ESTHER PHILLIPS-ALL ABOUT ESTHER PHILLIPS.
ESTHER PHILLIPS-ALL ABOUT ESTHER PHILLIPS.
If I was to ask most people, have they ever heard of Esther Phillips or her music, I’m pretty sure that most people would say no, who is she? That to me is a huge shame, because they’re as yet, unaware of one of the most talented, versatile and underrated female vocalists, who possessed a totally unique, voice. During a career that spanned four decades, she sang blues, country, jazz, pop and soul music. Her recording career started in 1950, when aged just fifteen, she released her debut single Double Crossing Blues, which reached number one in the US R&B Charts. After that, she released a number of successful singles, and over a period that spanned four decades, released twenty albums. Sadly, the story of Esther Phillips doesn’t have a happy ending, because in 1984, aged just forty-eight, she died from liver and kidney failure, caused by drug use. However, during her recording career, Esther released many great albums, and today I’ll review All About Esther Phillips, after I’ve told you about the artist that started her career as Little Esther Phillips.
Esther Phillips was born Esther Mae Jones, in Galveston, Texas in December 1935. When she was growing up, her parents divorced, and she had to divide her time between her parents. As she grew up, she sung in her local church, and quickly, gained a reputation as a talented singer. Aged fourteen, her sister made her encouraged her to enter a talent contest at Johnny Otis’ Barrelhouse Club. Reluctantly, Esther agreed. That night in 1949, Johnny Otis was so impressed, he signed her to Modern Records, and she became a member of his California Rhythm and Blue Caravan, where she became Little Esther Phillips.
Quickly, her career took off, and in 1950, her debut single Double Crossing Blues, reached number one in the US R&B Charts. The follow-up, Mistrusting Blues, gave her another number one single in the US R&B Charts. Between 1950 and 1952, Little Esther had eight top ten R&B hits. By the mid-fifties, Little Esther had become addicted to drugs and having to spend time in hospital recovering. This lead to her being short of money, and she moved back into her father’s house. To make ends meet, she sang in small nightclubs around the southern states of the US. It was in 1962, in Houston, that country singer, Kenny Rogers, saw Esther singing. So impressed was Rogers, that he helped her get a contract with his brother Lelan’s Lenox Record label.
By 1962, Esther had overcome her problems, and her career was relaunched as Esther Phillips. Her comeback single Release Me, produced by Bob Gans, reached number one in the R&B Charts and reached number eight in the US Billboard 100. A number of other singles were released on Lenox, before Esther signed to Atlantic Records.
Now that she’d signed to one of the most famous record labels, this was a huge opportunity for Esther. One of the songs she released was a cover of The Beatles song And I Love Him. It reached number eleven in the R&B Charts, and this resulted in The Beatles bringing Esther over to the UK, which were she gave her first overseas concerts. Esther continued to release singles and albums for Atlantic, but the singles weren’t as successful as earlier ones. There were no further top ten R&B singles after And I Love Him, with mainstream success eluding her. This was the case with her albums, which all failed to chart. As the 1960’s progressed, Esther’s earlier drug problem resurfaced, and she’d to enter rehab again. Whilst in rehab, she met Sam Fletcher which would later prove fortunate.
As she was recovering from her drug addiction, she released some singles for the Roulette label in 1969. After that, she re-signed to Atlantic, and released the album Burnin’ which was a recording of a 1969 concert at Freddie Jett’s Pied Piper Club. The following year 1970, the man who originally discovered Esther, Johnny Otis, entered her life. Esther performed with The Johnny Otis Show at the 1970 Monterey Jazz Festival.
During the seventies, Esther recorded for Kudu/CTI and recorded a number of successful albums, which all entered the Billboard 200 album chart. From A Whisper To A Scream her debut album for her new label, was a both critically acclaimed and commercially successful, reaching number sixteen. The album was nominated for a Grammy Award, but Aretha Franklin won the award. Aretha too, thought Esther deserved to win and presented Esther with the award. Between 1972 and 1976, Esther released a further seven album on Kudu/CTI with the 1975 album Esther Phillips and Joe Beck the most successful, reaching number three. This was the most successful part of Esther’s career since the 1950‘s. However, that was about to change, when Esther changed labels.
In 1977 Esther left Kudu/CTI and singed to Mercury Records, where she released four really good albums. The first was 1977’s You’ve Come A Long Way, Baby, which was followed by the album this article is about All About Esther Phillips in 1978. Her next album was Here’s Esther, Are You Ready in 1979. The final album released in Esther’s lifetime was A Good Black Is Hard To Crack in 1981. Just before Esther’s death in 1984, she’d just completed recording A Good Way To Sat Goodbye which was released in 1986.
Sadly, Esther Phillips died in August 1984 from liver and kidney failure, caused by drug use. Johnny Otis, the man who discovered Esther, conducted her funeral service, which was held in Los Angeles. Since Esther’s death, a number of her albums have been released, including All About Esther Phillips, which I’ll now tell you all about.
All About Esther Phillips begins with The Man Ain’t Ready. It starts quickly and brightly with guitars, rhythm and brass section combining, before Esther sings. Her voice as loud and clear, as she sings the lyrics slowly and emotionally. When she sings, it’s apparent she’s about to produce a stunning vocal, one laden with emotion and drama, where she uses her powerful, charismatic voice really well. Behind her, the band match Esther’s performance producing an equally brilliant performance, that mixes jazz, soul and funk. Both rhythm and brass sections help steer the arrangement in a funky direction, but throughout the track, the brass section don’t forget that Esther is a soul singer. They drench her vocal with their beautiful soulful sound, and throughout the track, backing vocalists joyously unite, accompanying Esther. However, as good as the arrangement is, it’s Esther’s vocal that steals the show. It mixes power and passion, and is full of emotion and charisma, as she demonstrates her ability and versatility as a vocalist, using that unique voice brilliantly during this track.
Native New Yorker is a track originally made famous by Odyssey in 1977, during the disco era, but here Esther sings the track in almost a jazz style, complete with a really full, dramatic arrangement that swings along. It opens with drums pounding, before brass and string section enter, accompanied by guitars and bass. After such a dramatic opening, Esther enters, slowing the song down as she seems to be really taking care with her delivery and diction. Quickly, she unleashes her powerful vocal, really letting her voice soar heavenwards. As she does this, backing vocalists accompany her, as do the brass section, who help to make this one of the best arrangements on the album. Together with the string and rhythm sections, they make it an arrangement that’s dramatic and powerful, yet sometimes lush. Guitars chime brightly, backing vocalists sing sweetly, the brass section interject powerfully, while the strings produce a lovely sweeping lush sound. Together with Esther’s vocal, which veers between dramatic and thoughtful, this is a very different version to Odysseys original. However, although I love the original version, Esther’s version is really good, she manages to almost reinvent the song, bringing new life and drama to the song, and in the process, produces one of the album’s best tracks.
It’s a lovely gentle, lush sound that opens You Think of Her, a track that sweeps into life strings and percussion combining with a bass, before Esther sings. When she sings, she really slows things down, giving a very different type of performance to the previous tracks. Here vocal is much gentler at the start, much more restrained, but still, she demonstrates her power and vocal range, her voice soaring high, powerfully, with backing singers complimenting her voice. Similarly, the arrangement is very different, it’s much more subtle, at the start, with strings playing a big part. Later, like Esther’s vocal, it grows gets much more fuller, heading of into funk territory, with guitars, bass and percussion fulling out the arrangement. Mostly though, it’s a lush, sweeping sound with strings plentiful. This lovely song shows a very different side of Esther, one that’s much more gentle and thoughtful.
There are similarities with the previous track and Pie In the Sky. Both are slower tracks, with lovely gentle introductions, and both contain much gentler vocals from Esther. It’s keyboards, flutes, harp and strings that combine to produce a beautiful, lush sound as the track opens. Then, when Esther sings, her vocal is quieter, gentler and sounds reflective. Behind her, the arrangement meanders along, with keyboards, guitars, brass, string and rhythm sections combining masterfully. Backing vocalists accompany Esther, as flutes, bass and brass sections punctuate the sound, while strings sweep in the background. Later in the track, both the arrangement and Esther’s vocal get stronger and louder. By the end of the track, I realize that this is one of Esther’s best performances on the album, a mixture of restraint, passion and power, which, combined with a fantastic arrangement thanks to producer Wayne Henderson, make this a brilliant track.
After two much slower, thoughtful, tracks, Esther decided to up the tempo and the track bursts into life with brass and rhythm sections and guitars playing. Esther when she sings, gives a much faster and charismatic vocal, that rises and falls, soaring a mixture of power and passion. Throughout the track, the brass section punctuate the track, playing brightly, while a really quick, accurate and funky bass line is played. Harvey Mason’s, drumming as usual, is great, as it is throughout the album. This backdrop of blazing horns, funky bass and chiming guitars is perfect for Esther’s enthusiastic, charismatic vocal, delivered with her unique powerful, rasping vocal. Tracks like this, are a total contrast to the two previous tracks, and demonstrate perfectly, what a versatile vocalist Esther was. She was just as home singing quicker, funkier, tracks as she was singing slower, more thoughtful tracks.
There You Go Again (There She Goes/Stormy Weather) sees Esther deliver a medley of songs, which the first time I heard them, made me wonder just why, was this album not a bigger commercial success, when it featured tracks as good as this. Here, she gets the opportunity to slow things down, and reacquaint the listener with the soulful side of Esther. When the medley begins, Esther just slowly half-sings, half-speaks the vocal to There She Goes, before starts singing the lyrics to Stormy Weather. Here, the tempo is slow, the arrangement subtle and lush, strings, piano and bass accompanying Ester, who is accompanied by backing vocalists, who gently accompany her. When she sings, it’s a heartfelt, emotional outpouring of the lyrics that the listener is privileged to hear. Later, the brass section interject, their contribution subtle, somehow managing to improve the arrangement even further. Strings sweep, their sound lush, as her vocal drops out, while Harvey Mason keeps time, and the horns interject. Then, There You Go Again reenters, flute string, brass and rhythm section playing behind Esther. Together, they produce the perfect backdrop for her vocal. She doesn’t disappoint, keeping up the same emotional, heartfelt and drama laden vocal as before, with the backing vocalists uniting beautifully, the perfect foil for Esther’s vocal. Music has the power to move people. It changes your emotions and moods. Once you hear this track, you too, will be moved, by Esther Phillips’ stunning performance, during the album’s best track.
After such a fantastic track, the problem is, how do you follow it? Here, Esther follows it with Ms., where Esther sings about never having to depend on any man, how she’s independent, not a Mrs or Miss, but a Ms. It begins with guitars, string, rhythm and brass section combining, before a flute plays. When Esther sings, her voice is loud and strong, as she proudly and charismatically, sings the lyrics. Behind her another beautiful arrangement emerges, one which mixes soul and funk. Again, backing singers accompany her, as guitars chime and soar, horns enter, disappear and reappear, as strings sweep, lushly in the background. During the track, Esther almost growls as she sings, her voice veering from a a subdued and gentle, to a proud, loud and powerful vocal. It was always going to be difficult following such a fantastic track as There You Go Again (There She Goes/Stormy Weather), but Ms. was a good attempt. Although it doesn’t quite reach the heights of the previous track, it features both a confident and charismatic vocal from Esther, and a beautiful arrangement.
All About Esther Phillips closes with If I Fall In Love By Morning which begins with guitar, rhythm and brass sections and a hugely powerful and emotional vocal from Esther. It’s a track that is reminiscent of Southern Soul because of the arrangement and vocal. The arrangement is slow, atmospheric and drenched in some beautiful brass playing. Combined with a vocal from Esther that’s heartfelt, emotional and passionate, it brings to mind some of the great Southern Soul that emerged from Memphis in the sixties and seventies. One thing that shouldn’t be underestimated are the lyrics and music, which are written by Otis Blackwell and Jonah Ellis. They’ve written some wonderful lyrics, and Esther sings them brilliantly. In the lyrics she sings about love from a woman’s point of view, and asks whether her partner will respect her in the morning, as they’ve only just met. Personally, this is the perfect song to end the album. It’s a slow song with thoughtful lyrics, that are delivered emotionally and passionately by Esther, and producer Wayne Henderson ensured that the arrangement was sympathetic to Esther’s brilliant vocal.
Over the years, I’ve let a huge number of people hear Esther’s music, and every one of them has loved it, and became a fan of her music. Thankfully, since then, it’s much easier to buy her albums as they’re gradually being reissued. This has stimulated interest in her music. Sadly, a music press that are fixated on rock bands from the sixties and seventies, continue to ignore her music, together with much of soul, funk and jazz music. Even when her albums were reissued recently, the review wasn’t much more than one hundred words. That to me is not only unfair, but makes me wonder what certain music magazines have against certain types of music? However, hopefully having read this article, you’ll know much more about one of soul music’s greatest, yet hugely underrated female vocalists. Esther Phillips recorded about twenty albums, and All About Esther Phillips, was one of her later albums. However, on this album, she sings eight songs brilliantly, and is fortunate to have Wayne Henderson, formerly of The Jazz Crusaders, producing the album. Together with an experienced and hugely talented band, which included drummer Harvey Mason, Henderson brought out the best in Esther, and helped her to recapture former glories. Sadly, the album wasn’t a huge commercial success. It has now been rereleased by soulmusic.com with both You’ve Come A Long Way, Baby and All About Esther Phillips on the same disc. Two other of Esther’s albums Here’s Esther, Are You Ready and Good Black Is Hard To Crack have been released on one disc. If you just want to hear some of her best music from this time, Anthology released by Soul Brother Records is a good introduction to Esther Phillips’ wonderful music. Standout Tracks: Native New Yorker, Pie In the Sky, There You Go Again (There She Goes/Stormy Weather) and If I Fall In Love By Morning.
ESTHER PHILLIPS-ALL ABOUT ESTHER PHILLIPS.
CANDI STATON-I’M JUST A PRISONER.
CANDI STATON-I’M JUST A PRISONER.
Sometimes, an artist or group records one single, and forevermore, they become known for that song. It doesn’t matter how many great singles or albums they’ve recorded before, or after, that’s the song they’re always known for. This is the case with many of the artists I’ve previously written about. Recently, I wrote about Chaka Khan, who recorded the huge hit I’m Every Woman, which became a feminist anthem. Since then, that’s the song she’s best known for. People forget the material she recorded with legendary funk band Rufus before that, or the many other memorable tracks she recorded as a solo artist. The same can be said of the artist this article is about, Candi Staton. In 1976, Candi released one of the greatest tracks of the disco era, Young Hearts Run Free, and since then, that has become the track that’s synonymous with Candi. People forget that long before that track was released, Candi released several hugely successful and critically acclaimed R&B singles and albums, quickly becoming known as the First Lady of Southern Soul. Her recording career started in 1953, and since then, has released over twenty albums, ranging from R&B, country soul, Southern Soul to her later gospel albums. However, this article is about her 1969 debut album, I’m Just A Prisoner. Before that, I’ll tell you about Candi’s long and successful musical career.
Candi Staton was born Canzetta Maria Staton, in Hanceville, Alabama in March 1940. When she was eleven or twelve, she and her sister Maggie were sent to the Jewell Christian Academy, in Nashville, Tennessee, where her talent as a vocalist was soon spotted. She was a far superior singer to the majority of other students, and Candi and Maggie, plus a third student became the Jewell Gospel Trio, at the suggestion of the school’s pastor. While the trio were still teenagers, they toured the gospel circuit, with some of gospel music’s biggest names. This included Mahalia Jackson, The Soul Stirrers and C.L. Franklin. Between 1953 and 1963, they recorded a number of tracks for Apollo, Nashro and Savoy Records. Little did Candi know it, but this would just be the start of a long and successful career.
By 1968, Candi Staton had now launched her solo career, and recorded sixteen R&B hit singles for Rick Hall’s Fame Studios. This was when Candi gained the title the First Lady of Southern Soul. She released her debut album I’m Just A Prisoner in 1969, the album this article is about. Two years later, in 1971, her second album, Stand By Your Man was released, and Candi’s version of the title track, saw her nominated for a Grammy Award. When her eponymous album Candi Staton was released in 1972, it featured In the Ghetto, a track also recorded by Elvis Presley, and her version was nominated for a Grammy Award. The three albums Candi released between 1969 and 1972, contain some wonderful music and are among the best album she has ever released.
Candi’s next album was entitled Candi Staton, and was the last album she released before her music moved in a very different direction. By 1975, Candi had started working with producer David Crawford on a number of disco tracks. One of these tracks, Young Hearts Run Free, would become the track that Candi is best known for, by most people. When the track was released, it was a huge hit in the UK and elsewhere. In the UK, the song reached number two in the singles charts. This was just the first in a series of hit singles for Candi.
1977 saw her version of Nights On Broadway, reach the top ten in the UK singles charts. The previous year, it had been a hit Bee Gees. During the next few years, Candi had further hit singles in the UK. Honest I Do I Love You and Suspicious Minds were two of her biggest singles. Her music was successful within the UK club scene, tracks like Victim and When You Wake Up Tomorrow proving hugely successful among DJs’ and club goers.
By 1982, Candi decided to return to gospel music. She founded her own ministry and since then, has recorded eight gospel albums, two of which, were nominated for Grammy Awards.
In 1991, Candi made a return to mainstream music, singing the vocal on You Got the Love, by The Source. This club track, went on to sell over two million copies, and since then, is now seen as a classic club track. Such is its popularity that it has been remixed numerous times, with various artists releasing cover versions. After that, Candi signed a new recording contract with Intersound Records, and in 2000, released a new album entitled Here’s A Blessing. Since then, she’s recorded a number of albums both secular and gospel. This includes her 2006 secular album His Hands, which was produced by Mark Nevers of Lambshop. The title track was written by Will Oldham and the album released on Honest Jon’s record label. It was followed up in 2009 by Who’s Hurting Now? That was the last album that Candi released, and aged seventy-one, she’s still busy with her church and music. Who knows, maybe another album will be released by the woman once known as the First Lady of Southern Soul?
I’m Just A Prisoner which was Candi’s debut album, released in 1969, and opens with Someone You Use. It’s a track that begins slowly with backing singers, piano and brass section playing before Candi sings, accompanied by a Hammond organ. Straight away, Candi’s voice is laden with emotion, as she gives a heartfelt rendition of the track, complete with backing singers accompanying her. Behind her a dramatic, soulful and melodic arrangement unfolds. During the track, the brass section punctuate the track with a sound drenched in sadness and emotion, a piano adds character to the sound and guitars and Hammond organ help complete what’s a dramatic and soulful arrangement. Mind you, on this album, she’d some of the best session musicians accompanying her. Overall, it’s a raw, emotional and deeply soulful track, one that demonstrates just why she was known as the First Lady of Southern Soul.
After a slow and thoughtful opening track, Candi ups the tempo with I’d Rather Be An Old Man Sweetheart (Rather Than A Young Man’s Fool). It’s a very different sounding track that bursts into life with organ, brass section and then Candi’s energetic, powerful and quick vocal. Here, her voice is hugely powerful as she sings lyrics that are both tinged with unintentional humor, realism and cynicism. As she sings, the band match Candi’s energy and power, playing brilliantly creating the perfect backdrop for her vocal. Both rhythm and brass sections provide the mainstay of the arrangement, infecting the energy required to drive the track along. The brass section especially, fill out the sound, dramatically and melodically interjecting at just the right time. Candi, however, is the star of the track. It’s her vocal that makes this such a great track. She combines passion, energy and power singing some great lyrics quickly, using her full vocal range brilliantly.
It’s a hugely dramatic and sad sound that opens You Don’t Love Me No More. Straight away, it’s apparent this is going to be a song drenched in sadness and emotion, that starts with drums and brass section playing, setting the scene and atmosphere. When Candi sings, there’s a rawness to her voice, that’s full of emotion and sadness. As she sings, the lyrics about someone no longer loving her, it’s as if they’re personal, as if she’s experienced the emotions and sadness involved. Behind her, the band are surpassing themselves, producing the perfect arrangement. The brass section play a huge part in the track’s success. They play slowly and thoughtfully, drums steadily set the tempo, a piano plays slowly and sadly and a guitar drifts in and out of the track. Combined with Candi’s emotion laden vocal, You Don’t Love Me No More is one of the album’s best tracks.
Drums, organ and brass section combine as Evidence begins. Like the previous track, it’s much slower, but full of drama and atmosphere, created by the brass and rhythm sections. Candi’s voice is loud and strong, full of power, as she vents her frustration and anger singing lyrics about a cheating man, who has betrayed her. Backing singers accompany her, their voices, like Candi’s, full of emotion. Meanwhile, the arrangement grows. A Hammond organ plays, as drums and the brass section punctuate the track, accompanying and complimenting Candi’s vocal perfectly. What makes this such a great track, is Candi’s vocal, made all the better by the interaction between her and the backing singers, and an arrangement that’s laden with emotion and atmosphere.
Sweet Feeling begins with just organ and drums playing slowly, spaciously and thoughtfully before Candi’s strong and passionate vocal enters. Although the arrangement starts subtly, it eventually opens out to include guitars, rhythm and brass sections, piano and organ playing. However, this arrangement doesn’t sound crowded, quite the opposite. Plenty space exists within the arrangement which meanders along, with Candi singing above it powerfully. She gives an emotional and heartfelt vocal, and really lets go towards the end of the track, her vocal power personified, as it soars heavenwards. Here, she combines power, passion and emotion to give a heartfelt rendition of some great lyrics.
Piano, rhythm and brass section combine at the start of Do Your Duty. The tempo is quicker than previous tracks, with Candi’s vocal a bit more restrained here. She doesn’t let loose like she did on the previous track, but it’s just as good, full of emotion, as the track swings along. Throughout the track, she’s accompanied by backing vocalists, with whom she sings call and response with. They unite sweetly, yet dramatically, the perfect accompaniment for Candi’s vocal. Behind Candi, the arrangement drives along. The brass section punctuate the track, while piano, guitars and rhythm section all combine to help Candi produce a dramatic, emotional and deeply soulful track.
That’s How Strong My Love Is has a lovely, sad sounding introduction where backing vocalists combine with the brass and rhythm sections, piano and organ to produce a heart achingly beautiful arrangement. It gets even better, as Candi sings, her voice is emotional, thoughtful and sometimes, hugely powerful, as it soars high. During the track the backing vocalists accompany her, their voices soft and soulful, playing a huge part in the track’s success. Likewise, the band’s contribution is huge, as they play slowly, carefully and thoughtfully. The brass section drenches Candi’s vocal with their beautiful sound, as drums slowly keep the beat, and an organ, piano and guitars all drift into, and out of, the track. A combination of outstanding vocal from Candi, ably assisted by her backing vocalists and a great arrangement, make this one of the best tracks on the album.
Drums hesitantly and slowly play, as I’m Just A Prisoner (of Your Good Lovin’) begins. Candi’s voice is a mixture of emotion and strength as she slowly sings the vocal, joined by rhythm section and guitars. Later, the brass section, percussion and backing vocalists join Candi. By now, her voice is laden with character, drama and even more emotion. There’s a rawness to her vocal, as she really gives one of her strongest vocals on the album. Like the previous track, the addition of the backing vocalists really compliment her vocal. Here, the tempo of the arrangement is quick, quicker than Candi’s vocal. It’s a full sounding arrangement that has Southern Soul written all over it, and is very similar to the arrangements Willie Mitchell used on albums on Hi Records. Overall, you can’t help but admire the rawness, passion and emotion in Candi’s vocal, which is made all the better by the addition of the backing vocalists and an arrangement that’s fuller, mixing soul with funk perfectly.
Another Man’s Woman, Another Woman’s Man begins with drums, flute and piano playing, and a slow, heartfelt and emotional vocal from Candi. Like previous tracks, she’s accompanied by backing vocalists, who add to the hugely dramatic and sad arrangement that’s unfolding. As Candi sings about being the “other woman,” she puts everything she has into her delivery. It’s almost an understatement to say that her delivery is heartfelt and laden with emotion and drama, because it’s so much more than that. Here, she surpasses herself, giving an outstanding vocal performance. Maybe this is because of the backing singers, who like Candi, sing emotionally and dramatically, or because the arrangement which is subtle yet dramatic. A piano plays a huge part in the dramatic arrangement, as do the drums and brass section. Personally, the tracks success, is down to a combination the three things I’ve mentioned, Candi, her backing singers and the arrangement.
I’m Just A Prisoner closes with Get While I Want It, which begins with guitars, piano rhythm and brass section and is a much quicker track. Here, Candi’s vocal is loud, strong and full of emotion and sits above the arrangement. Likewise, the arrangement is quicker and fuller, and there’s even a hint of the Motown sound in the arrangement. As usual, the brass section punctuate the track, with drums, bass and guitars driving the track along. Together with the backing vocalists, they produce has a melodic, joyous sound. Although it’s a very different kind of track to the others on the album, because of the style of song and the much quicker tempo, it’s a great track to end the album. It has a feel-good factor, joyous sound and as usual, a great performance from Candi Staton, her band and backing vocalists.
When Candi recorded I’m Just A Prisoner, she’s been a recording artist since 1953, and this experience is apparent throughout the album. She delivers each track with feeling and passion, giving performances that range from a much slower, heartfelt delivery laden in emotion, to powerful and uptempo deliveries where she uses her full vocal range. Regardless of the type of song, she gives everything she has each time she sings. Behind her, were a fantastic band, made up of some of the greatest session musicians of the time, played their part in the album’s success. Another thing that really helped make this such a good album, was the addition of the backing vocalists. They compliment Candi’s voice perfectly, sometimes lifting a track to the next level. Whilst I’ve researched this article, I’ve immersed myself in the music of Candi Staton, and to me, this is one of her best albums. Since then, she’s recorded over twenty further albums ranging from soul, disco and gospel. Candi has one of the best voices in the history of soul music, and I hope that this article proves that there’s much more to her music than the wonderful, Young Hearts Run Free. Personally, Candi Staton to me will forever be the First Lady of Southern Soul. Standout Tracks: You Don’t Love Me No More, Sweet Feeling, That’s How Strong My Love Is and Another Man’s Woman, Another Woman’s Man.
CANDI STATON-I’M JUST A PRISONER.
KRAFTWERK-TRANS-EUROPE EXPRESS.
KRAFTWERK-TRANS-EUROPE EXPRESS.
In the history of electronic music, one of the most important and influential, groups are Kraftwerk. From their formative years, and their eponymous debut album Kraftwerk, released in 1970, they’ve constantly reinvented their music, using the latest technology. In the early years, they were one of first groups to realize the potential of synthesizers, sequencers and drum machines, utilizing them in their music. Later, they’d be one of the first groups to introduce computers into their own recording studio, Kling Klang, where they recorded many of their albums. Throughout their career, Kraftwerk, were ahead of their time, pioneers who were unafraid to experiment musically. Their music has influenced much of the electronic and dance music that would be released during the next four decades. Kraftwerk’s music has influenced several generations of musicians. This includes electronic groups during the eighties including Depeche Mode, Orchestral Manoeuvres In the Dark and Gary Numan. Post-punk and indie groups like Joy Division and New Order have said that Kraftwerk were a major influence on their music. Later, they influenced new genres of music like hip-hop, electro, house music and drum and bass. It isn’t an exaggeration to say that Krafwerk are one of the most important, influential and innovative groups in the history of music. When they released their 1977 album, Trans-Europe Express, they were determined to continue to be innovative and utilize the potential of the new equipment that they had just acquired, and in the process, they recorded one of the greatest and most influential albums of the 1970s’. Before I tell you what the album sounds like, I’ll tell you the background to the album.
When Kraftwerk set about recording Trans-Europe Express they had just received one of the most sophisticated pieces of technology available then. This was the Synthanorma Sequencer which was custom made by the manufacturers for the band. It was a 32-step, 16 channel, analogue synthesizer, custom built by the manufacturers Matten and Wiechers. This allowed them to introduce even more complicated synthesiser lines into their music, that wouldn’t have been possible before. On the album, this synthesizer is used on several of the tracks, including Europe Endless, Frans Schubert and Endless Endless.
Like their previous albums, the music on the album was much more melodic than their earlier material. Gone was improvisational styles, of their earlier albums, which sounded as if it been influenced by free jazz. Similarly, Trans-Europe Express like earlier albums, has several themes. Friends of Kraftwerk had suggested they write songs about a journey on the Trans-Europe Express Railway. Other themes include a celebration of Europe, and the differences and inconsistencies between the reality and image of countries within Europe. So, Trans-Europe Express was an important album, not only musically, but because of the themes that ran through it.
Trans-Europe Express was released in March 1977, to critical acclaim. Critics loved the album, immediately, realized that this was a hugely important album. Since then, critics have reappraised the album, and now, realize how important it has been on the development of both electronic and dance music. However, when the album was released, it wasn’t the huge commercial success it should’ve been. In the US, it only reached number 117 in the US Billboard 200. The two singles from the album fared better. Two singles were released Trans-Europe Express and Showroom Dummies. Only Trans-Europe Express entered the US Billboard Hot 100, reaching number sixty-seven. In the UK, both singles charted, and reentered the charts during the eighties, when electronic music became much more popular. Once again, this another example of a hugely important and influential album failing to be the huge commercial success it should’ve been. Although the album sold well, it should’ve been a much bigger success. Now Trans-Europe Express was both an important and influential album, but what does it sound like?
Trans-Europe Express opens with Europe Endless which opens with a repetitive melody, played on a keyboard, the sound slightly sharp. It’s followed momentarily, by a dark broody synth, which gives way to a brighter, glistening sound, which is higher, and cascades high in the mix. Straight away, it seems like Kraftwerk are taking you on a journey through the medium of music, one that sees layer upon layer, of music unfold, and a multitude musical textures reveal themselves to you. The sound is moderne, still contemporary, even though thirty-four years old. Even when the inexpressive vocal enters, occasionally transformed by a vocoder, with vocals echoing behind it, the sound remains contemporary. The track chugs along, the rhythm reminding me of a train journey, albeit one with a space age, sonic, soundtrack. Constantly, melodies are repeated, the same themes, appear, disappear and reappear. This repetition leads to familiarity, and when the melodies reappear, it’s like meeting an old friend. Here though, that old friend is courtesy of Kraftwerk’s bank of synths, sequencers and drums machines. Europe Endless is a magnificent, epic track, nine and a half minutes long, gloriously repetitive, melodic music.
The Hall of Mirrors opens with synths echoing and reverberating, loud footsteps gradually getting nearer, before a tinkling, crystalline synth plays. The echoey synth sounds like a spaceship circling overhead. Meanwhile a keyboards plays thoughtfully, notes gradually revealing themselves. In the lyrics, Kraftwerk effectively deal with the subject of famous people perceive themselves. Here, the lyrics are cutting, uncomplimentary and wonderfully, delivered with a voice drained of emotion and almost life itself. Between such a great vocal and the arrangement which features the constant space-age reverberation thanks to a synth, with a tinkling, metallic keyboard interjecting occasionally, it’s a potent combination. By now, the arrangement is dark, almost morose sounding, drenched in atmosphere, and thanks to clever repetition of melodies, continues until the track’s end. As the track ends, you can’t help but admire the combination of eery, atmospheric, soundtrack and emotionless lyrics that are a cutting indictment on fame, and how those who achieve it perceive themselves.
When Showroom Dummies begins, it’s immediately apparent how different this track is to the previous one. It opens with a spoken word vocal, then a slow, bright and spacious keyboard plays, before synths sweep in, their sound almost crystalline or ethereal vocals. Later, a window smashes, the lyrics sound somewhat paranoid, as the sound takes a sharper turn. Quickly, normality returns, and the same lovely repetitive melody reappears, complete with that crystalline sound. This is one important feature of the music on Trans-Europe Express, how melodies are constantly, repeated throughout a track. Some people may think this constant repetition will grate after a while, but this isn’t the case, it has an almost hypnotic effect. It’s as if they’ve decided that having discovered a really good melody, that they’ll exploit it fully. Here they do this brilliantly, with the constant repetition being broken by the interjection of various rhythms, effects and of course the vocal, pokerfaced vocal.
The title track Trans-Europe Express begins with what sounds like a train chugging along a track. Here, it’s as if we’re going on a journey, and Kraftwerk will provide the soundtrack. Vocals are manipulated, drum beats become the sound of the train and synths sweep in. Their sound varies, one minute sharp, the next bigger, louder, fatter and much more melodic. A vocoder is used to manipulate the vocal, and the lyrics are half-spoken, half-sung, as the destinations for the journey become apparent. During the track, synths, sequencers and drum machines are used to good effect, recreating quite realistically, a journey through the capitals of Europe. It’s a combination of drum beats, sweeping and sometimes, grandiose synth lines, plus a combination of manipulated and expressionless vocals that take us on this masterful and magical musical journey.
Metal On Metal has a similar feel to the previous track. It still seems like we’re on a journey, a train sweeping along. However, it’s a very different journey, one where it’s booming and metallic, like a trip through Europe’s industrial heartland. Drums boom, synths sound metallic and sharp and overall, the sound is much more overpowering. As the song progresses, the similarity between a train journey increases, with Kraftwerk using synths, sequencers and drum machines to recreate the landscape that you’d have experienced in1977. Again, melodies emerge, and like before, they’re constantly repeated, but in doing so, they recreate the environment you’d have experienced on that journey. Later, a vocal is sung through a vocoder, constantly repeating the “route” Trans-Europe Express. This melts into what is like the sound of the train that’s previously been recreated. Overall, it’s a highly effective track, that succeeds in taking you further on your trip through seventies’ Europe thanks to Kraftwerk.
Franz Schubert is a track that ebbs and flows, waves of music rising and falling, while a melody is constantly played. The track begins with a melody playing on a keyboard, and soon, synths sweep in, and thereafter, they rise and fall. Here the peaks and troughs are neither high, nor deep, but the repetition and variety created is both intriguing and hypnotic. Although the arrangement is nether as full nor complex as previous tracks, it has always been a favorite track of mine from this album, because of the constant repetition of the melody, and variety provided by the rise and fall, of the sweeping synths.
Trans-Europe Express closes with a short reprise from the central theme to Europe Endless, entitled Endless, Endless. It’s a mixture of vocals sung through a vocoder accompanied by a synth that produce a sound that’s both dark and bright. Darkness is provided by the vocal sung through the vocoder and the light by the meandering, repetitive synths. Although, it’s just a short reprise of the theme it’s an effective reminder of the melodic beauty and glorious repetition of the album’s opening track.
This is the second article that I’ve written about Kraftwerk’s music. Previously, I’ve written about Autobahn, their 1974 album, which, like Trans-Europe Express, is a hugely important, innovative and influential album. Both albums demonstrate Kratwerk’s willingness to become musical pioneers, willing to reinvent their music, and use technology to improve, and make even more, complicated music. Like Autobahn, Trans-Europe Express has a theme behind it. In some ways, they’re both like concept albums. Here, they take us on musical a journey on the Trans-Europe Express Railway. During that journey, they celebrate Europe, examining the differences and inconsistencies between the reality and image of European countries. This was a major challenge for any artist or group, but attempting to do so with synthesizers, sequencers and drum machines was especially brave. When you listen to the album, you go on a very realistic journey, and while on that musical journey, I found myself thinking about the themes on the album. This demonstrates the power of the album, and the music on it. Not only was the album important as a concept, it was hugely important in the development of electronic and dance music. Kraftwerk’s music was hugely influential in the development of hip-hop, electro, techno and house music. So if you enjoy any of these musical genres, you should give thanks to Kraftwerk, for their music and influence on future generations of musicians. Standout Tracks: Europe Endless, The Hall of Mirrors, Showroom Dummies and Trans-Europe Express.
KRAFTWERK-TRANS-EUROPE EXPRESS.
DJ ROGERS-IT’S GOOD TO BE ALIVE.
DJ ROGERS-IT’S GOOD TO BE ALIVE.
Over the years I’ve been interested in music, and buying albums, many things have led me to buy an album. It can be obvious things like reading a good review, hearing the album in a friends house or in a record shop. Other times it can be less obvious. Maybe I’ve been crate digging in a record shop and discovered an album in a bargain pile and decided to take a chance on it. Another way I’ve discovered some really good albums over the years, is by seeing an unusual, striking or downright weird album cover. This has led to some really good finds including the album I’m going to write about today, DJ Rogers album It’s Good To Be Alive. On the album cover DJ looking as my friends little boy would say, “a real cool dude,” complete with a cigarette in his mouth. Now I’d bought this album years ago, and really enjoyed it, but since then, hundreds upon hundreds of albums have passed through my hands, and to tell the truth, I’d forgotten about it. That was until I picked up the latest copy of one of the music magazines, and there was a feature about Aloe Blacc, and how DJ Rogers album It’s Good To Be Alive, had changed his life musically. This led me to dig out my trusty copy of the album, and have another listen. I’d almost forgotten how good an album it was, and because of that, decided to write an article on another one of music’s nearly men.
DJ Rogers was born DeWayne Julius Roger Snr in Los Angeles in 1950. He was the son of a minister, and brought up in a heavily religious household. Aged three, he started singing in the church choir, and for the next decade, DJ was heavily involved in gospel music. During school, he studied both voice and music theory, and later became a professional gospel singer. Although still a teenager, he was the conductor and vocalist with Watts Community Choir, and during that period, the choir recorded five albums for the Savoy record label. After that, he embarked on nationwide tours with some of the biggest names in gospel music, including the Rev. James Cleveland.
By the time he was nineteen, DJ had gained a reputation as a talented multi-instrumentalist, and was a highly proficient keyboard player and arranger. This led to him working with various musicians including Billy Preston, Bobby Womack and Leon Russell. Russell was so taken with DJ that he signed him to his Shelter record label. In 1970, DJ released his eponymous album DJ Rogers. Sadly, there were problems regarding the marketing and distribution of the album, and it failed to chart. As well as, continuing to work on honing his talent as a musician and singer, DJ wrote and produced material for Freddie King and Mary McCreary. He also, toured with Leon Russell, and this meant his music and huge talent, were heard by a far wider audience.
After leaving Shelter, he was busy working as a session musician, when he received an offer to sign to CBS Records. For some reason, DJ turned down the offer, and instead, signed to RCA records. While he was with RCA, he released three albums. The first was It’s Good To Be Alive, released in 1975, which reached number thirty-six in the R&B charts. This was followed by On the Road Again, released in 1976, which reached number forty-nine in the R&B charts. His final album for RCA was 1977’s Love, Music and Life, which failed to chart.
After leaving RCA, he signed to Columbia, where he released Love Brought Me Back, in 1978, which reached number fifty-four in the R&B charts. Once again, DJ changed label, signing to ARC Records, releasing one album, Trust Me in 1979. The album failed to chart, and since then, DJ hasn’t released any further albums. This, to me, seems a huge waste of a talent. Like many other artists before him, his music has failed to find a wider audience, and the commercial success it richly deserves. His abundance of talent as a musician and vocalist is apparent on It’s Good To Be Alive, which I’ll now review.
It’s Good To Be Alive opens with Hold On, Be Strong, a track that burst brightly into life with keyboards, horns and rhythm section combining, before DJ sings, accompanied by joyous sounding backing vocalists. DJ’s voice is strong, soulful and equally joyous, as his vocal is drenched by the backing vocalists. Behind him, the arrangement is quick, full and funky. A quick bass line, horn section drums and guitar combining beautifully, to produce an arrangement that’s both soulful and funky. However, it’s DJ and the backing vocalists that steal the show. During the track his vocal is quick, strong, yet really soulful. It’s made all the better by the constant, tight vocal harmonies courtesy of his backing singers. Hold On, Be Strong has everything going for it, a great vocal and equally good arrangement, thanks to some hugely talented musicians.
The title track, It’s Good To Be Alive, is a similar sounding track to the opening one. It has an uptempo, feelgood sound, complete with DJ’s great vocal and an arrangement that mixes, soul, funk and even gospel. Horns, guitar and rhythm section open the track, producing a horn laden funky sound, that reminds me of Shuggie Otis. Here, DJ sounds as if he’s having a ball, as he growls, hollers and whoops his way through the track. Behind him, one of the best arrangement on the album unfolds. What makes it so good, is the combination of wah-wah guitar, organ, rhythm section and horns, which both punctuate and drench the arrangement. Backing vocalists interject, but much less than on the opening track. Overall, it’s four minutes of joyous, feelgood, music, that sounds as if DJ is having a whale of a time as he recorded this track. Quite simply, a stunning track, one of the album’s best tracks.
A piano plays, backing singers unite, singing tight vocal harmonies, before percussion and horns announce the arrival of DJ on Faithful To the End. Here, his vocal is much more gentle, much more thoughtful, all the while accompanied by backing vocalists, on a track that has its roots in gospel music. There is a spiritual feel to the music, that comes from the interaction between DJ and the backing singers. The arrangement is much slower, just piano, horns, guitar and rhythm section. Together with DJ’s gorgeous, gospel tinged and soulful vocal, accompanied by backing singers, this track shows a very different side to DJ, one I’d like to hear much, more of.
Drums play at the start of Love Will See Me Through, before DJ sings, accompanied by keyboards, rhythm section and guitars. Straight away, DJ’s vocal is much quicker, full of passion and charisma, while behind, him his band provide a much faster, fuller backing track. It’s a funk laden arrangement, full of lightning fast, funky, bass, horn section, keyboards, drums and guitar. As usual, this is supplemented by backing vocalists, who joyously back DJ, as he roars and hollers his way through the track. Like It’s Good To Be Alive, it’s uptempo, good-time music, with a feelgood sound, sung and played brilliantly by DJ and his band.
DJ decides to drop the tempo way down low, on Say You Love Me, a lovely, lush, song where he’s accompanied by piano, drums and percussion. This is a song that’s perfectly suited to his voice, and allows the romantic side of DJ to shine through. As the arrangement fills out, DJ’s accompanied by backing vocalists, whose voices sweetly and lushly unite, a lovely contrast to DJ’s much fuller voice. An organ joins the arrangement, adding atmosphere to the arrangement, as DJ lets loose, his voice soaring high, full of power and passion. Again, there’s a spiritual feel to the music, and to some extent, the lyrics. Towards the end, he almost growls, as he sings, demonstrating the versatility of his voice. By the end of the track, I find myself wondering why this album wasn’t a much bigger success. This is yet another, great track on this album, one full of emotion and passion, sung beautifully by DJ Rogers.
Rhythm section, keyboards, guitars and horns combine at the start of (It’s Alright Now) I Think I’ll Make It. Together, they produce a full sounding arrangement, before DJ sings. When he sings, his vocal is strong, full of character and sometimes, drenched by backing vocalists. Here, horns play throughout this much slower track, a funky sounding bass line is a constant, as are drums and keyboards. During the track, DJ is accompanied by his trusty backing vocalists who joyfully unite, as he roars, hollers and snarls his way through the track. Both DJ’s vocal and the arrangement, combine to make this a track that combines funk, soul and even gospel beautifully.
When DJ sings the vocal on If You Didn’t Love Me (Don’t Go Away), the similarity to Shuggie Otis is even more noticeable. I’ve thought this on several occasions, but here both the vocal and arrangement are very similar. So of you like Shuggie, you’ll love DJ. Here, it’s a much slower track, which begins with the rhythm section, guitar and keyboards playing before DJ sings. His vocal is much more restrained, the arrangement subtle, beautifully, repetitive and the lyrics some of the most tender on the album. Much later in the track, backing vocalists join in, some of whom sound like a choir of angels singing. By then, the tempo starts to quicken, and DJ’s voice grows in strength, his voice soars, laden with emotion, while the backing vocalists supplement the sound. It’s an impressive track, one that starts gently, and as the track progresses, DJ’s voice strengthens, and the arrangement grows fuller. Combined with some lovely lyrics, an emotional vocal and good arrangement, it’s a potent combination.
It’s a funky sounding introduction to Living Is All That Matters that greets the listener. This is down to a combination of bass and guitars combining, before DJ sings. When DJ sings, he sings call and response with the backing vocalists. His voice is loud and strong, as he roars the lyrics, while the backing vocalists joyously unite in response. Horns punctuate the track, the bass and guitars are funk personified. Together with DJ and the backing vocalists, the sound is complete, and they combine to produce a track that’s a melting pot where soul, funk and gospel have been mixed together, to produce three minutes of the most joyous music your ears will ever hear.
Backing vocalists combine beautifully with the rhythm section and guitars at the start of Love You Forever. Then, when DJ enters is voice is clear and emotional as he sings the lyrics. Behind him, it’s the rhythm section, guitars and backing vocalists that play the biggest part in the arrangement. Together, the combine to produce a much more subtle arrangement than previous tracks. Without the backing vocalists, the arrangement would be really sparse, and they fill the sound out. DJ meanwhile, is giving an emotional vocal, as if the lyrics are personal, mean something to him. Although the arrangement isn’t as full as previous tracks, it’s just as good, thanks to the efforts of the backing vocalists and DJ’s emotional and heartfelt vocal.
It’s Good To Be Alive closes with Bula Jean where DJ combines the best of soul and gospel, producing his best vocal on the album. Here he testifies, and it’s brilliant. It opens with drums and piano accompanying DJ, whose singing slowly and soulfully, a Hammond organ playing in the background. Here, you can only sit back and admire his vocal, which is punctuated by horns and accompanied by backing vocalists. Later, his voice strengthens, gets louder and is drenched in passion, as he returns to his gospel roots to sing the vocal. His voice soars, power and passion combining, as the arrangement builds, piano and Hammond organ adding atmosphere. The backing vocalists by now, sound like a gospel choir as DJ snarls, growls and roars as he testifies, all whoops and hollers. It seems that DJ kept one of the album’s best tracks until last, he certainly kept his vocal performance until last. Together with an arrangement that’s a fusion of soul and gospel, it’s a brilliant track to end the album.
Since I decided to write this article, I’ve spent some time revisiting DJ Rogers’ music, and during that time, I’ve asked myself the same questions time and time again. Why wasn’t this album a much more successful album, and why wasn’t DJ Rogers a huge star? After all, he has a great voice, is a talented multi-instrumentalist, writes, arranges and produces music. Sadly, he remains one of the nearly men of music. Most people are unaware of his music, and that’s is a shame, as they’re missing out on some brilliant music. It’s Good To Be Alive features ten great songs, which are a mixture of styles and influences. On the album there are slow and fast tracks, and the music fuses soul, funk and gospel brilliantly. On the album, DJ plays five instruments, wrote nine songs and cowrote the other, and produced the album. He truly is a hugely talented man, who should’ve been a much bigger star. If you’ve never heard his music, the three albums he recorded for RCA including It’s Good To Be Alive are available as part of a two disc set on the BMG label. This is a good way to introduce yourself to one of the most talented, yet underrated artists ever. Standout Tracks: Hold On, Be Strong, It’s Good To Be Alive, Living Is All That Matters and Bula Jean.
DJ ROGERS-IT’S GOOD TO BE ALIVE.
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TERRY CALLIER-WHAT COLOR IS LOVE.
TERRY CALLIER-WHAT COLOR IS LOVE.
Over the past thirty-five years, I must have bought and listened to, thousands of albums. Many of these albums are albums are great albums, but commercially, weren’t successful. Often it’s hard to understand why these albums weren’t successful, why they never sold in larger quantities and why the artist wasn’t a huge star. One of the people that falls into this category, is Terry Callier, someone I’ve written about before. Previously, I’ve written about two of Terry’s “comeback” albums Timepeace released in 1998 and Lifetime released in 1999. Both are great albums, but like Color of Love, the album this article is about, weren’t a huge commercial success. Instead, Terry Callier’s music is loved by a much smaller number of people than his huge talent warrants. What Color Is Love was the second of three albums Terry released on Cadet, a subsidiary of the legendary Chess records. His first album for Cadet was Occasional Rain in 1972, which was followed by What Color Is Love in 1973 and his final album for Cadet was I Just Can’t Help Myself in 1974. These three albums were all produced by Charles Stepney, who also produced albums for amongst others, Rotary Connection, Minnie Ripperton, Earth Wind and Fire, Howlin’ Wolf and Marlena Shaw. However, this masterful trio of albums he produced for Terry Callier features some of Terry’s greatest music, and are among my favorite albums. If I was forced to choose my favourite of the three albums, it would have to be What Color Is Love, a beautiful album that features Terry at his best. Having told you the background to the album, I’ll now tell what it sounds like.
What Color Is Love opens with Dancing Girl, an epic track that takes you on a journey. During the track he takes you to the jazz venues, bars and festivals where he played, out to the sprawling brownstone ghettos where poverty and deprivation is everywhere, introduces you to the various subcultures that were prominent in the seventies and that he’d come across through his work as a musician. It’s a powerful and emotional track, with wonderful lyrics, which have a strong narrative. Terry paints a picture so strong you can almost see it, smell it and sense it. The track begins with an acoustic guitar played briskly, before Terry sings, accompanied by gentle percussion. Gradually, the arrangement grows, strings sweep in, gradually filling the arrangement. Suddenly, he slows things way down, with just his guitar playing, as the strings dramatically swoop in, punctuated by a saxophone blowing. By now, the track has taken a dramatic turn, a bass, saxophone, drums and keyboards accompanying Terry, who gives a hugely emotional performance. His voice is much stronger, rising, all the while getting louder, as strings, drums, percussion, keyboards and bass combine. There’s an intensity present, as the track builds up to a powerful crescendo, with Terry scatting , while the arrangement becomes fuller, almost frantic, full of energy and emotion. As if spent after the drama and energy he’s expounded, the track becomes much gentler and quieter, as if Terry’s got the anger and frustration out of his system. For nine epic minutes, Terry has taken you on a complex yet magical, musical journey, full of emotion and passion.
Like the previous track it opens with an acoustic guitar and bass accompanying Terry who plays and sings slowly and and thoughtfully at the start of What Color Is Love. Percussion gently plays in the background, a trumpet blows, and then a harp and strings enter. Slowly, a dramatic and considered arrangement is unfolding, matching Terry’s tender vocal and beautiful lyrics. Instruments drift in and out of the arrangement, with some remaining throughout the track. One thing that makes this track so good, is the use of strings. They compliment the vocal perfectly, their sound lush and sweet. There is a strong bass line during the song, which is slow, accurate, prominent in the mix. However, the star of the track is Terry, whose vocal is among the best on the album. He sings the song slowly and tenderly, taking care with his beautiful lyrics, which consider the question of love. After the dramatic Dancing Girl, the slower tempo of What Color Is Love is a nice contrast. Like, Dancing Girl, it features a stunning performance from Terry, and has some beautiful, philosophical and powerful lyrics.
You’re Gonna Miss Your Candyman begins with acoustic guitar, bass and percussion before Terry sings. When he sings, his voice is louder and the tempo quicker. Like Dancing Girl, the arrangement slowly unfolds until it becomes much fuller. When the arrangement fills out, it’a combination of the rhythm section, percussion, guitars and later, the horn section announce their arrival. By then, the arrangement is faster, with Terry giving a much quicker and louder, but passionate vocal. During the track, his vocal drops out, and the band are left to fill the gap. This they do impressively, combining brilliantly, as they showcase their considerable talents. Another similarity to Dancing Girl is how once the arrangement has become much fuller and quicker, Terry slows things way down. Here, however, he builds things back up again. Again, it’s an epic track, sung with power, passion and drenched in emotion. It’s almost a grandiose arrangement, full of energy, thanks to producer Charles Stepney. It sounds fantastic, and allows the listener to hear a very different side of Terry Callier.
The other side of Terry is apparent on Just As Long As We’re In Love, briefly. Backing vocalists sweetly sing, accompanied by a piano, as the track opens. When Terry sings, his vocal is much quieter and gentle. However, this doesn’t last long as producer, Charles Stepney, has another dramatic and fuller arrangement planned. Drums, a horn section and piano combine to create a backdrop that’s dramatic and powerful in equal measures, but soon heads towards a much gentler and melodic part of the arrangement. That’s when the backing vocalists reappear, piano and guitars accompanying them. Quickly, the arrangement builds back up, only to return to this much more gentle, melodic part, complete with strings. Overall, it’s an arrangement of two parts, one part full of drama and passion, the other much more gentle and considered. However, this works, and when you hear the track, the two contrasts fit together perfectly, into what’s a beautiful song about love, brilliantly sung by Terry, thoughtfully and with passion.
Keyboards play slowly, their sound melodic at the start of Hso Tsing Me (A Song of the Sun), and are joined by a bass before Terry sings. When he sings his voice is quiet, yet strong as the arrangement quickly grows. Strings, the horn section, piano, guitars and rhythm section all combine to produce a full sounding arrangement, to accompany Terry’s much louder vocal, which by now, is full of frustration and anger. Behind him the arrangement sweeps along beautifully, strings sweeping, guitars chiming and the piano dramatically playing and all prominent in the mix. Like before, however, Terry’s vocal steals the show. His voice is laden with emotion, it’s full of passion, as he’s questioning why things are happening? The lyrics are spiritual, and it’s as if he’s questioning his faith, asking a higher power why are these things happening? This is yet another fantastic track, with searching and thoughtful lyrics that are laden with emotion when delivered by Terry.
An acoustic guitar and harmonica play as I’d Rather Be With You begins. Terry’s voice is much quieter and gentler as he sings some beautiful and thoughtful lyrics about love. Quickly, Terry’s voice strengthens, gets louder and the arrangement fills out. A piano, bass, strings and percussion playing behind Terry, combining to produce a beautiful lush sound and one of the best arrangements on the album. Later, a saxophone plays, and combined with Terry’s voice and the strings, this lifts the arrangement. Throughout the track, a harmonica accompanies Terry, playing quietly in the background beautifully. The longer the track progresses, the better the arrangement gets. Charles Stepney really has surpassed himself, the way he’s arranged the track. His use of strings, horns and piano especially, and where and when he’s used them, really bring the track to life. Here the lyrics are among the best on the album, and Terry cowrote the song with Jerry Butler and Larry Wade. As Terry sings them, you can imagine the scenes unfolding before your eyes. That, to me, is the sign of good lyrics, ones with a really strong narrative. I’d Rather Be With You one of my favorite tracks on the album. For me, it has everything, it sounds great, has a great vocal and lyrics, and a fantastic arrangement courtesy of Charles Stepney.
What Color Is Love closes with You Don’t Care, which is mostly an instrumental track, except when the backing vocalists occasionally sing. It’s a track with a lovely lush arrangement, that begins with piano, drums, strings and horns playing, before a lovely acoustic guitar solo is played. This lovely arrangement is made all the better by the backing vocalists sweetly interjecting. The track has a sweeping, orchestral sound, with the addition of a Spanish style acoustic guitar solo. As the track meanders beautifully, dramatic peaks emerge, while strings sweep beautifully, their sound lush, made all the better when the horn section join in. For five and a half minutes this beautiful, sweeping, lush track gracefully unfolds, and although an unusual way to end the album, it certainly is a beautiful way to do so.
This album has long been a favorite of mine, and like many people I love and treasure What Color Is Love. To me, this was the best of the three albums he recorded for Cadet, and is one of the finest albums he ever recorded. How it wasn’t a huge hit, I’ll never understand. The album features some of the best songs Terry has ever written or recorded and thanks to producer Charles Stepney, it has some wonderful arrangements on it. He was backed by a hugely talented group of musicians, and was signed to Cadet, a subsidiary of Chess who had many successful singles and albums before. However, for whatever reason, What Color Is Love wasn’t a commercial success, and neither was the album that followed it, I Just Can’t Help Myself. When he was dropped by Cadet, he signed to Elektra where he released two albums. Neither sold well, and it wasn’t long after that, that Terry took a sabbatical from music, to look after his daughter and he retrained as a computer programmer. Thankfully, he was convinced to come out of retirement, and since then, has released several albums. Sadly, he’s still not a huge commercial success, like his talent warrants. That just shows that in the music industry, sadly talent only gets you so far.
If after reading this article, you’re interested in hearing Terry’s music, I would recommend from his earlier work, the three albums he recorded for Cadet Occasional Rain, What Color Is Love and I Just Can’t Help Myself. Alternately, you could buy Essential, The Very Best of, which features the best of the his music from his three Cadet albums. From his later period, I’d recommend Timepeace and Lifetime. There is one other compilation I’d recommend and that’s About Time: The Terry Callier Story 1965-1982. Any of the albums I’ve mentioned will feature some brilliant music, and very soon, you’ll become a huge fan of Terry Callier’s music. Standout Tracks: Dancing Girl, What Color Is Love, Just As Long As We’re In Love and I’d Rather Be With You.
TERRY CALLIER-WHAT COLOR IS LOVE.
LED ZEPPELIN-IV.
LED ZEPPELIN-IV.
In a previous article I mentioned how, in the early seventies, a group or artist had to sell a huge amount of albums or singles, to achieve a top twenty placing. This was a time when multi-million selling albums was common place. When the group this article is about, released their fourth album in 1971, it reached number two in the US Billboard 200 selling twenty-three million copies, being certified platinum twenty-three times over. Led Zeppelin and their album IV, stayed on the US charts longer than any other of their albums. Back in their home country the UK, the album reached number one in the UK album charts, spending sixty-two weeks in the charts. Since then, the album is considered one of the greatest albums ever to be released. Over the years, it’s received every awards and accolades possible, and is always found in the lists of the best albums ever released. This album was the perfect way to answer their critics after the mixed reviews their previous album III had received. Before I review the album, I’ll briefly tell you the background to this album.
Led Zeppelin set about recording what would become IV in Island Record’s new recording studios in Basing Street. On the recommendation of Fleetwood Mac, they then moved to Headley Grange, an old Victorian house in Hampshire, where they used a mobile studio belonging to the Rolling Stones. After the tracks had been completed, they returned to Island Records’ studio for overdubbing, before heading to Sunset Studios, in Los Angeles, to mix the album. All this took place during 1970 and 1971. However, once they started mixing the album, they encountered some problems. The group weren’t happy with the mix, and they returned to London to redo some of the work they’d just finished in Los Angeles. This meant the album’s release date became delayed by several months, with the album not being released until 1971. Once they were happy with the album’s sound, came the job of promoting the album.
Now the group had finished the album, they could set about promoting it. First they had to decide the album’s title. Instead of giving the album a title, it featured four hand drawn symbols, on both the inner sleeve and record label. Each symbol was meant to represent a band member. Nor would there be any information on the album cover, with the band’s name being downplayed. This was almost unheard of, and many people at Atlantic, their record company feared that this would damage sales of the album. Before the album was released, Atlantic sent copies of the graphics to the press, so they could include the symbols in articles about the album. Since the album’s release, it has been referred to as IV, although that wasn’t the original title. However, the lack of a conventional title didn’t harm the album, or sales.
When the album was released, it was critically acclaimed. Critics realized that Led Zeppelin were back, having produced a brilliant new album, after a slightly disappointing previous album III. Fans loved the album too, and in the UK, the album reached number one, while in the US the album peaked at number two. Sales of the album were huge, selling twenty-three million copies, and 1.8 million copies in the UK. Since then, the album has consistently sold well, and it’s received numerous awards and accolades, and is always included in the lists of the greatest albums ever released. So Led Zeppelin’s album IV, was critically acclaimed, and a huge commercial success, but what does it sound like?
IV opens with Black Dog which has a hesitant start, before the track bursts powerfully into life with Robert Plant’s lung bursting, unaccompanied vocal giving no indication of what’s to come. What follows is a masterclass in full on rock ‘n’ roll at its very best. Jimmy Page’s screaming, lightning fast, guitar playing, John Bonham’s frantic drumming driving the song along with John Paul Jones bass guitar. The tempo is fast, the sound hugely loud, as the song drives along, complete with occasional pauses, before the track builds back up, returning to the earlier frantic pace. You can’t help but admire Plant’s vocal, it’s one part raw power, to one part sheer passion, as he almost screams and bawls his way through the track. Black Dog inspired a new generation of bands, but none of them can play full on rock ‘n’ like Led Zeppelin. A brilliant way to open the album.
How do you follow a brilliant track like Black Dog? It’s quite simple really, with one called Rock and Roll. It begins with Bonham playing a drum solo, that’s fast, full and power personified. After that, the group treat us to some old school rock ‘n’ roll. Plant’s gives his usual energetic and enthusiastic vocal, as the band turn back the years. Again, Page’s guitar playing is fantastic, it’s quick, accurate and sounds like something you’d expect Chuck Berry to play in years gone by. Behind him, Bonham punishes his drums, Jone’s bass sits at the bottom of the mix and later, Rolling Stone Ian Stewart plays a fantastic piano solo. A lengthy part of the track is just an instrumental where the group demonstrate just how good musicians they are. Together, the band produce a fantastic track that although relies on power, stays true to the spirit of rock ‘n’ roll.
After two really rocky songs, Led Zeppelin change styles with The Battle of Evermore which features Sandy Denny on vocals. It has a distant, meandering start with Jimmy Page playing mandolin, before Plant sings the lead vocal, accompanied by Sandy Denny. This is a very different track, it’s slower, with a folk feel and sound, especially with the instruments used and the way the vocal is sung. By now, it’s mandolin and acoustic guitar that are playing. There are no electric instruments used on the track, but one thing hasn’t changed and that is Robert Plant’s vocal. Sometime’s he cut’s loose, and really sings loudly, using his powerful, energetic vocal, especially towards the end of the song. Mostly, though, he resists this temptation, and it’s a much more restrained vocal from him, more in keeping with Sandy Denny’s vocal style. Although, this is a good enough song, I much prefer the much more rocky side of Led Zeppelin.
Probably the most famous song that Led Zeppelin ever recorded is next, Stairway To Heaven, an eight minute epic, masterpiece. It’s one of the band’s best known, and best loved tracks. An acoustic guitar is played slowly and gently, before a recorder plays. Robert Plant’s vocal likewise is much gentler, more restrained as the track meanders beautifully along, the lyrics among the best on the album. After just over two minutes, the song starts to fill out, the arrangement growing slowly. A bass plays, guitars too, as Plant gives one of his best vocal on IV. Things start to really take shape when John Bonham plays, his drumming much more restrained here, than on the opening tracks. Eventually, drums, guitar and bass let loose. Another excellent guitar solo from Page takes shape, Bonham’s drumming is much louder and faster and Robert Plant decides he’s had enough of the restrained vocal style, and gives another lung bursting vocal performance, just before the track ends. Overall, this was a career defining moment for Led Zeppelin, as it’s both a brilliant track, and one of the most famous and best loved songs ever recorded.
Having recorded such a great track, the problem is how do you follow it? The problem is, after Stairway To Heaven, anything else will sound second best. However, Misty Mountain Hop is the track they chose to follow Stairway To Heaven. Keyboards, guitars and drums all play, before Robert Plant sings the vocal. They combine powerfully, driving the track along, with John Bonham’s drums at the front of the mix. Plant’s vocal is huge, loud, he shows no restraint as sometimes, he screams, hollers and roars his way through the lyrics. Behind him, the rest of the band similarly, forget about subtlety, and really let loose. Page’s guitar playing and Bonham’s drumming are key to the sound, really providing a powerful and dynamic backdrop for the vocal. Jimmy Page demonstrates just how great a guitar player he was, playing a brilliant solo during the track. Robert Plant’s vocal launched a thousand wannabe impersonators, many of whom went on to form bands and have successful careers. However, there was only one Robert Plant, and here, he and the band, produce another slice of brilliant, hard, driving rock music.
Straight away, guitars and rhythm section combine to produce a loud, powerful and driven backdrop for Robert Plant’s vocal on Four Sticks. Although his vocal is forceful and loud, he’s somewhat struggling against the magnificent hard rocking arrangement. It’s loud, repetitive, full of power and energy, an example of what Led Zeppelin do best. John Bonham’s drumming is among his best on the album, it’s loud, fast, accurate and powerful. Meanwhile, Jimmy Page’s guitar playing chugs along, it’s dynamic and dramatic with riffs aplenty, while Robert Plant shrieks, screams and wails, as he really forces the vocal. By the end of the track, you can’t help but admire the sheer power displayed by the band during the track. What they produce is like a powerful and dramatic wall of sound, which Robert Plant copes admirably with, producing a dramatic and energetic vocal.
It’s an acoustic guitar, then mandolin that plays when Going To California begins. Straight away, you realize that this is a very different type of song. Here it’s just acoustic instruments that accompany Robert Plant’s vocal. His vocal is much softer, gentler and is much more restrained. Here he doesn’t indulge in any theatricals, no howls, wails or hollers, just a thoughtful vocal, sung beautifully, against a backdrop of acoustic guitar and mandolin. This is a very different Led Zeppelin, one that I enjoyed much more than The Battle of Evermore, the other acoustic based track.
IV ends with When the Levee Breaks, which like Stairway To Heaven, is a much longer track, just over seven minutes in length. It begins with John Bonham’s slow booming drums, a bluesy harmonica solo plays, joining a screaming guitar, which solos brilliantly. It’s an arrangement that builds and builds, and as it does just gets better. After a dramatic pause, Robert Plant’s vocal enters, seemingly, much more restrained. This doesn’t last, he soon breaks free of his shackles, and is roaring, giving a powerful, energetic and passionate vocal for the last time on IV. It seems Led Zeppelin have kept one of the album’s best tracks for last. This is a track with everything. Great guitar solos, that screech, scream and howl, pounding, booming drums and a frenetic bluesy harmonica solo. Over seven minutes, the band really let loose, showcasing their talents as musicians, and demonstrating just why they were the greatest rock band of their era. When the Levee Breaks is the perfect track to end the album, it shows Led Zeppelin at their best, power personified, thanks to four hugely talented musicians, at the top of their game, with Robert Plant reserving a fantastic vocal for the album’s final track. Excellent.
I’ve been a huge fan of Led Zeppelin for more years that I care to remember, and my favorite album has always been IV. This album saw the band recover from a somewhat disappointing response from critics to their previous album III. It also saw the eschew traditional marketing methods by not giving the album a “traditional” title. The album also came at a time when the band hadn’t toured for a while, so their profile wasn’t as high as it had been. IV was the perfect response from the band, not only was it critically acclaimed, but it was a huge commercial success, becoming their biggest selling album. When you listen to the album, you can hear why it was such a huge success. Here was a band at the top of their game, who had produced an album with eight great songs, played with power and passion, by four hugely talented musicians. Personally, by the time this album was released, I think the band were in their prime. They were by now seasoned musicians, with plenty of experience in the studio and as a live band. The scene was almost set for Led Zeppelin to produce a classic album. On IV’s release, it was obvious that they’d succeeded in doing so, and in the process, released one of the best albums ever recorded. It’s hard to believe that this year, in November 2011, IV will celebrate its fortieth birthday. It’s an album that’s aged well, and has that timeless quality that all good music has. If you’ve never heard the album before, it’s well worth buying, as you’ll hear Led Zeppelin in their prime, playing eight great songs, which make up their classic album IV. Standout Tracks: Black Dog, Rock and Roll. Stairway To Heaven and When the Levee Breaks.
LED ZEPPELIN-IV.
SYL JOHNSON-DIAMOND IN THE ROUGH.
SYL JOHNSON-DIAMOND IN THE ROUGH.
In previous articles I’ve written about Southern Soul, I’ve focused on one particular label, Hi Records. Previously, I’ve written about three of their most famous artists, the legendary Al Green, O.V. Wright and Otis Clay. These three artists produced some of the most successful and critically acclaimed albums on the label. However, these three artists weren’t the only artists to record for Hi Records, Ann Peebles, Don Bryant and the artist this article is about Syl Johnson, all recorded successful albums for the label. Like the other artists I’ve previously written about, they were guided by Willie Mitchell, who produced all the albums on Hi Records during its most successful period during the seventies. To create the sound he wanted, he used Hi Records house band, the Memphis Horns, The Memphis Strings and backing vocalists Rhodes, Chalmers and Rhodes. By adding all these ingredients to the albums he produced on Hi Records, Willie Mitchell produced one great album, after another. This included the four albums Syl Johnson recorded for Hi between 1973 and 1978. In this article, I’ll write about the second album he recorded for Hi, Diamond In the Rough. His first album on Hi was Back For A Taste of Your Love released in 1973. After that, he released Diamond In the Rough in 1974, Total Explosion in 1975 and Uptown Shakedown in 1978. Before I review Diamond In the Rough, I’ll tell you about Syl Johnson’s career.
Syl Johnson was born Sylvester Thompson in July 1936, in Holy Springs, Mississippi, the youngest of seven children. Two of his brothers like Syl, would go on to have careers as musicians. Mac Thompson and Jimmy Johnson would go on to have successful careers, with Jimmy becoming a famous blues guitarist. Later in life, Syl and Jimmy would record an album together, entitled Two Johnsons Are Better Than One, which was released in 2002.
By the 1950s’ Syl, Mac and Jimmy were based in Chicago, and Syl was working with people like Junior Wells, Magic Sam and Eddie Boyd. His first recording session was playing guitar for Billy Boy Arnold in 1956 which was released on the famous Vee Jay label. During this period, Syl worked with the great and good of Chicago’s blues players, including Jimmy Reed,
His first solo record contract was with King Records, and he recorded six singles on their Federal label between 1959 and 1962. These singles were a mixture of blues, soul and much more pop oriented material. However, none of the singles sol particularly well, despite being well promoted by his label. It was after recording with one of the best known producers of the day Sonny Thompson, that Syl decided to produce his own material. This he did for the two singles he recorded for the Zachron label. Like his singles on Federal, but apart from selling well locally, they too, failed commercially. After that, he recorded for TMP-Ting and Tag Ltd, and still he couldn’t make a commercial breakthrough.
It would be 1967 before Syl issued a successful single, entitled Come On Sock It To Me, on the new Twilight label based in Chicago. He followed this up with Different Strokes and I’ll Take These Skinny Legs. In 1969 Syl’s released his most successful single and album both entitled Is It Because I’m Black? This was a a single and album that was socially aware and tapped into the social problems of the era. Suddenly, after years of trying, Syl had a first a hit single, and then a hit album. By now Syl was a star, and was also head of A&R at Twilight, which had now been named Twinight. As if this wasn’t enough, he started setting up Shama, his own label in 1968. Shama signed acts that Twinight decided not to sign, and to record sessions for his new label, Syl enlisted the musicians that played on all the Twinight recordings.
In 1969 Syl decided to head south to Memphis to record sessions for his Shana label. The reason for the trips to Memphis was Syl wanted to change the label’s musical style, and admired the sound coming out of Memphis. Some of the sessions took place in the Hi Records studios. Once there, he realized that Willie Mitchell had put in place one of the best studio bands in music. When Shama and Twinight experienced financial problems, Syl decided it was now time to sign to Hi Records. This was the summer of 1971, and in the next seven years he’d release four albums for his new label.
The first album Syl released for Hi Records was Back For A Taste of Your Love released in 1973 reached number nineteen in the R&B charts. After that, he released Diamond In the Rough in 1974 which failed to chart, Total Explosion in 1975 reached number fifty-six in the R&B charts and Uptown Shakedown in 1978 failed to chart. However, by 1977 when Syl was recording his final album, Uptown Shakedown, disco was by now, hugely popular, and Memphis soul records like the ones Syl was recording weren’t selling well. By then, Hi Records had been taken over by Cream and they decided that the album should be recorded on the West Coast, instead of in the Hi Studios. Uptown Shakedown was recorded with some of the West Coast’s best session players. Sadly, the album was the weakest Syl recorded for Hi and as a result, failed to trouble the charts.
By then, Syl had set up his Shama label and released a number of singles and the album Ms. Fine Brown fame in 1982. His next album was 1984’s Back In the Game. It was at this time that Syl started a fast-food fish restaurant and was now semi-retired, only making occasional appearances at local blues clubs.
In 1992 Syl discovered that his music was being sampled by a number of hip-hop and rap artists, including the Wu-Tang Clan and Public Enemy. This spurred Syl to make a comeback. His comeback album was Back In the Game which featured the Hi rhythm section and his daughter Syleena. The following year 1995, he recorded an album with his daughter Syleena entitled This Time Together By Father and Daughter. Further albums would follow including Bridge To A Legacy in 1995, Talkin’ About Chicago in 1999 and Hands of Time in 2000. In 2002 Syl released an album with his brother Jimmy Johnson entitled Two Johnsons Are Better Than One. Last year, 2010, a box set retrospective of his early work was released entitled Syl Johnson: Complete Mythology. It’s nearly fifty years since Syl signed his first recording contract. He has been a musician and singer since the 1950’ and has recorded for a number of labels over these five decades. However, it’s one of the albums he recorded for Hi Records, Diamond In the Rough, that I’ll now review. This was an album that failed to chart, so what I’ll now tell you, is whether this is a good album or not.
Diamond In the Rough begins with Let Yourself Go which begins with a piano playing slowly and spaciously, before the rhythm section and organ enter, transforming the track into a brighter, more melodic one. After that, Syl’s charismatic tenor voice makes an appearance. He’s accompanied by Rhodes, Chalmers and Rhodes on backing vocals and The Memphis Horns who both occasionally punctuate the track in short, sharp bursts. Syl meanwhile, is giving a powerful and passionate rendition of what’s one of the slower songs on the album. Occasionally, he kicks loose, his voice strengthening, getting louder and even more passionate. As ever, Willie Mitchell’s arrangement is perfect for the track. The rhythm section and Memphis Horns driving the song along, never once overpowering Syl’s charismatic vocal.
Guitars play at the start of Don’t Do It, before The Memphis Horns interject, announcing Syl’s introduction. When Syl sings, he’s got some explaining to do in the song, he’s having to talk his girlfriend out of leaving him. It’s a song about love and relationships which Syl sings brilliantly, bringing the lyrics to life. He sings the song with passion, almost pleading, while the backing vocalists, The Memphis Strings and The Memphis Horns accompany him. As usual, the rhythm section play brilliantly, providing the perfect backdrop for Syl’s tale of woe. It’s the horns especially, that add to the songs drama. However, the star of the track is Sly, and his pleading, passionate delivery of the song.
I Don’t Want To Take You Home (To See Mama) has a very different sound to the two preceding tracks. It bursts into life with The Memphis Horns playing brightly, before Syl sings. When he does, his voice sounds nearly joyous. Throughout the track he’s accompanied by the backing vocalists whose contributions really lift this song. Their voices rejoice sweetly and joyously, the perfect accompaniment to Syl’s vocal. Like the backing vocalists, The Memphis Horns contribution is huge, with them accompanying Sly throughout the track, drenching his voice with their beauty. Here, Syl gives one of his best performances on the album, and together with the backing vocalists and horn section’s contribution, Willie Mitchell has produced one of the album’s best tracks.
An organ plays, giving the song a really sad, melancholy sound and is accompanied by drums, guitar and keyboards as Could Be Falling In Love With You begins. As Sly sings, it’s apparent straight away, that this is another fantastic song that’s unfolding. Syl gives the most heart achingly beautiful rendition of the slowest song on the album. It’s made all the better with the subtle use of the backing vocalists and the band playing really slowly behind him. They allow Sly to take centre-stage, and do what he does best, deliver songs with emotion and passion. What makes the track just so good, is Syl’s vocal and the arrangement which, for the most part meanders along beautifully. The only time the horns play, is towards the end, where they make their presence felt and add to an already sad, emotive arrangement. Like the previous track, this is one of the album’s highlights.
The tempo increases with Stuck In Chicago, a track that begins with guitar and The Memphis Horns playing, before the rhythm section enter. When Syl sings, his voice is much stronger, and is accompanied by strings playing in the background and the horns interjecting adding to what is a much fuller arrangement, laden with sadness, drama and atmosphere. An organ adds to the already sad and dramatic arrangement. In the song, Syl is down out of money and out of luck, having been stood up by his girlfriend. Like on other tracks, Syl brings the lyrics to life, and you end up feeling sorry for him. His delivery is emotional and dramatic, and the arrangement adds to the sense of drama, especially through the use of the horn section on the track. Overall, it’s a great track thanks to Syl’s vocal, The Memphis Horns and producer Willie Mitchell.
The title track Diamond In the Rough is another dramatic sounding track, that begins with drums crashing, keyboards and the horn section combining before Syl sings. When he sings, his tenor voice is strong and loud, while behind him, the rhythm section and The Memphis Horns especially, concentrate on producing a dramatic sounding arrangement. Later, strings sweep in, their sound lush, in contrast to the brash sounding horns. Together, the rhythm section, horns and strings succeed in producing one of the best, most dramatic sounding arrangements on the album. Syl meanwhile, matches their efforts, producing a vocal that’s emotional and drenched in drama.
Keepin’ Down Confusion has a lovely introduction, with drums and organ playing, with the backing vocalists singing sweetly. After that, Syl sings, his voice strong, clear and loud. Like before, his vocal is charismatic, bringing meaning to the song, through emotion and passion. While he sings, an organ and The Memphis Horns inject further emotion and drama, with the help of Rhodes, Chalmers and Rhodes, Hi’s legendary backing singers. The arrangement is slower than on the previous two tracks, and this seems to add to the dramatic sound and feel of the track. Here, the success of the track is down to the tempo and arrangement, and of course, a vocal laden in charisma and feeling, courtesy of Syl Johnson.
It’s an organ and The Memphis Horns that dramatically, accompany an almost pleading, Syl at the start of Please Don’t Give Up On Me. Backing singers add to the drama when they accompany Syl. Between the interjection of the horn section and the contribution of the backing singers, it’s an already dramatic arrangement that’s unfolding. The rhythm section’s contribution heightens this sense of drama, as does Syl’s vocal. Here, he really lets loose his emotions, as he pleads and begs for his girlfriend not to give up on him. This is an outstanding vocal from him, made all the better by Rhodes, Chalmers and Rhodes backing vocals. What shouldn’t be underestimated is the contribution of all the musicians that play on the track. Without their contribution, the track wouldn’t be half as good. Their playing combined with Syl’s desperate vocal make this a great track, one that’ll pull on you heartstrings.
A piano plays at the start of Music To My Ears, but doesn’t give you any indication of what’s to come. What follows is the rhythm section and The Memphis Horns combining before Syl sings joyously. Behind him lush sounding strings sweep in, horns punctuate the track and the backing vocalists compliment Syl’s voice perfectly. It’s a track with a quicker tempo, one that sweeps along, and in the process, sweeps you along in its wake. Quickly, you’re caught up in Syl’s joyful, sounding vocal, complete with a catchy, melodic, arrangement where hooks are plentiful. This track demonstrates the versatility of Syl’s voice. He’s equally at home singing uptempo, joyous songs like this, as he is singing the sad songs, drenched in emotion and drama. After the sadness of the previous song, this is the perfect contrast.
Diamond In the Rough closes with I Hear the Love Chimes which has a subtle introduction with keyboards, drums and guitar playing, before a short burst of the horn section announces Syl’s entrance. Here, his vocal is much more restrained, quieter, relying less on power during this track. Behind him, the rhythm section and Memphis Horns combine to produce a lovely, dramatic, slice of Southern Soul. It’s punctuated by horns, with an organ, atmospherically playing, adding to what’s already a lovely slow arrangement. Backing singers occasionally interject, singing sweetly in unison. This is a lovely, melodic, track to end the album, Syl’s vocal is much more subtle, while the arrangement is slow and dramatic, thanks to The Memphis Horns and the rhythm section.
I’ve always wondered why Diamond In the Rough didn’t build on Syl Johnson’s debut album Back For A Taste of Your Love which reached number nineteen in 1973. Diamond In the Rough has ten great songs on the album, all sung brilliantly by Syl. On the album, Syl demonstrates his versatility as a vocalist. He’s equally comfortable singing slow and fast songs alike, and delivering dramatic and sad songs just as comfortably as he does the faster tracks. Throughout the album, he adjusts his voice to suit each song, delivering them beautifully. Like his first album for Hi, Willie Mitchell produced it, and it featured The Memphis Horns, The Memphis Strings, the famous Hi rhythm section and Rhodes, Chalmers and Rhodes. It had everything going for it, but for some reason, the record buying public overlooked this excellent album. However, since its release, many soul fans have discovered this album, albeit belatedly, and they like me, love the music on it. Thankfully, it was released on CD in 2000 by the Demon Music Group as part of The Complete Syl Johnson On Hi Records which features the four albums Syl recorded for Hi. On that two-disc set you can hear everything that Syl ever recorded for Hi, complete with bonus tracks. For me, it’s the perfect introduction to the marvelous music of Syl Johnson. So if you’ve never heard his music, why not treat yourself, you won’t regret it. Standout Tracks: I Don’t Want To Take You Home (To See Mama), Could Be Falling In Love With You, Please Don’t Give Up On Me and I Hear the Love Chimes.
SYL JOHNSON-DIAMOND IN THE ROUGH.
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THE HACIENDA AND ITS MUSIC-THE HACIENDA COMPILATIONS.
THE HACIENDA AND ITS MUSIC-THE HACIENDA COMPILATIONS.
Recently, I’ve been reading Peter Hook’s book The Hacienda How Not To Run A Club Properly, which tells of the trials and tribulations of being part-owner of one of the most innovative, important and successful clubs ever. For anyone considering launching a club, or even club night, it’s vital reading. It tells of every pitfall that lurk round every corner for the budding nightclub owner. Over a fifteen year period, The Hacienda went from primarily a venue for bands, with discos at the weekend, to the most successful club in the world. During that period, Hooky tells of some of the biggest bands of the time playing the club, the Acid House era, constant financial problems, gangsters infiltrating the club and ultimately, insolvency and the clubs closure. However during the problems and sometimes chaos, the club played host to some wonderful nights, where some of the biggest bands and later, DJs played. What really put the club on the map was Acid House. That’s what most people remember the club for, and since the clubs closure, three compilations have documented the music played at The Hacienda during this time. After I’ve told you about the club’s history, I’ll review these compilations.
The Hacienda was launched in 1982, the result of a partnership between New Order, Hooky’s band and Factory Records run by Tony Wilson. The club was situated at 11-13 Whitworth Street West, Manchester, a former yacht showroom, that was transformed by architect Ben Kelly, into one of the most innovative clubs ever. When the club was finished in 1981, it cost £344,000. However, it’s design was unlike anything ever seen before. Ben Kelly turned the former yacht showroom into what would become the most famous club in the world during the Acid House years.
When the club opened in 1982, it was oven seven days a week, to give the young people of Manchester somewhere to go throughout the day. It was somewhere you could go for a drink, a meal, meet friends, see a band or go to dance. However, at the start there was a problem, a lack of customers. For the first five years, the club wasn’t the busiest club in Manchester. Little did the owners know that five years later, things would change, and The Hacienda would find fame worldwide.
Between 1982 and 1997, The Hacienda played host to some of the biggest bands of the time. Groups like The Smiths, Primal Scream, Oasis, The Stone Roses and Hooky’s own band New Order all played at The Hacienda. Madonna even played her first UK concert there, lip synching to on The Tube, a popular music program from that time. During the period, from 1982-1987, The Hacienda was hardly the busiest club in the UK, even though it was easily the most innovative.
It was only when Acid House burst onto the scene during 1987, that the club at last, became a huge success. The Hacienda was responsible for introducing the North West of England to Acid House, which launched the popularity of dance music. Clubbers at The Hacienda had been introduced to house music in 1986 by DJs Graeme Park and Mike Pickering. This was as a result of policy that saw all kinds of music played by DJs at the club. Gradually, they “educated” clubbers to the new music that was arriving from Chicago. Park and Pickering played house music during their legendary Nude club nights held on Fridays. This night help to transform the club’s fortunes, and suddenly, the club was packed every Friday night.
The success of Nude led to a number of other club nights at the club. Hot, hosted by Mike Pickering and John De Silva was The Hacienda’s Ibiza night which started in July 1988. Other nights included The Temperance Club hosted by Dave Haslam, which like Nude, would become one of the most successful and longest running club nights. During these nights, DJ’s would play a variety of different types of music. It was almost an anything goes policy. If the record fitted in with previous one, and kept people dancing, that was fine. This meant that DJs would play house, soul, funk hip-hop and disco all on the one night. Nowadays, that’s almost unheard of, with many DJs just resorting to playing the same genre of music during their sets.
During these club nights, people came from far and wide. The Hacienda was known worldwide, with Newsweek featuring the club on its front cover and calling it the world’s most famous club. People came in their thousands, not just from all over the UK, but worldwide. Once in the club, they could stand next to, and dance beside some of Manchester’s most famous faces. This was because the club chose not to have a VIP area. Everyone was equal once inside, everyone there to enjoy the cutting edge music and legendary atmosphere. One problem with the nights is that people didn’t consume huge amounts of alcohol. This meant the club weren’t making any money from the bar. All most people wanted to drink was bottled water, and the club didn’t sell bottled water. As a result, most of the money the club made, was people paying to enter the club. Much of the money made inside the club was going to other people namely drug dealers, selling ecstasy, which for many people helped fuel their night’s dancing.
With Acid House came a problem, drugs. Ecstasy was the dancers drug of choice, and in July 1989, tragedy occurred at the club when a sixteen year old girl died from an allergic reaction to a tablet she’d taken before entering the club. During the Acid House years, and after them, the amount of drugs being consumed inside the club grew. This lead to the police taking an interest into what was going on in The Hacienda after new legislation was introduced. The owners tried to regulate things, and ensure that drugs were confiscated. However, by now the drugs problem had grown and it was getting worse each year. By now, local gangsters had discovered the popularity and profitability of clubbing. When they moved in things changed, for the worst.
After the local gangs infiltrated The Hacienda, things took a turn for the worse. Gradually, the violence increased, the gangsters beating up and robbing drug dealers, and eventually, taking over the drug dealing within the clubs. Sometimes, there would be inter-gang violence taking place within the club, with gangsters settling scores. Occasionally, members of the public would be in the wrong place at the wrong time, and be subjected to violence. As all this took place, the security staff struggled to cope with the situation. The owners resorted to hiring people who had the respect of those causing the trouble. However, eventually, on 30th January 1991, the club closed its doors temporarily due to the violence. Although it reopened on 10th May 1991, the problem would continue to be a problem until the club closed.
On 28th June 1997, Dave Haslam was DJ for what would be the last ever night at The Hacienda. Unknown to those who were there, that would be the final night of The Hacienda. Sadly, in June 1997, the club closed due to financial problems. These financial problems had been a recurring problem since the club opened and had resulted in Factory Records and New Order constantly having to provide finance to keep the club solvent. However, after Factory Records became insolvent in 1992, New Order, were responsible for financing the club. Gradually, the various members of New Order lost faith in the club, and latterly, Peter Hook was the only member of the band who provided finance to club. Together with New Order’s manager Rob Gretton, the pair tried to keep the club open. By June 1997 Hooky realized that he couldn’t go on pouring money into what Joy Division and New Order producer Martin Hannett had called “a hole in the ground called The Hacienda.” However, for fifteen years, The Hacienda played host to some of the biggest bands of that era, and was responsible for introducing Acid House to the North West of England. During the Acid House years, The Hacienda became the most famous club in the world, attracting clubbers from not just all over the UK, but worldwide. From far and wide, clubbers made what were almost pilgrimages to The Hacienda, to enjoy the club’s legendary atmosphere. Having told you about the club’s eventful history, and the important part in played in the history of dance music, I’ll now review the three Hacienda compilations.
THE HACIENDA CLASSICS.
The Hacienda Classics was the first of the three Hacienda compilations. Ironically, it was launched in May 1997 as the club celebrated its fifteenth birthday with a party. It features a wide range of music, which celebrates the different genres of music played at the various club nights. There are forty-seven tracks on the triple cd, which when it was released retailed at £27. Now the album is a valuable collectors item, changing hands for quite large sums of money. It was released on EMI and features some of the biggest hits of the Acid House era. I’ll now pick four of my favorite tracks from the album, and in keeping with The Hacienda’s music policy pick different types of tracks.
Voodoo Ray by A Guy Called Gerald is my first choice and it begins with a female vocal ad-libbing, accompanied by pounding, electronic sounding drums, before a squelchy synth line appears. It has a slight echoey sound, as the vocal sits above the drums and synth. Later, a male vocal cuts in, repeating Voodoo Ray over the female vocal. The arrangement gets fuller, various samples accompanying the synths, drums and vocals. Sounds and samples flit in and out of the track, which is perfectly suited for the dancefloor. Its tempo is 120 beats per minute, the sound nicely repetitive, with a lovely hypnotic and catchy sound. Although Voodoo Ray was one of the early Acid House tracks, made at home using just a synth and samples, it has stood the test of time well and still sounds great today.
Ride On Time by Black Box was a track that wasn’t just huge in the clubs, but was a huge chart hit. Drums, synths, handclaps can be heard before the hugely powerful vocal enters. When it enters accompanied by a really quick accurate bass line, you can’t help but be impressed by the power and passion of the vocal. It’s accompanied by backing vocalists, who provide a contrast to the power and passion of the lead vocal. Later in the track, there’s a breakdown where drums pound powerfully, and the vocal builds back up, before dropping out again. As the track ends, applause greets the track, and it’s richly deserved. It’s a fantastic track, especially the vocal, which mixes passion and power wonderfully.
Love Can’t Turn Around by Farley “Jackmaster” Funk and Jesse Saunders was one of the tracks that came out of Chicago during the early days of Chicago house. A vocal reverberates accompanied by echoey drums and the trademark synth line at the start of the track. It’s a dark, powerful sound, until the vocal enters. That changes things, so does the piano playing, which reminds me of Italian piano house. Synths growl, and squelch, emitting a series of beeps as drums pound. Whistles are blown, as the arrangement fills out, growing to a magical, melodic, combination of synths, drums, piano and vocals, complete with samples, percussion and handclaps. By the end you realize that this is one of the tracks that defines what Chicago house was all about in its formative years.
Let the Music Play (Original 12” Mix) by Shannon is my final choice from this album. For me, it epitomizes the anything goes music policy of The Hacienda and Acid House. It’s keyboards and drums that opens the track, producing a sound that’s melodic, catchy and full of hooks, but reminiscent of the eighties electronic sound with Acid House sounding synths. When Shannon sings, her voice is high and clear and she sings the lyrics well. This version isn’t the original single, it’s a remix for the 12 inch version. Although the arrangement sounds slightly dated, it’s still a great track that features a good vocal from Shannon, and can still fill a dancefloor.
I’ve always loved The Hacienda Classics CDs as they remind me of the music of the Acid House era. What I particularly like about the music on the three discs, is how wide ranging it is. There’s everything from indie rock, disco and Acid House over three discs and features music from Primal Scream, 808 State, Orbital , K-Klass and Candi Staton. It’s an album that’s well worth buying if you’re either someone who went to The Hacienda or loved Acid House music. It’ll bring the memories flooding back, it certainly does for me. My only minor quibble with the album is that as the first track on each album plays, an introduction from either Rob Gretton, Tony Wilson, Mike Pickering or Martin Hannett can be heard over the music. It would have been better if this had been a separate short track, rather than over the tracks. As I say minor quibble, but don’t let that spoil your enjoyment. Standout Tracks: Voodoo Ray by A Guy Called Gerald, Ride On Time by Black Box, Love Can’t Turn Around by Farley “Jackmaster” Funk and Jesse Saunders and Let the Music Play (Original 12” Mix) by Shannon.
THE HACIENDA CLASSICS.
VOLUME 1 THE HACIENDA.
Volume 1 The Hacienda was released in 2006 by Gut Records and is a two-disc set featuring twenty-three tracks. There are a couple of tracks that feature on The Hacienda Classics compilation, but the rest of the tracks are different. The choice of music isn’t as wide ranging on this compilation. Unlike The Hacienda Classics, there are no hands in the air disco classics from Candi Staton, Shannon or Loleatta Holloway. Instead, there are numerous Acid House classics and a sprinkling of hip-hop and Latin influences. Overall, it’s a good overview of the music from that time. I’ll now pick my favorite tracks from the compilation.
Dirty Talk by Klein and MBO is my first choice from this album. It’s a track that had a huge influence of New Order when they first heard it in New York, and provided the inspiration for their classic dance track Blue Monday. Bass, drums and synths combine at the start of the track, with a guitar playing at the top of the track. After the introduction a loud synth solo plays, accompanied by a myriad of drums, bass and keyboards. Mainly, it’s the synth that you’re aware of, with everything else playing in the background. Later, Percussion and handclaps appear, and several times there are mini-breakdowns during the track, after which, keyboards and synths play. They produce, a melodic, catchy and almost hypnotic mixture of space age and futuristic sounds. For six and a half minutes brilliant minutes, Klein and MBO produce one of the best dance tracks in the past thirty years. Regardless of how many times you hear it, subtle nuances and hidden musical secrets reveal themselves to you.
Pacific State by 808 State sweeps into being with keyboards and a wailing horn sample, before crisp, drums pound to a backdrop of sound effects. Then a keyboard plays, it’s sound melodic, as it produces a much lighter sound. Together with the bass, drums and that horn sample that started the track it’s a potent combination. It’s a hugely catchy track, so catchy it’s almost infectious. Much of this is down to the combination of drums and repeated introduction of the “horn” sound. Here, the bass part is used as a melodic part of the song in its own right, with the horn sound the counterpoint. As the track progresses, various sound effects and samples emerge from the arrangement, introducing variety and the element of surprise. For the most part drums and synths combine, and unlike Dirty Talk, Pacific State is a much slower track. Since its release, it has become something of a classic, featuring on numerous compilations, including various chill out compilations.
Beach (Original 12’ Mix) by New Order opens with a combination of an echoey sound and vocals uniting, singing and holding one note. Thereafter, it’s a mixture of drums and synth complete with Bernard’s vocal sung through a vocoder. The tempo is quick, the sound brilliantly repetitive, complete with a fantastic bass line courtesy of Hooky. Sound effects reverberate, crashes of thunder appear as the track progresses, handclaps, bass, synths and drums combining masterfully. Throughout the track, so much happens, it’s almost impossible to hear everything. Sometimes, you hear something, only for it to disappear, to be replaced by something else. There are so many musical textures here, layer upon layer of magnificent music unfolds over seven and a half minutes. Although this isn’t the original version of the track, it’s the Original 12’ Mix, which was made specifically for the dancefloor, it’s a great mix, one that transforms the track, and one that used to sound great in any club.
Where Love Live (Original 12” Classic Club Mix) Alison Limerick starts with a lengthy piano solo before crisp, crunchy drums and bass combine. The tempo is quick, the bass pounding, drums reverberate and then Alison Limerick slowly sings the vocal. Her vocal is strong and clear, as she’s then accompanied by the piano. Quickly, here voice strengthens and gets louder. A synth and combine when her vocal drops out. Backing vocalists accompany her, singing call and response occasionally. Alison has a fantastic voice and has sung on a number of house tracks. Here, she produces a great performance, matched by an equally good arrangement. It’s full of squelchy and sweeping synths, a pounding bass, crisp, crunchy drums and some great piano playing. Overall, it’s a powerful, impressive and melodic vocal house track thanks to Alison Limerick.
Although Volume 1 The Hacienda doesn’t feature the same wide range of tracks that he Hacienda Classics featured, it does feature some fantastic tracks. All of these tracks are the full length versions, unlike some compilations which feature shortened versions. Many of the tracks will be familiar to veterans of the Acid House years, but you may not have heard some of the mixes. The good thing about this compilation is that apart from a couple of tracks, there all different to the ones on he Hacienda Classics. Even the ones that are duplicated are so good that they couldn’t be omitted. After all, could you have a Hacienda compilation without Voodoo Ray by A Guy Called Gerald? This album is still available, and is well worth buying. It’s an inexpensive way to buy twenty-three great tracks, including some of the best Acid House tracks you’ll ever hear. Standout Tracks: Dirty Talk by Klein and MBO, Pacific State by 808 State, Beach (Original 12’ Mix) by New Order and here Love Live (Original 12” Classic Club Mix) Alison Limerick.
VOLUME 1 THE HACIENDA.
THE HACIENDA ACID HOUSE CLASSICS.
The Hacienda Acid House Classics was released in 2009 on New State Entertainment. It’s the third and final of the Hacienda compilations. Unlike the other two albums, this one is mixed by Peter Hook former New Order bassist, now a celebrity DJ. His mixing on the album is good, it’s tight and their are no major DJ-ing faux passes. What makes the album, is the selection of music. Over two discs, Hooky mixes together twenty-six Acid House classics. Again, there are some tracks that are on the other albums, but don’t let that put you off because there are some brilliant tracks on the two discs. I’ll now pick my personal favorites from the two discs.
Baby Wants To Ride by Frankie Knuckles is my first choice from this compilation. It begins with synths and drums combining before the vocal enters. The sound is full as two vocalists combine to sing the vocal. Synths are squelchy, drums crisp pound, as a really atmospheric, almost sensual vocal is sung. Throughout the track, it reverberates, wave upon wave of synths accompanying the by now, sleazy vocal. Although this is only a shorter version of the track, it still delivers the impact of the sensual, later sleazy vocal and the combination of synths and drums provides a powerful and full backdrop. Frankie Knuckles was one of Chicago house’s pioneers and innovators, and this track gives a taster of what his music sounds like.
Washing Machine by Mr Fingers is a track that relies heavily on ultra squelchy synths and drums. This is apparent when the track bursts into life. This is followed by a muted vocal that sits atop the mix. Later, strings sweep in, introducing another atmospheric spoken world sample. This too, is accompanied by synths and drums, and as the sample ends, so too, does the track. Although just over two minutes long, it’s two brilliant minutes that demonstrate what can be achieved with synths, drums and samples.
Two the Max by Jack Frost and The Circle Jerks bursts into life a myriad of beep and strange sounds courtesy of Mr Roland’s finest synths. The tempo is quick, as synths and drums combine, various beeps and sound effects being emitted from the arrangement. Sounds sweep out from an arrangement that is both brilliantly repetitive and really catchy. After you’ve heard it several times you just can’t get it out of your head. Later in the track, the drum sound becomes stronger, more prominent in the mix. However, the sound is merely a variation on a theme, albeit one that’s ultra catchy, strangely melodic and absolutely brilliant. Very definitely, proof that less is more.
Rock To the Beat by Reese and Antonio is a track that drives powerfully along from the opening bars. Drum and synths, combine to drive the track along, with the sound muted at the start, just a few beeps and sound effects emerging from the arrangement until a vocal appears. Quickly it drops out, to be replaced by another otherworldly synth made sound. When the vocal reappears, the sound fills out, becomes much fuller, more melodic. Drums move to the front of the mix, accompanying the vocal, filter being used on the track, cutting out the vocal and drums, towards the end of the track. Like the Mr Fingers’ track, this is another short track, and like the Jack Frost and The Circle Jerks track it relies heavily upon repetition. This doesn’t matter, as it’s a track that’s catchy, has a good vocal and is the perfect tempo for the dancefloor.
Like the two other compilations, The Hacienda Acid House Classics is full of some great tracks from the Acid House years. The only difference here, is that this is a mix CD. However, Peter Hook’s mixing is good, the choice of music good, including some really well known tracks, as well as having two surprises for you. At the start of each CD Hooky has recorded his own Acid House track, and they open each disc. together with Phil Murphy, they’ve released as Manray, Ways of Making Music and We’re On it. Both are just short tracks, but are true to the spirit of Acid House, and an interesting way to begin each disc. Overall, this album is well worth buying, two discs full of twenty-six great tracks, that will bring back memories of the glorious days of Acid House. Standout Tracks: Baby Wants To Ride by Frankie Knuckles, Washing Machine by Mr Fingers, Two the Max by Jack Frost and The Circle Jerks and Rock To the Beat by Reese and Antonio.
THE HACIENDA ACID HOUSE CLASSICS.
Although it’s fourteen years since The Hacienda closed, people are still interested in it. Three compilation albums featuring the music played in the club have been released, a book by Peter Hook The Hacienda How Not To Run A Club Properly has been released and everything from t-shirts and trainers carry The Hacienda name. Hacienda club nights take place worldwide, such is the interest in The Hacienda still. Memorabilia from the club is highly prized by collectors, and change hands for huge amounts of money. For people of my age, this is all about recapturing their youth, remembering a time when the 9-5, Monday to Friday, grind was made all worthwhile thanks to a few hours dancing the night away in The Hacienda. The three CDs that i’ve reviewed in this article The Hacienda Classics, Volume 1 The Hacienda and The Hacienda Acid House Classics, all bring back memories of that magical time. For less than the price of entry to a club that will never be in the same league as The Hacienda, you can recapture your youth and have them as a permanent reminder of the Acid House years. However, one man deserves a thank you for financing The Hacienda for much of its lifetime, Peter Hook. Without his generosity and subsidizing of the club, it wouldn’t have lasted until June 1997, instead it would’ve closed much sooner. So if you went to The Hacienda and meet him in Manchester, shake the man’s hand, and thank him for the good times that were had during the Acid House years.
LEONARD COHEN-I’M YOUR MAN.
LEONARD COHEN-I’M YOUR MAN.
Today I’m going to write about an artist and his music who is much misunderstood. On many an occasion I’ve been talking about music to people, and when Leonard Cohen’s name comes up, everyone immediately says the same thing, “oh, his music’s depressing and miserable.” It seems to be that he’s the most misunderstood man in music. To his huge legion of fans, his music is neither depressing nor miserable. Leonard Cohen is a writer, poet, artist and maybe, a reluctant singer. For five decades, he’s been recording music which I’d say is realistic, exploring moods, feelings and situations most people will have experienced. His music is almost like poetry set to music, exploring and articulating problems many people face. Perviously, he’s written about wider issues, including politics and religion. I’m Your Man was released in February 1988, nearly twenty-one years after his debut album The Songs of Leonard Cohen in December 1967. Two of the songs on I’m Your, First We Take Manhattan and Ain’t No Cure For Love were first heard on Jennifer Warnes 1987 album Famous Blue Raincoat, an album that paid homage to her friend Leonard Cohen’s music and which I’ve written about before. She’s been one of his backing singers on several albums, was his vocal arranger and guest singer on various albums, including I’m Your Man. However, it was a very different sounding album Leonard Cohen album, Jennifer Warnes found herself singing on.
This album saw Leonard Cohen introduce a more modern sound to his music, with synths used on several tracks. The production sound has been described as synthpop, where the synth is the dominant sounding instrument on the track. Although the synth does feature heavily on the album, this shouldn’t put people of. It was Leonard’s attempt to modernize the sound of his music, and although quite different to previous albums, he should be praised for experimenting, allowing his music to evolve, instead of sticking to a tried and tested formula like many artists of his generation. However, how would critics and fans like his new sound?
I’m Your Man was Leonard’s eight album and was recorded between August and November of 1987. It was released in February 1988, and well received by the critics. Fans too, liked the album, especially in the UK, Canada and Norway. The album was certified silver in the UK, gold in Canada where he was born and spent sixteen weeks at number one in Norway. It seemed that Leonard Cohen’s new sound was well received by critics and fans, but the big question is, what does it sound like?
I’m Your Man opens with First We Take Manhattan which opens with electronic drums and synth, the sound very different to anything Leonard’s recorded before. The sound is certainly moderne, and could only have been recorded during the eighties. This isn’t is a criticism, merely an observation. His voice, when it enters, seems stronger, as he half-speaks, half-sings the lyrics with a voice drenched in character, and a certain amount of cynicism. As usual, his lyrics are complex, but here they seem to be about the difficulties facing a musician trying to break through, after twenty years. As he sings, backing vocalists joyously sweep in, their voices a total contrast to his. The song has almost a minimalist arrangement. Although the synths and drums combine to produce quite a full sound, they’re the only instruments used on the track. However, the sound they produced has aged well, and combined with a charismatic vocal from Leonard, assisted by his backing singers, it’s a great track to open the album.
A lush dramatic saxophone solo drenches the introduction to There Ain’t No Cure For Love. It combines with keyboards and drums before Leonard sings, his voice even better than the opening track. Here, he sounds in emotional pain, lovesick, as if he’s experiencing the lyrics he’s singing about. In the lyrics, he’s singing about being in love, longing for his partner, about how nothing can cure the feeling and how hard it is to get over this feeling. He sees her everywhere, in everything he does and everywhere he goes. These lyrics are some of the best on the album. They’re like some of the best poetry you’ll ever read. When Leonard sings, accompanied by the backing vocalists they bring them to life. You can hear the pain and hurt in his voice. The arrangement is perfect for the track. It’s a combination of keyboards, rhythm section and guitar, producing an arrangement that is sympathetic to the lyrics and Leonard’s deliver. Overall, it’s a brilliant track, thanks to Leonard’s lyrics and vocal, combined with a sympathetic arrangement, which is a synth free zone.
Although the synths were missing from the previous track, they make a return during the introduction to Everybody Knows. They chug and sweep along, as Leonard’s sings, his voice deeper and richer. A guitar plays in the background, as he pessimistically sings about how the rights and wrongs of various situations, how good guys lots and how he’s been betrayed by someone he lost. His worldview is pessimistic, maybe even cynical. Throughout the track, his backing singers subtly accompany him, adding to the song’s beauty. This song was one of his first collaborations with Sharon Robinson, who he would cowrote much more after this. She cowrote each song on his 2001 album Ten New Songs. Here, the arrangement just features, synths, drums, bass and acoustic guitar which combine to produce a full sounding arrangement. Two of the best parts of the arrangement are a lovely acoustic guitar solo, and a throbbing, constant bass line. However, what makes the track is Leonard’s vocal, made all the better by a great contribution from backing vocalist, Jennifer Warnes.
Drums then keyboards open the title track, I’m Your Man, a song that has a continental sound, and feel, reminding me of France. When Leonard sings, his voice has a gravelly sound, as he slowly sings the lyrics. It’s a track that meanders, beautifully along, full of character and charisma, due to Leonard’s lyrics. In them he sounds infatuated, willing to do anything for a woman he’s fallen madly in love with. As usual, his lyrics have a strong narrative, painting a picture that comes to life as he sings. The arrangement mostly features the keyboards, with occasional contributions from the drums. Again this almost minimalistic arrangement is perfect for the song, allowing Leonard’s charismatic vocal and brilliant lyrics to take centre-stage.
Take This Waltz begins with keyboards and a violin playing, before Leonard sings. His vocal is stronger, beginning higher then getting much deeper. This song is based on a poem byFredrico Gracia Lorca, entitled Little Viennese Waltz, and the arrangement reminds me of a waltz. The arrangement has a classical feel sometimes. Mainly, it’s just keyboards and violin that play. Such is the versatility of the keyboards, that they replicate a number of sounds. Later in the track, a trumpet plays, adding to the lovely, old-fashioned feel of the song. What makes the track is Leonard’s vocal, and the interplay between his backing singers. They play a huge part in the track’s success, sweeping sweetly and melodically, in and out. Together with a much stronger vocal from Leonard, it’s a potent combination, producing a very different sounding track.
It’s an almost frantic, discordant short burst of sound that you hear before Leonard sings the introduction of Jazz Police. Here, the synths return, playing a big part in the track. It’s just the synth and vocal, accompanied by backing vocalists. They also play a big part in the track, at one point singing some of the songs’s lyrics to the Star Trek theme. Leonard’s vocal is quick, he half-sings, half speaks the lyrics, with usual gravelly sound. Here, the sound is much fuller, almost grandiose sometimes. Later, a piano solo is accompanied by a bass, then electronic drums and synths accompanying the vocal. Occasionally, the track almost comes to a halt, allowing the backing singers to give a sweeping, almost grandiose performance. Jazz Police is quite different to previous songs. This is because of the way the song is arranged and the lyrics. When you listen to the lyrics, he sings “they’ll never understand our culture,” is this a reference to the way his music is perceived by people? Although very different in sound, I like this track, especially the fuller arrangement, his vocal and the way the backing singers are given more freedom to express themselves.
Drums, percussion and keyboards combine at the start of I Can’t Forget, which has a lovely melodic sound. After that, comes Leonard’s rich deep and gravelly vocal, which as usual, has a story to tell. In the song he realizes he’s growing old, hardly recognizes himself and thinks back to a happier time. He then decides to go and find someone he once loved, as that’s how he wants to end his life. As usual, his lyrics are excellent, you find yourself empathising and sympathizing with him, sense his frustration and admire his courage in seeking happiness. Leonard delivers the lyrics brilliantly, accompanied by his backing vocalists, whose voices are soft and thoughtful as they sing. Here, it’s a much subtler arrangement. Keyboards and drums are the mainstay of the sound, and together with the backing vocalists, they help Leonard create a wonderful song.
I’m Your Man ends with Tower of Song, a track that begins with percussion and bass, and Leonard whispery, charismatic vocal accompanied by some melodic backing vocals courtesy of Jennifer Warnes. The track has a minimalist sound, as it meanders slowly and thoughtfully along. As he sings the lyrics, he’s thoughtful, not letting his anger and bitterness show as he sings about growing old and death, how people perceive him and about a woman who really dislikes him, Jennifer Warnes backing vocals are a perfect foil for his vocal, and her contribution is subtle, beautifully understated. Between great lyrics, and Leonard and Jennifer’s vocals, this is a perfect way to end the album.
Since the release of I’m Your Man in 1988, I’ve always loved this album. Whilst listening again to the album several times, it’s apparent it’s an album that like a good bottle of wine, has aged well. Not every album from this time that featured keyboards and synths, has aged well. However, they didn’t feature Leonard Cohen’s vocal and lyrics. This to me, is one of his finest albums, and I’m not alone. Tom Waits counts says this is one of his favorite albums, which is high praise coming from an artists of his stature. Several times I’ve let people who claimed not to like Leonard Cohen’s music, and each time, they’ve quickly changed their opinion of his music. For anyone who hasn’t heard Leonard Cohen’s music, this is a good place to start. I think this is one of his most accessible albums, and would recommend it to anyone. It features eight great songs, some of Leonard’s best lyrics and some great contributions from Jennifer Warnes. If you just want to hear his earlier music, his Greatest Hits album is a good starting point. Standout Tracks: First We Take Manhattan, There Ain’t No Cure For Love, I Can’t Forget and Tower of Song.
LEONARD COHEN-I’M YOUR MAN.
BOBBY WOMACK-THE POET.
BOBBY WOMACK-THE POET.
In a previous article I wrote about Bobby Womack, I mentioned how The Poet was a comeback album for him. Things had started to go wrong for him in 1976, when he was dropped by his record label United Artists. His music was no longer is popular, it had failed to keep up with the quick changing musical times. By now disco was popular, and Bobby’s unique brand of soul music wasn’t as popular. Even his loyal fans seemed to desert him. After being dropped by United Artists, his next two albums never even made the US Billboard 200. Pieces, released in 1977 stalled at number 205, and 1979’s Roads of Life at number 206. However, his luck would change in 1981. Recorded during 1980 and 1981, The Poet was released on Beverley Glen Records, and was produced by Bobby himself. When it was released, Bobby Womack was back in favor. His old fans loved the album, and a new generation of fans suddenly discovered one of the legends of soul music. The Poet reached number twenty-nine in the Billboard 200 and number one in the R&B charts. It was quite a change from 1976, when he was dropped by United Artists. Now previously, I wrote about the follow-up to The Poet, The Poet II, which is a great album, but today, I’m going to tell you about the album that relaunched a soul legend’s career, The Poet.
The Poet begins with So Many Sides of You which bursts into life with rhythm section, percussion and guitar combining quickly before Bobby sings. When he sings, his voice is loud, strong and at times, joyous. He’s accompanied by backing vocalists, who combine soulfully in unison. Later, a piano plays, while an electric guitar plays a solo, as Bobby hollers and roars his way through the track. It’s a passionate, charismatic performance from one of soul music’s survivors, made all the better by the addition of the backing vocalists and a really full, quick arrangement. This was a perfect track to open his comeback album.
Lay Your Lovin’ On Me is another quicker track, which begins with drums playing, then backing vocalists sing, accompanied by a piano which is played beautifully throughout the track. Then, Bobby enters, and goes on to produce one of his best vocals on the album. Strong yet melodic and joyous, but full of character and charisma he sings, often accompanied by the backing vocalists and handclaps. Behind him, there’s a really quick, funky and accurate bass line, guitars and drums combine. The arrangement is quick, full it’s is a great sounding track. Everyone sounds as if they’re having a great time. Bobby’s vocal is joyous and powerful vocal, and he’s accompanied by brilliant backing vocalists who help make this sound like one soulful party you wish you’d been at.
Bobby decides to slow things down with Secrets. It opens with the backing vocalists singing melodically, almost sweetly, accompanied by guitars, rhythm section and keyboards playing. After a lengthy introduction, Bobby sings, his voice soaring high, while behind him the bass plays some funky licks, accompanied by drums. Like the previous tracks, Bobby’s accompanied by the backing vocalists throughout the track. Later in the track, his voice veers between a stronger, growling style, to a looser, high soaring vocal. Regardless which style he uses, his voice is laden in emotion and feeling. Here the arrangement, is slower, a sprinkling of funk courtesy of the rhythm section, sweet, melodic backing vocals thanks to various Womacks, namely Friendly, Curtis, Cecil and Bobby Womack, assisted by The Waters. Together, with a powerful, charismatic vocal from Bobby, Secrets is another great sounding track.
Bobby wrote or cowrote nine of the songs on this album. One he wrote himself is Just My Imagination, which he sings much slower, yet with power and feeling. Drums, rhythm section, keyboards and a harp courtesy of jazz legend Dorothy Ashby opens the track. When Bobby sings, his voice is clear, strong and laden in emotion. Here, the lyrics seem to mean something to Bobby as he sings them. He’s looking back, thinking about his life, things that have happened, people he’s met, one lady in particular. While he’s singing, one of the best arrangements on The Poet emerges. This is thanks to a bass producing a tight funky sound, keyboards sweeping in and out of the track , drums keeping the time and some great guitar playing. It’s a great arrangement that’s melodic, full of rhythms, melodies and hooks. Combined with Bobby’s strong emotional vocal, Just My Imagination is easily one of album’s best tracks.
Stand Up is a very different sounding track, to anything that precedes it. It’s sounds as if Bobby Womack has decided to cross funk and disco, and this is the result. What emerges is a catchy and funky track. Drums, keyboards and bass, accompanied by handclaps open the track. After that, Bobby sings, his voice is higher, the tempo quicker. Meanwhile the arrangement, is funky, keyboards, drums and bass leading the track. Percussion and guitars then join in. This track sees the return of the backing vocalists as Bobby gives a charismatic, funky rendition of the lyrics complete with moans, howls and hollers. In the end it’s good track, very different to others on the album. However, as they say, “variety is the spice of life,” and here Bobby proves that perfectly.
After an excursion into nearly disco territory, Bobby decides to slow things way down, and do what he does best, give an emotional, dramtaic and soulful performance on Games. The track begins dramatically, with a piano playing and Bobby ad-libbing. After that, it’s a half-spoken introduction before he sings, and when he does, his voice is full of emotion, backed by a chiming guitar, drums and piano. His voice starts soft and slow, accompanied by the backing vocalists, who harmonize, sing beautifully, soulfully and melodically. Quickly, Bobby’s vocal strengthens, increases in power, and so does the emotion. His vocal soars high, occasionally turning into a growl, but sometimes he whoops and hollers. A saxophone accompanies him briefly, a piano then plays and the backing vocalists too, all adding to the already dramatic and emotionally charged arrangement. By the end of the track, it’s been like a masterclass in soul singing courtesy of Bobby. During the track, his vocal has been a mixture of emotional and powerful, charismatic and soulful, producing one of The Poet’s best track.
If You Think You’re Lonely Now sees Bobby “dedicate this song to all the lovers tonight,” before he goes on to sing about love and loneliness. Here, he doing something he does so well, singing a love song. Behind him guitars chime brightly, drums play dramatically and a piano plays. Bobby meanwhile, goes through his repertoire of vocal styles. One minute he sings softly, the next his voice is a mixture of strength and power, growls, grunts and hollers. He brings the lyrics to life, accompanied throughout, by backing vocalists who sing tight vocal harmonies, sweetly and melodically. The arrangement is a mixture of subtlety and drama, made all the better by some lovely, bright lovely guitar solo playing throughout the track. What makes this such a great track is Bobby’s beguiling and brilliant vocal and the performance of his baking vocalists.
The Poet closes with Where Do We Go From Here? This is another slower track, one with a good arrangement and brilliant performance from Bobby and his backing vocalists. It begins with a funky bass line, chiming guitars, drums and keyboards and a slow, dramatic and charismatic vocal from Bobby. His vocal is accompanied by the arrangement with a piano and guitars playing important parts. The backing vocalists play a huge part in the track’s success, uniting to sing sweet, tight harmonies that rise and fall beautifully. Bobby’s vocal then get stronger, and accompanied by funky bass, he lets loose his trademark growl, before returning to a much softer, restrained vocal style. He then veers between the two styles, all the while accompanied by soulful backing vocalists, whose voices unite in a gospel style. Meanwhile, Bobby slows things down, as if to get his point across, before heading to the finish dramatically, a mixture of soulfulness and rasping growls. As the track ends, you can only admire the passion, and emotion Bobby puts into the song. This was another great song, one brim full of passion and emotion, complete with a sympathetic arrangement and production courtesy of one of soul music’s survivors and legends, Bobby Womack.
In my article on Bobby Womack’s album The Poet II, I mentioned how good an album The Poet is, and having spent some time listening to it, I feel I must change my opinion. The Poet isn’t just a good album, it’s a great album, up there with some of Bobby’s best albums. It’s no wonder that this album was so successful, it features eight great songs, all sung by one of the legends of soul music with boundless amounts of passion and emotion. Each of these songs see Bobby singing as if his career depended upon it. In a way it did, because he’d been dropped by a major label, released two albums that didn’t even trouble the charts and his fans had deserted him. Thankfully, when The Poet was released, it was a huge success, and in the process, relaunched his career. His next album The Poet II saw him build on this success, and the return of Bobby Womack was complete. Both The Poet and The Poet II are great albums from the later period of Bobby’s career. If you’ve never heard them, or are unfamiliar with Bobby’s music, these are two great albums. Should you want to hear his earlier music, Midnight Mover, The Bobby Womack Collection, is a two disc set which features much of his early music. It features some fantastic music, and allows you to hear songs from many of his albums. Standout Tracks Lay Your Lovin’ On Me, Secrets, Just My Imagination and If You Think You’re Lonely Now.
BOBBY WOMACK-THE POET.
DR JOHN-THE SUN, MOON AND HERBS.
DR JOHN-THE SUN, MOON AND HERBS.
There are two reasons that I’ve decided to write about Dr John’s 1971 album The Sun, Moon and Herbs. The first reason is that in a previous article about his 1998 album Anutha Zone, an album which was to some extent, a comeback album, and welcome return to form for him, I mentioned that this album was among the best of his early albums. Between 1968 and 1974, Dr John released a number of classic albums for the Atco record label. This included his 1968 debut album Gris-Gris, Babylon in 1969, Remedies in 1970 and The Sun, The Moon and The Herbs in 1971, Gumbo in 1972, In the Right Place in 1973 and 1974s’ Desitively Bonnaroo. These albums are among the best music Dr John has ever recorded, and saw him record one great album after another. It was difficult to choose which of these albums to write about, but after listening to each album, I decided to write about The Sun, The Moon and The Herbs. When I was listening to these albums, it brought memories flooding back of seeing Dr John in concert. Both concerts took place in Glasgow, and Dr John put on a great show. It’s no exaggeration to say that he’s one of the best live performers you’ll ever see. He played a mixture of old and new songs, and is one of the best pianists you’ll ever hear. Combined with his gravely, worldweary, voice, it’s a potent combination. On both occasions, the audience were in awe of him, and for two hours, he played one great song after another, backed by a tight and polished backing band. Even though these concerts were many years ago, every time I hear his music, the memories come flooding back. Now I’m going to revisit an album that was released forty years ago, and featured guest appearances from Eric Clapton on guitar, Mick Jagger on backing vocals and Graham Bond on alto saxophone, The Sun, The Moon and The Herbs, Dr John’s 1971 album.
The Sun, The Moon and The Herbs opens with Black John The Conqueror which opens with Dr John playing a dramatic jangly piano solo before he sings. His voice has that lived in, worldweary sound, as behind him a bass throbs, drums play loosely and some hugely soulful backing vocalists unite, accompanying him. Their sweet soulful voices provide the perfect contrast to Dr John’s voice. The brass section enter, punctuating the track. By now, the arrangement has grown. It’s quite a full arrangement, drenched in a dramatic mixture of soul with a generous slice of New Orleans funk thrown in for good measure. Here, the band provide the perfect backing track for Dr John and his backing vocalists to sing call and response. Together Dr John, the backing vocalists and the band produce a brilliant track to open the album. It’s dramatic, atmospheric and features some great lyrics, which Dr John brings to life with the help of his band and backing singers.
Short repeated bursts from the brass section announce the arrival of Where Ya At Mule. After that, Dr John gently plays the piano, and backing vocalists joyously unite before he sings. His voice is strong, full of character, as he sings the lyrics, before the brass section and guitar combine. The tempo is slow, the sound a laid back mix of jazz and New Orleans funk. Like the previous track, Dr John uses his backing vocalists to sing call and response, and they’re voices are a perfect foil to his. Suddenly, the track changes, as Dr John adds some drama to the proceedings. Both he and his backing vocalists decide to slow things down, leaving more space in the arrangement. This is really effective, with drums, guitar and bass section accompanying them subtly. Both his vocal and piano playing are excellent, laden in drama. What makes this track so good is the arrangement, a combination of Dr John, his backing vocalists and the subtle accompaniment of his band.
Craney Crow has a slow hesitant start, with the sound atmospheric, almost eery but quite wonderul. It’s a mixture of drums, guitar and brass section with backing vocalists and voices in the background. Eventually, Dr John’s growling vocal enters, accompanied by his faithful backing vocalists. Their soulful voices are quite a contrast to Dr John’s raspy, growl. Behind him, drums are spacious, atmospheric, while guitars and bass play occasionally. Mostly, it’s call and response between Dr John and the backing vocalists. When Dr John sings, the lyrics are atmospheric, telling of the colorful side of New Orleans. Throughout the track, it’s minimalistic, just a few instruments playing, with Dr John and his backing vocalists taking centre-stage. However, it’s highly effective, hugely atmospheric and sounds brilliant.
After a very different previous track from the preceding ones, Dr John ups the tempo on Familiar Reality-Opening. It opens with drums playing, the brass section enter, gradually filling the sound out before it bursts into life when Dr John enters. His voice is loud and strong, his piano playing among the best on the album. Behind him, the brass section drench him in their glorious sound, while the rhythm section and guitars play. It’s another full arrangement that’s unfolding, one that combines jazz and funk. Dr John’s vocal sits at the top of the arrangement, which builds and builds, getting better as the track progresses. The brass section, piano and guitars especially bring the arrangement to life. Later, Dr John slows things way down, adding drama as he almost speaks the vocal, accompanied by percussion and brass section. It then heads towards the end an impressive and melodic combination of Dr John’s charismatic vocal and a standout performance from his band.
It’s a gentle melodic sound that opens Pots On Fiyo (File Gumbo/Who I Got To Fall On (If the Pot Gets Heavy)). After the meandering, melodic opening, Dr John whispers the vocal as he plays his piano. Quickly his vocal get stronger. Backing vocalists accompany him, their voices high, slightly shrill. Congas play, accompanying the piano as the arrangement starts to fill out, the tempo getting slightly quicker. Drums and saxophone combine. Joyous backing vocalists join in, as the arrangement becomes somewhat crowded. The backing vocalists, sing and holler, they’re loud, repeating the same line, singing quickly, as guitars and brass section play. Then the track begins to take a discordant turn and sound. Suddenly, things have gotten chaotic. It’s as if the track got out of control briefly. Overall, the track is a good one, slightly spoiled by the ending. It isn’t as good as the other tracks, but is still a charismatic and atmospheric track.
At the start of Zu Zu Mamou a tuba plays slowly, short spacious bursts. After what is an unusual opening, the drums, guitar and vibes combine, helping to create an atmospheric arrangement. This increases when Dr John’s whispery vocal enters, accompanied by backing vocalists who do their best to add to the overwhelmingly, atmospheric arrangement. By now, the arrangement has taken on almost an eery, sinister feel and sound. The track meanders, various sounds emerging from behind Dr John’s vocal. Drums rumble, backing vocalists and percussion adds to the almost pedestrian paced arrangement. Occasionally a piano or guitar play, but everything just enters and disappears, and at one point it’s just Dr John and a backing vocalists whispering the lyrics eerily. Once the arrangement starts back up, it’s just him, the backing vocalists, rumbling drums, a meandering guitar and wailing trumpet. By the end, you can only marvel at what has been eight of the eeriest and most atmospheric minutes of music brought to you courtesy of Dr John.
The Sun, The Moon and The Herbs, ends with Familiar Reality-(Reprise), a short track, which begins with a tuba playing, and Dr John’s whispery vocal, almost rapping, against a backdrop of slow, spacious drums. Then, suddenly, out of nowhere, the track burst joyously and fabulously into life. Backing vocalists sing, their voices joyous, happy, as if giving thanks. A guitar and piano play, drums filling out the sound, as they combine to bring the track to a close. Sadly, this only lasts for under a minute. If this had lasted five minutes, it would still wouldn’t have been long enough. However, it was great while it lasted and a good way to end the album.
The albums Dr John recorded for Atco were among his best work. I was spoiled for choice when I decided to write this article. There were seven albums I could’ve chosen and each of them contain some wonderful music. However, in the end I chose The Sun, The Moon and The Herbs, having mentioned in a previous article how good an album it is. Having spent time listening to the album I must revise my earlier appraisal, as it’s a great album, one of Dr John’s best. It’s an album that’s atmospheric, and takes you on a journey through Dr John’s world where he fuses soul, funk, jazz, and psychedelia. This combination is masterful, and at times, is joyous, uplifting and spiritual, at other times eery, verging on sinister and sends a shiver down your spine. In a word, brilliant. Quite simply, if you want to hear some music that brings to life the sights and sounds of New Orleans this is for you. It’s classic Dr John, from a time when he produced one great album after another. This album is one the five issued in the Classic Album Series box set, which also features Gris-Gris, Babylon Gumbo and In the Right Place. Five great albums for the price of one, what more could you wish for. I just wish it was around when I first started buying Dr John’s music, I’d have saved a fortune. Standout Tracks: Black John The Conqueror, Where Ya At Mule, Craney Crow and Zu Zu Mamou.
DR JOHN-THE SUN, MOON AND HERBS.
CHAKA KHAN-CHAKA.
CHAKA KHAN-CHAKA.
By the time the singer this article is about had released their debut solo album, she’s been a member of one of the most successful American funk bands Rufus, between 1973 and 1978. During that period Rufus had released six albums, of which four had been certified gold and one platinum. As if that wasn’t enough, Chaka Khan had won a Grammy Award in 1974 for the Best R &B Performance by a Duo or Group for the single Tell Me Something Good. When she decided in 1978, to release her debut solo album, Chaka Khan was a hugely successful artist. However, by then, relations between Chaka and other members of the band weren’t as good as they had been, and tensions between her and members of the group resulted in several members leaving the group. Her decision to become a solo artist was to prove a wise one, because after their 1978 album Street Player, reached number fourteen in the US, only one other album by Rufus would prove commercially successful. That was their 1979 album Masterjam, which also reached number fourteen in the US. After that, the group’s popularity declined. Chaka Khan’s solo career however, took off, with Chaka, her debut album reaching number twelve in the US and being certified platinum. For a debut album, it was both critically acclaimed and commercially successful. It was against this backdrop, that Chaka launched a solo career that saw her release a further eleven solo albums, five compilation albums and become one of the best selling, most successful and charismatic female vocalists.
Chaka opens with probably her most famous track, the feminist anthem I’m Every Woman. This reminds me of seeing Chaka in Glasgow many years ago, and when she started singing this track, the place erupted, and it seemed that every woman in Glasgow was helping Chaka sing the song. Mind you, I don’t know what she thought when she was encouraged by one particularly vociferous woman screaming, “gone yersel Chaka,” in a broad Glaswegian accent. Strings sweep in at the start of the track, joined by bass, guitars and drums, before Chaka joyously sings the vocal. Her voice is strong as it soars high, full of charisma, proudly singing each word of this anthemic track. Behind her, a brilliant arrangement is unfolding. A piano interjects, as the rhythm section play an important role and dual guitars complete the sound. Backing vocalists accompany and compliment Chaka, as she gives probably, a career defining vocal, that quickly, became an anthem for women worldwide. Quite simply, a stunning track, featuring a brilliant vocal from Chaka.
Love Has Fallen On Me is very different from the opening track. It’s a piano lead track, which mixes, jazz, soul and gospel. As piano and drums slowly and atmospherically open the track, Chaka proceeds to give a jazzy vocal, complete with backing singers who accompany her in a gospel style. Like before, her voice soars powerfully, full of character. The arrangement veers between a fuller style complete with guitars, rhythm section and piano, to a lovely subtle understated piano lead track. Later in the track, a brass section play, as the Chaka really lets loose and sings a brilliant solo ably assisted by the backing vocalists who revisit their earlier gospel style. Together they produce a hugely impressive, passionate and melodic sound. The addition of strings towards the end is a masterstroke. It adds the finishing touches to a track that’s laden in passion courtesy of Chaka and her backing vocalists.
After two really rousing tracks, Chaka decides to drop the tempo with Roll me Through the Rushes. This is a track with religious and spiritual themes throughout the lyrics. Moses, sin, death, hate and asking for guidance are all mentioned. A guitar chimes and drums play slowly and atmospherically. Chaka, meanwhile, sings the lyrics slowly, and here, she controls her voice much more. There are no vocal theatricals, just a really heartfelt rendition of the lyrics, accompanied by her backing vocalists. She still sings with passion, still lets her voice soar high, but it’s a much more thoughtful, almost respectful vocal. The arrangement is quite full, piano, rhythm section and guitars combining, and later, French horns and a harp play. It may be a very different track to the previous ones, but it shows another side of Chaka, one she carries of well, producing another excellent vocal, ably assisted by a really good, tight band.
Sleep On It begins with drums, French horns before the Anthony Jackson’s vocal enters. He’s singing the male part of the lyrics, which are about a turbulent relationship. By the time Chaka enters, the arrangement has filled out, with bass, guitars and synth joining the mix. However, what makes the track are Chaka and Anthony’s vocals, especially Chaka’s. Both bring the lyrics to life. Like all the tracks on the album, the standard of playing is excellent. It’s no different here, and midway through the track, a really good guitar solo emerges. That, and the addition of French horns, add character to the track, the way the they’re played, and when they’re played. On this track, the arrangement is really melodic, with hooks aplenty, and combined with the vocal and lyrics Sleep On It is a great track.
Another of the better known tracks is Life Is A Dance, a funk based track which has a loose feel at the start. Background chat accompanied by bass and guitar opens the track before it opens up. When it does, backing vocalists sing before Chaka, and meanwhile, a really funky arrangement is coming to life. It’s lead by the best bass playing on the album, ably assisted by some great guitar playing and drumming. Chaka meanwhile is having a ball, her vocal is joyous, as she whoops accompanied by a myriad of handclaps and backing vocals. The brass section punctuate the arrangement with layers of their funk laden brass playing. Overall, it’s a joyous, upbeat track, with a feelgood factor that has brings upon the urge to dance, and give thanks to the musical gods for Chaka Khan.
George Benson wrote We Got the Love and shares the lead vocal with Chaka. Together, they combine perfectly, their voices a perfect match, with George a perfect foil for Chaka. It’s George that opens the track, accompanied by the rhythm section, and then piano. When Chaka sings, she’s accompanied by flutes and the track flows brightly along, complete with strings. Like the last track, this track has a strong bass line, that’s prominent in the mix. Overall, the arrangement sweeps along brightly, punctuated by flutes and strings, as well as the rest of the band. It’s a mixture of soul and funk, complete with two great singers, Chaka and George Benson. Combined with a George’s lyrics, a good arrangement and passionate and soulful performances from Chaka and George, it’s a potent mixture.
It’s a really quick, accurate and funky bass that opens Some Love. Accompanying it is a guitar that’s equally funky, almost heading into wah-wah territory and strings. When Chaka sings, a funky arrangement is unfolding, complete with brass section, strings and piano. They all produce an impressive and powerful sound, that’s funky with a capital F. Chaka too, gives a strong, powerful vocal her voice soaring heavenwards, yet always in control. As she sings, the arrangement just gets better and better. Much of this is down to the addition of a full brass section, combined with some really lush, sweeping strings, that funk laden bass and Chaka’s brilliant vocal. Together, they combine masterfully, producing one of the album’s arrangements and thanks to Chaka’s passionate, soaring vocal one of the best tracks.
A Woman In A Man’s World is quite different from the two previous tracks. Here,the arrangement isn’t as full and the tempo slightly slower. It begins with guitar and drums playing before Chaka sings. For much of this track, her vocal is much more straightforward. She just sings the lyrics with no frills, no vocal gyrations. It’s only later on, that she really lets loose. At the start, her voice isn’t as loud or powerful, but it’s still passionate and soulful. Behind her, her band play really well, bringing the lyrics to life. Guitars, rhythm section, congas and synth combine, and later they’re joined by strings and the brass section. The addition of the brass section really lifts the track. They combine perfectly with the synth and strings, while the rhythm section helps drive the song along. Towards the end, Chaka’s voice is much more powerful, gone is the restraint she showed earlier, and the diva in her comes out, as she produces a vocal that’s impressive due to it’s power, passion and control. Together with her band, they produce a track that combines a fantastic vocal and equally good arrangement.
It’s funky time again, at the start of The Message In the Middle of the Bottom. It begins a really funky bass playing, accompanied by drums and horns interjecting. As Chaka sings, she decides to get into the funky vibe that’s unfolding. Her delivery is staccato, as she sings the lyrics. Strong and deliberate is the way she sings. Meanwhile, space is left in the arrangement, until the brass section enter. When they play, the space is gone, and the arrangement gets more crowded. Still, the funky arrangement unfolds, the rhythm section and brass section playing important roles, with lovely melodic guitar solos suddenly emerging. Still, Chaka’s vocal is strong, her delivery still deliberate, as she delivers the lyrics thoughtfully, and with feeling. By the end of the track, Chaka and her band have delivered a good funk track. However, although it’s a good track, it isn’t as good as the other tracks on the album. It just doesn’t come up to the high standard Chaka has set on the album.
Chaka closes with a cover of a song made famous by Stevie Wonder I Was Made To Love Her, although here, Chaka changes it to I Was Made To Love Him. When the song bursts joyously into life a mixture, of piano, guitars and rhythm section you immediately realize Chaka has found her A-game. She proceeds to sing the song beautifully, full of emotion, passion and power. Accompanying her, are backing vocalists whose voices rise in unison perfectly. The arrangement features a great guitar solo from Tony Maiden, and Richard Tee on piano and clavinet, as usual, plays brilliantly. However, the star of the song is Chaka, her vocal is stunning, a joyous combination of emotion, power and control, and it’s a perfect way to end a great album.
Although Chaka was Chaka Khan’s first solo album, she was already an experienced and successful artist. However, there’s a big difference from being part of a band to becoming a solo artist. Here, it was Chaka that was in the spotlight, nobody else, just her. It was quite a big step, and quite a brave thing to do, leave a successful band and become a solo artist. The gamble paid off, and this was the start of long and illustrious solo career. Back in 1978, not many artists have a debut album that sold over 500,000 copies and is certified gold, reaching number twelve in the US charts. Chaka Khan did, after producing one of the best debut solo albums of that time. Today, the album still sounds just as good, as it did back them. Much of the success is said to be due to the success of I’m Every Woman. That to me is unfair. Although it’s a brilliant anthemic track, there are many more great tracks on the album. The album’s success to me, is down to some wonderful music, sung with soulfully, passionately and powerful by one of the most charismatic female vocalists of the past forty years. Thankfully, after this album, Chaka would release another elven studio albums and tour regularly. If you ever get the chance to see her live, she puts on a great show, and her voice is just as good live, as it is on this album. Standout Tracks: I’m Every Woman, Sleep On It, Life Is A Dance and I Was Made To Love Him.
CHAKA KHAN-CHAKA.
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PRINCE JAMMY-UHURU IN DUB.
PRINCE JAMMY-UHURU IN DUB.
Although I like to write about just about every type of music for this blog, every so often, I always like to write an article about dub reggae. Regular readers will have gathered by now, that it’s one of my favorite types of music. I’ve always love reggae, especially dub, for a long time. Over the years, I’ve accumulated quite a collection of dub albums, many by the giants of dub including King Tubby, Lee “Scratch Perry, Joe Gibbs and Sly and Robbie. However, one of my favorites is Prince Jammy. He might not be as well known as the aforementioned producers, but during his career, he produced a huge number of important dub albums, and in the process, worked with some of the best, and most talented musicians in Jamaica. Perviously, I’ve written about his album Osbourne In Dub, but today, I’ve chosen to write about Uhuru In Dub, which was released in 1982. It’s one of my favorite Prince Jammy albums, and saw him work with among others, Augustus Pablo, Sly Dunbar and Robbie Shakespear. The album was recorded at Channel One Studios and King Tubby’s studios, and on the album, are ten slices of great dub music, which I’ll now tell you all about.
Uhuru In Dub opens with Eden Dub which opens with crisp drums and keyboards and a slow plodding bass, sitting at the bottom of the mix. Immediately, Prince Jammy decides to add some echo to the drums, and they reverberate. Vocal stabs interject, echoing briefly and occasionally during the track. Meanwhile, drums crash, as a guitar plays and a bass constantly plods along darkly. The sound is a mixture of melodic guitar, crisp, crashing, echoey drums and darkness provided by various powerful sound effects and the bass. Echo and delay are used to transform the sound, as the track meanders along, a multitude of effects emerging from mix. Overall, it’s an intriguing track, a mixture of darkness and light, with Prince Jammy subtly using the effects with some great reggae music emerging through your speakers.
Drums crack like a pistol as Mystic Mix begins. It’s quite a shock to your system. They’re then joined by an organ and brass section, who inject a bright, melodic sound. Before you can relax and enjoy it though, echo is used heavily, totally changing the sound. Here the bass is at the front of the mix, the playing sparse, repetitive and atmospheric. Behind it, vocals float in and out of the mix, drenched in echo. Drums play steadily and the brass section interject, playing one note repeatedly. Echo and delay are unleashed, changing the sound, but Prince Jammy doesn’t overdo things. Percussion and drums combine, effects used on them, while the bass and brass section are left alone, unaffected by effects. Together, it’s quite a contrast. With the addition of the occasional echoey, atmospheric, vocal floating in and out of the mix, Mystic Mix is a great track, full of subtleties and nuances, that gradually reveal themselves during nearly four minutes of magical dub reggae.
When His Imperial Majesty begins, it’s a very different sound to the preceding tracks. A flute, drums and keyboards play, giving the track a very different sound, almost like a track from a blaxploitation album. This is a dramatic sound, full of character, very different to what you’d expect on a dub album. It’s more what you’d expect on a soul or funk album. Then quickly, normal service is resumed. Drums and brass section enter, echo is used slightly. However, in the midst of the mix, a lovely melodic sound is trying to escape. Meanwhile, the combination of rhythm section and keyboards, takes over, producing another intriguing, melodic sound. Rhythms and melodies assert themselves, and Prince Jammy decides to unleash the effects. Echo and delay are his weapon of choice. The track meanders brightly along, with effects used sparingly, most of the time. By now a summery sounding track has evolved, and the flute returns, further lightening and brightening the sound, with echoey vocals appearing, then disappearing. Imperial Majesty is a dichotomy of a track, beginning with a combination of instruments you don’t expect to hear on a dub track. Although this didn’t last long, this contributed towards one of the best tracks on the album, one full of great rhythms and melodies, with a lovely light, bright, summery sound.
Percussion plays sharply at the start of Weeping Willow, accompanied by a brief snatch of dubby vocals. Thereafter, drums crack, echoing and reverberating, while bass and keyboards join the mix. Here, the sound is sharp, the bass throbs and pulsates, as the keyboard drops in and out the track, drums cracking sharply at the top of the mix. Effects are used more on this track, especially echo and delay. Cymbals crash, vocals join the track, then drop back out, leaving the bass as the only constant. The bass line is the highlight of the track, the playing quick and accurate. Behind it, the sound is unlike other tracks, it’s sounds very sharp, making you almost wince as the drums crack and cymbals crash. That doesn’t mean this is a bad track, quite the opposite. Instead, it’s just very different from the previous tracks, the sound a result of the use of effects and the production.
Drums roll, laden in echo, before a keyboard melodically plays at the start of Bad Girls Dub. When the drums reappear, they’re much sharper, with delay used on them. They’re accompanied by a bass and the keyboard, which quickly disappears. Those sharp drums and bass take over, and are at the forefront of the mix. Later, keyboards join back in and delay softens the drum’s sound. Like the previous track, Robbie Shakespear’s bass playing is brilliant. Here, it’s quicker, just as intricate and takes centre-stage. His partner in the rhythm section is Sly Dunbar, whose drumming is slow and spacious, in contrast. Keyboards and occasional vocals fill out the sound, as the track flows along, echo and delay being used subtly. This track was much better than the previous track. It was much more melodic, didn’t have the same sharp sound and featured a great performance from the rhythm section. Prince Jammy, meanwhile used the effects subtly.
As Tonight Is the Night begins, drums and bass combine. Straight away, I notice a similarity to a Bob Marley track, but quickly, that similarity ends. Keyboards and rhythm section combine, with echo used quite heavily. All the while, the bass is right at the front of the mix, while the rest of the arrangement is given the dub treatment by Prince Jammy. Drums are sharp and echoey, vocals floaty as they enter and disappear, but mainly it’s just the rhythm section. Occasionally, a guitar joins in briefly, but mainly it’s a multitude of sound effects laden in echo and delay with the bass sitting proudly at the front of the mix, plodding along. Percussion and drums, make their presence felt reverberating from the effects. This is the first time on the album Prince Jammy has really unleashed his box of effects, and the result is brilliant, a true slice of the finest dub reggae.
Like Bad Girls Dub, it’s a drum roll and brass section that open Firehouse Special. Very quickly, echo makes its presence felt, causing the music to reverberate. Although the music starts brightly, it then becomes sharper, and the bass plays a more prominent part in the track. Briefly, and occasionally, stabs of vocals interject, quickly disappearing. The arrangement is quite full, a mixture of melodies and rhythms, with hooks supplied by the brass section. Drums sound sharp, the bass pounds and the brass section laden with echo interject, along with the guitar. It’s a track that’s a mixture of sounds, one minute it’s bright, the next sharp and jarring, with effects used throughout. Although Prince Jammy has produced another good track, much of the credit must go to the rhythm and brass sections who play brilliantly during the track.
After a quick burst of drums, an organ plays the lead on African Culture. Prince Jammy however, turns up the effects, and drenches the lovely melodic sound in delay. Drums crisp, crack and the bass is played quickly, repetitively as they too, are subjected to delay and echo. The effect is quite brilliant. At last, Prince Jammy has decided to unleash his box of tricks, with effects having been subtly used until now. Even the vocals are laden in echo, reverberating wildly. By now, the track is much more like you’d imagine a dub track to sound like. Although the use of effects is much heavier, this doesn’t stop a lovely, catch melody from emerging. However, it’s surrounded by really loud, cracking drums, which provide quite a radical contrast. At the end of the track, I can only say well done Prince Jammy, for producing an amazing four minutes of heavy dub music.
Crisis Dub begins with drums and harmonica, providing an unusual combination to start the track. After that, the bass combines with drums, and vocals flit in, and out of, the track. Mainly it’s the rhythm section with occasional interjections from vocals, percussion and a myriad of sound effects. Here, the effects are used sparingly, as if Prince Jammy has exhausted his quota on the last track. The harmonica returns, providing a contrast and welcome diversion from the sparseness of the track which meanders slowly along. It’s the quaking bass that’s at the front of the mix, with echoey drums behind it, as the track finishes. Although its mainly the rhythm section that dominates the track, the occasional addition of the harmonica and vocals, is sufficient to produce a great sounding track.
Uhuru In Dub closes with Sound Man Style, which crashes into life with drums cracking and a keyboard accompanying it, playing a melody that sounds straight from the dancehall. Quickly, delay is used, changing the sound drastically. Then the bass throbbing, enters it’s sound as equally powerful as the arrangement which features drums cracking and pounding, bathed in echo and delay. An organ joins in, only to be subjected to delay, as are vocals that make a quick appearance. Sometimes, the arrangement is spared the effects, and then, just as you’re enjoying the sound, crash, the effects kick in again. However, this being a dub album is what you want to hear. At the end, this excellent, much more “dubby” sounding track, seems a fitting way to end the album.
Although Prince Jammy may not be the best known dub reggae producer, he produced many great albums. Uhuru In Dub is one of my favorite Prince Jammy albums. On the album, he assembled some of the best musicians in Jamaica, including and recorded the album in two of the island’s best recording studios. It’s no wonder that the album turned out so well. Of the ten tracks on the album, there are no bad tracks. This isn’t one of the heaviest dub albums you’ll ever hear. Instead, Prince Jammy has used the effects subtly, never using them so much that he destroys the music or makes a track unlistenable. He seems to find a happy medium, and on some tracks, he uses the effects sparingly. Only on African Culture and Sound Man Style, does he let loose with the effects, producing a slightly heavier dub sound. Overall, Uhuru In Dub is a really good album, one that’s well worth adding to your album collection. If you’re someone who hasn’t heard dub reggae before, or haven’t heard Prince Jammy’s music before, this is a good album to start with. Whilst researching this article, I discovered that this album is now available as part of a four disc box set, entitled Evolution of Dub Volume Six Was Prince Jammy An Astronaut? This box set, and the other five box sets, would allow you quickly put together a collection of some great dub reggae by some of the biggest names in dub reggae at a reasonable price. Standout Tracks: Eden Dub, Bad Girls Dub, African Culture and Sound Man Style.
PRINCE JAMMY-UHURU IN DUB.
DAVID BOWIE-SCARY MONSTERS (AND SUPER CREEPS).
DAVID BOWIE-SCARY MONSTERS (AND SUPER CREEPS).
Since I’ve been interested in music, one artist who has strived to produce some of the most innovative music during that time was David Bowie. During his career, he has constantly sought to reinvent himself, and his music. His music has evolved throughout his career, ranging from psychedelia and glam rock in the early days, to the creation of Ziggy Stardust on 1972 on The Rise and Fall of Ziggy Stardust and The Spiders From Mars. Then came The Thin White Duke, which saw him moving towards soul and funk on Diamond Dogs and Young Americans. Between 1976 and 1979 came his Berlin era, which saw him release a trio of highly acclaimed, though less commercially successful albums Low, Heroes and Lodger. After this trilogy, came the album this article is about, Scary Monsters (and Super Creeps). This lead to a change in Bowie’s fortunes. The album was both critically acclaimed and commercially successful. It reached number one in the UK album charts, and number twelve in the Billboard Pop charts. Released in September 1980, it was certified gold one month later, in October 1980. This would be Bowie’s only album until 1983, when he released Let’s Dance, co-produced by Chic’s Niles Rogers, an album that would become one of his biggest selling albums. So after three less commercially successful albums, Bowie was back, and had released the first of two hugely successful albums. However, what made Scary Monsters (and Super Creeps) such a critically acclaimed and commercially successful album?
When Bowie set about recording Scary Monsters (and Super Creeps), he made several changes in the way he worked according to coproducer Tony Visconti. On this album, he had spent much more time writing the lyrics and working on melodies before he entered the studio. This was instead of having to improvise, and come up with lyrics quickly. Another change was that Bowie decided that the album wouldn’t be as experimental sounding, and instead, the sound should be much more commercial sounding. If you’ve heard the Berlin trilogy, you’ll realize that much as they’re great albums, they’re not the most commercial sounding albums. When Scary Monsters (and Super Creeps) was released, the change in sound was astounding, it was an album that would appeal to a wider audience. One other change from previous albums, was Bowie’s reliance on help from musicians who were helping record the album.
Unlike previous albums, Brian Eno didn’t work with Bowie on the album. Previously, he’d collaborated with Bowie on the Berlin trilogy, and played a big part in the sound and success of these albums. Two familiar faces made a return, was Roy Bittan who played piano in Bruce Springsteen’s band, and who’d played on Station To Station, Bowie’s 1976 album. The other was Robert Fripp, who’d played guitar on Heroes, the second of the Berlin trilogy. Meanwhile, two guest artists helped record the album, Pete Townsend played guitar on Because You’re Young and Chuck Hammer, who previously, had played guitar-synth with Lou Reed, played on two tracks. One of these track was Ashes To Ashes, where his guitar-synth playing was at the heart of the track.
On the release of Scary Monsters (and Super Creeps), it was critically acclaimed, with critics saying it was his best album in years. When it was released, it gave Bowie his first number one album in the UK since Diamond Dogs in 1974. The album was a big success in the US, reaching number twelve in the US Pop charts, and in the process, helping to rebuild his reputation there. Since the album’s release, it’s often cited as one of Bowie most best and most accessible albums. After Scary Monsters (and Super Creeps), every new Bowie album was compared with it, either being not as good, comparable with or better than his 1980 classic album. However, what is it that makes this album so good?
Scary Monsters (and Super Creeps) opens It’s No Game (No. 1), a track begins with various background noises and Michi Hiroto spoken word vocal in Japanese accompanied by loud screeching guitars. Bowie’s vocal is similarly loud, as he roars at the top of his voice. However, it’s the magical wall of noise created by guitars and drums that grabs your attention. Guitar solos emerge soaring, screaming and screeching, then disappear, only to reappear later. Meanwhile Bowie sings while a hugely powerful arrangement unfolds. Overall, the sound is slightly harsher than you’d expect from a Bowie album, and towards the end the track takes a slightly chaotic turn. This doesn’t detract from what is a powerful and impressive track, including a passionate vocal from Bowie, accompanied by some hugely talented musicians.
After such a powerful opening track, it’s more of the same at the start of Up the Hill Backwards. An acoustic guitar, guitars and drums combine producing a similarly powerful sound. After that, the track changes totally, it’s less powerful, but not quite subtle. Instead, Bowie’s vocal accompanied by drums and guitar. His vocal is much more subdued, almost weaker and thinner. Just as you’re getting used to this quieter part of the track, it’s all change again. Guitars soar high, chiming and screeching, as drums pound powerfully. From there until the track’s end, it’s another demonstration of power from Bowie’s band, with guitar and drums driving the track along. Impressive as the arrangement may be, Bowie’s vocal is slightly weak, but some intelligent lyrics make up for the vocal’s weakness.
The title track, Scary Monsters (and Super Creeps) sees Bowie adopting a mockney accent long before anyone had ever invented the term. The track begins with Robert Fripp’s magnificent, crystalline, soaring, guitar solo. His playing is outstanding throughout the track, one of the track’s highlights. Likewise, Bowie’s vocal is much better, even with the mockney accent. It’s strong and full of character. Behind him, the arrangement is dominated by guitars and drums punctuating the track. Backing vocals fill in when Bowie’s vocal drops out. The tempo is fast, the sound joyous, and the lyrics descriptive. Bowie and Visconti’s arrangement and production is perfect. This is easily the best of the first three tracks, and it’s no wonder the track was released as a single. Strangely, it only reached number twenty in the UK single’s charts.
My favorite track from the album has always been Ashes To Ashes, which sees Bowie reincarnate Major Tom from his earlier hit single Space Oddity. The song was created around the guitar-synth part played by Chuck Hammer, and feature’s one of Bowie’s best vocals on the album. It’s that guitar-synth, bass and drums that plays the familiar opening to the song. Although his voice is quite different to what it sounding like on Space Oddity, Bowie sings the lyrics perfectly. He’s like an actor going into character as he sings, delivering the lyrics with emotion and charisma. Like his vocal, the arrangement is one of the best on the album. Much of that is thanks to Chuck Hammer’s guitar-synth playing, although George Murray’s bass playing is excellent, it’s funky and spacious, while Roy Bittan’s piano playing adds to the atmospheric arrangement. Ashes To Ashes may be thirty-one years old but still sounds as good today as it did in 1980. The track has a timeless quality, thanks to the arrangement, Bowie’s vocal and the reappearance of Major Tom in the lyrics.
Fashion is another of the singles taken from the album, and seems to be the soundtrack to every fashion show since 1980. Turn on the television and there’s a fashion show on, you can bet that The Thin White Duke will be singing Fashion. It begins with a short sweeping, echoey sound, before it bursts proudly into life, a combination of guitars, drum and synth. Bowie’s voice is deep and loud, as he joins what is a fuller, funky sounding arrangement. Like other tracks, guitars play a huge part in the track. They’re loud, soaring and chiming, screaming, while drums pound with regularity in accompaniment. A synth plays during the track, adding a moderne sound to the arrangement, while a bass sits at the bottom of mix. It adds a touch of funk to the proceedings. This is track that was just was both popular on radio and clubs, and like Ashes To Ashes has a timeless quality. Much of that is down to Bowie and Visconti’s arrangement. Between them, they produced a track that back then, was in keeping with the New Wave music of the time. Whereas much of that music sounds dated, because of the instruments and new technology used on them, this retains a contemporary feel. Overall, Fashion is an outstanding track on the album, and is one of the album’s highlights.
Teenage Widlife features some of Bowie’s most cutting and personal lyrics as he cocks a snook at certain New Wave artists popular in 1980, but now long forgotten. If you listen to the track closely, you’ll hear similarities with Heroes, his 1977 hit single. The track opens with guitars playing, another melodic solo emerging. Straight away, the track sounds like Heroes. When Bowie sings, his voice has a haughty sound, laden with character, as it rises and falls, highlighting specific lyrics. Drums sit in the background, as the guitars and Bowie take centre-stage. In some ways, they almost steal the show, as the playing is so good. Backing vocal accompany and compliment his vocal, which like the previous two tracks, is excellent. By now, the arrangement has really grown, and is dominated by guitars, with drums increasingly playing a more prominent role. At the end of the track you can’t fail to be impressed by what’s a hugely melodic track, with a powerful arrangement and a great vocal and lyrics from Bowie.
Scream Like A Baby is a song about a political prisoner, and being imprisoned for your beliefs. With a song about such an important issue, comes a dramatic, almost overwhelming introduction. Straight away, drums are pounded, guitars almost growl at the start of the track. After that, Bowie gives one of most passionate vocals, as behind him, the arrangement isn’t as melodic, and hooks are scarce. It’s a very different track, that sometimes sounds nearly discordant, as drum crash and Bowie’s vocal gyrates. Even the guitar playing isn’t as good as on previous tracks. Sadly, Scream Like A Baby is a disappointing, well meaning, track, that is at odds with the rest of the album.
Thankfully, it’s a return to form from Bowie on Kingdom Come. The track has a much more melodic, pleasing sound. Guitars and drums open the track, with the guitars repetitive, layer upon layer of guitars are unleashed. Like the last track, Bowie’s vocal is strong and passionate, but unlike the last track, he doesn’t indulge in the vocal gymnastics of the previous track. However, he uses the backing vocalists well, to sing call and response. Bowie sings Tom Verlaine’s lyrics well, although they’re a fairly bleak portrayal of life, and sound more like a portrayal of the afterlife and hell. One thing that’s apparent here is the harsher sound I mentioned earlier. It’s much more noticeable here, and the track doesn’t have as polished a sound as you’d expect. Although harsh sounding, it’s a hugely passionate performance from Bowie and his band, of a track originally made famous by Television.
Pete Townsend plays guitar on Because You’reYoung and contributes towards one of the best arrangements and tracks on the album. Guitars open the track, the sound quickly growing much fuller, the tempo quickening. Bowie meanwhile, proceeds to give an outstanding performance, full of presence and character. Around him, the arrangement unfolding is highly melodic, with hooks aplenty. Chiming and driving guitars, synths and rhythm section produce a bold, dramatic and melodic sound. Here, Bowie’s lyrics are somewhat bleak as he looks back at life, remembering the hurt, dreams and scars while offering advice to another generation. Regardless of this, Because You’re Young is a great song, because of the arrangement and an impassioned performance from The Thin White Duke.
Scary Monsters (and Super Creeps) closes with It’s No Game (No. 2). It starts brightly and melodically, a combination of guitars and rhythm section before Bowie sings. His voice is strong and clear, as he takes care with his phrasing. Guitars punctuate the track, as if indulging in call and response. Unlike It’s No Game (No. 1), this track is much more melodic, less chaotic and much more enjoyable. Later, a piano plays, adding to the track’s drama, and adding another dimension to the arrangement. Guitars chime, the bass plods along and drums are to the fore, pounding and reverberating slightly. Here, Bowie’s lyrics are political, commenting on world events, revolutions and unrest, and like other lyrics on the album, his worldview isn’t exactly positive. Instead, during the albums, he seems pessimistic, rather than optimistic. There’s a false ending on the track, and for nearly half a minute, you hear various sound effects. These seem to reflect the events portrayed during the song. Overall, it’s a good track to end the album, with Bowie in fine voice, and his band as tight and polished as ever.
I find it hard to believe that it’s thirty-one years since the release of Scary Monsters (and Super Creeps). It doesn’t seem that long ago, that I sat poring over the my vinyl copy of the album, as I listened to the album. By then, I was a big fan of Bowie’s music, and have remained one ever since. I’ve been meaning to do an article on his music for some time, and after hearing a couple of songs from the album on my Ipod, decided this was the time to do so. Scary Monsters (and Super Creeps) is still one of my favorite Bowie albums, and was very different to what he recorded immediately before this. The critically acclaimed, though not as commercially successful, Berlin trilogy preceded this album, and after that, many fans welcomed the change in sound. Although most of the tracks on the album are really good, my two favorites have always been Ashes To Ashes and Fashion, two of the singles from the album. Each has a timeless quality, and retain a contemporary sound. That can be said for much of the album which still sounds fresh and has aged well. Funnily enough, the music of many of the New Wave artists around then, hasn’t aged so well. What people didn’t realize then, was that Bowie was about to enter one of his most successful periods, and his next album Let’s Dance saw his popularity soar, and he acquired another generation of fans. However, Scary Monsters (and Super Creeps) was the start of his new and hugely successful period, and for many people, myself included, the album brings back really good memories. Standout Tracks: Scary Monsters (and Super Creeps), Ashes To Ashes, Fashion and Because You’re Young.
DAVID BOWIE-SCARY MONSTERS (AND SUPER CREEPS).
JOHN MARTYN-ONE WORLD.
JOHN MARTYN-ONE WORLD.
Recently, when reading a music magazine, I noticed that a John Martyn tribute album has been released, with thirty artists interpreting some of John’s best known, and best loved songs. As a long standing fan of John’s music, I had a listen to some of the tracks on the album. Straight away, I noticed that there were two tracks from one of my favorite John Martyn album’s One World. This lead me to dig out my copy of One World, and have a listen to it. Immediately, this brought memories flooding back, to about twenty years ago, when I was lucky to see John in concert at a small venue in Edinburgh. Instead of the bigger venues he played, this was much more intimate, you were really close to John and the band. That night, he played some of his best known tracks, including a couple from One World. He was on great form that night, and at the interval, stood and chatted to everyone as he enjoyed a refreshment. Having seen many concerts, that was the first time I’d ever seen an artist so at ease with the fans. Usually, it’s quite the opposite. Twice I’ve been to concerts and the artist hasn’t even said a word, not evening good evening or good night. So this was really refreshing. Having listened to One World a couple of times, I thought that it was time I wrote an article about another of John Martyn’s classic albums. Previously, I’ve written a couple of articles about John, one about the brilliant Solid Air, the other about his underestimated album The Apprentice. In this article, I’ll reevaluate John’s classic album One World, released in November 1977, on Island Records.
One World was John’s first studio album since Sunday’s Child released in January 1975. The only other album he’d released was Live At Leeds in September 1975. After the release of Sunday’s Child, John decided to take a sabbatical from the music business. He decided to head to Jamaica, where he spent time with Lee Perry, the legendary reggae producer. Once he’d returned from Jamaica, he decided to record a new album. However, this album wouldn’t be like anything that preceded it.
Unlike previous albums, One World is a much more experimental sounding album. It draws its influences from reggae, folk, jazz and rock music. The tracks on the album are like a series of soundscapes, recorded in unorthodox ways, featuring a series of ambient noises. Whilst recording the album, John collaborated with Steve Winwood and legendary reggae artist Lee Perry. Both made vital contributions to the album. Some of the album was recorded outside, late at night, deep in the English countryside. This resulted is some of the ambient sounds on the album. Even the landscape contributed towards the sound on the album. One of the tracks, Small Hours, was recorded outside, late one night, and a nearby lake provided reverb naturally, as well as various ambient noises.
On the album’s release, critics loved the album. Although it was critically acclaimed, the album wasn’t a commercial success. It only reached number fifty-four in the UK album charts on its release. Since then, One World is seen as one of John’s best albums, and is regarded as a classic album. However, just how good an album is One World?
One World opens with Dealer, a track with a full sounding introduction where Moog synth, rhythm section and guitars combine, before John sings. Straight away, when John sings, his voice is different, it has a roughness, yet is clear as he sings above the arrangement. The tempo is reasonably quick as the track drives along, the synth, drums and guitars prominent in the track. Andy Newark’s drumming and Steve Winwood on synth and bass play a big part in the track’s sound. John voice meanwhile, is full of character, as he forcefully delivers the lyrics with a touch of cynicism. A combination of John’s vocal, good lyrics and a fuller sounding arrangement that flows along full of melodies and rhythms.
The title track One World, is one of my favorite songs from the album, and one of the album’s highlights. Throughout the track, there’s a sense of sadness and melancholia present. It begins with guitar, bass, drums and flute playing before John sings the lyrics. Here, his voice is very different, it has a lovely lived in sounds, he runs the words together with that slurred style he made famous. In doing so, he almost turns his voice into another instrument. Behind him, a beautiful arrangement is unfolding. An acoustic guitar and flute play. Then and a bass is plucked slowly and thoughtfully. Later, a guitar plays, reverb transforming its sound, feedback making its present felt. This leads to layers of atmospheric music that wash over you. All of this, and John’s contemplative voice combine masterfully, to produce a beautiful track. It’s one with a spiritual sound and feel, that like all good music, has a timeless quality.
Smiling Stranger is best described as an exotic, symphonic and fulsome sounding soundscape. During the track, a multitude of traditional, exotic and modern instruments are used. This ranges from tabla, saxophone, drums and a Moog synth, which was then, a new and innovative instrument. The track opens with drums, tabla, bass and Moog synth combining to produce what is an unusual, broody, yet somewhat exotic sound. It meanders menacingly along, until John sings. When he does, his voice veers between a strained reverberating sound, to a stronger, louder and growling vocal. Together with the arrangement, they combine to produce a much different sound to the melancholic sounding One World. Later, strings sweep in, giving the track a symphonic sound and feel, in contrast to the darkness accompanying it. Towards the end of the track, a saxophone rasps, adding another dimension and sound, to an already crowded and intriguing track. Unlike the previous track, the arrangement here is much fuller, almost crowded. A multitude of sounds emerge, assailing your senses, but regardless of how hard you listen, you’ll never be privy to all the subtleties and nuances hidden within this powerful, intriguing track.
John cowrote Big Muff with Lee Perry, and when you listen to, or read the lyrics they lead you to wonder aloud what exactly they’re about. I’ve always thought they were about drugs, specifically cocaine, and trying not to take them. The man upstairs in the lyrics is God, and the man downstairs, the Devil. This song is about good and evil, and temptation, specifically, trying to resist the temptation to take drugs. Lee Perry’s influence is apparent as the track begins. A bass drenched in reverb, and drums combine to produce a dub influenced sound. Then, when John’s vocal enters, it occasionally, is drenched in reverb and echo. Here, he is giving one of his best vocals on the album. His vocal is atmospheric, full of character, and for much of the time much softer and restrained. The arrangement is really good, a combination of very few instruments. It’s jus guitar, drums, bass and percussion that feature here. Together with John’s vocal, they produce an atmospheric soundscape which masterfully mixes, reggae rock and jazz. Quite simply a great track, and one of John’s favorite tracks when he played live.
Another of my favorite tracks from One World is Couldn’t Love You More. This is a track John rerecorded several times, and the version on the Classics compilation is my favorite version. It has a really dramatic, rocky sound. This version is a lovely acoustic version, with John playing the lead on his acoustic guitar. Danny Thompson accompanies him on bass, with Steve Winwood on organ. The arrangement has a lovely understated quality, which allow John’s voice and his lyrics to take centre-stage. It’s a lovely love song, with some beautiful lyrics, and is one of the finest love songs John wrote.
Certain Surprise is another much more laid back track. It begins with a lovely acoustic guitar solo, before John sings. As he sings, his voice is full of character, taking on that trademark slurred quality. Behind him, the rhythm section and a piano plays in the background, strings sweep in and out of the track, giving it a lush sound. Later, a trombone plays drenching the track in its beautiful sound. Like Couldn’t Love You More, Certain Surprise is another love song, one with some clever and romantic lyrics. Between a beautiful, subtle, arrangement, good lyrics and John’s atmospheric vocal, Certain Surprise is another lovely love song, full of melodies and hooks.
The introduction to Dancing starts way in the distance, and is a combination of drums, bass and guitar. Together, the manage to produce an impressive, fuller sound. When John sings, he sings about life with a musician, and what’s expected of him, the life he leads and how this affects his relationship. In the lyrics he reveals a sense of insecurity, as he’s scared his partner will have an affair with another man. As he sings, the arrangement moves along, the bass throbbing at the bottom of the mix, drums filling out the sound and John managing to make his guitar sound like a number of instruments. The arrangement is catchy, John’s vocal good, but the lyrics are the highlight of the song, as they give an insight into John’s life as a musician and his fears.
One World closes with Small Hours, one of the tracks that lead to John being christened the father of trip hop. Both Small Hours and Big Muff are tracks that influenced the trip hop pioneers. Small Hours was recorded outside, at night, and during the track, you can hear all sorts of ambient sounds, and the nearby lake acted as a natural reverb. Guitar and Moog synth open the track, with reverb transforming the guitars sound. Water can be heard, background noise too. Drums thud gently in the background, like a heartbeat. Birds can be heard, as waves of reverb laden guitars unfold, rippling like the water in the nearby lake. Occasionally, an organ makes an appearance. John sings, his voice soft and gentle, totally in keeping with the soundscape evolving. Mostly, it’s just John, his guitar and lashings of reverb. Sometimes, he’ll play a short solo, adding another dimension to a quiet beautiful epic track. Regardless of what he does, the result is exquisite. For nearly nine minutes, one of the most soothing, ambient sounding tracks unfolds around you, emerging with grace and beauty from your speakers. It’s totally different from any of the preceding tracks, but is a fantastic way to end a great album.
Before I listened to One World the other night, it had been a while since I last listened to it. As soon as I started listening to it, I remembered just how good an album it was. It may only have eight tracks on it, but they’re eight great tracks, crossing various genres. Jazz, reggae, rock, folk and ambient music are all present on One World. The sabbatical John took, certainly helped. He came back with new ideas, wanting to record a totally different type of album. With the help of Lee Perry and Steve Winwood, he certainly succeeded in producing a very different album to his previous ones. Although critically acclaimed on its release, it wasn’t a huge commercial success. Since then, the album has proved to be one of John’s most influential and innovative albums. Now, One World is recognised as a classic album. Both One World and Solid Air are two of John’s albums that are now seen as classics. These albums are two must have albums for anyone interested in John’s music. They show John at his best, his most creative and innovative. It you’re one of the people that have never heard his music, both One World and Solid Air are albums that are well worth buying. Should you just want a compilation of his music, Classics released on Artful Records in 2000 is the one I’d recommend. Over two discs, you’ll hear some of John’s best know and best loved music. Standout Tracks: One World, Big Muff, Couldn’t Love You More and Small Hours.
JOHN MARTYN-ONE WORLD.
CHIC-C’EST CHIC.
CHIC-C’EST CHIC.
Recently I was listening to an album of edits by Greg Wilson, Credit To The Edit, and one of the songs he’d created an edit of was Dance, Dance, Dance (Yowsah, Yowsah, Yowsah), one of the best known of Chic’s tracks. After hearing this track, it set me thinking just how hugely influential Chic were as a group. During the popularity of disco, Chic produced some of the biggest, most successful tracks. This includes Le Freak, Good Times, My Forbidden Lover and I Want Your Love. Later, when hip-hop emerged, their music was sampled on two of the biggest early tracks Grandmaster Flash’s Adventures On the Wheels of Steel and the Sugarhill Gang’s Rappers Delight. It wasn’t just hip-hop acts that found inspiration in Chic’s music. Blondie’s track Rapture, Queen’s Another One Bites the Dust and Daft Punk’s Around the World were all “inspired” by Chic’s music. C’est Chic was Chic’s second album, released in August 1978. The album was a huge commercial success, selling over one million copies and was certified platinum. It reached number four in the Billboard 200, and Le Freak, one of the singles from the album, sold over six million copies, making it Atlantic Records biggest selling single ever. However, who were Chic, and what does C’est Chic sound like?
Chic were formed in 1976 by Nile Rodgers and Bernard Edwards. They’d originally met in 1970, forming a rock band The Boys, and later, they became The Big Apple Band. The band played throughout the New York area, but never got a record contract, even though record companies expressed an interest in their music. By 1977, Rodgers and Edwards had formed LaBelle, and they were joined by Tony Thompson, drummer with Ecstasy, Passion and Pain. On his recommendation, Raymond Jones joined to play keyboards. All they needed now was a singer. Norma Jean Wright became the band’s singer. However, they also allowed her to work as a solo singer. Now the lineup was complete, they started recording a demo tape. Bob Clearmountain, then a young record engineer agreed to help the band record their demo tape. On the resulting tape, were two of Chic’s best known tracks Dance, Dance, Dance (Yowsah, Yowsah, Yowsah) and Everybody Dance. Next the band started playing concerts, supporting bigger acts.
The following year, 1977, Chic released their debut the eponymous album Chic. This was, in some ways, an extension of their demo tape, with group recording some new songs. Featuring Everybody Dance and Dance, Dance, Dance (Yowsah, Yowsah, Yowsah) Chic was released in November 1977 reaching number twelve in the US Pop charts, selling over 500,000 copies. One problem Rodgers and Edwards realized the band had was recreating their studio sound live. To solve this problem, they decided to add another female vocalist. Luci Martin, a friend of Norma Jean Wright, joined the band during early 1978.
Having just added a new vocalist to the band, they lost Norma Jean Wright. Not long after recording their debut album Chic, they recorded Wright’s debut solo album Norman Jean. To allow her to have a solo career, they’d allowed her to sign with a different record company. Legal problems meant she couldn’t continue as a member of Chic. However, before she left the band, she took part in the recording of Sister Sledge’s debut album We Are Family. Wright was released by Alfa Anderson, who sung backing vocals on Chic’s debut album.
C’est Chic, which this article is about, was released in August 1978, reaching number four in the Billboard 200. The album sold over one million copies in the US alone, and was certified platinum. This was the beginning of a rich vein of form for Chic. Their next album Risque, featured Good Times and My Forbidden Lover. Like their two previous albums, Risque was a huge commercial success, reaching number five in the US Pop charts.
It wasn’t just Chic that Rodgers and Edwards were recording, writing and producing during this time. They were also involved in writing, arranging and producing albums for Sister Sledge, Diana Ross, Sheila B Devotion and Carly Simon. One other artist whose career they helped launch, was Luther Vandross. He’d previously sung on several of Chic’s albums, and Rodgers and Edwards helped launch his career as a solo artist.
In the early 1980s’, disco became hugely unpopular. In the US, there had even been organized campaigns against the music. Suddenly, Chic’s music, like that of other similar artists, was no longer receiving airplay on the radio, and sales dried up. This lead to the group disbanding in the early eighties. The four albums they released between 1980 and 1983 failed to achieve commercial success. Real People released in June 1980, only reached number thirty in the US Billboard 200. Take It Off, released in November 1981, only reached one-hundred and twenty-four and Tongue In Chic, released in November 1982, only reached one-hundred and seventy-three. Believer, released in November 1983, failed to even chart. By now, it seemed, the love affair with both Chic’s music and disco, was over.
In 1989, after the band met at a birthday party, and started playing some of Chic’s old music, they decided to have a reunion. They recorded their final album, Chic-ism , which was released in March 1992. However, although the two singles Chic Mystique and Your Love both sold well, the album failed to chart. After the release of the album, the Rodgers and Edwards, complete with a new line-up embarked upon a tour.
Today, Chic’s music continues to influence a new generation of artists, and is just as popular as ever. Sadly, Bernard Edwards died in April 1996 just aged forty-three, while on a tour of Japan. His partnership with Nile Rodgers produced some of the greatest dance music of the seventies and eighties, not just with Chic, but with many other artists, including Sister Sledge. Drummer Tony Thompson died in November 2003, aged forty-eight. Tony played a huge part in the sound of Chic, and his influence and contribution must never be underestimated. He was a hugely talented drummer, and part of one of the most famous rhythm sections in dance music. Having told you about Chic, I’ll tell you about their second album
C’est Chic opens with Chic Cheer, a track that must be good because it opens with applause. Keyboards then play a lengthy solo. Then for the first time, Bernard Edwards’ trademark bass enters, accompanied by backing vocals. Straight away, you get the feeling that really great piece of funky dance music is emerging. You’re right, rhythm section, guitar and backing vocalists combine to produce a fantastically funky and repetitive track. It’s full of hooks that worm their way deep into your brain. They’re so catchy they’re almost infectious. As the track ends, Chic are greeted by thunderous applause yet again. No wonder, Chic Cheer is an infectiously funky dance track, that gives a taste of what’s to come.
When Le Freak was released as a single, it sold over six million copies in the US alone. If a single sold that many copies it must be good? It’s not just good it’s brilliant. From the familiar opening bars when the bass and vocal combine, accompanied by handclaps, the track bursts joyously into life. Strings sweep beautifully throughout the track, Tony Thompson’s drumming is excellent and Bernard’s plays one of the best bass solos ever recorded. His playing is fast and intricate, as he slaps and plucks his bass. Alfa Anderson’s vocal is a joyous, celebratory call to dance. Later in the track, Tony Sabino’s piano playing adds the finishing touches to one of the greatest dance tracks ever recorded. Brilliant.
Lush strings and percussion open Savoir Faire, before Nile Rodgers plays the sweetest guitar solos. As the track progresses, it just keeps getting better. Bernard’s bass is subtle as he lets the strings and Nile take centre-stage. Savoir Faire is very different from the opening tracks, it just sweeps along, a beautiful combination of strings, guitar and rhythm section. Even without a vocal, the track is outstanding. This is due to one of the best guitar solos you’ll hear courtesy of Nile Rogers. It’s made all the better with addition of the strings, and is five minutes of the sweetest, lushest and most beautiful music your ears will ever hear.
Bass, drums and strings combine at the start of Happy Man. Before the vocal appears, the track sounds like several Sister Sledge tracks, including We Are Family. This isn’t a surprise as Nile and Bernard were responsible for their sound too. When the vocal enters, Alfa Anderson and Luci Martin sing backing vocals while Bernard sings lead. The lyrics are joyous, uplifting and have a feel good factor. While the vocal is sung, a great arrangement is unfolding. Strings sweep sweetly, a throbbing, metronomic bass sits at the bottom of the mix and yet another fantastic guitar solo from Nile appears. Meanwhile, Tony Thompson’s drumming provides the track’s heartbeat. Layer upon layer, of the most melodic music emerge from your speakers, as the track that sweeps and shimmers along, a combination of magnificent melodies and rhythms.
The second single released from C’est Chic was I Want Your Love. For me, this is one of the most memorable and familiar of the tracks from this era. Drums and tubular bells combine to open the track, followed by bass and a short bust of horns. When the vocal appears, Alfa and Luci combine perfectly, as Bernard starts to play another of his famous bass solos. Like on Le Freak, it’s fast and intricate, and totally peerless. A piano punctuates the track, as Alfa and Luci give one of their best vocals on the album. It’s sweet and melodic, as the arrangement just gets better. Both the horns and tubular bells then reappear, and make further appearances during the track. Strings join the track, completing the now trademark Chic sound. The addition of the strings completes the sound perfectly. By the end of the track, you can only marvel at the arrangement on this track. What makes the arrangement and track so good, is the combination of instruments, and how, and when, they used them. Here, the strings weren’t introduced to later in the track, and the horns and tubular bells used sparingly throughout the track. It’s the combination and choice of instruments and vocals that make this without doubt, one of Chic’s best ever tracks.
Chic decide to slow things down a little with At Last I Am Free. This is a much slower song about a relationship that’s gone wrong. It opens with drums slowly playing, bass and a thoughtful guitar solo. When the vocal enters, Alfa and Luci sing close harmonies, before the lead vocal. Their close harmonies are dramatic and heartfelt, laden with emotion. Here, the arrangement is very different, it’s not as full, but still has a lovely lush sound. Everyone plays slowly, guitar, piano and rhythm section, while strings sweep behind the main arrangement. Bernard’s bass playing is slow, spacious and thoughtful, and the vocals are slow, sad and emotive. Towards the end, Robert Sabino’s piano adds to the emotional and dramatic atmosphere. Although very different to most tracks on the album, this is a really good track, full of emotion due to Niles and Bernard’s arrangement, and the vocal provided by Alfa and Luci.
After a lovely slow track, Chic resume normal service with Sometimes You Win. The Rhythm section and guitar combine before the vocal enters. When it does, it’s sung like a duet with Alfa, Luci and Bernard each taking the lead. They accompanied by backing vocals. Behind them a really full, catchy arrangement emerges. It’s driven along by bass, drums, guitar and keyboards, melodic and laden with hooks. Later on, horns play, adding a new dimension to the sound. This really lifts the track, as does the backing vocals, which remind me of the Bee Gees circa Saturday Night Fever. What I like about this track is it has a “feel good” sound, and still sounds as good today, as it did in 1978. Combined with a some really tight vocals and another great arrangement, this potent combination results in another great track from Chic.
C’est Chic closes with (Funny) Bone, which joyously bursts into life, with the sound of the type of party you really want to go to, taking place. Meanwhile, drums, bass and guitar open the track, driving it along. Strings enter, sweeping quickly along, accompanied by handclaps and the occasional whistle. This is a lovely upbeat track, with Bernard’s bass playing and Tony’s drumming is at the forefront to a track which sounds like the soundtrack to a the best house party ever. However, before you know it, this fantastic funky instrumental track is over, after four magical minutes.
Since Chic released their first single and album, I’ve been a huge fan of their music. It’s music that has stood the test of time really well, and over thirty years later, sounds as good as it did back then. Chic produced several great albums, and countless brilliant singles, including some of the best dance records ever. C’est Chic is one of their finest albums, and includes two of their best know singles I Want Your Love and the six-million selling Le Freak. On the album are lush strings, sweet, tight vocals, brilliant bass lines courtesy of Bernard and some masterful guitar playing from Niles. This music was at the cutting-edge of the disco era, and remains some of the best dance music ever produced. Their music influenced a whole new generation of musicians, from hip-hop pioneers Grandmaster Flash and the Sugarhill Gang to established recording artists including Blondie and Queen, and later Daft Punk and New Order. if you like Chic’s music, C’est Chic is a great album, one of their best and gives a good overview of what their music sounded like back in 1978. Standout Tracks: Le Freak, Savoir Faire, I Want Your Love and Sometimes You Win.
CHIC-C’EST CHIC.
BRUCE SPRINGSTEEN-BORN TO RUN.
BRUCE SPRINGSTEEN-BORN TO RUN.
In this article I’m going to write about the album that was Bruce Springsteen’s breakthrough album. Born To Run took him from also-ran to major recording artist, reaching number three in the Billboard 200. It was his third album, released in August 1975, and since then, the album has sold over six million copies. This was the first time Bruce had been given a big budget to produce an album, and it was almost make or break for him. His future as a recording artists was at stake. If the album hadn’t been a success, who knows what the future would’ve held for Bruce? Given how much was at stake, it’s no wonder that the album took fourteen months to record. The title track, Born To Run took six months to record. Bruce was looking to produce a Wall of Sound, similar to what Phil Spector had previously used, and this caused him problems during the recording session. He then decided to bring Jon Landau onboard to help with production. Together with Landau and manager Mike Appel, the trio produced the album. Little did they know then, that when the album was released, they were about to turn Bruce into a worldwide superstar after years of striving for a breakthrough.
During the recording sessions for Born To Run, Bruce made several changes to his personnel. Roy Bittan and Max Weinberg were brought in to play piano and drums respectively. Jon Landau helped with the production of the album. These weren’t the only changes Bruce made. When writing the songs, he wrote them on piano, not guitar. He also decided to use introductions to set the tone of the songs on the album. Another change he wanted to make was a Wall of Sound production, like Phil Spector had previously used. So, much had changed from his previous album, The Wild, The Innocent and The E Street Shuffle. The question is, would critics and the public like Bruce’s new sound?
By the time the album was ready to be released, people were looking forward to its release after an early mix of Born To Run was released to a progressive rock radio station. Listeners liked what they heard, and quickly, word spread about Bruce’s new album. When the critics heard it, they loved it, and the album was critically acclaimed. This was a pleasant change for Bruce, as when his previous album was released, positive reviews were scarce.
Columbia, Bruce’s record company, decided to spend $250,000 promoting Born To Run. However, some of their marketing ploys didn’t auger well with Bruce, especially the use of Jon Landau’s quote “I saw rock ‘n’ roll’s future-and its name is Bruce Springsteen.’” When the album was released, it entered the Billboard 200 on the second week of its release. Eventually, it reached number three and was certified gold. Since then, the album has consistently sold well, and by 2000, had sold over six million copies. Rolling Stone magazine put the album at number eighteen in its list of the 500 greatest albums of all time. Having told you about the album, I’ll now tell you what it sounds like.
Born To Run opens with Thunder Road, which like all the tracks on the album has a theme, that of escape. It begins with piano and harmonica playing before Bruce sings. When Bruce sings, it’s just him and the piano before the rest of the band join. This is highly effective bringing a sense of drama to the track. Then, the sound gradually fills out, drums and guitars joining the arrangement. Bruce’s voice is strong, full of frustration as he sings of escape. Behind him, the arrangement has grown, and by now, Clarence Clemons’ saxophone blows, the piano adds dramatic touches, guitars solo and drums fill out the sound. It’s a powerful arrangement and passionate vocal from Bruce, and a really good, rousing track to open the album.
Tenth Avenue Freeze-Out has a really great opening, piano, saxophone and combining. The piano especially, sets the tone, while behind it, Clarence saxophone drenches it with some great saxophone playing. Straight away, it’s apparent this is one of the best songs on the album. Much of this is down to the addition of a horn section. They punctuate the track throughout, uniting masterfully, giving the track a bluesy feel. Combined with Roy Bittan’s piano playing this is a great arrangement that’s unfolding. Bruce meanwhile, produces a really powerful, almost angry vocal. He’s singing at the top of his voice, roaring almost. His band have really upped their game, Bittan’s piano playing drives the song along, while the horns add the finishing touches to a brilliant arrangement. What makes this such a great track is the arrangement, that and Bruce’s passionate vocal. After listening to the track, I was fascinated by the lyrics, and was trying to work out the meaning. I think that it’s about how, and where, the band met. Scooter is Bruce, the big man is Clarence Clemons.
Unlike the two previous tracks, Night has a frantic, hugely loud and powerful introduction. Screaming guitars, pounding drums and saxophone combine before Bruce sings. As he sings, it’s noticeable that his voice is different, it isn’t as loud or clear on this track, Still, his vocal is laden with passion, while behind him, the band produce a much fuller, louder and powerful arrangement. Clarence’s saxophone and the piano, help drive the track along dramatically. The guitars soar, screeching and screaming, while the drums thunder along in the background. Like al the songs on the album, it tells a story. Night tells of the nine to five grind of work, with the only thing keeping him going is that one night he’ll find the woman of his dreams.The lyrics have a really strong narrative, so strong you can almost picture the scenes unfolding before your eyes. Combined with a good performance from Bruce and his band, Night is an evocative, powerful track.
Backstreets is a sad song, one about loss, betray and defeat. It begins with a piano playing, the mood is quite sombre. The introduction on piano is lengthy and dramatic, and drums, chiming guitars and organ join in before Bruce sings. When he does, his voice sounds sad as he sings some really good lyrics. Like the previous track, they’ve a strong narrative, and are highly descriptive. During the song, the arrangement retains a sense of drama which Bruce’s vocal adds to. Later in the track, a really great guitar solo plays. An organ plays during the track, and it and the piano help set the dramatic scene. Overall, the arrangement is full of drama, and the sense of loss, betrayal and defeat is tangible. On the original album, this was the final track on side one. Bruce’s idea was to end each side of the album with a song about loss, betrayal and defeat. Here, he has achieved this when you listen careful to the lyrics. Personally, I think Backstreets is a hugely dramatic track, with a good arrangement and charismatic vocal from Bruce.
If I was to say that the next track took six months to record, you’d expect it to be a rock ‘n’ roll masterpiece. Well, whether Born To Run is a masterpiece or not, it’s certainly a brilliant song. Six months in the making, Born To Run begins with the familiar strains of drums, guitars and saxophones combining. After that, Bruce gives one of his most passionate vocals on the album, as he sings about escaping the tediousness of everyday life. Behind him, chiming, screaming and soaring guitars, thunderous drums and Clarence’ frantic saxophone combine to produce a potent and powerful backdrop for Bruce’s passionate vocal. Together, they produce one of the best tracks Bruce has ever recorded, proving that the six months they spent producing this track was well worth it.
She’s The One is a song about a woman who forever, will be out of touch for every man. She’s beautiful, graceful but not interested in the guy in the song. However, she’s the one for him. It’s a meandering and subtle guitar and sparse bass that open the track. They’re then joined by piano and then Brice sings. His voice is strong as he builds up the drama and tension. He leaves gaps in the vocal that the guitar fills theatrically. Gradually, the arrangement unfolds, the piano prominent in the mix, while powerful guitars and pounding drums add to the drama. Later, the saxophone blows, softening the near frantic arrangement. By now, Bruce and The E Street Band have hit their stride, really upping the tempo, and the arrangement gets much fuller, louder but wonderfully melodic. Evocative lyrics, a powerful arrangement and passionate vocal from The Boss make this a great track.
A trumpet plays, a jazzy sound emerging, before the piano joins in, playing slowly, melodically yet sombrely. Like every track on the album, the introduction to Meeting Across the River sets the song’s tone. When Bruce sings, his vocal is much quieter, calmer as he sings the lyrics which are edgy, fraught with danger. They’re instruction from a guy who is nearly desperate, to his friend. This is last chance to make some money, and if he doesn’t his girlfriend will leave him. The arrangement is perfect for the song. It starts of slowly, subtly and meanders along. A piano takes the lead, and trumpet punctuates the track with a haunting sound that matches the desperation in the lyrics. Although very different from every other track on the album, the understated arrangement perfectly suits the song’s lyrics, and Bruce’s delivery is full of character, so much so, that he brings the lyrics to life.
Jungleland is the final track on Born To Run. It’s an epic track, about loss, betrayal and defeat and has some of the best lyrics on the album. They’re so strong, that you can imagine everything happening as Bruce sings. The scenes come to life before your eyes. These lyrics have the same qualities as poetry or a short story. A violin and piano play slowly and thoughtfully, at the start of the track. This sets the scene for this pic track lasting nine and a half minutes. Slowly, the arrangement takes shape and eventually, it bursts into life. Drums, guitars and organ combine, with the guitars driving the track along now. After such a slow and quiet introduction, Bruce and the band quickly move through the gears. Guitars soar, screaming and chiming, drums pound, the piano plays behind the band and Clarence plays a stunning saxophone solo. By now, the sense of drama is increasing, driven along by the saxophone and piano, and Clarence Clemons nearly steals the show. Such is the power and emotion of his playing. When the band drop out, the piano takes the lead, accompanying Bruce who slowly and sadly sings the lyrics. As the track heads to the end, the arrangement builds back up, and heads to a dramatic climax, lead by the piano and Bruce. Quite simply, Jungleland is a stunning track of epic proportions and a perfect way to end the album.
Born To Run isn’t just the album that turned Bruce Springsteen from also-ran to superstar, it’s also one of the best albums he has ever recorded. After that, he released numerous great albums including The River and Born In the USA, but Born To Run is still one of his best albums. Although it took fourteen months to record, it was well worth the wait. Each of the nine songs on the album are of the highest quality. There are no poor songs or filler, just some great music. His songwriting on the album includes some of the best songs he has written. Every song is like a mini-drama, with a strong narrative and fascinating storyline. With the help of The E Street Band and a number of guest musicians, they succeeded in bringing these lyrics to life. When you hear the band on this album, you realize that Bruce was fortunate to have one of the best bands behind him. Clarence Clemons’ on saxophone and Roy Bittan on piano especially deserve credit. Sadly, Clarence died not long ago, and Born To Run is a poignant reminder of the big man’s considerable talents. However, the man who deserves the most credit is Bruce Springsteen. After years of trying he finally made his big breakthrough, and in the process, recorded one of the best albums of all time. Should you never have heard the album, or are unfamiliar with his music, you can now buy a box set The Collection: 1973-1984 which contains his first seven albums including Born To Run, The River and Born In the USA. It’s an inexpensive introduction to the music of Bruce Springsteen and is packed with some great music. Standout Tracks: Tenth-Avenue Freeze-Out, Born To Run, She’s The One and Jungleland.
BRUCE SPRINGSTEEN-BORN TO RUN.
GRAM PARSONS-GP.
GRAM PARSONS-GP.
When the album I’m going to write about was released, it was critically acclaimed, but commercially, was a failure. Gram Parsons referred to his music as Cosmic American Music, a mixture of country music and rock ‘n’ roll. GP was his debut solo album, released in January 1973. It would be the only solo album released during his lifetime, the follow-up Grievous Angel being released after his death in January 1974. Although his life was tragically short, dying aged just twenty-six in September 1973, he lived a full life. During his career, he founded The International Submarine Band, was a member of The Byrds and formed The Flying Burrito Brothers. After leaving The Flying Burrito Brothers, he signed to A &M Records as a solo artist. However, when sessions for his debut solo album didn’t go well, he headed to France and lived with Keith Richards of The Rolling Stones for a short time. On his return, he met Emmylou Harris who sung vocals on his solo albums GP and Grievous Angel. Before I tell you about Gram’s debut solo album GP, I’ll tell you about his life.
Gram Parsons was born Ingram Cecil Connor III in November 1946 in Winter Haven, Florida. His mother Avis, was the daughter of a wealthy businessman, John A Snively, who made his fortune in citrus fruit. Ingram Cecil Connor, Gram’s father, was a famous and highly decorated pilot in the US Air Force. Both Gram’s parents were alcoholics, and his mother suffered from depression. Sadly, when Gram was twelve, his father committed suicide. Later, Gram’s mother remarried, Robert Parsons, and Gram took his stepfather’s surname. In July1965, Gram’s mother died of cirrhosis, caused by her heavy drinking. She died the day before Gram was due to graduate from Bolles School in Jacksonville, Florida.
Whilst all these problems with his family were happening, Gram became more interested in music. He’d been interested in music since he saw an Elvis Presley concert in 1957. In his early teens, he’d formed bands, playing cover versions of rock ‘n’ roll song. Aged sixteen, he started playing folk music, and then in 1963 he formed his first professional group The Shiiohs.
The Shilohs were influenced by groups like The Kingston Trio and The Journeymen. They mostly played in coffee bars and high schools, but on several occasions, played in New York’s Greenwich Village. This included an appearance at Fred Weintraub’s club The Bitter End, in Bleecker Street. When The Shilohs split up, Gram headed to Harvard University to study theology, leaving after one semester.
After The Shilohs split up, Gram formed the International Submarine Band while at Harvard University. They were a folk group, and wee active between 1966 and 1968. the group signed a recording contract with Lee Hazlewood’s LHI Records, and recorded several singles and one album entitled Safe At Home. Since the album’s release in March 1968, it’s credited with being one of the first real country rock albums. Before the album was released in March 1968, Gram left the band in February, to become a member of The Byrds.
By 1968, Gram Parsons had been recruited as a member of The Byrds, after David Crosby and Michael Clarke had left the band at the end of 1967. Initially, Gram was hired as a pianist, but soon became their rhythm guitarist and sung vocals. However, Gram wasn’t considered a full member of the band by Columbia, the band’s record label, even though he was contributing as much as any other member. Instead, Gram and Kevin Kelley, another new member were paid a salary. Only Roger McGuinn and Chris Hillman were full members when the band signed their new recording contract. Gram played on The Sweetheart of The Rodeo album released in August 1968. Whether or not Gram was a full member of the band, he like Kelley, were listed as members on the album and in press coverage. While on tour in England in the summer of 1968, Gram quit The Byrds over plans by the band to tour South Africa. He was opposed to South Africa’s apartheid policy. During that tour, Gram met and befriended Keith Richards. Richards would become a close friend, is credited with reintroducing Gram to country music.
After leaving The Byrds, Gram headed back to Los Angeles, where he and Chris Hillman formed The Flying Burrito Brothers. They recruited pedal steel player Sneaky Pete Kleinow and bassist Chris Ethridge. Having completed the group’s line up, they recorded their debut album The Gilded Palace of Sin, which was released in February 1969. Although the album wasn’t commercially successful, it was well received and is seen as one of the most important alternative country albums ever. Before they recorded their second album, the band underwent personnel changes. Chris Ethridge left due to the band’s lack of success. Chris Hillman became bass player, Bernie Leadon joined to play lead guitar and ex-Byrd Michael Clarke became the new drummer. Burrito Deluxe, released in April 1970, was the groups second album. Like it’s predecessor it wasn’t a commercial success, and to make matters worse, the critics didn’t like the album. After the failure of the second album, Gram was disillusioned, and he left the band. He and Hillman came agreed that this was for the best. During the time the band had recorded Burrito Deluxe, Gram’s drug use was much worse, he wasn’t writing as many new songs and he’d spent much of his time partying with the Rolling Stones.
Gram signed a recording contract with A & M Records in 1970, and Terry Melcher was hired to produce the sessions. So Gram moved in with Melcher and the sessions begun. However, they were unproductive and Gram headed to France where he lived for a short time with Keith Richards while the Rolling Stones were recording Exile On Main Street. On his return to America in 1971, he married girlfriend Gretchell Burrell.
After playing a one-off reunion concert with The Flying Burrito Brothers, Hillman took Gram to hear Emmylou Harris in concert. Quickly, the pair became good friends and within a year, Gram and Emmylou headed to the recording studio to have another attempt at recording Gram’s solo album. By now, he’s been signed to Reprise Records by Mo Ostin. As well as Emmylou, Gram enlisted James Burton, who previously, had played with Ricky Nelson and Elvis Presley. This album became GP, and on its release in January 1973, was critically acclaimed, although it wasn’t a commercial success. The follow-up to GP was Grievous Angel, with Emmylou and James Burton playing on the album. Sadly, this album was never released during Gram’s lifetime. He died in September 1973, of a drug overdose in Joshua Tree, California, aged just twenty-six. Grievous Angel was released in January 1974, and like GP was critically acclaimed, but commercially unsuccessful. Since Gram’s death, his music has become increasingly popular, and belatedly, his music is being appreciated by a wider audience to appreciate his huge talent. Now that I’ve told you about his career, I’ll tell you about his debut solo album GP.
GP opens Still Feeling Blue, a track that has an authentic country feel. It opens with fiddles, guitars and rhythm section combining before Gram sings. A pedal steel guitar and banjo join in, giving completing an authentic country sound. The tempo is quick, Gram’s voice is strong and clear, with Emmylou Harris singing backing vocals. During the track, James Burton’s guitar playing is excellent, and Byron Berline’s playing helps drive the song along. Here, the arrangement is quite full, with Gram having assembled a really tight band for the sessions. Gram’s lyrics are really good. They’re about a woman that’s left him, and how he’s still suffering, missing her, wondering why she left him. A combination of Gram’s vocal, and strong lyrics from Gram, plus a good tight performance from the band make this a great track to open the album.
A guitar plays at the start of We’ll Sweep Out the Ashes In The Morning. Drums and fiddle accompany Gram as he sings. Here, his voice isn’t as strong as on the opening track, during parts of the track. He’s joined by Emmylou who shares the lead vocal. Her voice compliments Gram’s perfectly, and sometimes, her lilting voice soars high as she sings the lead. Behind them, the arrangement is mostly driven by guitars, with drums playing subtly behind them. The pedal steel guitar played by Al Perkins is really atmospheric, perfectly suited to the song. That, and Gram and Emmylou’s vocals are what makes this such a lovely track.
When A Song For You opens, the track has a dramatic feel and sound. Piano and guitar play, then when Gram sings, his voice sounds fragile and gentle as he sings the lyrics. The arrangement wraps round his voice like a blanket, as Emmylou accompanies him. An acoustic guitar, fiddle and pedal steel guitar accompany them. It’s a lovely understated arrangement perfect for the song. This has always been one of my favorite tracks from GP because of the arrangement. To me, it’s one of the best tracks on the album, because of great vocals and a lovely subtle arrangement.
The Streets of Baltimore begins with a pedal steel guitar playing, before Gram sings. When he does, his voice is much stronger, and behind him, a lovely arrangement is unfolding. Lead and pedal steel guitars, fiddle, piano, drums and percussion play. They all play behind Gram, never overpowering his vocal. It’s much stronger, sometime soaring high as he sings the lyrics. They’re about a man moving to the bright lights of Baltimore with his wife, only to discover she loves the bright lights of Baltimore more than she loves him. Gram sings the song really well, bringing the lyrics to life so much, you can almost imagine the story unfolding before your eyes. Although not written by Gram, it’s an evocative song, great lyrics, sung brilliantly by Gram.
After the second cover version of the album, Gram sings She, a song he cowrote with Chris Ethridge who Gram played with in The Flying Burrito Brothers. A piano and guitar play slowly and dramatically at the start of the song, then Gram sings. When he does, his voice is laden with emotion, as he sings about a talented young girl singer, growing up in the plantations the southern states, picking cotton. During the song, Gram gives one of his best vocals on GP. Behind him, a really atmospheric, subtle arrangement plays. Drums, bass, fiddle and steel guitars combine masterfully, providing the perfect soundtrack for Gram’s vocal. Quite simply, She is one of the most beautiful tracks on the album, made all the better by the subtle, atmospheric arrangement.
That’s All It Took is a track that sounds straight out of Nashville. It begins with peddle steel guitar, piano and rhythm section playing, before Gram sings about love, and falling in love. After he sings, Emmylou then sings the lead, before the pair sing together. Their voices are perfectly suited, especially for this song. Emmylou seems to bring out the best in Gram, and it’s as if he lifts his game when he sings with her. When their voices drop out, the fiddle takes the lead, then the pedal steel guitar. This is a good contrast to the vocal. Later, Gram and Emmylou rejoin as the song heads to the end. It finishes with a flourish Gram, Emmylou, guitar and drums combining.
Guitars, drum, piano and fiddle combine to produce a beautiful atmospheric and nostalgic sound at the start of The New Soft Shoe. This sound continues when Gram sings, his voice is emotive, his delivery has a heartfelt quality. Gram’s lyrics have a strong narrative, they tell a story from many years ago, one he brings to life as he sings them. As Gram sings, the band play subtly behind him, a mixture of guitar, fiddle, drums and piano. Backing vocals accompany Gram’s soft vocal throughout the song. During the song we hear a tender vocal from Gram, very different to other songs on GP. I’ve always liked this side of Gram, and the subtle arrangement highlights the tenderness of his vocal. Combined with some great lyrics, this is a really lovely, tender and nostalgic song.
When Kiss the Children begins, a fiddle plays the introduction. It’s accompanied by drums, piano and guitar, before Gram sings. As he sings, it’s immediately noticeable how much stronger his vocal is. Here, the band sing backing vocals, as they accompany him with a slice of authentic country music. Fiddles, guitars and really subtle drums provide the backdrop for Gram and his backing vocalists. This is another cover version, of a song written by Rik Grech. It’s a tale of a hard living good ole boy, who likes to drink, fight and generally be a hell-raiser. Gram and his band sing and play the song brilliantly. His vocal and the band’s performance, give it an authentic country sound.
Cry One More Time bursts into life with Gram singing and baritone saxophone playing. The use of the baritone saxophone to accompany Gram is a masterstroke, which lifts the song totally. Without them, it wouldn’t be the same song, it wouldn’t be half as good. During the track, there is some wonderful piano and guitar playing. Meanwhile, Gram produces a really strong vocal, as he sings about how everything is going wrong. His girlfriend is about to leave him, he loves her and can’t take it, so he needs another beer. On this track, the band play brilliantly, and it’s as if this spurs Gram on. He seems to lift his game to another level, to match the playing around him. Everything about the track works, Gram’s vocal, the band’s playing and the songs lyrics. This is easily, one of the best tracks on GP.
Guitar, dobro, fiddle and drums open How Much I’ve Lied, a track with a lovely country feel to it. Gram’s voice, is strong and clear as he sings about being unfaithful, and having to tell his partner about it, as he can’t continue lying to her. It’s a heartfelt, emotional song as Gram comes clean, telling his partner how he’s betrayed. Behind him the arrangement is quite subtle at times. Other times, it fills out, and become much fuller. It’s a mixture of guitars, dobro, fiddles and drums. A piano joins the arrangement, as do backing singers who accompany Gram. Here, the arrangement and Gram’s vocal do the song justice. They bring out the best in some really thoughtful, sad and emotional lyrics.
GP ends with one of the album’s best tracks Big Mouth Blues, which has one of the best arrangements on the album. The track has a really rousing, uptempo opening with guitars and drums and combining brilliantly. Then Gram sings, his voice loud at the front of the mix, keeping up with the now frantic pace. A baritone saxophone plays, punctuating the track in bursts. Some great guitar solos are played, and Gram occasionally hollers announcing their arrival. He seems to let them take centre-stage, not worrying about being upstaged. To round of this amazing arrangement, a piano plays adding the finishing touches. By the end of what’s a frantic, rousing track, you realize that you’ve heard Gram Parsons and his band at their best. Here, they sound like the best bar band you could ever dream of hearing. They’re tight, polished and professional. Big Mouth Blues is the perfect way to end what has been a tremendous album.
Gram Parson was undoubtedly a hugely talented artist. He was a vocalist, guitarist and talented songwriter. Like many other rock stars, he died far too young. He died aged twenty-six, after completing the recording for the follow up to GP, Grievous Angel. The sad thing about his music, is that it wasn’t successful during his lifetime. It was only after his death, that people recognized his talent, and started buying his albums. Critics had always recognized Gram talent, it’s just a pity the record buying public didn’t realize sooner. Now, his music is hugely popular, and GP and Grievous Angel are now afforded the status of classic albums. Whenever lists are released of the best albums Gram’s two solo albums are included. His music has been hugely influential among a new generation of alternative country artists. In some ways, Gram Parsons was the founding father of this genre, and these artists owe a debt of gratitude to him. If you’ve never heard Gram’s music, I would recommend both GP and Grievous Angel as a starting point. Both are available on one disc on Reprise Records. There are many other albums around featuring Gram’s music from the various bands he was in. One in particular is worth buying The Flying Burrito Brothers debut album The Gilded Palace of Sin. Like GP and Grievous Angel, it can be found on a disc that includes both The Gilded Palace of Sin and the follow-up Burrito Deluxe. Of the two, The Gilded Palace of Sin is a far superior album to Burrito Deluxe. Regardless of which Gram Parson album you choose, you’ll be privileged to hear some wonderful Cosmic American Music, Gram’s mixture of country music and rock ‘n’ roll. Standout Tracks: Streets of Baltimore, She, Cry One More Time and Big Mouth Blues.
GRAM PARSONS-GP.
VAN MORRISON-HARD NOSE THE HIGHWAY.
VAN MORRISON-HARD NOSE THE HIGHWAY.
Recently in an article, I wrote about some of the great concerts I’ve been lucky enough to see over the years. After I’d published the article, I realized there was one that I’d forgotten about, Van Morrison who I saw live at the esplanade to Edinburgh Castle. I don’t know how I managed to forget that night, because without doubt, it was one of the finest concerts I’ve ever witnessed. This set me thinking about Van Morrison’s music, which I’ve been a fan of, for over thirty years. He has produced so many memorable albums since his debut solo album Astral Weeks in 1968. Previously I’ve written about his 1999 album Back On Top, one of his best albums from the later period in his career. Today however, I’m going back to the early seventies, a time when Van was producing one great album after another to review Hard Nose The Highway released in August 1973.
When Van entered the Caledonia Studios in Fairfax, California between August and October 1972, to record material for his new album, he ended up with almost thirty completed songs. This lead Van to think about releasing a double album. At a meeting with executives from Warner Bros his record company, he asked about releasing a double album. They weren’t keen on the idea, and instead, suggested he release just a single album. Some of the songs that weren’t used for Hard Nose The Highway, found there way onto later albums, including Veedon Fleece.
In the end, eight songs from the recording sessions found their way onto Hard Nose The Highway which was released in August 1973. When the album was released, most critics loved the album. As always, there would be one lone critic who took a contrary view, but they were in the minority. Fans too, liked the album, with the album reaching number twenty-two in the UK album charts and number twenty-seven in the Billboard 200. People reading this article might think that this isn’t a particularly high chart placing. However, back then, you had to sell many more albums than you do now to get an album into the top thirty. There was also much more competition around, with many big artists were releasing memorable albums at this time. So although he’d have preferred a higher chart placing and greater sales, inwardly Van must have pleased, as this was the first album he’d produced himself. The question is, just how good an album is Hard Nose The Highway?
Hard Nose The Highway opens with Snow In San Anselmo a song that features the Oakland Symphony Orchestra singing backing vocals as the song opens. They provide backing vocals throughout the track, their voices beautiful, as they soar high in unison. During the track, Van sings about what it was like when it snowed for the first time in thirty years San Anselmo. A piano accompanies the choir at the start of the track, and when Van sings, guitar and drums accompany him. The arrangement is both understated and dramatic. At times, he’s only accompanied by drums, guitar and at other times, the choir accompany him, or the arrangement fills out, with the tempo quickening and a saxophone accompanying him. Mostly, the tempo is slow, the arrangement meandering along, with Van’s voice veering between soft and thoughtful, to a much stronger and forceful delivery. Towards the end, when the tempo quickens, drums, saxophone and the choir unite brilliantly, with the ethereal vocals and saxophone producing a beautiful sound. I’ve always loved this track, it has really evocative lyrics, and the addition of the choir was a masterstroke, that took the track to another level.
One track from the album that many people will know is Warm Love. It was the first single released from the album in April 1973. Since the album’s release this has been a song that track Van has sung many times in concert. An acoustic guitar accompanies Van as the track begins. His voice is much softer, and a flute, drums and guitar plays behind him. Later his voice strengthens, and his delivery becomes louder and clearer. This track has one of the best arrangements on the album. Although a number of instruments feature, none of them, dominate the sound. Instead, they drop in and out of the track, never overpowering Van’s vocal. Although Warm Love is by now, a very familiar track, it’s one that regardless of how often I hear it, I always enjoy.
The title track Hard Nose The Highway begins with a piano playing, and when Van sings, his voice sounds slightly different, maybe there’s hint of a mid-Atlantic accent present. It’s still clear and full of character. Regardless of that, a great track is unfolding. Much of this is down to Jef Labes piano playing, drums playing steadily and the horn section. Together they accompany Van brilliantly, playing slowly and with feeling. When Van sings, he sings about the hard times he’s suffered. This he does with passion, as if remembering the times he slogged around in his early days as a singer. Towards the end of the song, the band sing backing vocals for Van, and Van’s voice gets louder and stronger. To me, what makes this such a great track, are the lyrics, Van’s passionate vocal and a great performance from a really tight band.
Wild Children is another track with some really evocative and thoughtful lyrics. Here, the lyrics are about children growing up in the post war era around the world, and the way they were portrayed by almost American anti-heroes. These characters were portrayed by people like James Dean in Rebel Without A Cause, Rod Steiger and Marlon Brando in On The Waterfront, Tennessee Williams’ plays Streetcar Named Desire and Cat On A Hot Tin Roof. This track opens with a really subtle arrangement, just piano, guitar, bass and vibes accompanying Van. He reminisces about growing up after the war, things that influenced him, what he read and films he watched. As he sings softly and thoughtfully, the band play behind him. Mostly, the tempo is slow, but midway through the track, it becomes almost like a mini jazz workout, with the guitar taking the lead. However, mostly, the track just wanders beautifully along, Van singing some of the best lyrics on the album.
It’s piano, guitar and drums that opens The Great Deception, a track that where the drums are used to good effect to create a sense of drama, highlighting parts of the lyrics. The lyrics are about certain people who are involved in rock music, who say one thing and do the complete opposite. Van’s mentions plastic revolutionaries, rock ‘n’ singers “saying power to the people, dance to the music” but having three or four Cadillacs at home, yet they still want patted on the back, and told, well done. Such hypocrisy doesn’t sit well with Van, and during the track makes his feelings clear. You can almost hear the anger and frustration in his voice. Behind him, the arrangement is perfect for the song, guitars, drums and piano playing important rolls in the track. They, and Van combine perfectly, bringing some outstanding and incredibly honest lyrics to life. I wonder what one particular singer thought of the lyrics? Did he dance to this music?
Who would ever thing that Van Morrison would ever sing a song that was originally in Sesame Street, and made famous by Kermit The Frog in The Muppet Show? Well, here, he covers Bein’ Green written by Joe Rapsoso, and in doing so, gives it a jazzy, big band arrangement. A piano plays dramatically, theatrically, as the song opens. When Van sings, he has to sing the same lyrics as Kermit. However, Van sings them much better, his version swings. Here, the song is slowed way down, strings, play and horns accompany Van. Drum, guitar and piano combine during other parts of the track. During Bein’ Green gives a fantastic jazz vocal, and behind him, his band give an outstanding performance, getting into the jazzy, big band sound.
Autumn Song is an epic ten and a half minute track where Van sings some highly evocative lyrics that brilliantly describe the scenes and moods of Autumn. The song has a gentle meandering start, as if sympathetic to changes of the season. Guitars, drums and piano play as Van sings, describing perfectly the changing of the season and how best to deal it. It’s a song with a strong narrative, so strong, you can almost close your eyes and picture the scenes unfolding. Instruments drift in and out of the track, like leaves from a tree. Unlike the seasons, there is one constant, and that is Van’s voice. As always, it’s full of character and here, has a warmth present. As the track unfolds, there are some wonderful subtle guitar solos. Likewise, Jeff Labes’ piano playing is excellent. By the end of the track, you realize that not only is this a great song, but one the most poetic descriptions of autumn that you’ll ever hear.
Hard Nose The Highway closes with Purple Heather which is a traditional song Wild Mountain Thyme which was written by Francis McPeake, and is based upon Robert Tannahill’s song The Braes of Balquhidder. The track starts slowly, piano, guitar and drums playing as Van sings. Slowly, the track builds up, and as it does, Van’s voice grows, getting louder and stronger. He sings the song really well, accompanied by a really atmospheric arrangement, complete with strings. Although based upon a folk song, Van manages to make the song work, giving it a lovely contemporary feel. Much of this is down to the piano and strings in the arrangement, as well as an emotive vocal from Van. Overall, it’s a good track to close the album.
When I started thinking about writing another article on Van Morrison, I was spoiled for choice which of his albums to write about. There are so many good ones to write about. In the end, I decided this time, I’d write about one of my favorite of his albums, Hard Nose The Highway. I’m glad I did, because it’s an album with eight great songs on it, seven of which were written by Van, the exception being Bein’ Green. His lyrics on this album are some of his best. They’re highly evocative, with strong narratives. On Hard Nose The Highway, Van had assembled a really tight band, who played brilliantly throughout the album. This was a time when Van was producing a number of great albums. For me, this was the highpoint of his career, from 1968 until 1976. During this period, he recorded some wonderful music. However, many people will have other ideas, but personally, this is when he recorded some of his critically acclaimed and best selling albums. If you’ve never heard Hard Nose The Highway, it’s a great album, one that’s a good introduction to Van’s music. Astral Weeks, Moondance, and Into the Music are some of my favorite albums between 1968 and 1979. From the 1980s until 1999, Inarticulate Speech of the Heart, Avalon Sunset, Enlightenment and Back on Top are among his best albums, and some of my own personal favorites. Anyone who buys any of these albums, will hear some of Van Morrison’s best music. Standout Tracks: Snow In San Anselmo, Hard Nose The Highway, The Great Deception and Autumn Song.
VAN MORRISON-HARD NOSE THE HIGHWAY.
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O.V. WRIGHT-INTO SOMETHING (CAN’T SHAKE LOOSE).
O.V. WRIGHT-INTO SOMETHING (CAN’T SHAKE LOOSE).
Over the years, there have been some wonderful Southern soul singers, each possessing the most stunning and soulful voices. Some of these people will be familiar with, others they may not no so well. This has included familiar names like Arthur Alexander, James Carr, Percy Sledge, Sam and Dave and Wilson Picket. Today, I’m going to write about someone who isn’t as well known, O.V. Wright, who recorded for Hi Records, the same label as Al Green, Ann Peebles and Otis Clay. O.V. Wright was blessed with one of the most distinctive, soulful voices in the history of Southern soul. During his time with Hi Records, he recorded three great albums. Into Something (Can’t Shake Loose), the album this article is about, was his first release for Hi in June 1977. It was followed in July 1978 by The Bottom Line, which I’ve previously written about. The final album he recorded for Hi was We’re Still Together released in May 1979. Tragically, that would be the last studio album O.V. recorded before his death in November 1980, of a drug overdose, aged just forty-one. His time at Hi Records, saw him work with legendary producer Willie Mitchell who produced his three albums. Mitchell brought in The Memphis Horns and The Memphis Strings to augment Wright’s sound, as well as Rhodes, Chalmers and Rhodes, Hi’s famous backing singers. Recorded at the Royal Recording Studios and Allied Recording Studios, these additions, and Mitchell’s production skills, brought out the best in O.V. Wright. Over a period of three years, he released three great albums, albums which are among the best Southern soul albums of the 1970s’. Now I’ll tell you just what made Into Something (Can’t Shake Loose) such a great album.
Into Something (Can’t Shake Loose) opens with the title track Into Something (Can’t Shake Loose). A piano plays dramatically before O.V. sings. His voice us hugely powerful and deeply passionate. He’s almost roaring before a great arrangement unfolds. When the arrangement unfolds, it swings beautifully along, strings, The Memphis Horns drums and guitars all accompanying O.V. At the top of the arrangement, The Memphis Horns play, with The Memphis Strings adding to what is a busy arrangement. Teenie Hodges guitar playing is excellent, he occasionally adds some crystalline solos to the arrangement, but never overdoes it. By now, O.V. really has hit his stride, and is giving a brilliant performance. That distinctive voice, one part power, to one part passion as he delivers the song brilliantly. Willie Mitchell’s arrangement is stunning, and his addition of strings and horns is a masterstroke. Overall, O.V.’s brilliant delivery, and Willie Mitchell’s production combine to make this one of the best tracks O.V. would record for Hi.
After such a passionate and powerful track, with an almost furious tempo, I Feel Love Growin’ sees the tempo drop. This allows the listener to get their breath back. Guitar and drums, open the track with the brass section announcing O.V.’s arrival. When he sings this love song, his voice is much slower, but still, that power is still present. Rhodes, Chalmers and Rhodes accompany O.V. here. Their voices a pleasant contrast to O.V.’s voice. Like the previous track, horns and strings are present, with the horns adding a dramatic twist, highlighting parts of the track. Between the horns and the backing singers, O.V. has the perfect accompaniment, bringing out the best in Willie Mitchell and Earl Randle’s song. During the track, guitar and drums play an important part in the track. The drums provide the track’s heartbeat, with the guitars playing subtly in the background. Although horns, strings, backing singers and band all play a huge part in the success of this track, it’s O.V.’s strong, impassioned and rasping vocal that’s the star of the track. Here, his vocal is laden with emotion, an intensity present as he sings the lyrics like he means them.
One of O.V.’s most best known songs is Precious, Precious, one of my all time favourite O.V. Wright songs, and one of the best songs released on Hi Records. From the opening bars, you’re instantly aware that something special is about to happen. For three and half minutes, O.V. gives one of the most passionate deliveries you’ll ever hear. The track opens with drums, organs and brass section, strings then joining. All this happens before O.V. sings. When he does his powerful, rasping voice delivers the song with passion and feeling, as he sings about a cheating woman who after all she’s done, is still the most important thing in his life. Behind him, the Hi team deliver the best arrangement on the album. Strings sweep in, the brass section interject, the rhythm section combine perfectly and some great guitar playing can be heard. As if that isn’t enough, Rhodes, Chalmers and Rhodes add backing vocals, which is the finishing touch. Willie Mitchell’s arrangement is perfect, he sprinkled his magic dust onto the track, and this resulted in a Southern soul classic. It’s melodic, full of hooks and absolutely brilliant. The best track on the album.
The Time We Have sees O.V. drop the tempo way down low, quite a change from the previous track. Here, it’s drums, guitar and strings that open the track. It’s a very different O.V. that sings, here he’s singing softly, accompanied by the lush sound of Rhodes, Chalmers and Rhodes, who are a perfect foil for O.V. Later, the brass section and Hammond organ play, setting a perfect atmosphere for what’s a beautiful tender love song. This results in another stunning arrangement, and yet another brilliant performance from O.V. Wright. My only quibble with this track is I wish it lasted longer, as it finishes rather suddenly at the end. Apart from that, it’s a heart breaking slice of Southern soul.
When You Gotta Have Love bursts brightly into life, it’s apparent it’s a very different track from the previous one. Out goes the sadness present in The Time We Have, in comes the much more joyous sound of You Gotta Have Love. Guitars, drum and brass section open the track, with Rhodes, Chalmers and Rhodes singing sweet backing vocals, keyboards play then O.V. sings. Here, his vocal is strong clear and thoughtful as he sings. A piano, strings and brass section join him, as the arrangement takes both a dramatic and joyous turn. This is down to O.V., The Memphis Horns and those brilliant backing singers. Together, they and the rest of the band produce another great track, which demonstrates just how talented O.V. and everyone connected with Hi Records were. Each and every one of them, contributed towards making this a great track.
Another of O.V.‘s songs many people will have heard is Trying To Live My Life Without You. Like Precious, Precious, it’s a song many people will be familiar with, but won’t be familiar with any of O.V.s other songs. It begins with the brass and rhythm sections combining, a guitar playing deep in the mix. When O.V. enters, he sings about a troubled relationship, how tried to live his life without his girlfriend, and how hard it was for him. During the track his voice is strong, soaring powerfully, as he passionately sings the lyrics with feeling. Behind him strings sweep, the brass section play, interjecting brilliantly just at the right time and the Hi house band demonstrate why they were one of the best bands in soul music. As usual, the backing singers accompany O.V., the lush and sweet sound they produce, a perfect contrast to the intensity of his rasping voice. For me, Precious, Precious was one of the best songs O.V. ever recorded during the short time he spent at Hi.
Into Something (Can’t Shake Loose) ends with a medley of three songs God Blessed Our Love, When A Man Loves A Woman and That’s How Strong My Love Is. It’s a dramatic introduction to God Blessed Our Love that greets the listener, a guitar chiming, drums playing really slowly and an organ playing. O.V. gives thanks to God for his love during the track, and behind him a piano plays with the drums slowly keeping the beat. Backing singers occasionally subtly accompany him, their voices much quieter than previously. Strings sometimes play, but mostly, the arrangement has a lovely understated quality. The best think about the track is O.V.’s vocal is passionate and spiritual, and he sings the lyrics as if they really mean something to him.
When A Man Loves A Woman is a song that’s perfect for O.V. It allows him to unleash that hugely powerful voice. Here, the arrangement has a similar understated quality, just drums, guitar, and occasionally, strings and backing vocals. An organ joins the track, and by now, the arrangement is growing and a fantastic Southern soul track is unfolding. Much of that is down to O.V.’s delivery which brings the song to life, and is laden with passion and emotion.
That’s How Strong My Love Is completes the medley, and like the other two songs, sees O.V. sing slowly and dramatically. Again, the arrangement sees drums provide the track’s heartbeat, with strings, organ guitar and backing vocals completing the line-up. Charles Hodges’ organ playing on the track adds to the emotion and drama. The interplay between O.V. and the backing vocalists is fantastic. They enter just at the right time, and their voices are perfectly suited to accompany O.V. and the song. A really slow tempo brings out the best in the song, and O.V.’s delivery is masterful. You get the feeling he’s giving his all here, a combination of power and emotion. Like the two previous tracks in the medley, this is another fantastic track, sung beautifully and passionately by one Southern soul’s greatest voices O.V. Wright.
O.V. Wright was one of the most talented Southern soul singers, and during his spell with Hi Records, he recorded three brilliant albums. That his music isn’t better known always puzzles me. He was blessed with a brilliant voice, worked with some wonderful musicians at Hi Records and had one of soul music’s legendary producers producing the three albums he recorded for Hi. Those three albums contain some great music, especially his first album for Hi Into Something (Can’t Shake Loose). Although there are only seven songs on the album, they include some brilliant tracks, including two of his best known track Precious, Precious and Trying To Live My Life Without You. Each of the tracks on the album is of the highest quality, unlike many albums, there’s no filler here. The Medley which ends the album includes one of the most passionate and emotional versions of When A Man Loves A Woman you’ll ever hear. After Into Something (Can’t Shake Loose) O.V. Wright released two further albums. The Bottom Line and We’re Still Together, both of which are also outstanding albums. During my research for this article. I discovered that the three albums O.V. recorded for Hi are available as part of a two-disc set entitled The Complete O.V. Wright On Hi Records Volume 1: In The Studio. This is a great way to hear some of the best Southern Soul music you’ll ever here. It’s well worth adding to your record collection, and I’m sure that quickly, it’ll become one of your favorite albums. Standout Tracks: Into Something (Can’t Shake Loose), Precious, Precious, The Time We Have and Trying To Live My Life Without You.
O.V. WRIGHT-INTO SOMETHING (CAN’T SHAKE LOOSE).
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