ALMUNIA-PULSAR.
ALMUNIA-PULSAR.
Often when I’m looking for new music, it’s an album cover that grabs my attention. That was the case with Almunia’s new album Pulsar. It was released on Paul Murphy’s Claremont 56 label, on 27th May 2013. Released without publicity or fanfare, Almunia’s sophomore album Pulsar was a low key release to say the least. There weren’t reviews in the music press. Nothing at all to let music lovers that Pulsar had been released. Indeed, if it hadn’t been for Pulsar’s cosmic, surreal and psychedelic album cover, the album might have passed my by. Thankfully, Mark Warrington’s artwork drew my attention to Pulsar. That would’ve resulted in me missing out on the eclectic, genre-sprawling delights of Pulsar, which I’ll tell you about, once I’ve briefly, told you about Almunia.
Formed in Cecicna in Livorno, Italy, Almunia are a duo consisting of Leonardo Ceccanti and Gianluca Salvador. Leonardo is a multi-instrumentalist, who can play bass, keyboards, acoustic and electric guitar. He is also the vocalist, and with turntablist Gianluca, produced Pulsar. Since forming, Almunia have released just two albums. Their debut album was New Moon, released in 2011. Then in 2012, Almunia released a twelve inch single Pulsar. This was a tantalizing taste of their sophomore album Pulsar. Before that, Almunia released a digital E.P. Cassandra’s Dream. Then a month later, came the release of Almunia’s eight-track sophomore album Pulsar, which I’ll now tell you about.
Opening Almunia’s sophomore album Pulsar is The Awakening. With just a lone acoustic guitar taking centre-stage, there’s a real Balearic sound to the track. Reverb is added, giving the track an understated, spacey and dubby sound. Then the arrangement fills out. Later, keyboards, searing guitar and percussion combine with the guitar. Almunia lock into a mesmeric groove, that’s laid-back, smokey and ideal for chilling during the long, lazy summer days ahead.
Just like The Awakening, Wrapped In Your Hair sees an acoustic guitar open the track. It’s urgent, strident sound is joined by pounding drums and Leonardo’s vocal. Briefly, it’s drenched in echo, before becoming distant and mysterious. Accompanied by just guitars and drums, this is highly effective and compelling, as Almunia fuse elements of ambient, Balearic, folk and psychedelia.
Ode To Mom has a harder, funkier and bluesier sound. That’s thanks to the bass and harmonica. After that, washes of synths add a broody, moody and dramatic sound. Reverb is added, providing a dubby influence, before washes of synths head into the distance. They’re not unlike waves crashing on an Ibizan beach. This track would provide the perfect Ibizan soundtrack. Especially since the drama and mystery has increased, as elements of electronica, funk, ambient and psychedelia combine. Then when ethereal, celestial harmonies are added, they provide a contrast, to the drama, power and mystery of this driving, genre-sprawling track.
From the get-go Views From A Blue Train has a mysterious, enigmatic sound. It’s as of Almunia are providing the soundtrack to a 21st Century spy thriller. To do this, they rely upon guitars and washes of crystalline synths. Then the track decides to reveal its secrets. A tough, funky bass and hypnotic drums take charge. They drive the arrangement along, and are helped by a wah-wah guitar. By now, Almunia are in the tightest of grooves, fusing funk, house, Balearic Beat and electronica. Add to that rock, as Leonardo finds his inner rock star, unleashing a searing guitar solo. Combine all this, and the result is a hypnotic, dance-floor friendly fusion, where musical genres unite, becoming one.
Driven along by a lone acoustic guitar, the introduction to Follow What You Are is similar to the first two tracks. Like these tracks, is another melting pot of musical genres and influences. However, the sound is very different. No wonder. Relying upon banks of keyboards, thunderous drums, rock-tinged guitars drenched in reverb and washes of jagged synths, a complex, multilayered fusion unfolds. Everything from house, dub, rock, psychedelia, Balearic Beat and ambient music is thrown into the mix, and combined seamlessly and peerlessly by Almunia.
After an understated introduction to The Magician, Almunia are soon waving their magic wand and working their magic. Best described as dreamy, trippy and ambient, it’s a truly captivating track. Washes of meandering synths and chiming guitars create a slow, spacious backdrop. It’s drenched in backdrop and joined by almost pedestrian drums. The arrangement meanders and wanders along. This is no bad thing. It allows you to experience its ambient, Balearic delights, which for seven majestic minutes wash over you, ensuring you enter an almost dreamlike, blissful state.
Secret Marriage is the perfect way to follow The Magician. The tempo is slow, the arrangement understated as it meanders, almost aimlessly along. Just the lone acoustic guitar wanders along, on a musical voyage of discover. Eventually, an electric guitar, laden with reverb, hypnotic drums and a pulsating bass join forces keyboards. Then Almunia kick loose and lock into the tightest of rocky grooves. Quite simply, it’s a joy to behold. Exploring every subtlety and nuance, they mix rock, psychedelia, jazz, Balearic and ambient music. It’s a glorious and captivating combination of diverse musical genres, that in the hands of Almunia makes perfect sense.
Closing Pulsar is the title-track Pulsar. As Leonardo’s finger urgently and nimbly fly up and and down the fretboard, he creates a dramatic jazz-tinged sound. Reverb is used sparingly, before washes of synths glide in. This signals the arrival of thunderous drums and electric guitars, drenched in reverb. While Almunia have used this combination of instruments several times before, they’ve always changed things about. This they do again. Hard and funky thanks to the bass-line, the drums are straight from a house track. As for the guitars, they fuse rock and psychedelia. Eclectic and mesmeric, is the perfect way to describe this track, which brings the musical journey that is Pulsar to an end.
Of all the new albums I’ve heard during 2013, Almunia’s Pulsar is one of the best. There’s a number of reasons for this. The first of them is, Pulsar is an old-school album. Just eight tracks and fifty-one minutes long, it’s all killer and no filler. A shorter album where it’s quality all the way are how it used to be. Rather than fifteen tracks, plus bonus tracks, Almunia deliver eight captivating tracks. These eight tracks are played by the hugely-talented Almunia, with a little help from their friends. During the eight tracks, Almunia fuse numerous musical genres and influences. Ambient, Balearic, blues, dub, folk, house, jazz, psychedelia, prog-rock and rock all influence Almunia on Pulsar. Eclectic Pulsar certainly is. Indeed, that’s almost an understatement. Instead, Pulsar is more of a genre-sprawling, Magnus Opus.
From the opening bars of The Awakening, right through to the closing notes of Pulsar, Almunia take you on the bewitching musical journey that is Pulsar. Irresistible and unforgettable, the music on Pulsar ranges from dreamy and dramatic, to broody and bold, to subtle and understated. I’d also describe Pulsar as ambient, blissful, cosmic, dreamlike, smokey and trippy. Pulsar is all these things and more. That includes imaginative, innovative and influential. Indeed, for anyone who loves, appreciates and cherishes quality and innovative music, then they must hear Almunia’s sophomore album Pulsar. So good is Pulsar, that I’d suggest that if you’re only going to buy one album this week, make sure it’s Almunia’s Pulsar. You certainly won’t regret it, and Pulsar will soon become one of you most treasured albums. Standout Tracks: The Awakening, Wrapped In Your Hair, Views From A Blue Train and The Magician.
ALMUNIA-PULSAR.
PSYCHEMAGIK PRESENTS MAGIK SUNRISE.
PSYCHEMAGIK PRESENTS MAGIK SUNRISE.
By far, one of the best compilations of 2012 was Leng Records’ Psychemagik Presents Magic Circles. Released in October 2012, it’s best described as a compelling and captivating collection of music. Not only that, but it brought new meaning to the word eclectic. Fusing cosmic disco, Balearica, psychedelic funk, ambient, soul, electronica and Middle Eastern beats, it was a breathtaking and mind-blowing musical journey. Subtleties and nuances unfolded during the twelve tracks. Complex and multilayered, musical influences and genres merged on Psychemagik Presents Magic Circles. The men behind this critically acclaimed compilation were the prolific production team Psychemagik. Now seven months, and numerous crate-digging expeditions later, Psychemagik return with Psychemagik Presents Magik Sunrise. It was released on Leng Records on 27th May 2013. For anyone who fell for the whimsical charms of Psychemagik Presents Magic Circles, then Psychemagik Presents Magik Sunrise is essential listening. However, will Psychemagik Presents Magik Sunrise match the critical acclaim and eclecticism of Psychemagik Presents Magik Circles?
Just like Psychemagik Presents Magik Circles, Psychemagik Presents Magik Sunrise is a double album. Disc One is unmixed, while Disc Two is smoothlu seamlessly mixed by Psychemagik. Although I’m not a huge fan of DJ mixes, this is one of the best I’ve heard recently. On Disc One of Psychemagik Presents Magik Sunrise, there are fifteen tracks. They range from cosmic disco, Balearica, psychedelic, funk, ambient and reggae. Featuring contributions from artists like Iaso, Daniel Mathieu, Cherubin, Yves Simon, Rob Mehl, Rioland and Goldfeder, David Astri and Max Adioa. Among them, there’s numerous hidden gems awaiting discovery on Psychemagik Presents Magik Sunrise. This is testament to Psychemagik’s crate-digging skills. Whether it’s dusty warehouses, thrift stores, backstreet record shops or junk shops, no pile of vinyl is left undisturbed. Not when Psychemagik are about. They’re always on the look out for that elusive hidden gem. Their persistence and determination often pays off. Proof of this can be found on Disc One of Psychemagik Presents Magik Sunrise, which I’ll tell you about.
Opening Psychemagik Presents Magik Circles, Psychemagik Presents Magik Sunrise is Iasos’ Formentera Sunset Clouds. Named after a Greek island, this was a track from Iasos’ 1975 album Wave Number 1: Inter-Dimensional Music. It’s a laid-back slice of ambient music that gradually unfolds. As waves crash on a sandy beach, banks of meandering keyboards provide a spacey, ambient backdrop. Gothic, dreamy and trippy, it’s music to lose yourself in, as the music washes over you.
Similarly eclectic is Daniel Mathieu’s C’etait Un Beau Dimanche. Here, folk, ambient and electronica combine. The tempo remains slow, with an understated arrangement accompanying Daniel’s wistful vocal. Just an acoustic guitar and subtle drums accompany Daniel’s vocal, as folk and ambient music combine. Later, washes of keyboards add a dramatic, almost psychedelic sound. The result melancholy fusion of musical genres.
Although Fox released The Juggler as a single in 1975, it has a timeless sound. It was from Fox’s sophomore album Fox. Again, it has a real dreamy, Balearic and slightly psychedelic sound. Quite simply, it’s impossible not to be mesmerized by The Juggler’s musical magic.
Walter Hawkins’ Metropolis is another genre-sprawling track. There’s everything from blues, folk, seventies singer-songwriter and ambient music. Featuring a heartfelt vocal, Walter delivers some thoughtful, articulate lyrics. Meanwhile, the arrangement meanders behind the vocal allowing Walter’s impassioned, sincere vocal to take centre-stage, where it rightly belongs.
Continuing the downtempo vibe is Steve and Teresa’s Catching A Wave. This was the title-track from their 1983 album Catching A Wave. It benefits from an understated, jazz-tinged, acoustic arrangement. This is the perfect accompaniment Steve and Teresa’s tender vocal and results in a slice of musical sunshine, that brings to mind long summer days.
Demonstrating the sheer versatility of music on Psychemagik Presents Magik Sunrise is the psychedelic sound of Cherubin’s Sunrise. This was the B-side to their 1974 single The Letter, which was released on United Artists. Why it was only a B-side is baffling? It’s a compelling and captivating combination of elements of folk, psychedelia and prog rock.
Yves Simon’s Raconte-Toi was the title-track to his 1975 album. It’s another track that’s emotive, moody and dramatic. The emotion comes courtesy of Yves needy, heartfelt vocal. It’s accompanied by an understated, minimalist acoustic arrangement. Later, the brief addition of an accordion, clarinet and stabs of electric guitar grab your attention and add a sense of drama.
Susana Estrada’s Gozame Ya sees an increase in tempo. This was a track from her 1981 album Amor Y Libertad. It has a mid-tempo, electronic arrangement. After synths reverberate into the distance, they give way to Susana’s vocal. Soulful and heartfelt, it delivered against an arrangement that’s a fusion of post-disco, funk, electronica and Euro Pop.
Joey Newman’s The One You Love is a track from his 1980 album Into His Favor. Released on Azure Records, Joey’s vocal is earnest, soulful and dramatic, while the arrangement is funky and sensual. The longer the track progresses, the better and more dramatic it gets. By the end of the track, you realize that this is something of a hidden gem.
The soulfulness continues with Rob Mehl’s House On The Rock. It’s from another album released in 1980. Taste and See was released on Ministry Resource Center. This is another mid-tempo track. Hook-laden yet understated, jazz, funk and soul become one, playing their part in a song you’ll never tire of hearing.
As George Oban’s Basshoven gradually decides to reveal its secrets, you wonder what lies ahead? A pounding, pulsating drum is joined by a reverberating synths and a plucked bass. Along with a myriad of percussion, floaty flute, chiming guitars and Fender Rhodes, a slice of the deepest jazz-funk unfolds. Spacey, slightly psychedelic, trippy and totally leftfield, this is one of the highlights of Psychemagik Presents Magik Sunrise.
Rioland and Goldfeder’s only collaboration was their 1984 album Gold. It featured Tension, a laid-back jazz-funk track. As it meanders along, it veers between floaty and spacious, melodic and occasionally, moody.
Jeff Liberman’s Transformation, a track from his 1978 album Synergy, sees another change of style. It’s the type of music the word eclectic was designed for. Encompassing everything from prog rock, rock, jazz and free jazz, it’s compelling and full of subtleties, surprises and secrets.
David Astri’s Safe And Sound was the B-side to his 1983 single Dancing Digits. Taken from his album Do It Right, Safe and Sound features Karen Goldberg’s tender, ethereal vocal. Combining jazz, electronica and downtempo music, it’s a quite beautiful song, that’s stood the test of time.
Closing Psychemagik Presents Magik Sunrise is Max Adioa’s instrumental version of Toubab Bile. It was released as a single in 1987.This bookends this eclectic compilation perfectly. Max takes you on a journey where musical genres collide. Elements of reggae, dub and downtempo are seamlessly combined, ensuring the eclecticism and quality of Psychemagik Presents Magik Sunrise continues.
While Psychemagik Presents Magik Circles was a truly eclectic compilation of hidden gems, rarities and forgotten music nuggets, the same can be said of Psychemagik Presents Magik Sunrise. The Psychemagik guys surpassed their previous efforts, combining numerous musical genres and influences. Everything from ambient, Balearic, blues, folk, funk, jazz, jazz-funk, prog-rock, psychedelia and rock is thrown into Psychemagik’s 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 dramatic, dreamy, surreal and trippy, to beautiful, understated and melancholy. Other times the music is dramatic, moody and broody. One thing the music never is, is boring. Not at all. Certainly not when Psychemagik are in charge of the music. Subtleties and surprises are sprung, while Psychemagik aren’t afraid of changing direction. Using the musical equivalent of a handbrake turn, they perform a volte face. That’s what makes Psychemagik Presents Magik Sunrise such a captivating and refreshing compilation.
The reason I refer to Psychemagik Presents Magik Sunrise as a refreshing compilation, is that Psychemagik and Leng Records eschew the safe and sterile music that pollutes other compilations. Psychemagik take a different direction. They’re brave and bold, and seem determined to give the compilation world a shakeup. To do this, they put their crate-digging skills to good use. They know to lay their hands on tracks others can only dream of. That’s why they’re the go-to-guys for anyone looking for that elusive hidden gem. Thankfully, they’ve kept a plentiful supply of hidden gems to themselves. Several of these feature on Psychemagik Presents Magik Sunrise, which is not just crammed full of quality music, but surpasses the quality of their previous compilation Psychemagik Presents Magik Circles. Laid-back, chilled-out, soulful, funky and jazz-tinged, the music on Psychemagik Presents Magik Sunrise is perfect late night listening and is a must-have for everyone who enjoyed the eclectic delights of Psychemagik Presents Magik Circles. Standout Tracks: Iasos Formentera Sunset Clouds, Fox The Juggler, Cherubin Sunrise and George Oban’s Basshoven.
PSYCHEMAGIK PRESENTS MAGIK SUNRISE.
COUNTRY SOUL SISTERS VOLUME 2: WOMEN IN COUNTRY MUSIC 1956-1979.
COUNTRY SOUL SISTERS VOLUME 2: WOMEN IN COUNTRY MUSIC 1956-1979.
Last October, when I reviewed the Soul Jazz Records compilation Country Soul Sisters: Women In Country Music 1952-1974, I wondered whether it would convert me into a fan of country music? Sadly, that wasn’t the case. Its persuasive powers and that of the Country Soul Sisters came up short, to say the least. This was no Damascan conversion. I wasn’t suddenly about to forsake my beloved Philly Soul for country music. No sirree. It was no stetson and cowboy boots for me. Much as I wanted to fall for the charms of the Country Soul Sisters it didn’t happen. However, when I saw the followup to Country Soul Sisters was due out, I decided to give country music a second chance. So, when Country Soul Sisters Volume 2: Women In Country Music 1956-1979, was released on 27th May 2013, I picked up a copy, and wondered whether the Country Soul Sisters would transform me into a fan of country music?
Country Soul Sisters Volume 2: Women In Country Music 1956-1979 features twenty-four tracks from some of the biggest names in country music. Tammy Wynette, Patsy Cline, Kitty Wells, Lynn Anderson, Bobbte Gentry, Linda Ronstadt and Jeannie C. Riley. There’s also contributions from the Queen of Rockabilly Wanda Jackson and ahem Cher. Just like Country Soul Sisters, some artists feature more than once. No wonder. They’re some of the most successful female artists in the history of country music. Among the twenty-four songs on Country Soul Sisters Volume 2: Women In Country Music 1956-1979 are a fusion of familiar tracks and hidden gems. Even if you’ve only a passing interest in country music, you’ll be familiar with a number of the songs. You’ll certainly be familiar with many of the Country Soul Sisters that feature on Country Soul Sisters Volume 2: Women In Country Music 1956-1979, which I’ll pick the highlights of.
Jeannie C. Riley’s Little Town Square opens Country Soul Sisters Volume 2: Women In Country Music 1956-1979. This is a track from her 1968 debut album Harper Valley P.T.A., which was released on Plantation Records. Her other contribution is The Rib, a track from her 1969 album Things Go Better With Love. It was also released on Plantation Records. They’re very different tracks. The Rib has an understated arrangement, which allows you to focus on Jeannie’s heartfelt vocal. Little Town Square has a fuller, much more uptempo arrangement. Steel guitars accompany Jeannie’s emotive vocal. Combining pride, power and anger, she reminisces at how hard her mother had to work to feed and clothe her family. Her vocal grows in power, as her anger is directed at the people who shunned her mother.
Linda Martell’s recording career may have only lasted less than a decade, but she played an important part in the history of country music. She was the first African-American woman to appear at the Grand Ole Opry in 1969. This lead to her signing to Plantation Records. Her 1970, single, Color Me Father, a track from her album Color Me Country, reached the top thirty in the US Billboard 100. No wonder. Quite simply, it’s a gloriously soulful slice of country music. So good is this track, that it might make a believer out of me.
Probably, the best known female country singer is Dolly Parton. Despite her popularity, she divides opinion within country music circles. One thing you can’t deny is the longevity and popularity she’s enjoyed. Dolly has two tracks on Country Soul Sisters Volume 2: Women In Country Music 1956-1979. The Bargain Store, which was the title-track to her 1975 album, is her first contribution. Jolene which was released as a single in 1974, is the best of the two. Not only was Jolene the title-track to her 1974 album, released on RCA Victor, but is a stonewall country classic.
Tammy Wynette is another country music’s best known singers. Her contribution to Country Soul Sisters Volume 2: Women In Country Music 1956-1979 is Baby, Come Home, a track from her 1971 album We Sure Can Love Each Other. Quite simply, this is one of the best tracks on the compilation. Cooing harmonies and steel guitars accompany Tammy’s needy, heartbroken and deeply soulful vocal. Her delivery is peerless. The way she pauses, before delivering the lyric: “come on home,” gets across her heartache and loneliness.
Jody Miller’s recording spans two decades. During this time, she released six albums, three of them for Epic. Her Epic “debut” was 1971s He’s So Fine, which feature’s Don’t Throw Your Love To The Wind. Three years later, in 1974, she released House Of The Rising Sun. It featured a cover of Natural Woman. Her delivery is impassioned, heartfelt and sincere. With steel guitars and harmonies, Jody delivers a joyous emotive vocal, which is one of the finest cover version of Natural Woman you’ll hear.
While most people remember Bobbie Gentry for Ode To Billie Jo, there’s much more to her career than one track. Proof of this is Okolona River Bottom Band, a track from her hugely underrated 1968 album The Delta Sweete. With an arrangement that fuses jazz, blue, funk and country music, Bobbie delivers a sassy, sultry vocal. So good is this track that not only does it stop you in your tracks, but will have you hunting down a copy of The Delta Sweete.
Back in 1969, Linda Ronstadt covered Bob Dylan’s You’ve Been On My Mind for her Hand Sown…Home Grown album. The song is transformed. Linda’s vocal is melancholy and wistful, while a piano adds to the drama and a Thom Bell style horn reinforces the regret and melancholia in her vocal.
Barbara Mandrell is another artist who has two tracks on Country Soul Sisters Volume 2: Women In Country Music 1956-1979. Her first contribution is I Never Said I Love You, from her 1976 album Midnight Angel, which features a vocal where emotion, sincerity and passion become one. The other track is (If Loving You Is Wrong), I Don’t Want To Be Right goes badly wrong. It was released as a single in 1978, and featured on her album Moods. Sadly, this the worst cover version of this track I’ve heard. It’s a real musical car crash. Much of this is down to the increase in tempo and Barbara’s jaunty delivery. This is one track that compilation could’ve done without.
Come On In featured on Patsy Cline’s 1967 album Patsy Cline. Personally, I don’t think I’d accept the invitation to Come On In to where Patsy was in 1967. After all, she’d been dead for four years. So was she releasing albums from the “other side?” Obviously not. Often in the sixties, an artist had recorded more material than they’d released. So, if they died unexpectedly, there was plenty material for numerous albums. Sometimes, the quality is somewhat suspect. Not here. As Patsy delivers the song with a swing, it’s a poignant reminder of one of country music’s greats.
My final choice from Country Soul Sisters Volume 2: Women In Country Music 1956-1979 is a track from Lynn Anderson. Two of her tracks feature on the compilation. The first is Stay There ‘Til I Get There, the title-track from her 1970 album. It’s a decent song, but not great. Much better is Lynn’s heartfelt delivery of If I Can’t Be Your Woman, which features on her 1972 album Listen To A Country Song. That seems to be a fitting way to close Country Soul Sisters Volume 2: Women In Country Music 1956-1979.
So, the big question is, did Country Soul Sisters Volume 2: Women In Country Music 1956-1979 convert me to country music? Not quite. I’d still describe myself as an agnostic when it comes to country music. That’s despite the efforts of some of the biggest names in country music. These singers were pioneers and innovators. They weren’t afraid to sing songs about subjects that previously, had been deemed off-limits for female singers. Not any more. Society had changed, and so had attitudes. Now nothing was off-limits. This means Country Soul Sisters Volume 2: Women In Country Music 1956-1979 features some songs filled with social comment. Other songs tell the story of relationships and everyday life. Veering between joyous and celebratory, to tales of woe and heartbreak, they paint the picture of American life during three decades. This is what makes much of the music on Country Soul Sisters Volume 2: Women In Country Music 1956-1979 so captivating and enthralling. It’s music about ordinary people and the lives they lead.
Not only was the music on Country Soul Sisters Volume 2: Women In Country Music 1956-1979 captivating and enthralling, but it was always emotive. While I’ve not been converted to country music, I did enjoy much of the music on Country Soul Sisters Volume 2: Women In Country Music 1956-1979. Indeed, I’d go as far as saying that Country Soul Sisters Volume 2: Women In Country Music 1956-1979 is a much better compilation than its predecessor Country Soul Sisters. Here, quality country music outnumbers the faux pax and the filler. Having said that, there are a couple tracks I wouldn’t have included. That’s putting it kindly. I mean, why oh why were Cher’s Chastity Song and Barbara Mandrell’s (If Loving You Is Wrong) I Don’t Want To Be Right included? Conversely, there were a few surprises on Country Soul Sisters Volume 2: Women In Country Music 1956-1979. Among them are hidden gems like Linda Martell’s Color Me Father, Bobbie Gentry’s Okolona River Bottom Band and Jody Miller’s Natural Woman. They’re among the highlights of Country Soul Sisters Volume 2: Women In Country Music 1956-1979.
The final thing about Country Soul Sisters Volume 2: Women In Country Music 1956-1979 I must mention is the sleeve-notes. In-depth, informative and lovingly compiled, this is what I’ve come to expect from Soul Jazz Records. If only the sleeve-notes on all compilations were as good as Country Soul Sisters Volume 2: Women In Country Music 1956-1979? Thankfully, the music is of Country Soul Sisters Volume 2: Women In Country Music 1956-1979 is nearly of a similar quality. Apart from a couple of faux pax, Country Soul Sisters Volume 2: Women In Country Music 1956-1979 is a compelling compilation of country music, which may just rejuvenate interest in country music. Standout Tracks: Jeannie C. Riley Little Town Square, Linda Martell Color Me Father, Jody Miller Natural Woman and Bobbie Gentry Okolona River Bottom Band.
COUNTRY SOUL SISTERS VOLUME 2: WOMEN IN COUNTRY MUSIC 1956-1979.
ORCHESTRE POLY-RYTHMO DE COTONOU-VOLUME 3 THE SKELETAL ESSENCES OF AFRO FUNK 1969-1980.
ORCHESTRE POLY-RYTHMO DE COTONOU-VOLUME 3 THE SKELETAL ESSENCES OF AFRO FUNK 1969-1980.
During the past few years, German label Analog Africa have established a reputation for releasing critically acclaimed, lovingly compiled and lavish compilations of African music. Analog Africa pride themselves in digging deeper than other labels, eschewing the predictable, in their quest to bring African music to a wider audience. During this period, they’ve discovered a treasure trove of music, from countries that include Angola, Burkina Fasso,Togo and Benin. However, Benin in particular, has provided some of the richest musical pickings for Analog Africa. Why is that? Well, Benin is where The Orchestre Poly-Rythmo De Cotonou hail from.
The Orchestre Poly-Rythmo De Cotonou are among Analog Africa’s favorite sons. Indeed, Samy Ben Radjeb’s Analog Africa label have previously, dedicated two compilations to the funk-laden music of the Orchestre Poly-Rythmo De Cotonou. This started with 2008s The Vodoun Effect and 2009s Echoes Hypnotiques-Volume 2 From The Vaults of Albarika Store 1969-1979. Then in 2011, Analog Africa rereleased the Orchestre Poly-Rythmo De Cotonou’s 1973 debut album, entitled The 1st Album. Now, Analog Africa have returned to the Orchestre Poly-Rythmo De Cotonou’s back-catalogue for fourteen further tracks, which comprise The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980. This includes some of the funkiest music the Orchestre Poly-Rythmo De Cotonou ever recorded during their career.
When Analog Africa founder Samy Ben Radjeb was compiling The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, first stop was his vast collection of African music. His collection is crammed full of records he’d collected during his previous career, which was working for a German airline. This allowed Samy to seek out and discover, countless hidden gems of African music during his monthly trips to Africa. Finding their way into Samy’s enviable record collection, are the 500 songs that The Orchestre Poly-Rythmo De Cotonou recorded between 1969 and 1983.
Now during the period between 1969 and 1983, The Orchestre Poly-Rythmo De Cotonou were at the peak of their musical powers. Marrying an unmistakable and inimitable fusion of funk and Afro-beat. Indeed, so good was the music they recorded, narrowing down 500 tracks to just the fourteen that feature on The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980 couldn’t have been easy. Somehow, Samy managed to do this, and in the process, introduces the listener to a variety of rhythms. These rhythms range from voudoun, jerk fon, sato, pop fon and pachange. These are just a few of the ten rhythms that you’ll hear on The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, which I’ll pick the highlights of.
For anyone unfamiliar with either Afro-beat of The Orchestre Poly-Rythmo De Cotonou, then not only will The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980 demonstrate just how talented a group they were, but their versatility. During the fourteen tracks The Orchestre Poly-Rythmo De Cotonou veer between ten different rhythmic styles. For most musicians, this would be almost impossible. For The Orchestre Poly-Rythmo De Cotonou it’s just another day at the office. Relishing the challenge, The Orchestre Poly-Rythmo De Cotonou seamlessly, effortlessly and with aplomb, switch between various rhythms.
Opening The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980 is Ne Rien Voir, Dire, Entendre. Hypnotic and mesmeric, this is an example of vodoun rhythms. Straight away, The Orchestre Poly-Rythmo De Cotonou get into a groove, mixing funk, Afro-beat and jazz. From that groove, they don’t emerge for the next five minutes. It’s driven along by searing guitars, a wailing organ and a myriad of percussion, while the vocal is sung in a call and response style. Like a preacher, the vocalist whips the backing vocalists into a frenzy. They add joyous, chanted harmonies, complete with whoops, providing the perfect accompaniment to this hypnotic vodoun rhythm.
Jerk fon is the most common rhythm The Orchestre Poly-Rythmo De Cotonou play. It’s also when they’re at their funkiest. Proof of this are Houzou Houzou Wa, Akoue We Gni Gan, Honton Kan Do Go Me and Akue We Non Houme. Of these four tracks, the best is Houzou Houzou Wa. Here, the rhythm and brass section become one. They literally feed off each other, encouraging and driving each other to greater heights. The brass section fill in the gaps left by the vocal, while the rhythm section lock into the funkiest of grooves, as funk, Afro-beat, jazz and drama become one.
Quite unlike other types are Afro-beat are the cavacha fon and sato rhythms. Instead, they’ve a Latin rumba influence. The thought of The Orchestre Poly-Rythmo De Cotonou playing music with a Latin rumba influence is a mouthwatering prospect. You’re certainly not disappointed. Adjro Mi, which features a cavacha fon rhythm is best described as an irresistible call to dance. You can’t help but submit to its irresistible charms. Karateka and N’Goua feature a sato rhythm. They literally explode into life, sweeping you in their wake. Of the two tracks, N’Goua is the best. It’s a hard driving, complex track. With the rhythm section and percussion providing a Latin backdrop, the vocal and horn feed off each other. In a call and response style, they mix power and drama that proves infectiously catchy.
A O O Ida, which features a pop fon rhythm, is easily, the best track on the compilation. It’s a real melting pot of musical styles. Afro-beat, jazz, blues, funk, rock and even Latin music are fused by The Orchestre Poly-Rythmo De Cotonou. If you think Jimi Hendrix combined with seventies funk, complete with a driving, funky rhythm section and wah-wah guitars. Then add a bluesy harmonica, free jazz, The Who and Santana and you’re half way there. The Orchestre Poly-Rythmo De Cotonou don’t just play this track, they live it, mixing power and passion.
As if spent and exhausted, The Orchestre Poly-Rythmo De Cotonou drop the tempo on the understated Vi E Lo. There’s another change of rhythm, this time to pachanga. Originating from Cuba, it’s a fusion of son montuno and merengue. This results in a song that’s melodic, joyous and catchy.
Having veered between rhythms and fused countless musical genres, Pourquoi Pas sees this continue. It combines jazz, funk, Afro-beat and a vocal that wouldn’t sound out of place on a seventies rock album. Somehow, this eclectic combination of influences works. While the rhythm section and percussion drive the arrangement along, stabs of grizzled horns match the vocal for passion. Later, members of The Orchestre Poly-Rythmo De Cotonou get the chance to showcase their individual skills, before joining forces on this genre-sprawling track.
Ai Gabani is a glorious slice of Afro-beat. It’s a bit of a slow-burner, but is well worth the wait. When the track decides to reveal its secrets, sixties rock, funk, Afro-beat and jazz are combined. With frenzied stabs of Hammond organ, searing guitars and a funk-laden rhythm section, an Afro-beat unfolds. Key to the track’s success is organist Bernard Zoundegnon, whose like the Jimi Hendrix of the Hammond organ. Without his energy and enthusiasm, this wouldn’t be half the track.
Ecoute Ma Mélodie, which features a bossa afro rhythm is a marriage of the music of two continents. Here, the elements of Latin and African are fuses. This results in a compelling combination. Veering between subtle and understated to bold and brash, the track is at its best when its pared down to a tight, shuffling, funky groove. Augmented by bursts of blazing, growling horns and a heartfelt vocal, an innovative and irresistible track reveals its secrets
Closing The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980 is Min We Tun So, which is an eleven-minute epic. With just a lone guitar and drum accompanying a vocal that’s filled with emotion, sadness and melancholia, you’d think this was going to be a Magnus Opus of a ballad. That proves to be the case, up to a point. As this heartbreaking and beautiful ballad finishes after five minutes, there’s still six minutes to go. Then after a gap of two minutes, dialogue gives way to a fusion of blues, soul, funk and Afro-beat. It’s a delicious and glorious example of The Orchestre Poly-Rythmo De Cotonou in full flight, doing what they do so well, fusing musical genres to create their own unique and inimitable style of music.
While there’s just fourteen tracks on The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, you hear many sides to The Orchestre Poly-Rythmo De Cotonou’s music. Seamlessly, they veer between musical genres and rhythms. Everything from funk, soul, jazz, rock, Latin, Cuban and Afro-beat is combined over the fourteen tracks. It’s impossible to categorize The Orchestre Poly-Rythmo De Cotonou. Granted, you could refer to it as Afro-beat, but there’s much more to it than that.
Ostensibly, Afro-beat is a loose description of the music on The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980. However, the fourteen tracks could be broken down into ten sub-genres. These are the various rhythmic styles. They range from voudoun, jerk fon, sato, pop fon and pachange. For many groups, changing rhythmic styles would present a challenge. Not for The Orchestre Poly-Rythmo De Cotonou. They relish the challenge, enjoying the opportunity to showcase their considerable musical prowess. Seamlessly, one rhythm style gives way to another. All the time, they’re drawing inspiration from Western, Cuban and Latin music. Quite simply, The Orchestre Poly-Rythmo De Cotonou were hugely talented musicians, musicians who were innovative and versatile. Not only that, but The Orchestre Poly-Rythmo De Cotonou enjoyed longevity and were prolific, releasing over 500 songs.
Despite their prolificacy, The Orchestre Poly-Rythmo De Cotonou remain something of a musical secret, outside of Benin. Thankfully, independent record labels, including Analog Africa, run by Samy Ben Radjeb is rectifying this. He has released two compilations of The Orchestre Poly-Rythmo De Cotonou’s music. This started with 2008s The Vodoun Effect and 2009s Echoes Hypnotiques-Volume 2 From The Vaults of Albarika Store 1969-1979. Then in 2011, Analog Africa rereleased the Orchestre Poly-Rythmo De Cotonou’s 1973 debut album, entitled The 1st Album. Recently, Analog Africa released The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, the third compilation of The Orchestre Poly-Rythmo De Cotonou’s music. Of the three compilations, The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980 finds The Orchestre Poly-Rythmo De Cotonou not just at their funkiest, but seamlessly switching between musical genres and rhythms. For anyone whose still unfamiliar with African music’s best kept secret, then The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980 is the place to start. Standout Tracks: Houzou Houzou Wa, Vi E Lo, Ai Gabani and Min We Tun So.
ORCHESTRE POLY-RYTHMO DE COTONOU-VOLUME 3 THE SKELETAL ESSENCES OF AFRO FUNK 1969-1980.
ERRORS-HAVE SOME FAITH IN MAGIC.
ERRORS-HAVE SOME FAITH IN MAGIC.
Since their 2006 debut album, How Clean Is Your Acid House, Errors have come a long way. Having started their career gigging around Glasgow and the west of Scotland, seven years and three albums later, rather than playing Paisley, Kilmarnock and Hamilton, Errors are venturing much further afield. This includes Barcelona, Philly, Toronto and Los Angeles. However, for anyone whose followed Errors’ career closely, the success and critical acclaim that’s come their way is no surprise. Errors always were a band that were destined for great things. By their fourth album, Have Some Faith In Magic, which was released on Rock Action Records in January 2012, critics were haling a truly innovative and groundbreaking album. Genre-sprawling and innovative, it’s no surprise that Errors fourth album is in the long-list for 2012s Scottish Album Of The Year Award. Indie rock, dance and electronica became one on Have Some Faith In Magic, which saw Errors crowned one of Scotland’s most successful and critically acclaimed bands.
It was back in 2006 that three Glaswegians, Stephen Livingstone, Simon Ward and Greg Paterson, plus Paisley-born drummer James Hamilton, released their debut album as Errors. Entitled How Clean Is Your Acid House, this was the cumulation of several years touring Glasgow and the surrounding area. On its release, How Clean Is Your Acid House was well received by critics and established Errors’ reputation as a band with a big future, who released genre-sprawling music. This was reinforced by their sophomore album.
Between the release of Errors’ debut album How Clean Is Your Acid House in 2006, and their sophomore album It’s Not Something But It Is Like Whatever in 2008, other bands faltered and splintered. Not Errors. They persevered, continuing to hone their sound. Having spent two years further honing their sound, Errors sophomore album, 2008s the surreally titled It’s Not Something But It Is Like Whatever, was a unique and inimitable fusion of indie rock, chiptune and electronica. Taking inspiration from everything from Krautrock legends Neu, Aphex Twin’s fusion of electronica and ambient, indie rock and Explosions In The Sky’s post rock sound, It’s Not Something But It Is Like Whatever was almost impossible to pigeonhole. Quite simply, it was a unique album, thanks to Errors’ refusal to stand still musically.
Another two years passed, before Come Down With Me was released in 2010. Among the influences that shawn through were indie rock, dance, electronica and synth pop. Errors’ music seemed to be in a constant state of flux. Evolution rather than revolution seemed to Errors way. Again, critics hailed Errors’ ambition and bravery. Their refusal to stand still musically resulted in captivating and intriguing music. Then, in October 2010, Errors Come Down With Me was given a makeover, when Errors released their first remix album, Celebrity Come Down With Me. Just over a year later, when Errors released their fourth album, Have Some Faith In Magic they were now a three-piece band.
When Have Some Faith In Magic was released in January 2012, Errors were just a trio, composed of Stephen Livingstone, Simon Ward and James Hamilton. Greg Paterson had left Errors. Ironically, he’d left Errors just before Have Some Faith In Magic was hailed as a truly innovative and groundbreaking album. Fusing numerous musical genres and influences critics and fans bought into Errors’ unique and inimitable sound. Seen as a coming of age from Errors, it was as if everything that had preceded Have Some Faith In Magic, was leading up to it. So, it’s no wonder it found its way onto the long-list for 2012s Scottish Album Of The Year Award. After all, Errors were now one of Scotland’s biggest and most successful bands. You’ll realize why, when I tell you about Have Some Faith In Magic.
Opening Have Some Faith In Magic is Tusk, which has nothing whatsoever to do with Fleetwood Mac. Not at all. This track has a pulse. Meandering, almost prog rock keyboards are joined by screaming, searing guitars, played by Simon Ward and Stephen Livingston. Errors kick loose, unleashing a rocky sound. This isn’t indie rock. No. It’s grown up rock, rock whose plums have dropped. Adding to this rocky backdrop is James Hamilton’s thunderous, pounding drums. He’s almost punishing the drums. Providing a contrast are synths, reminiscent of early eighties OMD. Soon, the synths take on a buzzing sound, reminding me of Acid House. Musical genres and influences merge into one, producing a bold, grand and melodic soundscape, which unfolds in dramatic waves of sound.
Dark synths and pounding drums open Magna Encarta, producing a hypnotic sound. Swathes of raging guitars, drenched in reverb, fill the spaces left by James drums. A dubby vocal is panned behind the arrangement. If you strain, you can almost make it out, behind the glorious sound of Errors rhythm section in action. Banks of synths duel with the rhythm section for control of the arrangement. Like two gunslingers, it’s rock versus electronica, albeit with a twist of jazz, thanks to the almost freeform nature of parts of the track. In the end, it’s a dead-heat. Neither rock nor electronica are wounded. Both wander of into the sunset, having played their part in a storming fusion of musical genres.
Washes of glacial, ethereal synths glide into the distances as Blank Media unfolds. Partnered by darker synths and spacious drums, a melancholy sound develops. The track takes on a delicious dreamy, spacey sound. It’s as if you’re floating, surrounding by ethereal, dubby harmonies and washes of elegant, understated synths. This is reminiscent of another of Scotland’s great bands, the Cocteau Twins. With synths, chiming guitars, dreamlike harmonies, Errors produce their own unique and eclectic 21st Century symphony.
Errors’ Pleasure Palaces proves to be a compelling place. It’s not the sort of place you come across often. Not when its soundtrack comes courtesy a combination of a grandiose organ, space-age synths the reverberate into the distance and pounding drums that sound as if they should belong on a house music track. You think Errors have gone down the wrong road. Not at all. The track soon starts to make sense. Floaty harmonies sweep in while the 4/4 beat is accompanied by banks of synths and hissing hi-hats. Full of subtleties, surprises and nuances, the result is a track that’s a hypnotic and anthemic mantra guaranteed to fill any dance-floor.
Surreal, dreamlike and mysterious describes The Knock as it meanders into the distance, drenched in reverb. Squelchy Kraftwerk influenced synths join slow spacey drums. Reverb and echo are added, and in slow-motion, the experimental arrangement reveals a sound that’s broody, dramatic and space-age. It’s like the soundtrack to a film that’s yet to be made. Celestial harmonies float in, providing a captivating contrast to the rest of this mysterious, innovative soundscape.
Canon picks up where The Knock left off. The understated, broody arrangement sees synths picking their way across the arrangement. It’s as if they’re trying to avoid traps that could prove to be their downfall. Sound effects add to the eeriness of the spacious, cinematic arrangement.
Earthscore sees washes of synths, a moody bass and rolls of dramatic drums combine before chanted, almost robotic vocals enter. They sit above the pulsating arrangement. Soon, the tempo increases and the arrangement grows. Again, there are Kraftwerk and Krautrock influences to the track. Here, however, Errors combine electronic and traditional instruments. Key to the song’s futuristic, anthemic sound are the chanted vocals, synths and James Hamilton’s drums which provide the track’s heartbeat.
Driving, chiming guitars open Cloud Chamber before synths enter. Veering between dark and crystalline, they’re joined by hypnotic drums and a futuristic vocal. It’s as if it’s bringing a mysterious, message from another galaxy, which is awaiting deciphered. Adding to the sci-fi sound are the synths and their old-school sound. Later, the arrangement becomes a flowing soundscape, as a chorus of futuristic voices unite with the synths and chiming guitars reaching an elegant crescendo.
Briefly, Barton Spring sounds like a song from another era. That’s before buzzing synths, pounding drums and searing guitars combine. They drive the arrangement along, while flourishes of crystalline keyboards provide a contrast. As for the vocal, it’s powerful and delivered in a slow, deliberate and dramatic style. This works well with the experimental, industrial and mechanical arrangement. Reminiscent of Jesus and The Mary Chain and Neu, walls of dark music unfold, reminding the listener of the industrial landscape that once dominated the landscape of Glasgow and Paisley, where the Errors come from.
Closing Have Some Faith In Magic is Holus-Bolus, where synths replicate the sound of sirens. Then it’s all change. The arrangement explodes into life. Banks of synths join the powerhouse that is Errors’ rhythm section. With James Hamilton’s thunderous drums at the heart of the actions, they’re a force to be reckoned with. Ethereal harmonies float in, providing an elegant contrast to the raw power of Error in full flight. Midway through the track, a curveball is thrown. The arrangement is pared back, to reveal just harmonies. After that, Error get into the tightest of grooves. Fusing indie rock, electronica and dance, the track reaches an explosive ending, drenched in feedback, as if paying homage to Jimi Hendrix.
Describing Errors fourth album Have Some Faith In Magic as comprising ten tracks, is almost an understatement. Have Some Faith In Magic is more like ten captivating, multilayered soundscapes. During these soundscapes, musical genres and influences unite and create something new, innovative and totally unique. Everything from indie rock, dub, jazz, electronica, prog rock, Acid House, dance and Krautrock is thrown into Errors’ musical mixing pot. Having given it a healthy stir, what comes out is a delicious musical stew. This musical stew is not just totally unique, but impossible to replicate. Captivating, enthralling, dramatic, moody, anthemic and emotive, Have Some Faith In Magic is all these things and much, much more. It’s not unlike a musical roller coaster that’s transformed into a voyage of discovery by Errors. This musical voyage of discovery introduces you to Errors’ unique brand of music. Quite simply, Errors’ have a monopoly on this particular genre of music. However, the music on Have Some Faith In Magic has essentially, taken six years to create.
Every single, E.P. and album Errors have recorded has been building up to Have Some Faith In Magic. This is the album that sees Errors become not just one of Scotland’s biggest bands, but a band with a worldwide following. That’s no surprise. During this six year period since the release of their debut album How Clean Is Your Acid House, their music has been constantly evolving. For Errors, standing still isn’t an option. If they do that, they risk becoming irrelevant. So, Errors are at the forefront of innovative music, constantly looking to move their music forward. That’s the difference between bands who are successful or not. The only exception are the Rolling Stones, whose sound has never changed in forty years. However, Errors will never become musical dinosaurs. Not at all. They’ll constantly be looking to release innovative, genre-sprawling music, music that influences and inspires a new generation of musicians.
Recently, Have Some Faith In Magic which was released on Rock Action Records, has been recognized as one of the most important Scottish albums of 2012, when it found its way onto the long-list for 2012s Scottish Album Of The Year Award. Given how innovative, influential, eclectic and emotive Have Some Faith In Magic is, then Errors will be on the shortlist for 2012s Scottish Album Of The Year Award when it’s announced later today. Who knows? Maybe the judges will realize just how groundbreaking and unique Have Some Faith In Magic is and Errors will win the Scottish Album Of The Year Award? Standout Tracks: Tusk, The Knock, Canon and Earthscore.
ERRORS-HAVE SOME FAITH IN MAGIC.
LAU-RACE THE LOSER.
LAU-RACE THE LOSER.
Usually, when I read about any group being referred to as the: “most innovative band” of their chosen genre, I take this with the proverbial pinch of salt. Often, that’s far from the truth. Mostly, its the result of marketing hype gone into overdrive, wihful thinking, desperation or a manager who thinks they’re Malcolm McClaren. This isn’t doing the band any favors. It’s setting them up for a fall, if their album bombs or the band implodes. However, sometimes this isn’t hype. Very occasionally, a band can walk the walk. Not only are the band just as innovative as promised, but much more. That’s the case with Lau, whose fourth album Race The Loser, which was released on Reveal Records, made the long-list for 2012s Scottish Album Of The Year Award. With the short-list going to be announced on Thursday 30th May 2013, Scottish music awaits the announcement of the contenders of Scotland’s premier music award? Will, and should, Lau be on it? That’s what I’ll tell you, once I’ve told you about Lau, and then, Race The Loser.
Described variously as “adventurous,” and “modern folk’s most innovative band” since the release of their debut album, 2007s Lightweights and Gentlemen, Kris Drever, Martin Green and Aidan O’Rourke have been winning awards, praise and plaudits ever since. This includes winning four BBC Folk Award for best group four times in six years. That’s no wonder. Lau spent a year honing their songs and sound before releasing their debut album, Lightweights and Gentlemen. Ever the perfectionists, Lau freely admit to spending up to three weeks on a song.
Over the next six years, Lau have released three further albums, while the three members have worked on other projects. Despite these other projects, they’ve always returned to Lau, which the three members fondly describe as “the mothership.” Still, Lau found time to establish a reputation as one of Scotland’s best live bands. Whether it was festivals or small intimate venues, Lau lifted the roof with their unique brand of folk music. Proof of this came on their second album Live. Combining electronic and traditional instruments Lau soon garnered a large, loyal following, who waiting Lau’s next studio album with baited breath.
Two years after their debut album Lightweights and Gentlemen, Lau released their sophomore studio album Arc Light in 2009. Released to critical acclaim, critics hailed Arc Light as further proof that Lau were the future of folk music. Soon, other artist were wanting to collaborate with Lau.
First to collaborate with Lau was Karine Polwart. Five new songs were recorded. When Lau Vs. Karine Polwart released Evergreen, this reinforced and enhanced both Lau and Karine’s reputation as two of modern folk’s most best artists. Then in 2010, acoustic and electronic artist and producer Adem collaborated with Lau. Together, they recorded seven new tracks, which were released as Lau Vs. Adem’s Ghosts. The second in the Vs. Lau series proved just as successful as the first. As if this wasn’t encouraging enough, Lau’s reputation as a live band was still growing at home and abroad. All that was needed was another studio album from Lau.
Back in Castlesound Studios, Pencaitland, Lau recorded the nine tracks that became Race The Loser in May 2012. Lead vocalist Kres Drever played guitars and harmonica, Martin Green played accordion, Wurlitzer organ and electronics, while Aidan O’Rourke played the fiddle. Producing Race The Loser was Grammy Award nominated producer Tucker Martine. With a C.V. that included working with Sufjan Stevens, Camera Obscura, R.E.M. and Laura Veirs, having Tucker produce Race The Loser was quite a coup. This coup d’etat worked when Race The Loser was released in 2012. Praise, plaudits and critical acclaim came Lau’s way. This you’ll realize, was fully deserved, when I tell you about Lau’s Race The Loser.
Opening Race The Loser is Saint Monday, whose stop, start introduction grabs your attention. Having set the scene, fiddles produce a wistful backdrop. It brings to mind all sort of thoughts and scenarios. With its particularly Scottish sound, it brings to mind the Scottish landscape. Then a meandering guitars and an accordion combine before Kris’ emotive vocal enters. The lyrics he deliver, paint pictures that are a reminder of what Scotland was. This once industrial giant has been humbled, and is a shadow of its former self. Kris’ vocal gives a voice to the men and women whose lives were forever changed.
Far From Portland has a mysterious, but dramatic sound. Just the keyboards, driving guitars, fiddles and then accordion build the drama. Layers of sound unfold, with traditional and contemporary influences becoming one. This is Lau’s unique sound. Mysterious, becomes moody, maudlin and then melancholy and melodic. One thing the music always is, is captivating and inherently beautiful.
Handclaps reverberate while an understated acoustic guitar provides a contrast. Gradually, The Bird That Winds The Spring decides to reveal is subtleties. Kris weary, but all-knowing vocal is accompanied by fiddles, guitars and handclaps. Then when his vocal drops out, fiddles take centre-stage, before Kris returns. Scatting, he’s accompanied by keyboards and handclaps. Veering between pensive and uplifting, its always emotive.
Missing Pieces is just a short amuse bouche of a track, which demonstrates why Lau are perceived as such an innovative band. With its electronic influence, it asks questions, leaving you to provide the answer.
Save The Bees with its combination of guitars, fiddles and accordion fuses elements of traditional folk with a much more contemporary, forward thinking sound. Soon, you realize, Lau are the future of folk music. Not only that, but the result is a quite beautiful, picturesque soundscape. Soon, the tempo increases. You’re swept away, amidst fiddles and guitars which are played with equal measure of emotion, passion and talent. Haring towards a reel, Lau kick loose, show-casing their considerable talents and demonstrating just why, they’re currently one of the best live bands.
Torsa is one of the most evocative and heartbreakingly beautiful tracks on Race The Loser. For an exiled Scot, hearing this track, would have them heading homewards to the land of their birth. This is thanks to the unmistakable sound of the fiddles and accordion. They’re joined by guitar, washes of an atmospheric electronic sound. Later, keyboards are added, as a the tempo increases with fiddles, flutes and acoustic guitar producing an irresistible call homewards to exiled Scots everywhere.
Throwing Pennies, a song about homelessness, is one of the best songs Lau have written. Filled with articulate social comment, it’s a song designed to make you think. As Kris sings of “breaking the ties with home” and “the tarmac is your blanket,” he’s telling the story of far too many people. Kris’ trusty acoustic accompanies his vocal, and with sadness, resignation and a weariness, he delivers the lyrics. Later, the addition of harmonies and accordion are the finishing touches to an emotive, deeply moving and heartbreaking song.
Noltland Castle has a real Celtic sound. Just an accordion and meandering acoustic guitar combine before the fiddles sweep in. Soon, the tempo increases and Aidan O’Rourke’s fiddles take centre-stage, where they rightly belong.
Closing Race The Loser is Beer Engineer, a truly eclectic track. Quite simply, you never know what direction the track is heading. It has an understated introduction as an acoustic guitar sets the scene. Fiddles and a broody bass enter, as the arrangement veers between folk and jazz. Producing a challenging, almost dramatic sound, it reaches a crescendo before being transformed to something more sedate. Something much more sedate then becomes much more rocky and, dare I say it, nearly psychedelic. The result was a tantalizing taste of Lau versatility and eclecticism.
Listening to the nine tracks that comprise Race The Loser, the time just flies past. It’s an album you can lose yourself in, especially the instrumentals. You close your eyes, and pictures unfold. These pictures are reminiscent of the Celtic landscape, especially Scotland. They’re painted by the three members of Lau. Using their vibrant musical palette, these pictures are variously evocative, emotive, subtle, dramatic and beautiful, just like Scotland’s spectacular landscape. Then, when you’ve heard Race The Loser, you reach over, press play and experience its subtleties and nuances again. Reveling in its subtleties and charms, with each listen, further subtleties and beauty reveals itself. Regardless of how often you hear Race The Loser, you never tire of an album that which is essentially a folk album, is much more than.
While it would be easy to describe Race The Loser as folk album, it’s much more than that. Granted folk is the most predominant influence, but there’s elements of jazz, rock, electronica and soul. The soul comes in the shape of Kris’ world-weary, all-knowing vocal. So, Lau’s fourth album Race The Loser is essentially a folk album, albeit with disparate influences running through the nine tracks, it’s folk for the 21st Century. Lau and artists like Karine Polwart are the future of folk, not just Scottish folk, but British folk music.
Previously perceived as the pastime and preserve of single men with beards, drinking warm beer and wearing hand-knitted woolen jumpers, folk music has changed, and changed for the better. Realizing that it couldn’t stand still, folk music had to evolve. That’s what it did, attracting a new generation of fans. It attracted a much more dynamic and diverse audience. As a result, folk music is thriving. It’s attracting a younger, wider and growing audience. Folk music is also moving into the mainstream, with Lau’s fourth album Race The Loser making the long-list for 2012s Scottish Album Of The Year Award. Race The Loser should be on the short-list when it’s announced on Thursday 30th May 2013. Whether Lau, one of folk music’s most successful bands, will win the Scottish Album Of The Year Award with Race The Loser, and add it to their other awards, we’ll need to see. Standout Tracks: Saint Monday, The Bird That Winds, Torsa dn Throwing Pennies.
LAU-RACE THE LOSER.
INNER LIFE-INNER LIFE.
INNER LIFE-INNER LIFE.
By 1978, things were changing at Salsoul. The Salsoul Orchestra played a huge part in Salsoul’s success. They were much more than musicians, with many of its members songwriters, arrangers and producers. This included the Baker, Harris, Young rhythm section, Ron “Have Mercy” Kersey and Vince Montana Jr. So when Vince Montana Jr. left Salsoul in 1978 after a dispute with the Cayre’s over royalties, Salsoul lost one of its most creative members. When Baker, Harris, Young weren’t playing as big roles at Salsoul: “the times they were a-changing.” Some of their replacements weren’t musicians, including remixer Tom Mouton, while producers like Thor Baldursson recorded tracks in Munich Germany. As the personnel started to change, so did The Salsoul Orchestra. By 1978, Ron Baker and Earl Young were no longer regular features in The Salsoul Orchestra and Vince Montana Jr. had now signed to Atlantic Records.
Then in July 1979, the musical landscape changed even more, after the Disco Sucks movement tried to destroy disco. Suddenly, disco sucked and record companies weren’t interested in disco. Disco artists and disco albums were now deeply unpopular. For a disco label like Salsoul, this was disastrous. However, Salsoul managed to survive the disco backlash, doing so by adapting and signing new artists and new producers. One of these new signings was Inner Life, a studio based project formed by Patrick Adams and Greg Carmichael, that featured Jocelyn Brown’s vocals. Inner Life had enjoyed a huge hit in 1979 with I’m Caught Up (In A One Night Love Affair), which they followed up with I Want To Give You Me. After that release, Greg Carmichael took Inner Life to Salsoul and they agreed a two-year deal. In July 1981, Inner Life released their first Salsoul album Inner Life I. How would Inner Life I differ from the earlier Salsoul sound? That’s what I’ll tell you after I’ve told you about the background to Inner Life, which was rereleased by Salsoul/Octave Lab Japan on 7th May.
When disco producer Patrick Adams and singer Jocelyn Brown met by chance, it was a fortuitous meeting. Patrick was looking for a vocalist for a project he was working on, Musique. Jocelyn sang the lead vocal on Musique’s two tracks The Bush and Keep On Jumpin.’ When The Bush and Keep On Jumpin’ were released as a double-A-side on Prelude, it reached number one in the US Dance Charts in 1978. The two tracks were then released as singles, and gave Musique two hits in the US R&B Charts. After the success of Musique, Patrick Adams hooked up with Greg Carmichael to form a new studio-based group Inner Life.
After the success of Musique, Inner Life were signed by Prelude. Inner Life featured Jocelyn Brown’s vocals and their first single I’m Caught Up (In A One Night Love Affair) reached number twenty-two in the US R&B Charts in 1979. This was followed up with I Want To Give You Me, and then Inner Life’s debut album I’m Caught Up (In A One Night Love Affair). This proved to be Inner Life’s only album released on Prelude. Greg Carmichael decided to take Inner Life to disco’s greatest label Salsoul. Salsoul and Greg Carmichael agreed a two-year deal. So now signed to Salsoul, Inner Life would set about recording their new album Inner Life I, which showed how times were changing at Salsoul.
For Inner Life’s second album six tracks were chosen, with Jocelyn Brown contributing It’s You and Pay Girl, while Stan Lucas a friend of Greg and Patrick wrote (Knock Out) Let’s Go Another Round and Live It Up. Greg Carmichael wrote what would become an Inner Life classic, Make It Last Forever. Good as Make It Last Forever was, Inner Life’s version of Ashford and Simpson’s Ain’t No Mountain High Enough would go on to become a post-disco Salsoul classic. Unlike so many Salsoul albums, recording didn’t take place at Sigma Sound Studios, with Inner Life preferring familiar surroundings.
Inner Life was recorded at three studios, Blank Tape Studios, Right Track Recording and Nola Recording Studios. Jocelyn Brown sang lead vocals, while Carol Sylvan, Dennis Collins, La Rita Gaskins and Jocelyn added backing vocals. Production was shared between Patrick Adams, Greg Carmichael, Stan Lucas and Jocelyn Brown. Greg and Jocelyn arranged and produced It’s You and Pay Girl. Patrick and Greg arranged and produced the two best known tracks Ain’t No Mountain High Enough and Make It Last Forever, while Greg and Stan Lucas arranged and produced the other two tracks. Showing how the musical landscape was changing, each of the six tracks were remixed. Tee Scott remixed three tracks, Larry Levan two tracks and John Morales one track. With Inner Life I recorded, the album was released in July 1981.
When Inner Life was released in July 1981, it failed to chart. However, two of the singles proved successful. Ain’t No Mountain High Enough reached number twenty in the US Dance Charts. (Knock Out) Let’s Go Another Round was the second single released from Inner Life, but failed to chart. Then when Make It Last Forever was released as a single in 1982, it reached number fifteen in the US Dance Charts. Although Inner Life I wasn’t a huge commercial success, it contained two Inner Life classics, as you’ll realize when I tell you about the music on Inner Life I.
Opening Inner Life is It’s You, written by Jocelyn Brown and produced by Greg Carmichael and Jocelyn. It’s just Jocelyn’s impassioned vocal accompanied by a piano as the track opens. She displays a wide vocal range and controls her voice perfectly. After ninety-seconds, a thoughtful rhythm section joins the piano as the track reveals its secrets and beauty. The understated arrangement grows in power and drama, matching the emotion, power and passion in Jocelyn’s vocal. When soulful backing vocalists join Jocelyn, a moving, powerful and quite beautiful song takes shape. It allows you to hear a very different side to Jocelyn Brown, one I’d like to hear much more of.
Like many of the tracks released by Salsoul Ain’t No Mountain High Enough has a real timeless sound. It’s hard to believe that it was originally released back in August 1981. This sees a timeless sounding arrangement and a stunning vocal from Jocelyn Brown combined. Her vocal is diva-esque, as she delivers Ashford and Simpson’s lyrics. Produced by Patrick Adams and Greg Carmichael, it’s a track that after a subtle, hesitant start, where drums, percussion and then Jocelyn’s vocal combine. Then. the track literally bursts into life. Drums pound, strings swirl, percussion, keyboards and chiming guitars combine before Jocelyn’s powerful, emotive vocal enters. After that, the track just gets so much better. Handclaps and bursts of backing vocalists join the arrangement, combining power and drama. The result is without doubt, one the highlights of Inner Life I, given its uplifting, joyous and energetic sound.
Pay Girl written by Jocelyn Brown has a really funky sound from the get-go. Just a pounding, slap bass, piano, drums and handclaps accompany Jocelyn’s sassy, feisty vocal. Tight, soaring harmonies accompany Jocelyn’s vocal, as the arrangement swings along. It doesn’t take long to realize just how talented a vocalist Jocelyn really is. She’s another of the long line of Salsoul’s divas, following Loleatta Holloway, Rochellle Fleming and Carol Williams. Later, when Jocelyn’s vocals drops out, a prolonged break sees percussion, piano, handclaps and the pounding rhythm section take charge. Sadly, when a synth makes an unwelcome appearance, things go slightly awry. Why that was included I’ve no idea, but it detracts from the track. Things get back on track when the backing vocals and Jocelyn return, but that synth makes another unwelcome appearance. Apart from that, this a good track, that could’ve been a great track.
(Knock Out) Let’s Go Another Round was written by Stan Lucas and arranged and produced by Stan and Greg Carmichael. It’s a boogie track, with Greg Carmichael’s influence all over it. The introduction sounds like a cousin of Ain’t No Mountain High Enough. That similarity is only brief, and quickly, the track takes on its own identity. Percussion, a funky rhythm section, swathes of synths and handclaps combine to create a catchy backdrop, even before Jocelyn’s powerful vocal enters. Her vocal struts in, sassy and full of confidence, with the banks of keyboards and synths accompanying the rhythm section that provide the track’s funky heartbeat. After two minutes, Inner Life tease you relentlessly when the vocal drops out. Synths and keyboards take centre-stage, before Jocelyn’s vocal returns. This pattern continues, so you sit back and enjoy the ride. Over seven minutes, an irresistible track unfolds, which Jocelyn Brown key to the track’s sound and success.
From the opening bars of Live It Up you’re hooked. Instantly, the track grabs your attention. Inner Life’s rhythm section, keyboards and of course Jocelyn’s joyous, sassy vocal combine to take you on a four minute whistle-stop musical roller coaster. During that time, Jocelyn unleashes a powerful vocal accompanied by tight, equally joyous, soaring harmonies. Meanwhile the banks of keyboards and synths, pounding rhythm section, percussion and sizzling guitars provide the perfect accompaniment to another peerless vocal from Jocelyn Brown. Truly, I defy anyone not to succumb to charms and delights of this hook-laden track, which proves that into eighties Salsoul were still releasing groundbreaking dance music.
Patrick Adams and Greg Carmichael cowrote Make It Last Forever which closes Inner Life. Since then, the track became not just an Inner life classic, but a Salsoul classic. This is a seven-minute Magnus Opus, with swathes of cascading strings, joined by the rhythm section and percussion. Then Jocelyn’s vocal heartfelt, impassioned enters, with tight, soulful harmonies accompanying her. Her vocal and the way the strings are used are key to the track. They’re the perfect accompaniment to Jocelyn’s vocal, and are augmented by the rhythm section, keyboards and percussion. As Jocelyn sings “Make It Last Forever,” so good is the tracks, that you wish it would last forever. Of the post-disco era, this is a Salsoul classic.
While the Disco Sucks movement tried to destroy disco in July 1979, they didn’t destroy disco’s greatest label Salsoul. Instead, Salsoul evolved and the music it released changed. Greg Carmichael and Patrick Adams went on to play important roles in the Salsoul’s future. Inner Life was their way into Salsoul, and in Inner Life, they proved just how talented they were as songwriters, arrangers, producers and musicians. Although they couldn’t replace legends like Vince Montana Jr. or the Baker, Harris, Young rhythm section, four men who played huge parts in Salsoul’s success story, they brought new ideas and much needed talent to the label. For their Salsoul debut, Inner Life, the album featured two stonewall Salsoul classics and Ain’t No Mountain High Enough and Make It Last Forever. The album also introduced Jocelyn Brown’s vocal prowess to a much wider audience. Jocelyn’s part in Inner Life’s success can’t be underestimated. She made each of the songs her own, bringing life and meaning into them. Sometimes, she took the song by the scruff of the neck and made it work. With the combined talents of Patrick Adams, Greg Carmichael and Stan Lucas collaborating on Inner Life, it’s neither a surprise nor a happy accident that the album was a success. With John Morales, Tee Scott and Larry Levan mixing the tracks on Inner Life, this meant that the tracks were dance-floor friendly. Many of these tracks have has stood the test of time, especially Ain’t No Mountain High Enough, (Knock Out) Let’s Go Another Round, Live It Up Make It Last Forever. It’s You, written by Jocelyn Brown was the perfect track to open the album, and is a real slow burner, that takes its time to reveal its charms and delights. Apart from Pay Girl, which could’ve been a great track, but ends up just a good track, due to the unwelcome intrusion of a rogue synth. Despite this, Inner Life I, which was rereleased by Salsoul/Octave Lab Japan on 7th May 2013, is one of the best post-disco albums from Salsoul. While Inner Life I, may not have been Salsoul’s most successful album, it certainly has stood the test time and features Jocelyn Brown and Inner Life at their very best. Standout Tracks: It’s You, Ain’t No Mountain High Enough, Live It Up and Make It Last Forever.
INNER LIFE-INNER LIFE I.
PAUL BUCHANAN-MID AIR-DELUXE EDITION.
PAUL BUCHANAN-MID AIR-DELUXE EDITION.
2012 was a great year for anyone who loves the music of the Blue Nile. Not only have we enjoyed deluxe reissues of the Blue Nile’s first two albums, 1984s A Walk Across the Rooftops and 1989s Hats, but Paul Buchanan released his long awaited debut album Mid Air in May 2012. Then five months later, in October 2012 a deluxe edition Mid Air was released. This deluxe edition of Mid Air is a double-album, with Disc One featuring Mid Air and Disc Two featuring bonus tracks. This includes instrumentals, remixes and live tracks. Before I tell you about the music on Mid Air and the disc of bonus tracks, I’ll tell you about Paul Buchanan’s musical career up to the release of Mid Air, which quite rightly, has been nominated for 2012s Scottish Album Of The Year Award.
Blue Nile were formed back in 1981, when three former Glasgow University graduates decided to form a band. Although Robert Bell, PJ Moore and Paul Buchanan formed Blue Nile in 1981, it wasn’t until 1984 that they released their debut album A Walk Across the Rooftops, on Linn Records. While A Walk Across the Rooftops was well received, it wasn’t a huge commercial success. Since then, A Walk Across the Rooftops has been recognized as a minor classic. Having released their debut album in 1984, it would be five long years before the Blue Nile released their sophomore album Hats.
After a long five-year wait, during which the Blue Nile’s reputation as an elusive, mysterious group grew and grew. During that time, the Blue Nile recorded an album, didn’t like it and then, like a ritual cleansing of their mistakes burnt the master tapes. Then in 1989, the Blue Nile’s sophomore album Hats was released. Hats was released to critical acclaim and commercial success. It was after the release of Hats, that the Blue Nile decided to embark on one of their rare tours.
Given the Blue Nile are somewhat reluctant stars, who shied away from interviews, publicity it’s no surprise that live appearances were something of a rarity. I was fortunate to see the Blue Nile tour during that tour. That night, they played material from their first two albums, 1983s A Walk Across the Rooftops and 1989s critically acclaimed Hats. Lead singer Paul Buchanan said little between songs, and seemed almost awkward, embarrassed even, by the acclaim and applause the band were receiving after each song. Once the concert was over, people left looking forward to the next Blue Nile album. Little did they realize, it would be seven years after the release of Hats.
Seven years later, in 1996, Peace At Last was released, featuring a very different sounding Blue Nile, driven by Paul Buchanan’ acoustic guitar and featuring a gospel choir. Critics were divided about the Blue Nile’s new directions. Indeed, Peace At Last is something of a misunderstood album. Fans, however, loved Peace At Last. To them it was well worth the seven year wait. They hoped the next album wouldn’t take seven years to make. It didn’t, it took eight years.
The followup to Peace At Last, High, took even longer to make, eight years, but reached number ten in the UK album chart. Given the success of High critics and fans wondered whether at last, The Blue Nile had made their breakthrough. In typical Blue Nile fashion, no further albums were released by the band. Last year, the band’s thirtieth anniversary, rumors were rife about a new album, but nothing happened. Then earlier this year, Blue Nile lead singer Paul Buchanan announced he was releasing his debut solo album. If there was to be no further Blue Nile albums, then this was the next best thing. Mid Air was released on 21st May 2012 on Newsroom Records. However, how does Mid Air differ from The Blue Nile’s four albums?
Eight years after the release of 2004s High, it’s not just a very different sound that greets the listener on Mid Air, but a much older and wiser Paul Buchanan. He’s now fifty-six, and from the music on Mid Air, has spent much of his time reflecting on life and everything it has thrown him. Whether love or loss or pain and death, it has affected Paul and the music on Mid Air. While the death of one of Paul’s closest friends has caused him pain and hurt, making him reflect on mortality, the breakup of The Blue Nile caused him pain and hurt. The Blue Nile were more than just a band, they were three close friends for over thirty years. So, the breakup of the band that Paul thought would last forever was another loss to Paul. This plus everything that’s happened to him in the past eight years has shaped the music on Mid Air.
Mid Air features fourteen songs that Paul wrote in his flat in Glasgow’s west end. With just a piano in his kitchen for company, Paul spent the early hours of many a night writing the songs on the album. Rather than write the songs on his trusty guitar, he preferred the immediacy of the piano. He could just sit down whenever he wanted, working on an idea for a song. Eventually, Paul had fourteen songs written, the recording took place mostly in his Glasgow flat, but also at a studio in Glasgow. Recording of Mid Air took place over two years, with Cameron Malcolm, son of Calum Malcolm The Blue Nile’s former producer. Helping Paul complete the album was Robert Bell, The Blue Nile’s bassist. Eventually, after two years, Mid Air was released on 21st May 2012. How would the album fare compared to The Blue Nile’s four albums?
On the release of Mid Air, the album reached number fourteen in the UK. This meant that Mid Air had almost matched the success of The Blue Nile’s most successful album High, which had reached number ten in the UK. In his native Scotland, Mid Air reached number one, while it reached number four in Ireland. It seems that fans loved the older, wiser and more pensive Paul Buchanan that features on Mid Air. However, why has Mid Air proved so popular? That’s what I’ll tell you after I’ve told you about some of the highlights of Mid Air.
Opening Mid Air is the title-track Mid Air, the first of fourteen short tracks. It seems Paul has heeded Brian Eno’s maxim that a shorter song is a more effective one. It’s just two and a half minutes long, with Paul playing the piano that accompanies him. Straight away, when that familiar voice washes over you, it’s apparent that Paul’s emotive vocal has the same quality that we last heard on High. Neither has he lost any of his talent as a songwriter. Instead, he’s matured as songwriter, with his lyrics pensive, thoughtful and melancholy. His vocal is tinged with sadness and regret at the memories he recalls. Later, wistful strings sweep in, adding to the emotion and sadness of the track. The sparse, pared down arrangement works beautifully, complimenting Paul’s vocal and leaving you wanting more, much more of Mid Air.
For anyone whose spent anytime as a night-owl, sitting, thinking and wondering, then Half The World could’ve been written for them. Opening with the lyrics “half the word has gone to street, half the world is on its knees,” to me, the lyrics paint a picture as Paul sitting in his Glasgow flat, observing the city as it sleeps. He thinks, thinks about the wider world, turning ideas over in his head and in doing so, his stream of consciousness becomes a song, a very good song. In fact, it’s one of the highlights of Mid Air. Just Paul playing the piano and singing some contemplative, intelligent lyrics, before briefly, subtle, melancholy strings make a fleeting appearance. That’s all it takes to make this haunting, heartfelt song one of the highlights of Mid Air.
Newsroom is another late-night song, full of heartbreak, loneliness and hurt. Paul sets the scene with the lyrics “last out the newsroom turn out the lights,” before delivering a triumvirate of moving, hugely emotive lines. “There’s no-one left alive, there’s no-one to make love to, no-one to blame.” The contrasts between the banality of turning out the lights, and the sense of desolation, desperation and loneliness felt by the life of song’s central character is huge. Here, with just the piano accompanying Paul the tortured troubadour, he gets across the sense of bleakness that the reality that their life has become. With Paul’s almost emotionless delivery and the lo-fi arrangement, this works beautifully, but leaves you thankful it isn’t you Paul is singing about.
When you hear I Remember You, there’s a real Blue Nile sound and influence, especially their debut album A Walk Across the Rooftops. It’s the use of synths and gentle horns that accompany Paul and his piano. He’s reflecting, in a contemplative mood, with the arrangement meandering into the spaces left by his vocal. His vocal is laden with emotion and memories. Later, when Paul briefly hesitates, and has to restart the line, this adds to the effectiveness and poignancy of this powerful track.
Wedding Party is a track that demonstrates Paul Buchanan’s talent as a songwriter. Not only does he paint pictures that unfold before your eyes, but he sounds as if he’s lived the lyrics he sings. His Wedding Party is like a tragi-comedy, complete with “tears in the car park” as a former lover marries someone else. Much as she tries, she can’t let it go, the hurt and regret haunting her every waking hour. The addition of the haunting piano and almost broody, menacing strings add to the effectiveness and sadness of a track that many people will be able to relate to, with its sense of love lost, but not forgotten.
Two Children is like a two minute short story set to music by Paul. He paints the picture of a couple with what seems a perfect life. They’ve “Two Children…flowers in every window…and…apples on every tree.” Their relationship is just a facade, with the couple really just two children, playing at grownups. Paul’s delivery has a tenderness, but is tinged with sadness that the reality of the situation can no longer be ignored. With just the piano and melancholy strings accompanying him, this reflects the sadness and pathos of situation perfectly ad subtly.
Tuesday is a relationship, with Paul singing of the “early morning phone call,” and its plea for forgiveness and a return to “how things used to be.” You get the sense that he’s fallen for this before, but lived to regret it. Things you see, can never be same. There’s always the doubts and blame. Paul’s voice reflects this, with piano strings and standup bass providing a complimentary backdrop to this tale of love lost and heartbreak. Older and wiser, Paul knows that things are never the same again, time and experience prove this.
Closing Mid Air is After Dark, the longest track on the album, just under four minutes long. Given how slowly The Blue Nile and Paul Buchanan produce albums, I find myself willing Paul to close Mid Air on a real high. True to form, Paul doesn’t disappoint. He’s kept one of the most melancholy and beautiful tracks until lost. It’s a paean to love, but not in the traditional sense. It’s a love song, but one he sings to Glasgow and its nocturnal side, After Dark. As someone who knows and loves Glasgow, I can only concur with Paul’s sentiments. Paul just playing piano as he gives one of his most impassioned, heartfelt vocals, opening up his heart and singing about the one thing and one place that’s been ever-present during his life, his hometown of Glasgow.
Where the Deluxe Edition of Mid Air differs from the original release in May 2012, is the addition of a second disc of bonus tracks. These offer a revealing insight into Paul Buchanan and his music. There are ten tracks on Disc Two, with three tracks from Mid Air, After Dark, Tuesday and A Movie Magazine transformed into instrumentals. They’re captivating tracks, which show another side to Paul’s music. My True Country is also given a makeover, while Buy A Motor Car is remixed by Robert Bell, Paul’s old Blue Nile bandmate.
There are four tracks on Disc Two that aren’t on Mid Air. The first is Have You Ever Been Lonely, a track that isn’t on Mid Air is one of the most, emotive, heartfelt tracks Paul has recorded. Two other new tracks are Lost, Duty and Lost, which are both welcome additions, providing an insight into Paul’s music. God Is Laughing closes Disc Two, and it’s as if Paul is laying bare his soul, seeking answers and meaning to life and its foibles. For me, this is the classic Paul Buchanan and the perfect way to close Disc Two of Mid Air.
Having been captivated by the subtleties, nuances and charms of Mid Air, I can’t recommend this album highly enough. It’s a really mature, grown-up album from Paul Buchanan, which must be one of the favourites for 2o12s Scottish Album Of The Year Award. Mid Air is on the long-list, and I’m sure will be on the short-list. For Paul Buchanan, one of the grand old men of Scottish music, not only is Mid Air a deserving recipient of the Scottish Album Of The Year Award, but would be recognition of everything he’s done for Scottish music. He’s now fifty-six and his world-weary voice has matured with age, as is his talents as a songwriter. In many ways, Paul has become Scotland’s answer to Tom Waits and Leonard Cohen. Not only has age resulted wisdom, but has resulted in fourteen tales of life, love and loss. To put this into perspective, it took The Blue Nile eight years and two albums to produce fourteen tracks, whereas Mid Air took but two years from start to finish.
Maybe before Paul turns sixty, we’ll have the followup to Mid Air. I sincerely hope that this is the case, because the Paul Buchanan that can he heard on Mid Air is compelling, emotive music. Paul explores a variety of subjects, including life, love and loss, with hurt, regret and sadness constant companions to hope and love. The music is moody, broody and sometimes hopeful, perfect for The Blue Nile’s now grownup audience, who like Paul are eight years older than they were when The Blue Nile released High in 2004. For many of The Blue Nile’s loyal fans, then Mid Air will strike a chord. They too will have experienced, travelled and witnessed the same roads as Paul Buchanan has. Not only that, but they too will concur with his outlook on love, life and loss and will enjoy the fourteen tracks on Mid Air knowing he’s travelled the same roads that they have.
The addition of the second disc of bonus tracks offers further insight into Paul Buchanan and his music. While there have been similarly reluctant stars like Paul Buchanan, there’s rarely been one so complex, articulate and intelligent. Paul Buchanan is able to give voice to the feelings and lives of many people. He provides the voice to his legion of fans, who hope that there’s much more music like Mid Air still to come for Paul Buchanan.
Now that The Blue Nile are sadly, no more, then Paul Buchanan carries the mantle they’ve left behind. Thankfully, Paul produced a similar style of music on Mid Air, introspective, poignant and wistful music that’s best enjoyed late at night, After Dark, When Half the World Is Asleep. Standout Tracks: Mid Air, Newsroom, Wedding Party and After Dark.
PAUL BUCHANAN-MID AIR.
KARINE POLWART-TRACES.
KARINE POLWART-TRACES.
Karine Polwart is something of a rarity in an age where anodyne, bland and uncontroversial music fills our airwaves and record shops. Her music isn’t just intelligent, articulate and socially relevant, it’s also melodic and beautiful. She’s a storyteller who gives a voice to the downtrodden, disenfranchised, impoverished and vulnerable, and in doing so, empathizes with their plight. Telling their story with a mixture of anger, frustration, passion and tenderness, Karine brings her lyrics to life. These lyrics are people’s stories, which Karine has discovered and shares with her audience. That’s why Karine Polwart is an award-winning folk singer, whose fifth album Traces which was released on Hegri Music, has been short-listed for 2012s Scottish Album Of The Year Award. Traces features ten songs, which are akin to short stories. Using a rich and colorful musical palette, Karine Polwart paints musical pictures that come to life before your eyes. Before I tell you about Traces, I’ll tell you about Karine Polwart’s career so far.
Before embarking on her musical career, Karine Polwart studied politics and philosophy at university. On graduating, Karine worked in women’s and children’s rights. However, what she really wanted to do, was make a career out of music. For Karine, she didn’t make this decision lightly. What swung it for her, was that she felt through music, life somehow, made sense. Not only that, Karine felt that through music, she could “perform some important social function.” It did. It allowed Karine to tell people’s stories of the situations, adversity and obstacles they had to overcome.
Having decided to make a career in music, Karine’s debut album made a huge impression. Faultlines, released in 2005, won three albums at the BBC Folk Awards. This included Best Album. Then in 2005, the live Pulling Through E.P. was released. This allowed people a tantalizing taste of what Karine sounded like live. Karine’s sophomore album, 2006s Scribbled In Chalk featured Daisy, which won the BBC Folk Award For Best Original Song. Just two albums into her career, and Karine Polwart’s decision to embark upon a musical career had been vindicated.
2007 saw Karine release the third album of her career. Fairest Floo’er was a combination of folk and Scottish traditional songs. A year later, in 2008, Karine released This Earthly Spell, her fourth album. Her reputation was growing with each release. She was being hailed as one of Britain’s finest folk singers, both on record and live. Proof of how good a live act Karine and her band were, was 2009s Build Your Own Cathedral E.P.
In 2010, Karine put her musical career on hold, when she went on maternity leave. Before that, Side Show-The Burns Unit album and the Evergreen E.P. were released. On the Lau Vs. Karine Palwart Evergreen E.P., Karine hooked up with a band who coincidentally, are on the long-list for 2012s Scottish Album Of The Year Award. This would be the last that would be heard of Karine Polwart until 2011. However, it would 2012 before Karine Polwart released another album, Traces.
Traces was Katine’s fifth studio album, which was released in 2012. Released to critical acclaim, fans and critics alike decided Karine was back with the best album of her career. Not only was Traces nominated for three awards in the BBC Folk Awards, but it was hailed the Guardian’s Folk Album of 2012. The Herald went one better, crowning Traces as the best Scottish album of 2012. That’s quite an accolade. Will Traces surpass that by winning 2012s Scottish Album Of The Year Award? That’s what I’ll tell you, once I’ve told you about the music on Traces.
Opening Traces is Cover Your Eyes, a quite beautiful, understated song about teenage romance. With just acoustic guitar accompanying her, Karine paints pictures of about the innocent adventures she and her boyfriend used to have. Lyrics like: “I was Farah Fawcett, you were Steve McQueen, and we rode your silver grifter, half way to Aberdeen.” Evocative pictures are painted, and scenes unfold. It’s like a film being played out before your eyes. Later, her description of the landscape is particularly poignant, given how it has been destroyed to make way for a golf-course. Filled with pathos, poignant, beautiful and melancholy, it’s the perfect way to open Traces.
There’s a real wistful sound as King Of Bird, a song that tells a story in three parts. The song is about St. Paul’s Cathedral, London and is set against the Fire of London, The Blitz and The City of London. Acoustic guitar, fiddle and keyboards accompany Karina’s heartfelt vocal. She delivers the evocative lyrics with passion. If you close your eyes, you can smell the smoke of the fire, picture the chaos of the blitz. When Karine delivers the lyric “mirrors that bruise the sky,” that’s the perfect description of the garish architectural monstrosities. Having delivered that line, Karina scats, with the band accompanying her. You’re left feeling pensive, marvelling at Karine’s articulate, literate lyrics.
Tears For Lot’s Wife was adapted from Anna Akhamatova’s poem. Just a meandering acoustic guitar sets the scene for Karine’s vocal. Harmonies envelop her, while piano and percussion accompany her. As the drama grows, Karina paints vivid but heartbreaking pictures. You hope against hope that she turns back, but fear that she’s too determined and principled. That makes the lyrics: “whose gonna mourn, one woman in a storm,” even more poignant, powerful and even disturbing.
Don’t Worry is about a soldier returning home, and the problems he has. The understated arrangement allows you to focus on Karina’s vocal. She’s accompanied by just an acoustic guitar as she sings: “when the soldier comes back, with the weight of the world in his knapsack, he’s gonna need a little hand.” This paints a powerful picture. Immediately, you wonder what horrors and atrocities he’s seen? His partner is desperate, vowing to trade anything to have make him better and “set him free.” This brings to life the sheer desperation of his partner.
We’re All Leaving demonstrates just how diverse the subject matter Karine uses for inspiration for her song. Here, she uses the death of Charles Darwin’s daughter Annie for inspiration. Just acoustic guitar, harmonies, percussion and accordion provide a backdrop for Anna. Her vocal is emotive, filled with sadness and resignation as she delivers the lyric: “he has no ark to bear him from his flood.” This is a particularly poignant lyric, given Darwin was an avowed atheist. The most heartbreaking lyric is the one that describes Darwin and his wife approaching the church door, and how after, a helpless and bereft Darwin: “walks these woods alone.” A stark and deeply portrayal of a heartrending situation.
Tinsel Show is about how the petrochemical plant near where Karine grew up. With just acoustic guitar, drums and keyboards, the memories come flooding back. Karine’s vocal grows in power at the memory of the lights and fumes that dominated the landscape around Grangemouth. Despite this, the lights reminded Karine of disco lights, diamonds and flying saucers. Seen through a child’s eyes, there’s beauty in even the most grotesque industrial landscape. Equally beautiful are the ethereal and angelic harmonies that reach an elegant crescendo. It’s a fitting way to close Karine’s beautiful, evocative walk down memory lane.
Strange News is a song everyone can relate to. It was inspired by the tragic and sudden death of his cousin’s wife. She’d died far too young. The thing anyone asks themselves is why? That’s the unanswerable question that neither reason nor religion can answer. With just her trusty guitar, fiddle and later, accordion for company, Karine remembers times and places. She remembers where she was when she heard the news, and the reminisces about things they’d done and been together. One of the most heartbreaking pictures she paints is of the stoic mother, trying to put a brave face on it, despite her heartbreak. Anguish and the realization life will never be the same shine through, as Karine delivers one of her best vocals of some incredibly moving, but beautiful lyrics.
Just the mournful, emotive sound of an accordion opens Sticks ‘n’ Stones. Having set the scene for Karine’s vocal, she delivers a slow, pensive vocal. The reason for her melancholia is having decided to visit the now empty house she once lived in. Memories come flooding back, when things were simpler and her dreams were intact. Harmonies, a flute, drums and accordion accompany cascading harmonies. Along with a trumpet, they create a mournful, melancholy backdrop. You wonder why? Sadly we never find out, but maybe, the Sticks ‘n’ Stones Karine sings about are a clue?
Salters Road was written to celebrate the life of Karine’s neighbor Molly Kristensen. Karine delivers an impassioned and heartfelt vocal, as she tells the story of her life. Accompanying her are a subtle backdrop of piano, guitar and celestial harmonies. So clear is the picture Karine paints, you can imagine scenes unfolding. You can see Molly walking down Salters Road, the sun shining and her waiting for her boyfriend. It’s evocative, beautiful, melancholy and much, much more. It demonstrates Karine talents as a singer, lyricist and storyteller.
Closing Traces is Half A Mile. Although the song features lyrics that veer between beautiful and heartbreaking. Articulate and expressive lyrics, there’s an inherent sadness in the song. The song pays tribute to a young girl who was abducted and tells of the search for her. From the opening bars, there’s a sense of melancholia. Just Karine’s pensive vocal and her acoustic guitar, before booming drums add to a dramatic contrast. As Karine poses a series of questions. What was she doing, where was taken from, was she singing? To all these questions, there’s no answer. All that’s known is that Susan had only Half A Mile to walk until she was home.
Although Karine Polwart’s fifth album Traces, is quite different to many of the albums on the long-list for 2012s Scottish Album Of The Year Award, it’s deserving of its place. Indeed, Traces is in the minority, given it’s a folk album. However, if you’re only going to have one folk album, make it one as good as Traces. The ten tracks on Traces feature some of the most articulate, poignant and evocative lyrics. Taking her inspiration from a diverse range of subjects, Karine proceeds to paint pictures. Using a rich and colorful musical palette, Karine introduces you to a series of characters and their lives. Tragedy, desperation, pathos and joy feature in the songs. Articulate and cerebral, Karine gives a voice to the downtrodden, disenfranchised, impoverished and vulnerable. She empathizes with their plight, telling their story with a mixture of anger, frustration, passion and tenderness. In doing this, Karine tugs at your heartstrings, makes you think, stirs your emotions and makes you ask why? You experience sadness, melancholy, anger, frustration and heartbreak. Not many artists can achieve this through their music. Karine Polwart can, and does with Traces. Quite simply, Karine Polwart’s Traces is one of the best Scottish albums of 2012. Traces which was released on Hegri Music, should be one of the contenders for the Scottish Album Of The Year. However, are the judges brave enough to award a folk album, like Karine Polwart’s Traces, 2012s Scottish Album Of The Year? Standout Tracks: Cover Your Eyes, We’re All Leaving, Tinsel Show and Strange News.
KARINE POLWART-TRACES.
MIAOUX MIAOUX-LIGHT OF THE NORTH.
MIAOUX MIAOUX-LIGHT OF THE NORTH.
When the long-list for 2012s Scottish Album Of The Year was announced, this celebration of Scottish music, demonstrated just how eclectic the music Scotland’s musicians have been producing. The twenty albums featured everything from indie rock, pop, electronica, folk, jazz, dance and R&B. One album incorporated not just variety of these genres but much, much more. This album was Miaoux Miaoux’s debut album Light Of The North. Released on Glasgow’s Chemikal Underground label in July 2012, Light Of The North was hailed as one of the albums of the summer. In their desperation to categorize Light Of The North, critics described it as “indie dance pop.” There’s much more to Miaoux Miaoux’s music on Light Of The North. Indie dance pop is merely scratching the surface of the music Light Of The North. The best way to describe Miaoux Miaoux’s music is genre-sprawling. You’ll realize that, when I tell you about the music on Light Of The North.
Before producer Julian Corrie decided to make a career out of music, he lead an interesting life to say the least. He lead something of a nomadic existence. Heading off on his travels, Julian eventually settled in Peru, where he spent five years. From the exotic climes of Peru, next stop for Julian was England. After moving between towns and cities, Julian moved to Glasgow, where his musical career began.
Having settled in Glasgow, Julian’s musical career began in 2010. He dawned the guise of Miaoux Miaoux. It didn’t take long before people realized Julian was a talented producer and remixer. His first release as Miaoux Miaoux was the critically acclaimed Blooms E.P, which Julian released himself. With the publicity generated by the Blooms E.P, Miaoux Miaoux were suddenly playing at concerts all over Scotland. Glasgow, Edinburgh and the Rock Ness Festival were introduced to the delights of Miaoux Miaoux.
Suddenly, Miaoux Miaoux were establishing a reputation as one of Scotland’s up-and-coming bands. Later in 2010, Miaoux Miaoux released their Knitted E.P. Not only did it feature three innovative tracks, but featured a memorable hand knitted CD cover. In November 2010, Miaoux Miaoux were one of four groups who contributed a track for the Split E.P, which was released on Gerry Loves Records. Along with the two E.P.s Miaoux Miaoux released during 2010, Julian Corrie was establishing a career as a talented remixer.
Remixing was another string to Miaoux Miaoux’s musical bow. This second career saw Miaoux Miaoux tranform tracks by Silver Column, Discopolis and Chvrches. Soon, Miaoux Miaoux had gained the reputation as Glasgow’s go-to-guy for anyone looking for an innovative remix. However, all this was just working towards Miaoux Miaoux’s debut album.
Released in July 2012, Miaoux Miaoux’s debut album Light Of The World received plaudits and praise aplenty. Critically acclaimed and hailed as one of the album of the summer, Light Of The World was described as indie dance pop. That’s an understatement. It’s a genre-sprawling album where indie rock, pop, dance, electronica, synth pop, dream pop and much, much more. You’ll realize that, when I tell you about Miaoux Miaoux’s debut album Light Of The North.
Light Of The North opens with Sweep Clean, where dramatic washes of synths sweep in. Veering between a broody drone and an elegant orchestral sound, it builds to a crescendo. Then hesitant, jittery and excited drum ‘n’ bass style drums break loose. They’re joined by buzzing synths and a heartfelt vocal that’s reminiscent of Paddy McAloon of Prefab Sprout. Soon, the arrangement is heading in the direction of indie rock and pop, albeit with a touch of electronica. Crystalline guitars, swathes of synths and driving, pounding drums combine as drama, energy and poppy hooks seamlessly become one.
Autopilot sees the tempo drop, and an atmospheric, electronic arrangement unfold. Drums crack, melodic synths meander and then buzzing eighties synths usher in Julian’s tender vocal. By now, you’re struck by the similarities to New Order in their prime. It’s almost uncanny. Especially when the harmonies accompany Julian’s vocal. However, this isn’t a New Order tribute band. Far from it. Instead, Miaoux Miaoux add their own unique twist to this sound. Synths and a wall of guitars provide a dreamy backdrop, as the anthemic chant: “you can think for yourself emerges.” It becomes almost like a mantra, albeit one that’s a hook-laden, slice of musical sunshine that’s a fusion indie rock, dream-pop, electronica, synth pop and dance music.
Hey Sound has a dreamy, spacey sound as washes of synths and drums combine to produce a hypnotic groove. Reminiscent of trance music, bursts of harmonies emerge from the arrangement. They’re sung call and response style, as you embark upon a musical journey. It’s one that’s truly captivating and irresistible, and will bring back memories of dancing till dawn in crowded warehouses.
As Better For Now begins, you realize that it’s impossible to categorize Miaoux Miaoux’s music, given how eclectic the music on Light Of The North Is. You also realize this is a truly irresistible and anthemic track. Dance-floor and radio friendly, indie-rock and the dance music are combined. Instantly, your faith in music is restored. It’s impossible to be won over by this track. With the rhythm section providing the track’s heartbeat, buzzing synths and melodic keyboards provide the backdrop for Julian’s vocal Spurred on, he delivers one of his best vocals on the best track on Light Of The North.
Kraftwerk. That’s what I thought when Cloud Computer began to reveal its secrets. With its sci-fi sound that come courtesy of washes of synths and pounding drums, it’s like Chicago House meets Autobahn. They’re joined by sound effects that remind me of eighties video games. Soon, it’s all change again. A wall of guitars makes a fleeting appearance before it’s back to the captivating combination ofChicago House meets Kraftwerk, albeit with chiming guitars that give the track a melodic sound. Again, this reinforces the eclectic nature of Miaoux Miaoux’s music and proves that you should never second guess Julian Corrie.
Is It A Dream is an elegant, ethereal soundscape that sweeps in. Atop the wash of synths sits Anna Miles vocal. Then just as you were wallowing in the track’s beauty, the arrangement fills out. That’s when a few curveballs are thrown. Am almost disturbing, droning noise appears. It’s almost as it’s meant to challenge you. However, given the quality of the music, you just ignore it. Meandering keyboards and deliberate synths play their part, before the tempo is increased and Anna’s vocal becomes high pitched. You begin to think Julian’s toying with you. Even when he adds echo to her vocal, the track’s innate beauty shine through.
Virtua Fighter is an enigmatic track, that has many secrets and surprises to reveal. At the start, a real eighties sound emerges. For some reason, I’m reminded briefly reminded of a track from an old Stranglers album. Then when sweet harmonies sweep in, it’s all change. The track has a real poppy sound. Behind them, an edgy, rap from MC Profisee emerges out of the shadows. It transforms the track and proves to be a game-changer. MC Profisee’s performance steals the show as everything from eighties electronica, hip hop and pop are thrown into Miaoux Miaoux’s musical melting pot and given a stir.
Just a chiming guitar and drums accompany Julian’s tender, pensive vocal on Stop The Clocks. The understated arrangement is perfect, allowing you to listen to some of the best lyrics on Light Of The North. Soon, it’s all change. Gone is the vocal, replaced by an arrangement that gradually grows. Again, there’s a Kraftwerk influence. You’re propelled atop an arrangement where washes of synths and drums play leading roles. Later, the arrangement grows to a disturbing, dramatic and captivating crescendo.
Singing In The Dark has a dark, moody sound thanks to the thunderous drums and buzzing synths. When Julian’s vocal enters, it’s heartfelt and accompanied by banks of distant meandering synths. Key to the song’s success are the lyrics, which have a strong narrative. Julian’s delivery is emotive, while the arrangement grows in power. Hissing hi-hats, claps of drums and keyboards combine, before later, filters strip out everything but the vocal. As Julian scats, the arrangement builds up, and another anthemic, catchy unfolds.
Closing Light Of The North is Ribbon Falls. It’s the perfect track to close the album. The understated arrangement gradually builds and builds, as Miaoux Miaoux have settled into a groove. Julian’s vocal is accompanied by stabs of synths and keyboards. You know that the understated arrangement is about explode. It’s just a case of when. When it eventually happens, Miaoux Miaoux examine every nuance and subtlety of the groove. The arrangement grows in power and drama. Guitars are unleashed while banks of keyboard and synths are at the heart of the action, before the track, and Light Of The North, reach a dramatic and explosive climax.
Earlier, I said that describing Light Of The North as an indie dance pop album was an understatement. There’s much more to Light Of The North than that. It’s a much more complicated and sophisticated album. Instead, many musical genres are thrown into Miaoux Miaoux’s musical melting pot and given a stir. There’s everything from indie rock, pop, dance, electronica, synth pop, dream pop, drum ‘n’n bass, trance, hip hop and ambient music. Among the musical influences that shine through are Kraftwerk, New Order, Mogwai, Prefab Sprout and Chicago House. Layer upon layer of complex music unfold. That music is variously dramatic, melodic, hook-laden, poppy, captivating, anthemic and much more. Subtleties, surprises and nuance await discovery. Trying to second guess Miaoux Miaoux isn’t possible. Similarly, a bag full of curveballs are delivered by Miaoux Miaoux on Light Of The North. A track might head in one direction, but be transformed into something very different. That’s what makes Light Of The North such an enthralling and captivating album. It’s also why Miaoux Miaoux’s debut album Light Of The North is deserving of its place on the long-list for the 2012 Scottish Album Of The Year.
Critically acclaimed, innovative, genre-sprawling and lauded as one of the albums of the summer 2012, Miaoux Miaoux’s Light Of The North is one of the best debut albums I’ve heard in recent years. It’ll be fascinating to hear what Miaoux Miaoux’s sophomore album will be like? Will it be as eclectic, hook-laden, anthemic and captivating as Light Of The North? Let’s hope so. Standout Tracks: Autopilot, Hey Sound, Better For Now and Stop The Clocks.
MIAOUX MIAOUX-LIGHT OF THE NORTH.
THE UNWINDING HOURS-AFTERLIVES.
THE UNWINDING HOURS-AFTERLIVES.
Maybe I’m getting old and/or cynical, but music just isn’t what it used to be. Looking through what’s about to be released in the next few weeks and it’s disappointing fare. There’s either the umpteenth rerelease of albums by bloated sixties and seventies rock band, compilations that appeal to people who buy their music in supermarkets or reissues of soul and funk albums by groups and artists who weren’t even household names in their own house. Of course, each of these releases are hyped up by coked up PR gurus. As Chuck D said, Don’t Believe The Hype. Anyone who thinks I’m exaggerating just check out next month’s releases. Proof of this, is a ten-disc box set by a wannabe rock and roll band whose trademark lurid suits would’ve had Elvis choking on his burgers. Basically, the music industry is barrel scraping. As we say in Scotland, the ball is well and truly on the slates. Put simply, the music industry is dying a slow and lingering death. Either fetch me a ladder, a shovel or a priest to administer the last rites to the music industry. Thankfully, there is one place where music is vibrant and thriving…Scotland.
North of Hadrian’s wall, Scotland’s music industry is in the rudest of health. You just need to look at the long-list for 2012s Scottish Album Of The Year. The twenty albums on the long-list demonstrate not just the quality of music, but just how eclectic a selection of music has been nominated. There’s everything from folk, electronica, dance, indie-rock, jazz and R&B. Among the best known nominees are Paul Buchanan, Calvin Harris, Django Django and Emeli Sande. That’s just the tip of the musical iceberg. Other nominees include Lau, Session A9, Duncan Chisholm, Admiral Fallow, RM Hubbert and Karine Polwart. One of the other nominees are The Unwinding Hours, a Glasgow band whose sophomore album Afterlives has been nominated for the prestigious Scottish Album Of The Year Award. Before I tell you about Afterlives, I’ll tell you about The Unwinding Hours.
The Unwinding Hours were formed out of the ashes of Aerogramme, who were a Glasgow band who split up back in 2008. Just as Aerogramme’s army of fans were entering a prolonged period of mourning, and considering counseling, good news broke. That news was that, out of the ashes of Aerogramme, a new band called The Unwinding Hours had been formed. Featuring Craig B and Ian Cook, formerly of Aerogramme, the pair began work on some new material.
While some bands work quickly, The Unwinding Hours worked in a slow and methodical way. Songs were written, honed and eventually, taken into Ian’s Allucard Studios. Even then, neither Craig, nor Ian, knew whether the songs would ever be released. Gradually, the songs took shape, and Ian and Craig realized, that these songs were just that bit special. So, The Unwinding Hours, being a Glasgow band, signed to a Glasgow label Chemikal Underground.
2010 saw the release of The Unwinding Hours’ eponymous debut album The Unwinding Hours. Released to plaudits and praise aplenty, The Unwinding Hours were hailed as a band going places. They were lauded as Scotland’s next big band. However, before they were crowned as the future of Scottish music, they still had one obstacle to clear, that awkward and “difficult” second album.
While many bands have released a stunning debut album, many have come a cropper with their second album. This is akin to a coming of age for a band. In many ways, it’s the musical equivalent of separating the men from the boys. However, by the time The Unwinding Hours began work on their sophomore album, Craig had decided to become a student.
With Craig having decided to head back to university, to study theology and sociology, Ian concentrated on recording and production. Working in his studio in Glasgow’s south side, Craig made weekly pilgrimages to Ian’s studios, bringing with him demos. Gradually, songs evolved, were honed and eventually, feature on The Unwinding Hours’ sophomore album Afterlives. These ten songs have been influenced and inspired by Craig’s studies. Among Afterlives’ themes are the conundrum that is belief, personal responsibility, the thirst for knowledge and experience. Intelligent, intriguing, cerebral and compelling describes Afterlives. Quite simply, Afterlives is thinking people’s music. The Unwinding Hours have been influenced by Laurie Anderson, Flaming Lips, Max Richter and Scotland’s very own Cocteau Twins. To these influences, I’d add Teenage Fanclub, Blue Nile and The Bathers. All these influences and more, emerge during the ten tracks on Afterlives, which I’ll tell you about.
Afterlives opens with Break, where The Unwinding Hours make sure you’re paying attention. It’s literally a delicious explosion of energy and melodies. Driving guitars, pounding drums and keyboards set the scene for Craig’s vocal. Thoughtful, filled with doubt and heartache, emotion fills Craig’s voice. Meanwhile, the rhythm section provide a driving, rocky backdrop while meandering keyboards provide a melancholy contrast. Elements of indie rock and even grunge can be heard in the arrangement, while Craig’s vocal is reminiscent of troubled troubadours like Paul Buchanan and Tim Buckley. It’s a captivating combination, and bodes well for the rest of Afterlives.
After the opening bars of I’ve Loved You For So Long, it’s like being transported back to 1991 and hearing Teenage Fanclub’s Bandwagonesque for the first time. There are several similarities, which are uncanny. It’s as if Craig and Ian are paying homage to one of Glasgow’s great bands. A wall of guitars, sweeping Byrdsian harmonies and even Craig’s vocal style are similar. His voice is filled with sorrow and regret, as he sings about having to break up a relationship. Not only does this track sound like Teenage Fanclub in their pomp, but like the Fanclub, The Unwinding Hours write great songs with poignant lyrics.
The Right To Know is very different from the two previous tracks. There’s a much more understated, spartan arrangement, which gradually grows in power and drama. One thing doesn’t change, and that’s the quality of the cerebral lyrics, which are about knowledge. Just drums and synths accompany Craig’s pensive, earnest and questioning vocal. Later, thunderous drums and stabs of piano are used to build up the drama. As it reaches a cinematic crescendo, Craig’s vocal takes centre-stage. Enveloped by buzzing bass, flourishes of piano and drums he emotively sings: “I’ll not leave this place to the idiots” and “I’ll fight for the right to know.” Emotive, powerful and literate, this Laurie Anderson influenced track reinforces that The Unwinding Hours are the thinking person’s band.
So far, Afterlives has proved a truly eclectic album. Saimaa sees another change of direction. Again, there’s a Laurie Anderson influence. Accompanied by just a wash of synths and lone piano, Craig delivers a vocal that’s filled with confusion and desperation. Influenced by Jeff Buckley and Nick Cave, it’s a vocal from a man whose lost direction. He’s bewildered, at life’s crossroads, pondering life’s big questions. A piano provides a broken-hearted accompaniment as washes of synths buzz like electricity in the air. Quite simply, this is one of the most beautiful songs you’ll ever hear, where Craig delivers a soul-baring vocal, that’s filled with despair and confusion.
The Promised Land is a song about religion and when opens, reveals a broody, moody and maudlin sound. It drones into the distance, almost uncomfortably, to be joined by drums and Craig’s vocal. He’s not impressed by The Promised Land, and what it has to offer. Later, the song blossoms, as jangling guitars chime. They’re the perfect accompaniment for Craig as he articulately rejects religion in an eloquent and melodic way.
Wayward sees The Unwinding Hours kick loose, and show that when they’re not afraid to find their inner rock stars. Still, the lyrics are intelligent and literate. Anything else, you feel would be an affront to their indisputable songwriting skills. So this is no throwaway pop song. Like a puppy, a song by The Unwinding Hours isn’t just for Christmas, it’s for life. The rhythm section and searing guitars drive the arrangement along, while Craig delivers a heartfelt vocal. Not only is Wayward melodic and memorable, but catchy and anthemic.
Say My Name is another track that demonstrates why The Unwinding Hours are like a chameleon. It sees another change of tack, with two disparate styles of music meeting head on. Understated and pensive, just washes of synths and drums join Craig as he delivers a heartbreakingly sad vocal. As a melancholy piano and moody bass join the arrangement and searing, angry guitars add a real rocky sound. This works though, and reminds me of the Cocteau Twins. These two parts to the arrangement become one, as Craig unburdens himself of the hurt, heartbreak and loneliness that he’s feeling.
Just an acoustic guitar and piano open The Dogs, which is a beautiful acoustic song. Craig’s tender, thoughtful vocal articulates the vocal with feeling. His vocal veers between pensive and melancholy, to dreamy and hopeful. He’s heading on a journey, looking and hoping for peace, happiness and love. Accompanying him, he hopes, will be the woman he loves. Quite simply, not only does this song features some beautiful, hopeful lyrics, but a tender, heartfelt vocal from Craig, sung against a subtle backdrop.
Skin On Skin has a dark, industrial sound. Gone are the acoustic instruments of the previous track. Replacing them, are drums that crack and buzzing synth. They prove a contrast to Craig’s tender, needy and impassioned vocal, as he sings of his need and love of his partner. A meandering, strummed acoustic guitar proves to be the ying to Craig’s yang, before the arrangement grows in power and drama. It’s like a musical metaphor for how much Craig’s grown to love and need his partner. The result is a love song with a twist, where need, reliance and love shine through.
Closing Afterlives is Day By Day. From the distance, the arrangement gradually decides to reveal its subtleties and nuances. Dark, melancholy strings sweep in, accompanying Craig’s vocal. Filled with sincerity, he proffers the advice: “that you should take it Day By Day.” This makes you wonder who he’s talking to and what’s happened to them? So heartfelt is his delivery, that it sounds personal. It’s like he’s revealing something of himself. Beautiful, tender and impassioned, delivered against an understated, but cinematic arrangement, it’s an enigmatic way to close Afterlives.
Earlier, I said that The Unwinding Hours are not unlike a chameleon. That’s the perfect description of a band who have many sides to their music. One minute they’re comfortable delivering a slice of indie rock, the next, a beautiful, pensive and understated ballad unfolds. Then The Unwinding Hours deploy synths to create a much more industrial sound. Arrangements veer between spartan and understated to much fuller and rockier. No two songs are the same. Each one is unique. So, you can’t say that The Unwinding Hours have a “sound.” Not at all. The Unwinding Hours are a truly unique and enigmatic band, whose music has been influenced by numerous artists and musical genres. There’s everything from Teenage Fanclub, Blue Nile, Jeff Buckley, Laurie Anderson, Flaming Lips, Max Richter, Tim Buckley, Nick Cave and The Byrds. Similarly, you can hear everything from 60s garage bands, seventies singer-songwriters, eighties electronica, indie rock, folk and soul.
One thing you can say with certainty is The Unwinding Hours is they only produce outstanding music. You won’t find faux pax nor filler on Afterlives. Instead, the ten tracks feature intelligent, articulate and eloquent lyrics, delivered with passion and emotion. These tracks evoke a variety of emotions and deal with a variety of subjects. Thoughtfully and articulately, Craig B delivers the lyrics as if he’s live and survived them. Similarly, Craig and Ian play their music with passion, injecting life, meaning, energy and emotion.
While many bands struggle with that “difficult” second album, that’s not the case with The Unwinding Hours. Afterlives surpasses their eponymous debut album. It’s a much more eclectic album, where seamlessly, The Unwinding Hours flit between musical genres. Effortlessly, The Unwinding Hours reveal the many sides of their music, music which deserves to find a much wider audience. Hopefully, when the shortlist for the Scottish Album Of The Year is announced in a few days time, The Unwinding Hours’ sophomore album Afterlives will be on it, as it was one of the best Scottish albums of 2012. Standout Tracks: I’ve Loved You For So Long, Salmaa, Say My Name and The Dogs.
THE UNWINDING HOURS-AFTERLIVES.
CORNELL CAMPBELL MEETS THE SOOTHSAYERS-NOTHING CAN STOP US NOW.
CORNELL CAMPBELL MEETS THE SOOTHSAYERS-NOTHING CAN STOP US NOW.
When it comes to musical collaborations, they often, bring out the best in musicians. Especially, when you bring together musicians from diverse musical backgrounds. Often, they drive each other to greater heights. This was the case with previous installments of Strut Records Inspiration Information series. Sly and Robbie collaborated with Amp Fiddler, while Horace Andy collaborated with Ashley Beedle. Then there was the captivating collaboration between Mulatu Astatke and The Heliocentrics. Equally compelling, was the collaboration between Jimi Tenor and Tony Allen, one of Afro-beat’s legendary drummers. So given how diverse previous collaborations in the Inspiration Information series have been, the next installment had a lot to live up. However, Strut Records have surpassed everyone’s expectations with a collaboration between reggae legend Cornell Campbell,, and one of London’s best bands, the Soothsayers. Cornell Campbell Meets The Soothsayers’ Nothing Can Stop Us Now will be released on Strut Records on 8th July 2013. Here, one of reggae’s legendary figures Cornell Campbell, joined forces with one of London’s hottest live bands, The Soothsayers. This is a real heavyweight musical pairing, one who I’m sure, will produce some intriguing and captivating music. Before I tell you about the music on Cornell Campbell Meets The Soothsayers’ Nothing Can Stop Us Now, I’ll tell you about this heavyweight musical pairing.
Cornell Campbell was born in Kingston, Jamaica in 1948, and by the early sixties, had embarked upon his musical career. Starting as he meant to go on, Cornell worked at one of reggae’s legendary labels…Studio One. Then in 1967, Cornell joined The Uniques, who proved to be a short-lived group. Two years later, in 1969, Cornell decided to form his own band, The Eternals, with Ken Price and Errol Wisdom. The Eternals recorded just four singles, including Stars and King Of The Minstrels. Then when The Eternals split up, Cornell Campbell embarked upon a solo career. Not only did his fortunes change, but he released the most commercially successful and critically acclaimed music of his career.
Having embarked upon a solo career, Cornell hooked up with one of the greatest reggae producers of all time, Bunny Lee. He produced Cornell’s eponymous debut album Cornell Campbell, which was released on Trojan. 1975 saw the release of Natty Dread In A Greenwich Farm and Dance In A Greenwich Farm. By 1976, when Cornell released The Gorgon and Stalowatt, his popularity had soared. Featuring Santa Davis’ trademark flying hi-hat sound and Bunny Lee production skills, Cornell was one of reggae’s most successful artists. However, by the late-seventies, his popularity began to wane. Cornell concentrated on Lovers Rock and then, in 1979, reformed The Uniques with Lloyd Chalmers and Jimmy Riley.
During the eighties, Cornell wasn’t as prolific an artist. He continued to release albums, but between 1984 and 2000, Cornell didn’t release a solo album. That wasn’t the last we heard of Cornell Campbell though. Not at all. The man who’d worked with producers Bunny Lee, King Tubby, Coxsone Dodd and Winston Niney The Obsever was back in 2005 with My Destination. Then three years later, in 2008, Rock My Soul was released. That was the last we heard of Cornell Campbell until he hooked up with The Soothsayers for Nothing Can Stop Us. However, who are The Soothsayers?
Since the were formed, Brixton’s Soothsayers have established a reputation as one of the best live bands on the London music scene. That’s not easy, given how many talented bands play in the English capital. Lead by Soothsayers’ supremo saxophonist Idris Rahman, he’s joined in the horn section by trumpeter Robin Hopcroft. Then there’s Zoe Raham, Pat Illingworth, Westley Joseph, Julia Biel, Phil Dawson and Derek Johnson. Their unique fusion of funk, jazz, Afro-beat and dub has won the Soothsayers fans much further afield than the stages of London. They’ve also become firm festival favorites, playing throughout Europe and at the Glastonbury festival. Whilst honing their sound, the Soothsayers have released three albums.
It was back in 2008, that the Soothsayers released their debut album The Time Is Now on P-Vine. Tangled Roots followed in 2009 and then Lost City in 2012. Apart from this trio of albums, the Soothsayers have been involved in numerous collaborations, including two albums. The first was 2009s Soothsayers Meet The Red Earth Collective’s One More Reason. Then on 2010, it was just the Soothsayers’ horn section that was called into action. This was for 2010s The Red Earth Collective featuring The Soothsayers Horn Section’s Red Earth Dub. So given the Soothsayers’ live experience, plus their experience accompanying and collaborating other artists, they should be the perfect group to accompany Cornell Campbell on Nothing Can Stop Us? Is that the case though? That’s what I’ll tell you.
Opening Cornell Campbell Meets The Soothsayers’ Nothing Can Stop Us is the title-track Nothing Can Stop Us. Slow and melodic, meandering reggae rhythms accompany Cornell’s heartfelt vocal. Tender and gentle, veering between pleading and joyous. Stabs of blazing horns courtesy of saxophonist Idris Rahman and trumpeter Robin Hopcroft accompany him. Tender harmonies sweep in, as Cornell rolls back the years, revisiting late-seventies Lovers Rock for inspiration. Although just one song in, the collaboration between Cornell Campbell and the Soothsayers seems inspired.
Straight away, Conqueror has a tougher, dubbier sound. It’s as if Cornell is seeking inspiration from the legendary producers he’s worked with. King Tubby, Niney The Observer, Bunny Lee and King Coxsone, have all influenced this track’s sound. While the drums reverberate and echo into the distance, a pounding bass line and grizzled horns accompany Cornell’s earnest vocal. Moody, broody and atmospheric describes this track perfectly.
As I’ll Never Leave begins, you hear similarities to Nothing Can Stop Us is Nothing Can Stop Us. Meandering, churning rhythms accompany Cornell’s impassioned, thoughtful vocal. With pride and a spirituality in his vocal, he sings: “I love my country” and “we don’t no war.” Accompanied by a punchy, rubbery bass-line and stabs of growling horns, the arrangement fuses reggae, Lovers Rock and jazz, thanks to the frantic, grizzled horns. What makes the song though, are the lyrics and Cornell’s delivery of them.
With You My Heart Belongs has a real dubby sound that grabs your attention. It sets the scene for Cornell’s needy, lovestruck vocal. Delivered in a lover’s rock style, his vocal is drenched in reverb, as it drifts into the distance. Meanwhile, drums crack, subtle stabs of horns sound and melodic jazz-tinged keyboard sweep in. They soar high above the arrangement, with the help of echo and reverb. The result is a captivating fusion of styles, where dub, lover’s rock and jazzy keyboards combine.
Continuing the dub influence is It’s Not For Me. Not only does it features some of the best rhythms, but some outstanding lyrics. The lyrics are a paean to peace, and an end to violence. Cornell delivers an inspired, impassioned vocal. Spurred on, the Soothsayers mix dub, reggae and rocky guitars. Then when they embark on a jam, a jazzy influence emerges. Feeding off each other, they reach previously unscaled heights. On Ode To Joy (Babylon Can’t Control I) the quality continues. There’s a real seventies influence and sound to the track. Again, Cornell and the Soothsayers prove to be the perfect foil for each other. Thunderous rhythms combine with Cornell’s fervent, enthusiastic vocal and bursts of rasping horns. Joyful, equally enthusiastic harmonies and jazz-tinged guitar prove to be the finishing touches to this infectiously catchy, hook-laden track.
Ae Want To Be Free has an understated introduction, but when it explodes into life, it’s dub-delicious. It’s as if the Soothsayers’ rhythm section’s raison d’etre is to grab your attention. The reason for this is so you focus one Cornell’s sincere pleas for freedom. With its combination of jazzy horns and dub-drenched sound, you can’t help but pay attention to Cornell’s impassioned pleas. Good Direction is another song with a message. Again, the song is about freedom and although people are free, the circumstances they’re living in, can make them feel anything but free. It’s delivered in a much more subtle way. With a meandering, thoughtful rhythm section, soaring harmonies and rasping horns for company, Cornell delivers a vocal that although it’s tender, becomes the focus of your attention. His message is delivered with an intensity and a belief. Despite the song’s message, the song is not unlike a musical slice of sunshine. So too is Never Give Up, an upbeat and joyous message of determination and persistence.
The Soothsayers drop the tempo on There’s A Fire. They provide a slow, sultry backdrop for Cornell’s impassioned vocal. With the rhythm section providing the arrangement’s steady heartbeat, percussion, keyboards and cooing harmonies join rasping horns. Just as good is Cornell’s emotive vocal. It brings to life the lyrics. Quite simply, it’s one of the best tracks on Nothing Can Stop Us Now and proves that Cornell Campbell Meets The Soothsayers’ is a musical dream team.
Jah Jah Me No Born Yah opens with the unmistakably atmospheric sound of the Hammond organ. They’re joined by growling horns, dubby drums and percussion. A brief burst of surf-inspired guitars signals the entrance of Cornell’s vocal. It’s as if the Soothsayers have realized it’s Cornell’s farewell vocal. Neither the Soothsayers, nor Cornell disappoints. Accompanied by harmonies, Cornell’s vocal veers between a jazzy scat, becoming heartfelt, emotive and sincere. As Cornell delivers bows out, the Soothsayers return with Jah Jah Me No Born Yah (Dub Outro). This allows them to showcase their considerable skills. It also gives you a tantalizing taste of what their live show sounds like. Dubby, with a slightly experimental sound, the Soothsayers decided to test the tolerance of your speakers. For four minutes the recreate the sound of vintage dub, albeit with a Soothsayers twist.
Earlier, I mentioned how many previously, musical collaborations haven’t worked. Instead, they’ve been traumatic episodes that gave many a music lover nightmares. Thankfully, Cornell Campbell Meets The Soothsayers’ are a musical dream team. The reggae veteran Cornell Campbell, and London’s hottest band the Soothsayers proved to be an inspired collaboration. From the opening bars of Nothing Can Stop Us right through to the closing notes of Jah Jah Me No Born Yah (Dub Outro) Cornell Campbell and the Soothsayers become a musical ying and yang. They prove to be the perfect foil, each driving the other to greater heights. Just as you think Cornell Campbell and the Soothsayers have reached the musical summit, they prove you wrong. Somehow, they better a track that you think was peerless. What makes this even more remarkable was this was the first time Cornell and the Soothsayers had set foot in a recording studio together.
What Cornell and the Soothsayers created was a captivating and eclectic collection of twelve tracks. Nothing Can Stop Us which will be released by Strut Records on 8th July 2013, is a musical melting pot that draws its inspiration Jamaica, England, America and Africa. There’s everything from dub, jazz, reggae, funk, lover’s rock, Afro-beat and even, rock-guitars on the twelve tracks that comprise Nothing Can Stop Us. Every time you listen to Nothing Can Stop Us, further nuances, subtleties and surprises reveal themselves. Layer upon layer of music unfolds. Key to this is the Soothsayers’ musical prowess. They provide the backdrop for Cornell Campbell’s vocal, which ranges from heartfelt and emotive, right though to enthusiastic and sincere. He rolls back the years to his seventies heyday, passionately delivering lyrics filled with messages and social comment. Along with the Soothsayers, Cornell Campbell has played his part in one of the best albums of 2013 so far. So when the lists of the best albums of 2013 are drawn up, the powerful, emotive and socially relevant Cornell Campbell Meets The Soothsayers’ Nothing Can Stop Us will be on it. Standout Tracks: Conqueror, I’ll Never Leave, We Want To Be Free and There’s A Fire.
CORNELL CAMPBELL MEETS THE SOOTHSAYERS-NOTHING CAN STOP US NOW.
BACKBEATS: MEMORIES AND SOUVENIRS.
BACKBEATS: MEMORIES AND SOUVENIRS.
Mention Ian Levine’s name, and most people will remember from his time DJ-ing at Blackpool Mecca and the Wigan Casino. There’s much more to Ian Levine that DJ-ing though. Ian’s first love was s, who used to DJ-ing to share his love of soul music, and specifically, Motown. Having established himself as one of the top DJs in the Northern Soul scene, in 1975, Ian branched out into production.
The inspiration to branch out into production came from New York. By 1975, records which were tailor-made for the Northern Soul scene started entering the UK. Ian realizing he could do better, took The Exciters into a recording studio and recorded Reaching for The Best. Having produced and co-written Reaching for The Best, it reached the top forty in the UK. This was the first step on Ian Levine’s journey as a songwriter and producer.
Ian’s careers as DJ and songwriter and producer comfortably sat side by side. Through DJ-ing, Ian was able to gauge what was popular, and stay ahead of the musical curve. As musical tastes changed, so did Ian’s DJ-ing and production style. He started championing crossover and then modern soul. This proved controversial. Northern Soul fans turned against Ian. Despite this, Ian’s sucessful production and songwriting career continued.
Having become a successful songwriter and producer, Ian Levine decided to form his own label. He called his new label Motorcity Records. This was Ian paying homage to the record label he loved, Motown. Motorcity Records proved to be a commercial success, releasing numerous hit singles. Among them, were the sixteen tracks that feature on Harmless Records latest Backbeats compilation Backbeats: Memories and Souvenirs, which was released on 20th May 2013.
Backbeats: Memories and Souvenirs is the second Backbeats compilation focusing on Ian Levine’s music. The first was Unexploited and Underrated, which focused on Ian’s Northern Soul productions, while Backbeats: Memories and Souvenirs features sixteen of Ian’s contemporary soul production.
Compiled by Ralph Tee, Backbeats: Memories and Souvenirs features sixteen tracks, including twelve Ian cowrote. These tracks are from some of the biggest names in soul. This includes contributions from Betty Lavette, Edwin Starr, Edwin Starr, Johnny Bristol, Freda Payne, Chuck Jackson and Syreeta. That’s not forgetting tracks from Frances Nero, Ronnie McNeir, The Monitors and Susaye Greene. Released between 1989 and 1999 these sixteen tracks on Backbeats: Memories and Souvenirs, which I’ll pick the highlights of, are some of Ian Levine’s most successful contemporary soul productions.
My first choice from Backbeats: Memories and Souvenirs is the track that opens the compilation. This is Frances Nero’s Footsteps Following Me. Released as a single in 1989, it featured on Frances’ 1990 album Out On The Floor. Written by Ian with Ivy Jo Hunter and Steven Wagner, it was Motorcity Records biggest hit, reaching the top twenty in the UK. No wonder it was so successful. With swathes of strings and rasping horns setting the scene for Frances, the drama builds and builds. When her vocal enters, it’s worth the wait. Strident, dramatic and powerful, Frances calls upon her inner diva for inspiration, as classic soul and eighties electronica are combined.
Like many artists Ian Levine worked with, Betty Lavette had previously, been signed to Motown. Her 1982 debut album Tell Me A Lie, was released on Motown. Nine years later, in 1991, Not Gonna Happen Twice was released on Motorcity Records. It featured Surrender, which was written by Ashford and Simpson. Stabs then flourishes of keyboards combine with hypnotic, electronic drums before blazing horns signal the entrance of a dance-floor diva. Mixing power, passion and emotion, the result is one of the best vocals on Backbeats: Memories and Souvenirs.
Before signing to Ian’s Motorcity Records, Johnny Bristol had spent thirteen years at Motown, between 1959 and 1972. After leaving Motown, Johnny signed to MGM and Atlantic. By 1989, when Johnny released Man Up In The Sky, penned by Barrett Strong and Billy Always, music had changed. Drum machines and synths were de rigueur. This was the case here. Rick Gianatos, Steven Wagner and Ian Levine’s production relies heavily on synths and drum machines. However, one thing doesn’t change…the quality of Johnny’s vocal.
Regardless of the music Freda Payne released, her name was always going to be synonymous with Band Of Gold. By 1992, her career had stalled. The success she’d enjoyed at Invictus and Capitol seemed a long time ago. To try to rejuvenate her flagging career, she teamed up with Ian Levine. He cowrote Memories and Souvenirs with Edwin Starr. Produced by Billy Griffin, Memories and Souvenirs gave Freda a hit single in the UK, and provided a reminder of her soulful glory days.
Frankie Gaye may not have enjoyed the commercial success and critical acclaim his older brother Marvin enjoyed. Some of Marvin’s talent rubbed off on Frankie, who was known as Frankie “The Philosopher” Gaye. He only released one album, 1991s My Brother. Featuring the single My Brother, which was written by Steven Wagner, Ronnie McNeil and Ian Levine. It’s a captivating, uptempo track. With lyrics that are variously, poignant, thoughtful and joyous, Frankie pays homage to his brother in a deeply soulful and heartfelt way.
Edwin Starr is responsible for one of the greatest ant-war songs in musical history..War. That’s just one of many hit singles Edwin released on labels like Ric-Tic, Motown and 20th Century Fox. By 1991, Edwin Starr had signed to Ian Levine’s Motorcity Records, and released what was his final album Where Is The Sound. It featured Real True Loving, which Edwin and Ian cowrote. Soulful, dance-floor friendly and hooky, Edwin vamps his way through the track combining his trademark combination of power, passion and energy.
Syreeta was one of the highest profile signings to Ian Levine’s Motorcity Records. Formerly married to Stevie Wonder, Syreeta is a hugely talented singer and songwriter. She cowrote Moment Of Weakness, which was released in 1989. It’s a track that fuses elements of soul, gospel and dance music. Not only that, but it provides a showcase for Syreeta’s considerable vocal prowess.
Chuck Jackson’s All Over My Love is my final choice from Backbeats: Memories and Souvenirs. Released in 1989, All Over My Love was released twenty-eight years after Chuck’s first hit single I Don’t Wanna Cry, released on Wand. After that, Chuck signed to Motown and ABC. By 1989, commercial success was eluding him. So, he hooked up with Ian Levine, who cowrote All Over The World with Steven Wagner. Not only did it give Chuck a UK hit single, but this soulful dance track gave his career a boost.
On Backbeats: Memories and Souvenirs, Ian Levine attempts to rejuvenate the career of artists whose careers were failing. For many of the artists on Backbeats: Memories and Souvenirs, the commercial success they’d previously enjoyed was along time ago. Musical fashions had changed and they’d been left behind. With their music no longer relevant, what was needed, was someone who could give their career a much needed boost. That’s where Ian Levine came in.
Many of the artists that feature on Backbeats: Memories and Souvenirs which was released by Harmless Records on 20th May 2013, had their career revitalized. They enjoyed commercial success in the UK, which gave their career a boost. Along with a team of songwriters, arrangers and producers, Ian’s Motorcity Records took inspiration from Motown. Motorcity Records, like Motown, was a one-stop-shop. Artists could record songs written, arranged and produced in the label’s own studios where they were accompanied by the house-band. This worked. Many artists were grateful to Ian Levine. Without his help, their musical careers would’ve been over. They’d have been back on the assembly line or waiting tables. Thankfully, that wasn’t the case. Their careers were rejuvenated and continued. They returned to doing what they loved doing, making music. So the music on Backbeats: Memories and Souvenirs, just like on Unexploited and Underrated, demonstrates that when it came to rejuvenating ailing and failing careers, Ian Levine had the Midas touch.
BACKBEATS: MEMORIES AND SOUVENIRS.
BACKBEATS: SOUL SEARCHIN’-FINDING GOLD IN MEMPHIS 1968-1979.
BACKBEATS: SOUL SEARCHIN’-FINDING GOLD IN MEMPHIS 1968-1979.
During the sixties, Southern Soul was at the height of its popularity. Independent labels like Stax, Goldwax and FAME, and majors like Atlantic released some of Southern Soul’s most commercially successful and critically acclaimed music. However, one label’s success lasted from the late sixties, right through the late seventies. This was Hi Records.
Although best known as the label Al Green called home, there were many more hugely talented artist who were signed to Hi Records. This includes Ann Peebles, best known for releasing the definitive version I’m Gonna Tear Your Playhouse Down. In O.V. Wright and Otis Clay, Hi Records had two of the most distinctive and emotive vocalists. Then there’s Syl Johnson, one of not just Hi Records, but Southern Soul’s most underrated vocalists. Still, that’s still just scratching the surface of Hi Records’ bewitching back-catalogue. There’s a whole host of other artists awaiting discovery. Among them are Jean Plum, Donna Rhodes, Bobby McClure and The Duncan SIsters. Quite simply, Hi Records’ back-catalogue is groaning with rich musical pickings that are awaiting discovery. Thankfully, Harmless Records’ Backbeats’ compilation series has just released Backbeats: Soul Searchin’-Finding Gold In Memphis. Released on 20th May 2013, Backbeats: Soul Searchin’-Finding Gold In Memphis features twenty-three tracks from the rich pickings that are, Hi Records’ back-catalogue. Picking just a few of the many highlights isn’t going to be easy, given the quality of Southern Soul on Backbeats: Soul Searchin’-Finding Gold In Memphis 1968-1979.
My first choice from Backbeats: Soul Searchin’-Finding Gold In Memphis 1968-1979 is Ann Peebles I Didn’t Take Your Man. This a track from Ann’s final album for Hi Records, 1978s The Handwriting’s On The Wall. By 1978, Hi Records was a very different label from the early seventies. Many of the musicians that created the unique and unmistakable “Hi Sound” had left the label. Gone were the legendary Hi rhythm section, the Memphis Horns and backing vocalists Chalmers, Rhodes and Chalmers. Similarly, musical tastes had changed. Neither Southern Soul, nor Ann Peebles were as commercially successful, withThe Handwriting’s On The Wall failing to chart, A small crumb of comfort was that the Earl Randle and Patricia Barnes penned I Didn’t Take Your Man reached number fifty-five in the US R&B Charts. Here, Ann’s emotive denials prove that she’s still Hi Records’ first Lady.
Some of the artists on Backbeats: Soul Searchin’-Finding Gold In Memphis 1968-1979 only played minor parts in the Hi Records’ story. During the five years Quiet Elegance spent at Hi, they released seven singles, but no albums. Mama Said, which was written by Willie Mitchell, was the B-Side to their sophomore single I Need Love. Despite featuring a former Vandella and two former members of The Glories, never enjoyed the success their soulful strains deserved. The same can be said of Eddie McGhee. He only released one single, 1971s hurt-filled Backbeats: Soul Searchin’-Finding Gold In Memphis 1968-1979. Laden with heartbreak, Eddie brings life and meaning to the lyrics.
Syl Johnson is one of several artists who feature more than once on Backbeats: Soul Searchin’-Finding Gold In Memphis 1968-1979. Given Syl released four albums for Hi, that’s no surprise. The two tracks are I’m Yours and Mystery Lady, a track from Syl’s final album for Hi, 1979s Uptown Shakedown. Both are good tracks, but I’m Yours is the best. From the opening bars of Syl Johnson’s I’m Yours, it has that unmistakable “Hi Sound.” No other label could’ve released this track. Released as a single in 1973, I’m Yours reached number sixty-eight in the US R&B Charts. This was a track from Syl’s album Back For A Taste of Your Love. I’m Yours features Syl at his best, creating a sultry, sensual slice of Southern Soul. He’s helped no end by backing vocalists Chalmers, Rhodes, Chalmers who feed of Syl. Each drive the other to greater heights of soulfulness and sensuality.
The Duncan Sisters’ It’s You That I Need (Part 1) shows how by 1975, Hi as a label was evolving in reaction to changes in musical tastes. There’s a tougher, funky sound to a track that’s designed to light up any dance-floor. This it does, as elements of funk, Southern Soul, disco, drama and rocky guitars are combined.
Before becoming one of the best backing singers in the history of Southern Soul, Donna Rhodes embarked upon a solo career. She released her 1969 debut album I See Love on Epic. Then in 1973, having settled into a career as a backing vocalist, often helping make people sound better than they were, Donna briefly returned to her solo career. Where’s Your Love Been was the only single Donna released on Hi. With an arrangement that’s soulful, funky and dramatic, Donna’s breathy subtle vocal grabs your attention. Things get even better when the backing vocals sweep in. Sultry, sassy and incredibly soulful, why Donna Rhodes didn’t enjoy a longer and much more successful career seems strange?
Given how important a role Al Green played in Hi Records’ history, it’s fitting that three of his tracks feature on Backbeats: Soul Searchin’-Finding Gold In Memphis 1968-1979. These three tracks are “late period” Al Green. By then, religion had entered Al’s life and made Al question the direction and subject matter of his music. Having enjoyed six number one US R&B albums, four of which were certified gold and one platinum, Al’s success gradually slipped away from 1976s Full Of Fire, which features Al’s emotive and impassioned pleas on Glory Glory. Full Of Fire reached number fifty-nine in the US Billboard 200 and number twelve in the US R&B Charts. Have A Good Time, released later in 1976, featured the joyous and celebratory Happy. It stalled at number ninety-three in the US Billboard 200 and number twelve in the US R&B Charts. Then in 1977, The Belle Album, which featured Loving You, marked the end of an era, with Willie Mitchell no longer producing Al. Absent were the famed Hi rhythm section from an album that was one of Al’s last album’s of secular music. The result was an album that reached number 103 in the US Billboard 200 and number twenty-nine in the US R&B Charts. After The Belle Album, Al’s popularity declined and he was no longer the King of Southern Soul. The King had lost his crown, and Hi Records lost its most successful artist.
While Al Green was Hi Records’ best known male singer, O.V. Wright had one of the most distinctive voices on Hi. That throaty rasp is unmistakable. You Gotta Have Love was a track from O.V’s Hi debut album Into Something Can’t Shake Loose. Penned by Willie Mitchell and Earl Randle You Gotta Have Love is the perfect introduction to one of Southern Soul’s most underrated and best kept secrets. As if one contribution from O.V. isn’t good enough, I Found Peace from O.V’s third and final album for Hi, We’re Still Together is included. I’m sure after hearing these two tracks, you’ll be heading to a record shop near you and looking for an album by O.V. Wright.
I know that I’ve already picked an Ann Peebles’ track, but so good is If This Is Heaven, that it would be remiss of me if I overlooked it. This was the title-track to her 1977, which Willie Mitchell and Earl Randle cowrote. It’s another track with that unmistakable Hi Sound written all over. From the Hi rhythm section, Memphis Strings and backing vocalists Chalmers, Rhodes, Rhodes, everything is in place for the Queen of Hi Records. She lays down one of her trademark vocals. This she does, with style, passion and power. Emotive, ironic and wistful, in Ann’s hands the lyrics become all these things and more. In the process, Ann creates a late-period Hi Records’ classic.
The final track from Backbeats: Soul Searchin’-Finding Gold In Memphis 1968-1979. I’ve chosen is by Jean Plum. Like several other artists, Jean Plum has two tracks on Backbeats: Soul Searchin’-Finding Gold In Memphis 1968-1979, I’m Gonna Stay and Pour On The Loving. These were just two of the singles Jean released after signing to Hi in 1975. One of her best known tracks and most successful was 1977s Pour On The Loving. Quite simply, it’s a quite beautiful track, where Jean and her backing vocalist create a delicious slice of Southern Soul.
While I’ve only mentioned some of the tracks on Backbeats: Soul Searchin’-Finding Gold In Memphis 1968-1979, there’s much more music to discover. This includes contributions from James Fry, The Memphians, Bobby McClure, Willie Walker, The Melodics and Majik. For anyone new to Hi Records, then Backbeats: Soul Searchin’-Finding Gold In Memphis 1968-1979 is the compilation to start with. In many ways, Backbeats: Soul Searchin’-Finding Gold In Memphis 1968-1979 is a refreshing, bold and brave compilation. After all, it eschews the predictable tracks that previous Hi Records’ compilations have included. For that, compiler Jaffa should be commended and congratulated. Instead, Jaffa has dug deeper into Hi Records’ back-catalogue. In doing do, Jaffa has unearthed some long-forgotten gems, including Donna Rhodes’ Where’s Your Love Been and The Duncan Sisters’ It’s You That I Need (Part 1). As well as these tracks, there are the contributions from Hi Records’ most successful artists.
Of the contributions from some of Hi Records most successful artists, there’s no bigger than Al Green. His name has become synonymous with Hi Records. No wonder, with six number one US R&B albums, four of which were certified gold and one platinum, was Hi Records’ most successful artist. Then there’s Ann Peebles, Syl Johnson, O.V. Wright and Otis Clay. They enjoyed commercial success and critical acclaim, however, not to the extent Al Green enjoyed. Just as “no man is an island,” no artist makes a label a commercial success. Instead, they only play a part in doing so. In the case of Hi Records, it took artists from Al Green, right through to artists who played a walk-on part in Hi Records’ success.
Similarly, without producer and songwriter Willie Michell, who masterminded Hi Records rise and rise the label wouldn’t have been as successful. Then there were the Hi rhythm section, the Memphis Horns and backing vocalists Chalmers, Rhodes and Chalmers Hi Records wouldn’t have been the same label. It certainly wouldn’t have produced some of the most memorable and emotive Southern Soul of the seventies. Much of that music was timeless, and forty years later, has stood the test of time. One listen to Backbeats: Soul Searchin’-Finding Gold In Memphis 1968-1979, which was released on by Harmless Records on 20th May 2013 and you too, will agree and will be won over by the Hi Records’ sound. Standout Tracks: Syl Johnson I’m Yours, Donna Rhodes’ Where’s Your Love Been and The Duncan Sisters’ It’s You That I Need (Part 1) and Jean Plum Pour On The Loving.
BACKBEATS: SOUL SEARCHIN’-FINDING GOLD IN MEMPHIS 1968-1979.
ARETHA FRANKLIN-LADY SOUL.
ARETHA FRANKLIN-LADY SOUL.
Commercial success and critical acclaim didn’t come easy for Aretha Franklin. She was no overnight star, if such a thing exists. Her recording career started back in 1956 and she’d released ten albums before signing to Atlantic Records. Until then, success had been a stranger to Aretha Franklin. However, signing to Atlantic Records proved to be a turning point in Aretha Franklin’s career.
Now signed to Atlantic Records, Aretha Franklin was about to enter a period where critical acclaim and commercial success were constant companions. Between 1967 and 1969, Aretha Franklin released five albums, which all reached number one in the US R&B Charts. This run of commercially successful albums began with 1967s I Never Loved A Man Like I Loved You and Aretha Arrives, took in 1968s Lady Soul and Aretha Now and finished with Soul ’69. Three of these albums were certified gold, including I Never Loved A Man Like I Loved You, Aretha Now and Lady Soul which was rereleased by WEA Japan on 26th March 2013. Before I tell you about the music on Lady Soul, I’ll tell you the background to what is, one of the albums that resulted in Aretha Franklin being crowned the Queen Of Soul.
Lady Soul was Aretha Franklin’s third album for Atlantic Records, and was the followup to Aretha Arrives. It was her second album of 1967, a year that totally transformed her life and career. Aretha’s Atlantic Records’ debut I Never Loved A Man Like I Loved You, had reached number two in the US Billboard 200 and number one on the US R&B Charts. This resulted in the first gold disc of Aretha’s eleven album career. Proving I Never Loved A Man Like I Loved You was no fluke, was Aretha Arrives, released later in 1967. Aretha Arrives reach number five in the US Billboard 200 and reached number one in the US R&B Charts. Like I Never Loved A Man Like I Loved You, Aretha Arrives featured two US R&B number one singles, which were certified gold. It seemed Aretha Franklin, guided by producer Jerry Wexler, had the Midas Touch. Would this continue with her third album for Atlantic Records, Lady Soul?
For Lady Soul, Aretha and her husband Ted White cowrote Sweet Sweet Baby (Since You’ve Been Gone) and Good To Me As I Am To You, while Aretha’s sister Carolyn contributed Ain’t No Way. Some of the other tracks were written by some of the best songwriters and musicians of that time. This included Don Covay’s Chain Of Fools, Curtis Mayfield’s People Get Ready and Gerry Goffin, Carole King and Jerry Wexler’s (You Make Me Feel) Like A Natural Woman. James Brown and Nat Jones contributed Money Won’t Change You, Felix Cavaliere and Eddie Brigat’s Groovin’ and Walter Davis’ Come Back Baby. The other track on Lady Soul was Niki Hoeky, penned by J. Leslie McFarland and Sidney Wyche. These ten tracks were recorded in New York, at Atlantic Studios.
When Aretha entered the Atlantic recording studios in New York, Jerry Wexler had assembled a tight, talented band. This included a rhythm section of drummer Roger Hawkins, bassist Tom Cogbill and guitarists Jimmy Johnson, Joe South and Bobby Womack. Spooner Oldham played piano and organ, while tenor saxophonist King Curtis was part of a horn section. Backing vocals came from the legendary Sweet Inspirations. Once Lady Soul was recorded, it was released in January 1968.
Lady Soul was released in January 1968, reaching number two in the US Billboard 200 and number one in the US R&B Charts. Since Lady Soul’s release, it’s been recognized as one of the most important albums in the history of popular music. Rolling Stone magazine put Lady Soul at number eighty-four in their list of the 500 most important albums of all time. The lead single from Lady Soul was (You Make Me Feel) Like A Natural Woman, which reached number eight in the US Billboard 100 and number two in the US R&B Charts. Chain Of Fools reached number two in the US Billboard 100 and number one in the US R&B Charts. This resulted in Aretha’s fifth gold disc for a single. Then Sweet Sweet Baby (Since You’ve Been Gone) made it gold disc number six, after reaching number number five in the US Billboard 100 and number one in the US R&B Charts. Ain’t No Way, the B-side to Sweet Sweet Baby (Since You’ve Been Gone) then reached number sixteen in the US Billboard 100 and number nine in the US R&B Charts. Aretha had regained her crown. She was still the Queen Of Soul, after the release of Lady Soul. You’ll realize why, when I tell you about this hugely important album.
Opening Lady Soul, is Chain of Fools, which has that familiar opening. Brief bursts of guitar set the scene for Aretha, accompanied by The Sweet Inspirations. She delivers an angry, frustated vocal. Her voice is powerful and emotive, as she sings about being mistreated by her partner. Accompanying Aretha, are sweeping harmonies. They soar high, proving the perfect accompaniment Aretha, while the rhythm section drive the arrangement along, providing its heartbeat. Stealing the show, is Aretha’s emotive, angry vocal, filled with disappointment, disbelief and hurt. Truly, her vocal is a Magnus Opus, that played its part in Chain Of Fools becoming a timeless, soul classic.
James Brown and Nat Jones cowrote Money Won’t Change You. It burst dramatically into life. Guitars and drums combine before Aretha’s vocal enters. Like on Chain of Fools, her vocal is a mixture of controlled power and emotion.The tempo is quick, with horns and the rhythm section creating a relentless, driving sound. Horns blaze, drums pound while guitars soar and chime. The Sweet Inspirations accompany Aretha, their soulful interjections a contrast to Aretha’s powerful, emotive, soaring vocal. Aretha and her band kick loose. The powerful, driving arrangement proves a perfect foil to her vocal, as Aretha mixes sincerity and emotion, confidently forecasting that money won’t change her.
If you mention the song People Get Ready to most people, they associate Curtis Mayfield with the song, either as a solo artist or with The Impressions. Aretha’s cover is emotive, thoughtful and soulful, but with gospel-tinged. Just The Sweet Inspirations, rasping horns and piano accompany Aretha’s impassioned pleas. When the rhythm section and Hammond organ enter, the gospel influence grows. Aretha’s gospel influenced delivery is spine-tingling, helped no end by The Sweet Inspirations. Similarly, the band produce one of their best performances on Lady Soul. They play their part in bringing the song to life, and in the process, bringing out the meaning in the almost spiritual lyrics. By the end of the track, you feel privileged to have heard such a beautiful song, sung with such emotion and feeling.
Blazing horns, a pounding rhythm section and searing, chiming guitars set the scene for Aretha as Niki Hoeky unfolds. Aretha delivers a sassy, feisty vocal accompanied by The Sweet Inspirations. Their short, soulful interjections provide a contrast to Aretha’s powerful vocal. Her voice combines control, power and sensuality as she realistically, plays the part of a woman whose partner is in prison. Despite Aretha, The Sweet Inspirations and her band’s best efforts to make the song swing, the lyrics let the song down. Ultimately, it’s a disappointing track.
(You Make Me Feel Like) A Natural Woman is a song Aretha made her own. With Spooner Oldham playing piano, Aretha starts to sing what was, a career defining song. Her voice is strong, laden in emotion and feeling, as she delivers the lyrics. The Sweet Inspirations, short soulful interjections, punctuate the track, while strings sweep grandly, and a strong, slow bass line provides the heartbeat. Spooner Oldman’s performance on piano is crucial to the track’s success. He gives the performance of a lifetime.Meanwhile, Aretha’s heartfelt, impassioned delivery is a mixture of passion and emotion. This results in one of the most heartachingly beautiful songs in the history of soul music. Whether Aretha or Jerry Wexler realized the importance of the song in 1967, when it was recorded, we’ll never know. What we do know, is it’s a timeless, classic.
Since You’ve Been Gone (Sweet Sweet Baby) is the first of two songs Aretha cowrote with her husband Ted White. As Aretha’s powerful vocal soars above the arrangement, the rhythm section, piano and rasping horns accompany her. A joyous sounding arrangement unfolds. Aretha mixes power, emotion, drama and a touch of sass, as she sings about her man leaving her. The Sweet Inspirations’ gospel-tinged harmonies prove the perfect foil to Aretha’s vocal masterclass on a track that gave Aretha her sixth number one US R&B single.
Ted White and Aretha cowrote Good To Me As I Am To You. It has a subtle, understated introduction. Just piano and guitar combine before Aretha sings. This subtle backdrop suits the song, with Aretha’s voice taking centre-stage. Quickly, the arrangement grows, with the rhythm and rasping horns entering. Aretha’s vocal and the arrangement grow in drama, power and emotion. Powerful, passionate and controlled. Aretha warns her man, you’d better be good to me. By now, she’s almost shouting the lyrics, accompanied by soaring, screaming guitars and throwing in the odd whoop and holler for good measure. As the track ends, you can only admire Aretha’s controlled power, and almost aggressive vocal. She can bring a song to life, inject meaning and feeling, that other vocalists fail to do.
Growling horns open Come Back Baby track that has a really quick tempo, driven along by a melange of rhythm section and Hammond organ. The Sweet Inspirations live up to their name. Their sweet and soulful interjections help inspire Aretha. Her delivery is quick and soulful. It rises and falls, a combination of restrained power and emotion. Likewise, the arrangement has a joyous sound, with horns blazing, guitars chiming and the rhythm section driving the arrangement along. They seem to take their lead from Aretha’s emotive, impassioned vocal, matching her every step of the way.
Groovin’ was originally recorded by The Young Rascals, who for me, recorded the definitive version of this song. Here Aretha interprets the track. Just the rhythm section and Hammond organ combine brightly and melodically as Aretha sings. The song is slowed down, with Spooner Oldham’s atmospheric Hammond organ and The Sweet Inspirations tender, subtle harmonies playing important roles. Aretha gives a much more gentle, restrained and soulful vocal. Behind her, a beautiful and understated arrangement unfolds. Add to the arrangement, Aretha’s thoughtful and soulful vocal, and this is one of the best versions of this song I’ve ever heard.
Ain’t No Way closes Lady Soul and was written by Carolyn Franklin. A piano, slow sultry horns and drums combine, before Aretha’s vocal enters. It’s hugely emotive, thoughtful and drenched in horns, with Cissy Houston contributing vocal obbligato. The Sweet Inspirations add tender harmonies, while rasping horns punctuate the arrangement, and lush strings sweep. By now the arrangement has a grand but soulful sound, with Aretha’s voice soaring emotionally and powerfully heavenwards. Behind her, one of the best arrangements on Lady Soul unfolds. Elements of a big band sound combines with the best soul music has to offer. This is potent and beautiful mixture, made all the better by Aretha’s brilliant vocal and a stunning contribution from Cissy Houston. It’s the perfect way to end Lady Soul, one of the best albums Aretha Franklin ever recorded.
During Aretha Franklin’s long and illustrious career she has recored many great albums and received critical acclaim, awards and plaudits aplenty. Aretha won eighteen Grammy Awards, had twenty R&B number one singles, with ten of her albums topping the R&B Chart. Then there’s the small matter of thirty-eight studio albums. However, Aretha Franklin’s best music was the albums she recorded between 1967 and 1969. Starting with 1967s I Never Loved A Man Like I Loved You and Aretha Arrives, taking in 1968s Lady Soul and Aretha Now and finishing with Soul ’69, these albums are Aretha’s finest. The other album I’d include is 1972s Young, Gifted and Black. 1969s Lady is undoubtably one of Aretha Franklin’s greatest albums.
Lady Soul features two songs that Aretha made her own, Chain of Fools and (You Make Me Feel Like) A Natural Woman. Not only have both songs since become synonymous with Aretha, they’ve become two of her best known, and best loved tracks. On Lady Soul, Aretha also gave stunning interpretations of People Get Ready, Come Back Baby and Groovin.’Demonstrating her talents as a songwriter are two tracks Aretha cowrote with her husband Ted White for Lady Soul. These are the US R&B number one single Since You’ve Been Gone (Sweet Sweet Baby), and Good To Me As I Am To You. Then on Money Won’t Change You and Come Back Baby, Aretha breathes life, meaning and emotion into the tracks. She transforms these tracks, especially Money Won’t Change You, which in the hands of a less talented vocalist, may come across as an average track. The only track on Lady Soul which disappoints is Niki Hoeky, which despite the best efforts of Aretha, The Sweet Inspirations and her band, never rises above mere mediocre. That’s the only track that stops Lady Soul from being a flawless album.
Whether its sadness, hurt and heartache, frustration, anger or emotion, or confidence, sass and sensuality, Aretha Franklin could bring all these things and more to a song. She has you believing she’s lived and survived the lyrics. Lady Soul, which was rereleased by WEA Japan on 26th March 2013, is one of Aretha Franklin’s classic albums. As such, Lady Soul belongs in every record collection. Quite simply, it features Aretha Franklin at her very best. To me, Lady Soul is the perfect introduction to the career of one of the greatest female soul singers of all time. Standout Tracks: Chain of Fools, People Get Ready, (You Make Me Feel Like) A Natural Woman and Ain’t No Way.
ARETHA FRANKLIN-LADY SOUL.
PAAAARTY TIME-SERIOUS FUNK FROM THE 70S.
PAAAARTY TIME-SERIOUS FUNK FROM THE 70S.
After its birth in the mid to late sixties, funk’s popularity quickly grew. With its fusion of soul, R&B and jazz, funk’s heyday was the seventies. While the peak of funk’s popularity was during the seventies, it was during the seventies that some of the greatest funk music was produced. Indeed, looking back at the seventies, the quality of funk produced during that decade has never been equalled. No wonder. Just look at the giants of seventies funk. James Brown lead the way, with Sly and The Family Stone, Earth Wind and Fire and in Philly, M.F.S.B. following in the Godfather of Funk’s wake. There was more to funk than most people realized. It was a musical genre that not only has been influenced by various disparate musical genres, but gave birth to many sub-genres.
While funk’s roots can be traced to soul, jazz and R&B, out of funk, other sub-genres emerged. Jazz-funk, fusion and P-Funk, pioneered by Parliament and Funkadelic. Often, funk had a soulful or jazz tinged influence. Proof of this is Nina Simone and Esther Phillips, two female funk pioneers who feature on Paaaarty Time-Serious Funk From The 70s, which was released on 20th May 2013, by Harmless Records’ Backbeats’ imprint. Sometimes, funk’s R&B influence shines through. On Paaaarty Time-Serious Funk From The 70s Johnny Otis demonstrates this. So, funk, we can safely say, in the seventies, was a broad musical genre, one with many sub-genres emerging. Not only that, but during the seventies, funk was in the rudest of health. It seemed its popularity would last forever. That however, didn’t happen.
Music as we know, is cyclical. Musical genres drift in and out of fashion. Funk’s popularity didn’t last forever. Not at all. Instead, it’s popularity waned and it was forced to reinvent itself. The near death experience that disco suffered, affected funk’s popularity. It was almost guilt by association. After all, many disco artists came from a funk background. None more so than Chic, whose popularity slumped. So realizing the end was neigh, shrewd funk groups new their music had to evolve. It was survive or die. To stay relevant as the eighties dawned, funk albums became much more spartan.
Gone were horn sections. Out too were keyboards that had become synonymous with funk. So funk groups waved goodbye to their Hammond organs, clavinets and Fender Rhodes. Replacing them were synths. Even the drums weren’t sacrosanct. Not at all. They were replaced by drum machines. For veterans of seventies funk, this was unbearable. It was a step too far. Not only had they thrown out some of funk’s most effective, and important instruments, but they’d thrown out funk’s very soul. Funk was no longer the musical genre it had once been. For some people, it was a mere synthetic shadow, stripped of its soul and potency. No longer would music like the nineteen tracks that feature on Paaaarty Time-Serious Funk From The 70s be released. The track on Paaaarty Time-Serious Funk From The 70s are a powerful reminder of why the seventies were funk’s greatest days.
Paaaarty Time-Serious Funk From The 70s features nineteen tracks from labels like RCA Records, Date Records, Epic Records, Jewel Record Corp, Philadelphia International Records, Columbia and Trius Records. Among the familiar faces on Paaaarty Time-Serious Funk From The 70s are Sly and The Family Stone. M.F.S.B, Nina Simone, Esther Phillips, Jimmy Castor and Shuggie Otis. These artists show the different sides to funk music. This includes the soulful, jazzy or even R&B-tinged sides to funk. One thing each of the tracks on Paaaarty Time-Serious Funk From The 70s have in common is their quality. Compiler Dean Rudland has dug deeply and diligently, compiling nineteen quality tracks, which I’ll now choose the highlights of.
My first choice from Paaaarty Time-Serious Funk From The 70s is Nina Simone’s Funkier Than A Mosquitos Tweeter. This was a track Nina’s 1974 album Is It Finished. It was released in 1974, on RCA Victor. This was during one of Nina’s most successful and critically acclaimed periods. Whether it was jazz or funk, Nina was equally at home. Here, it’s funk all the way. Her vocal is sassy and strident, playing an important role in this classic track’s success.
While Nina Simone was one of the most successful artists in the history of music, Esther Phillips is one of the most underrated. Although she enjoyed some success as Little Esther Phillps and later, during her time at Kudu, she never truly enjoyed the success her talent deserved. Proof of this is Home Is Where The Hatred Is, a track from her 1972 album Alone Again, Naturally. Released on Kudu, Esther’s vocal is a fusion of anger, frustration and power. She unleashes a vocal masterclass that’ll have you spellbound. So much so, that you’ll be adding some Esther Phillips to your record collection.
One of The Jimmy Castor’ Bunch’s best known tracks is his cover of We’ve Only Just Begun. It was a track from the 1972 album It’s Just Begun, which was released on RCA Victor. Since the birth of hip hop, It’s become a source of inspiration for hip hop artists, who’ve liberally “sampled” it. This includes the Jungle Brothers, Grandmaster Flash and The Furious Five, Bomb The Bass and 45 King. No wonder they’ve sampled this track’s delights. Quite simply, it’s a storming slice of gloriously funky music. With its blazing horns, wah-wah guitars and funky rhythm section, this is seventies funk at its best.
Johnny Otis has two claims to fames in life. His first is that he was one of the pioneers of R&B. He released his debut single, That’s Your Last Boogie, in 1948. Later, that year, Johnny and Little Ester Phillips has a US R&B number one single with Double Crossing Blues. Johnny’s other claim to fame is he’s the father of Shuggie Otis, one of music’s most reluctant, but gifted musicians. By 1972, Johnny had adapted to changes in music. Not only was still making music, but his music had elolved. The Johnny Otis Show released Watts Breakaway as a single. Although a prime slice of seventies funk, Johnny’s R&B roots shine through on this explosive slice of driving funk.
Shay Holiday’s career may not neither have been the longest, nor the most successful, but it was truly memorable. After all, she released It’s Not How Long You Make It on Jewel Record Corp, in 1973. Written Jerry Strickland and Bobby Patterson, who produced the single, Shay’s vocal is sassy, powerful and soars soulfully above the funky arrangement. This marriage of soul and funk results in not only a hidden musical gem, but an extremely expensive one.
I didn’t just choose Casey Jones’ single Good Thing Part 2, so I could make a gratuitous joke about railways. Not at all. In many ways, I was almost railroaded into choosing this track, given its quality. After an understated opening, where hypnotic drums provide the arrangement’s heartbeat, Casey’s vampish vocal enters, and the track explodes into life. Soon, you’re embarking on a musical journey, one that’s both soulful thanks to Casey’s vocal, but fast and furiously funky thanks to his backing band.
I’ve often said that M.F.S.B. were much more than Philadelphia International Records’ house-band. Quite the opposite. This multitalented band were also songwriters, arrangers and producers. Often, their role in the Philadelphia International Records’ success story is downplayed. That suits certain people though. However, what made M.F.S.B. such an outstanding band is their versatility. Family Affair, a track from their 1973 sophomore album M.F.S.B, which reached number 131 in the US Billboard 200 and number twenty in the US R&B Charts. Here, M.F.S.B. combine some heavy duty funk with mellow, jazzy keyboards and a touch of Philly Soul.
Apart from Nick Drake, Shuggie Otis must be one of the most reluctant musicians of the seventies. He could’ve and should’ve been huge. Sadly, that wasn’t the case. His seventies back-catalogue amounts to three albums. Ice Cold Daydream is a track from his 1971 album Freedom Flight. While Strawberry Letter is a better known track, Ice Cold Daydream allows Shuggie to kick loose his shackles and become a strutting funkateer, a role which he carries off with considerable aplomb.
Mention seventies funk groups, and many people will reply Sly and The Family Stone. For four years, between 1969 and 1973, their star shawn brightly. Sadly, amidst chaos and a trail of destruction, their star burnt out. Thankfully, during that period, they released three peerless studio albums. 1969s was the first of these. It featured genre-sprawling Sing A Simple Song, where seamlessly Sly Stone fuses funk, psychedelia, soul, rock and jazz. The result is a timeless, anthemic track that epitomizes an era.
Al Kooper’s Toe Hold is my final choice from Paaaarty Time-Serious Funk From The 70s. Written by Isaac Hayes and David Porter, it was a track from Al’s 1968 debut album I Stand Alone, which was released on Columbia Records. Although Toe Hold is a primarily a funky track, albeit with a real late sixties sound, it incorporates soul, gospel and rock. Here. Al’s vocals veer between soul and rock, accompanied by gospel tinged harmonies. His band keep things funky, but sometimes, especially the keyboards, have a rocky sound. Having said that, this is a tantalising taste of the multitalented Al Kooper, as he embarks upon his solo career.
For anyone who likes their music seriously funky, then Paaaarty Time-Serious Funk From The 70s is an album that must find its way into your record collection. During the nineteen tracks on Paaaarty Time-Serious Funk From The 70s, you can hear funk’s soulful, jazzy and R&B roots shine through. What else shines through is the quality of music. There’s contributions from familiar faces like Sly and The Family Stone, M.F.S.B and Nina Simone. You’re also introduced to some hugely underrated artists. Many people won’t have heard of Esther Phillips, Shay Hliday, Casey Jones or Johnny or Shuggie Otis. So hopefully, Paaaarty Time-Serious Funk From The 70s will introduce their music to a much wider audience. Maybe after hearing Paaaarty Time-Serious Funk From The 70s, which was released on 20th May 2013, listeners will embark on a musical voyage of discovery.
Compiler Dean Rudland, deserves credit for not just sticking with the tried and tested tracks that feature on many funk compilations. Instead, Dean’s dug deep into his record collection. No corners of his collection have been left unexplored, in his quest for the funkiest of music. After much crate digging, Dean’s come up with nineteen slices of the funkiest music you’re ears will be lucky to hear. This is Paaaarty Time-Serious Funk From The 70s, a compilation guaranteed to get any party started.
In many ways, Paaaarty Time-Serious Funk From The 70s is a reminder of the golden age of funk. Long gone and much mourned, the golden age of funk is but a passing memory. Thankfully, Paaaarty Time-Serious Funk From The 70s is a reminder of these few short years. Indeed, Paaaarty Time-Serious Funk From The 70s is a like a musical walk down memory lane, where you hear familiar tracks and forgotten treasures. By the end of your trip down this musical memory lane, you realize that funk doesn’t get any better than this. Standout Tracks: Esther Phillips Home Is Where The Hatred Is, Shay Holiday It’s Not How Long You Make It, M.F.S.B. Family Affair and Al Kooper Toe Hold.
PAAAARTY TIME-SERIOUS FUNK FROM THE 70S.
BACKBEATS: DIGGERS DELIGHT-MORE RARE-GROOVE GEMS.
BACKBEATS: DIGGERS DELIGHT-MORE RARE-GROOVE GEMS.
For many DJs and music-lovers, crate-digging for hidden rare-groove gems is the musical equivalent of an Olympic sport. Whether its record shops, thrift stores, dusty warehouses or junk shops, there’s nowhere that the determined crate-digger won’t head. Nowhere is off-limits in their search for rare of obscure vinyl. A crate-digger is the modern equivalent of a big game hunter. The only difference between the two, is that a crate-digger’s hunting musical gold. Often, a determined and persistent crate-digger can strike musical gold by finding a rare and valuable album for little, or no money. That however, is fast, becoming a thing of the past.
The reason for this is the internet. Nowadays, people have become much more savvy about how much vinyl is worth and bargains are becoming harder to unearth. Granted, there’s still bargains out there, but they’re becoming even harder to find. Not helping the situation, is the economically straightened times we live in. Being smack bang in the middle of the biggest recession in financial history, people have less money to spend on vinyl. So for anyone looking to compile a collection of rare-groove gems, a good place to start is Backbeats: Diggers Delight, the latest installment in Harmless Records’ Backbeats compilation series, which will be released on 20th May 2013. Featuring fifteen slices of rare-groove, Backbeats: Diggers Delight, features some obscure, rare and valuable slices of funk, soul and jazz, which I’ll pick the highlights of.
The fifteen funky, soulful and jazzy cuts on Backbeats: Diggers Delight are from labels like Arista, CTi, Epic, RCA, Chi-Sound, Columbia, Universal and Buddah Records. This includes contributions from Weldon Irvine, Shuggie Otis, Idris Muhammed, Mandrill, Larry Young’s Fuel, Jimmy Castor Bunch and The Modulations. Looking at the track listing, and given their rarity, these tracks would require deep pockets and determination to find. After I’ve picked the highlights of Backbeats: Diggers Delight, I’ll tell you how much it would cost you buy the fifteen tracks on Backbeats: Diggers Delight.
My first choice from Backbeats: Diggers Delight is Herbert Law’s Family, which was the title-track to his 1980 album. Released on Columbia, an all-star band accompanies Hubert. This includes bassist Nathan East, drummer Leon Ndugu Chancier and pianist Bobby Lyle. As the track unfolds, it’s mellow and understated. Then, all of a sudden, the track explodes into life. Key to this soulful, jazzy and funky track, is Debra Law’s vocal. Hubert’s sister delivers an impassioned, powerful vocal.
Idris Muhammed released Turn This Mutha Out in 1977, on Kudu. One of the tracks on Turn This Mutha Out was Crab Apple, which was written by producer David Matthews. Of the seven tracks on Turn This Mutha Out, Crab Apple is head and shoulders above the rest. Key to this are Michael Brecker’s schorching saxophone, Wilber Bascomb’s pounding bass and Cliff Carter’s synths. With Idris’ drums providing the heartbeat, the result is a tough, funky track that quite simply, is one of the highlights of Backbeats: Diggers Delight.
Lalo Schifrin forged a reputation as one of the most talented and innovative film composers of his generation. When not writing film scores, Lalo enjoyed a successful solo career. His 1977 album Towering Toccata featured Theme From King Kong, z five minute fusion of funk, rock and jazz. With blazing horns, the funkiest of rhythm section and rocky guitars Lalo creates a dramatic, Uber funky reinterpretation of a familiar track.
One of music’s best kept secrets is Shuggie Otis, who released four albums between 1969 and 1974. The last of this quartet of albums is 1974 Inspiration Inspiration, which featured Aht Uh Mi Hed. Like all of Shuggie’s music, It’s a captivating fusion of soul, funk, psychedelia, rock and jazz from one of music’s most reluctant stars, whose music everyone should discover.
All too often, compilers overlook Weldon Irvine’s music. Thankfully, Dean Rudland, who compiled Backbeats: Diggers Delight is guilty of that. We Gettin’ Down was written by Weldon and featured on his 1975 album Spirit. Released on RCA Victor, it’s a slow, funky and atmospheric track. Squelchy synths usher in blazing horns, rocky guitars and a myriad of percussion. Soon, strings are dancing in appreciation, while Weldon’s keyboards provide a backdrop to a compelling and often, beautiful fusion of harmonies, percussion and swathes of strings.
Back in 1973, Earth, Wind and Fire embarked upon a journey where critical acclaim and commercial success were ever-present for a decade. The second album in this unbroken run success was 1974s Open Your Eyes. It reached number fifteen in the US and number one in the US R&B Charts, and was certified gold. Mighty Mighty was a single Open Your Eyes, which reached number twenty-nine in the US Billboard 100 and number four in the US R&B Charts.Tough, funky, soulful, laden with hooks and dance-floor friendly, it’s no surprise Earth, Wind and Fire were so successful.
Not only did The Brecker Brothers enjoy a successful recording career during the seventies, but were the go-to-guys for anyone looking for a hot horn section. The sound of Michael’s saxophone and Randy on flugelhorn or trumpet graced many an album. Their debut album was 1975s The Brecker Brothers. Released on Arista, it featured Sneakin’ Up Behind You, which is best described as an infectiously catchy, melodic and timeless slice of jazz-funk.
The last track I’ve chosen from Backbeats: Diggers Delight just happens to be the final track. This is The Modulations’ It’s Rough Out Here, which was the title-track to their one and only album. Released on Buddah Records in 1975, it’s a tough, funky and soulful track. Disco strings accompany the vocal while soaring harmonies, growling horns and vibes provide a backdrop as seamlessly, soul, funk and disco unite peerlessly. Given how obviously talented The Modulations were, it’s a pity their recording career amounts to just one album. Mind you, what an album It’s Rough Out Here is.
Of the fifteen tracks that feature on Backbeats: Diggers Delight, each of compiler Dean Rudland’s choices deserve their place on this compilation. With neither faux pas nor filler on Backbeats: Diggers Delight. That’s quite a feat. Usually, on compilations there’s the odd track that disappoints. Not here. No, not at all. Instead, there’s just quality rare-groove from Angela Bofil’s People Make The World Go Round right through to The Modulations’ It’s Rough Out Here. Soulful, funky and jazz-tinged, Backbeats: Diggers Delight is an eclectic selection of quality music. It’s a combination of a few familiar tracks, rarities and hidden gems. For anyone whose a fan of rare-groove, then they’ll thoroughly enjoy discovering the delights of Backbeats: Diggers Delight, which will be released by Harmless Records’ subsidiary Backbeats on 20th May 2013. in fact, Backbeats: Diggers Delight is the perfect companion to Backbeats: In The Pocket-70s Jazz Funk. Both compilations are soulful, funky and jazzy, and will be welcome additions to any self-respecting record collection. Standout Tracks: Idris Muhammed Crab Apple, Lalo Schifrin Theme From King Kong, Shuggie Otis Aht Uh Mi Hed and Weldon Irvine We Gettin’ Down.
BACKBEATS: DIGGERS DELIGHT-MORE RARE-GROOVE GEMS.
BACKBEATS: IN THE POCKET-70S JAZZ FUNK.
BACKBEATS: IN THE POCKET-70S JAZZ FUNK.
Ever since the birth of jazz, the music has never stood still. Instead, it’s been constantly evolving. That was the case in the early seventies. By the early seventies, jazz had to evolve to survive. Jazz’s popularity had been surpassed by soul music. Even soul jazz which had proved popular during the sixties, was losing popularity. So, what was needed was change.
Bringing about this change, were some of the most innovative and pioneering jazz musicians of the time. This included Herbie Hancock, Charles Earland, Ramsey Lewis, Lonnie Liston Smith, Harvey Mason and Freddie Hubbard. These musicians were responsible for jazz funk, which was seen as not just the future of the jazz, but its savior. By taking soul jazz and adding a sprinkling of funk, a new musical genre was born…jazz funk.
Jazz funk proved to be the answer to jazz’s problems, giving jazz’s popularity an unexpected boost. Since then, jazz funk is one of the most celebrated sub-genres of jazz. For anyone yet to discover jazz funk, Harmless Records next batch of its Backbeats’ compilation series includes Backbeats: In The Pocket-70s Jazz Funk, which will be released on 20th May 2013. Featuring twelve tracks from some of jazz funk most successful, innovative and pioneering musicians, including Herbie Hancock, Charles Earland, Lonnie Liston Smith and Harvey Mason, Backbeats: In The Pocket-70s Jazz Funk is the perfect primer for the newcomer to jazz funk. Having said that, for veterans of jazz funk, Backbeats: In The Pocket-70s Jazz Funk, which was compiled by Dean Rudland, will bring back memories of the jazz funk’s glory days. You’ll realize why, when I pick the highlights from Backbeats: In The Pocket-70s Jazz Funk.
Fittingly, given the important role Herbie Hancock played in the development of jazz funk, Just Around The Corner opens Backbeats: In The Pocket-70s Jazz Funk. This was a track from Herbie’s 1980 album Mr. Hands, released on Columbia Records. Joining Herbie on Just Around The Corner are a jazz supergroup of guitarist Wah Wah Watson, drummer Alphonso Mouzon, bassist Freddie Washington and percussionist Sheila E. Given their combined talents, it’s no surprise that they produce a truly innovative slice of jazz funk.
For many people, myself included, Charles Earland is one of the greatest Hammond organ players of his the last fifty years. However, outside jazz circles, Charles is almost unheard of. That, to me, is a great shame. So, I’m pleased to see compiler Dean Rudland has included Charles’ Coming To You Live, This was the title-track to Charles’ 1980 album, which saw him move from soul jazz to jazz funk. Almost seamlessly he made the progression, reinventing himself in the process.
By the time Ramsey Lewis released Salongo in 1976, he was into his third decade as a recording artist. He’d earned a reputation as a musical innovator, someone who embraced change. That was fortunate, because during his career, musical fashions had changed. So, Ramsey had to reinvent himself several times. 1974s Solar Wind and 1975s Don’t It Feel Good saw Ramsey settle into jazz funk. Salongo surpassed both these albums. It was an exploration of Latin and African music, which was combined with jazz and jazz funk. One of the highlights was sultry Latin delights of Brazilica, which since then, has been a favorite of jazz funk fans.
During the seventies, any jazz player looking for a drummer, called Harvey Mason. Alongside his career as a session player, Harvey enjoyed a successful solo career. His debut album was 1975s Marching In The Street, which reached number forty-five in the US R&B Charts. Marching In The Street featured Hop Scotch, a track that’s not just innovative and features an all-star jazz funk band, but epitomizes all that’s good about jazz funk. After all, it doesn’t get much better than some of the best jazz musicians of the seventies showcasing their considerable talents.
Backbeats: In The Pocket-70s Jazz Funk is almost like a who’s who of jazz funk. Everyone whose anyone features on the disc. This includes jazz trumpeter and bandleader, Freddie Hubbard. His contribution is Put It In The Pocket, a track from his 1975 album Liquid Love. Although best known for be bop and hard bop, Freddie embraced jazz funk, especially on Liquid Gold. On Put It In The Pocket, Freddie and his band give an uber funky, sassy and dramatic performance, while Freddie demonstrates just why he’d gained a reputation as one of the greatest jazz trumpeters of his generation.
Weldon Irvine’s contribution to Backbeats: In The Pocket-70s Jazz Funk is Sinbad, a track that explodes into life with growling, blazing horns. Sinbad was the title-track to Weldon’s 1976 album. Quite simply, it’s six majestic minutes of music. Featuring a guitar masterclass, scorching horns, sassy harmonies and a tough, funky street sound, it’s the perfect introduction to the music of Weldon Irvine.
My final choice from Backbeats: In The Pocket-70s Jazz Funk is Hubert Laws Chicago Theme (Love Loop). It’s a track from, his 1975 album Chicago Theme, which reached number eighteen in the US R&B Charts. Hubert was an early member of The Jazz Crusaders, but established a reputation as a versatile flautist. He was just as comfortable playing jazz, classical or jazz funk. By 1975, his music was becoming more commercial.Chicago Theme (Love Loop) is proof of this. While his band lay down some funky licks, swathes of strings accompany Hubert’s wistful flute. Add to that are growling horns, and the result is a track that not only showcases Hubert Laws’ versatility and talent, but how he was determined to produce music that would be commercially successful.
Earlier I said that Backbeats: In The Pocket-70s Jazz Funk was not unlike a who’s who of jazz funk. That was no exaggeration. With Herbie Hancock, Charles Earland, Lonnie Liston Smith and Harvey Mason, here were some of the most talented, innovative and influential musicians. As the seventies dawned, they faced the realization that jazz music wasn’t just changing, but was no longer as popular. Put simply, jazz had to change. The status quo wasn’t an option. Unless jazz changed, it would become marginalized and become the musical equivalent of an endangered species. For the musicians that feature on Backbeats: In The Pocket-70s Jazz Funk that wasn’t an option.
While it was more a case of evolution, rather the revolution, jazz changed and survived. Out of the ashes of soul jazz, came jazz funk. All it took was a sprinkling of funk and soul jazz became jazz funk. Soon, jazz funk changed jazz’s flagging fortunes. With the innovators that feature on Backbeats: In The Pocket-70s Jazz Funk, jazz was in safe hands. Jazz moved in a new, brave and bold direction. The music was energized, attracting a much wider audience. Jazz funk albums crossed over into the mainstream, making stars of jazz musicians who had previously, been known to only a small, niche audience.
So in many ways, jazz funk was the savior of jazz. Just as jazz was about to receive the musical equivalent of the last rites, along came jazz funk. Somehow, jazz made a miraculous recovery. Crucial to that recovery were a group of pioneering and innovative jazz musicians. These pioneers and innovators feature on Backbeats: In The Pocket-70s Jazz Funk, which will be released on 20th May 2013. Standout Tracks: Herbie Hancock Just Around The Corner, Charles Earland Coming To You Live, Harvey Mason Hop Scotch and Weldon Irvine Sinbad.
BACKBEATS: IN THE POCKET-70S JAZZ FUNK.
BACKBEATS: PHILLY GEMS-MORE PHILLY DISCO FLOOR-FILLERS.
BACKBEATS: PHILLY GEMS-MORE PHILLY DISCO FLOOR-FILLERS
One of the music industry’s big success stories of recent years has been Harmless Records’ Backbeats compilation series. In the last three years, the Backbeats’ compilation series has grown to become the world’s most popular compilation series. That is a remarkable achievement. We shouldn’t be surprised though. After all, for the last three years, Backbeats has consistently delivered quality compilations at budget prices. For soul, jazz and funk fans on a limited budget, the Backbeats compilations aren’t going to break the band. Not at all. Indeed, the next six installments of the Backbeat series are available for just £3, $4.50 or €4 each when they’re released on 20th May 2013. Of the next six installments in the Backbeats series, one I’ve been looking forward to is Backbeats: Philly Gems-More Philly Disco Floor-Fillers.
Backbeats: Philly Gems-More Philly Disco Floor-Fillers compiled by Ralph Tee, features sixteen tracks from labels like Philadelphia International Records, Buddah Records, Epic and Columbia. Featuring tracks from Harold Melvin and The Blue Notes, Billy Paul, M.F.S.B, The Trammps, The O’Jays, Philly Devotions and The Futures, it’s like a who’s who of Philly Soul. This all-star lineup continues with the songwriters, arrangers and producers. Among them are Gamble and Huff, McFadden, Whitehead and Carstarphen, John Davis, Jefferson, Simmons and Hakwes and Norman Harris to name but a few. Whether you’re a veteran of Philly Soul compilations like myself, or a relative newcomer, then there’s plenty to interest you on Backbeats: Philly Gems-More Philly Disco Floor-Fillers, which I’ll pick the highlights of.
What better way is there to open Backbeats: Philly Gems-More Philly Disco Floor-Fillers than with Harold Melvin and The Blue Notes’ The Love I Lost. This was a track from their sophomore album Black and Blue, which was released in 1973, on Philadelphia International Records. It reached number fifty-seven in the US Billboard 200 and number five in the US R&B Charts. When The Love I Lost was released as single, it reached number seven in the US Billboard 100 charts and number one in the R&B Charts. That’s no surprise though, as Teddy’s heartbroken, emotive vamp was a career defining vocal, resulting in the track becoming a Philly Soul classic.
Gamble and Huff had guided The Intruders career since their 1967 debut album The Intruders Are Together. This included signing them to Gamble Records, then Philadelphia International and producing their 1968 number one single Cowboys To Girls. With McFadden and Whitehead, Gamble and Huff cowrote Save The Children, the title-track to their 1973 album. Released in 1973, Save The Children was their fourth album. It reached number 133 in the US Billboard 200 and number twelve in the US R&B Charts. When Save The Children, which was produced by Gamble and Huff, was released as a single, it fared better reaching number thirty-six in the US Billboard 100 and number six in the US R&B Charts. Beautiful, soulful and heartfelt, it’s a potent reminder of one of Philly Soul’s most underrated groups.
What many people forget, is that there’s much more to Philly Soul than the music released on Philadelphia International Records. Proof of this is the Philly Devotions’ I Just Can’t Say Goodbye. Originally released on Don Re in 1974, it was rereleased in 1975 on Columbia. Sadly, its release on Columbia didn’t achieve the hit the record label had hoped for. Written and produced by John Davis, this single epitomizes Philly Soul. Matthew Covington’s lead vocal is not unlike Russell Tompkins of The Stylistics, as he lays bare his soul with swathes of strings and cascading harmonies for company.
During his eight-year spell at Philadelphia International Records, Billy Paul released nine albums, and in the process, become the label’s first male superstar. People Power was from his 1975 album When Love Is New. It reached number 139 in the US Billboard 200 and number seventeen in the US R&B Charts. People Power reached number eighty-two in the US R&B Charts and number fourteen in the US Disco Charts. When Love Is New was a combination of beautiful love songs and songs filled with social and political comment. The album opener People Power, was written by McFadden and Whitehead with Victor Castarphen. Thirty-eight years later, this soulful call for unity and action is just as relevant.
The Futures’ Party Time Man is a tale of escapism from the 9-5, Monday to Friday drudgery. Party Time Man was a track from The Futures’ sophomore album Past, Present and Futures. Released in 1978, on Philadelphia International Records, it stalled at number ninety-four in the US R&B Charts. Written Ted Marchall and Sherman Marshall, who produced the track, this hook-laden, dance-track benefits from The Sweethearts of Sigma’s joyous harmonies. They’re the perfect foil to The Futures on a track that’s became synonymous with them.
Love Epidemic was originally released by The Trammps in 1973, on Golden Fleece Records. This was a label owned by the Baker, Harris, Young rhythm section, who produced the track. It was written by Leroy Green and Norman Harris and reached number seventy-five in the US R&B Charts. Two years later, Love Epidemic featured on The Trammps debut album Trammps, released on Golden Fleece. Trammps was an early disco album, and reached number 159 in the US Billboard 200 and number thirty in the US R&B Charts. Along with Where Do We Go From Here, Love Epidemic is one of the highlights of Trammps and features the vocal prowess of the late Jimmy Ellis, disco preacher par excellence.
Of all the artists on Backbeats: Philly Gems-More Philly Disco Floor-Fillers, David Morris Jr. might not have had the longest or most successful career, but he’s responsible for one of the most soulful offerings. Midnight Lady was released on Buddah Records in 1976. Produced by Ed Biggins, Bud Ross and Bobby “Electronic” Eli, who arranged the track, this is a real hidden gem that even many Philly Soul fans won’t be aware of. Incidentally, the B-side of Midnight Lady, Jack In The Box, features on Tom Moulton’s forthcoming compilation Philly Re-Grooved Volume 3.
By 1975, Anacostia had been signed to Columbia Records for three years. During that period, success had eluded them. They’d released four singles, to little or no success. Something had to give. So in 1975, Columbia hooked them up with one of the hottest production teams of the time..Baker, Harris, Young. The legendary rhythm section and production team transformed the Tom Boyd penned All I Need into a delicious slice of Philly Soul. Soulful, dance-floor friendly and thirty-eight years later, is a truly timeless track, one that deserves a wider audience.
One of the most recognizable songs on Backbeats: Philly Gems-More Philly Disco Floor-Fillers is The O’Jays’ Love Train. It reached number one in the US Billboard 100 and US R&B Charts in 1973. Love Train was a track from Backstabbers, The O’Jays first album for Philadelphia International Records. Backstabbers reached number ten in the US Billboard 200 and number three in the US R&B Charts. This started a run where The O’Jays next eight albums were certified either gold or platinum. Crucial to The O’Jays success were M.F.S.B. Here, the original lineup of M.F.SB. featuring the Baker, Harris, Young rhythm section, vibes virtuosos Vince Montana Jr, percussionist Larry and guitarist Bobby “Electronic” Eli kick loose. Not only did M.F.S.B. help transform The O’Jays into Philly Soul’s most successful group, but provide the backdrop for one of their most joyous and uplifting songs, Love Train, a musical slice of sunshine.
My final choice from Backbeats: Philly Gems-More Philly Disco Floor-Fillers is M.F.S.B’s Love Is The Message. This was the title-track to their 1973 album. It reached number four in the US Billboard 200 and number one in the US R&B Charts. When Love Is The Message was released as a single, it only reached number eighty-five in the US Billboard 100 and number forty-two in the US R&B Charts. What Love Is The Message demonstrates, is how important a role M.F.S.B. played in the Philadelphia International Records’ success story. Often their role is overlooked or underestimated. That should never be allowed to happen. Listen to Love Is The Message and you’ll hear some of the greatest musicians of the seventies in full flight. Quite simply, it’s a joy to behold.
Having looked forward to the hearing Backbeats: Philly Gems-More Philly Disco Floor-Fillers, I wasn’t disappointed. Compiler Ralph Tee has dug deep, and come up with a combination of familiar tracks and hidden gems. This mixture of the familiar and unfamiliar means Backbeats: Philly Gems-More Philly Disco Floor-Fillers will appeal to different types of buyers. Familiar tracks from Harold Melvin and The Blue Notes, Biilly Paul, The Futures, The Trammps, The O’Jays and M.F.S.B. will appeal to either to newcomers to Philly Soul or occasional compilation buyers. What I refer to as hidden gems, including Gateway, David Morris Jr, City Limits and Anacostia will appeal to veterans of Philly Soul compilations. So, compiler Ralph Tee has managed to find a happy medium between Philly Soul classics and hidden gems. What he’s also done, is proved that there’s more to Philly Soul than Philadelphia International Records.
For many people, Philly Soul starts and ends with Philadelphia International Records. How wrong could they be? There’s much, much more to Philly Soul than one label, albeit Philly Soul’s most critically acclaimed and commercially successful labels. Many labels, both big and small, released Philly Soul. Philly Groove Records, Don Re, SAM Records, Atlantic, Atco, Epic and Columbia are just a few of the labels who released Philly Soul. Overlook these labels at your peril. If you do, you’ll miss out on some of the greatest Philly Soul ever released. This would included The Spinners, The Stylistics and The Delfonics, all produced by Thom Bell. You’d also overlook many of the artists Richard Rome, John Davis and Norman Harris produced. So you’d never hear the delights of Blue Magic, First Choice, Major Harris and The Ritchie Family. That would be a great shame, these artists and producers were responsible for some of Philly Soul’s finest moments.
Not only does Backbeats: Philly Gems-More Philly Disco Floor-Fillers feature some of Philly Soul’s finest moments, but features forgotten and hidden gems. They’re given new life and introduced to a new, and wider audience by compiler Ralph Tee on Backbeats: Philly Gems-More Philly Disco Floor-Fillers, which will be released by Harmless Records on 20th May 2013. So whether you’re a veteran of Philly Soul or relative newcomer to Philly Soul, then Backbeats: Philly Gems-More Philly Disco Floor-Fillers is essential listening. Standout Tracks: Harold Melvin and The Blue Notes’ The Love I Lost, Billy Paul People Power, David Morris Jr. Midnight Lady and M.F.S.B. Love Is The Message.
BACKBEATS: PHILLY GEMS-MORE PHILLY DISCO FLOOR-FILLERS.
PAUL RANDOLPH-SOLDIER.
PAUL RANDOLPH-SOLDIER.
For many people, the first time they heard of Paul Randolph, was when they heard his track Soldier on the eight-track Offering Recordings Ade Sampler 2012. Paul Randolph was in good company, given the artists that featured on Offering Recordings Ade Sampler 2012. Idrissa Sissoko, Ade Alafia Adio, Sage Monk, Mammy Wata and Sons of Arhat all featured on Offering Recordings Ade Sampler 2012. In many ways, this was Offering Recordings showing the music industry how many talented artists they’d signed. One of most talented and up-and-coming artists was Paul Randolph. It was obvious from the first time you heard Soldier. Now, the next step in introducing Paul Randolph to a much wider audience swings into action with his forthcoming E.P. Soldier. This however, is no ordinary E.P. Quite the opposite. Instead, it’s a mammoth eleven track E.P. Rather than one Soldier, it’s more like a platoon. Before I tell you about the Soldier E.P, I’ll tell you about Paul Randolph.
When it comes to musical pedigrees, Paul Randolph’s is second to none. He comes from a musical family and was born in one of America’s most famous musical cities…Philadelphia. Paul first began his musical journey as a child playing guitar. Then when he was six, his family moved to Brazil. That transformed his life. Not only did he become fluent in a second language, but immersed himself in music, which in Brazil, is part of the culture. This included studying guitar with the same Brazilian tutor as his father. By the time Paul was a teenager, his family were on the move again.
Next stop for Paul was Detroit, another a musical city. Although Paul graduated from Central Michigan with a degree in marketing, music was his first love. Throughout his university course, music was ever-present. He played in the Detroit area, and by this time, had mastered percussion and bass. After graduating, Paul has made music his career, and worked with a number of well-known artists.
Among the artists Paul has accompanied, are Odetta, Tony Allen, Dennis Coffey and Johnny Johnston. After that, Paul was lead singer of Mudpuppy, a Detroit based group whose music was inspired by New Orleans funk and blues. Following his departure from Mudpuppy, Paul accompanied Amp Fiddler, Carl Craig, iSoul8, Catz ‘n’ Dogz and Zed Bias to mention just a few names. Paul Randolph it seems is a versatile musician, whose equally comfortable playing funk, blues, Nu-Soul and electronic music. Regardless of the musical genre, Paul can play it. As well as being a member of Mudpuppy, Paul has also released a trio of albums.
Paul’s debut album was 2004s This Is…What It Is, which was released on Mahogani Music. Three years later, Lonely Eden was released in 2007 on Still Music, with Echoes Of Lonely Eden following in 2010. Despite not releasing an album since 2010, Paul has been busier than ever. During 2012, he released seven projects, including collaborating with Jazzanova. Then late last year, came Paul Randolph’s first release for Offering Recordings. Straight away, it was obvious that Paul Randolph was a man with a big future in music ahead of him. Soldier is a tantalizing taste of Paul Randolph’s talents. On the Soldier E.P. there’s not just one, two or three versions of soldiers, but a might eleven versions, which I’ll pick the highlights of.
Just a lone acoustic guitar opens the Main Mix of Soldier, before drums and percussion enter, giving the track an African Roots sound. Then Paul throws a curveball. His tender vocal is accompanied by pounding drums. Now the track head in the direction of the dance-floor. Synth, keyboards and backing vocalists join the percussion and acoustic guitar as African Roots meets deep house. Paul teases and tantalizes the listener, dropping the tempo before building the track back up. This results in a track that’s compelling, catchy and beautiful oh and very dance-floor friendly.
Apart from the Main Mix of Soldier, another of the highlights of the Soldier E.P. are the Radio Mix. It’s just four minutes long, two minutes shorter than the Main Mix. This seems to result in a much more potent and powerful track. Somehow, it’s even catchier, not unlike to a call to dance, but one you can’t resist. Best to submit to its charms. Talking of infectiously catchy, dance-floor fillers, that’s a good way to describe the Daz i Kue Vocal Mix and the eleven-minute GiKu Remix. They’re two of the best of vocal remixes.
Showing a very different side to Soldier are the instrumental or dub versions. Choosing between the various remixes isn’t easy, given their consistent quality. However, Boddhi Satva is responsible for peerless dub remixes. These are the Ancestral Dub and Dubthrudamental Mix. Along with the Instrumental and Kickless Remixes, the eleven remixes on Paul Randolph’s Soldier E.P. have one thing in common…their quality.
While there are nine different remixes of Soldier on the E.P. this isn’t overkill. Not at all. Each of the nine remixes bring something new, compelling and captivating to the original version of Soldier, which is a quite beautiful song. Soldier is also melancholy, wistful, emotive and haunting. It’s all these things and much more. I’d describe it as one of these tracks that stay with you. It’s not just memorable, but makes you think and asks questions of you. If only more music like this.
Listening to Paul Randolph’s eleven track E.P. Soldier, it’s obvious Paul is a hugely talented singer, songwriter, musician and producer. He has a great future ahead of him. Not only did Paul write Soldier, but produced the track and arranged it with Boddhi Satve. Soldier is just a tantalizing taste of what’s to come from Paul Randolph. Hopefully, it won’t be too long until the release of Paul Randolph’s next album. Until then, you’ll be able to enjoy Paul’s forthcoming E.P. Soldier, which will soon be released by Offering Recordings.
PAUL RANDOLPH-SOLDIER.
dereksmusicblog
dereksmusicblog 