RIPPLE-SONS OF THE GODS.
RIPPLE-SONS OF THE GODS.
During their seventies heyday, Ripple released just two albums and nine singles. This included two dance classics. The first of these was I Don’t Know What It Is, But It Sure Is Funky. Released in 1973, it reached number sixty-three in the US Billboard 100 and number eleven in the US R&B Charts. Although they released another six singles for GRC, they never replicated the commercial success of I Don’t Know What It Is, But It Sure Is Funky. Then in 1976, their time at GRC ended somewhat abruptly.
GRC Records was a successful Atlanta label. It was run by Michael Thevis, an infamous porn baron, nicknamed the Scarface of Porn. In 1976, his luck ran out. He was charged with, and found guilty of, various offenses. When he was sent to prison, GRC Records folded. This left their roster of artists, who included Loleatta Holloway and Ripple, without a label. Like Loleatta Holloway, Salsoul Records, which was now disco’s premier label, would be their new home. That’s where Ripple released the genre-melting Sons Of The Gods, which was recently released by BBR Records. Sons Of The Gods featured Ripple’s second dance classic The Beat Goes On And On. Between these two dance classics, a lot happened to Ripple. Before I tell you about the Sons Of The Gods’ I’ll tell you about the ups and downs of Ripple’s career.
Ripple’s story starts in Michigan. That’s where the multiracial band were formed. The group were a sextet, whose lineup included a rhythm section of guitarist and lead vocalist Keith Samuels, bassist Brian Carter and drummer Brian Sherrer. They were joined by percussionist Wally Carter, while Curtis Reynolds played vibes, organ and piano. Bill Hull was the final member. He was another multi-instrumentalist, who played flute, tenor saxophone and percussion. Ripple were not unlike Sly and The Family Stone, whose popularity had soared between the late-sixties and early-seventies. Just like Sly and The Family Stone, musical and racial boundaries fell. Their music crossed racial and musical boundaries from their debut single.
I Don’t Know What It Is, But It Sure Is Funky was Ripple’s debut single. It was released on Michael Thevis’ Atlanta-based GRC Records in 1973. They were establishing a reputation as a successful label. This was further enhanced when I Don’t Know What It Is, But It Sure Is Funky reached number sixty-three in the US Billboard 100 and number eleven in the US R&B Charts in 1973. The followup was Willie Pass The Water, which reached number twenty-seven in the US R&B Charts. Both tracks featured on Ripple’s 1973 eponymous album. It failed to replicate the success of Ripple’s first two singles, failing to chart. Ripple it seemed were purely a singles band.
That was case. In 1974, You Were Right On Time reached number fifty-one in the US R&B Charts. Later that year, A Funky Song reached number forty-one in the US R&B Charts. After releasing four singles from Ripple, 1975 saw Ripple releasing their first new material since 1973.
This Ain’t No Time To Be Giving Up was the first new material Ripple had released since 1973. It didn’t fare as well as previous singles, stalling at a disappointing number eighty-one in the US R&B Charts. Worse was to come. Much worse.
Apart from running a record label, Michael Thevis was an infamous porn baron. In 1976, his luck ran out. He was charged with, then found guilty of, various offenses. This resulted in a prison sentence. In his absence, GRC Records folded. Without a label, things weren’t looking good for Ripple. Then they got the chance to sign to what is regarded as disco’s greatest label..Salsoul.
Now signed to Salsoul, Ripple began work on their sophomore album, which became Sons Of The Gods. It was about time. After all, it was 1973 when Ripple released their debut album. All they’d released were a handful of singles. That wasn’t good enough. This was a time when groups would release two albums a year. Ripple were risking becoming a forgotten band. They desperately needed a successful album. So work began on Sons Of The Gods.
Victor Jerome Burke played a huge part in Sons Of The Gods. He penned Victorious, Facts Of Life and Do What You Wanna Do. Victor cowrote The Beat Goes On And On, which he cowrote with Floyd Smith, Simon Carter,Wally Carter, Barry Ryan Lee and Brian Sherrer, who also wrote Today. The other two tracks were cover versions. Call Me Traveling Man had given The Masqueraders a hit in 1975, while Sons Of The Gods was a Charles Earland composition. These eight tracks became Sons Of The Gods.
Recording of Sons Of The Gods too place at two studios in two cities. In Atlanta, The Sound Pit was used. Then in Chicago, the Chicago Recording Co. was chosen by producer Floyd Smith, Loleatta Holloway’s husband. Once Sons Of The Gods was recorded, it was released in February 1978, five years after their debut album.
For Ripple, they must have felt like a new band. After all, it had been so long since they released their debut album Ripple. The Beat Goes On And On was chosen as the lead single. Released in December 1977, it reached number nine in the US R&B Charts and number three in the US Disco Charts. That was Ripple’s biggest single, surpassing even I Don’t Know What It Is, But It Sure Is Funky. Things looked good for Ripple. That proved not to be the case. When Sons Of The Gods was released in February 1978, it failed to chart. Neither did Today, when it was released in March 1978. Ripple it seems were always going to be a singles band. However, do they deserve to be remembered for Sons Of The Gods? That’s what I’ll now tell you.
Opening Sons Of The Gods is Call Me Traveling Man. It debunks the myth that a musician’s life is a glamorous one. Here, all the traveling man wants is to find love. That’s unlikely. His life is on the road. Ripple bring the lyrics to life. Straight away, they have your attention. An understated arrangement with a Fender Rhodes providing a melancholy backdrop to Keith Samuels. His vocal is heartfelt and filled with hope, while harmonies sweep in hopefully. Especially when swathes of strings sweep, as drums provide a wistful, and sometimes dramatic backdrop. Guitars chime, strings quiver and the Fender Rhodes adds to this beautiful song’s wistful, hopeful sound. Why this song wasn’t released as a single, seems a missed opportunity?
Today was released as a single and failed to chart. It’s the polar opposite from the previous track. Uber funky, Keith’s vocal is a feisty, sassy vamp. Punchy harmonies answer his call, as horns blaze and banks of keyboards join Ripple’s rhythm section. Along with wah-wah guitars, they provide a heavy duty funk sound. Wah-wah guitars. Sometimes, echo is used as to distort the sound. Sadly, it doesn’t work. Later, as the track takes sounds like a party in a studio, a glistening guitar solo wah-wahs its way across the joyous, funky arrangement on this paean to positivity.
Victorious bursts into life, allowing Ripple to showcase their not inconsiderable skills. What follows is a genre-melting track. Disco, jazz-funk, Latin and funk melt seamlessly into one. Ripple show how tight and talented a band they are. This is apparent when it comes to the solos. Whether its Curtis Reynolds keyboards, Wally Carter’s percussion or Simon Carter’s bass, there’s no passengers in Ripple, just versatile and talented musicians.
From the opening bars of Here I Stand, you realize something special is unfolding. Soulful, funky, jazz-tinged and dance-floor friendly what more do you want. Layers of strings dance, harmonies coo, horns blaze and the rhythm section provide a pulsating heartbeat. Add to this wah-wah guitars and Keith’s crooning vocal. He’s like an old-fashioned crooner, as he delivers a needy, impassioned plea. Especially with the harmonies for company. The result is, a genre-melting track, full of slick, poppy hooks.
Probably the best known track on Sons Of The Gods is The Beat Goes On And On. It was chosen as the lead single, giving Ripple their biggest hit single. No wonder. It’s a six minute opus from the bubbling bass line, keyboards and swathes of lush strings. Everything is dropped in at the right moment by producer Floyd Smith. That includes the cascading harmonies, percussion and flourishes of strings. Guitars bubble, reflecting the track’s effervescent and vibrant sound. Then there’s the congas, hissing hi-hats and chiming guitars join. They join the rasping horns and the vocal. Using the female vocal was a masterstroke. The song suits a female vocal. This allows Ripple to provide a pulsating, dramatic and infectiously catchy backdrop to the ethereal beauty of the vocal.
Following up the previous track should be difficult. It isn’t. That’s because Ripple change tack. Facts Of Life is a slow, sensual and soulful track that demonstrates Ripple’s versatility. A spacious, understated arrangement sets the scene for Keith’s needy, heartfelt vocal. With Thom Bell horns, pizzicato strings, deliberate piano and a wistful rhythm section for company, Keith unleashes one of his most emotive vocals. It’s enthralling. So is Ripple’s performance. Strings shiver as the rest of Ripple provide the backdrop for Keith’s half-spoken vocal, vampish plea. Full of heartbreak, hurt and regret, Keith lays bare his soul.
Charles Earland wrote Sons Of The Gods. For anyone yet to discover his music, he’s one of the finest soul jazz Hammond organists. Here, Ripple, with Floyd Smith’s help, transform the track into a blistering slice of cosmic funk. Add to that a dance-floor friendly beat. Horns blaze and the rhythm section, percussion and keyboards keep things funky. Blistering, searing, showboating guitar solos wah-wah their way across the arrangement. As for Keith, he takes his lead from Sly Stone, Jimi Hendrix and George Clinton. His vocal heads in the direction of psychedelic soul. The next, it’s much more tender. Then when it becomes impassioned, it’s not unlike Stevie Wonder. From there, genres and influences melt into a nine minute lysergic, dance-floor friendly, funky and soulful opus.
Do What You Wanna Do closes Sons Of Gods. It’s a song about society’s problems, but doesn’t provide any answers or solutions. Having taken the listener a walk on the wild side through the ghetto, Ripple’s answer is don’t worry it’ll be okay. Banks of keyboards set the scene for Ripple as they kick loose. They provide an infectiously catchy backdrop for Keith’s vocal. It’s impassioned and earnest, while the arrangement sees funk, soul and Latin unite. As Keith sings call and response, harmonies add to the song’s soulful sound. A combination of a blisteringly funky arrangement and soulful vocal result in Sons Of Gods ending on a dramatic, soulful and funky high.
Five years after Ripple had released their eponymous debut album, they were back with Sons Of Gods. This couldn’t have been easy. After all, if an artist isn’t releasing music regularly, they’re forgotten about. Luckily, Ripple had several secret weapons. The first was The Beat Goes On And On, which gave them the biggest single of their career. Things looked good for Ripple. Then Sons Of Gods failed to chart. For Ripple, producer Floyd Smith and everyone at Salsoul they must have been shocked. Sons Of Gods should’ve fared much better. Ripple should’ve been more than a singles band. Far more.
Of the eight songs on Sons Of Gods, there’s no filler. Far from it. Call Me Traveling Man and Facts Of Life are two beautiful slices of soul. Then there’s the cosmic funk of Sons Of The Gods. Genres then melt into one on Victorious, Here I Stand and Do What You Wanna Do. Just about any one of these tracks could’ve been released as a single. Instead, they released the weakest track on Sons Of Gods, Today. Salsoul should’ve chosen either the beautiful ballad that is Call Me Traveling Man, or Here I Stand, which is full of slick, poppy hooks. They didn’t. Today failed to chart. That was the end of Ripple’s recording career.
While there was a short-lived comeback in the nineties, Ripple’s career was all but over. The commercial success and critical acclaim they enjoyed isn’t a reflection on their talent. Who knows what would’ve happened if another track had been chosen as the second single? That could’ve rejuvenated Ripple’s career. Sadly, that wasn’t the case and Ripple’s second album, Sons Of The Gods, which was recently released by BBR Records, proved to be their swan-song. What could’ve been a long and successful career was cut short. Ripple’s career consists of just two albums, of which Sons Of The Gods is the best. Not only does Sons Of The Gods feature their biggest hit The Beat Goes On And On, but is a reminder of Ripple’s versatility and talent. Standout Tracks: Call Me Traveling Man, Here I Stand, The Beat Goes On And On and Facts Of Life.
RIPPLE-SONS OF THE GODS.
AFROBEAT AIRWAYS 2-RETURN FLIGHT TO GHANA 1974-1983.
AFROBEAT AIRWAYS 2-RETURN FLIGHT TO GHANA 1974-1983.
For anyone who loves African music, Analog Africa’s releases are essential listening. Their compilations are among the best compilations of African music available. The reason for this is simple, Analog Africa dig deeper than other reissue labels. They’ve been doing since 2005, when Samy Ben Rebjed founded Analog Africa. Since then, Analog Africa have released just fourteen compilations. Afrobeat Airways 2-Return Flight To Ghana 1974-1983 is their latest release. It’s the followup to 2010s Afrobeat Airways-West African Shock Waves 1972-1978. It was one of the best compilations of African music released during 2010. Since then, fans of Afrobeat have hungrily awaited and anticipated the followup to Afrobeat Airways-West African Shock Waves 1972-1978. At last, it’s here, and Afrobeat Airways 2-Return Flight To Ghana 1974-1983 is what a compilation should look like.
The best way to describe Afrobeat Airways 2-Return Flight To Ghana 1974-1983, is a luxurious and lovingly compiled compilation. It’s contained in a heavyweight cardboard slipcase. Within it are a forty-four page book and separate slipcase which contains the CD. Everything about Afrobeat Airways 2-Return Flight To Ghana 1974-1983 oozes quality. Compared to some of the inferior compilations I come across this is the future of compilations. Other reissue companies should look at what Analog Africa do and make this the industry standard. After all, many people, myself included, want a quality product. Many people also want to know more about the music and the people who made it.
Describing the sleeve-notes to Afrobeat Airways 2-Return Flight To Ghana 1974-1983 as extensive and informative seems an understatement. It’s a labor of love. There are ten essays in the sleeve-notes to Afrobeat Airways 2-Return Flight To Ghana 1974-1983. Nine of the interviews are by Vikran Sohonie, who deserves the utmost credit for his contribution. His love of Ghanian music shines through and his enthusiasm is almost infectious. It’s well worth taking the time to read and absorb the sleeve-notes. It helps you to understand the music on Afrobeat Airways 2-Return Flight To Ghana 1974-1983. Ironically, to do the sleeve-notes justice, it takes longer to read them than listen to Afrobeat Airways 2-Return Flight To Ghana 1974-1983. Having said that, it takes several listens to even come close to appreciating the subtleties and nuances of what is some of the best music to come out of Ghana between 1974 and 1983.
Afrobeat Airways 2-Return Flight To Ghana 1974-1983 features thirteen tracks from some of Ghana’s greatest musicians. This includes contributions from Ebo Taylor, De Frank Professionals, Ios Issufu And His Moslems, Rob, Loose Up Yourself, Pierre Antoine and Vis A Vis and Complex Soundz. During these thirteen tracks, musical influences and genres melt into one. Everything from jazz, funk, soul, psychedelia and rock influences the music on Afrobeat Airways 2-Return Flight To Ghana 1974-1983 which I’ll pick the highlights of.
Uppers International’s Aja Wondo opens Afrobeat Airways 2-Return Flight To Ghana 1974-1983. It was released in 1976, on the Afrodisia label. Written by Chester Adams Issoka, chiming guitars, blazing horns and percussion join forces. Wah-wah guitars add a funky backdrop as the vocal is sung in a call and response style. By now, Uppers International have locked into the tightest, hypnotic groove. It’s almost trancelike. From there, it heads in the direction of celebratory and joyous. Later, a Hammond organ and then grizzled horns ensure this slice of highlife track is uber funky and dramatic.
Recently, I reviewed Ebo Taylor’s eponymous album. A hugely talented multi-instrumentalist, he never enjoyed the commercial success and critical acclaim his music deserved. One listen to Children Won’t Cry and you’ll realize this. It’s a blistering and pulsating horn driven track. Afrobeat and jazz unite peerlessly. Everything falls into place. Whether it’s the braying horns, heartfelt, impassioned vocal or the jazz-tinged guitar that weaves its way across the arrangement, this is Ebo Taylor at his best. Anyone with even a passing interest in Afrobeat, must have an Ebo Taylor album in their record collection.
Between 1978 and 1984, The Cutlass Band released a trio of albums. Before that, they released Obiara Wondo as a single in 1976. It literally bursts into life. Urged on by the vocal, short sharp bursts of braying horns, pounding drums and searing guitars. The vocal is a mixture of emotion and passion. When it drops out, the rest of the band showcase their considerable skill. First up is the flute, then the Hammond organ. Then everyone joins forces, as the track heads to its dramatic crescendo, jazz, funk and highlife becoming one.
De Frank Professionals’ Waiting For My Baby features on their debut album Psychedelic Man. This was the first of three albums they released. Waiting For My Baby is another track where musical genres melt into one. Everything from rock, psychedelia, garage, jazz and funk shine through during four majestic minutes. That’s why it’s one of Afrobeat Airways 2-Return Flight To Ghana 1974-1983 highlights.
African Brothers’ Wope Me A Ka explodes into life. Released as a single in 1973, it featured on their sophomore album High-Life Time, which was released on Afribros. When the band are counted in, the African Brothers head off on the funkiest of journeys. It’s a track that sounds as if it belongs on an African Blaxploitation movies. You can imagine a car chase through the dusty streets of Accra taking place to this glorious track. Dramatic, pulsating music unfolds. Percussion, stabs of Hammond organ and drums provide the backdrop to an urgent vocal. So, good is this track, I’ll be looking out for the African Brothers’ album High-Life Time.
Rob’s Loose Up Yourself featured on his 1978 album Make It Fast, Make It Slow. This was his second and final album. Released on the Essiebons label, Rob delivers a sassy, sultry vamp. Soulful and funky describes his vocal. As for the arrangement, it’s a fusion of jazz, funk and Afrobeat. Apart from Rob’s sassy vamp, mesmeric machine-gun jazz guitars are at the heart of this track’s success.
During his career, K. Frimpong was part of two successful bands. They were the Vis-A-Vis and Cubano Fiestas. Both bands featured some of the same musicians. Often, the two bands worked at the same time. Kwambena even worked on two albums simultaneously. Despite this, he managed to find to time for a solo career. He recorded several albums as a solo artist. A tantalizing taste of his talent is Abrabo, which was released in 1981, on Atakora Mensah Records. Ironically, it wasn’t the vocal that caught my attention. It was the vocal. Subtle, crystalline and jazz-tinged sound grab your attention. It weaves its way across the arrangement as this uplifting slice of highlife unfolds. Blazing horns and a pulsating, hip-swaying beat provide the backdrop for Kwambena’s vocal. Sung in a call and response style, it’s impassioned, joyous and celebratory. Along with some of the best guitar playing on the compilation, this is K. Frimpong doing what he does best.
Complex Soundz’s God Is Love closes Afrobeat Airways 2-Return Flight To Ghana 1974-1983. This fourteen-minute opus was released in 1978. Here soul and funk combine. The vocalist takes on the role of a funky preacher. Somehow, he manages to come across as sassy, sincere and sometimes, a snake-oil salesman. It’s a wonderfully over-the-top track. Think of Barry White, James Brown or Luther Vandross at their overblown pomp, and you’re getting their. Meanwhile, horns bray as the rhythm section keep things funky. Jazzy horns accompany a vocal that one minute is a scat, the next full of hollers and whoops. Later, a wonderfully soulful, heartfelt and sincere vocal unfolds on this compelling and sometimes comedic track. Infectiously catchy and overblown, funk, jazz and soul and even proto rap play their part in this opus.
Analog Africa’s latest compilation Afrobeat Airways 2-Return Flight To Ghana 1974-1983 doesn’t disappoint. Far from it. There’s a reason for that. Rather then release compilations on a monthly basis, Analog Africa concentrate on quality. Afrobeat Airways 2-Return Flight To Ghana 1974-1983 is proof of that. This is only their third compilation of 2013. However, it’s better to release a compilation where everything is of the highest quality.
This starts with the music. It’s a case of all killer, no filler. For the newcomer to Ghanian music, this is perfect. It’s even better than on Afrobeat Airways-West African Shock Waves 1972-1978. It was good, Afrobeat Airways 2-Return Flight To Ghana 1974-1983 is better. Then there’s the sleeve-notes and packaging. The sleeve-notes are informative and educational. Reading them, is insightful and allows you to understand and appreciate the music better. That’s no bad thing. After all, the music on Afrobeat Airways 2-Return Flight To Ghana 1974-1983 deserves to be understood and appreciated.
On Afrobeat Airways 2-Return Flight To Ghana 1974-1983, everything from funk, gospel, jazz, psychedelia, rock and soul combined. The result is thirteen delicious slices of Afrobeat and highlife. This is music you can’t help but love. Uplifting, joyous, spiritual and infectiously catchy, it’s also funky, jazz-tinged, soulful and lysergic. It’s music that has a foot in four decades. Influenced by fifties and sixties jazz, sixties psychedelia sits next to seventies funk and Blaxploitation. There’s also a twist of rock, gospel and soul. All these influences play their part in some glorious music, music that truly deserves a wider audience.
Hopefully, thanks to labels like Analog Africa, who on 16th Spetember 2013, released Afrobeat Airways 2-Return Flight To Ghana 1974-1983, Ghanian music will at last find the audience it deserves. Afrobeat Airways 2-Return Flight To Ghana 1974-1983 is just a glimpse of the delights Ghanian music has to offer. There’s much, much more yet to be discovered. So, let’s hope that Samy Ben Rebjed continues to release quality compilations like Afrobeat Airways 2-Return Flight To Ghana 1974-1983. Of the fourteen compilations Analog Africa have released, the critically acclaimed Afrobeat Airways 2-Return Flight To Ghana 1974-1983 is the best so far. Standout Tracks: Uppers International Aja Wondo, Ebo Taylor Children Won’t Cry, De Frank Professionals Waiting For My Baby and African Brothers’ Wope Me A Ka.
AFROBEAT AIRWAYS 2-RETURN FLIGHT TO GHANA 1974-1983.
CAMERA OBSCURA-DESIRE LINES.
CAMERA OBSCURA-DESIRE LINES.
There aren’t many bands who announce on their website that they’re on maternity leave. Camera Obscura do. They’re another Scottish band who do things their way. So far, that’s worked well. They’ve released five albums since they were formed in Glasgow in 1996. Their most recent album, was Desire Lines, which was recently released on 4AD. Desire Lines saw Camera Obscura change direction musically.
For two albums, Camera Obscura had worked with Swedish producer, Jari Haapalainen, of The Bear Company. He’d produced their third album, 2006s Let’s Get Out Of This Country, then the followup, 2009s My Maudlin Career. Despite My Maudlin Career being Camera Obscura’s most successful album, Jari was replaced as producer. Camera Obscura decided to move their music forward. They’d been accused of sticking with the same formula. Certain critics accused My Maudlin Career of sounding like Let’s Get Out Of This Country. That must have stung. So Camera Obscura headed to Portland, Oregon, where Tucker Marine produced Desire Lines. Making guest appearances, were Neko Case and Jim James of My Morning Jacket. This was a brave move for Camera Obscura. After all, they’d enjoyed the most successful album of their career with My Maudlin Career. Would Camera Obscura’s decision to change direction work? Before I tell you that, I’ll tell you about Camera Obscura’s career so far.
It was back in 1996, that lead singer Tracyanne Campbell, John Henderson and Gavin Dunbar formed Camera Obscura. After that, the lineup has changed several times. The first was when David Skirving joined as guitarist. He played on their first two singles. Park and Ride was released in March 1998 and Your Sound released in December 1998. Both singles were released on Andmoresound. After that, it took three long years before they released their debut album. By then, their lineup had changed.
The next change in Camera Obscura’s lineup came when drummer Lee Thompson joined in 2000. Then in 2001, keyboardist Lindsay Boyd joined, while Kenny McKeeve replaced David Skirving. This was the lineup that played on Camera Obscura’s 2001 debut album Biggest Bluest Hi-Fi. Producing the album, was a stalwart of Glasgow’s music scene, Stewart Murdoch of Belle and Sebastian. Biggest Bluest Hi-Fi was released on Andmoresound in December 2001, but failed to chart. Critics liked Camera Obscura’s music. They were compared to Belle and Sebastian, and were tipped to become one of the best Scottish indie bands. The five years they’d spend honing their sound had been worthwhile.
Two years after releasing their debut album Biggest Bluest Hi-Fi, Camera Obscura signed to Spanish independent record label Elefant in 2002. They rereleased Biggest Bluest Hi-Fi while recording of the followup was taking place. Then in August 2003, Camera Obscura released Underachievers Please Try Harder. It was produced by another stalwart of the Scottish music scene, Geoff Alllan. On its release, it was well received by critics. Although critically acclaimed in some quarters, Underachievers Please Try Harder failed to chart. At least the lead single teenager gave Camera Obscura a minor hit single. It reached number 182 in the UK singles charts. Things however, would get better.
Following the release of Underachievers Please Try Harder, Camera Obscura headed out on their first nationwide tour. After touring Britain and Ireland, Camera Obscura toured America. Apart from releasing Keep It Clean from Underachievers Please Try Harder, Camera Obscura’s only other single was I Love My Jean. This was Robert Burns’ poetry put to music. The collaboration between Scotland’s national bard and Camera Obscura, resulted in their biggest hit single. Reaching number 101 in the UK would be a sign of what was about to happen.
Change was on the cards for Camera Obscura. Whereas their two previous albums had been recorded in Scotland and produced by Scottish producers, Camera Obscura headed to Sweden and worked with Swedish producer, Jari Haapalainen, of The Bear Company. He produced their third album Let’s Get Out Of This Country. Released in June 2008, this was Camera Obscura at their best. Perfect pop songs full of delicious melodies and poppy hooks, Let’s Get Out Of This Country was released to critical acclaim. Sadly, it only reached number 125 in the UK. The hook-laden Lloyd, I’m Ready To Be Heartbroken was chosen as the lead single. This was the reply to Lloyd Cole and The Commotions’ classic Are You Ready To Be Heartbroken. Tragically, Lloyd, I’m Ready To Be Heartbroken stalled at number 144. Maybe being signed to an indie was hampering Camera Obscura’s progress?
After Let’s Get Out Of This Country, Camera Obscura signed to 4AD in November 2008. They arrived at their new label with fourth album already recorded. My Maudlin Career was produced by Jari Haapalainen and released in April 2009. Most critics loved My Maudlin Career. However, there were a few dissenting voices. They felt My Maudlin Career was sounded the same as Let’s Get Out Of This Country. They’d have to eat their words when My Maudlin Career proved to be the most successful album of Camera Obscura’s career. Not only did it reach number thirty-two in the UK, but number eighty-seven in the US. After thirteen years and four albums, Camera Obscura had enjoyed the most successful album of their career. Then things started to change.
The first change was Nigel Baillie became a father. He decided quite rightly, to put his family before his career, so became a part-time member of the band. This must have started a trend. Other members of Camera Obscura headed off on maternity leave. Just now, Camera Obscura are officially on maternity leave. Despite this, Camera Obscura released their fifth album Desire Lines.
Jari Haapalainen was replaced as producer. Camera Obscura decided to move their music forward. Replacing him, was Tucker Marine. To work with Tucker, Camera Obscura headed to Portland, Oregon, where they recorded the twelve song written by Traceanne Campbell. Tracyanne played keyboards and sang lead vocals. Kenny McKeeve played guitar, Gavin Dunbar bass, Lee Thompson drums and Carey Lander keyboards. Making guest appearances, were Neko Case and Jim James of My Morning Jacket. This was a brave move for Camera Obscura. After all, they’d enjoyed the most successful album of their career with My Maudlin Career. Would this risk pay off?
On the release of Desire Lines, it was released to critical acclaim. Critics hailed Desire Lines as their finest album so far. Sadly, it didn’t quite replicate the success of My Maudline Career. Desire Lines reached just number thirty-nine in the UK and number 106 in the US Billboard 200. Despite that, the new Camera Obscura on Desire Lines was welcomed.
There was a familiarity to the music on Desire Lines. Having said that, it was innovative. Unlike other groups, Camera Obscura’s music was progressing in a new direction. Describing Desire Lines as cerebral, literate, intelligent, ethereal, quirky and emotive is selling the album short. It’s all that and more. Indeed, Desire Lines which I’ll tell you about, is the latest installment the Camera Obscura story.
Opening Desire Lines is Intro, a melancholy scene setter. Swathes of strings add a wistful and elegant sound, leaving you wanting more.
This Is Love (Feels Alright) is a tale of love gone wrong, with Tracyanne acting as arbiter and maybe seducer. Bluesy horns join the rhythm section as the arrangement meanders along. There’s a a sense of disappointment and inevitability that her friends have fallen out. Although they both have their faults, she’s a “killer tease.” He meanwhile, is a “good boy,” a good boy she’s attracted to. In her heart, he’s too good for the “killer tease.” So when she offers her advice, she wonders aloud. Should we “turn out the light, just give in to the night…on this fine night?” While this is three minutes of cerebral pop perfection, we never find out how this love triangle turned out.
Troublemaker sees the tempo increase as the rhythm section drive the arrangement along. Keyboards replicate sirens, which seems fitting as Tracyanne wants to crush: “what remains of this love.” Although opposites attract, they don’t necessary stay together. Chiming guitars, harmonies and pounding drums provide the backdrop to Traceyanne’s vocal, as frustration fills her vocal. She realizes the relationships over and is frustrated and disappointed that they can’t let go of each other.
William’s Heart is a track that only Camera Obscura could’ve recorded. It has their trademark sound. There’s even a touch of Lloyd Cole and The Commotions in the guitars. Add to that Tracyanne’s literate lyrics and its a potent combination. Not many bands refer to Byron in their lyrics. Camera Obscura do. There’s a fuller, rockier sound to the arrangement. Searing guitars join sweeping, ethereal harmonies as Tracyanne delivers a heartbreaking vocal. Her lyrics have a poignancy and poetic nature, that she brings to life. One of the most moving lyrics is: “is there enough of a spark to sparkle again?” This brings to mind a relationship that’s all but over and is a heartbreaking kitchen sink drama from Glasgow’s Queen of indie pop.
New Year’s Resolution is a laid-back, languid slice of pop perfection. The arrangement meanders along, fuzzy guitars, deliberate rhythm section and cooing harmonies accompanying Tracyanne’s tender, heartfelt vocal. Kenny McKeeve lays down some fuzzy, muted guitar solos. They don’t overpower Tracyanne’s vocal which takes centre-stage. That’s just as well. Her vocal is needy and full of emotion. She wants, needs reassurance that her relationship won’t end.
Do It Again sees Camera Obscura find their rocky side. Tracyanne finds her inner rock chick. Her vocal is not unlike Debbie Harry, while Kenny McKeeve unleashes blistering guitar licks. The rhythm section provide a pulsating, rocky heartbeat, while a feisty, sassy Tracyanne struts her way through the track.
Cri Du Coeur or Cry Of The Heart is a much slower, soul-baring but dramatic. Her vocal full of sadness, hurt and regret, Tracyanne lays bare her soul. Introspective she realizes her faults. “I never listen to people…I know, I know, I’ll cry.” Drums pound as Camera Obscura create a Spector-esque wall of sound. It replicates Tracyanne’s hurt on this heartbreaking, soul-searching Cri Du Coeur.
Crystalline, chiming guitars and pounding guitars open Every Weekday, an upbeat, joyous slice of pop. This sets the scene for Tracyanne’s vocal, as she delivers a grateful paean to friendship. Her vocal is full of pride and gratitude, as she delivers the slick, intelligent lyrics. Punchy harmonies accompany her, while guitars chime and the rhythm section drive the arrangement along. When it gets to the bridge, the track takes on an anthemic sound. No wonder. Full of slick poppy hooks, it’s Camera Obscura at their best and most joyous.
Fifth In Line To The Throne meanders, wistfully into being. Crystalline guitars reverberate into the distance while the rhythm section provide the melancholy heartbeat. Tracyanne wistfully, realizes that being Fifth In Line To The Throne means her chance is gone. No longer, will she ever get a shot at the title. Worse still, she doesn’t trust those around her, especially her King. She wonders aloud: “if you want me to leave then I’ll go, if you want me to stay, let it show.” A poignant, moving song, full of sadness I wonder what inspired her to write this song?
I Missed Your Party sees Tracyanne transformed into a 21st century Nancy Sinatra. The only difference is, Tracyanne has a better voice. It’s sultry and seductive, while the arrangement is a glorious reminder of another musical age. With bursts of growling horns for company, a standup bass and pounding drums propel the arrangement along. Add to this cooing harmonies and Tracyanne revels in this new style. This results in one of the highlights of Desire Lines.
Break It to You Gently is another kitchen sink drama from Camera Obscura.Tracyanne’s lyrics paint a picture of a somewhat tragic man. In four minutes, this tragi-comedy unfolds. It’s about an ambitious man who always gets things wrong. Talk about running before you can walk. He’s also about to have his heartbroken. As Tracyanne sings: “you had the office before you had the business, you had the ring before the girl,” the rest of the band provide a melancholy backdrop. Keyboards and a pounding rhythm section play their part in a melodic, dramatic tale of heartache. It reaches its heart-wrenching climax when Tracyanne delivers the line: “I’ll break it to you gently.” Heartbreak, hubris and humor, what more do you want in a song?
Desire Lines closes with the title-track. It sounds as if it should’ve been recorded in Nashville. A pedal steel weeps, as if breaking its heart. This sets the scene for Tracyanne’s tender, heartfelt, impassioned vocal. What follows, is an authentic slice of Americana. A tale of a doomed long distance love affair, Tracyanne hopefully sings: “we could send letters.” As her vocal drops out, the pedal steel replicates her grief and heartbreak on this authentic slice of Americana from Glasgow’s very own Queen of pop perfection.
Four years after the release of 2009s My Maudlin Career, Camera Obscura are back and better than ever. Desire Lines is a really grown up album.That’s partly because of Tracyanne Campbell’s lyrics. They demand to be listened to. This isn’t background music. No. It’s too good for that. If you want that, then buy some tawdry chill out album. Desire Lines is full of tales of relationships gone wrong, insecure people, tragi-comedies and kitchen sink dramas. Hurt and heartbreak sit side-by-side with hope. The lyrics sometimes, sound personal. They sound as if they’ve happened to Tracyanne or people she knows. She brings these situations to life. Characters seem very real. You feel sorry for them, laugh at them or pity them. That’s a credit Tracyanne’s skill as a writer. She’s a natural storyteller, one who could just as easily have been an author. Instead, she tells stories with her lyrics and brings them to life with her vocal.
Ethereal, heartfelt and impassioned, Tracyanne’s vocal is also full of hurt, heartbreak and regret. You believe every word she sings. That’s because with each performance, she gives something of herself. Each song that she wrote, is akin to a glimpse at her soul. By singing her lyrics, she reveals even more of her self. Not once on Desire Lines does she phone in her vocal. That’s not her style. Instead, every performance is impassioned and heartfelt. That encourages the rest of Camera Obscura to producing the best performances of their seventeen year career.
While I’ve mentioned Tracyanne most of all, she is the songwriter and lead vocalist, she couldn’t exist without the rest of Camera Obscura. They’re a tight, talented and versatile band. They provide the backdrop to Tracyanne’s stories of love gone wrong, kitchen sink dramas and tragi-comedies. Other times, they play a part in what can simply be described as joyous examples of pop perfection. Slick, polished and hook-laden, the rest of the band yang to Tracyanne’s ying. Over twelve tracks, musical genres melt into one. Americana, country, garage, indie pop, new wave, pop and rock can be heard on Desire Lines, Camera Obscura’s Magnus Opus. Their decision to change producer was vindicated.
Camera Obscura’s decision to change producer was a risk worth taking. From an artistic point of view, Desire Lines surpasses everything that’s gone before. Sadly, it didn’t quite replicate the commercial success of My Maudlin Career. Released to critical acclaim, it still gave the band a hit on both sides of the Atlantic. Another chapter in Camera Obscura’s seventeen year musical story was finished. It was the best of their career. Desire Line featured Camera Obscura at their cerebral, literate and intelligent best. Witty, quirky, but full of hurt, heartbreak and regret, Desire Lines is ethereal, elegant and beautiful. Hook-laden, slick, slices of pop perfection, Desire Lines is pop music at its best. Standout Tracks: This Is Love (Feels Alright), William’s Heart, Cri Du Coeur and Break It to You Gently.
CAMERA OBSCURA-DESIRE LINES.
THE PASTELS-SLOW SUMMITS.
THE PASTELS-SLOW SUMMITS.
There’s something almost contrary about certain Scottish bands, including The Blue Nile, The Bathers and The Pastels. Hugely talented, they’ve released critically acclaimed and commercially successful albums. Yet in a quintessentially Scottish way, as if unsure of fame, fortune and the trappings it brings with it, these bands fail to capitalize on the momentum they’ve built up. It’s as if they can’t or don’t want to quite make the next step. In some ways, this is understandable.
Maybe they don’t want to become part of the machine that is a major label? They don’t want to become part of the constant grind of releasing an album, publicizing it and then heading out on tour. Then they need do it again and again. They’re forced to make compromises and tow the party line. Some bands are willing to do all this and more, just to experience a taste of fame and not always fortune.
After all, they forget, everything they do, the record company is charging them for. Record companies aren’t charities. Far from it. There’s no such thing as a free lunch in the music industry. The artist pays for every lunch, promo album, photo shoot and new guitar that comes their way. For some bands they don’t want to become part of this. They’d rather do things their own way and at their own speed.
That’s be the case with The Pastels. Since forming in 1981, The Pastels have only released five albums. Their latest album is Slow Summits, which was recently released on Domino. Slow Summits is the first studio album The Pastels have released since 1997s Illumination. Having said that, they did provide the soundtrack to John McEntire’s The Last Great Wilderness in 2003. However, since then, things have been quiet on The Pastels’ front. Dedicated followers of The Pastels wondered if we’d ever hear from the group again. Then earlier this year, came Slow Summit, The Pastels fifth album in the group’s thirty-two year career, which I’ll tell you about.
The Pastels were formed in 1981 in Glasgow. Their original lineup consisted of bassist Gerry Love, guitarist John Hogarty, trumpeter Alison Mitchell, flautist and keyboardist Tom Crossley plus vocalist and guitarist Stephen McRobbie. They’ve been the backbone of the group. Like any band who have enjoyed the longevity of The Pastels, there’s been occasional changes to the lineup. However, that was the lineup that featured on their debut single.
1982 saw The Pastels release their debut single Songs For Children on the Whaam label. After that, The Pastels were signed to both Rough Trade and Creation, where they released a series of singles. During this period, The Pastels continued to hone their sound. It was a period of evolution. Quickly, they became an influential group within both the burgeoning fanzine movement and the Glasgow music scene. Then in 1986, The Pastels featured on the NME’s C86 compilation. Although this showcased a new generation of bands, its importance has been overstated. A year later, The Pastels released their debut album.
Six years after forming, Up For A Bit With The Pastels was released on the Glass label. Veering between indie pop, garage and post punk, it marked a new chapter in The Pastels’ career. Their sound had evolved and was much tighter. Produced by John Rivers Up For A Bit With The Pastels was critically acclaimed and perceived as a classic Scottish album. It’s in the top 100 Scottish albums. Up For A Bit With The Pastels looked like being the start of a successful career for The Pastels.
Two years later, The Pastels released their sophomore album Sittin’ Pretty. It had been recorded over a two year period and was released on the Chapter 22 label. The Pastels trademark sound changed. There was a harder edge to their music. Maybe this was because there had been a change of producer from Up For A Bit With The Pastels? Replacing John Rivers, was Paul Mazda. After the release of Sittin’ Pretty, it looked like The Pastels were no more. Rumors were rife in the music press that The Pastels were splitting up. Reports of their demise proved to be exaggerated.
While The Pastels didn’t split up, their lineup changed. Drummer Karina Mitchell joined the band in 1990. With the lineup settled again, The Pastels got back to work. Eventually, they released their third album Mobile Safari in February 1995. It featured the new lineup, plus contributions from many of Glasgow’s best musicians. The Pastels’ friends joined the band for their first album for six years. Produced by Paul Chisholm and The Pastels, this was their first album for the label that they’d call home for the next eighteen years.
Having released their first album in six years, The Pastels released their next album Illumination in 1997. Co-produced by Ian Carmichael, Gregor Reid and The Pastels, Illumination saw The Pastels draw inspiration from a wide range of sources. Melodic and similar to Mobile Safari, The Pastels had found their own sound. Released to critical acclaim, Illumination looked like the album would be The Pastels breakthrough album. It wasn’t. Instead, we never heard from The Pastels for another seventeen years.
Apart from providing the soundtrack to John McEntire’s The Last Great Wilderness in 2003, we never heard anything else from The Pastels. Even The Great Wilderness was a quite un-Pastels’ album. It was more like a series of soundscapes. Then earlier this year, rumors started doing the rounds that The Pastels were about to release a new album. Some people were sceptical. They were wrong. Glasgow’s forgotten group had been busy.
Slow Summits features nine tracks, four of which were penned by Stephen McRobbie. He penned Secret Music, Night Time Made Us, Summer Rain and Wrong Light. Karina Mitchell wrote Kicking Leaves and Come to the Dance. She and Stephen cowrote Check My Heart and After Image, while Stephen and Tom Crossley contributed the title-track Slow Summits. These nine tracks became Slow Summits, which was recorded at several studios in Glasgow.
This includes Chem 19, Cava Studios, LA Chunky and Castle of Doom studios in Glasgow. The Pastels were joined by a whole host of old friends, including Norman Blake, Craig Armstrong and Bill Wells. They recorded nine tracks, which became Slow Summit, The Pastels’ comeback album. Was it worth the wait?
There’s a understated, wistful sound to Secret Music. Distant cymbals give way to percussion, melancholy flute and pensive rhythm section. Guitars chime as Karina’s tender, almost whispered vocal takes on a wistful sound. Around her, the rest of The Pastels replicate the sound of the meandering nighttime traffic. Horns rasp, guitars chime and drums add mystery to a track where melancholia and the ethereal beauty of Karina’s vocal prove a potent combination.
Night Time Made Us sees The Pastels reminisce, remembering how they saw the world as children. Things they used to do, people they used to know and things they believed. In doing so, Stephen’s vocal takes on a pensive sound, as he remembers simpler times. Crystalline guitars, heartbreaking horns and harmonies accompany his vocal, as memories come flooding back. Soon, the track takes on not just a trademark Pastels’ sound, but a Glasgow sound. It reminiscent of a generation of bands who came through at the same time. Two of the best known are Teenage Fanclub and BMX Bandits. The other member of the triumvirate are The Pastels, who on form like this, are back.
Check My Heart sees the comeback continue on a truly genre-melting track. Everything from sixties girl groups, pop indie rock, garage and doo wop combine. Karina is accompanied by punchy harmonies. Meanwhile the rhythm section and scorching guitars drive the arrangement along. Stephen shares the lead vocal. His vocal provides is deeper and louder and is a contrast to Karina’s tender vocal on this paean.
Summer Rain sounds like Aztec Camera during the eighties. It’s the deliberate, crystalline guitars that leads to the comparison. What’s different is the vocal. Here, Stephen’s tenderly delivers the lyrics. His needy, heartfelt vocal is accompanied by cooing harmonies, distant rasping horns and guitars. Up until then, it’s a beautiful song. Then The Pastels noodle. They decide to experiment. Guitars, flute and the rhythm section are join by sci-fi sounds. For two minutes they’re sure to divide opinion. It can either be scene as innovative, jazz tinged exploration of the track’s nuances or a missed opportunity?
After Image has a somewhat subdued and experimental sound. It sounds like a relation of Summer Rain. An instrumental, bursts of ethereal harmonies provide a contrast to the dark, moody and broody sound of the arrangement. Keyboards, synths and guitars are unleashed, providing cinematic sounds to a wistful, futuristic soundscape.
Kicking Leaves written by Karina Mitchell is one of the highlights of Slow Summits. Her ethereal vocal is accompanied by cooing harmonies and strings that tug on your heartstrings. Guitars are strummed, as drums mark time. They’re playing a supporting role to Karina. Her lyrics have a strong narrative and are full of imagery. She paints pictures that unfold before your eyes. You can imagine her wandering through the Botanic Gardens frustratedly kicking leaves and singing hopefully Oh Kiss Me We Won’t You Kiss Me.
Wrong Light sees The Pastels roll back the years to when they and their fans were much younger. Stephen is in reflective mood, singing: “you were so young, a flower in the sung.” There’s a tinge of sadness and regret in his voice. Karina adds backing vocals, horns rasp and guitars scream. The rhythm section provide a thoughtful heartbeat and a harmonica adds to the emotion. Later, handclaps encourage what is one of the best guitar solos on Slow Summits. There’s even a bit of showboating, as The Pastels show they’ve not lost their mojo. They haven’t. Neither has Stephen McRobbie who wrote this wistful, poignant reminder of day opportunities lost.
Slow Summits is a six minute instrumental. It’s reminiscent of a track from the soundtrack to a sixties French art movie. It’s the flute lead instrumental that leads to the comparison. That and the meandering understated, pensive arrangement. Soon, it’s all change. Searing guitars cut their way through the arrangement. Their crystalline, chiming sound has a sixties sound. Clanking and chiming, the flute meanders wistfully above the arrangement. Eventually, The Pastels settle into a groove, where drama and ethereal beauty unite. Rasping horns, harmonies horns and blistering guitars join The Pastels as they revel in this opportunity to showcase their musical ability, on what could easily be part of a soundtrack to a film or television program.
Come to the Dance closes Slow Summits. Again, there’s a sense of melancholia. The Pastels might have Come to the Dance, but sound as if their heart has been broken. Karina’s vocal is tender and thoughtful. Harmonies, handclaps and the rhythm section join chiming guitars as her vocal veers between pensive, hopeful and heartbroken. She doesn’t sound as if she’s Come to the Dance, more to briefly escape her broken heart.
After seventeen years away, many people had forgotten about The Pastels. They thought the band had split up. After all, their last studio album Illumination was in 1997. They’d made a brief return with The Last Great Wilderness in 2003. After that…nothing. Having started their career with the critically acclaimed Up For A Bit With The Pastels, The Pastels “should’ve had a brilliant career.” Sadly, although The Pastels released three further albums, they never scaled the heights they should’ve.
Mind you, neither did their contemporaries. Neither The BMX Bandits nor Teenage Fanclub enjoyed the critical acclaim and commercial success their talent warranted. Although commercial success came their way, they should’ve sold many more albums. At least critics and their fellow musicians recognized their undoubtable talent.
Maybe though, groups like Teenage Fanclub and The BMX Bandits, The Pastels found a level of success that they were comfortable with? After all, look what fame and fortune did to Babyshambles and Nirvana? Possibly, The Pastels didn’t want to scale the heights Franz Ferdinand did? That would’ve meant sacrificing too much to the major label machine. For them, maybe that was a step too far?
Instead, The Pastels were content to follow in the footsteps of The Blue Nile. They released critically acclaimed and commercially successful albums on their own terms. That did The Blue Nile no harm. It added to the sense of mystery that shrouded them. The same can be said of The Pastels.
Where have they been since 1997? What have then been doing? All we can say with certainty, is that they’re back, older, wiser and more experienced on Slow Summits. Sometimes The Pastels sound worldweary and rueful, especially when Stephen takes charge of the lead vocal. Like those of a certain age, we realize our youth is but a distant memory. Sometimes, he sounds rueful as if unsure he’s done the right thing. Deep down I wonder if he’s wondering whether five albums in thirty-two years does The Pastels justice. As for Karina’s vocals, they’re ethereal, veering between wistful, melancholy, hopeful and needy. Her vocals breath life, meaning and emotion into lyrics. She sounds as she’s lived, experienced and survived the lyrics. Maybe she too, realizes they could’ve and should’ve been a much bigger band. Slow Summits is proof of this.
No wonder. The Pastels are a a band full of talented musicians and songwriters. They’re not content to replicate previous albums. Instead, they innovate, and move their music forward. That’s to their credit. After all, they’ve been making music since 1981. Eclectic music at that. On Slow Summits, everything from indie rock, pop, sixties girl groups, doo wop, garage is thrown into The Pastels mixing bowl. It’s stirred by producer John McEntire and The Pastels. The nine tracks are a compelling musical journey, where not once, do The Pastels take a wrong turn. Far from it. The Pastels haven’t just made a comeback on Slow Summit, but are back and are better than ever. Indeed, The Pastels have reached slowly and somewhat belatedly reached the summit with Slow Summits. Standout Tracks: Secret Music, Night Time Made Us, Kicking Leaves and Come to the Dance.
THE PASTELS-SLOW SUMMITS.
WASHINGTON IRVING-PALOMIDES VOLUME 1.
WASHINGTON IRVING-PALOMIDES VOLUME 1.
Visitors to Washington Irving’s website are greeted with what could be their musical manifesto, “We Are Electric Folk and Like To Play Loudly.” That’s no idle boast. Far from it. Washington Irving can walk the walk. Unlike many bands, Washington Irving let their music do the talking. Washington Irving don’t do hype or posturing. Instead, they win people over with their music. Recently, Washington Irving have won over plenty of people. They’ve opened for Frightened Rabbit, become festival favorites and released their debut album Palomides Volume 1, which was released in conjunction with Creative Scotland.
Palomides Volume 1 is no ordinary album. No. It’s half on album. Washington Irving decided to release their debut album in two parts. That’s the relevance of Volume 1. These five tracks are just a tantalizing taste of Washington Irving’s music. The music on Palomides Volume 1 is best described as a anthemic fusion of folk and rock. This is the music that’s won over audiences all over Britain. All this has seen Washington Irving become one of Scotland’s most popular bands. So the future looks bright for Washington Irving, but who are Washington Irving?
On the face of it Washington Irving, are a cerebral band. After all, how many bands share a name with one of America’s literary greats and the hero of a T.H. White’s 1958 fantasy novel The Once and Future King? Washington Irving do. This makes you think they’re no ordinary band. They’re not.
Washington Irving a Scottish band, one who are proud of their Scottish roots. The five members of Washington Irving are from Oban in the West coast of Scotland and Aberdeen in the north of Scotland. Lead singer Joe Black is from Dalmally, while Martin Anfield, Kieran Heather and Chris McGarry are fall from Oban. Rory MacDonald is the lone Aberdonian in Washington Irving, who are now based in Glasgow, their adopted hometown. However, Washington Irving haven’t forgotten where they’re from. Far from it. You won’t find Washington Irving singing in a mid-Atlantic accent. They’re proud of their Scottish roots.
Ask the legion of people who have seen Washington Irving live or bought their music. Their first release was the five-track Little Wanderer, Head Thee Home E.P. It was released in March 2010. Since then, Washington Irving have been focusing on honing their sound and building a following.
After releasing Little Wanderer, Head Thee Home, Washington Irving did what thousands of bands have done before. They headed out on a never ending series of tours. Playing venues big and small, Washington Irving spread the word. Gradually, word spread about this Glasgow based quintet called Washington Irving. Next step was festivals. That meant playing to bigger audiences. Even more people were being won over by Washington Irving. This included Frightened Rabbit.
Last year, Washington Irving headed out on tour with another Scottish band, Frightened Rabbit. By then, their reputation had grown and they’d established a reputation as festival favorites. Their anthemic fusion of folk and rock was winning friends and influencing people. So, this was the perfect time to record their debut album.
To record Palomides Volume 1, Washington Irving headed into the studio with producer Marcus McKay. He’s a member of Frightened Rabbit who’d already released three albums. Along with violinist Pedro Cameron, trombonist Pete MacDonald and backing vocalist Ceylan Hay, five tracks were recorded at the Diving Bell Lounge. These five songs became Palomides Volume 1.
Palomides Volume 1 features five tracks which introduces you to a cerebral band. Their Joe Black’s lyrics are intelligent and literate. History, and especially literature in an inspiration to the band. The work of the other two Washington Irvings has inspired lyricist Joe Black, especially Tales From Sleepy Hollow and The Once and Future King. Joe asks big questions. Not for him, inane frivolities like “She Loves Me.” Far from it. Instead, Joe’s interested in history, plus people, and how they react to the world around them. All this is discussed by Washington Irving during the five tracks on Palomides Volume 1 which I’ll tell you about.
Wandering Wits opens Palomides Volume 1. Straight away, this toe-tapping track grabs your attention and transports you to Scotland. It has a quintessentially Scottish sound. For expats everywhere, they’ll be booking a ticket home. Accompanied by searing guitars, a pounding rhythm section and sweeping, cascading harmonies, an anthem unfolds. Joe’s vocal is a mixture of power and passion. He doesn’t try to disguise his Scottishness. He’s proud of where he’s from. As his vocal drops out, the rest of the band take charge. Joyous harmonies join thunderous drums, while guitars produce a similar sound to Big Country and Runrig. Along with Joe’s vocal they’re responsible for this rousing anthem’s success as folk and rock combines majestically.
Drums provide a pulsating heartbeat while crystalline guitars add to the drama of Holy Company. They set the scene for Joe’s vocal. His lyrics are full of imagery, sadness and emotion. He’s like a painter, painting pictures of pre-Raphaelite beauties and adventurers of to explore distant lands. The lyrics are a trip back in time, and are influenced by the band’s interest in history and literature. These lyrics come to life. They’re vivid, wistful and emotive. There’s a sense of melancholia and confusion in the vocal. Is he doing the right thing, would a simpler life be better and does he need to go? Tender, cooing harmonies, provide a contrast as Joe delivers a vocal that’s full of emotive, pensive and heartfelt.
Chiming, crystalline guitars open You’ve Seen the Last of Me before the rhythm section provide a backdrop for what is Joe’s best vocal so far. He’s accompanied by a female vocalist Ceylan Hay whose the perfect foil for Joe’s soul baring vocal. They’re a musical ying and yang, bringing the best out of each of other. Ceyland and Joe deliver tender vocals, while jaunty, riffing, chiming guitars and the rhythm section provide the heartbeat to what’s another rousing, uplifting and anthemic paean.
On She Moved Through the Fair we hear a very different side to Washington Irving. It’s a much more understated, subdued sounding track, laden in emotion and sadness. The sadness and emotion comes from Joe’s vocal. Again, he forsakes the power of earlier songs, but not the passion as the lyrics come to life. At the start, it sounds as if the band have unplugged. They’ve haven’t. Spacious, dramatic deliberate guitar licks chime and soar above the arrangement which has several surprises in store. From the searing guitar riffs, Washington Irving kick loose. Joe scats, before the arrangement is pared back to just his tender vocal and guitar. The arrangement grows in power and drama as a delicious fusion of folk, rock and blues heads to dramatic crescendo.
Closing Palomides Volume 1 is Old St Luan, a song that. From the get-go, Washington Irving unleash deliberate dramatic licks. They’re designed to grab your attention and ensure you listen to what are some of the best lyrics on Palomides Volume 1. They’re full of imagery and emotion, conjuring up pictures that transport you into the world of Washington Irving. Driven along by an acoustic guitar and the rhythm section Joe Black becomes an old-fashioned storyteller. He sings with real passion about people coming to Scotland. So vivid is the picture, that you can imagine them heading to the islands to build their new home. Then later, Joe becomes tortured troubadour. Here, inspiration comes from The Pogues, Big Country and Runrig on this evocative musical journey.
Although just five songs and twenty-two minutes long, Washington Irving’s debut album Palomides Volume 1 it’s a delicious taste of what’s to come. They’re an experienced band whose decision to concentrate on touring and building a following has paid off. By the time Washington Irving headed into the studio, they were a tight and talented band. Seamlessly, the fuse folk, rock and blues. In doing so, they follow in the footsteps of two successful Scottish bands Big Country and Runrig. Washington Irving pick up the baton from Big Country and Runrig. Other influences include Arcade Fire, The Pogues and The Proclaimers. All these influences play their part in one of Scotland’s best up-and-coming bands.
Just now, there are so many promising and successful Scottish bands. That’s been the case since the late-seventies. Sadly, many of these bands neither enjoyed the commercial success nor critical acclaim they deserved. Washington Irving should. They’re the latest up-and-coming Scottish band who look like enjoying a successful career. If Palomides Volume 2 which will be out at the start of November 2013, is as good as Palomides Volume 1, then the next step for Washington Irving should be signing for a label. Their unique fusion of fold, rock and blues deserves a much wider audience, far from Scotland’s shores. I’m sure Scottish expats everywhere will be won over by Washington Irving’s debut album Palomides Volume 1. I certainly was. Washington Irving’s debut album Palomides Volume 1 might only be five songs long and last twenty-two minutes, but it’s a the first step in what should a long and successful career for Washington Irving.
WASHINGTON IRVING-PALOMIDES VOLUME 1.
CHARLIE WHITEHEAD-RAW SPITT.
CHARLIE WHITEHEAD-RAW SPITT.
For many years, I’ve been a huge fan of Swamp Dogg’s productions, including Doris Duke’s seminal album I’m A Loser. During his career, Swamp Dogg, aka Jerry Williams worked with many artists, including Gary US Bonds, Patti La Belle, Arthur Conley and ZZ Hill. One of the lesser known artists Jerry worked with, was Charlie Whitehead. Sadly, like many other artists, Charlie didn’t get the breaks his talent deserved, and commercial success eluded him during his career. That’s why manay people won’t have heard of Charlie, so I’ll now tell you about his career, which spans just three albums, including his debut album Raw Spitt, which was recently released by Alive Records.
Charlie Whitehead was born in September 1942, from Franklin, Virginia. Aged twenty-six. Charlie decided to move to New York, and once there, was signed by Charlie Foxx to Dynamo Records, a subsidiary of the Musicor label that specialized in R&B. It was there that Charlie first encountered Swamp Dogg. Together, the duo wrote songs for Dee Dee Warwick and Doris Duke. One of these songs were Dee Dee Warwick’s 1970 hit single She Didn’t Know (She Kept On Talking). Another artist Charlie and Swamp Dogg collaborated with was Gary US Bonds, who they sometimes wrote songs with. Later in his career, Swamp Dogg produced Gary US Bonds. Having only released one single for Dynamo, How Can I Forget, Charlie decided to switch labels. By then, Charlie felt Dynamo started to lose interest in his career. He decided to join Swamp Dogg who had also left Dynamo.
Having left Dynamo, Charlie moved to Canyon Records where he hooked up again with Swamp Dogg. It was on Canyon that Charlie released Raw Spitt in 1970. Using the pseudonym Raw Spitt, Charlie collaborated with Swamp Dogg, who wrote or cowrote eight of the songs on Raw Spitt. Having written most of the songs on the album, Swamp Dogg produced the album. The music on Raw Spitt is a gritty combination of soul, funk and even rock music. Although there’s an element of humor in some of the lyrics, Charlie’s music has a social conscience. On Raw Spitt, he sings about the race and the African-American identity, injustice and sex. Overall, it’s a compelling album, featuring some compelling Southern Soul.
When Raw Spitt was released, it wasn’t a commercial success. Worse was to come when Canyon folded, having encountered financial problems. After this, Charlie would only release two further albums.
Charlie’s next label was Stone Dogg, who he signed for in 1972. Stone Dogg was a Miami label that was a joint-venture between Swamp Dogg and Henry Stone. However, their partnership was short lived with when the pair fell out. During this period, distribution problems meant that not many people were able to hear any of the labels released, never mind anything by Charlie Whitehead. After the demise in Swamp Dogg and Henry Stone’s partnership, Charlie had to find a new label.
It was on the Fungus label that Charlie’s second album was released. This was Charlie Whitehead and the Swamp Dogg Band, released in 1973. There are just six longer tracks on the album, a combination of vocals and instrumentals. Like his debut album Raw Spitt, success eluded Charlie. There was very little interest in the album, and shortly after, the Fungus label folded, being wound up.
After that, Charlie seemed to change labels regularly, first signing to Sweetheart, a short lived label. Then when Swamp Dogg signed with Island Records, Charlie signed for them. Only two of his singles were ever released. Here in the UK, these singles were released by United Artists. Following on from this, Charlie continued to record for various labels, including Vee Jay, Takoma and Musicor. Then when Swampp Dog started the Atomic Art label, Charlie was the first artist signed. It was there that he released his last album Whitehead At Yellowstone in 1976, which was released on the WIzard label. Sadly, the album failed to chart, and was the final album Charlie recorded. Although commercial success eluded him, he’s a hugely talented artist, who sadly, during his career released just three albums. It’s the first of these albums Raw Spitt that I’ll now tell you about.
Raw Spitt opens with Put A Little Love In Your Heart, co-written by Jimmy Holiday, Jackie DeShannon and Randy Myers. Various people have covered this track. This to me is the definitive version of the track. A piano piano, rhythm section and chiming guitars accompanying Charlie strong, throaty vocal. Backing vocalists provide a contrast to Charlie’s vocal. Rasping horns really lift the track, which features a really bubbling bass line and some mesmeric guitar playing. Soon, Charlie makes the song his own, delivering the lyrics with feeling and power. When his vocal is combined with Swamp Dogg’s arrangement, the result is a potent combination,
The title-track Raw Spitt is a track with some gritty lyrics. Rasping horns, a driving rhythm sections join guitars and a wailing Hammond organ. The tempo is quick, the arrangement fuller. They lyrics are about poverty and having to leave home to escape it, seeking a better life, away from temptation and trouble. Charlie’s voice is emotive, full of frustration and anger at the injustice he’s describing. Blazing horns reflect his anger and frustration, as the rhythm section drives along, keeping pace with Charlie’s vocal. Key to the track’s success are the horns, piano and Hammond organ. They add to the drama and energy of the track. Charlie gives an impassioned rendition of Jerry Williams Jr. and Troy Davis lyrics, bringing to life the hardship, poverty and social injustice they highlight.
Jerry Williams Jr. wrote Call Me Nigger, a song that describes the pride felt in being black and the African-American heritage. Against a backdrop of braying horns, rhythm section, Hammond organ and guitars Charlie sings with pride about his color and heritage. Later, a piano enters, as the arrangement drives along, with blazing horns, a driving rhythm section and chiming guitars at the heart of the arrangement. Backing vocalists occasionally accompany Charlie, their soulful contributions celebratory. However, it’s Charlie’s vocal that steals the show. It’s joyful, full of pride and passion, and made all the better by a fast paced, celebratory arrangement courtesy of Swamp Dogg.
When The Freedom Under Certain Konditions Marching Band opens, you’re caught unaware. The last thing you expect to hear is a military beat. You almost expect Charlie to lead the listener into battle. By now you’re intrigued, unsure what to expect. The drums having returned to a normal beat, are then joined by bass, guitars, piano and percussion, on top of which sits Charlie’s passionate vocal. After an unusual start, the song improves, an arrangement that combines elements of funk and soul unfolding. By now the arrangement has grown, as has Charlie’s voice. However, the song isn’t quite as good as the three that have preceded. Having said that, it isn’t a bad song, just not up to the high standard of the other tracks.
Midnight Driver sees a return to form for Charlie, on a track has a punchy introduction where the tight rhythm section and guitars combine before Charlie’s strong, almost angry and frustrated vocal enters. He’s singing about the injustice and persecution of the character in the song, who’s run out of town. Like other songs on Raw Spitt, this is music with a social conscience, albeit set against a punchy, driving beat. His vocal is quick, and full of emotion as he tries to keep up with the arrangement. Punchy drums, a quick, fluid bass line and guitars are at its heart, with percussion making occasional contributions, before blazing horns enter. They reflect the frustration and anger that Charlie’s vocal displays. When set against an energetic, punchy arrangement, this allows both the vocal and lyrics to shine.
Who Do They Think They Are is another Jerry Williams Jr. and Troy Davis penned track. It’s a slightly slower track with chiming guitars, rhythm section, piano and Hammond organ providing the backdrop for the vocal. Charlie is joined by Swamp Dogg on the vocal, as the track opens. It’s when Charlie takes over vocal duties that the song takes off. His vocal suits the questioning nature of the song, as he asks who are people to judge him, ask him or tell him what to? What gives them that right? Guitars chime and scream, horns blaze in, while the rhythm section and piano play an important part in the track’s sound. However, it’s the raw passion and anger of Charlie’s vocal that makes this such a great track. It truly is a hugely impassioned and irresistible vocal from him.
I Dig Black Girls opens with braying horns, rock influenced guitars, a Hammond organ and rhythm section combining before Charlie’s joyous vocal enters. Against this backdrop Charlie sing the praises of the black girls he knows and loves. As he gives his celebratory vocal, a soaring, screaming rock guitars dances atop the arrangement. This is totally out of keeping with the rest of the arrangement, especially the Hammond organ and rhythm section. However, this is just a matter of taste, and I’m no lover of this style of guitar besmirching a soul track. My problem with the guitar solo is, it totally dominates the arrangement, meaning you tend to focus on it throughout the track. Apart from that minor gripe, the rest of the track works well, especially a truly celebratory vocal from Charlie.
There’s a real funk influence to This Old Town when it bursts into life. A combination of funk drenched rhythm section, chiming guitars and piano combine before Charlie sings about the problems of small mindedness in towns. His voice is strong, laden of anger and despair. By now it’s a frantically, fast and funky arrangement that now features blazing horns, that reflect Charlie’s energy and frustration. It’s a hugely catchy, driving track, with some thoughtful lyrics from William Stevenson, Wilson Pickett and Don Convay and an upbeat, funky arrangement that’s the perfect backdrop for Charlie’s social conscience.
Sweet Bird of Success sees the tempo drop slightly, but the energy and passion in Charlie’s voice is a constant. Against a soulful backdrop featuring a tight rhythm section, chiming guitars, piano and braying horns, Charlie demonstrates just how hugely talented a vocalist he is. Swamp Dogg’s arrangement compliments the vocal. There’s an element of subtlety as the arrangement sits snugly behind the vocal, gently enveloping it. The subtlety of the arrangement and the energy and passion of Charlie’s vocal are a perfect fit for one another, resulting in one of the album’s best tracks.
Raw Spitt closes with Excuses, another of the album’s highlights. A slow combination of piano, chiming guitars and rhythm section accompany a much more subtle, gentle vocal from Charlie. Quickly, an understated rasping saxophone enters, drenching the arrangement with its beauty. Meanwhile, Charlie sings about the unfairness of life and the system, and how things just never change. Beneath his gentle vocal, frustration and unfairness is eating away at him. However, it never gets the better of him, as he sings one of his best vocals on the album, against one of the best arrangements on the album. Overall, it’s the perfect way to close what has been, a great album from one of Southern Soul’s unsung heroes.
During the time I’ve been writing this blog, I’ve written many times about how a particular artist or album deserved to do much better. Charlie Whitehead is just the latest in a long line of artists I’ve written this about. He’s blessed with a huge talent and a great voice. On Raw Spitt, he sings with a combination of emotion, joy and passion, and sometimes, anger and frustration. Backed by a great band, and with Swamp Dogg producing the album, Raw Spitt is a compelling album featuring some impassioned vocals from Charlie. On the ten songs on this album, he sings about race, social problems, injustice and love. That Raw Spitt didn’t do much better is another injustice. Maybe if Raw Spitt had been released on a bigger label and been promoted more, it would’ve fared much better.
After this, Charlie Whitehead released just two more albums Charlie Whitehead and the Swamp Dogg Band released in 1973 and Whitehead At Yellowstone in 1976. Sadly these are the only albums Charlie ever released. Instead of having the hugely successful career his talented deserved, Charlie Whitehead remains one of Southern Soul’s unsung heroes. Thankfully, you can now revisit Raw Spitt one of Southern Soul’s hidden gems again. Raw Spitt was recently rereleased by Alive Records, who have rereleased Charlie Whitehead’s finest hour. This allows those who have never heard Charlie’s music before to hear Raw Spitt , which includes best music he recorded with producer Swamp Dogg. Standout Tracks: Put A Little Love In Your Heart, Midnight Driver, Sweet Bird of Success and Excuses.
CHARLIE WHITEHEAD-RAW SPITT.
CARL PERKINS-INTRODUCING.
CARL PERKINS-INTRODUCING.
The story of jazz pianist Carl Perkins is one of what might have been. Despite being born with polio, Carl Perkins through sheer courage and determination, forged a career as a jazz pianist. Although best known for his work with the Curtist Counce Quintet, Carl played on recordings by Illinois Jacquet, Dexter Gordon, Dizzy Gillespie, Pepper Adams, Clifford Brown and Max Roach. Sadly, Carl only ever released one solo album. This was 1955s Introducing, which was released on Dootsie Williams Dootone label. Introducing, which was recently released by Boplicity, an imprint of Ace Records, should’ve been the start of a long and successful career. It wasn’t. Two years after the release of his debut album Introducing, tragically, Carl Perkins died of a drug overdose. What should’ve been a long and illustrious career, which I’ll tell you about, was cut tragically short.
Carl Perkins was born in Indianapolis, Indiana in August 1928. Life wasn’t easy for Carl Perkins. He suffered from polio, which affected his left arm. Despite this, Carl chose to learn the piano. This didn’t stop Carl becoming one of the most underrated and dare I say, best bebop pianists. His ability to play quickly, fluidly and accurately, is breathtaking. That lead to Carl being one of the most in-demand pianists of the bebop era.
By 1945, aged seventeen, Carl Perkins had headed to Los Angeles, which was bebop central. Whether it was musicians, record labels or venues, Los Angeles was the place for bebop musicians. Carl was a disciple of Charlie Parker, one of bebop’s founding fathers, joined artists like Dexter Gordon, Charles Mingus and Chico Hamilton. For his first few years in Los Angeles, Carl made a living playing live. Then in 1949, Carl entered a studio for the first time.
During November 1949, Carl recorded thirteen tracks for the Savoy label. With drummer Herb Williams and bassist Edwin Perkins, Carl made his recording debut. Three of these tracks, Summertime, The Rosary and Smoke Gets In Your Eyes were released as singles. After this, Carl would be spending plenty of his time in the studio.
Quickly, Carl became one of the hottest bebop pianists of the fifties. Whether it was for concerts or recording sessions, anyone looking for a top pianist, hired Carl. One of Carl’s first albums as sideman, was playing on Illinois Jacquet’s album 1952 Collates. Then in 1954, Carl played on Oscar Moore’s eponymous album. That year, Carl became a member of Clifford Brown and Max Roach’s band and featured on their live album. The following year, would be one of the busiest of Carl’s career.
1955 saw Carl playing alongside some of the biggest names in jazz. Carl played on Dizzy Gillespie’s Jazz Recital and Dexter Gordon’s Dexter Play Hot and Cool. He also featured on Gene Norman Presents Frank Norman. Word was spreading of Carl Perkin’s skill. One man who experienced it first hand was Dootsie Williams.
Dootsie Williams’ career had started back in the thirties. He was a highly respected composer and musician, whose life was changed in 1954. That was when he penned Earth Angel, which gave The Penguins a huge hit single. This proved profitable for Dootsie who decided to form his own label Dootone. It released Dexter Gordon’s sophomore album Dexter Gordon’s Dexter Play Hot and Cool, which Carl played on. Realizing how talented a pianist Carl was, Dootsie signed him to his new label. Recording of Introducing took place during 1955 and 1956.
Introducing featured eleven tracks, which were show tunes, jazz standards and five tracks penned by Carl. He wrote Way Cross Town, Marblehead, Westside and Carl’s Blues. Carl cowrote Why Do I Care with Dootsie Williams. Other tracks included covers of You Don’t Know What Love Is, The Lady Is A Tramp, Just Friends, It Could Happen To You and Lilacs In The Rain. There’s also an interpretation of Dizzy Gilliespie’s Woodyn You. These tracks were released in 1956 as Introducing.
By the time Introducing was released in 1956 by Dootone, Carl was busier than ever. He was busy playing live and doing session work. During 1956, Carl played on The Curtis Counce Group Volume 1-Landslide and Chet Baker and Art Pepper’s Playboys. Sadly, Introducing didn’t make the impression people thought it would. It wasn’t a commercial success and for the final two years of his life, was happy being a sideman rather than bandleader. That’s a great shame. Introducing which I’ll tell you about could’ve and should’ve been the start of a long and successful career.
Opening Introducing is Way Cross Town, the first of four tracks Carl wrote himself. A jaunty, mid-tempo track, Carl seems comfortable within the trio. He takes centre-stage showcasing his versatility. Nimbly, his fingers fly across the keyboard, his playing veering between confident, dramatic and subtle. Later, the tempo increases. So does the drama. That’s when sidemen bassist Leroy Vinnegar and drummer Lawrence Marable get involved. They enjoy their moment in the sun, before the track reaches its dramatic high.
Carl’s playing on You Don’t Know What Love Is full of hurt and sadness. It’s as if sitting at the piano is cathartic. Exaggerated flourishes of piano reflect the highs, lows and drama of a relationship. While a wistful bass, reflects the hurt and loss, Carl almost pounds the piano. It becomes an outlet for his pain, on this emotive opus.
On Introducing, The Lady Is A Tramp is transformed. It’s played at breakneck speed. This allows Carl to showcase his trademark style. Quick, fluid and accurate, Carl throws himself into the track. Playing with emotion and passion, it’s as if he wants to pay a fitting homage to Rogers and Hart’s classic. This he does. There’s no doubt about this.
Somehow, Marblehead manages to be both pensive and optimistic at once. Carl’s playing is flamboyant as he explores the track’s subtleties and nuances. It’s as if he’s treating the sessions as an audition. Carl doesn’t just want to make a good impression, he’s determined to make a good impression. So he’s brought his A-game, just like he did on Dexter Blows Hot and Cool. He unleashes a series of spellbinding solos, where he’s forever the flamboyant showman.
Woodyn You is a track written by Dizzy Gillespie. It’s a Latin-tinged track. Clunky percussion joins the bass and drums, as the arrange cascades along. Soon, it’s all change. The tempo increases and the trio kick loose. Carl and bassist Leroy Vinnegar match each other every step of the way. Leroy’s playing is no frills, while Carl’s is the polar opposite. Ever the entertainer, Carl’s flamboyant style results in music that’s melodic and joyous.
Westside aka MIA bursts into life. What follows is two magical minutes of majestic music. There’s a sense of purpose in Carl’s playing. He’s confident, his playing veering between deliberate and dramatic to tender and subtle. Briefly, drummer Lawrence Marable gets the chance to showcase his skills. After that Carl somehow, manages to raise his game, surpassing his earlier efforts.
There’s no drop in tempo on Just Friends. Rolls of Lawrence’s drums set the scene for Carl’s solo. It’s one of his quickest and best. It’s best described as breathtaking. Carl’s fingers fly up and down the keyboard. He’s at one with the piano on another blistering example of bebop. Leroy’s bass struggles to keep up. Luckily, he manages to do so. Then with a minute to go, Leroy passes the baton to Lawrence. He unleashes a series of brief solos, before passing the baton to Carl’s who showboats his way through the rest of this mesmeric track.
Deliberate flourishes of piano open It Could Happen To You. That proves to be something of a curveball. What follows is a slow, thoughtful and beautiful solo from Carl. The bass and drums played with brushes, provide the heartbeat for this tale of hurt and heartbreak.]
Why Do I Care seems an ironic way to follow It Could Happen To You. It’s a devil-may-care response to the previous track. Best described as rakish and full of bravado, it’s one of the highlights of Introducing. It was written by Carl and Dootsie Williams. Carl’s piano playing might sound upbeat and hopeful, but deep down, is this a facade? What it is, is a reminder of jazz’s glory days.
Just like It Could Happen To You, Lilacs In The Rain features flourishes of piano that set the scene. What follows is Carl producing a soul baring solo. His bluesy playing tugs at your heartstrings. It truly is a thing of beauty. Again, it’s both a truly beautiful and heartbreaking reminder of the golden age of jazz.
Closing Introducing is Carl’s Blues. It has a much more bluesy sound than other tracks. Driven along by the bass, Carl’s playing veers between spacious to sharp and deliberate. Then all of sudden, he returns to his familiar style. He plays with confidence and more than a little flamboyance. It’s as if he’s pulling out all the stops. Later, blues and jazz become one as Carl unleashes what’s undoubtably the best track on Introducing until last.
Listening to Introducing, it’s tragic that that Introducing was the only album Carl Perkins ever released. He was a truly remarkable man. Born with polio, which affected his left arm, he worked out a way around what could’ve been a handicap. It wasn’t. Instead it was a challenge, one that had to be overcome. Not only did Carl Perkins overcome polio, but established a reputation as one of the greatest pianists of the bebop era.
Having moved to Los Angeles when he was just seventeen, he spent the next ten years as a working musician. Whether it was playing live or playing on recording sessions, Carl Perkins skills were always in demand. He played alongside some of the giants of jazz. Another man who recognized Carl’s skill was Dootsie Williams, owner of Dootone. When Carl played in Dexter Gordon’s Dexter Blows Hot and Cool, Dootsie saw how talented Carl Perkins was and signed him to Dootone. A year later, in 1956, Carl Perkins released Introducing which was recently released by Boplicity, an imprint of Ace Records. Introducing was a tantalizing taste of what Carl Perkins was capable of.
One of the best and most inventive players of the bebop era, Carl Perkins played with speed, accuracy, emotion and passion on Introducing. With just drums and bass accompanying him, Carl showcases his not inconsiderable skills. From the opening bars of Way Cross Town, right through to Carl’s Blues, Introducing is almost flawless. Sadly, it was the only album Carl Perkins released. Introducing wasn’t a commercial success. After its release, Carl settled back into his favored roll as sideman.
For the next two years, right through until his death in 1958, Carl Perkins was content to be a session musician. He recorded three albums with The Curtis Counce Group, plus albums with Art Pepper, Pepper Adams, Leroy Vinnegar, Harold Land and Inez Jones. Then in 1958, Carl Perkins tragically, died of a drug overdose. Like so many musicians, Carl Perkins dabbled with drugs. This cost him his life. That day in March 1958, jazz lost a musician who could’ve and should’ve become a legend of jazz. Sadly, that wasn’t to be. Instead, Carl Perkins’ musical legacy is just three singles and his 1956 album Introducing, an album that’s a case of what might have been. Standout Tracks: You Don’t Know What Love, It Could Happen To You, Lilacs In The Rain and Carl’s Blues.
CARL PERKINS-INTRODUCING.
NICOLA CONTE PRESENTS VIAGEM 5.
NICOLA CONTE PRESENTS VIAGEM 5.
Over the last few years, there’s been a resurgence in interest in Brazilian music. Record companies have noticed this. They’ve released a whole raft of compilations of Brazilian music. For anyone who loves Brazilian music, this should be a bonus. Sadly, that’s not the case. Many of these compilations are somewhat predictable. They feature the same familiar and tired tracks. If you’ve heard one of these compilations, you’ve heard them all. This is no different to other musical genres.
Far too often, whenever a music genre is popular, record companies jump on the bandwagon. They forget about quality control and the compilations is rushed out. Everything is done on the cheap. How it works, is like this. Usually, the label manager hires one of his friends whose down on his luck. As for the album cover and packing, it’s done cheaply. Usually, there’s no sleeve-notes. That’s an expense that can be spared. If sleeve-notes are required, they’re written by a musical historian, whose more than happy to share their love of music. They’ll receive a fee, eventually. Then there’s the sound quality. Again, it’s done cheaply, as long as it’s as it’s loud, it’ll be fine. Often, it’s hard to decide whether the tracks have been mastered. What I’ve described is the compilation market at its worse. Yes, this actually happens. This is they type of compilation that’s usually sold within a supermarket. You know the type, those cheap and tacky multi-disc, genre specific box sets. Thankfully, not all compilations are like this.
No. There are still record labels releasing quality compilations. They take pride and care in their releases. Their releases are of the highest quality. This includes labels like Ace Records, BBE Music, Strut, Analog Africa, Soul Jazz Records and Mr. Bongo. To that list I’d add Far Out Recordings, who recently released one of the best compilations of Brazilian music of 2013, Nicole Conte Presents Viagem 5.
Recently, Nicole Conte, Italy’s jazz don, compiled another compilation of bossa and samba for Far Out Recordings. Nicole Conte Presents Viagem 5 is no ordinary compilation. No. It’s a compilation of lost bossa and samba classics from the swinging sixties. Featuring seventeen tracks, there’s contributions from Quarteto 004, Berimbau, Balaio, Zana, Zana and Crepusculo, this is the fifth volume of samba and bossa nova from Italy’s jazz don Nicola Conte? Will Nicole Conte Presents Viagem 5 be the best? That’s what I’ll tell you?
My first choice from Nicole Conte Presents Viagem 5 is Quarteto 004’s Vou Te Contar. From the opening bars, the track has a quintessentially Brazilian sound. Vou Te Contar is a cover of an Antonio Carlos Jobim song. This is a track from Quarteto 004’s only album Retrato Em Branco E Preto. Released in 1969, on the Ritmos label, this I’ll tell you is a wistful, but beautiful song sung in the samba style.
Neyde Fraga’s Onda Quebrando featured on her 1065 album Mais Balanco Com Neyde Fraga. It was released on the Continental album. This was the only album Neyde ever released. Given the ethereal beauty of her vocal, this seems strange. She delivers a tender heartfelt vocal on a track where jazz and bossa nova become one.
One of the best tracks on Nicole Conte Presents Viagem 5 is Conjuncto Sergio Carvalho’s Balaio. This is a track from their album Alta Tensao. Little is known about Conjuncto Sergio Carvalho. They seem to have released just one album. Balaio is a delicious fusion of Brasilia, jazz, easy listening, funk and psychedelia. It’s a glorious melange of Hammond organ, saxophone solos and percussion that meanders along, veering between jazz-tinged, dramatic and explosive. If the rest of the album is as good as Balaio, I hope someone rereleases it.
Dr. Severino and Conjunto Subverson’s Olhou Pra Mim is another track where musical genres unite. It’s a jazz-tinged and soulful slice of bossa nova. Taken from the 1966 album Subversom, released on the P.A.T. label, it’s something of a hidden gem. Crucial to the track’s success is the vocal. It’s best described as joyous, sweet and seductive.
Se Voce Quiser Mas Sem Bronquear featured on Elizabeth Viana’s 1969 E.P. Released on RCA Victor, this was a year after Elizabeth released her debut album, Eu, Elizabeth. It was released in 1968 on the Caravelle label. On Se Voce Quiser Mas Sem Bronquear, Elizabeth delivers a vocal that veers between feisty and sassy, impassioned and heartfelt. With flourishes of lush strings for company, it’s a tantalizing taste of a singer who should’ve enjoyed a much more successful career.
Having released two albums for Phillips, Marília Medalha, a talented singer and composer signed to RGE Discos in 1970. Her first single for RGE, was Zana, a pop infused slice of bossa nova. She delivers a heartfelt, needy vocal against a jaunty, jazzy arrangement. As the arrangement unfolds, Marília’s vocal grows in power, drama and emotion, as she breathes life and meaning into the lyrics.
Luiz Carlos Vinhas was a Brazilian pianist and composer. Born in 1940, he released five albums between 1964 and 1998. Tanganica featured on his 1968 sophomore album O Som Psicodelico. Best described as an explosive, blistering and lysergic fusion of jazz, bossa nova, rock and psychedelia, this is the best track on Nicola Conte Presents Viagem 5 and is why O Som Psicodelico deserves to be rereleased.
Byrdsian. That’s the best way to describe Grupo Arembepe’s Iaia, which is my final choice from Nicole Conte Presents Viagem 5. Released as a single in 1974, on the Odeon label, it seems The Byrds have inspired Grupo Arembep. There’s a late sixties psychedelic sound to the track. Punchy heartfelt harmonies combine with funk, jazz and psychedelia. A truly compelling combination that’s results in a track that emotive, soulful and sometimes, dramatic.
For lovers of Brazilian music, fed up with predictable compilations, then Nicole Conte Presents Viagem 5 is a compilation that deserves to take its place in your collection. It features seventeen lost bossa nova and samba classics from the sixties. Most of the tracks on Nicole Conte Presents Viagem 5 will be new to new to all but the most discerning connoisseurs of Brazilian music. They’ll be the first step on a voyage of discovery. Once you’ve heard the seventeen tracks on Nicole Conte Presents Viagem 5, you’ll want to hear more from some of the artists. I for one, will want to hear more of Neyde Fraga, Conjuncto Sergio Carvalho, Luiz Carlos Vinhas and Grupo Arembepe. Some of these tracks show another side to Brazilian music.
Genre-melting describes some of the tracks on Nicole Conte Presents Viagem 5. Everything from bossa nova, samba, soul, funk, jazz, rock and psychedelia can be heard on the seventeen tracks. This is a world away from most of the tired and predictable compilations of Brazilian music released during 2013. Instead, the music on Nicole Conte Presents Viagem 5 is innovative, inventive and imaginative. That’s the best way to describe the music Nicola Conte has chosen. He really has surpassed himself with Nicole Conte Presents Viagem 5. It’s the best in this series that started back in 2008. While most compilations start to loose their way after five volumes, that’s not the case here. Nicole Conte Presents Viagem 5 which was recently released by Far Out Recordings is the best in the series and demonstrates why Nicola Conte is known as Italy’s jazz don. Standout Tracks: Neyde Fraga Onda Quebrando, Conjuncto Sergio Carvalho Balaio, Luiz Carlos Vinhas Tanganica and Grupo Arembepe Iaia.
NICOLA CONTE PRESENTS VIAGEM 5.
DEXTER GORDON-BLOWS HOT AND COOL.
DEXTER GORDON-BLOWS HOT AND COOL.
Dexter Gordon it seems, was destined to be a jazz musician. Jazz music surrounded him. Duke Ellington and Lionel Hampton were friends of his father, a Los Angeles doctor. Aged seven Dexter started playing the clarinet, but later, switched to the saxophone. After a dalliance with the alto saxophone, Dexter discovered the tenor saxophone. That would be the instrument that he played during a four decade career where he released over thirty albums. His sophomore album was 1955s Dexter Blows Hot and Cold, which was recently released by Boplicity, an imprint of Ace Records. Dexter Blows Hot and Cold was the debut album from one of the founding fathers of bebop, Dexter Gordon, a truly innovative musician who I’ll tell you about.
Born in February 1923, Dexter Gordon grew up in a middle class Los Angeles family. His father was a highly respected doctor, who loved music. He wanted his son to share his love of music. From an early age, Dexter was introduced to the work of legendary jazz players of the day. This included Duke Ellington and Lionel Hampton. Having introduced Dexter to music, his parents then bought him his first instrument when he was just seven.
The instrument they chose, was the clarinet. Like many jazz musicians, Dexter learnt to play the clarinet, but by the time he became a teenager, decided the clarinet wasn’t for him. As a replacement, he chose the saxophone. He tried the alto saxophone, then later, switched to tenor saxophone, which became his favoured instrument. Dexter playing style was influenced by two of the era’s top tenor saxophonists, Lester Young and Andy Kirk. Soon, he’d forged own unique style, which would see him join one of the biggest bands of the day.
Aged just seventeen, Dexter joined Lionel Hampton’s band. He spent three years playing with Lionel Hampton’s band. This gave him good musical education. After that, he joined Fletcher Henderson’s band. Then came the biggest break of Dexter’s career, when he joined Duke Ellington’s band. While this allowed Dexter to continue his musical education, he missed playing with musicians of his own age. Luckily, he got the chance to join a new band.
Before forming his own band, Billy Eckstine had been a member of Billy Hines band. This was an old style swing band. To Billy, this was the music of the past. He wanted to form a new band, one whose music was innovative. That would be the case. Look at the lineup. Charlie Parker, Miles Davis, Art Blakey and Fats Navarro all joined Dexter in Billy Eckstine’s band. In the new band, Dexter worked hard to establish his own sound. He didn’t want to copy other players, so forged his own unique and inventive style. Despite being an innovative and progressive band, the Billy Eckstine band weren’t a commercial success, so split-up.
Now without a regular gig, Dexter became a session musician. He played in pickup bands in Los Angeles, with a group of likeminded musicians. Among them were Charlie Mingus, Buddy Collette, Chico Hamilton and Shelly Manne. They proved a formidable quintet. In recording sessions, Dexter and fellow tenor saxophonist Wardell Grey became sparing partners. Their solos were referred to as chases. Like a game of daring do, each encouraged the other to greater heights. Dexter was establishing a reputation as one of bebop’s best tenor saxophonists. Sadly, all wasn’t well.
After Miles Davis released Birth Of The Cool in 1949, it was a game changer. The West Coast sound was much more popular than the traditional bebop sound. Many people preferred the West Coast sound. For some people, it was the acceptable face of bebop. In many ways, it was bebop without its rough edges. That however, wasn’t Dexter’s only concern.
Like many jazz musicians, Dexter Gordon’s drug of choice was heroin. Heroin and jazz musicians seemed to be synonymous with one another. Many of the great jazz players succumbed to it. This has often been romanticized. There’s nothing romantic about heroin. It creeps up on people, and soon they’re addicted. That’s what happened to Dexter. He even spent time in prison. Much of the fifties was lost to heroin addiction. However, he was able to release two albums in 1955.
On his debut album, Daddy Plays The Horn, Dexter’s heroin addiction meant his playing suffered. It’s the age old problem of heroin addiction affecting a horn player’s chops. Without pianist Kenny Drew, the session wouldn’t have been completed. Kenny’s playing rescued the session. After Daddy Plays The Horn was finished, people advised Dexter to take time out. Two months later, Dexter’s health had improved, and he was ready to record his sophomore album, Dexter Blows Hot and Cold, for Dootsie Williams’ newly founded Dootone label.
For his sophomore album, Dexter Blows Hot and Cold, Dexter and Maxime Gordon cowrote four tracks. They were Silver Plater, Rhythm Mad, Bonna Rune and Blowin’ For Dootsie, a homage to Dootsie Williams. Burton Lane and Frank Loesser wrote I Hear Music. Dexter Blows Hot and Cold also included covers of Cry Me A River, Don’t Worry About Me and Tenderly. These tracks were recorded by an all-star band.
Accompanying Dexter, when Dexter Blows Hot and Cold began was Dexter Gordon’s All Stars. The quintet featured pianist Carl Perkins, bassist Leroy Vinnegar, drummer Chuck Thompson and trumpeter Jimmy Robinson. This was a much easier session than the Daddy Plays The Horn sessions. Soon, Dexter Blows Hot and Cold was recorded and Dexter’s sophomore album was ready for released in 1955.
Unfortunately, Dexter Blows Hot and Cold didn’t enjoy the commercial success Dexter’s later would. What Dexter Blows Hot and Cold did, was demonstrate just who talented a player Dexter. Without the monkey on his back, he was one of the best tenor saxophonists of the day. That would become apparent on Dexter Blows Hot and Cold.
Opening Dexter Blows Hot and Cold is Silver Plated. Driven along by Leroy’s bass and Carl Perkins’ piano, the horns take centre-stage. The band play as a unit, before the solos begin. Straight away, you can hear in improvement in Dexter’s playing from Daddy Plays The Horn. His trademark sound is back. This sees to spur the band on. There’s a joie de vivre about their playing. They kick loose. Opening their shoulders, it’s a joyous way to open Dexter’s comeback album.
There’s a smokey, late-night sound to Cry Me A River. Carl’s languid piano is accompanied by a subtle rhythm section. They set the scene for Dexter’s heartbreaking tenor saxophone solo. Slow, wistful and full sadness, Dexter and the All Stars breath new life, meaning and emotion into a classic track.
Rhythm Mad bursts into life. The All Stars deliver a spellbinding performance. With Dexter unleashing a blistering tenor saxophone solo, the rest of the band can hardly keep up. Somehow they do. Pianist Carl Perkins and bassist Leroy Vinnegar match Dexter every step of the way. Later, the rest of the band get the chance to shine. First up, is trumpeter Jimmy Robinson then Carl and Leroy match each other stride-by-stride. Not to be outdone, drummer Chuck Thompson throws in some dramatic drum rolls, demonstrating why this band are called Dexter Gordon’s All Stars.
Don’t Worry About Me is another of the slower tracks. Here, Dexter allows other members of his band to shine. Crucial to the track’s success is pianist Carl Perkins. His languid, but slightly flamboyant style sets the scene for Dexter. Carl makes the piano sound so easy. He delivers a poignant solo, while the rhythm section provide an understated heartbeat. When the baton passes to Dexter, his playing is pensive and wistful. When Dexter and Carl join forces, they prove a potent combination, capable of producing beautiful, but poignant and heartbreaking music.
I Hear Music has similarities to Silver Plated. Both tracks were written by Dexter and Maxime Gordon. It’s the introduction that leads to that comparison. Horns, rhythm section and piano join forces, as the track bursts into life. The All Stars are a tight, talented unit, who are the perfect foil for Dexter. He unleashes a peerless solo. It’s quick, accurate and delivered at near breakneck speed. You can’t help but marvel at his control. He’s at one with the saxophone. Eventually, his solo is over, and he gets the chance to draw breath. Not for long. Soon, he’s back, while the rest of the band get take turns to enjoy their moment in the sun. Good as they are, they can’t quite match Dexter on what is, one of the highlights of Dexter Blows Hot And Cool.
Bonna Rue sees no drop in tempo. Dexter picks up where he left off on the previous track. With horns to the fore, the bass propels the arrangement along. As a unit, the All Stars are peerless. Then when the solos arrive, things get even better. The horns enjoy their chance to shine. So does drummer Chuck Thompson. He’s quietly gotten on with his job, so deserves the chance to unleash a solo. However, Dexter playing with power and passion, steals the show. Despite the band upping their game, Dexter’s the star of this show.
I Should Care sees Dexter return to the wistful sound of Don’t Worry About Me. Just a melancholy bass, pensive piano and wistful saxophone combine. They prove a potent and poignant combination. What they create is late night music, or music for the newly broken hearted. So good is this song, it’s worth having your heart broken to appreciate it.
The familiar combination of the bass and piano propel Blowin’ For Dootsie along. Soon, the horns get in on the action. Drums roll, cymbals crash and the All Stars hit their stride. They’re determined to pay homage to the Dootone label’s founder Dootsie Williams. This they do with aplomb. Here, the All Stars play around Dexter, who plays with passion and power. His passion and enthusiasm is infectious, spreading to the rest of the band. Pianist Carl Perkins, then bassist Leroy Vinnegar, drummer Chuck Thompson and trumpeter Jimmy Robinson all get in on the act. In doing so, they pay fitting homage to Dootise Williams.
Closing Dexter Blows Hot And Cool is Tenderly. It’s another of those wonderfully melancholy songs that Dexter Gordon does so well. Just the piano and bass accompany Dexter’s rasping saxophone. Straight away, it’s tugging at your heartstrings. So does Carl Perkins’ piano which has played a crucial role in the success of Dexter Blows Hot And Cool. What’s made the album, are the slower songs, including Tenderly, which is a quite beautiful way to end any album.
After the false start that was Daddy Plays The Horn, Dexter Gordon’s career got off the ground with Dexter Blows Hot And Cool, which was recently rereleased by Boplicity, an imprint of Ace Records. It was an improvement on his debut album, Daddy Plays The Horn. Quite possibly, Daddy Plays The Horn should never have been recorded. When Dexter recorded the album, he was in the throes of heroin addiction. He shouldn’t have been in the studio. Heroin affects a horn players chops. It certainly affected his playing on Daddy Plays The Horn. The people around him realised this. They told him to take a year of. That wasn’t possible. Dexter wasn’t a rich man. No. He’d only released one album and most of his money came from session work. In the end, he took two months of. These two months maybe saved his career.
After this two month break, Dexter had cleaned up his act. He was ready to enter the studio again. With Dexter Gordon’s All Stars, he recorded Dexter Blows Hot And Cool. A mixture of ballads and blistering bebop, it’s a new Dexter Gordon. We hear more than a few glimpses of the Dexter Gordon who’d be a star at Blue Note Records. Surrounded by top musicians, he flourished. The most important player, has to be pianist, Carl Perkins. On the slower tracks, like Cry Me A River, Don’t Worry About Me, I Should Care and Tenderly, which to me, are the best on Dexter Blows Hot And Cool, Carl Perkins is ying to Dexter’s yang. Having said that, there’s no passenger’s in the All Stars. Each member pulls his weight. They all play a part on Dexter Blows Hot And Cool, the album that might just have saved Dexter Gordon’s career before it even started. Standout Tracks: Cry Me A River, Don’t Worry About Me, I Should Care and Tenderly.
DEXTER GORDON-BLOWS HOT AND COOL.
BLO-CHAPTER ONE.
BLO-CHAPTER ONE.
The first thing that strikes you about BLO’s Chapter One, the latest rerelease from Mr. Bongo Records, is the cover. Naive, psychedelic, lysergic and surreal, it’s a min-masterpiece. It’s up there with some of the best album covers in music history. So good is the album cover, that I’m sure many people will buy the album just because of the cover. I genuinely hope that’s the case, because BLO’s Chapter One is an important album in African music. BLO are regarded as the first African rock band, while Chapter One is seen as the first African rock album. Released in 1973, by Lagos City EMI, Chapter One should’ve been the start of a brilliant career. Was that the case?
BLO’s roots can be traced to The Clusters, a late-sixties, Nigerian band. Their music was a fusion of Afrobeat, psychedelia, rock and funk. Seamlessly, the music of two continents became one. African and Western became one. A glorious pot pourri of musical genres and influences, The Clusters couldn’t survive playing their own music. As a result, they’d to moonlight playing covers of The Beatles and Rolling Stones. Soon, The Clusters were being called the African Beatles. Despite this, The Clusters were struggling to survive. So, it’s no surprise that the group eventually split-up. From the ashes of The Clusters, BLO rose like a Phoenix.
Following the demise of The Clusters, three former members of The Clusters founded BLO. They were guitarist and songwriter Berkeley Jones, drummer Laolu Akintobi and bassist Mike Odumosu. When it came to naming the new group, they decided to call it BLO, an acronym of their surnames. Having formed BLO, the nascent group’s career would start at one of Nigeria’s most prestigious venues.
Rather than play a low key concert, whilst honing their sound, BLO decided to start as they meant to go on. Their debut took place around Christmas 1972, at the Lagos City Stadium. They were meant to be supporting Osibisa, who were touring Nigeria. It looked like the other way around. BLO meant to be the warmup, blew their Osbisa away. They’d ten-thousand people eating out of the palms of their hand. When Osbisa took the stage, they’d no chance. All the audience wanted, was more from BLO. Their fusion of Afrobeat, funk, rock and psychedelia caught the audience’s imagination. Buoyed by this success of supporting Osbisa on tour, BLO set about recording their debut album, Chapter One.
Fresh from supporting Osbisa, BLO were signed to EMI. For their debut album Chapter One, BLO headed to EMI’s studios in Apapa. They’d written eight songs. Vocalist Berkeley Jones, was the principal songwriter. He penned five tracks, Preacher Man, Time To Face The Sun, Don’t We Are Out Together and the instrumental, Miss Sagit. Mike Odumosu wrote We Gonna Have A Party and Chant To Mother Earth, while Laolu Akintobi contributed Beware. These eight tracks became Chapter One, which was released in 1973.
On the release of Chapter One, BLO proved to be an African phenomenon. Chapter One wasn’t a success outside Africa. Despite being seen as the first African rock album, with BLO being Africa’s first rock group, neither Europe nor America “got” BLO. Since then, and somewhat belatedly, Chapter One has been recognized as an important album. It’s also become something of a collectable, with original copies prized possessions of African music. No wonder, when you hear Chapter One.
Preacher Man opens Chapter One. It has a somewhat understated sound. Drums mark time, guitars chime and the bass meanders along. It’s as if BLO are stretching their legs. Bursts of searing guitar riffs, are the signal for Berkeley Jones vocal to enter. He sings call and response, frustration and anger filling his vocal. Behind him, machine gun guitars and pounding drums take turns to drive the arrangement along. Soon, musical genres and influences melt into one. Afrobeat, rock, psychedelia and jazz melt into one, while elements of Can, Jethro Tull and Jimi Hendrix shine through. Later, BLO kick loose, demonstrating just why they’re regarded as Africa’s first rock group. Never missing a beat, they deliver some sizzling, searing guitar licks, before a thunderous drum solo marks the arrival of BLO.
Time To Face The Sun has a languid, lysergic sound. Wah-wah guitars and percussion join the jaunty rhythm section, before a roll of drums sees the track head in the direction of rock and reggae. A heartfelt, impassioned lilting, reggae-tinged vocal is accompanied by mesmeric, then riffing, rocky guitars. From there, it’s rock all the way. It’s as if BLO have awaked out of their slumber. Now it’s time for them to unleash their magic. Like a shaman Berkeley casts a spell with his guitar. Locking into the tightest of grooves, BLO show just what they’re capable of. It’s no wonder they had ten-thousand people spellbound. This produce a truly spellbinding, enthralling opus, that deserves to be heard by a much wider audience.
Funky. That describes Beware. Chiming, crystalline guitars and the rhythm section lock into the groove, while the languid vocal is reminiscent of Jimi Hendrix. It’s half sung, half chanted. The guitar solo is Hendrix-esque. It’s as if the ghost of Jimi Hendrix has wandered into EMI’s studios in Apapa, and laid down a blistering guitar solo. Instead it’s Berkeley Jones. His fingers flying nimbly up and down the fretboard. Not once does he miss a note. Behind him, Mike and Laolu provide the track’s heartbeat. Stealing the show is Berkeley, with a mesmeric guitar solo.
We Gonna Have A Party sounds as if the party’s already started. Just a minute long, joyous, celebratory vocals are accompanied by percussion, resulting in a slice of good time music.
Don’t is driven along by the deliberate bass. Meanwhile chiming guitars accompany the vocal. Needy and pleading, harmonies accompany the vocal, as the song heads in the direction of Jimi Hendrix’s Stone Free. By now the guitars and rhythm section have conjured up a hypnotic groove. Later, they shake loose, shakers encouraging Berkeley to unleash another of his solos. This time duelling guitars take the song in he direction of classic rock. BLO are in their element, exploring every nuance and subtly of this genre-melting track, where rock, psychedelia and Afrobeat combine.
Chant To Mother Earth reminds me of Fleetwood Mac in their prime. Then it’s all change, as the chanted vocal takes the track in the direction of Arabic, Afrobeat and reggae. Here, Berkeley becomes a soothsayer, as his vocal ensures the track melts into a mesmeric groove. Later, having awoken from his procrastination, he lays down a stunning guitar solo. Somehow, this beats everything that’s gone before. Like a swaggering gunslinger, he lays down a captivating guitar solo. With the pounding rhythm section keeping him company, the solo seems to go on forever. All you can do, is kick back and enjoy the ride. Towards the end, Berkeley returns to his role as soothsayer, having produced another bewitching performance.
We Are Out Together has an almost mystical sound. A myriad of percussion sees to that. Then it’s all change. The bass and searing guitar take charge. They become one. With a crash of a cymbal, BLO threaten to kick loose. Drums pound, guitars chime and a rubbery bass solo accompanies the vocals. They’re impassioned and hopeful. Then, it’s time for the main event. Dueling guitars join forces. This time, the rhythm section want in on the act. They won’t be outdone. Everyone has to play nicely, it seems. Not everyone seems to agree. The three members of BLO seem to compete to have the last word.
Closing Chapter One is Miss Sagitt, an Instrumental, written by Berkeley Jones. Percussion then a psychedelic guitar is panned left as the rhythm section provide a pensive heartbeat. In the distance, guitars chime. They draw nearer, and trippily, are panned right to left. This gives the song an exotic, Eastern sound. Importantly, space is left within the arrangement, allowing the song to breath. A muted guitar and drums rolls join a meandering bass and percussion. Together, they play their parts in an experimental sounding song where East, West and Africa unite.
Chapter One was just the first of five albums BLO released between 1973 and 1979. A genre-melting album, Chapter One matches the quality of Terry Eze’s album cover. An eight track musical adventure, genres and influences seamlessly, melt into one. Everything from rock, Afrobeat, psychedelia, funk and jazz can be heard on Chapter One. Sometimes, there’s brief bursts of Indian and Arabian music. It’s a multicultural musical journey, where BLO showcase their considerable skills during the eight songs.
Each member of BLO is a talented musician. However, guitarist and songwriter Berkeley Jones steals the show. Not only is he a talented songwriter, but capable of unleashing mesmeric, blistering guitar solos. Sometimes, he’s transformed into a musical shaman, his guitar playing blessed with magical properties. Having said that, BLO isn’t a one man band. Berkeley Jones needed bassist Mike Odumosu and drummer Laolu Akintobi. Mike and Laolu the rhythm section, provided BLO’s heartbeat. Without them, BLO wouldn’t have existed. BLO were stronger together than apart, weaving their mesmeric musical spell. Sadly, BLO’s music never found the audience it deserved.
Hugely enjoyed commercial success and critical acclaim in Africa, they never enjoyed they never enjoyed the same commercial success and critical acclaim further afield. Neither Europe nor America discovered BLO’s fusion of rock, Afrobeat, psychedelia, funk and jazz. Like so much great music, BLO’s music, including Chapter One, was lost to a wider audience, with only a small number of enthusiasts flying the flag for one of Africa’s lost bands. Not only were BLO one of Africa’s lost bands, but they were Africa’s first and best rock band. Proof of this was BLO’s first album, and Africa’s first rock album, Chapter One, which was recently released by Mr. Bongo. Standout Tracks: Preacher Man, Beware, Don’t and Chant To Mother Earth.
BLO-CHAPTER ONE.
CHVRCHES-GUN.
CHVRCHES-GUN.
The rise and rise of Chvrches has been remarkable. Founded just two years ago in 2011, everything has happened so quickly for Lauren Mayberry, Ian Cook and Martin Doherty. They’ve spent the last two years touring the world. So far, Chvrches unique brand of shimmering electro-pop has conquered Britain, Europe, Japan, Canada and America. Somehow, Chvrches have also found the time to release four singles and a trio of E.Ps, including the recently released Gun E.P. These singles are a tantalizing taste of the main event, Chvrches highly anticipated debut album The Bones Of What You Believe, which will be released on the 23rd September 2013 on Virgin.
In some ways, Chvrches lead vocalist and keyboard player, Lauren Mayberry is an accidental pop star. She originally studied law and after graduating, studied journalism. With a Masters in journalism on her C.V. Lauren became a freelance journalist. From there, she almost inadvertently, became a musician.
Like many Scottish children, she learnt to play the piano as a child. It’s almost a rite of passage. Then when she was a teenager, Lauren learnt to play the drums. Drums or piano, it’s no contest. Soon, she was playing drums for various bands. Between the ages of fifteen and twenty-two, Lauren played in two bands. In Boyfriend/Girlfriend she was the drummer. Then when Lauren joined Blue Sky Archives, she played keyboards and drums. It was in Blue Sky Archives, that Lauren met Ian Cook.
Blue Sky Archives were recording an E.P. and the producer was Ian Cook. He’d originally been a member of Aerogramme and The Unwinding Hours. Ian also wrote music for television and film. Production was another thing he enjoyed. Through producing Blue Sky Archives, Ian met Lauren. She proved to be just who he was looking for.
Ian Cook and Martin Doherty, who was a member of The Twilight Sad when they played live, were working on a new project. They needed someone to lay down some vocals. Neither Ian nor Martin saw themselves as lead vocalists. So, Lauren was asked to come along and sing on a demo.
Little did Lauren realize what she’d let herself in for. Ian and Martin it seems, are perfectionists. That proved to be no bad thing. They spent eight months in a basement studio, working on their new project. Eventually, it was finished. It had been such a success, they decided to transform this studio project into a live band, that became Chvrches.
May 2012, saw Chvrches release their first single. They did this in an unusual way. Through the blog of the Neon Gold label, people were able to download a free copy of Lies, their debut single. This somewhat unorthodox release must have worked. Soon, people were talking about Chvrches, including the Guardian, who got in on the act. Rather pompously, in June 2012, they hailed Chvrches as one of their bands of the day. At least people were taking notice of Chvrches. By now momentum was building. What helped, was that Chvrches were a great live band. Throughout the summer of 2012, were honing their live act. Quickly, word was spreading about this new Glasgow band. September 2012 it seemed, was the right time to release their sophomore single.
The Mother We Share was released in September 2012. In between touring, Chvrches found two days to write and record their new single. On its release, it was well received by critics. They were falling over themselves to heap praise on Glasgow’s newest band. A classy and classic slice of glistening, ethereal electro-pop, Chvrches had made an impression.
At the end of 2012, when various magazines and radio stations published their best of 2012 polls, Chvrches name loomed large. The NME, BBC and Huffington Post praised Lies and The Mother We Share. This new band had made a big impression. Would 2013 be as big a year for Chvrches?
Looking at Chvrches achievements so far, I’d suggest that they’ve surpassed everything they achieved during 2012. They’ve released two single and two E.P.s, recorded their debut album and continued their never ending tour.
Chvrches third single Recover, which was released in February 2013, gave them their first hit single in the UK. It reached number ninety-one. After that, Chvrches had to divide their time wisely. They’d an album to record and had a busy touring schedule to fulfill. In between recording their debut album, The Bones Of What You Believe, Chvrches continued to tour. There were still parts of the world where Chvrches’ gospel hadn’t been heard. Agnostics had to be transformed into believers. This was working
July 2013 saw Chvrches released their fourth single Gun. Just like Recover, Gun was available as either a single or an E.P. It’s the E.P. I’ll review. Gun gave Chvrches the biggest single of their nascent career. Not only did it reach number fifty-five in the UK, but number forty-four in Japan. It seemed that with each single, Chvrches were conquering another part of the world. Britain first, then Europe, Canada, America and now Japan are all devotees of Chvrches. So will you, once you’ve read about their sophomore E.P. Gun.
The Gun E.P. opens with the title-track Gun. From the opening bars, my faith in modern music is restored. It’s a reminder of what a classic pop song sounds like. Stabs of keyboards are joined by shimmering, synths. They provide the backdrop to the ethereal beauty of Lauren’s emotive vocal. Accompanying her heartfelt vocal are rolls of drums, breathy harmonies and washes of crystalline synths. As for the back synth and drums they add duel bursts of drama. Their raison d’etre is to reinforce the drama and emotion in Lauren’s vocal. Dance-floor friendly, Gun is full of sweet poppy hooks and moments of drama and emotion. It’s the perfect introduction to Chvrches, and should whet you appetite for their forthcoming album The Bones Of What You Believe.
As for the other three remixes of Gun, they each bring something new to the original. The four remixes are very different and introduce four talented remixers. First up is Jamie Isaac’s wonderfully atmospheric and wistful remix. Slow and dubby, its dreamy sound is gorgeous. Quite simply, this is the best of the four remixes.
The Auntie Flo remix has a spacious, melodic sound. Just a Fender Rhodes and percussion accompany Lauren’s soul-baring vocal. Gradually, the song reveals its secrets. Thunderous drums are dropped in joining stabs of synths and tortured harmonies. With its much more dance-floor friendly sound, it shows the different way remixers approach the same song.
Next up is the Groundislava remix of Gun. Straight away, it’s designed for the dance-floor. Here, the remixer takes Lauren’s ethereal vocal and adds filters. They take on a cartoon quality. That seems strange. After all, the vocal makes the track? He does the same with the backing vocals. They take on an eerie sound. Pounding, galloping drums, washes of synths and percussion adds to the drama of this remix which is very different to its predecessors..
DJ Helix is the last remixer to get his hands on the track. From the get go tribal drums join brash synths. The drums are like a call to dance. In between the drums and synths, is Lauren’s vocal. Its ethereal beauty is a contrast to the power, drama and brashness of DJ Helix’s imaginative arrangement.
So that’s the story of Chvrches’ Gun E.P. Obviously, the original is the best. Gun features Chvrches at their best, fusing musical genres and influences seamlessly. A fusion of pop, synth pop, electro-pop, house and Euro Disco, Gun is the best single Chvrches have released so far. It’s then remixed by four remixers. Each brings something new and innovative to the track.
Gun is taken in ways that I’m sure even Chvrches never imagined. The best is the dreamy, dubby, Prozac sound of Jamie Isaac’s remix. After that, I favor Auntie Flo’s remix. It’ll keep any dance-floor packed. The other three tracks all offer something imaginative, inventive and innovative. It never ceases to amaze me how remixers can produce something new and vibrant from the same stems. To be able to do that, they deserve the utmost credit. It’s good to hear a new breed of remixers getting the opportunity to remix high profile tracks. For me, it makes a change from the same old faces producing the same predictable remixes. This new breed of gunslingers who remixed Gun, are the future of remixing. As for Chvrches, they’re the future of Scottish music.
Released in July 2013, Gun is a tantalizing taste of what we can expect from their debut album The Bones Of What You Believe, which will be released on Virgin on 23rd September 2013. I’m sure The Bones Of What You Believe will feature innovative, inventive music. It’ll be pioneering electro-pop, full of shimmering synths and the ethereal beauty of Lauren Mayberry’s vocal. Along with Ian Cook and Martin Doherty, the other to members of Chvrches, they look like being the next big band in Scottish music. Many have been contenders for the title, now it looks like Chvrches with their unique sound, will claim it as their own.
Chvrches have restored my faith in modern music. I’m pleased that there’s still group’s capable of making the perfect pop song. That’s what Gun is. It’s a reminder of what a classic pop song sounds. For everyone who says pop music is dead, play them Gun. That’ll prove them wrong. Pop music is alive and kicking, and Chvrches are the future.
CHVRCHES-GUN.
THE BUDDY COLLETTE QUINTET-BUDDY’S BEAT.
THE BUDDY COLLETTE QUINTET-BUDDY’S BEAT.
Describing Buddy Collette as a musician, is almost an understatement. Buddy was much more than that. Apart from being a multi-instrumentalist, he was an educator, civil rights activist and politician. He formed his first band when he was just twelve and made his professional debut aged just seventeen. After serving in the U.S. Army, where he was a member of the Stars Of Swing, he spent the first half of the fifties working as a session musician. Then in 1955, he was one of the founding members of Chico Hamilton’s Quintet. A year later, Buddy decided to form his own band, The Buddy Collette Quintet. They released their critically acclaimed debut album Man Of Many Parts in 1956. Man Of Many Parts, which showcased Buddy’s versatility, was the start of Buddy’s career as a bandleader. The next year, 1957, The Buddy Collette Quintet released Buddy’s Beat, for Dootsie Williams’ Dootone label. Buddy’s Beat which was recently released by Boplicity, an imprint of Ace Records, is something of hidden gem in Buddy’s back-catalogue, which I’ll tell you about.
Buddy Collette was born in the Watts district of Los Angeles in August 1921. When his parents took him to see Louis Armstrong in concert, he realized that he wanted to be a jazz musician. This was no idle daydream. From an early age, it became obvious Buddy was a gifted musician. He was learning to play the piano when he saw Louis. After that, he switched to the alto saxophone. Eventually, he was equally at home playing flute, clarinet or tenor saxophone. By the age of twelve, Buddy formed his first band.
What a lineup his first band had. Britt Woodman played trombone and Charlie Mingus played bass. Indeed, it was Buddy who convinced Charlie to switch from the cello. This was the start of a lifelong friendship between the two musicians, whose paths would continue to cross throughout their career.
Aged seventeen, Buddy fulfilled his first dream. He became a professional musician. That was interrupted when he’d to join the US Navy. Buddy became a member of the prestigious Stars Of Swing, where he joined forces with Britt Woodman, Charlie Mingus and Lucky Thompson. Then having served their country, Buddy, Charlie and Britt headed home.
On their return home to Los Angeles, Buddy, Charlie and Britt found that bebop was thriving. So they joined forces with Dexter Gordon and drummer Chico Hamilton and played together in Central Avenue, which was bebop central. Meanwhile, he worked as a session musician. A versatile multi-instrumentalist, Buddy’s services were always in demand. Whenever musicians played in L.A. Buddy’s band were the go-to-guys. Among them, were Louis Jordan and Benny Carter. Then as the forties gave way to the fifties, Buddy became a civil rights activist.
Segregation blighted America in 1949. Inadvertently, Buddy became a civil rights activist. He joined the band who played on Groucho Marx’s radio show, You Bet Your Life. Buddy was the only black musician in the band. Realizing the injustice of the situation, he started campaigning for an end to segregation. Soon, Frank Sinatra, Nat King Cole and Benny Carter were supporting Buddy’s campaign. Success didn’t come overnight though. It took four long years, before the American Federation Of Musicians merged their black and white divisions. This wasn’t the end of Buddy’s activism.
In 1950, actor Paul Robeson had been blacklisted. Originally, he trained as a lawyer, but disheartened with the racism that he believed blighted American law in the twenties, became an award winning actor. He also had a strong sense of justice. A political activist, his views were at odds with the American government. This lead to him being blacklisted. Paul was another victim of McCarthyism. Buddy Collette wasn’t willing to standby and watch a man persecuted. So Buddy started campaigning against what was essentially a politically motivated campaign to repress Paul. As part of his campaign, Buddy organized a concert. Now this was risky, as Buddy could’ve become another victim of McCarthyism. Thankfully he wasn’t, and his efforts partly, lead to the end of McCarthyism in 1956. By then, Buddy would release his debut album.
From 1950 until 1955, Buddy worked as a session musician. His versatility meant he was always in demand. He could play bebop, West Coast jazz, blues and cool jazz. Then in 1955, Buddy joined Chico Hamilton’s Quintet. Chico put together a multiracial group who played West Coast jazz. Buddy who played flute, is credited with adding a sense of serenity to the Quintet. Proof of this are The Chico Hamilton Quintet and The Chico Hamilton Quintet In Hi-Fi. Both albums were successful and soon, Buddy was being offered the chance to lead his own band. Rather than head out on tour with the Quintet, Buddy formed his own group, The Buddy Collette Quintet.
1956 saw The Buddy Collette Quintet release their debut album Man Of Many Parts. Critically acclaimed, it featured trumpeter Gerald Wilson, guitarist Al Viola, drummer Earl Palmer and bassist Wilfred Middlebrook. Buddy played flute, clarinet, tenor and alto saxophone. Man Of Many Parts was Buddy’s first album as bandleader. Buddy’s Beat was his second.
Buddy’s Beat saw Buddy pen seven of the eight tracks. The other was Rogers and Hart’s My Funny Valentine. A fusion of laid-back tracks and blistering bebop, Buddy’s Beat is something of a hidden gem. Although recorded by a quintet, Buddy’s versatility fools the listener into thinking they’re listening to a much bigger band. On its release, Buddy’s Beat, which I’ll tell you about, failed commercially.
Soft Touch opens Buddy’s Best, The Buddy Collette Quintet. Bells chime before Buddy’s wistful flute joins a rasping horn and Al Viola’s pensive guitar. Soon, drummer Earl Palmer ensures the song swings. He plays with his brushes and with bassist Wilfred Middlebrook, provides the heartbeat. Later, trumpeter Gerald Wilson unleashes a blistering solo, before Al’s guitar solo is sparse, subtle and effective. Mostly, the Quintet play within themselves on a track that’s languid, nonchalant and quite beautiful example of West Coast jazz.
As Walkin’ Willie unfolds, it has a moodier sound. That’s thanks to the prowling bass. Nimbly, Wilfred’s fingers flit up and down the fretboard. Soon, horns blaze and drums add rolls of drama. By now the band are in a groove. They encourage each other to greater heights. Then Wilfred’s solo takes centre-stage. He’s joined by braying horns, while guitars chime. Veering between melancholy and melodic, right through to dramatic and uplifting, it’s a compelling musical journey full of contrasts, subtleties and surprises.
Changes is best described as a blistering slice of bebop. At breakneck speed, the horns bray and blaze. Their gnarled sound flit across the arrangement. Speed, accuracy and power are combined. Earl Palmer matches the horn every step of the way. So does the bass, as the band become a tight, fluid unit. Later, dueling horns trade licks. Not to be outdone, guitarist Al Viola lays down one of his finest solos, as we hear another side of the Quintet, one I’d like to hear much more of.
My Funny Valentine is instantly recognizable. A true classic a poignant bass accompanies a tender, heartfelt flute solo from Buddy. Space is left within the arrangement. It proves effective, adding to the emotion and sadness. Wistful and melancholy, the band play with care. Drums are played with brushes, while Al’s guitar is spacious and crystalline. Later, the horn solo tugs at your heartstrings, painting pictures, its cinematic quality conjuring images of heartbreak and heartache and love lost.
The Cute Monster is a breezy, spacious track. The understated arrangement sees Buddy’s clarinet take centre-stage. It’s accompanied by the rhythm section and guitar. They’re content to take a back seat, allowing Buddy to demonstrate that whether it’s flute, saxophone or clarinet, he’s equally at home. He passes the baton to trumpeter Gerald Wilson, who spurred on, delivers an impressive solo. So does guitarist Al Viola, then briefly, drummer Earl and bassist Wilfred. It soon becomes apparent that each member of the Quintet is a hugely talented musician. There’s no passengers here, just top class musicians.
Orlando Blues is a bass driven track which features the wonderfully wistful, bluesy sound of the clarinet. Here, Buddy delivers a carefree performance. It’s as if he decides to kick loose and explore the song’s nuances. The rest of the band play around him, before taking turns to shine. First up is trumpeter Gerald Wilson. After unleashing a rasping solo, he and Buddy join forces, trading licks. Then guitarist Al Viola delivers what’s easily, one of his best solos. Finally, bassist Wilfred Middlebrook gets his chance to shine, before Buddy takes Orlando Blues to its bluesy close.
Blue Sands sees Buddy shift from clarinet to flute. His playing is tender, thoughtful and evocative. Mesmeric drums and subtle, chiming guitars conjur up pictures of distant, mysterious lands. Short, sharp bursts of flute join the moody, broody drums and gentle, pensive sounds of the guitar. Gradually, the drama grows. The arrangement becomes louder and moodier. There’s a sense of danger, warning you that something’s not right among the Blue Sands.
It’s You closes Buddy’s Beat. A five-minute track, the Quintet kick loose. Grizzled horns are at the heart of the arrangement. They’re fast, accurate and played with power and passion. The bass and drums provide the heartbeat, driving the arrangement along. Buddy on saxophone, delivers a stunning solo. He never misses a beat. Neither does Al on guitar. Nimbly, his fingers fly up and down the fretboard. He gives a virtuoso performance. Not to be outdone, bassist Wilfred and drummer Earl take turns to showcase their skills. Soon it’s like a competition, everyone raising their game, and in doing so, closing Buddy’s Beat on a glorious high.
Featuring eight songs and lasting just forty-four minutes long, Buddy’s Beat was just the second album from the multitalented Buddy Collette Quintet. Buddy chose his band well. Each of the musicians were more than capable of taking centre-stage, then enjoying their moment in the spotlight. They weren’t shrinking violets. Instead, Buddy surrounded himself with top class musicians. Not every musician would do this. After all, any one of the band could’ve been bandleaders. For lesser musicians than Buddy Collette, they’d have been scared of being overshadowed by such a talented band. This wasn’t the case here. Buddy wasn’t scared that one of his sidemen would overshadow him. No. What he wanted and needed, were the best musicians possible. There could be no weak links, and there weren’t. This meant that everything was in place for The Buddy Collette Quintet’s sophomore album Buddy’s Beat, which was recently released by Boplicity, an imprint of Ace Records, to be a commercial success.
Sadly, that wasn’t the case. The Buddy Collette Quintet’s sophomore album Buddy’s Beat failed commercially. Maybe the problem was, Buddy’s Beat was released on a small label, Dootone, which had been founded by Dootsie Williams. If Buddy’s Beat had been released by a bigger label with a bigger budget, it might have been a been a commercial success? Sadly that wasn’t the case. That proved to be story of Buddy’s career.
Buddy Collette’s music never enjoyed the commercial success and critical acclaim his talent deserved. Whether it was with his Trio, Quintet or as a solo artist, he never enjoyed the commercial success and critical acclaim his old friends Charles Mingus and Dexter Gordon enjoyed. Despite that, Buddy released over a dozen albums and was constantly in demand as a session musician. He never headed out on tour, preferring to stay in his native Los Angeles, where he was busy working as a session musician. It was also in Los Angeles, Buddy left his musical legacy.
Realizing the importance of education, Buddy Collette worked tirelessly in education. Always on the side of the underdog, he was determined young people would’ve the opportunity to make a living as a professional musician. Buddy setup several education programs within the Los Angeles area. Among the musicians to benefit from his largesse are Eric Dolphy, James Newton and Charles Lloyd. Hopefully, these musicians will follow in Buddy’s footsteps, and give something back to music.
Educator, civil rights activist, politician, musician and bandleader, Buddy Collette may not have enjoyed the commercial success that some of his contemporaries did, but just as importantly, he made a difference. He was a man with a social conscience, who despised injustice and inequality. Through music, including The Buddy Collette Quintet’s 1957 album Buddy’s Beat, a true hidden gem, Buddy was able to make a difference. In many ways, that’s as rewarding as the riches and plaudits that came the way of Buddy Collette’s contemporaries. Standout Tracks: Soft Touch, Changes, Orlando Blues and Blue Sands.
THE BUDDY COLLETTE QUINTET-BUDDY’S BEAT.
THE CURTIS COUNCE QUINTET-EXPLORING THE FUTURE.
THE CURTIS COUNCE QUINTET-EXPLORING THE FUTURE.
One of jazz’s best kept secrets is hard bop, double bassist Curtis Counce. He may not have enjoyed the longevity of many of his contemporaries, but was one of the leading lights of West Coast jazz. Curtis played alongside Teddy Charles, Shelly Manne, Lyle Murphy and Clifford Brown. Then in 1956, Curtis moved from sideman to centre-stage, forming The Curtis Counce Quintet. They released just four albums between 1957 and 1958. The Curtis Counce Quintet’s final album was the inventive and innovative, Exploring The Future, which was recently rereleased by Boplicity, an imprint of Ace Records. Five years after the release of Exploring The Future, Curtis Counce died aged just thirty-six. West Coast jazz had lost one of its stalwarts. Fifty years after his death, his music is being introduced to a new audience. However, what about the man behind the music? That’s who I’ll tell you about, before I tell you about Exploring The Future.
Curtis Counce was born In Kansas City, in the Midwest. From an early age, it was apparent that Curtis would end up being a musician. He was a gifted musician, who played violin and tuba before he first clapped eyes on a double bass. Straight away, Curtis knew this was the instrument for him. Indeed, it was the double bass Curtis played when he headed out on the road aged just sixteen.
Aged sixteen, Curtis was playing with the Nat Towles Band in Ohama. That was a tantalizing taste of what life was like as a professional musician. Curtis was hooked. From their he became a session music. He picked up session work wherever he could. While he enjoyed that, Ohama was hardly jazz central. So he headed to Los Angeles.
Now living and working in Los Angeles, Curtis become a member of Johnny Otis’ band. Johnny was a legendary bandleader, one who had exacting standards. That gave Curtis a good grounding when he made recording debut in 1946. Curtis was unfazed about shared a studio with jazz greats Charlie Parker and Lester Young. People started to take notice of Curtis, and soon, he was the go-to-guy for anyone looking for a double bass player.
Among the artists he accompanied, were the Stan Kenton Orchestra, Max Roach, Teddy Charles and the Clifford Brown Group. All these legendary musicians wanted Curtis’ bluesy sound. Unique, it was evocative and emotive, painting pictures. With just a few notes, Curtis could change your mood. All was going well for Curtis until 1949, when Miles Davis released one of his landmark albums.
Never has an album had a better title than Birth Of The Cool. It gave birth to the cool jazz sound. Jazz was at a crossroads. Musicians were either members of the cool school or disciples of bebop. Curtis, wisely, kept his options open. Rather than throw in his lot with either group, he kept a foot in both camps. He was a talented and versatile player, so whether it was cool jazz or bebop, Curtis could play it. That worked in his favor. Right up until 1956, Curtis was busy as a sideman. Then he decided to take centre-stage.
In 1956 Curtis formed The Curtis Counce Quintet. The initial lineup featured drummer Frank Butler, pianist Carl Perkins, trumpeter Jack Sheldon, saxophonist Harold Land. With such a multitalented lineup, surprisingly, their 1957 debut album received rave reviews. You Get More Bounce With Curtis Counce was released on the Contemporary label, but sales proved disappointing. It was the age old problem, sales didn’t match the record company’s expectations. After such good reviews, they thought the album would’ve fared better. It didn’t. A blistering set of hard bop, at least, You Get More Bounce With Curtis Counce got the Quintet noticed. Things would surely get better?
Later in 1957, Curtis released his sophomore album Landslide. It was also released on Contemporary. Curtis it seemed had chosen his band well. They all pitched in with ideas and songs. Sadly, success still eluded the Quintet. Record sales were disappointing and sales didn’t reflect their undoubted talent.
Given record sales were disappointing, they toured the West Coast and they toured hard, honing their sound. Soon, they were a tight unit. Even Harold Land, the least experienced member of the band shawn like a star in waiting. The only problem was, the East Coast, West Coast rivalry. This resulted in bands not heading out on the road. West Coast groups like the Quintet didn’t set foot on the East Coast. It was territorial and proprietorial. ironically, jazz lovers lost out. For the rest of 1957, concentrated on playing live. The in 1958, just like 1957, the Quintet released two albums.
History repeated itself in 1958. The Curtis Counce Quintet released two album within the year. The first was Sonority. It was their last release on Contemporary. Just like their two previous albums, sales proved disappointing. Again, the sales didn’t reflect the quality of music. For Curtis and the rest of the Quintet, it must have been both disappointing and frustration. Here they were, releasing some inventive music, yet people were neither buying nor hearing it. Following Sonority, the Quintet and Contemporary parted company. Next stop for The Curtis Counce Quintet was the Dooto label, where they’d release their final album Exploring The Future.
As recording of Exploring The Future began, the Quintet had lost two members. Pianist Carl Perkins had tragically died of a drug overdose and trumpeter Jack Sheldon left the Quintet. Their replacements were pianist Elmo Hope and trumpeter Rolf Ericson. They were more than capable replacements. Elmo is seen as one of the greatest bebop players, while Rolf Ericson’s playing is fast, fluid and accurate. Both players added something new to what was essentially The Curtis Counce Quintet Mk. II.
Exploring The Future saw Elmo Hope play an important part in the album. He wrote four of the eight songs on Exploring The Future, So Nice, Into Orbit, Race For Space and The Countdown. Dootsie Williams who founded Dooto, had been a trumpeter, songwriter and bandleader. His contribution was Exploring The Future. Along with Denzil Best’s Move, Earl Brent and Matt Dennis’ Angel Eyes plus Ira and George Gershwin’s Someone To Watch Over Me, these eight tracks became Exploring The Future, a somewhat ironic title.
Rather than moving forward and releasing an album of innovative, progressive music, Exploring The Future saw the Quintet revisit their familiar hard bop sound. They’d perfected this during their first three albums and were among the finest practitioners of the hard bop sound. However, Exploring The Future saw The Curtis Counce Quintet with two new members. Would this affect the quality of music on , Exploring The Future? That’s what I’ll now tell you.
So Nice opens The Curtis Counce Quintet’s fourth album Exploring The Future. Bursting into life, the horns join the piano while the drums are played with brushes. Curtis’ bass provides the heartbeat, powering the arrangement along. Soon, it’s time for Rolf Ericson to deliver his first solo. He doesn’t disappoint, producing a breathtaking display of power, speed and accuracy. The rest of the band play behind him, before saxophonist Harold Land steps up. As if inspired he unleashes a blistering, rasping solo. From there, Elmo Hope takes centre-stage unleashing a fluid piano solo. He’s then joined by Curtis. They feed off each other. From there, the rest of the Quintet enjoy their moment in the sun, as they enjoy Exploring The Future.
Angel Eyes is very different from the previous track. A truly beautiful track, it has a late night, wistful sound. Rolf’s piano sets the scene, for the heartbreaking sound of the horns. Ralph’s trumpet gives way to Harold Land’s saxophone. Emotion and sadness are omnipresent. They take centre-stage, where they quite rightly belong. Each take turns at tugging at your heartstrings, before the song reaches its heartbreaking, melancholy high.
Into The Orbit sees Rolf piano join forces with the horns. Punchy, sharp bursts of horns grab your attention, before a virtuoso performance from Rolf. This seems to result in the Quintet upping their game. It’s like a game daring do. Anything you can do, I can do better. Horns are blown with more power and passion. There’s an urgency in Harold and Ralph’s playing. Rasping and growling their way through the track, they throw down the gauntlet. Meanwhile, Curtis bass provides the heartbeat. Although he enjoys his moment in the sun, he seems quite content to allow the rest of his band to take turns in outdoing each other. After all, the harder they try, the better they play. Proof of this is Into The Orbit.
Rather than Move, this track should be called explode. That’s what happens. Move explodes into life. Drums and horns take charge. What follows is a mesmeric performance. The star of the show is drummer Frank Butler. He produces a breathtaking performance. A mixture of power and speed, it’s as if he feels left out and wants to shine. This he does and never misses a beat. With thirty-seconds to go, the horns come charging in, but good as they are, Frank Butler’s better.
Race For Space has a jaunty introduction. Piano and drums briefly, take the track in the direction of free jazz. They leave space within the arrangement, which is akin to a dramatic pause. Then it’s all change. The tempo increases and another blistering slice of hard bop explodes into life. Horns to the fore, they’re punchy and dramatic. Behind them, drummer Frank Butler and pianist Elmo Hope dramatically fills in the gaps. Curtis bass powers the arrangement. His finger flying up and down the fretboard. Things hot up when the solos are unleashed. Again, everyone seems to be trying to outdo each other. In doing so, they play their part a storming, dramatic and blistering example of hard bop.
Someone To Watch Over Me was written by George and Ira Gershwin. It allows us another opportunity to hear another side of the Quintet. Horns bray, producing a needy cry. Having set the scene, Frank plays the drums with brushes and Curtis tenderly plucks thoughtfully at his bass. Elmo’s deliberate and pensive piano playing is a like a paean or plaintive cry for Someone To Watch Over Me.
Elmo’s piano and drums rolls asks a series of question as Exploring The Future unfolds. It’s another mid-tempo track, one that sees the Quintet play to their strengths. Featuring a series of poignant chord changes, the Quintet quickly shift through the gears. They’re equally at home playing together, or when they embark on solo. As for the solos, Ralph’s trumpet solo is a show stealer. The rest of the group play around him, exploring the subtleties and nuances of the track. Not to be outdone, the other newcomer, Elmo produces another of his trademark solos, where he more than proves his worth.
Closing Exploring The Future is The Countdown. It’s the perfect track to close the album. There’s something about the track, that if this closed a set, you wouldn’t be disappointed. The arrangement meanders along, managing somehow, to sound both melancholy and hopeful. Elmo on piano takes centre-stage while Frank on drums and Curtis on bass provide the heartbeat. Soon, he’s stretching his legs, deciding its time to indulge in some showboating. For that you’re thankful, as what is his finest piano solo on Exploring The Future brings the album to a delicious close. Quite simply, The Countdown is a tantalizing reminder of what jazz music once was. When will we see your likes again?
Exploring The Future proved to be farewell from The Curtis Counce Quintet. It was their final album. While Exploring The Future didn’t exactly offer anything new and innovative from the Quintet, it did find them at their very best. They’d been honing their sound since 1956, and had been playing live constantly. That was the only way to hone their sound and build a following. Sadly, they were restricted in where they could play. The jazz wars were raging. There was a fierce rivalry between the West Coast and East Coast. This meant the East Coast was off-limits for the Quintet. Audiences in the East Coast weren’t fans of the West Coast sound. That meant New York never heard the Quintet live. They might, just have appreciated their sound and transformed The Curtis Counce Quintet’s career. That wasn’t to be.
The Curtis Counce Quintet released just four albums released between 1957 and 1958. That isn’t a fair reflection on their combined talents. None of the albums sold well. Not even Exploring The Future, with its delicious mixture of blistering hard bop and beautiful ballads. Even the delights of Exploring The Future went undiscovered and unloved. Fifty-five years after its release Exploring The Future has been rereleased by Boplicity, an imprint of Ace Records. Maybe now, a new generation of music lovers will realize what jazz fans missed first time round. Sadly, Curtis Counce never found the fame and fortune he deserved.
Five years after the release of Exploring The Future, Curtis Counce died on 31st July 1963. He was just thirty-seven. Jazz lost one of the stalwarts of West Coast jazz and one of the best practitioners of hard bop. At least the final album The Curtis Counce Quintet released, Exploring The Future was their best. A delicious fusion of blistering hard bop and beautiful ballads, Exploring The Future was The Curtis Counce Quintet’s finest moment. Standout Tracks: So Nice, Angel Eyes, Someone To Watch Over Me and The Countdown.
THE CURTIS COUNCE QUINTET-EXPLORING THE FUTURE.
DONSO-DEFILA.
DONSO-DEFILA.
The story of how Donso’s sophomore album Defila, which was recently released by Comet Records, begins back in 2008. That was when French electro producer and owner of Ed Banger Records, Pierre Antoine Grison met Thomas Guillaume. Pierre was sitting in his Paris flat when he heard his neighbor playing a musical instrument he’d never heard before. Intrigued and more that a little curious, he decided to find out what this instrument was?
When Pierre met Thomas, he discovered he’d been hearing a donso n’goni. It was the sacred instrument of The Hunters, a West African brotherhood. They’re famed for their mystical abilities and their powerful, spiritual music, donso trance. Thomas had been traveling between France and Southern Mali, learning not just to play the donso n’goni, but to master it. The donso n’goti was an instrument you didn’t just learn but mastered. For Thomas, it was akin to learning a craft. That’s what he been doing before he met Pierre. Soon, Thomas introduced Pierre to donso trance, which was the start of a friendship that resulted in them forming Donso.
Pierre was fascinated by donso trance. Here was ancient music played by the Malian Hunters before a battle. This wasn’t just a ritual. No. Instead, it was part of spiritual awakening. Only having heard donso trance music, were the Hunters ready to do battle. According to legend, donso trance made the warriors invisible. Having been introduced to donso trance by Thomas, Pierre became enthralled by its hypnotic, mesmeric sound. Soon, he realized that their was the potential to marry this ancient, sacred music with modern, electronic music.
As Krazy Baldhead, Pierre was an electro producer and hip hop DJ, who was signed to Ed Banger Records. Everything fell into place. Thomas had introduced him to this ancient, sacred music and Pierre was a producer of electronic music. Together, they could create a fusion of the old and the new. However, before that would happen, three new members would join what was an early version of Donso.
The first new member of Donso, was Gedeon Papa Diarra is a Malian singer and dancer. Gedeon was asked to join in 2009. Next was Moh Kouyate, a Guinean guitarist. Fluid and psychedelic, Moh’s guitar playing is crucial to Donso’s success. Ceyba Sissoko was the next musician to join Donso. A multi-instrumentalist, Ceyba played tama, drums and D’jeli n’gon. This was the lineup that recorded the first versions of Defila. However, Donso were still lacking in several areas. There was a solution, Pierre would head to Mali to recruit some new members.
After conferring, the rest of Donso decided Pierre should head to Mali. He’d been to Africa before, but never to record parts of an album. With him, he took a portable studio, tape recorded and several microphones. Once in Mali, he headed to all the places musicians hung out. Rue 235, Parc Des Princes, Class A and Diplomate were used to for impromptu auditions. Accompanying Pierre was a true legend of Malian music, violinist Zoumana Tereta. Musicians came and went, yet Pierre couldn’t find the right musicians. Things weren’t looking good. Then Pierre’s luck changed.
Eventually, having invited musicians to join Pierre and Zoumana at the French Cultural Centre, the musicians started to jam. Different ideas were tried. It was a musical exchange of ideas. Some worked, some didn’t. Essentially, it was a matter of trial and error. Eventually, they were into the type of groove Pierre was looking for. Things were at last, looking good. Three new faces would play an important role in what are referred to as the Bamoka sessions.
Bassist Moussa Bah was the first of the musicians that Pierre discovered. Previously, he’d been a member of Ngoni Ba. He’s a hugely talented bass player who plays on two tracks, Jugu and Easy Easy. Both tracks benefit from Moussa’s bubbling bass. Next to join the Bamoka sessions was Mantiaba. She made a huge impression on the session. Full of energy and enthusiasm, Mantiaba made such an impression, that a song was named after her. Guitarist Sambala Kouyate was the last musician to join the session. His contribution was somewhat rushed. In a mere ten minutes, he laid down the guitar parts on Sibi Hours and Rock Le Kalaban. Recording took place in Pierre’s hotel room. Ten minutes later, Sambala was gone. Whilst the Bamoka sessions were taking place, Zoumana Tereta was the de facto artistic director.
Zoumana was more than an artistic director. He inspired several tracks on Defila. Two of these are Dali and Heading To Gao. Although the genesis of both tracks was Zoumana, Donso reworked the tracks back in Paris. In the Paris studios, seeds planted in Mali, grew in France. Eventually, the fifteen tracks that became Defila were finished.
Released on 2nd September 2013, on Comet Records France, Defila is a more that musical collaboration between two continents. It’s more than a meeting of French and Malian music. Instead, it’s a fusion of the old and new. Religious and secular music sit side-by-side. Defila sees Donso fuse the ancient, sacred donso music fused with contemporary, modern music. Atmospheric and evocative, it’s music that’s hypnotic and mesmeric. Lysergic and dreamy, it’s music that’s an innovative and imaginative. A genre-sprawling musical journey, Defila which I’ll pick the highlights of, is music to cherish and experience.
Opening Donso’s debut album is Duruni Part 1. It’s thirty evocative seconds of music where, instantly, you’re transported to Mali. You’re introduced to its sounds, sights and delights on the first part of this four part movement.
DJamilla’s Secret picks up where the previous track left off. Atmospheric and dramatic, it bristles with energy. A fusion of musical genres, everything from rock, electro, funk and donso is thrown into this multicultural mixing bowl. The result is a mesmeric track. Drums provide a pulsating heartbeat while keyboards and percussion join the djeli n’goni. It’s played by Abousy, whose performance is stunning, truly Hendrix-esque.
Slow, pensive stabs of keyboards open Mantiaba. Percussion signals the entrance of the Mantiaba’s vocal. It’s heartfelt, ethereal and sultry. Meanwhile, a multilayered arrangement unfolds. So much is unfolding. Two continents meet head on. The old and sacred meets the new and contemporary. Pierre plays keyboards while pounding drums, percussion and buzzing bass provide the backdrop for the ethereal beauty of Mantiaba’s vocal.
Crystalline guitars open Jugu, which features bassist Moussa Bah. This is one of two tracks he plays on. His bass n’goni anchors the arrangement. Joining him are percussion, keyboards, dundrum and crystalline guitars. Their role is to set the scene for Gedeon’s impassioned, pleading vocal. This they do. So do harmonies. They add to the emotion of this deeply moving and powerful paean.
One of the greatest discoveries that Pierre made while recording Defila, was guitarist Sambala Kouyate. On Rock Le Kalaban, he unleashes some searing, mesmeric guitar licks. This he did in just ten minutes. A man in a hurry, he never misses a beat. Here we hear a tantalizing taste of the Malian guitar great. We also hear another urgent, emotive vocal from Gedeon. As harmonies add to the emotion and ethereal beauty, rocky guitar riffs, a pounding bass and percussion provide the urgent, frenzied backdrop for his vocal.
Awakening is a showcase for multi-instrumentalist Seyba Cissoko. Here, he gives a dramatic drum masterclass. Powerful, booming drums drive the arrangement along. Bells and bubbling synths escape from the arrangement as seamlessly and peerlessly, Seyba fuses techno dub and dub step. A majestic, hypnotic track, here the ancient meets the innovative.
Duruni, Part 4 is another brief snapshot of Malian life. Singing call and response with rejoicing harmonies, distant drums encourage this joyous thanksgiving.
As Easy Easy unfolds, it’s a moderne track with a contemporary sound. That’s until sing-song harmonies set the scene for Gedeon’s impassioned, almost spiritual vocal. Quickly, they take on a hypnotic sound. Now the old and new are one. Especially when searing guitars join Moussa on bass n’goni. They join forces with the dundun and violin. However, producing the donso trance sound are the vocals, which are best described as majestically mesmeric and trancelike.
Dankala Koule closes Denfila. A broody, eerie arrangement quickly becomes ethereal. That’s when the synths are joined by Gedeon’s vocal. Heartfelt and spiritual, his vocal is full of feeling. It’s as if he’s giving thanks. As for the synths, they’re moody and dark, while the ethereal beauty of Gedeon’s vocal offers hope for Mali’s future.
Although I’ve only mentioned nine of the fifteen tracks on Donso’s sophomore album Defila, I could just as easily have mentioned any of the other tracks. It’s quality all the way. From the opening bars of Duruni Part 1, right through to the closing notes of Dankala Koule, there’s no let up in the quality. The five members of Donso see to that. Helping them, were some of Mali’s finest musicians.
This includes vocalist Mantiaba, bassist Moussa Bah and the Pierre’s best find, guitarist Sambala Kouyate. Sounding like the ghost of Jimi Hendrix, he arrived at Pierre’s hotel room, laid down some searing, sizzling guitar riffs, then ten minutes later, was gone. What he left behind, are some of the best guitar riffs on Defila. Just like Moussa Bah, Sambala Kouyate is one of Malian music’s best kept secrets. They played their part in a compelling and hypnotic album, Defila, which was recently released by Comet Records France.
An emotional musical journey, Donso are musical pioneers. On Defila, they fuse the ancient, sacred sounds of donso trance with 21st Century electronic music. Here, religious and secular sit happily side by side. The sacred sound of donso trance is fused with electro, rock, psychedelia, dub, techno and dubstep. This proves to be compelling combination of musical genres and influences. Best described as joyous, spiritual, uplifting, hypnotic and mesmeric, Defila’s eclectic music veers between moody and broody, to lysergic and dreamy, to ethereal and beautiful. Defila is all this and more. It’s also an introduction to the multitalented Donso and their equally talented friends, who are responsible for Defila, a truly genre-melting album. Standout Tracks: DJamilla’s Secret, Mantiaba, Rock Le Kalaban and Easy Easy.
DONSO-DEFILA.
T-CONNECTION-T-CONNECTION.
T-CONNECTION-T-CONNECTION.
By December 1978, disco was at the peak of its popularity. So should T-Connection. They should’ve been riding the crest of the disco wave. They weren’t. That age old problem, the difficult second album had tripped them up. Their had career started so well. Magic released in April 1977 reached number 109 in the US Billboard 200 and number thirty-two in the US R&B Charts. It featured two hit singles, including Do What You Wanna, which reached number one in the US Disco Charts. Then came the difficult second album On Fire.
On Fire proved to be a somewhat ironic title for T-Connection’s sophomore album. T-Connection weren’t On Fire. Released in 1978, On Fire stalled at number 139 in the US Billboard 200 and number forty in the US R&B Charts. They’d failed to build on the Momentum of Magic. Instead, they’d changed direction musically. Whereas Magic was a delicious fusion of disco, funk and soul, full of social comment and love songs, T-Connection was a much more lightweight, commercial album. Here, was another case of second album syndrome. T-Connection’s career was at a crossroads. Their third album T-Connection, which was recently released by BBR Records, could make or break the band. Which was it?
For T-Connection, the band’s founder Theophilus T. Oakley wrote four songs and cowrote three songs. He penned Coming Back For More, Funky Lady, Saturday Night and Love Supreme. Guitarist David Mackey and Theophilus cowrote At Midnight and Midnight Train, while Theophilus and Montgomery Kemp wrote Funkannection. Kurt Oakley contributed Don’t The Stop The Music, the other track on T-Connection. These eight tracks were recorded at Studio Sound Center Recordings in Miami, Florida.
At Studio Sound Center Recordings T-Connection were joined by producer Cory Wade. Theophilus T. Oakley sang lead vocals and played keyboards. He was joined by the rest of T-Connection. This included the rhythm section of bassist Kurt Oakley, drummer Berkeley Van Byrd and guitarists Monty Brown and David Mackey. Tony Flowers the other member of T-Connection added percussion. Strings and horns were arranged by Bert Dovo. Once the eight songs were recorded, T-Connection was released in December 1978. Would T-Connection revive the group’s ailing fortunes?
When T-Connection was released in December 1978, it reached number fifty-one in the US Billboard 200 and number twenty in the US R&B Charts. Chosen as the lead single was At Midnight. Released in December 1978, it reached number fifty-six in the US Billboard 100, number thirty-two in the US R&B Charts and number three in the US Disco Charts. In the UK, At Midnight reached just number fifty-three. Saturday Night was then released as a single in February 1979. It reached number twenty-eight in the US R&B Charts and number forty-one in the UK. T-Connection had transformed the group’s career. Not only was it their most successful album, but featured two hit singles in the US and UK. What made T-Connection such a successful album? That’s what I’ll now tell you.
Opening T-Connection is the mid-tempo, uber funky Funkannection. It’s similar to a couple of tracks on Magic. There’s P-Funk and proto-rap influences to the track. Here, T-Connection’s rhythm section get busy. Along with chiming guitars, they produce the funkiest of licks. Theophilus’ vocal veers between proto-rap and a sultry vamp. Urgent bursts of harmonies and handclaps accompany him. As searing guitars, slap bass and keyboards provide the backdrop, to this slice of good time funky music.
Coming Back For More is the first of four tracks Theophilus T. Oakley wrote. Driven along by a bounding, bubbling bass line, funk and soul meet head on. This is what T-Connection do so well. Their rhythm section, keyboards and percussion provide a funky backdrop for Theophilus’ sultry, soulful vamp. He sings call and response. Soaring, soulful harmonies accompany him. As he struts his way through this tale of love gone wrong, you’d think he hadn’t a care in the world.
Funky Lady sees T-Connection up the ante. This track surpasses everything that’s gone before. Tough and funk, T-Connection showcase their inconsiderable skills. Referencing Parliament, Funkadelic, The Temptations and Isley Brothers a vintage slice of funk unfolds. As usual, the rhythm section are at the heart of the action. They up the funk factor to eleven. Joining them are chiming guitars, clavinet and bursts of blazing horns which punctuate the arrangement. As for Theophilus, he struts his way through the track. His vocal is feisty and sassy, as soulful, sweeping and sometimes sassy harmonies respond to his call. When all this is combined, it’s one of the funkiest ladies you’ll met.
Don’t Stop The Music picks up where Funky Lady left off. Driven along by the bass, stabs of growling horns, chiming guitars and piano provide the backdrop to Theophilus’ vocal. This is his best vocal so far. He seems to sings within himself. His vocal is heartfelt and soulful. So too are the harmonies, which are reminiscent of The Temptations. They’re smooth and soar above the arrangement. Stabs of horns, piano and the funky rhythm section join forces, bringing back memories of The Commodores, Isley Brothers and Earth Wind and Fire at their best.
Saturday Night sees Kirkwood Oakley unleash a peerless slap bass solo before Chic style guitars and the lushes of disco strings sweep in. They too, have a Chic “sound.” At last, T-Connection are revisiting the disco of Magic. As Theophilus delivers a vocal that’s full of sass and bravado, a bubbling bass provides the heartbeat. Stabs of braying horns, quivering strings and bursts of harmonies accompany him. Later, cooing, oohing harmonies add an unforgettable reminder of the heady, hedonistic days of disco.
At Midnight is another slice of Disco Magic from T-Connection. It literally bursts into life. Disco strings and urgent bursts of rasping horns are joined by a pulsating, funky heartbeat. Add to that a sprinkling of percussion and Theophilus’ emotive vocal. Mixing power and passion, he vamps his way through the track. Providing a perfect foil are sweeping, soaring harmonies. They rise like a phoenix from the ashes. During a breakdown the arrangement is pared back to just the percussion and rhythm section. From there, the arrangement rebuilds. Later, the arrangement is stripped bare again. Just the rhythm section and piano deliver a funk masterclass, before this opus heads to its dramatic crescendo.
Midnight Train is a fusion of musical genres. Everything from funk, pop, soul and disco combine. It’s a track that’s more in common with On Fire than Magic. Having said that, it’s not short of poppy hooks. Driven along by Kirkwood Oakley’s bass, drums pound and swathes of lush strings sweep and swirl. Theophilus’ vocal is tender and pensive, referencing soul and pop. As for the arrangement, it’s a fusion of disco and funk. Dance-floor friendly, poppy and soulful, hooks certainly aren’t in short-supply.
Closing T-Connection is Love Supreme, the only ballad on the album. This is a shame, as T-Connection do ballads really well. Just melancholy keyboards are joined by lush strings, crystalline guitars and the rhythm section. They set the scene for Theophilus’ tender, impassioned vocal. Accompanied by tight, heartfelt harmonies, T-Connection sounding not unlike Earth, Wind and Fire, close T-Connection on a soulful high. Indeed, so good is this track, that I’d say it’s the highlight of the album.
Having started their career on a high with Magic, T-Connection’s career stalled with their second album. Sophomore albums are notoriously hard. The temptation is to try something new. That’s what T-Connection did. It didn’t work. Whereas Magic was a delicious fusion of disco, funk and soul On Fire was a much more commercial sounding album. A collection of pop, rock, disco and soul, On Fire smoldered its way to number 139 in the US Billboard 200 and number forty in the US R&B Charts. For T-Connection, this was a disaster. They were left looking like another one trick pony. Their career was at the crossroads. If their third album flopped, it was game over for T-Connection.
Luckily for T-Connection, they returned to what they did so well. They fused disco, funk and soul. Of the eight tracks, there’s three funk and three disco tracks. Midnight Train is a fusion of musical genres. Love Supreme which closes T-Connection, is a beautiful ballad, one of the best the group recorded. Drawing inspiration from Chic, Funkadelic, Parliament, The Temptations and Earth Wind and Fire T-Connection released the most successful album of their career so far. Then there was the small matter of two hit singles in the US and UK. T-Connection’s comeback was complete. They weren’t out of the woods yet.
Just seven months later, the disco bubble burst. Suddenly, disco was as welcome as rattlesnake in a lucky dip. For a group who part of their success was down to disco, things weren’t looking good for T-Connection. However, T-Connection didn’t crash and burn. Instead, they adapted and released four further albums. Sadly, they never scaled the heights that T-Connection which was recently rereleased by BBR Music reached. T-Connection was T-Connection’s most successful album. Along with their debut album Magic, T-Connection finds T-Connection On Fire. Standout Tracks: Don’t Stop The Music, Saturday Night, At Midnight and Love Supreme.
T-CONNECTION-T-CONNECTION.
HUNTSVILLE-PAST INCREASING, FUTURE RECEDING.
HUNTSVILLE-PAST INCREASING, FUTURE RECEDING.
A mausoleum sounds an unlikely place to record an album. Even unlikelier is a mausoleum whose walls are covered with frescos painted by one of the greatest Norwegian artists of the nineteenth century. However unlikely this sounds, Emanuel Vigeland’s Mausoleum In Oslo is proving a popular, but unlikely place both for Norwegian musicians. Over the past few years, the Mausoleum has been transformed into both a concert hall and recording studio. Why? The reason to this simple, its acoustics.
A truly atmospheric, double-barreled room, daylight never finds its way into the Mausoleum. In many ways, its the antithesis of the modern recording studio. Nowadays, recording studios are light, airy places, full of the latest recording equipment. That doesn’t necessary make them a good place to record an album. That requires good acoustics, and the Mausoleum has that. Proof of this are the albums recorded in the Mausoleum.
Among them are two albums by Huntsville, one of Norway’s most innovative, inventive and imaginative bands. They recorded their critically acclaimed third album For Flowers, Cars and Merry Wars in the Mausoleum. Released in 2011 on Hubro Music, For Flowers, Cars and Merry Wars was a coming of age album from Huntsville. Critics hailed the album as Huntsville’s most innovative offering. Surpassing this wasn’t going to be easy. So Huntsville returned to the Mausoleum and recorded their fourth album Past Increasing, Future Receding which will be released on 7th October 2013 on Hubro Music. Will Past Increasing, Future Receding replicate the critical acclaim of its predecessor? That’s what I’ll tell you.
It was back in 2006 that the Norwegian trio Huntsville recorded their debut album For The Middle Class. A genre-sprawling album, critics realized that Ivar Grydeland, Tonny Kluften and Ingar Zach weren’t just talented, but truly innovative musicians and producers.
Two years after the release of For The Middle Class came their sophomore album Echo, Arches and Eras. This was no ordinary album. Quite the opposite. It was an ambitious double album where musical genres melted into one. One track, Eras, was a fifty-four minute opus, where Huntsville were joined by Glen Kotche and Nels Cline. If critics weren’t taking notice of Huntsville, they were after Echo, Arches and Eras. However, their next album would surpass everything that’s gone before.
Released in 2011, Music For Flowers, Cars and Merry Wars was the album that launched Huntsville. They’d switched labels, joining Hubro Music, a progressive label with a reputation for releasing innovative music. That was the perfect way to describe For Flowers, Cars and Merry Wars. Innovative, mesmeric and blessed with an ethereal beauty, critics and connoisseurs of good music awaited the followup to For Flowers, Cars and Merry Wars.
Since the release of For Flowers, Cars and Merry Wars, Huntsville have been busy. They released a collaboration with Splashgirl. Entitled Splashgirl/Huntsville, it showcased two of Norway’s most forward thinking groups. After that, work began on Huntsville’s forthcoming album, Past Increasing, Future Receding.
Recording of Past Increasing, Future Receding took place in Emanuel Vigeland’s Mausoleum. For Huntsville, that was the only place the album could be recorded. After all, so important are the Mausoleum’s famed acoustics, that they refer to it as the fourth member of the group. Its dark, some would say bleak and gloomy surroundings are full of ghosts of the past. Atmospheric and evocative, full of history and darkness, the surroundings could either prove inspirational, or stifle creativity? Which is the case with Huntsville’s fourth album Past Increasing, Future Receding? That’s what I’ll tell you.
Presence in Absence, a seventeen-minute opus opens Past Increasing, Future Receding. It’s best described as an understated, but moody soundscape. You’re drawn in by the washes of synths, before Huntsville spring a surprise. Suddenly, a drum crashes. It adds drama, before feedback shrieks and white noise buzzes. You await Huntsville’s next curve ball. A drum pounds, cymbals crash and reverb gives way to subtle cymbals. By now, it’s a truly enthralling adventure. A bass threatens to break free, while guitars chime and hi-hats hiss. Gradually, the drama builds and the track reveals its secrets. Cymbals crash, crystalline guitars chime and drums pound as musical genres and influences meet head on. Everything from ambient, free jazz, folk, psychedelia and rock combine on a track that somehow manages to be ethereal and beautiful, while being dramatic, overpowering and moody.
A bass synth is like a siren as The Flow of Sand unfolds. Sinister noises join forces, playing their part in the track’s dark, minimalist, cinematic sound. Sounds assail you, surround you, threaten you. Deliberate stabs of piano to provide relief, from the cyborg sound. Robotic, machinelike it’s as if the Spiders From Mars have arrived somewhat belatedly. The music paints pictures and scenarios. These scenarios are futuristic, full of eerie, sci-fi sounds. Flourishes of piano and supernatural strings join galloping drums. They seem keen to recreate the Four Horsemen of the Apocalypse. Best described as bold, brave music, it’s music that’s intelligent, challenging and innovative. It’s music for a film that’s yet to be made. That’s up to you. You let the music wash over you, painting pictures in your mind’s eye.
In An Hourglass closes Past increasing, Future Receding. Minimalist and moody, space is used effectively. Huntsville are mindful of Miles Davis’ quote that sometimes, the space between two notes is important as the notes themselves. Synths beep and squeak, cymbals crash and drums boom. Space adds to the drama. Cymbals crash, resonating into the distance. Slow, spacious and sinister, a myriad of noises threaten to interrupt this 21st Century soundscape. It draws influence from Brian Eno, Pink Floyd, free jazz and Buddhistic meditation music. Adding an ethereal contrast is an acoustic guitar. It veers between Flamenco and folk as the track heads to an enigmatic, ethereal and poignant crescendo.
Just three songs and thirty-five minutes long, Huntsville’s fourth album Past increasing, Future Receding picks up where they left off with Flowers, Cars and Merry Wars. A trio of atmospheric and evocative soundscapes, it’s minimalist music that paints pictures. Bold, brave and inventive, it’s innovative and imaginative music. I’d also describe Past increasing, Future Receding as cerebral cinematic soundscapes. Sometimes, it’s full of futuristic, sci-fi sounds, that pique your imagination. That’s why it’s articulate and intelligent music. Other times, it’s moody and broody, but can just as easily become crystalline and ethereal, as influences and genres melt into one.
Past increasing, Future Receding is an eclectic melting pot of influences and genres. Listen carefully and you’ll hear Brian Eno, Can, Neu, the Cocteau Twins, Robin Guthrie, Harold Budd and Mind Over Midi. Everything from ambient music, electronica, free jazz, Flamenco, folk and Krautrock melt magically in Huntsville’s musical melting pot. These influences and genres play their part in what’s the best album of Huntsville’s career, Past increasing, Future Receding.
Huntsville’s decision to record Past increasing, Future Receding at Emanuel Vigeland’s Mausoleum proved inspirational. Past increasing, Future Receding which will be released on 7th October 2013, on Hubro Music, is Huntsville’s fourth and best album. It surpasses even the critically acclaimed For Flowers, Cars and Merry Wars. That was Huntsville’s Magnus Opus. Not any more. It’s been surpassed by Past increasing, Future Receding, an innovative, inventive and atmospheric genre-melting album.
HUNTSVILLE-PAST INCREASING, FUTURE RECEDING.
MARLENA SHAW-JUST A MATTER OF TIME.
MARLENA SHAW-JUST A MATTER OF TIME.
For the first Lady of Blue Note, Marlena Shaw, 1975 saw her release the most successful album of her career, Who Is This Bitch Anyway? An innovative fusion of soul and jazz, Marlena explored feminist, sexual politics and social issues. This represented Marlena Shaw at the height of her creative powers. Who Is This Bitch Anyway had surpassed everything that Marlena had released previously. The decision to team up with producer Bernard Ighner had paid off. Bernard had brought in some of the best musicians. Everything fell into place. It seemed Marlena was about to enjoy the commercial success and critical her talent deserved. Sadly, that wasn’t case when Marlena released Just A Matter Of Time, which was recently released by SoulMusic Records.
For the followup to Who Is This Bitch Anyway, Just A Matter Of Time, there was a change of producer. This seems strange. After all, Marlena had just released the best album of her career. Commercially successful and critically acclaimed, Who Is This Bitch Anyway showed what Marlena was capable of. However, like any artist, this required the right team behind her.
Replacing Bernard Ighner, was Bert DeCoteaux, who’d established a successful track record. The veteran producer had just worked with Carol Douglas on The Carol Douglas Album and with Zulema’s eponymous albums. Bert had established a reputation for producing genre straddling albums. On these albums, soul and disco sat side-by-side. Albums like this, were the musical flavor of the month. Disco especially, was at the height of its success. Everyone was jumping on the disco bandwagon. Would Marlena Shaw, who was signed to jazz music’s premier label Blue Note, become a disco diva?
For Just A Matter Of Time ten songs were chosen. Marlena, a talented songwriter, only wrote one song for Just A Matter Of Time, No Hiding Place. The other tracks came from various songwriters. Charles Simmons and Joe Jefferson cowrote love Has Gone Away, which featured on The Spinners’ Mighty Love album. Gwen Grant and Patrick Grant penned This Time I’ll Be Sweeter and Think About Me. Bernard Ingher contributed Sing To Me, Bettye Crutcher Take My Body, Fredrick Knight Be For Real and Carson Whitsett wrote You and I. Along with It’s Better Than Walking Out and Brass Band, these ten tracks became Just A Matter Of Time, which were recorded at Mediasound Studios, New York.
Joining Marlena Shaw and producer Bert DeCoteaux at Mediasound Studios, New York for the recording of Just A Matter Of Time were some of the best session musicians of the time. This included a rhythm section of drummer Jimmy Young, bassist Bob Babbit and guitarists Lance Quinn, Jerry Friedman, Hugh McCrakin and Jeff Mironov. Producer Bert DeCoteaux, played keyboards while Ted Sommers and Dave Garey added percussion and Carlos Martin played congas. Nobody who’d played on the Who Is This Bitch Anyway, featured on Just A Matter Of Time, which was released in 1976.
The gamble to bring in a new producer and personnel didn’t pay off. Apart from reaching a lowly number twenty-five in the US Billboard Jazz charts, Just A Matter Of Time failed to chart. This was a long way from Who Is This Bitch Anyway. The lead single, It’s Better Than Walking Out stalled at number seventy-four in the US R&B Charts. A small crumb of comfort was, it reached number nine Dance Music/Club Play Charts and number seven in the Disco Charts.. Then when Love Has Gone Away was released as single, it failed to chart. From the high of Who Is This Bitch Anyway, Marlena came back to earth with a bang with Just A Matter Of Time, which I’ll tell you about.
It’s Better Than Walking Out which opens Just A Matter Of Time, sounds like a Norman Harris production. This is the case from the opening bars. From just the drums, chiming guitars, bass and dancing, disco strings join and soaring harmonies are added. Then Marlena’s sassy, feisty vocal struts centre-stage. At that moment, Blue Note’s disco diva was born. Amidst a myriad of blazing horns, gospel-tinged harmonies and swirling strings, Marlena’s scats, whoops and hollers her way through this timeless dance track.
Brass Band is very different from the previous track. Here, the tempo drops as the rhythm section, rocky guitars and congas join sweeping strings. They provide the backdrop to Marlena’s vocal. It’s tender, thoughtful and full of emotion. The arrangement is a fusion of influences. Caribbean, disco, soul, pop and jazz combine. Horns bray, strings dance and harmonies sweep in, as Marlena’s delivers a joyous, lovestruck vocal on this lightweight slice of poppy soul.
From it’s dramatic introduction, This Time I’ll Be Sweeter. Quivering, shivering strings, pounding drums and rasping horns signal the entrance of Marlena’s melancholy vocal. Flourishes of harpsichord, chiming guitars and lush strings provide the backdrop to her soul baring vocal. Harmonies soar dramatically, reflecting the hurt in Marlena’s vocal. Drums pound, adding to the drama of this heartbreaking opus.
Funky. That describes Think About Me. With its wah-wah guitars and stabs of brassy horns accompanying an uber funky rhythm section. This track could easily be from a Blaxploitation soundtrack. As for Marlena’s vocal, she sneers her way through the track, pitying her ex who married another to spite her. Full of bravado, she let’s him know it’s his loss. She tells him I know that you “Think About Me, I was the one you needed, I should’ve been then one.” Feeding off her backing vocalists, bravado and bluster meet sass and sensuality, as Marlena, playing the roll of a woman scorned to a t, delivers one of her finest vocals on Just A Matter Of Time.
Vibes, harpsichord and wah-wah guitars provide the backdrop to Marlena’s vocal on You and Me. It’s needy and laden with emotion. Quickly it grows in power. So to does the arrangement. Horns bray and blaze and drums pound. Strings sweep, reflecting the emotion in Marlena’s vocal. Heartfelt, it’s needy, insecure and tinged with sadness. She’s scared to lose the one she loves. They’re stronger together, rather than apart. Her dramatic, emotive paean is proof of this.
Love Has Gone Away featured on The Spinners’ album Mighty Love, which was produced by Thom Bell. Literally, the song bursts into life. Strings sweep and swirl, horns growl and the rhythm section drives the arrangement along. Marlena grabs the song, making it work. She delivers a vocal that’s equal parts sadness, hurt and regret. Combining power and passion, brings the lyrics to life. Accompanied by soaring, dramatic harmonies as Marlena vamps her way to through the track. Later, her band fuse funk, jazz and disco, transforming the track as it heads towards its dramatic crescendo.
Bernard Ighner who produced Who Is This Bitch Anyway, wrote Sing To Me especially for Marlena. Straight away, you realize something special is unfolding. Percussion, keyboards and the rhythm section combine as gradually, the meandering arrangement shares its secrets. This is the perfect backdrop to Marlena’s tender, sensual vocal. Cooing harmonies and swathes of strings prove the perfect accompaniment to Marlena’s heartfelt, seductive vocal.
Although Bettye Crutcher recorded one album at Stax, As Long As You Love Me she’s better known as a songwriter. She penned Take My Body, which has a real Stax sound. That’s ironic, as bassist Bob Babbit was a member of Motown’s studio band the Funk Brothers. Here, he and the rest of the band provide a Stax style backdrop for Marlena. Blazing horns and a pounding rhythm section accompany Marlena’s sassy, strutting vocal. Punchy harmonies sweep in and horns growl and rasp. Marlena and her backing vocalists drive each other to greater heights, as a delicious fusion of rock, blues and soul unfolds.
Gospel-tinged harmonies set the scene for the Fredrick Knight penned Be For Real. It’s a track whose roots are in the church. A wailing organ, stabs of piano and guitar provide the backdrop for Marlena. She sings call and response with her backing vocalists, while strings sweep above her. Just like on other tracks, they prove a potent partnership. Heartfelt, sincere and inspired by gospel music, it’s a truly beautiful song, that’s one of the highlights of Just A Matter Of Time.
Closing Just A Matter Of Time, is No Hiding Place, which Marlena wrote. Again, it’s a track whose roots are in the church. With just a piano accompanying her, Marlena delivers a vocal that’s a potent mixture of power and passion. Although she makes the song swing, what’s a good track could’ve been made a much better with some gospel-tinged harmonies and handclaps. That would’ve even more authenticity to the song.
Having released the critically acclaimed Who Is This Bitch Anyway, which was the most successful album of Marlena Shaw’s career in 1975, she came down to earth with a bump with 1976s Just A Matter Of Time. Who Is This Bitch Anyway had reached number 159 in the US Billboard 200, number forty-seven in the US R&B Charts and number eight in the US Billboard Jazz charts. A year later, Just A Matter Of Time reached a lowly number twenty-five in the US Billboard Jazz charts. For Marlena this must have been a huge blow. She’d spent the last four years establishing her reputation as the first Lady of Blue Note.
Ever since she’d signed to Blue Note in 1972, Marlena been making steady progress. Her first two albums, 1972s, Marlena and 1973s From the Depths of My Soul, were produced by Dr. George Butler. Then for Who Is This Bitch Anyway, Bernard Ighner was hired to produce the album. This was a minor masterstroke. He brought together the right material and musicians. This allowed Marlena to shine on Who Is This Bitch Anyway. So it’s no surprise that it was her most successful album. That he was replaced for Just A Matter Of Time seems strange? At least Bernard’s replacement was a producer with a pedigree.
Bert DeCoteaux had established a reputation as a successful producer. He’d been riding the crest of the disco wave before he worked with Marlena. Maybe Blue Note felt that Bert could make Marlena Shaw’s music appeal to more people? There’s everything from disco, soul, gospel, funk, blues and jazz on Just A Matter Of Time. Indeed, the best way to describe Just A Matter Of Time is a musical adventure. You never know which direction Just A Matter Of Time is heading. Incredibly, Marlena copes with the constant changes in style. Her versatility meant she’s just as comfortable being a strutting disco diva on It’s Better Than Walking Out or vamping her way through the uber funky Think About Me. Then there’s the gospel-tinged Be For Real and Take My Body, where blues, rock and soul meet head on. These are just four examples of why Just A Matter Of Time is one of the most eclectic albums Marlena Shaw released. Maybe that was why Just A Matter Of Time wasn’t a commercial success?
Given Just A Matter Of Time was such an eclectic album, how would Blue Note market the album? It didn’t fit neatly into one musical genre. No. It straddled genres. The same goes for radio stations. As Just A Matter Of Time wasn’t purely a jazz, soul, funk or disco album. It was a mixture of each of these genres. So stations playing soul or disco wouldn’t put Just A Matter Of Time on their playlist. The same goes for record buyers. No longer was Marlena just a jazz singer. Now she was trying to be appeal to everyone. This maybe alienated people, especially those who’d followed her career since her debut album. For Blue Note, this proved the final straw.
Following the failure of Just A Matter Of Time, Blue Note dropped Marlena Shaw. In the space of a year, she’d released the most successful album of her career, been crowned Blue Note’s first Lady and was then unceremoniously dropped. Ironically, Just A Matter Of Time, Marlena Shaw’s Blue Note swan-song, where she switches seamlessly between musical genres, is one of the most underrated albums of her long and distinguished career. Standout Tracks: It’s Better Than Walking Out, Think About Me, Take My Body and Be For Real.
MARLENA SHAW-JUST A MATTER OF TIME.
DOM LA NENA-ELA.
DOM LA NENA-ELA.
Not many people are willing to devote their life to music. No. It takes a very special person to make the sacrifices that are needed to master an instrument. Most people are unwilling to make the commitment that’s required. This wasn’t the case for Dom La Nena. From the moment the Brazilian born chanteuse first discovered the cello, it was literally love at first sight. Since then, the Brazilian born cellist and vocalist’s life has revolved around music. That was the first step in a musical journey that lead to the release Dom La Nena’s debut album Ela. It’ll be released on 7th October 2013, on the Six Degrees Records. Before I tell you about Ela, I’ll tell you about Dom La Nena’s life and career.
Dom La Nena was born in 1989, inPorto Alegre, Southern Brazil. Aged five, curiosity got the better of Dom. She discovered something she’d seen every day of her young life, the family piano. Curiosity became a voyage of discover. Her discovery of the piano lead to the cello. Straight away, Dom La Nena realized that the cello was her way of expressing herself. So, she decided to devote her life to music and specifically, the cello.
By the time Dom was eight, her family moved to France. Her father was studying for a doctorate. During this period, Dom musical education began. She received a classical training during the five years her family lived in France. Once her father’s doctorate was completed, the family returned to Brazil. In Dom’s case, this wasn’t for long.
Already, Dom was an admired of American cellist Christine Walevska, who in 1997, was living in Buenos Aries, Argentina. Dom wrote to Christine and not long after this, she moved to Buenos Aries. Her parents realized this was a once in a lifetime opportunity. Never again, would Dom get the chance to be a student of a legendary musician. So, Dom’s parents allowed her to move to Argentina.
Aged just thirteen, Dom moved to Buenos Aries. Dom spent five years studying with Christine Walevska and some of the country’s most influential classical musicians. It was during her time in Argentina that Dom adopted the name La Nena. This was affectionate name which means “the girl,” was bestowed on her by Christine and her grandparents, who Dom would visit in Uruguay. Little did they realize that it would stick. After five years, Dom, aged eighteen, had finished what was the another stage in her musical eduction. Next stop for her, was Paris, where her musical career would begin.
It was 2007 when Dom moved to Paris. Soon, she was working with some of the biggest names in French music. Dom accompanied Jeanne Moreau, Etienne Daho and Camille. Then in 2009, Dom worked with Anglo-French singer and actress Jane Birkin on her worldwide tour. It was during Jane Birkin’s tour that Dom decided she’d begin work on her debut album.
On her return from touring with Jane Birkin, Piers Faccini offered Dom the chance to use his home studio. The rural location was perfect. It was high in Cevennes Mountains in France. Isolated, and miles away from anywhere, it gave Dom the chance to concentrate purely on her music. Within a week, Dom had recorded all the cello, piano and vocal parts. Dom decided to send the songs to Piers. He’d not planned to work on the album. Then he heard the songs.
After one listen, Piers wanted to work with Dom. He threw himself into the project. They proved a potent partnership. Dom and Piers were like ying and yang. Soon, an understanding arose. Quickly, Piers knew what was needed to improve a song. They fed off each other, inspired each other. Eventually, thirteen songs were finished. These thirteen songs became Ela, Dom La Nena’s debut album, which I’ll tell you about.
Anjo Gabriel is the perfect track to open Ela. This is case from the opening bar to the closing notes. Atmospheric describes the introduction. When a creaky door gives way to an accordion you’re interest in piqued. They provides a wistful and understated backdrop to the pizzicato strings and piano. They accompany Dom’s fragile, ethereal vocal. Accompanied by a subtle sprinkling of percussion and harmonies, the song heads towards its beautiful, crescendo.
No Meu Pais has a minimalist, understated arrangement. Just piano and cello set the scene for Dom’s vocal. There’s a sadness in her vocal. She’s grownup without roots, traveling between Brazil, France, Argentina and Brazil, never putting roots down. She’s missed out on so much. It’s as if she’s realizing what she’s sacrificed for her first love, music. A poignant coming of age song, is it a case of no regrets?”
From the opening bars of O Vento, the tension builds. Quivering strings and meandering guitars accompany Dom’s vocal. It’s sung in Portuguese. There’s a sense of melancholia in her vocal. Tinged with sadness and regret, Dom’s vocal is a window into the soul of the weary adventurer.
There’s a vibrancy to Dom’s vocal on Batuque. Multi-tracked backing vocals accompany her. Just like her vocal, they’re ethereal and crystalline. The drums are the polar opposite. They’e bold and dramatic, while the percussion is subtle. Later, when they join with Eastern percussion and Dom’s scatted vocal, they prove a mesmeric combination.
Dom’s cello provides a wistful, heartbreaking backdrop to Dessa Vez, which sees Piers Faccini join Dom. When her vocal enters, it veers between hurt-filled and hopeful. Longing and loneliness are omnipresent. She wonders and hopes, but dare not think that this time she might find love. She’s been hurt before is scared of being hurt again. Piers assures her this time it’s different, this time, it could be for real.
Conto de Fadas, which translates as Fairytale, is one of the highlights of Ela. Just a piano, then cello accompany Dom’s vocal. It’s tender, emotive and soothing. Despite being sung in Portuguese, its inherent beauty will transcends any barrier,
Ela the title-track has a sense of suspense. That’s thanks to the cello. It provides a dramatic backdrop for Dom’s despondent vocal. Soon, it quicken, becoming breathy. It’s as if she’s overcome with sadness and sorrow at the situation she finds herself in.
Buenos Aries features another guest artist, Argentinian singer Thiago Pethit. The song is a celebration of the time Dom spent in Buenos Aries. There’s a classical influence to this piano lead song. Dom delivers a a tender, wistful and ethereal vocal. Then an accordion tugs at her heartstrings. It provides a reminder of her old life in Argentina. When it drops out, Thiago delivers an impassioned, pleading vocal. Later, as Thiago and Dom’s vocals are swept along by the accordion and harmonies, memories come flooding back. For Dom, they’re good and bad. Instead of a celebration, it proves to be a bittersweet journey.
Breathtakingly beautiful and heartbreaking describes Menina Dos Olhos Azuis. With just harmonies and later, a piano for company, Dom lays bare her feelings. What follows is an outpouring of emotion, with a cello solo proving the final straw.
Sambinha is a very different track. It’s a much more upbeat song, that’s like a call to dance. You can’t help but submit to this songs irresistible charms. An acoustic guitar and percussion join Dom’s lilting, sensual vocal. Cooing harmonies, handclaps and accordion combine to create a backdrop to Dom’s sultry vocal.
When I first heard Canção Boba it reminded me of another song. Having racked my brains and played the songs numerous times, I realized what it was, U2’s One Love. Although there’s similarities, it’s also very different. Just a pensive piano provides an understated backdrop for Dom’s vocal. Her vocal oozes emotion, sincerity and joy. Gradually, the arrangement builds and reveals its beauty and secrets. As bass and cello combine with harmonies, the song takes on an anthemic quality. Thankfully, Dom doesn’t resort to posturing, relying on the ethereal, crystalline beauty of her vocal to shine through.
Vocé sees Dom joined by Camille, a French singer who she’s previously worked with. Inspiration for this song came from a childhood game she played. Memories come flooding back. That was when she was carefree, and started her globetrotting life as a musician. As the song ends, Dom’s vocal has become melancholy, at what she lost and the sacrifices she made. Was it worth it?
Saudade closes Ela. That’s the perfect way to describe not just Dom’s vocal on this track, but much of the album. Melancholia or wistfulness is a way of describing it. It’s more than that. There’s a sense of longing, as if desperate to recapture something that’s long-gone. That’s apparent from her vocal, which is accompanied by the cello. It reflects the regret in Dom’s vocal. What caused the regret? Maybe it’s the childhood and youth Dom never got the chance to enjoy. After all, she was living away from home and devoting her life to music?
Thirteen songs and just thirty-six minutes long, Dom La Nena’s debut album Ela, is a beautiful, but melancholy album. It’s a poignant and powerful window into the world of Dom La Nena. The thirteen songs feature mostly understated, acoustic arrangements. This allows Dom’s vocal to take centre-stage. You’re spellbound by each of her vocals. She’s a natural storyteller, whose worldweary, wistful voice brings the lyrics to life. Despite being sung in Portuguese and Spanish, you can feel, share and empathize with her pain and anguish. Dom sounds a complex character, whose music is a reflection of her childhood.
First of all, Dom and her family moved from Brazil to Paris. Aged just eight, she left behind her friends and had to travel across the world. She had meet new friends and make a new life. Then there was the language barrier. This couldn’t have been easy. Then five years later, she moved from France back to Brazil. Then came the biggest decision of her life. Aged just thirteen, Dom left home and headed to Buenos Aries. Leaving behind friends and family, she followed her dream of becoming a professional musician. In doing this, she sacrificed so much, maybe too much? Some would say she sacrificed her childhood? Traveling to Argentina she spent five years there. From her songs, they weren’t always happy times. Bittersweet times they were. From Argentina, Dom headed back to France. Living a nomadic existence, she never puts roots down. That’s what makes No Meu Pais autobiographical.
Indeed, many of the songs on Ela which be released on 7th October 2013, on the Six Degrees Records, are autobiographical. Featuring articulate, intelligent lyrics, Ela is an emotional roller coaster journey that many people can relate to. After all, many people have made sacrifices that later, they wonder whether were worthwhile? In Dom’s case, it’s a journey full of highs and lows. Sadly, it seems the emotional lows outnumber the highs. That’s why one song epitomizes Dom La Nena’s music. That song is Saudade. It’s a Brazilian word that describes a deep-rooted sense of loss or longing. To me, that describes much of Dom’s music. That’s also why Dom’s music is so moving, poignant and powerful.
As an outsider looking in, Ela was an opportunity for Dom La Nena to reflect on her unorthodox life so far. I wonder whether she thinks that the sacrifices she made were worthwhile? Listening to the songs on Ela, melancholia is almost a constant companion for Dom. So often, her voice sounds melancholy, wistful and distant. It’s as if the songs bring back memories, some she’d rather forget. Maybe, Ela will prove cathartic for Dom La Nena, and this outpouring of emotion and memories will help her to move on and enjoy the next chapters in what I’m sure will be a long and successful musical journey? Standout Tracks: No Meu Pais, Dessa Vez, Conto de Fadas and Saudade.
DOM LA NENA-ELA.
DARROW FLETCHER-THE PAIN GOES DEEPER-THE COMPLETE EARLY YEARS 1965-1971.
DARROW FLETCHER-THE PAIN GOES DEEPER-THE COMPLETE EARLY YEARS 1965-1971.
Once tasted, fame is something every singer wants more of. It’s like a drug, totally addictive. The more success a singer enjoys, the more they crave. Soon, they assume a sense self importance that dwarves their success. Suddenly they’re a parody of their former self. Bombastic and egotistical, they’ll sell your soul for further fame. The music becomes was but a means to an end. What they really wanted to experience was fame. They want people to hang on their every word. Having people hang on your every word boosts their already growing ego. People want to meet them, know them and spend time with them. They hope that some of their success rubs off. All the time, their ego grows. As we know, “ego has a hungry appetite, the more you feed it, the hungrier it gets.” However, nothing lasts forever. Certainly not fame.
Fame can be fleeting, a seductive temptress. All it takes is a couple of hit singles, and a singer’s life is transformed. Having grown to love, need and crave fame, sometimes, it slips through their hands. The hits dry up, their record company drops them and suddenly, concerts are harder to come by. Comebacks fail, the money dries up and all of sudden, they’re back pumping gas. After that, life is never the same. Still they crave fame and recognition. They want people to hang on their every word. Like an addict, the forgotten singer is still hooked on fame. Fame was the worst thing that happened to them. It really was “the best of times, the worst of times.” Dickens words are prophetic and could apply to any number singers. Luckily, they don’t apply to Darrow Fletcher, who not only enjoyed fame, but revisited it later in his career. Darrow’s first brush with fame came between 1965 and 1971, and is documented on Darrow Fletcher-The Pain Goes Deeper-The Complete Early Years 1965-1971. It was recently released by Kent Soul, an imprint of Ace Records, and I’ll tell you about it.
Darrow Fletcher was born in January 1951, in Inkster, Michigan. Aged three, his family moved to Chicago, where his mother married Johnny Haygood. He adopted Darrow and would help Johnny when he made his recording debut, aged just fourteen.
Having been singing since the age of six, Darrow made his recording debut aged just fourteen. He was still at high school, so a minor. This meant he needed someone to chaperone him when he attended recording sessions. Johnny Haygood, his stepfather, was happy to do this. However, when Darrow confided in him that he wanted to make music his career, Johnny decided to help his stepson make his dream a reality
Previously, Johnny was a car salesman, but to help his stepson, decided to enter the music business. He setup a series of companies. This included an independent companies. It would lease its productions to record labels. Johnny also founded a publishing company. With the production and publishing companies in place, Johnny’s company was open for business. He hired songwriter Maurice Simpkins, arranger Burgess Gardner and producer Ted Daniel. This carefully chosen team would guide Darrow Fletcher’s nascent career.
Aged just fourteen, Darrow recorded The Pain Gets A Little Deeper. It was a song written by Darrow and Ted Daniel. The Pain Goes Deeper was leased to New York label, The Groovy Label, which was run by three veterans of the music business. Sam and George Goldner and Kal Rudman had a long and successful track record. Among their success stories were Frankie Lymon and The Teenagers, The Chantels and The Shangri-Las. Groovy was their latest venture. It had been launched earlier in 1965. Unfortunately, it would only released ten singles. One of these was The Pain Gets A Little Deeper.
Released in December 1965, The Pain Gets A Little Deeper gradually climbed the charts. Eventually, it reached number eighty-nine in the US Billboard 100 and number twenty-three in the US R&B Charts. That’s no surprise. From the opening bars, it’s a song that swings. Handclaps, burst of blazing horns and rolls of drums accompany the youthful strains of Darrow Fletcher. His vocal is needy, as it grows in power and passion. Accompanied by an arrangement that grows in drama, the result is a hook-laden track features a vocal oozing in emotion.
My Judgement Day was the B-side to The Pain Gets A Little Deeper. Some DJs preferred Judgement Day. They flipped the single over and played it on radio. This gave Darrow a top twenty hit in Chicago. Written by Maurice Simpkins, It’s a song that paints disturbing picture. It’s a tale of life on the streets of Chi Town, seen through the eyes of a teenager. Emotion fills Darrow’s vocal as he sings of having to avoid gangs, who high of bravado and testosterone, egg each other on. Darrow’s vocal rises, as memories come flooding back, at having to dodge gangs, never knowing when he might be jumped, stabbed or worse. An evocative and poignant song, that sometimes, closely resembles The In Crowd.
Buoyed by the success of his debut single, Darrow headed out on tour. As a fifteen year old, he played the Harlem Apollo. During July 1966, he shared the stage with Stevie Wonder, B.B. King and David Ruffin in Philly. While the tour proved a success, his sophomore single wasn’t.
Darrow’s sophomore single was My Young Misery, which he wrote with Kal Rudman. On its release in 1966, it failed to replicate the success of The Pain Gets A Little Deeper. It explodes into life and is best described as a Northern Soul track full of teenage angst. This suits Darrow, who was still only fifteen. The B-side I’ve Gotta Know Why is quite different. It has a real Motown influence. That’s no surprise, as Darrow was accompanied by some of Motown’s studio band. Having watched his sophomore single flop, Darrow must have feared his career was going to be over before it began.
Gotta Draw The Line was chosen as Darrow’s third single. It was written by Richard Barrett, who managed The Three Degrees. They’d recorded the original. Then when Darrow covered the song, they rereleased the song and enjoyed a minor hit. Sadly, Darrow’s version didn’t chart. That seems strange. His version has a jaunty, breezy arrangement. He’s accompanied by cooing harmonies and stabs of braying horns, as he lays bare his soul. Maurice Simpkins’ I’ve Gotta Know Why was chosen as the B-side. This seems a waste. Here, Darrow delivers one of his best vocals of his nascent career. It’s a much more mature and expressive vocal. Hurt, heartache and bravado meet head on, as a confused Darrow wants and needs to know why his relationship is over. With his third single going the same way as its predecessor, Darrow, Johnny and everyone at Groovy must have wondered if success was just a friend who’d payed a fleeting visit.
That was and wasn’t the case. That Certain Little Something, which was penned by Karl Tarleton, was chosen as Darrow’s fourth single for Groovy. For the B-side, a decision was made to reuse My Judgement Day. It was as if Groovy weren’t willing to spend more money that was necessary on Darrow. Maybe they foresaw what was going to happen on its release in February 1967? Nationally, the single flopped. Regionally, it gave Darrow a minor regional hit. Again, the single deserved to fare better. Darrow’s vocal is sassy and feisty, while the trademark horns punctuate the arrangement. A welcome addition is the B.B. King style guitar riffs. They’re omnipresent on what is, one of Darrow’s finest cuts for Groovy. Sadly, this proved to be Darrow’s final release on Groovy.
Johnny Haygood wasn’t happy with the royalties Darrow was being paid. He’d tried getting a royalty statement from Groovy. When he got it, he wasn’t sure of their accuracy. After all, Darrow’s debut had been a number one song in certain states. With their relationship at breaking point, Johnny decided Darrow deserved better.
Deciding that the best forward was to form his own record company, Johnny founded Jacklyn. He ran the newly formed label out of a record shop he owned on the Windy City’s south side. Using the same arranger, producer and songwriter, it was business as usual. The only difference was, Johnny would know how many copies of a record had been sold.
For his Jacklyn debut, Darrow cut Sitting There That Night. It was a collaboration between Darrow and Johnny. Burgess Gardner and produced by Ted Daniel, it launched the new label. In Chicago alone, Johnny claimed 25,000 copies were sold. Unfortunately, distribution problems meant the nascent label didn’t have a huge hit. It could’ve and should’ve been a massive hit. It’s a song with made in Chi Town written all over it. Think Terry Callier and Curtis Mayfield and you’re not far away. Tender and heartfelt, with chinking guitars accompanying rasping horns and piano, it’s a musical coming of age for Darrow, who produces a career defining performance. Even the B-side, the Maurice Simpkins penned What Have I Got Now is something of a hidden gem. A fusion of influences and genres, it’s exotic, soulful and dramatic. Having rejuvenated his career at Jacklyn, Darrow needed to build on the momentum.
Infatuation was chosen as the followup to Sitting There That Night. Written by Darrow and Maurice Simpkins, the single wasn’t a success. Blamed on poor promotion, it’s a familiar story in the career of Darrow Fletcher, a song should’ve fared better. It didn’t, despite the driving, dramatic arrangement that reflects the Infatuation Darrow’s suffering from. Little Girl which Darrow and Johnny cowrote shows another side to Darrow. A slower, tender and needy vocal, horns envelop Darrow’s pleas, it’s a side of Johnny we should’ve heard more of. However, that wasn’t what Johnny and the Jacklyn team thought was best for Darrow.
What Good Am I Without You proved to be Darrow’s final release for Jackyn. Harry and Mary McNeil cowrote the song with Don Mancha. He was a musical entrepreneur. DJ, producer, manager, label owner and now songwriter, Don had tried everything. However, it was like most of the songs Darrow cut for Jacklyn and before that, Groovy. It was another uptempo track, driven along by a pounding beat. On top of that, sat Darrow’s impassioned vocal, while strings danced above him. Even bringing Mike Terry in to arrange the track didn’t work. It sank without trace. Jacklyn weren’t the record company Darrow needed. What he needed was a major.
There was no disputing Darrow’s talent. The problem was, he’d signed to labels who didn’t have the sales and distribution staff. To get Darrow’s career off the ground required a bigger budget than Groovy or Jacklyn. This is where MCA come in. They entered the market when they bought Decca in 1962. Since then, they’d embarked on an aggressive expansion plan. New labels were formed and new artists signed. Quickly, MCA were a player in soul and R&B. One of their new signings was Darrow Fletcher.
The Way Of A Man marked Darrow’s debut for MCA. It was released on their Revue imprint. Written by Maurice Simpkins and produced by Darrow, it didn’t chart nationally. Back home, it gave Darrow a minor hit in Chicago, showing promise. An outpouring of emotion, Darren’s soulful, heartfelt vocal is accompanied by bluesy horns. The B-side features a lovestruck Darrow on I Like The Way I Feel. Penned by Maurice Simpkins, it surpasses the quality of The Way Of A Man. Why it wasn’t chosen as the single seems strange. At least, Darrow seemed to be maturing with every release. Surely it was only a matter of time before he hit the jackpot?
For his second single for Revue, Those Hanging Heartaches, another Maurice Simpkins’ composition was chosen. On its release this beautiful ballad, where harmonies answered Darrow’s call, it failed to chart. A small crumb of comfort was it gave Darrow a hit in the Chicago charts. This was the last single Darrow released on Revue. Next stop was MCA’s Congress imprint.
Determined to make an impact on the New York based Congress, the Don Mancha composition I Think I’m Gonna Write A Song didn’t disappoint. Released in February 1970, it reached number forty-seven in the US R&B Charts, and gave Darrow a regional hit. A sultry, seductive coming of age from Darrow, it’s a song very much in the same vein as Al Green. As Darrow delivers a breathy vamp, it looks like his luck has changed.
That was the case. When Love Calls was released in July 1970. Written by John Moore and Jack Daniels, who’d established a reputation as successful songwriters, the song was a huge hit in Chicago. Johnny Haygood claimed it sold 65,000 in Chi Town alone. Despite this, this sultry bedroom ballad reached just number fifty-six in the US R&B Charts. What stopped the single being a huge hit was the age old problem, lack of promotion. History was repeating itself in more that one way.
Flip over to the B-side of When Love Calls, and you’ll find the jaunty Changing By The Minute. Like Darrow’s debut single, The Pain Gets A Little Deeper, some DJs preferred the B-side to When Love Calls. This helped sales of the single. With both sides of the single garnering radio play, it’s no surprise it gave Darrow one of the biggest singles of his career. An uptempo song, Darrow struts his way through the songs, soaring harmonies and sweeping strings accompanying him. Ironically, just as Darrow had released what was the most successful single of his spell at MCA, his career there was nearly over.
Dolly Baby was Darrow’s MCA farewell. It’s another song written by Don Mancha. Don supplied the song, while Darrow delivered a vocal that’s almost defiant. Whether he knew his days were numbered at MCA, it’s as if he’s saying: “look at what you’re losing.” Needy, pleading and dripping in emotion, Darrow is accompanied by equally heartfelt and soulful cooing harmonies. This proves a soulful and emotive way to says goodbye to MCA.
Following Darrow’s departure from MCA, Johnny Haygood decided to setup another label. It followed a now familiar pattern. Johnny named Genna after one of his daughters. For Darrow’s label debut, Now Is The Time For Love Pt 1 was chosen. Written by Johnny Moore and Bernard Reed, it was a much more innovative and contemporary song. Laden in drama, it’s a song that straddles the sixties and seventies. Everything from psychedelia, soul, jazz, gospel and funk is thrown into the mix. Add to that lyrics full of biting social comment delivered passionately and sincerely by Darrow and this should’ve marked a new chapter in his career. Sadly, that wasn’t case.
Now Is The Time For Love Pt 1 could’ve and should’ve marked the next chapter in Darrow Fletcher’s career. It innovative song that featured lyrics that were full of social comment. This was the way soul music was heading. Marvin Gaye and Gamble and Huff would be responsible for soul with a social comment. Even Motown had changed. Both Stevie Wonder and Marvin Gaye were given artistic freedom. This resulted in the best music of their career. Even The Temptations had gone psychedelic, producing music with an important social message. Darrow Fletcher could’ve followed in their footsteps.
All it needed was the right label behind him. With good songwriters supplying him with material, Darrow could make the music come alive. Blessed with a voice that can inject emotion, meaning, and energy into a song, lyrics come alive. It only takes one listen to Darrow Fletcher-The Pain Goes Deeper-The Complete Early Years 1965-1971, which was recently released by Kent Soul, an imprint of Ace Records and you’ll realize this. Whether its sadness or joy, hurt, heartbreak and happiness Darrow Fletcher can deliver this and more. Love songs, breakup songs and makeup songs Darrow delivers them with feeling. However, there’s more to his music than that. He can deliver a Northern Soul stomper. Grabbing the song by the scruff of its neck, he can make a good song a great, and an average song good. Not every singer can do this. Darrow Fletcher could, and did. Sadly, Darrow never enjoyed the success his talent deserved.
Just like many singers, Darrow never matched the success of his debut single The Pain Gets A Little Deeper. He enjoyed just two more US R&B hit single, I Think I’m Gonna Write A Song and When Love Calls. These three songs are the sum and total of the commercial success Darrow Fletcher enjoyed between 1965 and 1971. This is documented on Darrow Fletcher-The Pain Goes Deeper-The Complete Early Years 1965-1971.Granted there were a few regional hits, but nothing that matched the success of his debut single. Darrow was unfortunate. Fame visited him early in his career. He was just fourteen, and too young to enjoy it properly. After that, it made two fleeting visits. He briefly met that seductive temptress that is fame. Like many other singers, he enjoyed a tantalising taste of what fame had to offer. Although he never experienced its delights to the fullest, four years later, Darrow Fletcher glimpsed and tasted fame’s delights once more. Ray Charles rejuvenated his career and Darrow Fletcher did what very few singers do, and rekindled his acquaintance with fame once more. Standout Tracks: The Pain Gets A Little Deeper, The Way Of A Man, I Think I’m Gonna Write A Song and Now Is The Time For Love Pt 1.
DARROW FLETCHER-THE PAIN GOES DEEPER-THE COMPLETE EARLY YEARS 1965-1971.
CARLA THOMAS-SWEET SWEETHEART-THE AMERICAN STUDIO SESSIONS AND MORE.
CARLA THOMAS-SWEET SWEETHEART-THE AMERICAN STUDIO SESSIONS AND MORE.
Musical history is littered with tales of great lost albums. Among them are Johnny Thunders’ Hurt Me, John Cale’s Music For A Lost Society and Neu’s Neu 4. Then there’s Kratwerk and The Undisputed Truth’s eponymous albums. Some of the best known lost albums include Prince’s Black Album and The Beach Boys’ Smile. Each of these albums are spoken about in hushed and reverential tones. They’re a fleeting glimpse of some of the most important, influential and innovative artists at work. Sadly, most of these lost albums will never see the light of day. That was the case with an album Carla Thomas, the Queen of Memphis Soul recorded. It features on Ace Records’ recently released Carla Thomas-Sweet Sweetheart-The American Studio Sessions and More.
Carla’s “lost album” was recorded during the summer of 1970, at Chips Moman’s American Studios in Memphis. During June 1970, eleven songs were recorded. Chips brought together a band that featured some of Memphis’ best session players. They accompanied Carla, who was now twenty-eight. The Queen of Memphis Soul had musically, come of age during the last few years. Quickly, it became apparent that Carla had brought her A-game to the sessions. A carefully chosen selection of cover versions brought out the best in Carla’s voice. Soon, the eleven tracks were recorded. They were then delivered to Stax.
Considering the quality of music, everyone thought that Stax would rush out a new Carla Thomas album. That wasn’t the case. The twelve songs sat in Stax’s vaults right through to 1975, when Stax was declared insolvent. Since then, what’s been referred to by soul connoisseurs as Carla Thomas’ “lost album” has lain unloved and unreleased. Until now. Recently, Ace Records have released Carla Thomas-Sweet Sweetheart-The American Studio Sessions and More. As well as Carla’s lost album, twelve other tracks feature on the twenty-three track compilation. This includes demos and alternate takes. Truly, Carla Thomas-Sweet Sweetheart-The American Studio Sessions and More is a compelling collection of songs from the Queen of Memphis Soul, which I’ll pick the highlights of. Before that, I’ll tell you about Carla’s career until 1970.
Memphis has been home for Carla Thomas since the day she was born. Born in the Foote Homes Housing Project, the Thomas household was a musical one. Each of the three children were musical, while her father Rufus, was a well known singer. Carla’s interest in music started in school, when aged ten, she joined the Teen Town Singers. Members were meant to be in high school. Somehow, Carla managed to juggle school work, rehearsals and concerts. Right through to her final year in high school, Carla was a member of the Teen Town Singers. After leaving school and Teen Town Singers, Carla headed to university in Tennessee and released her debut single.
At the same time, Carla cut her debut solo singe Gee Whiz (Look At His Eyes) , a song that’s become synonymous with her. This was a song that Carla wrote when she was just fifteen. On its release on Stax, it wasn’t a commercial success. A year later, Atlantic released Gee Whiz (Look At His Eyes). It reached number ten in the US Billboard 100 and number five in the US R&B Charts. Gee Whiz (Look At His Eyes) was a game-changer, launching Carla’s career.
Given the success of Gee Whiz (Look At His Eyes), Atlantic recorded Carla’s debut album. Gee Whiz was released later in 1961, and was meant to build on the success of her sophomore single A Love Of My Own. It reached number fifty-six in the US Billboard 100 and number twenty in the US R&B Charts. Gee Whiz didn’t replicate the success of Carla’s first two single, failing to chart. This was a huge disappointment and it would be four years before she released the followup album to Gee Whiz.
By the time Carla released Comfort Me, her 1965 sophomore album, she’d released about ten solo singles plus three singles with her father Rufus. The most successful single was 1963s I’ll Bring It Home To You, which reached number forty-one in the US Billboard 100 and number nine in the US R&B Charts. Carla couldn’t seem to better Gee Whiz. Mind you, it was a career defining single. This could be said of Comfort Me, which was released on Stax, reaching number 134 in the US Billboard 200 and number eleven in the US R&B Charts. For Carla, this was the start of the most successful period of her career.
1966s Carla proved Carla’s most successful album. It reached number 130 in the US Billboard 200 and number seven in the US R&B Charts. Now aged twenty-four, Carla was establishing her reputation as Stax’s leading Lady. She was on her way to being crowned the Queen of Memphis Soul. Before being crowned, Carla had to work with the King of Memphis Soul..Otis Redding.
At Stax, Carla had already recorded singles with her father Rufus. Now she was about to work with Otis Redding. There could only be one title for the album, King and Queen. Released in March 1967, King and Queen reached number thirty-six in the US Billboard 200 and number five in the US R&B Charts. Ironically, King and Queen’s success was never bettered. Now Carla had officially been crowned the Queen of Memphis Soul.
Later in 1967, Carla released Queen Alone. Given Otis Redding died in December 1967, the title Queen Alone is either poignant or prophetic. Queen Alone reached number 151 in the US Billboard 200 and number twenty-six in the US R&B Charts. It seemed that Carla’s solo career wasn’t progressing. It was stalling. However, music was changing, and changing fast. Ever since the British explosion in 1964, American music fans musical tastes had been changing. Music had then become psychedelic. Labels like Stax, Atlantic and Motown that had inspired a new generation of British musicians and British music lovers in the early sixties, weren’t as popular.This affected Carla. The commercial success she’d enjoyed seemed a long time ago.
1969 saw Carla release two albums. Memphis Queen reached number 151 in the US Billboard 200 and number twenty-six in the US R&B Charts. Carla decided that it was time to released a career retrospective. The Best Of Carla Thomas stalled at a disappointing 190 in the US Billboard 200 charts. It seemed Carla’s career was at a crossroads. So, she headed to Chips Moman’s American Studios in Memphis in June 1970, hoping he could work his magic.
Chips Moman had established a reputation as one of the hottest producers of that time. Previously, he’d worked with everyone from Bobby Womack, Solomon Burke, Esther Phillips, Dusty Springfield, B.J. Thomas, Dionne Warwick and Neil Diamond. He was an old school producer who could transform careers. What Jim Stewart and Al Bell at Stax hoped Chips could do, was broaden Carla’s appeal. This was something he’d done before, and would do again. Sadly, that wasn’t the case here.
Most of the twelve tracks were cover versions. This includes James Taylor’s Country Road, Ray Stevens’ Everything Is Beautiful, Barry and Robin Gibb’s To Love Somebody. The prolific Goffin and King contributed Sweet Sweetheart and Hi De Ho (That Old Sweet Roll). Along with track from Chips Moman’s wife Toni Wine and Stax songwriters, it looked like Carla’s career might be rejuvenated.
Toni WIne, Chips’ wife cowrote three tracks. Larry Brown and Toni penned I’m Getting Closer To You, while Toni and Carole Bayer wrote Heaven Help The Non-Believer. Irwin Levine and Toni contributed I Think I Love You Again.
Stax personnel chipped in with a few songs. Isaac Hayes and David Porter wrote Love Sure Is Hard Sometimes and B-A-B-Y. Steve Cropper and Booker T. Jones contributed Crying All By Myself.
Recording started in June 1970. Chips brought his band into the studio and they started laying down tracks. Work continued through July and into August, with Carla recorded her vocals. When the band and Carla took a break, Stax decided to release a single. This was their way of testing the water. I Loved You Like I Love My Very Life sank without trace. Despite this, the sessions continued. Hopes were high that Chips could transform Carla into a superstar. Sadly, that wasn’t to be.
Once the yet untitled album was completed, it was quietly shelved. This eclectic collection of cover versions and new songs from familiar songwriters would never see the light of day. Stax decided to cut their losses, and started work on Carla’s Love Means album. That this untitled album was never released poses all sorts of questions. The biggest is, what would’ve happened? Chips Moman was on a roll. He was one of the hottest producers, blessed with the Midas touch. He’d brought onboard some of the best session players in Memphis to accompany Carla. Even The Emotions had been drafted in to sing backing vocals. Then just because one single flopped, the whole project seems to have been shelved. That seems the only explanation, considering the quality of music on Carla Thomas-Sweet Sweetheart-The American Studio Sessions and More, which I’ll pick the highlights of.
Opening Carla Thomas-Sweet Sweetheart-The American Studio Sessions and More is James Taylor’s Country Roads. It’s given a Memphis makeover. A wailing Hammond organ, crashing cymbals and pounding drums accompany Carla’s feisty vocal. Growling horns and searing guitars join cooing harmonies as Carla delivers a strident, soulful vocal that sees the Queen of Memphis Soul coming of age musically.
A pensive piano open I Loved You Like I Love My Very Life, before Carla’s heartbroken vocal enters. Full of emotion and hurt, there’s a fragility to her tender vocal. Swathes of string accompany her. Their raison d’etre is to tug at your heartstrings. This they do successfully, before drums and piano add drama to this heartbreaking opus.
There are two versions of I’m Getting Closer To You on the compilation. Often, the first take is the best take. That’s the case here. Blazing horns, pounding drums, keyboards and sweeping strings reflect the urgency in Carla’s vocal. As her vocal grows in power, it becomes needy. Desperate to see her lover again, a needy, seductive Carla sings “I’m Getting Closer To You.”
To Love Somebody was written by Barry and Robin Gibb. It’s transformed by Carla. The tempo is slow and the arrangement understated at the start. Just an organ, whose roots are in the church accompany Carla’s soul baring-vocal. Gradually, piano, strings and rasping horns are added just at the right time. Guitars chime and harmonies coo as Carla lays bare her soul for all to see. A fusion of soul and gospel, this is one of the highlights of Carla Thomas-Sweet Sweetheart-The American Studio Sessions and More.
Hi De Ho (That Old Sweet Roll) is a track where musical genres meet head on. Listen carefully and you’ll hear everything from Southern Soul, gospel, blues and M.O.R. Carla delivers another mesmerically, soulful vocal. Accompanied by braying horns, keyboards and the rhythm section provide the backdrop for her vocal. Handclaps accompany Carla, while harmonies answer her call. Together, they inject new life and meaning into this Goffin and King song.
Just a piano opens Heavy Load, which was penned by Andy Fraser and Paul Rodgers of Free. Soon, it’s all change. Searing rocky guitar licks add a sense of drama. This is perfect for Carla’s vocal. It’s dramatic and full of frustration and anger. Her anger and frustration is the state of the world. Riffing guitars, pounding drums and flourishes of keyboards provide the backdrop for Carla. Disappointed and frustrated, she angry that the next generation are going to carry the “Heavy Load” that this generation created. Forty years later, these words ring true.
Sweet Sweetheart is another Goffin King song. From the opening bars, you realize something special is unfolding. Soon, the track is starting to swing. Southern Soul meets country, albeit with the lushest of strings added. Carla delivers a vocal that’s needy, soulful and sometimes, vampish. With the blazing horns and country tinged harmonies for company, hook-laden track swings.
One way to transform a song, is slow it down and leave spaces. This is what happens with this gospel-tinged version of Everything Is Beautiful. The song is stripped back. Carla accompanied by an understated piano and backing vocal delivers an impassioned and spiritual reading of the lyrics. Then when the harmonies drop out, Carla ensures the song swings. Chips’ band go into overdrive. Horns rasp and growl. Keyboards are omnipresent. Sweeping strings drift in and out. As for the rhythm section, they provide the heartbeat. Meanwhile, Carla and her backing vocalists drive each other to greater heights, as they deliver the definitive version of this track.
Of the other tracks on Carla Thomas-Sweet Sweetheart-The American Studio Sessions and More, they’re a compelling and eclectic collection of songs from the Queen of Memphis Soul. B-A-B-Y features a sassy Carla, aided and abetted by backing vocalists. Crying All By Myself features an outpouring of hurt and betrayal from Carla. He’s “ not coming home” and Carla is breaking her heart, wondering what she’s done wrong? On Just Kiss Your Pillow Carla is needy. She long to share his pillow, That she knows is wishful thinking. He’s taken, and belongs to another. Songs about love and love lost are plentiful on the compilation. However, Carla delivers them so well.
Proof of this is Try My, which references Phil Spector and Shadow Morton. Carla and her backing vocalists become The Shangri-Las. Cooing harmonies accompany her pleading vocal, as “she promises to always be true.” Then as she pleadingly sings “I need you, got to have you,” longing, desperation and insecurity fills what is one of her best vocals on Carla Thomas-Sweet Sweetheart-The American Studio Sessions and More.
He Picked Me is one of two tracks that I must mention. Although it’s something of a stomper, Carla’s vocal oozing sadness and emotion. She knows that although he picked her, they’ll never be together. As the reality, strikes home, she’s heartbroken. Problems features a much more mature Carla. Her vocal is worldweary, she sounds as if she’s experienced the lyrics and hurt she sings about. Fusing Southern Soul and gospel, she’s resigned to the cards she’s been dealt. Delivering a vocal that’s worldweary and tinged with resignation and regret.
Forty-three years after Carla Thomas entered the studio with Chips Mohan, at long last, her lost album has been released. We should thank Ace Records for including it on Carla Thomas-Sweet Sweetheart-The American Studio Sessions and More. Of the tracks recorded in Memphis with Chips Mohan, I’ve told you about what I consider the highlights. Having said that, there’s no filler. The songs were chosen carefully. They were an eclectic selection of cover versions and new material. This was perfect for Chips and his crack team of musicians.
Their job tried to rejuvenate Carla’s ailing career. Like so many soul singers, it had been a while since she’d enjoyed commercial success. Sending her to work with Chips must have seemed the way to revive her career. It was and it could’ve worked. Sadly, Stax decided to shelve the album. Instead, they decided to start again. Love Means reached a disappointing 213 in the US Billboard 200 and forty-two in the US R&B Charts. I’m sure that Carla’s lost album would’ve fared better.
This lost album could’ve transformed Carla Thomas’ career. Whether it would, we’ll never know. Jim Stewart and Al Bell never gave the album a chance. They never even gave this lost album a title. Instead, it lay unloved and unwanted for forty-three long years. Thankfully, it’s at last seen the light of day. What I can say is, that it would’ve had every chance of rejuvenating Carla Thomas’ career. It’s an album that straddles the sixties and seventies. Not only does it reference Stax’s trademark Southern Soul sound, but takes detours via country, R&B, gospel, blues and rock. That’s the case for the other tracks on Carla Thomas-Sweet Sweetheart-The American Studio Sessions and More.
In total, there are another eleven tracks on Carla Thomas-Sweet Sweetheart-The American Studio Sessions and More. While many of these are alternate takes, plus the odd demo, that doesn’t mean the quality is lacking. No. Far from it. Carla’s vocal bristles with emotion, veering between sass to sadness, needy and insecure to feisty and confident. Regret sits side-by-side with worldweary and joyous. On each track, Carla brings something new to the song.
Throughout Carla Thomas-Sweet Sweetheart-The American Studio Sessions and More, Carla transforms well known songs. Country Road, To Love Somebody, Hi De Ho (That Old Sweet Roll) and Everything Is Beautiful are proof of that. They’re also four of many reasons on Carla Thomas-Sweet Sweetheart-The American Studio Sessions and More that Carla Thomas is still known as the Queen of Memphis Soul. Standout Tracks: Country Road, To Love Somebody, Hi De Ho (That Old Sweet Roll) and Everything Is Beautiful.
CARLA THOMAS-SWEET SWEETHEART-THE AMERICAN STUDIO SESSIONS AND MORE.
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