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
PETE MACLEOD-ROLLING STONE.
PETE MACLEOD-ROLLING STONE.
It was seventeen years ago, that Pete MacLeod made his professional debut. That night, in 1996, Pete walked on stage and sang two of his own songs. It gave Pete his first taste of the music industry. He was hooked, and wanted more of it. For the next eight years, Pete travelled up and down the country honing his sound. As thestar69 Pete paid his dues. This lead to Pete playing at Scotland’s biggest music festival T In The Park in 2004. Shortly after that, Pete enjoyed his first hit single. It was only a matter of time before Pete released his debut album. He released This Is Modern Soul in 2005. Critics predicted a successful future for Pete MacLeod. Surely, Pete would be signed by a record company and become Scotland’s latest successful musical export?
Sadly, things didn’t quite pan out like that for Pete MacLeod. Despite a whole host of fans within the music industry, including Alan McGhee, Jim Kerr, Dave Grohl and Steve Cradock, that record contract eluded Pete MacLeod. That was until earlier this year.
Alan McGhee, the man behind the long, lamented Creation Records, had decided to make a comeback. So, he founded a new label 359 Music. Among the signings to his new label, was Pete MacLeod. This was no surprise, as Alan had long championed Pete’s music. Now that Alan was back in the music business, he was going to help spread the word about Pete McLeod. So, in July 2013, Pete MacLeod signed to Alan McGhee’s new label 359 Music. It’s on 359 Music that Pete MacLeod’s sophomore album Rolling Stone will be released. Before I tell you about Rolling Stone, I’ll tell about the eight year period between Pete’s debut and sophomore album.
Having released This Is Modern Soul in 2005, Pete spent much of 2006 touring the UK. His final show was at Glasgow’s ABC. This was something of a homecoming for Pete.
The following year, 2007, Pete headed out on his first American tour. He was opening for Ocean Colour Scene. His first American concert, was in Los Angeles. In the audience was Alan McGhee, founder of Creation Records. From the moment he heard Pete’s music, he was a fan. Luckily, their paths would cross later in Pete’s career.
Three years after his debut album, This Is Modern Soul, Pete released a digital E.P. Acoustic. One of the songs on the Acoustic E.P, Panic, received plaudits from musical luminaries like lan McGhee, Jim Kerr, Dave Grohl and Steve Cradock. Ironically, it was recorded in cupboard of Pete’s Los Angeles flat. Later in 2008, Pete headed home to tour the UK. Accompanying him was former Oasis guitarist Bonehead. Still, there was no sign of a record contract. Pete was still one of music’s best kept secrets.
2009 saw Pete release another E.P. Lost and Found. It saw Pete collaborating with Nathan Hamill, whose father Mark, played Luke Skywalker in Star Wars. Despite the quality of music on Lost and Found, Pete still didn’t make a commercial breakthrough. So the following year, 2010, Pete decided to return home from Los Angeles.
Despite commercial success eluding him, Pete was a popular artist within the Los Angeles area. His acoustic shows were held in front of an appreciative audience. This was all well and good, but Pete wanted his music heard by a wider audience. So following a critically acclaimed performance at Hotel Cafe, Los Angeles, Pete bid a fond farewell to Los Angeles.
This proved either by design or luck to be a good move. On his return home from Los Angeles, Pete’s digital single Rolling Stone was played on various Scottish radio stations during 2011. Soon, Rolling Stone is one of Q magazine’s top fifty downloads of the month. On the back of the success of Rolling Stone, Pete tours the UK and plays several successful shows in Los Angeles. 2011 had been a good year for Pete. 2012 would be even better.
During 2012, Pete played a homecoming show in his native Coatbridge, before heading to his adopted home of Los Angeles. Having played a successful show in Los Angeles, Pete releases the first of two singles, God Speed. It was followed by Let It Shine. Then for the last quarter of 2012, Pete headed out on tour, before heading to Berlin to record some new music. This would include the music on Rolling Stone.
2013 would prove to be one of the most important years of Pete’s career. Having toured the UK during March 2013, Pete plays dates in Hamburg and Los Angeles. Then in July 2013, Pete announces he’s signed to Alan McGhee’s new label 359 Music. It’ll be on 359 Music that Pete MacLeod will release his sophomore album Rolling Stone, which I’ll tell you about.
Let It Shine which opens Rolling Stone, literally bursts hopefully into life. There’s a real West Coast sound to the track. Pete’s following in the musical footsteps of Jackson Browne. Jangling guitars and the rhythm section drive the arrangement along. As for Pete’s vocal, it’s best described as Impassioned and heartfelt. It’s accompanied by honeyed harmonies as hooks and hope are ever-present.
Keep Your Dreams Alive could be autobiographical, as that’s what Pete’s been doing. Seventeen years after his professional debut, Pete’s just about to release his sophomore album. As drums provide a 4/4 beat, Pete confidently strums his guitar and goes on to deliver a soul-baring vocal. As crystalline guitars and cooing harmonies join Pete, whose vocal is full of hope and confidence, his advice is Keep Your Dreams Alive.
Straight away, it’s obvious that Rolling Stone is just a bit special. Good as the first two tracks were, this is much better. The same goes for the arrangement. From the opening bars, where the rhythm section and chiming guitars become one. They set the scene for Pete’s emotive vocal. When he sings: “I wish I was a Rolling Stone,” he’s speaking to and for, all the desk jockeys and pen pushers who dream of giving it all up, but never will. The open road and no responsibilities seem appealing, but the way Pete sings it, he knows, that’s never going to happen. It’s a nice thought and if it was to happen, Pete MacLeod’s Rolling Stone would provide the perfect soundtrack.
Briefly, the chord changes to Give A Little Love reminds me of the Glasgow band Del Amitri. Slowly, guitars glisten and chime while Pete’s vocal is impassioned and needy. Full of emotion, he pleas and hopes Give A Little Love.
Hold Me Now has a melancholy, wistful sound as it unfolds. Pete strums his guitar, as his voice reverberates into the distance. There’s a sense of insecurity in his needy vocal. Again, he’s laying bare his soul for all to hear on this heartfelt paean.
God Speed sees a change of tact from Pete. He plugs back in and unleashes a blistering slice of rock-tinged music. Pounding drums, searing, screaming guitars and harmonies accompany Pete. He windmills his way through the track, his vocal a mixture of power and passion, as elements of rock, pop and folk unite seamlessly. Everything from Jackson Browne, Justin Currie, Bob Dylan and play their part in the track’s success.
On The Other Side (Part 1) is very different from the preceding tracks. Opening with a spoken word sample, which gives way to washes of synths and guitars, emotion fills Pete’s vocal as he sings about the loss of someone he loves. As part of the grieving process, he’s asking the big questions. Why did and happen, where do we go and what happens then. Searching for answers, sadness, loss, pain and anger are constant companions for Pete on what is, a deeply moving, thoughtful song.
Panic sees Pete return to the much more understated sound. It’s a guitar driven track, where Pete’s vocal is pensive and thoughtful. You listen intently to his cerebral, articulate lyrics. Pete as we’ve come to realize, is a talented songwriter. As for influences, there’s everything from indie, folk and pop. Sometimes, the track sounds not unlike some of Oasis’ more mellow songs. It certainly shows another side of Pete MacLeod, who hopefully after November 4th, won’t be one of Scotland’s best kept musical secrets.
Re:Ality reminds me of Hold Me Now. It’s just Pete and his trusty acoustic guitar, as he delivers a heartfelt, impassioned vocal. He sounds not unlike Neil Finn, of Crowded House. That’s how good his voice is. Equally good, are his lyrics. Describing them as full of emotion and ethereal beauty is an understatement. They’re much, much better than that. Quite simply, this is one of the highlights of Rolling Stone.
Today I Went Swimming, which closes Rolling Stone, sees Pete MacLeod bow out on a high. Sounding like a combination of Del Amitri, Crowded House and Jackson Browne, crystalline guitars chime, while drums provide the heartbeat. Pete for the last time, delivers a vocal that’s laden in emotion and happiness. Melodic and not short of subtle hooks, this is the perfect way to close Pete MacLeod’s comeback album Rolling Stone.
Rolling Stone describes the career of Pete MacLeod. Since making his professional debut, he’s seen the other side of the music business, the side most people forget about. Pete’s spent years traveling the length and breadth of Britain. Then there’s trips to Europe and to Pete’s adopted home of Los Angeles. All the time, Pete’s playing smaller venues, venues which are filled with a small, loyal and adoring fan-base. They attend every concert Pete plays, but sadly, word hasn’t spread about Glasgow troubadour Pete MacLeod. Instead, he’s remained one of music’s best kept secrets. Pete however, deserves a better fate than that.
For whatever the reason, Pete MacLead hasn’t had the breaks. Commercial success and critical acclaim have eluded Pete. Despite that, he’s certainly not short of talent. A talented singer-songwriter, Pete MacLeod should be filling larger venues and have a string of critically acclaimed albums to his name. Sadly, that’s not the case. Thankfully, time is still on his side. Maybe Rolling Stone, Pete MacLeod’s sophomore album, which will be released on Alan McGhee’s 359 Music, will mark a change in Pete’s fortunes.
Given the quality of music on Rolling Stone, commercial success and critical acclaim might just be coming Pete MacLeod’s way. A fusion of folk, rock, country and pop, Rolling Stone showcases Pete MacLeod’s versatility and talent. Eight years after his debut album This Is Modern Soul, Scotland’s veteran Rolling Stone Pete MacLeod looks like making up for lost time with his hook-laden, heartfelt, soul-baring opus, Rolling Stone. Standout Tracks: Rolling Stone, Hold Me Now, Re:Ality and Today I Went Swimming.
PETE MACLEOD-ROLLING STONE.
DORIS DUKE-I’M A LOSER.
DORIS DUKE-I’M A LOSER.
Mention Doris Duke’s 1970 album I’m A Loser and many lovers of soul music will nod approvingly. Since its release, I’m A Loser has become regarded as one of the greatest Deep Soul albums ever released. Before I tell you about I’m A Loser, which will be rereleased by Alive Records on 29th October 2013, I’ll tell you Doris Duke’s story. How in the space of just five years, Doris Duke went from session singer to Deep Soul diva.
Doris Curry was born in Sandersvile, Georgia in 1945. Having started as a gospel singer, aged eighteen she moved to New York, becoming a session singer and backing vocalist at the legendary Apollo Theatre. By 1966, Doris was married, and cut her debut single Running Away From Loneliness, released on the Hy-Monty label as Doris Willingham. Her follow-up single You Can’t Do That was released two years later on the Jay Boy label. Like her debut single, it garnered good reviews, but wasn’t a commercial success. After that, Doris returned to Philadelphia, hooking up with the legendary production team of Kenneth Gamble and Leon Huff, contributing backing vocals to some of their early work.
1969 was an important year in Doris’ career. During 1969, Doris worked with one of the biggest names in music, Nina Simone. Doris was a backing vocalist on Nina’s live album A Very Rare Evening, which was recorded in Germany. Later in the year, she met Swap Dogg, producer Jerry Williams Jr.
Jerry had split with Atlantic Records, leaving his job as their A&R man. He was much more than an A&R man though, he was one of the most innovative people in soul music, working as a songwriter, musician and producer. Deciding that Doris needed a new identity, the now divorced Doris Willingham became Doris Duke, who confusingly, was also the heir to her family’s tobacco fortune. Using her “borrowed” name, Doris recorded her debut album, I’m A Loser, which Jerry Williams Jr, a.k.a. Swamp Dogg produced.
I’m A Loser is a twelve-track opus, which Jerry Williams Jr, played a huge part. Not only did he produce I’m No Loser, but wrote two and cowrote eight tracks. He penned Ghost Of Myself and Your Best Friend. Jerry and with Garry Bonds, cowrote Feet Start Walking, We’re More Than Strangers, How Was I To Know You Care and To The Other Woman (I’m The Other Woman). The pair then cowrote I Don’t Care Anymore and Congratulations Baby with Maurice Gimbel. Maurice and Jerry cowrote Divorce Decree, while Larry Harrison and Jerry cowrote He’s Gone. George Jackson contributed the other two tracks, including I Can’t Do Without You, which he cowrote with Ronald Townsend. The other tracks was The Feeling is Right, which George penned with Mickey Buckins. These twelve tracks were recorded by an all-star band.
Jerry Williams Jr, put together an all-star band for the recording of I’m A Loser. This included a rhythm section of drummer Johnny Sandin, bassist Robert “Pops” Powell plus guitarists Jesse “Pete” Carr and Duane Allman. Paul “Berry” Hornsby played organ, Jerry Williams Jr’s piano and Richard Rome arranged the strings. When these songs were recorded, I’m No Loser was released in 1971.
That album was the legendary I’m A Loser, which was released on Wally Roker’s Canyon Records in 1971. Little did they know it then, but Canyon was going to be a short lived enterprise, that ultimately, would cause problems when it folded. However, that was still to come. Things looked good when the first single from the album was released. When To the Other Woman was released, it reached number seven in the US R&B Charts and number fifty in the US Billboard 100. Then, when the follow-up single Feet Start Walking was released, it too made the charts, but only reached number thirty-nine in the US R&B Charts. However, just as Doris must have thought her career was going places, disaster struck. Canyon Records collapsed. The result of this was, Doris didn’t receive any royalties.
Down but not out, Doris recorded another album with Swamp Dogg in 1971, A Legend In Her Own Time. It was released on the Mankind label. Sadly, it wasn’t a commercial success. Around this time, another problem occurred, when the “real” Doris Duke started singing with a choir of children in New Jersey. This caused confusion, with the two Doris Duke’s getting mixed up. By now, Doris had remarried, and was Doris Logan. She decided to retire temporarily, to bring up her young family.
1974 saw Doris make a brief comeback, recording her album Woman, for the British Contempo label. The album was well received by critics, but failed commercially. After that, Doris retired from music, releasing one further single eight years later, That was I’ll Make A Sweet Man (Out of You), for the Boston based Beantown label. Since then, Doris has been content to keep a low profile, neither seeking publicity nor wanting to be rediscovered. Instead, she’s content to have recorded what Dave Godin called the greatest deep soul album of all time, I’m A Loser, which I’ll now tell you about.
I’m A Loser is one of soul music’s first concept albums. Its subject matter are relationships, love and sometimes, betrayal. Opening the album is He’s Gone, about a woman whose partner has left them. Doris uses her weary, lived-in voice to get over the sense of loss, betrayal and heartache in the lyrics. She does this, against a slow, moody backdrop of piano, drums and chiming guitars. Her voice is laden with power and emotion, totally distraught, as strings sweep in, a bass sitting at the front of the mix. Later a Hammond organ enters, its sound slow, moody and adding to the sense of sadness. Together, Doris and Swap Dogg’s arrangement unite perfectly to produce a track that’s a combination of raw emotion, sadness and drama.
I Can’t Do Without You has a more uptempo, jaunty arrangement that sometimes, almost takes a diversion into funk territory. Doris’ desperate, needy vocal is sung against a quicker arrangement where the rhythm section, guitars and piano combine. They create a catchy backdrop for Doris, who desperately pleads for her lover to set her free from her loneliness and neediness. She can’t live without him, needing him to survive and go on. Doris vocal sets the song apart. It turns a great song into an outstanding one.
When Feet Start Walking opens, there’s a sense of drama created by the combination of piano, guitars and rhythm section that accompany Doris. Straight away, her voice is full of power, anger and frustration, at the betrayal she’s experienced. Having been humiliated, Doris vents her anger at her disloyal lover, and heads for the door, promising never to return. A combination of a dramatic piano lead arrangement, and Doris’ angry, frustrated and passionate vocal unite to produce one of the most emotionally charged tracks on I’m A Loser.
A Hammond organ combines with a bass and piano, as Ghost of Myself opens, before a slow and thoughtful vocal from Doris enters. Slow spacious drums and soaring electric guitars join the arrangement, keeping the tempo slow, yet adding a sense of drama. Doris one down on her luck, not the woman she once was, having lost her love of life, after a relationship has ended. Doris gets across the sadness and desperation of the situation. So does the arrangement, but the screaming soaring guitars slightly spoil the sound for me. They lack the subtlety of the rest of the arrangement. Having said that, it’s a emotive song with Doris’ performance stealing the show.
Your Best Friend sees a combination of Hammond organ, rhythm section and chiming guitars accompany Doris. She’s discovered that her partner, is using her, she doesn’t mean anything to her, so his best friend tells her. It’s a one-way love affair, with Doris doing the loving. Doris gives a heartfelt rendition of Larry Harrison and Jerry Williams Jr.’s lyrics against a slow, moody arrangement that’s laden in emotion and sadness. It has the Hammond organ, rhythm section and guitars at its heart. They provide the perfect backdrop for a heartbroken Doris, resulting in a hugely moving, track full of frustration and betrayal.
The Feeling Is Right is a much quicker track, with piano, rhythm section and guitars combining with Doris’ powerful yet joyous vocal. As if the arrangement isn’t good enough, a Hammond organ and sweeping strings cut in. Swamp Dogg chooses just the right moment to deploy what are almost his secret weapon. The strings shimmer, behind the rest of the arrangement adding to its sweeping beauty. When combined with Doris’ power laden, joyful combination this is a winning combination.
I Don’t Care Anymore has a much slower tempo and understated sound. Just an acoustic guitar opens the track, with a tambourine, rhythm section and sad strings combining before Doris’ desperate vocal. The song is about a woman coming from the Deep South to find work, and her descent from having a job, getting married to becoming prostitute and ending up nearly destitute. It’s a hugely moving gritty tale of a life gone wrong, with Doris bringing the lyrics to life. Behind her, the arrangement has an understated, yet melodramatic sound, perfect for the sadness and despair of the track.
Congratulations Baby sees the tempo increase, a combination of the driving rhythm section, guitars, piano and Hammond organ are responsible for this. When Doris’ vocal enters, there’s a sense of anger, frustration and betrayal in her voice, as she sings about her lover marrying another woman. This anger and frustration in her voice combines perfectly with Swap Dogg’s quicker, driving arrangement. This “marriage” of the arrangement and vocal results in track where the sense of anger, bitterness and frustration is palpable.
A slow, moody bass opens We’re More Than Strangers, giving way to chiming guitars and piano, before a hugely emotional vocal from Doris enters. The track is a combination of Southern Soul with a blues influence present. Here, the Muscle Shoals rhythm section give one of their best performances on the album, combining with slow, sad strings and a wailing Hammond organ. They provide the perfect backdrop for Doris’ vocal about a relationship gone wrong, and she wants to end. It’s hugely emotive, full of pain and sadness. Together with the slow emotive, arrangement, it’s one of the albums best tracks.
Divorce Decree sees a newly divorced woman, free but not happy. She’s still got hopes and feelings for her ex-husband, missing him, wanting him back. An emotion drenched vocal from Doris, is sung against a drama laden arrangement. Drums and guitars add drama, the drums loud and punchy throughout the track, while the lushes of strings represent the loss and sadness in Doris vocal. Although just two and a half minutes long, the song is an emotionally charged and dramatic mini-drama thanks to Jerry Williams Jr, and Maurice Gimblel lyrics, brought to life magnificently by Doris.
A swirling, stirring and punch, dramatic introduction opensHow Was I To know You Cared. A combination of swirling, sweeping strings, punchy rhythm section, piano and guitars combine before a much more restrained vocal from Doris. She discovers that her former partner cares and loves for her, but can’t bring herself to leave her new partner. Backing vocalists subtly accompany her, as she sings with a mixture of frustration, regret and temptation, at what she’s just discovered. Although it’s a good enough song, it doesn’t quite live up to the expectation created by the drama laden introduction.
Closing I’m A Loser is To the Other Woman (I’m the Other Woman). The track has a slow, spacious arrangement, with the rhythm section, chiming guitars and piano combining as Doris’ vocal enters. She’s discovered her partner is cheating on her, but seems to have accepted this, with it not coming as a surprise to her. Her voice is strong and emotive, but with a sadness and sense of betrayal coming across. Backing vocalists accompany her, their tender voices a contrast to her power. Strings cut in, they’re slow full of sadness, matching the rest of the tender, understated arrangement. A Hammond organ, adds the final touch to a brilliant arrangement. It’s the perfect accompaniment to Doris’ vocal on what’s one of the album’s highlights.
Over the years I’ve heard probably thousands of soul albums, but one I always return to is Doris Duke’s I’m A Loser. Of all the albums I’ve heard this is one of the best. It’s a hugely emotive concept album that brings to life the complicated subjects of relationships. During the album, there’s twelve dramatic stories of love, betrayal and broken promises unfold. On each of these tracks, Doris is transformed into a master storyteller, as she throws herself headlong into each story. Her portrayal of each story makes you forget that this is only “make believe.” She delivers the lyrics so realistically that you think that Doris has lived each track. Not many singers have the ability and talent to do that. Doris Duke did.
Doris brought the lyrics to life. It was as if she’d lived and experienced what she was singing about. That makes a huge difference. Other singers, good as they were just sung the lyrics, but gave nothing of themselves. It was as if they were scared to give something of themselves. Not Doris. She lay bare her soul for all to see and hear. Sadly, for all her efforts and impassioned delivery, I’m A Loser proved a prophetic title.
That I’m A Loser wasn’t a huge success was a mixture of bad luck and possibly not being on a major label. If Swamp Dogg had signed Doris to Atlantic Records, his old label, maybe she would’ve been a huge star? Instead, he signed her to the ill-fated Canyon label, not knowing its perilous state. Sadly, although the album was well received by critics, commercially it wasn’t a success. However, as regular readers of my blog will know, this has happened to many other artists, time after time. Thankfully, I’m A Loser, which will be rereleased by Alive Records on 29th October 2013. This allows a new generations of music lovers to discover I’m A Loser, which undoubtably, is one of the greatest albums in the history of soul, from one of the best voices in soul music, Doris Duke. Standout Tracks: I Can’t Do Without You, I Don’t Care Anymore, We’re More Than Strangers and To the Other Woman (I’m the Other Woman).
DORIS DUKE-I’M A LOSER.
WORDYSOULSPEAK-LET THE RHYTHM HIT.
WORDYSOULSPEAK-LET THE RHYTHM HIT.
It used to be, that DJ-ing meant a two Technics 1210s and a mixer. Not any more. DJ-ing has gone digital. Now controllers and laptops we’re told, are the future of DJ-ing. Controllers like the Novation Twitch and Pioneer DDJ-SX running Serato DJ and Traktor are perceived as the future. To say this divides opinion is an understatement.
Old school DJs will never agree that digital DJ-ing is the future. The old school DJs main beef with the new breed of synch DJs, are they’re not paying their dues. Rather than learn to beat-match like previous generations of DJs, the new breed of DJs can rely upon the synch button. One press, and as if by magic, the two songs are perfectly beat-matched. That’s okay for house and techno, but forget about any music with a live drummer. For that beat-matching is vital. That’s where old-school DJs come into their own. Another way that old school DJs stand out, is with turntablism.
Ever tried scratching on one of the new DJ controllers? It’s possible, but nowhere near as effective as the old school way, with two turntables and a mixer.Old school is best. Just ask one of China’s best exponents of turntablism, DJ Wordy. He’s a three times DMC China champion. However, there’s more to DJ Wordy than turntablism.
Like many DJs, DJ Wordy has moved into production. Along with his production partner Jeff Soulspeak, the pair, as WordySoulspeak, will released their sophomore Let The Rhythm Speak on BBE Music on 7th October 2013. Described as a fusion of innovative and progressive avant-garde Chinese art and “classic boom bap hip hop, electronic, house, funk and soul, Let The Rhythm Speak, is a tantalizing introduction to WordySoulspeak, who’ll tell you about.
DJ Wordy was a trailblazer and pioneer. He was the first Chinese DJ to establish himself on the global DJ stage. Technically, DJ Wordy is one the best DJs in the word. Part of the reason for this, is that he’s aways challenging himself, pushing himself to greater heights. With a style that’s fluid, precise and technically brilliant, it’s no surprise DJ Wordy was crowned DMC China champion three times. Nowadays, DJ Wordy’s heading further afield, and shattering stereotypes in the process.
Anyone whose been fortunate enough to see DJ Wordy live, will realize he loves music. Just look at his sets. Whether it’s London, New York, Berlin or Amsterdam, rather than just sticking to one genre, DJ Wordy flits between musical genres. Seamlessly, he switches between electronic, hip hop house, funk and soul. These sets allow his love of music to shine through. This is what DJ Wordy was doing when he met WordySoulspeakWordySoulspeak,
In 2009, DJ Wordy met Soulspeak, a Los Angeles producer. Soulspeak had fifteen years behind him, so was something of a musical veteran. The pair hit it of, and decided to launch a partnership.
Described as a composer and master of the Akai MPC, Soulspeak added a new dimension to DJ Wordy’s sets. Live drumming, effects, scratches and synths this took DJ-ing to a new level. Wherever the pair went, their brand of “classic boom bap hip hop” and bass heavy music was winning friends and influencing people. The next step seemed to record their debut album.
Two years after DJ Wordy and Soulspeak met, WordySoulspeak released their eponymous debut album. Experimental, progressive, avant-garde, hip hop and electronica met head on. On the release of WordySoulspeak in 2011, it was released to critical acclaim. This was a turning point for both modern Chinese music and WordySoulspeak.
Since the release of their debut album in 2011, WordySoulspeak have played an important part in the development of Chinese youth culture. He laid the foundations, encouraging and inspiring a new generations of DJs and producers. They looked at WordySoulspeak and realized what was possible. One of the things that was possible, was signing to one of Europe’s top independent labels, BBE Music.
Signing to BBE Music meant that the WordySoulspeak gospel would be spread far and wide. A whole new audience would hear WordySoulspeak’s music. For DJ Wordy, an award-winning DJ and Soulspeak, a veteran producer, this was perfect timing. WordySoulspeak had recorded a new album and Let The Rhythm Speak has just been released on BBE Music. Will Let The Rhythm Speak match WordySoulspeak’s critical acclaimed debut album?
Let The Rhythm Hit opens with the title-track. Stabs of synths reverberate into the distance repeatedly. They introduce a thunderous, house influenced beat, hissing hi-hats and buzzing, bubbling synths. As they reach a crescendo, samples are dropped in. After a dramatic pause, this innovative, genre-sprawling, dance-floor friendly track continues to reveal its secrets. Add to that, futuristic, sci-fi sounds, and this fusion of electronica, house, hip and hooks gets Let The Rhythm Hit to a storming, anthemic start.
Smokeout has a smokey, cinematic sound reminiscent of classic hip hop. Laid-back and languid, a mesmeric mixture of synths, samples, drum beats and piano riffs melt into one. They play their part in the success of this atmospheric, evocative, cinematic track. WordySoulspeak pant pictures, using synths, samples and phat drum beats to create a vintage slice of the smokiest hip hop.
Phat drum beats and samples open Let Me Ride. Then melodic keyboards and washes of synths fill in the spaces left in the arrangement. Synths roll and reverberate into the distance, while WordySoulspeak unleash a whole host of effects on the drums and synths. They transform their sound, replicating what WordySoulspeak do during one of their live shows. In doing this, they breath new life into the music, innovating, while creating something new from something old.
Although High Life is the shortest track on the album, you wish that wasn’t the case. It has a mellow, understated sound. Meandering, melodically along for less than ninety-seconds, it gives you a tantalizing taste of what might have been. Ethereal and dreamy, it’s one of the highlights of Let The Rhythm Hit.
Shake It Down epitomizes the bass heavy sound of WordySoulspeak. Here, WordySoulspeak get to work with their synths, frantically twisting and turning knobs to transform the sounds they emit. A whole array of beeps, squeaks and bleeps are unleashed as WordySoulspeak create what sounds like the keeper of Acid House’s flame.
Hope has a thoughtful, melancholy sound. Sounding like a distant relative of seventies soul and funk, deliberate stabs of keyboards are joined by squelchy synths, drums and percussion. The result is a fusion of soulful and sci-fi sounds. Futuristic, avant-garde, pensive and soulful, you can’t fail to fall for the delights of Hope.
From the get-go, Yao Yao Yao has a futuristic, robotic sound. As drums pound furiously, synths squelch, beep and squeak. Musical influences and genres melt into one. Drum ‘n’ bass, experimental, avante-garde, Acid House, prog rock and electronica can be heard on Yao Yao Yao. There’s also a cinematic sound. You can almost imagine this as the soundtrack to a 21st Century avant-garde performance.
With WordySoulspeak, you never know what they’re going to do. Constantly, they’re changing direction. This is the case with Hate It Or Love. It’s very different to the previous track. Slow, dubby, but with synths providing a myriad of beeps, squeaks and squelches it has a mesmeric, hypnotic sound. Classic hip hop, dub, Acid House synths, sci-fi sounds and electronica all play their part in this progressive, futuristic, genre melting track.
No Escape bursts into life. Straight away, you’re hooked. WordySoulspeak take you on a dramatic, intergalactic, musical adventure. You’re like a musical time traveler. As the track progresses, musical genres and influences appear out of nowhere. Everything from classical, drum ‘n’ bass, ambient, electronica and prog rock make fleeting appearances. So do a myriad of samples, synths and drum machines. They add to the drama of this intergalactic, genre-melting, space odyssey.
Roll Like This which closes WordySoulspeak’s sophomore album Let The Rhythm Hit, reminds me of Eminem’s Real Slim Shady. It’s the way that certain instruments are used. These instruments are used to create the riff the track is built around. Just sharp, bursts of synths and drums are all that’s used to create this spacious, atmospheric and somewhat robotic track. Buzzing synths are sprayed throughout this futuristic, edgy sounding track, that shows just how versatile and multitalented WordySoulspeak are.
Earlier, I wondered whether Let The Rhythm Hit, WordySoulspeak’s sophomore album would replicate the critical acclaim of their debut album? To say it has, is an understatement. Let The Rhythm Hit surpasses expectations. Avant-garde, futuristic, genre-melting, progressive and innovative, these are just a few of the words I’d use to describe Let The Rhythm Hit. It’s all that and more. I’d also describe Let The Rhythm Hit as an album full of subtleties and nuances.
With each listen, something you hear something new. A new subtlety, nuance or layer of music reveals itself with each listen. No matter whether you’ve heard Let The Rhythm Hit ten or one-hundred times, you’ll hear something new. This is similar to the Visioneers’ Hipology. Indeed, both albums are like musical voyages of discovery.
The difference with WordySoulspeak’s Let The Rhythm Hit, is that often, the music is futuristic, sometimes full of robotic, sci-fi sounds. Let The Rhythm Hit then becomes a dramatic, futuristic intergalactic, musical adventure. You take on the mantle of a musical time traveler. As Let The Rhythm Hit progresses, musical genres and influences from the past and present appear out of nowhere. Everything from classical, funk, soul, drum ‘n’ bass, ambient, electronica, house, Acid House and prog rock make fleeting appearances. Each play their part in the overall success of Let The Rhythm Hit.
Best described as an ambitious, avant-garde, innovative, progressive musical melting pot, WordySoulspeak’s Let The Rhythm Hit is one of these albums that, once you’ve heard it, you never forget. Let The Rhythm Hit which will be released on 7th October 2013, is a musical journey full of surprises. Each track is different from the previous one. WordySoulspeak make sure of that. They also ensure that when the lists of the best albums of 2013 are released, WordySoulspeak’s Let The Rhythm Hit, a truly innovative and ambitious genre-sprawling album, will be on it. Standout Tracks: Smokeout, High Life, Hope and No Escape.
WORDYSOULSPEAK-LET THE RHYTHM HIT.
ARVE HENRIKSEN-PLACES OF WORSHIP.
ARVE HENRIKSEN-PLACES OF WORSHIP.
Ever since his career began, Norwegian jazz trumpeter Arve Henriksen has been on a mission to reinvent the jazz trumpet. Arve’s raison d’etre has been to push musical boundaries and challenge musical norms. He’s taken the jazz trumpet to destinations its previously never dared visit. That’s why twenty-two years after his first featured on Bjorn Alterhaug’s Constellations, Arve has established a reputation as a world class and innovative trumpeter. That’s why he’s the go-to-guy for anyone looking for an inventive, imaginative and innovative trumpeter.
Over the past twenty-two years, Arve has featured on over one-hundred albums. No wonder. He’s determined to innovate and create groundbreaking music. To do this, Arve isn’t afraid to use a whole host of effects and electronics. That’s why David Sylvian, Led Zeppelin’s John Paul Jones, Ian Ballamy’s Food, Terje Rypdal and Jon Balke have Arve’s phone number. Away from guest appearances and session work, Arve’s a songwriter, producer and musician.
Arve’s also a longtime member of Norwegian jazz group Supersilent. Since they were formed in 1997, Supersilent have released eleven albums between 1998 and 2010. Then there’s Arve’s solo career.
Somehow, in between session work, guest appearances and releasing eleven albums with Supersilent, Arve Henriksen has found time to release a quartet of solo albums. That quartet will become a quintet on 21st October 2013, when Places Of Worship will be released on Rune Grammofon. Just like his four previous albums, Arve Henriksen is determined to push musical boundaries and take his music in another direction. Before I tell you which direction that is, I’ll tell you about Arve’s solo career.
By the time Arve Henriksen released his 2001 debut album, Sakuteiki, he was already an experienced and innovative musician. He’d spent ten years playing on other people’s albums, plus had released five albums with Supersilent. Sakuteiki was an innovative, groundbreaking combination of classical, experimental and jazz, which was released on Rune Grammofon. This brought Arve Henriksen to the attention of a much wider audience.
It wasn’t until 2004 that Arve Henriksen released his sophomore album Chiaroscuro. The reason for this delay was Arve’s schedule. He seemed to be working nonstop. This included working with John Balke, Wunderkammer, Food and Sinikka Langeland. Then there was Supersilent sixth album, 6, which was released in 2003. Chiaroscuro was worth the wait. Released on Rune Grammofon, and was a genre-melting album, where influences and genres became one. With every solo album, Arve’s reputation grew.
After another three year gap, Arve returned with his third solo album Strjon in 2007. Futuristic and experimental, Arve Henriksen continued to release music that was ahead of the musical curve. Arve couldn’t have been on a better label than Rune Grammofon. They embraced adventurous and avant garde music.
Proof of this was Solidification, a box set of Arve’s music. It featured his first three albums plus his a new album Chron. Released on Rune Grammofon in December 2012, this meant Arve had released just four albums in eleven years. Hardly prolific you might say. Well, things seem to be changing for Arve Henriksen.
Just eleven months after the release of Solidification, Arve Henriksen returns with his fifth album Places Of Worship. It’ll be released on Rune Grammofon, on 21st October 2013. Described as: “a series of tone poems and mood pieces,” Places Of Worship is reflective of Norwegian geology. It reflects the countryside and environment, especially the religious buildings and ruins that can be found throughout Norway. The music reflects this. Understated, ethereal, haunting, reflective, sacred and fearful, Places Of Worship sees Arve continue to create innovative music.
Places Of Worship features ten tracks. Of these ten tracks, Arve Henriksen, Jan Bang and Erik Honore cowrote six tracks, Adhan, Saraswati, Le Cimetière Marin, The Sacristan, Portal and Bayon. The trio penned Alhambra with Eivind Aarset. Arve Henriksen and Erik Honor cowrote Lament, while Arve and Jan Bang penned Abandoned Cathedral. Erik Honore contributed Shelter From The Storm, which closes Places Of Worship. These ten tracks became Places Of Worship.
Recording of Places Of Worship took place at Punkt Studio, Kristiansand. Jan Bang and Erik Honore produced Places Of Worship. Arve played trumpet, while Jan Bang took charge of samples and Erik Honore looked after synths, drum programming and samples. Other musicians included guitarist Eivind Aarset, double bassist Lars Danielsson and pianist Jon Balke. These musicians played their part in the ten-song, forty-one minutes musical journey that is Places Of Worship.
Adhan, which opens Places Of Worship, has an almost spiritual, Eastern sound. As the days dawns, a call to worship and birdsong provide the backdrop to the new day. Then with synths providing a meandering accompaniment to his hauntingly beautiful trumpet solo, plays with feeling, tenderness and emotion. Floating in and out of the arrangement are spiritual, ethereal harmonies. They’re the finishing touch to this haunting and spiritual track where classical, ambient, jazz and electronica combine seamlessly.
Saraswati is driven along by a bass while the rest of the arrangement is a meandering, bubbling mix of synths and samples. Sitting proudly atop the arrangement in Arve’s rasping trumpet solo. He’s like the keeper of Miles Davis’ flame, picking up where Miles left off. In Arve’s hands, the trumpet takes on a life of its own. Behind him, an atmospheric and evocative backdrop unfolds. It paints cinematic pictures that are emotive, moving and melancholy.
There’s a dark, pensive sound to Le Cimetière Marin. Just synths and sample provide the understated, thoughtful backdrop to his trumpet. Probing and questioning, Arve looks for answers, answers he doesn’t find. Neither does anyone else. Question are left unanswered. Meanwhile, the arrangement in understated and spacious, sometimes, taking on a futuristic, space-age, sci-fi sound. Having said that, there’s an ethereal beauty and a hint of mystery to the track.
Spacious, melancholy and mysterious, The Sacristan is a soul-searching track. From the opening bars, when an acoustic guitar and piano are joined by Arve’s tender, rasping horns musical genres unite. Everything from jazz, classical music, ambient and electronica influence this track. Washes of synths and a wistful horn tug at your heartstrings.
Waves of celestial beauty unfold as Lament reveals its secrets and subtleties. Subtle describes the arrangement. It allows the ethereal and spiritual beauty of Arve’s vocal to take centre-stage. Angelic harmonies float in and out, while a tender, heartfelt horn almost matches the ethereal and spiritual beauty of Arve’s vocal. Almost but not quite. After all, Arve’s Lament seems to come from on high.
Portal describes what Arve becomes on Portal. He’s a means of allowing this haunting, delicate and mesmeric music to be heard. It flows through him, using him as its egress. Lush strings and a pulsating bass join percussion and a myriad of eerie samples. Sometimes, the track takes on an Eastern sound. Other times, classical and cinematic describes this compelling, haunting soundscape.
Slowly, Alhambra reveals its subtle secrets. You listen intently, for fear you might miss something. It’s not unlike a city awaking. A series, of variously subtle, delicate, fragile and discordant sounds escapes from the arrangement. Crystalline guitars, percussion, rasping trumpet and piano join woodwind. Together, they create an atmospheric, evocative and multilayered backdrop. Sometimes there’s an Eastern sound, other times, unsurprisingly, there’s a Spanish sound to a track whose mysterious sound and myriad of influences is compelling, spellbinding and melancholy.
On Bayon, swathes of strings join Arve’s tender, thoughtful horn. Then a broody, synth bass adds a sense of foreboding. You sense something isn’t quite right. It dominates everything. It’s like a harbinger of doom. Arve’s horn seems to be a messenger, bringing a warning of what’s about to happen. Gradually, washes of dramatic, moody music envelop the rest of the arrangement. Despite the protestations of Arve’s horn, there’s nothing he can do but surrender. Sensing resistance is futile, he’s engulfed, as the track reaches its wistful, pensive crescendo.
Waves of atmospheric music open Abandoned Cathedral. As it reaches a dramatic, discordant peak, you can picture it high on a desolate hillside. Painting this picture is the haunting, ethereal beauty of Arve’s trumpet. Just a few notes are the equivalent to a thousand words. Like a picture, he paints pictures with music. Using broad and confident brushstrokes, the Abandoned Cathedral unfolds. You can picture its rugged beauty, a sanctuary from the outside world which few people know exists. Those that do, are the lucky, and chosen few.
Shelter From The Storm closes Places Of Worship. It has a pastoral sound. Just piano, trumpet and then Arve’s tender, thoughtful vocal. Slowly, tenderly and with emotion, he delivers each word with care. Behind him, piano and fleeting bursts of woodwind play supporting roles on this heartfelt paean to this Shelter From The Storm.
Although ostensibly a jazz album, Places Of Worship is much more than that. Arve Henriksen fuses contemporary jazz with classical, ambient and electronic music. Samples, synths and drum machines are every bit as important as what most people would consider “jazz instruments.” Without the synths, samples and drum machines, the double bass and Arve’s trumpet wouldn’t get the opportunity to shine. On Places Of Worship, Arve Henriksen combines the old and new. In doing so, he creates the music of the future.
Having called Places Of Worship the music of the future, it’s not futuristic. No.Despite that, it’s inventive, innovative and imaginative. It’s also understated, subtle and thoughtful. Melancholy and wistful, Places Of Worship is very much cerebral, mood music. The ten tracks are a thoughtful musical journey. You think about the music and what it means. Pictures are painted and you can imagine the pictures Arve Henriksen is painting. They’re variously calm, minimalistic, pastoral, ethereal, bleak and beautiful. This has allowed Arve Henriksen to continue on his journey to make inventive, imaginative and innovative music.
The ten tone poems and mood pieces on Places Of Worship are of the quality of music we’ve come to expect from Arve Henriksen. He’s not just one of the top trumpeters in Norway, but the world. A world class and innovative musician, Arve Henriksen’s raison d’etre is to push musical boundaries and challenge musical norms. He’s done that on Places Of Worship…and much more. So much so, that on Places Of Worship Arve Henriksen, the keeper of Miles Davis’ flame, takes jazz music to destinations its previously never dared visit before. Standout Tracks: Adhan, Lament, Portal and Abandoned Cathedral.
ARVE HENRIKSEN-PLACES OF WORSHIP.
R.M. HUBBERT-BREAKS AND BONE.
R.M. HUBBERT-BREAKS AND BONE.
For R.M. Hubbert, 2013 has been the best year of his long musical career. A veteran, and some might say, unsung hero, of Glasgow’s music scene, Hubby won the Scottish Album Of The Year Award in June 2013, with his sophomore album, Thirteen Lost and Found. Considering the competition Hubby was up against, this was quite a feat. Paul Buchanan, Lau, Calvin Harris and Emile Sande were among the nominees. However, Hubby triumphed. Thirteen Lost and Found won the Scottish Album Of The Year Award. This was result of a musical journey that started back in 1991. Having savored the moment, it was straight back to work for Hubby.
No wonder. Hubby was in the midst of recording his third album Breaks and Bone. It was recorded in seven short, intensive sessions during a one-year period. Featuring ten tracks, which were produced by Paul Savage at his Chem 19 studios. Two themes run through Breaks and Bone, letting go and acceptance. They’re the threads that ran through Hubby’s first two albums. That’s hardly surprising. Hubby’s had to contend with the loss of both parents and a five year battle with depression. For Hubby and many listeners, Breaks and Bone, will prove a cathartic experience. Before I tell you about Breaks and Bone, I’ll remind you about Hubby’s musical journey.
Unlike many musicians, Hubby didn’t fully embrace Glasgow’s thriving musical scene. Instead, he made tentative steps into its vibrant midst. This was in 1991, when he formed Me, Hubby and Thom with Thom Falls. Thom was also drummer for The Blisters, who featured a young Alex Kapranos.
Through Thom, Hubby and Alex Kapranos became friends. Soon, they were running a club night and were bandmates. Hubby and Alex took over the running of the long lamented Kazoo Club. It was held at The 13th Note in Glasgow. When the original promoter suddenly left, the very future of the Kazoo Club was at risk. Enter Alex and Hubby. Saving the day, they took over promoting The 13th Note. Further cementing their friendship, Hubby joined The Blisters as second guitarist. This didn’t last long. Hubby left The Blisters in 1992, to join another Glasgow band Glue, Having spent three years as a member of Glue, Hubby joined the band where he made his name.
El Hombre Trajeado were formed in 1995. Consisting of Hubby, Stevie Jones, Ben Jones and Stef Sinclair, El Hombre Trajeado released three albums over the next ten years. Their debut album was Skipafone, released in 1998. Three years later, they released Saccade in 1998. Shlap was their final album. It was released in 2004, the year before the band split. During the ten years El Hombre Trajeado were together, they built a large, loyal following. This resulted in them being chosen to support Nick Cave and The Delgodos.
Following the breakup of El Hombre Trajeado, it was another four years before Hubby released any more music. He was constantly touring, supporting. Franz Ferdinand, The Delgados, Mogwai, Emma Pollock and The Twilight Sad. Then tragedy struck for Hubby when his parents died. This inadvertently lead to Hubby’s live album.
Trying to rid his mind of the tragedy he’d experienced, he recorded nine solo guitar tracks. They were just a way of taking his mind off what had happened. First and Last featured Hubby playing guitar, using flamenco style and structure. To do this, Hubby had built a custom built Spanish guitar. It was made by Anders Ellasson in South-West Spain. It’s perfect for Hubby’s distinctive flamenco style.
To give the music a more modern sound, Hubby took a different approach to melody. Once First and Last was finished, Hubby released it himself. Critically acclaimed, this lead to Glasgow’s premier label, Chemikal Underground signing Hubby in 2010. Now he was among his kith and kin, First and Last was reissued in early 2011. With his debut album released, and signed to a new label, Hubby looked to the past for his future.
Hubby had first thought about what became Thirteen Lost and Found back in 2009. Now with friends old and new, Hubby set about bring his idea to fruition. Alex Kapranos of Franz Ferdinand was chosen to produce Thirteen Lost and Found. Indeed, some of the recording took place at his studio in Glasgow. At three studios, ten tracks were recorded with some of Scotland’s top musicians. Aidan Moffat, Emma Pollock, Alex Kapranos, Marion Kenny, Paul Savage, Stevie Jones, Alistair Roberts, Rafe Fitzpatrick, Shane Connolly, John Ferguson and Luke Sutherland all passed through the studio doors playing starring roles in Thirteen Lost and Found, Hubby’s sophomore album.
Thirteen Lost and Found was released on Chemikal Underground Records in January 2012. Critics were won over by Thirteen Lost and Found. They hailed it as a Magnus Opus of a collaboration, one that was innovative and imaginative. It was all that and more.
When the long-list for 2012s Scottish Album of The Year Award was released, Thirteen Lost and Found featured on the long-list. The competition was fierce. Some of Scotland’s best artists were in contention for this prestigious award. Among them were Paul Buchanan, Lau, Calvin Harris and Emile Sandy. Then when the long-list became the shortlist, gone were Calvin Harris and Emile Sandy. Hubby was on the shortlist of ten. Then on 20th June 2013, when the winner of the Scottish Album of The Year Award was announced, Hubby had won Scotland’s most prestigious music award. Next for Hubby, was completing the recording of what was the last in a trilogy of albums.
Breaks and Bone was the final album in the Ampersand trilogy. The threads that run through the three albums are contending with the loss of both of his parents and a five year battle with depression. Hubby had hoped this would help to do this. He says it had, although not to the the extent he’d hoped. The trilogy was an attempt to reach out to friends he’d lost touch with. That’s worked much better.
On Breaks and Bone, Stevie Jones, Aidan Moffat, Emma Pollock, Andrew Savage and Paul Savage all make guest appearances at Chem 19. Producing Breaks and Bone, was Paul Savage. Breaks and Bone was then released on Chemikal Underground on 30th September 2013. Released to critical acclaim, Breaks and Bone which I’ll tell you about sees Hubby build on his first two albums.
Son of Princess, Brother of Rambo opens Breaks and Bone. It’s a mesmeric and spellbinding instrumental you lose yourself in. It washes over you. Thoughts race through your head. You realize what striking a chord means. Memories come back, emotions are stirred. Later, the music becomes a wash, wall or wave of music. Its potency and power, is hugely moving and emotive. It poses questions, that you’re left to answer.
Bolt tells the story of what’s best described as a dysfunctional relationship. This is apparent from the lyric: “he broke your heart, you broke his jaw.” Straight away, you wonder where the song is headed? The lyrics are dark, bleak and nihilistic. Especially when Hubby sings: “I wish you’d break my jaw.” That’s a dark place to be. With buzzing synths, drums and his trademark guitar for company, Hubby’s delivery is almost bereft of emotion. It’s as if he’s hurting inside. Hopefully, by articulating his feelings, this proves therapeutic and cathartic.
Driving and chiming guitars combine as Couch Crofting, another instrumental, reveals its mystery and ethereal beauty. Here, you’re concentrating on two parts of the song. There’s a sense of time ebbing away, and leading ultimately to loss. This comes courtesy of a buzzing sound. Meanwhile, Hubby like a painter, paints bold brush strokes with his guitar. His playing is confident and brisk. He questions and probes looking for answers. All the time, time is ebbing away, and answers still prove elusive.
Tongue Tied and Tone Deaf sees Hubby tackle the subject of depression. This is personal for him. He’s suffered from cronic depression for five years. When he sings: “keep your head afloat and wipe your tears…till the next time,” it’s obvious that Hubby is drawing upon experience of the “black dog.” This is personal and his vocal is heartfelt and sincere. There’s a worldweary sound to his voice. Hubby has lived with, and survived depression. His music is cathartic and his story inspirational.
Go Slowly has a melancholy sound as it unfolds. Just a flamenco guitar trails off into the distance. It has a crystalline, ethereal sound. Then Hubby almost punishes his guitar. Power and ethereal beauty sit side-by-side. It’s as if it’s telling the story of loss and grief. Although their death was relief, a relief from pain and suffering, for those left behind, they feel cheated and angry. Their overcome with loss and grief. Hubby vents his frustration via the guitar. His playing is full of frustration and anger. This fusion of emotion results in a track where darkness and light sit next to beauty and power. An outpouring of emotion, frustration and anger, it’s powerful, potent, emotive and beautiful.
Feedback Loops features some of Hubby’s best guitar playing on Breaks and Bone. Quite simply, it’s exquisite. Here, Hubby’s half-spoken vocal and chiming, reverberating guitar become one. They’re as one as they tell the story of going round in circles, never quite achieving anything. The problem is never ever solved. “Arguments help,” Hubby sings, but nothing quite gets to the root of the problem. There’s a weary, resigned sound in Hubby’s vocal, as he fears things will never be the same.
There’s an almost uplifting sound to For Helen. It’s a quite beautiful instrumental. Here, Hubby’s pulled out all the stops. His playing veers between intricate, wistful and melancholy, to bold, beautiful and ethereal. Whoever this is a homage to, must have been a special lady?
It’s obvious the date Dec 11 has some significance in Hubby’s life. He’s almost welling up with emotion, anger and frustration. His vocal is whispery and emotive. Memories come flooding back. You fear emotion and anger will get the better of Hubby. Somehow, he manages to keep himself together. Then, as his vocal drops out, he unleashes a mesmeric guitar solo. All his anger, frustration and sadness is channeled via his guitar. This seems to relieve Hubby of his emotion and hurt, proving therapeutic.
Buckstacy has an understated sound. Slowly and thoughtfully, Hubby toys with his guitar. This is just a curveball. As a drum pounds, it’s all change. It provides the heartbeat as Hubby’s hand flits up and down the fretboard. He plays in a bold, decisive and sometimes, flamboyant, almost un-Hubby like way. There’s a joyous, uplifting sound to a track that shows another sound to Hubby’s music.
Sights closes Breaks and Bone. There’s a melancholy sound to Hubby’s vocal as he sings: “we never really spoke, but I expected the last conversation would have some meaning.” These powerful words will ring true for so many people. They always expect, the last thing a loved one will say to them, especially a parent to a child, will have some significance or deep meaning. That isn’t usually the case. This leads to people feeling cheated or having been robbed of something. They feel the last words someone should speak, should have some deep meaning in how to cope with the travails of life. Sadly, as Hubby sings, that’s not the case.
Breaks and Bone is not just one of the most captivating albums of 2013, but an album that’s cerebral and inspirational. The last part in the Ampersand trilogy, Breaks and Bone has you spellbound from the opening track. Despite being an instrumental, Son Of Princess, Brother of Rambo is something of a roller coaster journey. Listen to the track with an open mind, and thoughts, memories and ideas will cascade past your mind’s eye. From there, the music veers between becomes dark, bleak and nihilistic on Bolt, through to thoughtful, melancholy, emotive, joyous and uplifting. Often it’s introspective and seeking answers. That’s no bad thing. Hubby like so many other people, is looking for answers.
Many other people, like Hubby, have lost loved ones and are still grieving. It’s an ongoing process that needs worked through. For Hubby, music proves cathartic. He lost both parents a few years ago. Like many people, music is a way of finding answers to questions. Part of his trying to come to terms with this loss, is the Ampersand trilogy. Breaks and Bone is the final chapter in this trilogy. Let’s hope it’s helped Hubby to come to terms with his loss. I hope it’s helped Hubby in another struggle.
Another theme explored during Breaks and Bone, was depression. Like many people, Hubby has suffered from depression. He’s fought chronic depression for five years. Music to Hubby, has proved therapeutic and cathartic. Part of his healing process was the Ampersand trilogy, including Breaks and Bone. Let’s hope it’s helped Hubby to come to terms with what is a truly debilitating and heartbreaking illness. Certainly, some of the music on Breaks and Bone is much more uplifting.
Several things haven’t changed from Thirteen Lost and Found. Breaks and Bone is another eclectic and emotional musical journey. It draws inspiration from disparate musical influences and genres. Folk, country, flamenco, Celtic, indie and Americana were thrown into the mix. Then there’s some of Scotland’s top musicians who played a part in the making of Breaks and Bone. Among them are Aidan Moffat, Emma Pollock and producer Paul Savage. Each of these musicians wanted to help one of the nicest men in Scottish music bring this very personal project to a close. Breaks and Bone, like the two previous chapters, is a highly personal, cerebral and emotive exploration of loss and depression.
Seeking answers, R.M. Hubbert embarked upon the Ampersand trilogy. Now this musical journey is over. Hubby has kept the best until last. Breaks and Bone is the result of a two year musical journey. We can only hope R.M. Hubbert found the journey that was Ampersand trilogy both therapeutic and cathartic. Standout Tracks: Son Of Princess, Brother of Rambo, Couch Crofting, Go Slowly and For Helen.
R.M. HUBBERT-BREAKS AND BONE.
STUDIO ONE SKA FEVER!
STUDIO ONE SKA FEVER!
Ska was born in Jamaica during the late-fifties. At first Jamaican musicians seemed determined to replicate the sound of American R&B. Both the beat and tempo were similar. Then having tired of copying their American counterparts, Jamaican musicians decided to give this new musical genre a Jamaican twist. So, Caribbean and Jamaican musical genres, including calypso, rhumba, merengue and mento found their way into what became known as ska. Soon, Ska became Jamaica’s most popular musical genre. It was replicating the success of R&B in America. Quickly, labels and bands were born. Soon, a whole host of records were being released. One of these labels was founded by Coxsone Dodd, one of the legends of Jamaican music.
It was in October 1963, that Coxsone Dodd founded the Jamaica Recording and Publishing Studio, at 13 Brentford Road, Kingston. What was a former jazz club The End, became a one-stop musical shop. Musicians could head to what became known as Studio One, to write and record music. They could meet with other songwriters and musicians, and this musical meeting point, was where some of the biggest names in Jamaican music recorded some of the finest music of their career. This included the music on Soul Jazz Records’ recent compilation Studio One Ska Fever!
Released on 30th September 2013, Studio One Ska Fever features eighteen tracks. These tracks were released on Coxsone Records, Studio One and Ska Beat. There are contributions from Lee Perry, The Wailers, Jackie Mittoo, The Ethiopians, Don Drummond, Clarendonians and The Skatalites, who for a fourteen month period, were Studio One’s studio band. During that period, they recorded fifty tracks, which played a part in the changing face of ska. Covering the period between 1964 and 1967, the eighteen tracks on Studio One Ska Fever feature just a few of the artists who headed through Studio One’s doors.
It was during May 1964 that The Skalites were formed by Coxsone Dodd. His idea, was to bring the best musicians together to play on his own recordings. The man given the job of putting together this group of top musicians was Tommy McCook. He turned down this chance, but eventually, agreed to join what became The Skalites. Eventually, the lineup included tenor saxophonist Tommy McCook, trumpeter Johnny Moore, alto saxophonist Lester Sterling and pianist Jackie Mittoo. Along with bassist Lloyd Brevett, drummer Lloyd Knibbs and guitarist Jah Jerry Hinds, The Skalites were born. They’d provide the backdrop to many of the tracks on Studio One Ska Fever.
During 1964, trumpeter Johnny Moore, who’d became a member of The Skalites. That year, he wrote and recorded Slavling Johnny. A mid-tempo slice of horn driven ska, Johnny unleashes a blistering trumpet solo. This showcases just why Coxsone Dodd wanted him Johnny, a former member of The Cavaliers to join The Skalites.
The Wailers released Climb The Ladder in 1964. It features some of the biggest names in reggae. A Robert Marley wrote and sang an impassioned lead vocal, while Peter Tosh and Bunny Wailer adds heartfelt harmonies. With The Skalites accompanying The Wailers, Climb The Ladder is like a who’s who of reggae music. Their other contribution Mr. Talkative, which was recorded in July 1964. Released in 1964 on Coxsone Records, Bob Marley wrote and sang lead vocal. It’s a tantalizing glimpse of what was to come from the soon to be, Bob Marley.
Joe Higgs and Roy Wilson had worked with Coxsone Dodd before they released There’s A Reward in 1965. They cowrote the track which was recorded at Studio One’s studios in Brentford Road. Released on Studio 1, there’s a joyous, soulful and uplifting sound to this track.
Don Drummond and Coxsone Dodd knew each other well. They should do. They’d often worked together. The pair penned Green Island, which was released on Coxsone Records in 1965. There’s a languid, jazz-tinged sound to the melancholy Green Island. Later, an R&B influence shines through. Despite this, the horns give the track a wistful jazzy twist.
During 1966, The Clarendonians release two singles on Coxsone Records. The first was the Ernest Wilson and Peter Austin penned Rudie Bam Bam. Against a jaunty, skanking and hypnotic arrangement, the vocal takes on an almost spiritual quality. Deeply moving and powerful, it’s very different to the cover of The Beatles’ You Won’t See Me. Written by Lennon and McCartney, it’s a quite beautiful, heartfelt rendition of a classic.
Mention The Gaylads, and discerning reggae lovers will remind you of their place in the history of Jamaican vocal harmony groups. Quite simply, The Gaylads were up there with the best. Comprising Harris Seaton, Winston Stewart and Maurice Roberts, they made a name as a group who seamlessly, could switch between musical genres. This meant they stood out. It certainly was the case on the Harris Seaton composition Don’t Try To Reach Me. Released in 1966 on Coxsone Records, rocksteady and ska meet head on, on this atmospheric, evocative fusion of Jamaican musical genres.
My final choice from Soul Jazz Records’ recent compilation Studio One Ska Fever is Jackie Mittoo’s Jump For Joy. Anyone with a passing interest in Jamaican music will have heard of Jackie. No wonder. Pianist Jackie Mittoo is one of the legends of Jamaican music. Songwriter, musicians and producer, he joined The Skalites when he was just sixteen. By the time he released Jump For Joy on Coxsone Records in 1967. He was nineteen. Jump For Joy is another fusion of influences. American and Jamaican music combine. Soul jazz and ska collide head on. Jackie plays the Hammond organ, with the big burner at the heart of this genre-melting track’s success.
Although I’ve only mentioned nine of the eighteen tracks on Studio One Ska Fever, I was spoiled for choice. Really, I could just about have picked any of the eighteen tracks. That reflects the quality of music on Studio One Ska Fever. Mind you, that’s not surprising. Coxsone Dodd was a producer with exacting standards. Inferior music didn’t get to bare the Studio One logo. No way. The same goes for Soul Jazz Records.
Since their first compilation, Soul Jazz Records have concentrated on quality over quantity. They don’t churn out compilations. No. They almost ration themselves. Each of their releases must come up to their exacting standards. That’s why it’s so fitting that Soul Jazz Records are the keeper of the flame for Studio One Records. Both companies have the same standards. Neither would nor will release second rate music. Instead, it’s got to be the creme de la creme. That’s no bad thing.
After all, newcomers to ska hear some of the legends of Jamaican music on Studio One Ska Fever. Lee Perry, The Wailers, Jackie Mittoo, The Ethiopians and The Skatalites all feature on Studio One Ska Fever. These eighteen tracks are a tantalizing taster of ska. I’m sure Studio One Ska Fever won’t be the last reggae compilation you buy. A good starting point is Soul Jazz Records’ back-catalogue. Just like Studio One Ska Fever, they’re lovingly compiled and feature some of the best music in the history of Jamaican music. Standout Tracks: Johnny Moore Slavling Johnny, Jackie Mittoo Jump For Joy, The Clarendonians You Won’t See Me and The Wailers Mr. Talkative.
STUDIO ONE SKA FEVER!
SWEETHEARTS OF THE PRISON RODEO-ON THE DESOLATE HILLSIDE.
SWEETHEARTS OF THE PRISON RODEO-ON THE DESOLATE HILLSIDE.
Sweethearts Of The Prison Rodeo are no ordinary band. Far from it. The Falkirk based Sweethearts Of The Prison Rodeo describe the music on their debut album, On The Desolate Hillside, as freak-country-folk. Released recently on Adam Stafford’s Glasgow label Wiseblood Industries, On The Desolate Hillside showcases a cerebral band. After all, not many bands record songs about regression, religion, fashionistas, politics, greedy bankers and pollen distribution. The Queens Of The Prison Rodeo do, and that’s why On The Desolate Hillside is a truly compelling debut album from the Falkirk collective.
For those unfamiliar with Scottish geography, Falkirk, which Sweethearts Of The Prison Rodeo call home, is in central Scotland. It’s smack bang between Glasgow and Edinburgh. Anyone whose taken a train between the two cities, will have passed by Falkirk, which has a thriving music scene. Two of the most recent graduates from Falkirk’s music scene are End Of Neil and Sweethearts Of The Prison Rodeo. Both are just embarking on their musical careers.
As for Sweethearts Of The Prison Rodeo, their discography numbers just one E.P, a single and their debut album On The Desolate Hillside. Sweethearts Of The Prison Rodeo’s first release was the Split E.P. This saw them start as they meant to go on. It was released on a limited edition orange cassette. Then came their double-A-sided single. Featuring Fashionable Buddhas and Solitary Rabbit, the single was a statement of intent. Released on Wiseblood Industries, it featured searing social commentary and wry, surreal humor. This whetted the appetite for Sweethearts Of The Prison Rodeo’s debut album On The Desolate Hillside.
The ten songs on On The Desolate Hillside are written by Sweethearts Of The Prison Rodeo’s songwriter-in-chief D.King, who the band is built around. By referring to himself as D.King, this adds an air of mystery, to a band already steeped in mystery. An aura surrounds the four members of Sweethearts Of The Prison Rodeo. It certainly did, during the lost weekend in Killin, Perthshire, when On The Desolate Hillside was recorded. D. King was joined by the beat and loop-meister Adam Stafford, bassist and steel guitarist Robbie Lesiuk and Julian Tonner. Most of On The Desolate Hillside was recorded during what the band describe as a lost weekend in Killin, Perthshire. Additional recording took place in Carron and Larbert, with Adam Stafford producing On The Desolate Hillside. Once On The Desolate Hillside was completed, Julian Corrie mixed the album. It was then released on Wiseblood Industries.
On The Desolate Hillside is no ordinary album. It’s handmade and embraces the D.I.Y. ethos of punk and post punk. Designed by Julian Tonner, it’s a mini work of art. The drawings add to the power of the music on On The Desolate Hillside. Described by Sweethearts Of The Prison Rodeo as: “a panoply of music and song, poetry and pictures for your enjoyment” that’s a pretty good description of On The Desolate Hillside. Let’s see if I can add to that.
Opening On The Desolate Hillside is The Weather Report Is Grim And Dark. A crackly radio being tuned gives way to a crystalline guitar. As it’s deliberately strummed, it accompanies a guttural vocal, full of frustration. Reminiscent of Arab Strap, there’s no attempt to disguise its Scottishness. As he comes to terms with the grim and dark weather, the rest of Sweethearts Of The Prison Rodeo add mocking harmonies. They tell him the sun has gone back in. Quintessentially Scottish in sound and subject matter, folk, alternative and indie combine.
The Solitary Rabbit features a warts and all performance from Queens Of The Prison Rodeo. After fluffing his opening line, a deliberate definite guitar solo gives way to a tender, melancholy vocal from D. King. Accompanied by singalong harmonies, D. King sings about regression. Having been hypnotized, he discovers that in a past life, he was a rabbit. Although slightly surreal, it’s melodic and showcases Queens Of The Prison Rodeo’s cerebral side.
Fashionable Buddhas is one of my favorite songs on On The Desolate Hillside. It’s the perfect description of a certain type of person who embraces religion for fashion rather than faith. You’ll come across them in Kensington and Morningside. Searing guitars and oompa harmonies are combined with Ennio Morricone influence. Then comes D. King’s vocal. He almost spits out what are articulate and intelligent lyrics. Seeing religion treated as fashion item disgusts him, resulting in an impassioned, articulate polemic.
According to the Sweethearts Of The Prison Rodeo, Hell Is Awaiting corrupt bankers, politicians and policemen. Again, the vocal is delivered with sheer disgust. Venom is a better description. D. King realizing we’ve been, as Johnny Rotten put it “conned,” unleashes his disgust at this betrayal. Meanwhile, the rest of the Sweethearts Of The Prison Rodeo portray the baying mob that should’ve awaited those that betrayed us. Truly, an impassioned performance.
Great Trees, Social Bees (World Transforming) is just a ninety minute sketch about….pollen distribution. It’s set against a backdrop of clocks, chatter and a radio playing. The vocal is accompanied by a penny whistle, percussion and harmonies, tells combine history and humor, when comparing a bee hive to a factory during the Industrial Revolution.
Anomie Encumbrance has a real authentic America sound. As a bass bounds across the arrangement, hands clap, ethereal harmonies coo and a crystalline guitar chimes. Heartfelt and with a vocal that’s almost mid-Atlantic, the Sweethearts Of The Prison Rodeo enjoy their finest moment. Soulful and country-tinged, the Sweethearts Of The Prison Rodeo combine social comment and their cerebral side successfully.
Sci-fi synths opens Mappin, where everything from seventies Lou Reed and David Bowie, meet the The New York Dolls and Sensational Alex Harvey Band. Electronica, new wave, rock and indie combine while the vocal is sung through an effects processor. Soaring harmonies, synths and searing guitars provide the rocky backdrop to this genre-sprawling tale of how successive Conservative governments have tried to destroy the Welfare State.
Break These Chains is very different to the previous track. Gone is the rocky sound of the previous track. This is much more understated sound suits the song. It allows you to focus on the lyrics, which ponder the possibilities of breaking the chains of D.N.A. Are we genetically hardwired to do or be something, or have we the choice to do or not to do something? Intelligent, thoughtful and thought-provoking describes this track.
Fittingly, there’s an air of mystery to Solemn As A Song. After all, there’s an air of mystery to Sweethearts Of The Prison Rodeo. Finding a house that’s been left unattended, provokes a multitude of questions. What happen here and to who? Fuzzy guitars and a deep, almost dark, broody vocal combine as this sombre, enigmatic song unfolds.
Closing On The Desolate Hillside is the title-track. Just strummed guitars and a deliberate, folk-tinged vocal combine on this surreal tale of strange goings on “On The Desolate Hillside.” These strange goings on include murder. One of the victims is the first love of the great Scottish poet Edwin Morgan. Her body is discovered by the ghost Edwin Morgan “On The Desolate Hillside.” The result is a surreal fusion of folk, feedback and things that go bump in the night.
On The Desolate Hillside is very different to most debut albums I’ve come across. There’s an almost punk attitude to the Sweethearts Of The Prison Rodeo. It’s as if they’re doing things their way, or no way. That’s a very Scottish trait. We do things our way, or not at all. The same can be said of the Sweethearts Of The Prison Rodeo. After all, tales of regression, murder, bankers burning in hell, fashionistas and ghosts finding murder victims on hillsides isn’t what you’d expect on a debut album. What you find on the Sweethearts Of The Prison Rodeo’s debut album On The Desolate Hillside, is a fusion of musical genres and influences.
Described freak-country-folk, I’d add to that indie, new wave, soul and punk. Influences include everyone from the usual Lou Reed, David Bowie and New York Dolls, through to the Ennio Morricone, Sensational Alex Harvey Band, The Proclaimers, Arab Strap and R.M. Hubbert. This eclectic mix of influences combined with the cerebral, articulate, sometimes surreal and mystical lyrics of D. King are a potent combination. Full of searing social comment, anger and frustration, he articulates the anger many people feel at the corruption in society. So, D. King’s lyrics on On The Desolate Hillside voice our concerns, frustrations and anger. He’s our conscience and voice, one that’s articulate and cerebral. For that we should be grateful. We should also be grateful for On The Desolate Hillside, the Sweethearts Of The Prison Rodeo’s debut album.
Hand-crafted, and the result of a cottage-industry of musicians, illustrators and producers, On The Desolate Hillside is more that what the Sweethearts Of The Prison Rodeo call: “a panoply of music and song, poetry and pictures for your enjoyment.” Far from it. Impassioned, angry, articulate, cerebral and speaking for those who can’t speak for themselves, describes On The Desolate Hillside, a searing, impassioned, rant from the Sweethearts Of The Prison Rodeo. Let’s hope, On The Desolate Hillside, is the first of many from Sweethearts Of The Prison Rodeo. Standout Tracks: The Solitary Rabbit, Fashionable Buddhas, Break These Chains and Solemn As A Song.
SWEETHEARTS OF THE PRISON RODEO-ON THE DESOLATE HILLSIDE.
BELLE AND SEBASTIAN- THE THIRD EYE CENTRE.
BELLE AND SEBASTIAN- THE THIRD EYE CENTRE.
Between 1975 and the late eighties, The Third Eye Centre was The place to find cutting-edge, sometimes controversial and always progressive art. It was the antithesis of every other theatre or venue in Glasgow. This wasn’t like The Kings, Pavilion or the Theatre Royal. No. You didn’t luxuriate in the somewhat faded Victorian grandeur. Instead, you sat on those unforgettably uncomfortable wooden benches. It was worth it though. Definitely. The Third Eye Centre’s productions were always that bit edgier. They were always willing to push things that little bit further. That’s why they’ll always have a place in the heart of a generation of Glaswegians, including Belle and Sebastian.
Belle and Sebastian’s recent compilation of B-Sides, rarities and non-album tracks is entitled The Third Eye Centre. This is fitting. Just like The Third Eye Centre before them, Belle and Sebastian do things their way. That’s no surprise. After all, Belle and Sebastian’s debut album was recorded as part of a college project.
It was back in1996, at Stow College, in Glasgow that Belle and Sebastian were formed. The band was formed by two students, Stuart Murdoch and Stuart David, and was named after Cecile Aubry’s 1965 book Belle et Sebastien. Since then, many members have joined and left the group. One of the most influential was, Isobel Campbell, who joined in 1996 and left the group in 2002, singing vocals and playing cello. Other members include Chris Geddes and Sarah Martin.
Whilst at college, in 1996, Belle and Sebastian recorded some demo tracks with the college’s music professor Alan Rankin. Yes. That Alan Rankin, formerly the keyboardist and guitarist in The Associates alongside the late Billy Mackenzie. The demos came to the notice of the college’s business studies department, who each year, released a single on the college’s record label. Belle and Sebastian, by then, had recorded a number of songs, enough to fill an album. Having been so impressed by Belle and Sebastian’s music, that year, the label decided to release an album, called Tigermilk.
Tigermilk, which was produced by Alan Rankin. It was recorded in just three days. Just one-thousand copies vinyl were pressed. Tigermilk was well received and the album sold out quickly. The original copies of Tigermilk are now prized possessions of Belle and Sebastian fans. Following the success of Tigermilk, Belle and Sebastian decided to make a career out of music.
Stuart Murdoch and Stuart David decided that Belle and Sebastian would become a full-time band. Soon, further members joined the band. Isobel Campbell joined on vocals and cello, Stevie Jackson on guitar and vocals, Richard Coburn on drums and Chris Geddes on keyboards.
After Tigermilk’s success, the group signed to Jeepster Records in August 1996, they released their sophomore album If You’re Feeling Sinister. Produced by Tony Doogan, it was released in November 1996. Many people believe that this is their finest album. American magazine Spin, liked the album so much, that they put it at number seventy-six in their top one-hundred albums released in the twenty year period between 1985-2005. Rolling Stone magazine put the album in its list of essential albums of the 1990s.
After the release of If You’re Feeling Sinister, the group released series of E.P.s during 1997. The E.P.s were Dog On Wheels, Lazy Line Painter Jane and 3, 6, 9 Seconds of Light. Dog On Wheels featured four songs that were recorded before the formation of Belle and Sebastian. It reached number fifty-nine in the UK charts. Lazy Line Painter reached number forty-one in the UK charts, and 3, 6, 9 Seconds of Light became the group’s first top forty single, reaching number thirty-two in the UK charts. That was the start of the rise and rise of Belle and Sebastian.
September 1998, saw Belle and Sebastian release their third album The Boy With The Arab Strap. It reached number twelve in the UK charts. Unlike previous Belle and Sebastian albums, Stuart Murdoch doesn’t feature on vocals. Instead, they’re shared amongst Isobel Campbell, Stevie Jackson and Stuart David. The album received mixed views from the music press. Long time supporters of Belle and Sebastian, Rolling Stone and The Village Voice praised The Boy With The Arab Strap, while others weren’t as impressed. However, since its release, many people, myself included, believe The Boy With The Arab Strap to be Belle and Sebastian’s finest hour. Despite the success of The Boy With The Arab Strap, Belle and Sebastian changed direction musically.
Two years after the release of The Boy With The Arab Strap, Belle and Sebastian released Fold Your Hands Child, You Walk Like A Present. Released in June 2000, the album was produced by Tony Doogan. It’s best described as chamber pop. Fold Your Hands Child, You Walk Like A Present has a much more laid-back, mellow sound. The tempo is slower, while vocals are shared amongst band members. Then there’s the strings. They’re used more extensively. Sadly, this was the last album to feature founder member Stuart David. For their next album, Belle and Sebastian would try their hand at writing a film score.
Although Storytelling was both Belle and Sebastian’s fifth album, it was their first film score. Released in June 2002, only six minutes of the thirty-five minutes of music recorded by Belle and Sebastian made it into Todd Solondz’s movie. It sounds as if the experience was somewhat frustrating for the band. They had problems communicating with Todd Solondz. Worse was to come. Belle and Sebastian were about to lose one of their most important members… Isobel Campbel
Having released and toured Storytelling, Isobel Campbell left Belle and Sebastian. She decided to pursue a solo career. Many critics wondered what effect this would’ve on Belle and Sebastian? They came back, but briefly, were different band
Much of the summer of 2003 saw Belle and Sebastian recording their sixth album. Losing Isobel Campbell wasn’t the only change in the life and times of Belle and Sebastian. No.They’d left Jeepster and signed to Rough Trade. Tony Doogan was replaced as producer. His replacement was Trevor Horn. His credentials seemed somewhat questionable.
Previously, ex-Buggle Trevor Horn had he’d been an award winning producer and songwriter. Recently, he’d been working with Charlotte Church and Lee Ann Rimes. Considering Belle and Sebastian were one of the hottest indie bands, they seemed strange and awkward bedfellows. It seemed Trevor Horn had been brought in to polish of the band’s rough edges. Rough Trade, a supposed indie label, were polishing away part of the group’s charms. Many onlookers were horrified, afraid of the direction Trevor Horn would take Belle and Sebastian.
In some ways, these fears were justified. Gone was the folksie, melancholy, chamber pop of their roots. Dear Catastrophe Waitress was the polar opposite of previous albums. Replacing it, was the slick, poppy charms of the Trevor Horn produced Dear Catastrophe Waitress. On its released in October 2003, it was nominated for an Ivor Novello award. Critics gave Dear Catastrophe Waitress favorable reviews. On both sides of the Atlantic, Dear Catastrophe Waitress appealed to critics. Despite the positive reviews Dear Catastrophe Waitress received, thankfully, Belle and Sebastian and Trevor Horn never renewed their aquaintance when they released their next album, three years later.
Between the release of Dear Catastrophe Waitress and 2006s The Life Pursuit, Belle and Sebastian kept busy. In 2005, they released a twenty-five track compilation entitled Push Barman To Open Old Wounds. Featuring a series of E.P.s Belle and Sebastian had released, critics adored the album. Hailed as vintage Belle and Sebastian, they were crowned the best indie band. Very different from Dear Catastrophe Waitress, Push Barman To Open Old Wounds was the Belle and Sebastian their fans knew and loved. Push Barman To Open Old Wounds wasn’t Belle and Sebastian’s only release during 2005.
No. Belle and Sebastian released their first live album, If You’re Feeling Sinister: Live At The Barbican. Released in December 2005, this allowed Belle and Sebastian to revisit their 1996 album If You’re Feeling Sinister and rectify what the band believed to be the mistakes of the original album. That night in September 2005, Belle and Sebastian took the Barbican by storm, playing an encore lasting over an hour. This encore would prove to be somewhat prophetic.
When Belle and Sebastian released The Life Pursuit in February 2006, it proved to be their most successful album. The Life Pursuit was produced by Tony Hoffer in Los Angeles and Glasgow. Tony had previously, produced Air, Turin Breaks and Beck. He was a much better fit than Trevor Horn. On its release, The Life Pursuit reached number eight in the UK and number sixty-five in the US Billboard 200. Funny Little Frog gave Belle and Sebastian the biggest hit single of their ten year career. Despite that, it would be four years until Belle and Sebastian released their next studio album.
Following the release of The Life Pursuit, Belle and Sebastian headed out on tour. They were now well versed in the album, tour, album, tour routine. To ensure their fans didn’t forget them, Belle and Sebastian released The BBC Sessions in November 2008. A double-album, the first disc featured many songs that featured Isobel Campbell. These songs had never been heard before. So for fans of Belle and Sebastian this was a real must have. As for the second disc, it features Belle and Sebastian live in Belfast, where the group cover Thin Lizzy’s The Boys Are Back In Town. While The BBC Sessions kept Belle and Sebastian’s fans occupied, the group recorded their most successful album to date.
October 2010, saw Belle and Sebastian released their eighth studio album. Entitled Belle and Sebastian Write About Love, it was the second Belle and Sebastian album produced by Tony Hoffer. Recorded in Los Angeles, rather than Glasgow this surprised some people. Tony’s decision to take Belle and Sebastian out their comfort zone worked. He was proving to be the perfect foil for Belle and Sebastian’s foibles. Featuring contributions from Norah Jones, Sarah Martin and Carey Mulligan, Belle and Sebastian and friends struck musical gold.
Reaching number eight in the UK, Belle and Sebastian Write About Love reached number fifteen in the US Billboard 200. Critically acclaimed and a hot worldwide, this was a long way from recording Tigermilk in three days as part of a college project. Belle and Sebastian were indie Queens and Kings. Despite this, the continued to things their way.
While many bands would’ve headed straight back into the studio and had a followup to Belle and Sebastian Write About Love release A.S.A.P, this isn’t the Belle and Sebastian way. No. Not only do Belle and Sebastian do things their way, but they care about their fans. So, whilst taking their time recording a followup to Belle and Sebastian Write About Love, they’ve released a nineteen track retrospective, The Third Eye Centre.
This nineteen track retrospective, The Third Eye Centre, features rarities, remixes, B-SIdes, non-album tracks and tracks from E.P.s. The music spans Belle and Sebastian’s career. There’s tracks from albums produced by Tony Doogan, Trevor Horn and Tony Hoffer. Bonus tracks sit side by side with remixes, while B-Sides and charity singles. In some ways, The Third Eye Centre allows the listener to hear another side to Belle and Sebastian.
Opening The Third Eye Centre, is The Avalanches Remix of I’m A Cuckoo, which was the sophomore single from 2004s Dear Catastrophe Waitress. Produced by Trevor Horn, I’m A Cuckoo was released as a four-track CD or as a 7” single. Featured on The Third Eye Centre is The Avalanches’ remix of I’m A Cuckoo. Other tracks that feature on the I’m A Cuckoo, are the country-tinged (I Believe In) Travellin’ Light, Stop Look and Listen and Passion Fruit, which previously, was part of Stop Look and Listen. As for Stop Look and Listen, it’s sounds as if it’s a fusion of Steely Dan and Simon and Garfunkel. Compelling, slick and poppy, it’s a glorious song that shows another side to Belle and Sebastian.
Nowadays, bonus tracks are almost expected. They’re seen as right, rather than as a bonus. Indeed, it seems that bands are expected to fill a compact disc’s eighty minutes. That’s not in their best interests. After all, go over fifteen tracks, and it hits the band in the pocket. As for bonus tracks, why not keep them for a box set? Often, bonus tracks are best described as outtakes. Not when it comes to Belle and Sebastian. Their bonus tracks are better than many bands singles. Three bonus tracks from Belle and Sebastian Write About Love feature on The Third Eye Centre. They’re Suicide Girl, which features dark, sombre lyrics. It heads in the direction of synth pop and power pop. The other tracks the jangly tale of heartbreak that is Last Trip and Blue Eyes Of A Millionaire.
Step Into My Office Baby was Belle and Sebastian’s first single for Rough Trade Records. Released in November 2003, it was a track from Dear Catastrophe Waitress. The single featured three tracks, but neither Love On The March nor Desperation Made A Fool Of Me feature on Dear Catastrophe Waitress. Love On The March is a classy reminder of sixties pop, while Desperation Made A Fool Of Me is heart-wrenching, with an almost Morrisey-esque quality. Their inclusion on The Third Eye Centre can only be welcomed, and are best described as Belle and Sebastian doing what they do best.
Your Secrets featured on the Books E.P. Released in 2004, this was another single from the Trevor Horn produced Dear Catastrophe Waitress. Despite its poppy sheen, Belle and Sebastien’s cerebral lyrics shine through. Pensive and wistful, frustration boils over during Stuart’s vocal as he almost begs his partner to “share her secrets.” Emotive, needy and moving, describes this track.
Miaoux Miaoux remixed Your Cover’s Blown and gave the song a delicious dance-floor friendly sound. Despite the unmistakable quality of the track, it was never released…until now. Electronica, synth pop and house are combine while we hear another side to Stuart. Moody, broody and sometimes, Bowie-esque he proves that he’s hidden depths we’ve never heard, until now.
I Took A Long Hard Look and Meat and Potatoes are two of the three tracks from the Funny Little Frog single. Funny Little Frog featured on the 2006 album The Life Pursuit. On its release in 2006, Funny Little Frog reached number thirteen in the UK. This was Belle and Sebastian’s most successful single. However, neither I Took A Long Hard Look nor Meat and Potatoes featured on 2006s The Life Pursuit. Given their quality, that seems strange. Thoughtful, but ethereal describes I Took A Long Hard Look and Meat, while Meat and Potatoes is blessed with a glorious vintage sound.
Heaven In The Afternoon and Long Black Scarf featured on Belle and Sebastian’s White Collar Boy Single. Both are non-album tracks. White Collar Boy had an electro sound, and didn’t quite capture the record buying public’s attention. Of the other two tracks, Heaven In The Afternoon stands out. It’s a fusion of bluesy horns, pop and acoustic guitars. Together they give the track a dreamy, lush and wistful sound. Pop perfection from Belle and Sebastian.
When Belle and Sebastian contributed a track to War Child’s A Day In The Life charity album, only the could’ve come up with a title like The Eighth Station Of The Cross Kebab House. Released in 2005, there’s everything from The Clash, ska, sixties French pop and indie pop during four minutes of social comment.
Come On Sister was the title of Belle and Sebastian’s 2011 E.P. This three track E.P. features Come On Sister, Blue Eyes Of A Millionaire and Richard X’s remix of I Didn’t See It. Featuring crystalline guitars, an ethereal, hauntingly beautiful vocal and pounding drums, indie pop, electro and house seamlessly become one.
The other two tracks on The Third Eye Centre are Mr. Richard and The Life Pursuit. They featured on The Blues Are Still Blue single. Neither track made it onto The Life Pursuit album. That’s somewhat strange, as The Life Pursuit shares its name with the album. In some ways, this isn’t surprising. After all, this is Glasgow perfect, pop contrarians, Belle and Sebastian. Only they, can produce a tracks as good as the genre-sprawling Mr. Richard and The Life Pursuit and not include them on an album?
The Third Eye Centre features nineteen B-Sides, rarities, remixes, charity singles, non-album tracks and previously unreleased tracks. While some of these tracks are rarer than others, each track offers an insight into an enigmatic band Belle and Sebastian. Their raison d’etre seems to be pop perfection. Throughout the illustrious back-catalogue, they’ve achieved their aim. Indeed, many of the songs on The Third Eye Centre are a reminder of Belle and Sebastian’s search for pop perfection. After all, why are perfectly good track left off albums or left to languish on E.P.s or B-Sides? The reason for that is simple, and quintessentially Scottish. Belle and Sebastian are perfectionists, just like groups like The Bathers and The Blue Nile. That’s why their standards are so high and there’s such lengthy gaps between albums.
Another reason for three or four year gaps between albums, is Belle and Sebastian are contrarians and mavericks. The same can be said of The Bathers and The Blue Nile. That too is a very Scottish trait. We believe the world is against us, and revel in that belief. We’re forever the underdog, and wouldn’t have it any other way. I’m sure that’s the case with Belle and Sebastian. After all, it’s been three years since what was the most successful album of their career Belle and Sebastian Write About Love. With no sign of the followup to Belle and Sebastian Write About Love, The Third Eye Centre is a welcome reminder of what Belle and Sebastian are capable of.
Indeed, The Third Eye Centre is a tantalizing glimpse of Belle and Sebastian. It’s also a tantalizing glimpse of what we’re missing. If they could only produce albums on a more regular basis. Mind you, maybe they’d lose some of their unmistakable charm? Belle and Sebastian are capable of producing captivating, bewitching and beautiful music. Sometimes, they lay bare their soul, while articulating their hopes, fears, frustrations and dreams. Articulating this range of emotions, are Glasgow’s purveyors of pop perfection Belle and Sebastian. Their music despite being quintessentially Scottish, transcends geographical boundaries. For anyone whose lived, lost and lost love, Belle and Sebastian’s music will speak to them and for them. It brings to life their heartache and hurt, their sense of how life will never be quite the same again.
Belle and Sebastian’s music, including the music on their recently released The Third Eye Centre compilation, is deeply soulful, beautiful and emotive. That’s why Belle and Sebastian are one of the best bands to come out of Scotland in the last thirty years. It’s also why every self respecting record collection must feature a Belle and Sebastian album. A good place to start is Tigermilk and The Boy With The Arab Strap and then, to give you a taste of what happened next, The Third Eye Centre. These three albums, are sure to make a Belle and Sebastian fan out of you. Standout Tracks: Last Trip, Heaven In The Afternoon, Stop, Look and Listen and I Didn’t See It.
BELLE AND SEBASTIAN- THE THIRD EYE CENTRE.
GOUSH BEDEY.
GOUSH BEDEY.
Following the Iranian Revolution of 1979, music almost overnight, became illegal. No longer were concerts held, sheet music printed or albums released. Suddenly, Iran’s vibrant and eclectic music went into hibernation. Musicians headed overseas. They became exiles. There was no point living in a country where they were persecuted and banned from making a living. So they headed overseas. Those that were left behind couldn’t believe what was happening.
For those left behind, they watched helplessly as musical instruments, sheet music and even records were destroyed. The only music allowed, was Islamic music. So no longer were Iranian musicians able to play the music they loved. That included everything from soul and jazz, right through to funk, psychedelia and pop. Iranian music before the revolution was eclectic. Proof of this is Goush Bedey, which is the fifth release in Pharaway Sounds’ series of pre-Revolutionary Iranian music. Funk, psychedelia and pop can be found on Goush Bedey, a sixteen track compilation, which I’ll pick the highlights of.
My first choice is Soli’s Sadaf, which opens Goush Bedey. Joyous, funky and driven along by blazing horns, a myriad of percussion and a funky bass joins a cascading, emotive flute. Bursts of dramatic drums signal the arrival of Soli’s impassioned vocal as he revisits what seemingly was familiar theme of pre-Revolutionary Iranian music. That theme, is that pearls were the result of oysters swallowing raindrops. Full of imagery, slightly surreal and hugely evocative, the result is joyful and psychedelic musical journey.
Straight away, you realize Shoreh’s To Ke Nisti is more than a little special. Released in 1977, it featured on her Dokhtare Mashreghi album. Quivering strings sweep and swirl, joining stabs of rasping horns and what sounds like the rhythm section from a seventies Blaxploitation move. It’s as if John Shaft has been transported to Tehran. Add to the a flute that dances alongside the strings. Then there’s Shoreh’s vocal. It reflects, and adds to, the drama of this funky opus.
Shahrokh has featured on previous installments of Pharaway Sounds’ series of pre-Revolutionary Iranian music. His contribution is the title-track Goush Bedey. Like so many of the sixteen tracks on Goush Bedey, it’s a track full of surprises and subtleties. There’s a real Eastern sound that’s evocative. It paints pictures and instantly, your transported back to seventies Iran. As the bass, acoustic frame drum and flute combine, strings slowly, sweep and swirl. Then there’s Shahrokh’s vocal. It’s best described as soul-baring and laden with emotion. No wonder he’s such a favorite of Pharaway Sounds’ compilers.
Shohreh’s To Bemoon explodes into life. It’s a track that sounds as if it should be the soundtrack to a car chase in a Blaxploitation movie. The drums and horns are at the heart of the track’s success. They feed off each other. So to some extent, do the woodwind. Then there’s the female vocal, it’s delivered with an urgency, as funk, Afro-beat and soul unite to create a hidden funky gem.
Crooner. That’s one way to describe Sattar on Bot Shekkan. He sounds like an Iranian Tony Bennett or Andy Williams. It’s as if he’s been overwhelmed by the emotion. There’s a reason for this. The song’s lyrics celebrate an important period in Islamic history. That was when Mahmud of Ghazni was crowned the first Sultan of the Ghaznavid Empire. Cinematic strings shiver and shimmer, while the bass meanders along. Filling the gaps is Sattar’s vocal. It’s full of heartfelt and emotive, breathing life and meaning into the lyrics on a track where M.O.R. and pop unite.
The best way to describe Azita’s Bi To is a fusion of disco and Latin. As rasping horns and percussion provides a Latin twist, hissing hi-hat adds a disco influence. One thing’s missing though. That’s the disco strings. No worries. Azita’s found a replacement. This is what sounds like Hungarian fiddles. Their evocative sound result in an infectiously catchy, genre melting track.
Mahasti is one of just two artists to feature twice on Goush Bedey. No wonder. She’s a hugely talented singer, who brings songs to life. Her two contributions are Aziz-E Rafteh and Delah Tangeh. Thet showcase the ethereal beauty of Mahasti’s vocal. That’s the only similarity between the two tracks. Aziz-E Rafteh is reminiscent of sixties French pop. It’s the swathes of sweeping strings and acoustic guitar that lead to the comparison. As for Mahasti’s vocal, it’s impassioned and heartfelt. The other track, Delah Tangeh has an understated and compelling introduction. Gradually, it unfolds. Strings cascade while the drums provide the heartbeat. Having set the scene for Mahasti’s vocal, she lays bare her soul for all to see and hear.
Nooshafarin’s Gharibeha is my final choice from Goush Bedey. From it’s jaunty introduction, where the muted trumpet and strings skip confidently along, you’re hooked. Their carefree sounds is joined by Nooshafarin’s vocal. The only way to describe it is ethereal and heartfelt. Throughout the track, strings are dropped in at just the right moment. Meandering along is the bass line. Just like the other instruments, it plays its part in this track’s success and beauty.
Goush Bedey is a truly eclectic compilation of hidden gems, rarities and forgotten musical nuggets. Although this is the fifth installment in this series of pre-Revolutionary Iranian music, there’s no sign of the series running out of steam. Far from it. Pharaway Sounds have surpassed their previous efforts on Goush Bedey.
To do that, they’ve combine jazz, funk, soul, classical, folk, pop, psychedelia and rock. All this is thrown into the musical melting pot. What comes out is a mesmeric fusion that captivates and compels. You’re taken on a musical journey, one that veers between, ethereal, emotive, surreal and trippy, to beautiful, understated and melancholy. One thing the music never is, is boring. Not at all. Subtleties and surprises are sprung. On Goush Bedey, there’s many a change of direction. This is the musical equivalent of a handbrake turn. That’s what makes Goush Bedey such a captivating and refreshing compilation.
There’s a reason I refer to Goush Bedey as a refreshing compilation. That is, because Pharaway Sounds eschew the safe and sterile music that can be found other compilations. That’s no bad thing. Far from it. Instead, they take a different approach. They’re brave and bold, and seem determined to give the compilation world a shakeup. To do this, they’ve managed to lay their hands on tracks other record companies can only dream of. Many of these hidden gems and musical nuggest feature on Goush Bedey, which not only is crammed full of quality music, but surpasses the quality of Pharaway Sounds’ previous compilations of pre-Revolutionary Iranian music. Standout Tracks: Soli Sadaf, Sattar Bot Shekkan, Mahasti Delah Tangeh and Nooshafarin Gharibeha.
GOUSH BEDEY.
SILVETTI-SPRING RAIN.
SILVETTI-SPRING RAIN.
Despite enjoying a career that lasted four decades, Bedu Silvetti is always remembered for his disco classic Spring Rain. It originally featured on Silvetti’s 1976 debut album World With Words. On its release as a single in January 1977, it reached number four in the US Disco Charts. Seven months later, Spring Rain was the title of Silvetti’s Salsoul album. Released in August 1977, Spring Rain, which was recently released by BBR Records, showcased one of the most innovative producers of the disco era. That’s no exaggeration. You’ll realize that, once I’ve told you about Silvetti’s career and then his sophomore album Spring Rain.
Bedu Silvetti was born in Quilmes, a city in the Buenos Aries province if Argentina. Christened Juan Fernando Silvetti Aorno, Silvetti’s musical eduction started at an early age. Aged six, he was learning to play the piano. Then as a teenager, Silvetti formed a jazz quartet. By the time Silvetti turned twenty-one, he was leaving Argentina’s shores.
Arriving in Spain, Silvetti soon forged a reputation as one of the best jazz pianists in Spain. This resulted in him playing in some of Spain’s most prestigious venues. Then when he spent some time living in Mexico, Silvetti spent time working as an arranger and composer. This would prove to useful when he returned to Spain.
On his return his adopted home, Spain, Silvetti signed his first recording contract. He signed Hispavox Records, which was EMI’s Spanish imprint. For his debut album, 1976s World Without Worlds, musical genres and influences melted into one. Elements of soul, funk, Latin, classical, jazz and M.O.R. melted into one. Produced by Rafael Trabucchelli, Silvetti was learning from an experienced and producer. Rafael was a legendary figure in Spanish music, so the perfect person to guide Silvetti through the recording of World Without Words.
Featuring ten tracks and clocking in at thirty-one minutes, Silvetti’s debut album World Without Words was released in 1976. Not only was World Without Rain released in Spain, but in various other countries.This was the result of a licensing agreement Hispavox Records had with other record companies. One of these companies, was Salsoul Records in America.
Salsoul were drawn to one track on World Without Rain, Spring Rain. This was just a shortened version of the track that would become synonymous with Silvetti. Indeed, Spring Rain would be the title of Silvetti’s sophomore album.
For the followup to World Without Words, Silvetti wrote seven of the eight tracks on Spring Rain. The exception was Contigo, which Silvetti cowrote with Ibanez Sylvia Riera. These eight tracks became Spring Rain, which was released on Hispavox Records in Spain and Salsoul in America.
Despite being only licensed to Salsoul, Spring Rain is perceived as a Salsoul Records release. It is and it isn’t. Recorded in Spain, The Salsoul Orchestra don’t feature on Spring Rain. Indeed, the musicians aren’t named. This adds an air of mystery. You wonder who were the musicians that Silvetti conducted? Silvetti played piano and arranged the eight tracks. Producing Spring Rain was Rafael Trabucchelli, who produced World Without Words. Tom Moulton, Salsoul’s favorite mixer was brought in to mix Spring Rain which was released in August 1977.
Before the release of Spring Rain, the title-track was released as a single. Incredibly, Spring Rain just reached number thirty-nine in the US Billboard 100, number seventy-seven in the US R&B Charts and number four in the US Disco Charts. Then to coincide with the release of Spring Rain the album, Voyage Of No Return was released as a single. It reached just number nineteen in the US Disco Charts. Then when Silvetti’s sophomore album Spring Rain was released, it failed to chart. For everyone involved, this must have been hugely disappointing. After all, here was a producer although based in Spain, who bought in to the ethos and sound of Salsoul. He was innovative, producing music that was ahead of the musical curve. Unfortunately, great music doesn’t always find an audience. Maybe Silvetti was ahead of his time with Spring Rain? Was that the case?
Opening Spring Rain is the title-track. Mixed by Tom Moulton, a lush sounding track, that sounded as if it had been recorded by The Salsoul Orchestra unfolds. Opening with stabs of piano that give way to that much sampled piano riff, rocky guitars and then the lushest of strings enter. From there, the track sweeps along at 114 beats per minute. Subtle, tender backing vocalists enter, as the track takes on a hustle sound. Percussion then plays its part, joining the strings and that piano, while drums pound dramatically. By the end of the track, you can only marvel at this timeless opus that has inspired a new generation of producers.
Primitive Man sees Silvetti find his inner funkateer. Bursting into life, a bubbling bass line, riffing guitars, braying horns and a pulsating heartbeat unite. Scatted, sassy harmonies join rasping horns and the lushest of disco strings. That’s not forgetting Silvetti’s piano masterclass. Subtle, spacious and effective, it’s what he doesn’t play. Behind him, the rest of the band provide a pulsating, uber funky arrangement. It bubbles along with disco, funk, Latin and jazz majestically becoming one.
A Smile At Dawn sounds as if it’s a lost track from The Salsoul Orchestra or Salsoul Strings. Again, musical genres melt into one. There’s a real Latin flavor to this track. Add to that soul, disco, funk and jazz. Silvettie’s jaunty piano is joined by chiming guitars, piano and the rhythm section. Then there’s the ethereal beauty of the seductive, scatted harmonies. Sudden, sharp, bursts of piano and horns provide a contrast to the harmonies. Lush, meandering, seductive and dramatic, this tracks all this and more. It’s five magical minutes that epitomize the Salsoul sound and ethos.
Two Cups Of Coffee has a dreamy, languid sound. It has a Sunday morning sound, where easy listening, jazz and even, erotica unite. This proves a potent and compelling fusion. Meandering along, with chiming, jazz-tinged guitars, Silvetti’s keyboards and melancholy strings join wistful, breathy and almost sensual harmonies. Floating along, swathes of strings, keyboards and the rhythm section take the track in the direction of jazz, before the track returns to it’s familiar laid-back sound.
Voyage Of No Return sounds like the type of music Vince Montana Jr. wrote, arranged and produced when he lead The Salsoul Orchestra. When he left, they lost direction. Silvetti maybe, should’ve been the man to replace him? Given this track’s Salsoul sound, I wonder why nobody thought of this? Best described as sounding like The Salsoul Strings with The Sweethearts of Sigma adding punchy, wistful harmonies. As disco, Philly Soul, Latin and M.O.R. were all combined by Silvetti, it’s hard to believe this track wasn’t recorded at Sigma Sound Studios? Instead, it was recorded in Spain, by the man who could’ve been keeper of the Salsoul flame, Silvetti.
Coconut Rain is best described as calypso, Latin, funk and jazz combining over five minutes. An infectiously catchy track unfolds over five minutes. Gradually, it reveals its secrets. A combination of Latin percussion, urgent bursts of piano and thunderous drums finds a groove and exploit it fully. Then the bass helps propel the arrangement along. Soon, disco strings, rasping horns and bubbling bass join with Silvetti’s decisive piano playing to create a musical mystery tour that takes in the Caribbean, South America, Europe and America.
Fortune Teller is very different from the rest of Spring Rain. It sees Silvetti turn back time, resulting in a vintage slice of jazzy music. The track has a smokey, late-night sound. Think four in the morning and your hearts been broken. Your’e sitting with a cigarette in one hand and a glass of whisky in the other. This is the music that would provide the backdrop to your hurt and heartache. Swathes of strings sweep and swirl, harmonies coo and drums pound. They set the scene for a soul-baring saxophone solo. It wanders its way across the arrangement, matched every step of the way by the rhythm section. Silvetti is content to play second fiddle to the saxophone, and later, the soulful and heartbreakingly beautiful harmonies. All this results in a beautiful track, one that’s truly timeless and showcases Silvetti’s versatility.
Closing Spring Rain is Contigo, which has a real Brazilian influence. Drums pound, providing the heartbeat, while bass snakes its way across the arrangement. Above it sits the sultriest of saxophones. Soon, a myriad of Latin percussion, swathes of grand strings sweep and swirl across the arrangement. Bursts of pensive, acoustic guitar flits its way up and down the fretboard, while Silvetti deliberately and confidently adds bursts of piano. Adding the finishing touches, are bursts of ethereal harmonies as this grand, genre-melting track heads to its crescendo. This means Spring Rain finishes, as it began, on a high.
Just eight songs and thirty-nine minutes long, Spring Rain is an almost flawless album. A fusion of musical genres, everything from disco, funk, jazz, and soul sat comfortably next to calypso, Latin and classical music. Sometimes, four or five musical genres melt into one during just one track. Often, this results in music that epitomizes the Salsoul sound. The strange thing is, that while Salsoul is a New York label, Silvetti was a Spanish producer. However, Silvetti’s music has the same sound, ethos and sheen as Salsoul. Despite this, Spring Rain never enjoyed the same commercial success as many of Salsoul’s release. Maybe the problem was people didn’t understand Spring Rain which was recently rereleased by BBR Records?
That’s often the case with innovative and imaginative music. Spring Rain was a progressive album, way ahead of the musical curve. Sculptural, elegant and ethereal, the music of the past and the present met head-on. The result was an album that was dance-floor friendly, soulful, Latin-tinged and jazzy. That describes Spring Rain, an album that’s pretty near flawless.
Best know for its title-track, which is a disco classic, there’s much, much more to Silvetti than Spring Rain. Much more. Silvetti released a string of solo albums, then worked as an award winning composer, arranger and producer. Critical acclaimed and commercial successful, Silvetti’s work as a composer, arranger and producer lead to him winning numerous prestigious awards. This includes being named Billboard’s producer of the year in 2002. Then in 2003, the year of his death, Silvetti won a Latin Grammy Award. He was named producer of the year for his work on Luis Miguel’s Hasta Que Vuelvas. Despite enjoying such a successful and award winning career, many people remember Silvetti for just one song, Spring Rain. Mind you, if you’re going to be remembered for just one song, make it as good as Silvetti’s Spring Rain, a timeless, disco classic. Standout Tracks: Spring Rain, A Smile At Dawn, Voyage Of No Return and Contigo.
SILVETTI-SPRING RAIN.
TRAX BOX.
TRAX BOX.
There are some labels whose music epitomizes everything that’s good about a musical genre. Think of Stax Records and Southern Soul, Blue Note and jazz, Chess Records and Chicago blues, Salsoul Records and disco or between 1972 and 1975, Philadelphia International Records and Philly Soul. Each of these labels produced some of the best music in the history of modern music. To that list, I’d add Trax Records. Trax Records were one of the most influential and innovative Chicago house labels.
Founded in 1983, Trax Records enjoyed a longevity that few other house labels enjoyed. Trax were responsible for releasing some of the most important releases in the history of house music. Think of just about any of the Chicago house classics, and most likely, it’ll have been released on Trax Records. Along with DJ International, Trax Records dominated house music. Indeed, when it comes to Chicago house, its history can be divided into to periods. B.T, before Trax, and A.T. after Trax.
Trax as you can see, was hugely important in the development and growth of Chicago house music. Would house music have become as popular as it has, without Trax? Similarly, would house music have enjoyed the longevity it has without Trax? In some ways, with Trax helped spread the Chicago house gospel far and wide. However, in th eyes of some people, Trax wasn’t a benevolent benefactor.
No. Then again who is? Controversy and allegations surrounds some of its business practices. The same can be said of many labels. In the case of Trax, whether there’s any truth in these rumors, who knows? What I can say, is that it’s become part of the myth and aura that surrounds Chicago house music’s biggest label, who in 2013, celebrate their thirtieth anniversary. However, their clubbing days are far from over. No. Trax are reliving the heady, hedonistic days of Chicago house’s heyday with the release of Trax Box.
Released by Harmless Records on 30th September 2013, Trax Box is no ordinary box set. Far from it. It’s a sixteen-disc box set that features Trax Records’ first seventy-five releases. This includes the A and B sides. There are many a glittering hidden gem awaiting discovery during the sixteen discs. A voyage of discovery awaits the diligent crate-digger. It’s well worth spending the time listening to each disc. To do this, set aside two days. Do what I did, and immerse yourself in some of the finest Chicago house ever released between 1985 and 1989, which the Trax Box covers. Relive the music of Marshall Jefferson, Mr. Fingers, Virgo, Vincent Lawrence, Fresh, Frankie Knuckles and Robert Owen. That was all still to come. Back in July 1979, disco had just died.
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, dance music was at a crossroads. Disco 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 Steve. Soon, Steve had created the Insane Coho Lips, his very own anti-disco army. Along with cohost 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 popularized 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.
Larry Sherman is credited with founding Trax Records early in 1983. He’d just bought Chicago’s biggest record pressing plant, Musical Products. It was based on Chi-Town’s south side. Larry’s reason for buying the plant was personal. He collected jukeboxes and wanted a wider variety of music available. Buying Musical Products allowed him to have an unlimited selection of music available. It unwittingly, proved to be a profitable business venture, when Larry met Vince Lawrence.
DJ Jesse Saunders and his friend Vince Lawrence, a lighting engineer who’d dreams of becoming a producer. Vince’s father owned a record label, and had released the new-wave track Fast Cars. It had given Jesse and Vince a minor hit single. Then Jesse and Vince met pianist Duane Buford and Screamin’ Rachel. Together as Z-Factor, they recorded a series of singles that Vince’s father was due to release. He was taking too long for their liking. So, Vince and Jesser recorded a basic beat track, which was based upon a vintage disco megamix and incorporated parts of the tracks they’d already recorded. Complete with a handwritten label, this new track, they called On and On.
Complete with its handwritten label, On and On, was ready to be pressed. Vince headed out looking for a pressing plant. That’s when he came across Musical Products. Vince was out in his car when he saw the pressing plant. He went in and met Larry and struck a deal. Larry pressed 500 copies for a Dollar a copy. Two days later, the 500 copies were sold out. So, Vince headed back to Musical Products and ordered another 500 copies. Larry, like any entrepreneur sensed there was money to be made. He offered to print the 500 copies of On and On and in exchange, Larry became a partner in Trax Records, which was the baby of his new partner Screamin’ Rachel Sanders.
During 1984, On and On went on to be a huge commercial success. Featuring drum machines, synths and samples, these were the staple of many early Chicago house track. It’s credited with being one of the first and most important Chicago house tracks. Ironically, it wasn’t released on Trax. Indirectly, it would help Trax and his friend, Rachel Sanders.
Rachel Sanders had founded Trax Records in early 1983. According to Rachel, Vince Lawrence had designed the logo. His inspiration for the logo was one of Vince’s favorite labels, Wax Trax, another Chicago label. Vince was part of the Trax family though. He was in charge of A&R. Many of the producers he’d go on to sign were inspired by On and On. They all felt they could surpass On and On. Trax would benefit from this sudden onslaught of new productions.
During 1984, Trax Records started signing artists. In charge of A&R, was Vince Lawrence. He concentrated on signing the best up-and-coming producers. Among them were Le Noiz. Jesse Velez and Farley Jackmaster Funk. There were also releases from Trax founder Screamin’ Rachel Sanders and Ron Hardy during 1985, the first year that the sixteen-disc Trax Box covers.
The sixteen-disc Trax Box cover the period between 1985 and 1989. This four year period covers Trax Records’ first seventy-five 12” releases in their entirety. So this means every track on these seventy-five releases. Whether it’s B-Sides, instrumental mixes, remixes or vocal mixes, it’s all here. Discs 1-8 feature the music on the A-Sides, while Discs 9-16 feature the music on the B-SIdes. Quite simply, nothing has been overlooked. Harmless Records have gone to great lengths to source pristine vinyl copies of each of the seventy-five releases. This wasn’t easy.
Throughout the seventies and eighties, the quality of vinyl that was being used was poor. This started in the seventies, during the energy crisis, and resulted in inferior quality vinyl being used. Ironically, this defeats the arguments that vinyl’s sound is superior.
From 1985 to 1989, many people alleged Larry Sherman used inferior quality vinyl. What he used was recycled vinyl. As for the sleeves, they were made of recycled paper. Trax Records wanted to get the music released quickly. Believing the music had a short shelf-life, Trax resorted to the same tactics punk, then electronic music, labels used. They weren’t running a boutique label, so everything was done quickly and cheaply. This was part of Trax Records’ charm. Unfortunately, this meant standards slipped. However, Trax Records aren’t alone in using inferior vinyl. Many record companies, large and small, are guilty of this. Thankfully, this hasn’t stopped Harmless Records producing a fitting tribute to Trax Records’ thirtieth anniversary. Harmless Records sourced pristine copies of Trax Records first seventy-five releases.
Choosing the highlights of the lovingly compiled and luxurious sixteen-disc Trax Box set isn’t easy.Going through each disc isn’t possible. That would result in a small book, not a review. So, what I’ve decided to do, is pick a few tracks from each of the five years the box set covers. That’ll bring back memories for those of us who were there. It’ll also encourage those who missed out on the heady, hedonistic days of Chicago house to revisit the music of the glory days of house. That music can be found on Trax Box.
Over 220 tracks can be found on the Trax Box. The way Harmless Records have organized the music, is Discs 1-8 feature the music on the A-Sides. As for Discs 9-16, they contain the B-Sides. Strangely, some of the music that languished on B-Sides is every bit as good as the A-Sides. That’s why you should always flip a single or album over. Don’t ever get complacent. After all, you might just discover a hidden gem. There’s plenty of hidden gems on Trax box, which I’ll tell you about.
1985.
1985 was year zero for Trax Records. This was the year the first releases featuring the legendary Trax Records logo. Two years after the label had been founded by Rachel, her new label was on its way to becoming the most important and influential label in house music. During that first year, 1985, Trax would release their first single, and later, release a stonewall Chicago house classic. The music from 1985, can be found on Discs 1 and 9.
The nascent label’s first release was The Noiz’s Wanna Dance. Produced by Jesse Saunders, elements of European electronica is fused with hip hop and house. Samples synths and drum machines play their part in this infuriatingly catchy, experimental track.
In total, there are eight versions of Vincent Lawrence’s Virgo Tracks Again on Discs 1 and 9. Each version offers something new and different. Of the eight tracks, the Latin-tinged Untitled A2, which features on Disc One is my favorite version. Coming a close second is Untitled B3.
Marshall Jefferson contributes a true house classic, Ride On The Rhythm. It features the vocal prowess of Kevin Irving, and is a paean to hedonism. Twenty-eight years later, it’s a timeless classic, that epitomizes Chicago house music.
Having release their first Chicago house classic during 1985, 1986 would see Trax Records release some of their most important music. 1986 was the year Trax Records came of age.
1986
During 1986, it was as if Trax could do wrong. Everything they released was innovative and inventive. It also oozed quality. That’s why the music from 1986 is spread over Discs 1-4 and 9-12. It’s not just the A-Sides that ooze quality. There’s many a glittering gem tucked away on the B-Sides. So don’t be tempted to skip through the B-Sides. Instead, immerse yourself in these eight discs of music from what was, one of Trax Records’ best years.
Remarkably, Ron Hardy only ever released one single for Trax. That was the sensual, needy sounding Sensation. In total, there are three versions of the track. Two feature the Adrian Jett’s sensual and sensuous vocal. They’re the long and short versions. As for the long version, it’s describe it as sassy and dance-floor friendly. The short version is the best version. Clocking in at just under four minutes, it’s a soulful, dance track.
Sleezy D’s Lost Control transports you back to 1986. Instantly, you’re dancing in a cavernous club, the bass bins blasting out the dark, dramatic and moody sounding Lost Control. There are just two versions of the track on the Trax Box. Of the two, the Space Side has a lysergic sound. That comes courtesy of the sinister vocals. Just as good and proving you should always check the B-Side to a single, is the House Side. These two tracks show two sides to another Trax classic.
When Virgo released Free Yourself in 1986, this was the start of run of house classics Virgo released.The man behind Virgo was Marshall Jefferson. He was responsible for the track’s almost Germanic sound. Unlike other tracks, it’s quite understated and ethereal. Sculpted by Kraftwek-esque synths, it’s one of Virgo’s finest moments. A hidden gem is Under You, which featured on the A-Side of Free Yourself. Featuring the same elegant, meandering synths, hissing hi-hats and crisp drums play their part in this hidden gem.
1986 was truly a vintage year for Traxx. A string of successful tracks were released. Several of these were classics. Two of them came courtesy of Mr. Fingers. The first was Washing Machine. With its squelchy synths, beeps and squeaks, it epitomizes Trax Records’ sound, before evolving into a gospel-tinged anthem. Then there’s the equally anthemic Can You Feel It, where Mr. Fingers becomes house music’s first preacher. Futuristic, anthemic and innovative, we should be grateful Mr. Fingers gave up the drums and bought himself a drum machine and synth.
Trax were a prolific label during 1986. That’s why it takes nearly eight of Trax Box’s sixteen discs to showcase 1986s music. Listeners are spoiled for choice. 1986 truly was a vintage year. Adonis, Santos, Willie Wonka, Marshall Jefferson and Farm Boy all released music during 1986. Replicating the success Trax enjoyed during 1986 wouldn’t be easy. After all, they’d produced numerous dance-floor classics. With every release, Trax Records established a bigger following. DJs and dancers knew that Trax Records meant quality. The only thing that could make life difficult, was DJ International, who’d become Trax’s main competitor. Despite that, Trax continued to dominate Chicago house during 1987.
1987.
Despite the presence of DJ International, Trax continued to release innovative music. The only problem were serious allegations surrounding Trax’s business practices. The allegation were more that using recycled vinyl. Allegations included neither honoring contracts, nor paying royalties and even illicitly releasing tracks. These however, are just allegations. Nothing was ever proven in a court of law. However, with these rumors going round Chicago’s musical community, DJ International Records were signing some of the biggest producers.
Founded in the mid-eighties by Rocky Jones, DJ International Records quickly became one of Chicago’s big two house labels. Among their signings were Tyree, Joe Smooth, Fast Eddie, JM Silk,Farley “Jackmaster” Funk and Jesse Saunders. Now Chicago house had two labels slugging it out for the title of King of Chicago house.
With all the rumors surrounding Trax going around, some producer weren’t signing to Trax. The voice of Chicago house, Robert Owens did. Robert will always be remembered as the voice of so many Chicago house anthems and classics. His vocal is unmistakable and can transform a track. Mediocre tracks become good, while good tracks become great. Bring Down The Walls is another anthemic, classic. With an arrangement that’s reminiscent of Washing Machine, Robert’s whispery, sensual vocal is accompanied by a needy, sassy female vocal. As well as the original classic on Disc 4, instrumental and dub versions feature on Disc 13. They bring something new to a familiar anthem, and are well worth discovering.
On The House’s Give Me Back The Love is a track designed to jack to. It has a much more sophisticated sound. That’s down to the arrangement. From the bursts of blazing horns, percussion and synths to Marshall McLain’s scatted vocal and piano solo, a joyous slice of house unfolds. This is another Marshall Jefferson production, where piano house and vocal house join forces with the original Chicago house sound. In many ways, this was house music growing up and evolving.
Just like 1986, Trax were releasing their fare share of innovative tracks during 1987. Innovative describes Phuture’s Acid Tracks. Here, Trax’s trademark sound is fused with Latin percussion. Futuristic, with a sci-fi sound, Trax made the squelchy synth sound their own. That’s not Phuture’s only contribution. No. Disc 13 features Phuture Jacks and the wonderfully sinister Your Only Friend. Phuture Jacks, another track that epitomizes the Trax Records’ sound, is another of my favorite tracks. Again, it’s the marriage of the eerie vocal and the squelchy synths that lead me to describe both Phuture Jacks and Acid Tracks as timeless Acid House classics.
Kevin Irving, like Robert Owens, is one of voices of house. Blessed with one of the finest voices in Chicago house, Children Of The Night allows his heartfelt, soulful vocal to take centre-stage. That’s where it belongs. Not only does the Original 12” version feature on Disc 5, but so does the Radio Edit. Over on Disc 13, features the Dub version, which will come as a welcome addition for DJs.
1987 saw Frankie Knuckles release another classic anthem Baby Wants To Ride. By now, he’d settled into a role as one of the founding father’s of Chicago house. Along with Marshall Jefferson, who was also working in Trax’s A&R department, they were two of the biggest names in house music. Baby Wants To Ride is nine minute opus. Ironically, one of the lyrics says: “tell my people of my second coming.” That’s fitting, as it’s Marshall’s second house classic. Frankie’s other contributions are the Kraftwerk-esque It’s A Cold World on Disc 6. Then there Your Love and Bad Boy on Disc 15. Why Your Love languished on a B-Side seems a waste? So good is Frankie Knuckles’ B-Sides, that they’re better than many people’s singles.
On the face of it, Trax Records hadn’t been affected by DJ International. The pair seemed able to coexist. Granted Trax weren’t able to have their pick of the up-and-coming producers, but their existing producers and new signings meant Trax were still Chicago house’s premier label. After all, they’d also released music by Mr. Lee, Eric Bell, Terry Baldwin and Lidell Townsell. This was just a few of 1987s releases. Would 1988 be as successful?
1988.
1988 saw Trax continue to release music in similar quantities to 1986 and 1987. They were still Chicago house’s biggest label. DJ International were catching them up. Then there were new labels springing up throughout not just Chi-Town, but America and further afield. Britain and Europe were now disciples of Chicago house. For many of these new disciples, Trax Records was synonymous with Chicago house. So to fulfill the increasing demand for Chicago house, Trax released music by Mr. Lee, Donell Rush, Maurice Joshua, Lidell Townsell, Acid Fantasle, Phuture, Donnell Rush and Maurice Joshua during 1988.
Phuture’s We Are Phuture has a familiar sound. It’s reminiscent of Acid Tracks and Your Only Friend. Both tracks have the same sinister, haunting vocals. The main difference with We Are Phuture is the vocal. It has a soulful side. Other times, it takes on a robotic, futuristic sound, resulting in a 21st Century sound.
Evie’s Just Stay The Night falls into the category of glittering hidden gem. Featuring a vocal from Evie Camp that’s reminiscent of Madonna, a proliferation of rocky guitars and slick, poppy hooks are combined with Chicago house. As an added bonus, the Radio Edit features on Disc 6. Over on Disc 14, the Dub version shows another side to this poppy gem.
Despite Mr. Lee releasing House This House in 1988, it still featured Trax’s trademark squelchy synths. With sharp, urgent bursts of choppy vocals, this proves mesmeric and hypnotic. Quite different, is Pump Up Chicago. It’s an explosion of energy. Driven along by pounding drums and stabs of horns, a rapped vocal and squelchy synths see Acid House, hip hop and funk collide head on. Of the two versions of Pump Up Chicago, the Acid Mix is the best. On Disc 15, Mr. Lee heads on a transatlantic tour, with Pump Up New York and Pump Up London proving an interesting variation on a theme.
Lidell Townsell has a trio of Acid House tracks featuring on Disc 7. Jack The House, As Acid Turns and The Groove see a welcome return of the Trax Records’ sounds. It’s truly unmistakable. Not only that, but it’s timeless. Of the three tracks, it’s a close run thing, with The Groove just surpassing As Acid Turns. Having said that, both tracks epitomize the Trax Records’ sound.
While 1988 didn’t see releases from Trax Records’ biggest names, their other signing pitched in with some quality music. Mr. Lee, Phuture and Lidell Townsell contributed some slinky, sometimes, futuristic Acid House. What it did have in common, was the Trax Records’ sound. People it seemed, couldn’t get enough of this sound. It had proved popular since 1985 and this was nearly as long as the disco bubble lasted. Luckily for everyone at Trax, there was no sign of the Chicago house bubble bursting.
1989.
As 1989 dawned, Chicago house had become an industry within the Windy City. Labels, clubs, artists, promoters, studios and pressing plants were all part of this new industry. This could prove profitable for the economy. Proof of this was Manchester during the second summer of love. Chicago was enjoying a boost from its latest musical export. From the same city that gave the world Chess and Motown, Chicago house this marriage of musicians and machines was a boon to the economy. One company who’d played an important part in the Chicago economy was Trax Records. During 1989, they’d release their seventy-fifth release, which incidentally, marks the end of the Trax Box. That’s still to come.
Although Trax was founded in 1983, the label had only released its first single in 1985. Since then, Trax had established itself as Chicago house’s premier label. One man who played his part in the rise of Trax was Farley Jackmaster Funk. He made his return in 1989, with Farley Jackmaster Funk Presents Ricky Dillard’s As Always. It was a welcome, soulful and dance-floor friendly return from one of Chicago house’s legends. Soul, gospel, funk and house combine during this joyous, celebratory track. Of the two versions, the original 12” version is the best.
Virgo Four was another of Trax’s big hitters making their return in 1989. Do You Know Who You Are and In A Vision which feature on Disc 8, show that Virgo Four are back to their best. Even the B-Sides Going Through Life and the hypnotic, mesmeric and anthemic Take Me Higher, which closes Disc 16 and the Trax Box shows Virgo Four only make quality music.
That’s quite a fitting way to end this review of the Trax Box. After all, Trax Records were synonymous with not just quality house music, but the best house music has to offer. Trax Records is responsible for many a Chicago house classic. Anthems and timeless classics, Trax has released more than their fare share of them. The music Trax released was innovative and inventive, way ahead of what their competitors were releasing. That’s why so many people remember the music Trax Records released between 1985 and 1989. For many people, this four year period represents Chicago house’s heyday. These four heady, hedonistic years represent house music at its best. I’ve only had the chance to mention a few of them.
There’s any number of other tracks on Trax Box I could’ve mentioned. That’s how consistently high the quality of music is. Considering Trax Box is a sixteen-disc box-set, Harmless Records, who release Trax Box on 30th September 2013, deserves our congratulations. With sixteen discs to fill, they could’ve forgiven the odd musical faux pas. That’s not the case though. They’ve not resorted to filler. Instead, it’s quality, quality and quality. Indeed, it’s killer all the way, during Trax Records’ first seventy-five releases. Spread over sixteen discs, this is an in-depth four year magical mystery tour through Trax Records’ illustrious back-catalogue. Best described as everything you’ve ever wanted to know about Trax Records, but were afraid to ask, the music and 100 page book documents the life and times of Trax Records. This is the perfect way to celebrate Trax Records very special anniversary.
This year, Trax Records is thirty. Long gone are its clubbing days. It’s youth, which was between 1985 and 1989, which the Trax Box covers, is another country. The Trax Box is the perfect way to remember Trax Records first four years, faults and all. Between 1985 and 1989, the unlikely pairing of Larry Sherman and Rachel Sanders made Trax Records Chicago house’s premier label. Along with a small, loyal staff, Trax Records records become one of the best known labels of the last thirty years. Trax Records was the equivalent to Stax Records, Blue Note, Chess Records, Salsoul Records and Philadelphia International Records. Just like these labels, Trax Records provided the soundtrack to a generation. They hold that music dearly, they cherish this music that was part of a musical revolution.
That’s no exaggeration. Before house music, dance music was at a crossroads. Disco had died in 1979. Other musical genres tried to fill the void. Synth pop, Euro Disco, and boogie all tried. Nothing filled dance-floors like disco. Disco had died, who wanted to dance to music people said sucked. People weren’t going to dance to yesterday’s music. They would dance to tomorrow’s music.What was needed, was something new, innovative and dance-floor friendly. The solution was house music, the musical offspring of disco, funk punk, Italo Disco, synth pop, Euro Disco and Philly Soul.
Just like punk in the seventies, with its D.I.Y. culture, aspiring producers were able to make music cheaply without the benefit of a large budget, recording contract or even, a recording studio. Drum machines, synths, sequencers and 4-track recorders were much cheaper. Now it was possible to record a hit single in your spare room. Many of the tracks on Trax Box were recorded this way. This was the future. What many people thought would be almost disposable music, stood the test of time and influenced further generations of musicians.
Despite the lack of a large budget, recording contract or recording studio, this didn’t hamper this new breed of talented and innovative producers. The music they recorded was revolutionary. Here was music that was imaginative, innovative and went on to influence further generations of producers. Some of that music is twenty-eight years old, but has aged well. It certainly has a contemporary sound. You wouldn’t think it was recorded in the eighties, on equipment which by today’s standards, is basic. That’s why I’d go as far as describe the music as timeless. That certainly is a good way to describe the music Trax Box, which is a glorious reminder of Chicago house’s premier label, Trax Records.
TRAX BOX.
CHVRCHES-THE BONES OF WHAT YOU BELIEVE.
CHVRCHES-THE BONES OF WHAT YOU BELIEVE.
One of the most highly anticipated albums of recent years is Chvrches’ The Bones Of What You Believe. What makes the rise and rise of Chvrches so remarkable, is Chvrches were founded just two years ago in 2011. Everything has happened so quickly for Lauren Mayberry, Ian Cook and Martin Doherty. They’ve spent the last two years touring the world converting people to their unique brand of shimmering electro-pop. Britain, Europe, Canada and America gave been conquered by Chvrches. Somehow, Chvrches have also found the time to release a four singles and a trio of E.Ps. These singles are a tantalizing taste of the main event, Chvrches highly anticipated debut album The Bones Of What You Believe, which was released on the 23rd September 2013 on Virgin.
The face and voice of Chvrches, lead vocalist and keyboard player, Lauren Mayberry is an accidental pop star. Originally, she studied law and after graduating, studied journalism. With a Masters in journalism on her C.V. Lauren became an award-winning freelance journalist. From there, she almost inadvertently, became a musician.
Like many Scottish children, she learnt to play the piano as a child. It’s almost a rite of passage. Then when she was a teenager, Lauren learnt to play the drums. Drums or piano, it’s no contest. Soon, she was playing drums for various bands. Between the ages of fifteen and twenty-two, Lauren played in two bands. In Boyfriend/Girlfriend she was the drummer. Then when Lauren joined Blue Sky Archives, she played keyboards and drums. It was in Blue Sky Archives, that Lauren met Ian Cook.
Blue Sky Archives were recording an E.P. and the producer was Ian Cook. He’d originally been a member of Aerogramme and The Unwinding Hours. Ian also wrote music for television and film. Production was another thing he enjoyed. Through producing Blue Sky Archives, Ian met Lauren. She proved to be just who he was looking for.
Ian Cook and Martin Doherty, who was a member of The Twilight Sad when they played live, were working on a new project. They needed someone to lay down some vocals. Neither Ian nor Martin saw themselves as lead vocalists. So, Lauren was asked to come along and sing on a demo.
Little did Lauren realize what she’d let herself in for. Ian and Martin it seems, are perfectionists. That proved to be no bad thing. They spent eight months in a basement studio, working on their new project. Eventually, it was finished. It had been such a success, they decided to transform this studio project into a live band, that became Chvrches.
May 2012, saw Chvrches release their first single. They did this in an unusual way. Through the blog of the Neon Gold label, people were able to download a free copy of Lies, their debut single. This somewhat unorthodox release must have worked. Soon, people were talking about Chvrches. By now momentum was building. What helped, was that Chvrches were a great live band. Throughout the summer of 2012, were honing their live act. Quickly, word was spreading about this new Glasgow band. September 2012 it seemed, was the right time to release their sophomore single.
The Mother We Share was released in September 2012. In between touring, Chvrches found two days to write and record their new single. On its release, it was well received by critics. They were falling over themselves to heap praise on Glasgow’s newest band. A classy and classic slice of glistening, ethereal electro-pop, Chvrches had made an impression.
At the end of 2012, when various magazines and radio stations published their best of 2012 polls, Chvrches name loomed large. The NME, BBC and Huffington Post praised Lies and The Mother We Share. This new band had made a big impression. Would 2013 be as big a year for Chvrches?
Looking at Chvrches achievements so far, I’d suggest that they’ve surpassed everything they achieved during 2012. They’ve released two single and two E.P.s.
Chvrches third single Recover, which was released in February 2013, gave them their first hit single in the UK. It reached number ninety-one. After that, Chvrches had to divide their time wisely. They’d an album to record and had a busy touring schedule to fulfil. In between recording their debut album, The Bones Of What You Believe, Chvrches continued to tour. There were still parts of the world where Chvrches’ gospel hadn’t been heard. Agnostics had to be transformed into believers. This was working
July 2013 saw Chvrches released their fourth single Gun. Just like Recover, Gun was available as either a single or an E.P. Gun gave Chvrches the biggest single of their nascent career. Not only did it reach number fifty-five in the UK, but number forty-four in Japan. It seemed that with each single, Chvrches were conquering another part of the world. Britain first, then Europe, Canada, America and now Japan are all devotees of Chvrches.
Recently, on a coast to coast tour of America, Churches have been winning friends and influencing American musical lovers. This is perfect timing. After all, Chvrches’ debut album The Bones Of What You Believe, was due for released on the 23rd September 2013 on Virgin. Written by the three members of Chvrches, The Bones Of What You Believe is without doubt, one of the most eagerly awaited and anticipated albums of recent years. It’s bound to reach the upper reaches of the charts on both sides of the Atlantic. I’ll tell you why, after I’ve told you about The Bones Of What You Believe.
Opening The Bones Of What You Believe is one of the singles that introduced Chvrches to the world, The Mother We Share. Washes of synths give way to squelchy synths and crisp drums. Taking centre-stage is Lauren Mayberry’s ethereal vocal. It’s emotive and heartfelt, as harmonies and synths reverberate into the distance. Drums crack, synths beep and squeak and drums signal Lauren’s about to take this anthemic track to its crescendo.
We Sink’s roots are in eighties synth pop, Euro Disco and house. The arrangement’s driven along by synths while pounding drums provide the pulsating backdrop to Lauren’s feisty vocal. Harmonies and synth strings sweep in as Lauren comes across as part diva, part ice-maiden. She struts her way through the track. During a breakdown the song takes on a dreamy, lysergic sound. Then normal service is resumed, as this classy slice of dance music heads to a close.
From the opening bars of Gun, my faith in modern music is restored. It’s a reminder of what a classic pop song sounds like. Stabs of keyboards are joined by shimmering, synths. They provide the backdrop to the ethereal beauty of Lauren’s emotive vocal. Accompanying her heartfelt vocal are rolls of drums, breathy harmonies and washes of crystalline synths. As for the back synth and drums they add duel bursts of drama. Their raison d’etre is to reinforce the drama and emotion in Lauren’s vocal. Dance-floor friendly, Gun is full of sweet poppy hooks and moments of drama and emotion.
Tether sees Chvrches drop the tempo, and increase the drama. Guitars riff dramatically, while Lauren’s vocal is variously tender, thoughtful and laden with drama. Briefly, galloping drums drive the arrangement along. This proves effective, adding to the drama. As for Lauren’s vocal, it’s full of emotion and hurt. She breathes life and meaning into the lyrics with a soulful, soul searching vocal. After a dramatic pause, swathes of swirling strings and banks of synths take the track in the direction of the dance-floor. Fusing elements of eighties synth pop, Euro Disco, Hi-NGR and soul, we hear two very different sides of Chvrches within a five majestic minutes of mesmeric music.
Thunderous drums and beeping, squeaking synths open Lies. They provide the backdrop for Lauren’s sassy, feisty vocal. Behind her, Ian Cook and Martin Doherty unleash banks of keyboards and synths, while drums provide a dramatic, electro heartbeat. Add to this Lauren’s ethereal, multi-tracked backing vocals. They provide a contrast to the dark, dramatic arrangement. It takes on a life of its own. It’s becomes a collosus. As it marches, struts and swaggers along, Lauren’s vocal is full of bravado, feisty and oozes sass.
Under The Tide sees Lauren take a rest from vocal duties. This allows the Chvrches to take a different approach on what’s another dance-floor anthem. House, synth pop and electro are the main influences here. Stabs of jagged synths and a hypnotic, pounding drum combine with an urgent vocal. Bursts of a bass synth and cascading keyboards provide accompany the impassioned, encouraging vocal. Then adding the finishing touch, are sweeping, ethereal and joyous singalong harmonies enter. The result is an infectiously catchy, hands in the air anthem from Chvrches.
Lauren returns on Recover. She delivers an urgent, dramatic vocal. Her vocal is delivered in short, sharp bursts. As for the arrangement, there’s a Kraftwerk influence in the keyboards and synths. The drums veer between slow and spacious, to crisp, urgent, bursts. Later, when the track slows down, it takes on a mysterious sound. Spurred on, Lauren delivers a vocal that’s not just heartfelt and hopeful, but ethereal, emotive and enigmatic.
Night Sky is a light, airy track that breezes along. Built around sparkling synth lines that are repeated throughout the track, plus pounding drums that provide the heartbeat. Lauren’s vocal is dreamy and wistful. That’s before things change. All of a sudden, Chvrches kick loose. After harmonies cascade, the arrangement explodes. Chvrches reveal a rocky side and Lauren briefly, finds her inner rock chick. Then she returns to the mysterious, melancholy and ethereal beauty of earlier. Flitting between the two sides of the track, Lauren and the rest of Chvrches reveal their versatility, fusing seamlessly, musical genres.
Science/Visions has a broody, moody and mysterious sound. A haunting sound gives way to a combination of cascading, dramatic synths and thunderous drums. Lauren’s vocal is tender and fragile. Elfin like, its almost dominated by the rest of the arrangement. The arrangement becomes an unstoppable musical juggernaut. Filters are used on the arrangement, while echo and delay are used on Lauren’s vocal and the punchy harmonies. All this gives the track a real deep house sound. Having said that, not may producers can make music as good as this.
After drums pound, Lungs takes on a sci-fi sound. That’s thanks to the synths and effects. Lauren’s sweet vocal is urgent and earnest. Synths buzz, drums pound and a whole manner of futuristic sounds give the track an innovative, inventive 21st Century sound. Full of drama and slick poppy hooks, this is Chvrches at their best.
Definite stabs of synths and Lauren’s dreamy, wistful vocal opens By The Throat. Tender harmonies are added as what sounds like a laid back slice of mellow electro pop unfolds. That’s not quite the case, Gradually, the drama builds and grows as what sounds like dance-floor friendly track threatens to explode. It doesn’t. Chvrches are toying with you. Sitting midway between the two, Chvrches tease and tantalize you with this delicious, enigmatic, shimmering slice of electro pop.
You Caught The Lights closes The Bones Of What You Believe. It’s another enigmatic track. You wonder the direction it’s heading in. The tempo is slow, with drums loud and proud providing the heartbeat. Washes of synths sparkle across the arrangement as a worldweary male vocal full of emotion delivers a heartbreaking vocal. Drums, chiming guitars and synths provide a dramatic accompaniment, as the track heads in the direction of indie rock, whilst borrowing from synth pop. Harmonies, searing guitars, ponderous drums and washes of synths play their part in this dramatic, melancholy tale of heartbreak.
Released on 23rd Speptember 2013, The Bones Of What You Believe is a tantalizing taste of what Chvrches are capable of. One of the most highly anticipated albums of recent years, The Bones Of What You Believe, not only lived up to expectations, but surpassed them. The Bones Of What You Believe features innovative, inventive music. It’s pioneering electro-pop, full of shimmering synths and the ethereal beauty of Lauren Mayberry’s vocal. Her vocal is reminiscent of Liz Fraser of The Cocteau Twins. Along with Ian Cook and Martin Doherty, Chvrches fuse electro pop, house, synth pop, hi-NRG, Euro Disco, pop, indie rock and soul. Dance-floor friendly, anthemic, soulful and full of slick poppy hooks, The Bones Of What You Believe is pop perfection. That’s why Chvrches will be Scotland’s next big musical export. Many have been contenders for the title, now it looks like Chvrches with their unique sound, will claim it as their own.
Chvrches have restored my faith in modern music. I’m pleased that still, there are agroup capable of making the perfect pop song. That’s what The Bones Of What You Believe is. It’s a reminder of what a classic pop song sounds like. For everyone who says pop music is dead, play them The Bones Of What You Believe. That’ll prove them wrong. Pop music is alive and kicking, and Chvrches’ debut album The Bones Of What You Believe is the future and salvation of pop music.Standout Tracks: The Mother We Share, Gun, Recover and The Throat.
CHVRCHES-THE BONES OF WHAT YOU BELIEVE.
VERNON BURCH-WHEN I GET BACK HOME.
VERNON BURCH-WHEN I GET BACK HOME.
There aren’t many artists who release their debut album when they’re just eighteen. Vernon Burch did. I’ll Be Your Sunshine was released on United Artists in 1975. That however, wasn’t the start of Vernon Burch’s career. No. By 1975, he was already a seasoned musician.
Before embarking on a solo career, Vernon had already spent four years as The Bar-Kays’ guitarist. For Vernon, this was a dream come true. The Bar-Kays were one of his favorite groups. So finding The Bar-Kays tour bus outside his home, when he returned from school must have been surreal. The Bar Kays hadn’t had a hit since 1967, when they lost four members in a plane crash, that also claimed Otis Redding’s life. So a rebuilding process was underway. Vernon who’d established a reputation as a talented guitarist, was brought onboard. He played on their 1972 single Son Of Shaft, their first hit since 1967. Vernon was also a member of The Bar-Kays when they appeared at Stax’s legendary Wattstax festival. Having spent four years as a member of The Bar-Kays, Vernon Burch decided to pursue a solo career. He went on to release seven albums between 1975 and 1982.
The followup to Vernon Burch’s 1975 debut album I’ll Be Your Sunshine, was When I Get Back Home. It was recently rereleased by BBR Records. When I Get Back Home wasn’t released by United Artists. No. There had been a change in the management structure. Vernon’s management wanted to renegotiate his contract. United Artists didn’t. So United Artist and Vernon Burch parted company. Next stop for the Washington born singer was Columbia, who’d released his sophomore album When I Get Back Home. This was just the next chapter in the remarkable rise of Vernon Burch, which began in Washington, in 1955.
For Vernon Burch, his life had been something of a whirlwind. Born in Washington in July 1955, he was introduced to music via the church. This is a familiar story. Vernon was a member of The Flying Clouds, a gospel group cofounded by his uncle Leroy. Then when he was eight, Vernon received his first guitar.
It quickly became apparent that Vernon was a natural guitarist. He soon had established a reputation as one of the hottest guitarist playing Chocolate City’s clubs. This resulted in Vernon heading to New York, where he worked with a girl group The Fuzz. During his time in New York, Vernon met soul royalty. Stevie Wonder, Eddie Holman, The Chi-Lites and The Impressions, Vernon met them all. Then playing alongside Hi Records’ two biggest names, Al Green and Anne Peebles resulted in Vernon joining The Bar-Kays.
In 1967, The Bar-Kays were chosen as Otis Redding’s backing band. On December 10th 1967, Otis Redding was playing in Wisconsin, so the six Bar-Kays headed off on what was a fateful journey. The plane carrying Otis, his manager and five of the six Bar-Kays crashed. This tragic crash in December 1967, robbed the group of four of its members. Only trumpeter Ben Cauley survived the crash. Fortunately, bassist James Alexander was on another plane. Following the crash, Ben and James rebuilt the group.
As part of the rebuilding process, Vernon joined The Bar-Kays. He spent four years as a member of the group. Not only did Vernon play on their 1972 single Son Of Shaft, which was their first hit in five years, but he appeared at the Wattstax Festival. Then having spent four years as a member of The Bar-Kays, Vernon Burch decided to launch his solo career. This proved to be a shrewd move.
Stax Records became insolvent in 1975. So while Stax folded, Vernon’s career flourished. He signed to United Artists and aged eighteen, released I’ll Be Your Sunshine. It reached number forty-six in the US R&B Charts. The music on I’ll Be Your Sunshine was very different to The Bar-Kays. Gone was the hard funk of The Bar-Keys. Replacing it was a much more soulful side of Vernon Burch. While I’ll Be Your Sunshine proved relatively successful, United Artists didn’t seem to agree.
After the release of I’ll Be Your Sunshine, changes were taking place at United Artists. There was a shakeup in the management setup. When Vernon’s management brought up extending his contract, United Artists didn’t want to. Luckily, another record company were interested in Vernon…Columbia Records, who released his sophomore album When I Get Back Home.
For his sophomore album, When I Get Back Home, Vernon wrote five tracks and cowrote the other five tracks. He penned Paradise, Good To Me, To Make You Stay, Leaving You Is Killing Me and Leave Your Spirit Behind. Mr. Sin, When I Get Back Home and Bye, Bye, Baby were written by Vernon and Susaye Greene. The tracks that bookended When I Get Back Home, Sexasonic and Ghetto Penthouse were written by Vernon and H. Redmon. These ten tracks became When I Get Back Home.
Recording of When I Get Back Home took place at two studios, Crystal Sound and Sun West, in Los Angeles. Columbia it seemed, weren’t skimping on their latest signing. Proof of this was the band that accompanied him. It included a rhythm section bassists Ed Brown and Nathan Watts plus drummer and percussionist Joe Blocker. They were joined by pianists John Jarvis and Greg Phillinganes, trumpeter Ray Maldonaldo and Ray Brown, saxophonist Hank Redd. Adding keyboards on Mr. Sin and Paradise was Stevie Wonder, who Vernon met earlier in his career. Vernon, played guitar, synths and with Susaye Greene, Kathy Collier and Shirley Brewer, sang backing vocals. Arranging and producing When I Get Back Home was Vernon Burch. After When I Get Back Home was recorded, it was mixed at Village Sound and Hollywood Recorders. When I Get Back Home was ready for release in June 1977.
When I Get Back Home was released in June 1977, reaching just number seventy-four in the US R&B Charts. This was disappointing for Vernon. He’d not built on the momentum of I’ll Be Your Sunshine, which had reached number forty-six in the US R&B Charts. Leaving You Is Killing Me was released in July 1977, stalling at number ninety-five in the US R&B Charts. Worse was to come. Sexasonic was released as a single in September 1977, but failed to chart. For Vernon Burch, who everything seemed to have gone his way, this was a difficult time for him. What did the future hold for him? That’s what I’ll tell you, once I’ve told you about his sophomore album When I Get Back Home.
Sexasonic opens When I Get Back Home. It’s a heavy duty slice of funky soul, celebrating sexual equality. Wah-wah guitars strut their way across the arrangement. They’re joined by a booming drum and crystalline guitars that accompany Vernon. Feisty and sassy describes his vocal, which is accompanied by cooing harmonies. Then there’s blazing horns and some mesmeric guitar solos from Vernon on this fusion of funk and soul.
There’s a change of style on Mr. Sin. Vernon’s joined by Stevie Wonder on keyboards. He proves an inspiration on this understated, dreamy ballad. Vernon’s heartfelt vocal is reminiscent of Stevie Wonder. Having said that, he breathes life into the lyrics, whose roots seem to be the church. Just mellow keyboards, percussion and the rhythm section join tender harmonies and rasping horns. They provide the backdrop as Vernon visits his soulful side.
Paradise is another track where Vernon sounds not unlike Stevie Wonder. Indeed, Paradise sounds like it belongs on a Stevie Wonder album. It’s an upbeat fusion of soul, jazz and funk, blessed with a real summery sound. From it’s understated opening, Vernon’s vocal is impassioned and sensual. Bursts of braying horns add drama, before the track takes on a much more mellow sound. That’s thanks to the keyboards. The arrangement breezes along, allowing Vernon’s vocal to take centre-stage on this, jazz-tinged slice of soulful music.
Good To Me is a return to the funk of Sexasonic. Here, Vernon’s main influences seems to be Sly and The Family Stone and Stevie Wonder. Soul, funk, jazz, psychedelia and rocky guitars combine as Vernon’s vocal takes on a tougher, edgier sound. He vamps his way through the lyrics. Searing guitars reminiscent of David Bowie’s Fame, join blazing horns and what sounds like The Family Stone providing the heartbeat. As musical genres and influences melt into one, what’s one of the highlights of When I Get Home reveals its secrets.
The title-track When I Get Back Home tells the story of a musician on the road. Back home, he’s a partner whose suspicious. Rightly so. He’s a player, whose been unfaithful. Ironically, he longs to get home to her. This track Vernon cowrote with Susaye Greene is a glorious uptempo slice of soul. Accompanied by soaring harmonies, braying horns and keyboards, Vernon’s vocal is joyous, needy and full of longing. Soul, funk and jazzy keyboards combine as Vernon delivers one of his best and most effective vocals.
Leaving You Is Killing Me is something of a stomper, with drummer Joe Blocker laying down a thunderous beat. Ed Brown’s bass matches him every step of the way. Banks of synths provide the backdrop for Vernon’s vocal. His emotive, hurt-filled vocal is accompanied by sweet harmonies and braying horns as the song swings along. Infectiously catchy and full of poppy hooks, it’s a breakup song that puts a smile on your face.
To Make You Stay is a track that’s dramatic, dance-floor friendly and soulful. Blazing horns, piano and synths set the scene for Vernon’s vocal. Full of emotion and heartbreak, he lays bare his soul. Stabs of horns reflect the drama in his vocal, while Vernon’s vocal belies his youthfulness. Hank Redd’s saxophone and bursts of thundering drums match Vernon all the way, as his vocal becomes a needy and emotive plea. Soulful, dramatic and dance-floor friendly, we hear another side of Vernon Burch.
Hank Redd’s rasping, wistful saxophone produces a late-night, jazzy sound as Leave Your Spirit Behind unfolds. Vernon’s is slow, impassioned and laden with emotion and hurt. He leaves space in his vocal. This is really potent. It adds to the emotion and drama. Sometimes, there’s almost silence. This proves really effective. Just keyboards and cymbals accompany Vernon before Hank unleashes another peerless saxophone solo. It’s almost a show-stealer. This seems to spur the band on. After that, they produce a truly compelling performance on this soul-baring, spacious, jazzy tale of love gone wrong.
Bye, Bye, Baby is another track where genres melt into one. Soul and samba joins jazz and funk. It’s another slice of summery, sunshine music. Driven along by the rhythm section, keyboards and a myriad of percussion, Vernon delivers a tender vocal. He’s accompanied by cascading, tender female harmonies. Adding bursts of drama to this minor hidden gem are braying horns.
Ghetto Penthouse closes When I Get Back Home. Briefly, the track sounds like a party in the studio. That’s fitting. After all, the track is about someone living a champagne lifestyle he can’t afford. Not only is this music with a message, but is a heavy duty slice of funky music. As the rhythm section provide a funky heartbeat, horns blaze and harmonies scat. Banks of keyboards add a P-Funk backdrop. Vernon’s vocal takes on a tougher, much more grizzled sound. This is in keeping with the rest of the arrangement, and bookends When I Get Back Home perfectly.
Aged just eighteen, Vernon Burch had released his second solo album When I Get Back Home. A fusion of soul, jazz, funk, psychedelia and rock, When I Get Back Home saw Vernon switch between musical genres. Some songs were a fusion of several genres. They were also influenced by a number of artists. One of the most obvious influences in Stevie Wonder. Vernon’s vocal sounds not unlike Stevie. So does his delivery, especially on some of the funkier tracks. Some of the songs sound as if they belong on a Stevie Wonder album. Other artists to have influenced Vernon are Sly and The Family Stone, Parliament, Donny Hathaway and David Bowie. All these artists influence Vernon Burch’s sophomore album When I Get Back Home.
Sadly, When I Get Back Home wasn’t a commercial success. No. When I Get Back Home stalled at a disappointing number seventy-four in the US R&B Charts. Considering Vernon’s debut album I’ll Be Your Sunshine reached just number forty-six in the US R&B Charts, Vernon Burch’s career didn’t seem to be going forward. Instead, it had stalled. Columbia Records dropped Vernon and it would be three years before he released another album.
It was 1978 when Vernon signed to Chocolate City, a subsidiary of Casablanca Records. he released a trio of albums. 1978s Love-A-Tron failed to chart. It did feature two minor US R&B hits, Brighter Days and Love Is. Then 1979s Get Up also failed to chart. A small crumb of comfort was the title-track, it reached number thirty-five in the US R&B Charts. 1980s Steppin’ Out was Vernon’s final release for Chocolate City. Following a similar pattern, Steppin’ Out failed to chart, but did spawn a minor US R&B hit single, Fun City. After leaving Chocolate City, Vernon’s final album Playing Hard To Get, released in 1982, recaptured his earlier success. Playing Hard To Get reached number fifty in the US R&B Charts. This was Vernon Burch’s third and final album to chart. The best of these three albums is When I Get Back Home, which was recently rereleased by BBR Records.
Best described as a genre-melting album, When I Get Back Home, was the best album of Vernon Burch’s career. Released when Vernon was just eighteen, Vernon Burch was already an experienced and practiced musicians and vocalist. Listening to When I Get Back Home, it’s hard to credit that Vernon Burch was just eighteen. Not only did he write or cowrite each of the ten songs on When I Get Back Home, but Vernon Burch played synths, guitar and sang backing vocals. He also arranged and produced each of the ten tracks. That’s quite remarkable. What’s even more remarkable, is that Vernon Burch didn’t enjoy a much more successful career. Sadly, that wasn’t to be. Instead, When I Get Back Home is the best album of Vernon Burch’s six album career. Standout Tracks: Mr. Sin, Good To Me, When I Get Back Home and To Make You Stay.
VERNON BURCH-WHEN I GET BACK HOME.
THE TEMPERANCE MOVEMENT-THE TEMPERANCE MOVEMENT.
THE TEMPERANCE MOVEMENT-THE TEMPERANCE MOVEMENT.
Many bands are touted as the future of rock ‘n’ roll. Mostly it’s either record company hype or wishful thinking. The Temperance Movement are different. They’re the real thing. They epitomize rock ‘n’ roll. Formed in 2011, they’ve come a long way in two years. They’ve conquered Britain, Europe and America with their unique fusion of rock ‘n’ roll, blues, country and soul. Somehow, whilst conquering much of the Western world, The Temperance Movement have found time to record and release their eponymous debut album.
What became The Temperance Movement, was recorded before the group signed to Earache Records earlier this summer. Earache Records were presented with the finished article. All that was left was to promote and release The Temperance Movement. It was released on 16th September 2013, and strutted its way to number twelve in the UK. This is just the start of what should be a long and successful album for The Temperance Movement, whose career started in 2011.
Although The Temperance Movement were only formed in 2011, the five members of the band have a wealth of experience. Glasgow-born lead vocalist, Phil Campbell, has released a string of solo albums. This includes 2008s After The Garden, 2009s Daddy’s Table and 2010s Saviour’s Song. As for the guitarists, Paul Sayer and Luke Potashnick, Luke is a former member of Rooster and Ben’s Brother. Bassist Nick Fyffe was in Jamiroquai’s band, while Australian-born drummer Damon Wilson counts Feeder, The Waterboy’s and Ray Davies as former employers. These five experienced and talented musicians joined forces to form The Temperance Movement.
Between 2011 and September 2012, The Temperance Movement concentrated on honing their sound. Quickly, they’d established a loyal following. Whether it was pubs, clubs, concert halls or festivals, the word was out. The Temperance Movement were seen as a group with a huge future. Some pundits hailed them as the future of rock ‘n’ roll. Strangely, The Temperance Movement weren’t signed to a record label
So when the time came to release their debut E.P, The Temperance Movement released it themselves. The Pride E.P. was released on 10th September 2012 and featured five tracks. Pride, Be Lucky, Only Friend, Ain’t No Telling and Lovers and Fighters were an introduction to The Temperance Movement’s kick ass brand of blistering rock ‘n’ roll. Pride was released to critical acclaim, and lead to The Temperance Movement playing at the Royal Albert Hall.
Every year, The Sunflower Jam Super Jam takes place at the Royal Albert Hall. This charity concert raises funds for The Sunflower Jam, a cancer charity. In September 2012, just a week after the release of the Pride E.P, The Temperance Movement were the opening act at the Super Jam. They played the first two tracks from the Pride E.P. Then in November 2012, The Temperance Movement played at Futurerock in the 100 Club, in Oxford Street, London. Playing such a prestigious venue early in their career was proof that The Temperance Movement were going places. 2012 it seemed, had been a good year. 2013 would be better.
So far, during 2013, The Temperance Movement haven’t stopped working. In April and May, they headed out on a grueling British tour. Then during the summer, they became festival favourites. All the time, they were spreading the word about the The Temperance Movement. In between, tours and festivals, The Temperance Movement managed to find time to record their eponymous debut album.
The Temperance Movement features twelve tracks. This includes the five tracks from the Pride E.P. plus seven new songs. Ten of the songs are written by Phil Campbell, Paul Sayer and Luke Potashnick. The other two tracks, Lovers and Fighters and Midnight Black were penned by Phil Campbell. These twelve tracks were recorded at the Fish Factory Studios and Submarine Studios, London. Producing The Temperance Movement, are Sam Miller and The Temperance Movement. These twelve tracks became The Temperance Movement.
With their debut album recorded, The Temperance Movement signed to Earache Records earlier this summer. By then, word was the spreading about The Temperance Movement. They were now regarded as the group who could and would save rock ‘n’ roll. Many of who had heard this before, knew The Temperance Movement were different. We weren’t surprised when The Temperance Movement reached number twelve in the UK Charts. I’m sure it’ll go higher. After all, given the quality of music on The Temperance Movement, which I’ll tell you about, rock ‘n’ roll’s in safe hands.
Only Friend, a glorious fusion of blues and rock opens The Temperance Movement. Screaming, scorching guitars, pounding drums and hi-hats take the track in the direction of AC/DC. Then when Phil’s grizzled vocal, there’s a real Led Zeppelin influence. It’s as if The Temperance Movement have been weened on classic rock. They never miss a beat. Spraying guitars across the arrangement, the rhythm section lock into a tight, steady groove, while Phil’s vocal references Robert Plant, Joe Cocker and Brian Johnson.
Ain’t No Telling doesn’t just see The Temperance Movement pick up where they left off on Only Friend. No. Things get better. The Temperance Movement kick out the jams. They become an unstoppable musical juggernaut. Jagged, crystalline guitars and a driving rhythm section drive the arrangement along. Phil Campbell’s vocal is a mixture of raw power and emotion. His powerful, impassioned pleas are heartfelt and sincere. They’re halfway between the barroom and church. His voice sounds as if it’s honed to perfection on Jack Daniels and Marlboro. Then all of a sudden, he’s a testifying preacher. This is the signal for the band to kick loose. Motoring through the gears, they produce a spellbinding performance. This proves that rock ‘n’ roll is alive and thriving, thanks to The Temperance Movement.
Pride sees a much more mellow side of The Temperance Movement. There’s a country rock sound to the track, Just acoustic guitar and meandering bass combine while Phil lays bare his weary soul. He’s loved, but lost. His Pride got in the way. Hurt and heartbreak are ever-present as Phil, accompanied by cooing harmonies, realizes what’s he’s lost.
Be Lucky sits midway between The Rolling Stones, Free, Bad Company and Primal Scream. It’s another strutting slice of classy rock. Enveloped by chugging, riffing guitars and the tightest of rhythm section, Phil’s vocal sounds as if it belongs on a Free album. Here, he sounds not unlike Paul Rodgers. It’s hard to believe Phil comes from Glasgow. He sounds as if he was born just of Route 66. Oozing confidence and sass, he struts his way through the track, every inch the old school rock ‘n’ roll frontman.
Muted guitars open Midnight Black while Phil delivers a grizzled vocal. By now, the driving, pounding rhythm section and searing, scorching rocky guitars have become the tightest of units. Phil’s vocal is very much from the school of classic rock. He’s just the latest keeper of the flame of authentic rock ‘n’ roll. This is no one-man band. No. Everyone plays their part. Listen to the duel guitars and thunderous rhythm section. They’re every inch old school rock ‘n’ roll band, on this tale of hurt and heartache.
Chinese Lanterns sees The Temperance Movement change tack. There’s an alternative country sound to the track. Think Wilco or The Jayhawks. There’s even a touch of Gram Parsons. Weeping guitars accompany Phil, whose vocal is tinged with regret. It’s late at night, and memories come flooding back. He remembers what he’s lost. She’s moved on, but he hasn’t. Still he holds a candle for her, but realistically, he knows she’s gone and he should move on. That’s easier said than done, on this tale of love lost and a heart broken. Here, Phil paints pictures, pictures that unfold before your eyes.
Know for Sure returns to the rockier sound. The tempo is dropped and briefly, Phil sounds like Peter Gabriel. Indeed, briefly, Know For Sure reminds me slightly of Peter Gabriel’s Sledgehammer. That’s before it’s transformed into another slice of old school rock. Their duel guitars do battle. They’re not content to unleash the same notes. They play around each other, their playing inventive and dramatic. Then there’s the thunderous rhythm section. It provides the backdrop for Phil, as he revisits his role of rock ‘n’ roll preacher. Later, screaming guitars replace his testifying vocal as struts his way through this reminder of what music once sounded like.
Morning Riders sees The Temperance Movement toy with you. Then they unleash some of their trademark scorching guitar licks. Drummer Damon Wilson anchors the band. He provides the heartbeat, while Phil every inch the old school frontman, throws himself into the role. It’s as if this was his destiny. He’s a mixture of Slash, Robert Plant, Paul Rodgers, Brian Johnson and Chris Robinson. As he unleashes one of his best vocals, the band are spurred on to greater heights. Whether it’s playing as a unit, or during solo, this is a vintage performance. Some stunning, screaming guitar solos are unleashed. Then the band become a tight, slick unit who deliver an impassioned, dramatic fusion of blues and rock.
Lovers and Fighters sees a much more understated side of The Temperance Movement. Just an acoustic guitar accompanies Phil’s tender, husky soulful vocal. Weeping guitars add a country twist as the arrangement begins to reveal its secrets and beauty. Drums provide a pensive backdrop that matches Phil’s vocal. It too, has a melancholy sound. Not only that, but it shows a very different and quite beautiful side to The Temperance Movement’s music. Indeed, this is much more like some of Phil’s work as a solo artist.
When the drums count the band in on Take It Back, you know what’s coming next. The Temperance Movement are about to explode into action. You’re not disappointed. Machine gun drums and rhythm section join boisterous harmonies. They set the scene for Phil’s rasping vocal. Rolls of thunderous drums, searing, crystalline guitars and singalong harmonies play their part in a track whose roots are in seventies glam rock and rock ‘n’ roll. Everything from The New York Dolls, MC5, Iggy and The Stooges, went into the making of the boisterous, strutting Take It Back.
Smouldering is another country-tinged ballad. This is something Phil Campbell and the rest of The Temperance Movement do so well. His worldweary vocal sounds full of emotion and regret. Accompanying him are guitars and the rhythm section. They’ve locked into a tight groove. Their playing is sparse and effective. Rock and country becomes one, as Phil, accompanied by scatted harmonies delivers a heartfelt and heartbroken vocal opus.
Closing The Temperance Movement, is Serenity. It has understated bluesy, country sound. Just guitars accompany Phil’s tender, emotive vocal. Again, this allows us to hear a very different side to The Temperance Movement. They’ve returned to the balladry they do so well. They’re far from a one trick pony. Later, the track becomes a blistering slice of rock ‘n’ roll. Whether its ballads, loves songs or blistering rock ‘n’ roll, The Temperance Movement do it just as well. Serenity, brings all this together and showcases the multitalented The Temperance Movement at their very best.
Just two years after they formed, The Temperance Movement have played all over Britain, Europe and America. Having won over audiences throughout the Western world, The Temperance Movement released their debut E.P. in September 2012. Released to critical acclaim, The Temperance Movement spent the next year spreading the word about The Temperance Movement. Whether it was in concert halls or at festivals, The Temperance Movement gained a band of followers. No wonder. Here was the future of rock ‘n’ roll.
The Temperance Movement are an old school rock ‘n’ roll band. They reference everyone from AC/DC, Bad Company, Free, Primal Scream, Joe Cocker, Led Zeppelin, the Sensational Alex Harvey Band and The Rolling Stones. Add to that The Eagles, The Jayhawks and Wilco. Then there’s The New York Dolls, MC5, Iggy and The Stooges. All these groups have played their part in influencing The Temperance Movement, whose eponymous debut album reached number twelve in the UK. That’s just the start. There’s only one place The Temperance Movement are going…to the top.
No wonder. The Temperance Movement keep it real. Here’s an old school rock ‘n’ roll band. It sounds as if rather than nursery rhymes, The Temperance Movement were weened on classic rock ‘n’ roll. That’s worked out well. Drawing inspiration from the music of the past, The Temperance Movement have produced the music of the future. Fusing blues, country and blistering, old-school rock ‘n’ roll and soul, The Temperance Movement’s eponymous debut album is flawless. Whether it’s ballads or when they kick loose, The Temperance Movement live up to their reputation as the future of rock ‘n’ roll.
Many bands have been touted as the savior of rock ‘n’ roll. In their hands, the future of rock ‘n’ roll has been placed. Over the years, I’ve watched the contenders come and go. Some have sunk without trace, becoming the musical equivalent of the Titanic. As for the grand old men of rock ‘n’ roll, groups like The Who and the Rolling Stones they’re yesterdays men, living off their past glories. Thankfully, rock ‘n’ roll has found its savior. The future of rock ‘n’ roll is safe, the future of rock ‘n’ roll is The Temperance Movement. Standout Tracks: Ain’t No Telling, Pride, Chinese Lanterns and Lovers and Fighters.
THE TEMPERANCE MOVEMENT-THE TEMPERANCE MOVEMENT.
FOXY-GET OFF.
FOXY-GET OFF.
Before Foxy’s recording career got underway, they honed their sound playing on a whole host of albums released on Henry Stone’s T.K. Records. Starting with Blowfly, then Timmy Thomas, Miami-based Foxy were T.K’s studio band. Foxy picked up where KC and The Sunshine Band left off. They were now T.K’s most successful signing. Their days of working as a studio band were long gone. The baton had passed to Foxy. By 1976, it was time for Foxy to release their debut album
Released in 1976, Foxy released the first of a quartet of albums they released for Henry Stone’s Dash Records. Their eponymous debut album Foxy, saw their career get off to an inauspicious start. It failed to chart. Part of the problem was Foxy couldn’t find their own sound. Instead, they sought inspiration from a number of sources. A small crumb of comfort was Get Off Your Aahh and Dance, which gave Foxy a minor hit single. Although it reached just number thirty-nine in the US R&B Charts, it reached number two in the US Dance Charts. While Foxy showcased the band’s talent and versatility, it gave no hint of what was about to happen the Miami-based sextet. Their sophomore album Get Off, which was recently rereleased by BBR Records, transformed Foxy fortunes.
For their sophomore album Get Off, three members of the band contributed the eight tracks Ish Ledesma penned Ready For Love, You and Lucky Me. He cowrote Get Off, Madamoiselle and It’s Happening with Carl Driggs. Ish and Charlie Murciano wrote Tena’s Song, while Charlie contributed Goin’ Back To You. These eight tracks became Get Off, which was produced by Cory Wade.
Recording of Get Off took place at Studio Center Sound Recording, Miami. That’s where the six members of Foxy headed. Foxy featured two lead vocalists, guitarists Carl Driggs and Ish Ledesma. The rhythm section consisted of Arnold Paseiro and drummer and percussionist Joe Galdo. Multi-instrumentalist Charlie Murciano played keyboards, woodwinds and vibes. The final member of Foxy was Richie Puente Jr, who played percussion and clavinet. He was the son of legendary bandleader Tito Puente. Along with the Bonaroo Horns, backing vocals courtesy of Wildflower and Peter Brown on synth bass, this was the lineup that featured on Get Off. Would it kickstart Foxy’s career?
Before the release of Get Off, the title-track was released as a single in May 1978. It reached number nine in the US Billboard 100, number one in the US R&B Charts and number eighteen in the US Disco Charts. Then when Get Off was released in June 1978, it reached number twelve in the US Billboard 200 and number twelve in the US R&B Charts. Foxy had been catapualted to disco Kings. Had they found their own sound, or was Get Off a genre-melting album?
Tena’s Song opens Get Off. It’s a joyous slice of dance-floor friendly music. Literally, it explodes into life. Hand claps and the pounding rhythm section set the scene for the a vocal. It’s makes you think of the jazz age. Instantly, you’re back to the twenties. Ish’s lead vocal is accompanied by punchy harmonies. Soon, it’s a scat with handclaps, piano and woodwind accompanying him. Pop, funk and jazz combine to create joyous, hook-laden track where the roaring twenties and seventies unite.
Ready For Love sees a synth, piano, pounding rhythm section and quivering strings take charge as the arrangement gallops along. Dramatic soulful and dance-floor friendly, the soul-baring vocal is accompanied by sweeping harmonies. As for the arrangement, it frames the interplay between the vocal and harmonies. Bursts of drums, flourishes of piano, dancing strings, growling horns and a bubbling bass. They provide the backdrop for an impassioned, needy plea on this dramatic, soulful paean.
Madamoiselle sees Foxy slow things down. Still they keep things soulful. Cooing harmonies, percussion and melancholy strings join rasping horns and a wistful bass. A drum roll signals the arrival of the vocal. At the start, it’s whispered and seductive, but becomes sassy and powerful. The same can be said of the arrangement. With the rhythm section providing the pulsating heartbeat, Santana-esque guitars and Latin percussion take charge. Later, cooing harmonies and lush strings provide a backdrop for the strutting vocal, on this genre-melting tracks. In less than five minutes, Foxy combine elements of disco, funk, Latin, rock and soul.
You explodes into life. A myriad of Latin percussion provides the backdrop to a sassy, strutting vocal. It’s accompanied by equally, sassy, feisty harmonies. Soon, disco strings and stabs of piano are joined by a powerhouse of a rhythm section. Bursts of braying horns, percussion and flourishes of piano combine. Ish’s vocal is feisty and dramatic, with harmonies matching his sass and confidence. During a breakdown, funk, disco and Latin melts into one. Then when the harmonies pick up the baton, they’re the finishing touch to this mesmeric mixture of musical genres. Pulsating and infectiously catchy, it’s akin to a call to dance. You’re dared not to. You can’t help but submit the charms of you.
Get Off is the best known track on Get Off. It gave Foxy their only US R&B single. That doesn’t mean it’s the best track on Get Off. Whooping, cooing harmonies gives way to the vocoder as things get funky. There’s a tougher, P-Funk sound to the track. It’s as if Foxy have sought inspiration from Funkadelic. Other times, The Salsoul Orchestra are an influence, especially with the vocals. Driven along by that bubbling bass, Foxy lock into a groove and exploit it to its fullest. What unfolds is like a party in the studio. Whoops, hollers, handclaps and harmonies are combined. Foxy fuse funk, disco, soul and bubblegum pop to create an infectiously catchy track.
Bursts of thunderous drums open Lucky Me, which marks another change in direction. Swathes of strings, rasping horns and a sharp, deliberate vocal. It takes the track in the direction of Euro Disco. Suddenly, it’s a myriad of supposedly sensuous moans and groans. Then it’s all change. Foxy deploy a vocoder. It’s an instrument that can be overused. Here, Foxy tread a fine line. A guitar could prove just as effective. Later, as the track becomes a gloriously choppy slice of Euro Disco, it’s all change. During a breakdown the track takes on a Latin sound. Sadly, it never returns to the glorious slice of Euro Disco it once was. Although it’s a good track, without the vocoder and the Latin sounding breakdown, it could’ve been a great one.
Straight away, Goin’ Back To You reminds me of Earth, Wind and Fire. It’s the arrangement that leads to that comparison. With just a piano, drums and lush strings for company, Foxy showcase their soulful side. A heartfelt and emotive vocal and Earth, Wind and Fire-sque harmonies prove a potent combination. Gradually the emotion and drama grows as Foxy replicate the soulfulness of Ready For Love.
It’s Happening closes Get Off. Just a jaunty piano is joined by a bubbling bass and urgent vocal. Soon, strings are sweeping and swirling, while bursts of rasping horns punctuate the arrangement. As the vocal drops out disco string, searing guitar, cooing harmonies and growling horns take centre-stage. By now musical genres and influences have melted into one. Listen carefully, and you’ll hear everything from pop, disco, soul and funk, plus elements of Andrew Gold and The Doobie Brothers. Poppy, soulful and catchy it’s a compelling way to close Get Off.
Just like their debut album Foxy, Foxy haven’t quite found their own sound on Get Off. That’s not necessarily a bad thing. No. Get Off is best described as a fusion of musical genres and influences. Everything from disco, Euro Disco, funk, jazz, Latin, P-Funk, pop, rock and soul can be heard on the eight tracks. Tena’s Song is one of the highlights of Get Off. As the roaring twenties and the seventies unite, there’s no hint of what’s to come. Instead, Get Off is a magical mystery tour. Ready For Love and Goin’ Back To You allow Foxy to showcase their soulful side. Then during Get Off’s other five tracks musical genres melt into one. There was something for everyone on Get Off. Whether you liked your music funky, soulful or dance-floor friendly, Foxy had something for you.
With seemingly Foxy covering all their bases, how would Dash Records market the band? Were they a disco, funk or soul band? The answer to that was neither. They were all things to all men and women. Maybe that was as a result of Foxy originally being a studio band? A studio band has to be able to accompany any type of artist. Foxy could do this. Seamlessly, they could switch from soul to funk and then disco. This was a bit like Earth, Wind and Fire, who Foxy occasionally sound like. Sadly, Foxy didn’t come close to replicating the commercial success and critical acclaim of Earth, Wind and Fire.
Instead, Foxy released just two more albums. 1979s Hot Numbers reached number twenty-nine in the US Billboard 200 and number ten US R&B Charts. Their final studio album was 1979s Party Boys. It failed to chart and Foxy split up in 1980. Their recording career lasted three years and numbered just four albums. Foxy’s finest hour was Get Off, which was recently rereleased by BBR Records. Seamlessly, Foxy fuse musical genres and influences on what was the most successful album of their career, Get Off. Standout Tracks: Tena’s Song, You, Get Off and Goin’ Back To You.
FOXY-GET OFF.
MONK MONTGOMERY-REALITY.
MONK MONTGOMERY-REALITY.
Music was in Monk Montgomery’s blood, especially jazz music. His younger brothers were the legendary jazz guitarist Wes, while Buddy, played vibes and piano. Despite coming from a musical family, Monk’s professional career only started when he was thirty. He was a bassist, but unlike his predecessors, eschewed the double bass for the Fender Precision Bass.
Indeed, it was Monk Montgomery who legitimized the Fender Precision Bass. Designed by Leon Fender, its introduction coincided with the start of Monk’s career in 1995. Before that, producers and engineers were wary of the Fender Precision Bass’ sound. They were wary of its power and how it could, if not used properly, dominate a track. Monk Montgomery changed people’s opinion of the Fender Precision Bass. This became his musical weapon of choice.
The Fender Precision Bass can be heard when Monk played on albums by Kenny Burrell, Art Farmer, Johnny Harris Johnny Griffin, Eddie Harris and Buddy Montgomery. Then there’s the nine albums Buddy, Wes and Monk recorded as The Montgomery Brothers, plus Monk’s three solo albums. His last solo album was 1974s Reality, which was recently rereleased by BBR Records. Reality which was released on Philadelphia International Records, was the swan-song to Monk’s three decade career, which I’ll tell you about.
It was October 1921, when Monk Montgomery was born in Indianapolis, Indiana. He was the eldest of three brothers who became jazz musicians. Wes would play guitar and Buddy would play piano and vibes. Monk started off playing the double bass, but when he turned professional in 1951, plugged in.
When Monk turned professional, he turned his back on the double bass. Controversially, Monk decided to try Leo Fender’s Fender Precision Bass. Soon, Monk tamed the Fender Precision Bass. No longer did producers fear the instrument. Instead, they realized, in the right hands, it was a potent and powerful weapon. Lionel Hampton realized this.
Between 1951 and 1953, Monk was the bassist in Lionel Hampton’s orchestra. Considering this was his professional debut, Monk was starting at the top. Then in 1953, Monk became a member of the Art Farmer Septet until 1956. After that, he became a member of The Mastersounds between 1957 and 1960. They went on to record six albums. Then with Wes and Buddy, The Montgomery Brothers recorded the first of nine albums they released. Although his career started late, he was making up for lost time. This was the case during the sixties.
Throughout the sixties, Monk was working with some of the biggest names in jazz. Away from The Montgomery Brothers, Monk worked with The Jazz Crusaders, Hampton Hawkes, George Shearing and The Jack Wilson Quartet. Monk also played on his brothers Wes and Buddy’s solo albums. This includes Wes’ final album A Portrait Of Wes Montgomery. It was released in 1968, the year Wes Montgomery died of a heart attack. Wes had returned from a tour and was enjoying the most successful period of a career. Monk was heartbroken. However, life and his career had to go on.
1969 saw Monk release his debut solo album It’s Never Too Late. It saw Monk joined by members of The Jazz Crusaders. Monk had played on a couple of their albums. So this was a case of returning the favor. Produced by Jazz Crusader Wayne Henderson and Stewart Levine, It’s Never Too Late wasn’t a commercial success. Neither was the followup.
Between the release of his debut album It’s Never Too Late and the release of 1971s Bass Odyssey, Monk had been working with vibes player Red Norvo. Again, an all-star lineup accompanied Wes on Bass Odyssey. Produced Wayne Henderson and Stewart Levine, Bass Odyssey failed to chart. Monk wouldn’t release another album for three years.
Following the release of Bass Odyssey, Monk returned to session work. This was what Monk was doing when Gamble and Huff contacted him. They wanted Monk to sign Monk to Philadelphia International Records. This didn’t please some of the jazz community. They wondered why Monk was signing to a soul label? However, this wasn’t just any soul label, it was one of the most successful soul labels. Monk’s music would Gamble and Huff argued, would be heard by people who didn’t usually buy jazz albums. For Monk, it looked like a no-loose situation.
When work began on what became Reality, Monk contributed Close Your Face. Producer Bobby Martin penned Reality and Sippin’ and Tippin.’ Bobby cowrote Bump De Bump with Norman Harris, whose guitar playing is reminiscent of Wes Montgomery. Other tracks included Bill Cosby’s I Love You Camille, Neal Hefti’s Girl Talk and Ron Feuer’s Little O’s. The other track was a cover of Gary Gilbert collaboration with Gamble and Huff, Me and Mrs Jones. These eight tracks became Reality.
Recording of Reality took place at Joe Tarsia’s Sigma Sound Studios. A slimmed-down version of M.F.S.B. accompanied Monk. This included the Baker, Harris, Young rhythm section, guitarist Ron Kersey, vibes virtuoso Vince Montana Jr and Larry Washington on bongos and congas. Producer Bobby Martin played piano and Fender Rhodes while Don Renaldo’s Strings and Horns added a trademark Philly Soul sound. Guest musicians included organist Ron Feuer, drummer Santo Sazino and Danny Skea on electric piano and clavinet. Once Reality was recorded, it was ready for release in November 1974.
On the release of Reality in November 1974, the album failed to chart. So did the title-track Reality, when it was released as a single in November 1974. Monk Montgomery’s music wasn’t heard by a wider audience. Instead, Reality proved to be his final studio album. Did Reality see Monk Montgomery bow out on a high?
The title-track Reality was penned by one of the forgotten heroes of Philadelphia International Records, Bobby Martin. Songwriter, arranger and producer, here disco, jazz and soul unite. After the dramatic drum rolls, lush strings join ethereal harmonies forces with Monk’s bass. As strings dance and dreamy harmonies coo, quick bursts of Monk’s muted bass dances across the arrangement. It skips its way across the arrangement, as M.F.S.B. seamlessly unleash some jazzy and funky licks.Dreamy, dramatic and ethereal, describes the track while mesmeric describes Monk’s bass playing.
Me And Mrs. Jones is given something of an understated makeover. Swathes of Don Renaldo’s strings sweep back and forth while Earl Young’s drums mark time. Monk’s playing is sparse and subtle. There’s neither showboating nor excess. Space is left within the arrangement. Members of M.F.S.B. fill the spaces. This includes Norman Harris’ jazz-tinged guitar, wistful horns and Vince Montana Jr’s vibes. They add a melancholy sound, while Earl’s drums add occasional bursts of drama on this reinvention of a Philly Soul classic.
There’s a real cocktail jazz sound to the piano that opens Sippin’ And Tippin.’ Its slinky sound weaves its way in and out of a meandering arrangement. Monk’s bass meanders thoughtfully, while the wailing Hammond organ adds a contrast. Then when a piano is unleashed, there’s a much more vibrant sound to this kittenish slice of sixties jazz.
Bump De Bump was written by Bobby Martin and Norman Harris. Here, Monk shows his versatility, on this blisteringly funky track. Growling horns, join Baker, Harris, Young at their best. Funk, jazz and Philly Soul become one. Monk takes centre-stage. He’s out front unleashing his trademark sound. It’s unmistakable. This seems to spur M.F.S.B. on. The rhythm section provide a pulsating, uber funky beat that drives this musical juggernaut along. Guitars chime, horns bray and Monk demonstrates his versatility.
I Love You Camille was written by comedian Bill Cosby. Driven along by the unmistakable sound of the clavinet, swift chord changes add to the drama and beauty of this track. Seamlessly, M.F.S.B. shift through the gears. Keyboards, clavinet and a thunderous rhythm section provide transform M.F.S.B. into dramatic, powerhouse. Despite this, the swathes of strings add an ethereal beauty. So do, the keyboards and Monk’s thoughtful, pensive playing. Effortlessly, he unleashes one of his best and most dramatic solos. As he matches the rest of M.F.S.B. every step of the way, Monk plays his part in the genre-melting track’s success.
Little O’s has a shuffling arrangement. Here, Monk’s bass and Hammond organist Ron Feuer take centre-stage. The rest of the band play behind them. Drums pound, hi-hats hiss and Monk delivers a mesmeric solo. His hands flit effortlessly up and down the keyboard, as M.F.S.B. mix jazz, funk and even, rock. Then when Monk and Ron Feuer combine, they prove a potent partnership. They seem to drive each other to greater heights. Getting in on the action is drummer Santo Sazino who with Ron and Monk drives the track to its dramatic crescendo.
Girl Talk was the theme to the 1965 movie Harlow, which documented the story of Jean Harlow’s life. It features one of Monk’s best performances. Evocative, atmospheric and spacious, the track has a broody sound. Monk’s playing is wistful and pensive, while drums are played with brushes and Bobby Martin’s Fender Rhodes adds to the sense of melancholia. As the tempo quickens, this allows Monk and the rest of M.F.S.B. combine to create an enigmatic track. One minute it’s moody and melancholy, the next it’s melodic, dramatic and hopeful. This seems fitting, given it’s telling the story of Jean Harlow.
Close Your Face closes Reality on a high. Monk returns to his roots. At breakneck speed, a a drum solo is unleashed. Next to join the fun is the Hammond organ. Gradually, the arrangement reveals its subtleties. We’re headed back to jazz’s glory days and bebop. As the Hammond organ joins Monk and the drums, this triumvirate power the arrangement along. The result is a glorious reminder of the jazz’s glory days.
Reality proved to be something of a reality check for Gamble and Huff. They weren’t invincible. Not everything they touched turned to silver, gold or platinum. While they were enjoying commercial success and critical acclaim, they weren’t without their failures. Far from it. For every hit The O’Jays, Harold Melvin and The Blue Notes and Three Degrees enjoyed, there were flops from That Jones and Mel Lewis, Spiritual Concept, Bunny Sigler, Bobby Taylor, Derek and Cyndi and Robert Upchurch. Each of these artists failed to replicate the commercial success of Philadelphia International Records higher profile artists. To that list, Monk Montgomery’s name must be added. Gamble and Huff’s dalliance with jazz hadn’t paid off. Having said that, Reality is something of a minor hidden gem in Philadelphia International Records back-catalogue.
That’s thanks to Bobby Martin. He produced Reality. Philadelphia International Records’ forgotten hero penned two tracks and cowrote Bump De Bump with M.F.S.B. guitarist Norman Harris. These were three of the eight tracks Monk and Bobby chose for Reality. Accompanying Monk on Reality, were an all-star band. This included some of M.F.S.B. and some of Monk’s trusted sidemen. The result was a genre-sprawling album. Everything from bebop, cocktail jazz, disco, funk, jazz, Philly Soul and rock can be heard on Reality. Monk’s trademark sound shines through. This came courtesy of Leo Fender’s Fender Precision Bass. In Monk’s hands, it’s hugely effective. His playing can be described as sparse, subtle, understated, breathtaking and mesmeric. Monk’s playing spurred M.F.S.B. on to greater heights. Sadly, their efforts weren’t appreciated.
On the release of Reality, it sunk without trace. That’s no surprise. Philadelphia International Records wasn’t a jazz label. They’d no track record with jazz albums. Who did they know within the jazz world? Did they have contacts within jazz radio stations and magazines? In many ways, it’s no surprise Reality wasn’t a commercial success. For Monk Montgomery that was the final studio album he released. He did release Monk Montgomery Live In Africa…Live in 1974 on Philadelphia International Records. It wasn’t a commercial success. That proved to be the end of Monk’s solo career. Reality which was recently released by BBR Records proved to be Monk Montgomery’s swan-song.
Although he continued to work as a session musician until 1976, Monk Montgomery never released another solo album. As for producer Bobby Martin, his career as a songwriter, arranger and producer continued. Bobby was one of the architects of Philly Soul, and enjoyed a hugely successful career. Despite this, Bobby Martin who died recently, is one of Philly Soul’s forgotten heroes. A reminder of his talent as a songwriter and producer is Monk Montgomery’s final solo album Reality, a hidden gem in Philadelphia International Records back-catalogue. Standout Tracks: Reality, Me And Mrs. Jones, Bump De Bump and Girl Talk.
MONK MONTGOMERY-REALITY.
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