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.
ELYAS KHAN-BRAWL IN PARADISE.
ELYAS KHAN-BRAWL IN PARADISE.
Unique, eclectic and genre-sprawing. That’s the best way to describe the music on Elyas Khan’s debut album Brawl In Paradise. Released recently on BBE Music, Brawl In Paradise showcases one of the most innovative artists in contemporary British music. On Brawl In Paradise’s twelve tracks, everything from hip hop, soul, funk, Nu-Soul, jazz, electro, post punk and folk melts into one. Best described as an eclectic musical adventure, Brawl In Paradise is also a musical coming of age from Elyas Khan.
Although Elyas Khan was born in London, he was brought up in New York, where his career his music career took shape. Elyas founded Nervous Cabaret in 2001. Based in Brooklyn, Nervous Cabaret quickly established a reputation as inventive and progressive band. Crucial to their success was Elyas’ voice and his songwriting skills. This lead to them working with an eclectic selection of artists.
Soon, Nervous Cabaret were sharing the stage with a variety of artists. Among them were indie royalty, including Anthony and The Johnsons, Animal Collective and Sonic Youth. Nervous Cabaret played alongside Amanda Palmer, Jamie Lidell, Nouvelle Vague, freak folksters Coco Rosie and Berlin folk collective 17 Hippies. These appearances took place whilst Nervous Cabaret toured America and Europe. During this time, they appeared at some of the biggest festivals like Arezzo Wave, Trans Musicles and Dour. Away from touring Nervous Cabaret found time to record two albums.
Nervous Cabaret’s debut album was their 2005 eponymous album. Released two years after their 2003 live album, Ecstatic Music For Savage Souls, Nervous Cabaret was almost overdue. On its release on the French label Naive, Nervous Cabaret demonstrated why the band were keeping such illustrious company. Tracks like Mel Gibson, Instant Lady and the wonderfully titled Passion Plumbers showcased a band who looked like they had a big future ahead of them.
Two years after Nervous Cabaret released their eponymous debut album, came their sophomore album Drop Drop. Released on Naive in 2007, it looked as if the two years spent between albums was time well spent. Drop Drop featured a band who’d matured in the two previous years. Among the highlights of Drop Drop were Les Enfants Des Papillon, Dead Naked and Cat Head. Crucial to the success of Nervous Cabaret was Elyas Khan’s songwriting skills and unique vocal style. Elyas could breath life and meaning into his lyrics. He was one part troubled troubadour and one part storyteller. After the release of Drop Drop, critics thought Nervous Cabaret would release another album. They didn’t
Following Drop Drop, Nervous Cabaret didn’t release another album. In total, Nervous Cabaret’s discography comprises just one live album and two studio album. Like so many bands, they never quite fulfilled their potential. They could’ve and should’ve enjoyed much more widespread success. Renowned for their live shows, Nervous Cabaret and their two albums have attained cult status. Nervous Cabaret should’ve been more than contenders. They should’ve been challenging for titles. Maybe Elyas Khan’s debut solo album Brawl In Paradise, will enjoy more success than Nervous Cabaret’s two albums?
Away from Nervous Cabaret, Elyas Khan is pursuing a solo career. That’s not surprising. His lyrics and voice were crucial to Nervous Cabaret. For his debut album, Brawl In Paradise Elyas wrote it in his adopted hometown of Berlin. To write Brawl In Paradise, he locked himself in the old GDR Broadcasting Centre. For those of a certain vintage, that conjurs up all sorts of images. Seeking inspiration from his atmospheric and evocative surroundings, Elyas examines what he describes “as the gods and devils in each of us.” Essentially, Brawl In Paradise appears to be an examination of good and evil? Well, for Elyas he hopes his music is more than that.
Brawl In Paradise is the result of Elyas scrutinizing the world around him. It’s the result of a soul-searching journey, where writer, filmmakers, philosophers, artists and dancers have inspired Elyas Khan. Among them are George Orwell, Jean Renoir, Akram Khan, Edward Albee and Salman Rushdie. So have an African poet and a recovering drug addict and ex-prostitute. As a result, Brawl In Paradise is a compelling musical journey, featuring meditations and incantations. At the end of the musical journey that is Brawl In Paradise, Elyas Khan hopes to help relieve suffering and inspire people’s imagination. Elyas hopes the listeners will embrace the music on Brawl In Paradise, protect and connect with others, not forgetting of course, to dance to the music, which I’ll tell you about.
Transmission Room 804 opens Brawl In Paradise. A one-minute 21st Century adventure, buzzing synths, soaring, choppy harmonies and searing guitars combine with fairground synths. Compelling and genre-melting, electro, pop, rock and post punk unite during this musical adventure.
Top Of The World literally explodes into life. It’s the perfect showcase for Elyas’ vocal. He literally raps the vocal, his delivery impassioned and soulful. Sometimes, he almost spits out the lyrics, as if angry or disgusted. Accompanying him, are a myriad of drums, percussion and harmonies. They join scratches and samples. Together, they provide a look laden backdrop to Elyas’ impassioned delivery of lyrics full of cutting social comment.
Brawl In Paradise has a much more understated sound. With just acoustic guitar and a thoughtful rhythm section Elyas’ vocal takes centre-stage. That means you listen intently to his lyrics. They’re articulate, intelligent and descriptive. You can imagine scenes unfolding before your eyes. Elyas describes the conflict between good and evil. He also mentions plus using violence to gain power and mask insecurity. As he paints pictures, Elyas sounds not unlike David Bowie. It’s the way he elongates words and phrases. This works really well, proving effective in getting across what are some powerful, potent and intelligent lyrics
Lowest Of The Low is best described as a melting pot of musical influences and genres. Best described as rocky, raucous, ethereal, hooky, futuristic and post punk. For much of the time, Elyas sounds as if he’s fronting an old school post punk band. They provide a rocky backdrop as his sneering vocal sings “I was happy with the Lowest Of The Low.”Add to that ethereal harmonies, futuristic, a sci-fi sound and an abundance of hooks and you’ve three minutes of pop perfection.
Claps of thunder give way to a robotic voice as Alien In Waiting appears. A droning sound joins a meandering acoustic guitars, scatted vocal and myriad of sci-fi sounds. Mysterious, ethereal and futuristic, it’s a truly compelling experience.
Drums mark time and the rest of the rhythm section drive the arrangement to The River along. A musical journey unfolds, destination The River. Broody strings accompany Elyas’ emotionless vocal as sings “to The River.” Behind them, moody and menacing describes the arrangement. Strings swirl and sweep, as a proliferation of percussion takes the track reach an almost discordant high. As the percussion is replaced by the piano, it’s almost a relief. Elyas sounds relieved, his vocal becoming a tender scat, with drums, strings and percussion providing an accompaniment as at last, he reaches The River.
Three Merry Boys sounds like a track from Nervous Cabaret. With a driving, rocky rhythm section and cascading vocals, Elyas builds the drama, before unleashing a slow, wistful and emotive vocal. One of the most poignant lyrics is “there’s nothing simple about the simple life.” With a pulsating bass, vintage synths and drums combining, filters are added. They give the track a lo-fi sound. Then when Elyas’ vocal returns, sadness and regret fills his voice as he sings “no one to keep you.” It sounds real, as if this is an affront and reflection on society. This is another example of Elyas Khan’s skill as a singer and songwriter, as he breathes meaning and life into lyrics.
Melancholy describes the acoustic Just A Shadow. A banjo, booming drum and wistful strings accompany a soul-baring vocal from Elyas. He sounds as if he’s drawn inspiration from Anthony and The Johnsons and Grace Buckley. Ethereal, soul-searching and beautiful, it’s a truly beautiful track.
Bells sees Elyas throw another curveball. After thirty-seconds of bicycle bells ringing, a pulsating slice of funky, soulful dance music unfolds. Built around a killer bass line, stabs of piano and keyboards provide the backdrop for Elyas’ restrained vocal. No wonder his vocal is restrained. His lyrics are sung from the perspective of someone who watched the atom bomb explode and new nuclear age unfold. As this devastation is described, you realize why the vocal is restrained. While the lyrics are potent, powerful and deeply moving, the arrangement is funky, soulful and dance-floor friendly. Music with a message to dance to, that’s a winning combination.
Cook The Ocean is best described as indie rock meets Gary Numan. Listen careful and you’ll realize why. With screaming rocky guitars and a pulsating, pounding rhythm section Elyas vocal is a combination of power, pain and regret. A cathartic confession that: “I Cook The Ocean,” it sounds as if the song’s character is struggling to come to terms with his actions.
What A Party is a two minute meditation. Snatches of speech, samples, chiming guitars and sound effects flit in and out. They all play their part in this mesmeric musical collage.
Dear Eliza, which ensures Brawl In Paradise comes to a swinging close, features New York singer Saudia Young. She unleashes a feisty, strutting vocal that briefly, is reminiscent of the B52s’ Rock Lobster. As for the arrangement, genres melt into one. The rhythm section and buzzing synths combine electro, jazz, pop and indie rock. Later, as Saudia plays a starring role in this swinging track, Elyas joins the fun, ensuring Brawl In Paradise reaches a swinging, genre-melting high.
Six years after Nervous Cabaret released their second album Drop Drop, Elyas Khan is back, but on his own. He’s now a solo artist, and has just released his long awaited and much anticipated debut album Brawl In Paradise. Released on BBE Music, Brawl In Paradise is a genre-sprawling album, where musical influences and genres combine with social comment. Everything from hip hop, soul, funk, Nu-Soul, jazz, electro, post punk and folk melts into seamlessly into one. Meditations, incantations and social comment sit side-by-side on Brawl In Paradise, where Elyas Khan looks at a familiar theme, good and evil.
To do this, Elyas Khan introduces us to cast of characters, some haunted by their actions and background. These are the ones with a conscience. Others are hardened to the evil they do and unaware of the affect it has. Listening to Brawl In Paradise, it’s obvious the characters Elyas Khan introduces us to have seen and experienced things that will live with them for the rest of their lives. Elyas makes these characters seem very real. It’s as if you can imagine them and the situations they describe. On Cook The Ocean, you an imagine this cathartic, cleansing confession unfolding. Similarly, The River charts a tumultuous journey in search of one of life’s basic commodities, water. It unfolds before your eyes.
In many ways, Elyas Khan is like an artist, painting pictures with his lyrics. These scenes are variously ethereal, beautiful, poignant, moving, emotive, heartbreaking and melancholy. As for the lyrics they’re articulate, intelligent, cerebral and full of anger, frustration, hope and joy. That’s why Brawl In Paradise, Elyas Khan’s debut album is such an accomplished and satisfying album.
Compelling and critically acclaimed, Brawl In Paradise is a pot pourri of musical genres and influences. Social comment and poppy hooks sit side-by-side on Elyas Khan’s ambitious, articulate, cerebral and emotive, genre-melting, debut album Brawl In Paradise. Standout Tracks: Alien In Waiting, The River, Bells and Cook The Ocean.
ELYAS KHAN-BRAWL IN PARADISE.
FAIRPORT CONVENTION-RISING FOR THE MOON.
FAIRPORT CONVENTION-RISING FOR THE MOON.
Rising For The Moon, which was Fairport Convention’s tenth studio album, proved to be a landmark album for a number of reasons. Most importantly, it was the last album to feature the ethereal beauty of Sandy Denny’s vocal. This was Sandy’s swan-song. Another change was that Jon Wood, Fairport Convention’s regular producer, was replaced by Glyn Johns. Then there was the fact that Rising For The Moon featured no traditional material. For purists, this rankled. Music was changing though. So was Fairport Convention’s lineup.
The lineup of Fairport Convention that featured on Rising For The Moon, included band members past and present. This included Dave Pegg, Dave Mattacks and Dave Swarbrick, remaining members of the classic early seventies lineup. They were joined by Sandy Denny, Trevor Lucas and Jerry Donahue, three formers of Fairport Convention who in 1975, were members of Fotheringay, she short-lived British folk-rock group. Drummer Bruce Rowland, who joined Fairport Convention in 1972, was the other member of the band who featured on Rising For The Moon, which was recently rereleased by Island Records as a Deluxe Edition. Would all these changes affect the quality of music on Rising For The Moon?
DISC ONE.
Fairport Convention hadn’t released a studio album since October 1973. Since then, music was changing, and changing quickly. Prog rock, disco and Philly Soul were all growing in popularity. Folk music wasn’t as popular. So for Rising For The Moon Fairport Convention decided to change tact. Gone was the traditional music of previous albums. It would be replaced by an eleven track album, Rising For The Moon which saw Fairport Convention’s music evolve.
For Rising For The Moon, Sandy Denny penned Rising For The Moon, Stranger To Himself, What Is True, After Halloween and One More Chance. Sandy cowrote Dawn with Jerry Donahue and Let It Go with Dave Pegg and Dave Swarbrick. Night Time Girl was a Dave Pegg and Dave Swarbrick composition, while White Dress was written by Dave Swarbrick and Ralph McTell. Trevor Lucas wrote Iron Lion and cowrote Restless with Peter Roche. These eleven tracks became Rising For The Moon, Fairport Convention’s tenth studio album since 1968.
Recording of Rising For The Moon took place at Olympic Sound Studios during September 1974, with further sessions taking place in February and March of 1975. The line up of Fairport Convention featured vocalists Sandy Denny and Trevor Lucas who also played rhythm guitar. The rhythm section featured drummer Dave Mattacks, who quit midway through the sessions. His replacement was Bruce Rowland, who joined lead guitarist Jerry Donahue and Dave Pegg who played bass and mandolin. Dave Swarbrick played violin, mandolin and dulcimer while Glyn Jones produced Rising For The Moon, which showcased Fairport Convention’s new sound.
This new sound, that featured on Rising For The Moon, saw Fairport Convention dispense with the traditional music of previous albums. This Island Records and the band hoped, would be Fairport Convention’s breakthrough album.
It wasn’t. Rising For The Moon was released in June 1975 and stalled at a lowly fifty-two in the UK album charts and just number 143 on the US Billboard 200. This was hugely disappointing. The anticipated breakthrough never came with Rising For The Moon. Fairport Convention looked like never enjoying the commercial success and critical acclaim their music deserved. Maybe the problem was that Rising For The Moon was an album released at the wrong time. Was that the case?
Opening Rising For The Moon is the title-track, where scratchy fiddles combine as Fairport Convention fuse Americana, folk and country. They set the scene for the ethereal beauty of Sandy Denny’s heartfelt vocal. It paints vivid and evocative pictures, while behind her guitars weep and the rhythm section provide the heartbeat. Later, harmonies sweep in, while the weeping guitar and fiddles play important roles. However, Sandy, who was making her Fairport Convention comeback steals the show.
Trevor Lucas takes over the lead vocal on Restless. His melancholy, Restless vocal suits the song. It’s as if he’s lived the lyrics, and is the rolling stone in the lyric. Strummed guitars, fiddles and harmonies accompany Trevor’s vocal. With a sense of inevitability, he sings “I guess I’ll be on my way again.”
White Dress features an eclectic combination of instruments that accompany Sandy’s on this beautiful paean. Mandolin, viola, violin and autoharp all played by Dave Swarbrick join strummed guitars and a bass that meanders along. It leads an arrangement, that has an understated folk sound. This allows Sandy’s vocal to sit centre-stage. Her vocal is tender, hopeful and shyly seductive as she sings: “kiss me” and later, “come from the window, let’s climb the stairs.” That stops you in your tracks. You’re smitten by this soul-baring, paean featuring the ethereal beauty of Sandy Denny.
Let It Go is a jaunty, swaggering fusion of folk and rock. From the opening bars, you’re hooked. Mind you, with lyrics like “there’s no excuse for torture,” that’s no surprise. From there, Trevor, like a preacher, asks people to “Let It Go.” Whether it’s grievances or arguments, “Let It Go” Trevor proffers. Living is more important. If only life was that simple? Trevor’s strident vocal is full of confidence, as he looks to the future, not the past. Behind him, the rhythm section, plus piano and percussion provide a jaunty folk-rock backdrop for this almost anthemic track with its idealistic lyrics.
There’s a dark, moody sound to Stranger To Himself. It has a much more traditional folk sound. Percussion and acoustic guitar accompany Sandy’s thoughtful vocal. It’s as if she’s turning back the clock, regressing to another time and place. Instantly, it’s another century, Sandy using her musical palette, paints vivid pictures, pictures that unfold before your eyes. You can see the characters and scenes unfolding during this evocative, melancholy and mysterious track.
With an organ panned hard right and filters added, What Is True unfolds. Abruptly, an acoustic guitar is panned left. They set the scene for Sandy’s ethereal, impassioned vocal. Crystalline, it soars above the arrangement, as she questions, probes and asks “What Is True?” Meanwhile the rhythm section, lead by the bass guides the arrangement along. Space is left within the arrangement, allowing it to breath and ensuring nothing overpowers Sandy’s heartfelt, impassioned, vocal masterclass.
On Iron Lion, Fairport Convention sound not unlike the Rolling Stones and The Eagles. Early on, the song’s structure sounds like The Eagles’ Take It Easy. Play the two songs side-by-side and you’ll surely agree. Later, Fairport Convention sound like the Rolling Stones. Indeed, the longer the track progresses, the stronger the comparisons are. Apart from Trevor’s vocal and the fiddles, the comparisons are quite startling. Especially when Fairport Convention unleash their searing guitars and embrace the rockier side to their music.
Dawn sees Fairport Convention throw a curveball. As the track takes a brief rocky detour, you think we’re about to hear another rocky track. We don’t. It’s all change. Just meandering, chiming acoustic guitars accompany Sandy’s soul-searching vocal. After her impassioned, evocative vocal, the track takes on a rockier sound. The rhythm section, complete with moody bass and searing guitars join harmonies in adding to the drama and emotion of this potent fusion of folk and rock.
After Halloween has a thoughtful, wistful sound. Strummed guitars, percussion and wandering bass accompany Sandy’s melancholy vocal. Full of emotion, sadness and regret at her relationship breaking up. Whether it’s pragmatism or bravado, Sandy sings “tears are made of salt and water.” It’s obvious she doesn’t believe that. Her hurt runs much deeper than that, on this heartbreakingly beautiful breakup song.
Hissing hi-hats and the rhythm section join scratchy fiddles on Night-Time Girl. It’s a track that sees Fairport Convention look to their past for inpspiration. Sounding not unlike a square dance, Trevor sings and call and response. The rest of Fairport Convention add singalong harmonies, to a track that although infectiously catchy, saw the band regressing rather than progressing.
The piano lead One More Chance, which briefly, sounds like something from Carole King’s Tapestry, closes Rising For The Moon. Sandy Denny making her Fairport Convention, saves one of her best until last. Combining power, passion and emotion she breathes life and meaning into the lyrics. Behind her, the rest of the band play around her. They’re content to ensure she sounds good. That’s almost an understatement. Sandy wrote, played piano and sang the lead vocal on what’s one of the highlights of what could’ve and should’ve been Fairport Convention’s breakthrough album.
DISC TWO
That’s not the end of the Deluxe Edition of Rising For The Moon. Far from it. There’s still a live disc of material. For Fairport Convention fans, there’s some both their traditional sound and several of their classic songs. Recorded at the LA Troubadour in February 1974, this gives newcomers to Fairport Convention the opportunity to hear how good a live band they were.
Among the real highlights of Fairport Convention live in Los Angeles are a cover of Bob Dylan’s Knockin’ On Heaven’s Door. Then there’s She Moves Through The Fair, John The Gun, Hampshire Lass and Ballad of Ned Kelly. These are just a few of the many highlights of Fairport Convention live at the LA Troubadour forty years ago. Quite simply, essential listening to Fairport Convention fans new and old.
Although Rising For The Moon although was meant to be Fairport Convention’s breakthrough album, maybe we shouldn’t be surprised that wasn’t the case. Folk music was no longer as popular in June 1975. Disco, Philly Soul, prog rock and rock were all much more popular than folk music. That’s why Fairport Convention ditched their traditional folk sound. In its place, it was folk rock all the way. Only Night-Time Girl, which sounds like a square dance, is a reminder of Fairport Convention’s past. The rest of the album was essentially folk rock, albeit with occasional detours via Americana, country, pop and rock. Sometimes, Fairport Convention sound as if they want to be The Eagles or the Rolling Stones. Mostly though, they’re trying to make the commercial breakthrough that never came.
This wasn’t helped by drummer Dave Mattacks who quit midway through the recording of Rising For The Moon. He wasn’t the only member to leave. Sandy Denny, Trevor Lucas and Jerry Donahue left Fairport Convention for good, after touring Rising For The Moon. Fairport Convention continued, albeit a shadow of its former self. Short-term replacements joined and left, what seemed like an ever-changing lineup of Fairport Convention. However, losing Sandy Denny for good was almost fatal.
It had been bad enough losing Richard Thompson, but losing the ethereal beauty of Sandy Denny’s vocal was just too much. Sandy wasn’t just a lead vocalist, but she was also a songwriter. She wrote five of the songs on Rising For The Moon songs and cowrote two other songs. Her voice could bring a song to life. It breathed life and meaning into a song. Her voice paints evocative, emotive and atmospheric pictures. Indeed, the songs Sandy sings lead vocal on, are the best on the album. Trevor vocals are good, but nowhere near as good as Sandy Denny, who was Fairport Convention’s secret weapon on what could’ve and should’ve been their breakthrough album.
Sadly, Rising For The Moon wasn’t Fairport Convention’s breakthrough album. Instead, following the release of Rising For The Moon, Fairport Convention fragmented, becoming a mere shadow of their former self. Rising For The Moon which was recently rereleased by Island Records, was Fairport Convention’s last album to chart until 1988s Red and Gold. It reached just number seventy-four in the UK charts and failed to match Rising For The Moon, which marked the end of an era for Fairport Convention.
Fairport Convention will forever be remembered as a band who could’ve and should’ve reached greater heights. What stopped them from doing so, were the constant changes in lineup. If Fairport Convention’s lineup had remained the same, who knows what commercial success and critical acclaim might have come their way? Maybe then, Fairport Convention might have enjoyed the commercial success and critical acclaim their talent warranted? Despite the constant changes in lineup, Fairport Convention enjoyed some commercial success, but not the commercial success they should’ve enjoyed.
Rising For The Moon, one of Fairport Convention’s most underrated albums, marked an end of another era for Fairport Convention. Following Rising For The Moon, Fairport Convention lineup changed yet again. What should’ve been their belated breakthrough album Rising For The Moon, marked an end of era for Fairport Convention. At least that era ended on a high, with the underrated Rising For The Moon showcasing Fairport Convention’s unique brand of folk rock. Standout Tracks: Rising For The Moon, Stranger To Himself, What Is True and After Halloween.
FAIRPORT CONVENTION-RISING FOR THE MOON.
MICHAEL CHAPMAN-WRECKED AGAIN.
MICHAEL CHAPMAN-WRECKED AGAIN.
Before releasing his 1969 debut album Rainmaker, on Harvest Records, Michael Chapman taught art and photography. Music was something he did in his spare time. Despite being a part time musician, Michael was a regular on the folk circuit. He traveled from his home county of Yorkshire down to London and Cornwall. It wasn’t until 1967, that Michael Chapman was “discovered.” Two years later, he released his debut album. This was the first of four albums Michael Chapman released on Harvest. His final album on Harvest was Wrecked Again, which was recently rereleased by Light In The Attic Records.
Harvest Records, a subsidiary of Capitol Records, was home to Pink Floyd, Kevin Ayers, Third Ear Band and Deep Purple. Michael Chapman found himself in illustrious company. Here were some of the most progressive musicians of the late-sixties. Michael was well thought of. Executives at Harvest thought Michael had a big future. They brought in Gus Dudgeon to produce Rainmaker, Michael’s 1969 album. On its release, Rainmaker was released to critical acclaim. A cut above mainstream British folk, Rainmaker showcased Michael’s skill as a songwriter, musician and singer. Sadly, the fusion of folk, blues and rock that was Rainmaker, wasn’t a commercial success. Harvest persisted with Michael Chapman, believing success wasn’t far away.
Fully Qualified Survivor was Michael’s sophomore album. Released in early 1970, Fully Qualified Survivor saw Michael focusing on strengthening his songwriting skills. He seemed to be a perfectionist. That’s no bad thing and paid off. For Fully Qualified Survivor, which like his debut album, was produced by Gus Dudgeon, Michael brought a new lead guitarist onboard. This was Mick Ronson, who’d later, make his name as David Bowie’s guitarist. A combination of some of Michael’s best songs, Gus’ production work and a guitar masterclass, resulted in critics hailing Fully Qualified Survivor as a mini-masterpiece. It struck a nerve with music fans, reaching number forty-five in the UK. After the commercial success and critical acclaim Fully Qualified Survivor enjoyed, it looked like Michael Chapman was about to become one of the most successful artists of the early seventies.
That wasn’t to be. For his third album Window, producer Gus Dudgeon seemed to allow Michael more freedom. Window lyrically, was a much more eclectic album. Featuring nine songs written by Michael, Gus Dudgeon produced Window. Critically, Window divided opinion. Compared to Rainmaker and Fully Qualified Survivor, Window critics didn’t perceive as Window as progression. Neither did music fans. Window failed to chart on its release in 1970. Michael Chapman would argue that that’s no surprise.
After the release of Window, Michael disowned Window. He alleged it comprised a series of unfinished demos, which Harvest released whilst Michael was on tour. Ironically, Window, the album Michael disowned, has been have reevaluated by critics. Now it’s seen as Michael’s most underrated album. Back in 1971, after Window, Michael Chapman’s career at a crossroads. He had to get his career back on track. Would that be the case with his next album, Wrecked Again.
Wrecked Again, which features eleven songs written by Michael Chapman, saw a change in style. Often described as Michael’s “Memphis” album, the best way to describe Wrecked Again is eclectic. Everything from folk, blues, rock, country and jazz can be found within Wrecked Again, which was recorded at Rockfield Studios.
Producing Wrecked Again was Gus Dudgeon, who produced Michael’s three previous albums. Michael’s band included a rhythm section of bassist and cello bassist Rick Kemp, drummer Pique Withers and guitarist Ray Martinez. They were joined by accordionist Jack Emblow, while horns and strings were over-dubbed by Paul Buckmaster. Another addition was backing vocals which played an important part in Wrecked Again, an album that could make or break Michael Chapman’s career at Harvest Records.
When Wrecked Again was released early in 1971, it failed to chart. Despite its eclectic, all encompassing sound, music fans weren’t won over by Wrecked Again. At least critics were. They recognized Wrecked Again as a return to form from the Leeds’ born troubadour. Sadly, Harvest decided Wrecked Again would be Michael Chapman’s final album for Harvest. At least Wrecked Again, which I’ll tell you about, saw Michael say farewell to Harvest with one of his finest albums.
Polar Bear Fandango, an instrumental opens Wrecked again. It’s as if Michael and his band are just playing themselves into the album. Country, folk and rock melts seamlessly into one, as the bass marches the arrangement along. There’s even a ragtime sound to the guitars. Filters and panning are used effectively. The panning especially, adds a trippy feel to this joyous instrumental, where Michael and his band showcase their talent.
Indian Queens is much more what we’d expect from Michael. He’s transformed into a storyteller, painting pictures, of a woman whose a shadow her former self. Her hurt and heartbreak comes out in Michael’s soul-baring vocal. Around him, the arrangement frames his vocal. Folk, blues and rock combine, as acoustic guitars, rhythm section and harmonies accompany his vocal on this dramatic, tale of hurt, heartbreak and love lost.
Swathes of strings sweep and swirl, as the title-track Wrecked Again unfolds. There’s a sense of resignation in Michael’s throaty vocal. It’s as if the songs a cathartic confession. He’s confessing his sins, seeking forgiveness…until the next time. Then all of a sudden, strings swirl and horns growl. The horns almost seem out of place and unnecessary. Joining the horns and strings are pounding drums and guitars that scream and chime, veering between blues and rock. The result is a track that sounds midway between Memphis and Yorkshire. That’s thanks to the horns, which sound more Brighouse than Memphis. Apart from that, I wonder whether this warts and all confession of hell-raising and carousing is autobiographical?
All In All has a real country sound. Having said that, it’s almost bubblegum country. That’s no bad things. Slick poppy hooks and country-tinged guitars combine to accompany Michael’s drawling vocal. The arrangement is marched along by the bass,with Michael painting pictures that are more Nashville than Leeds. Especially with guitarist Ray Martinez and the piano contributing some country-tinged licks. As for Michael, “All In All..he’s doing fine.”
Pensive guitars open Back On Your Own Again. There’s a sense of sadness and melancholia in Michael’s vocal, which sounds like Bob Dylan. Behind him, the band play around his vocal, allowing its melancholy sound to be the focus of your attention. That’s no bad thing. Michael’s vocal is emotive, full of sadness at a women whose “troubles never end” and whose “Back On Your Own Again.” Beautiful, melancholy and with a strong narrative, the song includes some of Michael’s best lyrics and one of his most effective and emotive vocals.
Deliberate, strummed guitars are joined by a meandering bass as The First Leaf Of Autumn unfolds. Michael’s vocal is laden with emotion and sadness, as he describes the ship leaving the harbour. So vivid are the pictures he paints, you can see them unfold before your eyes. Just acoustic guitar, wandering bass and haunting strings accompany him on this old style folk ballad. Adding the finishing touches and a moderne twist, is the crystalline, scorching guitar solo. That’s a fitting finale to this
Fennario sees another change in style. There’s a more folk-rock sound, on a track where Richard Thompson and Bob Dylan’s influences can be heard. As guitars riff and harmonies singalong sweep in, it’s as if you’re listening to a track from Bob Dylan’s Basement Tapes. Impassioned and powerful describes Michael’s emotive, heartfelt delivery. Providing a contrast, are swathes of strings. They sweep in, adding to the emotion and drama. As for the horns, again, they seem almost unnecessary. Proof of this comes later in the song, when the searing guitars fulfill the same role, on this seven minute opus.
Time Enough To Spare sees Wrecked Again head in the direction of Memphis. Country, blues, folk and rock are all combined in just under three minutes. It’s a joyous love song, where Michael sings call and response with his backing vocalists. Behind him country-tinged guitars are joined by a strident bass and drums. Again, the band showcase their inconsiderable skills, on this authentic example of Americana.
Night Drive meanders into being, chiming, crystalline guitars, percussion and the rhythm section create an understated, melancholy backdrop. It’s reminiscent of a journey, a journey through the night, destination unknown. When Michael’s vocal enters, it has a languid, laid-back sound. He describes the “driving through the night, with my lady by my side.” He paints an idealistic picture, as guitars wah-wah and chime, portraying the sound of an engine heading into the distance. Beautiful, languid, mesmeric, melancholy and mysterious, this songs all this and more, much more.
Mozart Lives Upstairs is a tale of love gone wrong and obsession. Opening with a harpsichord accompanying Michael’s heartfelt vocal, soon Michael and his band kick loose. The track takes on a raucous, rocky sound. Drums pound and guitars scream as Michael’s vocal sounds as if he’s auditioning for a heavy metal band. From there, the song veers between the two sides of this compelling track, which again, demonstrates just how versatile the band are.
Shuffleboat River Farewell closes Wrecked Again. From an understated, melancholy introduction, where acoustic guitar, keyboards and drums combine with an accordion, Michael’s vocal reminds me of Bob Dylan, Steve Miller and later, Mark Knopfler. His vocal is full of emotion and sadness as he sings the lyric “say farewell to a few old friends.” Although it’s in the context of the song, I wonder if realized Wrecked Again could be the end of an era? As the band create a heartbreaking backdrop, strings add to the sadness and emotion. Their addition is a masterstroke. Even the brass band style horns work. That little bit of Yorkshire adds something to what is a potent, moving and melancholy way to close Wrecked Again, Michael’s Harvest Records’ swan-song.
Following Wrecked Again, Michael Chapman left Harvest Records and signed to Deram, a subsidiary of Decca. That was where Michael called home until 1978. His first home was Harvest, where he released four albums, the last of which was Wrecked Again. It to me, is Michael Chapman at his very best. Wrecked Again, which was recently rereleased by Light In The Attic Records, saw Michael leave Harvest on a high.
An eclectic, genre-sprawling album, everything from Americana, blues, country, folk, jazz, pop and rock were thrown into the musical mixing bowl by Michael. After Gus Dudgeon worked his magic. With a sound that was somewhere between Memphis, Nashville and Leeds, it was as if Wrecked Again reflected the music that had influenced Michael. That includes horns that sound not unlike a Yorkshire brass band. They work, but just. A much more authentic Memphis sound would’ve been the finishing touch. Despite that, Wrecked Again is the best album of Michael’s time at Harvest.
Despite the indisputable quality of Rainmaker and Fully Qualified Survivor, Wrecked Again is the best album Michael Chapman released for Harvest Records. Between 1969 and 1971, Michael Chapman released a quartet of albums. Of this quartet, the genre-melting Wrecked Again, Michael Chapman’s “Memphis album” and homage to Americana, is the highlight of his time at Harvest Records. Standout Tracks: Indian Queens, Wrecked Again, Back On Your Own Again and Night Drive.
MICHAEL CHAPMAN-WRECKED AGAIN.
THE WYNNTOWN MARSHALS-THE LONG HAUL.
THE WYNNTOWN MARSHALS-THE LONG HAUL.
Ever since 2007, a little corner of Edinburgh has resembled Nashville, Tennessee. 2007 was The Wynntown Marshals, Scotland’s most practiced purveyors of country rock were formed. Since then, The Wynntown Marshals, have been fusing poppy hooks and a pedal steel to create their own unique brand of swaggering country rock. Influenced by Gram Parsons, Neil Young, The Jayhawks, Wilco and Glasgow’s very own Teenage Fanclub, The Wynntown Marshals draw inspiration from the past and present. That’s apparent on their sophomore album The Long Haul, which was recently released on Wynntown Recordings. Long Haul describes The Wynntown Marshals six year musical journey, which I’ll tell you about.
The Wynntown Marshals’ roots are in Edinburgh, Scotland’s other city. That was where the band were formed. They were brought together by a love of country, rock and alt-country. Originally, the lineup consisted of drummer Kenny McCabe, bassist Murdo MacLeod, guitarist Ian Barbour, keyboardist Richie Noble and lead vocalist Keith Benzie who plays guitar and harmonica. Influenced by Neil Young, Gram Parsons, the Rolling Stones, Wilco and Teenage Fanclub, The Wynntown Marshals started spreading their musical message.
From their early days together, word of The Wynntown Marshals’ unique brand of country rock spread. This was through the release of their eponymous debut E.P. Released in February 2007, The Wynntown Marshals laid down a marker. It announced the arrival of another Scottish band with a big future.
Having released their eponymous E.P, The Wynntown Marshals started spreading their message further afield. This came through opening for Richmond Fontaine, Marty Stuart, Jason and The Scorchers and in 2008, they supported Chuck Prophet. There were also starring roles at the Kilkenny Rhythm and Roots Festival, where The Wynntown Marshals wowed this discerning audience in 2008 and made a triumphant return in 2009. With two years experience of touring behind them and an ever-growing fan-base, the time was right for The Wynntown Marshals to record their debut album.
For the recording of Westerner, The Wynntown Marshals brought in experienced producer Graham Deas. He’d produced Super Furry Animals and K.T. Tundstall. Along with the band, Graham produced the critically acclaimed Westerner.
On its release, Westerner earner glowing reviews. Critically acclaimed in Britain, Europe and America, The Wynntown Marshals stock had never been higher. They recorded a session for BBC radio and then headed out on a tour of Holland. This time, they were top of the bill. Interest in the band was huge, with The Wynntown Marshals recording a session for Dutch radio. It seemed The Wynntown Marshals were on the verge of a huge breakthrough.
Returning home from their Dutch tour, The Wynntown Marshals released a seven-track live E.P. One of the highlights is a cover of Neil Young’s Powderfinger. Then in February 2011, just as the band were about to head out on tour with Dolly Varden and Magnolia Summer, there was a change of lineup. Iain Barbour left the band, to be replaced by Owen Richardson. That was the lineup who, in June 2011, recorded a live session for BBC Scotland. For the rest of 2011, The Wynntown Marshals were practicing their time management.
From June 2011, right through to winter 2012, The Wynntown Marshals found themselves dividing their time. Much of their time was writing their sophomore album, The Long Haul. Then there was the preproduction work on The Long Haul. However, they couldn’t let their profile drop.
In the midst of working on The Long Haul, The Wynntown Marshals toured Britain, Germany and Holland. They did this both as a band and with just lead vocalist Keith Benzie and guitarist Ian Sloan. On their return home, work began on The Long Haul.
When recording of The Long Haul began, there was another change in the lineup. Guitarist and pedal steel player Iain Sloan joined a rhythm section of drummer Kenny McCabe and bassist Murdo MacLeod. Richie Noble plays keyboards lead vocalist Keith Benzie who plays acoustic guitar and harmonica. Other changes are the addition of a banjo, mandolin, melletron and multilayered harmonies. These changes bring a new side to the The Wynntown Marshals’ music on The Long Haul, which I’ll tell you about.
Driveaway which opens The Long Haul, is the story of an adolescent road trip. A 3,000 mile adventure and coming of age, you can imagine it unfolding before your eyes. Keith Benzie’s lyrics paint pictures. As he delivers them, it’s as if he’s reliving every minute. This he does against a swaggering country rock arrangement. So this means, crystalline and scorching guitars, pounding drums and a wash of Hammond organ. They provide a dramatic backdrop to roller coaster of a road trip.
Canada sees The Wynntown Marshals draw inspiration from everyone from Wilco, The Jayhawks and Teenage Fanclub. With jangling guitars and driving drums for company Keith’s vocal is tinged with loneliness and regret. Heartfelt harmonies accompany him, as seamlessly, thanks to a couple of slick chord changes The Wynntown Marshals move through the gears. Stabs of piano and searing guitars are joined by pounding drums as emotion and drama. Add to that slick, poppy hooks and the result is heart-wrenching example of authentic Americana.
Low Country Comedown could just as easily be a track from any of the giants of alt-country. It’s not. Instead, it’s from Edinburgh’s purveyors of country rock. Here, they’re are at their best. That’s no surprise. Keith draws upon their experience for the lyrics, describing their trips to Europe. The song has a much more understated sound. A weeping pedal steel and harmonies accompany Keith’s wistful vocal. Then as the song progresses, there’s even a Beatles’ influence as alt-country, classic pop and country rock combine to create a melancholy tale of a Band On The Run.
Understated. That describes Whatever It Takes. Just an acoustic guitar accompanies Keith’s melancholy vocal as drums mark time. Chiming guitars and harmonies sweep in as Keith realizes his relationship’s all but over. The big clue was when she was more interested in her book than him. Not a good sign. He’s not going to be beaten, and will do Whatever It Takes to keep her. As his vocal drops out Hammond organ and crystalline guitars add to the sense of melancholia and sadness on this beautiful tale of love that’s all but lost.
Tide features lyrics written by Murdo MacLeod. It’s very different from anything that’s gone before. Think seventies west coast rock and alt-country combine with Neil Young and Crazy Horse. The song allows The Wynntown Marshals to stretch their legs and showcase their considerable talents. None more so than Iain Sloan. whose reborn as Neil Young. Holding things together are drummer Kenny McCabe and bassist Murdo. Keith adds a languid vocal as the rest of the band add cooing harmonies, while The Wynntown Marshals pay a fitting homage to Neil Young and Crazy Horse in their prime.
With just acoustic guitars accompanying Keith’s pensive vocal The Submariner unfolds. Its understated sound is replaced by a bass driven arrangement where weeping, chiming guitars accompany Keith, who sounds not unlike Wilco’s Jeff Tweedy or The Jayhawks’ Mark Olson. That’s how good Keith’s vocal is. He breathes life and meaning into his lyrics. So much so, you can imagine the tragedy unfolding, and The Submariner panicking, struggling for breath and realizing what fate held for him. Moving, emotive and harrowing, it’s a showcase for Keith’s songwriting skills and vocal prowess.
Straight away, Crashing (Like the Reds) has an anthemic sound. That’s apparent from the opening bars. Drums pound, guitars chime and subtle chord changes introduce Keith’s impassioned vocal. As guitars soar and sear, drums pound and the evocative sound of a Hammond organ adds to this anthemic, hook-laden slice of alt-country. It’s the type of song that’s perfect for an encore.
Curtain Call sees The Wynntown Marshals unplug and Keith take on the guise of an old-fashioned story teller. It’s a song with a Nashville-esque pedigree. Keith’s throaty, wistful vocal tells the tale of a down at heel magician, whose life took a wrong turn, when a trick went wrong. He’d been warned about the bullet trick, but knew better. Now he’s ashamed and alone, a shadow of his former self. All he’s got are a needle and his memories for company. He uses one to blot out the memory of the other, which reminds him who far he’s fallen. Then as the song heads to a close, Keith sings the line: “I never thought I’d pick up this revolver again, maybe soon I’ll be with you again, it’s over.” A heartbreaking take full of hurt and heartache, it’s one of the highlights of The Long Haul.
As if determined to lighten the atmosphere, North Atlantic Soul bursts hopefully and joyously into life. Featuring lyrics from Murdo MacLeod, seventies west coast rock and alt-country combine. Listen carefully and The Eagles, Wilco, The Jayhawks and even Teenage Fanclub can be heard. Poppy hooks, pounding drums, chiming, crystalline guitars and multi-tracked harmonies accompany Keith’s heartfelt, husky vocal as The Wynntown Marshals prove to be the keeper of alt-country’s flame, on this slice of pop perfection.
Change of Heart which closes The Long Haul sounds as if it’s a long-lost track from Neil Young. The only difference is Keith’s vocal. No wonder. Nobody sings quite like Neil Young. Keith’s vocal is heartfelt and impassioned. Apart from that, The Wynntown Marshals could easily be Crazy Horse. That’s how good they are. From Iain Sloan’s weeping guitars, drummer Kenny McCabe and bassist Murdo MacLeod, a glorious slide of country rock unfolds. Adding the finishing touch are soul-baring harmonies and lush strings. This results in the perfect way to close The Long Haul, the long awaited sophomore album from The Wynntown Marshals.
Three years after the release of their debut album Westerner, The Wynntown Marshals are back and better than ever. During the last three years, they’ve honed their sound within an inch of perfection. They’re tighter than ever before, playing with confidence and often, a gallus swagger. That makes them unmistakably Scottish. In some ways, that’s the only Scottish thing about The Wynntown Marshals.
They don’t sound like a band from Edinburgh, a city that’s hardly famous for its musical heritage. No. For its size, Edinburgh has underperformed when it comes to producing top class bands. It hasn’t produced as many big bands as it should. Granted there’s The Proclaimers and some years ago, The Fire Engines, but that’s it. Maybe that’s about to change. The Wynntown Marshals are leading the charge for Edinburgh bands, while The Holy Ghosts are following in their footsteps.
Ironically, The Wynntown Marshals music has more in common with America. It’s almost an accident of birth that The Wynntown Marshals are an Edinburgh band. They sound as if they’re Nashville born and bred. Other times, they sound not unlike Neil Young and Crazy Horse in their prime. Even lead vocalist Keith Benzie’s doesn’t sound Scottish. The same was said of Teenage Fanclub in the nineties and noughties. So this isn’t a new phenomenon. Let’s just hope The Wynntown Marshals enjoy the same success as Teenage Fanclub enjoyed.
With their slick, poppy hooks and unique brand of swaggering country rock, The Wynntown Marshals look to be on the right road. No ifs and no buts. They’re in it for The Long Haul, and since 2007, have been Scotland’s most practiced purveyors of country rock. These last six years have been time well spend for The Wynntown Marshals, whose gallus, swaggering brand of country rock is guaranteed to find favor with fans of Americana far and wide. Standout Tracks: Whatever It Takes, Curtain Call, North Atlantic Soul and Change of Heart.
THE WYNNTOWN MARSHALS-THE LONG HAUL.
THIS SILENT FOREST-INDIVISION.
THIS SILENT FOREST-INDIVISION.
This Silent Forest aren’t like most bands. No. They’re almost like two bands rolled into one. As a four piece, their music is best described as post-rock. Then when This Silent Forest becomes a sextet, they’re transformed. Harmonies and strings add an ethereal beauty to This Silent Forest’s music, That’s why for the last few years, This Silent Forest have been winning friends and influencing people. This includes music lovers and critics. They’ve watched as This Silent Forest have developed into one of Scotland’s hottest band. Only one thing was missing from This Silent Forest’s CV, an album. Not any more.
This omission has been rectified with the recent release of Indivision, This Silent Forest’s debut album. Released to critical acclaim, it’s obvious that the last four years have been well spent. These four yours have seen This Silent Forest striving to perfect and hone their sound. Listening to Indivision, this has been time well spent. Indivision features a tight, talented band, who seamlessly fuse indie rock and folk. Hooks and anthems haven’t been rationed on the Indivision’s eight tracks. Far from There’s a cornucopia of hooks on Indivision, which showcases This Silent Forest, whose career I’ll tell you about.
It was in Glasgow, back in 2009, that This Silent Forest were formed. The lineup of This Silent Forest consisted of lead vocalist and guitarist Graeme McDonald, lead guitarist Jamie Sturt, bassist J.J. McGowan and drummer Ewan McDonald. When they become a sextet, Iona Bain on cello and Lesley McDonald join This Silent Forest. Just live several generations of Glsagow bands, This Silent Forest’s early years were spent touring venues around Glasgow and the west of Scotland. This was where they paid their dues and honed their sound. What was the equivalent of a musical apprenticeship, was paying of.
Soon, This Silent Forest were attracting a loyal band of music lovers. Even better, they were attracting the attention of the Scottish media. By then, they were playing further afield, and released the Lighter Side E.P. in February 2012. The Lighter Side E.P featured understated version of This Model Couple, Get In Line, Sorry Eyes and He Drinks Alone. Melancholy, ethereal and featuring articulate lyrics, This Silent Forest were seen as a band to watch.
Four months after the Lighter Side E.P, This Silent Forest released The Fight, an anthemic example of indie power rock. Of the three versions, the original version is an anthemic opus, while the acoustic version shows another side to not just the song, but This Silent Forest, whose reputation was growing.
During the summer of 2012, This Silent Forest were busy playing live. Their music was finding a wider audience. So as summer became autumn, This Silent Forest released Milk in September 2012. A thoughtful and emotive song, it demonstrates the band’s versatility and songwriting skills. After the release of Milk, people thought it was only a matter of time before This Silent Forest released their debut album.
It wasn’t. Twelve months passed before This Silent Forest released Indivision. During that period, This Silent Forest divided their time between playing live and recording Indivision. Then on 30th September 2013, This Silent Forest released their debut album Indivision. Featuring eight tracks, Indivision was released to critical acclaim. You’ll realize why, when I tell you about Indivision.
We Are We Were opens Indivision. Just deliberate, pensive, chords are played on the piano while crystalline guitars delicately chime. They meander along thoughtfully, guitars weeping, as Graeme’s wistful vocal enters. He sounds not unlike Ricky Ross of Deacon Blue, on this country-tinged track. Rueful, tinged with regret and emotion he lays bare his soul. As he combines power and passion, cooing, heartfelt harmonies sweep in. Midway through the track, it’s all change. Searing guitars and pounding drums unite as this eight minute opus becomes an indie power rock anthem. Quite simply, a spellbinding way to open any album, never mind a debut album.
With Teenage Fanclub grunge guitars opening Give Me An Answer it’s obvious where the track is heading. A wall of grungey, power rock set the scene for Graeme’s feisty, sassy vocal. He asks, demands, pleads “Give Me An Answer,” before This Silent Forest’s rhythm section become an unstoppable musical juggernaut. Graeme’s not intimidated, delivering a vocal that’s equal parts power and emotion, as indie power rock and passion unite.
Drowning Man sees another change of style. There’s no let up in the emotion, as the drama increases. Drums pound and swathes of guitar accompany Graeme’s heartfelt vocal. Behind him, the band are at their tightest, fusing indie rock and folk. Then as harmonies accompany Graeme, This Silent Forest explode. Referencing everyone from Big Country, Glasvegas, Admiral Fallow, Frightened Rabbit and U2, they showcase not just their versatility, but how good they are as musicians. As for Graeme, he becomes an old-fashioned storyteller, breathing emotion, drama and hope into the lyrics.
The Arsonist is a tale of obsession and love gone badly wrong. You realize that from the lyric “if you don’t let me in, I’ll burn your house down” and later…”if you won’t let me in, I’ll kick your door in.” Crystalline guitars combine and drums set the scene for Graeme. His vocal is almost matter of fact, as he sings the lyrics. It’s as of he’s portraying a man whose desperate, with has nothing left, nor nowhere to go. Moving, disturbing and believable, it’s realistic portrayal of who love can turn to tragedy.
Get In Line originally featured on the Lighter Side E.P, released in February 2012. Again, This Silent Forest sound like Glasvegas. It’s not just the arrangement, but the vocal. Both Graeme and Glasvegas’ lead vocalist James Allan both have powerful, expressive voices, that bring life and meaning into lyrics. Proof of that is Get In Line. Against a hypnotic, pounding beat, Graeme’s vocal is needy, heartfelt and laden with emotion and drama. As the drums drop out, the strings and acoustic guitars provide the perfect replacement, before chiming guitars and pounding drums drive this anthem to its dramatic crescendo.
Hesitant drums and thoughtful guitars open Root To The Seed. It meanders mysteriously into being. You’re wondering what direction the track is heading, but know better than to second guess This Silent Forest? Gradually, the song unfolds and builds. Graeme’s vocal is wistful, memories coming flooding back. With singalong harmonies, spacious drums and chiming guitars for company, the vocal takes centre-stage, allowing you to focus on some of the best lyrics on the album. Then as the song heads towards its crescendo, This Silent Forest prove they’re practiced practitioners of indie rock.
Model Couple shows understated side of This Silent Forest. It’s featured on and is reminiscent of their debut E.P. the Lighter Side. This is no bad thing. Far from it. With just weeping guitars, pensive bass and an acoustic guitar accompanying Graeme his vocal takes centre stage. Then as his vocal drops out, the rest of the arrangement blossoms. Driven along by the rhythm section and crystalline guitars this provides the perfect backdrop for Graeme’s heart-wrenching vocal. Combing country, folk, indie rock and emotion, Model Couple features This Silent Forest at their anthemic and emotive best.
Winter which closes Indivision, meanders along, crystalline guitars and the rhythm section accompanying Graeme’s vocal. He delivers lyrics that are descriptive, with a strong narrative and paint evocative pictures. Graeme becomes a painter and storyteller, using his voice like an artist’s palette. Behind him chiming, screaming, fuzzy guitars are spayed around reflecting the drama and emotion during his vocal masterclass.
Indivision is an old school debut album from This Silent Forrest. Just eight songs lasting forty-six minutes long, Indivision is album that’s reminiscent of the golden age of rock. Back then, before the birth of the CD, albums featured just eight to ten songs and were restricted by the amount of music a vinyl album could hold. Now with the advent of the CD, albums are sprawling affairs, with bands feeling obliged to fill the disc’s eighty minutes. Usually that’s a mistake. After all, how many bands have eighty minutes of quality music? Not many. Thankfully, bands like This Silent Forrest are realizing that. Nowadays, they’re only putting their best music on a disc. If that means the whole disc isn’t used, so be it. That seems to be This Silent Forrest’s attitude. Good for them.
That’s why Indivision is all killer and no filler. Each of the eight songs have one thing in common…quality. Over Indivision’s eight tracks, This Silent Forrest fuse indie power rock, folk and country. Anthems and hooks certainly haven’t been rationed. No. This Silent Forrest are practiced purveyors of anthems. They’re just as good at the more introspective songs. That’s why, in many ways, This Silent Forrest are two bands rolled into one.
Whether it’s indie power rock or understated, introspective ethereal beauty you’re after, This Silent Forrest deliver it in spades and have been for several years. Indeed, since they released their debut E.P. the Lighter Side, This Silent Forrest have been a band with a big future. This Silent Forrest have fulfilled their potential on Indivision, their anthemic, introspective and hook-laden debut album. Standout Tracks: We Are We Were, Drowning Man, Arsonist and Model Couple.
THIS SILENT FOREST-INDIVISION.
JEROME DERRADJ PRESENTS: BANG THE BOX! THE (LOST) STORY OF AKA DANCE MUSIC, CHICAGO 1987-88.
Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88.
Having cofounded Sunset Records in Chicago, in 1985, Matt Warren spent the next two years transforming the label into one of Chicago house’s most progressive and innovative labels. Then in 1987, Matt decided to part company with Sunset Records. A couple of months later, Matt decided to found his own label, AKA Dance Music.
Founded in 1987, AKA Dance Music, just like Sunset Records, continued to release groundbreaking Chicago house. A favorite of dancers and DJs, sadly, AKA Dance Music didn’t enjoy the longevity of Trax, DJ International or even Sunset Records. It was in business for little over a year. Despite this, the music AKA Dance Music released is fondly remembered by discerning dancers and connoisseurs of Chicago music. That’s why Still Music’s latest compilation Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 is one of the most hotly anticipated compilations of 2013.
Released on 14th October 2013, Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music is the followup to Still Music’s Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89. Just like its predecessor, Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, it’s a double-album featuring not just classics, but a disc of previously unreleased tracks. Twenty-six tracks are spread over the two discs. This includes contributions from Michaelangelo, Nexus 6, Team, BnC, Michael Griffin, Modern Mechanical Music and Matt Warren. Included are a variety of mixes, including many that have never been released before. For veterans of Chicago house, Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music is the perfect companion to Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89. I’ll now tell you why. Before that, I’ll tell you about the background to Chicago house.
House music was born in Chicago out of necessity. Disco had died a slow lingering death. After the vitriolic Disco Sucks campaign succeeded in killing disco. It had provided the musical backdrop to the second half of the seventies. Ironically, disco went from hero to zero in the space of a year. Suddenly, disco sucked. Disco’s downfall started on Christmas Eve 1978, That’s when Steve Dahl was fired by Chicago radio station WDAI. It had previously been a rock station, but switched to disco. Steve wasn’t out of work long. He was hired by WLUP, a rival station. WLUP played rock, which suited Steve Dahl. He’d an inkling that disco wasn’t long for this world.
Steve wasn’t a fan of disco, and took to mocking disco on-air. Openly, he mocked WDAI’s “disco DAI.” It became “disco die” to to Steve. Soon, Steve had created the Insane Coho Lips, his very own anti-disco army. Along with co-host Gary Meier, they coined the now infamous slogan “Disco Sucks.” The backlash had begun.
From there, the Disco Sucks movement gathered momentum. Events were held all over America. This came to a head at Disco Demolition Derby, which was Steve Dahl’s latest anti-disco event. Each one was becoming bigger, rowdier and attracting even more publicity. Disco Demolition Derby, which was held at Comiskey Park, Chicago on 12th July 1979 surpassed everything that went before. WFUL were sponsoring a Chicago White Sox game at Comiskey Park. if fans brought with them a disco record, they’d get in for ninety-eight cents. These records would be blown up by Steve Dahl. An estimated crowd between 20-50,000 people attended. Quickly the event descended into chaos. Vinyl was thrown from the stands like frisbees. Then when Steve blew up the vinyl, fans stormed the pitch and rioted. Things got so bad, that the riot police were called. After the Disco Demolition Derby, disco nearly died.
Following Disco Derby Night, disco’s popularity plunged. Disco artists were dropped from labels, disco labels folded and no further disco albums were released. Disco was on the critical list, and suffered a near death experience. It took a long time to recover. After disco’s demise, dance music changed.
No longer were record labels willing to throw money at dance music. Budgets were suddenly much smaller. Gone were the lavish productions of the disco orchestras of the seventies. This is epitomized by The Salsoul Orchestra and John Davis and The Monster Orchestra. Strings and horns were now a luxury. Music would have to go back to basics. Replacing them would be sequencers, synths and drum machines, which during the last couple of years, had become much cheaper. Previously, they were only found in studios or were used by wealthy and famous musicians. Now they were within the budget of many musicians. This would prove crucial in the rise and rise of house music, one of the musical genre that replaced disco as the favored choice of music for discerning dancers and DJs.
For DJs all over America, disco’s demise was proving problematic. What were they going to play? If they even dared to drop a disco track, they were risking clearing the dance-floor. While DJs wrestled with this problem, a group of Chicago DJs decided to think laterally. They came up with an eclectic and inventive selection of tracks. Rather than playing just boogie, which was replacing disco as the choice of discerning dancers, DJs like Frankie Knuckles, Ron Hardy, Tee Scott and Marshall Jefferson cast their musical net wider.
Rule nothing out seemed to be their approach. So, a typical DJ set during the early eighties, saw Italo Disco tracks sit side-by-side with hip hop, electro funk, synth pop, funk punk and vintage disco. Then there was boogie and the classic European electronica of Kraftwerk, Yello, Telex and Yellow Magic Orchestra. This eclectic musical tapestry won over Chicago’s clubbers. This included one of Chi-Town’s top DJs…Frankie Knuckles.
Before his arrival in the Windy City, Frankie Knuckles, had previously DJ-ed at Better Days in New York. When it became insolvent, Frankie, without a residency, travelled to Chicago. He was booked to play at the opening night at The Warehouse. That was Frankie’s introduction to Chicago’s club culture.
After The Warehouse’s opening night, Frankie was asked to stay on and become resident DJ. At the start, Frankie attendances were poor. He persisted, gradually, winning over The Warehouse’s discerning dancers. His style is best described as a fusion of his slick New York style with the more eclectic “Chicago sound.” So successful was Frankie, that he founded The Power Plant in 1982. It became the place to go in Chicago. Frankie’s marriage of The Chicago and New York Sounds had dancers hooked. His eclectic fusion of musical genres and influences wan’t just successful, but was influential.
The Chicago Sound could be heard on radio shows like Hot Mix 5’s, WBMX and Kent’s Punk Out. With Frankie fusing everything from boogie, Italo Disco, synth pop, hip hop, electro funk, funk punk and vintage disco he quickly established a loyal following. This just happened to included a new generation of DJs. They went on to become the first wave of Chicago House producers.
Chicago’s new generation of DJs included Jesse Saunders, Farley Jackmaster Funk, Ralph Rosario and Steve “Silk” Hurley.” Their musical tastes were equally eclectic and their approach to DJ-ing progressive. An example of this is Jesse Saunders and Farley Jackmaster Funk using a drum machine to add a 4/4 beat over other records. This would prove to be one of the tell-tell sounds of house music. It would prove successful, but problematic.
When DJs added a 4/4 beat over other records, dancers were instantly won over by this new type of music. There was a real problem with that. The music was all improvised, not recorded. Once it was played, it was gone. Dancers couldn’t go out and buy a copy of the music. This frustrated dancers. Soon, DJs realized they could recreate the music. Then dancers and other DJs could play their music. Inadvertently, for this new breed of DJs, this was the start of successful production careers. This was only possible because of the affordability of new technology.
Back in the seventies, synths were way beyond the pocket of the ordinary musician. They either belonged in recording studios or were within the budget of successful musicians. Pioneered in the early seventies, artists as diverse as Stevie Wonder and Kraftwerk popularised synths. Gradually, they found their way into more studios and onto more records. As the seventies became the eighties, synths, just like drum machines and sequencers were much cheaper. Now anyone wanting to make their own music could do so, if they could afford synths, sequencers and drum machines.
Suddenly, a new wave of producers were able to make their own dance music. They didn’t even need access to a recording studio. Spare rooms and basements became makeshift studios. To do this, the Roland Corporation supplied the necessary equipment. Many of the early house releases featured the same sound. This meant a Roland TR-808 drum machine and Roland TB-303 bass synth. Other musical weapons of choice for the nascent house producer was the Korg Poly-61 synth. Add to this either a vocal, or samples “borrowed” from classic funk, soul or disco tracks. The result was, early Chicago house music. With all this new music being produced, new labels were springing up. In 1983, Chicago house’s biggest label Trax Records was born.
Born in 1983, Trax released its first singles in 1984. Gradually, it became a huge force in Chicago house. They signed many of the best up-and-coming producers and released some of the most important music in the history of Chicago house. For a new breed of producers standing on the sidelines, this inspired them. They realized what was possible. Among them were Matt Warren, Miguel Garcia and Ralphi Rosario.
Since the early days of Chicago house, Matt Warren, Miguel Garcia and Ralphi Rosario had watched with interest. They were producers in waiting, who watched and learnt. By 1985, they’d waited long enough. So, they joined forces with Alex and Robert Rojo, two brothers who owned the Sunset Mobile Disco. It had been established in 1979, and quickly, gathered a reputation as the promoters of some of the best parties Chicago had seen in recent years. Lavish, flamboyant extravaganzas describe the Sunset Mobile Disco in action. Alex and Robert were the go-to-guys for anyone wanting a party to remember. They also knew Chi Town’s music scene inside out. So, they were perfectly positioned to form a record label with Matt Warren, Miguel Garcia and Ralphi Rosario.
Together, the quintet of Alex and Robert Rojo plus Matt Warren, Miguel Garcia and Ralphi Rosario decided to pull their talent and experiences to form Sunset Records Inc. This was the latest arrival in Chicago’s ever-growing music scene. Record labels were springing up all over the Windy City. Two biggest record companies were Traxx and DJ International, went on to dominate house music. They signed up as many of the talented producers they could. Despite that, many other labels were releasing innovative and influential house music. This included Sunset Records Inc.
Founded in 1985, Sunset Records Inc. started as they meant to go on. That meant releasing groundbreaking music. Sunset Records Inc’s music was a fusion of genres and influences. Best described as a musical potpourri, the basic beat track, which was created by a Roland drum machine, was then combined with new wave, disco and industrial music. An amalgamation of influences, here, music from the past, disco and industrial music, was combined with music from the present, new wave and post-industrial music. Dance-floor friendly, innovative and influential, this wasn’t like much of the house music being released. Instead, it was music of substance. There was much more that just the hypnotic 4/4 beat. Much more. That was the case from Sunset Records Inc’s earliest releases. Playing an important part in Sunset Records Inc’s success was Matt Warren.
From Sunset Records Inc’s earliest releases in 1985, many of which feature on Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89 the label’s raison d’etre was to innovate and create groundbreaking, genre-melting music. To do this, Sunset Records’ roster included Boom Boom & Master Plan, Modern Mechanical Music, Razz, Master Plan, White Knight, Ben Mays and Kajsa. Another of Sunset Records’ most successful artists was Matt Warren. Not only was he co-founder of the label, but on the roster. He was an important part in Sunset Records’ success story…until 1987.
By 1987, Matt Warren decided to leave Sunset Records. After a break lasting a couple of months, Matt wanted back into the music industry. He decided the best way to do that, was by forming his own label, AKA Dance Music.
Just like Sunset Records, AKA Dance Music had its own sound. It’s best described as a fusion of disco, new wave, Acid House, Chicago house, industrial and postindustrial music. This pot pourri of musical genres and influences featured on each of AKA Dance Music’s releases. In total, AKA Dance Music released just seven singles between 1987 and 1988. Each of these seven Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88. There’s also B-Sides, alternate mixes and previously unreleased mixes. Best described as everything you wanted to know about AKA Dance Music but were afraid to ask, Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 brings together every piece of music Matt Warren’s short-lived, but fondly remembered AKA Dance Music released. You’ll realize that when I tell you about Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88.
Disc One.
AKA Music’s first release was Matt Warren’s Bang The Box with the serial number AKA 1. Recorded at Trax Records’ studios, Matt wrote, mixed and produced the track. On Disc One of Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 there’s two version of Bang The Box. There’s the Bang The House Mix which featured on the original single and there’s the Original 1994 Remix. Like so many things, the original version of this groundbreaking track is the best, with the Original 1994 Re-Mix bringing something new to the track that launched a label.
Close Your Eyes by Michael Griffin featuring George Karchmer and Khrissie Henderson, was the second release from AKA Dance Music. Written by Michael Griffin and Jerry Soto, who produced the track with Matt Warren, the track was recorded at Trax Recording Studio. Of the three versions of Close Your Eyes on AKA 2, the Club Mix features on Disc One, while the Matt-N-Steve House Mix features on Disc Two. Both versions let you hear different sides of a track where elements of disco, new wave, electronica and Chicago house are combined to create a track that’s way ahead of its time.
BnC released House Ain’t Givin’ Up in 1987. Written by Bernie Colvin and produced by Dean Anderson and BnC, the track featured the vocal prowess of Jack N. House and BnC. The original single featured four different versions. Dean’s Mix and the Jackin’ Mix featured on the A-Side. Rather than choosing Dean’s Mix, Jerome Derradji has chosen the Jackin’ Mix. For me, it epitomizes everything that’s good about the early days of Chicago house.
Take It To The Wall was Mat Warren’s sophomore single on AKA Dance Music. Written by Matt, he co-produced the track with Nick Huminsky a.k.a. the White Knight. Unlike the three previous singles, Trax Recording Studio wasn’t used. Instead, Off World Studios were used. Three versions of Take It To The Wall were recorded. The version to feature on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 is Matt’s Mix, which featured on the B-Side. It’s something of a hidden gem that Jerrome has rediscovered and decided to share.
AKA Dance Music’s last release of 1987 was Pleasure Dome from the dream team of Modern Mechanical Music featuring Matt, Nick, Michaelangelo. Written by Matt Warren and Nick Huminsky, who produced the track at Off World Studios, it’s a paean to hedonism. Of the four mixes on the single, the House Mix and Instrumental version feature.The House Mix is the best of the two. With electronica, new wave and house combining, cutting-edge and sleazy is the best way to describe this particular Pleasure Dome.
As 1988 dawned, AKA Dance Music would only release two more singles. Team’s The Music’s Got Me was the first release of 1988. Written, arranged and produced by La-Dell Jones and Milton Patterson, featuring vocals from Pimp, recording took place at Star Trax Recording. Four versions were recorded, with the Club Mix and Dub Mix featuring on Disc One. Of the two versions, the Club Mix is one of the compilation’s highlights. Sultry, hypnotic, soulful and funky, AKA Music were hitting their stride releasing some of the best house music around. Sadly, this wasn’t going to last.
It’s almost fitting that Nexus 6’s anthemic Take Me Higher was the last track AKA Dance Music’s released. Written and produced by Jaime Bonet and Matto Christy, a.k.a. Nexus 6, four versions of Take Me Higher were recorded at Off World Studio. Two versions are included on the compilation, the Club Mix and The Ultimate Acid Mix. Choosing which is your favorite is like choosing between your children. Both versions of this anthemic track are potent reminders of the heady days of Acid House. Take Me Higher is also a reminder of AKA Dance Music, an innovative label, who punched above their weight releasing some of the best Chicago house released during the late eighties.
Disc Two.
The other fourteen tracks on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 have never been released before. This includes eight tracks from Matt Warren and Michaelangelo. Why these tracks have never seen the light of day before seems strange? After all, there’s nothing wrong with the quality of music. Far from it. This is Chicago house at its best. You’ll realize that, when I tell you about these hidden gems.
Matt Warren and Michaelangelo had collaborated before at Sunset Records. So it’s no surprise they joined forces at AKA Dance Music. The eight unreleased tracks include five tracks. There’s three versions of Exotic, the Vocal, Dub and House It Up Dub versions. Of this trio, unsurprisingly the Vocal version on Disc One is the best version of this sassy, feisty slice of old school Acid House.
Other collaborations between Matt Warren and Michaleangelo include the driving, synth lead Rock It, a progressive track which epitomizes Chicago house during the late seventies. Don’t Bring Back Memories sounds like a track from the early nineties. Again, AKA Dance Music were ahead of the musical curve. Best described as soulful, anthemic and occasionally dubby and lysergic, it’s another example of the label’s progressive nature. Apart from these tracks, there’s the Short Version of Let It Flow, a thunderous track built for jacking. Then there’s Remember The Last with its sci-fi sound, thanks to a myriad of beeps, squeaks and synths. Mattmattmatt Warren and Michaleangelo final contribution is Dusty House, a track that instantly, transports you back to Chicago circa 1987, 1988.
That’s not the last we’ve heard from Michaleangelo. Six of his unreleased tracks feature on Disc Two of Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music. Jackin’ does what it says on the tin, and is a track to jack to. Disco House is another track to jack to. It’s a much more sophisticated track, fusing classic disco and Chicago house to create what’s the highlight of Disc Two. Pick It Up explodes into life and is propelled along by synths and crunchy drums. With its old school sound, it’s the perfect track to relive your misspent youth.
Shake It features Pepper Gomez adding what can only be described as a sultry and sensuous vocal tour de force. Synths, percussion and drums provide an old school backdrop where seventies electronica, new wave and Acid House unite. Add to this the sassy, and extremely sensual sound of Pepper Gomez’s vocal prove and the result is a potent and pleasing combination where the truly talented house diva plays a starring role.
Lost In The World is the final track from Disc Two of Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88. It has a wistful, dreamy sound. Seventies electronica, specifically Kraftwerk combines with Chicago house to create a track where two decades and musical genres unite.
Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 is the perfect companion to Jerome Derradji Presents: Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89. Just like that compilation, it features progressive, innovative music which is way ahead of the musical curve. That’s why the music is timeless. Twenty-five years later, and the twenty-six tracks on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 have stood the test of time and the constant changes in musical fashions. That’s no surprise.
After all, Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 was innovative. It’s music that pushed boundaries and challenged norms. Having watched the birth of house music from the sidelines, then at Sunset Records, Matt Warren, headed out on his own. He’d watched and learnt, learnt from the experiences and failures of others. By 1987, he’d waited long enough. He left Sunset and after a few months rest, founded AKA Dance Music. His timing was perfect. Chicago house was King. Better still, Matt had established a reputation as a talented and inventive writer, arranger, mixer and producer. For just over a year, he was also the owner of a progressive and innovative label, who released some of the best Chicago house music of the late eighties.
Proof of that are twenty-six tracks that feature on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88. Innovative, progressive, inventive, imaginative and pushing musical boundaries describes what AKA Dance Music were doing. If Trax Records had been releasing the music AKA Dance Music released, they’d have been hailed as geniuses. Instead, AKA Dance Music, who punched well above their weight for a year, failed to get their music heard by a much wider audience. This meant that AKA Dance Music remains one of Chicago’s best kept musical secrets, who were only in business for just over year. At least they leave behind a rich musical heritage.
Each of the seven singles released by AKA Dance Music features on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88, which will be released on 15th October 2013 by Still Music. As of that’s not enough, there’s fourteen previously unreleased tracks. This includes hidden gems from Matt Warren & Michaelangelo and Matt Warren himself. The twenty-six tracks on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88, are a reminder of one of Chicago house best kept secrets.
No wonder. Innovative and influential describes the music released by AKA Dance Music. They were always determined to push musical boundaries. It was Chicago house, but with a twist. Disco, funk, industrial, new wave and postindustrial, was thrown into AKA Dance Music’s musical melting pot as they forged their own unique sound. It was inimitable, totally different from AKA Dance Music’s competitors and peers. That’s why despite being one of Chicago’s smaller labels, AKA Dance Music punched above its weight and influenced another generation of producers.
Although AKA Dance Music was one of the smaller labels in Chicago, they punched above their weight. They continued to attract talented producers and artists. That’s no surprise. Matt Warren had established a reputation as a producer and artist with a big future. Other artists felt that by some of his talent would rub off. It did. Just listen to the seven singles AKA Dance Music released. They ooze quality. That’s why dancers and DJs hungrily sought out each of AKA Dance Music’s release. Who can blame them, given the quality of this groundbreaking, timeless music.
A quarter of a century after AKA Dance Music closed its doors for the last time, discerning dancers and connoisseurs of Chicago house music still remember AKA Dance Music fondly. They cherish the label’s seven releases, which are prized possessions among record collectors. Now, these discerning dancers and connoisseurs of Chicago house can relive their youth with Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88. Featuring twenty-six tracks spread over two discs, old favorites and hidden gems sits side by side on this double album. Each of these tracks have one thing in common. They’re innovative, influential and groundbreaking examples of Chicago house from one of Chicago house’s most underrated labels, AKA Dance Music.
For just over a year, AKA Dance Music rose to the top of Chicago house, with their inimitable brand of Chicago house. The reason for this is simple. AKA Dance Music’s artists and producers were some of the most talented, innovative and influential producers in the first wave of Chicago house. AKA Dance Music may have been short-lived, but punched well above its weight and left a lasting impression on discerning dancers and connoisseurs of Chicago house music. One listen to the innovative, groundbreaking and timeless music on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 and you’ll realize why. Standout Tracks: Matt Warren Take It To The Wall, Team’s The Music’s Got Me, Michaelangelo Jackin’ and Matt Warren and Michaleangelo Rock It.
Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88.
RANDOLPH’S LEAP-REAL ANYMORE.
RANDOLPH’S LEAP-REAL ANYMORE.
Randolph’s Leap who recently released their mini-album Real Anymore on Olive Grove Records, aren’t like any other band. Not all. After how many bands describe themselves as a “Glasgow-based figment of your imagination?” Well, Randolph’s Leap do. This adds an air of mystery to the Glasgow-octet. It also hints at a band who don’t take themselves to seriously. Another description of Randolph’s Leap are purveyors of pop perfection.
Ever since 2008, Randolph’s Leap have been winning friends and influencing people with their unique fusion of indie pop and folk. Spreading hooks and happiness in equal measure, Randolph’s Leap are part of this new generation of Scottish bands. Randolph’s Leap are just the latest keeper of Scottish pop’s flame. They’re no ordinary band though.
Don’t expect banal, bubblegum pop from Randolph’s Leap. No. Instead, their music is witty, acerbic, intelligent and articulate. That describes the music on Real Anymore, Randolph’s Leap’s debut mini-album. Real Anymore, features seven songs, which are the perfect introduction to Randolph’s Leap, whose five-year career I’ll tell you about.
It was back in 2008, that Randolph’s Leap formed. Based in Glasgow, Randolph’s Leap are no ordinary band. No. They incorporate strings and horns into their sound. This is perfect for their unique brand of pop and folk. The lineup features a rhythm section of drummer Iain Taylor, bassist Vicki Cole plus Adam Ross guitarist and lead vocalist. Strings come courtesy of violinist Heather Thikey and Andrew McLellan on cello and guitar, while Ali Hendry plays trumptet and Fraser Gibson trombone. That’s the lineup of Randolph’s Leap that’s spent the previous five years charming and winning over audiences all over Britain.
Having spent two years traveling all over the country honing their sound, Randolph’s Leap headed into the studio to record their debut E.P. Battleships and Kettle Chips. Released on Olive Grove Records in 2010, indie pop and folk met head on. Battleships and Kettle Chips was well received by critics, introducing Randolph’s Leap to a much wider audience. After the release of Battleships and Kettle Chips, Randolph’s Leap didn’t release any more music until 2012.
After not releasing any music for two years, 2012 saw a deluge of music from Randolph’s Leap. They released their debut album And The Curse Of The Haunted Headphones, in February 2012. Released on the Peeko label, And The Curse Of The Haunted Headphones featured seventeen tracks. Again, indie pop and folk melted into one. Critics loved And The Curse Of The Haunted Headphones. Randolph’s Lead were quickly won over, including a whole host of fans within the media.
As Randolph’s Leap headed out on the festival circuit, they released Introducing Randolph’s Leap in July 2012. This was perfect for those unfamiliar with the “Glasgow-based figment of your imagination.” Featuring twelve tracks, plus as a bonus, The Way Of The Mollusc E.P. Best described as a beginners guide to Randolph’s Leap, this was perfect for festival goers who hadn’t encountered the charismatic Glasgow band, who were quickly, gaining a reputation as prolific songwriters.
In September 2012, fans of Randolph’s Leap welcomed the release of their min-album As Fast As A Man Can Run. Featuring a handmade cover, the nine songs on As Fast As A Man Can Run were another tantalizing taste of what Randolph’s Leap were capable of. Having released an album and mini-album during 2012, Randolph’s Leap round 2012 off by releasing their Hermit E.P. on Anstruther-based Fence Records. 2012 had been a hugely important year for Randolph’s Leap.
Not only had Randolph’s Leap released an E.P, mini-album and album during 2012, but had continued to spread of the band’s unique fusion of pop and folk far and wide. They were playing at some of the biggest festivals in Scotland. Audiences at T In The Part, Wickerman and Celtic Connections all were introduced to the music of Randolph’s Lead. Gradually, this “Glasgow-based figment of your imagination” were making their presence felt.
Just like 2012, Randolph’s Leap have hardly stopped. In February 2013, Randolph’s Leap headlined a show at the Queen’s Hall, Edinburgh. Then Randolph’s Leap recorded two sessions for Marc Riley’s Radio 6 show. He’s been longterm supporter of Randolph’s Leap, and helps spread the Randolph’s Leap gospel. Then there’s the usual round of festivals and concerts, plus two recording sessions.
The first of these was for the Furtive Glances E.P. which Randolph’s Leap released in April 2013. This was a limited edition release, featuring six tracks. Released on the Peenko label, it seemed that with every release, Randolph’s Leap were improving as a band. They were maturing as songwriters and musicians. Effusive praise came Furtive Glance’s way, as they headed out for the summer festival season.
With the festival season but a distant memory, Randolph’s Leap headed back into the recording studios. They’d rereleased The Curse Of The Haunted Headphones and As Fast As A Man Can Run as a compilation. That would keep fans of Randolph’s Leap occupied until they recorded their next mini-album, Real Anymore.
Real Anymore features seven songs, which were written by guitarist and lead vocalist Adam Ross. Producing Real Anymore was Pete MacDonald. Once Real Anymore was recorded, it was released on Glasgow-based Olive Grove Records, who specialize on releasing music by unsigned artists. Maybe after Real Anymore, Randolph’s Leap won’t be an unsigned band. Will that be the case?
Opening Real Anymore is the understated Conversation, which features lyrics that are cerebral, articulate and melancholy. They’re also cutting and acerbic. The song’s the response to a relationship gone south. Just an acoustic guitar accompanies Adam Ross’ wistful vocal. If there’s one thing worse than a woman scorned, it’s a singer-songwriter scorned.
It’s as if that now Adam has gotten Conversation off his chest, Randolph’s Leap can kick loose on Real Anymore. Driven along by a pounding rhythm section, bursts of blazing horns and searing, screeching guitars, Randolph’s Leap get down to business. Adam’s vocal is questioning, probing and wondering. Singalong harmonies drift above the arrangement philosophizing what’s real anymore. Hook-laden, infectiously catchy and with philosophy thrown in free, what more can you ask from Randolph’s Leap?
Psychic is a like a kitchen sink drama put to music. It features some of Adam’s best lyrics. It’s a moral dilemma that’s a reflection of 21st Century society. After going to the bank; “to ask for a loan…they say will you leave us alone,”Adam’s ends up working as a telephone psychic. With just strummed guitars, rhythm section and harmonies for company, Adam tells us: “it’s not an exact seance.” As a bass prowls along the arrangement, a reflective Adam thinks about his actions. “I didn’t know what I was doing, the trouble that was brewing.” A kitchen sink drama Randolph’s Leap, it’s best described as variously witty, full of pathos and sadness.
Nature is an upbeat, jaunty track that breezes along. Drawing inspiration from the Teenage Fanclub and BMX Bandits, Randolph’s Leap are keepers of Glasgow’s pop flame. Joyous describes Adam’s vocal, while indie drums mark out a 4/4 beat. Along with jangling guitars and washes of keyboards, slick poppy hooks and poetic lyrics play their part in this delicious slice of pop perfection.
Winceworthy sees a return to the understated sound of Randolph’s Leap. This is no bad thing, as you listen intently to the lyrics. Just like the previous tracks, they paint pictures, pictures that unfold before your eyes. Here, it’s like a tragi-comedy. As Adam describes dancing in the disco, falling outside and “hitting the tarmac hard,”there’s a a sense of pathos. Adam’s tender, fragile, vocal, sounding not unlike Douglas T. Stewart, of the BMX Bandits. Mostly, it’s just an acoustic guitar that accompanies his wistful vocal, before melancholy horns add the finishing touches to this three-minute tragi-comedy where Douglas T. Stewart meets Tom Waits.
As Adam strums his guitar and deliberates, you realize what’s about to happen. Technology literally explodes into life. What follows is a fusion of rock ‘n’ roll, rockabilly, pop, pub rock and punk. Adam literally pogoes his way through the track. Driven along by the bass, drums pound and stabs of piano as Adam ensures the song swings. Bursts of braying horns and pizzicato strings join singalong, punk-style harmonies. When Adam’s charismatic vocal is added to the mix, the result is a joyous, rousing, anthemic track that’s sure to be a festival favorite.
Indie King which closes Real Anymore sees Randolph’s Leap unleash their acerbic wit. It’s one the highlights of Real Anymore. That’s down to the lyrics, which poke funs of the pretentiousness of indie music. A myriad of beeps and squeaks give way to an almost funky rhythm section and keyboards. Having set the scene, Adam with his tongue planted firmly in his cheek, sings of meeting the “Indie King…and kissing his feet.” Later, as he refers to indie vocalists with lisps and bands playing gigs in libraries, it’s obvious Adam is an astute people watcher with no time for pretentiousness. From there, they unleash a veritable cornucopia of hooks. Joyful, singsong harmonies and rasping horns. They join Adam as he firmly refutes the accusation that they’re twee. They certainly aren’t. That’s why I suggest Randolph’s Leap call their next album ‘You’ll Have Had Your Twee?”
Just seven songs and twenty-five minutes long, Real Anymore, the latest mini-album from Randolph’s Leap features a band more than ready to make the next step. Indeed, Randolph’s Leap are a band with a big future ahead of them. Randolph’s Leap are more than ready. They’ve spent five years honing their sound and have established a reputation as a tight, talented band. To do this, they’ve played concerts and festivals up and down the country. However, Randolph’s Leap don’t seem in a hurry to make the next step, which is signing to a much bigger label. Randolph’s Leap seem determined to do things their way. That’s no bad thing. Bands like Belle and Sebastian, The Blue Nile, Teenage Fanclub and The Pastels have done things their way, and enjoyed a successful career. These bands demonstrate that this is possible. No longer do bands have to head to London to make the next step. Far from it. Glasgow’s music scene is truly thriving. Randolph’s Leap are just the latest keeper of Scottish’s pop music’s flame.
No wonder. The Glasgow-based octet are purveyors of pop perfection. Their unique fusion of indie pop and folk has winning friends and influencing people for five years. For anyone that’s heard the latest offering from Randolph’s Leap, their mini-album Real Anymore, that’ll come as no surprise. The lyrics on Real Anymore are variously witty, acerbic, articulate, cutting and descriptive. Featuring a plentiful supply of slick, poppy, hooks, Real Anymore features Randolph’s Leap at their poppy best. With tales of telephone psychics, a paean to nature, the cutting Indie King, joyous Nature and rousing Technology, this is the perfect introduction to Randolph’s Leap, who are no ordinary band. No. Randolph’s Leap that “Glasgow-based figment of your imagination” strive and succeed, in their quest for hook-laden, pop perfection on Real Anymore. Standout Tracks: Psychic, Nature, Winceworthy and Indie King.
RANDOLPH’S LEAP-REAL ANYMORE.
MIKE OLDFIELD-FIVE MILES OUT.
MIKE OLDFIELD-FIVE MILES OUT.
There aren’t many artists whose debut album sells 3.75 million copies. Back in 1973, Mike Oldfield’s debut album Tubular Bells did. Reaching number one in the UK and number three in the US Billboard 200, Mike Oldfield not only launched his career, but the new record label he was signed to, Virgin Records. Mike’s symphonic style of music seemed to strike a chord with record buyers. Indeed, for his first three albums, Mike could do no wrong. Then as musical tastes changed, Mike Oldfield had to change direction musically. This started with 1982s Five Miles Out which was recently rereleased as a Deluxe Edition by Mercury Records. Did this change in direction save Mike Oldfield’s career?
The follow up to Tubular Bells was Hergest Ridge. Released in August 1974, it reached number one in the UK and was certified silver. Ironically, Hergest Ridge was knocked off the number one spot by Tubular Bells. Over in the US, Hergest Ridge stalled at just number eighty-seven in the US Billboard 200. Hergest Bridge, like Tubular Bells, featured two lengthy movements. Each were sophisticated, multilayered and explored a series of themes. With this being the prog rock era, Mike Oldfield was quickly becoming one of the most popular British artists.
Having enjoyed two consecutive UK number one albums, Mike released his third album Ommadawn, in October 1975. It reached number four in the UK and was certified silver. Over the Atlantic, Ommadawn reached just number 146 in the US Billboard 200. Featuring a Celtic influence and a myriad of traditional instruments, Ommadawn marked a change in direction from Mike. One thing stayed the same, Ommadawn featured two lengthy movements. That would change with his next album…Incantations.
There was a gap of three years before Mike released the followup to Ommadawn. This was 1978s Incantations. By the time Incantations was released, music had changed and changed drastically. Punk arrived in 1976, threatening to shake up what they saw as the musical establishment. Mike was perceived as part of the establishment. Punks had prog rock in their sights. Another change was disco. It was at the height of its success. It was against this backdrop that Incantations was released.
Released in November 1978, Incantations was Mike’s first double-album. Rather than featuring two movements, Incantations featured four minimalistic, mystical movements. Gone was the almost grandiose sound of Mike’s first two albums. Gone was the folk-tinged sound of Ommadawn. For Mike, this was a process of reinvention, one that took three years.
On its release, Incantations reached number fourteen in the UK. Despite this, Incantations was certified silver, which equates to sixty-thousand units. Mike it seemed, wasn’t winning over new fans. That was the the case over the Atlantic. Over in the US, Incantations failed to chart. Success continued to elude Mike in America. At least in Europe, Incantations enjoyed a degree of success. Maybe the change in direction from Mike had caused the dip in sales? Either that, or his music was no longer fashionable?
For Mike’s final album of the seventies, 1979s Platinum continued his reinvention. Not only does Platinum feature songs, but cover versions. This includes George and Ira Gershwin’s I Got Rhythm. Side One features a twenty-minute piece which comprised four parts. The highlights are the first two parts, which are instrumental prog rock. As for Side Two, it’s a compelling combination of Gershwin, disco and Mike’s response to punk. Released on November 1979, Platinum reached just number twenty-four in the UK. At least Platinum sold enough copies to be certified silver. Platinum failed to chart in America. A small crumb of comfort was Platinum was certified gold in Germany. As the seventies ended, Mike Oldfield reflected on what had been his least successful album, the ironically titled Platinum.
As the new decade dawned, a new Mike Oldfield seemed to have been born. His first album of the eighties, featured two cover versions. Abba’s Arrival and The Shadows’ Wonderful Land featured on QE2. Bach also influenced Mike, with an excerpt from the Orchestral Suite in B Minor featuring on Conflict. Another change for QE2, was Maggie Reilly, who was collaborating with Mike. Featuring nine tracks, QE2 was released in October 1982.
On the release of QE2, it reached just number twenty-seven in the UK. This was Mike’s lowest chart placing ever. Despite this, it was enough to see QE2 certified gold, having sold 100,000 copies. At least QE2 reached number 174 in the US Billboard 200. It was five years since Ommadawn charted in the US. This was nothing to go overboard about. Far from it.
QE2 saw Mike Oldfield’s music at a crossroads. If he didn’t do something to address the problem, he risked becoming irrelevant. Gone were the days when prog rock was King, and two lengthy musical movements appealed to music buyers. That was long gone. Times had changed, not necessary for the better. Mike realized this and had gradually changed his music. Vocalists, cover versions and shorter songs had all been introduced. More changes were afoot for his seventh album Five Miles Out. One thing wouldn’t change, the twenty-minute track.
Nine years after releasing his debut album, Mike Oldfield decided his music had to change. His albums were no longer selling as many copies. Success in America seemed to elude Mike. If it hadn’t been for excerpts from Tubular Bells being played in The Exorcist, his debut album might never have reached the heights it did. After that, America proved a hard nut to crack. Even at home, in the UK, his albums last three albums hadn’t even reached the top ten. Each album slipped that further bit down the charts. There was a reason for this, music was changing.
Music was in a constant state of flux. Fashion changed quickly. During 1981, when Mike started recording Five Miles Out, boogie and synth pop were just two of the musical flavors of the month. For a new generation of record buyers, Mike Oldfield was the music of their parents. When they thought of Mike, they thought of grandiose, symphonic music, music that’s mystical and of course, prog rock. That was the problem.
People’s perception of Mike was problematic. Although his music was much more eclectic than that, that was how people perceived him. Little did people realize his music had never stood still. He’d been determined to push musical boundaries. This is what he’d do with Five Miles Out.
Synths, sequencers and drum machines were starting to replace real musicians. Mike had been using synths since 1979s Platinum, where he’d used a Roland SH-2000 and Sequential Prophet. For his seventh album Five Miles Out, Mike used a Fairlight CMI.
The Fairlight CMI was a digital sampling synth, which Mike Oldfield would put to good use on Five Miles Out. This lead to a change in style. Gone was the symphonic style of earlier albums. Replacing it, were short, poppy songs. Full of slick, poppy hooks, Mike Oldfield was trying to make his music more accessible. That didn’t please everyone. For some people, Mike had sold out. He however, was being a realist. If he didn’t change, he’d risk becoming irrelevant.
For Five Miles Out, Mike wrote three of the five tracks. He penned Taurus II, Mount Teidi and Five Miles Out. With Maggie Reilly, Tim Cross, Rick Fenn, Mike Frye and Morris Penn they cowrote Family Man and Oribadoo. These five tracks were recorded in Buckinghamshire during 1981 and 1982, and marked a new chapter in Mike Oldfield’s career.
When it came to recording Five Miles Out, Mike who was never confident about his vocal prowess, decided to step out of the shadows. He shares the vocal with Maggie Reilly on Oribadoo and Five Miles Out. Mike played guitar, bass, synths and keyboards. The band included drummer Graham Broad, guitarist Rick Fenn, keyboardist Tim Cross and percussionists Mike Frye and Carl Palmer. Paddy Maloney adds the distinctive uillean pipes, while Morris Pert adds percussion and plays keyboards. He also arranged the strings which Martin Ford conducted. With Mike producing Five Miles Out, the album was ready for release in March 1982.
The lead single from Five Miles Out was the title-track, which reached number forty-three in the UK. This gave Mike his first single in six years. Released in March 1982 Five Miles Out was Mike most successful album since 1975s Ommadawn. It reached number seven in the UK, where it was certified gold. Five Miles Out was certified gold in Germany and even reached number 164 in the US Billboard 200. Then when Mike released Family Man, which featured the vocals of Maggie Reilly, it reached number forty-five in the UK. Later, the song would be covered by Hall and Oates, who made the song their own. Five Miles Out it seemed, was a return to form for Mike Oldfield. Was that the case?
Some things never change. Opening Five Miles Out is Taurus II. It’s a twenty-four minute opus. Best described as a musical adventure, Mike and his band embark upon a musical adventure. The jagged arrangement has a rocky, sometimes Celtic sound. It comes courtesy of the unmistakable and distinctive sound of the uillean pipes. Mike is a like a magician, weaving spells with his guitar. Accompanied by a pounding rhythm section, prog rock keyboards and the ethereal beauty of female harmonies. Urgent chord changes see a change of direction. We’re heading in the direction of prog rock. Banks of urgent keyboards are key to this. Sudden shifts in tempo, result in an almost medieval, then gothic sound. Later, Mike revisits themes from Taurus I, which featured on QE2. Snippets of quotes from Taurus I are quoted as this mesmeric, dramatic and genre-melting musical movement shows its many secrets, subtleties and nuances. Dramatic, urgent, ethereal and melodic, as Mike mixes the old and new, he shows whether it’s 1973, 1982 or 2013, he’s just as relevant.
For many people, Family Man is a song from Philly popsters Hall and Oates. It’s not. It was written by Mike, Maggie Reilly and members of his band. This is seen as Mike’s first rock song. Here, Maggie breathes life and meaning into the lyrics, as she plays the role of the sultry temptress to T. This she does against an arrangement that has a real eighties sound. That’s down to the electronic drums, synths and rocky guitars. She struts her way through the songs. Guitars chime and soar, drums crack and a myriad of beeps and squeaks provide the backdrop to Maggie’s sassy, feisty vocal.
Orabidoo has a beautiful, ethereal sound. Just percussion and a gently strummed guitar combine. They meander along as this eleven-minute epic unfolds. Then it’s all change. A vocal sung through a vocoder proves atmospheric. Enveloped by drums then the rest of the rhythm section, the vocal becomes part mantra, part chant. During the track, there’s quotes from Taurus I and Conflict, from QE2. By utilizing the electronic instruments, the track takes on an inventive and futuristic, sci-fi sound. The robotic vocal gives way to prog rock keyboards, which inject urgency and drama. Pounding drums, harmonies and rocky guitars join the banks of keyboards on this genre-crossing musical adventure. Then as you think Mike’s out of surprises, the song takes on a a celestial sound. Ethereal harmonies drift in and the drama builds and builds. Mike’s final surprise is ending a song within a song. Ireland’s Eye brings Orabidoo to a thoughtful, wistful and tender close.
Just four minutes long, and named after a mountain in Tenerife, Mount Teidi has an African sound. It’s the drums that lead to this comparison. Behind them are synths and short bursts of crystalline guitars. Languid, laid-back and melancholy describe this track, which shows yet another side to the multitalented Mike Oldfield.
Five Miles Out tells the story of Mike’s experience of an airplane crash. Listening to the song, the musical structure is extremely complex. Like the rest of Five Miles Out, there’s numerous changes in tempo and style. Similarly, there’s numerous vocal parts. They’re sung by Mike and Maggie. For many of the vocals, Mike uses a vocoder. As for the arrangement, it’s mostly rock-tinged and dramatic. Other times it’s briefly understated. Mike’s vocal is full of emotion. No wonder. This song must bring back memories. Hopefully, writing and performing it, proved cathartic.
Closing Five Miles Out is Waldberg (The Peak). It’s the shortest song on Five Miles Out, at less than three-minutes long. A combination of synths, percussion and the rhythm section are joined by ethereal harmonies. Together they play their part in a track where influences collide head-on. Medieval, Celtic and classical, especially Handel, spring to mind, as Mike and his band combine tradition and electronic instruments potently and successfully.
Just two before Mike Oldfield released Five Miles Out, he’d just released his least successful album QE2. It reached just number twenty-seven in the UK. Granted it was certified gold, but this was due to his loyal fans who bought every album Mike released. The problem was, his music wasn’t appealing to a new generation of music lovers. That’s why Mike Oldfield’s career was at a crossroads. If he didn’t do something to address the problem, he risked becoming irrelevant. So, Mike decided to change direction.
This was something he’d done and embraced his whole career. No two Mike Oldfield albums are the same. Each album is a but different. When Mike could’ve released Tubular Bells II, he released Hergest Ridge. Mike didn’t stand still. His career saw his music constantly evolving. On Five Miles Out, Mike fully embraced technology. Using the Fairlight CMI, was part of the reinvention of Mike Oldfield. Without throwing out what had resulted in Mike enjoying a successful career, Five Miles Out saw a series of subtle changes.
Side one of Five Miles Out was for his old fans. A twenty-four minute Magnus Opus, it’s Mike Oldfield at his very best. Then on Side two, three of the four songs are shorter, with a slick, poppy sound. Mike doesn’t spare the hooks. He even joins Maggie Reilly on vocal duties. Fusing everything from prog rock, pop, electronica, rock, Celtic and classical music, Mike returned with his most successful album since 1975.
Not since Ommadawn, in 1975, had Mike Oldfield enjoyed such a high chart placing. Reaching number seven in the UK, plus two hit singles saw Mike’s decision to reinvent himself vindicated. It would’ve been easy for him to keep churning out album after album of similar material. Mostly likely, his loyal fans would’ve bought the albums. That wasn’t enough for Mike. He wanted and needed to challenge himself. Mike also wanted to embrace the new technology. Throughout his career he’d been an innovator, always wanting to push musical boundaries. This is what Mike Oldfield did on Five Miles Out, which was recently rereleased as a Deluxe Edition by Mercury Records.
Featuring three discs, Five Miles Out is what a Deluxe Edition should look like. Disc two features a recording of a concert in Cologne from the Five Miles Out tour. Then on Disc three, there’s Mike Oldfield’s 5.1 Surround Mix. This is a very welcome addition and brings new life and meaning to Five Miles Out, Mike Oldfield’s comeback album. The 5.1 Surround Mix showcases Mike Oldfield at his innovative an inventive best on Five Miles Out, which features the rebirth and reinvention of Mike Oldfield.
MIKE OLDFIELD-FIVE MILES OUT
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