she released nine singles. These nine singles feature on Kent Soul’s recently rereleased compilation The Artistry Of Brenda Holloway.
Originally, The Artistry Of Brenda Holloway was a compilation released in Britain in 1968, when Brenda left Tamla. It featured nine singles, five B-Sides and two tracks from Brenda’s album Every Little Bit Hurts. These sixteen tracks featured on Kent Soul’s originally release of The Artistry Of Brenda Holloway. Now Kent Soul, an imprint of Ace Records, have rereleased The Artistry Of Brenda Holloway. They’ve good reason for doing so. Compilers Keith Hughes and Mick Patrick have discovered eight previously unreleased Brenda Holloway tracks hidden away in the Motown vaults. This means that the updated version of The Artistry Of Brenda Holloway features twenty-four tracks. For anyone whose a fan of Brenda Holloway, The Artistry Of Brenda Holloway is essential listening. I’ll tell you why, once I’ve told you about Brenda’s career.
Brenda Holloway was born in June 1946, in Atascadero, California, a city midway between San Francisco and Los Angeles. She was the eldest of three children. When she was two, Brenda and her family moved to the Watts district of Los Angeles. Three years later, in 1951, Brenda’s younger sister Patrice Holloway was born. Like her sister, she’d become a singer. That’s no surprise though.
From an early age, Brenda immersed herself in music. She learnt to play flute, piano and violin. Soon, she developed a passion for classical music. Singing played an important part in Brenda’s life. Brenda was an active member of her church choir. At high school, Brenda hooked up with Walter and Wallace Scott, who later form The Whispers. This lead to Brenda singing backing vocals on demonstration records, which songwriters would use to showcase their songs to artists and record companies. Through singing backing vocals, Brenda’s career as a singer began.
This was in 1962, when she was just sixteen. Brenda recorded Hey Fool, which was released on Donna Records. This was the first of three singles Brenda recorded for Donna Records. Later that year, Brenda first released a cover version of Ed Cobb’s Every Little Bit Hurts for Del-Fi Records, a subsidiary of Donna Records. The other two singles Brenda recorded for Game Of Love and I’ll Give My Love. Having served her apprenticeship at Donna Records, Brenda was signed by Motown imprint Tamla by Berry Gordy.
Motown had opened a West Coast office in Los Angeles. In charge of the Los Angeles office were Hal Davis and Marc Gordon. With Brenda being based in the West Coast, and more importantly, being a president’s signing, Hal and Marc must have known the pressure was on to find the right song for Brenda’s Tamla debut. This would be a song Brenda was familiar with, Every Little Bit Hurts. It would result in the biggest hit of her career and features on The Artistry Of Brenda Holloway, which I’ll tell you about.
For her Tamla debut, Brenda Holloway rerecorded Every Little Bit Hurts. Written by Ed Cobb, it was produced Hal Davis and Marc Gordon. On its release in May 1964, it reached number thirteen in the US Billboard 100. No wonder. It’s a soul-baring vocal that belies Brenda’s tender years. She was just eighteen, but breaths life and meaning into the vocal. Hal and Marc sweeten the dramatic, piano lead arrangement with swathes of strings. This is the finishing touch, resulting in a stonewall classic.
I’ll Always Love You was was the followup to Every Little Bit Hurts. Tamla, thinking they’d a potential huge star on their books, must have high hopes for the single. Sadly, it stalled at number sixty in the US Billboard 100 in July 1964. Again, it was written by Ed Cobb, and produced by Hal Davis and Marc Gordon. With an understated, but drama-laden arrangement, Brenda has the opportunity to unleash a vocal masterclass. Controlled power and emotion are combined to produce a heartfelt, dramatic ballad that showcases Brenda at her best.
During 1964, Brenda released her debut album, Every Little Bit Hurts. Not only did it feature Every Little Bit Hurts and I’ll Always Love You, Too Proud To Cry and a cover of Alex North and Hz Zaret’s Unchained Melody. The version of Unchained Melody is quite different from The Righteous Brothers’ version. It’s slightly quicker, with a jaunty arrangement. As for Brenda’s vocal, it’s needy and impassioned. Too Proud To Cry which Frank Wilson and Alvin Bowen cowrote,is the best of the two tracks. A slow ballad, with a string drenched arrangement, Brenda embraces the songs. It’s as if she’s lived the lyrics. She delivers the lyrics with emotion, her vocal full of sadness and regret.
As Brenda began her second year at Tamla, she released Operator, which was written by Smokey Robinson. Originally, it had been recorded by Mary Wells. Her version was a somewhat sanitized pop version. Brenda’s version is much better, and is the definitive version of Operator. Despite it’s more grownup sound, it only reached a disappointing number seventy-eight in the US Billboard 100 and thirty-six in the US R&B Charts in January 1965. Given Brenda’s slow, soulful and sultry delivery that must have been a huge disappointment for producer Smokey Robison. Tucked away on the B-Side is I’ll Be Available another track penned and produced by Smokey Robinson. It’s a track that has a real Northern Soul sound that falls into the category of hidden gem. In later years, Brenda would enjoy success on Britain’s Northern Soul scene.
August 1965 saw Brenda release the Berry Gordy penned and produced You Can Cry On My Shoulder. It failed to chart, stalling at just 116 in the US Billboard 100. Despite its lack of commercial success it features a tender, heartfelt vocal from Brenda where she uses her full vocal range effectively.
Together ‘Till The End Of Time was released in January 1966. Written by Frank Wilson, it was produced by Hal Davis and Marc Gordon the single failed to chart. Featuring a thoughtful and impassioned vocal, you can hear Brenda maturing as a singer. Sung against a dramatic, sometimes melancholy arrangement, her vocal veers between tender and thoughtful, to power and passion. The result is one of the highlights of The Artistry Of Brenda Holloway.
After two consecutive singles failed to chart, Brenda must have been desperate for Hurt A Little Every Day To Chart. Released in August 1966, history repeated itself and the single failed to chart. With a big, bold and dramatic arrangement, Brenda, accompanied by cooing harmonies, delivers a cathartic performance. Good as the single is, turn over to the B-Side and you’ve a surprise in store. Where Were You was written by Helen and Kay Lewis. It’s a fusion of blues, R&B and soul, that swings along. Soaring harmonies, handclaps, dancing strings and rasping horns accompany Brenda, whose vocal is full of Hurt and heartache. When all is this was combined by producers Frank Wilson and Hal Davis, the result is a hook-laden track, that’s a favorite of Northern Soul fans.
Just Look At What You Done, which was written by R Dean Taylor and Frank Wilson, saw Brenda’s career get back on track. Produced by Frank and Lamont Dozier, it reached number sixty-nine in the US Billboard 100 and number twenty-one in the US R&B Charts in March 1967. An upbeat, stomper, it’s another favorite of Northern Soul fans. With stabs of blazing horns and a pounding beat, Brenda throws herself headlong into the song. She makes the betrayal and heartache in the lyrics come to life. She paints pictures during this irresistible Northern Soul stomper. The B-Side is another Northern Soul stomper, Starting The Hurt All Over Again. Penned by Ashford and Simpson, who in 1967, were Motown staff songwriters, Harvey Facqua and Johnny Bristol take charge of this production. With such an all-star cast, it’s no wonder this is such a infectiously catchy track.
You’ve Made Me So Very Happy was Brenda’s final single for Motown. She bowed out on a high, when the single reached number thirty-nine in the US Billboard 100 and number forty in the US R&B Charts in August 1967. It was written by Brenda her sister Patrice, plus Berry Gordy and Frank Wilson who produced the track. Dramatic, wistful, melancholy and beautiful describes what is a timeless track. Frank Wilson contributed the B-Side, I’ve Got To Find It. It’s a fitting farewell to Tamla. There’s a sense of melancholia in Brenda’s vocal, as if she’s looking for something, but hasn’t quite worked out what it is. All she knows, is it’s time to say walk away from Tamla. This she does against a wistful backdrop where blues and soul create a poignant combination.
That’s not quite the end of The Artistry Of Brenda Holloway. There’s the small matter of the eight previously unreleased ballads. Of the eight tracks there’s a few hidden gems tucked away in there. Four are worth mentioning. The first of these is After All That You’ve Done, which is bound to win over fans of Northern Soul. The Love Line features a sultry, seductive vocal from Brenda. Then there’s the dramatic, emotive Just Another Lonely Night which briefly, reminds me of Phil Spector productions. It’s Love I Need, which closes The Artistry Of Brenda Holloway features a needy, sassy vocal powerhouse from Brenda.
As I said earlier, The Artistry Of Brenda Holloway is essential listening for anyone whose a fan of Brenda Holloway, Motown or just soul music. For fans of Brenda Holloway, the eight bonus tracks could well be the clincher. Even of you’ve the original version of The Artistry Of Brenda Holloway, the bonus tracks make it worth buying again. Then there’s the other sixteen tracks on The Artistry Of Brenda Holloway. That’s sixteen good reasons to add Kent Soul’s recently released The Artistry Of Brenda Holloway to your record collection. Another reason is, that the music on The Artistry Of Brenda Holloway is the best, and most successful, music of Brenda Holloway’s career.
Despite enjoying a long and successful career, Brenda Holloway never quite recaptured the commercial success she enjoyed at Motown. That’s quite sad, because Brenda was only twenty-one when she left Motown. The most successful part of her career was behind her. Despite releasing further singles and a trio of albums, chart success eluded Brenda Holloway. Never again did she enjoy the success that she enjoyed at Motown. Brenda enjoyed fame and commercial success at an early age. She had a tantalizing taste of fame and commercial success. Drinking deep from the well of fame, she enjoyed every last drop. Sadly, her taste of fame didn’t last long. It made only a fleeting visit, lasting just three years, which are documented on The Artistry Of Brenda Holloway. Standout Tracks: Every Little Bit Hurts, I’ve Got To Find It, You’ve Made Me So Very Happy and Just Look At What You Done.
BRENDA HOLLOWAY-THE ARTISTRY OF BRENDA HOLLOWAY.
CLARENCE CARTER-THE FAME SINGLES VOLUME 2 1970-73.
CLARENCE CARTER-THE FAME SINGLES VOLUME 2 1970-73.
It was in 1966, that Clarence Carter released his first single for Rick Hall’s Fame Records, Tell Daddy. Clarence was already thirty when he released Tell Daddy, his debut solo single. His life had taken a few twists and turns before that. Born in January 1936, when Clarence graduated from high school, he headed to Alabama State University. In 1960, he graduated with a degree in music. After that, his musical career began in earnest. It wasn’t as a solo artist though.
Clarence was part of a duo with Calvin Scott. The pair released a string of singles between 1962 and 1965. Their debut single was 1962s I Don’t Know (School Girl), which they released as Clarence and Calvin. After that they became the C and C Boys, releasing four singles for Duke Records. Commercial success eluded them and in 1965 they left Duke Records. Down but not out, Clarence and Calvin headed to Rick Hall’s Fame Studios in Muscle Shoals. There they recorded Step By Step, which was released on Atco Records, a subsidiary of Atlantic Records. Step By Step failed to chart. Worse was to come. Calvin Scott’s wife shot him, resulting in Calvin having to retire from music temporarily. This inadvertently lead to Clarence’s debut solo single.
This was Tell Daddy, Clarence’s first single for Rick Hall’s Fame Records. Tell Daddy was the start of a string of hit singles Clarence released between 1967 and 1969. This period is documented on Kent Soul’s 2012 compilation Clarence Carter-The Fame Singles Volume 1 1966-1970. It contains singles Clarence released for Fame and Atlantic Records. Whilst this was the most successful period of Clarence’s career, there’s much more to his career than that. Much more.
On Clarence Carter-The Fame Singles Volume 2 1970-1973, which was recently released by Kent Soul, a subsidiary of Ace Records, continues the Clarence Carter story. This compilation covers the remainder of Clarence’s time at Atlantic Records. There’s also a quartet of tracks released on Fame, plus Clarence’s Fame singles distributed by United Artists. Featuring twenty-two tracks, Clarence Carter-The Fame Singles Volume 2 1970-1973 includes many tracks that have never been available on CD before. Clarence Carter-The Fame Singles Volume 2 1970-1973 finds Clarence Carter, a giant of Southern Soul, at his soulful best. Ironically, Rick Hall wasn’t sure about signing Clarence Carter.
It’s ironic given the commercial success Clarence Carter enjoyed, that originally, Rick Hall didn’t want to record Clarence. Rick felt that Clarence as a solo career, wasn’t an attractive proposition. Luckily, Rick changed his mind after Clarence released his debut solo single Tell Daddy. It only reached number thirty-five in the US R&B Charts, but inspired Etta James’ Tell Mama. It was then that Rick Hall realised that Clarence Carter was a hugely talented singer and songwriter.
Clarence Carter signed to Atlantic Records in 1967 and between 1967 and 1969, he enjoyed ten singles. This includes two top ten singles in the US Billboard 100 and six top ten singles in the US R&B single. Two of his singles sold over one million copies, resulting in gold singles for Clarence. His biggest hit single was 1967s Slip Away, which reached number four in the US Billboard 100 and number two in the US R&B Charts. Then in 1968, Clarence enjoyed a Christmas hit with Back Door Santa, which reached number four in the US Billboard 100. All these singles featured on Clarence Carter-The Fame Singles Volume 1 1966-1970. Its followup is Clarence Carter-The Fame Singles Volume 2 1970-1973.
Opening Clarence Carter-The Fame Singles Volume 2 1970-1973, is Patches, the most successful single on the the compilation. It reached number four in the US Billboard 100 and number two in the US R&B Charts in 1970. Written by General Johnson and Ron Dunbar, Clarence rejected the song when he first heard it. After producer Rick Hall talked him round, there wasn’t even time for the lyrics to be transcribed into braille. So, Sonny Limbo whispered each line of the lyrics into Clarence’s ear. Remarkably, this worked, resulting in a heart-wrenching tale of poverty and sadness. Add to his vocal lush strings and cooing harmonies, and it’s no surprise the single was such a success. Tucked away on the B-Side to Patches is Say It One More Time. Penned by Clarence and George Jackson, Clarence’s vocal is needy and heartfelt as blues and Southern Soul unite to create a beautiful track.
It’s All In Your Mind was released in 1970, reaching just number fifty-one in the US Billboard 100 and number thirteen in the US R&B Charts in 1970. Written by George Jackson and Raymond Moore, it’s from Clarence’s album Patches. Good as the single is, I prefer the B-Side Till I Can`t Take It Anymore. Clyde Otis and Dorian Burton cowrote this track. It has an understated arrangement, where rasping horns, cooing harmonies and chiming guitars allowing Clarence’s heartfelt, hopeful vocal to take centre-stage. Clarence unleashes a vocal that sounds as if he’s lived, loved and survived the lyrics.
Red Lane penned the mini soap opera that is The Court Room. It’s a true story about a preacher accused of a sexual misdemeanour It gave Clarence a minor hit in 1970, when it reached number sixty-one in the US Billboard 100 and number thirteen in the US R&B Charts. Dramatic and emotive, Clarence brings to life the lyrics. So much so, that you can imagine the scenes unfolding before your eyes. As for the backing vocalists, including Candi Staton, who Clarence married in 1970, play the roll of the shocked jurors perfectly and add the finishing touch. On the B-Side is Getting The Bills (But No Merchandise), penned by George Jackson and Raymond Moore epitomizes Southern Soul. The story of a lovestruck, infatuated lover it allows Clarence to unleash his powerhouse of a vocal.
Released as a single in 1971, Slipped, Tripped And Fell In Love reached number eighty-four in the US Billboard 100 and number twenty-five in the US R&B Charts. Written by George Jackson, it’s soulful, sassy and funky, with Clarence vamping his way through the lyrics, singing call and response with his backing vocalists. Similarly funky and soulful was the B-Side, I Hate To Love And Run, which features a tormented Clarence.
Scratch My Back (And Mumble In My Ear) which was released in 1971, is a ballad where Clarence returns to his slower, more soulful sound. Despite this, it reached just number forty-one in the US R&B Charts. Written by Earl Cage, Raymond Moore and Marcel Strong, it featured a vocal masterclass from Clarence. He sounds not unlike the legendary James Carr. With an arrangement punctuated by growling horns, its Southern Soul at its best. Even the B-Side I’m The One is quality. Written by George Jackson and Raymond Moore, it’s a track that swings. That’s thanks to Clarence’s impassioned and joyous vocal. Then the addition of swathes of strings and soaring harmonies add the finishing touch to this hook-laden hidden gem.
If You Can’t Beat ‘Em features Candi Staton, who between 1970 and 1973, was married to Clarence. This is a very different track. There’s a tougher, funkier sound to Clarence’s sassy, vampish vocal. Candi adds soaring, dramatic harmonies to a track that shows another side to Clarence Carter’s music. Again, I prefer the B-Side, the Mac David penned Lonesomest Lonesome. Full of hurt and heartbreak, Clarence’s vocal is wistful and melancholy, as he comes to terms with the love he’s lost.
Having left Atlantic, where Clarence’s relationship with the company has been described as distant. Clarence felt under-appreciated. He also felt his music had been under-promoted. Back at Fame, Clarence released a blistering version of Oliver Sain’s Back In Your Arms towards the end of 1972. It reached number forty-six in the US R&B Charts. An uptempo, funky track, Clarence kicks loose. It’s as if saying to everyone at Atlantic, look what you’ve lost. Then on the B-Side Holdin´ Out (On My Baby), penned by Mickey Buckins, Clarence digs deep, delivering a heartbreaking vocal. Full of emotion, sadness and regret, he calls time on his cheating lover. So realistic is his delivery, that you’d think Clarence and been there and survived to tell the tale.
It’s a different Clarence that we find on Put On Your Shoes And Walk, his 1973 single, which reached number forty on the US R&B Charts. Clarence is confident, feisty and delivers the vocal with a swagger. It’s as if this song was tailor made for him. Ut wasn’t though. Instead it was originally recorded by Harmon Bathea. This is the definitive version, best described as soulful, funky and swaggering.Turn over to the B-Side and you’ll find I Found Somebody New, a confessional slice of Southern Soul written by Clarence. Ironically, in 1973, Clarence and Candi Staton’s marriage ended.
Mother-In Law and Sixty Minute Man were a double-sided single, taken from Clarence’s final album for Fame, the Southern Soul Sixty Minutes With Clarence Carter. Of the two tracks, sultry, sassy and suggestive Sixty Minute, which Clarence wrote, is the best of the two songs. A tale of forbidden love, Clarence adopts the role of soul seducer supreme, on a track that reached number sixty-five in the US Billboard 100 and number seventeen in the US R&B Charts. As for Mother-In Law, it was written by legendary New Orleans’ songwriter Allen Toussaint. It’s best described as a scathing sideswipe at the third person in his marriage. It reached number eighty in the US Billboard 100 and number twenty-four in the US R&B Charts. If the radio stations had chosen to play just one side, then Clarence could’ve had a huge hit on his hands.
As I’m The Midnight Special unfolds, it sounds a distant relation of Sam and Dave’s In The Midnight Hour. Instead, it was penned by Clarence, George Jackson, Alyn Mitchell and Raymond Moore. Driven along by the famous Fame rhythm section and stabs of blazing horns, Clarence rolls back the years, as Southern Soul and funk combine. This resulted in a single that reached number fifteen in the US R&B Charts. Hidden away on the flip side, is I Got Another Woman. Here, Clarence proves that confession is good for the soul, as sadness, realism and relief play their part in a hidden gem about love gone wrong.
Love’s Trying To Come To You was the last single Clarence released for Fame. Released in 1973 as a single, it failed to chart. Written by George Jackson, the combination of bluesy horns and harmonies result in a real hidden gem that’s wistful, thoughtful and beautiful. Over on the B-Side was Heartbreak Woman, written by Mark James. Produced by Rick Hall and Clarence this heartbreaking song bookends Clarence Carter-The Fame Singles Volume 2 1970-1973 perfectly.
For anyone yet to discover Clarence Carter, then Clarence Carter-The Fame Singles Volume 2 1970-1973 and its predecessor Clarence Carter-The Fame Singles Volume 1 1967-1970 are the perfect place to start. Volume 1 was released in 2012, while Clarence Carter-The Fame Singles Volume 2 1970-1973 was released recently, by Kent Soul, a subsidiary of Ace Records. Lovingly compiled by Dean Rudland, who wrote the sleeve-notes, this is what a compilation should be like. What do I mean by that? Well, there’s twenty-two tracks, plus a lavish, twelve-page booklet, crammed full of information about Clarence Carter and his music. However, what really makes Clarence Carter-The Fame Singles Volume 2 1970-1973 is the music.
One of the giants of Southern Soul, Rick Hall’s decision to sign Clarence was vindicated. Between 1966 and 1973, Clarence was one of the most successful acts Rick Hall discovered. While Candi Staton was the first Lady of of Fame Records, her one-time husband, Clarence Carter was one of the most successful male artists. A hugely talented singer and songwriter, Clarence Carter could breath life, emotion and meaning into a song. The lyrics come to life, with Clarence sounding as if he’s lived and survived the tales of love, and love gone wrong. It’s no wonder Clarence enjoyed such success.
Accompanying Clarence were some of the greatest musicians of the sixties and seventies. Collectively, they were known as the Muscle Shoals Rhythm Section. They provided the heartbeat for numerous Southern Soul classics. Then there’s the backing vocalists, who included Candi Staton. Add to this are a whole host of staff songwriters, including George Jackson. The final piece of the jigsaw, was the man with the Midas touch, producer Rick Hall, who owned Fame. He produced Clarence for Fame, Atlantic and then Fame, once again. When Clarence Carter is added to the equation, musical magic happens. This musical magic resulted in the most successful period of Clarence Carter’s career.
Following Clarence Carter’s time at Fame, he never enjoyed the same commercial success. Undeterred he continued to release albums and played live. He’s enjoyed a long and successful career, and 2012, marked the fiftieth anniversary of his first single. Since then, Clarence Carter has released around thirty albums. However, the best music of his career is the music he recorded at Fame Studios with Rick Hall. This includes the twenty-two tracks on Clarence Carter-The Fame Singles Volume 2 1970-1973, which along with Clarence Carter-The Fame Singles Volume 1 1967-1970, which are the perfect introduction to a giant of Southern Soul, Clarence Carter. Standout Tracks: Patches, Scratch My Back (And Mumble In My Ear), Lonesomest Lonesome and I Got Another Woman.
CLARENCE CARTER-THE FAME SINGLES VOLUME 2 1970-73.
BOPPIN’ BY THE BAYOU-MORE DYNAMITE.
BOPPIN’ BY THE BAYOU-MORE DYNAMITE.
Back in May 2013, Ace Records released Bluesin’ By The Bayou, a compilation of “low down, dirty and greasy blues from Louisiana.” With some zydeco thrown in for good measure by compiler Ian Saddler, Bluesin’ By The Bayou was a potent musical cocktail. The music on Bluesin’ By The Bayou was recorded at J.D. Miller and Eddie Shuler’s studios in Louisiana. For the followup to Bluesin’ By The Bayou, the recently released Boppin’ By The Bayou-More Dynamite, which was recently released by Ace Records, compiler Ian Saddler has dug deeper.
Not only does Boppin’ By The Bayou-More Dynamite feature tracks recorded at J.D. Miller and Eddie Shuler’s studios, but tracks recorded at Carol Rachou and Charles “Dago” Redlich’s studios. Each producer had their own approach to recording.
When Eddie Shuler’s career started, he had no studio. So he had to take his artists to radio stations to record them. Eventually, when he became a successful producer and label owner, he had his own studios in Lake Charles. That was where Eddie recorded countless singles. Eddie continually studied his artists, watching their technique and was constantly, looking for ways they could improve them as artists. Once Eddie had his own studio, this was easier, because he wasn’t constantly having to think of the budget. This allowed him to take longer, and produce better music. So did J.D. Miller, although this was a constant struggle.
J.D. Miller is best described as a perfectionist. He set his standards high, and was known to constantly rerecord a track over and over. This was all part of his constant quest for musical nirvana. While J.D. would rerecord tracks, he was known to constantly rebuild his studios. Many times, J.D. stripped his Crowley studio and rebuilt it. All this was in his quest for perfection. Another producer striving for perfections was Charles “Dago” Redlich. He was J.D. Miller’s brother-in-law, a new name that features on Boppin’ By The Bayou-More Dynamite.
Charles “Dago” Redlich owned a record shop in Lafayette. From his own record shop, he ran his own label, Viking. Unlike other producers, he didn’t own his own studio. Luckily, he was J.D. Miller’s brother-in-law. So when he wanted to record an artist, he used J.D. Miller’s studios. That’s where he recorded the artist he enjoyed the most success with, Johnnie Allan. He was one of a whole host of artists Charles produced.
The other producer to feature on Boppin’ By The Bayou-More Dynamite is Carol Rachou and Charles. His studios were state-of-the-art. That’s why they were the choice of producers and artists looking for a studio. Packed with the latest equipment, this innovative room produced great sounding music. That’s because of the La Louisianne studio’s equipment, acoustics and design. That was where Carol Rachou made the music that features on Boppin’ By The Bayou-More Dynamite.
Boppin’ By The Bayou-More Dynamite features music from J.D. Miller, Eddie Shuler, Carol Rachou and Charles “Dago” Redlich. There’s twenty-eight tracks on Boppin’ By The Bayou-More Dynamite. This includes eighteen previously unreleased tracks. They’re part of what is an explosive and intoxicating compilation, Boppin’ By The Bayou-More Dynamite, which I’ll pick the highlights of.
Opening Boppin’ By The Bayou-More Dynamite is Peto Marlow and The Rhythm Kings’ Rock and Roll Beat, one of the eighteen previously unreleased tracks. Here Peto pays homage to the music that inspired his love of music, rock ‘n’. After being signed by J.D. Miller, he recorded and released a string of singles. This is a blistering slice of good time rock ‘n’ roll. It should’ve been released as a single. Sadly, it wasn’t. Instead, it’s an explosive way to open Boppin’ By The Bayou-More Dynamite.
Vince Anthony and The Blue Notes featured on Bluesin’ By The Bayou. They released Clarabel in 1960, on Charles “Dago” Redlich’s Viking label. Over fifty years later, Vince Anthony and The Blue Notes are still playing around Louisiana. If Clarabel is an example of their music, no wonder. A stomping, rocky track unfolds, and Vince vamps his way through the lyrics, Accompanying him are rasping, growling horns and pounding beat. The result is an irresistible track that brings back memories of what music used to sound like.
Bobby Charles is an artist who played an important part in the development of swamp pop. He was there at the birth of the genre, and is remembered as one of the inventors of swamp pop. So it’s only fitting that one of his tracks feature on Boppin’ By The Bayou-More Dynamite. Teenager has never been released before. Driven along by swinging, blazing horns and chiming guitars, Bobby’s vocal is a sassy, feisty vamp on what is, a swamp pop hidden gem.
Rocket Morgan, or to give him his real name Claylel Rod “Rocket” Morgan is another artist who featured on Bluesin’ By The Bayou. He makes a return on Boppin’ By The Bayou-More Dynamite not once, but twice. Gonna Walk Back Home (a.k.a. Walkin’ Home) and the medley of Sweet Love On My Mind/Let’s Play House are a tantalizing taste of one of rockabilly’s best kept secrets. Why best kept secrets? Well, Rocket found religion, and turned his back on music. That’s why these tracks a poignant reminder of Rocket Morgan, at his explosive best.
Originally, Merton Thibodeaux started off playing bass on J.D. Miller’s sessions. From bass, he eventually switched to piano, proving a regular at sessions at the Crowley studios. Merton was also a recording artist, but never had any of his music released. His early cuts were described as hillbilly. As for Big Basile, a track he recorded for J.D. Miller, it’s A fusion of country, folk and rock ‘n’ roll all rolled into one. The harmonies and growling saxophone are the finishing touch to Big Basile.
Rick Johnson recorded for various labels, before recorded Eeenie Meenie Minnie Mo for the J.D. Miller’s Flyright label. It’s rockabilly at its very best. Why this wasn’t released until 1983, seems strange? Surley J.D saw the potential in the track? Mind you, better late than never.
As Dayward Penny’s I’m Coming Home unfolds, he sounds not unlike Johnny Cash. His needy vocal is full of longing. Behind him, country guitars are ever-present, and later, boogie woogie piano create a backdrop for his vocal. When he sings “I’m coming home,” this sounds realistic. Maybe that’s because he’d just come home from the Korean War. So he knew about loneliness and longing. After that, Dayward tried all manner of businesses, but with varying degrees of success. The one thing that the remained the same, was his love of music.
Tommy Strange’s Nervous and Rockin’ All Over was released on Rocko Records in 1958. By then he was just twenty-two, but sounded like a musical veteran. Think Jerry Lee Lewis with a touch of Eddie Cochran thrown in for good measure and that describes Tommy Strange’s performance on Nervous and Rockin’ All Over, one of the highlights of Boppin’ By The Bayou-More Dynamite.
Al Ferrier enjoyed commercial success as a solo artist and as Al Ferrier and His Boppin’ Billies. Blues Stop Knockin’ was a track he recorded for Eddie Shuler’s Goldband Records. It was never released though. Thankfully, it’s one of the eighteen tracks Ian Saddler included on Boppin’ By The Bayou-More Dynamite. His vocal is Elvis-esque, dramatic an dripping emotion. This results in track where elements of rockabilly, rock ‘n’ roll and country play their part of this blistering, rocky version of Blues Stop Knockin.’ Sadly, Al Ferrier is yet another artist who neither enjoyed the commercial success nor critical acclaim his talented deserved.
Larry Hart’s Oh Nellie is my final choice from Boppin’ By The Bayou-More Dynamite. A Texan, Larry headed to Louisiana where he became Larry Hart. Having dawned this cloak, he joined forces with Eddie Shuler at Goldband Records. They proved a potent partnership, as the previously unreleased Oh Nellie demonstrates. With a vampish quivering vocal, some good time piano and pounding rhythm section, this is vintage rock ‘n’ roll.
Boppin’ By The Bayou-More Dynamite picks up where Louisiana,” Bluesin’ By The Bayou left off. This means more “low down, dirty and greasy blues from Louisiana.” There’s also rockabilly, country, rock ‘n’ roll, zydeco and swamp pop. Quite simply, Boppin’ By The Bayou-More Dynamite is an introduction to the music of Louisiana. An rich and eclectic selection of music, there’s ten tracks that have been released before, plus eighteen previously unreleased tracks. It’s compelling, enthralling, eclectic and mesmeric musical journey. That’s thanks to Ian Saddler’s crate-digging skills.
Ian’s dug deep into the vaults of four Louisiana producer’s vaults. These are J.D. Miller, Eddie Shuler, Carol Rachou and Charles “Dago” Redlich. Eventually, he’s settled on twenty-eight tracks. A mixture of familiar faces, rarities and hidden gems, it’s a journey back to another musical era, where the music of Louisiana comes to life. Eighteen tracks have never seen the light of day before. That’s a great shame. Music deserves to be heard, not lie unloved in a record company’s vaults. Instead, it should be where people can enjoy. That’s where compiler Ian Saddler and Ace Records come in. They’re responsible for Boppin’ By The Bayou-More Dynamite, a fitting followup to Bluesin’ By The Bayou.
Boppin’ By The Bayou-More Dynamite, just like its predecessor Bluesin’ By The Bayou are the perfect introduction to the music of Louisiana during the late-fifties and early sixties. They conjur up images of Louisiana, during another musical era. The music on Boppin’ By The Bayou-More Dynamite is also emotive and evocative. That describes the music on Boppin’ By The Bayou-More Dynamite perfectly. Just like Bluesin’ By The Bayou, Boppin’ By The Bayou-More Dynamite sounds like the music you’d hear in a Louisiana juke joint, late at night, with a bourbon in one hand and cigarette in the other. Ace Records supply the music on Boppin’ By The Bayou-More Dynamite, all you need to supply are the cigarettes and whiskey. Standout Tracks: Dayward Penny I’m Coming Home, Tommy Strange Nervous and Rockin’ All Over Al Ferrier Blues Stop Knockin,’ Larry Hart Oh Nellie.
BOPPIN’ BY THE BAYOU-MORE DYNAMITE.
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