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.
COUNTRY JOE AND THE FISH-I FEEL LIKE I’M FIXIN’ TO DIE.
COUNTRY JOE AND THE FISH-I FEEL LIKE I’M FIXIN’ TO DIE.
Country Joe and The Fish’s influence on rock music can’t be underestimated. One of the greatest psychedelic rock bands of the sixties, their music was a fusion of rock, folk, psychedelia and acid rock, which influenced several generations of bands, They were a band like no other. After all, how many bands names have been influenced by communist politics? Their name was a reference to Joseph Stalin and a quotation from Chairman Mao. So it’s no surprise that Country Joe and The Fish’s music was highly political.
That’s almost an understatement. Country Joe and The Fish were at the vanguard of the anti-Vietnam war movement. They played at the anti-Vietnam teach-ins in 1965 and four years later, played at the Woodstock Festival. By then, the classic lineup of Country Joe and The Fish had changed. They were together from their 1967 debut album Electric Music For The Body and Mind, through 1967s I Feel Like I’m Fixin’ To Die and 1968s Together. For these three albums Country Joe and The Fish were psychedelic rock royalty. On this trio of albums, were some of the greatest protest albums ever recorded.
This included the anthemic anti-Vietnam war song I Feel Like I’m Fixin’ To Die. It was the title-track to their 1977 album I Feel Like I’m Fixin’ To Die, which was recently rereleased by Vanguard Masters. It’s recognized not just as one of the best albums of Country Joe and The Fish’s career, but as a seminal psychedelic rock album, which I’ll tell you about. Before that, I’ll tell you about the making of I Feel Like I’m Fixin’ To Die.
Having released their debut album Electric Music For The Body and Mind in January 1967, Country Joe and The Fish watched as the album reached number thirty-nine in the US Billboard 200. Released to commercial success and critical acclaim, the five members of Country Joe and The Fish, started work on the followup, I Feel Like I’m Fixin’ To Die. Country Joe McDonald wrote eight of the ten tracks. This included The Fish Cheer/I-Feel-Like-I’m-Fixin’-To-Die Rag, Who Am I, Pat’s Song, Rock Coast Blues, Magoo, Janis, Thought Dream (Introducing The Bomb Song And The Acid Commercial) and Colors For Susan. David Cohen and Gary “Chicken” Hirsh penned Thursday. They the cowrote Eastern Jam with Barry Melton and Bruce Barthol. These ten tracks became I Feel Like I’m Fixin’ To Die.
When recording of I Feel Like I’m Fixin’ To Die began, 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 I Feel Like I’m Fixin’ To Die was recorded in 1966, the rest in March 1967. Producing I Feel Like I’m Fixin’ To Die, was Samuel Charters. I Feel Like I’m Fixin’ To Die was then released in November 1967.
On the release of I Feel Like I’m Fixin’ To Die in November 1967, it reached just number sixty in the US Billboard 200. This was disappointing, given the critical acclaim the album enjoyed. I Feel Like I’m Fixin’ To Die didn’t surpass the commercial success of Electric Music For The Body and Mind. Despite that, I Feel Like I’m Fixin’ To Die is now seen as a classic album. I’ll now tell you why.
Opening I Feel Like I’m Fixin’ To Die is The Fish Cheer/I Feel Like I’m-Fixin’ To-Die Rag. It’s perceived as one of the best protest songs of the sixties. The lyrics tackle the Vietnam War head on. Country Joe McDonald delivers lyrics which are scathing, bleak and have a dark humor. A fusion of rock, folk, psychedelia and acid rock, unfolds. It’s similar in sound to Electric Music For The Body and Mind. There’s an obvious Frank Zappa influence. As the track unfolds, Country Joe McDonald becomes a carnival barker. He works the crowd into a frenzy. Then he delivers a no holds barred lyrics. Accompanying him, as he makes it clear whose side he’s on, are a myriad of sound effects, organ and buzzing bass. They combine with harmonies and whoops, providing the perfect backdrop to Country Joe’s lyrics. The result is a classic protest song, that’s still relevant today. All that’s changed is the name of the war.
Just an acoustic guitar accompanies Country Joe’s vocal on Who Am I. Soon, the rhythm section, chiming guitars and percussion enter. Still, your focus is on the vocal. The reason for this is simple, the lyrics. With lyrics like: “while the wheels of fate slowly grind my life away,” Country Joe lyrics full of pathos. As he sings: “nowhere to run to, Who Am I,” a confused Country Joe asks questions he needs answers to.
Pat’s Song meanders into being. Guitars chime, while bells ring and Country Joe’s vocal is thoughtful. He paints pictures, that unfold before you eyes. These pictures are vivid and lysergic. Later, you’re introduced to the mysterious Pat, who Country Joe pays homage to. To do this, he fuses folk, country rock and psychedelia. There’s the organ that played an important part on their debut album. Then there’s the scorching, searing guitars and most importantly, Country Joe’s melancholy, dreamy vocal on this homage to the ethereal beauty, that is Pat.
Rock Coast Blues gives Country Joe and The Fish the chance to stretch their legs. They unleash a fusion of blues and country rock. At the heart of the arrangement are the guitars. They’re played with power and accuracy, matched every step of the way by the rhythm section. Other times, the arrangement is understated and pensive, a perfect foil for Country Joe’s wistful, soul-searching vocal.
Magoo has an understated introduction. Chiming guitars, hissing hi-hats and claps of thunder combine. As for Country Joe’s vocal, it’s heartfelt and full of heartache. Effects envelop his vocal, giving it a distant and lysergic, reverberating into the distance. Innovative, musical genres melts into one on this mysterious, pensive and lysergic track.
Janis sounds like a homage to Janis Joplin, with Country Joe telling of the effect she had on him. He bares his soul. This he does against a backdrop of guitars, rhythm section and wistful harmonica. Harmonies carousel around, which is apt, as parts of the arrangement are reminiscent of a fairground carousel. As for Country Joe delivers a mesmeric, heartfelt vocal, which is hauntingly beautiful.
Thought Dream (Introducing The Bomb Song And The Acid Commercial) sees a return to familiar influences. An organ that sounds like it belongs in a fairground accompanies Country Joe, whose part carnival barker, part preacher. The rest of the band add tight, hummed harmonies. He sings call and response, while the band unleash some rocky licks. From there, the organ, chiming, crystalline guitars and rhythm section accompany Country Joe as he delivers an emotive, impassioned vocal. As his vocal drops out, the band showcase their considerable talents. Then with a minute to go, it’s all change, and a reprise of an earlier part of this compelling, genre-sprawling and groundbreaking track.
Just crystalline guitars, bass and hissing hi-hats combine with Country Joe’s pensive vocal Thursday. As he sings: “I Found You,” it’s impossible to judge if he’s happy or heartbroken. He seems bereft of emotion. Then as his vocal drops out the band take charge. Fusing country rock and folk, Country Joe’s mysterious, but ethereal vocal adds a psychedelic twist to this thoughtful, mysterious track.
Drums are panned hard right as Eastern Jam begins. The bass is panned hard left. In between sits a crystalline guitar. It chimes, reverberating Country Joe and The Fish unleash some scorching, searing licks. Soon, they’re into the groove, feeding off each other. They’re jamming, each encouraging the other to greater heights. The guitars lead the way. Showboating, it’s a mesmeric Eastern Jam. When you think things can’t get any better, the licks become even more fiery, searing, soaring above the arrangement, resulting a genre-melting Eastern Jam.
Colors For Susan closes I Feel Like I’m Fixin’ To Die. It’s another instrumental. Deliberate, thoughtful guitars meander, cymbals crash and bells chime. Jazz, psychedelia, folk and rock combine with drama, mystery and power. It’s as if Country Joe and The Fish are just jamming, bouncing musical ideas off each other. There’s a free jazz feel to the track, as if they’re feeding off each other, experimenting and seeing what happens. This works, resulting in a six-minute mysterious, thoughtful opus, which reaches a dramatic crescendo.
Despite not matching the commercial success of their debut album Electric Music For The Body and Mind, I Feel Like I’m Fixin’ To Die is an ambitious, adventurous and innovative album. Featuring thoughtful, poignant lyrics, some of which are full of social comment, the music on I Feel Like I’m Fixin’ To Die is cerebral and intelligent. It’s music for the mind. Other songs seek answers to “big” questions, including Who Am I? Then there’s relationship songs and closing I Feel Like I’m Fixin’ To Die, two peerless, inventive instrumentals. During these tracks, just like the album, musical influences and genres melted into one.
Everything from acid rock, country, folk, jazz, psychedelia and rock was fused by Country Joe and The Fish on I Feel Like I’m Fixin’ To Die, which was no ordinary album. Mind you, Country Joe and The Fish were ordinary bands. They were innovators, agitators who wanted social justice. Some people called them rebels. They were more than rebels, they were rebels with a cause.
That cause was stopping the Vietnam War. While they weren’t able to do that, they recorded one of the best protest songs of the sixties, I Feel Like I’m Fixin’ To Die. Ironically, nearly four decades later, the song is just is relevant. All that’s changed is the name of the war. In many ways, Country Joe and The Fish were music’s conscience. They proved this in 1969, when Country Joe and The Fish took Woodstock by storm with a show-stopping version of I Feel Like I’m Fixin’ To Die. That was one of Country Joe and The Fish’s finest moments.
Another of Country Joe and The Fish’s finest moments was I Feel Like I’m Fixin’ To Die, which was recently rereleased by Vanguard Masters. They’ve released I Feel Like I’m Fixin’ To Die as a luxurious and lovingly compiled double album. Disc One features the stereo version, with Disc Two featuring the mono version and two bonus tracks. Then there’s in-depth sleeve-notes and a replica of The Fish Game, which came with the original version of I Feel Like I’m Fixin’ To Die. Quite simply, this is the definitive version of I Feel Like I’m Fixin’ To Die. No other version of Country Joe and The Fish’s comes close to Vanguard Masters’ version of I Feel Like I’m Fixin’ To Die a cerebral, psychedelic, lysergic and groundbreaking classic. Standout Tracks: Who Am I, Rock Coast Blues, Eastern Jam and Colors For Susan.
COUNTRY JOE AND THE FISH-I FEEL LIKE I’M FIXIN’ TO DIE.
KING FLOYD -I FEEL LIKE DYNAMITE-THE EARLY CHIMNEYVILLE SINGLES AND MORE 1970-1974.
KING FLOYD -I FEEL LIKE DYNAMITE-THE EARLY CHIMNEYVILLE SINGLES AND MORE 1970-1974.
For King Floyd, it was a case of second time around. After his debut career album A Man In Love, which was written by Dr. John, failed commercially, he joined the post office. Three years later, King Floyd made a comeback. He recorded a single What Our Love Needs which was released on Chimneyville Records in 1970. On the B-Side was Groove Me, which after some persuasion from arranger Wardell Quezergue, King Floyd had recorded. Soon, King Floyd would’ve cause to thank Wardell.
On the release of What Our Love Needs, on Chimneyville Records, some DJs in King Floyd’s hometown of New Orleans flipped the single over and played the B-Side Groove Me. Quickly, Groove Me gave King Floyd a local hit. Atlantic Records watching what was happening, secured the rights to distribute Groove Me across America. Soon, Groove Me was climbing the charts. It reached number one in the US R&B Charts and number six in the US Billboard 100. Having sold one-million copies, Groove Me was certified good. The other ramification was King Floyd quit his job with the post office.
Having franked his last letter, King Floyd headed out on an American tour. This was the start of King Floyd’s four-year stay at Chimneyville Records. The first four years of King Floyd’s time is documented on Kent Soul’s recent compilation King Floyd-I Feel Like Dynamite-The Early Chimneyville Singles and More 1970-1974.
Featuring the twelve singles King Floyd released between 1970 and 1974, on Chimneyville Records, King Floyd-I Feel Like Dynamite-The Early Chimneyville Singles and More 1970-1974, brings some of these songs to CD for the first time. They’re also a welcome reminder of one of the most overlooked and underrated soul singers of the seventies. Versatile, he’s able to sing Southern Soul, deep soul and funk. King Floyd is one of soul’s best kept secrets. Before I tell you about the music on King Floyd-I Feel Like Dynamite-The Early Chimneyville Singles and More 1970-1974, I’ll tell you about King Floyd’s career.
King Floyd was born in New Orleans, in February 1945. During his childhood, he immersed himself in the city’s rich musical heritage. So, it’s no surprise that on leaving high school, King Floyd got a job singing in the Sho Bar on Bourbon Street. That was his introduction to music. Then in 1964, after spending time in the army, he followed the sun, all the way down to California.
In California, King Floyd gravitated to a group of New Orleans’ musicians. Mac Recenback, Jessie Hill, Alvin Robinson, Harold Battiste and Shirley Pixley of Shirley and Lee all called California their second home. Through this group of musicians, King Floyd made contacts within the Los Angeles music scene.
Over the next couple of years, King Floyd record singles for Original Sound and Uptown. Next stop for King Floyd was Irwin Garr’s Pulsar label. He recorded several singles, then with the New Orleans expats help, King Floyd recorded his debut career album A Man In Love. It featured songs written by Dr. John and was produced by Harold Battiste. On its release, A Man In Love was a commercial failure. That resulted in King Floyd quitting music and heading home to New Orleans, where he joined the post office to support his family.
Although King Floyd had quit music full time, he continued to perform in his spare time. This allowed him to hone his skills and stagecraft. It was also some extra money, that was welcome for a man with a young family. Then an opportunity arose that King Floyd couldn’t resist. He got the opportunity to record with Wardell Quezergue a veteran of the New Orleans’ music scene who’d formed a partnership with businessman Elijah Walker. They gathered a variety of local artists they wanted to record. Among them, were Jean Knight, Barons Ltd and Bonnie and Sheila. Wardell and Elijah borrowed a school bus and took them to Malaco Studios, in Jackson, Mississippi.
Owned by Tommy Couch, Malaco Studios was gradually gaining a reputation as a studio with a good reputation. Essentially, it was a good room, where many legendary recordings would take place. This made it perfect place for Wardell and Elijah’s recording to take place. King Floyd arrived at the studios later in the day. He hadn’t been on the bus. Everyone had recorded two tracks. Now it was King Floyd’s turn. First up he recorded What Our Love Needs. Then after some persuasion from Wardell recorded a track entitled Groove Me. With each artist having recorded two songs, or a single each, they headed to New Orleans. Now all Wardell and Elijah needed was a label to release their singles.
That was easier said than done. Labels were approached about releasing the eight tracks. Each liked the music, but said the same thing, thanks, but no thanks. Then Wardell and Elijah’s luck changed. Bonnie and Sheila were signed to King Records. There was still no luck with any of the other three artists. So, Wardell and Elijah decided to release King Floyd’s single What Our Love Need on their own label, Chimneyville Records.
Founded in 1969, Wardell was a legend of the New Orleans music scene. Elijah was the money man. He was an important figure in the New Orleans’ Teamsters, so could raise capital for business ventures easily. This is how Chimneyville Records, which was about to release its biggest single, came about.
On the release of the impassioned, heartfelt, What Our Love Needs, on Chimneyville Records, some DJs in King Floyd’s hometown of New Orleans flipped the single over, and played the B-Side, the sensual, sultry Groove Me, where soul and funk unite. Quickly, Groove Me gave King Floyd a local hit. Atlantic Records watching what was happening, secured the rights to distribute Groove Me across America. Soon, Groove Me was climbing the charts. It reached number one in the US R&B Charts and number six in the US Billboard 100. Having sold one-million copies, Groove Me was certified gold. King Floyd quit the post office and embarked on an American tour. This was the start of a six year stay at Chimneyville Records,
Having just enjoyed a million-selling single, in some ways, the only way is down. After all, not many artists enjoy back-to-back million selling singles? Baby Let Me Kiss You, which King Floyd penned, reached number twenty-nine in the US Billboard 100 Charts. No wonder. Sounding like James Brown, he vamps his way through the track, mixing frustration, emotion and sadness, accompanied by stabs of blazing horns. As for the B-Side, Please Don’t Leave Me Lonely another King Floyd penned track, I much prefer it. With swathes of strings, soaring harmonies and braying horns, King Floyd’s vocal opus is a heartbreaking, outpouring of grief and pain.
Having released two hit singles, King Floyd released his eponymous sophomore album in 1971. Unfortunately, it failed to chart. Featuring his first two singles and his third single, Got To Have Your Lovin,’ there was more to King Floyd than that. Messin’ Up My Mind was heart-wrenching, soulful plea. So Glad I Found You sees King Floyd find happiness at last, and showcases one of his best vocals. Then there’s A Day In The Life Of A Fool, which like Messin’ With My Mind was written by King Floyd and Joseph Broussard. It’s a tale of love gone wrong, brought to life by King Floyd. He breathes life and meaning into the lyrics. Just as he did on his next single.
Hot on its heels of King Floyd, was King Floyd’s third single, Got To Have Your Lovin.’ Written by Michael Adams and Joseph Broussard, it reached number 101 in the US Billboard 100 and number thirty-five in the US R&B Charts. There’s a change in direction for King Floyd. As he fuses elements of soul, funk and rock, this, a scorching, dramatic and timeless track unfolds. Feeding off his backing vocalists, King Floyd’s vocal is needy as he mixes power and passion. On the B-side, is Let Us Be, which is a real hidden gem. Again, the interplay between King Floyd pleading vocal and the harmonies is crucial to the song’s success. So are stabs of braying horns and the powerhouse of a rhythm section. So good is this track, it could’ve been a single.
When the King Floyd penned, Let Me See You Do That Thing was released in 1971, it was a first for King Floyd. Best described as funky and soulful, it was his single not to chart. Good as Let Me See You Do That Thing is, the joyous B-Side It’s Wonderful, which Wardell Quezergue wrote with Albert Savoy is better. It’s as if King Floyd can relate to the lyrics? As a result he breathes life and meaning into the lyrics.
Things weren’t looking good for King Floyd when Everybody Needs Somebody was released in 1972. It’s another funky track. Here, King Floyd becomes Dr. Funk, vamping his way through this fusion of funk and soul. DJs weren’t impressed. Mind you, King Floyd had set his standards high. Some DJs, remembering Groove Me, decided to see what delights were tucked away on the B-Side. What they found was Woman Don’t Go Astray, was another King Floyd composition. A needy, a desperate King Floyd lays bare his soul. DJs loved it and started playing it. History repeated itself as the track reached number fifty-three in the US Billboard 100 and number three in the US R&B Charts. However, behind the scenes, there were problems afoot.
Up until then, King Floyd and Wardell got on well. King Floyd was an easy going guy who was content to let Wardell arrange and produce his music. Then he started to suggest ideas when it came to arrangements and productions. For a while, Wardell put up with this. Then after Wardell’s third album and second for Chimneyville, Think About It, which was released in 1973.
Like its predecessor, Think About failed to chart. That’s no reflection on the music. It’s crammed full of quality. There’s thoughtful cover of The Temptations’ My Girl. Then there’ the Wardell Quezergue penned It’s Not What You Say. Funky, soulful and accusing, King Floyd cuts loose. The same can be said of the James Brown-esque You’ve Got Me. As for Hard To Handle, it’s a sassy, strutting fusion of soul and funk. Two of the highlights are ballads. They’re Thank You, a soulful outpouring of appreciation, and You’ve Got Me is a heartfelt, reassuring ballad. It seemed singles not albums were King Floyd’s forte.
The title-track, which was a cover of an Otis Redding song, released after his death, was chosen as the lead single from Think About It. As if paying homage to Otis Redding, King Floyd rung every ounce of emotion from the song. Heart-wrenching, it reached a disappointing forty-nine in the US R&B Charts. Here It Is which was the B-Side, had a sixties soul sound. Written by King Floyd, John Terry and Theodore Royal, it’s a sultry, sensual hidden gem, that’s the perfect accompaniment to Think About It, which marked the end of an era for King Floyd.
Think About It was the last King Floyd single Atlantic Records distributed. They didn’t renew the deal. So Chimneywille were left without a distributor. During that time, So Chimneywille released So Much Confusion, a King Floyd penned track in 1973. Featuring socially conscious lyrics, it’s a track that sounds not unlike what Gamble and Huff were doing with The O’Jays. Sadly, without a distribution deal, the single failed to chart. Considering it’s one of the best songs King Floyd wrote, and features a really slick, contemporary arrangement, it was a lost opportunity. If it had garnered radio play, it could’ve transformed King Floyd’s career. Sadly, it didn’t. At least, Chimneywille had a new distributor.
Eventually, Henry Stone’s T.K. Records agreed a deal with Chimneywille. Marking the start of this new era was the uber funky I Feel Like Dynamite, which reached number thirty-five in the US R&B Charts. Penned by Larry Hamilton, Albert Savoy and Elijah Walker, it’s an explosive slice of funky music. On the B-Side was the beautiful ballad Handle With Care. Written by King Floyd, it features a tender, impassioned, needy vocal. That’s the last single that features on King Floyd-I Feel Like Dynamite-The Early Chimneyville Singles and More 1970-1974. Ironically, the B-Side surpasses the quality of the single. That’s no surprise. After all, King Floyd was at his best laying bare his soul.
While King Floyd was comfortable with the funkier cuts on King Floyd-I Feel Like Dynamite-The Early Chimneyville Singles and More 1970-1974, he’s at his best when things get soulful. Especially when it comes to laying bare his soul. That’s when he’s at his very best. Songs like Please Don’t Leave Me Lonely, Woman Don’t Go Astray and Messin’ Up My Mind are akin to a cathartic outpouring of emotion. It’s not all sadness and regret from King Floyd. No. Far from it.
Happiness comes his way on Baby Let Me Kiss You, So Glad I Found You, Got To Have Your Lovin.’ My Girl and Thank You. Songs like this see King Floyd come alive. It’s meat and drink to him. He breathes life and meaning into the lyrics. So much so, you feel that he’s lived, loved and wants to tell the tale. A versatile, talented singer, he’s not unlike an old-fashioned storyteller. Many of these stories come from King Floyd’s pen. He’s not just a singer, but a singer-songwriter. With Wardell Quezergue guiding his career, he enjoyed a string of hit singles, including the million-selling Groove Me. Sadly, neither their relationship nor King Floyd’s time at Chimneyville had a happy ending.
When King Floyd started to suggest ideas about arrangements and productions, for a while, Wardell put up with this. Then after Wardell’s third album and second for Chimneyville, Think About It, released in 1973, Wardell called time on his partnership with King Floyd. As a result, some of the music released after 1974, doesn’t match the quality of music on King Floyd-I Feel Like Dynamite-The Early Chimneyville Singles and More 1970-1974 which was recently released by Kent Soul. That, quite simply, is the equivalent to The Best Of King Floyd, with some hidden gems added. Who knows what heights King Floyd might have reached with Walter by his side.
Indeed, if King Floyd had been signed to Atlantic Records, what heights could he have reached? Maybe then, King Floyd would’ve reached the heights his considerable talent deserved. Instead, King Floyd-I Feel Like Dynamite-The Early Chimneyville Singles and More 1970-1974 is a tantalizing taste of what King Floyd was capable of. Standout Tracks: Baby Let Me Kiss You, So Glad I Found You, Got To Have Your Lovin’ and Thank You.
KING FLOYD -I FEEL LIKE DYNAMITE-THE EARLY CHIMNEYVILLE SINGLES AND MORE 1970-1974.
PHILLY REGROOVED: THE TOM MOULTON REMIXES-SPECIAL VINYL EDITION.
PHILLY REGROOVED: THE TOM MOULTON REMIXES-SPECIAL VINYL EDITION.
Just over three years ago, in August 2010, Harmless Records released the first installment in the Philly ReGrooved compilation series. Featuring twelve remixes of tracks from the Philly Grooved back-catalogue Philly ReGrooved: The Tom Moulton Remixes was released to critical acclaim. One of the best releases of 2010, fans of Philly Soul waited with bated breath to see if a second installment would follow?
It did. Less that a year later, Philly ReGrooved 2: The Tom Moulton Remixes was released in May 2011. With another eleven remixes from the Godfather of the remix, Philly ReGrooved 2: The Tom Moulton Remixes enjoyed the same commercial success and critical acclaim of its predecessor. That whetted our appetite for further installments in the series.
2012 came and went with no sign of Volume 3. Nearly two years passed before Harmless Records announced the release of Volume 3. Unlike the first two volumes, Philly ReGrooved 3: The Tom Moulton Remixes would be a double-album. Released in June 2012, Volume 3 surpassed the first two installments. Featuring tracks from the back-catalogues of Atlantic, Atco, Buddah, Chelsea, Columbia, Defected and Roxbury, Volume 3 was crammed full of Philly Soul classics, including Blue Magic, The Spinners, The Trammps, New York City and William DeVaughan. Critics hailed Volume 3 as the best in the series. Plaudits, praise and critical acclaim came Tom Moulton and Harmless Records’ way for this two-disc opus. The only criticism of Volume 3 was, that it wasn’t available on vinyl. That is, until now, when Harmless Records will released another vinyl Magnus Opus.
It’s not just Philly ReGrooved 3: The Tom Moulton Remixes that can be found on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. No. There’s much, much more than that.Most of the three volumes of Philly ReGrooved: The Tom Moulton Remixes Volumes can be found within this forty-track, eight-album box set. Released on 28th October 2013, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is a must-have for Philly Soul fans. Limited to just four-hundred box sets, this follows in the footsteps of limited edition vinyl box set of Philadelphia International Classics: The Tom Moulton Remixes, which was released by Harmless Records earlier this year. Before I tell you about Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, I’ll tell you about the man behind the music…Tom Moulton.
TOM MOULTON
Tom Moulton was born in Schenectady, New York on 29th November 1940. He lived in Schenectady, upstate New York and later, spent time in Philadelphia. From an early age, Tom was collecting records. Count Basie’s One O’Clock Jump is the first record he bought, when he was just five. After that, Tom immersed himself in music. It’s almost as if he was absorbing all the music that had been ever recorded. This would prove useful for his future career as remixer extraordinaire. When Tom finished high school, he headed to California, where he got is first job in music.
His first involvement with the music industry was when he began working as an assistant buyer for Seeburg, the jukebox manufacturer, during the late-fifties. This allowed Tom to learn the ins and outs of the record industry. He proved shrewd at picking singles that would later prove popular. Two songs that proved this were Patsy Cline’s I Fall To Pieces and Ernie K. Doe’s Mother In Law. Tom bought 1,000 copies of each, almost costing him his job. Then when both singles became huge hits, many of Seeburg’s competitors didn’t have copies of these songs. Suddenly, Tom was the hero. However, he decided to leave Seeburg to work for Muntz, who’d just patented the eight-track tape machine. Having heard the possibilities that Muntz’s eight-track opened up, Tom was desperate to become part of something that could revolutionize car stereos. From Muntz, Tom joined one of the most important label of the time.
After leaving Muntz, Tom’s next job was with Syd Nathan’s King Records. During his time at King, Tom worked in sales and promotions. This was during a time when King had an unenviable roster of artists. This included Freddie King, Nina Simone, Hank Ballard and The Midniters, Little Willie John and the hardest working man in soul music..James Brown. Later, Tom moved to RCA and United Artists, where he worked in similar positions. By the late-sixties and disillusioned with the dishonesty and corruption that scarred music. With a heavy heart, Tom left the music industry.
Following his departure from the music industry, Tom worked in the record department of Crays department store in Boston. He became an advocate for stereo sound. When people came in looking to buy a single, they were loath to pay the higher price for the stereo versions. However, that was before Tom turned people onto the sound of stereo. Suddenly when Tom explained the difference between mono and stereo versions of singles, they realized that paying the higher price for the stereo version made sense, given the superior sound. His next job was completely different, and was how he was making a living before becoming a remixer.
Back in New York, Tom had embarked upon a career as a model. He was working on photographic shoots and as a catwalk model. While he was making a comfortable living, he missed music. Music was his real passion. It was in his blood, and what he was happiest doing. Then when a colleague in the modeling industry invited him to Fire Island to a diner and club the Sandpiper, he’d have a eureka moment that would forever change his life and music.
Having made the crossing on the ferry from New Jersey and arrived at the Fire Island, Tom headed to the Sandpiper. Little did he realize it, but he was about to change musical history. When watching a DJ at the Sandpiper he was matching the resident DJ mix the old seven inch singles. It was then he realized that just when dancers were gaining momentum and getting into the groove, the single was over. After this there another single was mixed in and the same thing was happening. Realizing this must be hugely frustrating for dancers and DJs, Tom decided to rectify the problem.
Back home, Tom spend nearly a week editing a forty-five minute reel-to-reel tape designed keep the dance floor going. Now this wasn’t easy. He extended parts of tracks, looping the most exciting parts and ensured there was a seamless changeover between tracks, so much so, that dancers hardly noticed it. Using his own collection of soul music, the tape was compiled. This hadn’t been easy. It meant editing the tape using razor blades, tape and fluid, constantly joining and rejoining the tape. Dexterity, patience, skill and an ear for music were needed, but Tom had all that. So after a week, the tape was finished, and he proudly gave ir to a DJ at the Sandpiper. The result was as he’d expected, the dance-floor loved it. This would be Tom’s first step on the road to remixer extraordinaire.
After making his first disco mix, Tom set about finding new tracks to remix. Surprisingly, this turned out to be relatively easy, mainly because Tom wasn’t a DJ. The reason for this was radio was still King, with DJ’s in clubs and record companies neither communicating, nor perceived as important in the great scheme of things. This is very different from today. So, when Tom approached record companies to remix one of their tracks, then often they say yes. Starting with The Carstairs’ It Really Hurts Me Girl, remixed by Tom for Red Coach Records, Tom’s nascent remixing career was underway. By 1974, Tom Moulton had perfected his craft, remixing BT Express’ Do It Till You’re Satisfied. Although the group didn’t like the track, Tom’s remix became a big hit. In 1974 Tom also discovered the Philly Devotions’ I Just Can’t Say Goodbye, on the Don De label. Having worked on the track at home, Tom took it to Columbia Records in New York. They loved what he’d done, and wanted him to remix the track. Although Columbia offered to send the tapes to New York, Tom decided to head to Philadelphia, having fallen in love with the Philly Sound.
When Tom discovered Philly, he fell in love with the city, and its much slower pace of life. So he took the decision to move there. This decision worked well, given Philly was at the centre of the American music industry. Tom was constantly in demand. Indeed, he once being booked into Joe Tarsia’s legendary Sigma Sound Studios for a year in advance. Having established himself in Philly, Tom hooked up with Gamble and Huff, two of the architects of the Philly Sound. Gamble and Huff met Tom through The Trammps manager Harry Chipetz. At first, Tom thought that Gamble and Huff hadn’t any need for Tom’s help. Eventually, Harry Chipetz brought Tom into the “Philly family.” Initially, Harry brought the forthcoming albums about to be released, to see whether Tom could do anything with the music. The first song Tom chose was a People’s Choice track Do It Any Way You Wanna. Ironically, when Tom first got involved with the Philly Sound, there was a backlash against with music coming out of Philly.
The problem was, some people in the black community felt that the Philly Sound was being transformed into music for white people, with the addition of strings and horns. Tom like many people was amazed, even annoyed. Tom decided to make a point, but needed the right track. He chose the People’s Choice track Do It Any Way You Wanna, mixing it without strings or horns. This would dispel the accusation that Philly Soul was soul music for white people. He offered to do the song without taking a fee, but asked for his name to be put on the label, which it wasn’t. On the release of Do It Any Way You Wanna, it became a huge hit, reaching number one in the US R&B Charts, while reaching the top twenty in the US Billboard 100. This would be the start of a long and fruitful relationship between Tom and Philadelphia International Records. However, Tom didn’t work exclusively for Philadelphia International Records in Philly. Not at all. He continued to remix an eclectic selection of artists, including some of the biggest names in music.
By 1975, Tom Moulton was getting the chance to remix some of the biggest names in music. One of his biggest successes came with Gloria Gaynor’s Never Can Say Goodbye. Tom took the first three songs on Side One of Never Can Say Goodbye and transformed them into a nineteen minute suite of songs. So successful was this medley of Honey Bee, Never Can Say Goodbye and Reach Out I’ll Be There within clubs, that the decision was made to release each track as a single. When Never Can Say Goodbye reached number one in the US Dance Charts, this really lifted Tom Moulton’s profile, opening doors for him in the process.
Soon, Tom Moulton had a column in Billboard magazine where he wrote about disco. He had also become the favored remixer for a record company with a strong Philadelphia influence. This was Salsoul Records, founded by the Cayre brothers. Salsoul had been transformed by the arrival of many of the original members of M.F.S.B, Philadelphia International Records’ legendary house-band. They’d left Philadelphia International Records after a dispute with Gamble and Huff over payments couldn’t be resolved. Having left Philadelphia International Records, they became The Salsoul Orchestra. Their 1975 debut album The Salsoul Orchestra sold over one-million copies. Quickly, Salsoul had established an enviable roster of artists. Soon their roster included Carol Williams, Charo, Moment Of Truth, Joe Bataan, Anthony White, Eddie Holman and of course, The Salsoul Orchestra. With such an illustrious roster, someone was needed to remix tracks. That’s where Tom Moulton came in. It was also a role he’d fulfill at a Salsoul subsidiary, Gold Mind Records.
Norman Harris, the legendary songwriter, producer and guitarist from the Baker, Harris, Young rhythm section was given his own subsidiary company Gold Mind Records to run. Its roster soon included First Choice, Double Exposure, Loleatta Holloway, Bunny Sigler and Love Committee. Again, Tom Moulton would become one of Gold Mind Records’ favored remixers. However, in 1978, Tom’s role at Salsoul would change, after Vince Montana Jr, left the label.
Vince Montana Jr, left Salsoul after the release of 1978s Up The Yellow Brick Road. He’d been involved in a dispute with royalties over royalty payments. When this couldn’t be resolved, Vince decided to part company with Salsoul. Following Vince’s departure, The Salsoul Orchestra had lost its founder, conductor and producer. Helping to fill the void was Tom Moulton. He mixed The Salsoul Orchestra’s 1979 album Street Sense and cowrote two tracks, Street Sense and 212 North 12th. Tom would also work with Loleatta Holloway, First Choice, Metropolis and Charo. It wasn’t just remixes Tom worked on at Salsoul, he was now a songwriter and producer. During Tom’s time at Salsoul, he released some of the best remixes of his career.
Many of Tom Moulton’s greatest remixes have made in Philly written all over them. During his time at Salsoul Records and Philadelphia International Records, Tom Moulton created some of the greatest remixes of his career. These remixes would become classic remixes, and would find their way into the record boxes of some of the world’s greatest DJs. Tom’s remixes became these DJs secret weapons, which were guaranteed to fill dance-floors worldwide. Through a new generation of DJs, a new generation of dancers heard Tom Moulton’s remixes. Soon, record companies were rereleasing Tom’s remixes. This started back in the mid-nineties and has continued ever since. One of the labels that have been most supportive of Tom Moulton, are Harmless Records, who released the first installment in the Philly ReGrooved series back in May 2010.
It was back in August 2010, that Harmless Records released the first installment in the Philly ReGrooved compilation series. Featuring twelve remixes of tracks from the Philly Grooved back-catalogue Philly ReGrooved: The Tom Moulton Remixes was released to critical acclaim. This was a tantalizing taste of what was to come.
Less that a year later, Philly ReGrooved 2: The Tom Moulton Remixes was released in May 2011. With another eleven remixes from the Godfather of the remix, Philly ReGrooved 2: The Tom Moulton Remixes enjoyed the same commercial success and critical acclaim of its predecessor. Surely a third volume would follow sooner than later?
Nearly two years passed before Harmless Records released Philly ReGrooved 3: The Tom Moulton Remixes. Unlike the first two volumes, it was a double-album. Released in June 2013, Volume 3 surpassed the first two installments. Featuring tracks from the back-catalogues of Atlantic, Atco, Buddah, Chelsea, Columbia, Defected and Roxbury, Volume 3 was crammed full of Philly Soul classics. Blue Magic, The Spinners, The Trammps, New York City and William DeVaughan, critics hailed Volume 3 as the best in the series. These three installments of the Philly ReGrooved compilation series, are cherished by Philly Soul fans. Now forty of these tracks feature on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, which I’ll tell you about.
Over the eight slices of 180 grams, heavyweight vinyl, that comprise Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, you’ll find forty of Tom Moulton’s remixes. To fit the forty tracks on the eight albums, the running order is different from the original CDs. This is no bad thing. It’s akin to heading on a musical adventure. It takes place over sixteen sides of vinyl. Your musical guide is Tom Moulton. He has transformed the original tracks. During that musical adventure, you’re introduced to some of the biggest names in the history of Philly Soul. They feature on the musical adventure that is Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, which I’ll tell you about, side-by-side.
SIDE A.
Opening Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, is Ultra High Frequency’s We’re On The Right Track, which opened 2010s Philly ReGrooved: The Tom Moulton Remixes. Released in 1973, on the Wand label, it was written by Alan Felder and Norman Harris, who arranged and produced the track. Featuring Ben Aitken, the recording took place at Joe Tarsia’s Sigma Sound Studios. For nearly three minutes, Tom Moulton extends the introduction, building and building the drama. This allows you enjoy M.F.S.B. at their very best. Then Tom drops the vocal in, what follows is a reinvention of this Philly Soul classic, which was Ultra High Frequency’s biggest hit single.
Between 1973 and 1980, First Choice released six albums. Their debut album was 1973s Armed and Extremely Dangerous. The title-track was penned by Alan Felder and Norman Harris who arranged and produced Armed and Extremely Dangerous. It was their breakthrough single, reaching number twenty-eight in the US Billboard 100 and number eleven in the US R&B Charts. Then when Armed and Extremely Dangerous was released in 1973, it reached number 184 in the US Billboard 200 and number fifty-five in the US R&B Charts. Featuring a vocal powerhouse from lead singer Rochelle Fleming, she mixes power, passion and emotion with frustration and regret. It’s a track ripe for a Tom Moulton remix. Especially when you add the warning signs that come courtesy of M.F.S.B. Tom doesn’t disappoint with this track from Philly ReGrooved: The Tom Moulton Remixes. He transforms this hook-laden track that launched First Choice’s career into an opus.
The Quickest Way Out’s Who Am I is a track from Philly ReGrooved 2: The Tom Moulton Remixes. This was their third and final single. Released on Warner Bros in 1976, James Dean and John Glover penned this track. Arranged by Arnold Coley Jr, it was produced by Stan Watson owner of Philly Groove Records. The result is soulful dance track, which is something of a hidden gem, that would still light up a dance floor.
SIDE B.
This Is The House (Where Love Died) is another track from First Choice’s 1973, debut album Armed And Extremely Dangerous. It was also their debut single. Released on Wand, it failed to chart. Written by Alan Felder and Norman Harris, who arranged and produced the track. Tom remix featured on 2010s Philly ReGrooved: The Tom Moulton Remixes. With a choppy, Northern Soul sound, Rochelle finds her inner diva on a track sounds as if it would’ve been played at Blackpool Mecca by Ian Levine.
The Philly Groove Orchestra’s Let Us Entertain You, which features First Choice, epitomizes everything that’s good about Philly Soul. Swathes of the lushest, quivering strings, rasping, growling horns and a rhythm section that’s like a well oiled machine. Essentially, this is M.F.S.B. under a different name. They never miss a beat. Then there’s cooing harmonies courtesy of First Choice. The result is three minutes of perfection, that’s a reminder of why you love Philly Soul.
Forty years ago, Ultra High Frequency released Incompatible on Wand. Back in 2011, Tom Moulton remixed Incompatible for Philly ReGrooved 2: The Tom Moulton Remixes. Sadly, Incompatible didn’t replicate the success of We’re On The Right Track. Soulful, dance-floor friendly and full of poppy hooks, Incompatible should’ve been a much bigger success. Instead, it falls into the category of hidden gem that thankfully, was rejuvenated by Tom Moulton.
SIDE C.
A welcome addition to Philly ReGrooved 2: The Tom Moulton Remixes was Finishing Touch’s Second Best (Is Never Enough). Released on Stan Watson’s Philly Grooved in 1974, it was penned by Andre Saunders and Herby Harris. Arranged by Ron “Have Mercy” Kersey and produced Stan Watson and Win Winford, it’s a joyous and uplifting fusion of Philly Soul and disco. Add to that gospel-tinged harmonies, a diva-esque vocal and a profusion of hooks, and the result is four minutes of musical magic.
Gotta Get Away (From You Baby) was the B-Side of First Choice’s 1976 single Yes, Maybe No. It was arranged by Bobby “Electronic” Eli and produced by Stan Watson, with M.F.S.B. providing the backdrop for First Choice. It’s a track from First Choice’s 1976 album Let Us Entertain You. Philly Grooved licensed the album to Warner Bros. This was meant to be First Choice’s breakthrough album. It wasn’t. Instead the album failed to chart.
With First Choice and M.F.S.B. were at the top of their game, Gotta Get Away (From You Baby) deserved a better fate than being hidden away on a B-Side. Tom realized this and brought new life, meaning and energy to the track.
Between 1969 and 1972, The Delfonics formed a potent partnership with Thom Bell, one of the architects of Philly Soul. After 1972s Tell Me It’s A Dream, Thom split with The Delfonics. So, their final album 1974s Alive and Kicking, which featured I Told You So, was produced by Stan Watson. Released on Philly Groove in 1974, Alive and Kicking Reached number 205 in the US Billboard 200 and number thirty-four in the US R&B Charts. The following year, 1975, The Delfonics called time on their career. One of the highlights of their farewell album Alive and Kicking, was the sweet, soulful I Told You So.
SIDE D.
Gonna Keep On Lovin’ Him was the B-Side to First Choice’s 1973 single Armed And Extremely Dangerous. It was written by Melvin and Mervin Steals, under the pseudonym Mystro and Lyric. Arranged, conducted and produced by Norman Harris, the single was released on Philly Grooved Records. Here, M.F.S.B. explode into life, providing the perfect accompaniment to First Choice. This teaches you always to check on the B-Side of a singe. After all, who knows what delights might be hidden away?
One of the bonus tracks on 2010s Philly ReGrooved: Tom Moulton Remixes was Finishing Touch’s Don’t Put Me Down. Released in 2003 on Vocal Bizz Recordings, it’s Philly Soul with a contemporary twist. There’s everything you expect on a Philly Soul track. Strings, horns and band who mix funk, soul and disco. Add to that a needy vocal and pleading harmonies. When all that’s combined by Tom Moulton, the result is a reminder of what soul used to sound like.
Armed and Extremely Dangerous was the launched First Choice. It’s the best album they recorded for Philly Groove Records. One Step Away closed the album. Penned by M.F.S.B. bassist Ron Baker and Thom Bell, Norman Harris arranged and produced the track. With M.F.S.B. providing a jaunty, Spanish-influenced backdrop, Tom Moulton tantalizes the listener. Extending the introduction, he eventually drops in Rochelle’s feisty vocal. The interplay between Rochelle and the harmonies plays a huge part in the song’s success. Driving each other to greater heights of soulfulness, First Choice were One Step Away from greatness.
SIDE E.
Beware, She’s Pulling My Strings is another track that proves it’s always worth checking out B-Sides. Released in 1978 on Philly Groove Records, by The Quickest Way Out under their Flashlight alias it surpasses I Can Be (What You Want Me To Be). Penned by James Dean and John Glover, and produced by Adam and Eve, Tom Moulton transforms it into a seven-minute epic. Crucial to the track are the vocal and a myriad of percussive delights and drama. They play their part in another hidden gem.
Moment Of Truth’s I’m So Hopelessly In Love With You grabs your attention from the get-go. Released on Roulette in 1975, Reid Whitelaw and Norman Bergen wrote and produced this single. Tom builds and builds the drama. He’s relentlessly teasing the listener. As instruments are dropped in, he lengthens the introduction. So, you hear more of the lush strings, punchy horns, soaring, sultry harmonies, percussion and Vince Montana Jr’s vibes. From there, this vocal quartet trade soulful licks, as Philly Soul and disco unite. Two years later, unsurprisingly, Moment Of Truth released their eponymous debut album on Salsoul Records, disco’s premier label. Sadly, it was the only album they’d release and like I’m So Hopelessly In Love With You, is tantalizing taste of what Moment Of Truth were capable of.
Smarty Pants is the sixth and final track from First Choice on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. This was that track that opened First Choice’s 1973 album Armed And Extremely Dangerous. Released as a single in 1973, it reached fifty-six in the US Billboard 100 and number twenty-five in the US R&B Charts. Written by Alan Felder and Norman Harris, who arranged and produced the track, this is one of First Choice’s finest moments, starting their career as they meant to go on, mixing Philly Soul, funk and disco seamlessly.
SIDE F.
There’s just two tracks on Side F of Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. They however, fall into the category of epics. The first is Moment Of Truth’s Love At First Sight. An unreleased track, it clocks in at seven-minutes. Philly Soul, funk, jazz and disco melt into one during the arrangement, which features The Sweethearts Of Sigma adding breathy harmonies. Why a track as good as this, never saw the light of day seems a mystery?
Terry Collins’ Actions Speaks Louder Than Words is another seven minute fusion of musical genres and influences. Written and produced by one of The Young Professionals, Bobby “Electronic” Eli, it was released in 1973 on Kwanza Records. Against a laid-back, understated jazz-tinged backdrop, Terry Collins’ vocal emerges. It stops you in your tracks. Strong, powerful and full of emotion, diva-esque is a fitting description of Terry’s spellbinding delivery. She trades licks with her backing vocalists, fusing soul and gospel, reaching previously unreached heights. As for Tom’s remix, he extents the track by four minutes, allowing you to revel in the track’s delights.
SIDE G.
Loose Change feature twice on Side G of Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. Straight From The Heart is their contribution. Released as a single in 1979, it’s a track from their eponymous album. Written by Grey and Hanks, and produced by Tom Moulton, Loose Change are accompanied by John Davis and His Monster Orchestra. They play an important part in a track that’s soulful and dance-floor friendly.
Rising Cost Of Love is the other contribution from Loose Change. It’s also from their 1979 eponymous album. Written by Grey and Hanks with legendary arranger, producer and songwriter Bobby Martin, there’s a slightly tougher, funkier sound to this track. A fusion of funk, Philly Soul and disco, like Straight From The Heart, hooks aren’t in short supply.
Tapestry only released a handful of singles between 1967 and 1976. Their sophomore single was Big Stone Wall (Around Your Heart). Released on Philly Groove Records, it was written by Richard Mason and Thomas White. Arranged by John Davis, Billy Devine and Leo Donald produced this musical Tapestry. Tom Moulton extends the introduction and then the break. By doing that, you can enjoy swathes of dancing strings. They sweep you away, taking you on a magical musical journey, that lasts four glorious minutes.
SIDE H.
TJM was a short-lived studio band put together by Tom Moulton. They released just one album and single. The album was TJM and the single Put Yourself In My Place, which was penned by Alfie Davidson. Featuring vocals from The Brotherhood, Tom decided to revisit Put Yourself In My Place on 2011s Philly ReGrooved 2: The Tom Moulton Remixes. He transforms the track to a seven soulful and funky minutes. This results in something of a hidden gem. Sadly, with disco experiencing a near death experience in 1979, that was all that we heard from TJM. Who knows what they may have achieved if things had been different?
Heaven and Hell Watcha’s Gonna Do was one of two bonus tracks on Philly ReGrooved: The Tom Moulton Remixes. Released on Italy’s D:Vision Records in 2006, it was a track written and produced by Reid Whitelaw and Norman Bergen. It’s Philly Soul with a 21st Century makeover from the man they call The Master.
SIDE I.
From Side I right through to Side P, it’s Philly Philly ReGrooved 3: The Tom Moulton Remixes all the way. This includes tracks from labels that include Atlantic, Atco, Buddah, Chelsea, Columbia, Defected and Roxbury. Featuring a who’s who of Philly Soul, the next eight sides feature old friends and a smattering of hidden gems.
Between 1973 and 1974, soul group New York City released two albums for Chelsea Records. Their debut album was 1973s I’m Doin’ Fine Now, produced by Thom Bell. He also produced 1974s Soulful Road, which proved to be New York City’s final album. I’m Doin’ Fine was New York City’s biggest hit. It was written by Sherman Marshall and Thom Bell, who arranged and produced the track. SInce its release in 1973, I’m Doin’ Fine has remained something of a hidden soulful gem. Thankfully Tom Moulton’s peerless remix gives everyone the opportunity to relive and rediscover this track’s delights all over again.
Son’s Of Robin Stone’s Got To Get You Back is Philly Soul all the way. This was their 1974 debut single, written by the Grammy Award winning songwriting partnership of Vinnie Barrett and Bobby “Electronic” Eli. Bobby also conducted, arranged and produced this track, which features members of M.F.S,B. providing the backdrop for Son’s Of Robin Stone. Vinnie and Bobby would later write Blue Magic’s classic Sideshow which featured on their debut album Blue Magic and Major Harris’ sensual classic Love Won’t Let Me Wait. Sadly, Son’s Of Robin Stone’s Got To Get You Back didn’t enjoy the same success as these tracks, but is a deliciously underrated slice of Philly Soul that gets a new lease of life from Tom Moulton.
The Spinners are one of the legends of Philly Soul. Their fortunes were transformed by producer Thom Bell. The album that started this transformation was 1973s Spinners. It featured Could It Be I’m Falling In Love and One Of A Kind Love Affair. It was written by Joseph B. Jefferson and arranged, conducted and produced by Thom Bell. M.F.S.B. provide the backdrop for Philippe Wynne’s lead vocal, while Bobby Smith delivers just two lines during the bridge, which follows the first verse.
One Of A Kind Love Affair was released as the followup single to Could It Be I’m Falling In Love. It reached number eleven in the US Billboard 100 and gave The Spinners their third number one consecutive US R&B single, following in the footsteps of I’ll Be Around and Could It Be I’m Falling In Love. This was just the start of the most successful period in the careers of The Spinners and producer Thom Bell. The Spinners would become one of the most successful groups in the history of Philly Soul, while Thom Bell establish his reputation as one of the architects of Philly Soul.
SIDE J.
Could It Be I’m Falling In Love is a stonewall Philly Soul classic. It was written by Melvin and Mervin Steals under the pseudonym Mystro and Lyric. This was a track from The Spinners’ third album Spinners, released in 1974 on Atlantic Records. Spinners marked a change in fortune for The Spinners. Neither 1967s The Original Spinners, nor 1970s 2nd Time Around was a commercial success. Then when The Spinners headed to Philadelphia and hooked up with producer Thom Bell, their luck changed. Thom Bell brought the legendary Philadelphia International Records’ house-band M.F.S.B. onboard. The Spinners on Spinners when the recording began at Joe Tarsia’s Sigma Sound Studios. When recording of Could It Be I’m Falling In Love began, Thom decided the song should be slowed down. His decision was crucial and the result was a timeless Philly Soul classic.
Formed In Philly, and famed for their vocal harmonies which was combined with a disco sound, the Philly Devotions released a six singles between 1973 and 1976. Their best known single and I’d say, career highlight, was a cover of Little Anthony and The Imperials’ 1965 classic Hurt So Bad. It was released in 1976 on Columbia and was produced by John Davis, who later, went on to form John Davis and The Monster Orchestra. Tom Moulton was responsible for the mix of Hurt So Bad, which is perceived as one of Tom’s greatest remixes and his 2013 remix breathes new life, meaning and energy into a classic track.
Just like The Spinners, New York City have two tracks on Philly Re-Grooved Volume 3 Tom Moulton Remixes. The second contribution from New York City on Philly Re-Grooved Volume 3 Tom Moulton Remixes, is Quick, Fast In A Hurry, which features the vocal talents of Claude Johnson, John Brown, Tim McQueen and Ed Schell. Quick, Fast In A Hurry was written by Linda Creed and Thom Bell, who arranged and produced the track. This was their sophomore single and the followup to I’m Doin’ Fine. It also featured on their 1973 debut album on Chelsea Records, I’m Doin’ Fine Now and is a captivating reminder of one of Philly Soul’s finest purveyors.
SIDE K.
Bettye Swann-When The Game Is Played On You. One of the most underrated soul singers of the sixties and seventies is Bettye Swann. Quite simply, Bettye Swann is one of soul music’s best kept secrets. Her career started in the early sixties, when she was a member of The Fawns. Then in 1964, Bettye embarked on a solo career. Don’t Wait Too Long the first of a series of singles she released for Money Records. Three years later, Bettye released her debut album Make Me Yours. By 1968, Bettye’s talent had attracted the interest of Capitol Records.
In 1969, Bettye signed to Capitol Records, releasing The Soul View Now! and Don’t You Get Tired Of Hurting Me. Sadly, Bettye didn’t enjoy the commercial success her undeniable talent deserved. When she left Capitol, she released I’m Just Living A Lie for Fame in 1971. Next stop for Bettye was Atlantic Records. Her Atlantic debut single Victim Of A Broken Heart reached the US R&B top twenty. Then in 1974, Bettye recorded Tony Bell and Phil Hurtt’s Time To Say Goodbye. Tony arranged the track and he and Phil produced the song with LeBaron Taylor. Since then, it has remained one soul music’s hidden gems, which showcases one of the greatest voices in soul music. However, Tom’s remix will bring When The Game Is Played On You to a new, and much wider audience.
During the seventies, Buddah Records established a roster of that included some of the most successful artists in music. This included Gladys Knight and The Pips, Curtis Mayfield, The Impressions, The Trammps and Melba Moore. Unfortunately in 1977, Buddah Records began to experience financial problems. This was only rectified when Buddah signed a distribution deal with Clive Davis’ Arista Records. These financial problems coincided with Melba Moore’s time at Buddah Records.
Between 1975 and 1977, Melba Moore released four albums for Buddah. Starting with 1975s Peach Melba, through 1976s This Is It and Melba, Melba’s career at Buddah ended with 1977s A Portrait Of Melba, which included the single Standing Right There. Of the four albums, A Portrait Of Melba was her least successful album, failing to chart. Despite this, Standing Right There reached number sixty-two in the US R&B Charts. It was written and produced by McFadden and Whitehead with Victor Castarphen. Now thirty-six years after its release, Standing Right There has been given a disco makeover by Tom Moulton, which totally transforms the track. One listen and you’ll know exactly what I mean.
SIDE L.
Founded in Camden, New Jersey in 1968, by Jenny Holmes, David Beasley, Clarence Vaughan and James Tuten, The Ebonys were a soul quartet who many people compare to The Dells. Both groups established their reputation delivering bold, dramatic ballads. They were discovered by Leon Huff of Philadelphia International Records.
Leon Huff signed The Ebonys to Philadelphia International Records. They released several singles and one album between 1971 and 1974. Their debut singles was 1971s You’re The Reason Why, with singles like I’m So Glad I’m Me and I Believe following. Then in 1973, The Ebonys released their only album for Philadelphia International Records,The Ebonys. A year later, The Ebonys left Philadelphia International Records and signed to Neil Bogarty’s Buddah Records.
Now signed to Buddah Records, The Ebonys’ label debut was 1974s Making Love Ain’t No Fun (Without The One You Love). It was written by Allan Felder and Norman Harris. Norman arranged and produced the track, while Tom Moulton remixed the single. However, when The Ebonys’ 1976 sophomore album Sing About Life was released on Buddah Records, Making Love Ain’t No Fun (Without The One You Love) didn’t feature on the album. Now for Philly Re-Grooved Volume 3 Tom Moulton Remixes, Tom Moulton has transformed Making Love Ain’t No Fun (Without The One You Love) into an eight-minute masterpiece. This to me, is one of the most welcome inclusions on Philly Re-Grooved Volume 3 Tom Moulton Remixes, and Tom Mouton deserves our thanks for this epic remix.
David Morris Jr’s career started in the sixties and last right through to the early eighties. He released just a handful of singles. Having released singles on Phillips and Plush Records, next stop for David was Buddah Records. That’s where he released the double A-Side Midnight Lady/Jack In The Box in 1976. Jack In The Box was written by Ernest Smith and T.J. Tindall, who was a guitarist in M.F.S.B. and The Salsoul Orchestra. Producing Jack In The Box were Bud Ross and Ed Biggins, while Tom Moulton remixed the track giving it a delicious dance-floor friendly sound.
SIDE L.
Ron Hall and The Motherfunkaz featuring Marc Evans’The Way You Love Me was one of two bonus tracks on Philly Re-Grooved Volume 3: Tom Moulton Remixes. This near thirteen-minute epic remix of The Way You Love Me was released in June 2006 on Defected and was mixed by Tom Moulton. Vince Montana Jr, formerly of M.F.S.B. and The Salsoul Orchestra, plays vibes and arranged the strings on The Way You Love Me, giving the track an unmistakable Philly Soul influence.
For many people, The Trammps are disco’s most soulful group. Mind you, with the legendary Jimmy Ellis as their lead singer, that’s so surprise. The Trammps were formed back in the sixties as The Volcano, but after various changes in personnel, became The Trammps in the seventies. They released ten albums between 1975 and 1984. However, it was at Buddah Records their career started.
Hold Back The Night was written by Ron Baker, Norman Harris and Earl Young with Allan Felder. It was arranged by Norman Harris and produced by Baker, Harris Young. On its release in 1975 on Buddah, it gave The Trammps the biggest hit of their career, reaching number thirty-five in the US Billboard 100 and number ten in the US R&B Charts. Over in the UK, Hold Back The Night reached number five and is one of Jimmy Ellis’ finest moments as lead singer of The Trammps.
SIDE O.
The third and final artist to have two tracks on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is Bettye Swann. Her second contribution is Kiss My Love Goodbye, which was released on Atlantic in 1974. Kiss Your Love Goodbye was written, arranged and produced by the same personnel as When The Game Is Played On You. It was written Phil Hurtt and Tony Bell who arranged the track. Under the guise of The Young Professionals, Phil and Tony Kiss My Love Goodbye with LeBaron Taylor. Like When The Game Is Played On You, it demonstrates that Bettye Swann is one of soul music’s best kept secrets.
When Tom Moulton’s brother Jerry discovered the members of Loose Change, they were performing under a different name. However, Tom felt the group’s name didn’t suit the songs he had in mind for them. So Becky Anderson, Donna Beene and Leah Gwin became Loose Change for their 1979 album Loose Change, which was released on Casablanca Records.
For recording of Loose Change’s debut album Loose Change, recording took place at Philly’s Sigma Sound Studios. A number of songwriters worked on Loose Change. For the album opener, Tom and Thor Baldursson, who Tom worked with at Salsoul cowrote Babe. It features members of M.F.S.B. who accompany Loose Change. The result was a track that’s Euro Disco, albeit with a twist. On the release of Loose Change in 1979, it failed to chart. However, Loose Change is seen as one of the finest albums of its type and is a tantalizing reminder of the talents of Loose Change.
SIDE P.
There aren’t many people who go from being a drafting technician to writing and recording a two-million selling single. This is what happened to William DeVaughn. He’d written a song called A Cadillac Don’t Come Easy. It was then rewritten to become Be Thankful For What You’ve Got. The song was then given a smoother arrangement by Allan Felder, and once it was completed, William and members of M.F.S.B. entered Joe Tarsia’s Sigma Sound Studios in Philly. When it was recorded, it was released in 1974 and transformed William’s career.
Be Thankful For What You’ve Got was released on Chelsea Records in 1974. It reached number four in the US Billboard 100 and number one in the US R&B Charts, selling over two-million copies. This resulted in the single being certified platinum. Later in 1974, William released his debut album Be Thankful For What You’ve Got. Although it was a commercial success, it didn’t replicate the success of his debut single.
While William released further singles, the single Give The Big Man A Helping Hand gave him a minor commercial success. Soon, William lost interest in the music, and eventually, returned to his old job. He would make a comeback in 1980, releasing his sophomore album Figures Can’t Calculate The Love I Have For You. After that, he dabbled in music, but never revisited the commercial success and critical acclaim of his seminal track Be Thankful For What You’ve Got, which in the hands of Tom Moulton’s takes on new life, resulting in one of Tom’s best remixes on Philly Re-Grooved Volume 3 Tom Moulton Remixes.
The final track on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, is The Modulations-I Can’t Find Your Love. Like so many seventies soul groups, The Modulations, who were signed to Buddah Records between 1973 and 1975, headed to Philadelphia in search of fame, fortune and a Philly Soul makeover. For new groups, there were many producers just waiting to try and transform a group’s career, including Gamble and Huff, Thom Bell, Norman Harris, John Davis, Vince Montana Jr. and Bobby “Electronic” Eli. It wasn’t any of these producers The Modulations turned to.
Instead, The Modulations hooked up with the songwriting and production team of Currington, Blunt, Lester, Lester and Brown, who produced and cowrote The Modulations’ 1973 debut single I’m Hopelessly In Love. They also produced 1974s I Can’t Find Your Love, which featured on their 1975 album It’s Rough Out There. This turned out to be The Modulations only album. However, if a group is only going to release just one album, make it one as good as It’s Rough Out There. Similarly, with a single as good as I Can’t Find Your Love, there’s only remixer to get to remix it…Tom Moulton. Proof of that is Tom’s near nine-minute musical masterpiece.
Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is not just the result of three years work for Tom Moulton. No. Far from it. It’s the cumulation of five decades work. For five decades Tom Moulton has been honing his skills as a remixer. It’s only through hard work, determination and being a perfectionist that Tom was able to produce remixes as good as those on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. Take it from me, it takes time, experience, dedication and a huge amount of skill to create remixes as good as those on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. From the opening bars of Ultra High Frequency’s We’re On The Right Track on Side A, right through to the final notes of The Modulations’ I Can’t Fight Your Love which closes Side P of Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, Tom Moulton never once lets his standards drop. Always, the remixes are of the highest quality. That’s why Tom gained the nickname The Master, which isn’t not his only nickname.
He’s also known as The Godfather of the remix. Indeed before Tom Moulton came along, there was no such thing as a remix. Tom went away and worked out how do a rudimentary remix. Since then, he’s remixed an incredible 5,000 tracks. Compare Tom’s remixes, including the forty on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition and its like master and pupil, with Tom very much the master. Other remixers are just pretenders to Tom’s throne.
For nearly five decades years, Tom Moulton has been remixing music, with his remixes some of the most innovative and influential in the history of music. Without Tom Moulton, music, especially dance music wouldn’t be the same. There would be no remixes, no twelve inch singles and maybe, no superstar DJs. So anyone who either makes their living from music or loves music, owes Tom Moulton a real debt of gratitude. He truly is one of the heroes of music, worthy of being referred to as an innovator and visionary. Tom Moulton is also one of the architects of Philly Soul.
Of the 5,000 tracks Tom has remixed, some of his best known remixes took place in what was for a while, his adopted hometown Philly. Back then, when Philly Soul and disco provided the soundtrack to the seventies. Many of these feature on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. These forty tracks transport us back to another era, one where Philly Soul and disco were King. Although forty years is over a generation ago, you wouldn’t realize it. The music on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is truly timeless. It’s aged like a fine wine. Not only that, it brings back memories of musical visionaries like Vince Montana Jr, Norman Harris, Gamble and Huff, Thom Bell. Then there’s M.F.S.B, The Salsoul Orchestra, The Sweethearts Of Sigma, Baker, Harris, Young and John Davis and His Monster Orchestra. They’ve one thing in common with Tom Moulton.
Each one of them are architects of Philly Soul. Tom deserves to be mentioned in the same breath as them. He helped give their music a new lease of life. He totally transformed Philly Soul and is introducing what is the greatest soul music to another generation of music lovers. That ensures that Philly Soul will continue to be one of the most popular and memorable musical genres of the past sixty years. For keeping Philly Soul alive, Tom Moulton deserves great credit and our thanks. He also deserves our thanks for remixing some of the greatest music of the past five decades. This includes creating the forty stunning remixes which feature on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. They’re among the finest remixes of Tom Moulton’s long and illustrious career. As for Harmless Records, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is one of its best releases.
Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition will be released by Harmless Records on 28th October 2013. A luxurious and lovingly compiled compilation, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition features some of the best Philly Soul to fill airwaves and dance-floors. Quite simply, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition isn’t just an incredible compilation, but a thing of beauty. That’s almost one of the great understatements. Quite simply, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is one of the best box sets of 2013. It’s also the perfect accompaniment to Philadelphia International Classics: The Tom Moulton Remixes. Just like Philadelphia International Classics: The Tom Moulton Remixes, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is something to cherish. However, you’ll need to be quick.
After all there are only 400 copies of Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition available. Once they’re gone, they’re gone. Quickly, they’ll become a collector’s item. However, music I believe, is meant to be heard, not hidden away. So good is the music on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, that it would a crime not listen to it. My advice is, listen to Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, let it into your life, love it and cherish the forty remixes from Tom Moulton, The Godfather of the remix and the man they call The Master.
PHILLY REGROOVED: THE TOM MOULTON REMIXES-SPECIAL VINYL EDITION.
WHERE THE GIRLS ARE 8.
WHERE THE GIRLS ARE 8.
There aren’t many compilation series’ that last sixteen years and eight volumes. That longevity is almost unheard of, in what is, an increasingly competitive compilation market. Especially when there’s no letup in the quality. Usually, there’s a drop in quality, with compilers running out of top quality music. That’s not the case with Ace Records’ critically acclaimed Where The Girls Are compilation series. Where The Girls Are 8, which comes four years after the release of Volume 7, has been well worth the wait.
Where The Girls Are 8 is we return to the sixties and the golden of age of girl groups and soul sisters. Featuring twenty-five tracks, Where The Girls Are 8, compilers Malcolm Baumgart and Mick Patrick have dug deeper than they’ve dug before. Determined to keep up the standard expected of one of the longest running, commercially successful and critically acclaimed compilation series. They’ve delved into the back-catalogue of nearly twenty record labels. Malcolm and Mick’s dogged determination and crate-digging skills have paid-off.
They’ve dug deep into the back-catalogues of Ode, Cameo, Mercury, Parkway, ABC, Diplomacy, Night Owl, Domino, Mira, Ava, Roomate, Bell, BT Puppy, Tuff, Unical, Amy, BJR, Stacy and Keetch. This resulted in a combination of familiar faces and hidden gems. Among them are contributions from The Blossoms, The Orlons, Dee Dee Sharp, Carol Connors, The Bonnets, Little Eva and The Darlenes. Then there’s a trio of unreleased tracks from The Four-Havens, The Fran-Cettes and The Del-Ohis. Where The Girls Are 8, which I’ll pick my ten tracks from, is a welcome addition to the Where The Girls Are family.
My first choice from Where The Girls Are 8, just so happens to be the opening track, The Blossoms’ Cry Like A Baby. It was released on Lou Adler’s newly founded Ode label in 1967. Cry Like A Baby was the B-Side to Stoney End, which was also written by Josephine Armstead with Ashford and Simpson. The Blossoms featured Darlene Love, Gloria Jones, Nannette and Fanita Barrett. Darlene’s vocal is like a cathartic outpouring of emotion. Accompanied by punchy, soulful, heartfelt harmonies, it’s a soul-baring opus. Why it was only a B-Side, seems strange?
The Orlons’ I Ain’t Coming Back showcases what would be one of the most successful production partnerships of the seventies, Gamble and Huff. Written by Kenny Gamble and Jaunita Boone, I Ain’t Coming Back was the B-Side of the 1965 single Come On Down Baby Baby. Released on Philadelphia’s Cameo label, The Orlons were one of Philly’s top groups of the early sixties. No wonder. Their lineup was a musical ying and yang. While lead singer Rosetta Hightower was at the heart of group’s success, Marlena Davis and Shirley Brickley’s harmonies played equally important parts. That’s the case on this feisty tale of love gone wrong, from Philly’s first girl group.
To save you wondering where you’ve heard Sandy Borden’s Deeper, it’s a track first recorded by Aretha Franklin in 1963. I much prefer this version, which was released in 1965 on Diplomacy Records. Written by Rudy Clark, very little is known about the song. It’s thought that Sandy Borden is Patty Lemann, who released I Could’ve Loved You So Well for Warner Bros. in 1965. What I do know about Deeper, is that this Versil Production is irresistible, deeply soul and full of glorious hooks. Sandy Borden’s Deeper is glittering hidden gem that’ll make your life a whole lot better.
Jan Bradley’s career is another case of what if? Initially, she released the Curtis Mayfield penned Mama Don’t Lie in 1963 on her manager Dan Talty’s Formal label. When Chess Records, heard the song, they loved it and released it. This resulted in the single reaching number fourteen. It looked like Jan would enjoy a long and successful career. There was a problem though. Dan Talty was only willing to lease some of her records to Chess. Other songs he released on smaller labels, who lacked the promotional expertise Chess had. Curtis Mayfield wasn’t happy. He declined to write any more songs for Jan. Her manager Dan Talty, wrote and produced Pack My Things (And Go). Released in 1963, on Night Owl, stabs of blazing horns respond to Jan’s hopeful, joyful vocal. Sadly, Pack My Things (And Go) failed to replicate the success of Mama Don’t Lie. What it does do, is demonstrate what Jan was capable of. She never reached the heights she should’ve and sadly, turned her back on music, becoming a social worker.
Carol Connors’ My Baby Looks, But He Don’t Touch sounds as if it’s been inspired by Phil Spectors early sixties productions. No wonder. She was the lead singer of The Teddy Bears and sang on their 1958 classic To Know Him Is To Love Him. Her tender, wistful vocal on My Baby Looks, But He Don’t Touch marked the end of her career. Having said that, she forged a success career as a songwriter. Released on Ava in 1966, it was written by Roger Christian and Carol. Richard Podolor was the arranger and conductor, while Marshall Leib produced this melancholy, poignant and beautiful tale of love gone wrong.
As The Del-Phis’ My Heart Tells Me So opens, the drama builds, and you expect an epic track to unfold. You’re not disappointed by this previously unreleased track. It falls firmly into the category of hidden gem. Produced by Dave Hamilton, doo wop, soul, R&B and pop unite on My Heart Tells Me So. The Del-Phis had lost a member and were working as a trio. Then they met singer Martha Reeves. It’s as if the stars were aligned. She’d been trying to forge a career as a solo singer. Joining The Del-Phis marked a change in fortunes for everyone concerned. Two years later, Martha was working at Motown and got The Del-Phis hired to sing backing vocals. From there, The Del-Phis became Martha Reeves and The Vandellas. My Heart Tells Me So is a tantalizing taste of what was to come.
Although she’s best known for her Norther Soul anthem You’re Gonna Make Love To Me, there’s more to Kendra Spotswood than that. She was briefly a member of The Shirelles, but never recorded with them. Having joined in 1964, she spent the next couple of years touring with them. By1965, Kendra and Van McCoy were working together. Van McCoy penned and produced Stickin’ With My Baby. Released on Tuff in 1965, it’s akin to a reaffirmation of her marriage vows, as she resists temptation and vows that she’s “Stickin’ With My Baby.”
Little Eva’s best known for doing the Locomotion. Although it’s her best known song, it doesn’t exactly do her voice justice. Her cover of the classic Leiber and Stoller penned with Ben E. King does. That’s the soul classic Stand By Me. While Ben E. King released the definitive version, Little Eva’s version is an impassioned and dramatic plea. Released on the Amy label in 1965, it was produced by the Feldman, Goldstein, Gottehrer production team. Despite an arrangement where soul, R&B, jazz and blues combines with drama and melancholia, Stand By Me failed to replicate the success of the Locomotion.
Ravita Marcell’s That’s My Man is akin to an outpouring of pride. Against a punchy backdrop, she fires a warning shot across any potential rival’s bows, warning them: “That’s My Man.” Written by Matt Sanders wrote the track with Feldman, Goldstein, Gottehrer, who also produced it. Released in 1963, on the short-lived BJR label, it’s a two minute outpouring of pride, emotion and love.
Fittingly, my final choice from Where The Girls Are 8, features Darlene Love who was a members of The Blossoms, my first choice from the compilation. Darlene was one of The Blossoms, and her vocal features on The Darlenes’ 1963 track I Still Like Rock And Roll. Written by Joel Hill and Jim Lee, it was produced by Lee Hazelwood. His career took off when his partnership with Duane Eddy proved productive. Soon, he established a reputation as an inventive producer, capable of pushing musical boundaries. One of his main rivals was Phil Spector. The pair were locking horns musically. Ironically, Darlene Love was a pawn in their rivalry. Previously, she’d worked with Phil Spector, but wasn’t under contract to him. For Lee this was an opportunity he couldn’t resist. He used a variety of guises, to produce a range of different types of music. I Still Like Rock and Roll was frantic fusion of country, pop, soul and pop. An example of sixties girl groups at their best, there’s plenty of clues in the lyrics from Lee to Phil.
So, four years after Volume 7, Ace Records have recently returned with Where The Girls Are 8. Featuring twenty-five tracks, familiar faces, plus a few old friends, join new and hidden gems. Then there’s a trio of unreleased tracks. The best of that trio is The Del-Phis’ My Heart. Produced by Dave Hamilton, it’s essentially Martha and The Vandellas before they were famous. This is a theme that runs through Where The Girls Are 8.
There’s pre-Philadelphia International Records’ productions from Gamble and Huff and a pre-Hustle production from Van McCoy. Then there’s Carol Connors, the voice of The Teddy Bears’ To Know Him Is To Love Him. Carol went onto enjoy a prolific and successful song, including With You I’m Born Again, which gave Billy Preston and Syreeta a huge hit. Little Eva contributes an impassioned rendition of Ben E. King’s Stand By My. These are just a few of the backstories to Where The Girls Are 8. Others include the ones that got away.
Some of the songs on Where The Girls Are 8 should’ve been huge commercial successes. Sadly, either fate, bad luck or bad decisions dictated that commercial success eluded them. The Blossoms’ soul-baring opus Cry Like A Baby, deserved a better fate than to languish on the B-Side, undiscovered for nearly forty years. Sandy Borden’s deeply soulful, irresistible Deeper is full of hooks, and is a true hidden gems. Jan Bradley was destined for big things, if she’d signed to a big label. With Chess Records promoting songs penned by Curtis Mayfield, she’d been huge. Kendra Spotswood’s Stickin’ With My Baby and Ravita Marcell’s That’s My Man are examples of love gone right, rather than wrong. Full of passion and pride, these songs reiterate that the devil doesn’t have the best songs. Far from it.
Love songs, tales of heartbreak, anthems, dancers and opus,’ they’re all on Where The Girls Are 8, the latest instalment of Ace Records award winning, critically acclaimed and commercially successful Where The Girls Are compilation series. So good was Where The Girls Are 8, that I’m already looking forward to Volume 9. Standout Tracks: The Blossoms Cry Like A Baby Sandy Borden Deeper, Jan Bradley Pack My Things (And Go) and Carol Connors My Baby Looks But He Don’t Touch.
WHERE THE GIRLS ARE 8.
JUANA MOLINA-WED 21.
JUANA MOLINA-WED 21.
Previously, Argentinian singer-songwriter Juana Molina has been described as a musical visionary. Comparisons have been drawn to legendary Beach Boy Brian Wilson. These comparisons aren’t hype. No. Far from it. Juana Molina is an alternative to bland, anodyne music. This is cerebral, intelligent music of substance. Best described as melodic, minimalist and mesmeric, Juana Molina’s songs are compelling sonic explorations and experiments. Delivered with emotion, Juana’s song veer between melancholy, joyous, evocative and thoughtful. Whether it’s impassioned pleas or pensive, poignant songs full of pathos, Juana Molina brings her lyrics to life, breathing life, meaning and emotion into her songs. She’s been doing that since 1996, when she released her debut album Rara. Now seventeen years later, Juana Molina is about to release her sixth album, Wed 21, which will be released on 28th October 2013 on the Crammed Discs label. Before I tell you about Wed 21, I’ll tell you about the life and career of Juana Molina.
Juana Molina was born into a musical family in Buenos Aires, Argentina, in 1962. Her father was Horacio Molina, a legendary tango singer and songwriter, while her mother Chunchuna Villafane was one of Argentina’s most famous actress. She also was a music lover, who as Juana Molina grew up, introduced her daughter to music. The owner of a large record collection, Chunchuna shared her passion for music with her daughter. Aged six, Juana’s father started teaching her to play guitar. Little did she realize, that this would be the first steps in a musical career.
In 1976, the Molina family’s life, like many Argentinian families, was changed forever. On 24th March 1976, there was a right wing coup d’etat that overthrew President Isabel Peron. Replacing her, was a military junta. Fortunately, Juana Molina were able to escape Argentina. They headed to Paris, where they spent six years in exile.
During the six years in Paris, Juana Molina’s musical tastes expanded. Listening to radio stations from around the world, she he heard a much more eclectic range of music. Juana absorbed all these different musical genres and influences. They’d later influence her musical career, which started when she returned to Argentina.
When Juana Molina returned to Argentina, she knew she wanted to make a career out of music. This would allow her to gain her independence. However, it wasn’t music that allowed her to become independent. Instead, it was comedy. Juana auditioned for a television program and straight away, she was hired by the producers. Three years later, Juana had her own comedy sketch show. A talented mimic, she invented a series of comedic characters. Quickly, the show was syndicated throughout Latin America and Juana was Argentina’s top comedian. Despite this success, deep down, Juana yearned to make music her career.
During her maternity leave, Juana Molina had time to think about her life. For the last seven years, she’d been on Argentinian television. Hers had been a meteoric rise to fame. She knew how fortunate she was. Despite that, she still loved music. In an ideal world, she wanted to make a living out of music. Comedy paid the bills, but music was her passion. Having thought the situation through, and not wanting to live with regrets that she never followed her dreams, Juana cancelled her television show. Turning her back on television, which many Argentinian people resented her for, Juana Molina wrote and recorded her debut album.
Released in 1996, Rara was Juana Molina’s debut album. An album of folk music, it’s sung in her native Rioplatense Spanish. This is the dialect of the Rio de Plata basin of Argentina and Uruguay. Fans of Juana Molina’s television show didn’t “get” Rara. Some thought that when she was performing live, she was performing as another of her comedic characters. They thought the show was an elaborate ruse. It wasn’t. Far from it. However, Juana Molina would have the last laugh.
Having made the decision to commit her future to music, Juana decided to follow her dreams. Deciding to stick with music paid off. Her sophomore album Segundo, was released on Domino Records in 2000. Critics loved Segundo. After that, her popularity started to grow. Word was spreading about Juana Molina, this talented and versatile singer-songwriter. Her decision to turn her back on comedy had been vindicated.
Four years later, in 2004, Juana released Tres Cosas, (Three Things). Following the critically acclaimed Tres Cosas, Juana was lauded as one of the best artists on the contemporary folk, electronica and indie circuit. David Byrne and Will Oldham praised Juana Molina’s unique and inimitable style. They were championing her music, which was popular throughout the world. Tres Cosas was named in the New York Times’ list of the Top Ten Records of 2004. Juana having followed her dreams was enjoying proving the doubters wrong. She could enjoy the same, if not more, success as a singer than a comedian.
When she wasn’t recording, Juana Molina headed of on gruelling tours. She headed of on tours of America, Japan, Europe and Latin America with her fusion of folk, ambient, electronica and indie music. Somehow, she found time to record her fourth album, 2006s Son. It built on Juana’s three previous albums. Praise and plaudits came Juana’s way. That was the case with her fifth album Un Dia (One Day). Released in 2008, Un Dia, just like her previous four albums, it was written and produced by Juana Molina. Multitalented, versatile and innovative, Juana Molina was very much flavor of the month. So why has it taken Juana five years to release the followup to Un Dia?
Back in 2010, Juana got involved with the Congotronics vs. Rockers project. This was an exciting and innovative collaboration between the Congolese bands Konono No. 1 and Kasai Allstars. They become the Congotronics and collaborated with a number of indie, folk, country and electronic artists. They released an album entitled Tradi-Mods vs. Rockers: Alternative Takes On Congotronics. It was released as a double-album on Crammed Discs, who will release Juana’s forthcoming album Wed 21. Following the release of this groundbreaking collaboration, which critics loved, they embarked on a five-week career. For Juana Molina, this project was an exciting opportunity to absorb new ideas, which she could put into practice on her forthcoming album Wed 21.
Wed 21 features eleven songs which Juana Molina wrote. She produced Wed 21, which sees a change in approach from Juana Molina. Although it’s as near as a pop oriented album that Juana will release, it features a bigger band. In place of the sparse acoustic songs of previous albums, Wed 21 sees Juana’s band plug-in and go electric. As genres melt into one, Juana Molina pushes musical boundaries on this ambitious and absorbing album of cerebral songs Wed 21, which I’ll tell you about.
Opening Wed 21 is Eras, the lead single from the album. Best described as a genre-melting track, everything from folk, funk, Latin, electronica and rock are combined. A pulsating, funky bass joins Latin percussion, searing, chiming, choppy guitars and booming drums. In the midst of this delicious musical melting pop, is Juana Molina’s vocal. Veering between fragile and ethereal, to sensual and sultry, it’s bewitching and beautiful. It’s the perfect foil for the genre-melting arrangement.
Against a choppy robotic backdrop, Juana Molina delivers a tender, jazzy scat on the title-track Wed 21. They’re like ying and yang. Despite that, the futuristic, sci-fi backdrop provides the perfect counterpoint to Juana’s vocal. Add to that pounding drums and a myriad of electronic effects and the result is a tender, soulful, jazzy track for a new millennia.
Ferocisimo is a track with quirky, but cerebral, perceptive lyrics. It tells the story of a narrator who despises noise pollution. Drums pound, guitars chime and the bass is slapped. Juana’s vocal is earnest and impassioned, as she delivers it against an indie inspired backdrop. Swirls of electronic, cooing harmonies, filters and crystalline guitars are added to the equation. Together, they play their part in a hook-laden, anthemic and cerebral track.
It’s against a backdrop of buzzing synths that Lo Decidi Yo unfolds. It loosely translates to what I decided? A pensive, thoughtful vocal from Juana is full of melancholia. As the buzzing synths dissipate, cooing harmonies usher in Juana’s vocal. She’s joined by crystalline guitars and a pulsating bass. Plink plonk synths and pounding drums are then joined by the buzzing synths. As they create a dramatic backdrop, Juana unleashes soul-searching, soul-baring vocal as she struggles to make a decision. Truly this is a potent, moving and emotive track.
As Sin Guia No decides to reveal its secrets, meandering guitars chime, synths drone in the background and ethereal harmonies soar celestially. They provide the perfect accompaniment to what’s one of Juana’s most tender and heartfelt vocals. Her subtle, wistful vocal is accompanied by harmonies. They’re ever-present. As for the arrangement, it gradually unfolds. A bass and guitar join hissing hi-hats and galloping drums. They’ve an experimental, almost avant garde sound. That’s certainly the case when a myriad of beeps and squeaks are unleashed. Musical influences and genres combine. Everything from indie, electronica, Krautrock, soul and Acid House beeps are combined to create this innovative, genre-sprawling track.
Ay No Se Ofenda meanders into being. Its understated, sci-fi sound gives way to a broody, moody synth. Against this backdrop, Juana’s vocal sounds fragile and ethereal. A breathy, pensive scat, it grows in power and confidence. Behind her, the breathy, pensive scat continues. Ghostlike, it’s ethereal sound adds an element of mystery. Then there’s steel drums and a sprinkling of percussion. Instruments appear then disappear. As the arrangement grows in power and drama, Juana’s ethereal scat ghosts elegantly across this melodic, postindustrial backdrop, which reaches a dramatic crescendo.
Bicho Auto is one of the highlights of Wed 21. A fusion of bluesy guitar, electronica and percussion, it’s part chant, part elongated groove. Soon, Juana’s vocal is a tender, ethereal presence. It ghosts above the arrangement. Best described as a fusion of electronica, Latin, ambient, post-indie and jazz, it’s ambitious, avant garde, futuristic, dramatic and ethereal, whose influences include Sigur Ros, Bjork, Brian Eno and David Byrne.
Straight away, Juana grabs your attention with El Oso De La Guarda. Briefly, the track takes on a cartoon quality. It’s as if she’s sped up the vocal and it’s gone all Itchy and Scratchy. You listen intently and then, you’re hooked. Combining avant garde, postindustrial, electronica, indie and folk it’s a glorious and mesmeric combination. Veering between dark, dramatic to discordant, melodic, uplifting and joyous, the track heads in the direction of futuristic, experimental to ethereal. Sometimes, it’s akin to an excerpt from the soundtrack to a sci-fi soundtrack. However, one thing remains the same. That’s the inherent ethereal beauty of Juana Molina’s vocal, which reminds me of the legendary Cocteau Twin Liz Fraser.
Las Edades has a pensive, melancholy sound. Just a bass and stabs of keyboards accompany Juana. They provide an eerie, ghostly backdrop, as Juana scats emotively. Then all of a sudden, bursts of shrill horns blaze in. They’re addition is welcome burst of drama. After that, there’s even more of a purpose to the band’s playing. The deliberate, ponderous bass and synths replicate a bleak, eerie, desolate backdrop. It’s perfect for Juana to scat across. Evocative and cinematic describes what’s unquestionably, one of the best tracks on Wed 21.
The meandering bass sets the scene for La Rata. Soon, searing guitars and tight, soulful harmonies accompany Juana’s heartfelt, impassioned vocal. The interplay between Juana and the harmonies is crucial to the song’s success. Behind her, the bass drives the arrangement along. It’s in the driving seat, ensuring everyone’s heading in the right direction. They are. Fusing a choppy fusion of indie, pop and rock, the track takes on an early eighties sound. It sounds as if it’s been inspired by any number of eighties groups, and this is Juana’s homage to the eighties, when she began to dream of becoming a musician.
Final Feliz closes Wed 21. It also tells the story of a disturbing dream Juana had. As her band create a meandering, galloping arrangement the rhythm section lock horns with chiming guitars. Juana’s vocal is akin to a confessional. She’s sharing her inner secrets. Throughout the track, it’s as if someone scoff, as if ridiculing her cathartic attempts to cleanse herself of her nightmares. As she does this, the arrangement fuses country, folk, indie and thanks to the synths, electronica. Juana’s vocal takes on a celestial quality, as if confession isn’t just good for the soul, but is cathartic and cleansing.
Five years have passed since Juana Molina released her fifth album Un Dia. They’ve been five years well spent. Juana Molina decided to reinvent herself on Wed 21 which will be released on Crammed Discs on 28th October 2013. Previously, her music was a fusion of acoustic folk, ambient, electronica, Latin and indie. To that compelling combination of influences, everything from avant garde, postindustrial, post-indie, pop and rock. There’s even a nod to psychedelia, Krautrock and Acid House, thanks to the myriad of beeps and squeaks that come courtesy of the Roland Corporation. Backed by a band of tight, talented and versatile musicians, who come armed with a supply of effects and loops, Juana Molina has recorded what’s her most ambitious, innovative and groundbreaking album.
To do that, Juana Molina took the rulebook, tore in up, then rewrote it. This became her template. It was not just a case of rule nothing in, but rule nothing out. Boundaries were there to be pushed, rules to be broken and ground to be broken. Relying on twenty years of experience, Juana Molina penned eleven new tracks. Best described as genre-sprawling, Wed 21 sees musical influences and genres melt into one. Listen carefully, and you’ll hear not just an eclectic selection of genres, but the musicians that have influenced Juana. This includes any number of eighties artists. Then there’s Siouxsie and The Banshees, Sigur Ros, Bjork, Brian Eno, Can and David Byrne. That’s not forgetting the ethereal beauty of Liz Fraser of the Cocteau Twins and Scotland’s very own Astrid Williamson. Indeed, the ethereal, fragile beauty of Juana Molina’s vocal is crucial to the beauty and success of Wed 21, which should surpass the success of her five previous albums. Wed 21 should also introduce a new generation to Juana Molina’s music.
Why? Well, the eleven tracks on Juana Molina’s sixth album Wed 21 are the alternative to bland, anodyne music. This is cerebral, intelligent music of substance. Wed 21 features eleven compelling sonic explorations and experiments. Delivered with emotion, Juana’s song veer between melancholy, joyous, evocative and thoughtful. Whether it’s impassioned pleas or pensive, poignant songs full of pathos, Juana Molina brings her lyrics to life, breathing life, meaning and emotion into her songs. Wed 21 vindicates Juana Molina’s decision to turn her back on comedy. Comedy’s loss was music’s gain. One listen to Juana Molina’s Wed 21, and you’ll discover an absorbing, ambitious and cerebral genre-sprawling album where musical boundaries are pushed to their limits and beyond. Standout Tracks: Eras, Ferocisimo, Bicho Auto and Las Edades.
JUANA MOLINA-WED 21.
GATO BARBIERI-FENIX.
GATO BARBIERI-FENIX.
When Bob Thiele founded Flying Dutchman Records, he was a man with a vision. His vision was for his nascent label to release music that was cutting-edge, innovative and pushed musical boundaries. To do that, he signed some of the most progressive artists. He was looking for leaders, rather than followers. Bob wanted musicians that started trends, rather than blindly followed them. That’s what he got.
For the next few years, Flying Dutchman Records was home to musical visionaries like Gil-Scott Heron, Leon Thomas, Big Joe Turner, Teresa Brewer and Ornette Coleman. Another artist who called Flying Dutchman Records home, was Argentine tenor saxophonist Gato Barbieri. His Flying Dutchman Records’ debut was his 1971 album Fenix, which showcased the rhythmic delights of the Argentinian showman Gato Barbieri, whose career I’ll tell you about.
Born in Rosaria, in the Santa Fe province of Argentina, Gato Barbieri was born into a family of musicians. With both parents talented musicians, fate dictated that Gato would follow in their footsteps. Like many other jazz musicians, Gato learnt the clarinet. He spent five years mastering the clarinet, alto saxophone and learning to write music. Ironically, the clarinet was just a gateway to the more glamorous saxophone. Especially when played by Bird.
Hearing Charlie Parker blow his saxophone was like a eureka moment. Now life and music made sense. Gato was a late starter when he switched from clarinet to tenor saxophone. He was already twenty. Other musicians were already playing professionally. No matter. These other musicians weren’t as determined as Gato.
For the next few years, determinedly, Gato set about mastering the tenor saxophone. It was all about honing his own unique sound. The one advantage Gato had, was he could already play the alto saxophone and could read and write music. His determination paid off. Soon, Gato was a member of legendary Argentinian pianist Lalo Schifrin’s band. That proved to be a stepping stone for Gato.
Soon, Gato headed for America. It was not just the land of the free, but the home of jazz. The time Gato spent here allowed him to be fluently play what he referred to as American jazz. What he meant by that, was it was what American musicians perceived as jazz. Jazz in South America or Europe was different. The jazz he played in America was “American” jazz. There was acknowledgment of South American, African or European influences. Having tasted American jazz, Gato headed to Europe.
After traveling around Europe, Gato landed in Rome. He decided that would his home for some time. During his stay in Rome, he came across a number of jazz musicians. Many of them had left America and called Europe home. This included a number of pioneers of free jazz. Among them, was Don Cherry, who was a member of the legendary Ornette Coleman’s band. Soon, Gato was a member of Don Cherry’s band and played on the sessions for his 1966 albums Symphony For Improvisers and Complete Communion, which are perceived as two of the most important free jazz albums. This was the start of Gato’s career as a musician.
The following year, Gato released his first album as bandleader. In Search Of Mystery, which was released in 1967, was the first album from The Gato Barbieri Quartet. Gato also recorded Obsession in 1967, which wasn’t released until later. Until then, Gato was busy working as a sideman and bandleader.
During 1968, Gato was a member of The Jazz Composers Orchestra. He played on their eponymous 1968 album. Innovative and groundbreaking, it took free jazz to another level. So did The Gary Burton Quartet’s 1968 album A Genuine Tong Funeral. The other album Gato played on during 1968, was Hamba Khale with Dollar Brand. As a jazz duo, they proved the perfect foil for each other. Working with different, progressive and talented artists helped improve and hone Gato’s playing.
Through 1969, Gato continued playing on other artists albums. He played on Alan Shorter’s free jazz album Orgasm. Then Gato released The Third World. It was well received and helped spread the word about Gato’s potent, fiery playing. As the sixties ended, and the seventies dawned, Gato’s reputation was growing.
As the seventies dawned, played on Charlie Haden’s 1970 album Liberation Music Orchestra. That was the first album of the new decade he’d played on. It certainly wouldn’t be the last. The seventies would proved to be both busy and fruitful for Gato Barbieri.
In 1971, Gato released two albums. The first was Fenix, which was released on Bob Thiele’s Flying Dutchman Records. Fenix features six tracks, including Tupac Amaru and Carnavalito which Gato wrote. Gerardo Pereira wrote Falsa Bahiana, while Carlos Gardel and Alfredo Lepera cowrote El Dia Que Me Quieras. The other tracks on Fenix are El Arriero which Atahaualpa Yupalqul contributed El and Bahia which was written by Ary Barroso. These six tracks were recorded by a band featuring several jazz greats.
At Atlantic Recording Studios, New York, the band included a rhythm section of drummer Lennie White III, Ron Carter on electric bass and Joe Beck on electric guitar. Percussion came courtesy of Na Na, who added congas and birimbau, while Gene Golden contributed congas and bongos. Lonnie Liston Smith played piano and electric piano. Gato unleashed his fiery tenor saxophone, while Bob Thiele produced Fenix.
On the release of Fenix, critics welcomed the meeting of Latin rhythms and the energy, passion and ferocity of free jazz. An unlikely pairing, it worked. Ying and yang springs to mind. With an all-star band, featuring some of the most inventive and adventurous musicians, Gato Barbieri had released the best album of his career so far, Fenix which I’ll tell you about.
Opening Fenix is Tupac Amaru the first of two consecutive tracks Gato wrote. Against a glorious rhythm backdrop, guitars reverberate, while flourishes of wistful piano probe a series of questions. Above the arrangement sits Gato’s growling saxophone. Played with power, passion and commitment, he never misses a beat. Enthralling, compelling and breathtaking describes his playing. This spurs on the band who create a series of Latin rhythms. A pulsating bass line, which carries the melody. It’s crucial to the song’s success. As the drama builds, the arrangement gets busier. Free jazz and mesmeric rhythmic magic become one, thanks to Gato Barbieri.
Carnavalito sees Gato and his all-star band head into a groove. A pondering, then pulsaating bass gives way to searing guitars, a myriad of percussion and stabs of piano. As they settle into a groove, Gato unleashes a series of scorching, blazing saxophone solos. His fiery licks sit above the mass of congas and bongos that add a Latin influence. As for the piano, it’s locked into the tightest of grooves. Eventually, it escapes, matching Gato every step of the way. Lonnie Liston Smith’s piano dance’s above the arrangement, where it joins Gato’s saxophone. Soon, there’s no holding Gato and soon, he’s showboating. Unleashing a mesmeric solo, it’s no wonder that after Fenix’s release, he was seen as the future of jazz. Going by the glorious Carnavalito, that’s no surprise.
Falsa Bahiana sees the tempo drop, and is reminiscent of a track from a Lonnie Liston Smith album. Percussion joins the melancholy sound of the electric piano. They provide an understated, thoughtful backdrop for Gato’s fiery saxophone solo. Here, it’s as if he’s blowing as if his life depended on it. Power, passion and raw emotion are combined. It’s akin to a baring of the soul. Melodic, melancholy, impassioned and rhythmic, what more can you ask for?
El Dia Que Me Quieras is an oft-covered track. Seen as the centre-piece of Fenix, it’s as if the drama builds and gets ready to explode. Flourishes of piano, shakers and a bubbling electric bass provide the backdrop for Gato’s beautiful, dramatic and flamboyant playing. Lonnie Liston Smith’s piano and Gato’s tenor saxophone play leading roles. As Ron Carter’s bubbling bass, it plays an important role. It might not play a leading role, but if it weren’t there, would be sorely missed. The same can be said of the percussion. Essentially, although Gato and Lonnie play starring roles, everyone plays their part during this six-minute opus.
El Arriero is a jaunty track that breezes along. Lonnie Liston Smith’s piano is at the heart of the action, with the band playing around him. Above the arrangement Lonnie kicks loose. One minute he’s playing within himself, the next it’s as if his life depended upon his performance. Somehow, he takes his saxophone to places it’s never been before. Using controlled power plus equal measures of emotion and passion, he drives the band along. He encourages and harries. They respond, squeezing every last ounce of effort to satisfy his demands. Ron Carter’s bass helps march the arrangement along, while Lonnie draws inspiration from jazz’s past. Drummer Lennie White III is using the whole kit, punishing the cymbals. Their collective efforts are rewarded. The result is a creative, innovative and scintillating, fusion of traditional jazz, free jazz and Latin music.
Bahia which closes Fenix, wah-wahs into being. Experimental and revolutionary, describes the music. You wonder what’s about to unfold? When a sultry saxophone and Lonnie’s piano combine with a myriad of percussion and probing bass, it’s not the outlandish, left-field jazz I was expecting. It’s still inventive and innovative though. Melodic and dramatic too. Having settled into a groove, the band explore it to its fullest. Then when they’re let of the leash, hi-hats hiss, the piano dances and the bass pulsates. As for Gato, he takes centre-stage unleashing another blistering, breathtaking solo from the man they call The Cat. Melodic, dramatic and spellbinding, that’s just a few of the words to described Bahia.
Thirty-nine minutes long and featuring just six tracks, Fenix was Gato Barbieri’s breakthrough album. Suddenly, he arrived. No longer was he just a contender. From sideman, he comfortably assumed the role of bandleader on Fenix. He did what a good bandleader does, and inspire those around him. He drove them on to greater heights. Gato was an inspirational leader, one who could command the respect of his band members. These weren’t just any musicians. No. They were some of the best jazz musicians of that era. This included one of jazz’s best rhythm sections and some of the most talented percussionists. Being able to inspire and command their respect wouldn’t be easy. To do that, took a musician that was inventive, innovative and influential.That describes Gato Barbieri.
Throughout Fenix, Gato combined the energy of free jazz and his Latin heritage. The rhythm delights of Latin music was like ying to the yang of free jazz’s ferocity and energy. It was an unlikely, but successful, melodic and rhythmic success. Fenix was critically acclaimed. Gato Barbieri and his all-star band had won friends and influenced critics on Fenix, which was recently rereleased by BGP Records. Fenix showcased one free jazz’s mavericks at the height of his creative powers.
Indeed, on Fenix Gato Barbieri rewrote the rulebook. His playing style was unique, fierce, blazing and dramatic. Gone is the image of the stereotypical saxophonist. Gato Barbieri is more like a gunslinger than traditional jazz saxophonist. He’s like jazz music’s answer to James Dean. Playing with his inimitable style, this musical maverick and rebel got results. Fenix proves that. Gato Barbieri musical maverick and gunslinger comes alive during Fenix, playing as if his very life depended upon it. Playing with power, passion and emotion, Gato Barbieri rewrote the musical rulebook on Fenix, a rhythmic free jazz opus that launched his career. Standout Tracks: Tupac Amaru, Falsa Bahiana, El Dia Que Me Quieras and Bahia.
GATO BARBIERI-FENIX.
END OF NEIL-LESS E.P.
END OF NEIL-LESS E.P.
The last time we heard from Stirling-based singer-songwriter End Of Neil, he’d just released his My Games E.P. During the six tracks on My Game, End Of Neil introduced us to a diverse cast of characters. Many of them are complicated. Some of them are troubled. All of them are intriguing. In many ways, that makes it a very Scottish collection of songs. After all, we Scots are complicated, troubled and intriguing. We certainly have stories to tell and always have. It’s in our D.N.A. End Of Neil certainly has many more stories to tell. Whilst working on his debut album, End Of Neil has recorded another E.P. Less.
Featuring six new songs, Stirling’s troubled troubadour Neil Stewart is back, with more stories to tell. An old fashioned storyteller, whose reminiscent of seventies singer-songwriter, the six songs on the Less E.P. are from the pen of a perceptive storyteller. End Of Neil comes across as an observer and people watcher. That’s what the best songwriters are. They tell other people’s stories, bringing their stories to life. His insightful songs are like short stories, telling the stories of people he’s come across. Their lives, loves, despair, treachery and heartbreak unfolds. Singing with emotion and passion, End Of Neil’s Less E.P. marks the next chapter of End Of Neil’s career. Before I tell you about Less, I’ll tell you about End Of Neil’s career so far.
Earlier this year, when I wrote about End Of Neil’s My Games E.P, I did what I always do when I come across a new artist, I asked him to tell me a bit about himself. I wanted to know not just about End Of Neil’s music, but Neil Stewart, and his life. What I was trying to do, was build a picture, so that I can tell his story. Often, the information I’m given, varies. It various in quality, quantity and substance. End Of Neil’s was different. It was a refreshing first.
Some artists I’ve come across, their CVs were like small books. Reading their CVs, you’d have thought that they were the saviour of the music industry. You’re lead to believe that you’re truly, in the company of greatness. Unable to resist temptation anymore, I just had to listen to their music. It’s only then that I realized that rather than being in the company of greatness, you’re in the company of shameless self-promoters. In all honesty, I realized this from the start. After all, this wasn’t their debut album. Instead, they’d released six albums. Still, they were trying to make a commercial breakthrough. Sadly, they lacked something that every successful artist needs…talent. That’s something End Of Neil certainly doesn’t lack.
End Of Neil is a hugely talented singer-songwriter. He’s also one of the most modest men in music. I discovered that when I first came across him. When I first heard End Of Neil’s music, I got in touch with Neil Stewart, the man behind End Of Neil, and asked him to tell me about his career so far. Unlike other artists, Neil provided a short, ego-free CV. Straight away, I liked Neil Stewart. Here, was a really talented, singer-songwriter, who despite his obvious talent, remained humble and modest. He helps other bands, is supportive of his local music scene and is “part a strong community of songwriters.” Neil Stewart, I realized is an anomaly in modern music, an ego-free musician.
Based in Stirling, Scotland, End Of Neil is the alter-ego of Neil Stewart. End Of Neil was founded in 2008, and since then, has been honing their unique sound. Best described as a combination of acoustic and folk, it’s won over audiences throughout Scotland, and more recently, much further afield.
Most of End Of Neil’s music is written by Neil Stewart. He’s just the latest in a new generation of Scottish singer-songwriters. Neil’s been influenced by John Martin, Nick Drake, Bob Dylan, Jeff Buckley and Neil Young. It’s not just folk music that influences End Of Neil. Not at all. Neil says anyone “with a guitar and sense of feeling” influences him. Interestingly, this includes Nirvana. These influences are reflected in End Of Neil’s music, which has been honed through constantly touring.
After founding End Of Neil, Neil played mostly Glasgow, Stirling and Edinburgh. His idea was, to refine his music through playing live. This is the old-fashioned way. Through playing live, an artist refines his sound and songs. Having played mostly in Glasgow, Stirling and Edinburgh, End Of Neil started playing further afield and opening for some big names.
No longer was End Of Neil playing much further afield. Audiences at concerts and festivals were won over by End Of Neil. So too, were The Vaselines, Ken Stringfellow and Rachel Sermanni, who End Of Neil supported. This summer, End Of Neil will be supporting Simon Townsend, the brother of Who guitarist, Pete Townsend. Whilst constantly touring, End Of Neil has released three E.P.s.
It was back in September 2012, that End Of Neil’s recording career began. Escape At The Zoo and 62 were the debut tracks from an undoubtably talented artist. Best described as joyous and celebrating being young and free, Escape At The Zoo features intelligent lyrics, thought provoking lyrics, about whether human instinct can be repressed by work and social pressures and norms. 62 is an atmospheric song, one that paints pictures in your mind, while Neil’s voice is needy and emotive. Just a month after End Of Neil’s debut single, came his first E.P.
September was released by End Of Neil in October 2012. This was End Of Neil’s debut E.P. It certainly didn’t disappoint. Both Escape At The Zoo and 62 featured on September. The other three tracks were of a similar quality. End Of Neil brought Forget The Afternoon, Save My Soul and Knights In Armour to life. Neil’s lyrics are a cut above what we’ve come to expect from modern singer-songwriters. Just like the seventies singer-songwriters who’ve influenced End Of Neil, Neil delivers his songs with passion and emotion. He’s like a master storyteller, his songs painting pictures, asking question, probing and provoking your emotions. For a debut E.P. September was the perfect way to begin End Of Neil’s recording career. Just seven months later, came the followup, My Games.
Released in April 2013, My Games was End Of Neil’s sophomore E.P. It featured six new tracks from End Of Neil. It built on September, which had been the starting point for his recording career. The songs are even better, tighter and slicker. Now six months later, Less is End Of Neil’s third E.P.
It seems that End Of Neil is a prolific songwriter. After all, since April, he’s written and recorded six new songs. These six new songs can be found on Less is End Of Neil’s third E.P. Again, we’re introduced to a diverse cast of characters. Many of them are complicated. Some of them are troubled. All of the characters on Less, which I’ll tell you about, are intriguing.
Return To The Sea opens End Of Neil’s third E.P. Less. Straight away, you realize that Neil Stewart is carrying on the tradition of the singer-songwriter. Neil follows in the footsteps of Jackson Brown, James Taylor, John Martyn and Nick Drake. Like them, he writes cerebral, intelligent and evocative lyrics. So much so, that you can picture the scenes unfolding, as he delivers lyrics with emotion. With just his trusty guitar and harmonies for company, there’s a sense of relief as Neil sings: “now we can Return To The Sea.” It’s as if this is cathartic and cleansing, a welcome relief from the travails of life and relationships.
Hitchhikers is a song where folk, blues and country unite. Neil plays his guitar and blows thoughtful bursts of bluesy harmonica. That sets the scene for his melancholy vocal. His descriptive lyrics have a cinematic quality. So vivid are the pictures he paints, it’s as if you’re there, watching the relationship unravel. It’s all but over. You can sense that. Longingly, Neil wants to roll back time. Sadly that’s not possible, and all he’s left with are memories, sadness and thoughts of what might have been. A beautiful, melancholy breakup song.
Every-time is another relationship song. Here, Neil lays bare his soul, remembering a previous relationship. Triggering that relationship, was a jumper he bought. That opens the floodgates. Memories come flooding back. Tinged with emotion and with just his trusty guitar for company, his vocal is deeper, as if welling up with emotion and regrets. That was the women for him. He left her go. She helped him make sense of the world. Together, things made sense. Now older, wiser and with the benefit of hindsight, only now does Neil realize what he lost. Cerebral, thoughtful and emotive, this a powerful song of love and love lost.
Away, Away is an anthemic, love song. It’s best described as an outpouring of emotion, where Neil wears his heart on his sleeve. Here, he finally tells the women he loved from afar, what he feels about her. His guitar is ever-present, while subtle bursts of harmonica, understated drums and percussion join tight, soaring harmonies. The result is a joyous, hooky, paean where End Of Neil at his soul-baring best, declares his love from the woman he’s admired from afar.
Affair is song about a fleeting relationship. Sung with a sense of regret, sadness and even bitterness, it’s a kitchen sink drama. In three minutes, Neil paints a bleak pictures of two ships passing in the night. Chiming, crystalline guitars accompany Neil’s vocal. There’s a sense of frustration, bitterness and guilt in his vocal. It’s as if this Affair rankles and Neil’s consumed by guilt and frustration.
You’re My Sweetheart closes the Less E.P. It’s the perfect track to close the E.P. Here, Neil’s accompanied by pounding drums, driving guitars and percussion, he unleashes a rockier side to his music. Sounding not unlike Bono, a hook-laden anthemic track unfolds. There’s even what sounds like a mandolin that replaces Neil’s vocal before the track heads to a glorious crescendo, with You’re My Sweetheart proving that this is just the start, not the End Of Neil, who certainly has a big future ahead of him.
Although Less is End Of Neil’s third E.P, you wouldn’t know that. Long-gone are the rough edges. They’ve been smoothed away by five years touring, which has been time well spent. As a result, End Of Neil is a hugely talented singer-songwriter, whose following in the tradition of seventies singer-songwriters. He’s a troubled troubadour with stories to tell. These stories are compelling and enthralling. You’re introduced to a diverse cast of characters. Many of them are complicated. Some of them are troubled. All of them are intriguing, interesting and compelling. These characters have been introduced on the three E.P.s. he’s released since 2012.
Unlike other artists, End Of Neil hasn’t released a debut album. He’ll only do that when he’s ready. That’s no bad thing. All too often, bands are in a hurry to release their debut album. They release it before they’re ready. This can cost them in the long run. After all, an inferior debut album is like a noose round a band’s neck. It’s the elephant in the room. Realising this, End Of Neil waited until he’d honed his sound and songs before releasing his debut E.P. Four years after their first gig, End Of Neil released September. It was well received. Critics realized what End Of Neil’s ever-growing fan-base knew, that End Of Neil has a big future ahead of them. Then when My Games was released, it surpassed September. Now Less surpasses the critically acclaimed My Games.
Less features six songs where folk, acoustic, Americana, country and indie rock combine. Rather than being instant and disposable, it’s intelligent, cerebral, evocative, expressive, poetic and thoughtful. End Of Neil sings of hurt and heartbreak, love and loss, life and the meaning of it. Poignancy gives way to pathos, while there’s a sense of melancholia and wistfulness on several tracks. Indeed, several tracks are like a coming of age for End Of Neil. There’s a realization that no longer he’s immortal. That’s something that comes with age, experience and maturity. Other songs, they’re akin to a realisation of loss and opportunities spurned. Neil’s vocal is at the heart of these songs, while the arrangements are understated and subtle. Despite this, the songs are intricate and multilayered. Subtleties, surprises and nuances await discovery on Less, End Of Neil’s third E.P.
Crucial to the success of Less, is Neil’s lived-in, world-weary, soulful vocal. Less features music that’s moody and pensive, but sometimes, hopeful. The music is also introspective, poignant and wistful music. That’s what I’d expect from Scotland’s latest troubled troubadour, End Of Neil. Maudlin but beautiful, heartbreaking but hopeful and always heartfelt, that describes the music on Less, End Of Neil’s third and best E.P.
Let’s hope it’s not long until End Of Neil releases his debut album. He’s more than ready. End Of Neil has many more stories to tell. Indeed, End Of Neil is currently recording his debut album. While we await the next chapter of End Of Neil’s career to unfold, we can enjoy Less, six more songs from the pen of Stirling’s worldweary, troubled and sometime hopeful, troubadour End Of Neil. Standout Tracks: Return To The Sea, Hitchhikers, Away, Away and You’re My Sweetheart.
END OF NEIL-LESS E.P.
LARRY CORYELL-BAREFOOT BOY.
LARRY CORYELL-BAREFOOT BOY.
Larry Coryell, it seemed, was destined to become a musician. Born in Galveston, Texas, Larry was playing in local bands throughout his time at Richland High School. He was a member of The Flames, The Rumblers, The Royals, The Jailers and even, the Yakima based Checkers. For a group looking for a guitarist, Larry Coryell was the go-to-guy. So. it’s no surprise after graduating from high school, Larry headed the University of Washington, where there was a thriving music scene. At the University of Washington, Larry soon hooked up with various local bands. Among them, were the Seattle-based, Dynamics. This was all part of Larry’s apprenticeship. On leaving university, Larry’s career began in earnest.
Having graduated from the University of Washington, Larry Coryell headed to New York in 1965. He was about to replace Gabor Szabo in Chico Hamilton’s quintet. Larry played on Chico Hamilton’s classic 1966 album The Dealer. This was the start of a three year period where Larry worked with the biggest names in jazz. Among them, are Chico O’Farill, Bob Moses, Steve Marcus, and Jim Pepper. Larry was also a member of the free jazz collective the Jazz Composer’s Orchestra and The Free Spirits, a progressive group who fused jazz, rock, psychedelia and pop. Then in 1968, Larry Coryell launched his solo career.
For his debut album Larry Coryell, Larry started as me meant to go on. This meant an ambitious, innovative, genre-sprawling eponymous album. Released to critical acclaim, Larry Coryell, released on Vanguard Records, showcased Larry’s versatility, with fusion and jazz sitting comfortably side-by-side. The followup to Larry Coryell, was 1969s Coryell. Then in 1970, Larry lead the all-star band that featured on Spaces, a pioneering album of jazz fusion. His third solo album was 1971s Barefoot Boy, which was recently rereleased on BGP Records. Barefoot Boy sees Larry continue to push musical boundaries. You’ll realize that, when I tell you about Barefoot Boy. Before that, I’ll tell you about Larry’s career between leaving university and releasing Barefoot Boy.
Replacing Gabor Szabo in Chico Hamilton’s quintet was the break Larry Coryell was looking for. He left Washington and headed to New York. A year later, in 1966, Larry played on Chico Hamilton’s classic debut album The Dealer, which was released on Impulse. This lead to Larry becoming one of the most sought after jazz guitarists.
Later in 1966, Larry played Chico O’Farill’s 1966 album Nine Flags. A fusion of Afro-Cuban music, Nine Flags was another ambitious and innovative album. It seemed artists recording ambitious albums would call upon Larry Coryell.
During 1967, Larry played on two albums vibes player Gary Burton released. The first was Duster, a pioneer jazz fusion album. Duster is perceived as the first jazz fusion album. Later in 1967, Larry played an important part on Gary Burton’s Lofty Fake Anagram. Larry and Gary fed off each other, driving each other to greater heights. The other album Larry played on, was The Free Spirits’ Out Of Sight and Sound. They were a progressive group who fused jazz, rock, psychedelia and pop. 1967 for Larry was a whirlwind of progressive music. Music was changing and Larry was at the heart of these changes.
As 1968 dawned, Larry was busier than ever. He played on five studio albums. This included Gary Burton’s A Genuine Tong Funeral, where Gary continued to create music that was ahead of its time. He played on two albums by Steve Marcus, who many people perceive as the founding father of fusion. The Count, as Steve is known released Count’s Rock Band and The Lord’s Prayer during 1968. Both demonstrate the direction jazz was heading. Another album Larry played on, was Bob Moses’ Love Animal. It features a fusion supergroup. The other album Larry played on was the free jazz collective The Jazz Composer’s Orchestra eponymous album. Featuring some of the most groundbreaking musicians, this was free jazz at its most ambitious. During Larry also played on Gary Burton’s Quartet In Concert. All this was part of Larry’s apprenticeship. The following year, Larry came of age musically.
Over the past four years, Larry had played with some of the biggest names in jazz. He’d learnt from them. Now he realized, was the time to release his debut album. For his debut album Larry Coryell, Larry started as me meant to go on. This meant an ambitious, inventive, genre-melting album. Released to critical acclaim, Larry Coryell, released on Vanguard Records, showcased Larry’s versatility, with fusion and jazz sitting comfortably side-by-side.
The followup to Larry Coryell, was 1969s Coryell. It wasn’t as well received as his debut album. An underrated album, that’s variously melodic, funky and adventurous, Larry even showcases his vocal. Since then, the album has remained one of jazz’s forgotten albums.
In 1970, Larry lead the all-star band that featured on Spaces, a pioneering album of jazz fusion. This featured a fusion supergroup.John McLaughlin, Chick Corea, Billy Cobham and Miroslav Vitous all played on Spaces. What was Larry’s first album of the seventies, showed the way jazz was heading.
Two years after releasing Coryell, Larry signed to Bob Thiele’s Flying Dutchman Records. It would release his third solo album was 1971s Barefoot Boy. Barefoot Boy sees Larry continue to push musical boundaries. Featuring just three tracks, Gabor Szabo’s Gypsy Queen plus Larry’s The Great Escape and Call To The Higher Consciousness. These three tracks were recorded live at Electric Ladyland Studios, New York.
Accompanying Larry on Barefoot Boy were tenor saxophonist Steve Marcus, drummer Roy Haynes, percussionist Harry Wilkinson and Lawrence Killian on congas. Michael Bronson played bass on The Great Escape, while Pianist Michael Mandel and soprano saxophonist Steve Marcus played on Call To The Higher Consciousness. These three tracks became Barefoot Boy.
On the release of Barefoot Boy, it was critically acclaimed. Rock and jazz are fused by the all-star band over a trio of tracks. Larry, you’ll realize, was back to his very best. Barefoot Boy saw him pick up where his eponymous debut album left off.
Opening Barefoot Boy is Gypsy Queen, which Santana recorded on their Abraxas‘ album. Here this familiar track is reinvented. Larry’s pulsating, funky guitar joins hissing hi-hats, congas and pounding drums. They settle into a groove, while Steve Marcus’ tenor saxophone is like an impassioned plea. Soul-baring, it probes and questions why did he fall for the Gypsy Queen. Her charms are irresistible though. Funk, fusion, free jazz and rock are combined. Crucial to the track’s success is Steve Marcus. He unleashes a virtuoso performance. Not to be outdone, Larry unleashes a wall of Henrix-esque feedback. His guitar wah-wahs its way across the arrangement funk and rock uniting in a psychedelic Purple Haze. As the rhythm section provide the heartbeat, Larry dawns the role of guitar hero. Playing the part to perfection his virtuoso performance is inventive, ambitious, dramatic and lysergic. What a mesmeric introduction to the Barefoot Boy.
The Great Escape is the first of two tracks Larry penned. Punchy bursts of Steve Marcus’ tenor saxophone join congas, while the rhythm section match them every step of the way. Having stepped forward from the shadows, Larry proceeds to dawn the role of guitar gunslinger. Nonchalantly he unleashes a series chiming, crystalline guitar licks. It’s nothing showy, not that is, until he unleashes a series of machine gun licks. Behind him, the rest of the band keep it simple. Settling into a groove, percussion and a bubbling bass become one, creating a shuffling beat. As Larry’s guitar is panned left, Steve’s saxophone is panned right. Rather than enter a duel, Larry let’s Steve showcase his impassioned playing. He’s happy to feed off Steve, before throwing in some tricks and fancy licks. Wah-wahing its way across the arrangement Larry and his band showcase their inconsiderable skills on this genre-melting track.
Closing Barefoot Boy is Call To The Higher Consciousness. It’s a twenty-minute jam. Steve Marcus switches to soprano saxophone and blows like he’s never blown before. What follows is a spellbinding example of jazz fusion. It shows what’s possible when rock and jazz unite. Improvisation and rock resulted in indefinite possibilities. From Larry’s chiming guitar and dramatic bursts of Steve’s wailing, scorching saxophone, the band tease and tantalize. You know they’re about to kick loose and relish the thought. Rolls of drums and crystalline jazz guitar set the scene. Dropping the tempo, the band play thoughtfully and creating a understated backdrop. As the arrangement meanders along, always threatening to explode, Steve unleashes a mesmeric solo, playing as if his life depends upon it. Meanwhile, Larry plays tenderly, knowing his time will come. It does and he doesn’t disappoint. A spellbinding series of solos are unleashed. Then the rest of the band get in on the action, enjoying their moment in the sun during this Modal Magnus Opus, which is a bewitching and fitting finale to Barefoot Boy.
Listening back to Barefoot Boy, it’s almost impossible to believe that the album was recorded live in Electric Ladyland Studios, New York in 1971. After all, the music is almost flawless. From the moment Larry counts in his band, they hardly miss a beat. They feed off each other, driving each other to greater heights. Here is a band at the peak of their powers, striving to innovate and create music that’s groundbreaking, ambitious and adventurous. It’s music that marks a marriage between rock and jazz. Add to that elements of funk and psychedelia. The result is an album that was part of a new musical dawn. That era began back in the sixties. By 1971, this new genre, fusion, was beginning to evolve as a genre.
From 1971, fusion became flavor of the month as far as jazz was concerned. Jazz and rock musicians found common ground. Together, they pushed musical boundaries. Later, synths were added to this equation and new opportunities opened up for those at the vanguard of fusion. One man who’d been around since the dawn of fusion, was Larry Coryell. Whether it was as a sideman or solo artist, Larry Coryell produced inventive, imaginative music, music that broke down musical boundaries.
Suddenly, a whole new generation were hearing jazz for the first time. For many of them, this was the first step in a musical voyage of discovery. Newcomers to jazz, embarked upon a musical adventure. They were hearing albums like Larry Coryell’s Barefoot Boy which was recently rereleased by BGP Records. Fusion was their introduction to jazz. What better way to discover a musical genre that’s best described as a broad church? An inventive, ambitious, dramatic and lysergic musical adventure Larry Coryell’s third album, Barefoot Boy proved to be one of the best albums of a true jazz pioneers career. It’s also the perfect introduction to fusion and one of its finest practitioners, the Barefoot Boy, Larry Coryell.
LARRY CORYELL-BAREFOOT BOY.
WORLD PSYCHEDELIC CLASSICS 5:WHO IS WILLIAM ONYEABOR?
WORLD PSYCHEDELIC CLASSICS 5:WHO IS WILLIAM ONYEABOR?
To celebrate its twenty-fifth anniversary, Lauka Bop will release World Psychedelic Classics 5: Who is William Onyeabor. As rhetorical questions go, it’s one of the best. No-one can say with any certainty who William Onyeabor is. Much of his life is shrouded in mystery. There’s a reason for this. After releasing eight albums between 1978 and 1985, William Onyeabor became a born-again Christian. He then turned his back on music and refused to talk about his life or music. In some ways, this has helped perpetuated the myths surrounding William Onyeabor.
With William Onyeabor refusing to discuss his life, rumours surrounded his life are rife. Before his career in music began, some believe William studied cinematography in the Soviet Union. He then returned to Nigeria, where he founded his own film company, Wilfilms. William’s life after music is equally shrouded in music.
After music, there’s rumors William studied law in England, before becoming a lawyer in his native Nigeria. Others believe William became a businessman in Nigeria. According to other rumours, William worked for the Nigerian government. No-one can say with any degree of certainty. The only person who knows what happened next, is William Onyeabor.
Thirty-eight after William Onyeabor found religion, and turned his back on music, he’s still refusing to discuss his past. Lauka Bop, who will release World Psychedelic Classics 5: Who is William Onyeabor on 28th October 2013, tried to discover what happened to William Onyeabor. Despite their best efforts, they were unable to solve what is one of music’s real mysteries. This means still, little is known about Nigerian music’s most enigmatic musicians, William Onyeabor. Before I tell you about World Psychedelic Classics 5: Who is William Onyeabor, I’ll tell you the little that’s known about the mysterious and elusive William Onyeabor.
Trying to write an accurate biography of William Onyeabor is almost impossible. After all, William Onyeabor refuses to talk about his past? Some things we can say with a degree of certainty. The first is that growing up, William Onyeabor was a talented musician. He was born and brought up Enugu, in the Nigerian provinces. Then as a teenager, it’s thought William was awarded a scholarship to study cinematography in the old Soviet Union. On his return to his native Nigerian, William Onyeabor founded his own film company Winfilms.
Whether Winfilms released any films isn’t known? A subsidiary of Winfilms, Wilfims Records released William Onyeabor’s eight albums. They were recorded at Winfilms Recording Studio in Enugu, Nigeria. William Onyeabor’s debut album was 1978s Crashes In Love. Seemingly, there are two versions of Crashes In Love in existence. What’s known as the electronic version, which has added drumbeats, has five tracks. The original version has just four tracks. It seems even mystery surrounds William Onyeabor’s debut album.
Following his debut album, William Onyeabor released his sophomore album Atomic Bomb in 1978. Featuring the Winfilms Resident Band, Atomic Bomb was groundbreaking, genre-sprawling album. Released on his own label, Wilfilms Records, William Onyeabor was establishing a reputation as a pioneering musician. He’d release a further six albums between 1979 and 1985.
For the next five years, William Onyeabor released an album each year. On each album William Onyeabor wrote, arranged and produced each of the tracks on the album. He also played on a succession of ambitious and innovative albums. Musical genres and influences melted into one on each album. William Onyeabor released Tomorrow in 1979, with 1980s Body and Soul the first album of the eighties. After that 1981s Great Lover, 1982s Hypertension and 1983s Good Name saw William continuing to push musical boundaries. Then in 1984 William Onyeabor never released a new album.
Whether this was the start of the changes in William Onyeabor’s life, no-one can say with any degree of certainty? What we can say with certainty, is that 1985s Anything You Sow was William Onyeabor’s final album. After that, William Onyeabor turned his back on music. He became a born-again Christian, refusing to discuss his music or past. Since then, rumors and myths have surrounded William Onyeabor. As for his music, it’s grown in popularity. Over the past thirty-eight years, William Onyeabor has been recognized as a musical innovator, who fused musical genres and influences to create his own unique and inimitable sound. That can be heard on World Psychedelic Classics 5: Who is William Onyeabor which I’ll tell you about?
Body And Soul opens World Psychedelic Classics 5: Who is William Onyeabor. It’s the title-track from William’s 1980 album. Best described as a fusion of psychedelic funk, Afro-beat, soul, gospel and electronica, it’s a glorious melting pot of musical influences and genres. Wah-wah guitars and the rhythm section supply the funk, while William’s languid, heartfelt vocal supplies the soul. As for the female backing vocalists that answer his call and add harmonies, they veer between soul and gospel. Banks of keyboards and squelchy synths combine psychedelic funk and electronica. Chanted harmonies are not just deeply soulful but along with the rhythm section, add a mesmeric, hypnotic sound to this genre-melting, groundbreaking track.
Atomic Bomb is the title-track from William’s 1978 album. It marks a change in direction. Here, musical genres and social comment unite.There’s an almost understated sound as keyboards, meandering bass and bells combine. That’s still the case when lo-fi, vintage synths and drums enter. William’s vocal is pensive and thoughtful, growing in power and frustration. Helped no end by backing vocalists, a melodic, musical adventure unfolds. Thanks to the space-age, futuristic synths, the track heads in the direction of lysergic, cosmic funk. They’re helped along by the rhythm section, who supply a pulsating heartbeat. Then there’s impassioned harmonies, lo-fi synths and piano. They all play their part in a track where everything from Afro-beat, cosmic funk, psychedelia, soul and reggae create a melodic, uplifting, joyous and hook-laden track.
William Onyeabor released Good Name in 1983. The title-track has a hard, uber funky backdrop. It’s quite different from the previous tracks. Here the electronic influence in more prominent. A myriad of synths and drum machines play their part. Shrill synths and drum machines give the track a lo-fi sound. Adding a contrast is William’s vocal. Soulful, and sounding like aural sunshine, he’s like a musical shaman, spreading his musical message as his music evolves. Then there’s searing, screaming, scorching guitars which sound as if they’re being played by Jimi Hendrix’s ghost. Embracing electronica, funk, soul, Afro-beat, rock and psychedelia, William Onyeabor ensures his music stayed relevant by combining the musical past and present to create the music of the future.
Something You Will Never Forget featured on William Onyeabor’s debut album Crashes In Love. Released in 1978, it opened Crashes In Love. The track has a much more traditional Afro-beat sound as it gradually reveals it secrets and subtleties. It’s very different from his later music. From just drums, a pulsating rhythm section, percussion and stabs of Hammond organ accompany William’s soul-baring vocal. He’s accompanied by backing vocalists. They’re later replaced by blazing, jazzy horns. Just like the prove the backing vocalists, they’re the perfect foil for William as Afro-beat, soul, jazz and funk combine to create the song that introduced the world to a musical visionary. For those unfamiliar with William’s music, this song is Something You Will Never Forget.
Why Go To War is another song full of social comment. William Onyeabor isn’t scared to ask the “big questions.” There’s none bigger than Why Go To War? Taken from his 1979 album Tomorrow, he questions and probes. War is like an affront to William. As if thinking aloud, he asks: “why not make peace?” This he does against a delicious, pulsating and mesmeric fusion of Afro-beat, funk, reggae, rock and soul. His band get into the tightest and funkiest of grooves. Singing call and response with backing vocalists, his impassioned, pleading vocal, not unreasonably William asks: “Why Go To War, why not make peace on this anthemic, antiwar song?”
Love Is Blind is a track from William Onyeabor’s 1981 album Great Lover. It’s akin to a call to dance. What follows, is truly irresistible. A combination of keyboards, thunderous, funky rhythm section and bubbling synths joins chiming guitars. They draw you in. It’s impossible to resist their considerable charms. Then there’s William’s vocal, which is more like a joyous chant. Especially when he’s joined by the backing vocalists. Together, they create a track that’s joyous and irresistible call to dance, whose charms you can’t help but submit to.
Heaven and Hell is another track from William’s debut album Crashes In Love. It’s four funky, soulful minutes of dramatic, spiritual music. Stabs of Hammond organ, rolls of drums, bursts of blazing horns and wah-wah guitars set the scene for William’s vocal. They create a tantalizing backdrop that you wish would last forever. Impassioned and heartfelt, William sings call and response with backing vocalists. His lyrics are judgmental, Old Testament, full of fire and brimstone. Hell it seems, exists in William’s world. Despite that, the music is a heavenly wall of surf guitars, a dusty Hammond organ and a myriad of drums and percussion.
Buzzing sci-fi synths open the futuristic Let’s Fall In Love. Sounding like a conversation between two robots, this is groundbreaking, inventive music. Taken from Williams 1983 album Good Name, it marks a change in his music. William sings call and response against this futuristic backdrop. Later, the backing vocalists add chanted harmonies. They’re the perfect foil to the sci-fi sounds emitted from the arrangement. Another contrast is the braying horns that blaze across the arrangement, as electronica, soul and jazz unite to create a compelling fusion of influences.
Closing World Psychedelic Classics 5: Who is William Onyeabor is Fantastic Man. It’s a track from William’s 1979 album Tomorrow. A pulsating, hip-swaying fusion of buzzing synths and a pounding rhythm section, it provide the backdrop for sweet, soulful harmonies. Filters and panning are used effectively and extensively. The result is a track where music’s past and present meet. Listen carefully, and the ghost of disco can be heard passing the musical baton to Chicago house. In the shadows, lurks the influence of Lee Perry and King Tubby with their hands poised on the effects, ensuring William neither overuses nor abuses them. He doesn’t. Instead, he creates what’s best described as a mesmeric fusion of post-disco and proto-house.
Over a seven-year period, William Onyeabor released eight innovative and inventive, groundbreaking, genre-melting albums. On each of these albums, was music that was way ahead of the musical curve. Proof of that is World Psychedelic Classics 5: Who is William Onyeabor, which features nine tracks from William’s illustrious back-catalogue.
Everything from Afro-beat, cosmic funk, gospel, jazz, post-disco, proto-house, psychedelia, reggae, rock and soul was thrown into the melting pot by William Onyeabor. This is apparent on World Psychedelic Classics 5: Who is William Onyeabor which will be released on 28th October 2013, on Lauka Bop. No wonder. William Onyeabor was a musical visionary. That’s no exaggeration. After all, how many people could successfully mix sci-fi synths with soul and jazz? William Onyeabor could, and does on Let’s Fall In Love. Then on Fantastic Man, William like a mystic, foresaw the changing of the musical guard.The ghost of disco passes the musical baton to Chicago house. This fusion of post-disco and proto-house demonstrates the versatility of William Onyeabor.
Indeed, William Onyeabor’s music evolves throughout the period between William released his 1978 debut album Crash In Love and 1983s Good Name. Whilst other artists were churning out albums of similar music, William was pushing musical boundaries. He wasn’t content to stand still. One listen to World Psychedelic Classics 5: Who is William Onyeabor and you’ll realize this. From 1980 onwards, his music evolved. It became much more reliant on synths, keyboards and drum machines. Sometimes, it’s best described as futuristic, with a sci-fi sound. An example of this is Let’s Fall In Love, from his 1983 album Good Name. Buzzing, sci-fi synths are key to the track’s futuristic sound. To this inventive track, somehow, William welds soul and jazz. It’s a combination that shouldn’t work, but does. In a way, it’s just one example of the genius of William Onyeabor, which was lost to music after his 1985 album Anything You Sow.
That William Onyeabor turned his back on music, is music’s loss. Who knows what heights of innovation and inventiveness William Onyeabor might have reached? After all, he was creating music in just as midi was invented. He never got the opportunity to work with all the new technology producers now take for granted. What could’ve William Onyeabor have done with a modern studio packed with the latest hardware and running computers packing Logic, Reason or Ableton Live? Sadly, we’ll never know.
Nor will we ever know Who is William Onyeabor? Rumor, myth and mystery will forever surround William Onyeabor, one of music’s mavericks. An innovator and musical chameleon, World Psychedelic Classics 5: Who is William Onyeabor proves that in his pursuit of musical excellence and perfection, William Onyeabor pushed musical boundaries and rewrote rulebooks. His legacy is eight albums, released between 1978 and 1985. A tantalizing taste of that music can be found on World Psychedelic Classics 5: Who is William Onyeabor, which is the perfect introductions to one of music’s lost geniuses. Standout Tracks: Atomic Bomb, Something You Will Never Forget, Why Go To War and Fantastic Man.
WORLD PSYCHEDELIC CLASSICS 5:WHO IS WILLIAM ONYEABOR?
LEON THOMAS-THE LEON THOMAS ALBUM.
LEON THOMAS-THE LEON THOMAS ALBUM.
There aren’t many artists who record two debut albums. Leon Thomas did. Having signed to RCA in 1958, Leon recorded what should’ve been his debut album. It was never released. Instead, another eleven years passed before Leon Thomas released his debut album Spirits Known and Unknown for Bob Thiele’s Flying Dutchman Records. During the eleven year period, Leon Thomas’ vocal style changed.
When Leon was the vocalist with Count Basie’s band in the early-sixties, his bluesy style was influenced by blues’ greats like Big Joe Turner. As the sixties drew to a close, Leon had transformed his vocal style. This came after he embraced free jazz and pushed musical boundaries. For Leon Thomas, this proved inspirational and resulted in him changing direction musically.
So, by the time he signed to Flying Dutchman Records, Leon had embraced free jazz. His vocal encompassed blues, Afrobeat and jazz, as he scatted and yodeled. This was truly unique. So, it’s no surprise that between 1969 and 1972, Leon Thomas released a quartet of groundbreaking albums for Flying Dutchman Records. A year after releasing his 1969 debut album Spirits Known and Unknown, Leon released his sophomore album The Leon Thomas Album, which was recently rereleased by BGP Records. Before I tell you about The Leon Thomas Album, I’ll tell you about Leon Thomas’ career.
Leon Thomas was born in East St. Louis, Illinois, in October 1937. From an early age, Leon’s life revolved around music. His parents were avid music lovers and his hometown had a thriving musical scene. Inspired by a blues’ shouters like Big Joe Turner, Leon was a familiar face on the local music circuit. Then when Miles Davis came to town, Leon had a musical awakening
The night Miles Davis played St. Louis, Miles’ band featured John Coltrane. That night, they embraced improvisation and pushed musical boundaries to their extremes. For Leon Thomas, this showed him what was possible musically. Here was musical that was inventive, innovative and influential. So much so, that it inspired Leon to study musical at Tennessee State University.
Having left Tennessee State University, Leon became a familiar face on the jazz circuit. Having signed to RCA in 1958, Leon recorded what should’ve been his debut album. It wasn’t released. After that, When Leon was the vocalist with Count Basie’s band in the early-sixties right through until the mid-sixties. During that time, Leon’s style is best described as traditional blues. However, his style changed when he headed to Los Angeles.
It was is Los Angeles that Leon Thomas embraced free jazz. Already an admirer of improvisation within jazz, free jazz took things further. Even better, Leon met musicians who not only shared similar musical philosophies, but political and social values. This included saxophonist Arthur Blythe, drummer Leroy Brooks and pianist Horace Tapscott. Together, they were the Underground Musicians and Artists Associations. Meeting these three musicians, resulted in Leon finding his real voice. With their help, Leon’s voice became like an instrument. He fused musical influences, with blues, jazz and Afro-beat combining with soul, as Leon’s vocal veered between a scat and yodel. This was unique, avant garde and groundbreaking. Leon Thomas was a pioneer, as he headed to New York, looking for fellow travelers.
By 1967, Leon Thomas had met saxophonist Pharoah Sanders. This was a perfect match for Leon. Here were two groundbreaking musicians. In Pharoah Sanders’ hands, the saxophone was transformed. He’d been a member of John Coltrane’s band, until his death in 1967. After that, he formed his own band. Comprising Leon, pianist Lonnie Liston Smith and Pharoah, this was a band of musical pioneers recorded Pharoah Sanders 1969 album Karma, which was released on Impulse. It featured The Creator Has A Master Plan, which showcased Leon’s unique vocal style. A compelling, spiritual track where Leon yodels and scats his way through the track, it was truly groundbreaking. One man who realized Leon Thomas’ potential was Bob Thiele, founder of Flying Dutchman Records.
Having heard Leon Thomas feature on Pharoah Sanders’ Karma album, Bob Thiele signed Leon to Flying Dutchman Records. Leon’s Flying Dutchman Records’ debut was 1969s Spirits Known and Unknown. Released to critical acclaim, Spirits Known and Unknown featured a version of The Creator Has A Master Plan, which Leon and Pharoah cowrote. There was also a cover of Horace Silver’s Song For My Father. Hailed not just as innovative and groundbreaking, but soulful, spiritual and full of social comment, Spirits Known and Unknown launched the career of Leon Thomas. Following up such a critically acclaimed and innovative album wasn’t going to be easy. A year later, in 1970, he did. Leon released his sophomore album The Leon Thomas Album.
The Leon Thomas Album features just five songs. Leon penned I Am and Um, Um, Um. He cowrote Come Along with Neal Creque and Pharoah’s Tune (The Journey) with Pharoah Sanders and Lonnie Liston Smith. Milt Jackson’s Bag’s Groove was the other track on The Leon Thomas Album, which was produced by Bob Thiele.
As recording of The Leon Thomas Album began, the personnel differed from track to track. This all-star band included a rhythm section of drummers Billy Cobham and Roy Haynes, bassist Bob Cunningham and John Williams Jr, on electric bass. As for the horn section, tenor saxophonist Billy Harper, alto saxophonist Jerome Richardson and baritone saxophonist Howard Johnson joined trumpeter Ernie Royal. Percussionists included Richie Pablo Landrum on congas, plus Gene Golden and Sonny Morgan who also played African oboe. Along with flautists Donald Smith and James Spaulding plus pianist Arthur Sterling this was the band that accompanied Leon, who played maracas, Thailand flute, Hindewe, freedom flute and bells on The Leon Thomas Album. It was released in 1970.
On the release of The Leon Thomas Album in 1970, the same critical acclaim accompanied the album’s release. Best described as breathtaking, roller coaster journey, The Leon Thomas Album featured an all-star band at the top of their game. Innovative and enthralling describe the groundbreaking music on The Leon Thomas Album, which I’ll tell you about.
Come Along which opens The Leon Thomas Album, bursts into life. A myriad of punchy, rasping horns, pulsating bass and proliferation join soaring, impassioned, harmonies. They set the scene for Leon’s equally impassioned, bluesy vocal. Sung in a call and response style, backing vocals and horns respond to his call. As for the lyrics, they’re full of social comment. It’s a call for togetherness and revolution. Leon’s determined to bring about change by fusing jazz, soul, funk, gospel and show tunes passionately.
I Am is another track full of social comment. He sings from the perspective of a black man addressing his wife. This he does against a backdrop of horns that march the arrangement along. Leon warns: “the times were going to get tougher.” This proved to the case. The American involvement in Vietnam continued, racism was rife, unemployment and poverty was rising. Against a jazzy backdrop where blazing horns and piano march the arrangement along, Leon unleashes a vocal masterclass. As he struts his way through the lyrics, his style is variously theatrical, jazzy, dramatic, soulful and confident. Later, embracing improvisation, he scats and yodels at breakneck speed. His band match him every step of the way. Veering between straight ahead, free jazz and blues, the track swings along. Here, Leon is at his innovative best, reinventing and rewriting the rulebooks on this spellbinding track.
The Milt Jackson penned Bag’s Groove, is a familiar track, that straight away, Leon ensures swings. Accompanied by sharp bursts of braying, blazing, rasping horns and piano, the bass drives the arrangement along. Leon’s style is a much more traditional. That’s until he decides to revisit his innovative scat and yodel of the previous track. His delivery is unlike no other jazz vocalist of that time. Listen to his phrasing, it’s unique. Leon it seems, rewrote the rulebook. It’s as if this spurs the band on. They kick loose and play with freedom and aplomb. Rasping horns flit across the arrangement, matching the bass and fleeting cocktail jazz piano. The only thing wrong with this track is its brevity. At just three-minutes, it’s a tantalizing taste of what Leon and his all-star band were capable of.
Anyone familiar with Leon Thomas’ work, will know he recorded several versions of Um, Um, Um. Here, Leon demonstrates his versatility, playing a number of instruments. This includes the bells, maracas and various types flute. They can be heard amidst the myriad of bongos, congas, piano and basses. The arrangement has an almost understated sound, as if allowing Leon’s vocal to take centre-stage. At first his frustrated, angry vocal sings of: “holding on to what you got” and “look out for yourself.” From their, Leon improvises. As he scats and yodels, it’s akin to a cathartic cleansing. All his frustration, ire and anger leaves him. When his vocal drops out, his band get the opportunity to showcase their inconsiderable skill. They provide a pulsating backdrop as Leon’s vocal returns. A further outpouring of emotion and frustration follows, before later, Leon returns to his impassioned, soulful side on this opus.
Talking of opus’, Pharoah’s Tune (The Journey) which closes The Leon Thomas Album is a seventeen-minute Magnus opus recorded in front of a live audience. It’s best described as musical journey cum adventure. Its raison d-etre, is the search for the spiritual jazz that Pharoah Sanders pioneered. Musical boundaries are pushed as the track heads in the direction of free jazz. A frantic, frenzied sound replicates the sound that could be heard within the boat. From there, the almost discordant sound is replaced by a much more melodic and traditional sound. Then Leon’s yodel heads in the direction of a chant or meditation. Soul-searching and spiritual, the band provide a backdrop of piano, flute, rhythm section and percussion. When they get the chance, they prove just how multitalented they are. They replicate this search for this musical nirvana. Dramatic, with Eastern sounds and influences blazing horns, pounding drums, flutes, sound-effects and percussion all play their part in what’s one of the most ambitious and adventurous tracks Leon Thomas ever recorded. Innovative, way ahead of the musical curve, it’s a track that epitomizes everything Leon Thomas’ music stands for.
The night that Leon Thomas saw Miles Davis’ band, which featured John Coltrane, his approach to music changed. Before that, blues shouters like Big Joe Turner influenced him. After that fateful concert, Leon Thomas embraced improvisation. His route to jazz pioneer wasn’t straightforward. Having established himself on the jazz circuit, he then recorded what should’ve been his debut album for RCA. It was never released. Following that disappointment, Leon spent several years as the vocalist in Count Basie’s band. It was only when he left Count Basie’s employ, and headed to Los Angeles, Leon Thomas career began in earnest.
Meeting likeminded musicians, resulted in Leon Thomas becoming a jazz pioneer. He embraced free jazz and found his own, unique vocal style. Combining blues, jazz and African music, Leon’s style veered between a soulful and jazz-tinged, to a scat and then yodel. This resulted in Leon’s vocal being transformed into an instrument. In Pharoah Sanders’ saxophone, Leon found a musical soulmate. With Pharoah Sanders, Leon recorded Karma, which featured the classic The Creator Has A Master Plan. It was following the release of Karma, that Bob Thiele signed Leon to Flying Dutchman Records.
Spirits Known and Unknown was Leon’s debut for Bob Thiele’s Flying Dutchman Records. Released to critical acclaim, it was surpassed by the followup The Leon Thomas Album, which was recently released by BGP Records. Pioneering, groundbreaking, enthralling, spiritual and genre-melting, describes the music on The Leon Thomas Album. That’s why The Leon Thomas Album is a fitting followup to Spirits Known and Unknown, which introduced jazz pioneer Leon Thomas to music lovers music lovers worldwide.
Sadly, Leon Thomas didn’t enjoy the commercial success his inconsiderable talent deserved. Despite being one of Bob Thiele’s best signings for Flying Dutchman Records, and releasing groundbreaking, genre-melting albums, commercial success didn’t come his way. That’s despite releasing critically acclaimed albums, including 1969s Spirits Known and Unknown and 1970s The Leon Thomas Album. These two albums include the best music Leon Thomas recorded. His best album was The Leon Thomas Album, which features inspirational, innovative and influential music from Leon Thomas, one of jazz music’s true pioneers.
LEON THOMAS-THE LEON THOMAS ALBUM.
PAL JOEY PRESENTS HOT MUSIC.
PAL JOEY PRESENTS HOT MUSIC.
There aren’t many producers that have enjoyed the longevity that Joey Luongo has. As Pal Joey, he’s been producing cutting-edge, innovative music since 1989. That’s quite a feat. After all, Pal Joey has had to keep ahead of the musical curve. He’s succeeded in doing that producing music that’s unique and groundbreaking. Pal Joey hasn’t just produced one musical genre. No. Quite the opposite. His music has evolved and progressed. That’s what Pal Joey’s been doing for four decades, producing groundbreaking music. His productions have influenced a generation of producers. Much of the music Pal Joey released was on his own labels, Cabaret, Footstompin’ and the Loop d’ Loop label.
It’s on Pal Joey’s Loop d’ Loop label that he released some of the most successful and critically acclaimed music of his career. Founded in 1990, Loop d’ Loop documents the life and times of Pal Joey. To celebrate the career of Pal Joey, BBE Music will release Pal Joey Presents Hot Music on 21st October 2013. Featuring seventeen tracks, Pal Joey Presents Hot Music is the most comprehensive retrospective of Pal Joey’s career. Before I tell you about Pal Joey Presents Hot Music, I’ll tell you about Pal Joey, DJ, producer, remixer and record label owner.
Joey Luongo was born in Queens, New York and made first came to prominence in the days of boom boxes, b-boys and drum machines. Using the alias Pal Joey, Joey’s career started playing parties at his local recreation centre. From there, he progressed to playing college parties. Borrowing records from friends and fellow students, Joey’s quickly, career took-off.
At the time, Joey was working in Vinylmania, the legendary New York record shop. It was frequented by the city’s top DJs. Among them, was Larry Levan, who rumor has it, could be found shopping for records in his pajamas. Meeting Larry Levan helped Joey’s DJ-ing career. It was an introduction to New York’s burgeoning house scene. Soon, Pal Joey was spinning at some New York’s top clubs. His style was eclectic. Everything and anything would find its way into a Pal Joey set. Dancers loved Pal Joey’s style. Despite this, he wanted to make music, as well as play it.
In his downtime, Joey wanted to make music. As one of a new breed of producers, they were making the rules up as they went along.Their first attempts were the old-style pause tapes. From there, they progressed mixing drum beats with vocal samples. These samples came from vinyl. Young producers begged, bought and borrowed vinyl. This was a source of material for them. By combining a vocal and adding drum beats, here was the basis for a new track. It was recorded on Joey’s four-track reel-to-reel tape recorder. This meant mastering the razor blade and reel-to-reel tape. Doing this, was akin to a rite of passage. Back then, you could only call yourself a producer if you could splice tape. Joey could. Later, Joey worked part-time in a recording studio.
For Pal Joey, working at New York’s Power Play Recording Studio was part of his musical education. Not only was he was learning, but was watching musical history unfold. Pal Joey was assistant engineer on Eric B. and Rankin’s Follow The Leader. He produced Soho’s 1989 single Earth People and 1990s Give It Up. Pal Joey was hired to remix tracks for Deee-Lite whose career was at its peak.This musical apprenticeship seemed to ignite Pal Joey’s passion for production. So did meeting KRS-One.
KRS-One is one of hip hop’s pioneers. A member of Boogie Down Productions, KRS-One realized that in Pal Joey, here was an up-and-coming producer who could change hip hop. Part of the problem was, in the early-nineties, dancing wasn’t hip in hip hop. Pay Joey set about changing this. He was hired as a remixer and producer. One of Pal Joey’s most successful productions was Boogie Down Productions’ 1990 single Love’s Gonna Get Cha. This was the start of a profitable and productive partnership with Boogie Down Productions that lasted a two years. Although working with Boogie Down Production was a huge boost to Pal Joey’s career, he decided was ambitious. He wanted to launch his own record label. That was Loop d’ Loop
By 1990, Pal Joey’s nascent label, Loop d’ Loop, released its first release single. This was the single Runaway. Written and produced by Pal Joey, this was the single that launched this progressive, commercially successful and much admired label. Eleven tracks from Loop d’ Loop feature on Pal Joey Presents Hot Music, which I’ll tell you the story of.
Of the seventeen tracks on Pal Joey Presents Hot Music, the earliest track on the compilation is the delicious jazz-tinged sound of Soho’s Hot Music. Released on the Underground Classics label, it’s hard to believe this track was released back in 1989. Truly timeless, it demonstrates how versatile a producer Pal Joey is.
It was as Earth People that Pal Joey made his commercial breakthrough. Earth People released Dance in 1990. Released on Underworld Records, this joyous example of disco house meant everyone knew Joey’s name. It launched his career. Truly it was a game changer. Chosen for Pal Joey Presents Hot Music, is the Beats Mix, which was on the B-Side of the single. The other contribution from Earth People on Pal Joey Presents Hot Music, is 1990s Reach Up To Mars. Just like Dance, it was released on Underworld Records. The version chosen in is the 808 Bonus Mix. Choppy, and driven along by keyboards and synths, it’s a a jackin’ track.
Another of the alias’ Pal Joey used was Dreamhouse, who released Jump And Prance in 1990. Released on White Hose Records, it features Caesar. The version chosen is the Dream Mix, which in 1990, was encompasses musical genres and influences. Funky, jazz-tinged, hypnotic and innovative, it’s a track with Pal Joey’s name written all over it. It’s also a track that drew inspiration from house music’s past and present to make the music of the future.
The first tracks from Pal Joey’s Loop d’ Loop label are its sophomore release, Party Time and the B-Side Raw Love. Released back in 1990, Party Time is a hypnotic, mesmeric and melodic track where elements of hip hop, disco and jazz are fused to create a slice of deep house. As for the B-Side Party Time, it’s something a hidden gem where tech and deep house combine. Again it’s melodic and has survived the ravages of time.
In 2003, Pal Joey released the Pal Joey Presents Contrasts E.P. Released on the Mother Tongue label, it featured I Sing and Glee. I Sing features on Pal Joey Presents Hot Music. Featuring saxophonist Tom Hutchings and vocalist Melanie White’s strutting, diva-esque vocal. A soulful, jazzy slice of house this track shows how Pal Joey’s music evolved over his four-decade career.
From 1990, when we last heard from Pal Joey’s Loop d’ Loop label, we jump in our time machine and fast forward fourteen years. It was December 2004 when he released Show Me, which featured the vocal prowess of Nkemdi. Best described as a fusion of garage, deep house and soul, which came courtesy of Nkemdi’s vocal. There’s even a slight sci-fi sound to this soulful, influential and dance-floor friendly track. As for Happy which was on the B-Side of Show Me, features a vampish vocal from Dana Byrd, it falls into the category of hidden gem.
September 2005 saw Loop d’ Loop release its nineteenth release. This Just The Way You Are featured on the A-Side and Play Time on the B-Side. It’s four to the floor all the way on Just The Way You Are, as a myriad of beeps, squeaks and thunderous drum beats drive the track along. Add to that brief bursts of a haunting vocal and the result is the type of track that’s variously dramatic, futuristic and old school. While Just The Way You Are had an almost old school sound, Heatwave has a much more progressive and uplifting sound. Rather than being tucked away on the B-Side this Heatwave deserved a better fate.
Los Dos’ Tomorrow was released on Cabaret Records in June 2006. Featuring Pal Joey’s trademark keyboard sound, sultry horns and percussion, Pal Joey gets into a groove and exploits it to its fullest. Built around a series of riffs and a one-sided telephone conversation, Pal Joey continues to innovate.
Of the other five tracks on Pal Joey Presents Hot Music, they bring Pal Joey’s music much more up to date. Toi Et Moi featuring Papa Stomp was Loop-D-Loop twentieth release. Released in 2006, it demonstrates how Pal Joey’s music was constantly evolving. With its almost futuristic, but understated sound, soul, jazz and deep house unites seamlessly.
Loop-D-Loop twenty-third release was Spend The Night and Do What You Want To. Released in 2010, twenty-years after Loop-D-Loop had released their first single, Pal Joey hadn’t lost his Midas Touch. The Fredo Revisited remix of Spend The Night is an innovative, influential track. Electro, deep house, piano house, disco and soul combine to create a genre-sprawling dance classic. As for Do What You Want To, it has a much more understated, minimalist sound, but isn’t short of subtle charm.
Bringing us up to date in the Pal Joey story are Free and Perfectionist. They’re the final two tracks from Pal Joey Presents Hot Music. Released in 2012, Perfectionist sounds as if it could be autobiographical. Pal Joey probes and questions, asking “am I a Perfectionist?” Pensive and thoughtful it’s soul-searching and maybe, cathartic? Free is anthemic, symphonic soulful and jazzy track, that Pal Joey has kept until last.
During a career lasting four decades, which is celebrated in BBE Music’s retrospective Pal Joey Presents Hot Music, which will be released on 21st October 2103, Pal Joey has pushed musical boundaries. He’s also reinvented himself several times. That’s apparent by the music on Pal Joey Presents Hot Music. If Pal Joey hadn’t reinvented himself musically, he wouldn’t have enjoyed the longevity he has. After all, how many producers careers last as long as Pal Joey’s? There’s a reason for this though. He’s succeeded in producing music that’s unique and groundbreaking. Pal Joey hasn’t just produced one musical genre. No. Quite the opposite. His music has evolved and progressed.
Over the past four decades, Pal Joey’s produced everything from hip hop, house, garage and even acid jazz. As for house, this includes several types of house music. This includes disco, deep, electro or garage house. He’s even headed towards the techy side of house. By not restricting himself to one musical genre, Pal Joey has enjoyed the longevity that not many producers have enjoyed.
By constantly reinventing himself and striving to innovate an, Pal Joey established a reputation as an influential and groundbreaking producer. As an innovator, Pal Joey didn’t follow fashions. Instead he’s a trendsetter, whose music was heard in some of the most fashionable clubs. This resulted in Pal Joey’s music was heard by some of the most influential people in music. They were hearing tomorrows music today. That music, including the seventeen tracks on Pal Joey Presents Hot Music, is truly timeless. Twenty years after some of the music on Pal Joey Presents Hot Music was released it sounds just as good as the day it was released. That’s no surprise. After all, what do you expect from one Pal Joey, who released music that’s best described as innovative, influential, joyous, mesmeric, uplifting and timeless. That includes the seventeen tracks on Pal Joey Presents Hot Music. Standout Tracks: Happy, Dance, Spend The Night and Free.
PAL JOEY PRESENTS HOT MUSIC.
THE TEMPTATIONS-ALL DIRECTIONS.
THE TEMPTATIONS-ALL DIRECTIONS.
When The Temptations were recording what became All Directions, the group were determined not to record two songs that eventually appeared on the album. One of these songs was Run Charlie Run and the other was Papa Was A Rolling Stone. The Temptations were absolutely determined not to record these songs. They felt that they wouldn’t provide them with a hit. Recording Run Charlie Run and Papa Was A Rolling Stone, they felt, was a backward step. After this, they felt, they’d be back singing ballads like My Girl and Ain’t To Proud To Beg. Having been persuaded to record Papa Was A Rolling Stone, the twelve minute epic proceeded to give the group one of the biggest hits of their career.
Papa Was A Rolling Stone resulted in three Grammy Awards for The Temptations. On its release, it reached number one in the US BIllboard 100 and number five in the US R&B Charts. The song received a Grammy Award for Best R&B Song, Best R&B Performance by a Group and even a Grammy for the instrumental version on the B-side of the track. Producer Norman Whitfield who co-wrote the song with Barrett Strong, must have felt vindicated, as Papa Was A Rolling Stone became one of the group’s biggest ever hits. However, as if that wasn’t good enough, the album All Directions gave The Temptations a huge hit. will be rereleased by Universal Japan on 22nd October 2013.
Before recording of All Directions got underway, eight songs were chosen. This included Barrett Strong and Norman Whitfield’s Papa Was A Rolling Stone and Funky Music Sho’ Nuff Turn Me On, which was previously recorded by Edwin Starr. C. Maurice King cowrote two tracks. He cowrote Run Charlie RUn with Jan Forman and I Ain’t Got Nothin’ with Evans King. Dino Fekaris and Nick Zesses penned Mother Nature and Ashford and Simpson cowrote Love Woke Me Up This Morning. Other tracks included Ewan McColl’s The First Time Ever and Isaac Hayes’ Do Your Thing. These eight tracks became All Directions.
Recording of All Directions took place at Motown’s own studios in 1972, with what was the fourth incarnation of The Temptations. This included Dennis Edwards, Richard Street, Damon Harris, Otis Williams and Melvin Franklin. Accompanying The Temptations were The Funk Brothers, Motown’s very own studio band. The rhythm section included bassists Bob Babbitt, James Jamerson and Leroy Taylor, drummers Aaron Smith, Richard Allen and Uriel Jones, plus guitarists Billy Cooper, Eddie Willis, Joe Messina, Melvin Ragin, Paul Warren, Robert White and Robert Ward. They were joined by pianist Earl Van Dyke, origanist Johnny Griffin, percussionist Jack Brokensha and congos courtesy of Eddie “Bongo” Brown. Norman Whitfield produced All Directions, which was released on 27th July 1972
The first single released from All Directions was Mother Nature. It had only reached a somewhat disappointing number ninety-two in the US Billboard 100 and number twenty-seven in the US R&B Charts. However, Papa Was A Rolling Stone would more than make up for this, reaching , reached number one in the US BIllboard 100 and number five in the US R&B Charts. When All Direction was released, the album was critically acclaimed. The continuation of the fusion of soul and psychedelia appealed to critics and record buyers alike, with All direction reaching number two in the US Billboard 200 and number one in the US R&B Charts. All Directions, a true psychedelic soul stew, which I’ll now tell you about is one of The Temptations classic albums.
All Direction opens with a cover of the Barrett Strong and Norman Whitfield penned Funky Music Sho’ Nuff Turn Me On, a track best known for Edwin Starr’s version. After a big build up, the crowd being whipped up into fervor, resulting in raucous applause, the track opens, with each of the five Temptations sharing the lead vocal. The track sounds as if it has been recorded live, giving you an idea of just what The Temptations sounded like live. With The Funk Brothers backing them, and giving a tight, yet funky performance, Dennis Edwards, Richard Street, Damon Harris, Otis Williams and Melvin Franklin take turns of singing lead, while the other four provide harmonies. While The Funk Brothers provide a funk laden backdrop, The Temptations, combine emotion, joy and power resulting in an impressive and professional performance.
Run Charlie Run was one of two tracks on All Directions The Temptations had to be persuaded to record. The controversy here, was over the subject matter of the song, dealing with “white flight.” It was music with a social conscience, supportive of Black Power movement, that required The Temptations to sing in a “caucasian” accent “the niggers are comin.’” Like the other Temptations, Otis wasn’t keen to record the track. However, producer Norman Whitfield persuaded them to do so, and eventually, the track was included on All Directions. As the track opens, a piano, funky rhythm section and soaring, searing guitar combine with blazing horns as the vocal enters. Straight away, the controversial white flight lyrics can be heard. In them, they sing about people going to church on Sunday, but by Monday they forget what they’ve learned. Instead of togetherness and friendship, the white people became racists. Rather than embrace and the black people who had entered their town and cities. Instead, the white people chose to leave these places, and make it worse, by passing their racist attitudes and beliefs to their children. With a reverberating, funky and dramatic arrangement accompanying them, The Temptations bring the song to life. This is helped by the constant pounding drums and blazing horns, that accompany the passion, frustration and anger of their vocals. It’s a hugely powerful track, one that makes you glad to be alive in more enlightened times.
Easily the best known track on All Directions is the twelve minute epic Papa Was A Rolling Stone, which closes side one of the album. Here, Norman Whitfield’s production is stunning, the prolonged arrangement building and building, with the rhythm section, wah-wah guitars, keyboards and sweeping, swirling horns. The longer the introduction goes, the more the anticipation builds. You wonder what’ll happen next, where the track is heading? After four and a half dramatic and sweeping minutes, where the ever-present bass is a mainstay of the track, while hi-hats, horns and strings all play their part, the vocal enters. Each of The Temptations have their own part to play. Damon plays the part of the child’s mother, answering thee questions about their late father, trying to add a balance to the negative things they’ve heard about him. Meanwhile rest of the group play the part of the questioning children, with a series of questions being answered by Damon. This is already emotive and powerful, but the addition of braying horns, searing wah-wah guitars, the moody bass and the hissing hi-hats, adds to this. When you listen to the lyrics, there’s a sense of sadness present, that children would hear these things about their late father, and this is made worse by the thought of their mother having to answer them. By the end of this seminal, twelve minute epic, you realize that this is one of the defining moments not only in the career of The Temptations, but producer Norman Whitfield. Not only is the song powerful and emotive, but one of the best songs the group recorded and Norman producer. After all, when you’ve climbed the highest mountain, where do you go from there?
Over the years, Ashford and Simpson were more than just a highly successful songwriting partnership, this husband and wife duo, recorded a number of highly successful albums, like Street Opera and Solid, as well as producing acts like Gladys Knight and The Pips. A lush combination of piano and strings combine as Love Woke Me Up This Morning begins. This is followed by a tender vocal from Damon, while the rest of the group combine to sing equally tender harmonies. Behind them, the rhythm section combine, with the drums playing with an almost jaunty beat. Meanwhile, grand strings, rasping horns, piano and chiming guitars combine to produce a lovely arrangement, perfect for the Damon’s now soaring, passionate vocal which is full of emotion and sincerity. This results in a quite beautiful track, which opens the second side of All Directions.
I Ain’t Got Nothing sees Otis and Melvin share the lead vocal. As the track opens, the sound is understated, but there’s a sense that something special is about to happen. With Otis and Melvin sharing the lead, a slightly moody sounding arrangement unfolds. Key to its sound are the rhythm section who play slowly and thoughtfully, while strings add a sense of emotion and sadness. Adding to the arrangement is a piano which drops in and out of the the track. However, it’s the interplay between Melvin and Otis that adds to the moody sound, especially the contrast in their vocals. This sound is perfect for the sense of despair in the lyrics, especially when the sing “I’ve got nothing.” Here, The Temptations and producer Norman Whitfield combine brilliantly to produce a song that has a sense of bleakness and despair, befitting the song’s lyrics.
When Ewan McColl wrote The First Time Ever (I Saw Your Face), little did he know how many people would cover his song. Cover versions of this song can be good, bad or indifferent. Thankfully, The Temptations version falls into the first category, with Richard Street singing lead vocal. With guitar and bass combining, before the piano enters, Richard’s gorgeous vocal enters. He strikes the right note between singing the song tenderly and with an element of drama, befitting the song. This is no overblown version. Instead it’s thoughtful and tender, with a beautiful arrangement where lush strings sweep in, joining the guitar, bass and piano. Together with Richard’s stunning vocal, they combine to produce one of the album’s highlights.
Although Mother Nature was the B-side of Funky Music Sho’ Nuff Turn Me On, it’s a track that deserved a better fate than that. Of the two tracks, this is a much better track than the A -side. Dennis Edwards gives an emotive and moving rendition of the lyrics, while the dramatic arrangement sweeps along. A piano plays an important role, while strings sweep and swirl, guitars chime, drums pound and horns rasp gently. However, although the arrangement builds and builds, with a sense of drama omnipresent, it’s Dennis’ vocal that holds your attention. You become enthralled by it, spellbound, realizing just how talented and versatile a vocalist he is. There’s a mixture of emotion, passion and drama present, which when combined with Norman Whitfield’s arrangement, is a potent and brilliant combination.
All Directions closes with a cover of an Isaac Hayes track Do Your Thing, where Richard, Damon and Melvin share the lead vocal duties. The track bursts into life with the funkiest of guitars, a drama drenched combination of blazing horns and powerful, pounding drums. After this you’re expecting the track to explode, but it doesn’t. Instead it meanders along, with keyboards joining the arrangement which meanders along, with the vocal constantly changing hands. Throughout the track, a punchy and dramatic combination of drums, handclaps and braying horns make their presence felt, before the track returns to its previous meandering, sometimes moody sound. Although quite different from the two previous tracks, it sounds great and is a good and satisfactory way to end All Directions.
For people who were used to The Temptations singing tracks like My Girl and Ain’t Too Proud To Beg, albums like All Directions and Psychedelic Shack must have been a shock to them. The music was a mixture of soul, funk and psychedelia, all mixed together into a soulful stew that’s quite brilliant. During All Directions, The Temptations combined the frustration, power and anger of Run, Charlie Run, with the heartfelt Papa Was A Rolling Stone and the gorgeously, tender The First Time Ever (I Saw Your Face) sung by Richard Street. On Mother Nature, Dennis Edwards demonstrates his talents as a vocalist, combining emotion, passion and drama with aplomb. Credit must be given to producer Norman Whitfield. Not only is his production stunning, but he stuck by his conviction that The Temptations should record both Papa Was A Rolling Stone and Run, Charlie Run. With The Temptations not wanting to record either track, Norman managed to convince them to do so.
This was fortuitous, as Papa Was A Rolling Stone gave the group a number one single and three Grammy Awards. Run, Charlie, Run was emotive music with a social conscience, full of passion and frustration. That’s one reason why All Directions was long on quality and short on filler. Overall, it’s an album full of some groundbreaking music, that features one of the highlights of The Temptations career. That was the seminal Papa Was A Rolling Stone, a magical, musical masterpiece. If you’ve never heard All Directions, which will be rereleased by Universal Japan on 22nd October 2013 it’s an album I can thoroughly recommend. Soulful, funky and with a social conscience, All Directions is a musical melting pot of soul, funk and psychedelia from of one of Motown’s biggest groups, The Temptations. Standout Tracks: Papa Was A Rolling Stone, The First Time Ever (I Saw Your Face), Mother Nature and Do Your Thing.
THE TEMPTATIONS-ALL DIRECTIONS.
COSMIC MACHINE.
COSMIC MACHINE.
After the initial optimism of the liberated, swinging and psychedelic sixties, the events of Altamont Free Concert, meant many people were pleased to see a new decade dawn. As the sixties became the seventies, music started to change. It was revolution rather evolution. This was a long way from 1962, when The Beatles released Love Me Do. Music was becoming much more complex. A lot it seemed, had happened in eight years. This included psychedelia and synths, which would play a huge part in the music of the seventies.
Just five months into 1970, The Beatles released what was their final album, the disappointing Let It Be. The Beatles weren’t going to be at the vanguard of this musical revolution. Across the world, music changed drastically. That was the case in France. Drawing inspiration from sixties psychedelia, soul, funk and rock, and drawing upon the sounds of the latest synths a lysergic, cosmic, electronic revolution unfolded. A new generation of French musicians would create some of the most innovative, inventive and mind-bending music. Twenty examples of this can be found on Cosmic Machine, which is described as “a voyage across French cosmic and electronic avantgarde 1970-1980.
Cosmic Machine, which was compiled by Uncle O and released on 14th October 2013 on Because Music, charts the development, innovation and revolution in French electronic music. Featuring artists including Didier Marouani, François De Roubaix, Universal Energy, Space Art, The Atomic Crocus, Bernard Fevre and Jean-Jacques Perrey. Among the names most people will know, are a pre-disco Patrick Juvet, the legendary Jean Michel Jarre, French Euro Disco Godfather Cerrone and the inimitable Serge Gainsbourg. These are just a tantalizing taste of the artists who can be found on Cosmic Machine. As the Cosmic Machine prepares to blast off, I’ll begin the countdown from ten.
My first choice is Patrick Juvet’s Le Rêve, which opens Cosmic Machine. For most people, Patrick Juvet is best remembered for his 1978 single I Love America. That couldn’t be further from the truth. There’s much more to Patrick Juvet than disco. He’s a versatile artist whose career started in 1973. In total, he released twelve studio albums between 1973 and 1991. Le Rêve is taken from his 1979 album B.O. Laura, Les Ombres De L’Ete, the soundtrack to David Hamilton’s sophomore film. It features a variety of musical influences and genres. Synths play their part in a track that’s variously futuristic, progressive, innovative and even, medieval. A combination of electronica, prog rock, psychedelia and Acid House synths shows another side to the multitalented Patrick Juvet.
Mention the name François De Roubaix, and those familiar with his work will tell you about an innovative musician who fused musical genres. His work was always progressive and ahead of the musical curve. Embracing synths and musical technology was key to his success. So was combining classical, ethnic and electronic instruments. Despite dying aged just thirty-six, he composed thirty soundtracks. Survol was part of a score he wrote, but which was rejected by Jacques Cousteau’s L’Antartique documentary. Despite being rejected it’s tantalizing taste of what he’s capable of. Briefly it sounds like Electronic Light Orchestra’s Turn To Stone but takes on a grand, dramatic, cinematic and Gallic sound.
Despite Space releasing Magic Fly in 1977, it sounds as if it could’ve been recorded recently. Truly timeless describes this track. Founded by Didier Marouani and Roland Romanelli, Space released a quartet of albums for the Vogue label between 1977 and 1980. Magic Fly was the title-track of their sophomore album. It provided them with the biggest hit of their career. A fusion of Euro Disco, synth pop and electronica, influences include Giorgio Moroder, Jean Michel Jarre, Donna Summer and Kraftwerk. Pulsating, sultry, ethereal and truly timeless describes this dance classic.
Pierre Bachelet’s Motel Show is a glorious fusion of musical genres and influences. Taken from the soundtrack Le Dernier Amant Romnatique, which was released in 1978, this was Pierre’s first album in three years. It proves a welcome return. Synths wah-wah their way across the arrangement while hissing hi-hats, lush strings and a pulsating Euro Disco beat combine. They play their part in a genre-melting track where funk, disco, electro and Euro Disco combine seamlessly.
The Atomic Crocus’ Ombilic Contact is a mind-bending, lysergic fusion. It was the B-Side to Smile At Me. Essentially, this is a sonic experiment, where musical boundaries are pushed further than before. If you can imagine a detuned bluesy guitars combining with eerie, futuristic, sci-fi synths you’re halfway there. What follows, is a mystical, musical journey through musical genres. Psychedelia, electronica, prog rock, funk and soul melt into one lysergic track.
Modern music, owes Cerrone a debt of gratitude. He was an innovator, continually pushing musical boundaries, paving the way for a future generation of producers. Not content to stand still, he was always looking to innovate, creating tomorrow’s music today. Générique-Début which features on his 1978 album Brigade Mondaine, is a track with a myriad of secrets awaiting discovery. For two minutes drums pound, before eerie, almost sinister synths meander in. Despite only featuring two instruments, Cerrone uses them effectively. So much so, that Gerald de Villiers used the track in a television series about the French vice squad. He felt this track portrayed perfectly a nervous, debutante stripper.
Quartz’s Chaos closed their 1978 eponymous debut album. It’s an album that’s way ahead of its time. Drawing inspiration from prog rock, ambient and Euro Disco what follows is a track that innovative and groundbreaking. Ethereal, celestial harmonies join a pulsating, driving beat and buzzing synths. Sounding like an a forerunner of house music, you’re taken on a musical journey through classical, choral, electro, Euro Disco and prog rock. Combined by Didier Plus, Laurent Taleb and Patrick Langlade, it’s a track that was ahead of its time and as a result, is timeless.
Serge Gainsbourg’s Le Physique Et Le Figuré is the polar opposite of J’Taime. Released in 1981, Le Physique Et Le Figuré, was the title of a film he directed. He unleashes a myriad of synths, keyboards, rocky guitars and thunderous drums. Sounding like the soundtrack to an intergalactic car chase featuring Super Ted and Hans Solo it’s dramatic, opus that shows another side to Serge Gainsbourg.
Alain Goraguer’s Le Bracelet is quite unlike much of the music on Cosmic Machine. That’s because it was recorded in the early seventies. Taken from the soundtrack Le Planete Sauvage, which was released in 1973, musical genres melt into one. This includes jazz, funk and soul. As for the track, it’s wistful, melancholy and broody. The drama builds and momentarily, it’s downright funky. Always, the track has a cinematic sound and you never quite know what might happen next.
Rocket Men’s Rocket Man, which is an instrumental, is my final choice from Cosmic Machine. Released as a single in 1974, on the Disc Az label, it was produced by Philippe Renaux. It’s the perfect way to close Cosmic Machine. Indeed, it’s as if the Cosmic Machine has taken off and you’re heading on a musical adventure. During that adventure, you visit musical genres and influences, including funk, prog rock, electronica, psychedelia and disco. This ensures your journey on the Cosmic Machine is mind-blowing, innovative and lysergic.
Featuring twenty innovative, genre-sprawling tracks, the journey onboard the Cosmic Machine is truly compelling, enthralling and spellbinding adventure. Mind-blowing even. Lasting seventy-eight minutes, you’re taken on an intergalactic journey where musical genres and influences melt into one lysergic mass. You’re left wondering were these really Gitanes you smoked? After all, you’ve just heard everything from ambient, choral, classical, disco, electronica, electro, Euro Disco, funk, jazz, prog rock, psychedelia, rock and soul during the twenty tracks on Cosmic Machine. They’re fused by some of the most progressive, inventive and imaginative artists and producers in the history of French music. Genres and influences seamlessly melt into one, resulting in mesmeric, mystical, musical adventures. Somehow, that makes sense.
Cosmic Machine is a bit like a musical equivalent of Pythagorus’ Theorem. I know 3.14 infinity equals pie, but don’t know how the pieman got there? Similarly, it’s almost impossible to understand how the artists on Cosmic Machine were able to make music that was so far ahead of the musical curve? That’s the eight mystery of the world. Some of the music sounds as if it was recorded only recently. It wasn’t. Far from it. Instead, it was recorded in the early seventies, over forty years ago. That’s quite remarkable. Despite the equipment being much more basic, the music sounds truly timeless. If only artists and producers were producing music that’s just as inventive and groundbreaking as the music on Cosmic Machine.
For newcomers to French electronic and avant garde music, Cosmic Machine which released on 14th October 2013 on Because Music, is the perfect starting place. It might be the first album of French electronic and avant garde music you buy, but believe me, it won’t be the last. Described as “a voyage across French cosmic and electronic avant garde 1970-1980,” that’s almost an understatement. Instead, I’d describe Cosmic Machine as a magical, mystical, musical mystery tour through innovative, inventive and imaginative electronic and avant garde music. The lysergic, genre-melting music on Cosmic Machine is truly timeless and way ahead of the musical curve. So much so, that Cosmic Machine features music from the golden age of French electronic and avante garde music. Don’t just take my word for it, climb onboard the Cosmic Machine and head off on a magical, mystical, musical mystery tour with the Rocket Men as we head towards Space with Cerrone, Jean Michel Jarre and Serge Gainsbourg in search of the elusive The Atomic Crocus . Standout Tracks: François De Roubaix Survol, Space Magic Fly, The Atomic Crocus Ombilic Contact and Quartz Chaos.
COSMIC MACHINE.
DAORA-UNDERGROUND SOUNDS OF URBAN BRASIL- HIP HOP BEATS AND AFRO DUB.
DAORA-UNDERGROUND SOUNDS OF URBAN BRASIL- HIP HOP BEATS AND AFRO DUB.
Compilations of Brazilian music are commonplace. Whilst not quite two a penny, there’s much more than before. The problem is, many of them contain the same tired old tracks. Compilers it seems, shop at the same shop. This results in the same old, same old. Nothing new, innovative or interesting it seems, ever finds its way onto these albums. That’s until now. Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, which is the innovative Mais Um Discos label’s latest release is something of a game-changer.
Featuring thirty-two tracks spread over two discs, Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, which was compiled by Rodrigo Brandão shows another side to Brazilian music. It’s best described as featuring progressive hip hop, leftfield beats, Afrobeat and dub drenched sounds. A simpler way to describe it as Daora, which in downtown San Paulo, is slang for something that’s f*cking cool. Even that’s something of an understatement.
Everything from funk, hip hop, Afrobeat, dub, soul, jazz, rap, reggae and samba is thrown into a Brazilian melting pot. When it’s given a stir, what comes out is variously energetic, emotive, edgy, progressive, hook-laden, soulful, imaginative, dance-floor friendly, melodic and downright funky. That’s what the music on Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub sounds like. No wonder.
Compiled by Rodrigo Brandão, lyricist extraordinaire, Subterranean Highlander and MC of the Zulu Nation Brazil, Rodrigo knows Brazilian urban music inside out. He knows where the secrets and hidden gems can be found and shares some of them on Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, which I’ll pick the highlights of.
DISC ONE-CONCRETE AND STEEL FOREST.
Both of the discs on Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, have a title and theme. Disc One is entitled Concrete and Steel Forest. This conjurs up pictures of the urban landscape, with the music reflecting the multicultural environment its made in. That environment has provided the inspiration for artists like Espião, Ogi and Stereodubs, Amabis, DJ Mako, Rodrigo Brandão,Doncesão and Bodes and Elefantes. They’re just a few of the sixteen artists who feature on Disc One of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, which I’ll pick the highlights of.
My first choice from Disc One of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub is Espião’s Cada Um, Cada Um. This is the title-track from Espião’s 2011 album. It’s a real fusion of influences. Everything from hip hop, soul and jazz combine. A jazz-tinged backdrop, featuring a meandering bass, combines with an impassioned, soulful hip hop vocal. Delivered in Portuguese, in a call and response style, stabs of keyboards add to the drama and intensity of the vocal. Soulful, jazz tinged and a reminder of old school hip hop, this is the perfect way to open the compilation.
Curumin’s Vestido De Prata is something of a musical anomaly. What sounds like is going to be a crackly, smokey slice of old school trip hop, becomes a languid, laid-back reggae track. Hey, who’s complaining when the music’s as good as this. Taken from the 2012 album Arrocha, released on Vinyl Land, the arrangement is driven along by the bass. Dubby drums, soulful harmonies and a heartfelt vocal all play their part in what is, an authentic reggae track. Somewhere in Brazil, it seems, is a little corner of Jamaica. For that, we should thankful.
Bixiga 70’s Balboa da Silva sounds like a track from a lost Blaxploitation movie. It’s not though. Instead it’s a track from Bixiga 70’s eponymous album. Released on the Agua Forte label in 2011, it sounds like James Brown providing the soundtrack to a Brazilian Blaxploitation movie. With a myriad of growling horns, pulsating rhythms and samba beats, it’s as if John Shaft got on the wrong plane and landed in Rio. Explosive, dramatic, uber funky and pulsating, you can imagine car chases, chaos and bad guys being brought to justice during four minutes of majestic music.
Dramatic and gothic describes the opening to M.B. Williams’ Response Pirituba. Keyboards provide the gothic sound while thunderous drums add the drama. From there, it’s like a musical journey, visiting a variety of musical genres. Driven along by the keyboards and drums, we take a detours via electronica, jazz, funk, fusion, Latin and rock. Horns blaze, joining percussion, keyboards and a rhythm section that’s provides the track’s heartbeat. In less than five minutes, M.B. Williams takes you on a magical, mystical musical mystery tour, visiting musical genres aplenty.
Sombra’s Homem Sem Face is an understated, haunting and jazz-tinged slice of hip hop. Featuring a rap in Portuguese, the arrangement meanders hauntingly along. Eastern sounds that conjur up pictures of snake charmers sit side-by-side with an arrangement that’s subtle, jazzy and languid. As for the rap, it’s full of bravado and briefly, eerie and menacing. Combined with the genre-melting, multicultural arrangement, and the result is an enthralling and compelling track.
Doncesão’s Obrigahh is my final choice from Disc One of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub. It’s a blistering slice of hip hop, set against an arrangement that’s a dramatic collage of samples, sound effects, keyboards riffs and phat drums. While the impassioned rap is responsible for much of the drama, you can’t help but concentrate on the arrangement. It features samples from old black and white movies, sound effects and is built around a series of piano riffs which are repeated throughout the track. Dramatic, mesmeric and multi-layered, is the best way to describe this musical collage.
Choosing just six tracks from sixteen wasn’t easy. No wonder. The quality of music on Disc One of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub is consistently high. After all, I could just as easily have chosen any number of innovative, genre-melting tracks. Honorable mentions go to Ogi and Stereodubs, Elo Da Corrente, Rodrigo Brandão and Tetine. Any one of these artists could’ve made my final six. Who knows, on another day other tracks might have made the cut? Mostly, though, the six tracks I chose stood out from the rest. They either made a real impression on me or fell into the category of innovative music. What these tracks did, was give me a real taste for contemporary Brazilian music. Luckily, we’ve another disc to go, featuring another sixteen tracks.
DISC TWO-AND MAY THE DRUMS SOUND.
Just like Disc One of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, Rodrigo Brandão has dug deep looking for innovative and cutting-edge music for Disc Two. Entitled And May The Drums Sound, Disc Two features another sixteen tracks. We’re introduced to Rodrigo Campos, Iconili, Bixiga 70, Afrobombas, Metá Metá, Iara Rennó and Anelis Assumpção. Again, the quality is just as high as on Disc One. So choosing the highlights of Disc Two of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub won’t be easy. Here goes.
Despite Rodrigo Campos’ Sou de Salvador which opens Disc Two of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, sets the standard for the other fifteen tracks. Taken from Rodrigo Campos’ 2012 album Bahia Fantastica, which was released on the Nucleo Contemporaneo label, what’s a follows is a glorious fusion of soul, Afrobeat, jazz and electronica. Joyous, spiritual, gospel-tinged vocals, join rasping horns, a pulsating rhythm section and seventies keyboards. They combine to create a soulful, celebratory and joyous track where musical influences and genres melt into one.
Genre-melting. That comes close to describing Metá Metá’s Orunmilá. It’s a compelling and complex fusion of musical influences and genres. Somehow they work. They shouldn’t, but do. Take a combination of jazzy horns, searing, rocky guitars, a myriad of percussion and a pounding rhythm section. Then ask them to provide the perfect backdrop for a soul-baring, soulful vocal. It’s delivered with feeling and passion. Yet the two are like ying and yang. That’s despite the vocal almost being upstaged by Hendrix-esque guitar solos. Not quite though. Instead it’s just another piece in this musical jigsaw. Beautiful, soulful, jazz-tinged and rocky, another word to describe this track is mouthwatering.
Braunation’s Os Tambores do Meu Povo is another track where not just musical genres, but continents collide. The track’s dubby sound is reminiscent of classic dub, takes you on a journey back to Kingston, Jamaica. There’s snippits of smokey, Bristol, trip hop, classic hip hop and thanks to a myriad of beeps and squeaks, Acid House. Mostly thought, it’s dub, delicious dub, Brazilian style.
The unmistakable sound of a clavinet accompanies Soraia Drummond on Sorriso Forte Na Luta. It provides a contrast to the ethereal beauty of her fragile, tender vocal. Soon filters are added to her vocal, as the track becomes heads in the direction of dub. Dubby drums echo into the distance and the spacey bass bounds in the same direction. This results in a track that’s not just spacious and spacey, but dubby and ethereal.
Baiana System’s delivery of Terapia is best described as soulful and heartfelt. That’s despite the track being a bass driven reggae track. Having said that, there’s more to the track than reggae. Much more. It’s also symphonic, dubby and dramatic. Electronica plays an important part. Especially, when it reaches brief discordant highs. After that, it’s all change. A myriad of keyboards, bubbling synths and that pulsating bass all play important part in providing the backdrop for this soulful, soul-searching vocal.
Sambanzo’s Etiopia is certainly one of most beautiful tracks on Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub. Driven along by the sultriest of saxophones, this gives the arrangement a jazzy sound. So does the standup bass and drums. Although mostly a straight ahead jazz track, occasionally the track draws inspiration from dub and electronica. They give the track a much more contemporary sound. That’s no bad thing. Neither is the brief detour via free jazz when Sambanzo showcases their inconsiderable skill on what is, a highlight of the compilation.
Featuring another sixteen tracks, Disc Two of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, sees no drop in the quality of music. No wonder. It’s quality all the way, as we’re introduced to some Brazil’s best kept musical secrets. I’ve only chosen six of the sixteen tracks on Disc Two, but I could just as easily have chosen any number of other tracks. Among them, are Rodrigo Campos, Iconili, Afrobombas, Iara Rennó and Anelis Assumpção. These artists prove just how plentiful a supply of innovative artists there are in Brazil just now.
Indeed, Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub shows that right now, music is one of Brazil’s success stories. There are so many innovative, inventive and imaginative producers within Brazil, who like Shaman, casting a musical spell over their listeners. Their style is best described as genre-melting. During the thirty-two tracks on Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub musical genres and influences melt into one lysergic haze.
Everything from Acid House, Afrobeat, drum ‘n’ bass, dub, funk, hip hop, Latin, reggae, samba, rock, soul, jazz and trip hop is thrown into a bubbling musical melting pot. So too are snatches of haunting samples, sound effects, snare drums, squelchy synths heartfelt vocals and impassioned raps. Then there’s hissing hi-hats, loops, 808 kick drums and the unmistakable sound of the Roland TR-303. It’s then given a stir by an innovative producer and hey presto, music that veers between soulful, funky, jazzy, rocky, hypnotic, mesmeric and lysergic, to bass shaking, hip swaying and booty shaking.
Multilayered, complex, dramatic and dark, just as quickly, it can become uplifting and joyous. Other times, the music is intriguing and enigmatic. This is music that’s full of subtleties, surprises and nuances. Compiler Rodrigo Brandão throws a series of curveballs, just to keep the listener on their toes. Best to expect the unexpected. Anything and everything is possible. Rodrigo Brandão rules nothing in and nothing out. That seems to be Rodrigo’s attitude to compiling a compilation of cutting-edge, contemporary music. The result is, Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, the equivalent to a lysergic, genre-sprawling, magical, mystical musical mystery tour, where you’re introduced to a myriad of Brazil’s best kept musical secrets and hidden gems. Standout Tracks: Bixiga 70 Balboa da Silva, Doncesão Obrigahh, Metá Metá Orunmilá and Soraia Drummond Sorriso Forte Na Luta.
DAORA-UNDERGROUND SOUNDS OF URBAN BRASIL- HIP HOP BEATS AND AFRO DUB.
LEE HAZELWOOD-TROUBLE IS A LONESOME TOWN.
LEE HAZELWOOD-TROUBLE IS A LONESOME TOWN.
There aren’t many artists whose careers took as many twists and turns as Lee Hazelwood. Having left the US Army, Lee worked as a disc jockey, whilst forging a career as a songwriter. The first hit he wrote and produced was Sanford Clark’s 1956 rockabilly hit The Fool. Two years later, in 1958, Lee and Duane Eddy formed a successful partnership. Lee wrote and produced a string of hits for Duane. This included 1958s Rebel Rouser and Peter Gunn, plus 1959s Forty Miles of Bad Road and Shazam. Then in 1960, Lee decided to launch his solo career.
His debut single was Words Mean Nothing, which Lee recorded with Duane Eddy and His Orchestra. Words Mean Nothing wasn’t a commercial success, so Lee went back to songwriting and production. He continued his partnership with Duane Eddy, which was one the most productive of his career. The two pioneers enjoyed a run of successful hit singles. Lee also wrote singles for Tony Castle, Greg Connors, Tom and Jerry, Donny Owen and The Ventures. Then in 1963, Lee Hazelwood decided to relaunch his solo career. Signing to Mercury, Lee Hazelwood released Trouble Is A Lonesome Town, which was recently rereleased by Light In The Attic Records. Before I tell you about Trouble Is A Lonesome Town I’ll tell you about the early years of Lee Hazelwood’s career.
Lee Hazelwood was born in Mannford, Oklahoma in April 1936. During his early years, Lee and his family moved between Arkansas, Kansas, Oklahoma and Louisiana. Brought up on a diet of bluegrass and pop, Lee’s tastes broadened when his family moved to Texas. Music it seemed was in his blood. Despite that, Lee didn’t make a career out of music when he left high school.
No. On leaving high school, Lee headed to Dallas’ Southern Methodist University, where he decided to study medicine. After university, Lee joined the US Army during the Korean War. When he was discharged from the Army, Lee decided medicine wasn’t for him.
Instead, Lee took a job as a disc jockey. His reason for doing so, was it allowed him to work on his songwriting skills. Lee had decided to pursue a career in music. That didn’t mean spinning records. No. It meant writing them.
The first hit Lee wrote and produced was Sanford Clark’s 1956 rockabilly hit The Fool. That was just the start of Lee’s musical career. He went on to pen two more hits for Sanford Clark, 1956s Usta Be My Baby and 1957s The Man Who Made An Angel Cry. Lee then wrote Leroy Vandyke’s 1957s The Pocket Book Song and Pat Boone’s 1957 single Why Did I Choose You? However, Lee’s career really took off when he met innovative guitarist Duane Eddy.
Best known for his twangy guitar sound, Duane Eddy will always be remembered as a pioneering guitar player. With Lee Hazelwood writing and producing many of his singles, Duane Eddy went onto enjoy a successful career. Lee penned and produced 1958s The Walker, Rebel Rouser, Dixie Part 1 and Peter Gunn. Soon, Lee writing for other artists, including Sam Horn and His Orchestra, Mark Robinson and Das Hazy Osterwald Sextet. However, just like 1958, most of the hits he wrote were for Dune Eddy.
During 1959, Duane Eddy enjoyed a string of hit singles. Forty Miles of Bad Road, Only Child, The Quiet Three and Shazam. Duane Eddy was now one of the biggest names in music. Although Lee had to keep the hits coming for Duane, he penned singles for Hans Brandel and Sanford Clark. This was no bad thing, as the hits started drying up for Duane Eddy.
1960 saw Duane Eddy release just three singles, one of which Rebel Walk, had been released before. Luckily, Lee was writing for other artists including Paul Rich, Tony Castle and Greg Connors. Another artist who’d release a single during 1960 was Lee Hazelwood.
Lee’s debut single was Words Mean Nothing. which Lee recorded with Duane Eddy and His Orchestra. It wasn’t a commercial success, so Lee went back to songwriting and production. However, Lee had enjoyed a tantalizing taste of life as a recording artist. His return to songwriting and production was only going to be temporary.
For the next three years, Lee Hazelwood was busy working as songwriter and producer. During 1961, Lee worked penned songs for Tom and Jerry, Donnie Owens, Tony Gunner and Bud Ashton and His Group. Then in 1962, Duane Eddy enjoyed a string of hit singles. With The Shadows and The Ventures recording songs written by Lee, Lee Hazelwood could’ve continued to enjoy a career as a successful songwriter. He didn’t.
Instead, Lee decided to relaunch his solo career. He signed to Mercury and began work in what was his 1963 debut album, Trouble Is A Lonesome Town. The last seven years had been time well spent. Not only did Lee write the ten tracks on Trouble Is A Lonesome Town, but he produced the album which was recorded at Western Recorders.
When recording began at Western Recorders, in Los Angeles, Lee had put together a tight band of experienced session players. The rhythm section featured drummer Hal Blaine, bassist Bert Dodson and guitarists Billy Lee Riley, Billy Strange and Marshall Leib. Billy Lee Riley added harmonica and Hal Baline percussion on the ten tracks that became Trouble Is A Lonesome Town, which was released in 1963.
On its release in 1963 Trouble Is A Lonesome Town failed to chart. Neither did the title-track. Critics were won over by Lee’s worldweary baritone on what is essentially a concept album. Each of the ten country-tinged tales of heart, hurt, life and love gone wrong on Trouble Is A Lonesome Town are about a town called Trouble. In Trouble you’ll hear about The Railroad, Ugly Brown, Son Of A Gun and The Peculiar Guy, each of which I’ll tell you about.
Long Back Train, a railroad song, opens Trouble Is A Lonesome Town. Lee’s half-spoken vocal makes him sound like an old-fashioned storyteller. Then with guitars and harmonica accompanying him, the story unfolds. His vocal is wistful, as he remembers the dreams and hopes he and his childhood friend had. Then years later, they’re on opposite sides. When his friend robs a bank, his job is to bring him to justice. As he sings about his friend being sentenced to “ninety-nine years,” although it’s with a sense of sadness and regret, he knew it was the right thing to do.
Ugly Brown sees Lee follow a similar pattern as the opening track. Lee’s half-spoken vocal gives way to his vocal as he introduces to another character from a small-town. This time, it’s “Ugly Brown.” Lee’s delivery is deadpan, as he delivers lyrics like: “ even my own dog bites me…no one wants me in this town…I won’t swim in the river…cos every time I get out, you keep throwing me back.” Heartache, hurt and humor collide head-on during this country-tinged track.
Son Of A Gun is another story of a judgmental small town. This time, Lee introduces us to the outlaw’s son. With just an acoustic guitar and haunting harmonica for company, Lee’s vocal veers between sadness, melancholia and frustration. Later, there’s a twist in the tale. This Son Of A Gun who nobody never expected to amount to anything, goes from zero to hero by saving someone’s life.
As We All Make the Flowers Grow which sees us introduced to the small town undertaker, opens, it features some of the best lyrics on Trouble Is A Lonesome Road. You can picture the scenes unfolding before your eyes. Similarly, you can see the character striding down main street. Then as Lee delivers a thoughtful vocal, chiming guitars replace his nihilistic vocal. His vocal is confident and bereft of emotion as he delivers the line: “sooner or later we all make the little flowers grow.”
On Run Boy Run, Lee sounds not unlike Johnny Cash. With just acoustic guitars and meandering bass accompanying his vocal, Lee tells the story of an outlaw on the run. Lee’s advice is “Run Boy Run.” Melodic and catchy, it’s one of the highlights of Trouble Is A Lonesome Road.
Six Feet Of A Chain demonstrates Lee Hazelwood’s songwriting skills. Featuring lyrics that are cerebral, descriptive and dark, they tell the story of two brothers who are constantly jailed for stealing from each other. There’s a bitterness and real hatred in the lyrics, that shows how much the two brothers dislike each other. They’re never happier than when the other loses their liberty and find themselves attached to “Six Feet Of A Chain.”
Over the last hundred years, songwriters have written used railroads as a source of inspiration. Lee Hazelwood is no exception. So vivid are the lyrics to The Railroad, you realize who grueling and tough the work was. All week, the men worked hard and when they got paid, they let their hair down. Lee emotively describes this scene as it unfolds. Drinking and fighting was part of their life. Then when all that was over, another week begins on “The Railroad,” and they do it again.
Look At That Woman tells the story of the prettiest woman in this town called Trouble. Like everything else in this railroad town, something’s amiss. According to her husband, she’s got a cold heart and “I wish that woman was anyone else’s but mine.” Even love it seems, doesn’t run smoothly in Trouble.
Crystalline guitars accompany Lee’s vocal on Peculiar Guy. Usually, he’s like an old fashioned storyteller, painting pictures of life in this small town called Trouble. This time, the pictures are surreal and lysergic. It’s as if they’re painted by Salvidor Dali. You’re introduced to a man who won his wife in a card game. Briefly, she proved to be something of a lucky charm for him. That was until a lion ate her. After that, his luck changed. Then her husband slays the lion, leaving Trouble heartbroken and alone. Surreal, mythical and lysergic describes this left-field track.
Trouble Is a Lonesome Town closes with the title-track. It’s Lee’s farewell to the town called Trouble. With a worldweary, desperate vocal, Lee sings: “Lord I want to leave this town.” No wonder, given the characters we’ve been introduced to. With a sense of inevitably and a haunting harmonica for company, Lee sings: “Trouble Is a Lonesome Town, Trouble is where I was born.” Deep down he knows that Trouble is where he’ll die.
Lee Hazelwood’s debut album Trouble Is a Lonesome Town is best described as a concept album. During each of the ten tracks, you’re introduced to some of the characters that inhabit the backwater town of Trouble. Like all small towns, it’s a town full of characters and secrets. We meet the Peculiar Guy, Ugly Brown and Son Of A Gun. Then there’s the outlaws in Run Boy Run and Long Back Train use The Railroad that runs through Trouble to make their escape from Trouble. Proving that beauty is only skin deep is Look At That Woman, the tale of a cold hearted, beautiful woman. One of the most compelling characters is the undertaker and part-time philosopher in We All Make the Flowers Grow. No tale of life in a small town is complete without a “jail song.” There’s two on Trouble Is a Lonesome Town, Six Feet Of Chain and Long Back Train. This completes the story of life in Trouble.
Each of these songs are chapters in the story that is Trouble Is a Lonesome Town are variously compelling, gritty, dark and realistic. Lee Hazelwood is an old-fashioned storyteller. His worldweary half-spoken vocal sets the scene for each tale of life in Trouble. Accompanied by an understated arrangement, Lee’s worldweary, lived-in vocal takes centre-stage. He brings the stories to life, as if he’s lived or witnessed each of the stories. This is what makes them so effective. They’re believable, despite being recorded forty years ago. These songs have stood the test of time, despite the understated, no-frills arrangements. They allow the Lee Hazelwood’s vocal to take centre-stage. That’s where it belongs as Lee describes living in a town called Trouble, which he describes on his evocative, country concept album Trouble Is a Lonesome Town, which launched Lee Hazelwood’s five decade solo carer. Standout Tracks: Long Back Train, Son Of A Gun, Run Boy Run and Six Feet Of Chain.
LEE HAZELWOOD-TROUBLE IS A LONESOME TOWN.
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