GOUSH BEDEY.
GOUSH BEDEY.
Following the Iranian Revolution of 1979, music almost overnight, became illegal. No longer were concerts held, sheet music printed or albums released. Suddenly, Iran’s vibrant and eclectic music went into hibernation. Musicians headed overseas. They became exiles. There was no point living in a country where they were persecuted and banned from making a living. So they headed overseas. Those that were left behind couldn’t believe what was happening.
For those left behind, they watched helplessly as musical instruments, sheet music and even records were destroyed. The only music allowed, was Islamic music. So no longer were Iranian musicians able to play the music they loved. That included everything from soul and jazz, right through to funk, psychedelia and pop. Iranian music before the revolution was eclectic. Proof of this is Goush Bedey, which is the fifth release in Pharaway Sounds’ series of pre-Revolutionary Iranian music. Funk, psychedelia and pop can be found on Goush Bedey, a sixteen track compilation, which I’ll pick the highlights of.
My first choice is Soli’s Sadaf, which opens Goush Bedey. Joyous, funky and driven along by blazing horns, a myriad of percussion and a funky bass joins a cascading, emotive flute. Bursts of dramatic drums signal the arrival of Soli’s impassioned vocal as he revisits what seemingly was familiar theme of pre-Revolutionary Iranian music. That theme, is that pearls were the result of oysters swallowing raindrops. Full of imagery, slightly surreal and hugely evocative, the result is joyful and psychedelic musical journey.
Straight away, you realize Shoreh’s To Ke Nisti is more than a little special. Released in 1977, it featured on her Dokhtare Mashreghi album. Quivering strings sweep and swirl, joining stabs of rasping horns and what sounds like the rhythm section from a seventies Blaxploitation move. It’s as if John Shaft has been transported to Tehran. Add to the a flute that dances alongside the strings. Then there’s Shoreh’s vocal. It reflects, and adds to, the drama of this funky opus.
Shahrokh has featured on previous installments of Pharaway Sounds’ series of pre-Revolutionary Iranian music. His contribution is the title-track Goush Bedey. Like so many of the sixteen tracks on Goush Bedey, it’s a track full of surprises and subtleties. There’s a real Eastern sound that’s evocative. It paints pictures and instantly, your transported back to seventies Iran. As the bass, acoustic frame drum and flute combine, strings slowly, sweep and swirl. Then there’s Shahrokh’s vocal. It’s best described as soul-baring and laden with emotion. No wonder he’s such a favorite of Pharaway Sounds’ compilers.
Shohreh’s To Bemoon explodes into life. It’s a track that sounds as if it should be the soundtrack to a car chase in a Blaxploitation movie. The drums and horns are at the heart of the track’s success. They feed off each other. So to some extent, do the woodwind. Then there’s the female vocal, it’s delivered with an urgency, as funk, Afro-beat and soul unite to create a hidden funky gem.
Crooner. That’s one way to describe Sattar on Bot Shekkan. He sounds like an Iranian Tony Bennett or Andy Williams. It’s as if he’s been overwhelmed by the emotion. There’s a reason for this. The song’s lyrics celebrate an important period in Islamic history. That was when Mahmud of Ghazni was crowned the first Sultan of the Ghaznavid Empire. Cinematic strings shiver and shimmer, while the bass meanders along. Filling the gaps is Sattar’s vocal. It’s full of heartfelt and emotive, breathing life and meaning into the lyrics on a track where M.O.R. and pop unite.
The best way to describe Azita’s Bi To is a fusion of disco and Latin. As rasping horns and percussion provides a Latin twist, hissing hi-hat adds a disco influence. One thing’s missing though. That’s the disco strings. No worries. Azita’s found a replacement. This is what sounds like Hungarian fiddles. Their evocative sound result in an infectiously catchy, genre melting track.
Mahasti is one of just two artists to feature twice on Goush Bedey. No wonder. She’s a hugely talented singer, who brings songs to life. Her two contributions are Aziz-E Rafteh and Delah Tangeh. Thet showcase the ethereal beauty of Mahasti’s vocal. That’s the only similarity between the two tracks. Aziz-E Rafteh is reminiscent of sixties French pop. It’s the swathes of sweeping strings and acoustic guitar that lead to the comparison. As for Mahasti’s vocal, it’s impassioned and heartfelt. The other track, Delah Tangeh has an understated and compelling introduction. Gradually, it unfolds. Strings cascade while the drums provide the heartbeat. Having set the scene for Mahasti’s vocal, she lays bare her soul for all to see and hear.
Nooshafarin’s Gharibeha is my final choice from Goush Bedey. From it’s jaunty introduction, where the muted trumpet and strings skip confidently along, you’re hooked. Their carefree sounds is joined by Nooshafarin’s vocal. The only way to describe it is ethereal and heartfelt. Throughout the track, strings are dropped in at just the right moment. Meandering along is the bass line. Just like the other instruments, it plays its part in this track’s success and beauty.
Goush Bedey is a truly eclectic compilation of hidden gems, rarities and forgotten musical nuggets. Although this is the fifth installment in this series of pre-Revolutionary Iranian music, there’s no sign of the series running out of steam. Far from it. Pharaway Sounds have surpassed their previous efforts on Goush Bedey.
To do that, they’ve combine jazz, funk, soul, classical, folk, pop, psychedelia and rock. All this is thrown into the musical melting pot. What comes out is a mesmeric fusion that captivates and compels. You’re taken on a musical journey, one that veers between, ethereal, emotive, surreal and trippy, to beautiful, understated and melancholy. One thing the music never is, is boring. Not at all. Subtleties and surprises are sprung. On Goush Bedey, there’s many a change of direction. This is the musical equivalent of a handbrake turn. That’s what makes Goush Bedey such a captivating and refreshing compilation.
There’s a reason I refer to Goush Bedey as a refreshing compilation. That is, because Pharaway Sounds eschew the safe and sterile music that can be found other compilations. That’s no bad thing. Far from it. Instead, they take a different approach. They’re brave and bold, and seem determined to give the compilation world a shakeup. To do this, they’ve managed to lay their hands on tracks other record companies can only dream of. Many of these hidden gems and musical nuggest feature on Goush Bedey, which not only is crammed full of quality music, but surpasses the quality of Pharaway Sounds’ previous compilations of pre-Revolutionary Iranian music. Standout Tracks: Soli Sadaf, Sattar Bot Shekkan, Mahasti Delah Tangeh and Nooshafarin Gharibeha.
GOUSH BEDEY.
SILVETTI-SPRING RAIN.
SILVETTI-SPRING RAIN.
Despite enjoying a career that lasted four decades, Bedu Silvetti is always remembered for his disco classic Spring Rain. It originally featured on Silvetti’s 1976 debut album World With Words. On its release as a single in January 1977, it reached number four in the US Disco Charts. Seven months later, Spring Rain was the title of Silvetti’s Salsoul album. Released in August 1977, Spring Rain, which was recently released by BBR Records, showcased one of the most innovative producers of the disco era. That’s no exaggeration. You’ll realize that, once I’ve told you about Silvetti’s career and then his sophomore album Spring Rain.
Bedu Silvetti was born in Quilmes, a city in the Buenos Aries province if Argentina. Christened Juan Fernando Silvetti Aorno, Silvetti’s musical eduction started at an early age. Aged six, he was learning to play the piano. Then as a teenager, Silvetti formed a jazz quartet. By the time Silvetti turned twenty-one, he was leaving Argentina’s shores.
Arriving in Spain, Silvetti soon forged a reputation as one of the best jazz pianists in Spain. This resulted in him playing in some of Spain’s most prestigious venues. Then when he spent some time living in Mexico, Silvetti spent time working as an arranger and composer. This would prove to useful when he returned to Spain.
On his return his adopted home, Spain, Silvetti signed his first recording contract. He signed Hispavox Records, which was EMI’s Spanish imprint. For his debut album, 1976s World Without Worlds, musical genres and influences melted into one. Elements of soul, funk, Latin, classical, jazz and M.O.R. melted into one. Produced by Rafael Trabucchelli, Silvetti was learning from an experienced and producer. Rafael was a legendary figure in Spanish music, so the perfect person to guide Silvetti through the recording of World Without Words.
Featuring ten tracks and clocking in at thirty-one minutes, Silvetti’s debut album World Without Words was released in 1976. Not only was World Without Rain released in Spain, but in various other countries.This was the result of a licensing agreement Hispavox Records had with other record companies. One of these companies, was Salsoul Records in America.
Salsoul were drawn to one track on World Without Rain, Spring Rain. This was just a shortened version of the track that would become synonymous with Silvetti. Indeed, Spring Rain would be the title of Silvetti’s sophomore album.
For the followup to World Without Words, Silvetti wrote seven of the eight tracks on Spring Rain. The exception was Contigo, which Silvetti cowrote with Ibanez Sylvia Riera. These eight tracks became Spring Rain, which was released on Hispavox Records in Spain and Salsoul in America.
Despite being only licensed to Salsoul, Spring Rain is perceived as a Salsoul Records release. It is and it isn’t. Recorded in Spain, The Salsoul Orchestra don’t feature on Spring Rain. Indeed, the musicians aren’t named. This adds an air of mystery. You wonder who were the musicians that Silvetti conducted? Silvetti played piano and arranged the eight tracks. Producing Spring Rain was Rafael Trabucchelli, who produced World Without Words. Tom Moulton, Salsoul’s favorite mixer was brought in to mix Spring Rain which was released in August 1977.
Before the release of Spring Rain, the title-track was released as a single. Incredibly, Spring Rain just reached number thirty-nine in the US Billboard 100, number seventy-seven in the US R&B Charts and number four in the US Disco Charts. Then to coincide with the release of Spring Rain the album, Voyage Of No Return was released as a single. It reached just number nineteen in the US Disco Charts. Then when Silvetti’s sophomore album Spring Rain was released, it failed to chart. For everyone involved, this must have been hugely disappointing. After all, here was a producer although based in Spain, who bought in to the ethos and sound of Salsoul. He was innovative, producing music that was ahead of the musical curve. Unfortunately, great music doesn’t always find an audience. Maybe Silvetti was ahead of his time with Spring Rain? Was that the case?
Opening Spring Rain is the title-track. Mixed by Tom Moulton, a lush sounding track, that sounded as if it had been recorded by The Salsoul Orchestra unfolds. Opening with stabs of piano that give way to that much sampled piano riff, rocky guitars and then the lushest of strings enter. From there, the track sweeps along at 114 beats per minute. Subtle, tender backing vocalists enter, as the track takes on a hustle sound. Percussion then plays its part, joining the strings and that piano, while drums pound dramatically. By the end of the track, you can only marvel at this timeless opus that has inspired a new generation of producers.
Primitive Man sees Silvetti find his inner funkateer. Bursting into life, a bubbling bass line, riffing guitars, braying horns and a pulsating heartbeat unite. Scatted, sassy harmonies join rasping horns and the lushest of disco strings. That’s not forgetting Silvetti’s piano masterclass. Subtle, spacious and effective, it’s what he doesn’t play. Behind him, the rest of the band provide a pulsating, uber funky arrangement. It bubbles along with disco, funk, Latin and jazz majestically becoming one.
A Smile At Dawn sounds as if it’s a lost track from The Salsoul Orchestra or Salsoul Strings. Again, musical genres melt into one. There’s a real Latin flavor to this track. Add to that soul, disco, funk and jazz. Silvettie’s jaunty piano is joined by chiming guitars, piano and the rhythm section. Then there’s the ethereal beauty of the seductive, scatted harmonies. Sudden, sharp, bursts of piano and horns provide a contrast to the harmonies. Lush, meandering, seductive and dramatic, this tracks all this and more. It’s five magical minutes that epitomize the Salsoul sound and ethos.
Two Cups Of Coffee has a dreamy, languid sound. It has a Sunday morning sound, where easy listening, jazz and even, erotica unite. This proves a potent and compelling fusion. Meandering along, with chiming, jazz-tinged guitars, Silvetti’s keyboards and melancholy strings join wistful, breathy and almost sensual harmonies. Floating along, swathes of strings, keyboards and the rhythm section take the track in the direction of jazz, before the track returns to it’s familiar laid-back sound.
Voyage Of No Return sounds like the type of music Vince Montana Jr. wrote, arranged and produced when he lead The Salsoul Orchestra. When he left, they lost direction. Silvetti maybe, should’ve been the man to replace him? Given this track’s Salsoul sound, I wonder why nobody thought of this? Best described as sounding like The Salsoul Strings with The Sweethearts of Sigma adding punchy, wistful harmonies. As disco, Philly Soul, Latin and M.O.R. were all combined by Silvetti, it’s hard to believe this track wasn’t recorded at Sigma Sound Studios? Instead, it was recorded in Spain, by the man who could’ve been keeper of the Salsoul flame, Silvetti.
Coconut Rain is best described as calypso, Latin, funk and jazz combining over five minutes. An infectiously catchy track unfolds over five minutes. Gradually, it reveals its secrets. A combination of Latin percussion, urgent bursts of piano and thunderous drums finds a groove and exploit it fully. Then the bass helps propel the arrangement along. Soon, disco strings, rasping horns and bubbling bass join with Silvetti’s decisive piano playing to create a musical mystery tour that takes in the Caribbean, South America, Europe and America.
Fortune Teller is very different from the rest of Spring Rain. It sees Silvetti turn back time, resulting in a vintage slice of jazzy music. The track has a smokey, late-night sound. Think four in the morning and your hearts been broken. Your’e sitting with a cigarette in one hand and a glass of whisky in the other. This is the music that would provide the backdrop to your hurt and heartache. Swathes of strings sweep and swirl, harmonies coo and drums pound. They set the scene for a soul-baring saxophone solo. It wanders its way across the arrangement, matched every step of the way by the rhythm section. Silvetti is content to play second fiddle to the saxophone, and later, the soulful and heartbreakingly beautiful harmonies. All this results in a beautiful track, one that’s truly timeless and showcases Silvetti’s versatility.
Closing Spring Rain is Contigo, which has a real Brazilian influence. Drums pound, providing the heartbeat, while bass snakes its way across the arrangement. Above it sits the sultriest of saxophones. Soon, a myriad of Latin percussion, swathes of grand strings sweep and swirl across the arrangement. Bursts of pensive, acoustic guitar flits its way up and down the fretboard, while Silvetti deliberately and confidently adds bursts of piano. Adding the finishing touches, are bursts of ethereal harmonies as this grand, genre-melting track heads to its crescendo. This means Spring Rain finishes, as it began, on a high.
Just eight songs and thirty-nine minutes long, Spring Rain is an almost flawless album. A fusion of musical genres, everything from disco, funk, jazz, and soul sat comfortably next to calypso, Latin and classical music. Sometimes, four or five musical genres melt into one during just one track. Often, this results in music that epitomizes the Salsoul sound. The strange thing is, that while Salsoul is a New York label, Silvetti was a Spanish producer. However, Silvetti’s music has the same sound, ethos and sheen as Salsoul. Despite this, Spring Rain never enjoyed the same commercial success as many of Salsoul’s release. Maybe the problem was people didn’t understand Spring Rain which was recently rereleased by BBR Records?
That’s often the case with innovative and imaginative music. Spring Rain was a progressive album, way ahead of the musical curve. Sculptural, elegant and ethereal, the music of the past and the present met head-on. The result was an album that was dance-floor friendly, soulful, Latin-tinged and jazzy. That describes Spring Rain, an album that’s pretty near flawless.
Best know for its title-track, which is a disco classic, there’s much, much more to Silvetti than Spring Rain. Much more. Silvetti released a string of solo albums, then worked as an award winning composer, arranger and producer. Critical acclaimed and commercial successful, Silvetti’s work as a composer, arranger and producer lead to him winning numerous prestigious awards. This includes being named Billboard’s producer of the year in 2002. Then in 2003, the year of his death, Silvetti won a Latin Grammy Award. He was named producer of the year for his work on Luis Miguel’s Hasta Que Vuelvas. Despite enjoying such a successful and award winning career, many people remember Silvetti for just one song, Spring Rain. Mind you, if you’re going to be remembered for just one song, make it as good as Silvetti’s Spring Rain, a timeless, disco classic. Standout Tracks: Spring Rain, A Smile At Dawn, Voyage Of No Return and Contigo.
SILVETTI-SPRING RAIN.
TRAX BOX.
TRAX BOX.
There are some labels whose music epitomizes everything that’s good about a musical genre. Think of Stax Records and Southern Soul, Blue Note and jazz, Chess Records and Chicago blues, Salsoul Records and disco or between 1972 and 1975, Philadelphia International Records and Philly Soul. Each of these labels produced some of the best music in the history of modern music. To that list, I’d add Trax Records. Trax Records were one of the most influential and innovative Chicago house labels.
Founded in 1983, Trax Records enjoyed a longevity that few other house labels enjoyed. Trax were responsible for releasing some of the most important releases in the history of house music. Think of just about any of the Chicago house classics, and most likely, it’ll have been released on Trax Records. Along with DJ International, Trax Records dominated house music. Indeed, when it comes to Chicago house, its history can be divided into to periods. B.T, before Trax, and A.T. after Trax.
Trax as you can see, was hugely important in the development and growth of Chicago house music. Would house music have become as popular as it has, without Trax? Similarly, would house music have enjoyed the longevity it has without Trax? In some ways, with Trax helped spread the Chicago house gospel far and wide. However, in th eyes of some people, Trax wasn’t a benevolent benefactor.
No. Then again who is? Controversy and allegations surrounds some of its business practices. The same can be said of many labels. In the case of Trax, whether there’s any truth in these rumors, who knows? What I can say, is that it’s become part of the myth and aura that surrounds Chicago house music’s biggest label, who in 2013, celebrate their thirtieth anniversary. However, their clubbing days are far from over. No. Trax are reliving the heady, hedonistic days of Chicago house’s heyday with the release of Trax Box.
Released by Harmless Records on 30th September 2013, Trax Box is no ordinary box set. Far from it. It’s a sixteen-disc box set that features Trax Records’ first seventy-five releases. This includes the A and B sides. There are many a glittering hidden gem awaiting discovery during the sixteen discs. A voyage of discovery awaits the diligent crate-digger. It’s well worth spending the time listening to each disc. To do this, set aside two days. Do what I did, and immerse yourself in some of the finest Chicago house ever released between 1985 and 1989, which the Trax Box covers. Relive the music of Marshall Jefferson, Mr. Fingers, Virgo, Vincent Lawrence, Fresh, Frankie Knuckles and Robert Owen. That was all still to come. Back in July 1979, disco had just died.
House music was born in Chicago out of necessity. Disco had died a slow, lingering death. After the vitriolic Disco Sucks campaign succeeded in killing disco, dance music was at a crossroads. Disco had provided the musical backdrop to the second half of the seventies. Ironically, disco went from hero to zero in the space of a year. Suddenly, disco sucked. Disco’s downfall started on Christmas Eve 1978, That’s when Steve Dahl was fired by Chicago radio station WDAI. It had previously been a rock station, but switched to disco. Steve wasn’t out of work long. He was hired by WLUP, a rival station. WLUP played rock, which suited Steve Dahl. He’d an inkling that disco wasn’t long for this world.
Steve wasn’t a fan of disco, and took to mocking disco on-air. Openly, he mocked WDAI’s “disco DAI.” It became “disco die” to Steve. Soon, Steve had created the Insane Coho Lips, his very own anti-disco army. Along with cohost Gary Meier, they coined the now infamous slogan “Disco Sucks.” The backlash had begun.
From there, the Disco Sucks movement gathered momentum. Events were held all over America. This came to a head at Disco Demolition Derby, which was Steve Dahl’s latest anti-disco event. Each one was becoming bigger, rowdier and attracting even more publicity. Disco Demolition Derby, which was held at Comiskey Park, Chicago on 12th July 1979 surpassed everything that went before.
WFUL were sponsoring a Chicago White Sox game at Comiskey Park. if fans brought with them a disco record, they’d get in for ninety-eight cents. These records would be blown up by Steve Dahl. An estimated crowd between 20-50,000 people attended. Quickly the event descended into chaos. Vinyl was thrown from the stands like frisbees. Then when Steve blew up the vinyl, fans stormed the pitch and rioted. Things got so bad, that the riot police were called. After the Disco Demolition Derby, disco nearly died.
Following Disco Derby Night, disco’s popularity plunged. Disco artists were dropped from labels, disco labels folded and no further disco albums were released. Disco was on the critical list, and suffered a near death experience. It took a long time to recover. After disco’s demise, dance music changed.
No longer were record labels willing to throw money at dance music. Budgets were suddenly much smaller. Gone were the lavish productions of the disco orchestras of the seventies. This is epitomized by The Salsoul Orchestra and John Davis and The Monster Orchestra. Strings and horns were now a luxury. Music would have to go back to basics. Replacing them would be sequencers, synths and drum machines, which during the last couple of years, had become much cheaper. Previously, they were only found in studios or were used by wealthy and famous musicians. Now they were within the budget of many musicians. This would prove crucial in the rise and rise of house music, one of the musical genre that replaced disco as the favored choice of music for discerning dancers and DJs.
For DJs all over America, disco’s demise was proving problematic. What were they going to play? If they even dared to drop a disco track, they were risking clearing the dance-floor. While DJs wrestled with this problem, a group of Chicago DJs decided to think laterally. They came up with an eclectic and inventive selection of tracks. Rather than playing just boogie, which was replacing disco as the choice of discerning dancers, DJs like Frankie Knuckles, Ron Hardy, Tee Scott and Marshall Jefferson cast their musical net wider.
Rule nothing out seemed to be their approach. So, a typical DJ set during the early eighties, saw Italo Disco tracks sit side-by-side with hip hop, electro funk, synth pop, funk punk and vintage disco. Then there was boogie and the classic European electronica of Kraftwerk, Yello, Telex and Yellow Magic Orchestra. This eclectic musical tapestry won over Chicago’s clubbers. This included one of Chi-Town’s top DJs…Frankie Knuckles.
Before his arrival in the Windy City, Frankie Knuckles, had previously DJ-ed at Better Days in New York. When it became insolvent, Frankie, without a residency, travelled to Chicago. He was booked to play at the opening night at The Warehouse. That was Frankie’s introduction to Chicago’s club culture.
After The Warehouse’s opening night, Frankie was asked to stay on and become resident DJ. At the start, Frankie attendances were poor. He persisted, gradually, winning over The Warehouse’s discerning dancers. His style is best described as a fusion of his slick New York style with the more eclectic “Chicago sound.” So successful was Frankie, that he founded The Power Plant in 1982. It became the place to go in Chicago. Frankie’s marriage of The Chicago and New York Sounds had dancers hooked. His eclectic fusion of musical genres and influences wan’t just successful, but was influential.
The Chicago Sound could be heard on radio shows like Hot Mix 5’s, WBMX and Kent’s Punk Out. With Frankie fusing everything from boogie, Italo Disco, synth pop, hip hop, electro funk, funk punk and vintage disco he quickly established a loyal following. This just happened to included a new generation of DJs. They went on to become the first wave of Chicago House producers.
Chicago’s new generation of DJs included Jesse Saunders, Farley Jackmaster Funk, Ralph Rosario and Steve “Silk” Hurley.” Their musical tastes were equally eclectic and their approach to DJ-ing progressive. An example of this is Jesse Saunders and Farley Jackmaster Funk using a drum machine to add a 4/4 beat over other records. This would prove to be one of the tell-tell sounds of house music. It would prove successful, but problematic.
When DJs added a 4/4 beat over other records, dancers were instantly won over by this new type of music. There was a real problem with that. The music was all improvised, not recorded. Once it was played, it was gone. Dancers couldn’t go out and buy a copy of the music. This frustrated dancers. Soon, DJs realized they could recreate the music. Then dancers and other DJs could play their music. Inadvertently, for this new breed of DJs, this was the start of successful production careers. This was only possible because of the affordability of new technology.
Back in the seventies, synths were way beyond the pocket of the ordinary musician. They either belonged in recording studios or were within the budget of successful musicians. Pioneered in the early seventies, artists as diverse as Stevie Wonder and Kraftwerk popularized synths. Gradually, they found their way into more studios and onto more records. As the seventies became the eighties, synths, just like drum machines and sequencers were much cheaper. Now anyone wanting to make their own music could do so, if they could afford synths, sequencers and drum machines.
Suddenly, a new wave of producers were able to make their own dance music. They didn’t even need access to a recording studio. Spare rooms and basements became makeshift studios. To do this, the Roland Corporation supplied the necessary equipment. Many of the early house releases featured the same sound. This meant a Roland TR-808 drum machine and Roland TB-303 bass synth. Other musical weapons of choice for the nascent house producer was the Korg Poly-61 synth. Add to this either a vocal, or samples “borrowed” from classic funk, soul or disco tracks. The result was, early Chicago house music. With all this new music being produced, new labels were springing up. In 1983, Chicago house’s biggest label Trax Records was born.
Larry Sherman is credited with founding Trax Records early in 1983. He’d just bought Chicago’s biggest record pressing plant, Musical Products. It was based on Chi-Town’s south side. Larry’s reason for buying the plant was personal. He collected jukeboxes and wanted a wider variety of music available. Buying Musical Products allowed him to have an unlimited selection of music available. It unwittingly, proved to be a profitable business venture, when Larry met Vince Lawrence.
DJ Jesse Saunders and his friend Vince Lawrence, a lighting engineer who’d dreams of becoming a producer. Vince’s father owned a record label, and had released the new-wave track Fast Cars. It had given Jesse and Vince a minor hit single. Then Jesse and Vince met pianist Duane Buford and Screamin’ Rachel. Together as Z-Factor, they recorded a series of singles that Vince’s father was due to release. He was taking too long for their liking. So, Vince and Jesser recorded a basic beat track, which was based upon a vintage disco megamix and incorporated parts of the tracks they’d already recorded. Complete with a handwritten label, this new track, they called On and On.
Complete with its handwritten label, On and On, was ready to be pressed. Vince headed out looking for a pressing plant. That’s when he came across Musical Products. Vince was out in his car when he saw the pressing plant. He went in and met Larry and struck a deal. Larry pressed 500 copies for a Dollar a copy. Two days later, the 500 copies were sold out. So, Vince headed back to Musical Products and ordered another 500 copies. Larry, like any entrepreneur sensed there was money to be made. He offered to print the 500 copies of On and On and in exchange, Larry became a partner in Trax Records, which was the baby of his new partner Screamin’ Rachel Sanders.
During 1984, On and On went on to be a huge commercial success. Featuring drum machines, synths and samples, these were the staple of many early Chicago house track. It’s credited with being one of the first and most important Chicago house tracks. Ironically, it wasn’t released on Trax. Indirectly, it would help Trax and his friend, Rachel Sanders.
Rachel Sanders had founded Trax Records in early 1983. According to Rachel, Vince Lawrence had designed the logo. His inspiration for the logo was one of Vince’s favorite labels, Wax Trax, another Chicago label. Vince was part of the Trax family though. He was in charge of A&R. Many of the producers he’d go on to sign were inspired by On and On. They all felt they could surpass On and On. Trax would benefit from this sudden onslaught of new productions.
During 1984, Trax Records started signing artists. In charge of A&R, was Vince Lawrence. He concentrated on signing the best up-and-coming producers. Among them were Le Noiz. Jesse Velez and Farley Jackmaster Funk. There were also releases from Trax founder Screamin’ Rachel Sanders and Ron Hardy during 1985, the first year that the sixteen-disc Trax Box covers.
The sixteen-disc Trax Box cover the period between 1985 and 1989. This four year period covers Trax Records’ first seventy-five 12” releases in their entirety. So this means every track on these seventy-five releases. Whether it’s B-Sides, instrumental mixes, remixes or vocal mixes, it’s all here. Discs 1-8 feature the music on the A-Sides, while Discs 9-16 feature the music on the B-SIdes. Quite simply, nothing has been overlooked. Harmless Records have gone to great lengths to source pristine vinyl copies of each of the seventy-five releases. This wasn’t easy.
Throughout the seventies and eighties, the quality of vinyl that was being used was poor. This started in the seventies, during the energy crisis, and resulted in inferior quality vinyl being used. Ironically, this defeats the arguments that vinyl’s sound is superior.
From 1985 to 1989, many people alleged Larry Sherman used inferior quality vinyl. What he used was recycled vinyl. As for the sleeves, they were made of recycled paper. Trax Records wanted to get the music released quickly. Believing the music had a short shelf-life, Trax resorted to the same tactics punk, then electronic music, labels used. They weren’t running a boutique label, so everything was done quickly and cheaply. This was part of Trax Records’ charm. Unfortunately, this meant standards slipped. However, Trax Records aren’t alone in using inferior vinyl. Many record companies, large and small, are guilty of this. Thankfully, this hasn’t stopped Harmless Records producing a fitting tribute to Trax Records’ thirtieth anniversary. Harmless Records sourced pristine copies of Trax Records first seventy-five releases.
Choosing the highlights of the lovingly compiled and luxurious sixteen-disc Trax Box set isn’t easy.Going through each disc isn’t possible. That would result in a small book, not a review. So, what I’ve decided to do, is pick a few tracks from each of the five years the box set covers. That’ll bring back memories for those of us who were there. It’ll also encourage those who missed out on the heady, hedonistic days of Chicago house to revisit the music of the glory days of house. That music can be found on Trax Box.
Over 220 tracks can be found on the Trax Box. The way Harmless Records have organized the music, is Discs 1-8 feature the music on the A-Sides. As for Discs 9-16, they contain the B-Sides. Strangely, some of the music that languished on B-Sides is every bit as good as the A-Sides. That’s why you should always flip a single or album over. Don’t ever get complacent. After all, you might just discover a hidden gem. There’s plenty of hidden gems on Trax box, which I’ll tell you about.
1985.
1985 was year zero for Trax Records. This was the year the first releases featuring the legendary Trax Records logo. Two years after the label had been founded by Rachel, her new label was on its way to becoming the most important and influential label in house music. During that first year, 1985, Trax would release their first single, and later, release a stonewall Chicago house classic. The music from 1985, can be found on Discs 1 and 9.
The nascent label’s first release was The Noiz’s Wanna Dance. Produced by Jesse Saunders, elements of European electronica is fused with hip hop and house. Samples synths and drum machines play their part in this infuriatingly catchy, experimental track.
In total, there are eight versions of Vincent Lawrence’s Virgo Tracks Again on Discs 1 and 9. Each version offers something new and different. Of the eight tracks, the Latin-tinged Untitled A2, which features on Disc One is my favorite version. Coming a close second is Untitled B3.
Marshall Jefferson contributes a true house classic, Ride On The Rhythm. It features the vocal prowess of Kevin Irving, and is a paean to hedonism. Twenty-eight years later, it’s a timeless classic, that epitomizes Chicago house music.
Having release their first Chicago house classic during 1985, 1986 would see Trax Records release some of their most important music. 1986 was the year Trax Records came of age.
1986
During 1986, it was as if Trax could do wrong. Everything they released was innovative and inventive. It also oozed quality. That’s why the music from 1986 is spread over Discs 1-4 and 9-12. It’s not just the A-Sides that ooze quality. There’s many a glittering gem tucked away on the B-Sides. So don’t be tempted to skip through the B-Sides. Instead, immerse yourself in these eight discs of music from what was, one of Trax Records’ best years.
Remarkably, Ron Hardy only ever released one single for Trax. That was the sensual, needy sounding Sensation. In total, there are three versions of the track. Two feature the Adrian Jett’s sensual and sensuous vocal. They’re the long and short versions. As for the long version, it’s describe it as sassy and dance-floor friendly. The short version is the best version. Clocking in at just under four minutes, it’s a soulful, dance track.
Sleezy D’s Lost Control transports you back to 1986. Instantly, you’re dancing in a cavernous club, the bass bins blasting out the dark, dramatic and moody sounding Lost Control. There are just two versions of the track on the Trax Box. Of the two, the Space Side has a lysergic sound. That comes courtesy of the sinister vocals. Just as good and proving you should always check the B-Side to a single, is the House Side. These two tracks show two sides to another Trax classic.
When Virgo released Free Yourself in 1986, this was the start of run of house classics Virgo released.The man behind Virgo was Marshall Jefferson. He was responsible for the track’s almost Germanic sound. Unlike other tracks, it’s quite understated and ethereal. Sculpted by Kraftwek-esque synths, it’s one of Virgo’s finest moments. A hidden gem is Under You, which featured on the A-Side of Free Yourself. Featuring the same elegant, meandering synths, hissing hi-hats and crisp drums play their part in this hidden gem.
1986 was truly a vintage year for Traxx. A string of successful tracks were released. Several of these were classics. Two of them came courtesy of Mr. Fingers. The first was Washing Machine. With its squelchy synths, beeps and squeaks, it epitomizes Trax Records’ sound, before evolving into a gospel-tinged anthem. Then there’s the equally anthemic Can You Feel It, where Mr. Fingers becomes house music’s first preacher. Futuristic, anthemic and innovative, we should be grateful Mr. Fingers gave up the drums and bought himself a drum machine and synth.
Trax were a prolific label during 1986. That’s why it takes nearly eight of Trax Box’s sixteen discs to showcase 1986s music. Listeners are spoiled for choice. 1986 truly was a vintage year. Adonis, Santos, Willie Wonka, Marshall Jefferson and Farm Boy all released music during 1986. Replicating the success Trax enjoyed during 1986 wouldn’t be easy. After all, they’d produced numerous dance-floor classics. With every release, Trax Records established a bigger following. DJs and dancers knew that Trax Records meant quality. The only thing that could make life difficult, was DJ International, who’d become Trax’s main competitor. Despite that, Trax continued to dominate Chicago house during 1987.
1987.
Despite the presence of DJ International, Trax continued to release innovative music. The only problem were serious allegations surrounding Trax’s business practices. The allegation were more that using recycled vinyl. Allegations included neither honoring contracts, nor paying royalties and even illicitly releasing tracks. These however, are just allegations. Nothing was ever proven in a court of law. However, with these rumors going round Chicago’s musical community, DJ International Records were signing some of the biggest producers.
Founded in the mid-eighties by Rocky Jones, DJ International Records quickly became one of Chicago’s big two house labels. Among their signings were Tyree, Joe Smooth, Fast Eddie, JM Silk,Farley “Jackmaster” Funk and Jesse Saunders. Now Chicago house had two labels slugging it out for the title of King of Chicago house.
With all the rumors surrounding Trax going around, some producer weren’t signing to Trax. The voice of Chicago house, Robert Owens did. Robert will always be remembered as the voice of so many Chicago house anthems and classics. His vocal is unmistakable and can transform a track. Mediocre tracks become good, while good tracks become great. Bring Down The Walls is another anthemic, classic. With an arrangement that’s reminiscent of Washing Machine, Robert’s whispery, sensual vocal is accompanied by a needy, sassy female vocal. As well as the original classic on Disc 4, instrumental and dub versions feature on Disc 13. They bring something new to a familiar anthem, and are well worth discovering.
On The House’s Give Me Back The Love is a track designed to jack to. It has a much more sophisticated sound. That’s down to the arrangement. From the bursts of blazing horns, percussion and synths to Marshall McLain’s scatted vocal and piano solo, a joyous slice of house unfolds. This is another Marshall Jefferson production, where piano house and vocal house join forces with the original Chicago house sound. In many ways, this was house music growing up and evolving.
Just like 1986, Trax were releasing their fare share of innovative tracks during 1987. Innovative describes Phuture’s Acid Tracks. Here, Trax’s trademark sound is fused with Latin percussion. Futuristic, with a sci-fi sound, Trax made the squelchy synth sound their own. That’s not Phuture’s only contribution. No. Disc 13 features Phuture Jacks and the wonderfully sinister Your Only Friend. Phuture Jacks, another track that epitomizes the Trax Records’ sound, is another of my favorite tracks. Again, it’s the marriage of the eerie vocal and the squelchy synths that lead me to describe both Phuture Jacks and Acid Tracks as timeless Acid House classics.
Kevin Irving, like Robert Owens, is one of voices of house. Blessed with one of the finest voices in Chicago house, Children Of The Night allows his heartfelt, soulful vocal to take centre-stage. That’s where it belongs. Not only does the Original 12” version feature on Disc 5, but so does the Radio Edit. Over on Disc 13, features the Dub version, which will come as a welcome addition for DJs.
1987 saw Frankie Knuckles release another classic anthem Baby Wants To Ride. By now, he’d settled into a role as one of the founding father’s of Chicago house. Along with Marshall Jefferson, who was also working in Trax’s A&R department, they were two of the biggest names in house music. Baby Wants To Ride is nine minute opus. Ironically, one of the lyrics says: “tell my people of my second coming.” That’s fitting, as it’s Marshall’s second house classic. Frankie’s other contributions are the Kraftwerk-esque It’s A Cold World on Disc 6. Then there Your Love and Bad Boy on Disc 15. Why Your Love languished on a B-Side seems a waste? So good is Frankie Knuckles’ B-Sides, that they’re better than many people’s singles.
On the face of it, Trax Records hadn’t been affected by DJ International. The pair seemed able to coexist. Granted Trax weren’t able to have their pick of the up-and-coming producers, but their existing producers and new signings meant Trax were still Chicago house’s premier label. After all, they’d also released music by Mr. Lee, Eric Bell, Terry Baldwin and Lidell Townsell. This was just a few of 1987s releases. Would 1988 be as successful?
1988.
1988 saw Trax continue to release music in similar quantities to 1986 and 1987. They were still Chicago house’s biggest label. DJ International were catching them up. Then there were new labels springing up throughout not just Chi-Town, but America and further afield. Britain and Europe were now disciples of Chicago house. For many of these new disciples, Trax Records was synonymous with Chicago house. So to fulfill the increasing demand for Chicago house, Trax released music by Mr. Lee, Donell Rush, Maurice Joshua, Lidell Townsell, Acid Fantasle, Phuture, Donnell Rush and Maurice Joshua during 1988.
Phuture’s We Are Phuture has a familiar sound. It’s reminiscent of Acid Tracks and Your Only Friend. Both tracks have the same sinister, haunting vocals. The main difference with We Are Phuture is the vocal. It has a soulful side. Other times, it takes on a robotic, futuristic sound, resulting in a 21st Century sound.
Evie’s Just Stay The Night falls into the category of glittering hidden gem. Featuring a vocal from Evie Camp that’s reminiscent of Madonna, a proliferation of rocky guitars and slick, poppy hooks are combined with Chicago house. As an added bonus, the Radio Edit features on Disc 6. Over on Disc 14, the Dub version shows another side to this poppy gem.
Despite Mr. Lee releasing House This House in 1988, it still featured Trax’s trademark squelchy synths. With sharp, urgent bursts of choppy vocals, this proves mesmeric and hypnotic. Quite different, is Pump Up Chicago. It’s an explosion of energy. Driven along by pounding drums and stabs of horns, a rapped vocal and squelchy synths see Acid House, hip hop and funk collide head on. Of the two versions of Pump Up Chicago, the Acid Mix is the best. On Disc 15, Mr. Lee heads on a transatlantic tour, with Pump Up New York and Pump Up London proving an interesting variation on a theme.
Lidell Townsell has a trio of Acid House tracks featuring on Disc 7. Jack The House, As Acid Turns and The Groove see a welcome return of the Trax Records’ sounds. It’s truly unmistakable. Not only that, but it’s timeless. Of the three tracks, it’s a close run thing, with The Groove just surpassing As Acid Turns. Having said that, both tracks epitomize the Trax Records’ sound.
While 1988 didn’t see releases from Trax Records’ biggest names, their other signing pitched in with some quality music. Mr. Lee, Phuture and Lidell Townsell contributed some slinky, sometimes, futuristic Acid House. What it did have in common, was the Trax Records’ sound. People it seemed, couldn’t get enough of this sound. It had proved popular since 1985 and this was nearly as long as the disco bubble lasted. Luckily for everyone at Trax, there was no sign of the Chicago house bubble bursting.
1989.
As 1989 dawned, Chicago house had become an industry within the Windy City. Labels, clubs, artists, promoters, studios and pressing plants were all part of this new industry. This could prove profitable for the economy. Proof of this was Manchester during the second summer of love. Chicago was enjoying a boost from its latest musical export. From the same city that gave the world Chess and Motown, Chicago house this marriage of musicians and machines was a boon to the economy. One company who’d played an important part in the Chicago economy was Trax Records. During 1989, they’d release their seventy-fifth release, which incidentally, marks the end of the Trax Box. That’s still to come.
Although Trax was founded in 1983, the label had only released its first single in 1985. Since then, Trax had established itself as Chicago house’s premier label. One man who played his part in the rise of Trax was Farley Jackmaster Funk. He made his return in 1989, with Farley Jackmaster Funk Presents Ricky Dillard’s As Always. It was a welcome, soulful and dance-floor friendly return from one of Chicago house’s legends. Soul, gospel, funk and house combine during this joyous, celebratory track. Of the two versions, the original 12” version is the best.
Virgo Four was another of Trax’s big hitters making their return in 1989. Do You Know Who You Are and In A Vision which feature on Disc 8, show that Virgo Four are back to their best. Even the B-Sides Going Through Life and the hypnotic, mesmeric and anthemic Take Me Higher, which closes Disc 16 and the Trax Box shows Virgo Four only make quality music.
That’s quite a fitting way to end this review of the Trax Box. After all, Trax Records were synonymous with not just quality house music, but the best house music has to offer. Trax Records is responsible for many a Chicago house classic. Anthems and timeless classics, Trax has released more than their fare share of them. The music Trax released was innovative and inventive, way ahead of what their competitors were releasing. That’s why so many people remember the music Trax Records released between 1985 and 1989. For many people, this four year period represents Chicago house’s heyday. These four heady, hedonistic years represent house music at its best. I’ve only had the chance to mention a few of them.
There’s any number of other tracks on Trax Box I could’ve mentioned. That’s how consistently high the quality of music is. Considering Trax Box is a sixteen-disc box-set, Harmless Records, who release Trax Box on 30th September 2013, deserves our congratulations. With sixteen discs to fill, they could’ve forgiven the odd musical faux pas. That’s not the case though. They’ve not resorted to filler. Instead, it’s quality, quality and quality. Indeed, it’s killer all the way, during Trax Records’ first seventy-five releases. Spread over sixteen discs, this is an in-depth four year magical mystery tour through Trax Records’ illustrious back-catalogue. Best described as everything you’ve ever wanted to know about Trax Records, but were afraid to ask, the music and 100 page book documents the life and times of Trax Records. This is the perfect way to celebrate Trax Records very special anniversary.
This year, Trax Records is thirty. Long gone are its clubbing days. It’s youth, which was between 1985 and 1989, which the Trax Box covers, is another country. The Trax Box is the perfect way to remember Trax Records first four years, faults and all. Between 1985 and 1989, the unlikely pairing of Larry Sherman and Rachel Sanders made Trax Records Chicago house’s premier label. Along with a small, loyal staff, Trax Records records become one of the best known labels of the last thirty years. Trax Records was the equivalent to Stax Records, Blue Note, Chess Records, Salsoul Records and Philadelphia International Records. Just like these labels, Trax Records provided the soundtrack to a generation. They hold that music dearly, they cherish this music that was part of a musical revolution.
That’s no exaggeration. Before house music, dance music was at a crossroads. Disco had died in 1979. Other musical genres tried to fill the void. Synth pop, Euro Disco, and boogie all tried. Nothing filled dance-floors like disco. Disco had died, who wanted to dance to music people said sucked. People weren’t going to dance to yesterday’s music. They would dance to tomorrow’s music.What was needed, was something new, innovative and dance-floor friendly. The solution was house music, the musical offspring of disco, funk punk, Italo Disco, synth pop, Euro Disco and Philly Soul.
Just like punk in the seventies, with its D.I.Y. culture, aspiring producers were able to make music cheaply without the benefit of a large budget, recording contract or even, a recording studio. Drum machines, synths, sequencers and 4-track recorders were much cheaper. Now it was possible to record a hit single in your spare room. Many of the tracks on Trax Box were recorded this way. This was the future. What many people thought would be almost disposable music, stood the test of time and influenced further generations of musicians.
Despite the lack of a large budget, recording contract or recording studio, this didn’t hamper this new breed of talented and innovative producers. The music they recorded was revolutionary. Here was music that was imaginative, innovative and went on to influence further generations of producers. Some of that music is twenty-eight years old, but has aged well. It certainly has a contemporary sound. You wouldn’t think it was recorded in the eighties, on equipment which by today’s standards, is basic. That’s why I’d go as far as describe the music as timeless. That certainly is a good way to describe the music Trax Box, which is a glorious reminder of Chicago house’s premier label, Trax Records.
TRAX BOX.
CHVRCHES-THE BONES OF WHAT YOU BELIEVE.
CHVRCHES-THE BONES OF WHAT YOU BELIEVE.
One of the most highly anticipated albums of recent years is Chvrches’ The Bones Of What You Believe. What makes the rise and rise of Chvrches so remarkable, is Chvrches were founded just two years ago in 2011. Everything has happened so quickly for Lauren Mayberry, Ian Cook and Martin Doherty. They’ve spent the last two years touring the world converting people to their unique brand of shimmering electro-pop. Britain, Europe, Canada and America gave been conquered by Chvrches. Somehow, Chvrches have also found the time to release a four singles and a trio of E.Ps. These singles are a tantalizing taste of the main event, Chvrches highly anticipated debut album The Bones Of What You Believe, which was released on the 23rd September 2013 on Virgin.
The face and voice of Chvrches, lead vocalist and keyboard player, Lauren Mayberry is an accidental pop star. Originally, she studied law and after graduating, studied journalism. With a Masters in journalism on her C.V. Lauren became an award-winning freelance journalist. From there, she almost inadvertently, became a musician.
Like many Scottish children, she learnt to play the piano as a child. It’s almost a rite of passage. Then when she was a teenager, Lauren learnt to play the drums. Drums or piano, it’s no contest. Soon, she was playing drums for various bands. Between the ages of fifteen and twenty-two, Lauren played in two bands. In Boyfriend/Girlfriend she was the drummer. Then when Lauren joined Blue Sky Archives, she played keyboards and drums. It was in Blue Sky Archives, that Lauren met Ian Cook.
Blue Sky Archives were recording an E.P. and the producer was Ian Cook. He’d originally been a member of Aerogramme and The Unwinding Hours. Ian also wrote music for television and film. Production was another thing he enjoyed. Through producing Blue Sky Archives, Ian met Lauren. She proved to be just who he was looking for.
Ian Cook and Martin Doherty, who was a member of The Twilight Sad when they played live, were working on a new project. They needed someone to lay down some vocals. Neither Ian nor Martin saw themselves as lead vocalists. So, Lauren was asked to come along and sing on a demo.
Little did Lauren realize what she’d let herself in for. Ian and Martin it seems, are perfectionists. That proved to be no bad thing. They spent eight months in a basement studio, working on their new project. Eventually, it was finished. It had been such a success, they decided to transform this studio project into a live band, that became Chvrches.
May 2012, saw Chvrches release their first single. They did this in an unusual way. Through the blog of the Neon Gold label, people were able to download a free copy of Lies, their debut single. This somewhat unorthodox release must have worked. Soon, people were talking about Chvrches. By now momentum was building. What helped, was that Chvrches were a great live band. Throughout the summer of 2012, were honing their live act. Quickly, word was spreading about this new Glasgow band. September 2012 it seemed, was the right time to release their sophomore single.
The Mother We Share was released in September 2012. In between touring, Chvrches found two days to write and record their new single. On its release, it was well received by critics. They were falling over themselves to heap praise on Glasgow’s newest band. A classy and classic slice of glistening, ethereal electro-pop, Chvrches had made an impression.
At the end of 2012, when various magazines and radio stations published their best of 2012 polls, Chvrches name loomed large. The NME, BBC and Huffington Post praised Lies and The Mother We Share. This new band had made a big impression. Would 2013 be as big a year for Chvrches?
Looking at Chvrches achievements so far, I’d suggest that they’ve surpassed everything they achieved during 2012. They’ve released two single and two E.P.s.
Chvrches third single Recover, which was released in February 2013, gave them their first hit single in the UK. It reached number ninety-one. After that, Chvrches had to divide their time wisely. They’d an album to record and had a busy touring schedule to fulfil. In between recording their debut album, The Bones Of What You Believe, Chvrches continued to tour. There were still parts of the world where Chvrches’ gospel hadn’t been heard. Agnostics had to be transformed into believers. This was working
July 2013 saw Chvrches released their fourth single Gun. Just like Recover, Gun was available as either a single or an E.P. Gun gave Chvrches the biggest single of their nascent career. Not only did it reach number fifty-five in the UK, but number forty-four in Japan. It seemed that with each single, Chvrches were conquering another part of the world. Britain first, then Europe, Canada, America and now Japan are all devotees of Chvrches.
Recently, on a coast to coast tour of America, Churches have been winning friends and influencing American musical lovers. This is perfect timing. After all, Chvrches’ debut album The Bones Of What You Believe, was due for released on the 23rd September 2013 on Virgin. Written by the three members of Chvrches, The Bones Of What You Believe is without doubt, one of the most eagerly awaited and anticipated albums of recent years. It’s bound to reach the upper reaches of the charts on both sides of the Atlantic. I’ll tell you why, after I’ve told you about The Bones Of What You Believe.
Opening The Bones Of What You Believe is one of the singles that introduced Chvrches to the world, The Mother We Share. Washes of synths give way to squelchy synths and crisp drums. Taking centre-stage is Lauren Mayberry’s ethereal vocal. It’s emotive and heartfelt, as harmonies and synths reverberate into the distance. Drums crack, synths beep and squeak and drums signal Lauren’s about to take this anthemic track to its crescendo.
We Sink’s roots are in eighties synth pop, Euro Disco and house. The arrangement’s driven along by synths while pounding drums provide the pulsating backdrop to Lauren’s feisty vocal. Harmonies and synth strings sweep in as Lauren comes across as part diva, part ice-maiden. She struts her way through the track. During a breakdown the song takes on a dreamy, lysergic sound. Then normal service is resumed, as this classy slice of dance music heads to a close.
From the opening bars of Gun, my faith in modern music is restored. It’s a reminder of what a classic pop song sounds like. Stabs of keyboards are joined by shimmering, synths. They provide the backdrop to the ethereal beauty of Lauren’s emotive vocal. Accompanying her heartfelt vocal are rolls of drums, breathy harmonies and washes of crystalline synths. As for the back synth and drums they add duel bursts of drama. Their raison d’etre is to reinforce the drama and emotion in Lauren’s vocal. Dance-floor friendly, Gun is full of sweet poppy hooks and moments of drama and emotion.
Tether sees Chvrches drop the tempo, and increase the drama. Guitars riff dramatically, while Lauren’s vocal is variously tender, thoughtful and laden with drama. Briefly, galloping drums drive the arrangement along. This proves effective, adding to the drama. As for Lauren’s vocal, it’s full of emotion and hurt. She breathes life and meaning into the lyrics with a soulful, soul searching vocal. After a dramatic pause, swathes of swirling strings and banks of synths take the track in the direction of the dance-floor. Fusing elements of eighties synth pop, Euro Disco, Hi-NGR and soul, we hear two very different sides of Chvrches within a five majestic minutes of mesmeric music.
Thunderous drums and beeping, squeaking synths open Lies. They provide the backdrop for Lauren’s sassy, feisty vocal. Behind her, Ian Cook and Martin Doherty unleash banks of keyboards and synths, while drums provide a dramatic, electro heartbeat. Add to this Lauren’s ethereal, multi-tracked backing vocals. They provide a contrast to the dark, dramatic arrangement. It takes on a life of its own. It’s becomes a collosus. As it marches, struts and swaggers along, Lauren’s vocal is full of bravado, feisty and oozes sass.
Under The Tide sees Lauren take a rest from vocal duties. This allows the Chvrches to take a different approach on what’s another dance-floor anthem. House, synth pop and electro are the main influences here. Stabs of jagged synths and a hypnotic, pounding drum combine with an urgent vocal. Bursts of a bass synth and cascading keyboards provide accompany the impassioned, encouraging vocal. Then adding the finishing touch, are sweeping, ethereal and joyous singalong harmonies enter. The result is an infectiously catchy, hands in the air anthem from Chvrches.
Lauren returns on Recover. She delivers an urgent, dramatic vocal. Her vocal is delivered in short, sharp bursts. As for the arrangement, there’s a Kraftwerk influence in the keyboards and synths. The drums veer between slow and spacious, to crisp, urgent, bursts. Later, when the track slows down, it takes on a mysterious sound. Spurred on, Lauren delivers a vocal that’s not just heartfelt and hopeful, but ethereal, emotive and enigmatic.
Night Sky is a light, airy track that breezes along. Built around sparkling synth lines that are repeated throughout the track, plus pounding drums that provide the heartbeat. Lauren’s vocal is dreamy and wistful. That’s before things change. All of a sudden, Chvrches kick loose. After harmonies cascade, the arrangement explodes. Chvrches reveal a rocky side and Lauren briefly, finds her inner rock chick. Then she returns to the mysterious, melancholy and ethereal beauty of earlier. Flitting between the two sides of the track, Lauren and the rest of Chvrches reveal their versatility, fusing seamlessly, musical genres.
Science/Visions has a broody, moody and mysterious sound. A haunting sound gives way to a combination of cascading, dramatic synths and thunderous drums. Lauren’s vocal is tender and fragile. Elfin like, its almost dominated by the rest of the arrangement. The arrangement becomes an unstoppable musical juggernaut. Filters are used on the arrangement, while echo and delay are used on Lauren’s vocal and the punchy harmonies. All this gives the track a real deep house sound. Having said that, not may producers can make music as good as this.
After drums pound, Lungs takes on a sci-fi sound. That’s thanks to the synths and effects. Lauren’s sweet vocal is urgent and earnest. Synths buzz, drums pound and a whole manner of futuristic sounds give the track an innovative, inventive 21st Century sound. Full of drama and slick poppy hooks, this is Chvrches at their best.
Definite stabs of synths and Lauren’s dreamy, wistful vocal opens By The Throat. Tender harmonies are added as what sounds like a laid back slice of mellow electro pop unfolds. That’s not quite the case, Gradually, the drama builds and grows as what sounds like dance-floor friendly track threatens to explode. It doesn’t. Chvrches are toying with you. Sitting midway between the two, Chvrches tease and tantalize you with this delicious, enigmatic, shimmering slice of electro pop.
You Caught The Lights closes The Bones Of What You Believe. It’s another enigmatic track. You wonder the direction it’s heading in. The tempo is slow, with drums loud and proud providing the heartbeat. Washes of synths sparkle across the arrangement as a worldweary male vocal full of emotion delivers a heartbreaking vocal. Drums, chiming guitars and synths provide a dramatic accompaniment, as the track heads in the direction of indie rock, whilst borrowing from synth pop. Harmonies, searing guitars, ponderous drums and washes of synths play their part in this dramatic, melancholy tale of heartbreak.
Released on 23rd Speptember 2013, The Bones Of What You Believe is a tantalizing taste of what Chvrches are capable of. One of the most highly anticipated albums of recent years, The Bones Of What You Believe, not only lived up to expectations, but surpassed them. The Bones Of What You Believe features innovative, inventive music. It’s pioneering electro-pop, full of shimmering synths and the ethereal beauty of Lauren Mayberry’s vocal. Her vocal is reminiscent of Liz Fraser of The Cocteau Twins. Along with Ian Cook and Martin Doherty, Chvrches fuse electro pop, house, synth pop, hi-NRG, Euro Disco, pop, indie rock and soul. Dance-floor friendly, anthemic, soulful and full of slick poppy hooks, The Bones Of What You Believe is pop perfection. That’s why Chvrches will be Scotland’s next big musical export. Many have been contenders for the title, now it looks like Chvrches with their unique sound, will claim it as their own.
Chvrches have restored my faith in modern music. I’m pleased that still, there are agroup capable of making the perfect pop song. That’s what The Bones Of What You Believe is. It’s a reminder of what a classic pop song sounds like. For everyone who says pop music is dead, play them The Bones Of What You Believe. That’ll prove them wrong. Pop music is alive and kicking, and Chvrches’ debut album The Bones Of What You Believe is the future and salvation of pop music.Standout Tracks: The Mother We Share, Gun, Recover and The Throat.
CHVRCHES-THE BONES OF WHAT YOU BELIEVE.
VERNON BURCH-WHEN I GET BACK HOME.
VERNON BURCH-WHEN I GET BACK HOME.
There aren’t many artists who release their debut album when they’re just eighteen. Vernon Burch did. I’ll Be Your Sunshine was released on United Artists in 1975. That however, wasn’t the start of Vernon Burch’s career. No. By 1975, he was already a seasoned musician.
Before embarking on a solo career, Vernon had already spent four years as The Bar-Kays’ guitarist. For Vernon, this was a dream come true. The Bar-Kays were one of his favorite groups. So finding The Bar-Kays tour bus outside his home, when he returned from school must have been surreal. The Bar Kays hadn’t had a hit since 1967, when they lost four members in a plane crash, that also claimed Otis Redding’s life. So a rebuilding process was underway. Vernon who’d established a reputation as a talented guitarist, was brought onboard. He played on their 1972 single Son Of Shaft, their first hit since 1967. Vernon was also a member of The Bar-Kays when they appeared at Stax’s legendary Wattstax festival. Having spent four years as a member of The Bar-Kays, Vernon Burch decided to pursue a solo career. He went on to release seven albums between 1975 and 1982.
The followup to Vernon Burch’s 1975 debut album I’ll Be Your Sunshine, was When I Get Back Home. It was recently rereleased by BBR Records. When I Get Back Home wasn’t released by United Artists. No. There had been a change in the management structure. Vernon’s management wanted to renegotiate his contract. United Artists didn’t. So United Artist and Vernon Burch parted company. Next stop for the Washington born singer was Columbia, who’d released his sophomore album When I Get Back Home. This was just the next chapter in the remarkable rise of Vernon Burch, which began in Washington, in 1955.
For Vernon Burch, his life had been something of a whirlwind. Born in Washington in July 1955, he was introduced to music via the church. This is a familiar story. Vernon was a member of The Flying Clouds, a gospel group cofounded by his uncle Leroy. Then when he was eight, Vernon received his first guitar.
It quickly became apparent that Vernon was a natural guitarist. He soon had established a reputation as one of the hottest guitarist playing Chocolate City’s clubs. This resulted in Vernon heading to New York, where he worked with a girl group The Fuzz. During his time in New York, Vernon met soul royalty. Stevie Wonder, Eddie Holman, The Chi-Lites and The Impressions, Vernon met them all. Then playing alongside Hi Records’ two biggest names, Al Green and Anne Peebles resulted in Vernon joining The Bar-Kays.
In 1967, The Bar-Kays were chosen as Otis Redding’s backing band. On December 10th 1967, Otis Redding was playing in Wisconsin, so the six Bar-Kays headed off on what was a fateful journey. The plane carrying Otis, his manager and five of the six Bar-Kays crashed. This tragic crash in December 1967, robbed the group of four of its members. Only trumpeter Ben Cauley survived the crash. Fortunately, bassist James Alexander was on another plane. Following the crash, Ben and James rebuilt the group.
As part of the rebuilding process, Vernon joined The Bar-Kays. He spent four years as a member of the group. Not only did Vernon play on their 1972 single Son Of Shaft, which was their first hit in five years, but he appeared at the Wattstax Festival. Then having spent four years as a member of The Bar-Kays, Vernon Burch decided to launch his solo career. This proved to be a shrewd move.
Stax Records became insolvent in 1975. So while Stax folded, Vernon’s career flourished. He signed to United Artists and aged eighteen, released I’ll Be Your Sunshine. It reached number forty-six in the US R&B Charts. The music on I’ll Be Your Sunshine was very different to The Bar-Kays. Gone was the hard funk of The Bar-Keys. Replacing it was a much more soulful side of Vernon Burch. While I’ll Be Your Sunshine proved relatively successful, United Artists didn’t seem to agree.
After the release of I’ll Be Your Sunshine, changes were taking place at United Artists. There was a shakeup in the management setup. When Vernon’s management brought up extending his contract, United Artists didn’t want to. Luckily, another record company were interested in Vernon…Columbia Records, who released his sophomore album When I Get Back Home.
For his sophomore album, When I Get Back Home, Vernon wrote five tracks and cowrote the other five tracks. He penned Paradise, Good To Me, To Make You Stay, Leaving You Is Killing Me and Leave Your Spirit Behind. Mr. Sin, When I Get Back Home and Bye, Bye, Baby were written by Vernon and Susaye Greene. The tracks that bookended When I Get Back Home, Sexasonic and Ghetto Penthouse were written by Vernon and H. Redmon. These ten tracks became When I Get Back Home.
Recording of When I Get Back Home took place at two studios, Crystal Sound and Sun West, in Los Angeles. Columbia it seemed, weren’t skimping on their latest signing. Proof of this was the band that accompanied him. It included a rhythm section bassists Ed Brown and Nathan Watts plus drummer and percussionist Joe Blocker. They were joined by pianists John Jarvis and Greg Phillinganes, trumpeter Ray Maldonaldo and Ray Brown, saxophonist Hank Redd. Adding keyboards on Mr. Sin and Paradise was Stevie Wonder, who Vernon met earlier in his career. Vernon, played guitar, synths and with Susaye Greene, Kathy Collier and Shirley Brewer, sang backing vocals. Arranging and producing When I Get Back Home was Vernon Burch. After When I Get Back Home was recorded, it was mixed at Village Sound and Hollywood Recorders. When I Get Back Home was ready for release in June 1977.
When I Get Back Home was released in June 1977, reaching just number seventy-four in the US R&B Charts. This was disappointing for Vernon. He’d not built on the momentum of I’ll Be Your Sunshine, which had reached number forty-six in the US R&B Charts. Leaving You Is Killing Me was released in July 1977, stalling at number ninety-five in the US R&B Charts. Worse was to come. Sexasonic was released as a single in September 1977, but failed to chart. For Vernon Burch, who everything seemed to have gone his way, this was a difficult time for him. What did the future hold for him? That’s what I’ll tell you, once I’ve told you about his sophomore album When I Get Back Home.
Sexasonic opens When I Get Back Home. It’s a heavy duty slice of funky soul, celebrating sexual equality. Wah-wah guitars strut their way across the arrangement. They’re joined by a booming drum and crystalline guitars that accompany Vernon. Feisty and sassy describes his vocal, which is accompanied by cooing harmonies. Then there’s blazing horns and some mesmeric guitar solos from Vernon on this fusion of funk and soul.
There’s a change of style on Mr. Sin. Vernon’s joined by Stevie Wonder on keyboards. He proves an inspiration on this understated, dreamy ballad. Vernon’s heartfelt vocal is reminiscent of Stevie Wonder. Having said that, he breathes life into the lyrics, whose roots seem to be the church. Just mellow keyboards, percussion and the rhythm section join tender harmonies and rasping horns. They provide the backdrop as Vernon visits his soulful side.
Paradise is another track where Vernon sounds not unlike Stevie Wonder. Indeed, Paradise sounds like it belongs on a Stevie Wonder album. It’s an upbeat fusion of soul, jazz and funk, blessed with a real summery sound. From it’s understated opening, Vernon’s vocal is impassioned and sensual. Bursts of braying horns add drama, before the track takes on a much more mellow sound. That’s thanks to the keyboards. The arrangement breezes along, allowing Vernon’s vocal to take centre-stage on this, jazz-tinged slice of soulful music.
Good To Me is a return to the funk of Sexasonic. Here, Vernon’s main influences seems to be Sly and The Family Stone and Stevie Wonder. Soul, funk, jazz, psychedelia and rocky guitars combine as Vernon’s vocal takes on a tougher, edgier sound. He vamps his way through the lyrics. Searing guitars reminiscent of David Bowie’s Fame, join blazing horns and what sounds like The Family Stone providing the heartbeat. As musical genres and influences melt into one, what’s one of the highlights of When I Get Home reveals its secrets.
The title-track When I Get Back Home tells the story of a musician on the road. Back home, he’s a partner whose suspicious. Rightly so. He’s a player, whose been unfaithful. Ironically, he longs to get home to her. This track Vernon cowrote with Susaye Greene is a glorious uptempo slice of soul. Accompanied by soaring harmonies, braying horns and keyboards, Vernon’s vocal is joyous, needy and full of longing. Soul, funk and jazzy keyboards combine as Vernon delivers one of his best and most effective vocals.
Leaving You Is Killing Me is something of a stomper, with drummer Joe Blocker laying down a thunderous beat. Ed Brown’s bass matches him every step of the way. Banks of synths provide the backdrop for Vernon’s vocal. His emotive, hurt-filled vocal is accompanied by sweet harmonies and braying horns as the song swings along. Infectiously catchy and full of poppy hooks, it’s a breakup song that puts a smile on your face.
To Make You Stay is a track that’s dramatic, dance-floor friendly and soulful. Blazing horns, piano and synths set the scene for Vernon’s vocal. Full of emotion and heartbreak, he lays bare his soul. Stabs of horns reflect the drama in his vocal, while Vernon’s vocal belies his youthfulness. Hank Redd’s saxophone and bursts of thundering drums match Vernon all the way, as his vocal becomes a needy and emotive plea. Soulful, dramatic and dance-floor friendly, we hear another side of Vernon Burch.
Hank Redd’s rasping, wistful saxophone produces a late-night, jazzy sound as Leave Your Spirit Behind unfolds. Vernon’s is slow, impassioned and laden with emotion and hurt. He leaves space in his vocal. This is really potent. It adds to the emotion and drama. Sometimes, there’s almost silence. This proves really effective. Just keyboards and cymbals accompany Vernon before Hank unleashes another peerless saxophone solo. It’s almost a show-stealer. This seems to spur the band on. After that, they produce a truly compelling performance on this soul-baring, spacious, jazzy tale of love gone wrong.
Bye, Bye, Baby is another track where genres melt into one. Soul and samba joins jazz and funk. It’s another slice of summery, sunshine music. Driven along by the rhythm section, keyboards and a myriad of percussion, Vernon delivers a tender vocal. He’s accompanied by cascading, tender female harmonies. Adding bursts of drama to this minor hidden gem are braying horns.
Ghetto Penthouse closes When I Get Back Home. Briefly, the track sounds like a party in the studio. That’s fitting. After all, the track is about someone living a champagne lifestyle he can’t afford. Not only is this music with a message, but is a heavy duty slice of funky music. As the rhythm section provide a funky heartbeat, horns blaze and harmonies scat. Banks of keyboards add a P-Funk backdrop. Vernon’s vocal takes on a tougher, much more grizzled sound. This is in keeping with the rest of the arrangement, and bookends When I Get Back Home perfectly.
Aged just eighteen, Vernon Burch had released his second solo album When I Get Back Home. A fusion of soul, jazz, funk, psychedelia and rock, When I Get Back Home saw Vernon switch between musical genres. Some songs were a fusion of several genres. They were also influenced by a number of artists. One of the most obvious influences in Stevie Wonder. Vernon’s vocal sounds not unlike Stevie. So does his delivery, especially on some of the funkier tracks. Some of the songs sound as if they belong on a Stevie Wonder album. Other artists to have influenced Vernon are Sly and The Family Stone, Parliament, Donny Hathaway and David Bowie. All these artists influence Vernon Burch’s sophomore album When I Get Back Home.
Sadly, When I Get Back Home wasn’t a commercial success. No. When I Get Back Home stalled at a disappointing number seventy-four in the US R&B Charts. Considering Vernon’s debut album I’ll Be Your Sunshine reached just number forty-six in the US R&B Charts, Vernon Burch’s career didn’t seem to be going forward. Instead, it had stalled. Columbia Records dropped Vernon and it would be three years before he released another album.
It was 1978 when Vernon signed to Chocolate City, a subsidiary of Casablanca Records. he released a trio of albums. 1978s Love-A-Tron failed to chart. It did feature two minor US R&B hits, Brighter Days and Love Is. Then 1979s Get Up also failed to chart. A small crumb of comfort was the title-track, it reached number thirty-five in the US R&B Charts. 1980s Steppin’ Out was Vernon’s final release for Chocolate City. Following a similar pattern, Steppin’ Out failed to chart, but did spawn a minor US R&B hit single, Fun City. After leaving Chocolate City, Vernon’s final album Playing Hard To Get, released in 1982, recaptured his earlier success. Playing Hard To Get reached number fifty in the US R&B Charts. This was Vernon Burch’s third and final album to chart. The best of these three albums is When I Get Back Home, which was recently rereleased by BBR Records.
Best described as a genre-melting album, When I Get Back Home, was the best album of Vernon Burch’s career. Released when Vernon was just eighteen, Vernon Burch was already an experienced and practiced musicians and vocalist. Listening to When I Get Back Home, it’s hard to credit that Vernon Burch was just eighteen. Not only did he write or cowrite each of the ten songs on When I Get Back Home, but Vernon Burch played synths, guitar and sang backing vocals. He also arranged and produced each of the ten tracks. That’s quite remarkable. What’s even more remarkable, is that Vernon Burch didn’t enjoy a much more successful career. Sadly, that wasn’t to be. Instead, When I Get Back Home is the best album of Vernon Burch’s six album career. Standout Tracks: Mr. Sin, Good To Me, When I Get Back Home and To Make You Stay.
VERNON BURCH-WHEN I GET BACK HOME.
THE TEMPERANCE MOVEMENT-THE TEMPERANCE MOVEMENT.
THE TEMPERANCE MOVEMENT-THE TEMPERANCE MOVEMENT.
Many bands are touted as the future of rock ‘n’ roll. Mostly it’s either record company hype or wishful thinking. The Temperance Movement are different. They’re the real thing. They epitomize rock ‘n’ roll. Formed in 2011, they’ve come a long way in two years. They’ve conquered Britain, Europe and America with their unique fusion of rock ‘n’ roll, blues, country and soul. Somehow, whilst conquering much of the Western world, The Temperance Movement have found time to record and release their eponymous debut album.
What became The Temperance Movement, was recorded before the group signed to Earache Records earlier this summer. Earache Records were presented with the finished article. All that was left was to promote and release The Temperance Movement. It was released on 16th September 2013, and strutted its way to number twelve in the UK. This is just the start of what should be a long and successful album for The Temperance Movement, whose career started in 2011.
Although The Temperance Movement were only formed in 2011, the five members of the band have a wealth of experience. Glasgow-born lead vocalist, Phil Campbell, has released a string of solo albums. This includes 2008s After The Garden, 2009s Daddy’s Table and 2010s Saviour’s Song. As for the guitarists, Paul Sayer and Luke Potashnick, Luke is a former member of Rooster and Ben’s Brother. Bassist Nick Fyffe was in Jamiroquai’s band, while Australian-born drummer Damon Wilson counts Feeder, The Waterboy’s and Ray Davies as former employers. These five experienced and talented musicians joined forces to form The Temperance Movement.
Between 2011 and September 2012, The Temperance Movement concentrated on honing their sound. Quickly, they’d established a loyal following. Whether it was pubs, clubs, concert halls or festivals, the word was out. The Temperance Movement were seen as a group with a huge future. Some pundits hailed them as the future of rock ‘n’ roll. Strangely, The Temperance Movement weren’t signed to a record label
So when the time came to release their debut E.P, The Temperance Movement released it themselves. The Pride E.P. was released on 10th September 2012 and featured five tracks. Pride, Be Lucky, Only Friend, Ain’t No Telling and Lovers and Fighters were an introduction to The Temperance Movement’s kick ass brand of blistering rock ‘n’ roll. Pride was released to critical acclaim, and lead to The Temperance Movement playing at the Royal Albert Hall.
Every year, The Sunflower Jam Super Jam takes place at the Royal Albert Hall. This charity concert raises funds for The Sunflower Jam, a cancer charity. In September 2012, just a week after the release of the Pride E.P, The Temperance Movement were the opening act at the Super Jam. They played the first two tracks from the Pride E.P. Then in November 2012, The Temperance Movement played at Futurerock in the 100 Club, in Oxford Street, London. Playing such a prestigious venue early in their career was proof that The Temperance Movement were going places. 2012 it seemed, had been a good year. 2013 would be better.
So far, during 2013, The Temperance Movement haven’t stopped working. In April and May, they headed out on a grueling British tour. Then during the summer, they became festival favourites. All the time, they were spreading the word about the The Temperance Movement. In between, tours and festivals, The Temperance Movement managed to find time to record their eponymous debut album.
The Temperance Movement features twelve tracks. This includes the five tracks from the Pride E.P. plus seven new songs. Ten of the songs are written by Phil Campbell, Paul Sayer and Luke Potashnick. The other two tracks, Lovers and Fighters and Midnight Black were penned by Phil Campbell. These twelve tracks were recorded at the Fish Factory Studios and Submarine Studios, London. Producing The Temperance Movement, are Sam Miller and The Temperance Movement. These twelve tracks became The Temperance Movement.
With their debut album recorded, The Temperance Movement signed to Earache Records earlier this summer. By then, word was the spreading about The Temperance Movement. They were now regarded as the group who could and would save rock ‘n’ roll. Many of who had heard this before, knew The Temperance Movement were different. We weren’t surprised when The Temperance Movement reached number twelve in the UK Charts. I’m sure it’ll go higher. After all, given the quality of music on The Temperance Movement, which I’ll tell you about, rock ‘n’ roll’s in safe hands.
Only Friend, a glorious fusion of blues and rock opens The Temperance Movement. Screaming, scorching guitars, pounding drums and hi-hats take the track in the direction of AC/DC. Then when Phil’s grizzled vocal, there’s a real Led Zeppelin influence. It’s as if The Temperance Movement have been weened on classic rock. They never miss a beat. Spraying guitars across the arrangement, the rhythm section lock into a tight, steady groove, while Phil’s vocal references Robert Plant, Joe Cocker and Brian Johnson.
Ain’t No Telling doesn’t just see The Temperance Movement pick up where they left off on Only Friend. No. Things get better. The Temperance Movement kick out the jams. They become an unstoppable musical juggernaut. Jagged, crystalline guitars and a driving rhythm section drive the arrangement along. Phil Campbell’s vocal is a mixture of raw power and emotion. His powerful, impassioned pleas are heartfelt and sincere. They’re halfway between the barroom and church. His voice sounds as if it’s honed to perfection on Jack Daniels and Marlboro. Then all of a sudden, he’s a testifying preacher. This is the signal for the band to kick loose. Motoring through the gears, they produce a spellbinding performance. This proves that rock ‘n’ roll is alive and thriving, thanks to The Temperance Movement.
Pride sees a much more mellow side of The Temperance Movement. There’s a country rock sound to the track, Just acoustic guitar and meandering bass combine while Phil lays bare his weary soul. He’s loved, but lost. His Pride got in the way. Hurt and heartbreak are ever-present as Phil, accompanied by cooing harmonies, realizes what’s he’s lost.
Be Lucky sits midway between The Rolling Stones, Free, Bad Company and Primal Scream. It’s another strutting slice of classy rock. Enveloped by chugging, riffing guitars and the tightest of rhythm section, Phil’s vocal sounds as if it belongs on a Free album. Here, he sounds not unlike Paul Rodgers. It’s hard to believe Phil comes from Glasgow. He sounds as if he was born just of Route 66. Oozing confidence and sass, he struts his way through the track, every inch the old school rock ‘n’ roll frontman.
Muted guitars open Midnight Black while Phil delivers a grizzled vocal. By now, the driving, pounding rhythm section and searing, scorching rocky guitars have become the tightest of units. Phil’s vocal is very much from the school of classic rock. He’s just the latest keeper of the flame of authentic rock ‘n’ roll. This is no one-man band. No. Everyone plays their part. Listen to the duel guitars and thunderous rhythm section. They’re every inch old school rock ‘n’ roll band, on this tale of hurt and heartache.
Chinese Lanterns sees The Temperance Movement change tack. There’s an alternative country sound to the track. Think Wilco or The Jayhawks. There’s even a touch of Gram Parsons. Weeping guitars accompany Phil, whose vocal is tinged with regret. It’s late at night, and memories come flooding back. He remembers what he’s lost. She’s moved on, but he hasn’t. Still he holds a candle for her, but realistically, he knows she’s gone and he should move on. That’s easier said than done, on this tale of love lost and a heart broken. Here, Phil paints pictures, pictures that unfold before your eyes.
Know for Sure returns to the rockier sound. The tempo is dropped and briefly, Phil sounds like Peter Gabriel. Indeed, briefly, Know For Sure reminds me slightly of Peter Gabriel’s Sledgehammer. That’s before it’s transformed into another slice of old school rock. Their duel guitars do battle. They’re not content to unleash the same notes. They play around each other, their playing inventive and dramatic. Then there’s the thunderous rhythm section. It provides the backdrop for Phil, as he revisits his role of rock ‘n’ roll preacher. Later, screaming guitars replace his testifying vocal as struts his way through this reminder of what music once sounded like.
Morning Riders sees The Temperance Movement toy with you. Then they unleash some of their trademark scorching guitar licks. Drummer Damon Wilson anchors the band. He provides the heartbeat, while Phil every inch the old school frontman, throws himself into the role. It’s as if this was his destiny. He’s a mixture of Slash, Robert Plant, Paul Rodgers, Brian Johnson and Chris Robinson. As he unleashes one of his best vocals, the band are spurred on to greater heights. Whether it’s playing as a unit, or during solo, this is a vintage performance. Some stunning, screaming guitar solos are unleashed. Then the band become a tight, slick unit who deliver an impassioned, dramatic fusion of blues and rock.
Lovers and Fighters sees a much more understated side of The Temperance Movement. Just an acoustic guitar accompanies Phil’s tender, husky soulful vocal. Weeping guitars add a country twist as the arrangement begins to reveal its secrets and beauty. Drums provide a pensive backdrop that matches Phil’s vocal. It too, has a melancholy sound. Not only that, but it shows a very different and quite beautiful side to The Temperance Movement’s music. Indeed, this is much more like some of Phil’s work as a solo artist.
When the drums count the band in on Take It Back, you know what’s coming next. The Temperance Movement are about to explode into action. You’re not disappointed. Machine gun drums and rhythm section join boisterous harmonies. They set the scene for Phil’s rasping vocal. Rolls of thunderous drums, searing, crystalline guitars and singalong harmonies play their part in a track whose roots are in seventies glam rock and rock ‘n’ roll. Everything from The New York Dolls, MC5, Iggy and The Stooges, went into the making of the boisterous, strutting Take It Back.
Smouldering is another country-tinged ballad. This is something Phil Campbell and the rest of The Temperance Movement do so well. His worldweary vocal sounds full of emotion and regret. Accompanying him are guitars and the rhythm section. They’ve locked into a tight groove. Their playing is sparse and effective. Rock and country becomes one, as Phil, accompanied by scatted harmonies delivers a heartfelt and heartbroken vocal opus.
Closing The Temperance Movement, is Serenity. It has understated bluesy, country sound. Just guitars accompany Phil’s tender, emotive vocal. Again, this allows us to hear a very different side to The Temperance Movement. They’ve returned to the balladry they do so well. They’re far from a one trick pony. Later, the track becomes a blistering slice of rock ‘n’ roll. Whether its ballads, loves songs or blistering rock ‘n’ roll, The Temperance Movement do it just as well. Serenity, brings all this together and showcases the multitalented The Temperance Movement at their very best.
Just two years after they formed, The Temperance Movement have played all over Britain, Europe and America. Having won over audiences throughout the Western world, The Temperance Movement released their debut E.P. in September 2012. Released to critical acclaim, The Temperance Movement spent the next year spreading the word about The Temperance Movement. Whether it was in concert halls or at festivals, The Temperance Movement gained a band of followers. No wonder. Here was the future of rock ‘n’ roll.
The Temperance Movement are an old school rock ‘n’ roll band. They reference everyone from AC/DC, Bad Company, Free, Primal Scream, Joe Cocker, Led Zeppelin, the Sensational Alex Harvey Band and The Rolling Stones. Add to that The Eagles, The Jayhawks and Wilco. Then there’s The New York Dolls, MC5, Iggy and The Stooges. All these groups have played their part in influencing The Temperance Movement, whose eponymous debut album reached number twelve in the UK. That’s just the start. There’s only one place The Temperance Movement are going…to the top.
No wonder. The Temperance Movement keep it real. Here’s an old school rock ‘n’ roll band. It sounds as if rather than nursery rhymes, The Temperance Movement were weened on classic rock ‘n’ roll. That’s worked out well. Drawing inspiration from the music of the past, The Temperance Movement have produced the music of the future. Fusing blues, country and blistering, old-school rock ‘n’ roll and soul, The Temperance Movement’s eponymous debut album is flawless. Whether it’s ballads or when they kick loose, The Temperance Movement live up to their reputation as the future of rock ‘n’ roll.
Many bands have been touted as the savior of rock ‘n’ roll. In their hands, the future of rock ‘n’ roll has been placed. Over the years, I’ve watched the contenders come and go. Some have sunk without trace, becoming the musical equivalent of the Titanic. As for the grand old men of rock ‘n’ roll, groups like The Who and the Rolling Stones they’re yesterdays men, living off their past glories. Thankfully, rock ‘n’ roll has found its savior. The future of rock ‘n’ roll is safe, the future of rock ‘n’ roll is The Temperance Movement. Standout Tracks: Ain’t No Telling, Pride, Chinese Lanterns and Lovers and Fighters.
THE TEMPERANCE MOVEMENT-THE TEMPERANCE MOVEMENT.
FOXY-GET OFF.
FOXY-GET OFF.
Before Foxy’s recording career got underway, they honed their sound playing on a whole host of albums released on Henry Stone’s T.K. Records. Starting with Blowfly, then Timmy Thomas, Miami-based Foxy were T.K’s studio band. Foxy picked up where KC and The Sunshine Band left off. They were now T.K’s most successful signing. Their days of working as a studio band were long gone. The baton had passed to Foxy. By 1976, it was time for Foxy to release their debut album
Released in 1976, Foxy released the first of a quartet of albums they released for Henry Stone’s Dash Records. Their eponymous debut album Foxy, saw their career get off to an inauspicious start. It failed to chart. Part of the problem was Foxy couldn’t find their own sound. Instead, they sought inspiration from a number of sources. A small crumb of comfort was Get Off Your Aahh and Dance, which gave Foxy a minor hit single. Although it reached just number thirty-nine in the US R&B Charts, it reached number two in the US Dance Charts. While Foxy showcased the band’s talent and versatility, it gave no hint of what was about to happen the Miami-based sextet. Their sophomore album Get Off, which was recently rereleased by BBR Records, transformed Foxy fortunes.
For their sophomore album Get Off, three members of the band contributed the eight tracks Ish Ledesma penned Ready For Love, You and Lucky Me. He cowrote Get Off, Madamoiselle and It’s Happening with Carl Driggs. Ish and Charlie Murciano wrote Tena’s Song, while Charlie contributed Goin’ Back To You. These eight tracks became Get Off, which was produced by Cory Wade.
Recording of Get Off took place at Studio Center Sound Recording, Miami. That’s where the six members of Foxy headed. Foxy featured two lead vocalists, guitarists Carl Driggs and Ish Ledesma. The rhythm section consisted of Arnold Paseiro and drummer and percussionist Joe Galdo. Multi-instrumentalist Charlie Murciano played keyboards, woodwinds and vibes. The final member of Foxy was Richie Puente Jr, who played percussion and clavinet. He was the son of legendary bandleader Tito Puente. Along with the Bonaroo Horns, backing vocals courtesy of Wildflower and Peter Brown on synth bass, this was the lineup that featured on Get Off. Would it kickstart Foxy’s career?
Before the release of Get Off, the title-track was released as a single in May 1978. It reached number nine in the US Billboard 100, number one in the US R&B Charts and number eighteen in the US Disco Charts. Then when Get Off was released in June 1978, it reached number twelve in the US Billboard 200 and number twelve in the US R&B Charts. Foxy had been catapualted to disco Kings. Had they found their own sound, or was Get Off a genre-melting album?
Tena’s Song opens Get Off. It’s a joyous slice of dance-floor friendly music. Literally, it explodes into life. Hand claps and the pounding rhythm section set the scene for the a vocal. It’s makes you think of the jazz age. Instantly, you’re back to the twenties. Ish’s lead vocal is accompanied by punchy harmonies. Soon, it’s a scat with handclaps, piano and woodwind accompanying him. Pop, funk and jazz combine to create joyous, hook-laden track where the roaring twenties and seventies unite.
Ready For Love sees a synth, piano, pounding rhythm section and quivering strings take charge as the arrangement gallops along. Dramatic soulful and dance-floor friendly, the soul-baring vocal is accompanied by sweeping harmonies. As for the arrangement, it frames the interplay between the vocal and harmonies. Bursts of drums, flourishes of piano, dancing strings, growling horns and a bubbling bass. They provide the backdrop for an impassioned, needy plea on this dramatic, soulful paean.
Madamoiselle sees Foxy slow things down. Still they keep things soulful. Cooing harmonies, percussion and melancholy strings join rasping horns and a wistful bass. A drum roll signals the arrival of the vocal. At the start, it’s whispered and seductive, but becomes sassy and powerful. The same can be said of the arrangement. With the rhythm section providing the pulsating heartbeat, Santana-esque guitars and Latin percussion take charge. Later, cooing harmonies and lush strings provide a backdrop for the strutting vocal, on this genre-melting tracks. In less than five minutes, Foxy combine elements of disco, funk, Latin, rock and soul.
You explodes into life. A myriad of Latin percussion provides the backdrop to a sassy, strutting vocal. It’s accompanied by equally, sassy, feisty harmonies. Soon, disco strings and stabs of piano are joined by a powerhouse of a rhythm section. Bursts of braying horns, percussion and flourishes of piano combine. Ish’s vocal is feisty and dramatic, with harmonies matching his sass and confidence. During a breakdown, funk, disco and Latin melts into one. Then when the harmonies pick up the baton, they’re the finishing touch to this mesmeric mixture of musical genres. Pulsating and infectiously catchy, it’s akin to a call to dance. You’re dared not to. You can’t help but submit the charms of you.
Get Off is the best known track on Get Off. It gave Foxy their only US R&B single. That doesn’t mean it’s the best track on Get Off. Whooping, cooing harmonies gives way to the vocoder as things get funky. There’s a tougher, P-Funk sound to the track. It’s as if Foxy have sought inspiration from Funkadelic. Other times, The Salsoul Orchestra are an influence, especially with the vocals. Driven along by that bubbling bass, Foxy lock into a groove and exploit it to its fullest. What unfolds is like a party in the studio. Whoops, hollers, handclaps and harmonies are combined. Foxy fuse funk, disco, soul and bubblegum pop to create an infectiously catchy track.
Bursts of thunderous drums open Lucky Me, which marks another change in direction. Swathes of strings, rasping horns and a sharp, deliberate vocal. It takes the track in the direction of Euro Disco. Suddenly, it’s a myriad of supposedly sensuous moans and groans. Then it’s all change. Foxy deploy a vocoder. It’s an instrument that can be overused. Here, Foxy tread a fine line. A guitar could prove just as effective. Later, as the track becomes a gloriously choppy slice of Euro Disco, it’s all change. During a breakdown the track takes on a Latin sound. Sadly, it never returns to the glorious slice of Euro Disco it once was. Although it’s a good track, without the vocoder and the Latin sounding breakdown, it could’ve been a great one.
Straight away, Goin’ Back To You reminds me of Earth, Wind and Fire. It’s the arrangement that leads to that comparison. With just a piano, drums and lush strings for company, Foxy showcase their soulful side. A heartfelt and emotive vocal and Earth, Wind and Fire-sque harmonies prove a potent combination. Gradually the emotion and drama grows as Foxy replicate the soulfulness of Ready For Love.
It’s Happening closes Get Off. Just a jaunty piano is joined by a bubbling bass and urgent vocal. Soon, strings are sweeping and swirling, while bursts of rasping horns punctuate the arrangement. As the vocal drops out disco string, searing guitar, cooing harmonies and growling horns take centre-stage. By now musical genres and influences have melted into one. Listen carefully, and you’ll hear everything from pop, disco, soul and funk, plus elements of Andrew Gold and The Doobie Brothers. Poppy, soulful and catchy it’s a compelling way to close Get Off.
Just like their debut album Foxy, Foxy haven’t quite found their own sound on Get Off. That’s not necessarily a bad thing. No. Get Off is best described as a fusion of musical genres and influences. Everything from disco, Euro Disco, funk, jazz, Latin, P-Funk, pop, rock and soul can be heard on the eight tracks. Tena’s Song is one of the highlights of Get Off. As the roaring twenties and the seventies unite, there’s no hint of what’s to come. Instead, Get Off is a magical mystery tour. Ready For Love and Goin’ Back To You allow Foxy to showcase their soulful side. Then during Get Off’s other five tracks musical genres melt into one. There was something for everyone on Get Off. Whether you liked your music funky, soulful or dance-floor friendly, Foxy had something for you.
With seemingly Foxy covering all their bases, how would Dash Records market the band? Were they a disco, funk or soul band? The answer to that was neither. They were all things to all men and women. Maybe that was as a result of Foxy originally being a studio band? A studio band has to be able to accompany any type of artist. Foxy could do this. Seamlessly, they could switch from soul to funk and then disco. This was a bit like Earth, Wind and Fire, who Foxy occasionally sound like. Sadly, Foxy didn’t come close to replicating the commercial success and critical acclaim of Earth, Wind and Fire.
Instead, Foxy released just two more albums. 1979s Hot Numbers reached number twenty-nine in the US Billboard 200 and number ten US R&B Charts. Their final studio album was 1979s Party Boys. It failed to chart and Foxy split up in 1980. Their recording career lasted three years and numbered just four albums. Foxy’s finest hour was Get Off, which was recently rereleased by BBR Records. Seamlessly, Foxy fuse musical genres and influences on what was the most successful album of their career, Get Off. Standout Tracks: Tena’s Song, You, Get Off and Goin’ Back To You.
FOXY-GET OFF.
MONK MONTGOMERY-REALITY.
MONK MONTGOMERY-REALITY.
Music was in Monk Montgomery’s blood, especially jazz music. His younger brothers were the legendary jazz guitarist Wes, while Buddy, played vibes and piano. Despite coming from a musical family, Monk’s professional career only started when he was thirty. He was a bassist, but unlike his predecessors, eschewed the double bass for the Fender Precision Bass.
Indeed, it was Monk Montgomery who legitimized the Fender Precision Bass. Designed by Leon Fender, its introduction coincided with the start of Monk’s career in 1995. Before that, producers and engineers were wary of the Fender Precision Bass’ sound. They were wary of its power and how it could, if not used properly, dominate a track. Monk Montgomery changed people’s opinion of the Fender Precision Bass. This became his musical weapon of choice.
The Fender Precision Bass can be heard when Monk played on albums by Kenny Burrell, Art Farmer, Johnny Harris Johnny Griffin, Eddie Harris and Buddy Montgomery. Then there’s the nine albums Buddy, Wes and Monk recorded as The Montgomery Brothers, plus Monk’s three solo albums. His last solo album was 1974s Reality, which was recently rereleased by BBR Records. Reality which was released on Philadelphia International Records, was the swan-song to Monk’s three decade career, which I’ll tell you about.
It was October 1921, when Monk Montgomery was born in Indianapolis, Indiana. He was the eldest of three brothers who became jazz musicians. Wes would play guitar and Buddy would play piano and vibes. Monk started off playing the double bass, but when he turned professional in 1951, plugged in.
When Monk turned professional, he turned his back on the double bass. Controversially, Monk decided to try Leo Fender’s Fender Precision Bass. Soon, Monk tamed the Fender Precision Bass. No longer did producers fear the instrument. Instead, they realized, in the right hands, it was a potent and powerful weapon. Lionel Hampton realized this.
Between 1951 and 1953, Monk was the bassist in Lionel Hampton’s orchestra. Considering this was his professional debut, Monk was starting at the top. Then in 1953, Monk became a member of the Art Farmer Septet until 1956. After that, he became a member of The Mastersounds between 1957 and 1960. They went on to record six albums. Then with Wes and Buddy, The Montgomery Brothers recorded the first of nine albums they released. Although his career started late, he was making up for lost time. This was the case during the sixties.
Throughout the sixties, Monk was working with some of the biggest names in jazz. Away from The Montgomery Brothers, Monk worked with The Jazz Crusaders, Hampton Hawkes, George Shearing and The Jack Wilson Quartet. Monk also played on his brothers Wes and Buddy’s solo albums. This includes Wes’ final album A Portrait Of Wes Montgomery. It was released in 1968, the year Wes Montgomery died of a heart attack. Wes had returned from a tour and was enjoying the most successful period of a career. Monk was heartbroken. However, life and his career had to go on.
1969 saw Monk release his debut solo album It’s Never Too Late. It saw Monk joined by members of The Jazz Crusaders. Monk had played on a couple of their albums. So this was a case of returning the favor. Produced by Jazz Crusader Wayne Henderson and Stewart Levine, It’s Never Too Late wasn’t a commercial success. Neither was the followup.
Between the release of his debut album It’s Never Too Late and the release of 1971s Bass Odyssey, Monk had been working with vibes player Red Norvo. Again, an all-star lineup accompanied Wes on Bass Odyssey. Produced Wayne Henderson and Stewart Levine, Bass Odyssey failed to chart. Monk wouldn’t release another album for three years.
Following the release of Bass Odyssey, Monk returned to session work. This was what Monk was doing when Gamble and Huff contacted him. They wanted Monk to sign Monk to Philadelphia International Records. This didn’t please some of the jazz community. They wondered why Monk was signing to a soul label? However, this wasn’t just any soul label, it was one of the most successful soul labels. Monk’s music would Gamble and Huff argued, would be heard by people who didn’t usually buy jazz albums. For Monk, it looked like a no-loose situation.
When work began on what became Reality, Monk contributed Close Your Face. Producer Bobby Martin penned Reality and Sippin’ and Tippin.’ Bobby cowrote Bump De Bump with Norman Harris, whose guitar playing is reminiscent of Wes Montgomery. Other tracks included Bill Cosby’s I Love You Camille, Neal Hefti’s Girl Talk and Ron Feuer’s Little O’s. The other track was a cover of Gary Gilbert collaboration with Gamble and Huff, Me and Mrs Jones. These eight tracks became Reality.
Recording of Reality took place at Joe Tarsia’s Sigma Sound Studios. A slimmed-down version of M.F.S.B. accompanied Monk. This included the Baker, Harris, Young rhythm section, guitarist Ron Kersey, vibes virtuoso Vince Montana Jr and Larry Washington on bongos and congas. Producer Bobby Martin played piano and Fender Rhodes while Don Renaldo’s Strings and Horns added a trademark Philly Soul sound. Guest musicians included organist Ron Feuer, drummer Santo Sazino and Danny Skea on electric piano and clavinet. Once Reality was recorded, it was ready for release in November 1974.
On the release of Reality in November 1974, the album failed to chart. So did the title-track Reality, when it was released as a single in November 1974. Monk Montgomery’s music wasn’t heard by a wider audience. Instead, Reality proved to be his final studio album. Did Reality see Monk Montgomery bow out on a high?
The title-track Reality was penned by one of the forgotten heroes of Philadelphia International Records, Bobby Martin. Songwriter, arranger and producer, here disco, jazz and soul unite. After the dramatic drum rolls, lush strings join ethereal harmonies forces with Monk’s bass. As strings dance and dreamy harmonies coo, quick bursts of Monk’s muted bass dances across the arrangement. It skips its way across the arrangement, as M.F.S.B. seamlessly unleash some jazzy and funky licks.Dreamy, dramatic and ethereal, describes the track while mesmeric describes Monk’s bass playing.
Me And Mrs. Jones is given something of an understated makeover. Swathes of Don Renaldo’s strings sweep back and forth while Earl Young’s drums mark time. Monk’s playing is sparse and subtle. There’s neither showboating nor excess. Space is left within the arrangement. Members of M.F.S.B. fill the spaces. This includes Norman Harris’ jazz-tinged guitar, wistful horns and Vince Montana Jr’s vibes. They add a melancholy sound, while Earl’s drums add occasional bursts of drama on this reinvention of a Philly Soul classic.
There’s a real cocktail jazz sound to the piano that opens Sippin’ And Tippin.’ Its slinky sound weaves its way in and out of a meandering arrangement. Monk’s bass meanders thoughtfully, while the wailing Hammond organ adds a contrast. Then when a piano is unleashed, there’s a much more vibrant sound to this kittenish slice of sixties jazz.
Bump De Bump was written by Bobby Martin and Norman Harris. Here, Monk shows his versatility, on this blisteringly funky track. Growling horns, join Baker, Harris, Young at their best. Funk, jazz and Philly Soul become one. Monk takes centre-stage. He’s out front unleashing his trademark sound. It’s unmistakable. This seems to spur M.F.S.B. on. The rhythm section provide a pulsating, uber funky beat that drives this musical juggernaut along. Guitars chime, horns bray and Monk demonstrates his versatility.
I Love You Camille was written by comedian Bill Cosby. Driven along by the unmistakable sound of the clavinet, swift chord changes add to the drama and beauty of this track. Seamlessly, M.F.S.B. shift through the gears. Keyboards, clavinet and a thunderous rhythm section provide transform M.F.S.B. into dramatic, powerhouse. Despite this, the swathes of strings add an ethereal beauty. So do, the keyboards and Monk’s thoughtful, pensive playing. Effortlessly, he unleashes one of his best and most dramatic solos. As he matches the rest of M.F.S.B. every step of the way, Monk plays his part in the genre-melting track’s success.
Little O’s has a shuffling arrangement. Here, Monk’s bass and Hammond organist Ron Feuer take centre-stage. The rest of the band play behind them. Drums pound, hi-hats hiss and Monk delivers a mesmeric solo. His hands flit effortlessly up and down the keyboard, as M.F.S.B. mix jazz, funk and even, rock. Then when Monk and Ron Feuer combine, they prove a potent partnership. They seem to drive each other to greater heights. Getting in on the action is drummer Santo Sazino who with Ron and Monk drives the track to its dramatic crescendo.
Girl Talk was the theme to the 1965 movie Harlow, which documented the story of Jean Harlow’s life. It features one of Monk’s best performances. Evocative, atmospheric and spacious, the track has a broody sound. Monk’s playing is wistful and pensive, while drums are played with brushes and Bobby Martin’s Fender Rhodes adds to the sense of melancholia. As the tempo quickens, this allows Monk and the rest of M.F.S.B. combine to create an enigmatic track. One minute it’s moody and melancholy, the next it’s melodic, dramatic and hopeful. This seems fitting, given it’s telling the story of Jean Harlow.
Close Your Face closes Reality on a high. Monk returns to his roots. At breakneck speed, a a drum solo is unleashed. Next to join the fun is the Hammond organ. Gradually, the arrangement reveals its subtleties. We’re headed back to jazz’s glory days and bebop. As the Hammond organ joins Monk and the drums, this triumvirate power the arrangement along. The result is a glorious reminder of the jazz’s glory days.
Reality proved to be something of a reality check for Gamble and Huff. They weren’t invincible. Not everything they touched turned to silver, gold or platinum. While they were enjoying commercial success and critical acclaim, they weren’t without their failures. Far from it. For every hit The O’Jays, Harold Melvin and The Blue Notes and Three Degrees enjoyed, there were flops from That Jones and Mel Lewis, Spiritual Concept, Bunny Sigler, Bobby Taylor, Derek and Cyndi and Robert Upchurch. Each of these artists failed to replicate the commercial success of Philadelphia International Records higher profile artists. To that list, Monk Montgomery’s name must be added. Gamble and Huff’s dalliance with jazz hadn’t paid off. Having said that, Reality is something of a minor hidden gem in Philadelphia International Records back-catalogue.
That’s thanks to Bobby Martin. He produced Reality. Philadelphia International Records’ forgotten hero penned two tracks and cowrote Bump De Bump with M.F.S.B. guitarist Norman Harris. These were three of the eight tracks Monk and Bobby chose for Reality. Accompanying Monk on Reality, were an all-star band. This included some of M.F.S.B. and some of Monk’s trusted sidemen. The result was a genre-sprawling album. Everything from bebop, cocktail jazz, disco, funk, jazz, Philly Soul and rock can be heard on Reality. Monk’s trademark sound shines through. This came courtesy of Leo Fender’s Fender Precision Bass. In Monk’s hands, it’s hugely effective. His playing can be described as sparse, subtle, understated, breathtaking and mesmeric. Monk’s playing spurred M.F.S.B. on to greater heights. Sadly, their efforts weren’t appreciated.
On the release of Reality, it sunk without trace. That’s no surprise. Philadelphia International Records wasn’t a jazz label. They’d no track record with jazz albums. Who did they know within the jazz world? Did they have contacts within jazz radio stations and magazines? In many ways, it’s no surprise Reality wasn’t a commercial success. For Monk Montgomery that was the final studio album he released. He did release Monk Montgomery Live In Africa…Live in 1974 on Philadelphia International Records. It wasn’t a commercial success. That proved to be the end of Monk’s solo career. Reality which was recently released by BBR Records proved to be Monk Montgomery’s swan-song.
Although he continued to work as a session musician until 1976, Monk Montgomery never released another solo album. As for producer Bobby Martin, his career as a songwriter, arranger and producer continued. Bobby was one of the architects of Philly Soul, and enjoyed a hugely successful career. Despite this, Bobby Martin who died recently, is one of Philly Soul’s forgotten heroes. A reminder of his talent as a songwriter and producer is Monk Montgomery’s final solo album Reality, a hidden gem in Philadelphia International Records back-catalogue. Standout Tracks: Reality, Me And Mrs. Jones, Bump De Bump and Girl Talk.
MONK MONTGOMERY-REALITY.
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.
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