OCEAN MOON-CRYSTAL HARMONICS.
Ocean Moon-Crystal Harmonics.
Label: Be With.
Format: LP.
2020 has been a busy year for Jon Tye of Seahawks. Earlier this year, Seahawks released a new album Island Visions, which featured a collection of library music they had recorded for KPM. The music on the album focused on the deeper, more spatial side of music. This was something that fascinated Jon Tye and he decided to explore it further on his next album.
This wasn’t another Seahawks album. Instead, he donned his Ocean Moon moniker and recorded another album of library music for KPM, Crystal Harmonics. It’s best described as an album that combines elements of ambient, new age music and modern classical into a suite of library music. To do this, Jon Tye brought onboard some of his musical friends.
They are some of the brightest musical minds and are regarded as innovators and visionaries. This includes the master of the melody Jon Brooks of The Advisory Circle and Ghostbox; vocalist Seaming To of Graham Massey’s Toolshed and Steve Moore of Zombi whose complex and innovative rhythms are a feature of Crystal Harmonics. Finally, there’s The Grid’s Richard Norris whose plays an important part in the album’s ambient sound. These musicians made their way from Derbyshire, London and America and headed to Cornwall.
When recording of Crystal Harmonics began, Ocean Moon and friends headed to The Centre Of Sound in Cornwall. They were about to record an album that would be released on KPM and it was fitting that four albums from the label’s golden era had influenced Jon Tye. The earliest was Adrian Wagner’s 1975 album The Electronic Light Orchestra. Then there was a triumvirate of albums of modern classical and new age library music from the mid-eighties. This included Temple Of The Stars, Breath Of Life and Keith Mansfield’s Circles. These classic library music albums influenced Ocean Moon when they recorded Crystal Harmonics.
Side One.
Just like on previous projects, Jon Tye explores the sounds of spaciousness on Crystal Harmonics. The album opener meanders into being with electronic flute and bells being deployed by Ocean Moon. They play their part in a spacious, ethereal and ruminative soundscape that encourages reflection.
The arrangement to Rainbow Ripples sweeps in slowly before arpeggiated synths rise and fall as subtle beats pitter patter in the background. By now, the influence of ambient music and the Berlin School is apparent on this beautiful, dreamy and almost mesmeric soundscape.
As And Breathe unfolds, vocalist Seaming To’s instructs the listener to “breathe.” Almost hungrily she draws air deep into her lungs as a synth drones and a subtle Fender Rhodes accompanies the vocal. The result is a track inspired by classic new age library music but that wouldn’t sound out of place on a nineties chill out compilation.
Quite different is the cinematic sounding Lost Oceans where Ocean Mean take the listener on a journey to a distant galaxy. Later, the soundscape becomes futuristic and dramatic and sounds like part of the soundtrack to a short sci-fi film.
There’s a degree of tension as New Infinity unfolds and sci-fi synths combine with sweeping pads and crisp beats. Together they create a dramatic backdrop. As the melody repeats pads sweep in and out as beeps and squeaks interject and the drama continues to build and grow before reaching a crescendo.
Closing side one of Crystal Harmonics is the celestial, ethereal and lysergic sounding White Mirror. It floats lazily along painting pictures in the mind’s eye.
Side Two.
Spiritual sounding with an Eastern influence describes Peace Bells. It’s a beautiful, meditative soundscape that’s one of the album’s highlights.
Revolving and Evolving meanders gently along. Synths and the sounds of a babbling brook and birds combine to create a laidback and pastoral soundscape. It sounds as if it’s been influenced not just by mid-eighties new age library music but Kominische pioneers Harmonia.
Mountain Dreaming finds Ocean Moon combining rhythmic synths, a deliberate bursts of zither and birdsong. It’s an unusual, unlikely and imaginative combination of instruments and sounds but one that works and works well.
Playing a leading role in Forest Motion are undulating synth arpeggios, dreamy strings that float along and combine with percussive electronics as the arrangement reveals its secrets. Later, a curveball is thrown and the tension and drama builds during this cinematic soundscape. It’s as if Ocean Moon are setting the scene. Then it’s all change as the arrangement becomes understated as a myriad of subtle sounds are added and the drama dissipates.
Sleep Golden is very different to previous tracks and has a much more experimental sound. A piano is played slowly and hesitantly and is combined with Cantonese whispers. Meanwhile, vocals soar elegantly above the arrangement as various sounds sweep in and out during this captivating soundscape. The more one listens the more one is enchanted by it.
The Long Path closes Crystal Harmonics. It’s a quite beautiful musical journey where bells, drones and chants combine to create a meditative and spiritual sounding soundscape.
For anyone who is interested in library music, then Ocean Moon’s Crystal Harmonics is an album that will be of interest to them. This is an album of modern library music that has been inspired by the genre’s golden age in two ways.
The first is the album cover which is akin to a homage to KPM’s classic albums from the mid-eighties. Anyone who collects albums of library music from this period will realise that Jon Tye is tipping his hat to KPM’s house style from that period.
During the recording of Crystal Harmonics Jon Tye has also been inspired by four albums that were released by KPM between 1975 and the mid-eighties. The earliest was Adrian Wagner’s The Electronic Light Orchestra which was released in 1975. Then in the mid-eighties Temple Of The Stars, Breath Of Life and Keith Mansfield’s Circles were released and combined elements of ambient, new age music and modern classical. The influence of these albums shines through on Crystal Harmonics, However that’s not all.
There’s also elements of avant-garde, the Berlin School, experimental and Kominische music. Listen carefully and the influence of Harmonia and Kraftwerk can also be heard. Add to this the sound of birdsong, chants, pastoral, sci-fi sounds, synth strings and temple bells and the result is a captivating and enchanting album of modern library music where Ocean Moon set out to sooth the listener’s weary soul and succeed in doing so during what’s an antidote to these troubled times.
Ocean Moon-Crystal Harmonics.
NEIL YOUNG AFTER THE GOLD RUSH (50TH ANNIVERSARY EDITION).
Neil Young-After The Gold Rush (50th Anniversary Edition).
Label: Warner.
Format: CD.
During the winter of 1970, Neil Young and his backing band Crazy Horse embarked upon a short winter tour that included a concert at Filmore East, New York, where the twenty-four year old Canadian folk rocker shared a bill with Steve Miller and Miles Davis. At the end of what was a successful tour Neil Young and Crazy Horse headed to LA and Sunset Sound Studios to begin work on his third album After The Gold Rush.
By the time the sessions began, the health of rhythm guitarist Danny Whitten was already deteriorating. He had bravely battled rheumatoid arthritis and to dull the pain he started using heroin. Soon, he was addicted and this started to affect his performance. However, he played on the sessions at Sunset Sound Studios which yielded two tracks the Neil Young composition I Believe In You and a cover of Don Gibson’s Oh, Lonesome Me.
Sadly, Danny Whitten didn’t play on all of the sessions for After The Gold Rush. After the LA sessions, Neil Young decided to record the album in a makeshift studio in the basement of his home in Topanga Canyon. This he named Redwood Studios and was where he hoped he would complete his third solo album.
This was no ordinary album. Some of songs that Neil Young had written for the album were inspired by Dean Stockwell-Herb Bermann‘s screenplay for the film After The Gold Rush. When Neil Young read the screenplay he had asked Dean Stockwell if he could produce the soundtrack? This resulted in him writing After the Gold Rush and Cripple Creek Ferry.
In the early stages of the sessions Danny Whitten and the rest of Crazy Horse were sacked partly because of the rhythm guitarist’s heavy drug use. By then, he had he had played guitar and added vocals on I Believe In You, Oh, Lonesome Me and When You Dance I Can Really Love. When Danny Whitten left the sessions it looked like his time as a member of Crazy Horse was at an end.
Having dismissed Crazy Horse, Neil Young needed to put together new backing band. He decided to bring back Crazy Horse drummer Ralph Molina who was joined in the rhythm section by Crosby, Stills, Nash and Young bassist Greg Reeves. A surprise addition was the prodigiously talented eighteen year old Nils Lofgren of Washington DC-based band Grit who played guitar, piano and added vocals. The final member of the new backing band was pianist Jack Nitzsche.
Other musicians were drafted in to augment the new band. This included Bill Peterson who played flugelhorn. Then when Only Love Can Break Your Heart was recorded Steven Stills joined the session and added backing vocals. Later, another familiar face would make a return.
Towards the end of recording of After The Gold Rush Danny Whitten was brought in to provide harmony vocals on Tell Me Why, Only Love Can Break Your Heart, Cripple Creek Ferry, Southern Man and Till The Morning Comes.
By June 1970, the album was complete and Neil Young and has two bands had recorded eleven songs at three studios. The first sessions took place in the winter of 1970 Sunset Sound with further sessions taking place in Sound City Studios in LA and Redwood Studio. The album became After The Gold Rush which was co-produced by Neil Young, David Briggs and Kendall Pacios.
Just three months after completing After The Gold Rush, Reprise released Neil Young’s much-anticipated third album. When It released on the ‘19th’ of September 1970, it wasn’t well received by critics who were far from impressed. This included Langdon Winner who reviewed the album for Rolling Stone. However, Robert Christgau was more enthusiastic in his review in Village Voice. Mostly, though, critics weren’t won over by After The Gold Rush.
Despite this, Neil Young’s third solo album sold well and After The Gold Rush reached number eight on the US Billboard 200. It went on to sell over two million copies in America and was certified double platinum. In Britain, After The Gold Rush sold over 600,000 copies and was also certified double platinum.
When it came to choose a lead single, Only Love Can Break Your Heart was chosen and released on the ’19th’ of October 1970 it reached number thirty-three in the US Billboard 100, and gave Neil Young his first top forty hit.
When You Dance I Can Really Love was released as the followup in March 1971 it stalled at a disappointing ninety-three in the US Billboard 100.
Five years after the release of After The Gold Rush, critics were starting to change their mind about Neil Young’s third album. Some had gone as far as to call the album a masterpiece. It was and still is.
When Neil Young released After The Gold Rush in 1970, it was without doubt the finest album of his solo career. It also set the bar high for the albums that followed during a career that has now spanned six decades. Fifty years later and After The Gold Rush is now regarded as a classic album.
Nowadays, Neil Young is regarded as a musical chameleon who constantly reinvented his music. That’s apparent on After The Gold Rush which was ostensibly an album of country folk music. It opens with the ballad Tell Me Why where he move from the hard rocking sound of Everybody Knows This Is Nowhere towards folk and country sound. His heartfelt pleading vocal is accompanied by two acoustic guitars which is an effective accompaniment on this beautiful ballad.
The title-track After The Gold Rush is best described as a mystical, cinematic ballad. It was written for the end-of-the-world film that never was.
Very different is the heartwrenching ballad Only Love Can Break Your Heart which features backing vocals from Stephen Stills. Graham Nash later claimed that Neil Young wrote the song for him and that it documents the pain and hurt he experienced after splitting up with Joni Mitchell. It’s an oft-covered classic track and one of the highlights of the album.
So is the rocky sounding protest song Southern Man. It features powerful and vivid lyrics where Neil Young sings of the racism towards African-Americans in the Southern states. He tells the story of a white man who mistreated his slaves and poses the questions when will South make amends for the fortunes made through slavery. His lyrics are poignant and powerful as he sings and wonders: I saw cotton and I saw black, tall white mansions and little shacks, Southern Man, when will you pay them back?”
The piano led Till The Morning Comes closed the first side of After The Gold Rush. It’s melancholy and became melodic and rousing as backing vocals enter and transform this short track.
Oh, Lonesome Me is another ballad that epitomises the country folk sound on the album. It features a hurt-filled vocal from Neil Young who sounds as if he’s experienced the heartache and loneliness he’s singing about.
Don’t Let It Bring You Down has a dramatic introduction which is partly down to Neil Young playing his guitar in double drop C tuning. His impassioned vocal then delivers the emotive and filmic lyrics to another oft-covered ballad from After The Gold Rush.
Nils Lofgren’s piano plays an important part in the sound and success of the album and opens Birds. It’s another heartwrenching ballad about a relationship that’s gone wrong. There’s regret in Neil Young’s voice as he sings “when you see me fly away without you.” Then as the song draws to a close his vocal is tinged with emotion and sadness as he sings: “it’s over, it’s over” as if remembering what they once had.
The tempo rises on the country rocker When You Dance I Can Really Love. It shows another side to Neil Young and his band as they plug in during this optimistic sounding and anthemic love song.
I Believe In You is the most personal song on the album and benefits from an understated arrangement. This allows Neil Young’s impassioned vocal to take centrestage as he reflects. He tries to make sense of the women he’s left and even suggests that he’s unsure if he’ll be able to love and there’s even a reluctance that he will be to enter the new relationship during this powerful, confessional ballad.
Cripple Creek Ferry closes After The Gold Rush and is another short song that was written for the film that never was. Just an acoustic guitar and piano are joined by Neil Young and backing vocals on a song that sounded as if was recorded late at night as the session was drawing to a close. It’s not the most polished performance on the album but the band sound as if they’re enjoying themselves.
Fifty years have passed since Neil Young released After The Gold Rush which nowadays, is regarded as one of his finest albums and a classic album. It features on all lists of the best albums of all time and belongs in every record collection. That comes as no surprise.
There are no weak tracks on After The Gold Rush which showcases Neil Young’s skills as a songwriter. He wrote ten of the eleven tracks including country folk love songs and his rocky protest song Southern Man. There’s even the two tracks he wrote for the soundtrack to After The Gold Rush. This includes the mystical title track and Cripple Creek Ferry.
However, Neil Young is at his best on the ballads on the album. They’re beautiful sometimes autobiographical or cinematic and are heartwrenching and tug at the heartstrings. One of the finest ballads was I Believe In You which was the nearest that he came to writing an MOR ballad. Just like Only Love Can Break Your Heart it’s a timeless and oft-covered track.
For newcomers to Neil Young, his classic album After The Gold The Rush which was released fifty years ago in 1970 is the perfect place to start. After this, albums like Harvest, Tonight’s The Night, On The Beach, Rust Never Sleeps, Freedom and Harvest Moon are among the finest of the forty albums that Neil Young has released so far, during a career that has already spanned six sparkling decades.
Neil Young-After The Gold Rush (50th Anniversary Edition).
THE BRIEF RECORDING CAREER OF AMARA TOURE: 1973-1980.
The Brief Recording Career Of Amara Touré: 1973-1980.
Amara Touré’s recording career spanned just seven years and saw him record just ten tracks. His recording career began in 1973 and was over by 1980. By then, he had recorded three singles and the four tracks that featured his 1980 album Accompagné Par L’Orchestre Massako. These ten tracks comprise Amara Touré’s discography.
While that might not seem like much, but for seven years, Amara Touré consistently released groundbreaking music and forty years after he called the on his record career is remembered as one of the most influential and inventive artists of his generation. His career began back in 1958.
Back then, Senegal had been won over by Son Montuno and Patchanga music. That had been the case since the early forties, when Cuba sailors first brought Son Montuno and Patchanga home from their travels. It quickly found an audience within the local music scene. Soon, Caribbean music was providing the soundtrack to many clubs in Senegal. Before long, the locals had embraced this vibrant, exotic sound. The next stop was to combine Son Montuno and Patchanga with their own music.
Soon, Caribbean music was being combined with West African and Latin music. The result was unique and unlike any other musical genre, as the music of three continents combined. This new sound was quickly embraced by local musicians and producers.
This included Ibra Kassé who also owned the Miami nightclub in Dakar. His club would at the heart of this new scene as it exploded into life. Across Dakar, bands were being formed and ballroom parties were being thrown. There were hardly enough local musicians to fulfil the demand and musicians were coming from much further afield. This included Amara Touré, a percussionist and singer from Guinea-Conakry.
Amara Touré was discovered by Ibra Kassé when he was accompanying Dexter Johnson. When Ibra Kassé first heard Amara Touré he realised the young percussionist and singer had potential and was destined for greater things.
Ibra Kassé asked Amara Touré of he wanted to become part of a new band he was putting together in Dakar. It didn’t take him long to agree. What he didn’t realise was that this new band would change Senegalese music forever.
Having agreed to move to Dakar, Amara Touré packed his belongings and said goodbye to Guinea-Conakry. His destination was Dakar, where he was about to become a member of Le Star Band de Dakar. Little did Amara Touré know, that Le Star Band de Dakar would become one of the most important bands in the history of modern Senegalese music.
The leader of Le Star Band de Dakar was Mady Konaté. He would mentor many up-and-coming musicians so that eventually, would be able to go on and become bandleaders in their own right. Just like many other musicians, Amara Touré severed his musical apprenticeship in Le Star Band de Dakar. From the day he was brought onboard by Ibra Kassé, Mady Konaté realised that the young percussionist was destined for greater things.
As Mady Konaté oversaw rehearsals, he realised that Le Star Band de Dakar latest recruit was something special. Not only was Amara Touré a gifted percussionist, but he had a voice that mixed power, passion and emotion. Watching on, Mady Konaté was captivated as Amara Touré brought the songs to life, breathing meaning and emotion into the Cuban songs. Straight away, Mady Konaté saw what Ibra Kassé saw in Amara Touré. With him onboard, Mady Konaté realised that Le Star Band de Dakar were about to change Senegalese music forever.
Having joined Le Star Band de Dakar in 1958, they continued their residency at Ibra Kassé’s Miami nightclub. Soon, Le Star Band de Dakar’s star was soon in the ascendancy. They swept aside all-comers, and quickly became Dakar’s top orchestra. No other orchestra came close. This meant that patrons flocked to Ibra Kassé’s Miami nightclub. It became the only place in town and each night, was packed to the rafters. This lasted for the ten years that Amara Touré was a member of Le Star Band de Dakar. He left Le Star Band de Dakar in 1968, and a new chapter in his career began.
While Amara Touré was enjoying his time with Le Star Band de Dakar, by 1968, he was thinking about returning home, and forming his own band. However, then he received an offer that he couldn’t turn down when he was contacted by Assane Dieye, about joining L’Ensemble Black and White.
For some time, there had been tension between members of Lynx Tall and the other members of the L’Ensemble Black and White. They thought that Lynx Tall was a “big head,” and that he was more important than the other band members. So Assane Dieye was dispatched to ask Amara Touré whether he wanted to join L’Ensemble Black and White as their new lead singer.
With Amara Touré looking for a new challenge, it made sense to accept this new offer. Especially since he would be playing with some of the top musicians in Senegal. So, Amara Touré agreed to join ’Ensemble Black and White, and journeyed to Cameroon, where they become L’Ensemble Black and White were playing.
For five years, the Black and White ensemble toured Cameroon relentlessly. Night after night, week after week, month after month they played live. One year became two, became three, four and five. During that period, L’Ensemble Black and White played the top venues. They were seen as the top band in Cameroon. So much so, that they were regarded as Cameroon’s presidential band. However, despite their undoubtable popularity, L’Ensemble Black and White had never recorded a single. That changed in 1973 when they entered the studio for the first time,
For their first singles, Amara Touré and the rest of L’Ensemble Black and White headed to the studio. L’Ensemble Black and White’s lineup features Amara Touré on tenor vocal and percussion, with Ahanda on second vocal. Many members of L’Ensemble Black and White were from Cameroon, including bassist Jean-Claude N’Jo, rhythm guitarist Lucien, lead guitarist Charles and keyboardist Tina Brown. Drummer Mosquito and alto saxophonist Fete are from the Congo, while clarinet player Peter was from Nigeria. This musical league of nations entered the studio for the first time in 1973.
In total, L’Ensemble Black and White recorded just three singles with Amara Touré as lead singer. The first of these singles was N’Niyo, which featured Cuando Llegare on the B-Side. They were released on the French label Sonafric, which was an imprint of Sondisc. Despite their popularity, L’Ensemble Black and White’s debut single wasn’t a commercial success. However, at least Amara Touré had fulfilled what he set out to do.
Before he set foot in a recording studio, Amara Touré knew exactly what he wanted to do. He wanted to put on record some of the most sensual, seductive music in the history of African music. This was how he described his music. Especially a song like N’Niyo, where he delivers a truly impassioned, pleading vocal. It’s accompanied by stabs of horns and a hypnotic, meandering arrangement. Sadly, this sensuous music never found the audience Amara Touré hoped when it was released. He wasn’t going to give up though.
The followup to N’Niyo was Temedy, a song written by Amara Touré. He also penned the B-Side Fatou. It was released in 1974 and just like N’Niyo, it wasn’t a commercial success. Nowadays, copies are extremely rare changing hands for over £150. This genre-melting single is a real hidden gem and is a prized possession amongst collectors of African music.
No wonder given its undeniable quality. It features one of Amara Touré’s finest vocals and it soon becomes apparent what Ibra Kassé and Mady Konaté saw in Amara Touré. It’s a fusion of Amara Touré’s Mandingue roots and the Senegalese sound that he mastered with Le Star Band de Dakar. This was the platform for his impassioned Afro-Cuban interpretations of Temedy and Fatou and the third single Amara Touré recorded with L’Ensemble Black and White.
The followup L’Ensemble Black and White recorded what would be the third and final single with Amara Touré. N’Ga Digne M’Be was chosen as the single, and Lamento Cubano as the flip side. Once the two songs were recorded, N’Ga Digne M’Be was released as a single in 1975. Sadly, it was a similar story to the other two singles released by L’Ensemble Black and White and commercial success eluded N’Ga Digne M’Be. It was a huge disappointment for the members of the Ensemble Black and White.
There was further disappointment when they realised that they wouldn’t record any further singles with Amara Touré. They continued to tour with but never again entered a recording studio together.
Right up until Amara Touré left L’Ensemble Black and White in 1980, they were still one of the most popular bands in Cameroon. They continued to tour relentlessly, playing some of the most desirable venues in the country. However, by 1980, Amara Touré wanted to expand his musical repertoire and in 1980 crossed the Cameroonian border and headed to Libreville, Gabon, where he collaborated with the L’Orchestre Masco.
The collaboration between Amara Touré and the L’Orchestre Massako resulted in what many connoisseurs of African music consider a stonewall classic album, Amara Touré Accompagné Par L’Orchestre Massako.
While Amara Touré Accompagné Par L’Orchestre Massako may only feature four tracks but they’re part of what’s akin to lost musical treasure. Copies of Amara Touré Accompagné Par L’Orchestre Massako were incredibly rare and don’t change hands often. When they do it’s for in excess of £230 and that’s why very few people have heard the musical gold that is Amara Touré Accompagné Par L’Orchestre Massako.
Amara Touré Accompagné Par L’Orchestre Massako.
From the opening bars of Afalago, through Tela, Salamouti and right through to the closing bars of Africa, the collaboration between Amara Touré and L’Orchestre Massako is a meeting of musical giants. Accompanied by some of the most talented musicians in the Gabon, Amara Touré reaches previously unreached musical heights. Musical genres melt into one as L’Orchestre Massako prove the perfect foil to Amara Touré’s vocal prowess. His vocals are variously heartfelt, impassioned, powerful, pleading and hopeful as twenty-two years of experience shines through, on what was Amara Touré’s swan-song.
Following the release of Amara Touré Accompagné Par L’Orchestre Massako in 1980, Amara Touré disappeared. It’s thought that he stayed in Cameroon for a while. What’s not known, is whether he’s still alive and nobody has seen or heard from Amara Touré in forty years. That’s sad and also ironic.
Not long after the disappearance of Amara Touré, his music started to find the audience it so richly deserves. Since then, his music has grown in popularity and that’s still the case today.
Amara Touré only recording career began in 1973 and was over by 1980. During that period, he recorded just ten tracks this includes six with L’Ensemble Black and White and four with L’Orchestre Massako. These songs showcase a musical pioneer at the peak of his powers as he fuses elements of African, Afro-Cuban and Latin music. Sometimes, he even adds elements of funk, jazz, soul and rock. This results in a tantalising musical fusion that continues to captivate and is truly timeless. It’s a reminder of Amara Touré, one of the most innovative and inventive African singers and percussionists of his generation, whose music is growing in popularity and belatedly starting find the wider audience it so richly deserves.
The Brief Recording Career Of Amara Touré: 1973-1980.
THE KINKS-LOLA VERSUS POWERMAN AND THE MONEYGOROUND AND PERCY (50th ABBIVERSARY EDITION).
The Kinks-Lola Versus The Powerman and The Moneygoround (50th Anniversary Edition).
Label: Sanctuary.
Format: CD.
By 1970, The Kinks had been through the ringer and everything that could’ve gone wrong had gone wrong. They had lost of bassist Pete Quaife in 1969 after they released their sixth album The Kinks Are the Village Green Preservation Society. It was released in November 1968 and failed to chart in Britain and American. For The Kinks this was a disaster as this was the first time one of their albums failed to chart. This was a first. Surely this was a mere blip as they were one Britain’s most popular musical exports?
Arthur (Or the Decline and Fall of the British Empire).
Down but not out, Ray Davies returned with Arthur (Or the Decline and Fall of the British Empire). This was a concept album which was meant to be the soundtrack to a television play based around a story written by novelist Julian Mitchell.
The album was recorded between May and July 1969 with new bassist John Alton making his Kinks debut. It was a lavish album and horns and strings adorned Arthur (Or the Decline and Fall of the British Empire). It was as if The Kinks were determined to get their career back on track and what better way than providing the soundtrack to television play? After all, The Kinks’ music would be heard by a large part of the British population.
Sadly, that wasn’t to be as the television play was cancelled. This presented The Kinks with a problem as they has just written the soundtrack to a play that would never be made, never mind seen. Despite this, they released Arthur (Or the Decline and Fall of the British Empire) in October 1969.
On its release, the album failed to chart in the UK and stalled at number 105 in the US Billboard 200 charts. For The Kinks, this was an improvement in their previous album. The two singles also gave the group minor hits.
Plastic Man was the lead single and reached number twenty-eight in Britain. Then neither Drivin’ nor Shangri-La failed to chart. The final single Victoria then reached number thirty in Britain and number sixty-two in the US Billboard 100. Maybe The Kinks luck was changing?
It wasn’t and 1970 proved to be one of the most turbulent years in The Kinks’ career. Drummer Mick Avoy’s illness meant The Kinks had to cancel all booking for ten weeks. This resulted in The Kinks American tour being cancelled. Sadly, that wasn’t the end of their problems.
In the background, The Kinks were experiencing problems with their manager and bureaucrats. It would take time to free themselves of the contractual problems and the problems with bureaucrats really hampered the groups’s career.
The Kinks had been banned from entering and touring America and were unable to build on the early success they enjoyed. That had been the case since 1965. and for four years they hadn’t played live in America. Longterm, this cost The Kinks dearly and they never quite reached the heights they should’ve.
Belatedly, the ban on The Kinks from playing in America had been lifted in 1969. For the first time in four years, The Kinks were able play live in America. Sadly, the concerts weren’t as successful as The Kinks and promoters had hoped. To make matters worse, illness meant the remaining concerts were cancelled and The Kinks lost the chance to make up for lost time.
As a new decade dawned, The Kinks hoped that their luck would change. Sadly, it proved to be one of the most turbulent years of their career
Lola Versus The Powerman and The Moneygoround.
After the disappointment of 1968s The Kinks Are the Village Green Preservation Society and 1969s Arthur (Or the Decline and Fall of the British Empire), The Kinks hoped that a new decade would bring about a change in fortune. For their eight album, Lola Versus The Powerman and The Moneygoround, Ray Davies decided to write another concept album. This was a concept album with a difference though, it was about the music industry.
For Lola Versus The Powerman and The Moneygoround, Ray Davies wrote eleven of the thirteen tracks. Dave Davies penned Strangers and Rats. The Kinks concept album is best described as a satirical, tongue-in-cheek concept examination of the various aspects of the music industry.
During the thirteen tracks, The Kinks look at the various facets of the music industry. Everyone, from music publishers, the music press, accountants, managers and The Kinks’ bette noire, music unions. The American musician’s union had stopped The Kinks playing in America for five long years and now was The Kinks opportunity for payback.
Recording of Lola Versus The Powerman and The Moneygoround, took place took place between at Morgan Studios, Willesden, London. The sessions began in April and lasted until May 1970. The Kinks Mk.II then took a break until August 1970. They then worked through to September 1970.
The latest lineup of The Kinks featured drummer and percussionist Mike Avory, bassist and guitarist John Dalton, Dave Davies on lead guitar, slide guitar and banjo. He also took charge of lead vocal on the two tracks he wrote, Rats and Strangers. John Gosling played piano and organ, while Ray Davies sang lead vocals, played guitar, harmonica, keyboards and resonator guitar. After four months in the studio Lola Versus The Powerman and The Moneygoround was complete.
Before the release of Lola Versus The Powerman and The Moneygoround, two singles were released. The lead single was Lola, which was released in Britain on the ’12th’ of June 197 and it reached number two in Britain, Germany and Canada, four in Australia and topped the charts in Holland and New Zealand. In America, Lola reached number nine in the US Billboard 100 and gave The Kinks one of their biggest hit singles.
Then Apeman was released as a single and just like Lola, gave the group another hit single. It reached number five in Britain, Germany, Australia and New Zealand, nine in Holland and nineteen in Canada. In America, the single stalled at forty-five in the US Billboard 100. However, with two hit singles worldwide it looked as if Lola Versus The Powerman and The Moneygoround, would revive The Kinks’ fortunes.
When Lola Versus The Powerman and The Moneygoround was released in November 1970 it was well received by the British music press. The majority of other reviews were positive and Rolling Stone called it: “the best Kinks album yet.” This includes contrarian critic Robert Christgau. He was one of few dissenting voices. That isn’t the case now.
Since 1970, some critics have changed their opinion of Lola Versus The Powerman and The Moneygoround. Mostly, the album has been well received by critics. However, some recent reviews have been mixed. In the main, Lola Versus The Powerman and The Moneygoround is perceived as one of The Kinks’ finest album and it certainly revived their fortunes.
Just like their previous album Arthur (Or the Decline and Fall of the British Empire), Lola Versus The Powerman and The Moneygoround fared better in American than Britain. It reached number thirty-five in the US Billboard 200 charts and failed to chart in Britain. It seemed that The Kinks were more popular in America than their home country. Maybe, America got better understood the group’s latest concept album which also reached twenty-four in Australia?
Just like so many of their previous albums, Lola Versus The Powerman and The Moneygoround was eclectic off. It veered between pop, power pop, hard rock and folk. There was even a homage to the British music hall which Ray Davies was a devotee of. The Kinks combined acerbic comment, wit, nostalgia, frustration and anger. After all, The Kinks hadn’t had an easy ride at the hand of the music industry. This was apparent when Lola Versus The Powerman and The Moneygoround.
Opening Lola Versus The Powerman and The Moneygoround, is Contenders, a song about bands who dream about making it big. That’s until they have to negotiate with the music publishers in Denmark Street or the unions that feature in the ballad Get Back In Line. Then there’s Lola, the best known song on the album.
Whilst not directly about the music industry, Lola is a song about the type of people who populate the fringes of the music industry. The song is about brief romantic encounter between a young man and a transvestite. Ray Davis’ voice gets across the confusion, panic and bewilderment the narrator encounters when he sings the lyric: “walked like a woman and talked like a man.” Although Lola is the best known track on Lola Versus The Powerman and The Underground, there’s much to the album than one track.
Ray Davis then directs his ire to the television show Top Of The Pops. It was merely an arbiter of popularity, not quality. This must have frustrated him as the music he wrote was much more cerebral and incisive than most of the music that appeared on Top Of The Pops. After Top Of The Pops, business managers and accountants incur the wrath of Ray on The Moneygoround. It’s as if he’s been waiting a while to unleash his ire.
Business managers and accountants incur the wrath of Ray Davis on The Moneygoround which is a homage to the English music hall. It’s as if he’s been waiting a while to unleash the anger and frustration that has been building up.
This Time Tomorrow and the ballad A Long Way Home finds Ray Davis reflecting on the life on the road. Gruelling, tiring and boring, he admits that he misses his family and home.
Dave Davis then tajes charge the lead vocal on the hard rocking song Rats. It features some of the best guitar playing on the album. It’s also reminder of his talent as a singer and songwriter. The hard rocking sound continues on Powerman where The Kinks cut loose on this impressive sounding song.
Closing Lola Versus The Powerman and The Moneygoround, is the poignant, wistful Got to Be Free. It’s a mixture of country and bluegrass and the way Ray Davis delivers the lyrics, it’s as if Ray feels enslaved by the contract he’s tied to. It’s as if all he longs for is to be free of the recording contract.
Never before had anyone written a concept album about the music industry until The Kinks released their eighth album Lola Versus The Powerman and The Moneygoround in 1970. It found the Davies brothers unleashing their acerbic comment, wit, nostalgia, frustration and anger. They turn their guns on the music industry which they felt had treated them badly.
The only way they had of telling people about this was through their music. It proved an eye opener for music fans. Many of them had no idea how the music industry worked. Ironically, having exposed the inner workings of the music industry this proved profitable for The Kinks.
After the commercial success of Lola, The Kinks were offered a new contract by RCA Records. The Kinks negotiated hard. As a result, they were able to build their own recording studio. This made life much easier and cheaper for The Kinks. Now whenever they wanted to record new music, they could head to their own studio. All this was the result of The Kinks best known singles, Lola.
The last few years had been tough for The Kinks in Britain as neither Arthur (Or The Decline and Fall of The British Empire) nor Lola Versus The Powerman and The Underground had charted in Britain. At least the single Lola had given The Kinks a top ten hit single. However, mostly, times had been tough for The Kinks.
There had been illness, managerial problems and tours cancelled. They’ had lost their original bassist Pete Quaife and been banned from playing in America for four years. Despite that, The Kinks returned with one of their biggest hit singles and Lola, and their most successful American album since The Kinks in 1969. Maybe the Davis’ brothers’ luck was changing.
Sadly, that wasn’t the case and their next seven albums failed to match the success of Lola Versus The Powerman and Moneygoround. Then their sixteenth album Sleepwalker became their most successful American album when it reached twenty-one in the US Billboard 100. It surpassed the success of their Lola Versus The Powerman and Moneygoround and became their most successful album.
Fifty years ago in 1970, The Kinks released Lola Versus The Powerman and Moneygoround, which was a concept album about the music industry that explored and exposed its practices and allowed the Davis brothers to vent their frustration and tell the record buying public how badly they had been treated and how difficult it was for them to make a living. Nowadays, Lola Versus The Powerman and Moneygoround is regarded as a minor classic and was one of the finest The Kinks released during the late-sixties and early seventies.
The Kinks-Lola Versus The Powerman and The Moneygoround (50th Anniversary Edition).
TOO SLOW TO DISCO NEO: THE SUNSET MANIFESTO.
Too Slow To Disco NEO: The Sunset Manifesto.
Label: How Do You Are?
Format: CD.
As 2020 draws to a close the How Do You Are? label have just released the latest instalment in their long-running, critically acclaimed and successful compilation series, Too Slow To Disco. This is Too Slow To Disco NEO: The Sunset Manifesto which takes the series in a new and different direction.
Still the music on Too Slow To Disco NEO: The Sunset Manifesto is dancefloor friendly and features sixteen previously unreleased and exclusive floorfillers handpicked by DJ Supermarkt. Normally, they’re guaranteed to entice even the most reluctant dancer onto the dancefloor. However, with the world in the grip of a global pandemic clubs across the world have been shut and dancefloors are gathering dust. Even the glitter ball has lost its sparkle and dancers like The Three Degree are asking “when will I see you again?”
Some desperate dancers needing their weekly fix are recreating Saturday Night Fever in their kitchen or lounge. Alas, it’s a sad sight as a masked lone dancer takes to the floor so not to upset Bungle, Shifty, Hapless, Notso or the Brothers Doom who resemble two Kraftwerk dummies albeit without the personality.
Across the border, Nasty Nic, the Nutty Nat’s and the Nodding Dentist have outlawed dancing or any form of enjoyment. Couples aren’t even allowed to enjoy a socially distanced smooch on the dancefloor anymore. Those living in Northern Britain can only dream of dancing to the sixteen unreleased tracks on Too Slow To Disco NEO: The Sunset Manifesto.
These tracks were recorded by musicians from all over the world. This includes LA and other part of the Westcoast of America where the Too Slow To Disco sound was born. This time around there’s also contributions from musicians from England, Germany, Holland, Norway and Sweden. Add to this Balearic sounds and Brazilian lounge influences and the music on Too Slow To Disco NEO: The Sunset Manifesto is an eclectic offering from tastemaker DJ Supermarkt or Lidl as he’s know his cratedigging friends.
Opening the compilation is the Dutch duo Kraak and Smaak who contribute the cinematic sounding Hotel Sorriso. It sounds like the theme to a modern day detective series.
Poolside’s I Feel High is given a Vibes4yoursoul Remix. The result is joyous sounding dancefloor filler that brings back memories of long lazy summer days on the white island before dancing to dawn.
Moods are from Rotterdam and contribute a baroque reinvention of Vulfpeck’s Backpocket. The hooks haven’t been spared as funk, soul and disco strings combine with house on a genre-melting dancer.
In the best name stakes Glamour Hammer are the course and distance winner. Is It True is a slick, carefully crafted anthemic track that should be filling dancefloors.
The extended mix of Love Breaks Down by London-based PREP is a mid tempo dancer that fuses elements of eighties synth pop, electro, funk and house. It’s a welcome addition to the compilation.
From the get-go it’s apparent Turbotito’s Heart and Soul is a special track. It’s a laidback, dreamy and smokey Balearic track with sci-fi synths and a soulful vocal that one of the compilation’s highlights.
When Satin Jackets recorded Think About It (Jack Tennis 80s Disco Dub Remix) they sought inspiration from the music of the past. This includes disco and especially Chic, boogie, funk, house, soul and even Kraftwerk. Seamlessly they combine these musical influences on this rueful dancefloor filler. It’s one of the highlights of Too Slow To Disco NEO: The Sunset Manifesto.
LA-based Luxxury’s contribution is At Any Moment (Doctorsoul Need To Survive Dub Retherapy) It’s a smooth, slinky, funky and percussive mix with shimmering disco strings and a soulful vocal with a Balearic sound.
Roosevelt’s Take Me Back (Falcon Punch Remix) epitomises what the Too Slow To Disco and Neo sounds are about. It meanders along revealing an airy, Balearic sound that’s another of the compilation’s highlights.
Private Agenda’s 4 Step is a carefully crafted cinematic track where the hooks haven’t been spared. This a real find that has been unearthed by DJ Supermarkt.
English producer James Alexander Bright closes Too Slow To Disco NEO: The Sunset Manifesto with Under The Sun. It’s the perfect track for chill out DJs to drop as they close their sets and the sunsets above the golden beaches.
The tracks on Too Slow To Disco NEO: The Sunset Manifesto have never been released before and make their debut on the compilation. Sadly, these tracks won’t be heard in a club anytime soon. That’s a great shame as these hidden gems deserve to be heard by a much wider audience in clubs across Britain, Europe and North America. They’re a perfect reminder of the Too Slow To Disco sound and are a welcome addition to this long-running and successful series.
With music this good, maybe even Bungle, Shifty, Hapless, Notso, the Brothers Doom, Nasty Nic and the Nodding Dentist could be tempted onto the dancefloor and would enjoy the anthems and floorfillers that can be found on Too Slow To Disco NEO: The Sunset Manifesto?
Too Slow To Disco NEO: The Sunset Manifesto.
AL STEWART-24 CARROTS (40TH ANNIVERSARY EDITION).
Al Stewart-24 Carrots (40th Anniversary Edition).
Label: Esoteric Recordings.
Format: 3 CD Box Set.
In May 1980, thirty-four year old Glasgow-born folk rocker Al Stewart entered Davlen Studios in Los Angeles to begin work on his ninth album 24 Carrots. It was the first album to feature his new band Shot In The Dark. They were augmented by members of Toto, the Incredible String Band, Steeleye Span and some top session musicians. However, also playing an important part in the sessions was guitarist and keyboardist Peter White who had been part of the Al Stewart success story.
Year Of The Cat.
Peter White had made his debut on Al Stewart’s seventh studio album, Year Of The Cat. It was produced by Alan Parsons and was a carefully crafted and cerebral and cinematic album that was a mixture of folk rock, progressive pop and rock. The album featured songs about historical figures, a mysterious woman and what were akin to mini spy novels set to music. With an album cover designed by Hipgnosis, Year Of The Cat had the potential to transform Al Stewart’s career.
When the lead single Year Of The Cat was released in Britain it stalled at thirty-one, while the album reached thirty-eight and was certified gold. Year Of The Cat was Al Stewart’s most successful album in Britain and was regarded as his finest hour.
Three months later in October 1976 Year Of The Cat was released to widespread critical acclaim. The single reached number eight in the US Billboard 100 and the album number five in the US Billboard 200. By March 1977, Year Of The Cat had been certified platinum in America after selling over one million copies.
Elsewhere, Year Of The Cat gave Al Stewart the biggest single of his career. It reached number thirteen in Australia, fifteen in New Zealand, three in Canada, nine in Belgium and six in Holland. Year Of The Cat reached number ten in Australia and the album transformed Al Stewart’s fortunes. It’s now regarded as a classic album and one of the highlights of a long and illustrious musical career.
Time Passages.
Buoyed by the success of Year Of The Cat, AL Stewart began work on the followup album, Time Passages. He wrote seven of the songs on the album and cowrote Time Passages and End of The Day with Peter White. He was part of the band that recorded Al Stewart’s eighth album at Davlen Studios in Los Angeles in June 1978.
Joining Al Stewart for the Time Passages’ sessions were twenty musicians and backing vocalists plus producer Alan Parsons. This was the third consecutive Al Stewart album he had produced. Alan Parson played his part on an album that flitted between folk rock, soft rock and a more traditional rocky sound.
In September 1978, Time Passages was released to plaudits and praise in America. It received the same critical acclaim as Year Of The Cat. Al Stewart was hoping it would enjoy the same success.
When the title-track was released as a single, Time Passages reached number seven in the US Billboard 100. It also topped the Billboard Adult Contemporary charts and stayed there for ten weeks. Just like Year Of The Cat, Time Passages sold over a million copies in America and was certified platinum.
Time Passages was released in Britain in November 1978 and reached thirty-nine. This resulted in a silver disc for Al Stewart. The only disappointment was when the title-track was released as a single but failed to chart. Apart from that, the success continued for the thirty-three year old folk rocker.
Meanwhile, when Time Passages was released in Australia it reached fifteen. Al Stewart was enjoying the most successful period of his career. Would this continue with 24 Carrots?
24 Carrots.
As the seventies drew to a close and music continued to change, Al Stewart began work on his ninth studio album. This would eventually become 24 Carrots.
He wrote Mondo Sinistro, Murmansk Run/Ellis Island, Rocks In The Ocean, Paint By Numbers and Optical Illusion. Al Stewart and Peter White joined forces to write Running Man, Midnight Rocks, Constantinople and Merlin’s Time. These songs and the rest of 24 Carrots were recorded by Al Stewart and his new band, Shot In The Dark.
Peter White who had played keyboards, acoustic and electric guitars on Year Of The Cat and Time Passages became a member of Shot In The Dark. He was joined by Robin Lamble on bass, percussion, acoustic guitar and backing vocals; flautist and alto saxophonist Bryan Savage; backing vocalist Krysia Kristianne and Adam Yurman who played electric guitar and added backing vocals. This was Al Stewart’s new band Shot In The Dark, who were augmented by some familiar faces.
Augmenting Shot In The Dark were drummers Russ Kunkel, Steve Chapman, Mark Sanders, Beau Segal and Toto’s Jeff Porcaro. They were joined by keyboardist Bob Marlette, violinist Jerry McMillan, the Incredible String Band’s Robin Williamson on mandocello, conga player Lenny Castro and Sylvia Woods on Celtic Harp. Adding additional backing vocals were Steeleye Span’s Ken Nicol and Harry Stinson. In total, seventeen musicians and backing vocalists worked on 24 Carrots during the sessions that took place during May 1980. However, one man who had played an important part in transforming Al Stewart’s career was missing.
This was producer Alan Parsons who had produced Modern Times, Year Of The Cat and Time Passages. Al Stewart felt that having recorded three albums with Alan Parsons it was time to move on and work with a different producer. Given Al Stewart had just enjoyed the most successful period of his career when working with Alan Parsons this was a huge gamble. However, he felt the need to change things around and brought in Chris Desmond to co-produce 24 Carrots at Davlen Studios in LA.
Incredibly, while Al Stewart was co-producing 24 Carrots he was also the co-producer of Shot In The Dark’s eponymous debut album. It was released on Robert Stogwood’s RSO Records in 1981. By then, 24 Carrots had been released by Al Stewart.
Instead of a split release date 24 Carrots was released worldwide on the ’20th’ of August 1980. The lead single Midnight Rocks reached twenty-four on the US Billboard 100 and fifty in Australia. After this, Mondo Sinistro and Paint By Numbers were released as singles but neither charted. Meanwhile, 24 Carrots was released to plaudits and praise and reached thirty-seven in the US Billboard 200, fifty-five in Britain and fifty-one in Australia. There were no glittering prizes for the first album of the post Alan Parsons’ era.
24 Carrots featured future Al Stewart classics including Running Man and Merlin’s Time as well fans’ favourites like the hit single Midnight Rocks and Murmansk Run/Ellis Island. While the album featured Al Stewart’s much-loved cerebral and cinematic folk rock sound, some tracks showcased a new, harder, rockier sound. This was quite different to what featured on previous albums and led some critics to speculate if someone had been offering an artist who had just released two million selling albums in America some unwanted advice?
One theory was that Arista and Clive Davis wanted more commercial sounding songs that could be released as a single. This wouldn’t have been the first time the veteran music executive had offered his advice to a successful artist.
By then, Al Stewart was playing to larger audiences and some nights 2,500 to 3,000 came to hear hits like Year Of The Cats and Time Passages. However, that was just part of the story and veterans of his music came to expect tracks from the early part of his career including albums like 1967s Bed-Sitter Images, 1969s Love Chronicles, 1970s Zero She Flies, 1972s Orange and 1973s Past, Present and Future. These were the albums that Al Stewart released before teaming up with producer Alan Parsons. Anyone expecting to hear song after song like Year Of The Cats and Time Passages was in for a surprise. However, if they gave the older material a chance they were in for a pleasant surprise as Al Stewart was one of Britain’s finest folk singers and a talented songwriter who painted pictures with his lyrics.
Arista, which was founded by Clive Davis in 1974, weren’t happy with Al Stewart and wanted him to release more commercial material. That was despite him being a successful artist who had enjoyed a string of hit singles. Al Stewart was in for an unpleasant surprise when Arista sent him songs written by other people and suggested he recorded them. This was an insult to a gifted and experienced songwriter who had just released his ninth studio album. Quite rightly, Al Stewart didn’t record the songs, and by then must have known something had to change.
After the release of 24 Carrots he embarked on a gruelling touring schedule and played two sold-out shows in December of 1980. By then, Al Stewart had made up his mind to do two things.
He decided to leave Arista as soon as possible. Unfortunately he still owed the label two albums and it would take time to be free of Arista. The other decision Al Stewart made was to split with his manager Luke O’Reilly. This was a new chapter for him,
Live/Indian Summer.
In October 1981 Al Stewart released the double album Live/Indian Summer. Again, he was backed by Shot In The Dark and the first side featured five new songs. The other three sides were recorded at The Roxy Theatre, Los Angeles in April 1981. Live/Indian Summer was produced by Chris Desmond and Al Stewart and scheduled for release in the autumn of 1981
Six months later, in October 1981 Live/Indian Summer was released and featured a mixture of folk rock and a rockier sound. Sadly, Al Stewart’s first live album stalled at 110 in the US Billboard 200 and reached just fifty in Australia. However, at least Al Stewart would soon be able to leave Arista.
Russians and Americans.
Al Stewart recorded his tenth album Russians and Americans with some of the members of Shot In The Dark and session musicians at four studios in Britain and America. He recorded nine songs that resulted in one of the most powerful albums of his three decade career. The songs were inspired by the political events of 1983 and the tension between Russia and America, the so called home of the free.
This was ironic because when Russians and Americans was released in May 1984, two albums that featured on the British version had been replaced on the American album. Censorship was alive and well at Arista’s headquarters.
When Russians and Americans was released it failed to chart in America but reached a lowly eighty-three in Britain. After this, Al Stewart was dropped by Arista. However, he was now free to sign to a label that understood and respected him and his music.
Next stop for Al Stewart was Enigma Records who released his eleventh studio album Last Days Of The Century on the ‘24th’ of August 1988. Sadly, it failed to trouble the charts on either side of the Atlantic. It was a far cry from Al Stewart’s Arista years.
Al Stewart’s time at Arista was the most successful of his long and illustrious career. His breakthrough came in 1975 when he released Modern Times on the Janus label and his sixth studio album reached number thirty in the US Billboard 200. However, disaster strict when after releasing Year Of The Cat Janus folded. Al Stewart signed to RCA who reissued Year Of The Cat and it was the million selling album that transformed his career in America.
From Year Of The Cat through Time Passages to 24 Carrots Al Stewart enjoyed the most successful period of his career. 24 Carrots had a lot to live up to as the Glasgow-born folk rocker had just enjoyed two million selling albums stateside. It’s an oft-overlooked album that features Al Stewart classics and crowd favourites as he mixes folk rock with a harder, rockier sound. What it lacked was a hook-laden radio friendly single like Year Of The Cat or Time Passages.
Despite that, 24 Carrots is an album that’s a favourite of many Al Stewart’s fans. They’ll be pleased it’s been reissued as a three disc box set by Esoteric Recordings. Disc one features the 24 Carrots and the single versions of Running Man and Paint By Numbers. Then disc two features eight demos including instrumental versions of future Al Stewart classics Running Man and Merlin’s Time. On the third and final disc is a previously unreleased recording of Al Stewart live at the Hammersmith Odeon, London. The result is a lavish and lovingly compiled remastered box set. It’s sure to appeal to many fans of Al Stewart, who is one of Britain’s finest folk rock singers who earlier this year celebrated his seventy-fifth birthday. He’s released sixteen studio and albums and three live albums over a forty-one year period. Despite that, still many people have yet discover Al Stewart’s music or only know his two biggest singles Year Of The Cat and Time Passages.
For anyone yet to discover Al Stewart’s music, the best place to start is with Modern Times then his two million-selling classic albums Year Of The Cat and Time Passages. After that, 24 Carrots and Russians and Americans are feature the inimitable Al Stewart’s folk rock sound. Then it’s time to explore Al Stewart’s early albums which are part of a veritable nineteen course musical feast which includes 24 Carrots,
Al Stewart-24 Carrots (40th Anniversary Edition).
HUNTSVILLE AND YUKA HONDA, NELS CLINE, DARIN GRAY, GLENN KOTCHE-BOW SHOULDER.
Huntsville and Yuka Honda, Nels Cline, Darin Gray, Glenn Kotche-Bow Shoulder.
Label: Hubro Music.
Format: CD.
In the spring of 2006, Chicago alternative rock band Wilco and Huntsville were booked to play at the Festival International de Musique Actuelle de Victoriaville in Quebec, Canada. Wilco played first and their guitarist Nels Cline decided to watch Huntsville’s set and even travelled to the next venue with the Norwegian trio and even bought three of their albums. The group had a new fan.
Despite Huntsville guitarist Ivar Grydeland being a fan of Wilco, he hadn’t realised that Nels Cline was a member of the group. By then, Huntsville and the Nels Cline had promised to keep in touch.
A year later in 2007, Wilco and Huntsville were both booked to appear at the Kongsberg Jazz Festival. That day, Wilco guitarist Nels Cline and the group’s drummer Glenn Kotche agreed to join Huntsville on stage. They had decided to tape the performance, which was lucky as that day, the stars were aligned when Huntsville joined forces with the two members of Wilco on stage and they jammed on the lengthy soundscape Eras. It took up the entire second disc of the band’s stunning sophomore album Eco, Arches and Eras which was released in 2008.
Two more years passed before Huntsville were reunited with the two members of Wilco in Chicago in the summer of 2010 for a concert and recording session. Huntsville performed in the city’s Millennium Park and shared a bill with the dup On Fillmore which featured Glenn Kotche and bassist Darin Gray. That evening, Nels Cline and Glenn Kotche joined Huntsville for the final part of their set. The next day, they were reunited for a recording session and were joined by some new faces.
The recording session took place at the Loft, which is Wilco’s studio and rehearsal space. Joining Huntsville’s Ivar Grydeland, Ingar Zach, and Tonny Kluften were Nels Cline and Glenn Kotche. They were joined by On Fillmore’s bassist Darin Gray and keyboardist Yuka Honda, the cofounder of Cibo Matto who was also an accomplished composer in his own right. This septet were about to participate in a fully improvised sessions.
With a fully improvised session like this, having so many talented musicians in the studio could’ve been problematic. There could’ve been too many people making suggestions and there could’ve been personality clashes. However, there were no problems and there weren’t too many cooks in this kitchen.
Huntsville’s Ivar Grydeland remembers the session in the summer of 2010 well: “I think it is pretty amazing how Nels, Glenn, Yuko, and Darin managed to blend into our project, our music, our way of improvising, our aesthetics.” His trio had previously improvised with outside musicians, but for this project he envisioned “a recording that sounded like Huntsville, but with these amazingly great musicians as guests—not just seven musicians improvising with no preconceptions. Like most of our other recordings, decisions about amps, instruments, positioning, volume, the sound in the recordings space, etc., are important factors that contribute to the direction of the improvisations.” The session at Wilco’s Chicago was deemed a success by two members of Huntsville.
Ingar Zach of Huntsville said: “I remember it as quite chaotic in the studio. A lot of people with lots of sounds. A bit difficult to hear each other, but there is something about the vibe of the recording and also the mix, and how it turned out that I like a lot. I think the presence of the four guests just amplifies the music that Huntsville did at that time, and also slightly tilt it in other directions because of the lovely contributions from the four of them.”
One of them was Glenn Kotche also remembers the improvised session at The Loft: ““For me, it was almost easier to improvise in that setting since the parameters were a bit more clear and focused. They do have a sound and it was nice having a rough idea ahead of time of how I might be able to best fit into what they do, of course, all the while still keeping it free and me still being me. I just viewed it more like an expanded chamber band setting, with Yuka and Darin bringing their brilliance and that Huntsville sound at the core of it all, with all of us bringing something personal to the music and it all branching out in various ways.”
It wasn’t until 2012 that Huntsville were reunited with Nels Cline and Glenn Kotche when they played at the Guelph Jazz Festival in Canada. The members of Huntsville and Wilco had hoped that they would get the opportunity to play together again.
Sadly, that has never happened because of Wilco’s punishing touring schedule. They spend much of the year on the road and have to find time to record new albums. That’s a great shame because Bow Shoulder which has just been released by Hubro Music documents the fully improvised session at the Wilco Loft in Chicago, in the summer of 2010.
Ivar Grydeland decided to mix the Bow Shoulder sessions. These mixing sessions were lengthy but the group wasn’t happy with the result. It was a case of starting the mix again.
Ingar Zach explains: “In the end Ivar started to work on a new mix and that changed everything. The music changed and we found the drive again to try to finish it.”
This took a lot of patience and Ivar Grydeland remembers the mix session well: “It was a massive job to dig into this. There is a lot going on: two basses, two drum kits and percussion, two guitars, and often what Yuka plays sounds like a third guitar to me.”
When the mix was finished and Huntsville listened back to Bow Shoulder the time and effort was worthwhile. It features Huntsville, Wilco’s Nels Cline and Glenn Kotche plus On Fillmore’s Darin Gray and Yuka Honda during another session where the stars were once again aligned. Bow Shoulder is a reminder of this successful collaboration from the summer of 2010 in the Windy City.
Despite the fully improvised sessions for Bow Shoulder featuring and showcasing seven successful and talented musicians their own musical identities still shine through on this genre-melting album. This includes two drummers, two bassists, two guitarists and a percussionist. However, the mix doesn’t seem crowded.
That’s the case on the album open Side Wind which is a twenty-one minute epic that gradually reveals its secrets. It toys with the listener as abstract and cinematic sound combine with guitars and distant galloping percussion. Dramatic washes of sound and instruments are added the multilayered mix which is building. By the midway point, Huntsville and friends are driving the soundscape along and at one point has taken on a melodic and dreamy sound. This is constantly evolving and soon, it’s like a journey on an express train as the ensemble head out of the Windy City destination unknown. The arrangement scrabbles along beaming hesitant as if running out of steam. By then, there’s a nod to Wim Wenders before the arrangement rebuilds and elements of ambient, avant-garde, experimental music and eerie, sci-fi sounds merge into one as the journey into the unknown continues and sounds like the soundtrack to a short film that would put the thrill in thriller.
Higher is a spacious, angular track where a weeping, jangling guitar and probing bass join forces as the arrangement meanders dreamily along. There’s a brief nod to the dusty soundtrack to Paris Texas. Meanwhile, the music becomes ruminative and later takes on a churning, lysergic sound before a chiming guitar proves mesmeric as the rest of the arrangement becomes atmospheric. However, there’s a degree of tension as the tempo rises and Huntsville and friends create a dramatic, edgy and otherworldly cinematic sounding track that brings this adventure in sound to a close.
Pounding, thunderous, industrious and challenging sounds combine on Lower which is the most ambitious sounding track. It’s certainly not easy listening but it’s rewarding and captivating as the soundscape reveals its many secrets. The septet is enjoying the opportunity to improvise and later the multilayered track becomes melodic and dramatic. Then the tempo rises and the rhythm section power the arrangement along, pounding clattering and chattering before it races along and eventually reaches a dramatic crescendo.
The Unshot’s arrangement fuses elements of ambient, avant-garde, electronica, experimental, industrial music and rock. It’s dramatic and spacious before sci-fi sounds and shimmering, glistening and later shrieking guitars combine with beeps, squeaks and subtle drums. Soon, mesmeric, machine-like sounds can be heard during this captivating genre-melting soundscape which veers between cinematic to melodic and sometimes references classic library music.
Ten years after Bow Shoulder was recorded in Chicago in the summer of 2010, it’s been belatedly released by Huntsville and Yuka Honda, Nels Cline, Darin Gray, Glenn Kotche. It’s a reminder of a day when the stars were aligned during this fully improvised session that resulted in the ambitious genre-melting album Bow Shoulder. It finds Huntsville and friends combining everything from ambient and avant-garde to electronic, experimental and improv to industrial, jazz and rock. This results in a captivating musical adventure.
The music on Bow Shoulder veers between cinematic, dreamy, melodic and ruminative to futuristic and otherworldly right through dramatic, hypnotic, lysergic and mesmeric. It’s always ambitious, occasionally challenging and always inventive, innovative and rewarding to listen to. Bow Shoulder is cerebral music that takes the listener on a journey where Huntsville and their friends paint pictures during what sounds like the soundtrack to a short film that’s yet to be made but deserves to be made and hopefully will be sometime soon.
Huntsville and Yuka Honda, Nels Cline, Darin Gray, Glenn Kotche-Bow Shoulder.
FORTY YEARS AGO JOHN MARTYN RELEASED GRACE AND DANGER.
Forty Years Ago John Martyn Released Grace and Danger.
In November 1977, John Martyn released what’s was undoubtably one the finest albums of his career, One World. It was an atmospheric, experimental and genre-defying album where everything from folk, jazz, reggae and rock melted together during eight tracks. When it was released, it was to overwhelming critical acclaim, and One World was hailed a classic album. This was the second classic album of John Martyn’s ten year recording career.
The first came four years earlier, in February 1973, when he released Solid Air to widespread critical acclaim. Solid Air critics realised, was without doubt, the finest album of John Martyn’s career. It was also the album that saw the Glasgow born troubadour make a commercial breakthrough. This should’ve been the start of the rise and rise of John Martyn.
For his eighth album, Sunday’s Child which was released in January 1975, he reigned in his experimental sound. However, it was a much more eclectic album with John Martyn flitting between country, folk and rock. The result was an eclectic and critically acclaimed album. However, controversy wasn’t far away for John Martyn.
In 1975 Island Records refused to release his Live At Leeds he resorted to selling signed copies by mail from his home. After the release of Live At Leeds in 1977, John Martyn headed to Jamaica on holiday.
What started out as a holiday, ended up with him collaborating with reggae producer Lee “Scratch” Perry on what eventually became One World. Nowadays it’s regarded as the first ever trip hop album and John Martyn is perceived as the genre’s founding father. One World a John Martyn classic and was one of the finest of his career. However, after One World, he didn’t release an album for three years. There was a reason for this.
By the end of the seventies, John Martyn’s marriage had broken down and this led to him pressing “the self destruct button” as he described it. he became addicted to alcohol and drugs and he later said this was a very dark period in his life. Grace and Danger which was released in October 1980, was the album that came out of this period and was the start of a turbulent time for John Martyn, both personally and professionally.
Grace and Danger was an autobiographical album that described what he was going through at that time. His marriage had broken down and divorce proceedings were underway. This makes the music on Grace and Danger very personal. It’s akin to a snapshot to the pain, hurt and regret he was experiencing and this shines through on Grace and Danger.
Eight of the nine tracks that became Grace and Danger, were written by John Martyn. They describe what he was going through emotionally. The only track he didn’t pen was Johnny Too Bad, which was written by Slickers. These nine tracks were recorded by a tight, but talented band.
For Grace and Danger, John Martyn played guitars and added vocals while his friend Phil Collins played drums and sung backing vocals. Tommy Eyre played synths and keyboards and John Giblin played bass. These three musicians and producer Martin Levan were responsible for John Martyn’s soul-baring album Grace and Danger.
Once Grace and Danger was completed, John delivered the album to Chris Blackwell at island Records. When Chris Blackwell realised just how personal an album Grace and Danger was, held the album’s release back a year. Partly, this was because of his friendship with both John and Beverley Martyn. However, Chris Blackwell also felt that Grace and Danger was “too depressing and didn’t want it released.” This angered John Martyn.
When John heard what Chris Blackwell thought of Grace and Danger, he wasn’t happy. He responded to Chris Blackwell saying: “please get it out! I don’t give a damn how sad it makes you feel-it’s what I’m about: direct communication of emotion.’” Eventually, a year later, Grace and Danger was released.
By then, the relationship between John and Island Records was damaged beyond repair. Grace and Danger was released in October 1980. Contrary to Chris Blackwell’s expectations, Grace and Danger was well received by critics. They realised just how personal an album Grace and Danger was, and empathised with what John Martyn had gone through. He had just suffered the breakup of a relationship, and was hurting badly. This however, wasn’t the last relationship that broke down during this period.
After the release of Grace and Danger, John Martyn’s relationship with Island Records deteriorated after he submitted another album to the label. This was The Apprentice which Island Records rejected. However, John Martyn had the last laugh when he eventually released The Apprentice in 1990 as his comeback album. It was a return to form from one of music’s survivors. By then, it was nine years since John Martyn parted company with Island Records.
A year after the release of Grace and Danger, John Martyn left Island Records. This was the end of a fourteen year relationship with the label and during this period, he had released eight albums for Island Records. His swansong, was Grace and Danger one of his most underrated and personal albums.
Opening Grace and Danger, is Some People Are Crazy. Just a broody bass, shimmering synths and bold keyboards combine with drums and crystalline guitars. They provide the backdrop for John Martyn’s vocal. It’s more a confessional that a vocal and there’s an honesty in his vocal. Belatedly, he come the conclusion that people either loved or loathed the hell raising John Martyn of the late seventies. He sings “some people are crazy about him, some people can’t stand his face.” He’s even chased the woman he loves away. This hurts. As if in desperation, John Martyn delivers the lyric “yes this loving kind of business, might be the best find you ever had.” Whether he believes this, though, is another matter? His parting line in this confessional is“some people are crazy, some people are just like me.”
Searing guitars and the rhythm section drive the rocky arrangement to Grace and Danger along. John Martyn’s vocal has a melancholy quality as he realises what he’s lost. Against a backdrop of chiming, blistering guitars, keyboards and the rhythm section his vocal is akin to an outpouring of pain. Reflecting, he sings: “I never knew the road that carried me along.” It’s obvious he had no idea where it would lead. It lead to him losing the woman he loved. Despite his being broken, he wishes Beverley Martyn well. He’s loved, lost and wishes her “sweet grace, no danger.”
Lookin’ On has a jazz tinged arrangement. A bass plays, guitars chime and stabs of keyboards are joined by drums played tenderly. As the drama builds, a tormented John Martyn paints a picture and it’s easy to visualise him returning from a night out, and his now ex-wife who quite rightly, is less than happy. John Martyn comes “stealing in, with an innocent grin, to leave you staring, at the empty ceiling, feeling nothing, lookin’ on, I’m just lookin’ on.” At that moment, he wonders what’s gone wrong with his marriage? Previously, this type of behaviour would’ve elicited a laugh. Not any more. Things have gone to far. That’s reflected in the urgent jazz tinged arrangement. It accompanies his despairing vocal on this tale of love gone wrong.
While Johnny Too Bad wasn’t written by John Martyn it sums up the situation he finds himself in. Just like the character in the song he also has a penchant for hard living. “With your running, and shooting, looting and tooting, you’re too bad, cos one of these days, you’re going to make your woman cry,” these lyrics could’ve been written about John Martyn. It’s as if he realises this, and delivers a gravelly, vampish vocal. Again, he makes the lyrics sound like a confessional. Accompanying him are the rhythm section and guitars. One of the guitars is played through his trusty Echoplex. Then later, he dawns the role of guitar hero and unleashes washes of a blistering, crystalline solo. It’s the perfect foil for the vocal as he vamps his way through the rest of what could be an autobiographical song.
Sweet Little Mystery marks a change in direction on Grace and Danger. It’s the first of a series of ballads. Against a backdrop of twinkling keyboards, synths strings and the rhythm section John Martyn tenderly delivers a beautiful, heartfelt ballad about a relationship that’s all but over. Accopanied by backing vocals, John lays bare his soul. His vocal is full of sadness, hurt and melancholy as he sings: “it’s not the letters you just don’t write, it’s not the crying in the dead of the night.” Instead, “it’s that sweet little mystery that’s in your heart, it’s just that sweet little mystery that makes me cry.” These lyrics show just how talented a lyricist John Martyn was. He wrote about what he had experienced and this includes the breakup of his marriage. It was the inspiration for such a beautiful, poignant tale of love lost.
Deliberately, chords are played on the shimmering keyboards as Hurt In Your Heart unfolds. They’re joined by weeping guitars. They reflect the heartbreak in John Martyn’s weary vocal. It’s akin to a cathartic outpouring of hurt and regret, regret at the way he behaved, and how it caused his marriage to end. However, although his marriage is over he hopes that “when that hurt in your heart has gone, I’ll still be your friend, right to the end of our river, and further still.”
Baby, Please Come Home is another beautiful, soul baring ballad. Against a backdrop of an understated rhythm section, glistening keyboards and a sometime, scorching guitar, John Martyn delivers a needy, hopeful vocal. Full of regret, he wants to make things right, and almost begging and pleading, sings “Baby, Please Come Home.”
Save Some (For Me) sees John Martyn change direction on this mid-tempo track with a punchy, spacious introduction. Drums and synths combine before John Martyn’s tender vocal enters. He leaves space between the lyrics and this adds to the urgency of the arrangement. Soon, he’s accompanied by backing vocals from Phil Collins and combines power, emotion and urgency. Behind him, sci-fi synths, shimmering keyboards and the rhythm section combine and play a supporting role in another emotional roller coaster.
Our Love closes closes Grace And Danger which was John Martyn’s Island Records’ swansong. Phil Collins’ drums set the scene for the rhythm section, keyboards and John Martyn’s needy, hurt filled vocal. Memories come flooding back, back to a time when their love was young. Things were good, the future looked bright. “Our love, once was you and me against this world, made a man from a boy and made a woman from a little girl.” Not any more. Now I find I have to beg before you call my name, please call my name, please call my name, and baby take a look, take a good look, baby, baby take a look in your heart.” As he delivers these lyrics he wells up, regrets omnipresent at the hurt he caused, and the love he lost.
While Grace and Danger was well received upon its release, it wasn’t the commercial success that John Martyn classics like Solid Air or One World. This had nothing to do with the music. Partly, it was to do with the type of music that was popular in 1980. By then, John Martyn’s music was the polar opposite of the post punk, hip hop, electronica and new romantic music that filled the charts. Then there was the fact that Chris Blackwell didn’t like Grace and Danger which was John Martyn’s soul baring opus and a highly personal album .
Chris Blackwell found the music on Grace and Danger “too personal” and “depressing.” As a result, Island Records didn’t seem to cover themselves in glory when it came to promoting Grace and Danger. This was a huge mistake as here was an album that spoke to many people. Grace and Danger was the story of many a failed relationship and marriage. For many, who had loved and lost, Grace and Danger spoke to them. It said everything that they wished they could. Forty years later, that’s and still the case.
Many suffering the heartbreak of a marriage breakup, have found solace in Grace and Danger. John Martyn speaks for, and too them on Grace and Danger. He’s been where they’ve been, and experienced the hurt, heartbreak and regret. Each song brings back a memory, often, a memory of better times. Especially Our Love, which closes Grace and Danger.
John Martyn is at his most eloquent, writing “Our love, once was you and me against this world, made a man from a boy and made a woman from a little girl.” Not any more. “Now I find I have to beg before you call my name, please call my name, please call my name, and baby take a look, take a good look, baby, baby take a look in your heart.” Not only does this prove the perfect way to close Grace and Danger, but sums up succinctly, the thin line between love and hate. That’s one of nine reasons why Grace and Danger is a forgotten classic in John Martyn’s back catalogue.
Quite simply, Grace and Danger is best described as the most personal album John Martyn ever released. It’ tells the story of one of the worst periods in his life, where the newly heartbroken John Martyn lays bare his soul for all to see and hear.
What would’ve been fascinating is if Beverley Martyn had replied to Grace and Danger. We could’ve heard her side to the story. Sadly, that never happened and despite her making a brief comeback this is unlikely to ever happen.
As a result, Grace and Danger is one of John Martyn’s most underrated albums and remains one of the most soul-baring and cathartic breakup albums ever released.
Forty Years Ago John Martyn Released Grace and Danger.
THE BETA BAND: A CASE OF WHAT MIGHT HAVE BEEN?
The Beta Band: A Case Of What Might Have Been?
The Beta Band was formed in Edinburgh in 1996, and a year later, in July 1997 released their Champion Versions EP, which was the first of a trio of innovative EP’s the folktronica pioneers released.
In March 1998 The Beta Band released their sophomore EP The Patty Patty Sound, with Los Amigos del Beta Bandidos following in July 1997. By then, critics were starting to take notice of The Beta Band whose popularity was growing.
Nearly two years later, The Beta Band was released to widespread critical acclaim in June 1999, and everyone at Regal Records celebrated as The Beta Band reached number nineteen in the UK, However, not everyone was happy with the album.
Despite their eponymous debut album giving them a hit in the UK, Steve Mason of The Beta Band called the album: “fucking awful” and “it’s definitely the worst record we’ve ever made and it’s probably one of the worst records that’ll come out this year.” Steve Mason then said in an interview with NME that the album had: some terrible songs,” and they weren’t “fully realised or fully even written. Half-written songs with jams in the middle.” The Beta Band seemed determined to sabotage their career at Regal Records.
To make matters worse, The Beta Band seemed in no hurry to record their sophomore album. Steve Mason recorded and released the No Style EP under his King Biscuit Time EP moniker. After this, Steve Mason and the rest of The Beta Band’s thoughts turned to their sophomore album Hot Shots II, which has just been reissued by Because Music.
Eventually, The Beta Band decided it was time to return to the studio, and this time brought onboard British producer Colin Emmanuel aka C-Swing, who oversaw production of what eventually became Hot Shots II.
During the Hot Shots II sessions, The Beta Band recorded ten new tracks with C-Swing. The tracks were very different to those on The Beta Band. Some of the songs were much quieter and a less is more approach to production was the order of the day. This allowed the songs to breath, with less ‘obstacles’ obscuring the key parts of the songs. Some of the songs were slow and dark and featured descending chords as The Beta Band continued to innovate.
Critics were won over by Hot Shots II, and hailed The Beta Band’s sophomore album as one of the albums of 2001. Hot Shots II was hailed as The Beta Band’s finest hour.
Buoyed by the critical acclaim, Hot Shots II was released in July 2001. Hot Shots II reached number thirteen in the UK and sneaked into the US Billboard 200 at 200. It also reached fourteen in the US Heatseekers chart and eleven in the Independent album charts. The Beta Band looked on the verge of breaking into the lucrative American market. Sadly, they only produced one more album.
This was Heroes To Zeros which was The Beta Band’s swan-song. The Beta Band began demo sessions for what later became Heroes To Zeroes in September 2002. They then entered the studio with producer Tom Rothrock in 2003 and completed a number of tracks. There was a problem though.
Neither The Beta Band nor executives at Regal Records were happy with the recordings and producer Nigel Godrich was brought in to mix the album, which was finally finished in early 2004.
The lead single, Assessment, was released on the ’12th’ of April 2004 and reached number thirty-one in the UK. Two weeks later, the album Heroes To Zeros was released on the ‘26th’ of April 2004 and reached number eighteen in the UK. This would normally be something to celebrate.
Heroes To Zeros featured music that had a much more dense and direct sound but strikes a balance between The Beta Band’s more traditional sound and music that was way ahead of the musical curve. However, some of the music on Heroes To Zeros saw The Beta Band turn their attention to creating pop music.
It was obvious that Brian Wilson of The Beach Boys was still a huge influence on The Beta Band and especially tracks like Good Vibrations and Heroes and Villain. So were albums like 20/20 and Friends. However, The Beta Band were also forging ahead with their own sound, which was intricate and multilayered. They were best qualified to produce the album and bring their new ideas to life.
To do this, The Beta Band adopted a variety of production techniques to bring out the best in what was an idiosyncratic band. No other producer would’ve been able to achieve what The Beta Band did on Heroes To Zeros.
Many of the songs on Heroes To Zeros ended up very different from the initial ideas recorded by The Beta Band. They honed the songs on Heroes To Zeros which open with Assessment and closed with Pure For. Heroes To Zeros featured The Beta Band at the peak of their creative powers on their self-produced swan-song.
By the time The Beta Band released Liquid Bird, as their second single from Heroes To Zeros, many critics had realised that the song was based on a sample of the Siouxsie and The Banshees’ song Painted Bird. This could’ve been an expensive mistake for The Beta Band.
Despite this mistake, The Beta Band released Out-Side, their second from Heroes To Zeroes in July 2004. When it stalled at fifty-four in the UK charts, little did critics or record buyers realise that the end was neigh for The Beta Band.
They announced their breakup on their website on the ‘2nd’ of August 2004. Despite that, The Beta Band performed at the Summer Sundae festival and embarked upon a farewell tour which drew to close at the Liquid Rooms in Edinburgh, on the ‘5th’ of December 2004. This was the end of the story for The Beta Band.
Their swan-song Heroes To Zeros was the only album that The Beta Band produced themselves, since signing to an imprint of a major label. They hadn’t been happy with their first two albums and often made their views known in the music press.
Usually, this was before the album was even released. As they made these comments, members of The Beta Band seemed to forget that they still had help promote their latest release. Executives at Regal Records must have been left shaking their heads in exasperation. Despite the comments of the members of The Beta Band, their three albums were all commercially successful. However, the big question is how successful could The Beta Band have been if they had played the PR game, and reigned in their outspokenness, maverick tendencies and tendency to self sabotage.
Looking back, The Beta Band weren’t suited to being signed to a big label, and would’ve been better suited to a smaller indie label or even self-releasing their albums through their own label. Maybe they would’ve enjoyed a longer career and released more that three albums, including their critically acclaimed, self-produced swan-song Heroes To Zeros?
It features the inimitable genre-melting sound of folktronica pioneers The Beta Band at the peak of their creative powers on Heroes To Zeros their self-produced swansong where the outspoken musical mavericks realise their potential. However, they were a group that could’ve achieved so much more.
The Beta Band were musical pioneers and if they had stayed together, and continued to release further albums, their music would’ve evolved and found the wider audience it so richly deserved. Further critical acclaim and commercial success would’ve followed for the group. Sadly, that wasn’t the case as they decided to call time on their career in 2004.
Just over sixteen years ago, The Beta Band played their final gig in The Liquid Rooms in their native Edinburgh on ‘5th’ of December 2004. It was the end of the road for a group who could’ve and should’ve achieved much more if they had stayed together.
The Beta Band were together for eight years and were climbing the musical mountain and had very nearly reached the summit when they decided to turn back. It had been an eventful journey for the three musical mavericks who were determined to do things their way. That didn’t always go down well with those running the record company and sometimes they made things difficult for themselves. They were sometimes seen as a difficult group to deal with. However, the music that The Beta Band recorded and released made it all worthwhile. It’s just a pity that they didn’t make more of it. Their musical legacy amounts to just three EPs and a trio of albums which are a reminder of the much-missed folktronica pioneers, The Beta Band. Sadly, and just like so many other artists and groups The Beta Band is another case of what might have been?
The Beta Band: A Case Of What Might Have Been?
CULT CLASSIC: MICHAEL NAURA QUARTETT-CALL.
Cult Classic: Michael Naura Quartett-Call.
Michael Naura was just six years old when he first travelled to Berlin with his mother, and began a new life in the city that became his home. It was where he studied journalism, philosophy and sociology. and played piano in a number of swing bands. However, by 1953 the pianist was now a bandleader and the Michael Naura Quintet was well on their way to becoming one of the then most successful jazz bands in West Germany.
Key to the band’s sound and success was vibraphonist Wolfgang Schlüter who was regarded as one of the finest improvisers in the Michael Naura Quintet. Their star was in the ascendancy as they honed and refined their eclectic sound over the next couple of years.
By then, the Michael Naura Quintet had been initially influenced by George Shearing, and then by Dave Brubeck and Horace Silver’s hard bop sound and also the Modern Jazz Quartet. All these influences shawn through in the Michael Naura Quintet’s music as they left Berlin behind.
In 1956, they moved to Hamburg which was the start of a new chapter for the band. They were offered the chance to become the house band at the Hamburg Jazz-Keller Barett in the Colonnaden. This booking was for initially six nights a week and but lasted seven years. Sadly, it also came at a cost.
Playing in smokey cellars six nights a week resulted in Michael Naura’s health deteriorating, and in 1964 he was diagnosed with Polyserositis, and spent a year recuperating in the winter sanctuary. For Michael Naura this was a disaster as the treatment was expensive and he couldn’t afford the bills.
Fortunately, many top jazz musicians in West Germany gave benefit concerts to pay for Michael Naura’s treatment. This act of kindness allowed Michael Naura to recover from what was an extremely serious illness that threatened his musical career.
After his release from the sanctuary, Michael Naura decided to change direction and more or less gave up his career as a musician and worked as a journalist.
Later in 1966, Michael Naura met the Hamburg-based writer and poet Peter Rühmkorf and soon, the pair were combining “jazz and poetry.” By then, the two men had become close friends
During 1967, Michael Naura began work as a sound engineer for the Department of Dance Music of the North German Radio. This was a job he kept until 1971, when he took over as station editor after the death of Hans Gertberg. By then, the Michael Naura Quartett had signed to MPS and was about to record its debut album.
Joining bandleader and pianist Michael Naura in the studio were drummer Joe Nay, bassist Eberhard Weber and vibraphonist Wolfgang Schlüter. The Michael Naura Quartett began recording the eight tracks that eventually became Call.
It was arranged and producer by Michael Naura who played Fender Rhodes. Just like vibraphonist Wolfgang Schlüter he used different amplifiers and effects during the recording session. In the case of Wolfgang Schlüter he used distortion when he recorded his vibes as he sought inspiration from Dave Pike. Stylistically Call was was very different to the music Michael Naura had been making a few years previously.
Gone was the hard bop of the past which was replaced by fusion and elements of European jazz, classical, blues and Latin on what was an imaginative and innovative genre-melting album. As the rhythm section provide the heartbeat, Michael Naura’s Fender Rhodes and Wolfgang Schlüter’s vibes prove to be the perfect foil as the arrangement floats and meanders along. Together, the two men head in a new musical direction with the sounds and textures merging into one from the opening bars of Soledad De Murcia through to the closing notes of Call. In between, Forgotten Garden, Take Us Down To The River and Why Is Mary So Nervous features the Michael Naura Quartett at the peak of their powers.
In 1971, the Michael Naura Quartett released their debut album Call on the MPS label. It was the first of two albums that they released. They returned with their sophomore album Rainbow Runner in 1972, which sadly, was also their swansong. However, the Michael Naura Quartett’s finest hour was their debut album Call, where it seemed the stars were aligned when they recorded what was a genre-melting career-defining epic.
Cult Classic: Michael Naura Quartett-Call.
CULT CLASSIC: SVEN GRUNBERG-HINGUS.
Cult Classic: Sven Grunberg-Hingus.
From the sixties, right through until the Berlin Wall fell in 1989, Eastern Europe was a musical hotbed. The problem was very few record buyers in the West heard that music that was being released during this period.
Sadly, that to some extent, is still the case today. Most music lovers have yet to discover the music that was recorded and released in Eastern Europe during this period. This music came courtesy of a myriad of talented artists and groups who sadly, were in the wrong place at the wrong time.
Across Eastern Europe, the Communist Party ruled with an iron fist and musicians like writers, poets and artists were seen as a threat to the status quo. Musicians had to be on their guard as they never knew when the state censors would arrive at concerts. Some bands became experts at avoiding the state censors who were known to chastise a group for singing: “yeah, yeah, yeah.” This wasn’t exactly the best environment for creating music and making money.
In many parts of Eastern Europe, releasing albums was neither possible nor profitable. This was something the the members of the Estonian progressive rock band Mess realised in the seventies. The story began in 1974 when Mess was cofounded by Sven Grünberg and Härmo Härm.
By then, Sven Grünberg was eighteen, and studying composition at the Tallinn music school. He became Mess’ songwriter, keyboardist and lead vocalist. Härmo Härm who was twenty five, invented a variety of devices that Mess used to make music. They would play an important part in Mess’ sound.
Gradually, Mess’ lineup took shape and their lineup would eventually include Andrus Vaht, Elmu Värk, Ivar Sipra, Matti Timmermann and Sven Grünberg. Mess were soon a popular and prolific live band whose reputation grew as they toured the country. However , as their popularity grew they attracted the ire of the state and the censor.
Mess were an outspoken group and their music contradicted Soviet ideology. This was a dangerous road to go down and impacted on Mess’ career.
While Mess were a prolific live band they never released a studio album. That’s not to say they didn’t enter the recording studio. They did but the problem was, they couldn’t release their music. It wasn’t until well after the Berlin Wall fell that they finally released an album.
That came in 1995. That’s when German label, Bella Musica released an album of Mess’ recordings entitled Sven Grünberg’s Proge Rock Group Mess. At last, progressive rock fans were able to hear Estonia’s legendary prog rock Mess. This however, wasn’t the end of the Mess story.
Another nine years passed and then another album of Mess’ music was released. This was Küsi Eneselt which was released on Strangiato Records. It featured seven tracks originally recorded between 1975 and 1976, at Eesti Raadio, by Lepo Sumera and Sven Grünberg. Küsi Eneselt was like being transported back to another time and place. Mess like so many bands across Eastern Europe during this period, were articulating what the ordinary people were feeling and thinking.
Back in 1976, Sven Grünberg must have becoming frustrated by Mess’ situation. With Mess not being able to release an album, people were unable to hear who Mess had grown and evolved as a group. They had come a long way since 1974. So had Sven Grünberg.
His course at Tallinn music school helped him improve as a musician and composer. He had come a long way in the last two years. What he needed was a showcase for his talents. Especially now that it looked like Mess wasn’t going to showcase his skills.
That proved to be the case. By 1977, Sven Grünberg decided to embark upon a career as a composer. This would prove to be a stylistic departure for him.
In 1978, Sven Grünberg wrote his first film scores. They weren’t for blockbuster films though. Instead, Linalakk ja Rosalind and Klaabu were short animated films. That didn’t matter as he had a foothold in the Estonian film industry.
A year later, Sven Grünberg’s big breakthrough came. He was asked to penned the score to Hukkunud Alpinisti’ hotell. It was directed by Grigori Kromano, and when it was released in August 1980 it was well received by critics. Sven Grünberg’s career as a composer was going places.
As a new decade dawned, he was back writing the score for short, animated films. This included Nike Kutse and Karsumm which were released during 1980 and provided a showcase for his musical talents. However, by now, Sven Grünberg was looking to broaden his horizons.
Still he was composing the scores for films and in 1981, he provided the score to Avo Paistik’s short, animated film, Klaabu kosmoses. However, now Sven Grünberg felt was the time to release his debut album, Hingus on the U.S.S.R. state label Мелодия.
For Hingus, Sven Grünberg had written and recorded three tracks. Breath (1979-1980) is an epic track featuring four movements; I, II, III and IV. These four movements last twenty-three minutes. Following Breath is Journey (1980). That’s a fitting title to what’s a captivating musical journey. Closing Hingus, is Flower Of Light (1978), another epic. It lasts nearly eighteen minutes. These tracks were recorded in Estonia’s capital, Tallinn.
In Tallinn, Sven Grünberg played every instrument on Hingus and becomes a one-man band. He plays keyboards, synths, harpsichord, hand-bells, tambourines and castanets and engineered the Hingus sessions. Seven years after forming Mess, Sven Grünberg was about to release his debut solo album, Hingus.
When Hingus was released in 1981, the album was popular is some quarters. A new generation knew Sven from his film scores. However, still Sven Grünberg was remembered as a member of Mess. They were still remembered as one of the best progressive rock bands in not just Estonia, but the rest of the U.S.S.R. Unsurprisingly, former fans of Mess embraced his debut album Hingus and while it was very different from Mess’ music, it proved popular. So much so, that Hingus was repressed in 1982, 1984 and 1985. No wonder.
The main theme on Breath (1979-1980) is a man and the world around him. Over Breath’s four movements, a variety of sounds emerge. There’s the sound of a waterfall, a brook and the earth breathing. Sven examines how we face the universe in Breath. It’s cerebral and pensive piece of music in four movements.
As Part I opens, washes of dramatic, bubbling, sci-fi synths can be heard. Underpinning the arrangement is an acoustic organ. This brings to mind the sound of a cathedral. The sound is big and bold. Hovering in the middle of the arrangement is a buzzing sound. It’s as if a U.F.O. has landed. Especially as the arrangement takes on a sci-fi sound. From there, it becomes mellow and laidback. However, there’s still an ominous sound lurking in the shadows. As sounds flit in and out, the acoustic organ dominates. These sounds might be in its shadow, but it provides as cinematic sound. So do a myriad of bubbling,shimmering and pulsating sounds. Later, the arrangement veers between ethereal and dramatic. By then, it’s apparent that for the four years before releasing Hingus, Sven was composing soundtracks. He’s capable of creating cerebral and cinematic music.
Part II of Breath opens with the sound of the organ playing in the distance. Gradually, it grows in power and drama. Sven stabs of the organ, and gushing gasps of music emerge. Soon, this begins to dissipate, and the music becomes crystalline and elegiac. Later, it becomes mellow and pensive, before reaching an explosive crescendo.
Flourishes of harpsichord open Breath Part III. Its elegiac sound is a contrast to the sheer power of the acoustic organ. It bellows out washes of music, before giving way to the harpsichord. Gradually, the arrangement takes on an Eastern sound. Synths are shimmer, before rumbling ominously. That’s the signal for the acoustic organ to make its entrance. Just like previous tracks, there’s a prog rock influence. That’s the case when the glacial synths, harpsichord and bells unite. However, you’re always aware that the raw power of the acoustic organ will roar in. It does. As it dominates the arrangement, the other instruments are unable to Breath. It’s as if the organ represents the state in the U.S.S.R as it crushes the hopes and dreams of musicians like Sven Grünberg.
As the fourth and final part of Breath unfolds, the sound of the acoustic organ dominates the arrangement. That’s until a cymbal crashes. From there, an ethereal wash of music descends. So does what sounds like a helicopter. It hovers above the arrangement, as the organ makes a comeback. By now, the listener is expecting it roar back to life. That’s not the case as Sven Grünberg seems to be toying with the listener. Elements of ambient, avant garde and experimental music play their part in the understated, genre-melting arrangement. By the end of Part IV, nature is merging with the human soul. So not only is this is Part IV mellow and understated, but cerebral.
Journey (1980) ibuilds on the Part IV of Breath. It’s no ordinary Journey. Instead, it’s a Journey to the most remote part of infinity, where a journey can begin again. With the backstory in mind, the listener is captivated as another understated, meandering arrangement unfolds. Washes of synths shimmer and glisten. A drum pulsates and lo-fi synth glides across the arrangement. It’s your guide on this captivating Journey. The synths are elegiac, ethereal and glacial. They’re mellow, understated and ambient sound cocoons the listener. It’s also a meandering,mellow and understated arrangement that’s sure to captivate. Without doubt its ethereal beauty is the highlight of Hingus.
Whereas Breath was an epic in four parts, Flower Of Light is a near eighteen minute epic, consisting of six parts. Again, the music is cerebral and cinematic. A droning, futuristic, sci-fi sound beeps and squeaks. The first of a trio of melodies unfolds. They merge into one, creating an otherworldly soundtrack. From there, Sven creates an understated moody but still futuristic sound in part two. Space is left within the arrangement as the synths are like yin and yang. By the third movement, the arrangement becomes more complicated. Gradually, a dramatic, space-age five-part polyphony emerges. It’s hard to believe this track is thirty-four years old. If The Orb or Underworld created it today, they would be hailed conquering heroes. Sven it seems, was ahead of his time, creating music that was innovative and timeless. As part four unfolds, a change occurs. A buzzing, bubbling, pulsating sound emerges. Washes of synths shimmer. Then part five takes on an understated sound. Musically, Sven creates the sound of flower blossoming. In the background, birds cheep, creating a hopeful, even joyous sound. There’s a similar sense of hope and joy in part six. Here, Sven reflects on the past and the future. New opportunities arise as the door is firmly open. All the listener has to do is go through the door to the future. Flower Of Light an innovative and enthralling musical journey, brings to an end Hungus, Sven Grünberg’s debut album.
Sadly, when Hingus Sven Grünberg released Hingus in 1981, very few people in the West were aware of the album. That’s still the case. It was only when the Berlin Wall fell on 1989, that Eastern Europe opened up to Westerners. While those from the West of Europe have embraced much of Eastern culture, Eastern popular music seems to have been eschewed. That’s a great shame.
Back when Sven Grünberg released Hingus in 1981, Eastern Europe was a musical hotbed. Very few people in the West realised this. That, to some extent, this still the case. Most music lovers have yet to discover the music that came out of Eastern Europe during this period. Ironically, Eastern Europe had an equally eclectic and vibrant music scene. Much of it was underground, given the supposed anti-establishment nature of some of the music. This had been the case with Sven’s previous group Mess. However, after Mess disbanded Sven Grünberg reinvented himself as a composer for films, television and theatre.
That’s what he has been doing since graduating from Tallinn music school. He was already establishing himself as an up-and-coming composer. However, still he wanted try and establish a career as a solo artist. Hingus was the first step in Sven Grünberg’s solo career.
With its fusion of ambient, avant grade, electronic, progressive rock and cinematic sounds, Hingus was a groundbreaking album. Sven Grünberg took the music from his past and present, and created music that could’ve been created in the future. Flower Of Light sounds like a lost track from The Orb or Underworld. It’s not. It was created by Sven thirty-four years ago and is a truly timeless and innovative track. That’s the case throughout Hingus.
From Part I of Breath, right through to Flower Of Light, Sven Grünberg pushes musical boundaries. In doing so, he creates music that’s variously cerebral, elegiac, ethereal, futuristic, hopeful, melodic and otherworldly. Other times, the music on Hingus is ambitious, bold and dramatic. Always, the music on Hingus is captivating and enthralling. That’s why Sven Grünberg’s debut Hingus deserves to be heard by a much wider audience.
When Sven Grünberg released Hingus in 1981, it was on the U.S.S.R. state label Мелодия. While it found an audience within the U.S.S.R., very few people in the West heard Hingus. If they had, Sven Grünberg might have enjoyed a much more successful solo career. While he released three further albums, 1988s OM, 1993s Milarepa and 1995s Prana Symphony, it was as a composer for film, television and theatre that Sven Grünberg became famous for. However, at least belatedly, Mess, the group Sven Grünberg formed in 1974, and his cult classic Hingus are beginning to receive the recognition and find the wider audience that they deserve.
Cult Classic: Sven Grunberg-Hingus.
LEE MORGAN-THE SIDEWINDER.
Lee Morgan-The Sidewinder.
Label: Blue Note Records.
Format: LP.
Release Date: ‘4th’ December 2020.
On the 21st’ December 1963, Lee Morgan and his quintet travelled to the Van Gelder Studio in Englewood Cliffs, New Jersey, to record what was the fourteenth album of his career. He had signed to Blue Note Records in 1956 and in the Spring of 1957 had released his debut album Lee Morgan Indeed!
Since then, he had released albums on Savoy, Speciality, Vee-Jay and Jazzland. However, he had released seven albums on Blue Note Records and the album he was about to record would take the total to eight. That album was The Sidewinder, which became a jazz classic and at the time was the most important album that Blue Note Records released.
Very few artists signed to Blue Note Records were aware of the label’s perilous financial situation. Things were so bad that the label was almost insolvent and teetering on the brink of bankruptcy. What it needed was a successful album, and even better one that featured a successful single that would be used in adverts and as the theme for television shows. This was a long shot, and even Alfred Lion who co-owned Blue Note Records and was about to produce The Sidewinder knew that. It was beyond his wildest dreams.
When Lee Morgan and his quintet arrived at the studio, he had written five new compositions. This included The Sidewinder, Totem Pole, Gary’s Notebook, Boy, What A Night and Hocus Pocus. They would be recorded by a talented and versatile quintet.
This included drummer Billy Higgins, double bassist Bob Cranshaw and pianist Barry Harris. Tenor saxophonist Joe Henderson joined bandleader and trumpeter Lee Morgan in the quintet’s front line. Taking charge of engineering duties was Rudy Van Gelder while Alfred Lion produced The Sidewinder. Just like so many Blue Note Records’ sessions, the album was recorded in a day which saved the label money. And given the label’s perilous financial state, it needed to save money.
With The Sidewinder recorded, Lee Morgan and his band could enjoy the festive season and then concentrate on playing live. That was where jazz musicians made most of their income. For some, including Lee Morgan, session work was lucrative. Especially when they weren’t selling huge amounts of albums.
When staff at Blue Note Records were preparing for the release of The Sidewinder they only ordered 4,000 LPs. Going by previous releases, this they thought would be plenty.
Blue Note Records scheduled the release of The Sidewinder for July 1964. Just a few days earlier, on the ‘10th’ of July, Lee Morgan turned twenty-six. When The Sidewinder was released he would be celebrating again.
When The Sidewinder was released to widespread critical acclaim it was hailed as the finest of Lee Morgan’s career. The album opened with the unmistakable title-track and future classic, The Sidewinder. Lee Morgan had written a soul-jazz boogaloo inspired track which also tried to capture a hard bop style which was an instant classic. This was quite different from Lee Morgan’s previous work and the rest of the album. The rest of The Sidewinder was heavily blues-based but revealed what was Lee Morgan’s more traditional hard bop sound.
Playing a leading role in the sound and success of The Sidewinder was tenor saxophonist Joe Henderson who Lee Morgan was mentoring. He unleashes a series of stunning solos throughout the album. However, each and every member of the band plays their part in tis future classic album that is alive and bristling with energy. It’s a snapshot in time that showcases as this talented and versatile quintet on an almost flawless album that transformed Lee Morgan’s career.
Having shipped the 4,000 copies of The Sidewinder the album sold out within three or four days. More copies were ordered and pressed and shipped out to shops by the label’s distributor. By January 1965, the album reached number twenty-five in the US Billboard 200 and became Blue Note Records biggest selling album. The label hadn’t expected this and The Sidewinder was an unexpected success.
This wasn’t the end of the success for Lee Morgan and Blue Note Records. They decided to release The Sidewinder as a single and it gave the twenty-six year old trumpeter a hit single when it entered the upper reaches of the US Billboard 100. It was an instantly recognisable track and one that the caught the imagination of the public.
During the 1965 World Series, which took place between the ‘6th’ and ‘14th’ of October, Chrysler were running a new advert and decided to use The Sidewinder. However, there was a problem, they hadn’t asked Lee Morgan.
The first he knew was when he was sitting at home watching the World Series and he saw the advert and heard his now famous composition. Lee Morgan wasn’t happy with the unauthorised use of The Sidewinder and threatened to sue Chrysler. They agreed not to show the advert again and settled the case.
For Lee Morgan, The Sidewinder was the most successful and lucrative album of his career. It was also the most successful album that Blue Note Records had released and saved the company. The Sidewinder would play an important part in the company’s history.
Having saved Blue Note Records from near bankruptcy, label executives wanted Lee Morgan to record Sidewinder II. Jazz’s premier label was now taking the Motown approach. This wasn’t the way that Lee Morgan worked. However, to focus his mind label executives postponed some of his future releases. Others were shelved entirely. All they wanted was Sidewinder II.
Lee Morgan recorded three albums where he tried to replicate The Sidewinder sound. This included The Rumproller which was released in January 1966. Sadly, the album failed to build upon the success of The Sidewinder. For Lee Morgan and executives at Blue Note Records this was a disappointment.
Things improved when Lee Morgan released his Cornbread album in January 1967. The title-track was released as a single and brought further commercial success his way.
More success followed in June 1968 when The Gigolo album was released by Blue Note Records. They decided to release Yes I Can, No You Can’t as a single and it gave Lee Morgan another hit single. However, it must have been frustrating trying to replicate the success of The Sidewinder rather than trying to move forward musically and ensure that his music evolved.
After the release of The Sidewinder, every album that Lee Morgan released was compared to his career-defining classic. It was the proudest moment of his musical career but in a way, was also one of the worst things that happened to him. He spent the rest of his career trying to scale the same heights but sadly, always came up short.
That might not have been the case if Lee Morgan’s carer hadn’t been cut tragically short. On February the ‘19th’ 1972 he was booked to play two sets at a jazz club in New York’s East Village. There was an altercation between the sets at Slug’s Saloon and Lee Morgan’s common law wife Helen Moore him. Initially, Lady Luck was smiling on him as it wasn’t a fatal shot. However, that night, it was snowing heavily and the driving conditions were treacherous and the ambulance took so long to arrive that one of jazz’s great trumpeters bled to death. Lee Morgan was just thirty-eight.
Lee Morgan was a prodigiously talented trumpeter whose star shines the brightest on his career-defining album and hard bop classic The Sidewinder, which is a reminder of one the greatest trumpeters in the history of jazz.
Lee Morgan-The Sidewinder.
SUN RA ARKESTRA-SWIRLING.
Sun Ra Arkestra-Swirling.
Label: Strut.
Format: CD.
On May the ’30th’ 1993, Sun Ra passed away aged seventy-nine and that day, music was in mourning at the loss a musical pioneer who had played his part in rewriting the history of jazz. From the late-fifties, Sun Ra was one of the pioneers of free jazz and helped shape this new genre.
For the best part of forty years Sun Ra pushed musical boundaries to their limits, and sometimes, way beyond. He was a pioneer and innovator and was also a perfectionist and relentless taskmaster. With some of most talented, inventive and adventurous musicians of their generation Sun Ra set about honing his Arkestra’s sound. He was demanding and had exacting standards. Second best was no use to Sun Ra.That was why his Arkestra featured innovators and musical adventurers that had the same high standards and drive and determination that he had.
This included alto saxophonist Marshall Allen who played an important part in the sound and success of the Sun Ra Arkestra. That was the case right up until Sun Ra’s death in 1993.
Since then, the Sun Arkestra has continued to tour and is led by Marshall Allen who is now ninety-six. However, the Sun Arkestra has never recorded another album. As the years passed by, it seemed increasingly unlikely that they ever would return with a new album. Instead, a myriad of reissues, compilations and live albums have been reissued over the last few years. However, after twenty-seven years’ radio silence the Sun Ra Arkestra has returned from its latest voyage and has delivered a new album Swirling which was recently released by Strut. Swirling was recorded in Philly by the Sun Ra Arkestra under the direction of Marshall Allen.
When work began on what eventually became Swirling, it was decided to record nine of Sun Ra’s finest and most celebrated compositions. The other tracks was the Marshall Allen composition Swirling which later lent its name to the album.
Recording of the Swirling sessions took place at Rittenhouse Soundworks, in Philadelphia, with producer Jim Hamilton. He was joined by the Sun Ra Arkestra under the direction of Marshall Allen. The rhythm section included drummer Wayne Anthony Smith, Jr, bassist Tyler Mitchell and guitarist Dave Hotep. They were joined by pianist Farid Barron; Stanley “Atakatune” Morgan on Congas; Elson Nascimento Sudo drums and percussion; violinist and vocalist Tara Middleton; and Vincent Chancey on French horn. The horn section featured alto saxophonists Marshall Allen and Knoel Scott; baritone saxophonist and flautist Danny Ray Thompson; tenor saxophonist and flautist James Stewart; trombonist and vocalist Dave Davis; and trumpeters Cecil Brooks and Michael Ray. With a couple of new additions onboard the Sun Ra Arkestra began recording their comeback album.
Once Swirling was complete, the Sun Ra Arkestra’s comeback album was announced. By then, twenty-seven years had passed since the death of Sun Ra. For many of his loyal legion of fans the release of Swirling came as a complete surprise and they didn’t know what to expect? Some wondered how it could it be called a Sun Ra Arkestra album without the charismatic bandleader at the helm? He was the man many regarded as Mr Magic and they believed was a musical genius. They wondered what would a Sun Ra Arkestra without Sun Ra sound like? Would it be a pale imitation of the once great Arkestra or would Swirling be a welcome addition to the rich musical legacy that Sun Ra left behind?
The best way to describe Swirling is a lovingly recorded tribute to the much-missed bandleader and musical visionary. Under the direction of Marshall Allen they pay homage to one of the giants of jazz and a man who nowadays is regarded as a pioneer of Afrofuturism and has influenced several generations of musicians. Sadly, it wasn’t always like this and for parts of his career critics, cultural commentators and record buyers didn’t understand Sun Ra’s music. Thats’s changed and Sun Ra is receiving the recognition he so richly deserves.
On Swirling the Sun Ra Arkestra flit between and seamlessly combine musical genres and in doing so recreate their much-loved sound. They combine everything from avant-garde, bebop and free jazz to abstract electronics, Chicago blues, early rock ’n’ roll, improv and even swing on the Marshall Allen composition Swirling. Add to this Egyptian history and space-age cosmic philosophy that was part of the inspiration for Sun Ra’s music.
However, there’s a degree of darkness and an ominous sounds during parts of Swirling. Other times there’s an air of mystery as the latest incarnation of the Sun Ra Arkestra revisit some of the late, great bandleader’s classic compositions. Some of them feature new arrangements.
This includes album opener Satellites Are Spinning/Lights On A Satellite which features the debut of vocalist Tara Middleton. She joined the Arkestra in 2012 and delivers a beautiful and captivating cover of a song that was originally sung by the late June Tyson. It features the lyrics: “A better day is breaking, the planet Earth’s awakening,” and a fitting homage to a truly great vocalist who played an important part in the Sun Ra Arkestra story.
Seductive Fantasy is a near twelve minute epic that allows the Arkestra to stretch their legs during a track where Chicago blues, New Orleans jazz and abstract electronics combine with free jazz on a track that’s sometimes mesmeric but other times sounds futuristic and swings as if it’s part of the soundtrack to a sci-fi soundtrack.
Swirling was written by Marshall Allen, and heads in the direction of swing as the Arkestra are transformed into a big band. However, it’s a big band with a difference. They combine elements of free jazz into this swinging track that features a sultry vocal from Tara Middleton who steals the show.
Angels and Demons At Play is another Sun Ra classic that was given a makeover during the recording of Swirling. Tara Middleton delivers one of her finest vocals. It’s slow, deliberate and full of emotion as abstract electronics, screeching, scratchy free jazz horns and a swaying Egyptian melody accompany the vocal as a familiar track takes on a new meaning.
Melodic describes the massed vocals at the start of this journey across the Sea Of Darkness/Darkness. Soon, there’s a sense of foreboding as the music becomes mesmeric and the darkness starts to descend. Braying horns combine with the piano as the Arkestra sails across the sea in search of better days.
Upbeat, jazzy, futuristic and moderne describes Tara Middleton’s vocal on Rocket No. 9 which is delivered against a bebop riff. Soon, electronics interjects adding sci-fi sounds which the Arkestra combine with free jazz on this ambitious genre-melting track.
Otherworldly describes the introduction to Astro Black as electronics usher in Tara Middleton’s vocal. Sometimes she sings unaccompanied and other times a choir of synths and sirens provide an accompaniment to her emotive vocal on this space-age and cinematic song.
Wistful, futuristic and jazzy describes the introduction to Infinity/I’ll Wait For You. Wailing, mournful horns combine with a piano that’s probed and pounded as the Arkestra unleash blasts of free jazz. They give way to cartoon and sci-fi sounds then a whispery vocal as the track takes on an experimental sound. Later rolls of drums drive the arrangement as a horn sounds and the Arkestra almost gallop along before returning to the earlier frenzied and sci-fi sounds on a track that’s experimental and innovative.
The tempo drops on Sunology as the Arkestra become an intergalactic big band. They accompany Tara Middleton as se delivers one of her finest vocals. It’s deliberate, heartfelt and emotive as the arrangement veers between swinging, experimental and understated before reaching a crescendo.
Just a piano opens Door Of The Cosmos/Say closes Swirling before the joyous massed vocals enter. Meanwhile the piano is pounded before the blazing horns and percussions are joined by a myriad of otherworldly and sci-fi sounds. Later, the drums and sultry saxophone play their part in this impressive jam as the Arkestra close the album on a high with one of their finest moments.
Since Sun Ra’s death in 1993 his Arkestra have continued to tour but never released a new album. That was until they recently released Swirling on the Strut label. It features covers of nine of his classic tracks. Fittingly, some of these tracks are given a makeover and head in a new direction showing a different side to what are familiar tracks. The result is a fitting homage to Sun Ra who was a true giant of jazz and a pioneer of free jazz.
Sun Ra was never content to stand still musically and was always looking to reinvent familiar tracks. The original version of a song was merely the starting point. That is the case on Swirling. What the song became, was anyone’s guess as Sun Ra was always determined to innovate and when he reinvented a track, he took the music in the most unexpected direction. He combined Egyptian history and space-age cosmic philosophy with free jazz, avant-garde and improv. Another component of Sun Ra’s music was his unique and inimitable brand of futuristic, space-age jazz which was part of an innovative fusion that totally transformed the career of the man born Herman Poole Blount.
He was a huge influence on all the members of the Sun Ra Arkestra, and that includes ninety-six year old Marshall Allen who leads from the front on Swirling. In doing so, he plays his part in the sound and success of the San Ra Arkestra’s comeback album. So does vocalist Tara Middleton who channels the sprit of June Tyson and does so with aplomb on Swirling. Sun Ra would’ve enjoyed her contribution and welcomed her to the Arkestra.
On Swirling the Sun Ra Arkestra pays tribute to their much-loved and much-missed leader as they reinvent some of his classic tracks and take them in a new and different direction. In doing so, they’re a reminder of the ambitious and innovative music that free jazz pioneer Sun Ra released during his long illustrious career when he was at the helm of his Arkestra and released over 125 albums.
Sun Ra Arkestra-Swirling.
THE AWAKENING-HEAR, SENSE AND FEEL.
The Awakening-Hear, Sense and Feel.
Label: Real Gone Music.
Format: CD.
Of the twenty albums that Black Jazz Records released between 1971 and 1975, The Awakening’s Hear, Sense and Feel is a much prized rarity amongst collectors. Copies of the album change hands for hundreds of dollars. That is no surprise given the quality of music The Awakening recorded. It was a band that featured some top veteran musicians from the Chicago music scene.
The Awakening was a sextet that was founded in the Windy City in the early seventies, and was the only Chicago-based band to sign and record for Black Jazz Records. Members of the band were drawn from the city’s R&B and jazz communities.
This included veteran R&B session players who had previously played on sessions at Cadet and Chess Records. They were joined by jazz musicians who were affiliated with the Association For The Advancement Of Creative Musicians.
Most of The Awakening were connected to the Association For The Advancement Of Creative Musicians which was founded on the South Side of Chicago and had what was essentially a nine-point plan. In a time when musicians were singing about revolution, the nascent organisation had a revolutionary plan.
The Association For The Advancement Of Creative Musicians was committed to providing somewhere for musicians to play, had innovative ideas about composition and was even willing to help members build new instruments. It recognised the need to provide for schooling for up-and-coming and aspiring musicians. It also wanted to provide workshops for established musicians, find gigs for them and hoped that the concerts would stimulate spiritual growth. They also wanted to set moral standards for musicians and increase respect between musicians and booking agents, managers and promoters. This was revolutionary and ad the potential to change music.
When the members of the Association For The Advancement Of Creative Musicians went to live and play in other parts of the world they introduced these concepts. This included the Art Ensemble Of Chicago when they went to live in Paris. However, in 1972 The Awakening wrote and recorded in the Windy City.
Four of The Awakening’s lineup were members of the Association For The Advancement Of Creative Musicians. This included drummer and percussionist Arlington Davis Jr, bassist Reggie Willis, flautist and tenor saxophonist Richard (Ari) Brown plus trumpeter Frank Gordon who previously was the guitarist with Young Holt Unlimited. They were joined by two members of another collective.
Trombonist Steve Galloway and Ken Chaney were part of another musical and political collective, Philip Cohran and The Artistic Ensemble. Pianist Ken Chaney had also a been a member of Young Holt Unlimited and knew Frank Gordon. The nascent band began work on what eventually became their debut album Hear, Sense and Feel.
Members of The Awakening wrote seven tracks for their debut album. Ken Chaney penned Awakening-Prologue Spring Thing, Awakening-Epilogue and cowrote Brand New Feeling with William Keyes. Frank Gordon wrote Convulsions and Jupiter while Richard (Ari) Brown contributed When Will It Ever End. The other track on Hear, Sense and Feel was John Stubblefield’s Kera’s Dance. These tracks were recorded by label co-owner Gene Russell who took charge of production.
The Awakening headed to the Streeterville Studios, in Chicago, which was founded by engineer Jim Dolan in 1970. Joining the band was Richard Evans who was drafted in to play electric bass. Once the album was recorded, Hear, Sense and Feel was scheduled for release later in 1972.
Hear, Sense and Feel was the ninth album that was released by Black Jazz Records. When it was released in 1972, the album failed to find the audience it deserved. Just like so many albums the label released since 1971, it was a groundbreaking album that featured elements of modal jazz, R&B, soul-jazz and spiritual jazz.
Opening the album is Awakening-Prologue Spring Thing, a joyful and optimistic sounding spoken-word recitation that calls for raising consciousness. It gives way to When Will It Ever End which references the Art Ensemble Of Chicago. This is because of the addition of the bells and whistles and somewhat dissonant solos from solos of saxophonist and flautist Ari Brown and trombonist Steve Galloway. Playing an important part in sound and success of this ambitious epic track is Reggie Willis’ single note vamps on his standup bass.
Convulsions bursts into life and from the get-go there’s a degree of urgency as the rhythm section drive the arrangement along and the horns play a starring role. Later, they become dissonant as the track heads in the direction of free jazz before returning to its earlier joyous, uplifting and spiritual sound.
Very different is Keira’s Dance which has a much more understated and shows the soulful side of The Awakening. They don’t eschew their jazz roots and later, heads in the direction of fusion. However, just like the previous track the horns play a leading role in this laidback and melodic ten minute opus. It’s the highlight of Hear, Sense and Feel.
Dramatic describes the introduction to Jupiter which initially seems to have been inspired by Sun Ra. Then drums signal The Awakening to up the tempo and kick loose as a stunning slice of jazz unfolds. As it does, they showcase their considerable skills and versatility. Pianist Ken Chaney unleashes a stunning fleet-fingered solo as his fingers dance across the keyboard and is at the heart of the arrangement. Later, he’s joined by the tenor saxophonist Richard (Ari) Brown before the drums and briefly the bass enjoy their moment in the spotlight as this breathtaking arrangement unfolds at breakneck speed and features The Awakening at the peak of their powers.
Initially the tempo drops on Brand New Feeling which seems like another laidback sounding track. It also reflects where jazz was in 1972 and combines its past and the present. The horns represent jazz’s past and the keyboards take the arrangement in the direction of fusion, and after some dramatic interjections from the rhythm section and horns, jazz-funk. Later, the band jam and the horns play a starring role before the track reaches a crescendo.
Closing Hear, Sense and Feel is Epilogue which lasts just fifty-one seconds. The Awakening combine a short spoken-word recitation with a dramatic arrangement where horns play a leading role and this is the perfect way to bookend the album.
Sadly, Hear, Sense and Feel wasn’t a commercial success despite being an ambitious album that featured innovative music that was optimistic, cerebral, sometimes soulful, joyous, uplifting and spiritual sounding music. It found The Awakening flitting between and sometimes combining free jazz, fusion, jazz-funk, modal, jazz, soul, soul-jazz and spiritual jazz. Seamlessly they switched between and fused musical genres on Hear, Sense and Feel.
Just like any talented jazz musician the members of The Awakening enjoyed improvising and when the solos came around embraced the opportunity to showcase their considerable skills. That’s no surprise as members of The Awakening had enjoyed a musical education and were highly trained musicians. Their talent is apparent throughout Hear, Sense and Feel which is belatedly starting to find a wider and appreciative audience who understand what The Awakening were trying to achieve when they released this vastly underrated cult classic back in 1972.
The Awakening-Hear, Sense and Feel.
LINKWOOD AND OTHER LANDS-FACE THE FACTS.
Linkwood and Other Lands-Face The Facts.
Label: Athens Of The North.
Format: CD.
Although producers Nick Moore and Gavin Sutherland are both based in Edinburgh, Scotland, they hadn’t collaborated on an album until they began work on Face The Facts which is the first album from Linkwood and Other Lands. It was recently released on the Edinburgh-based label Athens Of The North label, and showcases two talented musicians and producers. They take the listener on a captivating journey through disparate musical genres on Face The Facts. It’s the latest chapter in their respective stories.
Nick Moore aka Linkwood released his debut album System on the Prime Numbers label in 2009. Six years later he returned with his sophomore album Expressions which was released on Firecracker Recordings.
Then earlier in 2020 Linkwood returned with a new album. However, it wasn’t a solo album and instead was a collaboration with Greg Foat. When the pair released Linkwood and Foat on Athens Of The North it was to plaudits and praise. It was a welcome return from Linkwood. Very few people realised at the time that he would return with a second collaboration later in 2020.
This time it was with Gavin Sutherland who also records under various monikers including Fudge Fingas, Vin Landers and Other Lands.
Having released his debut single Pattern Transform on Firecracker Recordings in 2018, Other Lands collaborated with The Nuclear Family on the 12” single Surface Noise. After this, began work on a genre-melting mini-album.
This was Rehearse In Reverse, which was released on the Origin Peoples’ label in April 2019. It wasn’t until 2020 that Other Lands returned with a new release.
When Gary Superfly recorded Endless and Purple for Mother Tongue Records both tracks featured Other Lands. The single was released earlier in 2020. By then, he had started work on a new collaboration with another Edinburgh-based musician and producer, Linkwood.
The pair had never worked together before but decided to record an album for the Athens Of The North label. Linkwood and Other Facts ended up writing and recording thirteen new tracks that became Face The Facts.
By the time Linkwood and Other Facts’ debut album Face The Facts was ready for release in November 2020, the world was a very different place. Britain was locked down after the global pandemic struck in earlier the year. Like many producers who had recorded an album of what was ostensibly club music Linkwood and Other Facts were trying to promote Face The Facts when clubs were shut and there was no sign of them opening in the foreseeable future. Certainly not this side of the next Ice Age if Nasty Nic and her Nodding Dentist have anything to do with it.
While tracks from Face The Facts won’t be heard in clubs anytime soon, this eclectic outing from Linkwood and Other Facts is sure to find an audience amongst many music fans. There’s something for all tastes on the album.
Straight away, Face The Facts heads in the direction of electro house on Theme For A City. Synths are to the fore on this upbeat and joyous track that’s guaranteed to brighten up even the darkest day.
It’s a similar case on First Take where synths and keyboards take centrestage as crispy beats provide the heartbeat. The squelchy synths have been inspired by early house and boogie while the keyboards are sometimes jazz-tinged. Later, the sound of a siren adds a cinematic sound and gives way to Porty. Is this a reference to Portobello, Edinburgh’s answer to the Balearics, and where the city’s beautiful people party? Providing the soundtrack are Linkwood and Other Lands who combine subtle grooves and a crystalline, gossamer melody to create a smooth sounding and memorable mid tempo track for the party people.
Face The Facts is quite different to what’s gone before. Sci-fi synths give way to a driving, mesmeric, sometimes funky and haunting, cinematic sound. Kraftwerk and techno seem to have influenced Linkwood and Other Lands on what’s without doubt one of the album’s highlights.
The multilayered 3VSR features a fuzzy analogy rhythm which is combined with a myriad of electronic sounds and a shimmering, probing keyboard. They play their part in what sounds like part of the soundtrack to a futuristic video game.
It’s all change on Don’t Thrown It. Partly, that’s down to the addition of a needy vocal which is combined with dreamy electronic arrangement. This hooky track shows another side of Linkwood and Other Lands, and is one they should revisit in the future.
Dreamy, dubby and shimmering synths combine with dramatic drums on Gold Leith. Sometimes, sci-fi synths are added to the genre-melting arrangement that veers between dubby, jazz-tinged, futuristic, atmospheric and cinematic. It’s one of Linkwood and Other Lands’ finest moments and sounds as if it belongs on an album of modern library music.
It’s a case of expect the unexcited as Downright takes on a Balearic sound. This shows yet another side to Linkwood and Other Lands who flit between genres on Face The Facts.
Varial is the most experimental sounding track on the album. A pulsating synth adds a futuristic and otherworldly sound. It’s augmented by buzzing, chirping sounds that play their part in this experimental soundscape.
Shapes is a near nine minute genre-melting epic where Linkwood and Other Lands enjoy the opportunity to stretch their legs. The track takes twists and turns and they throw a number of curveballs.Again, it’s a case of expect the unexpected as combine elements of dub, electro, electronica, house and Krautrock. Especially Kraftwerk whose influence shines through on during this captivating musical journey.
Slow, shimmering, glistening keyboards combine on Silver Nows while drums click and crack and sci-fi sounds flit in and out. Later, the drums drop out and lush orchestral sound drift in and out on this dreamy and ethereal example of electronica.
The keyboard led Up Wrong closes Face The Facts. Washes of synths are added and play their part in in what’s a slow, ruminative sounding track that encourages reflection. It’s the perfect way to close the album.
Face The Facts is a truly eclectic album from the talented and versatile duo, Linkwood and Other Lands. They combine everything from Balearic music, boogie, dub, electro, electronica, experimental jazz, house, Krautrock, library music, post punk and techno. The result is an album where no two tracks are the same. It’s a case of expect the unexpected as Linkwood and Other Lands bowl curveballs and spring surprises throughout Face The Facts, which hopefully, is the first of a series of albums from the two talented Edinburgh-based producers.
Linkwood and Other Lands-Face The Facts.
WALTER BISHOP JR-CORAL KEYS.
Walter Bishop Jr-Coral Keys.
Label: Real Gone Music.
Format: CD.
In 1971, Gene Russell and Dick Schory founded Black Jazz Records and later that year, the nascent label released their first release. This was Doug Carn’s debut album Infant Eyes. It was the first of twenty albums that the label released between 1971 and 1975.
Later in 1971, Black Jazz Records released their second release Coral Keys, the fifth album by forty-four year old pianist Walter Bishop Jr. By then, he had been a professional musician since he left school in New York. That was no surprise as he was born into a musical family.
Walter Bishop Jr was born in New York on October the ‘4th’ 1927 and grew up in Harlem. His father was the composer Walter Bishop Sr and he had passed on his musical genes to his son.
Growing up, Walter Bishop Jr learnt to play piano and spent time with some of his musical friends who lived nearby. This included three future jazz musicians Art Taylor, Kenny Drew and Sonny Rollins. By the time he left high school, Walter Bishop Jr had already decided that wanted to embark upon a career as a professional musician.
Initially, he played in local dance bands and this was akin to his musical apprenticeship. However, things changed once Walter Bishop Jr was called up in 1945 to do his military service.
He served in the Army Air Corp and was based not far from St Louis. That was where he first heard bebop when visiting jazz musicians played on the base. This made a big impression on Walter Bishop Jr and would transform his career.
After his military service was over, Walter Bishop Jr was able to resume his professional career. By the late-forties he had returned to Manhattan and had developed his bebop style by playing in jam sessions at Minton’s Playhouse. This was good experience, as he was about to encounter one of the giants of jazz, Art Blakey.
He asked twenty-two year old Walter Bishop Jr to join his band. However, he only spent fourteen weeks in the drummer’s employ. The pair were reunited a few years later and recorded together. A lot would happen before that happened.
In 1949, Walter Bishop Jr recorded with Milt Jackson and Stan Getz. Then as a new decade dawned he found himself working old friends and some of the biggest names in jazz.
This included Charlie Parker. Walter Bishop Jr joined his band and worked with him until 1954. He also found time to work with Oscar Pettiford, Kai Winding, the Kenny Dorham Quintet and Miles Davis between 1951 and 1953. The following year he was reunited with a previous employer.
Walter Bishop Jr rejoined Art Blakey’s band for a session and recorded eight tracks with him. They were released later that year on the Blakey album. By then, times were tough for one of jazz’s rising stars.
At the time, Walter Bishop Jr had become addicted to drugs. Sadly, this was not uncommon amongst jazz musicians as drugs were readily available in clubs and many became addicted to heroin.
Things got worse for Walter Bishop Jr when he was arrested and imprisoned. This also led to the withdrawal of his New York Cabaret Card. For a jazz musician this was a disaster as he was no longer able to play live in the city’s clubs.
In early May 1956, Walter Bishop Jr was asked to play on a Hank Mobley session. It became Mobley’s 2nd Message, which was released on Prestige on July the ‘27th’ 1956.
During the second half of the fifties, Walter Bishop Jr converted to the Muslim faith and adopted the name Ibrahim ibn Ismail. This he didn’t publicise and he continued to perform and record as Walter Bishop Jr.
This included when he played on the sessions for Jackie McLean’s album Swing, Swang, Swingin’. It was recorded at Van Gelder Studio on October the ‘20th’ 1959, and released by Blue Note Records in March 1960.
As the sixties dawned, Walter Bishop Jr continued to work as a sideman and he played on a number of sessions during 1960. This included Charlie Rouse’s album Takin’ Care of Business which was released later that year and Dizzy Reece’s Soundin’ Off which was released by Blue Note Records in October 1960.
Walter Bishop Jr also played on Ken McIntyre’s Looking Ahead, Jackie McLean’s Capuchin Swing and Curtis Fuller’s Boss of the Soul-Stream Trombone which were all released in 1961.
During the first two months of 1961, Walter Bishop Jr had played on the sessions for Shorty Baker and Doc Cheatham album Shorty and Doc and The Magnificent Trombone of Curtis Fuller. Then on March the ‘13th’ 1961 he played on the Rocky Boyd Quintet’s Ease It. The following day, Walter Bishop Jr returned to Bell Sound Studio to record his first album as bandleader.
Speak Low.
He had made his professional debut as a teenager in the mid-forties and music had been his life since then. The thirty-three year old pianist made his way to Bell Sound Studio, New York, on March the ‘14th’ 1961 to record an album of standards with the Walter Bishop Jr Trio. He was joined by drummer GT Hogan and bassist Jimmy Garrison and they recorded six standards that became the post bop album Speak Low.
When it was released later in 1961 Speak Low was well received by critics. Many forecast a big future for bandleader Walter Bishop Jr.
Having released his debut album as bandleader, he returned to playing live and session work. Between October the ‘17th’ and ‘18th’ Walter Bishop Jr played on Gene Ammons’ Boss Soul! and Up Tight! Just a month later, on November the ‘13th’ he played on Kenny Dorham’s Inta Somethin’and this brought to an end one of the most important years of a career that had already spanned three decades.
In 1962, Stateside released A Pair of “Naturals” which included contributions the Peter Yorke Orchestra and Walter Bishop Jr Trio. The bandleader must have hoped that the album would introduce his music to a wider audience.
Despite having embarked upon a solo career, he continued to work as a sideman. Just like many jazz musicians session work augmented the income he made playing live and from record sales. In 1962, Walter Bishop Jr played on the sessions for the John Handy album Jazz. It was released later that year. However, after that, session work seemed to dry up for Walter Bishop Jr.
Summertime.
Two years after the release of his debut album as bandleader the new Walter Bishop Jr Group entered the studio. It featured drummer Jimmy Cobb and bassist Butch Warren who joined forces with bandleader and pianist Walter Bishop Jr. They recorded twelve track that were a mixture of standards and familiar tracks. These tracks became Summertime.
Later in 1963, Summertime was released by Cotillion Records, an imprint of Atlantic. It found the new Group flitting between bop and Bossa Nova on album that was well received by critics and hailed as a success. However, it wasn’t a commercial success and it was another five years before Walter Bishop Jr returned with a new album.
Over the next couple of years, Walter Bishop Jr concentrated on playing live. Session work had dried up and the only album he played on in 1965 was Sonny Stitt’s Broadway Soul which was released later that year.
Two years later, Walter Bishop Jr was asked to play on the sessions for Harold Vick’s album Commitment. However, it wasn’t released until 1974. By then, things had changed for Walter Bishop Jr.
During the late-sixties, he decided to return to college. When he left high school in the mid-forties he had embarked upon a career as a professional musician. With jazz no longer as popular as it once was, he enrolled at The Juilliard School and studied with Hall Overton. Later, Walter Bishop Jr would teach music theory in colleges in Los Angeles. Before that he would return to the studio.
1965.
In 1970, the Walter Bishop Jr Trio returned with their sophomore album, 1965. The lineup featured drummer Jimmy Cobb and bassist Butch Warren and they recorded sixteen tracks with producer Addison Amor.
When 1965 was released, this latest album of bop was hailed as the finest album that the bandleader’s recording career. Walter Bishop Jr was back and would return with a new album in 1971.
Coral Keys.
Walter Bishop Jr signed to Gene Russell and Dick Schory’s nascent Black Jazz Records in 1971. They had founded the label to promote the talents of young African-American jazz musicians and singers. Their first signing was Doug Carn who had just released his debut album Infant Eyes. The second album the label released in 1971 was Walter Bishop Jr’s Coral Keys.
Coral Keys featured seven of Walter Bishop Jr’s compositions. Some of these he recorded with a quartet, and others with a quintet.
The quartet played on Coral Keys, Waltz for Zweetie, Track Down and Soul Turn Around. The lineup was drummer Idris Muhammad, bassist Reggie Johnson, Walter Bishop Jr on piano and Harold Vick who switches between flute, soprano and tenor saxophone. For the rest of the album the lineup changed.
For the recording of Our November, Three Loves and Freedom Suite Alan Shwaetz Benger replaced Idris Muhammad and trumpeter Woody Shaw was added to the band. This was the lineup that competed the recording of Coral Keys.
When Coral Keys was released later in 1971, the album wasn’t the commercial success that Walter Bishop Jr or the owners of Black Jazz Records had hoped. It was a disappointment for everyone involved with the album.
Record buyers had missed out on a groove-centric album that found Walter Bishop Jr’s band flitting between modal jazz, hard bop and post bop. Just like all good bandleaders, he’s not afraid to let the rest of the band shine. They grasp the opportunity throughout the album and showcase their considerable skills.
This includes reedman Harold Vick on Coral Keys. Around Walter Bishop Jr’s piano he unleashes an exquisitely melodic soprano saxophone solo. This brings back memories of John Coltrane’s classic My Favourite Things.
Elsewhere the band shine and this includes the rhythm section of drummer Idris Muhammad and bassist Reggie Johnson on the first four tracks. Then the addition of trumpeter Artie Shaw on the final three tracks adds a new dimension to the first album to be credited to Walter Bishop Jr.
On Coral Key’s he’s been influenced by his hero Bud Powell as well as Horace Silver’s classic Blue Note Records’ era as well as Les McCann, Ramsey Lewis and sometime Bobby Timmons, Gene Harris and Red Garland. All these influences shine through on Walter Bishop Jr’s Black Jazz Records’ debut Coral Keys.
Sadly, Coral Keys wasn’t a commercial success when it was released. It was the album that got away for Walter Bishop Jr and so did his 1973 album Keeper Of My Soul. The only Black Jazz Records’ releases that enjoyed a degree of success were Doug Carn’s quartet of albums.
It was only much later when critics, cultural commentators and DJs rediscovered and revisited the Black Jazz Records’ back-catalogue that they realised just how important an album Coral Keys was. It was a groundbreaking album where Walter Bishop Jr and his quartet and quintet flit between and fuse musical genres on what’s without doubt one of the finest of his career. Just like the previous Black Jazz Records albums released by Real Gone Music, Walter Bishop Jr’s Coral Keys is a welcome reissue and a reminder of one of one of the greatest American independent jazz labels of the seventies who always strived to released innovative albums that were ahead of the musical curve.
Walter Bishop Jr-Coral Keys.
CULT CLASSIC: DJ SHADOW-PRIVATE PRESS.
Cult Classic: DJ Shadow-Private Press.
On September the ’16th’ 1996, DJ Shadow released his critical acclaimed landmark debut album Endtroducing…..on the label Mo Wax Recordings. Endtroducing….which featured uptempo jams and slow, dark and broody tracks was inspired by early hip hop and was hailed as a genre classic-in-waiting.
It was no surprise when Endtroducing….was certified gold in Britain and Canada and sold over 290,000 copies in America. Critics called DJ Shadow one of hip hop’s rising stars and forecast a great future for the twenty-four year old DJ, producer record collector.
By then, DJ Shadow had amassed a 60,000 record collection which he had sampled extensively on Endtroducing….and on his early singles which featured on Preemptive Strike. It was released to plaudits and praise by Mo Wax Recordings on January the ’13th’ 1998 and featured singles released by DJ Shadow between 1991 and 1997. Preemptive Strike was another tantalising reminder of what DJ Shadow was capable of.
A year later, in 1999, DJ Shadow and Cut Chemist released their first live album Brainfreeze. This was the first of a quartet of live albums DJ Shadow and Cut Chemist would release between 1999 and 2008.
Nearly four years after the release of Endtroducing….DJ Shadow entered the The Parlor Of Mystery studio in August 2000 to begin recording his sophomore studio album Private Press. By then, DJ Shadow had signed to MCA Records as he began recording the much-anticipated followup to Endtroducing….which was regarded as a genre classic.
DJ Shadow had recorded Endtroducing….between 1994 and 1996, but spent just over year recording Private Press. It was completed in December 2001, and by then DJ Shadow had released another live album.
This was Product Placement which was released in 2001, and was the second live album from DJ Shadow and Cut Chemist. Product Placement was only released at DJ Shadow’s gigs between 2001 and 2003.
By then, DJ Shadow has released his much-anticipated sophomore album Private Press on CD and a 2 LP set on June the ‘4th’ 2002. Nearly six years after the release of Endtroducing….DJ Shadow was back with Private Press.
When Private Press was released it was to widespread critical acclaim. Critics in Britain and America were won over by Private Press. DJ Shadow had sampled forty-three tracks ranging from novelty tracks to hidden gems and rarities. They were part of the musical tapestry that was Private Press.
Now thirty, DJ Shadow showcases his versatility and production skills on Private Press. Even after a couple of carefully crafted tracks it’s obvious that Private Press is a DJ Shadow album. It opens with the musical amuse-bouche (Letter From Home) before Fixed Income and later, Giving Up The Ghost feature melancholy, string-drenched arrangements that sit atop various sampled breaks. This becomes a pattern as DJ Shadow hops between genres on Private Press.
On Walkie Talkie it’s swaggering disco breaks and wistful sixties pop Six Days through to Right Thing/GDMFSOB where the tempo rises and there’s breaks aplenty. DJ Shadow unleashes a myriad of effects including echo amidst the electro breakbeats before he drops in Leonard Nimoy’s pure energy sample which is a masterful inclusion.
Mashin’ On The Motorway is described as road rage comedy and features Lateef The Truth Speaker. It’s followed by Blood On The Motorway where a lone vocal is combined with a vocal that repeats a biblical text. This proves effective and is followed by You Can’t Go Home Again, before a reprise of (Letter from Home) closes Private Press, which was DJ Shadow’s long-awaited sophomore album.
After DJ Shadow released Endtroducing….which was his critically acclaimed debut album, many critics wondered how would he would followup a genre classic? DJ Shadow returned to the studio where he used his trusty sampler to create a genre-melting album.
Disco, electronica, funk, hip hop, jazz, pop, soul and trip hop were combined by DJ Shadow as he spent over a year piecing Private Press together until his second genre classic was complete. DJ Shadow had followed up Endtroducing…with Private Press which was a fitting followup to one of the best hip hop albums of the nineties,
Prior to the release of Private Press, DJ Shadow was still regarded as one of hip hop’s rising stars. However, DJ Shadow came of age on his sophomore album Private Press which was his second genre classic and sixteen years later is still one of his finest moments.
Cult Classic: DJ Shadow-Private Press.
50 YEARS AGO GEORGE HARRISON RELEASED ALL THINGS MUST PASS.
50 Years Ago George Harrison Released All Things Must Pass
On the ‘10th’ of April 1970, Paul McCartney announced his departure from The Beatles. This signalled the end of The Beatles and start of his solo career which began a week later.
When Paul McCartney released his debut album McCartney, The Beatles were in the process of releasing their swan-song, Let It Be.
Just a month later, the Phil Spector produced Let It Be, and the single The Long and Winding Road were released on the ‘8th’ May 1970. Let It Be was a disappointing swansong from The Beatles, and was their only album not to be accompanied by glowing, critically acclaimed reviews. It was, some critics said, a disappointing end to The Beatles’ career.
Worse was to come when a later in May 1970, when the documentary that accompanied Let It Be was released. Critics were far from impressed by a documentary that had been eagerly awaited. Despite this, the Let It Be documentary still managed to win the 1970 Academy Award for Best Original Song Score. By then, the four former Beatles were concentrating on their solo careers.
After the breakup of The Beatles in 1970, John Lennon, Paul McCartney and Ringo Starr embarked upon solo careers. Most of the attention was centred around John Lennon and Paul McCartney. This suited George Harrison fine.
George Harrison had already released two albums by the time the four Beatles went their separate ways. By then, George Harrison had already released two solo albums including the soundtrack to Wonderwall Music. When it was released in November 1968, it was one of the most of the most innovative yet underrated music released by a former Beatle and the album that launched George Harrison’s solo career.
Wonderwall Music.
The album that became George Harrison’s debut album was unlike the other three Beatles’ solo albums. Wonderwall Music was the soundtrack to Joe Massot’s film, and was a fusion of two disparate musical cultures. George Harrison and some of his musical friends recorded an album where Indian classical music and rock sat side-by-side on Wonderwall Music. This wasn’t surprising as George Harrison had been interested in Indian music since 1966. Recording Wonderwall Music allowed George Harrison to experiment with his new musical love.
Recording of Wonderwall Music took place between November 1967 and February 1968 at EMI Studios, London, HMV Studios, Bombay and De Lane Lea Studios, London. These studios were where George Harrison collaboration with renowned classical pianist and orchestral arranger John Barham took shape He played an important part in Wonderwall Music, as did a number of Indian musicians, including Mahapurush Misra, Shivkumar Sharma and Aashish Khan. However, it wasn’t just classical musicians that featured on Wonderwall Music.
Some of George Harrison’s friends from the rock world joined him in the studio. This included former Cream guitarist Eric Clapton, ex-Beatle Ringo Starr and Peter Tork. They were joined on Wonderwall Music by Tony Ashton and his band The Remo Four. This all-star band, that included the best Indian music and rock music had to offer, spent the best part of three months recording of Wonderwall Music. Once the album was complete, it was released on The Beatles’ new record label Apple.
Before Wonderwall Music was released, critics had their say on George Harrison’s debut album. Sadly, Wonderwall Music failed to catch the attention of critics, and many didn’t even bother to review the album. They perceived Wonderwall Music as “just a soundtrack,” and not worthy of a review.
Ironically, since then, the same critics have reevaluated Wonderwall Music and it’s now perceived as a compelling and innovative album. Indeed, Wonderwall Music is now one of the most underrated solo albums by a former Beatle. Not many people would’ve realised this in back 1968.
When Wonderwall Music was released in Britain on the ‘ 1st’ of November 1968 it failed to chart. A day later, Wonderwall Music was released on the ‘2nd’ of November 1968 and peaked at number forty-nine in the US Billboard 200. This vindicated George Harrison’s decision to release such a groundbreaking album. The followup to Wonderwall Music saw George’s music head in a much more avant-garde direction.
Electronic Sound.
Just over a year after the release of Wonderwall Music, George Harrison returned with his sophomore album, Electronic Sound. Critics and record buyers wondered what direction the Quiet One’s music would head in on his sophomore album? None of them would have guessed that George Harrison was about to release an album of avant-garde music, Electronic Sound.
Electronic Sound was recorded during November 1968 and February 1969 at Sound Recorders Studio, Los Angeles and at Kinfauns, George Harrison’s home in Surrey.The album featured just two lengthy pieces played on Robert Moog’s latest groundbreaking invention, the Moog synth. With a Moog synth, George Harrison recorded Under The Mersey Wall, which lasted nearly nineteen minutes and No Time Or Space, which was a twenty-five minute epic. These two songs became Electronic Sound, which was released on the ‘9th’ of May 1969.
Just like Wonderwall Music, critics weren’t interested in Electronic Sound. Reviews of George Harrison’s sophomore were few and far between, and to some extent, that wasn’t surprising. The problem was that Electronic Sound was an album that was so far ahead of its time, that critics who were used to reviewing albums of pop and rock failed to understand that album, never mind understand what George Harrison was trying to achieve.
It was only later when critics revisited Electronic Sound that they regarded the importance of the album. Electronic Sound was pioneering and innovative album of avant-garde electronic music that later, would be a reference point and inspiration for future generations of musicians. However, the critics that reviewed Electronic Sound in 1969 regarded it as an an album for completists only, or those interested in avant-garde or electronic music. Despite the importance of Electronic Sound, it hasn’t stood the test of time. Neither was it a commercial success.
Electronic Sound was scheduled for released in Britain on the ‘9th’ of May 1969 on The Beatles’ Zapple label. It was an imprint of Apple, with a raison d’être was to release albums of avant-garde music. However, Zapple was a short-lived venture for The Beatles, and was closed down by their new manager Allen Klein as part of his cost cutting measures. One of the few albums Zapple released was Electronic Sound.
Electronic Sound was released in Britain on the ‘9th’ of May 1969, and failed to chart. For George Harrison this was another disappointment. Just over two weeks later, Electronic Sound was released in America on 25th May 1969, and history repeated itself and Electronic Sound failed to chart. However, George’s luck was about to change when he released his third album All Things Must Pass, which was the album that transformed George Harrison’s solo career.
All Things Must Pass.
While his first two album had been adventurous and groundbreaking, George Harrison’s third album, All Things Must Pass was a much more traditional album. It was also an album that showcased George Harrison’s talent as a singer,songwriter, and musician.
For All Things Must Pass, George Harrison headed into the studio with eighteen tracks to record. Many of the songs on All Things Must Pass were new songs, while others were written while George Harrison was still a member of The Beatles. They had turned down tracks like All Things Must Pass and Isn’t It A Pity, preferring to record Lennon-McCartney compositions. While this was frustrating for George Harrison. the Quiet One shrewdly kept them for his solo career. Now was the time to showcase these songs on All Things Must Pass.
Sixteen of the tracks on All Things Must Pass were written by George Harrison. He also cowrote I’d Have You Anytime with Bob Dylan. The only cover version on All Things Must Pass was the Bob Dylan composition If Not For You . These eighteen songs were part of what became a triple album, which was recorded in three top studios and featured an all-star cast.
Recording of All Things Must Pass began on 26th May 1970 and finished in late October 1970, with recording sessions taking place in the familiar surroundings of Abbey Road Studios, Trident Studios and Apple Studios. During that five month period, the great and good of music played a walk on part on All Things Must Pass.
This included George Harrison’s friend and ex-Beatle Ringo Starr played drums on some of the tracks. He was joined by two men who had been members of The Beatles’ inner circle. Billy Preston who played with both The Beatles and the Rolling Stones played piano and organ. Klaus Voormann another Beatles’ confidante arrived at the sessions and played guitar and bass.
They were joined by three members of Derek and The Dominoes, drummer Jim Gordon, bassist Carl Radle and Eric Clapton who played acoustic and electric guitars. Among the other top names that made their way to the sessions were Blind Faith drummer Ginger Baker, Yes’ drummer Alan White, Traffic’s Dave Mason who played electric and acoustic guitars and Phil Collins of Genesis added percussion. These big names were joined by some top session players.
This included Bobby Whitlock, who was formerly a member of Delaney and Bonnie, and in 1970, session musician to the stars. Bobby Whitlock played piano, organ, tubular bells and harmonium. Pete Drake played pedal steel, while Pete Ham, Tom Evans and Joey Molland played acoustic guitar, and Tony Ashton and Gary Brooker played piano. Horns came courtesy of saxophonist Bobby Keys and trumpeter and trombonist Jim Price. Joining this crack band of session players was The Beatles’ former roadie Mal Evans, who played percussion. He played a small part in what would become the most successful album of George Harrison’s career, All Things Must Pass.
With All Things Must Pass completed, George Harrison’s third solo album was scheduled to be released on the ‘27th’ of October 1970. Before then, the music critics passed judgment on All Things Must Pass. They hadn’t been won over by George Harrison’s two previous albums Wonderwall Music and Electronic Sound, and there was a degree of trepidation as the Quiet One awaited the reviews of All Things Must Pass.
When the reviews were published, there was not one dissenting voice. Critics hailed All Things Must Pass as a classic, and critical acclaim accompanied George Harrison’s third solo album. It was, without doubt, the greatest album of George’s three album solo career, and marked the coming of age for George Harrison.
It was as if George Harrison had been freed from the shackles that were The Beatles. No longer was he being held back by the Lennon-McCartney axis who dictated what songs featured on The Beatles’ albums. Most of the time, George Harrison’s songs had been rejected out of hand, and often, inferior songs from Lennon-McCartney partnership were given preference. However, George Harrison was about to have the last laugh.
The cover of All Things Must Pass saw George Harrison surrounded by four comedic looking gnomes, which many veteran Beatles watchers believed were meant to represent The Beatles. The same Beatles watchers saw this as George Harrison commenting on his removal from The Beatles. That was George Harrison’s past, and he was no longer defined by his membership of The Beatles. Since the breakup of The Beatles, George Harrison had his own identity back and could forge a career as a solo artist. What better way to start the next chapter in his career that by releasing a classic album, All Things Must Pass.
The ‘27th’ of October 1970 was D-Day for George Harrison. That was the day All Things Must Pass was released as a triple album. The first four sides featured the main part of All Things Must Pass which was produced by George Harrison and Phil Spector. On sides five and six, was Apple Jam which It featured five jams. The lavish triple album that was All Things Must Pass, was about to become one of the most successful solo albums by a former Beatle.
The lead single released from All Things Must Pass during 1970 was a double A-Side. This was My Sweet Lord and Isn’t It A Pity. It reached number one in America, Australia, Britain, Canada, Germany, Holland, Norway, Sweden and Switzerland. Having sold one million copies in America, My Sweet Lord was certified gold, and later, was nominated for a Grammy Award. There was a problem though.
Anyone familiar with Ronnie Mack’s He’s So Fine immediately spotted the similarities between the two songs. So did Bright Tunes Music who filed a writ against George’s Harrisongs Music on the ‘10th’ of February 1971. Nearly five years later, on the ‘23rd’ of February 1976, the case was settled. It was held that George Harrison had “subconsciously copied” He’s So Fine and Bright Tunes Music was awarded damages that totalled $1,599,987, which was deemed 75% of the North American royalties. For George Harrison, the case brought by Bright Tunes Music caused him huge problems, and he became so paranoid about subconsciously copying some else’s work, that he could hardly write. However, back in 1970, that wasn’t the case.
On the release of All Things Must Pass on the ‘27th’ of October 1970, it reached number one in America, Australia, Britain, Canada, Holland, Norway and Sweden. All Things Must Pass also reached number four in Japan and number ten in Germany. Given how successful All Things Must Pass was, it’s no surprise it was certified gold in Britain and Canada. In America, All Things Must Pass was certified platinum six times over. That equates to sales of six million copies of All Things Must Pass. Never again, would George Harrison reach these heights. This was no surprise, as All Things Must Pass was a stonewall classic.
After the release of All Things Must Pass, no longer was George Harrison perceived as a junior partner in The Beatles. That was far from the case as he was a talented and prolific songwriter. The sixteen songs that featured on All Things Must Pass was just the tip of a musical iceberg. For a number of years, George Harrison had been quietly writing songs. By 1970, he had accumulated a vast body of work. Now was the time to let the record buying public hear what he was capable of on All Things Must Pass.
All Things Must Pass was George’s Magnus Opus. It’s an epic album. Lavish, epic arrangements are the perfect foil for George’s vocal. The music is both melodic and mystical. Especially when George draws inspiration from Indian music. This is part of All Things Must Pass’ spiritual sound.
During All Things Must Pass spirituality and religion play an important part. This is apparent on My Sweet Lord. Just like other tracks on All Things Must Pass, My Sweet Lord is a mixture of rock ’n’ religion. It’s an anthemic modern-day hymnal. However, there’s other influences on All Things Must Pass.
This includes The Band, Bob Dylan and of course Phil Spector. His arrangements are part of the albums lavish, grandiose sound. Phil Spector co-produced All Things Must Pass, and was yin to George’s yang. Now that George Harrison was freed from the constraints of Lennon and McCartney he had blossomed as singer, songwriter, musicians and producer. Phil Spector had helped the genie escape from the bottle.
In doing so, Phil Spector helped George Harrison record an album that he would never better, All Things Must Pass. Cerebral, thoughtful and spiritual, the music is often beautiful and sometimes wistful and melancholy on what is a compelling classic album that is spread across side sides of vinyl. It features many musical highlights.
Some of the many highlights include My Sweet Lord is a stonewall classic. It’s one of the best songs ever written and recorded by a former Beatle. It’s a timeless, spiritual song, written in praise of the Hindu god Krishna, where George Harrison calls for the abandonment of religious sectarianism. Sadly, forty-seven years later, this beautiful song is just as relevant.
The thoughtful Isn’t It a Pity was written after the demise of The Beatles, George Harrison is in a reflective mood. There’s a sadness in his voice that no longer are The Beatles such close friends. On All Things Must Pass, it’s as if George has come to terms that The Beatles are no more. Considering they were a part of his life for so long, this couldn’t have been easy.
George Harrison is in an equally reflective mood on What Is Life? Written in 1969, it’s one of George Harrison’s love songs. This is something that he does so well. In this song, the lyrics aren’t just about a woman, but a deity too.
Beware Of The Darkness is another spiritual song, where t he lyrics reflect the supposed philosophy of Radha Krishna Temple. It’s a song full of powerful imagery which gives the track a cinematic sound and feel. Art Of Dying is another spiritual track where George Harrison deals with reincarnation and the need to avoid rebirth. Closing All Things Might Pass is Hear Me Lord, a song that originally, George Harrison put the song forward for Let It Be. It was rejected and makes its debut on All Things Might Pass. A personal prayer in a rock gospel style, George Harrison asks for help and forgiveness from his deity on Hear Me Lord.
Apple Jam, which fills sides five and six, allows George Harrison’s multitalented all-star band to cut loose. On the longer tracks Out of the Blue, I Remember Jeep and Thanks for the Pepperoni they showcase their versatility and considerable talents. This is a fitting way to end All Things Must Pass.
Although George Harrison went on to release nine further solo albums, none of them match All Things Must Pass in terms of success and quality. Most of his albums were commercially successful, but neither replicated the success nor critical acclaim that All Things Must Pass enjoyed. It was George Harrison’s career defining album, and sadly, he would never again reach the same heights.
Try as he may, George Harrison always came up short when he released future albums. All Things Must Pass was George Harrison’s Magnus Opus. Freed from the shackles of The Beatles, George Harrison had blossomed, and was no longer the “junior partner” or “quiet Beatle.” George Harrison was only quiet because he never had was given opportunity to speak musically. When he did, it was a case of tokenism, which The Beatles would come to regret.
Just six months after Paul McCartney announced he was leaving The Beatles in April 1970, George Harrison released All Things Must Pass, which sold over seven million copies and reached number one in Australia, Britain, Europe and North America. There was the small matter of two Grammy Award nominations.
When the Grammy Award nominations came out, George Harrison was nominated twice. All Things Must Pass was nominated for the Album of The Year Award and My Sweet Lord was also nominated for Record of the Year. This was a huge honour, and a recognition of how far he had come since leaving The Beatles. All Things Must Pass also marked the coming age musically of George Harrison.
When George Harrison recorded All Things Must Pass he neither resorted to controversy nor gimmicks Instead, he let his music do the talking, and didn’t need to resort to bed ins, bagism, third-rate protest songs or adaptations of nursery rhymes. Instead, George Harrison who was already one of the most respected figures in music, was joined by some of the biggest names in music
The musicians who joined George Harrison on All Things Must Pass reads like a who’s who of music. They recorded the twenty-three tracks that became All Things Must Pass. This all-star band played their part on became the most successful solo album released by a former Beatle.
After the success of All Things Must Pass, none of the rest of The Beatles’ came close to replicating its success. That is no surprise, as All Things Must Pass is a classic album. Even the contrarian Rolling Stone magazine agree, and include All Things Must Pass in their list of 500 albums of all time. It’s the album that launched George Harrison’s solo career, after the release of two very different albums.
1968s Wonderwall and 1969s Electronic Music were much more groundbreaking, avant-garde albums, while All Things Must Pass saw George Harrison return to a much more familiar sound. The only difference was All Things Must pass marked the debut of George Harrison’s trademark slide guitar sound. Washes of slide guitar play an important part in All Things Must Pass’ sound. This sound would feature on further George Harrison albums.
Over the next thirty-two years, another nine George Harrison albums were released. His final album was Brainwashed, which was released posthumously in 2002, a year after George Harrison’s death. However, George Harrison left behind a rich musical legacy, including the albums he recorded with The Beatles and the twelve solo albums he released between 1968 and 2002. The includes George Harrison’s career-defining Magnus Opus All Things Must Pass, which is a stonewall classic, and the most successful album released by a former Beatle.
50 Years Ago George Harrison Released All Things Must Pass
COLIN CURTIS PRESENTS JAZZ DANCE FUSION VOLUME 2.
Colin Curtis Presents Jazz Dance Fusion Volume 2.
Label: Z Records.
Format: CD.
During the late-seventies and early eighties, one of most popular DJs on the UK jazz-dance scene was Colin Curtis, who was born Colin Dimond, in Madeley, Staffordshire 1952. That was where the his lifelong love of music began when he started to listen to offshore pirate radio stations like Radio Caroline. Not long after this, a friend of Colin Curtis’ sister showed him her collection of Tamla Motown singles, and this was the state of a lifelong love of black American music.
Soon, Colin Curtis was collecting record soul and R&B, and in the late-sixties, started attending Northern Soul all-nighters at the Twisted Wheel in Manchester, and later, at the Golden Torch in Tunstall, Staffordshire. However, Colin Curtis wasn’t content just to dance at the all-nighters, what he really wanted to do was DJ.
He got his opportunity in the late-sixties, while still a teenager, and before long was part of the DJ line-up at the Golden Torch all-nighters. However, it was in 1973 that Colin Curtis got his big break, when he began a weekly residency at the soul nights at the Highland Rooms at the Blackpool Mecca. Soon, Colin Curtis was joined by fellow DJ and record collector Ian Levine, and this was the start of a five-year partnership which that lasted until 1978. However, during this period, there was a split in the Northern Soul scene.
Up until then, the Northern Soul scene was primarily a revivalist scene, with the majority of DJs looking for obscure soul singles from the sixties and seventies. This was too restrictive for Colin Curtis and Ian Levine whose music tastes were much more eclectic. The pair who pioneered mixing in the UK, began adding disco, funk and jazz to their sets which was a controversial move. So much so, that the Northern Soul scene was split in two and the modern soul movement emerged out of the Highland Rooms.
The demise of the Colin Curtis and Ian Levine DJ-ing partnership took place in September 1978, after five years at the Highland Rooms. However, Colin Curtis left to take up a residency at Rafters nightclub in Manchester, which marked a turning point in his DJ-ing career.
Although Colin Curtis still played soul and disco in his sets, they started to move towards jazz funk and fusion. This was the sound that Colin Curtis played at all-nighters up and down the country, including venues like the Blackpool Mecca and Manchester Ritz. These nights were hugely popular, with Colin Curtis regularly playing in front of crowds that ranged from 1,500 right up to 3,000. Colin Curtis’ new sound was proving as popular as the Northern Soul nights he had played at a decade earlier.
Buoyed by the success of his new sound, Colin Curtis started playing at venues around the UK, and by the early eighties, was even playing in mainland Europe. By then, Colin Curtis was regarded as a pioneer of the UK jazz-dance scene which would explode over the next few years. However, if it wasn’t for DJs like Colin Curtis, the UK jazz-dance scene may not have been the success it was.
Over thirty years later, and Colin Curtis is still passionate about the music he played on the UK jazz-dance scene. So much so, that in 2018 Z Records released Colin Curtis Presents Jazz Dance Fusion. It was released to plaudits and praise and found favour with dancers and DJs who have been waiting for the second instalment
Two-and-a-half years later and Colin Curtis Presents Jazz Dance Fusion Volume 2 has just bee released by Z Records and continues to document the glory days of the UK jazz-dance scene.
On Colin Curtis Presents Jazz Dance Fusion Volume 2 there’s thirteen tracks, and he eschews the predictable and familiar and instead, digs deep into his collection for deep cuts, rarities and hidden gems. However, there’s still plenty of floor filling favourites and these top quality workouts will test the stamina of even the fittest dancers. It’s quality all the way and it’s not going to be easy to choose the highlights of a compilation of the quality of Colin Curtis Presents Jazz Dance Fusion Volume 2.
Opening Colin Curtis Presents Jazz Dance Fusion Volume 2 is Revelation by Paoli Mejias and is taken from the Puerto Rican percussionist’s debut album Mi Tambor. It was released on his Paoli Mejias label in 2004. It’s a breathtaking slice of Latin jazz will test the stamina of dancers. This hidden gem and is welcome addition to the compilation.
In 2010, Leslie Lewis and Gerard Hagen Trio released the album Keeper Of The Flame on Surf Cove Jazz. One of the album’s highlights was the title-track which features a vocal masterclass from one of jazz’s best kept secrets. Leslie Lewis combines power and emotion as she breathes life and meaning into the lyrics on what’s a tantalising taste a truly talented vocalist.
When bassist Curtis Lundy released Just Be Yourself on New Note in 1987, the album featured Never Gonna Let You Go. Playing a starring role is vocalist Carmen Lundy who delivers a heartfelt vocal powerhouse. It was one of the highlights of the album and is the perfect introduction to another talented jazz vocalist.
Outside of their native Brazil, not many people will have heard of 8VB. That’s a great shame as they’re a talented group who released their debut album Amicizia on Delira Música in 2007. It featured the genre-melting track Gengis where they seamlessly combine jazz-funk, fusion with Latin jazz on another hidden gem that Colin Curtis has unearthed.
Upa Neguinho featured on the Marita Alban Juarez Quartet’s 2015 album which was released on Youkali Music. It’s a driving Latin jazz dancer that features an almost flawless performance from the Quartet and showcases their considerable skills.
JD Walter’s Golden Lady is taken from his album Sirens In The C-House which was released by Dreambox Media in 2000. It’s one of his own compositions and features an inventive scatted vocal. However, it’s French pianist Jean-Michel Pilc that steals the show. Despite that, it’s one of the weaker tracks on the compilation.
When Steven Kroon released his Without A Doubt (Sin Duda) album in 2011 it featured Tombo 7/4. He combines jazz and Latin during this joyous slice of musical sunshine which sashays along.
Hajime Yoshizawa was part of the Nu-Jazz movement in the late-nineties and then formed Kyoto Jazz Massive with his three brothers. However, in August 2008 the keyboardist released his solo album Japan on the Village Again label. It featured Celebration a sultry sounding track where he unleashes a stunning solo and is joined by vocalist Navasha Daya who makes a guest appearance. Together they play their part in the sound and success of this timeless track.
In an instant the Raffaela Renzulli Ensemble transport the listener to Brasilia. It’s a quite beautiful summery sounding track from their 1987 album Children Of The Light.
Given the quality of Carmen Lundy’s vocal on Just Be Yourself, the inclusion of So This Is Love is a welcome one. She delivers an impassioned vocal on this Latin jazz workout that’s sure to be a favourite of dancers and DJs alike.
Hungarian guitarist and vocalist Tino Gonzales released the album Latin Gypsy in 2006. There’s a sense of urgency during the title-track which features a scratchy gypsy violin. It’s a accompanied by bursts of a scatted vocal and a fleet-fingered jazzy piano solo. Along with the rhythm section they drive the arrangement to this glorious floorfiller along.
When Grady Tate released his album Body and Soul on the Milestone label in 1983 it featured Little Black Samba. Straight away the track heads in the direction of vocal jazz as he unleashes an urgent scatted vocal on a track that’s a reminder of a different era.
Closing Colin Curtis Presents Jazz Dance Fusion Volume 2 is Jam Session Goes Latino’s Manteca. It’s the title-track to an album that featured Al Grey and Isauro. It’s a joyous call to dance that closes the album on a high.
For veterans of the UK jazz dance scene Colin Curtis Presents Jazz Dance Fusion Volume 2 is the perfect opportunity to relive the nights spent dancing to jazz funk, fusion and Latin jazz. The thirteen tracks on Colin Curtis Presents Jazz Dance Fusion Volume 2 were part of this hugely popular scene. It was very different to what had gone before including Northern Soul, disco and boogie and there was a freshness to the music that was being played in clubs.
Never before had DJs played sets that featured jazz funk, Latin jazz and fusion. This many onlookers thought was unheard of, but the roots of the UK jazz dance scene could be traced to the Highland Rooms in Blackpool, when Colin Curtis and Ian Levine started playing funk and disco in their Northern Soul sets. Over the next few years, Colin Curtis’ sets evolved and eventually, he was a pioneer of the UK jazz dance scene.
While other followed in his footsteps, Colin Curtis will always be remembered as one of the pioneers of the UK jazz dance scene who played eclectic sets where anything was possible. Soon, Colin Curtis’ sets featured jazz funk, fusion and Latin jazz, where he eschewed the predictable and familiar for deep cuts, hidden gems and rarities. That is the case on Colin Curtis Presents Jazz Dance Fusion Volume 2. It’s a mixture of floorfillers, fusion, jazz funk and irresistible Latin jazz that are a remainder of the glory days of the UK jazz dance scene. For veterans of the scene this Colin Curtis Presents Jazz Dance Fusion Volume 2 is a compilation that’s going to be of interest to them and is sure to bring back memories.
Colin Curtis Presents Jazz Dance Fusion Volume 2.
THE BATHERS-SUNPOWDER.
The Bathers-Sunpowder
Label: Marina Records.
Format: CD.
With Chris Thompson at the helm, the The Bathers could’ve and should’ve, been one the biggest Scottish bands ever. Their music was articulate, beautiful, dramatic, ethereal, elegiac, emotive, languid, literate and melancholy. This is music for those that have loved, lost and survived to tell the tale. Sadly, The Bathers never scaled the headiest of heights and instead, it’s story is a case of what might have been.
The Bathers were formed in Glasgow, in 1985, by singer, songwriter and troubled troubadour Chris Thomson and released six albums between 1987 and 1999. Their fourth album was Sunpowder which which was recently reissued by Marina Records and is a reminder of The Bathers at the peak of their power.
Sadly, The Bathers never reached the heady heights their music deserved. As a result, the six albums they released between 1987s Unusual Places To Die and 1999s Pandemonia never reached the audience it deserved. For Chris Thomson, history was repeating itself.
The Bathers were formed in Glasgow in 1985. They formed after Chris Thomson’s previous group Friends Again split up. Initially, the group was a vehicle for singer-songwriter Chris Thomson. However, in 1987, The Bathers secured their first record deal with Go! Discs Records and released their debut album Unusual Places To Die.
Unusual Places To Die.
For their debut album Unusual Places To Die, Chris Thomson penned ten tracks. These tracks were recorded by The Bathers’ original lineup. This included bassist Sam Loup, drummer James Locke and Chris on guitar and keyboards. Joining The Bathers, were Michael Peden of The Chimes, Douglas Macintyre and James Grant of Love and Money. They played walk on parts on Unusual Places To Die, which was released later in 1987.
When Unusual Places To Die was released in 1987, it was to widespread critical acclaim. Chris Thompson’s songs seemed to strike a nerve with critics. They described the music as variously engaging, emotive and dramatic. One critic went as far to wonder whether Unusual Places To Die was the work of a genius? Despite this critical acclaim Unusual Places To Die wasn’t a commercial success. This was nothing to do with the music though.
Instead, Unusual Places To Die fell victim to the internal politics within the record company. As a result, sales of Unusual Places To Die were poor. Given the critical response to Unusual Places To Die, this was disappointing. So, it wasn’t a surprise when The Bathers switched labels for their sophomore album, Sweet Deceit.
Sweet Deceit.
After the Go Discs! internal problems sabotaged the release of Unusual Places To Die, The Bathers moved to Island Records, where the recorded Sweet Deceit.
Sweet Deceit was an epic album, featuring fifteen tracks. Chris wrote thirteen of the tracks, and cowrote the other two. He co-produced Sweet Deceit with Keith Mitchell, and the album was released in 1990.
Three years had passed since Unusual Places To Die was released. The Bathers were back, and according to critics, better than ever. Sweet Deceit was described as impressionistic, beautiful and spellbinding. One critic, quite rightly referred to the album as a mini masterpiece. However, The Bathers had been here before with Unusual Places To Die.
On Sweet Deceit’s release, lightning struck twice for The Bathers. Sales of Sweet Deceit were disappointing. Despite the critically acclaimed reviews, Sweet Deceit seemed to pass record buyers by. For The Bathers, this was a huge disappointment.
Especially when Island Records didn’t renew The Bathers’ contract. There would be another gap of three years before we heard from The Bathers again. However, Chris Thomson was still making music.
Following Sweet Deceit, Chris Thomson joined with two former members of Lloyd Cole and the Commotions, Stephen Irvine and Neil Clark, to create a Scottish supergroup, Bloomsday. They released just one album, Fortuny, which is now regarded as a classic Scottish album. Just like The Bathers two previous albums, Bloomsday’s debut album, Fortuny, was released to critical acclaim. Unfortunately, commercial success eluded Fortuny. However, a more fruitful period was round the corner for The Bathers.
Lagoon Blues.
After signing a record contract with a German record label Marina, the group released three albums in a four year period. In 1993, they released Lagoon Blues which was their Marina debut.
Just like Sweet Deceit, Lagoon Blues was another epic album penned by Chris Thompson. It featured sixteen songs, which were the perfect showcase for Chris Thomson’s vocal. Accompanied by what was essentially The Bathers and friends sixteen tracks were recorded at Palladium Studios, Edinburgh and mixed at Palladium Studios and Cava Studios, Glasgow. Once Lagoon Blues was completed, it was released in 1993.
On its release in 1993, critics remarked that Lagoon Blues was a more eclectic album. There were diversions into jazz-skiffle on Pissor, while the album opener Lagoon Blues showcased a string quartet. The strings would play an important part on Lagoon Blues, which was hailed as poetic, elegant, sumptuous and intense. The same critical acclaim accompanied Lagoon Blues, however, this time The Bathers’ music found a wider audience. It seemed after three albums, The Bathers’ star was in the ascendancy.
Sunpowder.
For The Bathers’ fourth album, and followup to Lagoon Blues, they returned with Sunpowder. It marked the debut of a new lineup of The Bathers.
Sunpowder marked The Bathers’ debut of drummer and percussionist Hazel Morrison, keyboardist Carlo Scattini and string players Ian White and Mark Wilson. These new additions would change The Bathers’ sound greatly. Many people refer to this as the classic lineup of The Bathers. This classic lineup, plus guest artist ex-Cocteau Twin, Liz Fraser, who features on four tracks, made its debut on Sunpowder.
For Sunpowder, Chris Thomson had written eleven new songs. They were recorded a at Palladium Studios, Edinburgh. Chris Thomson and Keith Mitchell produced Sunpowder, which was released in 1995.
When Sunpowder was released, it received the same critical acclaim as The Bathers’ three previous albums. Sunpowder was called sumptuous, sensual, dramatic and ethereal. Liz Fraser, an honorary Bather was the perfect foil to Chris Thomson forever the troubled, tortured troubadour. The result was, what was The Bathers most successful album, Sunpowder.
Danger In Love a song about falling in love again opens Sunpowder. The sound of thunder can be heard before a distant organ plays and creates a dramatic sound. Soon people speak and the organ sounds dark and moody before the mood changes and a piano plays softly, meandering gently, against a background of strings. When Chris Thomson sings his voice is full of emotion as he delivers the lyrics with feeling his voice full of sadness. Meanwhile , strings sweep in and out accompanying the piano and Liz Fraser’s ethereal backing vocals. Together they make this a beautiful and emotive track, and one that benefits from an almost flawless arrangement. Just like the pieces of a jigsaw everything falls into place
The Dutch Venus continues the downtempo feel and features a lush string arrangement which is accompanied by a piano. From the opening bars the mood is set and there’s an air of sadness is omnipresent. This is reinforced when Chris Thomson delivers the lyrics and sings of lost love. He remembers someone he loved, then lost and the love affair gone wrong. Like many of the group’s songs it’s set in Glasgow, he name-checks Kelvingrove in West End of the City and it’s as if the song is personal, as if it means something to him. Maybe it’s autobiographical? The understated arrangement is perfect for the song with just piano, strings and the vocal which is accompanied by Liz Fraser. Her voice is a perfect foil for Chris Thomson. Her’s is light and bright, his sad and full of hurt and and heartbreak on what’s one of the album’s highlights.
Angel On Ruskin has a hesitant slightly start, a guitar is gently strummed, drums play, and one wonders where the track is heading? When Chris Thomson sings, he gives the track direction and soon is joined by Liz Frazer whose backing vocals are crystalline, a thing of beauty. She almost steals the show on the track where the drums are more prominent. Meanwhile two of Scotland’s finest vocalists deliver a masterclass with Liz Fraser filling in the spaces left by Chris Thomson as he sings about being captivated by a woman’s beauty and being enthralled by her. Here, Thomson’s lyrics have the same quality and power as good poetry. They affect how we feel and we empathise with characters involved and live the drama on a track I’ll never tire of hearing.
Like many of the tracks on Sunpowder, the arrangement to Delft is understated and this adds to the dramatic affect of the music. As a piano plays, space is left allowing the music to breath and adding to the drama. When ChrisThomson delivers his vocal is slow and emotive as he leaves which also adds to the drama as violins and a piano play. It’s subdued and understated but highly effective and suits this song about loving someone from afar, but they’re just out of reach, and will never be part of your life. It’s a beautiful, heartwrenching song that many people will be able to relate to.
Weem Rock Muse starts with a guitar strumming and Chris Thomson singing. His voice sounds lighter and he sounds happier as if some of the worries have been removed from his shoulders. He’s accompanied by a Hammond organ playing in the background. However, as the track progresses his vocal gets stronger and he’s joined by a harmonica that meanders in and out the track. This adds to the soulfulness of of another love song set in Scotland. Just like all of Chris Thomson’s lyrics they have a strong narrative and are thoughtful and cerebral .
On Faithless, Chris Thomson’s voice is moody and tinged with sadness on this slow burner of a song. It has a long meandering and atmospheric introduction before he dons the familiar role of troubled troubadour. His delivery is heartfelt his vocal bathed in pathos. Towards the end of the track his vocal becomes a soliloquy and really drives home their sadness on another mini-masterpiece from The Bathers that tugs at your heartstrings.
For the first time on Sunpowder, the tempo increases on She’s Gone Forever. It’s a track that deceives, because it sounds an uptempo track, but the lyrics are about losing someone you love and a relationship breaking up. They’re some of Chris Thomson’s best lyrics which he delivers against a much fuller arrangement. It feature James Grant of Love and Money who plays acoustic guitar and sings backing vocals on this heartbreaking song about love lost.
The more uptempo style continues on Send Me Your Halo where an acoustic guitar plays before Chris Thomson’s vocal enters. He’s accompanied by strings playing gently, behind his tender vocal. It’s as if the lyrics bring back pleasant memories as he sings about falling hopelessly in love, being swept off your feet and a summer long love affair. This beautiful paean shows a different side to The Bathers, especially on Sunpowder.
Just a piano plays on Saskia setting the mood before the troubled troubadour takes centrestage and sadness seeps out his very pore on this song about love lost. He’s left with merely a memory, a memory he can only recreate in a song or that appears in his dreams. So powerful is soul-baring vocal that one can share and empathise with his pain and hurt.
Strings sweep at the start of The Night Is Young which has an almost classical feel and sound at the start. The understated string arrangement sets the tone for what follows. It’s a romantic song, one where the cadence of Chris Thomson’s voice helps get across, the beauty of the lyrics. Liz Fraser sings backing vocals, her voice angelic, soaring and falling and its ethereal quality is almost otherworldly. Their voices are like light and shade, but are a match made in heaven and combine perfectly to produce one of the most beautiful and heartfelt songs on Sunpowder.
The album ends with the Sunpowder, an instrumental track where a piano and violin play and immediately one feel melancholy. Welcome to The Bathers world, a world you’ve privileged to visit. It’s a lovely way to end this album, which is one of the best albums to be made by a Scottish band in the last forty years.
When The Bathers released Sunpowder it was a career-defining album and one that set the bar high for future albums. It was a mini-masterpiece full of beautiful soul-baring ballads that featured troubled troubadour Chris Thomson as he delivers a series of soul-baring vocals as he sings of love and love lost. This is something that most people will be able to release to and demonstrate his talent as a songwriter. His lyrics are like poetry set to music and the music on Sunpowder are timeless. It’s hard to believe twenty-five years have passed since the release of what’s one of the finest Scottish albums of the past fifty years. However, it was a team effort.
It would be unfair to credit Chris Thomson alone for making this such a special album. Credit must be given to the other members of what’s regarded as the classic lineup of The Bathers. The lineup was augmented by two special guests, James Grant and Liz Fraser who played a huge part in the sound and success of the album with her flawless ethereal backing vocals to several tracks.
For The Bathers, Sunpowder wasn’t just the finest albums of their four album career but their most successful. That was no surprise. The music was atmospheric, cerebral, cinematic, dramatic, literate and is tinged with hurt and heartbreak as well as pathos, regret and sadness. No wonder given the tales of love and love lost on Sunpowder. They’re brought to life by The Bathers and a series of soul-baring vocals from their very own troubled troubadour Chris Thomson. It’s a role that seems to come easy to him and one can only wonder if the lyrics are autobiographical? This is what makes Sunpowder such a powerful album. So does Chris Thomson’s worldweary, emotive vocals which are heartfelt and impassioned. He sounds as if it’s lived the lyrics he’s singing about and has lived them not just once, but several times over on Sunpowder the album that should have launched The Bathers.
After Sunpowder, The Bathers released Kelvingrove Baby to widespread critical acclaim in 1997. It was hailed as their finest hour until the release of Pandemonia in 1999. Sadly, The Bathers’ cerebral, literate and melodic brand of chamber pop failed to find the wider audience it deserved and they remained almost unknown apart from loyal band of discerning music lovers. That’s despite releasing albums of the quality of Sunpowder, a mini-masterpiece which when its was released in 1995 was a career-defining album from The Bathers who were always striving for perfection and very nearly achieved what to lesser bands seemed impossible and out of reach.
The Bathers-Sunpowder.
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