VERNON BURCH-WHEN I GET BACK HOME.
VERNON BURCH-WHEN I GET BACK HOME.
There aren’t many artists who release their debut album when they’re just eighteen. Vernon Burch did. I’ll Be Your Sunshine was released on United Artists in 1975. That however, wasn’t the start of Vernon Burch’s career. No. By 1975, he was already a seasoned musician.
Before embarking on a solo career, Vernon had already spent four years as The Bar-Kays’ guitarist. For Vernon, this was a dream come true. The Bar-Kays were one of his favorite groups. So finding The Bar-Kays tour bus outside his home, when he returned from school must have been surreal. The Bar Kays hadn’t had a hit since 1967, when they lost four members in a plane crash, that also claimed Otis Redding’s life. So a rebuilding process was underway. Vernon who’d established a reputation as a talented guitarist, was brought onboard. He played on their 1972 single Son Of Shaft, their first hit since 1967. Vernon was also a member of The Bar-Kays when they appeared at Stax’s legendary Wattstax festival. Having spent four years as a member of The Bar-Kays, Vernon Burch decided to pursue a solo career. He went on to release seven albums between 1975 and 1982.
The followup to Vernon Burch’s 1975 debut album I’ll Be Your Sunshine, was When I Get Back Home. It was recently rereleased by BBR Records. When I Get Back Home wasn’t released by United Artists. No. There had been a change in the management structure. Vernon’s management wanted to renegotiate his contract. United Artists didn’t. So United Artist and Vernon Burch parted company. Next stop for the Washington born singer was Columbia, who’d released his sophomore album When I Get Back Home. This was just the next chapter in the remarkable rise of Vernon Burch, which began in Washington, in 1955.
For Vernon Burch, his life had been something of a whirlwind. Born in Washington in July 1955, he was introduced to music via the church. This is a familiar story. Vernon was a member of The Flying Clouds, a gospel group cofounded by his uncle Leroy. Then when he was eight, Vernon received his first guitar.
It quickly became apparent that Vernon was a natural guitarist. He soon had established a reputation as one of the hottest guitarist playing Chocolate City’s clubs. This resulted in Vernon heading to New York, where he worked with a girl group The Fuzz. During his time in New York, Vernon met soul royalty. Stevie Wonder, Eddie Holman, The Chi-Lites and The Impressions, Vernon met them all. Then playing alongside Hi Records’ two biggest names, Al Green and Anne Peebles resulted in Vernon joining The Bar-Kays.
In 1967, The Bar-Kays were chosen as Otis Redding’s backing band. On December 10th 1967, Otis Redding was playing in Wisconsin, so the six Bar-Kays headed off on what was a fateful journey. The plane carrying Otis, his manager and five of the six Bar-Kays crashed. This tragic crash in December 1967, robbed the group of four of its members. Only trumpeter Ben Cauley survived the crash. Fortunately, bassist James Alexander was on another plane. Following the crash, Ben and James rebuilt the group.
As part of the rebuilding process, Vernon joined The Bar-Kays. He spent four years as a member of the group. Not only did Vernon play on their 1972 single Son Of Shaft, which was their first hit in five years, but he appeared at the Wattstax Festival. Then having spent four years as a member of The Bar-Kays, Vernon Burch decided to launch his solo career. This proved to be a shrewd move.
Stax Records became insolvent in 1975. So while Stax folded, Vernon’s career flourished. He signed to United Artists and aged eighteen, released I’ll Be Your Sunshine. It reached number forty-six in the US R&B Charts. The music on I’ll Be Your Sunshine was very different to The Bar-Kays. Gone was the hard funk of The Bar-Keys. Replacing it was a much more soulful side of Vernon Burch. While I’ll Be Your Sunshine proved relatively successful, United Artists didn’t seem to agree.
After the release of I’ll Be Your Sunshine, changes were taking place at United Artists. There was a shakeup in the management setup. When Vernon’s management brought up extending his contract, United Artists didn’t want to. Luckily, another record company were interested in Vernon…Columbia Records, who released his sophomore album When I Get Back Home.
For his sophomore album, When I Get Back Home, Vernon wrote five tracks and cowrote the other five tracks. He penned Paradise, Good To Me, To Make You Stay, Leaving You Is Killing Me and Leave Your Spirit Behind. Mr. Sin, When I Get Back Home and Bye, Bye, Baby were written by Vernon and Susaye Greene. The tracks that bookended When I Get Back Home, Sexasonic and Ghetto Penthouse were written by Vernon and H. Redmon. These ten tracks became When I Get Back Home.
Recording of When I Get Back Home took place at two studios, Crystal Sound and Sun West, in Los Angeles. Columbia it seemed, weren’t skimping on their latest signing. Proof of this was the band that accompanied him. It included a rhythm section bassists Ed Brown and Nathan Watts plus drummer and percussionist Joe Blocker. They were joined by pianists John Jarvis and Greg Phillinganes, trumpeter Ray Maldonaldo and Ray Brown, saxophonist Hank Redd. Adding keyboards on Mr. Sin and Paradise was Stevie Wonder, who Vernon met earlier in his career. Vernon, played guitar, synths and with Susaye Greene, Kathy Collier and Shirley Brewer, sang backing vocals. Arranging and producing When I Get Back Home was Vernon Burch. After When I Get Back Home was recorded, it was mixed at Village Sound and Hollywood Recorders. When I Get Back Home was ready for release in June 1977.
When I Get Back Home was released in June 1977, reaching just number seventy-four in the US R&B Charts. This was disappointing for Vernon. He’d not built on the momentum of I’ll Be Your Sunshine, which had reached number forty-six in the US R&B Charts. Leaving You Is Killing Me was released in July 1977, stalling at number ninety-five in the US R&B Charts. Worse was to come. Sexasonic was released as a single in September 1977, but failed to chart. For Vernon Burch, who everything seemed to have gone his way, this was a difficult time for him. What did the future hold for him? That’s what I’ll tell you, once I’ve told you about his sophomore album When I Get Back Home.
Sexasonic opens When I Get Back Home. It’s a heavy duty slice of funky soul, celebrating sexual equality. Wah-wah guitars strut their way across the arrangement. They’re joined by a booming drum and crystalline guitars that accompany Vernon. Feisty and sassy describes his vocal, which is accompanied by cooing harmonies. Then there’s blazing horns and some mesmeric guitar solos from Vernon on this fusion of funk and soul.
There’s a change of style on Mr. Sin. Vernon’s joined by Stevie Wonder on keyboards. He proves an inspiration on this understated, dreamy ballad. Vernon’s heartfelt vocal is reminiscent of Stevie Wonder. Having said that, he breathes life into the lyrics, whose roots seem to be the church. Just mellow keyboards, percussion and the rhythm section join tender harmonies and rasping horns. They provide the backdrop as Vernon visits his soulful side.
Paradise is another track where Vernon sounds not unlike Stevie Wonder. Indeed, Paradise sounds like it belongs on a Stevie Wonder album. It’s an upbeat fusion of soul, jazz and funk, blessed with a real summery sound. From it’s understated opening, Vernon’s vocal is impassioned and sensual. Bursts of braying horns add drama, before the track takes on a much more mellow sound. That’s thanks to the keyboards. The arrangement breezes along, allowing Vernon’s vocal to take centre-stage on this, jazz-tinged slice of soulful music.
Good To Me is a return to the funk of Sexasonic. Here, Vernon’s main influences seems to be Sly and The Family Stone and Stevie Wonder. Soul, funk, jazz, psychedelia and rocky guitars combine as Vernon’s vocal takes on a tougher, edgier sound. He vamps his way through the lyrics. Searing guitars reminiscent of David Bowie’s Fame, join blazing horns and what sounds like The Family Stone providing the heartbeat. As musical genres and influences melt into one, what’s one of the highlights of When I Get Home reveals its secrets.
The title-track When I Get Back Home tells the story of a musician on the road. Back home, he’s a partner whose suspicious. Rightly so. He’s a player, whose been unfaithful. Ironically, he longs to get home to her. This track Vernon cowrote with Susaye Greene is a glorious uptempo slice of soul. Accompanied by soaring harmonies, braying horns and keyboards, Vernon’s vocal is joyous, needy and full of longing. Soul, funk and jazzy keyboards combine as Vernon delivers one of his best and most effective vocals.
Leaving You Is Killing Me is something of a stomper, with drummer Joe Blocker laying down a thunderous beat. Ed Brown’s bass matches him every step of the way. Banks of synths provide the backdrop for Vernon’s vocal. His emotive, hurt-filled vocal is accompanied by sweet harmonies and braying horns as the song swings along. Infectiously catchy and full of poppy hooks, it’s a breakup song that puts a smile on your face.
To Make You Stay is a track that’s dramatic, dance-floor friendly and soulful. Blazing horns, piano and synths set the scene for Vernon’s vocal. Full of emotion and heartbreak, he lays bare his soul. Stabs of horns reflect the drama in his vocal, while Vernon’s vocal belies his youthfulness. Hank Redd’s saxophone and bursts of thundering drums match Vernon all the way, as his vocal becomes a needy and emotive plea. Soulful, dramatic and dance-floor friendly, we hear another side of Vernon Burch.
Hank Redd’s rasping, wistful saxophone produces a late-night, jazzy sound as Leave Your Spirit Behind unfolds. Vernon’s is slow, impassioned and laden with emotion and hurt. He leaves space in his vocal. This is really potent. It adds to the emotion and drama. Sometimes, there’s almost silence. This proves really effective. Just keyboards and cymbals accompany Vernon before Hank unleashes another peerless saxophone solo. It’s almost a show-stealer. This seems to spur the band on. After that, they produce a truly compelling performance on this soul-baring, spacious, jazzy tale of love gone wrong.
Bye, Bye, Baby is another track where genres melt into one. Soul and samba joins jazz and funk. It’s another slice of summery, sunshine music. Driven along by the rhythm section, keyboards and a myriad of percussion, Vernon delivers a tender vocal. He’s accompanied by cascading, tender female harmonies. Adding bursts of drama to this minor hidden gem are braying horns.
Ghetto Penthouse closes When I Get Back Home. Briefly, the track sounds like a party in the studio. That’s fitting. After all, the track is about someone living a champagne lifestyle he can’t afford. Not only is this music with a message, but is a heavy duty slice of funky music. As the rhythm section provide a funky heartbeat, horns blaze and harmonies scat. Banks of keyboards add a P-Funk backdrop. Vernon’s vocal takes on a tougher, much more grizzled sound. This is in keeping with the rest of the arrangement, and bookends When I Get Back Home perfectly.
Aged just eighteen, Vernon Burch had released his second solo album When I Get Back Home. A fusion of soul, jazz, funk, psychedelia and rock, When I Get Back Home saw Vernon switch between musical genres. Some songs were a fusion of several genres. They were also influenced by a number of artists. One of the most obvious influences in Stevie Wonder. Vernon’s vocal sounds not unlike Stevie. So does his delivery, especially on some of the funkier tracks. Some of the songs sound as if they belong on a Stevie Wonder album. Other artists to have influenced Vernon are Sly and The Family Stone, Parliament, Donny Hathaway and David Bowie. All these artists influence Vernon Burch’s sophomore album When I Get Back Home.
Sadly, When I Get Back Home wasn’t a commercial success. No. When I Get Back Home stalled at a disappointing number seventy-four in the US R&B Charts. Considering Vernon’s debut album I’ll Be Your Sunshine reached just number forty-six in the US R&B Charts, Vernon Burch’s career didn’t seem to be going forward. Instead, it had stalled. Columbia Records dropped Vernon and it would be three years before he released another album.
It was 1978 when Vernon signed to Chocolate City, a subsidiary of Casablanca Records. he released a trio of albums. 1978s Love-A-Tron failed to chart. It did feature two minor US R&B hits, Brighter Days and Love Is. Then 1979s Get Up also failed to chart. A small crumb of comfort was the title-track, it reached number thirty-five in the US R&B Charts. 1980s Steppin’ Out was Vernon’s final release for Chocolate City. Following a similar pattern, Steppin’ Out failed to chart, but did spawn a minor US R&B hit single, Fun City. After leaving Chocolate City, Vernon’s final album Playing Hard To Get, released in 1982, recaptured his earlier success. Playing Hard To Get reached number fifty in the US R&B Charts. This was Vernon Burch’s third and final album to chart. The best of these three albums is When I Get Back Home, which was recently rereleased by BBR Records.
Best described as a genre-melting album, When I Get Back Home, was the best album of Vernon Burch’s career. Released when Vernon was just eighteen, Vernon Burch was already an experienced and practiced musicians and vocalist. Listening to When I Get Back Home, it’s hard to credit that Vernon Burch was just eighteen. Not only did he write or cowrite each of the ten songs on When I Get Back Home, but Vernon Burch played synths, guitar and sang backing vocals. He also arranged and produced each of the ten tracks. That’s quite remarkable. What’s even more remarkable, is that Vernon Burch didn’t enjoy a much more successful career. Sadly, that wasn’t to be. Instead, When I Get Back Home is the best album of Vernon Burch’s six album career. Standout Tracks: Mr. Sin, Good To Me, When I Get Back Home and To Make You Stay.
VERNON BURCH-WHEN I GET BACK HOME.
THE TEMPERANCE MOVEMENT-THE TEMPERANCE MOVEMENT.
THE TEMPERANCE MOVEMENT-THE TEMPERANCE MOVEMENT.
Many bands are touted as the future of rock ‘n’ roll. Mostly it’s either record company hype or wishful thinking. The Temperance Movement are different. They’re the real thing. They epitomize rock ‘n’ roll. Formed in 2011, they’ve come a long way in two years. They’ve conquered Britain, Europe and America with their unique fusion of rock ‘n’ roll, blues, country and soul. Somehow, whilst conquering much of the Western world, The Temperance Movement have found time to record and release their eponymous debut album.
What became The Temperance Movement, was recorded before the group signed to Earache Records earlier this summer. Earache Records were presented with the finished article. All that was left was to promote and release The Temperance Movement. It was released on 16th September 2013, and strutted its way to number twelve in the UK. This is just the start of what should be a long and successful album for The Temperance Movement, whose career started in 2011.
Although The Temperance Movement were only formed in 2011, the five members of the band have a wealth of experience. Glasgow-born lead vocalist, Phil Campbell, has released a string of solo albums. This includes 2008s After The Garden, 2009s Daddy’s Table and 2010s Saviour’s Song. As for the guitarists, Paul Sayer and Luke Potashnick, Luke is a former member of Rooster and Ben’s Brother. Bassist Nick Fyffe was in Jamiroquai’s band, while Australian-born drummer Damon Wilson counts Feeder, The Waterboy’s and Ray Davies as former employers. These five experienced and talented musicians joined forces to form The Temperance Movement.
Between 2011 and September 2012, The Temperance Movement concentrated on honing their sound. Quickly, they’d established a loyal following. Whether it was pubs, clubs, concert halls or festivals, the word was out. The Temperance Movement were seen as a group with a huge future. Some pundits hailed them as the future of rock ‘n’ roll. Strangely, The Temperance Movement weren’t signed to a record label
So when the time came to release their debut E.P, The Temperance Movement released it themselves. The Pride E.P. was released on 10th September 2012 and featured five tracks. Pride, Be Lucky, Only Friend, Ain’t No Telling and Lovers and Fighters were an introduction to The Temperance Movement’s kick ass brand of blistering rock ‘n’ roll. Pride was released to critical acclaim, and lead to The Temperance Movement playing at the Royal Albert Hall.
Every year, The Sunflower Jam Super Jam takes place at the Royal Albert Hall. This charity concert raises funds for The Sunflower Jam, a cancer charity. In September 2012, just a week after the release of the Pride E.P, The Temperance Movement were the opening act at the Super Jam. They played the first two tracks from the Pride E.P. Then in November 2012, The Temperance Movement played at Futurerock in the 100 Club, in Oxford Street, London. Playing such a prestigious venue early in their career was proof that The Temperance Movement were going places. 2012 it seemed, had been a good year. 2013 would be better.
So far, during 2013, The Temperance Movement haven’t stopped working. In April and May, they headed out on a grueling British tour. Then during the summer, they became festival favourites. All the time, they were spreading the word about the The Temperance Movement. In between, tours and festivals, The Temperance Movement managed to find time to record their eponymous debut album.
The Temperance Movement features twelve tracks. This includes the five tracks from the Pride E.P. plus seven new songs. Ten of the songs are written by Phil Campbell, Paul Sayer and Luke Potashnick. The other two tracks, Lovers and Fighters and Midnight Black were penned by Phil Campbell. These twelve tracks were recorded at the Fish Factory Studios and Submarine Studios, London. Producing The Temperance Movement, are Sam Miller and The Temperance Movement. These twelve tracks became The Temperance Movement.
With their debut album recorded, The Temperance Movement signed to Earache Records earlier this summer. By then, word was the spreading about The Temperance Movement. They were now regarded as the group who could and would save rock ‘n’ roll. Many of who had heard this before, knew The Temperance Movement were different. We weren’t surprised when The Temperance Movement reached number twelve in the UK Charts. I’m sure it’ll go higher. After all, given the quality of music on The Temperance Movement, which I’ll tell you about, rock ‘n’ roll’s in safe hands.
Only Friend, a glorious fusion of blues and rock opens The Temperance Movement. Screaming, scorching guitars, pounding drums and hi-hats take the track in the direction of AC/DC. Then when Phil’s grizzled vocal, there’s a real Led Zeppelin influence. It’s as if The Temperance Movement have been weened on classic rock. They never miss a beat. Spraying guitars across the arrangement, the rhythm section lock into a tight, steady groove, while Phil’s vocal references Robert Plant, Joe Cocker and Brian Johnson.
Ain’t No Telling doesn’t just see The Temperance Movement pick up where they left off on Only Friend. No. Things get better. The Temperance Movement kick out the jams. They become an unstoppable musical juggernaut. Jagged, crystalline guitars and a driving rhythm section drive the arrangement along. Phil Campbell’s vocal is a mixture of raw power and emotion. His powerful, impassioned pleas are heartfelt and sincere. They’re halfway between the barroom and church. His voice sounds as if it’s honed to perfection on Jack Daniels and Marlboro. Then all of a sudden, he’s a testifying preacher. This is the signal for the band to kick loose. Motoring through the gears, they produce a spellbinding performance. This proves that rock ‘n’ roll is alive and thriving, thanks to The Temperance Movement.
Pride sees a much more mellow side of The Temperance Movement. There’s a country rock sound to the track, Just acoustic guitar and meandering bass combine while Phil lays bare his weary soul. He’s loved, but lost. His Pride got in the way. Hurt and heartbreak are ever-present as Phil, accompanied by cooing harmonies, realizes what’s he’s lost.
Be Lucky sits midway between The Rolling Stones, Free, Bad Company and Primal Scream. It’s another strutting slice of classy rock. Enveloped by chugging, riffing guitars and the tightest of rhythm section, Phil’s vocal sounds as if it belongs on a Free album. Here, he sounds not unlike Paul Rodgers. It’s hard to believe Phil comes from Glasgow. He sounds as if he was born just of Route 66. Oozing confidence and sass, he struts his way through the track, every inch the old school rock ‘n’ roll frontman.
Muted guitars open Midnight Black while Phil delivers a grizzled vocal. By now, the driving, pounding rhythm section and searing, scorching rocky guitars have become the tightest of units. Phil’s vocal is very much from the school of classic rock. He’s just the latest keeper of the flame of authentic rock ‘n’ roll. This is no one-man band. No. Everyone plays their part. Listen to the duel guitars and thunderous rhythm section. They’re every inch old school rock ‘n’ roll band, on this tale of hurt and heartache.
Chinese Lanterns sees The Temperance Movement change tack. There’s an alternative country sound to the track. Think Wilco or The Jayhawks. There’s even a touch of Gram Parsons. Weeping guitars accompany Phil, whose vocal is tinged with regret. It’s late at night, and memories come flooding back. He remembers what he’s lost. She’s moved on, but he hasn’t. Still he holds a candle for her, but realistically, he knows she’s gone and he should move on. That’s easier said than done, on this tale of love lost and a heart broken. Here, Phil paints pictures, pictures that unfold before your eyes.
Know for Sure returns to the rockier sound. The tempo is dropped and briefly, Phil sounds like Peter Gabriel. Indeed, briefly, Know For Sure reminds me slightly of Peter Gabriel’s Sledgehammer. That’s before it’s transformed into another slice of old school rock. Their duel guitars do battle. They’re not content to unleash the same notes. They play around each other, their playing inventive and dramatic. Then there’s the thunderous rhythm section. It provides the backdrop for Phil, as he revisits his role of rock ‘n’ roll preacher. Later, screaming guitars replace his testifying vocal as struts his way through this reminder of what music once sounded like.
Morning Riders sees The Temperance Movement toy with you. Then they unleash some of their trademark scorching guitar licks. Drummer Damon Wilson anchors the band. He provides the heartbeat, while Phil every inch the old school frontman, throws himself into the role. It’s as if this was his destiny. He’s a mixture of Slash, Robert Plant, Paul Rodgers, Brian Johnson and Chris Robinson. As he unleashes one of his best vocals, the band are spurred on to greater heights. Whether it’s playing as a unit, or during solo, this is a vintage performance. Some stunning, screaming guitar solos are unleashed. Then the band become a tight, slick unit who deliver an impassioned, dramatic fusion of blues and rock.
Lovers and Fighters sees a much more understated side of The Temperance Movement. Just an acoustic guitar accompanies Phil’s tender, husky soulful vocal. Weeping guitars add a country twist as the arrangement begins to reveal its secrets and beauty. Drums provide a pensive backdrop that matches Phil’s vocal. It too, has a melancholy sound. Not only that, but it shows a very different and quite beautiful side to The Temperance Movement’s music. Indeed, this is much more like some of Phil’s work as a solo artist.
When the drums count the band in on Take It Back, you know what’s coming next. The Temperance Movement are about to explode into action. You’re not disappointed. Machine gun drums and rhythm section join boisterous harmonies. They set the scene for Phil’s rasping vocal. Rolls of thunderous drums, searing, crystalline guitars and singalong harmonies play their part in a track whose roots are in seventies glam rock and rock ‘n’ roll. Everything from The New York Dolls, MC5, Iggy and The Stooges, went into the making of the boisterous, strutting Take It Back.
Smouldering is another country-tinged ballad. This is something Phil Campbell and the rest of The Temperance Movement do so well. His worldweary vocal sounds full of emotion and regret. Accompanying him are guitars and the rhythm section. They’ve locked into a tight groove. Their playing is sparse and effective. Rock and country becomes one, as Phil, accompanied by scatted harmonies delivers a heartfelt and heartbroken vocal opus.
Closing The Temperance Movement, is Serenity. It has understated bluesy, country sound. Just guitars accompany Phil’s tender, emotive vocal. Again, this allows us to hear a very different side to The Temperance Movement. They’ve returned to the balladry they do so well. They’re far from a one trick pony. Later, the track becomes a blistering slice of rock ‘n’ roll. Whether its ballads, loves songs or blistering rock ‘n’ roll, The Temperance Movement do it just as well. Serenity, brings all this together and showcases the multitalented The Temperance Movement at their very best.
Just two years after they formed, The Temperance Movement have played all over Britain, Europe and America. Having won over audiences throughout the Western world, The Temperance Movement released their debut E.P. in September 2012. Released to critical acclaim, The Temperance Movement spent the next year spreading the word about The Temperance Movement. Whether it was in concert halls or at festivals, The Temperance Movement gained a band of followers. No wonder. Here was the future of rock ‘n’ roll.
The Temperance Movement are an old school rock ‘n’ roll band. They reference everyone from AC/DC, Bad Company, Free, Primal Scream, Joe Cocker, Led Zeppelin, the Sensational Alex Harvey Band and The Rolling Stones. Add to that The Eagles, The Jayhawks and Wilco. Then there’s The New York Dolls, MC5, Iggy and The Stooges. All these groups have played their part in influencing The Temperance Movement, whose eponymous debut album reached number twelve in the UK. That’s just the start. There’s only one place The Temperance Movement are going…to the top.
No wonder. The Temperance Movement keep it real. Here’s an old school rock ‘n’ roll band. It sounds as if rather than nursery rhymes, The Temperance Movement were weened on classic rock ‘n’ roll. That’s worked out well. Drawing inspiration from the music of the past, The Temperance Movement have produced the music of the future. Fusing blues, country and blistering, old-school rock ‘n’ roll and soul, The Temperance Movement’s eponymous debut album is flawless. Whether it’s ballads or when they kick loose, The Temperance Movement live up to their reputation as the future of rock ‘n’ roll.
Many bands have been touted as the savior of rock ‘n’ roll. In their hands, the future of rock ‘n’ roll has been placed. Over the years, I’ve watched the contenders come and go. Some have sunk without trace, becoming the musical equivalent of the Titanic. As for the grand old men of rock ‘n’ roll, groups like The Who and the Rolling Stones they’re yesterdays men, living off their past glories. Thankfully, rock ‘n’ roll has found its savior. The future of rock ‘n’ roll is safe, the future of rock ‘n’ roll is The Temperance Movement. Standout Tracks: Ain’t No Telling, Pride, Chinese Lanterns and Lovers and Fighters.
THE TEMPERANCE MOVEMENT-THE TEMPERANCE MOVEMENT.
FOXY-GET OFF.
FOXY-GET OFF.
Before Foxy’s recording career got underway, they honed their sound playing on a whole host of albums released on Henry Stone’s T.K. Records. Starting with Blowfly, then Timmy Thomas, Miami-based Foxy were T.K’s studio band. Foxy picked up where KC and The Sunshine Band left off. They were now T.K’s most successful signing. Their days of working as a studio band were long gone. The baton had passed to Foxy. By 1976, it was time for Foxy to release their debut album
Released in 1976, Foxy released the first of a quartet of albums they released for Henry Stone’s Dash Records. Their eponymous debut album Foxy, saw their career get off to an inauspicious start. It failed to chart. Part of the problem was Foxy couldn’t find their own sound. Instead, they sought inspiration from a number of sources. A small crumb of comfort was Get Off Your Aahh and Dance, which gave Foxy a minor hit single. Although it reached just number thirty-nine in the US R&B Charts, it reached number two in the US Dance Charts. While Foxy showcased the band’s talent and versatility, it gave no hint of what was about to happen the Miami-based sextet. Their sophomore album Get Off, which was recently rereleased by BBR Records, transformed Foxy fortunes.
For their sophomore album Get Off, three members of the band contributed the eight tracks Ish Ledesma penned Ready For Love, You and Lucky Me. He cowrote Get Off, Madamoiselle and It’s Happening with Carl Driggs. Ish and Charlie Murciano wrote Tena’s Song, while Charlie contributed Goin’ Back To You. These eight tracks became Get Off, which was produced by Cory Wade.
Recording of Get Off took place at Studio Center Sound Recording, Miami. That’s where the six members of Foxy headed. Foxy featured two lead vocalists, guitarists Carl Driggs and Ish Ledesma. The rhythm section consisted of Arnold Paseiro and drummer and percussionist Joe Galdo. Multi-instrumentalist Charlie Murciano played keyboards, woodwinds and vibes. The final member of Foxy was Richie Puente Jr, who played percussion and clavinet. He was the son of legendary bandleader Tito Puente. Along with the Bonaroo Horns, backing vocals courtesy of Wildflower and Peter Brown on synth bass, this was the lineup that featured on Get Off. Would it kickstart Foxy’s career?
Before the release of Get Off, the title-track was released as a single in May 1978. It reached number nine in the US Billboard 100, number one in the US R&B Charts and number eighteen in the US Disco Charts. Then when Get Off was released in June 1978, it reached number twelve in the US Billboard 200 and number twelve in the US R&B Charts. Foxy had been catapualted to disco Kings. Had they found their own sound, or was Get Off a genre-melting album?
Tena’s Song opens Get Off. It’s a joyous slice of dance-floor friendly music. Literally, it explodes into life. Hand claps and the pounding rhythm section set the scene for the a vocal. It’s makes you think of the jazz age. Instantly, you’re back to the twenties. Ish’s lead vocal is accompanied by punchy harmonies. Soon, it’s a scat with handclaps, piano and woodwind accompanying him. Pop, funk and jazz combine to create joyous, hook-laden track where the roaring twenties and seventies unite.
Ready For Love sees a synth, piano, pounding rhythm section and quivering strings take charge as the arrangement gallops along. Dramatic soulful and dance-floor friendly, the soul-baring vocal is accompanied by sweeping harmonies. As for the arrangement, it frames the interplay between the vocal and harmonies. Bursts of drums, flourishes of piano, dancing strings, growling horns and a bubbling bass. They provide the backdrop for an impassioned, needy plea on this dramatic, soulful paean.
Madamoiselle sees Foxy slow things down. Still they keep things soulful. Cooing harmonies, percussion and melancholy strings join rasping horns and a wistful bass. A drum roll signals the arrival of the vocal. At the start, it’s whispered and seductive, but becomes sassy and powerful. The same can be said of the arrangement. With the rhythm section providing the pulsating heartbeat, Santana-esque guitars and Latin percussion take charge. Later, cooing harmonies and lush strings provide a backdrop for the strutting vocal, on this genre-melting tracks. In less than five minutes, Foxy combine elements of disco, funk, Latin, rock and soul.
You explodes into life. A myriad of Latin percussion provides the backdrop to a sassy, strutting vocal. It’s accompanied by equally, sassy, feisty harmonies. Soon, disco strings and stabs of piano are joined by a powerhouse of a rhythm section. Bursts of braying horns, percussion and flourishes of piano combine. Ish’s vocal is feisty and dramatic, with harmonies matching his sass and confidence. During a breakdown, funk, disco and Latin melts into one. Then when the harmonies pick up the baton, they’re the finishing touch to this mesmeric mixture of musical genres. Pulsating and infectiously catchy, it’s akin to a call to dance. You’re dared not to. You can’t help but submit the charms of you.
Get Off is the best known track on Get Off. It gave Foxy their only US R&B single. That doesn’t mean it’s the best track on Get Off. Whooping, cooing harmonies gives way to the vocoder as things get funky. There’s a tougher, P-Funk sound to the track. It’s as if Foxy have sought inspiration from Funkadelic. Other times, The Salsoul Orchestra are an influence, especially with the vocals. Driven along by that bubbling bass, Foxy lock into a groove and exploit it to its fullest. What unfolds is like a party in the studio. Whoops, hollers, handclaps and harmonies are combined. Foxy fuse funk, disco, soul and bubblegum pop to create an infectiously catchy track.
Bursts of thunderous drums open Lucky Me, which marks another change in direction. Swathes of strings, rasping horns and a sharp, deliberate vocal. It takes the track in the direction of Euro Disco. Suddenly, it’s a myriad of supposedly sensuous moans and groans. Then it’s all change. Foxy deploy a vocoder. It’s an instrument that can be overused. Here, Foxy tread a fine line. A guitar could prove just as effective. Later, as the track becomes a gloriously choppy slice of Euro Disco, it’s all change. During a breakdown the track takes on a Latin sound. Sadly, it never returns to the glorious slice of Euro Disco it once was. Although it’s a good track, without the vocoder and the Latin sounding breakdown, it could’ve been a great one.
Straight away, Goin’ Back To You reminds me of Earth, Wind and Fire. It’s the arrangement that leads to that comparison. With just a piano, drums and lush strings for company, Foxy showcase their soulful side. A heartfelt and emotive vocal and Earth, Wind and Fire-sque harmonies prove a potent combination. Gradually the emotion and drama grows as Foxy replicate the soulfulness of Ready For Love.
It’s Happening closes Get Off. Just a jaunty piano is joined by a bubbling bass and urgent vocal. Soon, strings are sweeping and swirling, while bursts of rasping horns punctuate the arrangement. As the vocal drops out disco string, searing guitar, cooing harmonies and growling horns take centre-stage. By now musical genres and influences have melted into one. Listen carefully, and you’ll hear everything from pop, disco, soul and funk, plus elements of Andrew Gold and The Doobie Brothers. Poppy, soulful and catchy it’s a compelling way to close Get Off.
Just like their debut album Foxy, Foxy haven’t quite found their own sound on Get Off. That’s not necessarily a bad thing. No. Get Off is best described as a fusion of musical genres and influences. Everything from disco, Euro Disco, funk, jazz, Latin, P-Funk, pop, rock and soul can be heard on the eight tracks. Tena’s Song is one of the highlights of Get Off. As the roaring twenties and the seventies unite, there’s no hint of what’s to come. Instead, Get Off is a magical mystery tour. Ready For Love and Goin’ Back To You allow Foxy to showcase their soulful side. Then during Get Off’s other five tracks musical genres melt into one. There was something for everyone on Get Off. Whether you liked your music funky, soulful or dance-floor friendly, Foxy had something for you.
With seemingly Foxy covering all their bases, how would Dash Records market the band? Were they a disco, funk or soul band? The answer to that was neither. They were all things to all men and women. Maybe that was as a result of Foxy originally being a studio band? A studio band has to be able to accompany any type of artist. Foxy could do this. Seamlessly, they could switch from soul to funk and then disco. This was a bit like Earth, Wind and Fire, who Foxy occasionally sound like. Sadly, Foxy didn’t come close to replicating the commercial success and critical acclaim of Earth, Wind and Fire.
Instead, Foxy released just two more albums. 1979s Hot Numbers reached number twenty-nine in the US Billboard 200 and number ten US R&B Charts. Their final studio album was 1979s Party Boys. It failed to chart and Foxy split up in 1980. Their recording career lasted three years and numbered just four albums. Foxy’s finest hour was Get Off, which was recently rereleased by BBR Records. Seamlessly, Foxy fuse musical genres and influences on what was the most successful album of their career, Get Off. Standout Tracks: Tena’s Song, You, Get Off and Goin’ Back To You.
FOXY-GET OFF.
MONK MONTGOMERY-REALITY.
MONK MONTGOMERY-REALITY.
Music was in Monk Montgomery’s blood, especially jazz music. His younger brothers were the legendary jazz guitarist Wes, while Buddy, played vibes and piano. Despite coming from a musical family, Monk’s professional career only started when he was thirty. He was a bassist, but unlike his predecessors, eschewed the double bass for the Fender Precision Bass.
Indeed, it was Monk Montgomery who legitimized the Fender Precision Bass. Designed by Leon Fender, its introduction coincided with the start of Monk’s career in 1995. Before that, producers and engineers were wary of the Fender Precision Bass’ sound. They were wary of its power and how it could, if not used properly, dominate a track. Monk Montgomery changed people’s opinion of the Fender Precision Bass. This became his musical weapon of choice.
The Fender Precision Bass can be heard when Monk played on albums by Kenny Burrell, Art Farmer, Johnny Harris Johnny Griffin, Eddie Harris and Buddy Montgomery. Then there’s the nine albums Buddy, Wes and Monk recorded as The Montgomery Brothers, plus Monk’s three solo albums. His last solo album was 1974s Reality, which was recently rereleased by BBR Records. Reality which was released on Philadelphia International Records, was the swan-song to Monk’s three decade career, which I’ll tell you about.
It was October 1921, when Monk Montgomery was born in Indianapolis, Indiana. He was the eldest of three brothers who became jazz musicians. Wes would play guitar and Buddy would play piano and vibes. Monk started off playing the double bass, but when he turned professional in 1951, plugged in.
When Monk turned professional, he turned his back on the double bass. Controversially, Monk decided to try Leo Fender’s Fender Precision Bass. Soon, Monk tamed the Fender Precision Bass. No longer did producers fear the instrument. Instead, they realized, in the right hands, it was a potent and powerful weapon. Lionel Hampton realized this.
Between 1951 and 1953, Monk was the bassist in Lionel Hampton’s orchestra. Considering this was his professional debut, Monk was starting at the top. Then in 1953, Monk became a member of the Art Farmer Septet until 1956. After that, he became a member of The Mastersounds between 1957 and 1960. They went on to record six albums. Then with Wes and Buddy, The Montgomery Brothers recorded the first of nine albums they released. Although his career started late, he was making up for lost time. This was the case during the sixties.
Throughout the sixties, Monk was working with some of the biggest names in jazz. Away from The Montgomery Brothers, Monk worked with The Jazz Crusaders, Hampton Hawkes, George Shearing and The Jack Wilson Quartet. Monk also played on his brothers Wes and Buddy’s solo albums. This includes Wes’ final album A Portrait Of Wes Montgomery. It was released in 1968, the year Wes Montgomery died of a heart attack. Wes had returned from a tour and was enjoying the most successful period of a career. Monk was heartbroken. However, life and his career had to go on.
1969 saw Monk release his debut solo album It’s Never Too Late. It saw Monk joined by members of The Jazz Crusaders. Monk had played on a couple of their albums. So this was a case of returning the favor. Produced by Jazz Crusader Wayne Henderson and Stewart Levine, It’s Never Too Late wasn’t a commercial success. Neither was the followup.
Between the release of his debut album It’s Never Too Late and the release of 1971s Bass Odyssey, Monk had been working with vibes player Red Norvo. Again, an all-star lineup accompanied Wes on Bass Odyssey. Produced Wayne Henderson and Stewart Levine, Bass Odyssey failed to chart. Monk wouldn’t release another album for three years.
Following the release of Bass Odyssey, Monk returned to session work. This was what Monk was doing when Gamble and Huff contacted him. They wanted Monk to sign Monk to Philadelphia International Records. This didn’t please some of the jazz community. They wondered why Monk was signing to a soul label? However, this wasn’t just any soul label, it was one of the most successful soul labels. Monk’s music would Gamble and Huff argued, would be heard by people who didn’t usually buy jazz albums. For Monk, it looked like a no-loose situation.
When work began on what became Reality, Monk contributed Close Your Face. Producer Bobby Martin penned Reality and Sippin’ and Tippin.’ Bobby cowrote Bump De Bump with Norman Harris, whose guitar playing is reminiscent of Wes Montgomery. Other tracks included Bill Cosby’s I Love You Camille, Neal Hefti’s Girl Talk and Ron Feuer’s Little O’s. The other track was a cover of Gary Gilbert collaboration with Gamble and Huff, Me and Mrs Jones. These eight tracks became Reality.
Recording of Reality took place at Joe Tarsia’s Sigma Sound Studios. A slimmed-down version of M.F.S.B. accompanied Monk. This included the Baker, Harris, Young rhythm section, guitarist Ron Kersey, vibes virtuoso Vince Montana Jr and Larry Washington on bongos and congas. Producer Bobby Martin played piano and Fender Rhodes while Don Renaldo’s Strings and Horns added a trademark Philly Soul sound. Guest musicians included organist Ron Feuer, drummer Santo Sazino and Danny Skea on electric piano and clavinet. Once Reality was recorded, it was ready for release in November 1974.
On the release of Reality in November 1974, the album failed to chart. So did the title-track Reality, when it was released as a single in November 1974. Monk Montgomery’s music wasn’t heard by a wider audience. Instead, Reality proved to be his final studio album. Did Reality see Monk Montgomery bow out on a high?
The title-track Reality was penned by one of the forgotten heroes of Philadelphia International Records, Bobby Martin. Songwriter, arranger and producer, here disco, jazz and soul unite. After the dramatic drum rolls, lush strings join ethereal harmonies forces with Monk’s bass. As strings dance and dreamy harmonies coo, quick bursts of Monk’s muted bass dances across the arrangement. It skips its way across the arrangement, as M.F.S.B. seamlessly unleash some jazzy and funky licks.Dreamy, dramatic and ethereal, describes the track while mesmeric describes Monk’s bass playing.
Me And Mrs. Jones is given something of an understated makeover. Swathes of Don Renaldo’s strings sweep back and forth while Earl Young’s drums mark time. Monk’s playing is sparse and subtle. There’s neither showboating nor excess. Space is left within the arrangement. Members of M.F.S.B. fill the spaces. This includes Norman Harris’ jazz-tinged guitar, wistful horns and Vince Montana Jr’s vibes. They add a melancholy sound, while Earl’s drums add occasional bursts of drama on this reinvention of a Philly Soul classic.
There’s a real cocktail jazz sound to the piano that opens Sippin’ And Tippin.’ Its slinky sound weaves its way in and out of a meandering arrangement. Monk’s bass meanders thoughtfully, while the wailing Hammond organ adds a contrast. Then when a piano is unleashed, there’s a much more vibrant sound to this kittenish slice of sixties jazz.
Bump De Bump was written by Bobby Martin and Norman Harris. Here, Monk shows his versatility, on this blisteringly funky track. Growling horns, join Baker, Harris, Young at their best. Funk, jazz and Philly Soul become one. Monk takes centre-stage. He’s out front unleashing his trademark sound. It’s unmistakable. This seems to spur M.F.S.B. on. The rhythm section provide a pulsating, uber funky beat that drives this musical juggernaut along. Guitars chime, horns bray and Monk demonstrates his versatility.
I Love You Camille was written by comedian Bill Cosby. Driven along by the unmistakable sound of the clavinet, swift chord changes add to the drama and beauty of this track. Seamlessly, M.F.S.B. shift through the gears. Keyboards, clavinet and a thunderous rhythm section provide transform M.F.S.B. into dramatic, powerhouse. Despite this, the swathes of strings add an ethereal beauty. So do, the keyboards and Monk’s thoughtful, pensive playing. Effortlessly, he unleashes one of his best and most dramatic solos. As he matches the rest of M.F.S.B. every step of the way, Monk plays his part in the genre-melting track’s success.
Little O’s has a shuffling arrangement. Here, Monk’s bass and Hammond organist Ron Feuer take centre-stage. The rest of the band play behind them. Drums pound, hi-hats hiss and Monk delivers a mesmeric solo. His hands flit effortlessly up and down the keyboard, as M.F.S.B. mix jazz, funk and even, rock. Then when Monk and Ron Feuer combine, they prove a potent partnership. They seem to drive each other to greater heights. Getting in on the action is drummer Santo Sazino who with Ron and Monk drives the track to its dramatic crescendo.
Girl Talk was the theme to the 1965 movie Harlow, which documented the story of Jean Harlow’s life. It features one of Monk’s best performances. Evocative, atmospheric and spacious, the track has a broody sound. Monk’s playing is wistful and pensive, while drums are played with brushes and Bobby Martin’s Fender Rhodes adds to the sense of melancholia. As the tempo quickens, this allows Monk and the rest of M.F.S.B. combine to create an enigmatic track. One minute it’s moody and melancholy, the next it’s melodic, dramatic and hopeful. This seems fitting, given it’s telling the story of Jean Harlow.
Close Your Face closes Reality on a high. Monk returns to his roots. At breakneck speed, a a drum solo is unleashed. Next to join the fun is the Hammond organ. Gradually, the arrangement reveals its subtleties. We’re headed back to jazz’s glory days and bebop. As the Hammond organ joins Monk and the drums, this triumvirate power the arrangement along. The result is a glorious reminder of the jazz’s glory days.
Reality proved to be something of a reality check for Gamble and Huff. They weren’t invincible. Not everything they touched turned to silver, gold or platinum. While they were enjoying commercial success and critical acclaim, they weren’t without their failures. Far from it. For every hit The O’Jays, Harold Melvin and The Blue Notes and Three Degrees enjoyed, there were flops from That Jones and Mel Lewis, Spiritual Concept, Bunny Sigler, Bobby Taylor, Derek and Cyndi and Robert Upchurch. Each of these artists failed to replicate the commercial success of Philadelphia International Records higher profile artists. To that list, Monk Montgomery’s name must be added. Gamble and Huff’s dalliance with jazz hadn’t paid off. Having said that, Reality is something of a minor hidden gem in Philadelphia International Records back-catalogue.
That’s thanks to Bobby Martin. He produced Reality. Philadelphia International Records’ forgotten hero penned two tracks and cowrote Bump De Bump with M.F.S.B. guitarist Norman Harris. These were three of the eight tracks Monk and Bobby chose for Reality. Accompanying Monk on Reality, were an all-star band. This included some of M.F.S.B. and some of Monk’s trusted sidemen. The result was a genre-sprawling album. Everything from bebop, cocktail jazz, disco, funk, jazz, Philly Soul and rock can be heard on Reality. Monk’s trademark sound shines through. This came courtesy of Leo Fender’s Fender Precision Bass. In Monk’s hands, it’s hugely effective. His playing can be described as sparse, subtle, understated, breathtaking and mesmeric. Monk’s playing spurred M.F.S.B. on to greater heights. Sadly, their efforts weren’t appreciated.
On the release of Reality, it sunk without trace. That’s no surprise. Philadelphia International Records wasn’t a jazz label. They’d no track record with jazz albums. Who did they know within the jazz world? Did they have contacts within jazz radio stations and magazines? In many ways, it’s no surprise Reality wasn’t a commercial success. For Monk Montgomery that was the final studio album he released. He did release Monk Montgomery Live In Africa…Live in 1974 on Philadelphia International Records. It wasn’t a commercial success. That proved to be the end of Monk’s solo career. Reality which was recently released by BBR Records proved to be Monk Montgomery’s swan-song.
Although he continued to work as a session musician until 1976, Monk Montgomery never released another solo album. As for producer Bobby Martin, his career as a songwriter, arranger and producer continued. Bobby was one of the architects of Philly Soul, and enjoyed a hugely successful career. Despite this, Bobby Martin who died recently, is one of Philly Soul’s forgotten heroes. A reminder of his talent as a songwriter and producer is Monk Montgomery’s final solo album Reality, a hidden gem in Philadelphia International Records back-catalogue. Standout Tracks: Reality, Me And Mrs. Jones, Bump De Bump and Girl Talk.
MONK MONTGOMERY-REALITY.
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.
dereksmusicblog
dereksmusicblog 