AMERICANA 2.
AMERICANA 2.
Two years after the release of their first compilation of blue-eyed soul, Americana, Zaf Chowdry and Mark Taylor return with the followup, Americana 2. It will be released by BBE Music on 11th November 2013. Americana 2, which features sixteen tracks from the seventies and eighties, is described on the album cover as “more blue-eyed soul and A.O.R. sounds from the land of the free.” That may be the case. However, in some ways, Americana 2 differs to its predecessor.
The best way to describe the music on Americana 2 is contemporary. Yes it’s still blue-eyed soul, but with a more contemporary sound. As for the music on Americana 2, it’s much more eclectic. In some ways this is fitting. After all the term “Americana” covers a whole host of musical styles.
Definitions of Americana vary, but essentially, it’s contemporary music incorporating various American roots music. This could include everything from blues, bluegrass, country, folk, R&B, rockabilly or roots rock. Importantly, there’s a difference between the roots oriented sound and the genre its inspired by. Roots-rock is a good example of this. There’s quite a a difference between roots-rock and rock music. As you see, Americana is a broad musical church. Fittingly, Americana 2 is an all-encompassing compilation. That’s no surprise, given who the compilers are.
Zaf Chowdry and Mark Taylor are both well known crate-diggers. Both are familiar faces within the soul music scenes. Their lives are steeped in black music and they eat, live and breath music. Passionate record collectors, they’re extensive and eclectic record collections. They share a common interest, blue-eyed soul. That’s how they came to compile the first volume of Americana for BBE Music. Since then, they’ve headed back to their crates and dug deep.
What Zaf Chowdry and Mark Taylor have come up with is sixteen tracks from two decades, the seventies and eighties. For many people, these two decades are the golden age of blue eyed soul. Having spent time pouring through their respective record collections, they’ve settled on sixteen songs that last sixty-eight minutes. This includes contributions from Breakaway, Joseph Nicoletti, TR’s Hot Ice, Macky Feary Band, Hal Bradbury and Lucy Stone. They while these artists might not be household names, there’s more than a few hidden gems on Americana 2. It’s these hidden gems I’ll now tell you about.
Breakaway’s There’s A New Group In Town opens Americana 2. This is a track from their self-released 1977 album Breakaway. It’s something of a rarity and copies of Breakaway change hands for upwards of $100. No wonder. This is track that’s very much in the Chic mold. With an uber funky arrangement, wah-wah guitars, washes of synths and a pulsating beat accompany a female vocal that’s soulful, dramatic and diva-esque. What a way to open Americana 2.
E.J. Stone released I Know All About It on Rtyone Productions. Written by Paul Jokela and Peter Alexander Ruone Jr, it’s a truly irresistible track that was released in 1981. It’s three minutes of laid-back, heartfelt, soulful music. An outpouring of hurt and sadness, E.J. Stone should’ve enjoyed a successful career.
Back in 1980, Archie James Cavanaugh released what was the only album of his career, Black and White Raven. He released the album himself. It was a limited edition, meaning copies are hard to come by. If you come across a copy of Black and White Raven, Make Me Believe opens the album. A genre-melting track, there’s everything from soul, funk, Latin and jazz music in this joyous, upbeat and hook-laden track.
The Spats’ (Your Lovin’ Is) Everywhere is one of these tracks you could date to within a year. It’s musical D.N.A. says 1978. It’s a track from The Spats’ eponymous album, released in 1978 on Good Sounds. A fusion of soulful, funky and dance-floor friendly music, hooks are certainly not in short supply. Key to the song’s success is a sultry, vampish vocal, cooing harmonies and genre-melting arrangement. The result is another example of blue eyed soul at its best.
TR’s Hot Ice only ever released one single, Fatty Bum Bum. Described as tough, modern and dance-floor friendly, it changes hands for $100. Tucked away on the B-Side is Hot Ice. It’s one of these tracks that could fall into several categories. Is it punk-funk or post-disco? It’s funky, with a hard edge, but is also sassy, and sultry. Like its flip side, it’s also dance-floor friendly.
Macky Feary Band’s A Million Stars glides into being. It’s a musical gem that from it’s opening bars, sparkles. Written by Charles Souza, it’s a track from the band’s debut album Macky Feary Band. Recorded at the Sounds Of Hawaii studio, where Bryant Feary Jr, produced this track. A glorious amalgam of soul, funk, jazz and A.O.R, it features one of the best vocals on Americana 2.
RCR or Rhodes, Chalmers and Rhodes, started life as backing vocalists at Hi Records. At Hi, they sung on albums by Al Green, Ann Peebles and O.V. Wright. Fast forward seven years, and they’d reinvented themselves into a disco trio. Give It To You, one of two singles released from their 1980 album Scandal, released on Radio Records, is one of the highlights of Americana 2. Sassy, breathy and sensual, it’s just a shame this track hadn’t been released a few years earlier, when disco was at its peak. if it had, Give It To You might have been a stonewall disco classic, rather than a lost hidden gem.
The Freudian Funk Band released the Chic-inspired I’m Ambivalent About You Baby (Yes, Yes, Yes… No, No, No) in 1977. Just like Chic, the Freudian Funk Band stick to a similar formula. Cascading strings, female vocalists, clever chord changes and an arrangement where funk and soul combines. Where things differ, is there’s a tougher edge. That’s partly down to the keyboards and the ab-libbed, feisty vocal. All this results in a truly timeless track where disco and proto-boogie combine with soul and funk seamlessly.
Lucy Stone is another artist who only released one single. That was If Somebody Needs Somebody, another rarity. It was released in 1980, on Fire Mountain. On the B-Side side is Giving You Love Instead Of Gold, penned by Troy Raglin. It features Lucy’s needy, heartfelt and soulful vocal. Enveloping her vocal is an arrangement that draws inspiration from soul, funk, jazz and even rock. What makes the song is Lucy’s vocal, as it breathes life and meaning into Troy’s thoughtful lyrics.
Closing Americana 2, is Jaye P. Morgan’s Here Is Where Love Belongs. It’s from her 1976 eponymous album on Candor Records. Twenty years earlier she’d released her eponymous debut album. Released on RCA Victor, it too was entitled Jaye P. Morgan. During that twenty year period between the two volumes of Jaye P. Morgan, music had changed. What hadn’t changed was Jaye’s vocal. Sultry and seductive, she delivers her vocal against a jazz-tinged arrangement. This results not just one of the highlights of Americana 2, but a fitting way to close what is one of the best compilations of 2013.
That’s no exaggeration. Americana 2 is bound to feature on the lists of best compilations of 2013. No wonder. It’s crammed full of quality, contemporary music. This includes private pressings, rarities and forgotten hidden gems. An exquisite and eclectic selection of music, choosing just my “top ten” tracks wasn’t easy. That shows how high the quality is. There’s no filler on Americana 2. Zaf Chowdry and Mark Taylor see to that. They’ve dug deep into their respective record collections, digging deeper than they’ve dug before. What they’ve come up with, is some of the rarest records they own. In sharing them with you, they save you a small fortune.
That’s what it would cost to buy the sixteen tracks on Americana 2. Indeed, that’s if you could find them. Many of these tracks were pressed privately or were on albums that were released in small numbers. Tracking them down could take a lifetime and prove a frustrating search. To save you the trouble, frustration and running up a huge overdraft, Zaf Chowdry and Mark Taylor bring them together on Americana 2, which will be released on 11th November 2013.
Americana 2 is their latest compilation of contemporary blue-eyed soul. It’s something of a rarity. After all, how many followups are better than the original compilation? Having listened to Americana and Americana 2, I’d say Americana 2 surpasses its predecessor. That’s of course is all a matter of personal taste. To allow you to makeup your mind, I’d suggest you buy both volumes of blue-eyed soul, Americana and Americana 2, then make your mind up. Standout Tracks: Breakaway There’s A New Group In Town, The Spats (Your Lovin’ Is) Everywhere, RCR Scandal and Jaye P. Morgan Here Is Where Love Belongs.
AMERICANA 2.
ERA RECORDS NORTHERN SOUL.
ERA RECORDS NORTHERN SOUL.
Back in 1955, two cousins decided to decided to form a record label in their hometown, Los Angeles. They called this new label Era Records. The two cousins were Lew Bedell and Herb Newman. Lew Bedell was a comedian, whose career seemed to have come to a halt. So he was looking for a new career. Herb Newman was a music industry veteran. He’d started out as a West Coast sales rep for Mercury and later Decca. Now he’d learned the ropes, he wanted to form his own company. With his cousin looking for a new career, this seemed like the perfect opportunity. After all, Herb and Lew had been brought up together, after Lew’s parents split up and were like brothers. With the financial support of Herb’s father Max Newman, they founded Era Records in 1955.
Having started their own label, Herb and Lew concentrated on releasing music that was popular locally. Los Angeles’ music scene was much more conservative than New York, Washington or Philly. So, originally, they planned to released just pop, country, rockabilly and jazz. With black music not as popular in Los Angeles, they only occasionally released soul or R&B. Their first soul single Era Records released was in 1957. It was as if they were just testing the water. Seven years later, in 1962, Era Records took the plunge and became a soul label.
By then, Era Records had already released over 150 records. Following the decision to change direction musically, Era Records released a whole host of singles that have become popular on the Northern Soul scene. A tantalising taste of them can be found on Ace Records’ Kent Soul imprint’s recent release Era Records Northern Soul. Featuring twenty-four tracks, where there’s ballads, floaters and stompers aplenty, Era Records Northern Soul is essential listening for fans of Northern Soul. I’ll tell you why, after I’ve told you the story of Era Records.
From the get-go, the Lew and Herb had the Midas touch. Era Records’ first hit single was Cogi Grant’s Suddenly There’s A Valley, released in 1955. Cogi proved to be their lucky charm. In 1956, Era Records released Cogi Grant’s classic The Wayward Wind. Written by Herb Newman, it reached number one. For the next couple of years, Era Records continued to enjoy a modicum of commercial success. One of these was Art and Dotty’s Chanson D’Amour, which reached number eight in early 1958. Later that year, Lew and Herb founded another label, Dore.
Dore was founded as an outlet for more adult oriented music. Ironically, what should’ve been Dore’s first released wasn’t exactly adult oriented. What could’ve been their new label’s release resulted in a parting of the ways for the two cousins. A young producer called Phil Spector arrived with a demo of To Know Him Is To Love Him. Herb, musically trained, felt the song lacked something. He suggested adding swathes of lush strings. Phil Spector and Herb had different ideas when it can to production. This disagreement proved costly, when Phil took the song to another label. This resulted in an argument between the cousins. They agreed to part ways in May 1959. Lew took Dore and Herb Era. What could’ve been a successful partnership was no more. Herb Newman had a point to prove.
Now in full control of the label, Herb Newman set about turning Era Records into one of the most successful independent labels in Los Angeles. Herb Newman, now a music industry veteran, he lived and breathed music. He was determined Era Records would become a successful label. Sticking to his policy of only releasing music that he thought would prove popular, now that soul music was growing in popularity, Herb embraced it. Era Records enjoyed success with The Rockets, who also doubled as the label’s backing vocalists. Along with The Castells, Ronnie Height and Ketty Lester soul music proved lucrative for Era Records. So much so, that from 1962 onwards, Era Records became a soul label.
While 1962 marks the year Era Records jumped on the soul bandwagon, it also is the start of the period covered on Era Records Northern Soul. There are twenty-four tracks on Era Records Northern Soul. Seventeen cover the period between 1962 and 1968, while seven are unreleased. The tracks Era Records Northern Soul, which I’ll pick the highlights of, are just a taste of the music in Era Records back catalogue.
Opening Era Records Northern Soul is Billy Watkins The Ice-Man. This sassy, stomper was released in 1967. Penned by Billy and Herb, it was produced by H.B. Barnum. The version of The Ice-Man on Era Records Northern Soul is an unreleased remix with extra backing vocals. It surpasses the original and then some. It’s not just the backing vocals, but the dancing strings, rasping horns and a showboatig vocal from Billy. Billy’s other contribution to Era Northern Soul is a previously unreleased version of Dance With Me, which is mixed by Rob Keyloch. Just Like The Ice-Man, it’s another stomper, with a vampish vocal from Billy.
Othello Robertson’s So In Luv has Northern Soul written all over. If anyone asks you what Northern Soul sounds like, play them this track. Released in 1967, it was written by Dell Randle who produced the track and arranged it with Eddie Foster. As for Othello Robertson’s vocal, it’s an outpouring of power, passion and emotion. She pushes her vocal to its limits, as if determined to breath life and meaning into the lyrics. Accompanied by an arrangement that epitomizes Northern Soul, describing this as an impassioned ballad is an understatement.
Jimmy Lewis released his debut single Goodbye Sorrow in 1962. Twelve years later, in 1974, Jimmy released Totally Involved, the only album he ever released. In between, he released a series of singles. One of these was 1966s One Love. Its B-Side was What Can I Do Now, written by Jimmy and arranged by Jimmy Carmichael. A needy, heartfelt ballad, Jimmy’s vocal is tinged with hurt and regret. Add to that a pulsating heartbeat and cooing harmonies, the result is a reason why Jimmy Lewis is one of soul music’s hidden secrets.
From the opening bars of Melvin Boyd’s Exit Loneliness, Enter Love you realize he’s lived the lyrics. He’s been there, experienced the pain and hurt and then found love. Written Barry Stuart and arranged by Miles Grayson, this single was released in 1966. With a vocal that’s a mixture of power, emotion and joy, you’re hooked. What follows is something of a stomper. Melvin’s vocal is a joyous vamp, blazing horns, cooing harmonies and a pounding beat playing their part in a track that makes you want to dance for joy.
Carol Connors’ I Wanna Know was released in 1962, she was following in the footsteps of Kitty Lester. They were the first female vocalist to sign to Era Records. As Carol demands answers, she almost spits out the lyrics, distrust and betrayal ever-present. This is proof, if any was needed, of the danger of a woman scorned.
Tommy Mosley’s Echoes In The Night is one of the previously unreleased tracks on Era Northern Soul. It’s mixed by Rob Keyloch for the compilation. A fusion of soul and easy listening, Tommy’s vocal is compelling. Heartfelt, you focus on his every word. Adding to what is a hidden gem, are swathes of the lushest string and soaring harmonies.
As The Turn Arounds’ Run Away And Hide unfolds, briefly, it sounds like a mini soap opera. What follows, is a fusion of doo wop, R&B, soul and jazz. The interplay between the lead vocal and harmonies is at the heart of the track’s success. Strangely, given the track’s quality, it wasn’t the single. No. It was just the B-Side to the Thomas Turner penned Ain’t Nothin’ Shakin,’ released in 1964. Having heard that song, I much prefer the B-Side. This reinforces what I always say, remember and check out B-Sides.
Steve Flanagan released I Need To Be Loved So Bad in 1967. I’d described its as two-and-a-half minutes of hurt, heartache and loneliness. It’s perfect song for the newly heartbroken. Quite simply, this is the best ballad on Era Northern Soul by far.
When Brenda Holloway and The Carrolls sang I Ain’t Gonna Take You Back, everyone must have believed her. She delivers the lyrics as if she means every word. Anger and frustration fill her vocal, while The Carolls add punchy harmonies. Released in 1963, on Era Records’ Catch imprint, Brenda doesn’t hold back. She reads her man the riot act, giving him his character and makes one thing clear: “I Ain’t Gonna Take You Back.”
Closing Era Records Northern Soul is Othello Robertson’s Come On Home. Released in 1967, as the B-Side to So In Luv, it’s a poignant ballad. It’s a love letter to her “soldier boy” asking” “when are you coming home.” A heartfelt, soulful ballad, it’s a track that can’t help but tug at your heartstrings.
Nowadays, Northern Soul compilations are two a penny. As a result, the quality varies greatly. That’s why I often describe Northern Soul compilations as the good, bad and ugly. Era Records Northern Soul falls into the first category. Good doesn’t come close to describing the quality of music on Era Records Northern Soul. It’s one of the best of 2013. I’m not surprised though. After all, Era Records Northern Soul is compiled by Ady Croasdell, a man steeped in Northern Soul.
Ady Croasdell is a man whose life has revolved around Northern Soul. He’s a forty-year veteran of Northern Soul. Since then, he’s been immersed in Northern Soul and has compiled more compilations that most people will have in their collection. He’s a man who knows his floaters from his stompers. His taste is impeccable as he takes the listener on a tour through Era Records’ back-catalogue. We hear some familiar tracks, hidden gems and unreleased tracks. Among the unreleased tracks are alternate versions and mixes by Rob Keyloch. Two of the best unreleased tracks come from Othello Robertson and Billy Watkins. They’re just two reasons to buy Kent Soul’s recently released Era Records Northern Soul.
Whether you’re a veteran of Northern Soul compilations or newcomer to the genre, you can’t afford to be without Era Records Northern Soul. From Billy Watkins’ The Ice-Man, which opens Era Records Northern Soul, right through to Othello Robertson’s Come On Home, it’s quality all the way. Not once will your hand go near the remote control. It’s more likely you’ll be dancing around your living room, trying to recreate the Wigan Casino in its heyday. That’s how good Era Records Northern Soul is. Standout Tracks: Billy Watkins The Ice-Man, Othello Robertson So In Luv, Melvin Boyd’s Exit Loneliness, Enter Love and Steve Flanagan I Need To Be Loved So Bad.
ERA RECORDS NORTHERN SOUL.
LONG-LOST HONKERS AND TWANGERS.
LONG-LOST HONKERS AND TWANGERS.
For their latest compilation, Long-Lost Honkers and Twangers, Ace Records return to the golden age of the instrumental. Featuring twenty-six tracks, Long-Lost Honkers and Twangers is a return to an era when instrumentals were King. This “golden age” began around 1956 and exploded when Duane Eddy released his debut single Movin’ and Groovin’ in March 1958. After that, instrumentals were commonplace on the British and American charts.
Whether it was honking saxophones or twangy, jangling guitars, instrumentals were big sellers. Every musical genre, whether it be jazz, R&B, pop, surf or rock, have numerous instrumental classics. The Ramsey Lewis Trio, Booker T. and The MGs, The Shadows, Don Costa and Spencer Ross all enjoyed huge hits. So did Johnny and The Hurricanes, The Ventures, The Titans, The Fireballs and Billy Joe and The Checkmates, which feature on Long-Lost Honkers and Twangers.
Thirteen of the tracks on Long-Lost Honkers and Twangers have been released before. They were released between 1960 and 1996. They’re a reminder of another musical era and will bring back many musical memories. This includes familiar faces, rarities and hidden gems. The other thirteen tracks have never been released before. As is often the case, there’s some real hidden gems tucked amongst the unreleased tracks on Long-Lost Honkers and Twangers. These delights are testament to Dave Burke and Alan Taylor of Pipeline Magazine’s crate digging skills. They’ve dug deeper than they’ve ever dug before. Fans of instrumentals should be grateful for this. Long-Lost Honkers and Twangers is one of the best compilations of instrumentals you’ll come across. I’ll now tell you why, whilst picking my highlights of Long-Lost Honkers and Twangers.
From the opening bars of The Ventures’ Walk Don’t Run, which opens Long-Lost Honkers and Twangers, you’re transported back to the early sixties. Immediately, you think of surf music, but The Ventures never considered themselves a surf band. Instead, they saw themselves as a rock band. The version of Walk Don’t Run on the compilation is the demo version, that’s never been released before. It would later be the title-track to their debut album, released in December 1960. Reaching number eleven in the US Billboard 200, the album was certified gold. After that, The Ventures sold over 100 million albums. Best described as innovative, given their use of effects, they spawned a thousand imitators. Of all the singles The Ventures released, Walk Don’t Run is their best known track. There’s another four unreleased tracks from The Ventures on Long-Lost Honkers and Twangers. Murfreesboro, Sabrosa, The Spur (La Espuela) and Run Don’t Walk are further proof that The Ventures always, released groundbreaking music that pushed musical boundaries.
Johnny and The Hurricanes released their debut single Crossfire, in 1959. This was the start of a run of eight hit singles. Then disaster struck, when most of the band left. The last man standing was Johnny Paris. While The Hurricanes became The Fascinators, Johnny Paris put together a new band. They feature on The Psychedelic Worm, which features Red River Rock ’67 on the B-side. Written by Johnny and released on Johnny’s Atila label in 1967, Psychedelic Worm is an explosive and blistering track. Best described as a honker and twanger, it shows that Johnny and The Hurricanes were far from a spent force. As for Red River Rock ’67, it sounds like a track that inspired The Who.
That The Titans are one of these bands that didn’t enjoy the success their talent deserved. They only released a trio of singles and one album, 1961s Today’s Teen Beat. Thankfully, that wasn’t all the music they recorded. The compilers of Long-Lost Honkers and Twangers, discovered two unreleased tracks Skokiaan and Crying In The Rain. Skokiaan is the best of the two. With its jangling and later choppy guitars, this track falls into the category of hidden gem. Crying In The Rain, it brings a new twist to an oft-covered classic.
The Reveliers are another band with three tracks on Long-Lost Honkers and Twangers. Two of them, White Water and Flat Tyre have never been released before. Raw and full of energy described The Reveliers’ White Water. They sound as if they’ve been influenced by Dick Dale, Link Ray, The Ventures and The Shadows. Then there’s Flat Tyre. Ironically, it’s best described as an explosive, driving track. It’s like Patch, another guitar driven track. This was the B-Side to their 1963 single Hanging Five, which was released on G-Clef Records. Given the quality of Patch, I wonder how good Hanging Five was?
Straight away, you notice that The Fireballs’ La Pobracita has a really contemporary sound. It’s much more understated than many tracks on Long-Lost Honkers and Twangers. Just like the wistful Ain’t That Rain, La Pobracita has never been released before. Both are true hidden gems. However, vocal versions were released by Jimmy Glimer and The Fireballs in 1966. Having heard both version, the instrumental versions are the best version. So it’s no surprise that The Fireballs enjoyed a long and successful career. Their career started back in the fifties, when they were signed to Top Rank International. After releasing their debut single in 1959, they released their debut album Vaquero 1960. For the next few years, The Fireballs enjoyed commercial success and were never far from a recording studio, sating the demand for their music.
Despite releasing a handful of singles and four albums between 1958 and 1962, The Champs’ South Of The Border wasn’t released until 1996, when it featured on a compilation. It’s well worth revisiting a track that’s jazz-tinged and dance-floor friendly. Even better, it features some scorching saxophone playing.
Some songs paint pictures. That’s certainly true of The Exports’ Car Hop. Instantly, your back to the days when hot rods and surfing were de rigueur. Released in 1963 on King Records, the best way to describe Car Hop is evocative and cinematic.
Driven along by a bluesy harmonica and Gerry McGhee’s guitar, Billy Joe and The Checkmates’ Nashville West (One More Time) explodes into life. What follows is two minutes of musical magic. So it should be. Billy Joe and The Checkmates comprised some of the best session players of that era. They never miss a beat on Nashville West (One More Time), or The Drifter, another track on Long-Lost Honkers and Twangers. Both were released in 1963 and were among nineteen singles this crack band of session musicians released.
My final choice from Long-Lost Honkers and Twangers, is The Swanks’ Ghosyt Train. It’s a previously unreleased track. Bursting into life, you’re almost caught unaware. You head on a hair-raising and dramatic journey. For company, you’ve jangling, twanging guitars. They provide an atmospheric backdrop to this magical mystery tour.
Long-Lost Honkers and Twangers is long and quality and short on filler. In fact, I’d go as far as say that there’s no filler on Long-Lost Honkers and Twangers. Quite the opposite, Long-Lost Honkers and Twangers is all killer and no filler. Featuring familiar tracks, some rarities and a plethora of hidden gems, Long-Lost Honkers and Twangers is a compilation that’ll appeal to many music lovers.
Among them, are anyone whose a fan of instrumental music. Then there’s fans of R&B, rock ‘n’ roll and surf music. Some of the guitar tracks fall squarely into the category of surf music, where many musical secrets await discovery. The same can be said of Long-Lost Honkers and Twangers.
Just like any other compilation, Long-Lost Honkers and Twangers is a voyage of discovery. You’re bound to discover music you’ve never heard before and head out in pursuit of albums by The Ventures, Johnny and The Hurricanes, The Fireballs and The Champs. Compilations are a great way to discover new music. They lead to more musical discoveries. It’s all part of a long and enjoyable musical journey.
As for the musical journey that is Long-Lost Honkers and Twangers we make detours via R&B, jazz, rock ‘n’ roll and surf music. During that journey, we hear thirteen tracks that have been released before and thirteen unreleased tracks. Among these honkers and twangers, there’s many a hidden gem. They sit side-by-side with rarities, familiar faces and old favourites on Long-Lost Honkers and Twangers. It’s one of the best compilations of instrumentals you’ll come across. Long-Lost Honkers and Twangers, which was recently released by Ace Records, is a compilation that’s sure to bring back memories of the golden age of instrumentals. Standout Tracks: The Ventures Walk Don’t Run, The Fireballs La Pobracita, The Titans Skokiaan and Billy Joe and The Checkmates’ Nashville West (One More Time).
LONG-LOST HONKERS AND TWANGERS.
THE SPINNERS-COULD IT BE I’M FALLING IN LOVE.
THE SPINNERS-COULD IT BE I’M FALLING IN LOVE.
Forty years ago, on the 9th November 1973, Could It Be I’m Falling In Love, the third single from The Spinners’ third album Spinners, reached number one in the US R&B Charts and number four in the US Billboard 200. It sold over one million copies and was certified gold. Since then, Could It Be I’m Falling In Love, a Philly Soul classic, which was written by Melvin and Mervin Steals under the pseudonym Mystro and Lyric has been played over four million times on American radio. That’s no surprise. It’s A true timeless classic. Could It Be I’m Falling In Love which sounds as good as the day it was released, is celebrating its fortieth birthday in style. Before I tell you about that, I’ll tell you about the song.
The Spinners had been around since the fifties, and by the time they signed to Atlantic Records in 1972, success had eluded Detroit-based band. Their debut album was 1967s The Original Spinners, which failed to chart. 2nd Time Around, their 1969 sophomore album, released on Motown reached just number 199 in the US Billboard 200 and forty-six in the US R&B Charts. Three years later, The Spinners luck changed, when they signed to Atlantic Records where their career was transformed by Thom Bell.
Thom Bell was already successful producer and songwriter. He’d already enjoyed commercial success with The Delfonics and The Stylistics before hooking up with The Spinners. Along with Gamble and Huff, founders of Philadelphia International Records, Thom Bell is now perceived as one of the architects of Philly Soul. For the first half of the seventies, he enjoyed the hottest period of his career. Everything he touched turned silver, gold or platinum. This made him the perfect producer to revive The Spinners’ ailing career.
Once The Spinners signed for their new label Atlantic, and started working with Thom Bell, five consecutive gold albums followed, with the group having three consecutive US R&B number one albums. This was a remarkable turnaround in fortune for Billy Henderson, Bobby Smith, Philippe Wynne, Henry Fambrough and Pervis Jackson, who were The Spinners. This run of commercial success and critical acclaim began with their third album Spinners.
Having signed to Atlantic in 1972, and hooking up with Thom Bell, work began on The Spinners’ first album for Atlantic. It featured ten tracks, from some of Philly’s best songwriters. One of these was a track mysteriously credited to Mystro and Lyric, an alias of Melvin and Mervin Steals. This track, Could It Be I’m Falling In Love, and the other nine tracks were recorded at Joe Tarsia’s Sigma Sound Studios in Philly.
For the recording of Spinners, producer Thom Bell brought onboard some of Philly’s best musicians. Known collectively as M.F.S.B, they’re remembered as Philadelphia International Records’ house band, including bassist Ron Baker, guitarist Norman Harris and drummer Earl Young of the Baker, Harris, Young rhythm section. They were joined by guitarist Bobby “Electronic” Eli, vibes virtuoso Vince Montana Jr, flautist Jack Faith and violinist Don Renaldo. Larry Washington on congas and bongos completed this cast of musical titans. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton. All these Philly Soul legends played their part in the success of Could It Be I’m Falling In Love, which was written by two twin brothers Melvin and Mervin Steals.
Twins Melvin and Mervin Steals were born in Aliquippa, a city in Beaver County, Pennsylvania. From an early age, music was in Melvin and Merlin Steals’ blood. They attended the local high school, and when they graduated, headed to Cheyney State College. Situated on the outskirts of the City of Brotherly Love, Cheyney was also home to another Philly Soul legend, their musical education continued.
A fellow student at Cheyney was Eddie Holman, who was already an aspiring singer. Eddie was one of many future stars of Philly Soul who attended the college. These meetings would prove beneficial to their careers after college.
In 1967 Melvin and Mervin were members of The Four Perfections. The other two members were Barry Lessene and Raymond “Chip” Porter. Their debut single was I’m Not Strong Enough, penned by Melvin and Mervin with Joe Thomas. Recorded at Cameo Parkway’s studios, Joe Tarsia, future owner of Sigma Sound Studios, was engineer at the recording session. I’m Not Strong Enough is a relationship song, which tells the story of Melvin’s problematic relationship. He sings the lead vocal on I’m Not Strong Enough, his vocal a cathartic outpouring of emotion, confusion and sadness. Surely, such emotion had to be a success?
On the release of I’m Not Strong Enough, commercial success eluded it. Despite that, it’s become a popular song on the UK’s Northern Soul circuit. Having enjoyed a fleeting taste of life as a recording artist, the Steals’ brothers decided they’d make a living as songwriters.
After the release of I’m Not Strong Enough, Melvin and Mervin Steals tried to forge a career as songwriters. This wasn’t easy, especially in Philly. The only breakthrough the Steals’ brothers enjoyed was having their song Go For What You Know chosen to be the B-Side of Archie Bell and The Drells’ There’s Gonna Be A Showdown. Arranged by Thom Bell, Go For What You Know was produced by Gamble and Huff. On the release of There’s Gonna Be A Showdown, it gave Archie Bell and The Drells the biggest hit of their career. As for the Steals brothers, they’d enjoy commercial success that would surpass There’s Gonna Be A Showdown and then some. Before that, they’d to serve their musical apprenticeship.
Over the next few years, Melvin and Mervin put together a portfolio of songs. They persisted and continued to hone their sound. When their songs turned down, they strived to improve their sound. Each time, they came back stronger and even more determined. Soon, they had a strong portfolio of songs. Two of these would go on to be million sellers. Despite the undoubted quality of their songs, Gamble and Huff failed to spot the potential. The other member of the “Mighty Three,” Thom Bell did.
For The Spinners Atlantic Records debut, Spinners, Thom Bell spotted the potential in Could It Be I’m Falling In Love. It was one of ten tracks recorded at Joe Tarsia’s Sigma Sound Studio. With M.F.S.B. and The Sweethearts Of Sigma accompanying The Spinners, they hit a problem. Originally, Could It Be I’m Falling In Love was meant to be a much more uptempo track, to make it work, Thom slowed the song down. This proved a masterstroke.
Spinners marked a change in fortune for The Spinners and the Steals’ brother. On its released in April 1973, Spinners reached number fourteen in the US Billboard 200 and number one in the US R&B Charts in 1973. Certified gold, Spinners was was The Spinners most successful album. Things got even better. I’ll Be Around, the sophomore single from Spinners, reached number three in the US Billboard 100 and number one in the US R&B Charts. It too sold over a million copies and was certified gold. Then when Could It Be I’m Falling In Love was released as a single, it reached number four in the US Billboard 100 and number one in the US R&B Charts. This meant another gold disc for The Spinners and a Grammy nomination. For Melvin and Mervin Steals this was the biggest hit of their career. After this, their careers took off.
A year later, Honey Bee, from Gloria Gaynor’s 1974 album Never Can Say Goodbye gave Melvin and Mervin Steals the second million-selling single of their career. After that, the Steals brothers as Maestro and Lyric cowrote Trusting Heart for The Trammps, Arthur Prysock’s All I Need Is You Tonight, Ecstasy, Passion and Pain’s Dance The Night Away, plus Major Harris’ Two Wrongs and After Loving You. They also penned tracks for First Choice, Eddie Kendricks, Stacy Lattislaw, Gloria Gaynor and The Impressions. However, the best known track that Melvin and Mervin Steals cowrote is Could It Be I’m Falling In Love.
Forty years after its release, Could It Be I’m Falling In Love, a true timeless Philly Soul classic celebrates its fortieth birthday on 9th November 2013. To celebrate this milestone, Melvin and Mervin Steals have organized the first Steals Brothers Classics 2013 Awards Gala. This fund raising gala is in aid of Urban Impact and the Greater Pittsburgh Community Food Bank. Helping raise money for what are two worthy causes are special guests Eddie Holman, Johnny and The Halos and fittingly, Earl Young.
After all, Earl was one of the members of M.F.S.B. who played on Could It Be I’m Falling In Love. At least Earl Young and the rest of M.F.S.B. will receive the credit they’re due. That hasn’t always happened, despite a recent and supposed “unifier.” In the past, M.F.S.B. and The Sweethearts Of Sigma have been treated as hired help. Not tonight.
Melvin and Mervin Steals will honor everyone who played their part in what was their finest musical moment. This means M.F.S.B, The Sweethearts Of Sigma, Thom Bell and of course, The Spinners. Each and every one of them played their part in Could It Be I’m Falling In Love, The Spinners’ timeless Philly Soul classic, which today, celebrates its fortieth birthday.
THE SPINNERS-COULD IT BE I’M FALLING IN LOVE.
DUES PAID-THE BLUESTIME STORY.
DUES PAID-THE BLUESTIME STORY.
After eight years running Impulse, one of jazz’s premier labels, Bob Thiele found himself at loggerheads with Larry Newton, the head of ABC Records. It looked as if Bob’s time at ABC was coming to an end. Given what he’d done for ABC, he was going to be sorely missed. Not only had he been responsible for producing seminal albums like John Coltrane’s A Love, but was responsible for reviving blues legend B.B. King’s career.
This came about when ABC launched a new blues imprint Bluesway. The nascent label’s debut album was B.B. King’s Blues Is King, which was produced by Bob Thiele. Blues Is King was the first of four consecutive B.B. King albums to reach the US R&B top twenty. When ABC what saw their was still an audience for blues music, they signed artists like Jimmy Reed, T-Bone Walker and John Lee Hooker. Bob Thiele, a huge blues fan, was really supportive of the project.
Not only was Bob signing many of the artists, but he produced most of them. Eddie “Cleanhead” Vinson, Otis Spann and George “Harmonica” Smith all had albums produced by Bob. He was dividing his time between Bluesway and Impulse, helping rejuvenate the career of blues veterans and at Impulse, producing groundbreaking music. However, behind the scenes, there was about to be a parting of the way between Bob Thiele and ABC Records.
On 29th April 1969, it was announced that Bob Thiele was leaving ABC Records. He was about to found not just one, but three labels. Flying Dutchman would release some of the most ambitious and inventive jazz, psychedelia, rock and electronic music. Amsterdam, Bob’s second label was responsible for releasing adult oriented pop. The final label was BluesTime, a blues label, which would rival ABC Records’ Bluesway. BluesTime would sign some of the giants of electric blues, including Eddie “Cleanhead” Vinson, Otis Spann, T-Bone Walker, Big Joe Turner. These artists are among the ten artists that feature on Ace Records recently released compilation Dues Paid-The BluesTime Story. It features fifteen tracks from BluesTime’s back-catalogue. Before I tell you about the music on Dues Paid-The BluesTime Story, I’ll tell you about Bob Thiele’s career in music.
Bob Thiele was born in Sheepshead Bay, Brooklyn in 1922, and from an early age, immersed himself in music. Aged fourteen, Bob got his first job in music, hosting a jazz radio show. At the same time, Bob an accomplished clarinet player, was a member of a jazz band. Then when he left school, aged seventeen, Bob Thiele founded his own label Signature Records.
After founding Signature Records in 1939, Bob signed musicians who’d become legends of jazz. This included Donald Byrd, Lester Young and Errol Gardner. One of the biggest signing came in 1943, when Signature signed Coleman Hawkins. Five years later, in 1948, Signature became insolvent. Bob wasn’t out of music long though. He was soon working with Decca Records.
Having started work for Decca Records, Bob Thiele found himself running its imprint Coral Records. It was at Decca, Bob met his future wife, Teresa Brewer, a singer who he was producing. Having established his reputation at Decca, where he spent most of the fifties, in 1961, an opportunity arose to become head of A&R at one of jazz’s most influential labels, Impulse Records.
Creed Taylor, left Impulse to run Verve Records. This left a massive void needing filled. Bob Thiele was the man to do this. He’d established a reputation as a talented and forward-thinking producer. This was perfect for Impulse. Over the next eight years, their roster included John Coltrane, Charles Mingus, Archie Shepp, Albert Ayler, Max Roach, Chico Hamilton, Dizzy Gillespie, Sonny Rollins and Louis Armstrong.
Bob started work at Impulse 1961 and spent eight years there. During that time, Bob Thiele enjoyed the busiest period of his career. Bob, he was hardly away from the studio, producing over 150 albums in eight years. This included John Coltrane’s seminal album A Love Supreme. Ironically, Bob’s most successful production was Louis Armstrong’s What A Wonderful World. Not all of Bob Thiele’s production’s were as successful. Innovative music didn’t always equate to commercially successful music.
Through working with some of the most innovative and creative musicians in the history of jazz, Bob must have realized that often, large record companies aren’t the best environment for innovative and creative musicians. Often, these musical mavericks didn’t thrive within such an orthodox environment. Their creativity is restricted, meaning they’re unable to experiment and innovate like they’d like.
Soon, Bob Thiele, would be able to create an environment where this would be possible. By 1969, Bob had been at Impulse for eight years. He’d been responsible for producing some of the most important jazz music of the sixties. At the same time, Bob was rejuvenating the career of some of the giants of blues music.
ABC Records founded Bluesway in 1967. Their first release was B.B. King’s Blues Is King. Produced by Bob Thiele, Blues Is King was the first of four consecutive B.B. King albums to reach the US R&B top twenty. When ABC what saw their was still an audience for blues music, they signed artists like Jimmy Reed, T-Bone Walker, John Lee Hooker, Eddie “Cleanhead” Vinson and Otis Spann. Over the next two years, all these artists had albums produced by Bob Thiele. By 1969, despite Bob’s success at Impulse and BluesTime, Bob’s relationship with ABC Records was at breaking point. Something had to give.
Proving there’s no sentiment in music, Bob Thiele was the victim of a musical coup d’tat. Bob Thiele was ousted from his role at Impulse. This proved to the start of the next chapter in his career.
Leaving Impulse in 1969, Bob founded three new labels, Flying Dutchman Productions, Amsterdam and BluesTime. Flying Dutchman would release some of the most ambitious and inventive jazz, psychedelia, rock and electronic music. Amsterdam, Bob’s second label would go on to release adult oriented pop. The final label was BluesTime, a blues label, which would rival ABC Records’ Bluesway.
For the newly founded BluesTime, Bob continued to sign true blues legends. Eddie “Cleanhead” Vinson, Otis Spann, T-Bone Walker, Big Joe Turner, Big Mama Thornton and Harmonica Slim. Bob then found material that would allow these blues greats to shine. After that, he took them into the studio, where they were accompanied by some of the top session musicians. For BluesTime’s first release Bob didn’t turn to a blues legend. No. Instead, he turned to The Plaster Caster Blues Band, who are one of ten artists to feature on Ace Records’ Dues Paid-The BluesTime Story, which I’ll tell you about.
Rather than release an album by a high-profile blues player, Bob Thiele decided The Plaster Caster Blues Band’s eponymous debut album should be BluesTime’s first release. Released in 1969, the album includes Chicago Charva Chapter which features on Dues Paid-The BluesTime Story. Featuring mostly jazz musicians, including Bobby Bryant, Gildo Mahone and drummer Max Hardy, Chicago Charva Chapter is a languid, laid-back track, where jazz, easy-listening and even funk unite. That’s until Harmonica Smith blows his blues harp. This transforms the track, resulting in a glorious genre-melting, blues-tinged track.
Harmonica Slim blues apprenticeship began when he joined Lowell Fulson’s band as an eighteen year old. Heading out on tour, he honed his sound and four years later, released his debut single You Better Believe It. It have him a minor hit and resulted in him working alongside some of the biggest names in blues music. He also released singles on labels like Aladdin, Spry and Vita Records. One thing he’d never done, was release an album. Then in 1969, Harmonica Slim released his debut album The Return Of harmonica Slim, which included Love and That’s Alright. Love epitomizes everything that’s good about electric blues. From the crystalline guitar, rasping horns and gut-wrenching vocal, this is electric blues at its best. As for That’s Alright, soulful, bluesy, full of hooks and heartache describes what is a tantalizing of Harmonica Slim at his best.
Before Big Joe Turner signed to BluesTime, he’d worked with Bob Thiele at Bluesway, ABC Records’ imprint. So it’s no surprise that when Bob founded his new blues’ label, one of his first signings was Big Joe Turner, a true legend and blues veteran. His second album for BluesTime was Real Boss Of The Blues, released in 1969. It featured Shake, Rattle And Roll and Plastic Man. The best of these two tracks is Big Joe Turner’s version of the Carl Butler penned Shake, Rattle And Roll. Arranged by Gene Page and produced by Bob Thiele, it was released as a single. No wonder. During three minutes, Big Joe Turner is every inch the showman, vamps and struts his way through the track, fusing electric blues, jazz, R&B and rock ‘n’ roll. For anyone whose never heard Big Joe Turner before, then these two tracks are a tantalizing taste of what you’ve been missing.
Otis Spann was another member of the blues supergroup that featured on Super Black Blues in 1969. He also released his solo album Sweet Giant Of The Blues in August 1969. Produced by Bob Thiele, it features I’m A Dues Payin’ Man and I Wonder Why. These two tracks are the perfect introduction to Otis Spann. I’m A Dues Payin’ Man features virtuoso performances from Otis on piano and tenor saxophonist Tom Scott. A blistering, rocking blues, the finishing touch is Otis’ vocal. It’s a fusion of emotion and power. As for I Wonder Why, it’s quite different. It starts off slower, but soon Otis and his band fuse blues, R&B, boogie woogie and funk. Otis become a blues shouter, he’s almost distraught, his vocal full of hurt and heartache. The addition of wah-wah guitars is a masterstroke, resulting in an innovative and inventive track, where electric blues gets a makeover, ensuring it remains relevant.
T-Bone Walker released his first recording in 1929. Forty years later, T-Bone was seen as one of the most innovative and important musicians in the history of music. He was the first guitarist to popularize the electric guitar. Despite being a true pioneer, T-Bone Walker found himself without a recording contract. Bob Thiele, who had worked with T-Bone before at Bluesway, signed the veteran bluesman, who became part of a blues supergroup. Along with Otis Spann and Big Joe Turner, they recorded Super Black Blues in 1969, an album of live blues jams. The followup 1970s Super Black Blues: Volume II was another live album. It featured Sail On, which allows you to hear T-Bone and his all-star band locking into the tightest of grooves and jamming. It’s an impressive sound, this band of blues greats in full flight.
There are two other tracks from T-Bone Walker on Dues Paid-The Bluestime Story. Every Day I Have The Blues and For B.B. King featured on a 1973 BluesTime compilation Blue Rocks. For B.B. King is slow, moody and has a late night, bluesy sound. T-Bone Walker unleashes a peerless, crystalline guitar solo. It seems never ending, and for that, you’re eternally grateful. Then on Every Day I Have The Blues, T-Bone Walker showcases both his vocal prowess and guitar playing. They prove a potent combination. Throaty and full of hurt and heartache, it’s the perfect accompaniment to T-Bone Walker’s guitar playing, which demonstrates just why he’s one of the most innovative and pioneering guitarists in the history of blues music.
Although Eddie “Cleanhead” Vinson released over twenty albums, he remains one of blues’ best kept musical secrets. His 1957 debut album was Cleanhead’s Back In Town. After that, he released albums for various labels, including the Bob Thiele produced Cherry Red, for Bluesway. In 1970, he released The Original Cleanhead for BluesTime. It features the soul-baring I Needs To Be Be’d Wid. Best described as bluesy, soulful and jazz-tinged, emotion, drama and heartbreak unite. For anyone whose yet to discover Eddie “Cleanhead” Vinson, this is the perfect starting place.
Malcolm and Chris only ever released one album, Just The Blues. Produced by B.B. King, he brought the album to BluesTime. They released in 1970. It featured the harmonica driven Something So Bright. It’s a track with a country blues sound. Listen carefully, and you’ll hear a track most blues fans will be familiar with. The song has been inspired by the riff from Sonny Boy Williamson’s old blues classic Help Me. It’s as if Malcolm and Chris were brought up on a diet of Chess’ blues classics. This is apparent of Something So Bright, a harmonica driven hidden gem, which features the combined talents of Malcolm Gibson and Chris Keehan.
The Super Black Blues Band were a blues supergroup that featured T-Bone Walker, Otis Spann and Big Joe Turner. They recorded two albums. Super Black Blues, recorded and released in 1969, was their debut album. It featured Paris Blues, a fourteen minute Magnus Opus. This is a peerless blues jam. Mind you, what do you expect when you bring together some of the greatest musicians in the history of blues music?
Leon Thomas’s Disillusion Blues closes Dues Paid-The BluesTime Story. It’s a track from Super Black Blues: Volume 2. Recorded live, with an all-star band accompanying him, a flourishes of bluesy piano and standup bass accompany Leon. Gone is his usual style. Instead, he’s transformed into a blues shouter. His vocal is a mixture of emotion, drama and humor, on a track which shows another side to Leon Thomas.
A previously unreleased live version of Big Mama Thornton’s Hound Dog is the other track Dues Paid-The BluesTime Story. Back in 1952, Hound Dog gave Big Mama Thornton the biggest hit of her career. It spent seven weeks at number one in the US R&B Charts and sold nearly two million copies. Written by Leiber and Stoller, Big Mama Thronton’s version was perceived as the definitive version, until Elvis recorded it. After that, many people have overlooked her version. That’s a great shame, given the way she breathed life, meaning and energy into the song. She does that again on this live version. Feisty, powerful and sassy describes her take of this classic track.
Featuring fifteen tracks from some of the biggest names in blues music, Dues Paid-The BluesTime Story is one of the best blues compilation of 2013. No wonder. It includes T-Bone Walker, Otis Spann, Eddie “Cleanhead” Vinson and Harmonica Slim. These artists had enjoyed long and successful careers. However, by 1969, when Bob Thiele founded BluesTime, blues music was no longer as popular. It’s popularity had been overtaken by pop, rock and soul. Blues was perceived as the music of yesteryear. That’s despite the groups like the Rolling Stones, Cream and The Animals flying the flag for blues music. Even this didn’t help rejuvenate blues music’s popularity.
So, some of the artists on Dues Paid-The BluesTime Story were almost forgotten. Bob Thiele, who had worked with some of them, decided to try and rejuvenate their career. He paired them with the right material and some of the best session musicians he could find. The result was some of the best music these musicians had recorded in some time. They were rejuvenated and their career enjoyed a brief Indian Summer. Sadly, that Indian Summer lasted as long as BluesTime.
BluesTime was a short-lived label. It lasted little over a year. While it might not have been Bob Thiele’s most successful musical venture, it was music he loved and believed in. He got behind the music and tried to revive the career of blues legends. Sadly, many of the albums BluesTime released have never been released on CD before. They’ve lain unloved for over forty years. Thankfully, Ace Records has delved into BluesTime’s back-catalogue and chosen fifteen tracks from them. They became Dues Paid-The BluesTime Story, which was recently released by Ace Records. Hopefully, Ace Records who released Dues Paid-The BluesTime Story will release some of the albums BluesTime released. As Dues Paid-The BluesTime Story shows, BluesTime is a musical treasure trove awaiting discovery. Standout Tracks: Otis Spann I’m A Dues Payin’ Man, Eddie “Cleanhead” Vinson I Needs To Be Be’d Wid, Big Joe Turner Shake, Rattle And Roll and T-Bone Walker For B.B. King.
DUES PAID-THE BLUESTIME STORY.
NEW YORK DOLLS-NEW YORK DOLLS.
NEW YORK DOLLS-NEW YORK DOLLS.
No other group epitomises the rock ‘n’ roll lifestyle like the New York Dolls. Drink, drugs and death touched the New York Dolls. Despite this, the Dolls continued to court controversy, with a disaster always just a heartbeat away. Just like a game of daring do, the egged each other to fly close to the sun. This was all part of the myth that surrounds the New York Dolls. Here was another case of flawed genius. A firecracker combination of talents and personalities, they could’ve and should’ve been one of the biggest bands in musical history. Fuelled by a diet of alcohol, pills and powders, the New York Dolls first two albums were the best they ever recorded.
Their 1973 eponymous debut album New York Dolls, which was recently released by Universal Music, was a swaggering, strutting introduction to the New York Dolls. A year later, came their sophomore album, Too Much Too Soon. A fuelled up Dolls, courted controversy and chaos, continued to strut and swagger their way through life. On both of these albums, the New York Dolls out-rocked the opposition. Other bands, including the Rolling Stones, enviously looked on. Here was a band who were the real thing. They were living the rock ‘n’ lifestyle and living it hard. With what seemed like an appetite for destruction, somehow the New York Dolls recorded two classic albums within the space of a year. The first of these was their debut album New York Dolls, which I’ll tell you about.
Although the New York Dolls were formed in 1971, the bands origins can be traced to 1967. That’s when Sylvain Sylvain and Billy Murcia, two school friends, started playing in a band called The Pox. Then when the lead singer left, the band split up. To make ends meet, Sylvain and Billy worked various dead end jobs.
First of all, the pair started a clothes shop called Truth and Soul. After that, Billy worked in another clothes shop, A Different Drummer. Situated across from the New York Dolls’ hospital, rumour has it, that this is how their future band got its name. Then in 1970, after a couple of years working dead end jobs, Sylvain and Billy decided it was time they formed a new band. They’d eventually, become members of the New York Dolls.
Formed in 1971, the New York Dolls arose, like a Phoenix from the ashes out of Actress. Four members of Actress, guitarist Johnny Thunders and Rick Rivets, drummer Billy Murcia and bassist Arthur Kane would form the backbone of the New York Dolls. Johnny Thunders was originally the lead singer, but soon decided he wasn’t cut out to be a frontman. David Johansen was. So, he joined the band and Johnny originally a bassist, was converted into a guitarist. Then when Rick Rivets quit the band, Sylvain Sylvain replaced him. Before the Dolls had made their debut they’d been through several lineups. While this isn’t unusual in a band’s early days, the Dolls lineup was constantly changing. This was essentially Mk. 1 of the New York Dolls.
Having settled with vocalist David Johansen, guitarists Johnny Thunders, bassist Arthur Kane, drummer Billy Murcia and Sylvain Sylvain on guitar, bass and piano, the Dolls were ready to make their debut. They made their live debut on Christmas Eve 1971, at one of the most unlikely music venues. This was the Endicott Hotel, a homeless centre in New York. After that, the New York Dolls got themselves a manager, Soon, word was spreading of their unique swaggering sound and style.
Word got as far as Rod Stewart, who decided the Dolls were the perfect group to open for him in London. This looked like the perfect start to the New York Dolls’ career. Opening for Rod Stewart increased the New York Dolls profile. They were making inroads into the American and British markets. Then disaster struck.
Not long after the Dolls opened for Rod Stewart, drummer Billy Murcia tragically drowned during their UK tour. High on drink and drugs, he passed out and accidentally drowned. This was devastating news for the Dolls. They’d lost the man who gave the group its heartbeat. Despite the loss of a key member, the show had to go on. Drummers were auditioned and eventually, Jerry Nolan was selected as Billy’s replacement. Not long after that, Mercury Records signed the New York Dolls and work began on their eponymous debut album.
For what became New York Dolls, the Dolls’ debut album, David Johansen wrote Vietnamese Baby and formed a successful partnership with Johnny Thunders. They cowrote Personality Crisis, Looking For A Kiss, Lonely Planet Boy, Bad Girl, Subway Train and Jet Boy. David Johansen and Sylvain Sylvain penned Frankenstein and Trash, while David and Arthur Kane contributed Private World. The other track was a cover of Bo Diddley’s Pills. These eleven tracks became New York Dolls.
When recording of New York Dolls began at the Record Plant in April 1973, New York, Todd Rungren was chosen as producer. For many people, this was a strange choice of producer. Here, was a brash, innovative group. They were the future, with their intensity, energy and showmanship. Todd Rungren was the ghost of rock’s past. Formerly a member of Nazz, even the band didn’t seem impressed. He was used to a slicker, more sophisticated sound. The rawness and energy of the Dolls was the antithesis of everything Todd Rungren believed in. It seemed this was the case of the wrong producer for the wrong album? David Johansen disparagingly referred to Todd Rundgren as: “an expert in second rate rock ‘n’ roll.” As for Todd Rundgren’s approach to production, he mixed the album in half a day. In doing so, the edge was taken of Jerry Nolan’s drums. Did this mean that rather than trying to capture the band’s energy and intensity, part of the New York Dolls trademark sound was lost? That’s what I’ll tell you, when I tell you about New York Dolls?
Personality Crisis explodes into being, opening New York Dolls in style. Fiery, machine gun guitars, flourishes of boogie woogie piano and a driving rhythm section set the scene for David’s proto punk vocal. Raw and edgy, describes his vocal, while behind him, the Dolls manage to be both tight and sloppy simultaneously. The Dolls are better musicians than many people give them credit for. They provided the template for the Rolling Stones and Primal Scream, amongst a thousand other impersonators. An intense explosion of energy, this is timeless good time rock ‘n’ roll, what a way to introduce the Dolls.
Drawing on inspiration from Eddie Cochran, David every inch the charismatic frontman, struts his way through Looking For A Kiss. Low slung guitars trade licks, while the rhythm section provide the pulsating heartbeat. As for David, feisty, sassy and oozing an air of danger, describes his performance as proto punk, glam rock and rock ‘n’ rock unite majestically.
A gong chimes, before the New York Dolls throw launch into the rocky Vietnamese Baby, an ant-Vietnam War song. Driven along by scorching, searing guitars, drums pound and David’s vocal seems to have matured. This is much more like how he sounds on their sophomore album Too Much Too Soon. It’s as if he’s enjoying the role of frontman. There’s a swagger in his vocal. He spurs the band on. They trade glistening guitar licks, playing with a freedom and swagger, as if realising that this it what they were born to do.
Lonely Planet Boy has much more understated sound. Just guitars and thoughtful rhythm section accompany David’s whispery, theatrical vocal. Bursts of jazzy horns drift above the arrangement, as the Dolls look to the past for inspiration. Drawing inspiration from sixties R&B, jazz, pop and doo wop harmonies, we hear another side to the New York Dolls, one which I’d like to have heard more of.
Three years after New York Dolls released their debut album, and punk was born, tracks like Frankenstein provided the template for this new musical genre. You can hear where Johnny Rotten comes from. Having said that, the Dolls were ten times the musicians than the Sex Pistols ever were. They were hype, the Dolls were the real thing. Here, a snarling, angry vocal is accompanied by a raw, raucous arrangement. Key to that are the driving rhythm section and machine gun guitars. Combined this explosion of energy, intensity and raw power, resulted in a thousand impersonators, none of which came close.
Trash is a combination of garage, grunge, proto-punk and rock. It’s as if the Dolls are hyperactive and Trash is an outpouring of energy. Like a five Duracell bunnies, the Dolls become an explosive unit. They play as if their lives depended on it. Playing with power and passion, they never miss a beat. Neither does David. His vocal is an outpouring of frustration, while cooing harmonies provide a contrast.
Bad Girl sees a no frills approach from the Dolls. It’s as if the producer just called a wrap, warts and all. This gives a taste of what the New York Dolls live were like. Jackhammer guitars join drums which aren’t so much played, but punished. Then there’s David’s vocal. He roars, as if this is cathartic. Surely, he must have been hoarse by the time he’d laid down this vocal? As for the guitars, they’re mesmeric. Chiming, soaring, searing, their crystalline sound, feedback and all, plays a huge part in the Dolls at their best.
Subway Train sees the New York Dolls play within themselves. They’re much more restrained. Rather than an explosion of energy and intensity, they produce a much more laid-back performance. David’s vocal is more restrained, but just as effective. He’s not roaring, his delivery drawling and languid. Guitars riff, scream and screech, trading licks. Like a musical shoot out between guitar gunslingers. At the end, everyone’s left standing. The Dolls swagger into the sunset, catching a Subway Train everyone needs to catch a ride on, once in their life.
Bluesy harmonica and an explosion of searing guitars open Pills, an old Bo Diddley song. It had never been played liked this before. Given the Dolls background, this should’ve been their theme tune. They seem to realize this, seamlessly mixing blues, glam rock and rock ‘n’ roll. In between blowing his blues harp, David struts his way through the lyrics. Accompanied by a wall of guitars, thunderous rhythm section and harmonies, rock ‘n’ roll’s hardest living band deliver a paean to hedonism.
A probing bass opens Private World, before the rest of the New York Dolls kick loose. Veering between gloriously sloppy and tight, the were the envy of rock ‘n’ roll rivals and pretenders. They’re in the tightest of grooves, a stomping beat, percussion and dueling guitars providing a raucous, good time backdrop. Stabs and flourishes of piano add to the good time sound. David vamps his way through the track. He revels in being the frontman for a group as good as the Dolls, who in 1973, were rock ‘n’ roll royalty.
Jet Boy closes New York Dolls. Does it close the album on a high? From the opening bars, the Dolls unleash their machine gun guitars, cooing harmonies and pounding rhythm section. Soon, rock, proto-punk and glam rock have been combined. The Dolls are at their hard rocking best. David’s struts and swaggers, while harmonies and handclaps accompany him. Then there’s the guitars, which include some of the best playing on the album. That’s saying something. Riffing, dueling and feeding off each other, the New York Dolls guitar heroes ensure that New York Dolls ends on an explosive high.
Released in 1973 on Mercury, New York Dolls divided opinion. Some critics hailed New York Dolls as a stonewall classic, others deemed it a parody of a rock album. It certainly took the world by storm, spawning a million imitators. Strangely, on its release, sales of New York Dolls were disappointing. It only reached number 167 in the US Billboard 200. Mercury had hoped that the album would be one of their big sellers of 1973. It certainly captured the attention of critics and music lovers, it was voted both the best and worst album of 1973. It seems that New York Dolls was an enigmatic album and one that divided opinion. Forty years later, history has been rewritten.
Ironically, during the forty years since its release, critics who called New York Dolls “mock rock” have changed their mind. These lisping rock critics have now changed their mind about the New York Dolls. Nowadays, New York Dolls is now perceived as a classic album. The New York Dolls fusion of glam rock, proto-punk and hard rock is perceived as innovative and ahead of the musical curve. The New York Dolls are credited as one of the founding fathers of punk rock. Since then, many groups have imitated the New York Dolls swaggering brand of good time music. Nobody comes close. No ifs, no buts. Having released a career defining album, the New York Dolls never bettered. If ever there’s a case of a band peaking to soon, this was it.
Raw, intense and full or energy describes New York Dolls. It’s as close you’ll get to hearing what the New York Dolls sounded like live. This was a no frills album. Sleazy, sassy and raunchy, New York Dolls is lo-fi, good time music. It’s no wonder Todd Rundgren only spent half a day mixing New York Dolls. Although he was a strange choice for the Dolls, he harnesses their energy and enthusiasm. Maybe the Dolls should’ve called the album Raw Power? Apart from a few occasions where Todd Rundgren’s overdubbing goes too far, he strikes the right balance for a debut album. He doesn’t overproduce New York Dolls. Having said that, he was the wrong man for Too Much Too Soon.
That’s where Shadow Morton came in. He produced Too Much Too Soon, a much more polished album. Too Much Too Soon, the New York Dolls’ sophomore album, is an iconic, innovative album. Ironically, Too Much Too Soon almost passed unnoticed. It hardly troubled the American charts. After its release, Mercury sent the New York Dolls on an American tour. It proved chaotic and almost broke the band. On their return from the ill-fated tour, Mercury dropped the Dolls. Later in 1975, they split up, against a backdrop of rancour, drug abuse and hedonism. The hardest living party band were no more.
Despite reforming, the New York Dolls never reached the same heights. New York Dolls and Too Much Too Soon are the best albums the New York Dolls ever released. Nothing else comes close to these two iconic albums, which have recently released by Universal Music. These two albums, New York Dolls and Too Much Too Soon provided the template for punk and spawned a thousand impersonators. Not one comes close to the New York Dolls. Standout Tracks: Personality Crisis, Lonely Planet Boy, Trash and Subway Train.
NEW YORK DOLLS-NEW YORK DOLLS.
ASTRO SONIC-COME CLOSER AND I’LL TELL YOU.
ASTRO SONIC-COME CLOSER AND I’LL TELL YOU.
The sonic landscape that is Astro Sonic’s debut album Come Closer and I’ll Tell You, isn’t like most other albums. Far from it. Recorded during these three days at the Svenska Grammofon Studios in Gothenburg, Sweden, Astro Sonic use their musical palette to push musical boundaries. Seamlessly, musical genres melt into eleven sonic landscapes. Mostly improvised, Astro Sonic look to the past to create the music of the future. Drawing inspiration from ambient, avant-garde, electronica, Krautrock, synth impro and free jazz, seamlessly, musical genres unite during eleven sonic landscapes. These sonic soundscapes paint evocative pictures.
Astro Sonic sound as if they’ve sought inspiration for Come Closer and I’ll Tell You from the rugged Scandanavian landscape. Close your eyes, and you head off on a musical journey. Ethereal beauty becomes haunting, broody, moody and magnificent. Sometimes, Come Closer and I’ll Tell You is spellbinding and breathtaking. Always, it’s compelling and has you spellbound. Considering Come Closer and I’ll Tell You is Astro Sonic’s debut album, which will be released on 2nd December 2013, on Hubro Music, that’s quite remarkable. However, in other ways, it’s not surprising, given the amount of time the members of Astro Sonic have been working together.
It was back in 2008, when Astro Sonic was formed. Before that, its three members Erlend Slettevoll, Rune Nergaard and Gard Nillssen had been collaborating. Astro Sonic was made of three of Norway’s best musicians. This included Erlend Slettevoll, who played synths in both Grand Central and The Core. Then there’s Rune Nergaard, the bassist from Norwegian guitar trio Marvel Machine. The third and final member, Gard Nillssen, is the drummer for Susanne Soundfor. Rune and Gard knew each other. For ten years, they’d been Bushman’s Revenge’s rhythm section. In 2008, they became Astro Sonic’s engine room. When Erlend Slettevoll’s inventive synth playing was added to the equation, then Astro Sonic became a potent musical force.
Since 2008, Astro Sonic have been constantly honing their sound. They’ve also been pushing musical boundaries and fusing musical genres. They’ve played live, but until now, haven’t released a debut album. Recently they decided to rectify this.
For what became Come Closer and I’ll Tell You, Astro Sonic cowrote nine tracks. The exceptions are 437,7 Days which Rune wrote and Analog Karma, which Erlend penned. These eleven tracks became Astro Sonic’s debut album Come Closer and I’ll Tell You.
Heading to Svenska Grammofon Studios in Gothenburg, Sweden, recording of Come Closer and I’ll Tell You took just three days. Between the 10th to 12th November 2011, eleven tracks were recorded in Gothenberg. Each of the group are multi-instrumentalists, brought something new to what became Come Closer and I’ll Tell You. Erlend plays Fender Rhodes, Moog Voyager and Prophet 5. Rune takes care of bass, electronics and drum machines. As for Gard, drums, tablamachine, gongs, bow, vibes and electronics are his forte. Then to complete Come Closer and I’ll Tell You Astro Sonic spent two days in August 2012, completing their debut album. Now just over a year later, Hubro Music will release Come Closer and I’ll Tell You on December 2013. Come Closer and I’ll Tell You will introduce the world to the ambitious, innovative and groundbreaking music of Astro Sonic, which I’ll tell you about.
Retrodynamics, a fifty-three second musical amuse bouche opens Come Closer and I’ll Tell You. Droning, Hendrix-sque synths sound as if they’re guiding a ship through thick fog. They’re not. With hissing ho-hats for company, instead, their raison d’etre is to ensure Astro Sonic have your attention as this musical adventure unfolds.
Distant, thoughtful and dramatic describes the opening bars to Orbiter. It’s a futuristic sonic landscape, that brings to mind distant galaxies. Melancholy and wistful, footsteps come towards you. Meanwhile the Fender Rhodes adds a melancholy contrast to the drama that’s unfolding. By now, Orbiter sounds like the soundtrack to an outbreak of intergalactic warfare.
A myriad of eerie, sci-fi sounds opens The Electric Airbag Police. Its title seems to be a nod towards two tracks from Radiohead’s OK Computer. Ambient, experimental and synth wave gives way to a rock inspired track. Astro Sonic’s rhythm section provide the heartbeat while stabs of synths join beeps, squeaks and crackles aplenty. Locking into a groove, Rune’s bass and Gard’s drums power the track along. As they drop out, what sounds like a crackly radio and sci-fi sounds take centre-stage. It’s easy to imagine this post rock, jazz-tinged track being the soundtrack to spacecraft taking off, heading to an unknown, mysterious destination. A genre-sprawling track, Astro Sonic paint evocative pictures that unfold within your mind’s eye.
Mysterious. That describes 437,7 Days, another one minute track. Again, it conjurs up pictures of outer space and science fiction novels. It sounds as if a U.F.O. is landing. Dramatic and moody, it’s as if it’s hovering above you. This sends shivers down your spine, as you wonder what’ll happen next? Spine-tingling and mysterious. That’s a powerful combination.
Magnavox, another short track, is a fusion of genres and influences. Rock, Krautrock, psychedelia, postindustrial and free jazz join a myriad of sci-fi sounds and sound effects. The result is an ambitious and groundbreaking track.
Rolls of rocky drums, prog rock keyboards and drum and bass’ drums open The Shell Falls Rapidly And Splashes Into The Sea. Then there’s sci-fi synths and futuristic, sound effects. In the space of one minute, Astro Sonic fuse numerous musical genres and influences. Not only do they push musical boundaries, but throw away the musical rulebook. Anything is possible it seems in Astro Sonic’s world. They become Norway’s answer to Jimi Hendrix, their talent, energy and innovation creating a mind-blowing, lysergic track.
Lander sees Astro Sonic Rune’s bass and Gard’s drums create the backdrop for jagged, futuristic synths. It’s a compelling combination. Elements of rock, ambient and psychedelia unite. They create a poignant, wistful combination. Eventually, it drifts into the distance, leaving its question unanswered.
EDM, rock, industrial and experimental combines on No Satisfaction At All. Powered along by Gard’s drums, space-age synths and sound effects float above the arrangement. They shimmer, quiver and quake, while hi-hats hiss. After meandering along, the arrangement bursts into life, heading towards its dramatic and sudden crescendo.
From the opening bars, it’s obvious Analogue Karma is more than a little special. It sounds as if it belongs on an seventies Pink Floyd album. Slow, spacious drums, vibes, synths and sound effects combine creating an innovative, futuristic sound. Then the Fender Rhodes weaves its magic, playing its part in what sounds like the soundtrack to a journey to a distant planet. Understated, evocative, atmospheric and later, dramatic Astro Sonic join forces to create what’s quite simply the highlights of Come Closer and I’ll Tell You.
Fairy Queen closes Come Closer and I’ll Tell You, and is one of the longer tracks on Come Closer and I’ll Tell You. This is no bad thing. It allows Astro Sonic to stretch their legs and demonstrate what they’re capable of. Whereas they shorter tracks were akin to a short story, this is a novel. It’s some thing of an adventure, a journey into the unknown. With its understated, eerie, pensive sound, ambient, classical, experimental, psychedelia and even Celtic influences unite. As the arrangement meanders along, shakers, synths and strings combine. Mostly they’re understated and melodic. Other times they’re mysterious, dramatic and almost discordant. A string of surprises are sprung by Astro Sonic. This ensures the listener learns to expect the unexpected, on what’s a compelling musical adventure, with twists and turns aplenty in store for the unsuspecting listener.
As debut albums go, Astro Sonic’s Come Closer and I’ll Tell You which will be released on 2nd December 2013, on Hubro Music, is one of the best I’ve heard in the last few years. Over eleven soundscapes, Astro Sonic use their musical palette to create one of the most ambitious and groundbreaking albums of 2013. To do this, they’ve drawn inspiration from a whole host of musical influences. Everything from ambient, avant-garde, EDM, electronica, free jazz, industrial, jazz, Krautrock, postindustrial, post-rock, prog rock, psychedelia and synth wave play their part in Come Closer and I’ll Tell You. When all this is combined, the result is an album that’s a cinematic musical adventure.
Cinematic is the best way to describe Come Closer and I’ll Tell You. It conjurs up pictures and scenarios. Haunting, atmospheric and evocative, many of the tracks have a futuristic, sci-fi sound. Instantly, you’re transported into this space-age, 21st Century world. Other tracks are understated, eerie, moody and broody, while others are melancholy, wistful and pensive. That adds to Come Closer and I’ll Tell You cinematic quality. Sometimes, moderne describes the music on Come Closer and I’ll Tell You. Dance music and rock are added to the mix as Astro Sonic create tomorrow’s music today. That’s the perfect way to describe such ambitious,
Ambitious, moody, broody and pensive, plus dramatic, melodramatic, melancholy and beautiful. These are just some of the words that describe Come Closer and I’ll Tell You. It’s an album that variously, washes over you, embraces you, challenges you and forces you to think, as it paints pictures in your mind’s eye. Come Closer and I’ll Tell You is best described as the soundtrack to a film that’s yet to be made. With Astro Sonic supplying the music, all you need to do, is supply the pictures to Come Closer and I’ll Tell You, one of the most evocative, atmospheric and cinematic albums of 2013. Standout Tracks: Orbiter, The Electric Airbag Police, Analogue Karma and Fairy Queen.
ASTRO SONIC-COME CLOSER AND I’LL TELL YOU.
COUNTRY JOE AND THE FISH-ELECTRIC MUSIC FOR THE MIND AND BODY.
COUNTRY JOE AND THE FISH-ELECTRIC MUSIC FOR THE MIND AND BODY.
Classic is one of the most overused words in the English language. However, classic is the perfect way to describe Country Joe and The Fish’s 1967 debut album, Electric Music For The Mind and Body. Quite simply, Electric Music For The Mind and Body is a psychedelic classic. Country Joe McDonald, not known for exaggeration, says as much. He says” “if you want to understand psychedelic music, and you haven’t heard Electric Music For The Mind and Body, then you probably don’t know what you’re talking about.” There’s a lot of truth in what Joe is saying.
After all, Electric Music For The Mind and Body which was recently released by Vanguard Masters, was one of the first psychedelic rock albums released. Country Joe and The Fish, who were pioneers of psychedelic rock and now, are perceived as psychedelic rock royalty. They formed in 1965, and six months later, released their debut E.P. Talking Issue No. 1 on the Rag Baby label. This was a groundbreaking statement of intent. Country Joe and The Fish started as they meant to go on, releasing pioneering music.
Not only that, but here were a band whose music was full of social comment. Their music was also highly political. Given their name was a reference to Joseph Stalin and a quotation from Chairman Mao, that’s no surprise. Known for their genre-melting, lysergic music, Country Joe and The Fish were at the vanguard of the anti-Vietnam war movement. Their highly politicized music played a huge part in the emerging counter-culture. Country Joe and The Fish played at the anti-Vietnam teach-ins in 1965 and four years later, in 1969, played at the legendary Woodstock Festival. By then, Country Joe and The Fish had released a trio of albums that today, are recognized as psychedelic classics. This includes their debut album, Electric Music For The Mind and Body, which I’ll tell you about.
For their debut album Electric Music For The Mind and Body, Country Joe McDonald wrote ten of the eleven tracks. The exception was Love which was written by the five members of the band, Country Joe McDonald, Gary “Chicken” Hirsh, Bruce Barthol, Barry Melton and David Cohen. They recorded the eleven songs that became Electric Music For The Mind and Body at Sierra Sound Laboratories, in Berkeley, California.
Producer Samuel Charters took charge of the recording of Electric Music For The Mind and Body began at Sierra Sound Laboratories. Founder member Country Joe McDonald sang lead vocals, played guitar, bells and tambourine. The rhythm section included drummer Gary “Chicken” Hirsh, bassist Bruce Barthol who also played harmonica and guitarists Barry Melton and David Cohen. Some of Electric Music For The Mind was recorded in 1966. Electric Music For The Mind which was released in January 1967, introduced the world to psychedelic rock.
Critical acclaim greeted the release of Electric Music For The Body and Mind in January 1967. Country Joe and The Fish watched as the album reached number thirty-nine in the US Billboard 200. For Country Joe and The Fish, their fusion of psychedelic rock and lyrics with a social conscience was a successful combination that struck a chord with music lovers. Why was that? That’s what I’ll tell you, once I’ve told you about Electric Music For The Body and Mind.
Flying High, which opens Electric Music For The Body and Mind, is a fusion of rock, psychedelia, blues and jazz. Searing, chiming, guitars, broody bass and dramatic drums provide a backdrop to Country Joe’s vocal. His vocal is full of despair at the situation he finds himself. You can picture the bedraggled picture he paints. The the lyrics take on a lysergic, surreal quality. Add to this, the banks of keyboards and Country Joe and The Fish come into their own, with their unique brand of pioneering psychedelic rock. Genre-melting, with a strong, surreal and witty narrative, this is groundbreaking music.
Not So Sweet Martha Lorraine reminds me of Pink Floyd and The Beatles. That’s no surprise, as these bands must have been influenced by Country Joe and The Fish. With waves of wistful organ, jangling guitars and a mid-tempo rhythm section, Country Joe’s vocal has a lysergic, dreamy sound. Sounding nicely mellow, his psychedelic lyrics tell the story of “Not So Sweet Martha Lorraine.” His description hardly endears you to her. Despite that, you can’t help but be enthralled by Country Joe and The Fish at their psychedelic best as they tell the story of the mythical, mystical Martha Lorraine.
Death Sound Blues sees Country Joe and The Fish look to the blues for inspiration. Seamlessly, they become a barnstorming electric blues band, unleashing some twelve-bar blues. Against a slow, shuffling arrangement, where scorching, crystalline guitars join the rhythm section and shakers, Country Joe delivers a languid, heartbroken vocal. With his relationship over, he doesn’t no which way to turn? Reverb and echo is added, adding to the drama, emotion and heartbreak of this slice of psychedelic blues, which is one of the highlights of Electric Music For The Body and Mind.
Psychedelic, surreal and grandiose, that’s the perfect description of Porpoise Mouth. It’s a track that sounds as if it would provide inspirational to prog rock. Against a spacious arrangement, stabs of organ and bursts of drums accompany Country Joe’s vocal. It sounds as if it belongs in another era. You’re taken on a journey back through time, where Country Joe sounds as if he’s a medieval jester. His job is entertaining the court. The addition of the harpsichord adds to this, before the track takes on a dark, moody psychedelic sound. Before that though, it was like a journey through the ages, courtesy of Country Joe and The Fish.
Section 43 is a seven-minute epic. Here a banks of keyboards, crystalline guitars and the rhythm section take the track in the direction of psychedelia. Wistful, thoughtful and pensive, it’s a track you loose yourself in. It has a mesmeric quality that draws you in. Gradually, the arrangement unfolds, revealing its secrets. Bursts of a bluesy harmonica and drums lock into a groove, which reminds me of The Doors. From there, the band embark on a glorious jam, before heading in the direction of experimental music and free jazz. It’s a case of being determined to push musical boundaries further than ever before. To do this, rock, psychedelia, experimental and jazz, are fused creating a pioneering pot pourri of musical influences.
Super Bird literally bursts into life. Soon, musical genres melt into one and Country Joe’s political lyrics soar above the arrangement. West Coast rock, psychedelia and pop unite. Chiming, jangling guitars, a bubbling bass, drum rolls and keyboards accompany Country Joe. He struts his way through the song, his delivery impassioned and confident. He and the rest of the band become an unstoppable musical force, giving what’s one of their best performances on Electric Music For The Mind And Body.
Sad And Lonely Times has a bluesy, sixties sound. A harmonica, percussion and bass lead rhythm section join forces. They provide the backdrop for Country Joe’s tender, wistful vocal. As he deliver a heartfelt vocals, West Coast guitars jangle and chime. Later, harmonies are added, proving the perfect finishing touch to this quite beautiful, joyous song.
After a false start, Love gets underway. Country Joe’s powerful, throaty vocal is sung in a bluesy style. Behind him, keyboards, crystalline guitars and the rhythm section unite. They showcase their considerable skills Country Joe’s vocal drops out. When he returns, this spurs them on, and they reach greater heights, fusing blues, rock and psychedelia, proving how versatile a group they were.
Bass Strings has a moody, melancholy sound. Keyboards, rhythm section and Country Joe’s emotive, soul-baring vocal create a dark, pensive backdrop. Full of despair and desperation, Country Joe’s sings, hopes and promises, “one more trip now.” His lysergic vocal is full of pain and misery, maybe for fear of what he’ll see or find?
Keyboards dominate the introduction to The Masked Marauder. When they drop out, he rest of the band take centre-stage. Guitars chime, before Country Joe scats against a theatrical backdrop. Featuring a carnival organ, crystalline and searing guitars and then bluesy harmonica, it’s another experimental, genre-melting, track that veers between thoughtful to dramatic.
Closing Electric Music For The Mind And Body is Grace, where Country Joe and The Fish pay homage to Grace Slick, of Jefferson Airplane during a seven-minute track. Slow, spacious, understated and thoughtful describes the track. Country Joe’s serenades Grace Slick against a minimalist arrangement. Instruments flit in and out of the arrangement, with space left within it. They’re akin to a series of dramatic pauses that punctuate this alternative paean to Grace Slick.
Electric Music For The Mind And Body is best described an ambitious, adventurous and innovative album. It features thoughtful, poignant lyrics, some of which are full of social comment. The music on Music For The Mind And Body is cerebral and intelligent. Sadly music is no longer like this. That’s a great shame and huge loss. This was music for the mind, which sough answers to “big” questions. Unfortunately, music like this isn’t released. On the odd occasion it’s released, it’s not by major labels, but by brave independent labels who believe in the music. This means that no longer do we hear the modern equivalent of musical pioneers like Country Joe and The Fish.
On Electric Music For The Mind And Body, Country Joe and The Fish fused musical influences and genres. Everything from acid rock, country, folk, jazz, psychedelia and rock became one on Electric Music For The Mind And Body, Country Joe and The Fish’s critically acclaimed, eloquent and erudite debut album. It was no ordinary album and Country Joe and The Fish were ordinary bands. They were innovators, pioneers, agitators and some said rabble rousers. They weren’t. All they wanted was justice and an end to an unjust war. That didn’t make them rabble rousers or rebels. No. Instead, they were music’s conscience. Country Joe and The Fish were also pioneers.
They were pioneers who were at the vanguard of psychedelic rock. Country Joe and The Fish were one of the inventors of psychedelic rock. Their first two albums Electric Music For The Mind And Body and I Feel Like I’m Fixin’ To Die, which were both recently released by Vanguard Masters, are two of the finest albums of the psychedelic rock era.
Electric Music For The Mind And Body which was recently rereleased by Vanguard Masters as a luxurious and lovingly compiled double album. Disc One features the mono version, with Disc Two featuring the stereo version. Then there’s in-depth sleeve-notes. Quite simply, this is the definitive version of Electric Music For The Mind And Body I’ve come across. No other version of Electric Music For The Mind And Body comes close to the Vanguard Masters’ version. It brings to life Electric Music For The Mind And Body, a cerebral, psychedelic classic. Groundbreaking and genre-melting, Country Joe and The Fish rewrote the musical rule book with Electric Music For The Mind And Body, a pioneering debut album. Standout Tracks: Flying High, Death Sound Blues, Bass Strings and Grace.
COUNTRY JOE AND THE FISH-ELECTRIC MUSIC FOR THE MIND AND BODY.
CHVRCHES-LIES.
CHVRCHES-LIES.
One of the biggest success stories in Scottish music during 2013, is Chvrches, who will soon release their fifth single Lies, on Virgin Records. This sees Chvrches go full circle to where their career started. After all, Lies was their debut single. It was released in an unusual way, through the blog of the Neon Gold label. People were able to download a free copy of Lies. their debut single. This somewhat unorthodox approach to marketing worked. Soon, word was spreading about Chvrches.
Two years later, Chvrches are one of Scotland’s most successful musical exports. Having released one of the most highly anticipated albums of recent years, The Bones Of What You Believe, it seems Chvrches can do no wrong. The remarkable thing is, everything has happened so quickly for Chvrches.
Chvrches were founded just two years ago in 2011. Since then, it’s been a whirlwind musical adventure for Lauren Mayberry, Ian Cook and Martin Doherty. They’ve spent the last two years touring the world converting people to their unique brand of shimmering electro-pop. Britain, Europe, Canada and America gave been conquered by Chvrches. Somehow, Chvrches have also found the time to release a four singles and a trio of E.Ps. These singles were a tantalizing taste of the main event, Chvrches highly anticipated debut album The Bones Of What You Believe, which was the result of two years work and determination from Chvrches.
The face and voice of Chvrches, lead vocalist and keyboard player, Lauren Mayberry is an accidental pop star. Originally, she studied law and after graduating, studied journalism. With a Masters in journalism on her C.V. Lauren became an award-winning freelance journalist. From there, she almost inadvertently, became a musician.
Like many Scottish children, she learnt to play the piano as a child. It’s almost a rite of passage. Then when she was a teenager, Lauren learnt to play the drums. Drums or piano, it’s no contest. Soon, she was playing drums for various bands. Between the ages of fifteen and twenty-two, Lauren played in two bands. In Boyfriend/Girlfriend she was the drummer. Then when Lauren joined Blue Sky Archives, she played keyboards and drums. It was in Blue Sky Archives, that Lauren met Ian Cook.
Blue Sky Archives were recording an E.P. and the producer was Ian Cook. He’d originally been a member of Aerogramme and The Unwinding Hours. Ian also wrote music for television and film. Production was another thing he enjoyed. Through producing Blue Sky Archives, Ian met Lauren. She proved to be just who he was looking for.
Ian Cook and Martin Doherty, who was a member of The Twilight Sad when they played live, were working on a new project. They needed someone to lay down some vocals. Neither Ian nor Martin saw themselves as lead vocalists. So, Lauren was asked to come along and sing on a demo.
Little did Lauren realize what she’d let herself in for. Ian and Martin it seems, are perfectionists. That proved to be no bad thing. They spent eight months in a basement studio, working on their new project. Eventually, it was finished. It had been such a success, they decided to transform this studio project into a live band, that became Chvrches.
May 2012, saw Chvrches release their first single. They did this in an unusual way. Through the blog of the Neon Gold label, people were able to download a free copy of Lies, their debut single. This somewhat unorthodox release must have worked. Soon, people were talking about Chvrches. By now momentum was building. What helped, was that Chvrches were a great live band. Throughout the summer of 2012, were honing their live act. Quickly, word was spreading about this new Glasgow band. September 2012 it seemed, was the right time to release their sophomore single.
The Mother We Share was released in September 2012. In between touring, Chvrches found two days to write and record their new single. On its release, it was well received by critics. They were falling over themselves to heap praise on Glasgow’s newest band. A classy and classic slice of glistening, ethereal electro-pop, Chvrches had made an impression.
At the end of 2012, when various magazines and radio stations published their best of 2012 polls, Chvrches name loomed large. The NME, BBC and Huffington Post praised Lies and The Mother We Share. This new band had made a big impression. Would 2013 be as big a year for Chvrches?
Looking at Chvrches achievements so far, I’d suggest that they’ve surpassed everything they achieved during 2012. They’ve released two single and two E.P.s.
Chvrches third single Recover, which was released in February 2013, gave them their first hit single in the UK. It reached number ninety-one. After that, Chvrches had to divide their time wisely. They’d an album to record and had a busy touring schedule to fulfil. In between recording their debut album, The Bones Of What You Believe, Chvrches continued to tour. There were still parts of the world where Chvrches’ gospel hadn’t been heard. Agnostics had to be transformed into believers. This was working
July 2013 saw Chvrches released their fourth single Gun. Just like Recover, Gun was available as either a single or an E.P. Gun gave Chvrches the biggest single of their nascent career. Not only did it reach number fifty-five in the UK, but number forty-four in Japan. It seemed that with each single, Chvrches were conquering another part of the world. Britain first, then Europe, Canada, America and now Japan are all devotees of Chvrches.
Recently, on a coast to coast tour of America, Churches have been winning friends and influencing American musical lovers. This is perfect timing. After all, Chvrches’ debut album The Bones Of What You Believe, was due for released on the 23rd September 2013 on Virgin. Written by the three members of Chvrches, The Bones Of What You Believe was without doubt, one of the most eagerly awaited and anticipated albums of recent years. Critically acclaimed and commercially successful, Chvrches are enjoying success world-wide So, it’s the perfect time to released their latest single Lies, which I’ll tell you about.
Thunderous drums and beeping, squeaking synths open Lies. They provide the backdrop for Lauren’s sassy, feisty vocal. Behind her, Ian Cook and Martin Doherty unleash banks of keyboards and synths, while drums provide a dramatic, electro heartbeat. Add to this Lauren’s ethereal, multi-tracked backing vocals. They provide a contrast to the dark, dramatic arrangement. It takes on a life of its own. It’s becomes a collosus. As it marches, struts and swaggers along, Lauren’s vocal is full of bravado, feisty and oozes sass.
Lies is a tantalising taste of what Chvrches are capable of. It’s also a tantalising taste of their critically acclaimed debut album, The Bones Of What You Believe. Indeed, Lies like The Bones Of What You Believe, not only lived up to expectations, but surpassed them. An example of innovative, inventive music, it’s pioneering electro-pop, full of drama, sass, shimmering synths and the ethereal beauty of Lauren Mayberry’s vocal. Along with Ian Cook and Martin Doherty, Chvrches fuse electro pop, house, synth pop, hi-NRG, Euro Disco, pop, indie rock and soul. Dance-floor friendly, anthemic, soulful and full of slick poppy hooks, Lies in another example of Chvches style of pop perfection. That’s why Chvrches will be Scotland’s next big musical export. Many have been contenders for the title, now it looks like Chvrches with their unique sound, will claim it as their own.
Chvrches have restored my faith in modern music. I’m pleased that still, there are a group capable of making the perfect pop song. That’s what I’d described Lies and their debut album The Bones Of What You Believe as. It’s a reminder of what a classic pop song sounds like. For everyone who says pop music is dead, play them Lies, then The Bones Of What You Believe. That’ll prove them wrong. Pop music is alive and kicking, and Chvrches’ new single Lies and The Bones Of What You Believe is the future and salvation of pop music.
CHVRCHES-LIES.
MIKE OLDFIELD-CRISES.
MIKE OLDFIELD-CRISES.
Nine years after releasing his debut album, Mike Oldfield decided his music had to change. His albums were no longer selling as many copies. Success in America seemed to elude Mike. If it hadn’t been for excerpts from Tubular Bells being played in The Shining, his debut album might never have reached the heights it did. After that, America proved a hard nut to crack. Even at home, in the UK, 1978s Incantations, 1979s Platinum and 1980s QE2 had failed to reach the top ten. Each album slipped that further bit down the charts. There was a reason for this, music was changing.
Music was in a constant state of flux. Fashions changed quickly. Realizing that, Mike Oldfield decided his music had to evolve and change with the times. This realization resulted in 1982s Five Miles Out, which was Mike’s most successful album since 1975s Ommadawn. Reaching number seven in the UK, this resulted in the second gold disc of his nine-year recording career. Following the commercial success of Five Miles Out, Mike embarked on an exhausting world tour, which finished in Germany in December 1982. By then, Mike had already began work on his eighth album Crises, which was recently rereleased by Mercury Records. Would Crises match the success of Five Miles Out? That’s what I’ll tell you.
Crises followed in the footsteps of Five Miles Out. The opening track Crises, which filled side one, was a twenty minute opus that his old fans would enjoy. It was written by Mike. So were three of the five short songs that showcased the “new” Mike Oldfield. This included Moonlight Shadow, Taurus 3 and Shadow On The Wall. The other two tracks were collaborations. Foreign Affair was written by Mike and Maggie Reilly, a frequent collaborator with Mike and regular guest vocalist. Jon Anderson of Yes, cowrote in High Places with Mike. These six tracks became Crises.
For recording of Crises, which Mike and Simon Phillip co-produced, Mike decided that it was best to stick with what was a winning formula. This meant hiring the best session musicians. It was a slimmed-down band that played on Crises. There was a reason for that. Mike was relying more on drum machines and synths. He also played guitar, bass, banjo, harp, mandolin, piano, Farfisa organ and percussion. Among them were guitarist Rick Fenn and Anthony Glynne, bassist Phil Spalding and Simon Phillips who played Tama drums and percussion on several tracks. Pierre Moerlen added vibes, while Maggie Reilly, Jon Anderson and Roger Chapman of Family added vocals. This was the personnel that featured on Crises, which was recorded at his own studio between November 1982 and April 1982. A month later, Crises was released.
On 27th May 1982, Crises was released. It picked up where Five Miles Out left off, reaching number six in the UK. This resulted in Mike’s third gold disc. Around Europe, Crises was a huge success, reaching the top ten in eight countries. In Sweden and Germany, Crises reached number one, and was certified gold in France, Germany and the Netherlands. Moonlight Shadow which was chosen as the lead single from Crises, reached number four in the UK. Again, it was a huge commercial success, reaching number one in eleven countries in Europe. For Mike, Moonlight Shadow was the biggest single of his ten year career. The second single was Shadow On The Wall, which featured Roger Chapman from Family on lead vocal, stalled at just number ninety-five in the UK. Despite that disappointment, Crises had been a huge commercial success, further vindicating Mike’s decision to change direction musically. You’ll realize why Crises was critically acclaimed and commercially successful, when I tell you about Crises.
Opening Crises is the title-track, a twenty-minute epic, that’s like a musical adventure. It’s like a song cycle. Here, Mike Oldfield old and new unite. A myriad of traditional instruments and technology play their part in the track. Bells chime, synths beep and squeak with synths cascade and keyboards meander. Then all of a sudden, drums drive the arrangement along. There’s a nod to Mike’s prog rock past and Pink Floyd, but he makes good use of the synths and drum machines He leaves space within the arrangement, allowing it to breath and grow. A scorching, searing guitar solo is joined by crashing drums, dark synths and sound effects. Soon the arrangement explodes. Mike becomes a one-man band, playing fourteen instruments and adding an emotive, heartfelt vocal. Reverb is added, as it disappears into the distance. Later, the arrangement becomes understated and thoughtful. Other times futuristic, dreamy, dramatic and ethereal describes this ambitious, groundbreaking opus.
Moonlight Shadow is probably the best known Mike Oldfield single. It’s very different from the opening track. Featuring Maggie Reilly, who originally wanted to sing the vocal in a rocky style, there’s a real folk influence. Maggie’s vocal is wistful and melancholy, painting pictures in your mind’s eye, as acoustic guitars, harmonies and the rhythm section accompany her. Mike’s lyrics veer between descriptive to surreal. As the song hits the bridge, the band unleash rocky licks aplenty. Mike dons the role of guitar hero. Relishing this opportunity, his guitar playing is peerless. It’s the perfect replacement for Maggie’s vocal. Together, they play their part in what was Mike’s most successful single ever.
Jon Anderson’s vocal is perfect for In High Places. His unmistakable vocal soars above the sparse, spacious arrangement. It forces you to listen intently to the cerebral lyrics. As he asks a series of questions, you’re spellbound by his poignant, potent delivery. Reverb is added to his vocal, as the rhythm section, synths and vibes provide a backdrop to his pensive, ethereal vocal. As he delivers his vocal in short, sharp, thoughtful bursts the arrangement fills out. The band prove to be ying to Jon’s yang on what’s one of the highlights of Crises.
Foreign Affair sees a return of Maggie Reilly, whose delivery of the vocal brings them to life. She’s like an old-fashioned storyteller, who during this track, reminds me of Al Stewart. As she paints pictures, her vocal veers between evocative and emotive, to whispery and sultry. Behind her synths, drums and shakers accompany her, mixing technology and traditional instruments. They provide the perfect backdrop to Maggie’s vocal masterclass. Indeed, so good is her vocal, that it surpasses even Moonlight Shadow.
Taurus 3 is the only instrumental on Crises. Mike plays Spanish guitar, his finger flying up and down the fretboard. Behind him a mandolin, acoustic bass, percussion and bells accompany him. They provide a summery, Balearic sound. Adding drama are the Tama drums. Thankfully they’re used sparingly. This allows you to revel in this beautiful and drama of this uplifting track, which is a slice of aural sunshine.
Shadow On The Wall closes Crises. It features Roger Chapman of Family. For those unfamiliar with Family, BandStand and It’s Only A Movie are essential listening. Guitars chime, drums pound and strings sweep. With a roll of the drums, Roger unleashes a throaty, rocky vocal. Accompanied by stabs of synths, thunderous drums, buzzing bass and screaming guitars, Roger brings to life the lyrics. They’re about the plight of political prisoners. So impassioned is Roger’s vocal, it’s as if he’s affronted about their plight. With Mike’s band rocking hard, and Roger delivering lyrics full of social comment, it’s the perfect way to close Crises.
That however, isn’t quite the end of Crises. No. Mercury Records two-disc Deluxe Edition is what a Deluxe Edition should look like. On disc one, there’s the original version of Crises and seven bonus tracks. Disc two features a recording of a concert that took place at Wembley Arena, London, on 22nd July 1983. For those of you who haven’t seen Mike Oldfield live, this is an opportunity to see what you’re missing. What you’re missing, is the reinvention of Mike Oldfield.
Realizing that music had to change in 1982, Mike Oldfield set about reinventing himself. This began with1982s Five Miles Out, which was Mike’s most successful album since 1975s Ommadawn. A year later, in 1983, Mike surpassed Five Miles Out with Crises, an album for both his old and new fans. Unlike other artists, Mike didn’t forget his old fans. The title-track, Crises, was a twenty-minute opus. Then on side two, the other five tracks were an eclectic selection of bite-sized tracks. Folk, rock, pop, prog rock, Balearic and electronica were thrown into the mix. Each track had something new, different and innovative. Mike keeps your attention. Your hand doesn’t stray near the remote control, in case you miss something new new and innovative. After all, that’s what Mike Oldfield is an innovator.
Indeed, for forty years, Mike Oldfield has been pushing musical boundaries. From Tubalar Bells onwards, Mike flew the flag for cerebral, innovative music. He was determined to stay relevant. It would’ve been easy for him to keep churning out album after album of similar material. Most likely, his loyal fans would’ve bought the albums. That wasn’t enough for Mike. He wanted and needed to challenge himself. So Mike embraced and mastered the new technology. That’s something other artists never did. Unlike Mike, they ceased to be relevant. Thirty years after Mike Oldfield released Crises, he’s still relevant and striving to innovate and to create music that’ll push musical boundaries to their limits. Standout Tracks: Moonlight Shadow, In High Places, Foreign Affair and Taurus 3.
MIKE OLDFIELD-CRISES.
BRAZILIAN BEATS 7.
BRAZILIAN BEATS 7.
For lovers of Latin music, one of the most eagerly awaited compilation series is Mr. Bongo Records’ Brazilian Beats. The first installment of this critically acclaimed compilation series was released thirteen years ago, back in 2000, just as the new millennia dawned. Little did Mr. Bongo Records realize that they’d launched one of the most successful compilation series of recent years, one which helped popularise Brazilian music.
The next volume, Brazilian Beats 2, was released a year later in 2001. Volume 3 followed in 2002, with volume 4 released in 2003. Then after a gap of two years, 2005 saw the release of volumes 5 and 6. Since then, apart from a box set containing each volume of Brazilian Beats, there’s been no further volumes of Brazilian Beats.
Eight years have passed and Mr. Bongo continued to release cutting-edge music. What had been one of the most eagerly anticipated compilation series, it seemed, was no more. Wrong. All of a sudden, Mr. Bongo were about to release Brazilian Beats 7.
After a short delay, Brazilian Beats 7 was released. During that time, I wondered whether Brazilian Beats 7 would match the quality of the six previous volumes? The last anyone wanted was for our memories of this critically acclaimed series being tarnished. However, we shouldn’t have worried. Mr. Bongo have dug deep, in their quest for the best in old and new Brazilian music.
Featuring twenty tracks, Brazilian Beats 7 is an exploration in the best in Brazilian music. There’s contributions from new names and familiar faces. Among them are Karol Conká, Cláudia, SamJazz, Junior Com Orquestra E Coro, Arnaud Rodrigues, Cizinha and Jackson Conti. These are just a few of the artists that feature on Brazilian Beats 7, which attempts to pick up where volume 6 left off. However, does Brazilian Beats 7 match the quality of Brazilian Beats 6? That’s what I’ll tell you.
Providing a refreshing start to Brazilian Beats 7, is Karol Conká’s Boa Noite. Karol is part of a new generation of Brazilian artists. Mr. Bongo Records will shortly release Karol’s new album, Batukfreak. Boa Noite which was a You Tube hit, is a fusion of hip hop, Baile Funk, trap and dub. Produced by Nove, it’s a groundbreaking, genre-melting track.
From the opening bars of Som Sete’s Esquindindin, you realize something special is unfolding. A slice of aural sunshine, is the best way to describe this samba classic.
Djavan’s career began in 1976, when the released his debut album A Voz, O Violao, A Musica De Djavan. Released on the Som Livre label, it was the start of a long and successful career that’s spanned four decades. Two years later, in 1978, Djavan received his eponymous sophomore album on EMI. fusion of soul, jazz, easy listening and Bossa Nova, there’s even an African influence to his music. One of the highlights of Djavan was Nereci. Soulful, joyous and jazzy, the addition of vocalist Mariznha is the finishing touch to what is one of the highlights of Brazilian Beats 7.
Cinematic, compelling and genre-sprawling describes Odair Cabeça De Poeta’s Isso É Bonito. It’s a real hidden gem, from s Odair Cabeça De Poeta’s second and final album A Forronatica E O Forramba. Released in 1976 it’s a melting pot of influences and genres. Everything from Brazilian, jazz, folk, funk and Afrobeat is thrown into the melting pot. Given a stir, the result is an irresistible and delicious hidden gem.
During Abilio Manoel’s career, he only released a trio of albums and a quartet of singles. In 1972, he released an E.P. for the Odeon label. The A-Side featured Rei De Ouros and Tua Chegada om. Tucked away on the B-Side was Luiza Manequim and Depois Eu Digo. Luiza Manequim reinforces by belief that you should always check out a B-Side. It also features on Abilio Manoel’s sophomore album Entre Nos. A timeless, emotive and dramatic soulful fusion of soul, jazz and Latin music, why this track was only a B-Side is beyond me?
Coaty De Olivieira’s Caminho Livre is a pulsating, percussive disco track that bursts into life. It’s impossible to keep still, during what’s essentially a call to dance. This was a track from Coaty’s 1975 debut album Le Forro Bresilein. It was released on the Mason Conseil label. A glorious fusion of samba and disco, this track is still guaranteed to fill a dance-floor.
Without doubt the most leftfield choice on Brazilian Beats 7 is Zapata’s A Mesa Santa. Released on the Odeon label in 1971, gospel meets psychedelia and sixties rock. Gospel harmonies give way to a lysergic fusion of Hendrix-esque guitars and a vocal that’s akin to an cathartic exorcism. Add to that, thunderous drums and gospel tinged harmonies. The result is best described as Brazilian psychedelic gospel. So good is this track, it’s worth buying Brazilian Beats 7 just for A Mesa Santa.
One of the oldest tracks on Brazilian Beat 7, is the Jorge Autuori Trio’s Autorizando. Taken from their sophomore album The Jorge Autuori Trio Volume 2, which was released in 1968 on the Rozenbilt label. A year later, in 1969, The Jorge Autuori Trio released their third and final album Ovalo. This hard driving example of Bossa Nova shows what Brazilian music lost when the Jorge Autuori Trio called time on their career.
Quarteto Novo’s Misturada featured on a 1965 compilation Introducao, which was released on the Rozenbilt label. Two years later, when Quarteto Novo released their 1967 eponymous debut album on Odeon, this Bossa Nova classic was one of the highlights. It showcased an innovative and inventive band, who sadly, released just one album.
My final choice from Brazilian Beats 7, is Mestre Bimba’s Corridos. This is a track from his 1969 album Curso De Capoeira Regional, which was released on RC Discos. Mestre Bimba who was born in Salvador, Bahia, where he was a master of the Brazilian martial art Capoeira. Here, he draws musical inspiration from Capoeira. He delivers a corrido, which is sung during a Capoeira. Mestre Bimba sings call and response with the Academia Regional choir. They sing in toungues, while a single-string Berimbau contributes the hypnotic rhythms. Together, they play their part in one of the most compelling, mesmeric tracks on Brazilian Beats 7.
For anyone who loves Brazilian music, and are fed up with predictable compilations, then Brazilian Beats 7 is a compilation that deserves to take its place in your collection. It features twenty-tracks that showcase all that’s good about Brazilian music. Just as importantly, Brazilian Beats 7 matches the quality of previous installments in this critically acclaimed compilation series. New names and familiar faces feature on Brazilian Beats 7. Among them are Karol Conká, Cláudia, SamJazz, Junior Com Orquestra E Coro, Arnaud Rodrigues, Quarteto Novo and Mestre Bimba. These artists play their part in what is an eclectic compilation of quality Brazilian music. It seems that the good people at Mr. Bongo Records dig deeper than your average compiler.
While some of the tracks on Brazilian Beats 7 will be new to new to all but the most discerning connoisseurs of Brazilian music, this is no bad thing. After all, it’s the first step on a voyage of discovery. Once you’ve heard Brazilian Beats 7, you’ll want to hear more of this wonderful music. To do that, I’d recommend Mr. Bongo’s Brazilian Beats, an eight-disc box set. That includes the six previous volumes of Brazilian Beats. That’s the perfect introduction to the different styles of Brazilian music.
Mr. Bongo’s Brazilian Beats, just like Brazilian Beats 7, is best described as eclectic. Everything from bossa nova, samba, soul, funk, jazz, rock and psychedelia can be heard on Brazilian Beats 7. This is a world away from most of the tired and predictable compilations of Brazilian music released in recent years. Instead, the music on Brazilian Beats 7 is innovative and eclectic. Brazilian Beats 7 also joyous, uplifting and irresistible. It’s a welcome return for the the Brazilian Beats series. After eight years away, the Brazilian Beats compilation is back and back with a bang with Brazilian Beats 7, the latest in what is one of the best compilations of Brazilian music money can buy. Standout Tracks: Som Sete Esquindindin, Djavan A Voz, O Violao, Jorge Autuori Trio Autorizando and Quarteto Novo Misturada.
BRAZILIAN BEATS 7.
CALL TO MIND-A FAMILY SKETCH.
CALL TO MIND-A FAMILY SKETCH.
Glasgow’s Olive Grove Records look like they’ve hit the jackpot with their latest signing Call To Mind. Why? Well, this is a band with a big future. One listen to their latest single A Family Sketch, which was released on Olive Grove Records on 28th October 2013, and you’ll realize that. Call To Mind have been influenced by an eclectic selection of artists, including Sigur Ros and Kate Bush. That’s no surprise. These influences shine through on A Family Sketch, which is an exquisite example of ethereal beauty. A glacial soundscape, A Family Sketch is musical perfection from Call To Mind, who remain one of Scotland’s best kept musical secrets.
Formed in Ardersier, in the Highlands of Scotland, Call To Mind are a five piece band, who are now based in Glasgow. The lineup includes Martin Ross and Jamie Ross, Andrew Masson, Joe Smillie and Steve Gribbin. Drawing inspiration from their musical influences, Call To Mind bring a new meaning to the word eclectic. Call To Mind have established a reputation for producing dramatic, glacial and ethereal soundscapes. In some ways, this could also be reflection of their Highland roots. These soundscapes were first heard on Call Of Mind’s debut E.P.
Their eponymous E.P, Call Of Mind was released in March 2010. On its release, critics recognized Call To Mind’s talent and ability to innovate. This was music of substance, cerebral, multi-textured music. Layers of music unfold, while subtleties and nuances reveal themselves. Since then, Call Of Mind have spent the last three years honing their sound.
During the last few years, Call To Mind have been compared to Doves, Radiohead and Joy Division. Then there’s the influence of Sigur Ros and Kate Bush. To that I’d add Brian Eno, The Bathers and Cocteau Twins. Indeed, a myriad of influences play their part in the music of Call To Mind. A Family Sketch, which I’ll tell you about, is an introduction to Call Of Mind.
A Family Sketch meanders into being. Dramatically, this ethereal soundscape unfolds. Guitars chime, while washes of dramatic synths play their part in this moody, melancholy opus. Reminiscent of Penguin Cafe Orchestra, the track evolves and further influences reveal themselves. A ponderous bass is added, before the vocal is akin to a cathartic outpouring of emotion and frustration. Elements of ambient, jazz and indie pop. By then the arrangement has become ethereal, glacial and wistful. Growing in power and potency, this outpouring of emotion is accompanied by searing guitars, harmonies and bubbling keyboards. This results in the track heading in the direction of post-rock. A mesmeric, ethereal and cerebral fusion of influences, this glacial, genre-melting track, A Family Sketch is the perfect introduction to Call To Mind.
Call To Mind are unlike many other bands. Their music can variously be described as ethereal, glacial, enigmatic, minimalist, melancholy and pensive. A Family Sketch is a fusion of ambient, indie rock, jazz, indie pop and soulful vocals. The artists that have influenced Call To Mind’ are just as varied. Listen carefully and you’ll hear Sigur Ros, Astrid Williamson, Bartok, Blue Nile, Brian Eno, Cocteau Twins, Jerry Burns, and Kate Bush. Such a diverse and eclectic range of influences make for music that’s intriguing and compelling.
Indeed, from the opening bars of A Family Sketch to the closing notes, you’re spellbound. Layer upon layer of multi-textured, genre-sprawling music toys with your emotions. Intrigued, you wonder where Call To Mind are taking you? It’s like a musical journey, during a cinematic soundscape. Veering between ethereal and beautiful, this glacial soundscape, A Family Sketch is musical perfection from Call To Mind, who are one of Scotland’s best kept musical secrets.
CALL TO MIND-A FAMILY SKETCH.
GHOSTCHANT-LAID TO REST.
GHOSTCHANT-LAID TO REST.
GhostChant’s Laid To Rest E.P. is a tantalising taste of his debut album Sincerity, which will be released in the spring of 2014. Laid To Rest is also a showcase for one of Britain’s best up-and-coming producers, GhostChant. Joe Cornell, man behind GhostChant, is a remixer and producer whose production skills are highly sought after. So are GhostChant’s DJ-ing skills.
Initially, GhostChant made his name in his hometown of Liverpool. GhostChant provided the soundtrack to the city’s best parties. Best known for his fusion of trippy, lysergic, futuristic garage and bass heavy, deep house GhostChant’s guaranteed to get the party started. That’s why recently, GhostChant’s been DJ-ing further afield. Los Angeles, Beijing and New Delhi have been won over by GhostChant.
During the last few years, GhostChant has won over audiences at some of the biggest festivals and opened for a whole host of artists. This included an appearance at SoundCity Festival, plus opening for Maribou State, Slow Magic, Giraffage and Dirty Beaches. Then at the GIT Awards, GhostChant, accompanied by The Sense Of Sound choir, orchestrated a barnstorming live remix of Jetta’s Start A Riot at the GIT Awards. Onlookers who were aghast at this mesmeric performance, wondering what GhostChant was capable of within a studio? Now they get the opportunity to discover what the multitalented GhostChant is capable of.
Laid To Rest was chosen as the lead single from GhostChant’s debut album Sincerity. The Laid To Rest E.P. features the LP version, plus three remixes. This includes the Banga Tang Remix, Chimpo Remix and Kolectiv Remix. These three remixes of Laid To Remix bring new life and meaning to the original, which I’ll tell you about.
Over five-minutes, Laid To Rest reveals a myriad of secrets. GhostChant has surprises in store. The first is the unmistakable sound of worn, crispy vinyl. This grabs your attention. GhostChant adds deliberate, plucked strings, drum ‘n’ bass drums and a heartfelt, questioning vocal. It’s akin to an outpouring of hurt and heartache. All the time, space is left within the arrangement. As drums crack, strings are plucked and the vocal echoes and soars dramatically. At the perfect moment, GhostChant adds dancing strings, sci-fi synths. They play in important part in the arrangement, buzzing and beeping as they drive the arrangement along. Soulful, heartfelt, dramatic, moody and innovative, it’s a tantalising taste of GhostChant’s debut album Sincerity.
As for the other remixes of Laid To Rest, they all bring something new to the track. The Banga Tang Remix is dance-floor friendly, dubby and moody. Echo, filters and hip hop scratches are added, transforming parts of the original track, but at the same time, staying true to the original.
The Chimpo Remix is very different from the Banga Tang Remix. It might be dark and edgy, but it’s guaranteed to light up any dance-floor. A mixture house, techno and electronica, it’s the best of the three remixes, transforming Laid To Rest into a pulsating, anthemic dance track.
Kolectiv is the last remixer to remix Laid To Rest. Again, the Kolectiv Remix transforms the original. It becomes a slice of moody, minimalist Gothic electronica, where trip hop, drum ‘n’ bass, soul and techno are thrown into the melting pot by Kolectiv. Add to that a myriad of beeps and squeaks, and the result is glorious pot pourri of musical influences.
The three remixers take Laid To Rest in ways that I’m sure even GhostChant never imagined. Tthree tracks all offer something imaginative, inventive and innovative. It never ceases to amaze me how remixers can produce something new and vibrant from the same stems. To be able to do that, they deserve the utmost credit. It’s good to hear a new breed of remixers getting the opportunity to remix high profile tracks. For me, it makes a change from the same old faces producing the same predictable remixes. This new breed of gunslingers who remixed Laid To Rest, are the future of remixing. As for GhostChant, he looks like enjoying a successful career.
Laid To Rest E.P. is a tantalizing taste of GhostChant’s debut album Sincerity, which will be released in the spring of 2014. It’s also a showcase for one of Britain’s best up-and-coming producers, GhostChant. Joe Cornell, man behind GhostChant, is one of a new generation of producers. His remixing and production skills are highly sought after. So too will his debut E.P. Laid To Rest, which will soon be released by BBE Music.
If the rest of GhostChant’s debut album Sincerity is as good as Laid To Rest, then Sincerity will be an album to cherish. Until then, you can enjoy Laid To Rest, the perfect primer to GhostChant, an innovative, inventive and groundbreaking DJ, remixer and producer, whose raison d’etre is to create the music of the future, today.
GHOSTCHANT-LAID TO REST.
THE SALSOUL ORCHESTRA-MAGIC JOURNEY.
THE SALSOUL ORCHESTRA-MAGIC JOURNEY.
By 1977, The Salsoul Orchestra had established their reputation as disco’s premier orchestra. They’d been formed in 1975, and had already released a trio of albums, where disco, Philly Soul, funk, jazz, Latin and classical music were seamlessly fused. Much of the emphasis was on individual members stepping into spotlight and showcasing their considerable skills. With so many talented musicians in The Salsoul Orchestra’s lineup, their was abundance of talent. Baker, Harris, Young provided the rhythm section, Bobby “Electronic” Eli played guitar, Larry Washington congas and percussion while Vince Montana Jr played vibes. Add to that a full horn, string and woodwind section. The finishing touch were the legendary Philadelphia trio of backing vocalists, the Sweethearts of Sigma, who took charge of vocal duties. That’s why The Salsoul Orchestra was so successful.
Founded and lead by vibes virtuoso Vince Montana Jr, who wrote, arranged, conducted and produced much of The Salsoul Orchestra’s music, it seemed they could do wrong when they were about released their fourth album Magic Journey in 1977. After all, their three previous albums had proved commercially successful, innovative and provided the soundtrack to many dance-floors. Would The Salsoul Orchestra’s fourth album Magic Journey which was recently released by BBR Records, continue this run of commercial success and critical acclaim?
Two years before the released Magic Journey in 1977, The Salsoul Orchestra released thir 1975 eponymous debut album The Salsoul Orchestra. It had reached number twenty in the US Billboard 200 and number fourteen in the US R&B Charts, selling a million copies in the process. In 1976, The Salsoul Orchestra released two albums. Nice ‘N’ Nasty reached number sixty-one in the US Billboard 200 and number twenty-three in the US R&B Charts. Then following in the tradition of artists like Phil Spector, The Salsoul Orchestra released their classic Christmas album Salsoul Jollies, which reached number forty-eight in the US Billboard 200 and number thirty-eight in the US R&B Charts. The Salsoul Orchestra it seemed, could do wrong. When The Salsoul Orchestra released their fourth album, Magic Journey, they were hoping to continue this run of successful albums.
For The Salsoul Orchestra’s fourth album Magic Journey, nine tracks were chosen. This included cover versions and new material. Of the Salsoul personnel, Vince Montana Jr, contributed three tracks. He wrote Magic Bird of Fire and cowrote Runaway and It’s A New Day With Janice Gugliuzza and Ronnie James. Vince also arranged covers of the folk song Guantanamera and Andre Mathieu and Victor Vogel’s Theme From Montreal Olympics, 1976: Farewell Song and Ballet of the Closing Ceremony. This would prove a controversial choice of song to cover. Other tracks included a cover of the Short Shorts, given a seventies makeover, plus Pasquale Spino’s Journey To Phoebus and Alpha Centuri, written and arranged by Peter De Angelis. So Magic Journey included an intriguing and eclectic collection of tracks that The Salsoul Orchestra recorded at Philly’s Sigma Sound Studios.
When The Salsoul Orchestra arrived at Sigma Sound Studios, a few familiar faces were missing. Usually, Baker, Harris, Young provided the rhythm section. This time, only drummer Earl Young was present. Earl was joined by bassists Michael “Sugarbear” Foreman, Gordon Edwards and Jimmy Dejulio, while Charles Collins also played drums. Guitarists included Bobby “Electronic” Eli, T.J. Tindall and Ronnie “The Hawk” James. Giving Magic Journey its percussive sound were Larry Washington, Crusher Bennet and Peter “Choki” Quintero who added congas, bongos and timbales, while Vince Montana Jr played vibes, timpani, wind chimes, bells and marimba. Ron “Have Mercy” Kersey and Cotton Kent played keyboards. Violinist Don Renaldo and flautist Jack Faith were part of a fill string, woodwind and horn section. Adding backing vocals and harmonies were Barbara Ingram, Carla Benson and Evette Benton, The Sweethearts of Sigma. Arranging, conducting and producing Magic Journey was Vince Montana Jr, which was released in 1977.
On the release of Magic Journey in 1977, it reached number sixty-one the US Billboard 200 and number fifty-one in the US R&B Charts. The title-track, Magic Journey was released as a single, reaching number three in the US Dance Music/Club Play Charts. Then Getaway was released as a single, reaching number thirty-three in the US R&B Charts. Incredibly, Runaway featuring Loleatta Holloway’s classic vampish vocal, wasn’t released as a single. So, Magic Journey wasn’t as commercially successful as previous albums by The Salsoul Orchestra, but was the music as good as on previous albums?
Opening Magic Journey is It’s A New Day, written by Vince Montana Jr, with Janice Gugliuzza and Ronnie James. The arrangement bursts into life with the familiar sound of The Salsoul Orchestra. This means a pulsating disco beat courtesy of the rhythm section, dancing strings, flourishes of keyboards, a myriad of percussive delights and rasping horns. They drive the joyous arrangement along, providing a dance-floor friendly, infectiously catchy, joyful sound. What really makes the track are the harmonies. They’re punchy, urgent and soulful. Especially thanks to the Sweethearts of Sigma’s contributions. Like previous albums, they’re at the heart of the song’s joyful, hopeful and hook-laden sound, as disco, Philly Soul, Latin music and jazz unite.
Short Shorts was a track that puzzled critics. It’s a three-minute cover of song released in 1960, albeit with the lyrics changed to include band members. It’s like a trip back in time, to the late-fifties, early-sixties. There’s everything from R&B, surf music and jazz included. Think the hot rod and surf sound and you’re getting there. WIth the sound of an engine gunned, sassy harmonies from the Sweethearts of Sigma join a driving rhythm section, piano and bursts of blazing saxophone. Not only do they help drive the track along, but they help conjur up the sound of California from over fifty years ago. Surfing, hot roads, sandy beaches and drives-ins all come to mind during this three minutes trip back in time. Although sniffy seventies music critics fixated on west coast rock music didn’t like the track means nothing. Instead, it’s a vintage sounding slice of musical sunshine, guaranteed to put a smile on your face.
Runaway saw The Salsoul Orchestra joined by the legendary diva Loleatta Holloway. Although it wasn’t released as a single, it’s since become a stonewall classic. Opening with Earl Young’s thunderous drums at the heart of the rhythm section, quickly, the introduction grows. Rasping horns, swirling strings and percussion accompany Loleatta. Her vocal is confident, defiant and powerful, while powerful drums punctate the arrangement and lush strings cascade. Vince lays down one of his best vibes solos, and with the chiming guitar sound, you’re in disco heaven. The arrangement sweeps along, with its potent combination of dramatic horns and drums, while percussion, vibes and strings provide a contrast. What makes the track is Loleatta’s vocal, as she confidently and defiantly vamps her way through a genuine and timeless disco classic.
A cover of the folk song Guantanamera might seem a strange choice for The Salsoul Orchestra. However, their talents could transform a track totally. Congas, bongos and a plucked harp combine, before the rhythm section, swathes of lush strings and Vince Montana Jr’s vibes take charge. Horns growl, then tender harmonies sweep in. Soon, a delicious fusion of musical styles unfolds. There’s everything from disco, Latin, lounge, jazz and even Caribbean music. Later, Jack Faith adds a flute solo, before layers of strings, growling horns and a myriad of percussion bring new life and meaning to an old song.
Probably the most controversial inclusion on Magic Journey was Andre Mathieu and Victor Vogel’s Theme From Montreal Olympics, 1976: Farewell Song and Ballet of the Closing Ceremony. Critics argued that The Salsoul Orchestra’s traditional soulful sound was sacrificed at the altar of classical music. The counter argument is that with its classical influence, especially the layers of sad, emotive strings at the heart of the arrangement was innovating and challenging and educating listeners. Along with flourishes of harpsichord, healthy sprinklings of percussion, a slow melancholy heartbeat from the rhythm section and the haunting addition of woodwind instruments it was an innovative, challenging track. It took some listener’s in a new direction. Maybe Vince Montana Jr, wanted to educate, as well as innovate. In the process, he allowed the musicians to demonstrate their versatility and considerable talents. That’s no bad thing.
What was Side Two of Magic Journey, opens with Getaway. Just subtle bongos and congas open the track. Then The Salsoul Orchestra get down to creating an uber funky track. This means the rhythm section, blazing, braying horns and layers of sweeping swirling strings. They join percussion, wah-wah guitars and keyboards. Horns growl, soaring above the arrangement as searing guitars and cascading strings demonstrate just why The Salsoul Orchestra were by 1977,disco’s premier orchestra. They’re at their best when they kick loose. Here, they fuse funk, jazz, disco and even rocky guitar licks, creating a peerless, funky Magnus Opus.
Magic Bird of Fire was the only track on Magic Bird written by Vince Montana Jr. There’s a real sinister, moody sound, thanks to the strings and grizzled horns. The rhythm section and percussion provide a pulsating, dramatic heartbeat as quivering, shivering strings provide a haunting contrast. A jangly boogie woogie piano adds another contrast and layer as the drama builds and builds. Eventually, it reaches a dramatic climax, then rebuilds, allowing you to enjoy this musical journey again. Again, it’s like the soundtrack to a film. Vince Montana Jr and the rest of The Salsoul Orchestra paint pictures, reminiscent of something Alfred Hitchcock in his prime would’ve produced.
As Journey To Phoebus begins you realize something special is unfolding. Gradually, the drama builds. Cinematic strings, growling horns, wah-wah guitars and a rhythm section that injects a dramatic, pulsating heartbeat. A myriad of percussion, melancholy, wistful woodwind and grizzled horns join bursts of thunderous drums. It’s not unlike the soundtrack to a seventies Blaxploitation movie, albeit one that’s yet unmade. A haunting, sinister vocal is added, before The Salsoul Orchestra continue painting pictures, pictures that are dramatic, moody and funky with a capital F. The result is one of the highlights of Magic Journey.
Closing Magic Journey, The Salsoul Orchestra’s fourth album is Alpha Centuri. The tempo drops, floaty strings, flourishes of harp and a sprinkling of percussion combine with lush strings. The Earl Young’s drums add pounding disco beat, while Bobby “Electronic” Eli adds his trademark guitar sound. What really makes the track is the strings, sweeping and swirling, providing a beautiful, elegant backdrop. Ethereal vocals are added as the drama builds, and the the rhythm section, braying horns and percussion join the lush strings in ensuring this Magic Journey ends in a hauntingly beautiful, ethereal but dramatic high.
While Magic Journey, The Salsoul Orchestra’s fourth album divided opinion among critics at the time, that has to be taken in context. Many critics weren’t fans of disco. Instead, they still were fixated on washed out sixties stars, West Coast rock and the first wave of punk music. To them, disco was the antithesis of their idea of what was fashionable and what people should be listening. They’d set themselves up as arbiters of taste and musical fashion. Given the power they had, they should’ve realized responsibility comes with it. What these reviewers missed, was a genre-sprawling album.
Over nine tracks, The Salsoul Orchestra fused disco, Philly Soul, funk, jazz, Latin and classical music. Like previous albums, The Salsoul Orchestra, lead by Vince Montana Jr, lead the way for disco orchestras. Others may have tried to replicate the sound of The Salsoul Orchestra, but they were fearless trailblazers and innovators. Although they strayed from their previous sound on a couple of tracks, this was quite brave. It took real courage, risking incurring the wrath of acerbic, Cyclopean critics. Although Magic Journey wasn’t The Salsoul Orchestra’s most successful album, it saw The Salsoul Orchestra lay down a gauntlet and challenge their listeners. The challenge was accepting and understanding a complex fusion of music. Despite the critics saying Magic Journey lacked the Philly Soul sound of previous albums, if they’d released similar albums to The Salsoul Orchestra and Nice ‘N’ Nasty they’d have been criticised as releasing formulaic music. Like musicians and especially innovative musicians, The Salsoul Orchestra were dammed if the do, dammed if they don’t. Instead, The Salsoul Orchestra, lead by its brave and innovative took their listeners on a Magic Journey that crossed musical genres, as they started the next chapter in the Salsoul Records’ story. Standout Tracks: It’s A New Day, Runaway, Getaway and Magic Bird of Fire.
THE SALSOUL ORCHESTRA-MAGIC JOURNEY.
LOLEATTA HOLLOWAY-LOVE SENSATION.
LOLEATTA HOLLOWAY-LOVE SENSATION.
There’s a certain symmetry that in return for Loleatta Holloway adding a vocal on what became one of Dan Hartman’s biggest hit singless, Relight My Fire, that Dan returned this favor by writing one of Loleatta’s most successful singles, Love Sensation. This story starts back in 1979, when Dan Hartman was about to record his third album Relight My Fire. He’d written a track and wanted one of his favorite vocalists to add a vocal. The track was Relight My Fire and the vocalist he wanted to sing it, was Loleatta Holloway. Having spoked to Loleatta’s husband Floyd Smith, and then Ken Cayre, one of the co-owners of Salsoul Records, an agreement was reached. Loleatta would sing Relight My Fire and Dan would produce a track for Loleatta’s next album. Dan Hartman kept his word and wrote a track that wasn’t just a stonewall disco classic, but became synonymous with Loleatta Holloway and gave her one of the biggest hit singles of her career. Love Sensation was penned and produced by Dan Hartman and was also the title-track of what was Loleatta Holloway’s fourth and final album for Gold Mind Records. Once I’ve told you about the background to Love Sensation,which was recently rereleased by BBR Records, I’ll tell you if Love Sensation was a fitting finale to the undisputed Queen of Disco’s career at Gold Mind Records?
Although Dan Hartman penned and produced Love Sensation, the other seven tracks on Love Sensation followed a similar pattern to Loleatta’s previous album Loleatta Hollaway. This meant the songs were split between Salsoul personnel and outside songwriters and producers. In total, four separate producers or production teams played their part in the making of Love Sensation at four separate studios.
Three of the tracks were produced by Norman Harris, who by 1980, was almost a Salsoul veteran. Despite the many changes at Salsoul, Norman was still there. Norman Harris arranged Love Sensation for Dan Hartman, and arranged and produced three other tracks. This included I’ll Be Standing There, which he cowrote with ex-Temptation Ron Tyson. The other two tracks Norman produced were Long Hard Climb To Love written by Michael and Richard Berardi and Two Became A Crowd, penned by Gary Knight and Gene Allan. While Norman produced three of the tracks,
Of the other four tracks, Floyd Smith, Loleatta’s husband produced the cover of I’ve Been Loving You Too Long, which was written by Otis Redding and Jerry Butler. The other three tracks were arranged and produced by Patrick Molten and Bobby Womack. Two of these tracks, Short End of the Stick and Dance What ‘Cha Wanna were written by Bobby and Cecil Womack. Bobby Womack also cowrote My Way with Noel Resnick.
Recording of Love Sensation took place at four different studios. Three tracks were recorded at Sigma Sound in Philly. At The Schoolhouse, Dan Hartman recorded the title-track Love Sensation. Other sessions took place at Muscle Shoals Sound Studios and Universal Recording Studio in Chicago. With sessions taking place in four different studios, different musicians and backing singers were used. This includes drummers Keith Benson and Roger Hawkins, bassists Jimmy Williams and Gordon Edwards and guitarists Norman Harris, T.J. Tindall, Bobby Womack and Kim Miller. They were joined by conga players Larry Washington and keyboard player Cotton Kent. Adding strings were Don Renaldo and His Strings and Horns and at the other session, Patrick Moten and His Strings and Horns. Legendary Philly backing vocalists the Sweethearts of Sigma, Barbara Ingram, Evette Benton and Carla Benson, feature on the three Norman Harris’ produced tracks. Eventually, Love Sensation was ready for release on Gold Mind Records in 1980.
When Love Sensation was released in 1980, the Dan Hartman penned title-track gave Loleatta one of the biggest hits of her career. It reached number one in the US Dance Music/Club Play Singles charts. Sadly, Love Sensation the album didn’t repeat the success of its namesake. Love Sensation failed to chart in the post-disco musical landscape. However, why did Love Sensation fail to make an impression on the US Charts when the single Love Sensation fared so well? That’s what I’ll tell after I’ve told you about the music on Love Sensation.
Opening Love Sensation is the number one club hit Love Sensation, penned and produced by Hartman and arranged by Norman Harris. Nine years after its release, Love Sensation was “sampled” by both Black Box on Ride On Time and Good Vibrations by Marky Mark and The Funky Bunch. in 1989 While both tracks were huge commercial successes, neither can match the original. Here, Loleatta Holloway demonstrates why she as the true Queen of Disco. Opening with a combination of rhythm section, percussion, piano and cascading strings, so familiar is the track you anticipate the entrance of Loleatta’s strutting, powerful vocal. Accompanied by swirling strings, rasping horns and a punchy rhythm section, Loleatta delivers one of her trademark vocals. Her voice becomes an impassioned roar, while backing vocalists accompany her. The remix is a myriad of the lushest strings combined with dramatic drums and blazing horns, with Loleatta’s powerful, sassy vocal key to the track’s timeless, dramatic sound and huge commercial success.
Long Hard Climb to Love is the first of the trio of tracks Norman Harris arranged and produced. He had an enviable track record of success with Loleatta, and could bring out the best in her. This track demonstrates this. Just a piano, wistful woodwind and bursts of growling horns combine with strings to provide an emotive backdrop for Loleatta’s vocal. Her heartfelt vocal is laden with emotion, with the Sweethearts of Sigma adding tender harmonies. Loleatta’s vocal grows in power as she breathes life and meaning into the lyrics. Drums add to the drama and horns to the emotion. So do the woodwind, harmonies and piano as Loleatta rediscovers her Southern Soul roots, mixing power, passion, drama and emotion peerlessly.
There’s a change of producer on Short End of the Stick. Bobby Womack and Patrick Molten take over production duties on a track that’s funky, full of hooks and dance-floor friendly. A slapped bass is joined by Loleatta’s soaring, sassy vocal. She’s accompanied by lush, cascading strings, a tough, funky rhythm section and testifying backing vocalists. Elegant strings dance with delight, while Loleatta vamps her way through the track with backing vocalists for company. Disco and funk are fused as Loleatta delivers a vocal tour de force that results in a timeless dance track.
I’ve Been Loving You Too Long sees the Bobby Womack and Patrick Molten production team take charge of this cover of a track made famous by Otis Redding. The song’s slowed way down, and given a dramatic makeover. Just a guitar drums combine dramatically before rasping horns and shivering strings enter. They accompany Loleatta’s impassioned, powerful vocal. Her delivery is full of feeling, as if realizing that given how good the original was, she must deliver something special. This she does. Not only is her delivery brimming over with emotion, power and drama, but it’s soulfulness personified. Quite simply, Loleatta pays a fitting and moving homage to Otis Redding, who recorded and cowrote this track.
Norman Harris return to the producer’s chair on Two Became a Crowd. Just a pounding bass is joined by bursts of drums and growling horns and Norman’s chiming guitar. Then shimmering, strings sweep in, as if announcing the arrival of Loleatta’s vocal. Her vocal is tinged with sadness and regret. Reflecting this are the Sweethearts of Sigma, who add emotive, soulful harmonies. Wistful horns, quivering strings and keyboards punctuate the arrangement. Later, they accompany Loleatta as she adds a heartfelt, half-spoken vocal, her voice full of hurt and heartbreak. As her vocal grows in power and passion, the Sweethearts of Sigma accompany Loleatta as this epic track reaches a dramatic and emotive crescendo.
Cecil and Bobby Womack cowrote two tracks on Love Sensation, and Dance What ‘Cha Wanna is the second of these tracks. A driving, uber funky rhythm section is joined by sweeping, swirling strings before the undisputed Queen of Disco makes her grand entrance. Loleatta’s vocal is a powerful, sassy and feisty vamp with punchy backing vocals accompanying her. The pounding rhythm section, powered along by the funky bass, join piano and cascading strings. They’re key to the track’s sound and success. Later, Loleatta demands horns. Growling horns she gets. They briefly punctuate the arrangement as the piano, dancing strings and rhythm section provide the backdrop to Loleatta’s vocal masterclass.
My Way is another track Bobby Womack cowrote, this time with Noel Resnick. A slow, spacious rhythm section combine with synths, blazing horns and searing guitars. They buildup the drama before Loleatta’s vocal enters. Her vocal is laden with a mixture of emotions. Sadness and regret gives way to hope and confidence. As Loleatta’s vocal soars powerfully, backing vocalists match her every step of the way. They reflect the emotion and drama in her voice. Later, a blazing saxophone adds what’s the finishing touch, as Loleatta sings call and response with her backing vocalists. This is quite fitting given Loleatta’s gospel roots, that shine through.
Closing Love Sensation is I’ll Be Standing There, which Norman Harris and Ron Tyson cowrote. Norman arranged and produced the track, which quite simply, is one of the highlights of Love Sensation. From the get-go, you realize something special is unfolding. The rhythm section, piano and rasping horns combine before Loleatta’s vocal enters. Her vocal grows in power and passion, while the Sweethearts of Sigma adding cooing, sweeping harmonies and handclaps. Their harmonies then soar, matching Loleatta for drama, power and soulfulness. Layers of the lushest strings dance with joy, horns growl and rasp as the rhythm section provide the track’s pulsating heartbeat. Along with the Sweethearts of Sigma’s glorious harmonies they provide the perfect backdrop for Loleatta’s powerhouse of a vocal. The result is an irresistible and hook-laden track, which quite simply, is the highlight of Love Sensation.
When Loleatta’s fourth and final album Love Sensation was released in 1980, it didn’t replicate the success of previous albums. Neither did it match the success of the lead single and title-track Love Sensation. The Dan Hartman penned and produced single reached number one in US Dance Music/Club Play Singles charts. There was nothing whatsoever wrong with the other seven tracks on Love Sensation. Indeed, each of the eight tracks on Love Sensation features Loleatta Holloway at her very best. From the opening bars of Love Sensation, right through to I’ll Be Standing There Loleatta veers between disco and soul. Whether it’s Loleatta Holloway disco diva, or Loleatta revisiting her Southern Soul roots, she’s just as comfortable. This was the same combination as Loleatta’s three previous albums, Queen of the Night, Loleatta and Loleatta Holloway. So it wasn’t as if Loleatta had changed direction musically. What had changed was music.
Disco was no longer as popular. Indeed since the Disco Sucks’ backlash, neither record companies, nor record buyers, were as interested in disco. Indeed, some record companies dropped disco artists and disco records. Salsoul and Gold Mind Records, which released Love Sensation, had established a reputation as a disco labels. Following the commercial failure of Love Sensation, worse was to come for Loleatta.
Salsoul ceased trading in the mid-eighties, leaving her without a record label. Then tragedy struck. Floyd Smith, Loleatta’s husband died in 1984. After this, Loleatta Holloway signed to Streetwise Records, owned by producer Arthur Baker. Loleatta released Crash Goes Love later in 1984, which gave her a minor US R&B hit single. For the rest of the eighties and nineties, released tracks for various dance labels. By then, her vocals had become a favorite of producers. They relentlessly “sampled” her vocals. Loleatta’s vocal can be heard on both Black Box’s on Ride On Time and Marky Mark and The Funky Bunch’s Good Vibrations. Ironically, Good Vibrations indirectly gave Loleatta Holloway the number one, million-selling single that eluded her. Sadly, on 21st March 2011, Loleatta Holloway passed away, aged just sixty-four. Loleatta Holloway leaves behind a back-catalogue that demonstrates just why, she was the true and undisputed Queen of Disco. Others may tried to steal her crown, but for evermore, Loleatta Holloway will remain the Queen of Disco. Her fourth and final album, Love Sensation which was recently released by BBR Records, is proof of this, if any was needed. Standout Tracks: Love Sensation, Long Hard Climb to Love, Two Became a Crowd and I’ll Be Standing There.
LOLEATTA HOLLOWAY-LOVE SENSATION.
BUNNY SIGLER-LET ME PARTY WITH YOU.
BUNNY SIGLER-LET ME PARTY WITH YOU.
Bunny Sigler seemed to have been around the Philadelphia music scene forever, by the time he signed to Norman Harris’ new label Gold Mind Records, where he’d release his fifth album Let Me Party With You in 1978. Eleven years before, Bunny had released his debut album Let the Good Times Roll in 1967, on Cameo Parkway. Although it failed to chart, the title-track Let the Good Times Roll and Lovey Dovey gave Bunny two minor hit singles. By 1974, Bunny had signed to Gamble and Huff’s Philadelphia International Records, releasing three albums between 1974 and 1976. That’s How Long I’ve Been Loving You, Bunny’s 1974 sophomore album, proved his most successful release on Philadelphia International. It reached number twenty-seven in the US R&B Charts. After that, 1975s Keep Smilin’ and 1976s My Music both failed to chart. Following My Music, Bunny decided to leave Philadelphia International Records and head to New York, where he joined Norman Harris’ new label Gold Mind Records. Gold Mind Records would release Let Me Party With You in 1978. Would Let Me Party With You which was recently released by BBR Records see an improvement in Bunny Sigler’s fortunes?
At Gold Mind Records, Bunny joined up with many former members of M.F.S.B, Philadelphia International Records legendary house-band. They’d left the label following a dispute with Gamble and Huff over money. Their destination was Salsoul Records, where they became The Salsoul Orchestra. Since then, Norman Harris had been given his own label to run, Gold Mind Records, which would now be home to Bunny Sigler. Indeed, it was on Norman Harris’ Gold Mind Records, that Bunny Sigler released his 1978 album Let Me Party With You. Given Bunny hadn’t enjoyed the success his music deserved at Philadelphia International Records maybe a change in label would mark a change in Bunny’s fortunes?
For Bunny Sigler’s Gold Mind debut album, Let Me Party With You, six tracks were penned. Bunny wrote three tracks, You’re Love Is Good, I’m A Fool and Time To Twist. With his brother Jimmy Sigler, Bunny cowrote I Got What You Need and with Kim Miller, Raymond Earl and Scotty Miller, penned Let Me Party With You (Disco-Disco-Disco). These six tracks were recorded in Philly, at Sigma Sound Studios and Philadelphia Music Works.
Unlike many of the albums released on Gold Mind Records, it wasn’t the familiar lineup of musicians. There was neither the Baker, Harris, Young rhythm section, nor Bobby “Electronic” Eli. Neither do The Sweethearts of Sigma’s backing vocalists grace Let Me Party With You. Instead, accompanying Bunny were a rhythm section of bassist Raymond Earl, drummer Scotty Miller and guitarist Kim Miller. Fred Bahler, Jimmy and Bunny Sigler played keyboards, Scotty Miller and Larry Stricklen congas, Sam Peaks supplied the horns. Dennis Richardson played piano, while Charles Williams and Fred Bahler played keyboards. Instant Funk also featured on Let Me Party With You which Bunny produced and Tom Moulton mixed. Would Bunny Sigler’s change of label see a change in his fortunes when Let Me Party With You was released in 1978?
On the release of Let Me Party With You in 1978, Bunny’s fortunes improved when the album reached number seventy-seven in the US Billboard 200 and number eighteen in the US R&B Charts. Add to this four hit singles. Only You reached number eighty-seven in the US Billboard 100 and number eleven in the US R&B Charts. Let Me Party With You (Disco-Disco-Disco) reached number forty-three in the US Billboard 100, number eights in the US R&B Charts and number twenty-seven in the US Dance Music/Club Play Charts. I Got What You Need reached number forty-two in the US R&B Charts and then Don’t Even Try (Give It Up) reached number ninety-four in the US R&B Charts. It seemed Bunny Sigler’s decision to leave Philadelphia International Records had been vindicated. Let Me Party With You, which I’ll now tell you about, proves this.
Let Me Party With You opens with Let Me Party With You (Disco-Disco-Disco), a twelve-minute epic, which sounds not unlike a party in the studio when the track begins. Whoops, hollers and handclaps give way to a driving, funky rhythm section, stabs of keyboards, growling horns and percussion. Bunny’s good time vocal ensures the song swings, slowly revealing its secrets and surprises. Soon, Bunny is like cheerleader, his enthusiasm infectious. He’s desperate to make sure the song swings. Funky, joyous and dance-floor friendly, this track’s all this and more. Doo-wop harmonies accompany Bunny as he vamps his way through the track enthusiastically and energetically, determined to make the sure the song swings. Although very different from the music on That’s How Long I’ve Been Loving, Bunny’s back, with a bang.
You’re Love Is Good is quite different from the opening track. It’s a much more laid-back track. Harmonies, handclaps and rasping horns accompany keyboards before Bunny and his band kick loose. A blazing, meandering horn, keyboards and rhythm section add funk to Bunny’s sassy vocal and punchy harmonies. Stabs of keyboards and handclaps punctuate the arrangement. Soon, Bunny vamps, mixing power and passion. This is perfect for the arrangement. So are the waves of harmonies and strings that sweep in. Now Bunny adds some of his trademark soul. He testifies his way through the track, with punchy harmonies for company while his band supply some uber funky music. This ten minute epic, closes Side One of Let Me Party With You, and is one of the highlights, with Bunny back to his very best.
Bunny penned I Got What You Need with his brother Jimmy. Just a moody, spacey, sometimes funky bass sets the scene for Bunny’s sassy, breathy vocal. There’s a jazzy sound to the spacious arrangement. Breathy, sensual backing vocals give way harmonies and a heartfelt, impassioned vocal. Soon, Bunny’s sensuous vocal teases, with the sultriest of saxophone solos and soaring harmonies for company. Add to this bursts of dramatic drums and pulsating bass line and you’ve the finishing touch. The result is seven minutes of sheer sensuality and one of the best songs Bunny recorded.
I’m A Fool has a spacious, moody and funky arrangement as it unfolds. Just a broody bass line, keyboards and guitars combine as a questioning scatted, heartbroken vocal enters. Then the tempo quickens. The rhythm section, searing guitars and stabs of keyboards drive the arrangement along. Bunny’s vocal is filled with sadness and emotion. With such an emotive vocal, the arrangement doesn’t disappoint. It’s drama personified, providing the perfect backdrop, for Bunny’s vocal and reflecting the heartache and emotion in his vocal.
It’s Time To Twist sounds like Bunny looked to the past for inspiration when writing this song. The song literally bursts into life. A driving, funky rhythm section, bursts of space-age synths, searing guitars and stabs of bluesy horns set the scene for sweet, soulful harmonies. Bunny’s powerful gnarled vocal becomes a vamp, while crystalline guitars and washes of keyboards replace his vocal. By then, you realize Bunny has looked to the past for inspiration, fusing blues, funk and soul, adding to that generous supply of hooks.
Closing Let Me Party With You is Don’t Even Try (Give It Up), written and arranged by Gregory Herbert. Bunny has saved the best to last, as he decides to revisit his soulful past. Straight away, you realize something special is unfolding. A bursts of drums ushers in chiming guitars, rasping horns and waves of atmospheric keyboards. The rhythm section create the track’s slow, beautiful and soulful heartbeat. For his part, Bunny delivers a tender, heartfelt vocal. Truly, he rolls back the years, delivering a vocal filled with emotion, joy and hope. It’s the perfect way to close the first chapter in the part of the Bunny Sigler story at Gold Mind Records.
With Bunny Sigler now signed to Norman Harris’ Gold Mind Records, Let Me Party With You represents the next chapter in his career. While Bunny hadn’t enjoyed the success his music deserved at Philadelphia International Records, it was almost as if Bunny was reinvigorated and rejuvenated at Gold Mind Records. Let Me Party With You which was recently released by BBR Records, proved to be Bunny most successful album, surpassing even his Philadelphia International Records’s debut That’s How Long I’ve Been Loving. On Let Me Party With You mixed musical genres old and new. Unlike some soul singers during the disco era, Bunny didn’t throw the soul out with the bathwater. He combined Philly Soul with funk, disco, jazz and a twist of the blues. The result was six tracks, where Bunny mixed good-time party music, funky licks and some heartfelt soul. The record-buying public loved the music on Let Me Party With You, resulting in the album number seventy-seven in the US Billboard 200 and number eighteen in the US R&B Charts. Add to this, four hit single and Bunny Sigler was back, asking to Let Me Party With You. Given how good the music is on Let Me Party With You is you can’t refuse. Standout Tracks: You’re Love Is Good, I Got What You Need, I’m A Fool and Don’t Even Try (Give It Up).
BUNNY SIGLER-LET ME PARTY WITH YOU.
SANO-SANO.
SANO-SANO.
One of the most anticipated releases of 2013 is Columbian Wunderkind Sano’s eponymous debut album. Sano, which will be released on Matias Aguayo’s Comeme label on 28th October 2013, has been described as sleazy house at its best. I’d go further and say that Sano is a delicious fusion of musical influences. There’s everything from salsa, disco, Latin house and even a twist of techno. Add to this a myriad of percussive delights. During ten tracks, Sano paints pictures with his music. Just like an artist uses his palette, Sano uses his music to paint vivid, evocative pictures. These pictures conjur up pictures of the seedier side of Medellin, Sano’s home town.
During Sano’s ten tracks, Sano is house music’s equivalent of Tom Waits or Lou Reed. He paints pictures of Medellin’s dark and hedonistic underbelly. This is the Medellin where strutting, macho hustlers and hoods populate dive bars. They rub shoulders with shysters, conmen and pimps. To pass the time, they smoke cigarettes, roll dice and play cards. Money changes hands. Sometimes, small fortunes are won or lost on the turn of a card. All the time, the hustlers await their prey with glee. Like a carnival barker, they encourage their prey to enter their world. Dreams can be made, nightmares begin and lives changed forevermore. Meanwhile, Medellin comes alive around them.
The city’s party people come out in numbers. Bars empty, with their patrons high on the happy side, heading for the city’s part quarter. Clubs are filled with pounding, pulsating, house music. Strobes and flashing, flickering lights and smoke machines turn what was a cavernous space into a palace. The dancers are Kings and Queens for the night. Dreams can come true…sometimes. Princes or Princesses can be found. Then as night turns into day, reality strikes and so does the hangover. Medellin is a very different place, but a reminder of the city by night is Sano’s debut album Sano.
For some time, Sano has been a familiar face on the Medellin music scene. He’s established a reputation one of the city’s top musicians and DJs. Sano is part of a collective who are known for throwing some of the best parties the cities seen. These are spontaneous, clandestine and hedonistic. A throwback to the past, the city’s beautiful people rub shoulders with rebels, gangsters and a colorful cast of characters. The city comes out to play when Sano DJs. Often the venue is Medellin’s infamous ghost-club Perro Negro. During these heady, hedonistic nights, Sano is like the Pied Piper, his DJ-ing skills captivating Medellin’s party people. However, there’s more to Sano than DJ-ing. Much more.
Last year, Sano released his debut E.P. Chupa. This was a tantalizing taste of what Sano was capable of. Five tracks of deep, sleazy house Sano was an artist with a big future ahead of him. He was definitely one to watch. Since then, Sano has been locked away in his studio, recording his eponymous album.
Helping Sano craft and hone his debut album, are what sound like the cast of a sci-fi movie. Among them are Cornelio, Little Chucharita and Glad Secret Kazuka. Then there’s Lord Byron, Diegors another Comeme artist Diegors. Last but not least, there’s Wilson, the extraterresstrial dog, who makes a guest appearance on Boqueron. Together, this colorful cast of characters played their part in Sano’s debut album Sano, which I’l tell you about.
Briefly, I Don’t, which opens Sano, reminds me of the Pet Shop Boys West End Girls. Drums with filters and jackhammer hi-hats combine house, experimental and postindustrial. Then the squelchiest of Acid House synths are added to the equation. Add to that an emotionless, almost haunting half-spoken vocal. Percussion is then added to the mix. So are a myriad of sound effects, a gothic organ and filters add to Sano’s musical melting pot. This unlikely combination is then given a stir, and tastes delicious.
Dark, Gothic, eerie describes Sano’s Paranoia. It envelops you, awakens your senses and sets your nerves on edge. Disturbing and discordant, it’s also a sophisticated, wall of sounds and textures. Multilayered, darkness and light sits side by side with dramatic and dreamy plus melodic and discordant. Sounding like Dark Side Of The Moon played backwards, secrets and nuances reveal themselves. It’s as if we’ve taken a wrong turning and are deep in the darkest depths of Medellin’s underbelly, where who knows what fate awaits the unwary?
Me Without You sees Sano paying homage to Acid House. It’s like a trip back to Chicago in the mid-eighties. Drawing inspiration from Mr. Fingers’ Washing Machine, stabs of synths and Germanic vocals are added to the equation. What follows is what sound like five-minutes of vintage Acid House.
A thunderous bass line, pounding, galloping drums and sci-fi synths quiver as Paquidermos reveals its secrets. Synths bubble and squeak, while washes of synths quiver and shiver. As for the bass and drums, they quake, pulsate and reverberate. They play their part in a track that’s variously lo-fi, old school, inventive, innovative and fascinating.
Cotoneate is track where contrasts and influences unite. As drums pound and crack, there’s an eighties electronic influence. The percussion is reminiscent of Latin House, while the dark, eerie vocal is Gothic and Germanic. It has a hypnotic, sinister sound. Having said that, when it’s fused with the beefy bass, pounding drums, percussion and handclaps, it’s a masterstroke. Eighties electronica, house, techno and Latin music seamlessly unite. It’s a track for kittenish, coquettish divas to strut their way across dance-floors to.
Anestesia, is best described as hypnotic and mesmeric. Drums pound, testing the tolerance of your bass bins. Equally hypnotic synths join sound effects and hissing hi-hats. They lock into a trance-like, mesmeric groove. It’s irresistible and anthemic. Within a cavernous club, pounding out of speakers accompanied by a myriad of lights, lasers and smoke-machines, Anestesia would captivate and compel.
Straight away, you realize Matasanos is something special. Stabs of synths and crispy beats combine with hissing hi-hats and dramatic bursts of keyboards. Hypnotic, urgent and dramatic, Sano locks into a groove. From that groove, emits what’s akin to a siren. It’s a warning, warning you to climb onboard and enjoy the ride. Choppy, inventive and mesmeric, this is dance music for the 21st Century.
Dark and dramatic describes Transylvania No Mercy. A fusion of musical genres and influences, it sounds like the soundtrack to a movie yet to be made. Sci-fi and gothic influences sit side-by-side, with cinematic strings. It’s a compelling combination. So is the addition of pounding drums and synths. It’s as if Transylvania’s best known resident, Dracula has headed to Medellin, and decided to take some of his prey on a guided tour of hades.
As drums gallop away, the arrangement to Boqueron takes on a Latin influence. Just thunderous, jack-hammer drums and hi-hats combine to create a fusion of techno and house. Then crackly, jagged synths provide a contrast. Soon, everything from eighties electronica, postindustrial and disco combine with techno and house on this innovative, genre-melting track.
Necrophilic Love which closes Sano, briefly, seems to draw inspiration from Gary Numan’s Cars. As the track bursts into life, it’s an uplifting synth driven track. Synths soar above the Latin percussion, drums and hi-hats. Later, a keyboard solo that’s reminiscent of classic European electronica is added. So too, is a burst of an eerie, sinister, Gothic vocal. The result is an anthemic, hands in the air, floor filler where elements of electronica, Latin, techo and sleazy house unite majestically.
For Sano’s debut album, Sano, which was released on Matias Aguayo’s Comeme label on 28 October 2013, it’s a slick, polished and accomplished album. It’s a ten-track musical journey, which reflects Sano’s musical tastes and influences. Disco, Latin House, electronica, Acid House, techno and sleazy house have all influenced Sano. These influences play these influences and more on Sano, an album that’s dance-floor friendly, anthemic and full of subtle hooks. Sano is also an album influenced by Sano’s musical past.
It seems that Sano’s experience as a DJ, then producer has been put to good use. This taught him what type of music fills a dance-floor. Knowing that, put him one step ahead of other producers. He wasn’t going to make the musical mistakes they did. No. Instead, he was going to create music that dramatic, uplifting, energetic, dance-floor friendly and anthemic. It’s also music that’s Gothic, eerie, sinister, dark and broody, as if telling the tale of the places Sano’s been and the things he’s seen, Despite that, or because of that, Sano features music that’s guaranteed to fill any dance-floor. However, there’s more to Sano than just dance music.
By that, I mean Sano is an album with a strong narrative, where you’re introduced to the Medellin’s dark, underbelly. Just like Lou Reed and Tom Waits, Sano is a perceptive people-watcher. He watches as strutting, macho hustlers and hoods populate dive bars, rubbing shoulders with shysters, conmen and pimps. They smoke cigarettes, roll joints and dice, play cards and prey on the unwary. Then there’s Medellin’s party people who come out to play once a week. They’re either looking for miss or mister right, or just a good time, no strings attached. This is the world Sano tells you about. Remarkably, these narratives are mostly instrumentals. Having said that, the music has a cinematic quality. As a result, pictures unfold in your mind’s eye. It’s akin to A Walk On The Wild Side. In some ways, Sano is a concept album.
Given how ambitious an album Sano is, it’ll be interesting to see what direction Sano’s career heads. Given his background as a DJ and producer, the smart money would be on Sano continuing to create albums that are cerebral, dramatic and dance-floor friendly. This would mean more music like that on Sano. That’s no bad thing. Far from it. After all, Sano with its irresistible fusion of influences, is an ambitious, innovative album that shows the direction that dance music should be heading. Cerebral, with a strong, narrative Sano, dance music’s answer to Lou Reed, takes you on a A Walk On The Wild Side during Sano, where poppy hooks, drama, sleaze and musical genres play their part in what is one of the most compelling, cinematic albums of 2013. Standout Tracks: I Don’t Paranoid, Me Without You and Transylvania No Mercy.
SANO-SANO.
SANO-SANO.
NEW YORK DOLLS-TOO MUCH TOO SOON.
NEW YORK DOLLS-TOO MUCH TOO SOON.
Never in the history of music has an album title proved to be so prophetic than the New York Dolls’ sophomore album Too Much Too Soon. Released in 1974, Too Much Too Soon features one of the hardest rocking and hardest living bands in musical history. Unfortunately, The New York Dolls were music’s equivalent to Icarus. They literally flew too close to the sun. Having released Too Much Too Sun, which reached a disappointing number 167 in the US Billboard 200, Mercury sent the New York Dolls out on an American tour.
That would’ve been okay for an ordinary band. The New York Dolls were no ordinary band. Far from it. Best described as dysfunctional, it’s no surprise what happened next. During what was a chaotic, problematic tour, the New York Dolls literally imploded. Amidst a backdrop of alcohol and drug abuse, and general chaos, the New York Dolls were dropped by Mercury in 1975. This lead to them splitting up. By then, the New York Dolls had lived life to the fullest. Since their debut album, they’d lived the rock ‘n’ roll lifestyle. Remarkably, most of them survived to tell the tale. Somehow, during that time, they’d spawned a thousand imitators and released two classic albums.
Their second classic album Too Much Too Soon, was recently released by the Legends Of Rock label. Described as an audiophile recording, it’s the best sounding version of Too Much Too Soon I’ve heard. This should be the standard other labels aspire to. If only all rereleases sounded this good. The same could be said of the New York Dolls. if only every band sounded as good as the New York Dolls, music would be a better place. One of the New York Dolls finest moments was Too Much Too Soon, which I’ll tell you about, once I’ve told you about their career.
Founded in 1971, the original lineup of the New York Dolls included vocalist David Johansen, guitarist Johnny Thunders and Rick Rivets, bassist Arthur Kane and drummer Billy Murcia. A year later, came the first on countless changes in the New York Dolls’ lineup. Out went Rick Rivets and Billy Murcia. Their replacements were Jerry Nolan and Sylvain Sylvain a pianist and guitarist. This would be the lineup the played on their debut album.
Released in 1973 on Mercury, New York Dolls divided opinion. Some critics hailed New York Dolls as a stonewall classic, others deemed it a parody of a rock album. It certainly took the world by storm, spawning a million imitators. Strangely, on its release, sales of New York Dolls were disappointing. It only reached number 167 in the US Billboard 200. Mercury had hoped that the album would be one of their big sellers of 1973. It certainly captured the attention of critics and music lovers, it was voted both the best and worst album of 1973. It seems that New York Dolls was an enigmatic album and one that divided opinion. Forty years later, history has been rewritten.
Nowadays, New York Dolls is now perceived as a classic album. The New York Dolls fusion of glam rock, proto-punk and hard rock is perceived as Innovative and ahead of the musical curve. The New York Dolls are credited as one of the founding fathers of punk rock. Since then, many groups have imitated the New York Dolls swaggering brand of good time music. Nobody comes close. No ifs, no buts. Having released a career defining album, the New York Dolls never bettered. If ever there’s a case of a band peaking to soon, this was it.
A year after the release of New York Dolls, the band headed back into the studio. Todd Rungren was replaced as producer by Shadow Morton. Unlike their debut album, Too Much Too Soon comprised a combination of cover versions and original songs. David Johansen and Johnny Thunders cowrote Babylon, Who Are The Mystery Girls, It’s Too Late and Human Being. David Johansen and Sylvain Sylvain penned Puss ‘N’ Boots, while Johnny Thunders wrote Chatterbox. Cover versions included Kenny Lewis’ Bad Detective, Sonny Boy Williamson’s Don’t Start Me Talkin, ’Gamble and Huff’s (There’s Gonna Be A) Showdown and Stranded In The Jungle, a James Johnson, Ernestine Smith and Al Curry composition. These ten tracks were recorded at A&R Studios, New York.
Replacing Todd Rundgren as producer, was Shadow Morton, an experienced and enigmatic producer. He seemed to get the best out of the New York Dolls. Their lineup included vocalist David Johansen, plus a rhythm section of guitarist Johnny Thunders, bassist Arthur Kane and drummer Jerry Nolan. Sylvain Sylvain played piano and guitar, while David Johansen added gongs. This was the lineup that played on what should’ve been the New York Dolls’ breakthrough album, Too Much Too Soon.
On the release of Too Much Too Soon, in May 1974, critics hailed the addition of Shadow Morton. He they thought, had harnessed the raw power and energy of the Dolls and added a sheen of refinement. With backing vocals and a myriad of sound effects featuring on Too Much Too Soon, it was a very different band, one that should’ve made their breakthrough. They didn’t. Sadly, Too Much Too Soon wasn’t a commercial success. It stalled at number 167 in the US Billboard 200. Worse was to come.
The New York Dolls headed out on a tour. It was an unmitigated disaster. By now, the band were constantly arguing. Drug and alcohol use was rife on the tour. Performances varied. One night the Dolls were on their game, the next the concert descended into a chaotic shambles. That was part of the charm of the band. It was like a rock ‘n’ circus, with the band unravelling before the audience’s eyes. Mercury watched all this unfold. They felt the band had no future, and dropped them in 1975. Later in 1975, the band split. This was only temporary. Little did they realize, that Too Much Too Soon, which I’ll tell you about, would be the last album the classic lineup of the New York Dolls released.
After a wolf-whistle and a shout of “come on boys,” the New York Dolls explode into action on Babylon, which opens Too Much Too Soon. Driven along by a powerhouse of a driving, rhythm section, scorching, screaming, rocky guitar licks accompany David’s strutting vocal. A mixture of machismo and drama, soaring, coquettish harmonies accompany him. By then the Dolls have hit their stride. Like a well oiled machine, they seamlessly fuse genres. Everything from classic rock, glam rock, proto-punk and blues are thrown into the mix, as the track reaches its dramatic crescendo.
Stranded In The Jungle was recorded by The Cadets in 1959. Here, the Dolls breath new life and energy into the track. Thunderous drums, sound effects, scatted vocals and machine gun guitars accompany David’s vocal is a tongue-in-cheek vamp. Soon, they get down to their hard rocking best. David’s vocal is throaty roar, while punchy, sweet, female harmonies answer his call. Then just as you’re enjoying the Dolls kicking loose, it’s all change, and a return to the earlier slower, dramatic style. Criticized by critics, as a novelty track, it’s more a case of the Dolls experimenting and toying with you, seeing whether you’ve a sense of humour.
Pounding drums and searing, screaming, scorching guitars combine as David struts his way through Who Are The Mystery Girls. Mixing power, bravado and sass, he questions and probes, delivering a vocal masterclass. As for the rest of the Dolls, they create an arrangement that’s best described as raw, refined power. Guitars assail you, as seamlessly, fingers fly up and down the fretboard. The rhythm section provide the heartbeat, never once missing a beat, the Dolls are at their very best. They’re so good, that they sound better than the Rolling Stones did during 1974.
(There’s Gonna Be A) Showdown is a track Gamble and Huff wrote for Archie Bell. Although it’s one of his best known tracks, it’s nowhere near as good as the Dolls’ version. Somehow, they’ve the ability to sound sloppy and tight simaltaneously. Shadow Morton’s influence is apparent from the opening bars, as David’s half-spoken vocal sounds draws inspiration from The Shangri Las. Then machine gun guitars are unleashed and drums punished, while David’s vocal is a sassy, feisty vamp. When his vocal drops out, the Dolls kick loose and demonstrate just why, they’ve spawned countless imitators and are regarded as rock ‘n’ roll royalty.
As drums pound, a bluesy harmonica enters, before machine gun drums and the bass set the scene for David’s vocal on It’s Too Late. It’s the template for punk. Best described as proto-punk in style, I can hear where Johnny Rotten amongst numerous wannabe punks got their inspiration from. Unlike most punk bands, the Dolls were talented musicians. Here, effortlessly, they fuse rock, blues, proto-punk and glam rock. As guitars pogo across the arrangement, a mesmeric bluesy harpsichord solo is unleashed. That’s sheer genius, and adds the finishing touch to a track that inspired a musical revolution.
Raw, refined and controlled power describes the New York Dolls on Puss ‘N’ Boots. They unleash a blistering performance, which features some of the best guitar playing on Too Much Too Soon. That’s saying something. Peerless, scorching, blazing guitar licks join a rhythm section that’s like a well oiled machine. They provide the backdrop for David’s raucous, boisterous vocal and add cooing, coquettish, soaring harmonies. Best described as a fusion of raw power and musical genres, the Dolls sounding like this, have no equals.
David counts the band in on Chatterbox and immediately, there’s an edgier, innovative sound. The band aren’t as tight, as a myriad of searing guitar licks are unleashed. That suits the song, where feisty female vocals deliver a proto-punk vocal. As for the Dolls, they spray machine gun licks above their vocal. Then when the vocals drop out, continue to develop what was the template for punk.
Bad Detective, where David pays homage to Charlie Chan, sees the New York Dolls sound not unlike Talking Heads. Again, here was a band who were way ahead of their time. They would go on to influence future generations of musicians. With a driving rhythm section, searing guitar licks and singalong harmonies, for company, David’s vocal is vampish.He mixes humor and drama, rock, proto-punk and glam rock unite.
Don’t Start Me Talking explodes into being. With an explosive cocktail of machine gun guitars, bluesy harmonica and honky-tonk piano, the Dolls kick loose. This what they were born to do. David struts his way through the track. He’s in his element, with his band at the top of their game, behind him. Rock and blues melt into one, as the New York Dolls must have looked like serious contenders to the Rolling Stones and Led Zeppelin. It’s a heady cocktail of blues rock, that represents the Dolls at their best on Too Much Too Soon.
Human Being picks up where the previous track left off. This makes it the perfect way to close Too Much Too Soon. A hard rocking New York Dolls is a tantalizing prospect. For six minutes the rhythm section, and screaming, rocky guitars lock horns. Feeding of each other, they lock into the tightest of grooves. Above the arrangement, sits David’s proto-punk vocal. It’s an outpouring of frustration anger, and angst, which proves prophetic, given what would happen in 1976.
Too Much Too Soon, the New York Dolls’ sophomore album, is an iconic, innovative album. Ironically, Too Much Too Soon almost passed unnoticed. It hardly troubled the American charts. After its release, Mercury sent the New York Dolls on an American tour. It proved chaotic and almost broke the band. On their return from the ill-fated tour, Mercury dropped the Dolls. Later in 1975, they split up, against a backdrop of rancour, drug abuse and hedonism. The hardest living party band were no more…briefly.
Soon, the band were back together and playing some of the best shows of their career. Then later in 1975, Johnny Thunders and Jerry Nolan left the band. Their replacements were drummer Tony Machine and keyboardist Chris Robinson. This was just the latest change in lineup. It proved to be one of the most successful lineups of the band. They played some of their best concerts and were hailed as one of the hottest bands of the mid-seventies. Nothing lasted long as far as the New York Dolls were concerned. The band broke up and in the last four decades have continued to reform and split up.
Despite reforming, the New York Dolls never reached the heights of Too Much Too Soon. It’s their finest moment. Innovative, groundbreaking and ahead of its time, this fusion of rock, proto-punk, blues and glam rock, helped inspire punk and spawned a thousand imitators. None came close to replicating the New York Dolls at their best. For two albums, the New York Dolls were one of the best bands of that time. Innovative, inventive and determined to rewrite the musical rulebook, there was one problem, the New York Dolls were fundamentally flawed. Their downfall was their penchant for the rock ‘n’ roll lifestyle and hedonism. Just like Icarus, they flew to close to the sun. Before flying to close to the sun, the New York Dolls released their 1974 Magnus Opus, Too Much Too Soon. Standout Tracks: Babylon, Who Are The Mystery Girls, Don’t Start Me Talking and Human Being.
NEW YORK DOLLS-TOO MUCH TOO SOON.
PSYCHEMAGIC-DIABOLICAL SYNTHETIC FANTASIA.
PSYCHEMAGIC-DIABOLICAL SYNTHETIC FANTASIA.
There are many artists who I’d describe as enigmatic. When it comes to producers and DJs, there aren’t as many. Falling into the category of enigmatic are Psychemagik. They’ve definitely ticked the no publicity box. This means many people won’t have heard of the legendary crate-digging, production and DJ-ing team. That’s means you won’t have heard some of their innovative edits, remixes and DJ mixes. Then there’s the compilations, including Psychemagik Presents Magic Circles and Psychemagik Presents Magik Sunrise. Both albums have been among my favorite compilations of the past two years. They showcased Psychemagik’s crate-digging, DJ-ing, editing and production skills. So may their latest compilation, Diabolical Synthetic Fantasia. However, it may not. Confused, I’ll explain?
When I realized that Psychemagik had released a new compilation, I decided that given the quality of their two previous compilations, I had to review Diabolical Synthetic Fantasia. Having picked up a copy of this self-released compilation, I discovered an element of mystery surrounds this double album. Like their previous compilations, Disc Two is a seamless DJ mix. Disc One of Diabolical Synthetic Fantasia features eighteen tracks. The only problem, I’ve know idea what tracks they are. Nowhere and I mean nowhere, is there any details available of the music on Diabolical Synthetic Fantasia. This is not just frustrating, but annoying. After all, are the tracks new material from Psychemagik or hidden gems unearthed during their legendary crate-digging expeditions?
Psychemagik we know are among the most passionate and persistent crate-diggers, when it comes to unearthing hidden gems. Their quest in unearthing those elusive hidden gems, sees Psychemagik go where other crate diggers fear to tread. Whether it’s dusty basements, thrift stores, warehouses or record shops, nowhere is off limits. As a result, and unlike many other crate diggers, Psychemagik’s choice of music is truly eclectic. Rather than focus on one genre of music, no genre of music, it seems, is overlooked. Given that Psychemagik have such eclectic and discerning taste in music, it’s no surprise that they’re the go-to guys for DJs looking for those elusive hidden gems. Plenty of hidden gems can be found on Psychemagik’s latest double album Diabolical Synthetic Fantasia, which I’ll tell you about.
Diabolical Synthetic Fantasia is best described as a compelling and captivating collection of music. So much so, that it brings new meaning to the word eclectic. Fusing cosmic disco, Balearica, psychedelic funk, Nu-Disco, ambient, soul, electronica and Middle Eastern beats, it was a breathtaking and mind-blowing musical journey. Subtleties and nuances unfold during the eighteen tracks. Complex and multilayered, musical influences and genres melt into one lysergic mass on Diabolical Synthetic Fantasia. It’s like a musical adventure, where surprises await during this eighteen track journey.
During this truly eclectic compilation, hidden gems and musical nuggets are discovered. The Psychemagik guys surpassed their previous efforts, combining numerous musical genres and influences. Everything from ambient, Balearic, folk, funk, jazz, jazz-funk, psychedelia and rock is thrown into Psychemagik’s musical melting pot. What comes out is a mesmeric fusion that captivates and compels. You’re taken on a musical journey, one that veers between dramatic, dreamy, surreal and trippy, to beautiful, understated and melancholy. Other times the music is dramatic, moody and broody. On other tracks, the music is sassy, feisty and features strutting divas. One thing the music never is, is boring. Not at all. Certainly not when Psychemagik are in charge of the music. Subtleties and surprises are sprung, while Psychemagik aren’t afraid of changing direction. Using the musical equivalent of a handbrake turn, they perform a volte face. That’s what makes Diabolical Synthetic Fantasia such a captivating and refreshing compilation.
The reason I refer to Diabolical Synthetic Fantasia as a refreshing compilation, is that Psychemagik eschew the safe and sterile music that pollutes other compilations. Psychemagik take a different direction. They’re brave and bold, and seem determined to give the compilation world a shakeup. To do this, do they put their crate-digging and creative skills to good use? After all, they know to lay their hands on tracks others can only dream of.
Whether any feature on Diabolical Synthetic Fantasia we’re not told? Psychemagik are keeping their cards close to their chest, given the lack of a track listing. Indeed, Diabolical Synthetic Fantasia is shrouded in unnecessary mystery. It’s akin to the old days of Northern Soul DJs covering up labels. If the eighteen tracks on Diabolical Synthetic Fantasia aren’t some of Psychemagik’s hidden gems, I can only surmise that many, if not all of these tracks are their own productions, edits and remixes. If it is, then they’re hugely talented and innovative. This will also keep them way ahead of the competition. However, we don’t know whose responsible for the music on the mysterious Diabolical Synthetic Fantasia.
What I do know, is that they’re the go-to-guys for anyone looking for that elusive hidden gem. Thankfully, they’ve kept a plentiful supply of hidden gems to themselves. Whether any feature on Diabolical Synthetic Fantasia, I don’t know? I can say that Diabolical Synthetic Fantasia is crammed full of quality music. Laid-back, chilled-out, soulful, funky, jazz-tinged and dance-floor friendly, the music on Diabolical Synthetic Fantasia is genre-melting, lysergic musical adventure that’s well worth experiencing.
PSYCHEMAGIC-DIABOLICAL SYNTHETIC FANTASIA.
NEW ORLEANS FUNK VOLUME 3.
NEW ORLEANS FUNK VOLUME 3.
From the moment you put on Soul Jazz Records’ recent compilation New Orleans Funk Volume 3, you’re transported to the Big Easy. It’s the Mardi Gras and Bourbon Street is full of tourists desperate to experience the sights and sounds of one of America’s musical capitals. Filling the air, is a soundtrack that includes Dixieland jazz, R&B, funk, Zydeco, Afro Cuban and the brass bands. They’re part and parcel of New Orleans’ rich musical heritage. It’s an irresistible fusion of musical influences and genres. This is the real sound of New Orleans. It’s what the tourists listen to, whilst enjoying beignets, gumbo, jambalaya and po-boys. Just as authentic a representation of New Orleans, is the music on New Orleans Funk Volume 3.
The music on New Orleans Funk Volume 3 showcases New Orleans’ rich musical heritage. There’s eighteen tracks from fourteen artists. Among them are artists who are regarded as New Orleans’ msuical royalty, including Allen Toussaint, Professor Longhair, Lee Dorsey and Eldridge Holmes. Then there’s contributions from Willie West, Betty Harris, The Explosions, Dirty Dozen Brass Band and Diamond Joe. Quite simply, New Orleans Funk Volume 3 includes a cross section of the music that made New Orleans famous. A tantalizing musical gumbo, picking the ten highlights of New Orleans Funk Volume 3 won’t be easy. Here goes though.
Ever since the 1950s, music has been at the heart of New Orleans’ economy. One artist whose been around since then, is Professor Longhair. He released his first singles back in 1957. Born in 1918, he was a legend of New Orleans music until his death in 1980. That’s still the case. No Wonder. He’s perceived as the inventor of New Orleans R&B. An innovative pianist with his own unique style, that’s apparent on the two tracks he contributes to New Orleans Volume 3. The first is Go To The Mardi Gras. Released as a single in 1959 on the New Orleans’ label Ron, Professor Longhair penned the track with T. Terry. Featuring Dr. John on guitar, it’s a storming example of New Orleans R&B, from the man who invented the genre. Then there’s Professor Longhair’s other contribution, Big Chief (Pt. 2), which was the B-Side to his 1964 single Big Chief (Pt. 1). It was released on Watch Records. A glorious fusion of blues, jazz, R&B and funk, it’s a track with made in New Orleans written all over it. As for the vocal, it’s obvious Professor Longhair has been a huge influence on Dr. John.
Betty Harris is another artist who has two tracks on New Orleans Funk Volume 3, Trouble With My Lover and What’d I Do Wrong. Both tracks are from Betty’s only album, 1969s Soul Perfection and were written by Allen Toussaint. That’s quite apt, as that’s the best way to describe Betty’s performances. She makes lyrics come to life, breathing meaning into them. As Trouble With My Lover swings along, her vocal is akin to a cathartic outpouring of emotion, as she articulates her deepest fears. On What Did I Do Wrong, emotively, her voice full of frustration and anger, questions, wonders, What’d I Do Wrong? These two tracks are a tantalizing taste of Betty Harris’ music. Soul Jazz Records plan to release The Best of Betty Harris. Let’s hope it’ll be soon, as she’s one of soul’s best kept secrets.
Soulful and funky describes Tony Owens’ Got A Get My Baby Back Home. It was the B-Side to Tony’s 1970 single, Confessin’ A Feeling, which was released on Cotillion. Featuring a heartfelt, lovesick vocal, it’s part scat, part vamp. As for the arrangement it’s uber funky. A pulsating beat and ever-present wah-wah guitars which are sprayed across the arrangement, are crucial to what is, a soulful, funky hidden gem.
Lee Dorsey is another legend of New Orleans music. Quite rightly, he has two tracks on New Orleans Volume 3, Little Baby and What You Want. Little Baby was released in 1969 on Bell Records, and was produced by Marshall Sehorn and Allen Toussaint. Best described as a needy, soul-baring outpouring of heartache and hurt, it’s impossible not to feel for his plight and loneliness. The other track, What You Want, was the B-Side to 1970s I Can Hear You Callin.’ Released on Bell Records, it was written and produced by Marshall Sehorn and Allen Toussaint. A fusion of soul and funk, the rhythm section lock into a steady groove, horns blaze and harmonies soar, soulfully as Lee, delivers a strutting vocal. It’s very different to his performance on Little Baby, demonstrating his versatility and ability to make a song his own.
Formed in 1963, The Dixie Cups became one of New Orleans’ best known groups. Featuring sisters Barbara Anne and Rosa Lee Hawkins plus cousin Joan Marie Johnson, they enjoyed a number one single with Chapel Of Love. A year later, they released their sophomore album Riding High. It featured Two-Way-Poc-A-Way where they sing call and response, against a backdrop that pays homage to New Orleans’ rich musical heritage. Afro-Cuban, funk, R&B and soul all melt into one mesmeric, hypnotic and soulful musical stew, which once tasted, will never be forgotten.
Eldridge Holmes is one of just a trio of artists who feature twice on New Orleans Funk Volume 3. His first contribution is a quite beautiful, thoughtful cover of Tim Hardin’s If I Were A Carpenter. Released on Deesu Records in 1970, it was oduced by Marshall Sehorn and Allen Toussaint. Part of the success is down to Eldridge’s vocal and delivery. It also helps he stays true to the original track, which quite simply, is a classic. His other contribution is The Book, written by Leo Neocentelli and produced by Marshall Sehorn and Allen Toussaint. Here, Eldridge doesn’t hold back, unleashing a vocal masterclass. Mixing power, passion and no end of emotion and frustration, you’re left wondering why Eldridge Holmes wasn’t a huge success.
There’s no way I couldn’t have omitted Dirty Dozen Brass Band. After all, New Orleans is famous for their brass bands. The Dirty Dozen Brass Band don’t disappoint on Do It Fluid. A fusion of funk, soul, R&B and jazz, it’s an irresistible combination. This featured on the Dirty Dozen Brass Band’s 1984 debut album My Feet Can’t Can’t Fail Me Now. With its nod to Little Feat, this was the start of a long and successful career, for one of the Big Easy’s best brass bands.
If you’re looking for funky music, then New Orleans is a good place to start. On Jockey Ride (Parts 1 and 2), The Explosions combine a myriad of genres and instruments. It’s a compelling and eclectic combination. There’s everything from straight-ahead funk to country, jazz, R&B and Afro-Cuban influences. Then there’s country-tinged guitars, blazing horns, a myriad of percussion. Add to that a pulsating, hip swaying rhythm section and the result is an explosive Jockey Ride.
Allen Toussaint is true legend of the New Orleans’ music scene. He’s written, arranged and produced more songs than most musicians have had hot dinners. He released the genre-melting We The People in 1969, which Marshall Sehorn and Allen Toussaint produced. Everything from jazz, blues, R&B, funk, soul and gospel-tinged vocals and harmonies play their part in a track that epitomizes what New Orleans’ music at its best, sounds like.
My final choice from New Orleans Funk Volume 3 is The Rubaiyats’ Omar Khayyam. That’s quite fitting, as it written by a legend of New Orleans music Allen Toussaint. He also produced the track with Marshall Sehorn. Together, they’re responsible for a choppy, funky and soulful slice of slice of R&B. With a sound that’s timeless, it’s hard to believe that this was The Rubaiyats’ only single. At least their musical legacy is one that will forever be part of New Orleans’ rich musical history.
For anyone new to Soul Jazz Records’ New Orleans Funk compilation, then my suggestion is treat yourself to all three volumes. New Orleans Funk Volume 3 picks up where New Orleans Funk Volume 2 left off. The quality remains, with familiar faces, old friends and hidden gems sitting side-by-side. Each of the fourteen artists who feature on New Orleans Funk Volume 3 are part of New Orleans’ rich musical history. Among them are Allen Toussaint, Professor Longhair, Lee Dorsey and Eldridge Holmes. Then there’s contributions from Willie West, Betty Harris, The Explosions, Dirty Dozen Brass Band and Diamond Joe. Their music ranges from Dixieland jazz, R&B, funk, Zydeco, jazz, soul and the brass bands. In many ways, it’s like a walk down Bourbon Street during Mardi Gras. You’re assailed by smells and sound. This is all part of the Big Easy experience. New Orleans Funk Volume 3 is a delicious taste of New Orleans musical heritage.
One of the musical capitals of America, it’s musical heritage goes back to the eighteenth century. Then in the 1950s, music become an important part of New Orleans’ economy. As the sixties dawned, this increased. A whole host of new labels sprung up, including labels who introduced us to some of the artists on New Orleans Funk Volume 3. Since then, music has been intertwined with New Orleans’ musical heritage. After all, who goes to New Orleans and doesn’t head down Bourbon Street? Not many. New Orleans with its diverse, eclectic and rich musical heritage, has a myriad of musical delights awaiting discovery. Many of them can be found on New Orleans Funk Volume 3, which is a perfect introduction to the music of the Big Easy, and the perfect prelude to a walk down Bourbon Street during Mardi Gras. Standout Tracks: Tony Owens Got A Get My Baby Back Home, Eldridge Holmes If I Were A Carpenter, Betty Harris What’d I Do Wrong and Professor Longhair Big Chief (Pt. 2).
NEW ORLEANS FUNK VOLUME 3.
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