THE TEMPTATIONS-ALL DIRECTIONS.
THE TEMPTATIONS-ALL DIRECTIONS.
When The Temptations were recording what became All Directions, the group were determined not to record two songs that eventually appeared on the album. One of these songs was Run Charlie Run and the other was Papa Was A Rolling Stone. The Temptations were absolutely determined not to record these songs. They felt that they wouldn’t provide them with a hit. Recording Run Charlie Run and Papa Was A Rolling Stone, they felt, was a backward step. After this, they felt, they’d be back singing ballads like My Girl and Ain’t To Proud To Beg. Having been persuaded to record Papa Was A Rolling Stone, the twelve minute epic proceeded to give the group one of the biggest hits of their career.
Papa Was A Rolling Stone resulted in three Grammy Awards for The Temptations. On its release, it reached number one in the US BIllboard 100 and number five in the US R&B Charts. The song received a Grammy Award for Best R&B Song, Best R&B Performance by a Group and even a Grammy for the instrumental version on the B-side of the track. Producer Norman Whitfield who co-wrote the song with Barrett Strong, must have felt vindicated, as Papa Was A Rolling Stone became one of the group’s biggest ever hits. However, as if that wasn’t good enough, the album All Directions gave The Temptations a huge hit. will be rereleased by Universal Japan on 22nd October 2013.
Before recording of All Directions got underway, eight songs were chosen. This included Barrett Strong and Norman Whitfield’s Papa Was A Rolling Stone and Funky Music Sho’ Nuff Turn Me On, which was previously recorded by Edwin Starr. C. Maurice King cowrote two tracks. He cowrote Run Charlie RUn with Jan Forman and I Ain’t Got Nothin’ with Evans King. Dino Fekaris and Nick Zesses penned Mother Nature and Ashford and Simpson cowrote Love Woke Me Up This Morning. Other tracks included Ewan McColl’s The First Time Ever and Isaac Hayes’ Do Your Thing. These eight tracks became All Directions.
Recording of All Directions took place at Motown’s own studios in 1972, with what was the fourth incarnation of The Temptations. This included Dennis Edwards, Richard Street, Damon Harris, Otis Williams and Melvin Franklin. Accompanying The Temptations were The Funk Brothers, Motown’s very own studio band. The rhythm section included bassists Bob Babbitt, James Jamerson and Leroy Taylor, drummers Aaron Smith, Richard Allen and Uriel Jones, plus guitarists Billy Cooper, Eddie Willis, Joe Messina, Melvin Ragin, Paul Warren, Robert White and Robert Ward. They were joined by pianist Earl Van Dyke, origanist Johnny Griffin, percussionist Jack Brokensha and congos courtesy of Eddie “Bongo” Brown. Norman Whitfield produced All Directions, which was released on 27th July 1972
The first single released from All Directions was Mother Nature. It had only reached a somewhat disappointing number ninety-two in the US Billboard 100 and number twenty-seven in the US R&B Charts. However, Papa Was A Rolling Stone would more than make up for this, reaching , reached number one in the US BIllboard 100 and number five in the US R&B Charts. When All Direction was released, the album was critically acclaimed. The continuation of the fusion of soul and psychedelia appealed to critics and record buyers alike, with All direction reaching number two in the US Billboard 200 and number one in the US R&B Charts. All Directions, a true psychedelic soul stew, which I’ll now tell you about is one of The Temptations classic albums.
All Direction opens with a cover of the Barrett Strong and Norman Whitfield penned Funky Music Sho’ Nuff Turn Me On, a track best known for Edwin Starr’s version. After a big build up, the crowd being whipped up into fervor, resulting in raucous applause, the track opens, with each of the five Temptations sharing the lead vocal. The track sounds as if it has been recorded live, giving you an idea of just what The Temptations sounded like live. With The Funk Brothers backing them, and giving a tight, yet funky performance, Dennis Edwards, Richard Street, Damon Harris, Otis Williams and Melvin Franklin take turns of singing lead, while the other four provide harmonies. While The Funk Brothers provide a funk laden backdrop, The Temptations, combine emotion, joy and power resulting in an impressive and professional performance.
Run Charlie Run was one of two tracks on All Directions The Temptations had to be persuaded to record. The controversy here, was over the subject matter of the song, dealing with “white flight.” It was music with a social conscience, supportive of Black Power movement, that required The Temptations to sing in a “caucasian” accent “the niggers are comin.’” Like the other Temptations, Otis wasn’t keen to record the track. However, producer Norman Whitfield persuaded them to do so, and eventually, the track was included on All Directions. As the track opens, a piano, funky rhythm section and soaring, searing guitar combine with blazing horns as the vocal enters. Straight away, the controversial white flight lyrics can be heard. In them, they sing about people going to church on Sunday, but by Monday they forget what they’ve learned. Instead of togetherness and friendship, the white people became racists. Rather than embrace and the black people who had entered their town and cities. Instead, the white people chose to leave these places, and make it worse, by passing their racist attitudes and beliefs to their children. With a reverberating, funky and dramatic arrangement accompanying them, The Temptations bring the song to life. This is helped by the constant pounding drums and blazing horns, that accompany the passion, frustration and anger of their vocals. It’s a hugely powerful track, one that makes you glad to be alive in more enlightened times.
Easily the best known track on All Directions is the twelve minute epic Papa Was A Rolling Stone, which closes side one of the album. Here, Norman Whitfield’s production is stunning, the prolonged arrangement building and building, with the rhythm section, wah-wah guitars, keyboards and sweeping, swirling horns. The longer the introduction goes, the more the anticipation builds. You wonder what’ll happen next, where the track is heading? After four and a half dramatic and sweeping minutes, where the ever-present bass is a mainstay of the track, while hi-hats, horns and strings all play their part, the vocal enters. Each of The Temptations have their own part to play. Damon plays the part of the child’s mother, answering thee questions about their late father, trying to add a balance to the negative things they’ve heard about him. Meanwhile rest of the group play the part of the questioning children, with a series of questions being answered by Damon. This is already emotive and powerful, but the addition of braying horns, searing wah-wah guitars, the moody bass and the hissing hi-hats, adds to this. When you listen to the lyrics, there’s a sense of sadness present, that children would hear these things about their late father, and this is made worse by the thought of their mother having to answer them. By the end of this seminal, twelve minute epic, you realize that this is one of the defining moments not only in the career of The Temptations, but producer Norman Whitfield. Not only is the song powerful and emotive, but one of the best songs the group recorded and Norman producer. After all, when you’ve climbed the highest mountain, where do you go from there?
Over the years, Ashford and Simpson were more than just a highly successful songwriting partnership, this husband and wife duo, recorded a number of highly successful albums, like Street Opera and Solid, as well as producing acts like Gladys Knight and The Pips. A lush combination of piano and strings combine as Love Woke Me Up This Morning begins. This is followed by a tender vocal from Damon, while the rest of the group combine to sing equally tender harmonies. Behind them, the rhythm section combine, with the drums playing with an almost jaunty beat. Meanwhile, grand strings, rasping horns, piano and chiming guitars combine to produce a lovely arrangement, perfect for the Damon’s now soaring, passionate vocal which is full of emotion and sincerity. This results in a quite beautiful track, which opens the second side of All Directions.
I Ain’t Got Nothing sees Otis and Melvin share the lead vocal. As the track opens, the sound is understated, but there’s a sense that something special is about to happen. With Otis and Melvin sharing the lead, a slightly moody sounding arrangement unfolds. Key to its sound are the rhythm section who play slowly and thoughtfully, while strings add a sense of emotion and sadness. Adding to the arrangement is a piano which drops in and out of the the track. However, it’s the interplay between Melvin and Otis that adds to the moody sound, especially the contrast in their vocals. This sound is perfect for the sense of despair in the lyrics, especially when the sing “I’ve got nothing.” Here, The Temptations and producer Norman Whitfield combine brilliantly to produce a song that has a sense of bleakness and despair, befitting the song’s lyrics.
When Ewan McColl wrote The First Time Ever (I Saw Your Face), little did he know how many people would cover his song. Cover versions of this song can be good, bad or indifferent. Thankfully, The Temptations version falls into the first category, with Richard Street singing lead vocal. With guitar and bass combining, before the piano enters, Richard’s gorgeous vocal enters. He strikes the right note between singing the song tenderly and with an element of drama, befitting the song. This is no overblown version. Instead it’s thoughtful and tender, with a beautiful arrangement where lush strings sweep in, joining the guitar, bass and piano. Together with Richard’s stunning vocal, they combine to produce one of the album’s highlights.
Although Mother Nature was the B-side of Funky Music Sho’ Nuff Turn Me On, it’s a track that deserved a better fate than that. Of the two tracks, this is a much better track than the A -side. Dennis Edwards gives an emotive and moving rendition of the lyrics, while the dramatic arrangement sweeps along. A piano plays an important role, while strings sweep and swirl, guitars chime, drums pound and horns rasp gently. However, although the arrangement builds and builds, with a sense of drama omnipresent, it’s Dennis’ vocal that holds your attention. You become enthralled by it, spellbound, realizing just how talented and versatile a vocalist he is. There’s a mixture of emotion, passion and drama present, which when combined with Norman Whitfield’s arrangement, is a potent and brilliant combination.
All Directions closes with a cover of an Isaac Hayes track Do Your Thing, where Richard, Damon and Melvin share the lead vocal duties. The track bursts into life with the funkiest of guitars, a drama drenched combination of blazing horns and powerful, pounding drums. After this you’re expecting the track to explode, but it doesn’t. Instead it meanders along, with keyboards joining the arrangement which meanders along, with the vocal constantly changing hands. Throughout the track, a punchy and dramatic combination of drums, handclaps and braying horns make their presence felt, before the track returns to its previous meandering, sometimes moody sound. Although quite different from the two previous tracks, it sounds great and is a good and satisfactory way to end All Directions.
For people who were used to The Temptations singing tracks like My Girl and Ain’t Too Proud To Beg, albums like All Directions and Psychedelic Shack must have been a shock to them. The music was a mixture of soul, funk and psychedelia, all mixed together into a soulful stew that’s quite brilliant. During All Directions, The Temptations combined the frustration, power and anger of Run, Charlie Run, with the heartfelt Papa Was A Rolling Stone and the gorgeously, tender The First Time Ever (I Saw Your Face) sung by Richard Street. On Mother Nature, Dennis Edwards demonstrates his talents as a vocalist, combining emotion, passion and drama with aplomb. Credit must be given to producer Norman Whitfield. Not only is his production stunning, but he stuck by his conviction that The Temptations should record both Papa Was A Rolling Stone and Run, Charlie Run. With The Temptations not wanting to record either track, Norman managed to convince them to do so.
This was fortuitous, as Papa Was A Rolling Stone gave the group a number one single and three Grammy Awards. Run, Charlie, Run was emotive music with a social conscience, full of passion and frustration. That’s one reason why All Directions was long on quality and short on filler. Overall, it’s an album full of some groundbreaking music, that features one of the highlights of The Temptations career. That was the seminal Papa Was A Rolling Stone, a magical, musical masterpiece. If you’ve never heard All Directions, which will be rereleased by Universal Japan on 22nd October 2013 it’s an album I can thoroughly recommend. Soulful, funky and with a social conscience, All Directions is a musical melting pot of soul, funk and psychedelia from of one of Motown’s biggest groups, The Temptations. Standout Tracks: Papa Was A Rolling Stone, The First Time Ever (I Saw Your Face), Mother Nature and Do Your Thing.
THE TEMPTATIONS-ALL DIRECTIONS.
COSMIC MACHINE.
COSMIC MACHINE.
After the initial optimism of the liberated, swinging and psychedelic sixties, the events of Altamont Free Concert, meant many people were pleased to see a new decade dawn. As the sixties became the seventies, music started to change. It was revolution rather evolution. This was a long way from 1962, when The Beatles released Love Me Do. Music was becoming much more complex. A lot it seemed, had happened in eight years. This included psychedelia and synths, which would play a huge part in the music of the seventies.
Just five months into 1970, The Beatles released what was their final album, the disappointing Let It Be. The Beatles weren’t going to be at the vanguard of this musical revolution. Across the world, music changed drastically. That was the case in France. Drawing inspiration from sixties psychedelia, soul, funk and rock, and drawing upon the sounds of the latest synths a lysergic, cosmic, electronic revolution unfolded. A new generation of French musicians would create some of the most innovative, inventive and mind-bending music. Twenty examples of this can be found on Cosmic Machine, which is described as “a voyage across French cosmic and electronic avantgarde 1970-1980.
Cosmic Machine, which was compiled by Uncle O and released on 14th October 2013 on Because Music, charts the development, innovation and revolution in French electronic music. Featuring artists including Didier Marouani, François De Roubaix, Universal Energy, Space Art, The Atomic Crocus, Bernard Fevre and Jean-Jacques Perrey. Among the names most people will know, are a pre-disco Patrick Juvet, the legendary Jean Michel Jarre, French Euro Disco Godfather Cerrone and the inimitable Serge Gainsbourg. These are just a tantalizing taste of the artists who can be found on Cosmic Machine. As the Cosmic Machine prepares to blast off, I’ll begin the countdown from ten.
My first choice is Patrick Juvet’s Le Rêve, which opens Cosmic Machine. For most people, Patrick Juvet is best remembered for his 1978 single I Love America. That couldn’t be further from the truth. There’s much more to Patrick Juvet than disco. He’s a versatile artist whose career started in 1973. In total, he released twelve studio albums between 1973 and 1991. Le Rêve is taken from his 1979 album B.O. Laura, Les Ombres De L’Ete, the soundtrack to David Hamilton’s sophomore film. It features a variety of musical influences and genres. Synths play their part in a track that’s variously futuristic, progressive, innovative and even, medieval. A combination of electronica, prog rock, psychedelia and Acid House synths shows another side to the multitalented Patrick Juvet.
Mention the name François De Roubaix, and those familiar with his work will tell you about an innovative musician who fused musical genres. His work was always progressive and ahead of the musical curve. Embracing synths and musical technology was key to his success. So was combining classical, ethnic and electronic instruments. Despite dying aged just thirty-six, he composed thirty soundtracks. Survol was part of a score he wrote, but which was rejected by Jacques Cousteau’s L’Antartique documentary. Despite being rejected it’s tantalizing taste of what he’s capable of. Briefly it sounds like Electronic Light Orchestra’s Turn To Stone but takes on a grand, dramatic, cinematic and Gallic sound.
Despite Space releasing Magic Fly in 1977, it sounds as if it could’ve been recorded recently. Truly timeless describes this track. Founded by Didier Marouani and Roland Romanelli, Space released a quartet of albums for the Vogue label between 1977 and 1980. Magic Fly was the title-track of their sophomore album. It provided them with the biggest hit of their career. A fusion of Euro Disco, synth pop and electronica, influences include Giorgio Moroder, Jean Michel Jarre, Donna Summer and Kraftwerk. Pulsating, sultry, ethereal and truly timeless describes this dance classic.
Pierre Bachelet’s Motel Show is a glorious fusion of musical genres and influences. Taken from the soundtrack Le Dernier Amant Romnatique, which was released in 1978, this was Pierre’s first album in three years. It proves a welcome return. Synths wah-wah their way across the arrangement while hissing hi-hats, lush strings and a pulsating Euro Disco beat combine. They play their part in a genre-melting track where funk, disco, electro and Euro Disco combine seamlessly.
The Atomic Crocus’ Ombilic Contact is a mind-bending, lysergic fusion. It was the B-Side to Smile At Me. Essentially, this is a sonic experiment, where musical boundaries are pushed further than before. If you can imagine a detuned bluesy guitars combining with eerie, futuristic, sci-fi synths you’re halfway there. What follows, is a mystical, musical journey through musical genres. Psychedelia, electronica, prog rock, funk and soul melt into one lysergic track.
Modern music, owes Cerrone a debt of gratitude. He was an innovator, continually pushing musical boundaries, paving the way for a future generation of producers. Not content to stand still, he was always looking to innovate, creating tomorrow’s music today. Générique-Début which features on his 1978 album Brigade Mondaine, is a track with a myriad of secrets awaiting discovery. For two minutes drums pound, before eerie, almost sinister synths meander in. Despite only featuring two instruments, Cerrone uses them effectively. So much so, that Gerald de Villiers used the track in a television series about the French vice squad. He felt this track portrayed perfectly a nervous, debutante stripper.
Quartz’s Chaos closed their 1978 eponymous debut album. It’s an album that’s way ahead of its time. Drawing inspiration from prog rock, ambient and Euro Disco what follows is a track that innovative and groundbreaking. Ethereal, celestial harmonies join a pulsating, driving beat and buzzing synths. Sounding like an a forerunner of house music, you’re taken on a musical journey through classical, choral, electro, Euro Disco and prog rock. Combined by Didier Plus, Laurent Taleb and Patrick Langlade, it’s a track that was ahead of its time and as a result, is timeless.
Serge Gainsbourg’s Le Physique Et Le Figuré is the polar opposite of J’Taime. Released in 1981, Le Physique Et Le Figuré, was the title of a film he directed. He unleashes a myriad of synths, keyboards, rocky guitars and thunderous drums. Sounding like the soundtrack to an intergalactic car chase featuring Super Ted and Hans Solo it’s dramatic, opus that shows another side to Serge Gainsbourg.
Alain Goraguer’s Le Bracelet is quite unlike much of the music on Cosmic Machine. That’s because it was recorded in the early seventies. Taken from the soundtrack Le Planete Sauvage, which was released in 1973, musical genres melt into one. This includes jazz, funk and soul. As for the track, it’s wistful, melancholy and broody. The drama builds and momentarily, it’s downright funky. Always, the track has a cinematic sound and you never quite know what might happen next.
Rocket Men’s Rocket Man, which is an instrumental, is my final choice from Cosmic Machine. Released as a single in 1974, on the Disc Az label, it was produced by Philippe Renaux. It’s the perfect way to close Cosmic Machine. Indeed, it’s as if the Cosmic Machine has taken off and you’re heading on a musical adventure. During that adventure, you visit musical genres and influences, including funk, prog rock, electronica, psychedelia and disco. This ensures your journey on the Cosmic Machine is mind-blowing, innovative and lysergic.
Featuring twenty innovative, genre-sprawling tracks, the journey onboard the Cosmic Machine is truly compelling, enthralling and spellbinding adventure. Mind-blowing even. Lasting seventy-eight minutes, you’re taken on an intergalactic journey where musical genres and influences melt into one lysergic mass. You’re left wondering were these really Gitanes you smoked? After all, you’ve just heard everything from ambient, choral, classical, disco, electronica, electro, Euro Disco, funk, jazz, prog rock, psychedelia, rock and soul during the twenty tracks on Cosmic Machine. They’re fused by some of the most progressive, inventive and imaginative artists and producers in the history of French music. Genres and influences seamlessly melt into one, resulting in mesmeric, mystical, musical adventures. Somehow, that makes sense.
Cosmic Machine is a bit like a musical equivalent of Pythagorus’ Theorem. I know 3.14 infinity equals pie, but don’t know how the pieman got there? Similarly, it’s almost impossible to understand how the artists on Cosmic Machine were able to make music that was so far ahead of the musical curve? That’s the eight mystery of the world. Some of the music sounds as if it was recorded only recently. It wasn’t. Far from it. Instead, it was recorded in the early seventies, over forty years ago. That’s quite remarkable. Despite the equipment being much more basic, the music sounds truly timeless. If only artists and producers were producing music that’s just as inventive and groundbreaking as the music on Cosmic Machine.
For newcomers to French electronic and avant garde music, Cosmic Machine which released on 14th October 2013 on Because Music, is the perfect starting place. It might be the first album of French electronic and avant garde music you buy, but believe me, it won’t be the last. Described as “a voyage across French cosmic and electronic avant garde 1970-1980,” that’s almost an understatement. Instead, I’d describe Cosmic Machine as a magical, mystical, musical mystery tour through innovative, inventive and imaginative electronic and avant garde music. The lysergic, genre-melting music on Cosmic Machine is truly timeless and way ahead of the musical curve. So much so, that Cosmic Machine features music from the golden age of French electronic and avante garde music. Don’t just take my word for it, climb onboard the Cosmic Machine and head off on a magical, mystical, musical mystery tour with the Rocket Men as we head towards Space with Cerrone, Jean Michel Jarre and Serge Gainsbourg in search of the elusive The Atomic Crocus . Standout Tracks: François De Roubaix Survol, Space Magic Fly, The Atomic Crocus Ombilic Contact and Quartz Chaos.
COSMIC MACHINE.
DAORA-UNDERGROUND SOUNDS OF URBAN BRASIL- HIP HOP BEATS AND AFRO DUB.
DAORA-UNDERGROUND SOUNDS OF URBAN BRASIL- HIP HOP BEATS AND AFRO DUB.
Compilations of Brazilian music are commonplace. Whilst not quite two a penny, there’s much more than before. The problem is, many of them contain the same tired old tracks. Compilers it seems, shop at the same shop. This results in the same old, same old. Nothing new, innovative or interesting it seems, ever finds its way onto these albums. That’s until now. Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, which is the innovative Mais Um Discos label’s latest release is something of a game-changer.
Featuring thirty-two tracks spread over two discs, Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, which was compiled by Rodrigo Brandão shows another side to Brazilian music. It’s best described as featuring progressive hip hop, leftfield beats, Afrobeat and dub drenched sounds. A simpler way to describe it as Daora, which in downtown San Paulo, is slang for something that’s f*cking cool. Even that’s something of an understatement.
Everything from funk, hip hop, Afrobeat, dub, soul, jazz, rap, reggae and samba is thrown into a Brazilian melting pot. When it’s given a stir, what comes out is variously energetic, emotive, edgy, progressive, hook-laden, soulful, imaginative, dance-floor friendly, melodic and downright funky. That’s what the music on Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub sounds like. No wonder.
Compiled by Rodrigo Brandão, lyricist extraordinaire, Subterranean Highlander and MC of the Zulu Nation Brazil, Rodrigo knows Brazilian urban music inside out. He knows where the secrets and hidden gems can be found and shares some of them on Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, which I’ll pick the highlights of.
DISC ONE-CONCRETE AND STEEL FOREST.
Both of the discs on Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, have a title and theme. Disc One is entitled Concrete and Steel Forest. This conjurs up pictures of the urban landscape, with the music reflecting the multicultural environment its made in. That environment has provided the inspiration for artists like Espião, Ogi and Stereodubs, Amabis, DJ Mako, Rodrigo Brandão,Doncesão and Bodes and Elefantes. They’re just a few of the sixteen artists who feature on Disc One of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, which I’ll pick the highlights of.
My first choice from Disc One of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub is Espião’s Cada Um, Cada Um. This is the title-track from Espião’s 2011 album. It’s a real fusion of influences. Everything from hip hop, soul and jazz combine. A jazz-tinged backdrop, featuring a meandering bass, combines with an impassioned, soulful hip hop vocal. Delivered in Portuguese, in a call and response style, stabs of keyboards add to the drama and intensity of the vocal. Soulful, jazz tinged and a reminder of old school hip hop, this is the perfect way to open the compilation.
Curumin’s Vestido De Prata is something of a musical anomaly. What sounds like is going to be a crackly, smokey slice of old school trip hop, becomes a languid, laid-back reggae track. Hey, who’s complaining when the music’s as good as this. Taken from the 2012 album Arrocha, released on Vinyl Land, the arrangement is driven along by the bass. Dubby drums, soulful harmonies and a heartfelt vocal all play their part in what is, an authentic reggae track. Somewhere in Brazil, it seems, is a little corner of Jamaica. For that, we should thankful.
Bixiga 70’s Balboa da Silva sounds like a track from a lost Blaxploitation movie. It’s not though. Instead it’s a track from Bixiga 70’s eponymous album. Released on the Agua Forte label in 2011, it sounds like James Brown providing the soundtrack to a Brazilian Blaxploitation movie. With a myriad of growling horns, pulsating rhythms and samba beats, it’s as if John Shaft got on the wrong plane and landed in Rio. Explosive, dramatic, uber funky and pulsating, you can imagine car chases, chaos and bad guys being brought to justice during four minutes of majestic music.
Dramatic and gothic describes the opening to M.B. Williams’ Response Pirituba. Keyboards provide the gothic sound while thunderous drums add the drama. From there, it’s like a musical journey, visiting a variety of musical genres. Driven along by the keyboards and drums, we take a detours via electronica, jazz, funk, fusion, Latin and rock. Horns blaze, joining percussion, keyboards and a rhythm section that’s provides the track’s heartbeat. In less than five minutes, M.B. Williams takes you on a magical, mystical musical mystery tour, visiting musical genres aplenty.
Sombra’s Homem Sem Face is an understated, haunting and jazz-tinged slice of hip hop. Featuring a rap in Portuguese, the arrangement meanders hauntingly along. Eastern sounds that conjur up pictures of snake charmers sit side-by-side with an arrangement that’s subtle, jazzy and languid. As for the rap, it’s full of bravado and briefly, eerie and menacing. Combined with the genre-melting, multicultural arrangement, and the result is an enthralling and compelling track.
Doncesão’s Obrigahh is my final choice from Disc One of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub. It’s a blistering slice of hip hop, set against an arrangement that’s a dramatic collage of samples, sound effects, keyboards riffs and phat drums. While the impassioned rap is responsible for much of the drama, you can’t help but concentrate on the arrangement. It features samples from old black and white movies, sound effects and is built around a series of piano riffs which are repeated throughout the track. Dramatic, mesmeric and multi-layered, is the best way to describe this musical collage.
Choosing just six tracks from sixteen wasn’t easy. No wonder. The quality of music on Disc One of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub is consistently high. After all, I could just as easily have chosen any number of innovative, genre-melting tracks. Honorable mentions go to Ogi and Stereodubs, Elo Da Corrente, Rodrigo Brandão and Tetine. Any one of these artists could’ve made my final six. Who knows, on another day other tracks might have made the cut? Mostly, though, the six tracks I chose stood out from the rest. They either made a real impression on me or fell into the category of innovative music. What these tracks did, was give me a real taste for contemporary Brazilian music. Luckily, we’ve another disc to go, featuring another sixteen tracks.
DISC TWO-AND MAY THE DRUMS SOUND.
Just like Disc One of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, Rodrigo Brandão has dug deep looking for innovative and cutting-edge music for Disc Two. Entitled And May The Drums Sound, Disc Two features another sixteen tracks. We’re introduced to Rodrigo Campos, Iconili, Bixiga 70, Afrobombas, Metá Metá, Iara Rennó and Anelis Assumpção. Again, the quality is just as high as on Disc One. So choosing the highlights of Disc Two of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub won’t be easy. Here goes.
Despite Rodrigo Campos’ Sou de Salvador which opens Disc Two of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, sets the standard for the other fifteen tracks. Taken from Rodrigo Campos’ 2012 album Bahia Fantastica, which was released on the Nucleo Contemporaneo label, what’s a follows is a glorious fusion of soul, Afrobeat, jazz and electronica. Joyous, spiritual, gospel-tinged vocals, join rasping horns, a pulsating rhythm section and seventies keyboards. They combine to create a soulful, celebratory and joyous track where musical influences and genres melt into one.
Genre-melting. That comes close to describing Metá Metá’s Orunmilá. It’s a compelling and complex fusion of musical influences and genres. Somehow they work. They shouldn’t, but do. Take a combination of jazzy horns, searing, rocky guitars, a myriad of percussion and a pounding rhythm section. Then ask them to provide the perfect backdrop for a soul-baring, soulful vocal. It’s delivered with feeling and passion. Yet the two are like ying and yang. That’s despite the vocal almost being upstaged by Hendrix-esque guitar solos. Not quite though. Instead it’s just another piece in this musical jigsaw. Beautiful, soulful, jazz-tinged and rocky, another word to describe this track is mouthwatering.
Braunation’s Os Tambores do Meu Povo is another track where not just musical genres, but continents collide. The track’s dubby sound is reminiscent of classic dub, takes you on a journey back to Kingston, Jamaica. There’s snippits of smokey, Bristol, trip hop, classic hip hop and thanks to a myriad of beeps and squeaks, Acid House. Mostly thought, it’s dub, delicious dub, Brazilian style.
The unmistakable sound of a clavinet accompanies Soraia Drummond on Sorriso Forte Na Luta. It provides a contrast to the ethereal beauty of her fragile, tender vocal. Soon filters are added to her vocal, as the track becomes heads in the direction of dub. Dubby drums echo into the distance and the spacey bass bounds in the same direction. This results in a track that’s not just spacious and spacey, but dubby and ethereal.
Baiana System’s delivery of Terapia is best described as soulful and heartfelt. That’s despite the track being a bass driven reggae track. Having said that, there’s more to the track than reggae. Much more. It’s also symphonic, dubby and dramatic. Electronica plays an important part. Especially, when it reaches brief discordant highs. After that, it’s all change. A myriad of keyboards, bubbling synths and that pulsating bass all play important part in providing the backdrop for this soulful, soul-searching vocal.
Sambanzo’s Etiopia is certainly one of most beautiful tracks on Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub. Driven along by the sultriest of saxophones, this gives the arrangement a jazzy sound. So does the standup bass and drums. Although mostly a straight ahead jazz track, occasionally the track draws inspiration from dub and electronica. They give the track a much more contemporary sound. That’s no bad thing. Neither is the brief detour via free jazz when Sambanzo showcases their inconsiderable skill on what is, a highlight of the compilation.
Featuring another sixteen tracks, Disc Two of Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, sees no drop in the quality of music. No wonder. It’s quality all the way, as we’re introduced to some Brazil’s best kept musical secrets. I’ve only chosen six of the sixteen tracks on Disc Two, but I could just as easily have chosen any number of other tracks. Among them, are Rodrigo Campos, Iconili, Afrobombas, Iara Rennó and Anelis Assumpção. These artists prove just how plentiful a supply of innovative artists there are in Brazil just now.
Indeed, Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub shows that right now, music is one of Brazil’s success stories. There are so many innovative, inventive and imaginative producers within Brazil, who like Shaman, casting a musical spell over their listeners. Their style is best described as genre-melting. During the thirty-two tracks on Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub musical genres and influences melt into one lysergic haze.
Everything from Acid House, Afrobeat, drum ‘n’ bass, dub, funk, hip hop, Latin, reggae, samba, rock, soul, jazz and trip hop is thrown into a bubbling musical melting pot. So too are snatches of haunting samples, sound effects, snare drums, squelchy synths heartfelt vocals and impassioned raps. Then there’s hissing hi-hats, loops, 808 kick drums and the unmistakable sound of the Roland TR-303. It’s then given a stir by an innovative producer and hey presto, music that veers between soulful, funky, jazzy, rocky, hypnotic, mesmeric and lysergic, to bass shaking, hip swaying and booty shaking.
Multilayered, complex, dramatic and dark, just as quickly, it can become uplifting and joyous. Other times, the music is intriguing and enigmatic. This is music that’s full of subtleties, surprises and nuances. Compiler Rodrigo Brandão throws a series of curveballs, just to keep the listener on their toes. Best to expect the unexpected. Anything and everything is possible. Rodrigo Brandão rules nothing in and nothing out. That seems to be Rodrigo’s attitude to compiling a compilation of cutting-edge, contemporary music. The result is, Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, the equivalent to a lysergic, genre-sprawling, magical, mystical musical mystery tour, where you’re introduced to a myriad of Brazil’s best kept musical secrets and hidden gems. Standout Tracks: Bixiga 70 Balboa da Silva, Doncesão Obrigahh, Metá Metá Orunmilá and Soraia Drummond Sorriso Forte Na Luta.
DAORA-UNDERGROUND SOUNDS OF URBAN BRASIL- HIP HOP BEATS AND AFRO DUB.
LEE HAZELWOOD-TROUBLE IS A LONESOME TOWN.
LEE HAZELWOOD-TROUBLE IS A LONESOME TOWN.
There aren’t many artists whose careers took as many twists and turns as Lee Hazelwood. Having left the US Army, Lee worked as a disc jockey, whilst forging a career as a songwriter. The first hit he wrote and produced was Sanford Clark’s 1956 rockabilly hit The Fool. Two years later, in 1958, Lee and Duane Eddy formed a successful partnership. Lee wrote and produced a string of hits for Duane. This included 1958s Rebel Rouser and Peter Gunn, plus 1959s Forty Miles of Bad Road and Shazam. Then in 1960, Lee decided to launch his solo career.
His debut single was Words Mean Nothing, which Lee recorded with Duane Eddy and His Orchestra. Words Mean Nothing wasn’t a commercial success, so Lee went back to songwriting and production. He continued his partnership with Duane Eddy, which was one the most productive of his career. The two pioneers enjoyed a run of successful hit singles. Lee also wrote singles for Tony Castle, Greg Connors, Tom and Jerry, Donny Owen and The Ventures. Then in 1963, Lee Hazelwood decided to relaunch his solo career. Signing to Mercury, Lee Hazelwood released Trouble Is A Lonesome Town, which was recently rereleased by Light In The Attic Records. Before I tell you about Trouble Is A Lonesome Town I’ll tell you about the early years of Lee Hazelwood’s career.
Lee Hazelwood was born in Mannford, Oklahoma in April 1936. During his early years, Lee and his family moved between Arkansas, Kansas, Oklahoma and Louisiana. Brought up on a diet of bluegrass and pop, Lee’s tastes broadened when his family moved to Texas. Music it seemed was in his blood. Despite that, Lee didn’t make a career out of music when he left high school.
No. On leaving high school, Lee headed to Dallas’ Southern Methodist University, where he decided to study medicine. After university, Lee joined the US Army during the Korean War. When he was discharged from the Army, Lee decided medicine wasn’t for him.
Instead, Lee took a job as a disc jockey. His reason for doing so, was it allowed him to work on his songwriting skills. Lee had decided to pursue a career in music. That didn’t mean spinning records. No. It meant writing them.
The first hit Lee wrote and produced was Sanford Clark’s 1956 rockabilly hit The Fool. That was just the start of Lee’s musical career. He went on to pen two more hits for Sanford Clark, 1956s Usta Be My Baby and 1957s The Man Who Made An Angel Cry. Lee then wrote Leroy Vandyke’s 1957s The Pocket Book Song and Pat Boone’s 1957 single Why Did I Choose You? However, Lee’s career really took off when he met innovative guitarist Duane Eddy.
Best known for his twangy guitar sound, Duane Eddy will always be remembered as a pioneering guitar player. With Lee Hazelwood writing and producing many of his singles, Duane Eddy went onto enjoy a successful career. Lee penned and produced 1958s The Walker, Rebel Rouser, Dixie Part 1 and Peter Gunn. Soon, Lee writing for other artists, including Sam Horn and His Orchestra, Mark Robinson and Das Hazy Osterwald Sextet. However, just like 1958, most of the hits he wrote were for Dune Eddy.
During 1959, Duane Eddy enjoyed a string of hit singles. Forty Miles of Bad Road, Only Child, The Quiet Three and Shazam. Duane Eddy was now one of the biggest names in music. Although Lee had to keep the hits coming for Duane, he penned singles for Hans Brandel and Sanford Clark. This was no bad thing, as the hits started drying up for Duane Eddy.
1960 saw Duane Eddy release just three singles, one of which Rebel Walk, had been released before. Luckily, Lee was writing for other artists including Paul Rich, Tony Castle and Greg Connors. Another artist who’d release a single during 1960 was Lee Hazelwood.
Lee’s debut single was Words Mean Nothing. which Lee recorded with Duane Eddy and His Orchestra. It wasn’t a commercial success, so Lee went back to songwriting and production. However, Lee had enjoyed a tantalizing taste of life as a recording artist. His return to songwriting and production was only going to be temporary.
For the next three years, Lee Hazelwood was busy working as songwriter and producer. During 1961, Lee worked penned songs for Tom and Jerry, Donnie Owens, Tony Gunner and Bud Ashton and His Group. Then in 1962, Duane Eddy enjoyed a string of hit singles. With The Shadows and The Ventures recording songs written by Lee, Lee Hazelwood could’ve continued to enjoy a career as a successful songwriter. He didn’t.
Instead, Lee decided to relaunch his solo career. He signed to Mercury and began work in what was his 1963 debut album, Trouble Is A Lonesome Town. The last seven years had been time well spent. Not only did Lee write the ten tracks on Trouble Is A Lonesome Town, but he produced the album which was recorded at Western Recorders.
When recording began at Western Recorders, in Los Angeles, Lee had put together a tight band of experienced session players. The rhythm section featured drummer Hal Blaine, bassist Bert Dodson and guitarists Billy Lee Riley, Billy Strange and Marshall Leib. Billy Lee Riley added harmonica and Hal Baline percussion on the ten tracks that became Trouble Is A Lonesome Town, which was released in 1963.
On its release in 1963 Trouble Is A Lonesome Town failed to chart. Neither did the title-track. Critics were won over by Lee’s worldweary baritone on what is essentially a concept album. Each of the ten country-tinged tales of heart, hurt, life and love gone wrong on Trouble Is A Lonesome Town are about a town called Trouble. In Trouble you’ll hear about The Railroad, Ugly Brown, Son Of A Gun and The Peculiar Guy, each of which I’ll tell you about.
Long Back Train, a railroad song, opens Trouble Is A Lonesome Town. Lee’s half-spoken vocal makes him sound like an old-fashioned storyteller. Then with guitars and harmonica accompanying him, the story unfolds. His vocal is wistful, as he remembers the dreams and hopes he and his childhood friend had. Then years later, they’re on opposite sides. When his friend robs a bank, his job is to bring him to justice. As he sings about his friend being sentenced to “ninety-nine years,” although it’s with a sense of sadness and regret, he knew it was the right thing to do.
Ugly Brown sees Lee follow a similar pattern as the opening track. Lee’s half-spoken vocal gives way to his vocal as he introduces to another character from a small-town. This time, it’s “Ugly Brown.” Lee’s delivery is deadpan, as he delivers lyrics like: “ even my own dog bites me…no one wants me in this town…I won’t swim in the river…cos every time I get out, you keep throwing me back.” Heartache, hurt and humor collide head-on during this country-tinged track.
Son Of A Gun is another story of a judgmental small town. This time, Lee introduces us to the outlaw’s son. With just an acoustic guitar and haunting harmonica for company, Lee’s vocal veers between sadness, melancholia and frustration. Later, there’s a twist in the tale. This Son Of A Gun who nobody never expected to amount to anything, goes from zero to hero by saving someone’s life.
As We All Make the Flowers Grow which sees us introduced to the small town undertaker, opens, it features some of the best lyrics on Trouble Is A Lonesome Road. You can picture the scenes unfolding before your eyes. Similarly, you can see the character striding down main street. Then as Lee delivers a thoughtful vocal, chiming guitars replace his nihilistic vocal. His vocal is confident and bereft of emotion as he delivers the line: “sooner or later we all make the little flowers grow.”
On Run Boy Run, Lee sounds not unlike Johnny Cash. With just acoustic guitars and meandering bass accompanying his vocal, Lee tells the story of an outlaw on the run. Lee’s advice is “Run Boy Run.” Melodic and catchy, it’s one of the highlights of Trouble Is A Lonesome Road.
Six Feet Of A Chain demonstrates Lee Hazelwood’s songwriting skills. Featuring lyrics that are cerebral, descriptive and dark, they tell the story of two brothers who are constantly jailed for stealing from each other. There’s a bitterness and real hatred in the lyrics, that shows how much the two brothers dislike each other. They’re never happier than when the other loses their liberty and find themselves attached to “Six Feet Of A Chain.”
Over the last hundred years, songwriters have written used railroads as a source of inspiration. Lee Hazelwood is no exception. So vivid are the lyrics to The Railroad, you realize who grueling and tough the work was. All week, the men worked hard and when they got paid, they let their hair down. Lee emotively describes this scene as it unfolds. Drinking and fighting was part of their life. Then when all that was over, another week begins on “The Railroad,” and they do it again.
Look At That Woman tells the story of the prettiest woman in this town called Trouble. Like everything else in this railroad town, something’s amiss. According to her husband, she’s got a cold heart and “I wish that woman was anyone else’s but mine.” Even love it seems, doesn’t run smoothly in Trouble.
Crystalline guitars accompany Lee’s vocal on Peculiar Guy. Usually, he’s like an old fashioned storyteller, painting pictures of life in this small town called Trouble. This time, the pictures are surreal and lysergic. It’s as if they’re painted by Salvidor Dali. You’re introduced to a man who won his wife in a card game. Briefly, she proved to be something of a lucky charm for him. That was until a lion ate her. After that, his luck changed. Then her husband slays the lion, leaving Trouble heartbroken and alone. Surreal, mythical and lysergic describes this left-field track.
Trouble Is a Lonesome Town closes with the title-track. It’s Lee’s farewell to the town called Trouble. With a worldweary, desperate vocal, Lee sings: “Lord I want to leave this town.” No wonder, given the characters we’ve been introduced to. With a sense of inevitably and a haunting harmonica for company, Lee sings: “Trouble Is a Lonesome Town, Trouble is where I was born.” Deep down he knows that Trouble is where he’ll die.
Lee Hazelwood’s debut album Trouble Is a Lonesome Town is best described as a concept album. During each of the ten tracks, you’re introduced to some of the characters that inhabit the backwater town of Trouble. Like all small towns, it’s a town full of characters and secrets. We meet the Peculiar Guy, Ugly Brown and Son Of A Gun. Then there’s the outlaws in Run Boy Run and Long Back Train use The Railroad that runs through Trouble to make their escape from Trouble. Proving that beauty is only skin deep is Look At That Woman, the tale of a cold hearted, beautiful woman. One of the most compelling characters is the undertaker and part-time philosopher in We All Make the Flowers Grow. No tale of life in a small town is complete without a “jail song.” There’s two on Trouble Is a Lonesome Town, Six Feet Of Chain and Long Back Train. This completes the story of life in Trouble.
Each of these songs are chapters in the story that is Trouble Is a Lonesome Town are variously compelling, gritty, dark and realistic. Lee Hazelwood is an old-fashioned storyteller. His worldweary half-spoken vocal sets the scene for each tale of life in Trouble. Accompanied by an understated arrangement, Lee’s worldweary, lived-in vocal takes centre-stage. He brings the stories to life, as if he’s lived or witnessed each of the stories. This is what makes them so effective. They’re believable, despite being recorded forty years ago. These songs have stood the test of time, despite the understated, no-frills arrangements. They allow the Lee Hazelwood’s vocal to take centre-stage. That’s where it belongs as Lee describes living in a town called Trouble, which he describes on his evocative, country concept album Trouble Is a Lonesome Town, which launched Lee Hazelwood’s five decade solo carer. Standout Tracks: Long Back Train, Son Of A Gun, Run Boy Run and Six Feet Of Chain.
LEE HAZELWOOD-TROUBLE IS A LONESOME TOWN.
ELYAS KHAN-BRAWL IN PARADISE.
ELYAS KHAN-BRAWL IN PARADISE.
Unique, eclectic and genre-sprawing. That’s the best way to describe the music on Elyas Khan’s debut album Brawl In Paradise. Released recently on BBE Music, Brawl In Paradise showcases one of the most innovative artists in contemporary British music. On Brawl In Paradise’s twelve tracks, everything from hip hop, soul, funk, Nu-Soul, jazz, electro, post punk and folk melts into one. Best described as an eclectic musical adventure, Brawl In Paradise is also a musical coming of age from Elyas Khan.
Although Elyas Khan was born in London, he was brought up in New York, where his career his music career took shape. Elyas founded Nervous Cabaret in 2001. Based in Brooklyn, Nervous Cabaret quickly established a reputation as inventive and progressive band. Crucial to their success was Elyas’ voice and his songwriting skills. This lead to them working with an eclectic selection of artists.
Soon, Nervous Cabaret were sharing the stage with a variety of artists. Among them were indie royalty, including Anthony and The Johnsons, Animal Collective and Sonic Youth. Nervous Cabaret played alongside Amanda Palmer, Jamie Lidell, Nouvelle Vague, freak folksters Coco Rosie and Berlin folk collective 17 Hippies. These appearances took place whilst Nervous Cabaret toured America and Europe. During this time, they appeared at some of the biggest festivals like Arezzo Wave, Trans Musicles and Dour. Away from touring Nervous Cabaret found time to record two albums.
Nervous Cabaret’s debut album was their 2005 eponymous album. Released two years after their 2003 live album, Ecstatic Music For Savage Souls, Nervous Cabaret was almost overdue. On its release on the French label Naive, Nervous Cabaret demonstrated why the band were keeping such illustrious company. Tracks like Mel Gibson, Instant Lady and the wonderfully titled Passion Plumbers showcased a band who looked like they had a big future ahead of them.
Two years after Nervous Cabaret released their eponymous debut album, came their sophomore album Drop Drop. Released on Naive in 2007, it looked as if the two years spent between albums was time well spent. Drop Drop featured a band who’d matured in the two previous years. Among the highlights of Drop Drop were Les Enfants Des Papillon, Dead Naked and Cat Head. Crucial to the success of Nervous Cabaret was Elyas Khan’s songwriting skills and unique vocal style. Elyas could breath life and meaning into his lyrics. He was one part troubled troubadour and one part storyteller. After the release of Drop Drop, critics thought Nervous Cabaret would release another album. They didn’t
Following Drop Drop, Nervous Cabaret didn’t release another album. In total, Nervous Cabaret’s discography comprises just one live album and two studio album. Like so many bands, they never quite fulfilled their potential. They could’ve and should’ve enjoyed much more widespread success. Renowned for their live shows, Nervous Cabaret and their two albums have attained cult status. Nervous Cabaret should’ve been more than contenders. They should’ve been challenging for titles. Maybe Elyas Khan’s debut solo album Brawl In Paradise, will enjoy more success than Nervous Cabaret’s two albums?
Away from Nervous Cabaret, Elyas Khan is pursuing a solo career. That’s not surprising. His lyrics and voice were crucial to Nervous Cabaret. For his debut album, Brawl In Paradise Elyas wrote it in his adopted hometown of Berlin. To write Brawl In Paradise, he locked himself in the old GDR Broadcasting Centre. For those of a certain vintage, that conjurs up all sorts of images. Seeking inspiration from his atmospheric and evocative surroundings, Elyas examines what he describes “as the gods and devils in each of us.” Essentially, Brawl In Paradise appears to be an examination of good and evil? Well, for Elyas he hopes his music is more than that.
Brawl In Paradise is the result of Elyas scrutinizing the world around him. It’s the result of a soul-searching journey, where writer, filmmakers, philosophers, artists and dancers have inspired Elyas Khan. Among them are George Orwell, Jean Renoir, Akram Khan, Edward Albee and Salman Rushdie. So have an African poet and a recovering drug addict and ex-prostitute. As a result, Brawl In Paradise is a compelling musical journey, featuring meditations and incantations. At the end of the musical journey that is Brawl In Paradise, Elyas Khan hopes to help relieve suffering and inspire people’s imagination. Elyas hopes the listeners will embrace the music on Brawl In Paradise, protect and connect with others, not forgetting of course, to dance to the music, which I’ll tell you about.
Transmission Room 804 opens Brawl In Paradise. A one-minute 21st Century adventure, buzzing synths, soaring, choppy harmonies and searing guitars combine with fairground synths. Compelling and genre-melting, electro, pop, rock and post punk unite during this musical adventure.
Top Of The World literally explodes into life. It’s the perfect showcase for Elyas’ vocal. He literally raps the vocal, his delivery impassioned and soulful. Sometimes, he almost spits out the lyrics, as if angry or disgusted. Accompanying him, are a myriad of drums, percussion and harmonies. They join scratches and samples. Together, they provide a look laden backdrop to Elyas’ impassioned delivery of lyrics full of cutting social comment.
Brawl In Paradise has a much more understated sound. With just acoustic guitar and a thoughtful rhythm section Elyas’ vocal takes centre-stage. That means you listen intently to his lyrics. They’re articulate, intelligent and descriptive. You can imagine scenes unfolding before your eyes. Elyas describes the conflict between good and evil. He also mentions plus using violence to gain power and mask insecurity. As he paints pictures, Elyas sounds not unlike David Bowie. It’s the way he elongates words and phrases. This works really well, proving effective in getting across what are some powerful, potent and intelligent lyrics
Lowest Of The Low is best described as a melting pot of musical influences and genres. Best described as rocky, raucous, ethereal, hooky, futuristic and post punk. For much of the time, Elyas sounds as if he’s fronting an old school post punk band. They provide a rocky backdrop as his sneering vocal sings “I was happy with the Lowest Of The Low.”Add to that ethereal harmonies, futuristic, a sci-fi sound and an abundance of hooks and you’ve three minutes of pop perfection.
Claps of thunder give way to a robotic voice as Alien In Waiting appears. A droning sound joins a meandering acoustic guitars, scatted vocal and myriad of sci-fi sounds. Mysterious, ethereal and futuristic, it’s a truly compelling experience.
Drums mark time and the rest of the rhythm section drive the arrangement to The River along. A musical journey unfolds, destination The River. Broody strings accompany Elyas’ emotionless vocal as sings “to The River.” Behind them, moody and menacing describes the arrangement. Strings swirl and sweep, as a proliferation of percussion takes the track reach an almost discordant high. As the percussion is replaced by the piano, it’s almost a relief. Elyas sounds relieved, his vocal becoming a tender scat, with drums, strings and percussion providing an accompaniment as at last, he reaches The River.
Three Merry Boys sounds like a track from Nervous Cabaret. With a driving, rocky rhythm section and cascading vocals, Elyas builds the drama, before unleashing a slow, wistful and emotive vocal. One of the most poignant lyrics is “there’s nothing simple about the simple life.” With a pulsating bass, vintage synths and drums combining, filters are added. They give the track a lo-fi sound. Then when Elyas’ vocal returns, sadness and regret fills his voice as he sings “no one to keep you.” It sounds real, as if this is an affront and reflection on society. This is another example of Elyas Khan’s skill as a singer and songwriter, as he breathes meaning and life into lyrics.
Melancholy describes the acoustic Just A Shadow. A banjo, booming drum and wistful strings accompany a soul-baring vocal from Elyas. He sounds as if he’s drawn inspiration from Anthony and The Johnsons and Grace Buckley. Ethereal, soul-searching and beautiful, it’s a truly beautiful track.
Bells sees Elyas throw another curveball. After thirty-seconds of bicycle bells ringing, a pulsating slice of funky, soulful dance music unfolds. Built around a killer bass line, stabs of piano and keyboards provide the backdrop for Elyas’ restrained vocal. No wonder his vocal is restrained. His lyrics are sung from the perspective of someone who watched the atom bomb explode and new nuclear age unfold. As this devastation is described, you realize why the vocal is restrained. While the lyrics are potent, powerful and deeply moving, the arrangement is funky, soulful and dance-floor friendly. Music with a message to dance to, that’s a winning combination.
Cook The Ocean is best described as indie rock meets Gary Numan. Listen careful and you’ll realize why. With screaming rocky guitars and a pulsating, pounding rhythm section Elyas vocal is a combination of power, pain and regret. A cathartic confession that: “I Cook The Ocean,” it sounds as if the song’s character is struggling to come to terms with his actions.
What A Party is a two minute meditation. Snatches of speech, samples, chiming guitars and sound effects flit in and out. They all play their part in this mesmeric musical collage.
Dear Eliza, which ensures Brawl In Paradise comes to a swinging close, features New York singer Saudia Young. She unleashes a feisty, strutting vocal that briefly, is reminiscent of the B52s’ Rock Lobster. As for the arrangement, genres melt into one. The rhythm section and buzzing synths combine electro, jazz, pop and indie rock. Later, as Saudia plays a starring role in this swinging track, Elyas joins the fun, ensuring Brawl In Paradise reaches a swinging, genre-melting high.
Six years after Nervous Cabaret released their second album Drop Drop, Elyas Khan is back, but on his own. He’s now a solo artist, and has just released his long awaited and much anticipated debut album Brawl In Paradise. Released on BBE Music, Brawl In Paradise is a genre-sprawling album, where musical influences and genres combine with social comment. Everything from hip hop, soul, funk, Nu-Soul, jazz, electro, post punk and folk melts into seamlessly into one. Meditations, incantations and social comment sit side-by-side on Brawl In Paradise, where Elyas Khan looks at a familiar theme, good and evil.
To do this, Elyas Khan introduces us to cast of characters, some haunted by their actions and background. These are the ones with a conscience. Others are hardened to the evil they do and unaware of the affect it has. Listening to Brawl In Paradise, it’s obvious the characters Elyas Khan introduces us to have seen and experienced things that will live with them for the rest of their lives. Elyas makes these characters seem very real. It’s as if you can imagine them and the situations they describe. On Cook The Ocean, you an imagine this cathartic, cleansing confession unfolding. Similarly, The River charts a tumultuous journey in search of one of life’s basic commodities, water. It unfolds before your eyes.
In many ways, Elyas Khan is like an artist, painting pictures with his lyrics. These scenes are variously ethereal, beautiful, poignant, moving, emotive, heartbreaking and melancholy. As for the lyrics they’re articulate, intelligent, cerebral and full of anger, frustration, hope and joy. That’s why Brawl In Paradise, Elyas Khan’s debut album is such an accomplished and satisfying album.
Compelling and critically acclaimed, Brawl In Paradise is a pot pourri of musical genres and influences. Social comment and poppy hooks sit side-by-side on Elyas Khan’s ambitious, articulate, cerebral and emotive, genre-melting, debut album Brawl In Paradise. Standout Tracks: Alien In Waiting, The River, Bells and Cook The Ocean.
ELYAS KHAN-BRAWL IN PARADISE.
FAIRPORT CONVENTION-RISING FOR THE MOON.
FAIRPORT CONVENTION-RISING FOR THE MOON.
Rising For The Moon, which was Fairport Convention’s tenth studio album, proved to be a landmark album for a number of reasons. Most importantly, it was the last album to feature the ethereal beauty of Sandy Denny’s vocal. This was Sandy’s swan-song. Another change was that Jon Wood, Fairport Convention’s regular producer, was replaced by Glyn Johns. Then there was the fact that Rising For The Moon featured no traditional material. For purists, this rankled. Music was changing though. So was Fairport Convention’s lineup.
The lineup of Fairport Convention that featured on Rising For The Moon, included band members past and present. This included Dave Pegg, Dave Mattacks and Dave Swarbrick, remaining members of the classic early seventies lineup. They were joined by Sandy Denny, Trevor Lucas and Jerry Donahue, three formers of Fairport Convention who in 1975, were members of Fotheringay, she short-lived British folk-rock group. Drummer Bruce Rowland, who joined Fairport Convention in 1972, was the other member of the band who featured on Rising For The Moon, which was recently rereleased by Island Records as a Deluxe Edition. Would all these changes affect the quality of music on Rising For The Moon?
DISC ONE.
Fairport Convention hadn’t released a studio album since October 1973. Since then, music was changing, and changing quickly. Prog rock, disco and Philly Soul were all growing in popularity. Folk music wasn’t as popular. So for Rising For The Moon Fairport Convention decided to change tact. Gone was the traditional music of previous albums. It would be replaced by an eleven track album, Rising For The Moon which saw Fairport Convention’s music evolve.
For Rising For The Moon, Sandy Denny penned Rising For The Moon, Stranger To Himself, What Is True, After Halloween and One More Chance. Sandy cowrote Dawn with Jerry Donahue and Let It Go with Dave Pegg and Dave Swarbrick. Night Time Girl was a Dave Pegg and Dave Swarbrick composition, while White Dress was written by Dave Swarbrick and Ralph McTell. Trevor Lucas wrote Iron Lion and cowrote Restless with Peter Roche. These eleven tracks became Rising For The Moon, Fairport Convention’s tenth studio album since 1968.
Recording of Rising For The Moon took place at Olympic Sound Studios during September 1974, with further sessions taking place in February and March of 1975. The line up of Fairport Convention featured vocalists Sandy Denny and Trevor Lucas who also played rhythm guitar. The rhythm section featured drummer Dave Mattacks, who quit midway through the sessions. His replacement was Bruce Rowland, who joined lead guitarist Jerry Donahue and Dave Pegg who played bass and mandolin. Dave Swarbrick played violin, mandolin and dulcimer while Glyn Jones produced Rising For The Moon, which showcased Fairport Convention’s new sound.
This new sound, that featured on Rising For The Moon, saw Fairport Convention dispense with the traditional music of previous albums. This Island Records and the band hoped, would be Fairport Convention’s breakthrough album.
It wasn’t. Rising For The Moon was released in June 1975 and stalled at a lowly fifty-two in the UK album charts and just number 143 on the US Billboard 200. This was hugely disappointing. The anticipated breakthrough never came with Rising For The Moon. Fairport Convention looked like never enjoying the commercial success and critical acclaim their music deserved. Maybe the problem was that Rising For The Moon was an album released at the wrong time. Was that the case?
Opening Rising For The Moon is the title-track, where scratchy fiddles combine as Fairport Convention fuse Americana, folk and country. They set the scene for the ethereal beauty of Sandy Denny’s heartfelt vocal. It paints vivid and evocative pictures, while behind her guitars weep and the rhythm section provide the heartbeat. Later, harmonies sweep in, while the weeping guitar and fiddles play important roles. However, Sandy, who was making her Fairport Convention comeback steals the show.
Trevor Lucas takes over the lead vocal on Restless. His melancholy, Restless vocal suits the song. It’s as if he’s lived the lyrics, and is the rolling stone in the lyric. Strummed guitars, fiddles and harmonies accompany Trevor’s vocal. With a sense of inevitability, he sings “I guess I’ll be on my way again.”
White Dress features an eclectic combination of instruments that accompany Sandy’s on this beautiful paean. Mandolin, viola, violin and autoharp all played by Dave Swarbrick join strummed guitars and a bass that meanders along. It leads an arrangement, that has an understated folk sound. This allows Sandy’s vocal to sit centre-stage. Her vocal is tender, hopeful and shyly seductive as she sings: “kiss me” and later, “come from the window, let’s climb the stairs.” That stops you in your tracks. You’re smitten by this soul-baring, paean featuring the ethereal beauty of Sandy Denny.
Let It Go is a jaunty, swaggering fusion of folk and rock. From the opening bars, you’re hooked. Mind you, with lyrics like “there’s no excuse for torture,” that’s no surprise. From there, Trevor, like a preacher, asks people to “Let It Go.” Whether it’s grievances or arguments, “Let It Go” Trevor proffers. Living is more important. If only life was that simple? Trevor’s strident vocal is full of confidence, as he looks to the future, not the past. Behind him, the rhythm section, plus piano and percussion provide a jaunty folk-rock backdrop for this almost anthemic track with its idealistic lyrics.
There’s a dark, moody sound to Stranger To Himself. It has a much more traditional folk sound. Percussion and acoustic guitar accompany Sandy’s thoughtful vocal. It’s as if she’s turning back the clock, regressing to another time and place. Instantly, it’s another century, Sandy using her musical palette, paints vivid pictures, pictures that unfold before your eyes. You can see the characters and scenes unfolding during this evocative, melancholy and mysterious track.
With an organ panned hard right and filters added, What Is True unfolds. Abruptly, an acoustic guitar is panned left. They set the scene for Sandy’s ethereal, impassioned vocal. Crystalline, it soars above the arrangement, as she questions, probes and asks “What Is True?” Meanwhile the rhythm section, lead by the bass guides the arrangement along. Space is left within the arrangement, allowing it to breath and ensuring nothing overpowers Sandy’s heartfelt, impassioned, vocal masterclass.
On Iron Lion, Fairport Convention sound not unlike the Rolling Stones and The Eagles. Early on, the song’s structure sounds like The Eagles’ Take It Easy. Play the two songs side-by-side and you’ll surely agree. Later, Fairport Convention sound like the Rolling Stones. Indeed, the longer the track progresses, the stronger the comparisons are. Apart from Trevor’s vocal and the fiddles, the comparisons are quite startling. Especially when Fairport Convention unleash their searing guitars and embrace the rockier side to their music.
Dawn sees Fairport Convention throw a curveball. As the track takes a brief rocky detour, you think we’re about to hear another rocky track. We don’t. It’s all change. Just meandering, chiming acoustic guitars accompany Sandy’s soul-searching vocal. After her impassioned, evocative vocal, the track takes on a rockier sound. The rhythm section, complete with moody bass and searing guitars join harmonies in adding to the drama and emotion of this potent fusion of folk and rock.
After Halloween has a thoughtful, wistful sound. Strummed guitars, percussion and wandering bass accompany Sandy’s melancholy vocal. Full of emotion, sadness and regret at her relationship breaking up. Whether it’s pragmatism or bravado, Sandy sings “tears are made of salt and water.” It’s obvious she doesn’t believe that. Her hurt runs much deeper than that, on this heartbreakingly beautiful breakup song.
Hissing hi-hats and the rhythm section join scratchy fiddles on Night-Time Girl. It’s a track that sees Fairport Convention look to their past for inpspiration. Sounding not unlike a square dance, Trevor sings and call and response. The rest of Fairport Convention add singalong harmonies, to a track that although infectiously catchy, saw the band regressing rather than progressing.
The piano lead One More Chance, which briefly, sounds like something from Carole King’s Tapestry, closes Rising For The Moon. Sandy Denny making her Fairport Convention, saves one of her best until last. Combining power, passion and emotion she breathes life and meaning into the lyrics. Behind her, the rest of the band play around her. They’re content to ensure she sounds good. That’s almost an understatement. Sandy wrote, played piano and sang the lead vocal on what’s one of the highlights of what could’ve and should’ve been Fairport Convention’s breakthrough album.
DISC TWO
That’s not the end of the Deluxe Edition of Rising For The Moon. Far from it. There’s still a live disc of material. For Fairport Convention fans, there’s some both their traditional sound and several of their classic songs. Recorded at the LA Troubadour in February 1974, this gives newcomers to Fairport Convention the opportunity to hear how good a live band they were.
Among the real highlights of Fairport Convention live in Los Angeles are a cover of Bob Dylan’s Knockin’ On Heaven’s Door. Then there’s She Moves Through The Fair, John The Gun, Hampshire Lass and Ballad of Ned Kelly. These are just a few of the many highlights of Fairport Convention live at the LA Troubadour forty years ago. Quite simply, essential listening to Fairport Convention fans new and old.
Although Rising For The Moon although was meant to be Fairport Convention’s breakthrough album, maybe we shouldn’t be surprised that wasn’t the case. Folk music was no longer as popular in June 1975. Disco, Philly Soul, prog rock and rock were all much more popular than folk music. That’s why Fairport Convention ditched their traditional folk sound. In its place, it was folk rock all the way. Only Night-Time Girl, which sounds like a square dance, is a reminder of Fairport Convention’s past. The rest of the album was essentially folk rock, albeit with occasional detours via Americana, country, pop and rock. Sometimes, Fairport Convention sound as if they want to be The Eagles or the Rolling Stones. Mostly though, they’re trying to make the commercial breakthrough that never came.
This wasn’t helped by drummer Dave Mattacks who quit midway through the recording of Rising For The Moon. He wasn’t the only member to leave. Sandy Denny, Trevor Lucas and Jerry Donahue left Fairport Convention for good, after touring Rising For The Moon. Fairport Convention continued, albeit a shadow of its former self. Short-term replacements joined and left, what seemed like an ever-changing lineup of Fairport Convention. However, losing Sandy Denny for good was almost fatal.
It had been bad enough losing Richard Thompson, but losing the ethereal beauty of Sandy Denny’s vocal was just too much. Sandy wasn’t just a lead vocalist, but she was also a songwriter. She wrote five of the songs on Rising For The Moon songs and cowrote two other songs. Her voice could bring a song to life. It breathed life and meaning into a song. Her voice paints evocative, emotive and atmospheric pictures. Indeed, the songs Sandy sings lead vocal on, are the best on the album. Trevor vocals are good, but nowhere near as good as Sandy Denny, who was Fairport Convention’s secret weapon on what could’ve and should’ve been their breakthrough album.
Sadly, Rising For The Moon wasn’t Fairport Convention’s breakthrough album. Instead, following the release of Rising For The Moon, Fairport Convention fragmented, becoming a mere shadow of their former self. Rising For The Moon which was recently rereleased by Island Records, was Fairport Convention’s last album to chart until 1988s Red and Gold. It reached just number seventy-four in the UK charts and failed to match Rising For The Moon, which marked the end of an era for Fairport Convention.
Fairport Convention will forever be remembered as a band who could’ve and should’ve reached greater heights. What stopped them from doing so, were the constant changes in lineup. If Fairport Convention’s lineup had remained the same, who knows what commercial success and critical acclaim might have come their way? Maybe then, Fairport Convention might have enjoyed the commercial success and critical acclaim their talent warranted? Despite the constant changes in lineup, Fairport Convention enjoyed some commercial success, but not the commercial success they should’ve enjoyed.
Rising For The Moon, one of Fairport Convention’s most underrated albums, marked an end of another era for Fairport Convention. Following Rising For The Moon, Fairport Convention lineup changed yet again. What should’ve been their belated breakthrough album Rising For The Moon, marked an end of era for Fairport Convention. At least that era ended on a high, with the underrated Rising For The Moon showcasing Fairport Convention’s unique brand of folk rock. Standout Tracks: Rising For The Moon, Stranger To Himself, What Is True and After Halloween.
FAIRPORT CONVENTION-RISING FOR THE MOON.
MICHAEL CHAPMAN-WRECKED AGAIN.
MICHAEL CHAPMAN-WRECKED AGAIN.
Before releasing his 1969 debut album Rainmaker, on Harvest Records, Michael Chapman taught art and photography. Music was something he did in his spare time. Despite being a part time musician, Michael was a regular on the folk circuit. He traveled from his home county of Yorkshire down to London and Cornwall. It wasn’t until 1967, that Michael Chapman was “discovered.” Two years later, he released his debut album. This was the first of four albums Michael Chapman released on Harvest. His final album on Harvest was Wrecked Again, which was recently rereleased by Light In The Attic Records.
Harvest Records, a subsidiary of Capitol Records, was home to Pink Floyd, Kevin Ayers, Third Ear Band and Deep Purple. Michael Chapman found himself in illustrious company. Here were some of the most progressive musicians of the late-sixties. Michael was well thought of. Executives at Harvest thought Michael had a big future. They brought in Gus Dudgeon to produce Rainmaker, Michael’s 1969 album. On its release, Rainmaker was released to critical acclaim. A cut above mainstream British folk, Rainmaker showcased Michael’s skill as a songwriter, musician and singer. Sadly, the fusion of folk, blues and rock that was Rainmaker, wasn’t a commercial success. Harvest persisted with Michael Chapman, believing success wasn’t far away.
Fully Qualified Survivor was Michael’s sophomore album. Released in early 1970, Fully Qualified Survivor saw Michael focusing on strengthening his songwriting skills. He seemed to be a perfectionist. That’s no bad thing and paid off. For Fully Qualified Survivor, which like his debut album, was produced by Gus Dudgeon, Michael brought a new lead guitarist onboard. This was Mick Ronson, who’d later, make his name as David Bowie’s guitarist. A combination of some of Michael’s best songs, Gus’ production work and a guitar masterclass, resulted in critics hailing Fully Qualified Survivor as a mini-masterpiece. It struck a nerve with music fans, reaching number forty-five in the UK. After the commercial success and critical acclaim Fully Qualified Survivor enjoyed, it looked like Michael Chapman was about to become one of the most successful artists of the early seventies.
That wasn’t to be. For his third album Window, producer Gus Dudgeon seemed to allow Michael more freedom. Window lyrically, was a much more eclectic album. Featuring nine songs written by Michael, Gus Dudgeon produced Window. Critically, Window divided opinion. Compared to Rainmaker and Fully Qualified Survivor, Window critics didn’t perceive as Window as progression. Neither did music fans. Window failed to chart on its release in 1970. Michael Chapman would argue that that’s no surprise.
After the release of Window, Michael disowned Window. He alleged it comprised a series of unfinished demos, which Harvest released whilst Michael was on tour. Ironically, Window, the album Michael disowned, has been have reevaluated by critics. Now it’s seen as Michael’s most underrated album. Back in 1971, after Window, Michael Chapman’s career at a crossroads. He had to get his career back on track. Would that be the case with his next album, Wrecked Again.
Wrecked Again, which features eleven songs written by Michael Chapman, saw a change in style. Often described as Michael’s “Memphis” album, the best way to describe Wrecked Again is eclectic. Everything from folk, blues, rock, country and jazz can be found within Wrecked Again, which was recorded at Rockfield Studios.
Producing Wrecked Again was Gus Dudgeon, who produced Michael’s three previous albums. Michael’s band included a rhythm section of bassist and cello bassist Rick Kemp, drummer Pique Withers and guitarist Ray Martinez. They were joined by accordionist Jack Emblow, while horns and strings were over-dubbed by Paul Buckmaster. Another addition was backing vocals which played an important part in Wrecked Again, an album that could make or break Michael Chapman’s career at Harvest Records.
When Wrecked Again was released early in 1971, it failed to chart. Despite its eclectic, all encompassing sound, music fans weren’t won over by Wrecked Again. At least critics were. They recognized Wrecked Again as a return to form from the Leeds’ born troubadour. Sadly, Harvest decided Wrecked Again would be Michael Chapman’s final album for Harvest. At least Wrecked Again, which I’ll tell you about, saw Michael say farewell to Harvest with one of his finest albums.
Polar Bear Fandango, an instrumental opens Wrecked again. It’s as if Michael and his band are just playing themselves into the album. Country, folk and rock melts seamlessly into one, as the bass marches the arrangement along. There’s even a ragtime sound to the guitars. Filters and panning are used effectively. The panning especially, adds a trippy feel to this joyous instrumental, where Michael and his band showcase their talent.
Indian Queens is much more what we’d expect from Michael. He’s transformed into a storyteller, painting pictures, of a woman whose a shadow her former self. Her hurt and heartbreak comes out in Michael’s soul-baring vocal. Around him, the arrangement frames his vocal. Folk, blues and rock combine, as acoustic guitars, rhythm section and harmonies accompany his vocal on this dramatic, tale of hurt, heartbreak and love lost.
Swathes of strings sweep and swirl, as the title-track Wrecked Again unfolds. There’s a sense of resignation in Michael’s throaty vocal. It’s as if the songs a cathartic confession. He’s confessing his sins, seeking forgiveness…until the next time. Then all of a sudden, strings swirl and horns growl. The horns almost seem out of place and unnecessary. Joining the horns and strings are pounding drums and guitars that scream and chime, veering between blues and rock. The result is a track that sounds midway between Memphis and Yorkshire. That’s thanks to the horns, which sound more Brighouse than Memphis. Apart from that, I wonder whether this warts and all confession of hell-raising and carousing is autobiographical?
All In All has a real country sound. Having said that, it’s almost bubblegum country. That’s no bad things. Slick poppy hooks and country-tinged guitars combine to accompany Michael’s drawling vocal. The arrangement is marched along by the bass,with Michael painting pictures that are more Nashville than Leeds. Especially with guitarist Ray Martinez and the piano contributing some country-tinged licks. As for Michael, “All In All..he’s doing fine.”
Pensive guitars open Back On Your Own Again. There’s a sense of sadness and melancholia in Michael’s vocal, which sounds like Bob Dylan. Behind him, the band play around his vocal, allowing its melancholy sound to be the focus of your attention. That’s no bad thing. Michael’s vocal is emotive, full of sadness at a women whose “troubles never end” and whose “Back On Your Own Again.” Beautiful, melancholy and with a strong narrative, the song includes some of Michael’s best lyrics and one of his most effective and emotive vocals.
Deliberate, strummed guitars are joined by a meandering bass as The First Leaf Of Autumn unfolds. Michael’s vocal is laden with emotion and sadness, as he describes the ship leaving the harbour. So vivid are the pictures he paints, you can see them unfold before your eyes. Just acoustic guitar, wandering bass and haunting strings accompany him on this old style folk ballad. Adding the finishing touches and a moderne twist, is the crystalline, scorching guitar solo. That’s a fitting finale to this
Fennario sees another change in style. There’s a more folk-rock sound, on a track where Richard Thompson and Bob Dylan’s influences can be heard. As guitars riff and harmonies singalong sweep in, it’s as if you’re listening to a track from Bob Dylan’s Basement Tapes. Impassioned and powerful describes Michael’s emotive, heartfelt delivery. Providing a contrast, are swathes of strings. They sweep in, adding to the emotion and drama. As for the horns, again, they seem almost unnecessary. Proof of this comes later in the song, when the searing guitars fulfill the same role, on this seven minute opus.
Time Enough To Spare sees Wrecked Again head in the direction of Memphis. Country, blues, folk and rock are all combined in just under three minutes. It’s a joyous love song, where Michael sings call and response with his backing vocalists. Behind him country-tinged guitars are joined by a strident bass and drums. Again, the band showcase their inconsiderable skills, on this authentic example of Americana.
Night Drive meanders into being, chiming, crystalline guitars, percussion and the rhythm section create an understated, melancholy backdrop. It’s reminiscent of a journey, a journey through the night, destination unknown. When Michael’s vocal enters, it has a languid, laid-back sound. He describes the “driving through the night, with my lady by my side.” He paints an idealistic picture, as guitars wah-wah and chime, portraying the sound of an engine heading into the distance. Beautiful, languid, mesmeric, melancholy and mysterious, this songs all this and more, much more.
Mozart Lives Upstairs is a tale of love gone wrong and obsession. Opening with a harpsichord accompanying Michael’s heartfelt vocal, soon Michael and his band kick loose. The track takes on a raucous, rocky sound. Drums pound and guitars scream as Michael’s vocal sounds as if he’s auditioning for a heavy metal band. From there, the song veers between the two sides of this compelling track, which again, demonstrates just how versatile the band are.
Shuffleboat River Farewell closes Wrecked Again. From an understated, melancholy introduction, where acoustic guitar, keyboards and drums combine with an accordion, Michael’s vocal reminds me of Bob Dylan, Steve Miller and later, Mark Knopfler. His vocal is full of emotion and sadness as he sings the lyric “say farewell to a few old friends.” Although it’s in the context of the song, I wonder if realized Wrecked Again could be the end of an era? As the band create a heartbreaking backdrop, strings add to the sadness and emotion. Their addition is a masterstroke. Even the brass band style horns work. That little bit of Yorkshire adds something to what is a potent, moving and melancholy way to close Wrecked Again, Michael’s Harvest Records’ swan-song.
Following Wrecked Again, Michael Chapman left Harvest Records and signed to Deram, a subsidiary of Decca. That was where Michael called home until 1978. His first home was Harvest, where he released four albums, the last of which was Wrecked Again. It to me, is Michael Chapman at his very best. Wrecked Again, which was recently rereleased by Light In The Attic Records, saw Michael leave Harvest on a high.
An eclectic, genre-sprawling album, everything from Americana, blues, country, folk, jazz, pop and rock were thrown into the musical mixing bowl by Michael. After Gus Dudgeon worked his magic. With a sound that was somewhere between Memphis, Nashville and Leeds, it was as if Wrecked Again reflected the music that had influenced Michael. That includes horns that sound not unlike a Yorkshire brass band. They work, but just. A much more authentic Memphis sound would’ve been the finishing touch. Despite that, Wrecked Again is the best album of Michael’s time at Harvest.
Despite the indisputable quality of Rainmaker and Fully Qualified Survivor, Wrecked Again is the best album Michael Chapman released for Harvest Records. Between 1969 and 1971, Michael Chapman released a quartet of albums. Of this quartet, the genre-melting Wrecked Again, Michael Chapman’s “Memphis album” and homage to Americana, is the highlight of his time at Harvest Records. Standout Tracks: Indian Queens, Wrecked Again, Back On Your Own Again and Night Drive.
MICHAEL CHAPMAN-WRECKED AGAIN.
THE WYNNTOWN MARSHALS-THE LONG HAUL.
THE WYNNTOWN MARSHALS-THE LONG HAUL.
Ever since 2007, a little corner of Edinburgh has resembled Nashville, Tennessee. 2007 was The Wynntown Marshals, Scotland’s most practiced purveyors of country rock were formed. Since then, The Wynntown Marshals, have been fusing poppy hooks and a pedal steel to create their own unique brand of swaggering country rock. Influenced by Gram Parsons, Neil Young, The Jayhawks, Wilco and Glasgow’s very own Teenage Fanclub, The Wynntown Marshals draw inspiration from the past and present. That’s apparent on their sophomore album The Long Haul, which was recently released on Wynntown Recordings. Long Haul describes The Wynntown Marshals six year musical journey, which I’ll tell you about.
The Wynntown Marshals’ roots are in Edinburgh, Scotland’s other city. That was where the band were formed. They were brought together by a love of country, rock and alt-country. Originally, the lineup consisted of drummer Kenny McCabe, bassist Murdo MacLeod, guitarist Ian Barbour, keyboardist Richie Noble and lead vocalist Keith Benzie who plays guitar and harmonica. Influenced by Neil Young, Gram Parsons, the Rolling Stones, Wilco and Teenage Fanclub, The Wynntown Marshals started spreading their musical message.
From their early days together, word of The Wynntown Marshals’ unique brand of country rock spread. This was through the release of their eponymous debut E.P. Released in February 2007, The Wynntown Marshals laid down a marker. It announced the arrival of another Scottish band with a big future.
Having released their eponymous E.P, The Wynntown Marshals started spreading their message further afield. This came through opening for Richmond Fontaine, Marty Stuart, Jason and The Scorchers and in 2008, they supported Chuck Prophet. There were also starring roles at the Kilkenny Rhythm and Roots Festival, where The Wynntown Marshals wowed this discerning audience in 2008 and made a triumphant return in 2009. With two years experience of touring behind them and an ever-growing fan-base, the time was right for The Wynntown Marshals to record their debut album.
For the recording of Westerner, The Wynntown Marshals brought in experienced producer Graham Deas. He’d produced Super Furry Animals and K.T. Tundstall. Along with the band, Graham produced the critically acclaimed Westerner.
On its release, Westerner earner glowing reviews. Critically acclaimed in Britain, Europe and America, The Wynntown Marshals stock had never been higher. They recorded a session for BBC radio and then headed out on a tour of Holland. This time, they were top of the bill. Interest in the band was huge, with The Wynntown Marshals recording a session for Dutch radio. It seemed The Wynntown Marshals were on the verge of a huge breakthrough.
Returning home from their Dutch tour, The Wynntown Marshals released a seven-track live E.P. One of the highlights is a cover of Neil Young’s Powderfinger. Then in February 2011, just as the band were about to head out on tour with Dolly Varden and Magnolia Summer, there was a change of lineup. Iain Barbour left the band, to be replaced by Owen Richardson. That was the lineup who, in June 2011, recorded a live session for BBC Scotland. For the rest of 2011, The Wynntown Marshals were practicing their time management.
From June 2011, right through to winter 2012, The Wynntown Marshals found themselves dividing their time. Much of their time was writing their sophomore album, The Long Haul. Then there was the preproduction work on The Long Haul. However, they couldn’t let their profile drop.
In the midst of working on The Long Haul, The Wynntown Marshals toured Britain, Germany and Holland. They did this both as a band and with just lead vocalist Keith Benzie and guitarist Ian Sloan. On their return home, work began on The Long Haul.
When recording of The Long Haul began, there was another change in the lineup. Guitarist and pedal steel player Iain Sloan joined a rhythm section of drummer Kenny McCabe and bassist Murdo MacLeod. Richie Noble plays keyboards lead vocalist Keith Benzie who plays acoustic guitar and harmonica. Other changes are the addition of a banjo, mandolin, melletron and multilayered harmonies. These changes bring a new side to the The Wynntown Marshals’ music on The Long Haul, which I’ll tell you about.
Driveaway which opens The Long Haul, is the story of an adolescent road trip. A 3,000 mile adventure and coming of age, you can imagine it unfolding before your eyes. Keith Benzie’s lyrics paint pictures. As he delivers them, it’s as if he’s reliving every minute. This he does against a swaggering country rock arrangement. So this means, crystalline and scorching guitars, pounding drums and a wash of Hammond organ. They provide a dramatic backdrop to roller coaster of a road trip.
Canada sees The Wynntown Marshals draw inspiration from everyone from Wilco, The Jayhawks and Teenage Fanclub. With jangling guitars and driving drums for company Keith’s vocal is tinged with loneliness and regret. Heartfelt harmonies accompany him, as seamlessly, thanks to a couple of slick chord changes The Wynntown Marshals move through the gears. Stabs of piano and searing guitars are joined by pounding drums as emotion and drama. Add to that slick, poppy hooks and the result is heart-wrenching example of authentic Americana.
Low Country Comedown could just as easily be a track from any of the giants of alt-country. It’s not. Instead, it’s from Edinburgh’s purveyors of country rock. Here, they’re are at their best. That’s no surprise. Keith draws upon their experience for the lyrics, describing their trips to Europe. The song has a much more understated sound. A weeping pedal steel and harmonies accompany Keith’s wistful vocal. Then as the song progresses, there’s even a Beatles’ influence as alt-country, classic pop and country rock combine to create a melancholy tale of a Band On The Run.
Understated. That describes Whatever It Takes. Just an acoustic guitar accompanies Keith’s melancholy vocal as drums mark time. Chiming guitars and harmonies sweep in as Keith realizes his relationship’s all but over. The big clue was when she was more interested in her book than him. Not a good sign. He’s not going to be beaten, and will do Whatever It Takes to keep her. As his vocal drops out Hammond organ and crystalline guitars add to the sense of melancholia and sadness on this beautiful tale of love that’s all but lost.
Tide features lyrics written by Murdo MacLeod. It’s very different from anything that’s gone before. Think seventies west coast rock and alt-country combine with Neil Young and Crazy Horse. The song allows The Wynntown Marshals to stretch their legs and showcase their considerable talents. None more so than Iain Sloan. whose reborn as Neil Young. Holding things together are drummer Kenny McCabe and bassist Murdo. Keith adds a languid vocal as the rest of the band add cooing harmonies, while The Wynntown Marshals pay a fitting homage to Neil Young and Crazy Horse in their prime.
With just acoustic guitars accompanying Keith’s pensive vocal The Submariner unfolds. Its understated sound is replaced by a bass driven arrangement where weeping, chiming guitars accompany Keith, who sounds not unlike Wilco’s Jeff Tweedy or The Jayhawks’ Mark Olson. That’s how good Keith’s vocal is. He breathes life and meaning into his lyrics. So much so, you can imagine the tragedy unfolding, and The Submariner panicking, struggling for breath and realizing what fate held for him. Moving, emotive and harrowing, it’s a showcase for Keith’s songwriting skills and vocal prowess.
Straight away, Crashing (Like the Reds) has an anthemic sound. That’s apparent from the opening bars. Drums pound, guitars chime and subtle chord changes introduce Keith’s impassioned vocal. As guitars soar and sear, drums pound and the evocative sound of a Hammond organ adds to this anthemic, hook-laden slice of alt-country. It’s the type of song that’s perfect for an encore.
Curtain Call sees The Wynntown Marshals unplug and Keith take on the guise of an old-fashioned story teller. It’s a song with a Nashville-esque pedigree. Keith’s throaty, wistful vocal tells the tale of a down at heel magician, whose life took a wrong turn, when a trick went wrong. He’d been warned about the bullet trick, but knew better. Now he’s ashamed and alone, a shadow of his former self. All he’s got are a needle and his memories for company. He uses one to blot out the memory of the other, which reminds him who far he’s fallen. Then as the song heads to a close, Keith sings the line: “I never thought I’d pick up this revolver again, maybe soon I’ll be with you again, it’s over.” A heartbreaking take full of hurt and heartache, it’s one of the highlights of The Long Haul.
As if determined to lighten the atmosphere, North Atlantic Soul bursts hopefully and joyously into life. Featuring lyrics from Murdo MacLeod, seventies west coast rock and alt-country combine. Listen carefully and The Eagles, Wilco, The Jayhawks and even Teenage Fanclub can be heard. Poppy hooks, pounding drums, chiming, crystalline guitars and multi-tracked harmonies accompany Keith’s heartfelt, husky vocal as The Wynntown Marshals prove to be the keeper of alt-country’s flame, on this slice of pop perfection.
Change of Heart which closes The Long Haul sounds as if it’s a long-lost track from Neil Young. The only difference is Keith’s vocal. No wonder. Nobody sings quite like Neil Young. Keith’s vocal is heartfelt and impassioned. Apart from that, The Wynntown Marshals could easily be Crazy Horse. That’s how good they are. From Iain Sloan’s weeping guitars, drummer Kenny McCabe and bassist Murdo MacLeod, a glorious slide of country rock unfolds. Adding the finishing touch are soul-baring harmonies and lush strings. This results in the perfect way to close The Long Haul, the long awaited sophomore album from The Wynntown Marshals.
Three years after the release of their debut album Westerner, The Wynntown Marshals are back and better than ever. During the last three years, they’ve honed their sound within an inch of perfection. They’re tighter than ever before, playing with confidence and often, a gallus swagger. That makes them unmistakably Scottish. In some ways, that’s the only Scottish thing about The Wynntown Marshals.
They don’t sound like a band from Edinburgh, a city that’s hardly famous for its musical heritage. No. For its size, Edinburgh has underperformed when it comes to producing top class bands. It hasn’t produced as many big bands as it should. Granted there’s The Proclaimers and some years ago, The Fire Engines, but that’s it. Maybe that’s about to change. The Wynntown Marshals are leading the charge for Edinburgh bands, while The Holy Ghosts are following in their footsteps.
Ironically, The Wynntown Marshals music has more in common with America. It’s almost an accident of birth that The Wynntown Marshals are an Edinburgh band. They sound as if they’re Nashville born and bred. Other times, they sound not unlike Neil Young and Crazy Horse in their prime. Even lead vocalist Keith Benzie’s doesn’t sound Scottish. The same was said of Teenage Fanclub in the nineties and noughties. So this isn’t a new phenomenon. Let’s just hope The Wynntown Marshals enjoy the same success as Teenage Fanclub enjoyed.
With their slick, poppy hooks and unique brand of swaggering country rock, The Wynntown Marshals look to be on the right road. No ifs and no buts. They’re in it for The Long Haul, and since 2007, have been Scotland’s most practiced purveyors of country rock. These last six years have been time well spend for The Wynntown Marshals, whose gallus, swaggering brand of country rock is guaranteed to find favor with fans of Americana far and wide. Standout Tracks: Whatever It Takes, Curtain Call, North Atlantic Soul and Change of Heart.
THE WYNNTOWN MARSHALS-THE LONG HAUL.
THIS SILENT FOREST-INDIVISION.
THIS SILENT FOREST-INDIVISION.
This Silent Forest aren’t like most bands. No. They’re almost like two bands rolled into one. As a four piece, their music is best described as post-rock. Then when This Silent Forest becomes a sextet, they’re transformed. Harmonies and strings add an ethereal beauty to This Silent Forest’s music, That’s why for the last few years, This Silent Forest have been winning friends and influencing people. This includes music lovers and critics. They’ve watched as This Silent Forest have developed into one of Scotland’s hottest band. Only one thing was missing from This Silent Forest’s CV, an album. Not any more.
This omission has been rectified with the recent release of Indivision, This Silent Forest’s debut album. Released to critical acclaim, it’s obvious that the last four years have been well spent. These four yours have seen This Silent Forest striving to perfect and hone their sound. Listening to Indivision, this has been time well spent. Indivision features a tight, talented band, who seamlessly fuse indie rock and folk. Hooks and anthems haven’t been rationed on the Indivision’s eight tracks. Far from There’s a cornucopia of hooks on Indivision, which showcases This Silent Forest, whose career I’ll tell you about.
It was in Glasgow, back in 2009, that This Silent Forest were formed. The lineup of This Silent Forest consisted of lead vocalist and guitarist Graeme McDonald, lead guitarist Jamie Sturt, bassist J.J. McGowan and drummer Ewan McDonald. When they become a sextet, Iona Bain on cello and Lesley McDonald join This Silent Forest. Just live several generations of Glsagow bands, This Silent Forest’s early years were spent touring venues around Glasgow and the west of Scotland. This was where they paid their dues and honed their sound. What was the equivalent of a musical apprenticeship, was paying of.
Soon, This Silent Forest were attracting a loyal band of music lovers. Even better, they were attracting the attention of the Scottish media. By then, they were playing further afield, and released the Lighter Side E.P. in February 2012. The Lighter Side E.P featured understated version of This Model Couple, Get In Line, Sorry Eyes and He Drinks Alone. Melancholy, ethereal and featuring articulate lyrics, This Silent Forest were seen as a band to watch.
Four months after the Lighter Side E.P, This Silent Forest released The Fight, an anthemic example of indie power rock. Of the three versions, the original version is an anthemic opus, while the acoustic version shows another side to not just the song, but This Silent Forest, whose reputation was growing.
During the summer of 2012, This Silent Forest were busy playing live. Their music was finding a wider audience. So as summer became autumn, This Silent Forest released Milk in September 2012. A thoughtful and emotive song, it demonstrates the band’s versatility and songwriting skills. After the release of Milk, people thought it was only a matter of time before This Silent Forest released their debut album.
It wasn’t. Twelve months passed before This Silent Forest released Indivision. During that period, This Silent Forest divided their time between playing live and recording Indivision. Then on 30th September 2013, This Silent Forest released their debut album Indivision. Featuring eight tracks, Indivision was released to critical acclaim. You’ll realize why, when I tell you about Indivision.
We Are We Were opens Indivision. Just deliberate, pensive, chords are played on the piano while crystalline guitars delicately chime. They meander along thoughtfully, guitars weeping, as Graeme’s wistful vocal enters. He sounds not unlike Ricky Ross of Deacon Blue, on this country-tinged track. Rueful, tinged with regret and emotion he lays bare his soul. As he combines power and passion, cooing, heartfelt harmonies sweep in. Midway through the track, it’s all change. Searing guitars and pounding drums unite as this eight minute opus becomes an indie power rock anthem. Quite simply, a spellbinding way to open any album, never mind a debut album.
With Teenage Fanclub grunge guitars opening Give Me An Answer it’s obvious where the track is heading. A wall of grungey, power rock set the scene for Graeme’s feisty, sassy vocal. He asks, demands, pleads “Give Me An Answer,” before This Silent Forest’s rhythm section become an unstoppable musical juggernaut. Graeme’s not intimidated, delivering a vocal that’s equal parts power and emotion, as indie power rock and passion unite.
Drowning Man sees another change of style. There’s no let up in the emotion, as the drama increases. Drums pound and swathes of guitar accompany Graeme’s heartfelt vocal. Behind him, the band are at their tightest, fusing indie rock and folk. Then as harmonies accompany Graeme, This Silent Forest explode. Referencing everyone from Big Country, Glasvegas, Admiral Fallow, Frightened Rabbit and U2, they showcase not just their versatility, but how good they are as musicians. As for Graeme, he becomes an old-fashioned storyteller, breathing emotion, drama and hope into the lyrics.
The Arsonist is a tale of obsession and love gone badly wrong. You realize that from the lyric “if you don’t let me in, I’ll burn your house down” and later…”if you won’t let me in, I’ll kick your door in.” Crystalline guitars combine and drums set the scene for Graeme. His vocal is almost matter of fact, as he sings the lyrics. It’s as of he’s portraying a man whose desperate, with has nothing left, nor nowhere to go. Moving, disturbing and believable, it’s realistic portrayal of who love can turn to tragedy.
Get In Line originally featured on the Lighter Side E.P, released in February 2012. Again, This Silent Forest sound like Glasvegas. It’s not just the arrangement, but the vocal. Both Graeme and Glasvegas’ lead vocalist James Allan both have powerful, expressive voices, that bring life and meaning into lyrics. Proof of that is Get In Line. Against a hypnotic, pounding beat, Graeme’s vocal is needy, heartfelt and laden with emotion and drama. As the drums drop out, the strings and acoustic guitars provide the perfect replacement, before chiming guitars and pounding drums drive this anthem to its dramatic crescendo.
Hesitant drums and thoughtful guitars open Root To The Seed. It meanders mysteriously into being. You’re wondering what direction the track is heading, but know better than to second guess This Silent Forest? Gradually, the song unfolds and builds. Graeme’s vocal is wistful, memories coming flooding back. With singalong harmonies, spacious drums and chiming guitars for company, the vocal takes centre-stage, allowing you to focus on some of the best lyrics on the album. Then as the song heads towards its crescendo, This Silent Forest prove they’re practiced practitioners of indie rock.
Model Couple shows understated side of This Silent Forest. It’s featured on and is reminiscent of their debut E.P. the Lighter Side. This is no bad thing. Far from it. With just weeping guitars, pensive bass and an acoustic guitar accompanying Graeme his vocal takes centre stage. Then as his vocal drops out, the rest of the arrangement blossoms. Driven along by the rhythm section and crystalline guitars this provides the perfect backdrop for Graeme’s heart-wrenching vocal. Combing country, folk, indie rock and emotion, Model Couple features This Silent Forest at their anthemic and emotive best.
Winter which closes Indivision, meanders along, crystalline guitars and the rhythm section accompanying Graeme’s vocal. He delivers lyrics that are descriptive, with a strong narrative and paint evocative pictures. Graeme becomes a painter and storyteller, using his voice like an artist’s palette. Behind him chiming, screaming, fuzzy guitars are spayed around reflecting the drama and emotion during his vocal masterclass.
Indivision is an old school debut album from This Silent Forrest. Just eight songs lasting forty-six minutes long, Indivision is album that’s reminiscent of the golden age of rock. Back then, before the birth of the CD, albums featured just eight to ten songs and were restricted by the amount of music a vinyl album could hold. Now with the advent of the CD, albums are sprawling affairs, with bands feeling obliged to fill the disc’s eighty minutes. Usually that’s a mistake. After all, how many bands have eighty minutes of quality music? Not many. Thankfully, bands like This Silent Forrest are realizing that. Nowadays, they’re only putting their best music on a disc. If that means the whole disc isn’t used, so be it. That seems to be This Silent Forrest’s attitude. Good for them.
That’s why Indivision is all killer and no filler. Each of the eight songs have one thing in common…quality. Over Indivision’s eight tracks, This Silent Forrest fuse indie power rock, folk and country. Anthems and hooks certainly haven’t been rationed. No. This Silent Forrest are practiced purveyors of anthems. They’re just as good at the more introspective songs. That’s why, in many ways, This Silent Forrest are two bands rolled into one.
Whether it’s indie power rock or understated, introspective ethereal beauty you’re after, This Silent Forrest deliver it in spades and have been for several years. Indeed, since they released their debut E.P. the Lighter Side, This Silent Forrest have been a band with a big future. This Silent Forrest have fulfilled their potential on Indivision, their anthemic, introspective and hook-laden debut album. Standout Tracks: We Are We Were, Drowning Man, Arsonist and Model Couple.
THIS SILENT FOREST-INDIVISION.
JEROME DERRADJ PRESENTS: BANG THE BOX! THE (LOST) STORY OF AKA DANCE MUSIC, CHICAGO 1987-88.
Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88.
Having cofounded Sunset Records in Chicago, in 1985, Matt Warren spent the next two years transforming the label into one of Chicago house’s most progressive and innovative labels. Then in 1987, Matt decided to part company with Sunset Records. A couple of months later, Matt decided to found his own label, AKA Dance Music.
Founded in 1987, AKA Dance Music, just like Sunset Records, continued to release groundbreaking Chicago house. A favorite of dancers and DJs, sadly, AKA Dance Music didn’t enjoy the longevity of Trax, DJ International or even Sunset Records. It was in business for little over a year. Despite this, the music AKA Dance Music released is fondly remembered by discerning dancers and connoisseurs of Chicago music. That’s why Still Music’s latest compilation Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 is one of the most hotly anticipated compilations of 2013.
Released on 14th October 2013, Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music is the followup to Still Music’s Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89. Just like its predecessor, Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, it’s a double-album featuring not just classics, but a disc of previously unreleased tracks. Twenty-six tracks are spread over the two discs. This includes contributions from Michaelangelo, Nexus 6, Team, BnC, Michael Griffin, Modern Mechanical Music and Matt Warren. Included are a variety of mixes, including many that have never been released before. For veterans of Chicago house, Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music is the perfect companion to Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89. I’ll now tell you why. Before that, I’ll tell you about the background to Chicago house.
House music was born in Chicago out of necessity. Disco had died a slow lingering death. After the vitriolic Disco Sucks campaign succeeded in killing disco. It had provided the musical backdrop to the second half of the seventies. Ironically, disco went from hero to zero in the space of a year. Suddenly, disco sucked. Disco’s downfall started on Christmas Eve 1978, That’s when Steve Dahl was fired by Chicago radio station WDAI. It had previously been a rock station, but switched to disco. Steve wasn’t out of work long. He was hired by WLUP, a rival station. WLUP played rock, which suited Steve Dahl. He’d an inkling that disco wasn’t long for this world.
Steve wasn’t a fan of disco, and took to mocking disco on-air. Openly, he mocked WDAI’s “disco DAI.” It became “disco die” to to Steve. Soon, Steve had created the Insane Coho Lips, his very own anti-disco army. Along with co-host Gary Meier, they coined the now infamous slogan “Disco Sucks.” The backlash had begun.
From there, the Disco Sucks movement gathered momentum. Events were held all over America. This came to a head at Disco Demolition Derby, which was Steve Dahl’s latest anti-disco event. Each one was becoming bigger, rowdier and attracting even more publicity. Disco Demolition Derby, which was held at Comiskey Park, Chicago on 12th July 1979 surpassed everything that went before. WFUL were sponsoring a Chicago White Sox game at Comiskey Park. if fans brought with them a disco record, they’d get in for ninety-eight cents. These records would be blown up by Steve Dahl. An estimated crowd between 20-50,000 people attended. Quickly the event descended into chaos. Vinyl was thrown from the stands like frisbees. Then when Steve blew up the vinyl, fans stormed the pitch and rioted. Things got so bad, that the riot police were called. After the Disco Demolition Derby, disco nearly died.
Following Disco Derby Night, disco’s popularity plunged. Disco artists were dropped from labels, disco labels folded and no further disco albums were released. Disco was on the critical list, and suffered a near death experience. It took a long time to recover. After disco’s demise, dance music changed.
No longer were record labels willing to throw money at dance music. Budgets were suddenly much smaller. Gone were the lavish productions of the disco orchestras of the seventies. This is epitomized by The Salsoul Orchestra and John Davis and The Monster Orchestra. Strings and horns were now a luxury. Music would have to go back to basics. Replacing them would be sequencers, synths and drum machines, which during the last couple of years, had become much cheaper. Previously, they were only found in studios or were used by wealthy and famous musicians. Now they were within the budget of many musicians. This would prove crucial in the rise and rise of house music, one of the musical genre that replaced disco as the favored choice of music for discerning dancers and DJs.
For DJs all over America, disco’s demise was proving problematic. What were they going to play? If they even dared to drop a disco track, they were risking clearing the dance-floor. While DJs wrestled with this problem, a group of Chicago DJs decided to think laterally. They came up with an eclectic and inventive selection of tracks. Rather than playing just boogie, which was replacing disco as the choice of discerning dancers, DJs like Frankie Knuckles, Ron Hardy, Tee Scott and Marshall Jefferson cast their musical net wider.
Rule nothing out seemed to be their approach. So, a typical DJ set during the early eighties, saw Italo Disco tracks sit side-by-side with hip hop, electro funk, synth pop, funk punk and vintage disco. Then there was boogie and the classic European electronica of Kraftwerk, Yello, Telex and Yellow Magic Orchestra. This eclectic musical tapestry won over Chicago’s clubbers. This included one of Chi-Town’s top DJs…Frankie Knuckles.
Before his arrival in the Windy City, Frankie Knuckles, had previously DJ-ed at Better Days in New York. When it became insolvent, Frankie, without a residency, travelled to Chicago. He was booked to play at the opening night at The Warehouse. That was Frankie’s introduction to Chicago’s club culture.
After The Warehouse’s opening night, Frankie was asked to stay on and become resident DJ. At the start, Frankie attendances were poor. He persisted, gradually, winning over The Warehouse’s discerning dancers. His style is best described as a fusion of his slick New York style with the more eclectic “Chicago sound.” So successful was Frankie, that he founded The Power Plant in 1982. It became the place to go in Chicago. Frankie’s marriage of The Chicago and New York Sounds had dancers hooked. His eclectic fusion of musical genres and influences wan’t just successful, but was influential.
The Chicago Sound could be heard on radio shows like Hot Mix 5’s, WBMX and Kent’s Punk Out. With Frankie fusing everything from boogie, Italo Disco, synth pop, hip hop, electro funk, funk punk and vintage disco he quickly established a loyal following. This just happened to included a new generation of DJs. They went on to become the first wave of Chicago House producers.
Chicago’s new generation of DJs included Jesse Saunders, Farley Jackmaster Funk, Ralph Rosario and Steve “Silk” Hurley.” Their musical tastes were equally eclectic and their approach to DJ-ing progressive. An example of this is Jesse Saunders and Farley Jackmaster Funk using a drum machine to add a 4/4 beat over other records. This would prove to be one of the tell-tell sounds of house music. It would prove successful, but problematic.
When DJs added a 4/4 beat over other records, dancers were instantly won over by this new type of music. There was a real problem with that. The music was all improvised, not recorded. Once it was played, it was gone. Dancers couldn’t go out and buy a copy of the music. This frustrated dancers. Soon, DJs realized they could recreate the music. Then dancers and other DJs could play their music. Inadvertently, for this new breed of DJs, this was the start of successful production careers. This was only possible because of the affordability of new technology.
Back in the seventies, synths were way beyond the pocket of the ordinary musician. They either belonged in recording studios or were within the budget of successful musicians. Pioneered in the early seventies, artists as diverse as Stevie Wonder and Kraftwerk popularised synths. Gradually, they found their way into more studios and onto more records. As the seventies became the eighties, synths, just like drum machines and sequencers were much cheaper. Now anyone wanting to make their own music could do so, if they could afford synths, sequencers and drum machines.
Suddenly, a new wave of producers were able to make their own dance music. They didn’t even need access to a recording studio. Spare rooms and basements became makeshift studios. To do this, the Roland Corporation supplied the necessary equipment. Many of the early house releases featured the same sound. This meant a Roland TR-808 drum machine and Roland TB-303 bass synth. Other musical weapons of choice for the nascent house producer was the Korg Poly-61 synth. Add to this either a vocal, or samples “borrowed” from classic funk, soul or disco tracks. The result was, early Chicago house music. With all this new music being produced, new labels were springing up. In 1983, Chicago house’s biggest label Trax Records was born.
Born in 1983, Trax released its first singles in 1984. Gradually, it became a huge force in Chicago house. They signed many of the best up-and-coming producers and released some of the most important music in the history of Chicago house. For a new breed of producers standing on the sidelines, this inspired them. They realized what was possible. Among them were Matt Warren, Miguel Garcia and Ralphi Rosario.
Since the early days of Chicago house, Matt Warren, Miguel Garcia and Ralphi Rosario had watched with interest. They were producers in waiting, who watched and learnt. By 1985, they’d waited long enough. So, they joined forces with Alex and Robert Rojo, two brothers who owned the Sunset Mobile Disco. It had been established in 1979, and quickly, gathered a reputation as the promoters of some of the best parties Chicago had seen in recent years. Lavish, flamboyant extravaganzas describe the Sunset Mobile Disco in action. Alex and Robert were the go-to-guys for anyone wanting a party to remember. They also knew Chi Town’s music scene inside out. So, they were perfectly positioned to form a record label with Matt Warren, Miguel Garcia and Ralphi Rosario.
Together, the quintet of Alex and Robert Rojo plus Matt Warren, Miguel Garcia and Ralphi Rosario decided to pull their talent and experiences to form Sunset Records Inc. This was the latest arrival in Chicago’s ever-growing music scene. Record labels were springing up all over the Windy City. Two biggest record companies were Traxx and DJ International, went on to dominate house music. They signed up as many of the talented producers they could. Despite that, many other labels were releasing innovative and influential house music. This included Sunset Records Inc.
Founded in 1985, Sunset Records Inc. started as they meant to go on. That meant releasing groundbreaking music. Sunset Records Inc’s music was a fusion of genres and influences. Best described as a musical potpourri, the basic beat track, which was created by a Roland drum machine, was then combined with new wave, disco and industrial music. An amalgamation of influences, here, music from the past, disco and industrial music, was combined with music from the present, new wave and post-industrial music. Dance-floor friendly, innovative and influential, this wasn’t like much of the house music being released. Instead, it was music of substance. There was much more that just the hypnotic 4/4 beat. Much more. That was the case from Sunset Records Inc’s earliest releases. Playing an important part in Sunset Records Inc’s success was Matt Warren.
From Sunset Records Inc’s earliest releases in 1985, many of which feature on Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89 the label’s raison d’etre was to innovate and create groundbreaking, genre-melting music. To do this, Sunset Records’ roster included Boom Boom & Master Plan, Modern Mechanical Music, Razz, Master Plan, White Knight, Ben Mays and Kajsa. Another of Sunset Records’ most successful artists was Matt Warren. Not only was he co-founder of the label, but on the roster. He was an important part in Sunset Records’ success story…until 1987.
By 1987, Matt Warren decided to leave Sunset Records. After a break lasting a couple of months, Matt wanted back into the music industry. He decided the best way to do that, was by forming his own label, AKA Dance Music.
Just like Sunset Records, AKA Dance Music had its own sound. It’s best described as a fusion of disco, new wave, Acid House, Chicago house, industrial and postindustrial music. This pot pourri of musical genres and influences featured on each of AKA Dance Music’s releases. In total, AKA Dance Music released just seven singles between 1987 and 1988. Each of these seven Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88. There’s also B-Sides, alternate mixes and previously unreleased mixes. Best described as everything you wanted to know about AKA Dance Music but were afraid to ask, Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 brings together every piece of music Matt Warren’s short-lived, but fondly remembered AKA Dance Music released. You’ll realize that when I tell you about Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88.
Disc One.
AKA Music’s first release was Matt Warren’s Bang The Box with the serial number AKA 1. Recorded at Trax Records’ studios, Matt wrote, mixed and produced the track. On Disc One of Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 there’s two version of Bang The Box. There’s the Bang The House Mix which featured on the original single and there’s the Original 1994 Remix. Like so many things, the original version of this groundbreaking track is the best, with the Original 1994 Re-Mix bringing something new to the track that launched a label.
Close Your Eyes by Michael Griffin featuring George Karchmer and Khrissie Henderson, was the second release from AKA Dance Music. Written by Michael Griffin and Jerry Soto, who produced the track with Matt Warren, the track was recorded at Trax Recording Studio. Of the three versions of Close Your Eyes on AKA 2, the Club Mix features on Disc One, while the Matt-N-Steve House Mix features on Disc Two. Both versions let you hear different sides of a track where elements of disco, new wave, electronica and Chicago house are combined to create a track that’s way ahead of its time.
BnC released House Ain’t Givin’ Up in 1987. Written by Bernie Colvin and produced by Dean Anderson and BnC, the track featured the vocal prowess of Jack N. House and BnC. The original single featured four different versions. Dean’s Mix and the Jackin’ Mix featured on the A-Side. Rather than choosing Dean’s Mix, Jerome Derradji has chosen the Jackin’ Mix. For me, it epitomizes everything that’s good about the early days of Chicago house.
Take It To The Wall was Mat Warren’s sophomore single on AKA Dance Music. Written by Matt, he co-produced the track with Nick Huminsky a.k.a. the White Knight. Unlike the three previous singles, Trax Recording Studio wasn’t used. Instead, Off World Studios were used. Three versions of Take It To The Wall were recorded. The version to feature on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 is Matt’s Mix, which featured on the B-Side. It’s something of a hidden gem that Jerrome has rediscovered and decided to share.
AKA Dance Music’s last release of 1987 was Pleasure Dome from the dream team of Modern Mechanical Music featuring Matt, Nick, Michaelangelo. Written by Matt Warren and Nick Huminsky, who produced the track at Off World Studios, it’s a paean to hedonism. Of the four mixes on the single, the House Mix and Instrumental version feature.The House Mix is the best of the two. With electronica, new wave and house combining, cutting-edge and sleazy is the best way to describe this particular Pleasure Dome.
As 1988 dawned, AKA Dance Music would only release two more singles. Team’s The Music’s Got Me was the first release of 1988. Written, arranged and produced by La-Dell Jones and Milton Patterson, featuring vocals from Pimp, recording took place at Star Trax Recording. Four versions were recorded, with the Club Mix and Dub Mix featuring on Disc One. Of the two versions, the Club Mix is one of the compilation’s highlights. Sultry, hypnotic, soulful and funky, AKA Music were hitting their stride releasing some of the best house music around. Sadly, this wasn’t going to last.
It’s almost fitting that Nexus 6’s anthemic Take Me Higher was the last track AKA Dance Music’s released. Written and produced by Jaime Bonet and Matto Christy, a.k.a. Nexus 6, four versions of Take Me Higher were recorded at Off World Studio. Two versions are included on the compilation, the Club Mix and The Ultimate Acid Mix. Choosing which is your favorite is like choosing between your children. Both versions of this anthemic track are potent reminders of the heady days of Acid House. Take Me Higher is also a reminder of AKA Dance Music, an innovative label, who punched above their weight releasing some of the best Chicago house released during the late eighties.
Disc Two.
The other fourteen tracks on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 have never been released before. This includes eight tracks from Matt Warren and Michaelangelo. Why these tracks have never seen the light of day before seems strange? After all, there’s nothing wrong with the quality of music. Far from it. This is Chicago house at its best. You’ll realize that, when I tell you about these hidden gems.
Matt Warren and Michaelangelo had collaborated before at Sunset Records. So it’s no surprise they joined forces at AKA Dance Music. The eight unreleased tracks include five tracks. There’s three versions of Exotic, the Vocal, Dub and House It Up Dub versions. Of this trio, unsurprisingly the Vocal version on Disc One is the best version of this sassy, feisty slice of old school Acid House.
Other collaborations between Matt Warren and Michaleangelo include the driving, synth lead Rock It, a progressive track which epitomizes Chicago house during the late seventies. Don’t Bring Back Memories sounds like a track from the early nineties. Again, AKA Dance Music were ahead of the musical curve. Best described as soulful, anthemic and occasionally dubby and lysergic, it’s another example of the label’s progressive nature. Apart from these tracks, there’s the Short Version of Let It Flow, a thunderous track built for jacking. Then there’s Remember The Last with its sci-fi sound, thanks to a myriad of beeps, squeaks and synths. Mattmattmatt Warren and Michaleangelo final contribution is Dusty House, a track that instantly, transports you back to Chicago circa 1987, 1988.
That’s not the last we’ve heard from Michaleangelo. Six of his unreleased tracks feature on Disc Two of Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music. Jackin’ does what it says on the tin, and is a track to jack to. Disco House is another track to jack to. It’s a much more sophisticated track, fusing classic disco and Chicago house to create what’s the highlight of Disc Two. Pick It Up explodes into life and is propelled along by synths and crunchy drums. With its old school sound, it’s the perfect track to relive your misspent youth.
Shake It features Pepper Gomez adding what can only be described as a sultry and sensuous vocal tour de force. Synths, percussion and drums provide an old school backdrop where seventies electronica, new wave and Acid House unite. Add to this the sassy, and extremely sensual sound of Pepper Gomez’s vocal prove and the result is a potent and pleasing combination where the truly talented house diva plays a starring role.
Lost In The World is the final track from Disc Two of Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88. It has a wistful, dreamy sound. Seventies electronica, specifically Kraftwerk combines with Chicago house to create a track where two decades and musical genres unite.
Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 is the perfect companion to Jerome Derradji Presents: Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89. Just like that compilation, it features progressive, innovative music which is way ahead of the musical curve. That’s why the music is timeless. Twenty-five years later, and the twenty-six tracks on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 have stood the test of time and the constant changes in musical fashions. That’s no surprise.
After all, Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 was innovative. It’s music that pushed boundaries and challenged norms. Having watched the birth of house music from the sidelines, then at Sunset Records, Matt Warren, headed out on his own. He’d watched and learnt, learnt from the experiences and failures of others. By 1987, he’d waited long enough. He left Sunset and after a few months rest, founded AKA Dance Music. His timing was perfect. Chicago house was King. Better still, Matt had established a reputation as a talented and inventive writer, arranger, mixer and producer. For just over a year, he was also the owner of a progressive and innovative label, who released some of the best Chicago house music of the late eighties.
Proof of that are twenty-six tracks that feature on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88. Innovative, progressive, inventive, imaginative and pushing musical boundaries describes what AKA Dance Music were doing. If Trax Records had been releasing the music AKA Dance Music released, they’d have been hailed as geniuses. Instead, AKA Dance Music, who punched well above their weight for a year, failed to get their music heard by a much wider audience. This meant that AKA Dance Music remains one of Chicago’s best kept musical secrets, who were only in business for just over year. At least they leave behind a rich musical heritage.
Each of the seven singles released by AKA Dance Music features on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88, which will be released on 15th October 2013 by Still Music. As of that’s not enough, there’s fourteen previously unreleased tracks. This includes hidden gems from Matt Warren & Michaelangelo and Matt Warren himself. The twenty-six tracks on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88, are a reminder of one of Chicago house best kept secrets.
No wonder. Innovative and influential describes the music released by AKA Dance Music. They were always determined to push musical boundaries. It was Chicago house, but with a twist. Disco, funk, industrial, new wave and postindustrial, was thrown into AKA Dance Music’s musical melting pot as they forged their own unique sound. It was inimitable, totally different from AKA Dance Music’s competitors and peers. That’s why despite being one of Chicago’s smaller labels, AKA Dance Music punched above its weight and influenced another generation of producers.
Although AKA Dance Music was one of the smaller labels in Chicago, they punched above their weight. They continued to attract talented producers and artists. That’s no surprise. Matt Warren had established a reputation as a producer and artist with a big future. Other artists felt that by some of his talent would rub off. It did. Just listen to the seven singles AKA Dance Music released. They ooze quality. That’s why dancers and DJs hungrily sought out each of AKA Dance Music’s release. Who can blame them, given the quality of this groundbreaking, timeless music.
A quarter of a century after AKA Dance Music closed its doors for the last time, discerning dancers and connoisseurs of Chicago house music still remember AKA Dance Music fondly. They cherish the label’s seven releases, which are prized possessions among record collectors. Now, these discerning dancers and connoisseurs of Chicago house can relive their youth with Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88. Featuring twenty-six tracks spread over two discs, old favorites and hidden gems sits side by side on this double album. Each of these tracks have one thing in common. They’re innovative, influential and groundbreaking examples of Chicago house from one of Chicago house’s most underrated labels, AKA Dance Music.
For just over a year, AKA Dance Music rose to the top of Chicago house, with their inimitable brand of Chicago house. The reason for this is simple. AKA Dance Music’s artists and producers were some of the most talented, innovative and influential producers in the first wave of Chicago house. AKA Dance Music may have been short-lived, but punched well above its weight and left a lasting impression on discerning dancers and connoisseurs of Chicago house music. One listen to the innovative, groundbreaking and timeless music on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 and you’ll realize why. Standout Tracks: Matt Warren Take It To The Wall, Team’s The Music’s Got Me, Michaelangelo Jackin’ and Matt Warren and Michaleangelo Rock It.
Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88.
RANDOLPH’S LEAP-REAL ANYMORE.
RANDOLPH’S LEAP-REAL ANYMORE.
Randolph’s Leap who recently released their mini-album Real Anymore on Olive Grove Records, aren’t like any other band. Not all. After how many bands describe themselves as a “Glasgow-based figment of your imagination?” Well, Randolph’s Leap do. This adds an air of mystery to the Glasgow-octet. It also hints at a band who don’t take themselves to seriously. Another description of Randolph’s Leap are purveyors of pop perfection.
Ever since 2008, Randolph’s Leap have been winning friends and influencing people with their unique fusion of indie pop and folk. Spreading hooks and happiness in equal measure, Randolph’s Leap are part of this new generation of Scottish bands. Randolph’s Leap are just the latest keeper of Scottish pop’s flame. They’re no ordinary band though.
Don’t expect banal, bubblegum pop from Randolph’s Leap. No. Instead, their music is witty, acerbic, intelligent and articulate. That describes the music on Real Anymore, Randolph’s Leap’s debut mini-album. Real Anymore, features seven songs, which are the perfect introduction to Randolph’s Leap, whose five-year career I’ll tell you about.
It was back in 2008, that Randolph’s Leap formed. Based in Glasgow, Randolph’s Leap are no ordinary band. No. They incorporate strings and horns into their sound. This is perfect for their unique brand of pop and folk. The lineup features a rhythm section of drummer Iain Taylor, bassist Vicki Cole plus Adam Ross guitarist and lead vocalist. Strings come courtesy of violinist Heather Thikey and Andrew McLellan on cello and guitar, while Ali Hendry plays trumptet and Fraser Gibson trombone. That’s the lineup of Randolph’s Leap that’s spent the previous five years charming and winning over audiences all over Britain.
Having spent two years traveling all over the country honing their sound, Randolph’s Leap headed into the studio to record their debut E.P. Battleships and Kettle Chips. Released on Olive Grove Records in 2010, indie pop and folk met head on. Battleships and Kettle Chips was well received by critics, introducing Randolph’s Leap to a much wider audience. After the release of Battleships and Kettle Chips, Randolph’s Leap didn’t release any more music until 2012.
After not releasing any music for two years, 2012 saw a deluge of music from Randolph’s Leap. They released their debut album And The Curse Of The Haunted Headphones, in February 2012. Released on the Peeko label, And The Curse Of The Haunted Headphones featured seventeen tracks. Again, indie pop and folk melted into one. Critics loved And The Curse Of The Haunted Headphones. Randolph’s Lead were quickly won over, including a whole host of fans within the media.
As Randolph’s Leap headed out on the festival circuit, they released Introducing Randolph’s Leap in July 2012. This was perfect for those unfamiliar with the “Glasgow-based figment of your imagination.” Featuring twelve tracks, plus as a bonus, The Way Of The Mollusc E.P. Best described as a beginners guide to Randolph’s Leap, this was perfect for festival goers who hadn’t encountered the charismatic Glasgow band, who were quickly, gaining a reputation as prolific songwriters.
In September 2012, fans of Randolph’s Leap welcomed the release of their min-album As Fast As A Man Can Run. Featuring a handmade cover, the nine songs on As Fast As A Man Can Run were another tantalizing taste of what Randolph’s Leap were capable of. Having released an album and mini-album during 2012, Randolph’s Leap round 2012 off by releasing their Hermit E.P. on Anstruther-based Fence Records. 2012 had been a hugely important year for Randolph’s Leap.
Not only had Randolph’s Leap released an E.P, mini-album and album during 2012, but had continued to spread of the band’s unique fusion of pop and folk far and wide. They were playing at some of the biggest festivals in Scotland. Audiences at T In The Part, Wickerman and Celtic Connections all were introduced to the music of Randolph’s Lead. Gradually, this “Glasgow-based figment of your imagination” were making their presence felt.
Just like 2012, Randolph’s Leap have hardly stopped. In February 2013, Randolph’s Leap headlined a show at the Queen’s Hall, Edinburgh. Then Randolph’s Leap recorded two sessions for Marc Riley’s Radio 6 show. He’s been longterm supporter of Randolph’s Leap, and helps spread the Randolph’s Leap gospel. Then there’s the usual round of festivals and concerts, plus two recording sessions.
The first of these was for the Furtive Glances E.P. which Randolph’s Leap released in April 2013. This was a limited edition release, featuring six tracks. Released on the Peenko label, it seemed that with every release, Randolph’s Leap were improving as a band. They were maturing as songwriters and musicians. Effusive praise came Furtive Glance’s way, as they headed out for the summer festival season.
With the festival season but a distant memory, Randolph’s Leap headed back into the recording studios. They’d rereleased The Curse Of The Haunted Headphones and As Fast As A Man Can Run as a compilation. That would keep fans of Randolph’s Leap occupied until they recorded their next mini-album, Real Anymore.
Real Anymore features seven songs, which were written by guitarist and lead vocalist Adam Ross. Producing Real Anymore was Pete MacDonald. Once Real Anymore was recorded, it was released on Glasgow-based Olive Grove Records, who specialize on releasing music by unsigned artists. Maybe after Real Anymore, Randolph’s Leap won’t be an unsigned band. Will that be the case?
Opening Real Anymore is the understated Conversation, which features lyrics that are cerebral, articulate and melancholy. They’re also cutting and acerbic. The song’s the response to a relationship gone south. Just an acoustic guitar accompanies Adam Ross’ wistful vocal. If there’s one thing worse than a woman scorned, it’s a singer-songwriter scorned.
It’s as if that now Adam has gotten Conversation off his chest, Randolph’s Leap can kick loose on Real Anymore. Driven along by a pounding rhythm section, bursts of blazing horns and searing, screeching guitars, Randolph’s Leap get down to business. Adam’s vocal is questioning, probing and wondering. Singalong harmonies drift above the arrangement philosophizing what’s real anymore. Hook-laden, infectiously catchy and with philosophy thrown in free, what more can you ask from Randolph’s Leap?
Psychic is a like a kitchen sink drama put to music. It features some of Adam’s best lyrics. It’s a moral dilemma that’s a reflection of 21st Century society. After going to the bank; “to ask for a loan…they say will you leave us alone,”Adam’s ends up working as a telephone psychic. With just strummed guitars, rhythm section and harmonies for company, Adam tells us: “it’s not an exact seance.” As a bass prowls along the arrangement, a reflective Adam thinks about his actions. “I didn’t know what I was doing, the trouble that was brewing.” A kitchen sink drama Randolph’s Leap, it’s best described as variously witty, full of pathos and sadness.
Nature is an upbeat, jaunty track that breezes along. Drawing inspiration from the Teenage Fanclub and BMX Bandits, Randolph’s Leap are keepers of Glasgow’s pop flame. Joyous describes Adam’s vocal, while indie drums mark out a 4/4 beat. Along with jangling guitars and washes of keyboards, slick poppy hooks and poetic lyrics play their part in this delicious slice of pop perfection.
Winceworthy sees a return to the understated sound of Randolph’s Leap. This is no bad thing, as you listen intently to the lyrics. Just like the previous tracks, they paint pictures, pictures that unfold before your eyes. Here, it’s like a tragi-comedy. As Adam describes dancing in the disco, falling outside and “hitting the tarmac hard,”there’s a a sense of pathos. Adam’s tender, fragile, vocal, sounding not unlike Douglas T. Stewart, of the BMX Bandits. Mostly, it’s just an acoustic guitar that accompanies his wistful vocal, before melancholy horns add the finishing touches to this three-minute tragi-comedy where Douglas T. Stewart meets Tom Waits.
As Adam strums his guitar and deliberates, you realize what’s about to happen. Technology literally explodes into life. What follows is a fusion of rock ‘n’ roll, rockabilly, pop, pub rock and punk. Adam literally pogoes his way through the track. Driven along by the bass, drums pound and stabs of piano as Adam ensures the song swings. Bursts of braying horns and pizzicato strings join singalong, punk-style harmonies. When Adam’s charismatic vocal is added to the mix, the result is a joyous, rousing, anthemic track that’s sure to be a festival favorite.
Indie King which closes Real Anymore sees Randolph’s Leap unleash their acerbic wit. It’s one the highlights of Real Anymore. That’s down to the lyrics, which poke funs of the pretentiousness of indie music. A myriad of beeps and squeaks give way to an almost funky rhythm section and keyboards. Having set the scene, Adam with his tongue planted firmly in his cheek, sings of meeting the “Indie King…and kissing his feet.” Later, as he refers to indie vocalists with lisps and bands playing gigs in libraries, it’s obvious Adam is an astute people watcher with no time for pretentiousness. From there, they unleash a veritable cornucopia of hooks. Joyful, singsong harmonies and rasping horns. They join Adam as he firmly refutes the accusation that they’re twee. They certainly aren’t. That’s why I suggest Randolph’s Leap call their next album ‘You’ll Have Had Your Twee?”
Just seven songs and twenty-five minutes long, Real Anymore, the latest mini-album from Randolph’s Leap features a band more than ready to make the next step. Indeed, Randolph’s Leap are a band with a big future ahead of them. Randolph’s Leap are more than ready. They’ve spent five years honing their sound and have established a reputation as a tight, talented band. To do this, they’ve played concerts and festivals up and down the country. However, Randolph’s Leap don’t seem in a hurry to make the next step, which is signing to a much bigger label. Randolph’s Leap seem determined to do things their way. That’s no bad thing. Bands like Belle and Sebastian, The Blue Nile, Teenage Fanclub and The Pastels have done things their way, and enjoyed a successful career. These bands demonstrate that this is possible. No longer do bands have to head to London to make the next step. Far from it. Glasgow’s music scene is truly thriving. Randolph’s Leap are just the latest keeper of Scottish’s pop music’s flame.
No wonder. The Glasgow-based octet are purveyors of pop perfection. Their unique fusion of indie pop and folk has winning friends and influencing people for five years. For anyone that’s heard the latest offering from Randolph’s Leap, their mini-album Real Anymore, that’ll come as no surprise. The lyrics on Real Anymore are variously witty, acerbic, articulate, cutting and descriptive. Featuring a plentiful supply of slick, poppy, hooks, Real Anymore features Randolph’s Leap at their poppy best. With tales of telephone psychics, a paean to nature, the cutting Indie King, joyous Nature and rousing Technology, this is the perfect introduction to Randolph’s Leap, who are no ordinary band. No. Randolph’s Leap that “Glasgow-based figment of your imagination” strive and succeed, in their quest for hook-laden, pop perfection on Real Anymore. Standout Tracks: Psychic, Nature, Winceworthy and Indie King.
RANDOLPH’S LEAP-REAL ANYMORE.
MIKE OLDFIELD-FIVE MILES OUT.
MIKE OLDFIELD-FIVE MILES OUT.
There aren’t many artists whose debut album sells 3.75 million copies. Back in 1973, Mike Oldfield’s debut album Tubular Bells did. Reaching number one in the UK and number three in the US Billboard 200, Mike Oldfield not only launched his career, but the new record label he was signed to, Virgin Records. Mike’s symphonic style of music seemed to strike a chord with record buyers. Indeed, for his first three albums, Mike could do no wrong. Then as musical tastes changed, Mike Oldfield had to change direction musically. This started with 1982s Five Miles Out which was recently rereleased as a Deluxe Edition by Mercury Records. Did this change in direction save Mike Oldfield’s career?
The follow up to Tubular Bells was Hergest Ridge. Released in August 1974, it reached number one in the UK and was certified silver. Ironically, Hergest Ridge was knocked off the number one spot by Tubular Bells. Over in the US, Hergest Ridge stalled at just number eighty-seven in the US Billboard 200. Hergest Bridge, like Tubular Bells, featured two lengthy movements. Each were sophisticated, multilayered and explored a series of themes. With this being the prog rock era, Mike Oldfield was quickly becoming one of the most popular British artists.
Having enjoyed two consecutive UK number one albums, Mike released his third album Ommadawn, in October 1975. It reached number four in the UK and was certified silver. Over the Atlantic, Ommadawn reached just number 146 in the US Billboard 200. Featuring a Celtic influence and a myriad of traditional instruments, Ommadawn marked a change in direction from Mike. One thing stayed the same, Ommadawn featured two lengthy movements. That would change with his next album…Incantations.
There was a gap of three years before Mike released the followup to Ommadawn. This was 1978s Incantations. By the time Incantations was released, music had changed and changed drastically. Punk arrived in 1976, threatening to shake up what they saw as the musical establishment. Mike was perceived as part of the establishment. Punks had prog rock in their sights. Another change was disco. It was at the height of its success. It was against this backdrop that Incantations was released.
Released in November 1978, Incantations was Mike’s first double-album. Rather than featuring two movements, Incantations featured four minimalistic, mystical movements. Gone was the almost grandiose sound of Mike’s first two albums. Gone was the folk-tinged sound of Ommadawn. For Mike, this was a process of reinvention, one that took three years.
On its release, Incantations reached number fourteen in the UK. Despite this, Incantations was certified silver, which equates to sixty-thousand units. Mike it seemed, wasn’t winning over new fans. That was the the case over the Atlantic. Over in the US, Incantations failed to chart. Success continued to elude Mike in America. At least in Europe, Incantations enjoyed a degree of success. Maybe the change in direction from Mike had caused the dip in sales? Either that, or his music was no longer fashionable?
For Mike’s final album of the seventies, 1979s Platinum continued his reinvention. Not only does Platinum feature songs, but cover versions. This includes George and Ira Gershwin’s I Got Rhythm. Side One features a twenty-minute piece which comprised four parts. The highlights are the first two parts, which are instrumental prog rock. As for Side Two, it’s a compelling combination of Gershwin, disco and Mike’s response to punk. Released on November 1979, Platinum reached just number twenty-four in the UK. At least Platinum sold enough copies to be certified silver. Platinum failed to chart in America. A small crumb of comfort was Platinum was certified gold in Germany. As the seventies ended, Mike Oldfield reflected on what had been his least successful album, the ironically titled Platinum.
As the new decade dawned, a new Mike Oldfield seemed to have been born. His first album of the eighties, featured two cover versions. Abba’s Arrival and The Shadows’ Wonderful Land featured on QE2. Bach also influenced Mike, with an excerpt from the Orchestral Suite in B Minor featuring on Conflict. Another change for QE2, was Maggie Reilly, who was collaborating with Mike. Featuring nine tracks, QE2 was released in October 1982.
On the release of QE2, it reached just number twenty-seven in the UK. This was Mike’s lowest chart placing ever. Despite this, it was enough to see QE2 certified gold, having sold 100,000 copies. At least QE2 reached number 174 in the US Billboard 200. It was five years since Ommadawn charted in the US. This was nothing to go overboard about. Far from it.
QE2 saw Mike Oldfield’s music at a crossroads. If he didn’t do something to address the problem, he risked becoming irrelevant. Gone were the days when prog rock was King, and two lengthy musical movements appealed to music buyers. That was long gone. Times had changed, not necessary for the better. Mike realized this and had gradually changed his music. Vocalists, cover versions and shorter songs had all been introduced. More changes were afoot for his seventh album Five Miles Out. One thing wouldn’t change, the twenty-minute track.
Nine years after releasing his debut album, Mike Oldfield decided his music had to change. His albums were no longer selling as many copies. Success in America seemed to elude Mike. If it hadn’t been for excerpts from Tubular Bells being played in The Exorcist, his debut album might never have reached the heights it did. After that, America proved a hard nut to crack. Even at home, in the UK, his albums last three albums hadn’t even reached the top ten. Each album slipped that further bit down the charts. There was a reason for this, music was changing.
Music was in a constant state of flux. Fashion changed quickly. During 1981, when Mike started recording Five Miles Out, boogie and synth pop were just two of the musical flavors of the month. For a new generation of record buyers, Mike Oldfield was the music of their parents. When they thought of Mike, they thought of grandiose, symphonic music, music that’s mystical and of course, prog rock. That was the problem.
People’s perception of Mike was problematic. Although his music was much more eclectic than that, that was how people perceived him. Little did people realize his music had never stood still. He’d been determined to push musical boundaries. This is what he’d do with Five Miles Out.
Synths, sequencers and drum machines were starting to replace real musicians. Mike had been using synths since 1979s Platinum, where he’d used a Roland SH-2000 and Sequential Prophet. For his seventh album Five Miles Out, Mike used a Fairlight CMI.
The Fairlight CMI was a digital sampling synth, which Mike Oldfield would put to good use on Five Miles Out. This lead to a change in style. Gone was the symphonic style of earlier albums. Replacing it, were short, poppy songs. Full of slick, poppy hooks, Mike Oldfield was trying to make his music more accessible. That didn’t please everyone. For some people, Mike had sold out. He however, was being a realist. If he didn’t change, he’d risk becoming irrelevant.
For Five Miles Out, Mike wrote three of the five tracks. He penned Taurus II, Mount Teidi and Five Miles Out. With Maggie Reilly, Tim Cross, Rick Fenn, Mike Frye and Morris Penn they cowrote Family Man and Oribadoo. These five tracks were recorded in Buckinghamshire during 1981 and 1982, and marked a new chapter in Mike Oldfield’s career.
When it came to recording Five Miles Out, Mike who was never confident about his vocal prowess, decided to step out of the shadows. He shares the vocal with Maggie Reilly on Oribadoo and Five Miles Out. Mike played guitar, bass, synths and keyboards. The band included drummer Graham Broad, guitarist Rick Fenn, keyboardist Tim Cross and percussionists Mike Frye and Carl Palmer. Paddy Maloney adds the distinctive uillean pipes, while Morris Pert adds percussion and plays keyboards. He also arranged the strings which Martin Ford conducted. With Mike producing Five Miles Out, the album was ready for release in March 1982.
The lead single from Five Miles Out was the title-track, which reached number forty-three in the UK. This gave Mike his first single in six years. Released in March 1982 Five Miles Out was Mike most successful album since 1975s Ommadawn. It reached number seven in the UK, where it was certified gold. Five Miles Out was certified gold in Germany and even reached number 164 in the US Billboard 200. Then when Mike released Family Man, which featured the vocals of Maggie Reilly, it reached number forty-five in the UK. Later, the song would be covered by Hall and Oates, who made the song their own. Five Miles Out it seemed, was a return to form for Mike Oldfield. Was that the case?
Some things never change. Opening Five Miles Out is Taurus II. It’s a twenty-four minute opus. Best described as a musical adventure, Mike and his band embark upon a musical adventure. The jagged arrangement has a rocky, sometimes Celtic sound. It comes courtesy of the unmistakable and distinctive sound of the uillean pipes. Mike is a like a magician, weaving spells with his guitar. Accompanied by a pounding rhythm section, prog rock keyboards and the ethereal beauty of female harmonies. Urgent chord changes see a change of direction. We’re heading in the direction of prog rock. Banks of urgent keyboards are key to this. Sudden shifts in tempo, result in an almost medieval, then gothic sound. Later, Mike revisits themes from Taurus I, which featured on QE2. Snippets of quotes from Taurus I are quoted as this mesmeric, dramatic and genre-melting musical movement shows its many secrets, subtleties and nuances. Dramatic, urgent, ethereal and melodic, as Mike mixes the old and new, he shows whether it’s 1973, 1982 or 2013, he’s just as relevant.
For many people, Family Man is a song from Philly popsters Hall and Oates. It’s not. It was written by Mike, Maggie Reilly and members of his band. This is seen as Mike’s first rock song. Here, Maggie breathes life and meaning into the lyrics, as she plays the role of the sultry temptress to T. This she does against an arrangement that has a real eighties sound. That’s down to the electronic drums, synths and rocky guitars. She struts her way through the songs. Guitars chime and soar, drums crack and a myriad of beeps and squeaks provide the backdrop to Maggie’s sassy, feisty vocal.
Orabidoo has a beautiful, ethereal sound. Just percussion and a gently strummed guitar combine. They meander along as this eleven-minute epic unfolds. Then it’s all change. A vocal sung through a vocoder proves atmospheric. Enveloped by drums then the rest of the rhythm section, the vocal becomes part mantra, part chant. During the track, there’s quotes from Taurus I and Conflict, from QE2. By utilizing the electronic instruments, the track takes on an inventive and futuristic, sci-fi sound. The robotic vocal gives way to prog rock keyboards, which inject urgency and drama. Pounding drums, harmonies and rocky guitars join the banks of keyboards on this genre-crossing musical adventure. Then as you think Mike’s out of surprises, the song takes on a a celestial sound. Ethereal harmonies drift in and the drama builds and builds. Mike’s final surprise is ending a song within a song. Ireland’s Eye brings Orabidoo to a thoughtful, wistful and tender close.
Just four minutes long, and named after a mountain in Tenerife, Mount Teidi has an African sound. It’s the drums that lead to this comparison. Behind them are synths and short bursts of crystalline guitars. Languid, laid-back and melancholy describe this track, which shows yet another side to the multitalented Mike Oldfield.
Five Miles Out tells the story of Mike’s experience of an airplane crash. Listening to the song, the musical structure is extremely complex. Like the rest of Five Miles Out, there’s numerous changes in tempo and style. Similarly, there’s numerous vocal parts. They’re sung by Mike and Maggie. For many of the vocals, Mike uses a vocoder. As for the arrangement, it’s mostly rock-tinged and dramatic. Other times it’s briefly understated. Mike’s vocal is full of emotion. No wonder. This song must bring back memories. Hopefully, writing and performing it, proved cathartic.
Closing Five Miles Out is Waldberg (The Peak). It’s the shortest song on Five Miles Out, at less than three-minutes long. A combination of synths, percussion and the rhythm section are joined by ethereal harmonies. Together they play their part in a track where influences collide head-on. Medieval, Celtic and classical, especially Handel, spring to mind, as Mike and his band combine tradition and electronic instruments potently and successfully.
Just two before Mike Oldfield released Five Miles Out, he’d just released his least successful album QE2. It reached just number twenty-seven in the UK. Granted it was certified gold, but this was due to his loyal fans who bought every album Mike released. The problem was, his music wasn’t appealing to a new generation of music lovers. That’s why Mike Oldfield’s career was at a crossroads. If he didn’t do something to address the problem, he risked becoming irrelevant. So, Mike decided to change direction.
This was something he’d done and embraced his whole career. No two Mike Oldfield albums are the same. Each album is a but different. When Mike could’ve released Tubular Bells II, he released Hergest Ridge. Mike didn’t stand still. His career saw his music constantly evolving. On Five Miles Out, Mike fully embraced technology. Using the Fairlight CMI, was part of the reinvention of Mike Oldfield. Without throwing out what had resulted in Mike enjoying a successful career, Five Miles Out saw a series of subtle changes.
Side one of Five Miles Out was for his old fans. A twenty-four minute Magnus Opus, it’s Mike Oldfield at his very best. Then on Side two, three of the four songs are shorter, with a slick, poppy sound. Mike doesn’t spare the hooks. He even joins Maggie Reilly on vocal duties. Fusing everything from prog rock, pop, electronica, rock, Celtic and classical music, Mike returned with his most successful album since 1975.
Not since Ommadawn, in 1975, had Mike Oldfield enjoyed such a high chart placing. Reaching number seven in the UK, plus two hit singles saw Mike’s decision to reinvent himself vindicated. It would’ve been easy for him to keep churning out album after album of similar material. Mostly likely, his loyal fans would’ve bought the albums. That wasn’t enough for Mike. He wanted and needed to challenge himself. Mike also wanted to embrace the new technology. Throughout his career he’d been an innovator, always wanting to push musical boundaries. This is what Mike Oldfield did on Five Miles Out, which was recently rereleased as a Deluxe Edition by Mercury Records.
Featuring three discs, Five Miles Out is what a Deluxe Edition should look like. Disc two features a recording of a concert in Cologne from the Five Miles Out tour. Then on Disc three, there’s Mike Oldfield’s 5.1 Surround Mix. This is a very welcome addition and brings new life and meaning to Five Miles Out, Mike Oldfield’s comeback album. The 5.1 Surround Mix showcases Mike Oldfield at his innovative an inventive best on Five Miles Out, which features the rebirth and reinvention of Mike Oldfield.
MIKE OLDFIELD-FIVE MILES OUT
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.
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