FRAGILE STATE-VOICES FROM THE DUSTBOWL.
FRAGILE STATE-VOICES FROM THE DUSTBOWL.
Live everything else, music is dictated by fashion and trends. What’s fashionable or “trendy” today, could be out of fashion next week or next month. Sometimes, genres of music stay in fashion for a while, others disappear quickly. A few years ago, one of the most fashionable and popular genres of music was chill-out or downtempo music. I remember buying the very first albums that appeared on record shop shelves, and watched in amazement as this became one of the most popular recent musical genres. In the beginning, small record labels and artists led the way, and some brilliant compilations and artist albums were released. Quickly, it became fashionable for record companies to release chill-out albums, so labels big and small jumped on the bandwagon. Back-catalogues were raided and a whole manner of compilations found their way into record shops. This caused a problem. Quality began to suffer, and eventually, a saturation point was reached. People became fed up with increasingly poor compilations. Even labels and compilations which previously, had led the way, started to exploit this trend, and quality nosedived. Soon, the trend for chill-out music was over. By now, the trendsetters in the music industry were looking for the trend or next big thing, most probably retro in nature. However, once the dust had settled, and people looked at the best of the releases, it became apparent that many good chill-out albums had been released. This included compilations and artist albums. One of the best artist albums was Fragile State’s Voices From The Dustbowl. In this article, I’ll tell you about that album, and what makes it such a good album.
This isn’t the first time I’ve written about Fragile State. Previously, I’ve wrote about their debut album The Facts and the Dreams, which was a beautiful album. Voices From The Dustbowl is the follow-up to The Facts and the Dreams, released by Fragile State in March 2004. Fragile State is the moniker for Ben Mynott and Neil Cowley, who wrote, arranged mixed and produced every track on the album. Unlike other similar albums, Voices From The Dustbowl features real instruments, played beautifully by a small group of musicians. That to me, is one of the things that makes this such a good album, that and some great arrangements and production. Now I’ll tell you about Voices From The Dustbowl, and why anyone who loves chill-out or downtempo music should add it to their collection.
Voices From The Dustbowl opens with Four-Four-Four, a track that has been influenced by Afro-beat. It’s a combination of Rhodes keyboard and subtle bass, with vocals influenced by Afro-beat that opens the track. It’s a a track that flows along, sound effects and spoken word vocals entering the track. Atop the track sits the vocals, whilst behind it, a fuller arrangement has emerged. A lot is going on in the arrangement, and maybe it’s not a typical downtempo track. The tempo seems quicker than it really is, but the mixture of traditional instruments, vocals and sound effects produce an intriguing, melodic track full of subtleties and nuances.
After Four-Four-Four a slower track, King For A Day sees the tempo increase slightly and a much rockier sounding track emerge. Keyboards meander, accompanied by a bass, giving no indication that things are about to change. Then, quickly, the arrangement starts to grow, becoming quite dramatic. Drums play, a guitar solos. Meanwhile, the arrangement sweeps along behind it. Like the previous track, it has a fuller arrangement. Here, it’s a combination of strings and occasionally, slow melodic keyboards. Later a lovely acoustic guitar plays, only to be replaced by space age sounding keyboards and electric guitars, as the track takes another dramatic turn. Thereafter, it flows towards the end, sweeping grandly, with guitars and drums sometimes making their presence felt. By the end of the track, you can’t fail but be impressed by this dramatic, sweeping, soundscape, where downtempo meets rock.
When New Bassa begins, it certainly grabs your attention. It’s a slightly discordant sound that opens the track. That’s the only discordant thing you’ll hear for the rest of the track. What follows is a beautiful lush track, keyboards and strings combining perfectly. A keyboard plays, at the start, it’s joined by strings which sweep in. They immediately create a lovely lush sound, that washes beautifully over you. Then, like the previous track, it takes a dramatic turn. The sound grows, more keyboards play, drums are pounded slowly, a contrast to the beauty surrounding it. Synths produce otherworldly sounds, Meanwhile the strings continue to play beautifully. Later rhythms emerge courtesy of keyboards, vocals make an appearance, drums reappear and sounds made by synths defy description. As the track ends, I’ve come to the realization that New Bassa is great track. However, there so much is going on, it becomes hard to take it all in. In the end, you end up sitting back, letting what is a beautiful lush track wash over you.
Cleo is one of the slowest tracks on the album, only seventy beats per minute. This makes it perfect for chilling out to. At the start you think it’s going to be a slow, spacious track because of the meandering start. However, when guitars, acoustic and electric bass and keyboards combine, space is it a premium. Instead a fuller sounding track, takes its place. Straight away, it’s melodic, hooks aplenty. A female vocalist sings, her voice is strong, sitting at the front of the mix. Percussion, bass drums and keyboards combine for much of the track. Guitars too, played brilliantly by Matt Coldrick. An eastern influence is present here. This is because of vocals and instruments that make a fleeting appearance. That isn’t the only influence present. Jazz, funk and downtempo all play their part here. Later in the track, the arrangement becomes much more subtle, and the arrangement is glorious. It has an understated beauty, made all the better by a much more stripped back sound. However, this doesn’t last, and the track returns to a much fuller sound. By the end of the track, I’ve become smitten by Cleo, it’s has a fantastic arrangement, features some talented musicians and sounds brilliant.
As 600 Bliss opens, straight away, it sweeps beautifully over you. Immediately you’re hooked, caught up in its lush, beautiful introduction. The tempo is slow as strings enter, sweeping lushly. Drums and keyboards combine, the keyboard playing a lovely melody. Although the drums are quite loud, and far forward in the mix, they’re slow and spacious. By now, it’s apparent this is the best track so far. What I like about it is the tempo, and combination of slow sweeping strings and melodic keyboard, against loud spacious drums. Fragile State seem to really have produced a masterpiece here, very different from the preceding tracks. This is because there isn’t so much going on during the track. Here it’s a case of less is more. Brilliant, downtempo music like it should be, slow, spacious and really chilled.
When Stolen Generation begins, it has a broody, moody sound. It makes you wonder what’s coming next. What comes next is a lovely short track. Two and a half minutes of a backdrop of lush strings with a meandering, almost melancholy keyboard accompanying it. You know the track is nearly over when there’s a reprisal of the broody, moody sound that opened the track. Although just a short track, it’s a lovely one, with a pensiveness throughout. It’s just a pity that it wasn’t a longer track.
It’s a familiar sound that opens At Last, but a sound you’ll never tire of hearing, strings and keyboards. The string sweep in like a gentle tide, while the keyboards play slowly. At Last meanders beautifully along, just now, its sound much subtle than other tracks. Sound effects can be heard, handclaps and bells ring, as the track takes an eastern twist. Dramatic, sometimes moody, it’s a powerful combination. Later, drums pound, they almost overpower the rest of the arrangement. Thankfully, they quickly disappear. When they reappear, their power suits the rest of the arrangement, but still, seem way too loud. Their presence takes the edge of an otherwise good track. If they’d either been played more subtly, or moved further back in the mix, it would’ve been much better. They seem out of character with the eastern them that is developing throughout the track. Apart from the drums, it’s a good track.
Paper Tiger starts with space age sounds emerging from your speakers. This gives the track a mysterious feel and sound, like a soundtrack for a sci-fi movie. After that, the mysterious, slightly moody sound continues with strings slowly played. A violin gives the track a classical sound. All the while, a multitude of unearthly sounds accompany the string. Even when the keyboards play, they add to the air of mystery. Although mysterious and moody sounding, the track has a captivating quality, you’re enthralled by, unable to work out what will happen next. It’s like the plot in a good book, twists and turns aplenty. You end up inventing scenarios to fit the music, always coming back to something space related. Sweeping, dramatic, intriguing are some of the words I’d use to describe this brilliant track that’s easily, one of the album’s highlights.
Drum and bass. That’s what I thought when I heard the introduction to the Overcurrent. The tempo is quick, the drums fast, accompanied by synths and cymbals. Otherworldly noise join and sweep in. Then a melody plays behind it on a keyboard, and a lovely vocal joins. It appears, disappears and reappears constantly, echoing high above the arrangement. Meanwhile, the pace of the drums is nearly frantic, and synths sweep all around, swirling in the arrangement. Behind them, the keyboards plays the same melody, the vocal reappears. Later a keyboard joins, playing the lead. It and the drums vie for your attention. Sometimes, the swooshing synths play a bigger part, and in doing so, create an eery atmosphere. As the track ends the synth sounds like a spaceship taking off, the vocal reverberates and what sounds like rain can be heard. Like the previous track, I found Overcurrent intriguing and dramatic. The addition of the synths, combined with drum and bass style beat and ethereal vocal was a masterstroke. Together they produced am excellent track, one very track from others, where drumbeats dominated the sound, and everything else vied for your attention.
A crystalline sound opens Train Time. It sounds like a choir of angels, which sweeps into being, before a female vocalist sings. Behind her, the sound starts of slowly and subtly, gradually meandering melodically along. Whistles interrupt the vocal, drums play and keyboards join the mix. By now, it’s a much busier arrangement. Much is going on as the arrangement builds. Keyboards, drums, synths producing surreal space age sounds. They’re followed by the choir, as the arrangement becomes much more understated. When the vocal reappears, she continues to sing in her own made-up language, which is a form of scatting. Towards the end, the arrangement builds back up. Keyboards, drums and strings producing a powerful sound, before the reappearance of the choir as the song ends. Like other tracks on this album, Fragile State don’t do things by half. Their arrangements are big, with a much fuller sound than similar artists. So much goes on during this majestic track. There are peaks and troughs in the arrangement, it’s dramatic yet sweeping, but sometimes has a beautiful ethereal and crystalline sound.
Voices From The Dustbowl closes with Paper Tiger which begins with beeps and sweeping synths, strings and keyboards plays as floaty space age track gradually emerges. Again, the sound is dramatic, light and shade combining masterfully. The arrangement wanders slowly along, sounds emerging gradually. They’re a mixture gentle tinkling sounds and grander bolder ones. Later, louder much bolder drums burst into life, announcing their arrival, the equivalent of musical punctuation. Mainly, there’s an understated quality to the track. That is until guitars soars, a solo suddenly emerging combining with the earlier, loud drums. Anyone who loves a powerful guitar solo will be in their element, as the guitar solo drives the track along, everything else playing second best. As the track draws to a close, the much more understated arrangement returns, and the track meanders to a close, complete with squelching and sweeping synths. Paper Tiger is a great track, one that’s almost a track of two parts. The first part is a lovely meandering, understated track, the second a powerful guitar led part, which is totally at odds with what came before. Together, they combine to produce a stunning track, to end the album.
Having spent some time listening to Voices From The Dustbowl, I’ve come to the conclusion that the best way to listen to it, is as one piece of music. It’s an album of peaks and troughs, where the tempo rises and falls. Each track has something different to offer, but certain things remain a constant. Throughout the album, lush strings, keyboards and dramatic, sweeping arrangements are present on each album. Sometimes, guitars and vocals are used to augment the sound, and occasionally, synths produce a multitude of otherworldly and atmospheric sounds and effects. As a downtempo album, it’s quite different from other albums. For example, it hasn’t much in common with Nightmares On Wax, Telefuzz, Fug or Nitin Sawhey, all of whom I’ve previously written about. Here, the arrangements are much fuller than on these albums. Also, here isn’t the spacey sound on this album that are present on albums like Smoker’s Delight and Car Boot Soul by Nightmares On Wax, or Sleep by Telefuzz. Having said all that, Voices From The Dustbowl is a really good album, one that regardless of how many times you listen to it, you’ll hear something new each time you hear it. It’s melodic, lush and dramatic, and during eleven songs, Fragile State will prove the perfect soundtrack for you to relax and unwind. Standout Tracks: King For A Day, 600 Bliss, Stolen Generation and Paper Tiger.
FRAGILE STATE-VOICES FROM THE DUSTBOWL.
TALK TALK-SPIRIT OF EDEN.
TALK TALK-SPIRIT OF EDEN.
Sometimes, an artist or group’s music changes and matures over the course of their career. This is certainly the case for the band this article is about. In their early years, their music was similar to many of the New Romantic groups popular back then. Their first two albums were very different to what would follow. After 1982’s The Party’s Over and 1984’s It’s My Life, Talk Talk released three very different albums, where their sound totally changed. It would probably be fair to say by their third album The Colour of Spring in 1986 an album I’ve previously written about, their music had matured. The follow up to that album Spirit of Eden in 1988, was a totally different album. It was recorded over a period of two years, during which time their management and record company executives weren’t allowed to hear what the music was like. When the band sent a copy of the album to EMI, their record company, they quickly came to the opinion that the album wouldn’t be a commercial success. Spirit of Eden can best be described as six beautiful, serene musical soundscapes. It’s perfect for chilling out to, and letting the multiple layers of music wash over you. On its release, critics weren’t impressed, their reviews were mainly negative. Since then, as often happens with music critics, they’ve belatedly changed their mind. Now, Spirit of Eden has been critically acclaimed, reaching minor classic status. However, the question must be asked, why didn’t they realize that in 1988? Released in September 1988, the album failed to match the success of The Colour of Spring, reaching only number nineteen in the UK album charts. That however, wouldn’t be the only problem Talk Talk had back then.
When Talk Talk entered the studio in 1987, to begin recording Spirit of Eden, they did so with a cast of sixteen musicians, a choir and a multitude of instruments. It was to be a protracted process, taking until the following year to complete. Mark Hollis and Tim Friese-Greene had written the six songs on the album, but recording them wouldn’t be easy. During the recording sessions, many hours of improvised music was recorded. Remarkably, some of these sessions were recorded in darkness. They’d then be edited by Hollis and Friese-Greene using the studio’s digital equipment. This was a laborious process, and much of the material had to be heavily edited. After the editing process was finished, it was a masterful combination of ambient music, jazz and rock. A better description would be post-rock, and groups like Sigur Ros, Mogwai and Radiohead with their later music, would be influenced by Spirit of Eden, and the post-rock genre. However, when Talk Talk sent a cassette of the album to their record company a problem arose.
When the cassette of Spirit of Eden arrived at EMI, executives listened to the album, and quickly came to the conclusion that the album wouldn’t be a commercial success. EMI asked Mark Hollis to rerecord a track, or replace parts of the album. He quite rightly, refused to do so, unwilling to let executives dictate the album’s musical direction. Later that month, the master tapes were sent to EMI, and by then, they’d changed their mind. They decided that Talk Talk had fulfilled their contractual obligations by successfully completing the album. It was then that EMI dropped a bombshell, they decided to take up an option to extend Talk Talk’s recording contract.
Both Talk Talk and their manager Keith Aspden believed that EMI was the wrong label for the band. The dispute then centered around a letter EMI should send the band if they wished to extend the contract. It should’ve been sent to the band three months after Spirit of Eden had been completed. Talk Talk argued that the letter had been sent too late, that it should’ve been sent within three months of the album’s completion. EMI argued that the period was actually within a three month period that began once they were satisfied with the album. In court, the judgment went in favor of EMI, and the contract was extended. However, the band appealed the judgment, and in the Court of Appeal, the judgment was overturned and Talk Talk were released from their contract with EMI. They then signed to Polydor, releasing their final album Laughing Stock through their jazz imprint Verve.
Promoting Spirit of Eden wasn’t like promoting any other album. The band didn’t want to release a single from the album, but eventually, in September 1988, I Believe In You was released as a single. Another problem was the band didn’t want to tour the album, as it would’ve been impossible to recreate the music on the album live. Mark Hollis said that it wouldn’t be able to recreate the spontaneousness of the music. In retrospect, their decision not to tour was a good choice, it would’ve been impossible to recreate such a complex piece of music live, and wouldn’t have done the music credit. However, by only releasing one single, and not touring, this didn’t help the promotion of the album. As a result, it stalled at number nineteen in the UK album charts, failing to match the success of its predecessor The Colour of Spring. Another thing that didn’t help sales were critics.
Mostly, reviews of Spirit of Eden were negative. Critics didn’t seem to “get” the album, and the reviews weren’t good. However, as often happens, critics have a tendency to rewrite history. Years later, critics reevaluated Spirit of Eden. The same critics that panned the album, very belatedly scratched their heads, and realized “oh maybe we missed something.” They then decided that the album was misunderstood, and was really a minor classic. Now, Spirit of Eden is quite rightly, albeit belatedly, recognized as the fabulous album it has always been. Now I’ll tell you just what makes Spirit of Eden such a great album.
Spirit of Eden opens with The Rainbow, which has a slow, atmospheric start, a mixture of light and shade. Sounds emerge from the mix, some you recognize straight away, others you can’t quite place. One minute, the track has an ethereal, crystalline sound, the next it’s dark and broody. The track is intriguing, meandering along at a pedestrian pace. An oboe can be heard, a bassoon too. Strings are present, sound effects too. Water running, a steam train as well. Sometimes the track nearly grinds to halt, the silence is powerful. You find yourself asking, what’ll happen now? Then a guitar plays, its solo spacious, reverberating, joined by a harmonica. Suddenly, the arrangement takes a more traditional form. Mark Hollis sings, his voice fragile, accompanied by piano, guitar, harmonica and organ. His lyrics are thoughtful, complete with a tinge of cynicism. By now the arrangement has transformed into a beautiful, subtle piece of thoughtful music. Towards the end, it’s just drums, a soaring harmonica and guitar that accompany Mark. At the end of the track, The Rainbow has proved to be an intriguing, complex piece of music, influenced by jazz, rock and ambient music. However, it has an ethereal quality, with a subtle beauty, and is full of subtleties and nuances waiting to reveal themselves.
Eden sweeps majestically into being, sound slowly emerge, revealing themselves. Although their sounds are diverse, a mixture of woodwind, piano, electric bass and some that defy description, they combine perfectly, producing a moody soundscape that slowly unveils itself. The drama builds, guitar, piano and drums combining to produce a dramatic, melodic, yet sometimes discordant, near frantic soundscape. Once its reached a dramatic crescendo, Mark sings. Here the lyrics are highly literate, with a classical and spiritual feel. They’re contemplative, yet a sense of anger and frustration is present. As he sings, the arrangement becomes much more understated, with drums played slowly, plenty space between each beat, a piano playing in the background. Quickly, this changes, and the arrangement grows much fuller, almost like a mini wall of sound. This doesn’t last long, and thereafter, drums and guitar are joined by double bass. Again, the sound quickly builds up, and the song becomes like musical peaks and troughs. By now, a multitude of instruments, are contributing towards what is become a sometimes dramatic and spectacular track. Talk Talk’s decision to use sixteen musicians is paying off, and layer upon layer of sounds emerge. Some are easy to identify, some not so. Regardless of this, it’a a complex multi-textured piece of music that enthralls you. It becomes hard to drag yourself away from the music. In some ways, it’s like a book, you want to see where the plot takes you. Here, for seven and half minutes, Talk Talk take you on a startling and stunning musical journey, visiting various moods and influences. Like a child, one minute it’s happy and joyous, the next mercurial and moody.
It’s a mixture of sounds and influences that greet you when Desire begins. There are classical and spiritual influences present, the latter because of the organ playing. The tempo is slow, as the track takes an ambient turn, subtle sounds emerging beautifully. A piano and guitar play, woodwind and bass join the arrangement. Then Mark Hollis sings, his lyrics trying to explain not excuse, his behavior. He doesn’t seem at peace with himself, trying hard to fight whatever is tormenting him, obvious by the almost bleak lyrics. Like the previous track, when he sings, the arrangement starts much more subtle, then quickly, bursts into life. When it does, it’s quite a contrast and shock to the system. One minute the arrangement was a lovely tranquil, meandering one, the next guitars sole soaring and screeching, drums pounded and percussion getting in on the act. It becomes like a different track. Atop the arrangement is Mark’s vocal, passionate and powerful, in keeping with the arrangement. Desire is a dichotomy of a track. Sometimes it’s a reflective laid back soundscape, then it’s transformed into a near frenzied rock workout. As contrasts go, this is quite extreme, but the music is masterful. A thoughtful, intricate combination of jazz, rock and ambient music, which throughout its duration reveals a multitude of musical secrets and subtleties.
A cymbal softly played opens Inheritance, accompanied by a piano, slowly played. They’re joined by bass and double bass before Mark sings. When he does, his voice has a softness and fragility. Here, the lyrics read like a pean to nature and life itself, albeit one looking at its fragility, whilst we carry on as life gradually passes, ignoring what’s going on around us, sometimes proving foolhardy and regrettable. Gradually, the arrangement slowly moves along, beautiful subtle sounds escaping from the mix. Mostly, subtly is the best way to describe the track. A double bass quietly is plucked, guitars join in, drums, cymbals and percussion play, woodwind appear, and disappear. Mark’s voice becomes like an instrument, as his voice takes soars and falls, drenched in sadness and pathos. Inheritance is quite simply a beautiful track, one that tugs at your heartstrings and sets you thinking about the fleeting, temporary nature of nature, and life itself.
The most recognizable song on the album is I Believe In You, which was released as a single from Spirit of Eden. Drums and percussion open the track, chiming guitars, and a slow piano can be heard. Again, it’s an understated sound, and when Mark sings, the fragility is still present. He leaves space within his vocal, occasionally his voice soars, an ethereal quality present. Around him, the arrangement unfolds, instruments joining, then leaving the track, only to reappear later. An organ plays, adding an atmospheric sound, strings sweep in. Suddenly a lush sound has developed. The sound becomes really pleasing due to a choir singing. It then head into a discordant territory, when the choir disappear They’re replaced by a mixture of instruments. Quickly, the track gets back on track, the organ and drums joined by a lovely sweeping sound that sees the reappearance of the choir. Their addition brings new life to the track. Sometimes Mark accompanies them, mostly they’re allowed to take centre stage. By the end, a beautiful track has emerged, made all the better by the addition of the choir. They bring a beautiful crystalline and spiritual sound to the track, and are the perfect addition to complete what was already a great track.
Spirit of Eden closes with Wealth, one of the album’s highlights. It’s both a beautiful sounding track and one with great lyrics. They’re thoughtful and intelligent and an interesting take on the subject of wealth, pointing how things like freedom, love and sanity are a form of wealth. From the start, it’s apparent something special will unfold. Mark Hollis sings accompanied by piano and organ, both played slowly and thoughtfully. The tempo is kept really slow, bringing out the beauty and subtly in the song. During the track, you’re captivated by this enchanting, melancholy piece of music. A double bass and guitar play, doing so quietly, with care. Nothing is allowed to overpower Mark’s vocal which is laden with passion and feeling. Meanwhile organ and harmonium combine, guitars playing in the background briefly. By now, I’ve realised that Talk Talk have kept the best track until last. It’s a stunning track, understated, thoughtful and beautiful, and a perfect way to end the album.
Since Spirit of Eden was released in 1988, I’ve been captivated by the album. I couldn’t quite understand how so many people failed to “get” the album like I did. It seemed people didn’t understand what was an innovative album, and because of that, either wrote bad reviews or didn’t buy it. Thankfully, and eventually, people changed their minds about Spirit of Eden and it has since become a minor classic. People changed their minds about the album, and now, it’s referred to as one of the best albums of the 1980s’. I suppose it’s better late than never. Spirit of Eden is a mixture of musical styles. Rock, jazz and ambient music are the influences on the album. The jazz influence is especially important, as much of the music was improvised, then edited. It took sixteen musicians, a multitude of instruments and a choir nearly two years to complete this album. Their efforts were well worthwhile, because Spirit of Eden is a brilliant album, that has a timeless quality. Every time I listen to it, you hear something new, subtleties and nuances reveal themselves changing my perception of the album. To me, it’s an album that deserves to be in every true music lover’s collection. It’s a powerful yet tranquil piece of music, music that you can truly relax to, layer upon layer of music gently washing over you. Standout Tracks: The Rainbow, Desire, Inheritance and Wealth.
TALK TALK-SPIRIT OF EDEN.
BOB DYLAN-STREET LEGAL.
BOB DYLAN-STREET LEGAL.
A couple of days ago, I was thinking back to some of the great concerts I’ve seen over the past thirty years. When I set my mind to it, I was able to remember some really memorable concerts. The Blue Nile, Van Morrison, Neil Young, Terry Callier, Dr John and the artist this article is about, Bob Dylan. Although I’d long been a fan of Bob Dylan’s music it was the first time I’d ever seen him live. So to Glasgow I headed with a friend of mine. That night Bob put on a stunning show. He played many of his best known songs, and few lesser known ones too. By the end, everyone was happy, having witnessed a fantastic performance by one of the legends of music. However, that wasn’t the end of the night for me. On leaving the venue, my friend thought he knew the way home. I wasn’t quite so sure. Straight away, I knew he’d taken a wrong turning. Not him, he was sure he was on the right road. Wrong, after forty minutes, he realised he was lost. That night, I saw bits of Glasgow I didn’t know existed. It was more by luck than good judgement, that we found ourselves on the right road, eventually, getting home four hours later. It was thinking about that concert, that made me decide to write an article on Bob Dylan and his album Street Legal.
Street Legal was a Bob Dylan’s eighteenth studio album and was released in June 1978. It was a very different sounding album to anything he’d previously released. So much so, that it would divide the opinions of critics and fans greatly. Unlike previous albums, he decided to record the album with a huge pop and rock band backing him. Supplementing the sound, would be female backing vocalists.
Before he could record the album rehearsals would take place for a tour of Japan and Australia. So he set about putting together a band. Joining his band were Steven Soles, David Mansfield, Rob Stoner and Howie Wyeth, all former members of the Rolling Thunder Revue. Pianist Walter Davis Jr and percussionist Otis Smith completed the line-up. However, suddenly one member decided to leave the band. Drummer Howie Wyeth decided to leave, he’d been struggling with heroin addiction and decided not to go on tour. Auditions were held for a new drummer. Many tried out, but it was Denny Seiwell, who played with Wings briefly, who got the job. Now the band was complete, they’d head to rehearsals.
However, when the rehearsals began on December 30th 1977, guitarist Jessie Ed Davis was now part of the band. The backing vocalists were Katey Sagal, Franny Eisenberg and Debbie Dye Gibson. However, the line up would continue to change. In mid-January 1978, Sagal and Eisenberg were replaced by Jo Ann Harris, a professional singer and Helena Springs who was an unknown novice singer. That wasn’t the end of the changes though. Drummer Denny Seiwell and the rest of Wings were caught in possession of drugs in Sweden. When he applied for a visa for the forthcoming concerts Japan, he was denied a visa. This meant Seiwell was out, and a new drummer required. After further auditions, Ian Wallace, former King Crimson drummer got the job. By now the line up that would tour and record Street Legal was almost complete. Guitarist Billy Cross joined the line-up, as did percussionist Bobbye Hall, saxophonist Steve Douglas and keyboard player Alan Pasqua. This would be the line up that headed to Japan on tour.
When the band played in both Japan and Australia, critics and fans loved the new arrangements of Dylan’s old material. Later, a recording entitled Bob Dylan Live At Budokan would be released of the concert. During the tour, some of the band weren’t happy with the sound. This included Rob Stoner, who at the end of the tour in Australia, quit the band. This meant a new bass player was needed to record the album. Jerry Scheff replaced Stoner, and now Dylan and the band would start to record Street Legal.
Street Legal was recorded in Santa Monica, California at a recording studio and rehearsal space he called Rundown. Dylan had hired a mobile recording studio to record the sessions. It only took four days to record the nine songs on Street Legal. Because of the short time scale, everything was rushed. Getting equipment into place was done quickly, and there very few takes of each song recorded. Don DeVito the producer knew that Dylan had a tight schedule, and just had to make the best of what he had.
When Street Legal was released, to say that critics in America disliked the album, is an understatement. However, in the UK, critics took a different view. They really liked the album and gave it positive reviews. Commercially, it reached only number eleven in the US, but reached number two in the UK album charts. In the UK, it became his biggest selling studio album. Having told you about the background to Street Legal, I’ll tell you what kind of album it is, and who were right, the American or UK music critics.
Street Legal opens with Changing of the Guards. When the track begins the new sound is quite apparent. It’s quite a full sound with drums, guitar and keyboards accompanying Bob. As he sings the deeply literate lyrics which have religious themes, it’s like call and response between him and the backing vocalists. Their joyous voices are the perfect accompaniment for his voice. Quickly, the arrangement grows. His band play brilliantly their sound big, bold and really tight. This sound includes guitars, rhythm section, keyboards and is augmented by a saxophone, which drenches the arrangement. One member of the band who deserves credit is drummer Ian Wallace. Throughout the track his playing is perfect. To quote Rob Stoner he has “a beat like a cop.” What makes the track is the arrangement. It features Bob and a really tight band and the additional of the backing vocalists was a masterstroke. Without them, this wouldn’t be as good a track. A great way to start the album.
It’s a combination of electric guitar and drums played really slowly the opens New Pony. The atmosphere is moody, even before Bob sings. When he does, his voice is loud and slow. Again, he’s accompanied by backing singers. Slowly, the arrangement builds, but mostly, it’s just really slow, soaring guitars and plodding drums. It’s a powerful sound, and here, Bob sometimes is almost snarling the lyrics. Here the lyrics reference religion, with references to Lucifer, praying, ghosts and voodoo. Religion is a theme that’s a constant throughout the album, as are apocalyptic themes. Later in the track, saxophones blow, further increasing an impressive and powerful track, New Pony is very different in style to the opening track it’s just as good.
Like New Pony, No Time To Think is a slower song, one featuring lyrics which have apocalyptic themes. They portray images of society unravelling, lawlessness all around. Here, it seems Dylan was far from optimistic about the direction society was heading. An epic song begins with drums and saxophone combining, before Bob sings. Straight away, the same powerful delivery as on New Pony is present. Again, the backing singers accompany him, their voices a welcome addition. Here, Bob sings the song with passion, while behind him piano, saxophone, guitars and rhythm section play. They’re playing with the same passion as Bob, producing a fantastic rocky track, with tinges of gospel, courtesy of the backing vocalist. Alan Pasqua’s keyboard playing especially is outstanding here. Quite simply, a combination of strong, intelligent lyrics, and a great performance from Bob and his band, results in an outstanding track.
Probably the best known track on Street Legal Is Baby, Stop Crying, a track he played brilliantly the night I saw him live. From the opening dramatic bars, it’s apparent that something special is unfolding. The combination of booming drums, chiming guitars and keyboards opens that track, then Bob sings. Here, he gives one of his best vocals on the album. His voice is much clearer, it’s strong and powerful, supplemented by those fantastic backing vocalists. Their voices veer between strong and passionate to a high, soaring sound. Behind him, drummer Ian Wallace provides the track’s heartbeat, saxophones blow, guitars and keyboards play. The keyboard adds atmosphere to the track. For nearly five and half minutes, Bob Dylan and his band provide a musical masterclass, which thirty-three years on, still sounds as spectacular as it did back then. Brilliant.
When Is Your Love In Vain? begins, the tempo is slower and the sound much fuller. A trumpet accompanies guitars, rhythm section and keyboards in producing a lovely rich sound. They jam for forty-five sections before Bob sings, and when he sings, his voice doesn’t seem as powerful as on previous tracks. It’s much more subtle and augmented by backing vocalists. The band seem to be overpowering him slightly, but they’re playing is excellent. During the track they really get the chance to shine, producing one of the fullest arrangements on the album. Later in the track, Bob plays his trusty harmonica, reminding us of his roots. Overall, it’s another great performance from Bob and his band. However, the lyrics caused controversy. In them, he poses a number of questions about love. On the album’s release, this song drew accusations of sexism from one reviewer. He thought the lyrics which include “can you cook and sew, make flowers grow,” were sexist in their nature, and thus offensive. Certainly, I’m uncomfortable with them, and don’t particularly like the almost servile nature of them. For me, this takes some of the shine of an otherwise good track
It’s a very different sound at the start of Senor (Tales of Yankee Power). As the song opens, there’s a slight hesitancy about the sound. Quickly, this is rectified and what is dramatic sounding song opens up. Again, Bob’s voice is different, it’s much more powerful, and clearer. Sometimes, his voice soars, accompanied by saxophones, piano and backing vocalists. Like on other tracks, Ian Wallace’s drums help lay the foundations of the track. Wallace’s drumming is dramatic. Similarly, a guitar gets in on the drama. A careful and thoughtful solo is played several times. It too, is spectacular, like the saxophone solos. By now, you realize just how good a band Bob put together. In putting this band together, he was able to find musicians who could transform his sound, and reenergise his music. Here, they did a great job, as did producer Don DeVito. Together, they helped Bob to produce another great track, but here, Bob’s performance is really good, delivering the lyrics perfectly.
True Love Tends To Forget is another track that starts slowly, with just guitars and drums playing before Bob sings. Quickly, he’s joined by saxophone, keyboards and backing vocalists. Together, they combine to produce a slow powerful track, where he sings about regret, forgiveness and love. Although slow, his voice is a mixture of strength and clarity, and here, the band don’t overpower him. Instead, they compliment his voice, a combination of chiming guitars, atmospheric keyboards, steady and reliable drums and those masterful backing vocalists. The sound Bob and the band produce has a joyousness, and they really sound as if they’re enjoying themselves. I certainly enjoyed their performance and True Love Tends To Forget is one of the album’s highlights.
At the start of We Had Better Talk This Over there is a slight country feel to the track. This is down to the guitars, violin and mandolin accompanying the drums at the start of the track. After that, this influence continues throughout the track. Even the backing vocalists and piano adds to this influence. This isn’t a criticism, just an observation. This is good, but quite different sounding track. The guitar and piano playing especially, is really good. However, it’s Bob’s vocal augmented by the backing vocalists who steal the show. Together, the combine masterfully, bringing the lyrics about a failed relationship to life.
Street Legal ends with Where Are You Tonight? (Journey Through Dark Heat). Percussion opens the track, then saxophone, drums and keyboards combine before Bob sings. When he sings, the backing vocalists immediately accompany him. As always, their performance is stunning, making a good track even better. Their voices soar, as Bob sings the lead. Behind him a great arrangement is unfolding, with keyboards having the biggest influence, producing a lovely retro sound. Drums steadily play, later a saxophone joins the frae. Bob meanwhile is giving a great performance, his voice loud and confident as he sings the lyrics. By now the band have really hit their stride, and this tight band seem to have reserved a standout performance for this track. The same can be said of Bob, he seems in his glory. Towards the end a guitar solo plays, it’s loud and soars high above the rest of the arrangement. That and the backing singers, bring the track to a close. At the end, you feel ecstatic having heard such a great track to close the album. It was a track of epic proportions, a brilliant, full arrangement where everyone played a part in its success.
I’ve always loved Street Legal, it’s one of my favourite Bob Dylan albums. Since the album was released, I’ve loved it, and it’s one of Bob’s albums that I’ll return to often. His idea to use this band and the backing singers was a masterstroke. It totally transformed and reenergised his music. Many people saw Bob Dylan in a new light after Street Legal. They may not have been drawn to his earlier work, but loved this album. For nine songs, you’re enthralled by Bob and this great band. However, what really made this album, was Bob’s decision to use the backing vocalists. They were the perfect accompaniment for his voice and the songs. When they sang, they helped bring the song to life. During the album, they filled gaps left by Bob, and accompanied him just at the right time. Without them, it wouldn’t be as good an album. Considering that Street Legal was recorded in just four days, it’s remarkable that the album sounds so good. Much of the credit must go to producer Don DeVito for bringing the album together, and producing such a great sounding album. There are flaws on the recording which are audible, but that doesn’t matter, because this is a great album. That critics in America disliked the album so much seems strange, because what’s not to like, great songs, a great band and backing singers and of course, Bob Dylan. Thankfully, critics in the UK realized how good an album this is. They were right, and if you’ve never heard the album, go out and buy it. Even if you’re not usually a Bob Dylan fan, Street Legal will change your mind. Standout Tracks: Changing of the Guards, New Pony, Baby, Stop Crying and Where Are You Tonight? (Journey Through Dark Heat).
BOB DYLAN-STREET LEGAL.
MINNIE RIPERTON-ADVENTURES IN PARADISE.
MINNIE RIPERTON-ADVENTURES IN PARADISE.
As anyone who reads this blog on a regular basis will have gathered, I love soul music. I always have, and always will. Previously I’ve written about a number of soul singers, mostly ones from the 1960s and 1970s, and today, I’m going to write about one of my all time favorite female soul singers. She only released five albums during her lifetime, which tragically, was cut short aged thirty-one, when she died of cancer. Minnie Riperton however, had one of the greatest voices in soul music, possessing a vocal range that spanned five and a half octaves. When I last wrote about Minnie’s career, it was her brilliant second album Perfect Angel I reviewed. Today, I’ll write about the follow-up to Perfect Angel, Adventures In Paradise, released in May 1975. Adventures In Paradise contained one of Minnie’s greatest songs, the seminal track Inside Your Love. Before I tell you what makes this such a great album, I’ll give you some background on how the album came about.
Minnie’s second album Perfect Angel had been a huge success, gaining Minnie a gold disc in the process. Part of the success of the album was the inclusion of the beautiful song Lovin’ You. It was only released as a single when Minnie and her husband Richard Rudolph encouraged Epic to do so. They’d heard that it was being played on some MOR radio stations. Epic agreed to release the single, over a three month period, it gradually climbed to number one on the pop charts. The success of Lovin’ You really helped sales of Perfect Angel. So once Perfect Angel had ended its chart run, Epic wanted a new album. This new album would become Adventures In Paradise.
When it came to record Adventures In Paradise, the coproducer of Perfect Angel Stevie Wonder, was unavailable. He was recording Songs In the Key of Life. Instead, Stewart Levine was hired to coproduce the album. Of the ten songs on the album, Minnie and husband Richard Rudolph cowrote five themselves, and collaborated with other artists on the other five. Among the other artists collaborating with them were some highly respected musicians and songwriters. This included Leon Ware and Joe Sample of The Jazz Crusaders. Leon Ware was going through a busy and highly successful period in his career. He’d worked with Marvin Gaye on his hugely successful 1976 album I Want You. The following year Leon Ware would release one of his best know albums Musical Massage. Larry Carlton was brought in to arrange Adventures In Paradise, and in doing so, produced a gorgeous laid back soul-jazz album.
Of the ten songs on the album, probably the best know track is Inside My Love. It’s one of the most beautiful and sensual songs ever recorded. However, to ensure the lyrics weren’t misconstrued, Minnie took care to explain the song’s true meaning. Minnie made it clear that the song wasn’t about a woman asking a man to have sex with her. She made it clear that the song had a much deeper meaning. What the song is about is succeeding in achieving true and proper intimacy with a lover. This is obvious if you listen carefully to the lyrics. Sadly, when the song was released, it only reached number thirty-seven on the pop charts, because many radio stations refused to play the single because of certain lyrics. Leon Ware came to the song’s defense, claiming the lyrics were inspired by a preacher he’d heard as a child who said “let us come into the house of the Lord.” Regardless of Leon’s words, radio stations still wouldn’t play the song. Since then, Inside My Love is played on radio stations worldwide. Thankfully, times are less conservative and such examples of censorship are less prevalent.
Adventures In Paradise album’s cover features Minnie sitting next to a lion. Minnie is sitting looking beautiful and calm next to the lion. However, the photo shoot wasn’t without its own problems. One minute Minnie is sitting next to lion and all is well, the next the lion lunges towards Minnie. Thankfully, the lion’s keeper and tamer was quickly able to sedate the animal, and Minnie was unharmed.
When Adventures In Paradise was released in May 1975 the album reached number eighteen in US Billboard Pop Charts. The album was well received and reasonably successful. It’s thought to be around this time that Minnie discovered that she had breast cancer For the rest of her career, she bravely fought this terrible illness, doing so with grace and determination. Tragically, she died in 1979, aged just thirty-one. That day, soul music lost one of its greatest voices.
Adventures In Paradise opens with Baby, This Love I Have a slow track that begins with bass, drums and keyboards before Minnie sings. When she sings, her voice is quiet with a tenderness present. Sometimes she’s almost whispering some of the lyrics. Later her voice gets louder and stronger. Behind her, an arrangement complete with brass section, strings, guitar and rhythm section plays. The arrangement is perfect for the song. Although it’s quite a full arrangement, it never once overpowers Minnie’s voice. Backing singers accompany Minnie later in the song, as she demonstrates her powerful five and a half octave range. During the track Minnie sings this love song beautifully, with emotion and love. It’s a lovely track to open the album.
When you hear the opening bars of Feelin’ That the Feeling’s Good you straight away, realize that this is going to be a really good track. This is apparent from the subtle guitar solo at the start, which is then accompanied by bass and drums. Minnie sings some lovely thoughtful lyrics softly, accompanied by strings, drums playing quietly and keyboards. Her voice is tender and beautiful, and the arrangement stunning. One minute it’s understated, with strings lushly playing, the next it wanders into almost jazz funk territory, complete with funky bass, keyboards, sweeping strings and saxophone. Similarly, Minnie’s vocal changes, it quickens slightly, soars and she sings the song sweetly, with passion and feeling. Quite simply, this is great track, soulfully and beautifully sung by Minnie, with a great arrangement from Larry Carlton, a mixture of soul, jazz and funk.
A really funky bass line drums, and guitars opens When It Comes Down To It. Soon, it’s joined by Minnie. Here, her voice is quite different, she seems to be getting in on the funky vibe that’s emerging. She gives quite a dramatic performance, full of feeling, her phrasing and diction perfect. Her voice is drenched by the brass section, keyboards and guitars. Overall, it’s a brilliant arrangement courtesy of a tight band. However, Minnie is the star of the track. Although her voice is quite different from the previous two tracks, it demonstrates her versatility, and ability to sing different types of songs.
One of the most beautiful songs on Adventures In Paradise is Minnie’s Lament, a track that has a lovely, slow and meandering start. It’s just a guitar, keyboards, drums and percussion accompanying Minnie, each played gently as her voice gently soars, as she ad-libs. When she starts singing the lyrics, her voice is quiet, gentle and thoughtful, before it soars high, demonstrating the ethereal, crystalline quality of her voice. I’ve rarely heard such a slow, careful and thoughtful arrangement. It would appear that the band realize that they’re witnessing one of the most stunning vocal performances they’ll ever hear, and are taking the utmost care with their playing, not wanting to spoil what is a brilliant performance from Minnie. Minnie’s Lament is one of the most heart-achingly beautiful songs you’ll ever be fortunate enough to hear, and Minnie’s delivery of some wonderful lyrics is masterful.
How do you follow such a beautiful previous track as Minnie’s Lament? The answer is quite simple, with another one Love and Its Glory. Jazz legend Dorothy Ashby plays the harp as the track opens, accompanied by the rhythm section. An already lush and beautiful sound gets even better when Minnie sings, her voice soaring high. She uses her voice brilliantly to tell the story of a two young teenagers who long to be together despite their parents protests. In the song, the girl Maya, named after Minnie’s daughter, is forced to marry against her will. Thankfully, there’s a twist in the story when her true love rescues her at the altar. During the song, Minnie uses her voice to highlight the plight of the young couple, and in doing so, brings the story to life. Behind her the arrangement is perfect for the song. The band play their part in bringing the song to life, especially, the rhythm section, piano, horns and woodwind. Together, the band and Minnie produce a beautiful, romantic song that’s a combination sadness and happiness.
Joe Sample from The Jazz Crusaders cowrote the title track Adventures In Paradise with Minnie and her husband Richard Rudolph. Maybe Sample’s influence helped turn the song into a masterful combination of soul, jazz and funk. From the start, there is a huge funk influence apparent. This is created by bass and drums, and when keyboards play this accentuates the funk influence. Minnie’s vocal on the track is spectacular, and if you ever want to hear a singer use their full vocal range properly, this is a track you must hear. Whilst around her a jazz and funk workout is taking place, Minnie’s voice soars through her vocal range. It’s a demonstration of strength, power and control. One minute it’s high pitched and soaring high, the next it’s deep and powerful. Very few female vocalists can match Minnie’s performance. By the end of the track, you can’t help marvel at Minnie’s brilliant voice, and admire her versatility and ability to sing a wide variety of styles of music. Her performance here is peerless and stunning.
The track from Adventures In Paradise that’s best known is Inside My Love, a track that proved controversial on its release in the US. Since then, the track has become a classic, and one of the best known, best loved of Minnie’s songs. For nearly five minutes, you’ll hear one of the most sensuous, beautiful songs about succeeding in achieving true intimacy, a truly beautiful experience. Keyboards, drums, percussion accompany Minnie as she sings the introduction. She’s then joined by guitar and bass as she gives one of the most heartfelt, beautiful vocals ever recorded. It’s here when she sings those beautiful sensuous lyrics, that the versatility and strength of her voice comes into its own. Many people have covered the song, but there’s only one version for me, Minnie’s. Most of the success of the track is down to Minnie, but Larry Graham’s arrangement is perfect. At the start, it’s subtle, it grows, building up slowly, until an amazing arrangement emerges. Strings sweep and the brass section join the rest of the band, guitars chime, keyboards play slowly and dramatically. Quite simply, the arrangement is lush, beautiful and full of subtleties and nuances, that reveal themselves. Only one word can describe Minnie’s vocal and the arrangement. Sublime.
When Alone In Brewster Bay begins, it’s like the sound of coast, bringing to mind a beautiful bay somewhere quiet and picturesque. An acoustic guitar opens the track, accompanying Minnie. Her voice is strong and powerful, and she takes care with her phrasing and diction as her voice soars. During the track her delivery is breathtakingly beautiful, backed by a lovely arrangement. Although fuller in parts, there’s an understated beauty to parts of the arrangement. It’s a combination of strings, piano, drums and acoustic guitar. The acoustic guitar especially at the introduction, and towards the end is highly effective and suits the track. It fills in before Minnie sings and when her vocal ends. Overall, it’s a great song, with some lovely, thoughtful lyrics, stunningly sung by Minnie.
Like Alone In Brewster Bay, it’s an acoustic guitar that opens Simple Things. This time it’s played much quicker, accompanied by keyboards and saxophone. When Minnie sings, her vocal is much quicker, than on the previous track. Again her delivery is exceptional, that mixture of power and soaring vocal. Behind her, it’s a much fuller, jazz influenced arrangement that’s emerging. Guitars, strings, keyboards and rhythm section all combine producing an arrangement that sweeps and swings along. The lyrics have a lovely happy sentiment, and Minnie sings them brilliantly. This song is melodic with hooks aplenty, and there’s something really catchy about the track. What makes this song so good, is Minnie’s vocal and another really good arrangement from Larry Graham.
Adventures In Paradise ends with Don’t Let Anyone Bring You Down. It has a dramatic start with a piano playing. When Minnie sings, her voice although strong has a sweetness, as she sings about not letting anyone bring her down. The lyrics are joyous sounding, and Minnie sounds really happy. Meanwhile the piano plays one of the main parts in the song, along with a chiming guitar, strings and rhythm section playing really slow, adding to the drama. At the end of the song Minnie sings “I hope I’ve made you feel good?” The answer to that is simple, yes. This, the final song on the album sung beautifully by Minnie, has a joyous, uplifting quality, and demonstrated just how great a vocalist she was. A great way to end the album.
Minnie Riperton has long been one of my favorite singers, not just soul singers but singers per se. She was blessed with one of the most beautiful voices in musical history, and on Adventures In Paradise uses that voice brilliantly. On each song, she makes good use of her five and a half vocal range, as she sings a mixture of songs. Here, she demonstrated her versatility as a singer tackling songs which were a mixture of soul, jazz and even tinges of funk. During each track, she sung both beautifully and brilliantly. Like many people, I cherish Minnie Riperton’s music, and love each of her albums. To me, Adventures In Paradise is a great album, and that it wasn’t more successful saddens me. Maybe if Inside Your Love had received more radio airplay, then it would have been a similar success to Lovin’ You which helped sell more copies of Perfect Angel. However, things were much more conservative back then, and radio stations more likely to indulge in censorship, if they deemed lyrics not to be suitable for the public to hear. Now that seems incredible, because you can turn the radio on in the morning or afternoon, and Inside Your Love is playing. However, there is more to Adventures In Paradise than Inside Your Love. There are nine other songs on the album, and each one is of the highest quality. If you’ve never heard this album, the good news is that it can be found along with Perfect Angel on one CD released by Stateside, so you can hear two great albums for the price of one. So the next time you’re in your record store, why not treat yourself to some great music by one of soul music’s greatest voices. Standout Tracks: Feelin’ That the Feeling’s Good, Minnie’s Lament, Inside Your Love and Don’t Let Anyone Bring You Down.
MINNIE RIPERTON-ADVENTURES IN PARADISE.
PORTISHEAD-PORTISHEAD.
PORTISHEAD-PORTISHEAD.
Recently, I’ve been writing about several different styles of music, rock, soul, reggae, dub and indie rock. Today, I’ve decided to return to a style of music I’ve about before, trip hop. Previously, I’ve written about Leftfield, Massive Attack and the group this article is about, Portishead. In my last article about Portishead, I wrote about their debut album Dummy. Today, I’ve decided to write about the follow-up to Third, entitled Portishead. Released three years after Third, Portishead was released in September 1997. Recording took place during 1996 and 1997, with the album being produced by Portishead themselves. On its release, the album was critically acclaimed, and a huge commercial success. It reached number two in the UK album charts, and number twenty-one in the US Billboard 200. Unlike their debut album, the sound on this album has quite a different sound. The sound is harsher, not quite as polished as on their debut album. However, it’s still a good album, and now, I’ll tell you about the album.
Portishead opens with Cowboys, an eerie, edgy sound, like music that builds up the atmosphere in a thriller or horror film. After that, the atmosphere momentarily brightens, relieving the tension somewhat. Again, like on Third, this the music here reminds of something from a 1960s’ French film. When the Beth Gibbons’ vocal enters, the sound is much harsher, almost brittle sounding. The sound has quickly built up, keyboards, guitar and drums. There’s almost a discordant sound and feel to the track. Behind her vocal, the drums play really slowly, keyboards produce an eerie soundscape and a crackling sound is heard throughout the track. Scratches add to the edginess, discordant guitars shriek, complete with feedback. Everything about the track combines masterfully to produce one of the edgiest, otherworldly and spine tingling pieces of music you’ll hear in a long time. Excellent.
After the previous almost sinister atmosphere of Cowboys, All Mine is a different sounding track. It has a a brighter sound, tinged with drama. Horns open the track, cutting in and out, accompanied by a drum beating slowly. Beth’s vocal is slow and thoughtful, whilst behind her, the combination of horns and drum and percussion provide the mainstay of the track. A bass plays slowly, plodding along, providing a dark, near sinister sound. When guitars join in, this further increases the drama. They soar, chiming and screaming, filling out the sound. By this point, there’s a return to the edginess of the opening track, with the sound become almost menacing and threatening in nature. Here, it’s as if Portishead are providing a soundtrack to a short film, given the dramatic, sinister overtones of this brilliant piece of music.
It’s a quiet melodic keyboard that opens Undenied. However, just as you begin to enjoy the sound, the darkness reappears. A sample joins the mix, its sound ominous, sinister even. Even when Beth sings, this sample remains. Her voice by contrast, has a sweetness, as she delivers the lyrics surrounded by plodding drum beats, crackles and that sample. In some ways it detracts from her vocal. Thankfully, it eventually disappears. Annoyingly, it returns. I’m not suggesting it spoils the track. Quite the opposite. What I think it does is detract from Beth’s vocal. You end up focusing your attention on the sample, not Beth’s lovely vocal. Overall, though, Undenied is a good track, it’s just the use of that sample is overdone, and after a while, its constant repetition becomes tedious, and loses its effectiveness.
Half Day Closing begins with a dark, broody bass playing slowly, strings providing an ominous sounding backdrop. When Beth sings, her voice is hidden by effects. This adds to the already ominous soundscape that’s building. A Moog helps increase the forbidding sound. A sound like wind blowing on an open windswept landscape, completes the sound. Like previous tracks, the sound has a disquieting, sinister feel. It’s as if Portishead are creating a film score for some low budget horror movie, and they’re doing a brilliant job in doing so. Personally, I’d love to see the movie.
An acoustic guitar plays at the start of Over, it’s slow and repetitive, space left with Geoff Barrow’s playing. Then when Beth sings, she does so against a backdrop of the guitar playing. Eventually, a mixture of spacey sounding drums, accompanied by a bass, crackles and scratches. Occasionally, when Beth’s voice drops out of the arrangement a voice appears, just shouting one word. When she rejoins the arrangement, the arrangement has headed into eerie overdrive, complete with electric guitar solo. Over is an intriguing track, one that sends shivers down your spine, yet sounds fantastic.
As Humming begins, sounds reverberate, they emerge from your speakers sounding otherworldly, reminding me of many an old sci-fi film. After a couple of minutes of otherworldly sounds assaulting your senses, the arrangement opens up. Again, it’s just drum, bass and Beth’s vocal, complete with what seems trademark crackles. This brings to mind the lovely sound of old vinyl. From there on, the track moodily meanders, sounds emerging from the mix that have a threatening, dark, sound. Much of this is courtesy of the Moog, which plays a large part on this album. Humming is an epic track, for six minutes, your senses are assailed. Your mind plays tricks on you, your subconscious goes into overdrive. You wonder what’s that noise is? Such is the power of this magnificent track.
The start of Mourning Air is a dichotomy. On one hand Beth Gibbons’ vocal is thoughtful and dramatic, her voice clear, her phrasing perfect. However, the rest of the arrangement has a slightly discordant sound. That isn’t a bad thing. It’s just very different from the vocal. Sometimes, though, it seems to jar. Later, the bass enters, and the arrangement opens out, the arrangement seems to soften somewhat. Surrounding Beth’s vocal, are a multitude of sounds, creating an atmospheric soundscape. The addition of a trombone, which plays in the background really works, although sometimes, the sound is distant. Likewise, the guitar is another good addition, brightening the sound. Mostly, in keeping with the previous track, there is a darkness present, which here, adds an air of mystery to the proceedings.
Seven Months opens with a dramatic, sweeping, almost symphonic sound. From the opening bars, to when Beth sings and the strings enter, the drama is building up. Beth’s slow, powerful vocal soars high in the arrangement, as around her, samples aplenty emerge, drums play, a crackly sound can be heard. This sweeping, dramatic soundscape has an understated beauty, which is added to when a guitar plays. It has a retro sound, like something from a sixties film noire soundtrack. One thing I love about this track, is the addition of strings. Not only do they sound great, but they help increase the drama and tension present in the track. To me, this is the best track on the album, I love the moodiness and the dark undertones.
A bass sets the moody scene at the start of Only You, a slow pensive track. It’s accompanied by samples and scratches. When Beth sings, she too, gets in on the act, delivering the lyrics thoughtfully, her voice crystalline. As she sings, it’s mainly just bass, sound effects and occasionally scratches that you hear. Samples are repeated, scratches accompanying them. Then, suddenly, things change. Out of nowhere, the arrangement grows, a hugely dramatic sound interrupts Beth’s vocal. You think the arrangement will change totally. Thankfully, it doesn’t, this is just a minor hiatus. After a few seconds, normal service is resumed, and the arrangement returns to its previous understated beauty. Until the end of the track, it’s just a subtle arrangement that meanders beautifully, a dramatic soundscape made all the better by the addition of scratches, samples and sound effects. For me, when I listen to albums like this, I’m constantly trying to spot the samples used in the track. Here I spotted two. One is taken from the soundtrack to the Peter Sellers’ film Inspector Clouseau by Ken Thorne. The other is from US hip-hop group Pharcyde’s track She Said.
Elysium is the penultimate track on the album. It begins with a guitar reverberating accompanied by a discordant sound, not unlike an old radio tuning. After that, drums slow and plodding play, accompanied by samples and a piano playing. This track is quite similar in some ways to Half Day Closing. Beth Gibbon’s vocal is full of character, she’s singing the lyrics as if she believes them. Behind her, a guitar plays. Then suddenly, as if exhausted from expending all that energy during the track, it changes totally. A beautiful piano solo emerges, accompanied by a guitar subtly played. Just as you begin to enjoy it, bang, it’s gone, and the sound changes totally, back to how it was before, mixture of Beth’s soaring vocal, scratches and sound effects, complete with a moody, dark piano playing in the background. By the end of the track, I’ve enjoyed what’s a clever mixture styles created by instruments, samples, scratches and a great vocal.
Portishead closes with Western Eyes. Like other tracks on the album, it has an atmospheric introduction, string play, producing an eerie sound. A piano plays, its sound thoughtful, as it accompanies Beth’s ethereal sounding vocal. Drums played subtly join the track, they’re very much in the background, in keeping with the thoughtful, understated arrangement. Later, a sample from Hookers and Gin played by the Sean Atkins Experience is used. It’s accompanied by the occasional scratch, as it completes what is a beautiful, subtle song, the perfect way to end this album.
Portishead was a very different album to Portishead’s debut album Dummy. Here the sound isn’t quite as polished, it is grittier and has a harsher sound. The whole album sounds like a film soundtrack to a very sinister thriller. It’s one of these albums that’s perfect to chill out to. Sit back, and let the weird and wonderful sounds and effects that can be head on the album wash over you. In doing so, Portishead will take you on a surreal journey, one that takes you on a guided tour of their world. My question is, can you dare to set out on such an adventure? Are you brave enough? I hope you are, because although very different to their debut, it’s still a great album to listen to. Standout Tracks: Seven Months, Over You, Elysium and Western Eyes.
PORTISHEAD-PORTISHEAD.
ROXY MUSIC-FLESH AND BLOOD.
ROXY MUSIC-FLESH AND BLOOD.
I was recently reading a magazine article about Roxy Music, where they were listing some of their best albums. Having read the article, I realized that one of my favorite albums Flesh and Blood, wasn’t on the article. The albums on the list were a strange mixture, even including a greatest hits album, and some of the bands solo albums. Strangely, it omitted one of Roxy Music’s most successful later albums Flesh and Blood. In this article, I’m going to redress the balance, and tell you about this album, and just what made it such a good album.
Flesh and Blood was Roxy Music’s seventh studio album, released in June 1980. By now, Roxy Music were just a three piece band, consisting of Bryan Ferry, Phil Manzanera and Andy McKay. Phil Thompson had by now, left the band, and original members Brian Eno and Graham Simpson had long left the band. Over the years, many members had joined, and left the band. To make Flesh and Blood, a number of session musicians were enlisted to help record it. This would include Paul Carrack, who played piano and organ.
On the album’s release, it reached number one in the UK album charts, spending a week there in June 1980, and other three weeks in August. So successful was Flesh and Blood, that it was certified platinum in October 1980. In the US, the album reached number thirty-five in the US Billboard 200. Four singles were released from the album. The first was Over You in May 1980, which reached number five in the UK singles charts. Three further singles followed, Oh Yeah, Same Old Scene and a cover version of Wilson Pickett’s In the Midnight Hour. That wasn’t the only cover version on the album. Eight Miles High, a cover version of The Byrds’ track was also included on the album. Sadly, after this album, Roxy Music would only release one further album, Avalon in May 1982. However, like Avalon, Flesh and Blood was a really good album, and I’ll now tell you just what made it such a good album.
The first track on Flesh and Blood is the cover of Wilson Pickett’s In the Midnight Hour. Previously, Brian Ferry had spoken of his love of soul music, and here he pays homage to one of soul music’s great singers. Straight away, there’s a difference between the original and Roxy Music’s version. As the track slowly begins, instruments reverberate and the song’s counted in. After that things totally change, drums, bass and guitars combine, and Bryan Ferry sings. His voice is perfect for the songs, strong and clear, his phrasing careful, as the song moves quickly along. Behind him, the arrangement is slower than the original, and quite “busy.” Partly this is caused by the “wall of sound” that accompanies the band. It slightly distracts you from the band. It has been present throughout the track, accompanying the main part of the arrangement. Regardless of this, it’s a good cover version, complete with saxophones, synths and a really prominent bass line. However, the best thing about the track is Bryan’s soulful vocal.
One of my favorite songs from the album was Oh Yeah, the first single taken from Flesh and Blood. It’s a song recalling memories of a summer in love, and drenched in sadness when remembering a relationship that has since ended. A piano opens the track, and plays a big part throughout the track. The tempo is slow, drums and guitars join in. Percussion plays, then Bryan Ferry sings. A sadness is apparent in his voice. Around him, a slow, full and sometimes, dramatic arrangement emerges. His voice soars, strongly, as the arrangement grows, combination of bass, drums, guitars and strings surround him. To me, both the arrangement, and the vocal are the reason for the success of the track. It’s a combination of an emotional vocal and dramatic and sympathetic arrangement.
Same Old Scene is very different from the previous track. It has a quicker tempo, and brighter sound. Percussion and drums combine with guitars as the song bursts into life, the arrangement quickly filling out. From there on it’s a full and powerful arrangement the rhythm section, guitar, keyboards and saxophone accompanying Bryan Ferry’s pessimistic vocal. During the song he sings about an old relationship that haunts him. This makes him to realize that nothing lasts forever and that he should to return to dating, what he calls the “same old scene.” Alan Spenner’s bass playing during the track is brilliant, fast, tinged in funk, as it helps drives the song along. Likewise, Andy MacKay’s saxophone drenches both Bryan’s vocal and the arrangement in a beautiful, lush, dramatic sound. Overall, what makes this track is a combination of the vocal, arrangement and lyrics. Here, the lyrics have a pathos, in them and a strong narrative, painting a picture for the listener. Thirty-one years later, Same Old Scene sounds just as good as it did in 1980.
The title track, Flesh and Blood, sounds totally different to any of the preceding tracks. It has more in common with some of Roxy Music’s earlier music. A bass plays in the distance, gradually getting louder. It throbs slowly. Quickly, drums, guitar and synths join in. However, it’s the bass that’s most prominent, played really well. By now the arrangement is full, synths sweeping as Bryan sings above the band. His voice is stronger and louder, as if he’s trying to make himself heard over the fuller arrangement. It’s an unusual track, gone are smoother arrangements of Oh Yeah and Same Old Scene, in is a rockier sound, with just a little funk courtesy of the bass. By the end of the track, it has grown on me, and I’ve become accustomed to the different sound. Although I’ve always enjoyed and appreciated this track, I prefer the smoother sounding tracks that preceded it.
After the change in sound on Flesh and Blood, the style changes again with My Only Love. It has more in common with Oh Yeah and Same Old Scene, and begins with keyboards playing slowly, providing an almost moody, thoughtful, even dramatic sound. Then, the bass and percussion play before Bryan sings, they too, seem to be building up a moody and dramatic sound. When he does sing, his vocal is has a thoughtful, pensive sound as he sings about being in love and the one he loves. Behind him, a piano and the rhythm section play a large part in the arrangement, the bass especially. Like on other tracks, strings and saxophone are used to good effect. Later in the track, Bryan’s vocal quickens, it soars high and he prolongs some of the notes. After that, a guitar solo plays and by now, a great arrangement is unfolding. It continues throughout the remainder of the track. The fact that this is a really slow arrangement adds to the effectiveness of the track. That, and the combination of a really tight band, augmented by some crack session musicians, contribute towards a fantastic, dramatic track.
Although it has a much quicker tempo than the previous track, Over You has much in common with it. It has a smoother style, than either Midnight Hour and Flesh and Blood. The rhythm section and keyboards open the track, punctuated by handclaps. Bryan’s vocal is quicker, higher, slight strained, but still just as good. Here the arrangement has a similar sound to many tracks released at this time, it’s the drum, bass and keyboard sound that does it. There’s an electronic sound and feel present. This doesn’t mean the track sounds dated. Quite the opposite, it’s far better than many from this time. Later in the track, the arrangement really grows, and towards the end, lovely piano and saxophone solos play, adding the finishing touches to an already great sounding track.
The second cover version on the album is Eight Miles High, a cover of a song originally made famous by The Byrds psychedelic rock classic. Back in 1966, the song was banned from the radio because it was allegedly about drug taking. Here, Roxy Music give the track a makeover, adding a new twist to an old song. It works well, with Bryan’s vocal perfectly suited to the track. Likewise a funky bass sound is a good addition, as are the drums, which have an electronic sound. During the song a guitar reverberates, and Bryan’s voice soars and quivers, full of character. What I especially like about the song is Brian Ferry’s delivery of the lyrics. He brings the song to life. Also, the addition of the pulsating, funky bass is a masterstroke.
A dark broody electronic sound greets the listener as Rain, Rain, Rain begins. Drums then pound, keyboards play and Bryan gives a slow, pensive sounding vocal. Around him, the arrangement grows. Keyboards, guitars and rhythm section combine. Strange, atmospheric sounds enter the mix, as Bryan sings. Still, his vocal sounds thoughtful. Again, there’s an electronic sound on this track, again courtesy of drums and keyboards. In some ways, there’s almost a reggae sound in the rhythm emerging. Like other tracks, the bass playing helps drive the track along, and is one of the track’s highlights. However, the success of the track is down to more than one person, everyone contributes to what is a slow and atmospheric song, sung brilliantly by Bryan Ferry.
After a hesitant, almost false start, No Strange Delight begins with pounding repetitive drums, joined by that funky sounding bass. As Bryan sings, keyboards play. His voice isn’t as high but has a richness, he leaves space in the vocal. Behind him the rhythm section drive the song along. They’re a constant, joined by guitar, keyboards and an oboe. This isn’t the usual type of instrument you’d expect on a rock album, but this is Roxy Music, expect the unexpected. As the song progresses, the arrangement builds and builds. Near the end, the sound reaches an almost chaotic climax, but thankfully, the band rescue the track just in time. I enjoyed the song until the last the last minute, where the sound became too full, and neared chaos. That slightly spoiled the song for me. Until then, it was a good track, but after that, it was never quite as good.
Flesh and Blood closes with Running Wild a much slower song, that begins with a piano playing and Bryan singing. Straight away, it’s obvious that this is a song perfectly suited to his voice. His vocal is slow and thoughtful, the arrangement much more subtle than on other tracks. Running Wild a just meanders along beautifully. Drums set the tempo, and everyone follows their lead. What really makes the track is the addition of piano, Andy MacKay’s saxophone playing and Paul Carrack’s organ playing. They all play their part in creating a lovely, lush arrangement, over which Bryan sings. Then, when the guitar solos at the end the track, this is the perfect way to close both the track and the album. It seems Roxy Music kept one of the best songs until the end of the album.
I grew up listening to Roxy Music and have always been a huge fan of their music. From their early days, right up to their final album Avalon, I’ve loved their music. Flesh and Blood, and indeed, Avalon are two of their more accessible albums, and perfect for someone wanting an introduction to their albums. Many of the songs are familiar, because four singles were released from the albums. Most of the songs on the album were written by either Bryan Ferry, or Bryan Ferry and Phil Manzanera, except the two cover versions. Nearly ever song on the album is of the highest standard, my only gripe being the end of the penultimate track No Strange Delight. Apart from that, this album features some great music, played by a really tight band, augmented by some hugely talented session musicians. Bryan Ferry’s vocals on the album are outstanding, and he delivers each song brilliantly. Likewise, the lyrics are literate and intelligent, many painting a picture, telling a story and benefiting from a strong narrative. If you’ve never heard this album, it’s well worth buying, as you’ll hear some great music from Roxy Music. Standout Tracks: Oh Yeah, Same Old Scene, My Only Love and Over You.
ROXY MUSIC-FLESH AND BLOOD.
JOE GIBBS AND THE PROFESSIONALS-AFRICAN DUB 5.
JOE GIBBS AND THE PROFESSIONALS-AFRICAN DUB 5.
The other night I was listening to a number of old dub reggae albums, when I came across the album I’m going to write about today. Sometimes I don’t get much chance to listen to albums that I bought years ago, because I’m constantly listening to new stuff. Each week, I buy numerous albums, and sometimes, by the time I’ve listened to them, and written this blog, there isn’t much time for listening to other music. However, a couple of nights ago, I managed to make some time to listen to older stuff, and one of the albums I listened to was Joe Gibbs and The Professionals 1984 album African Dub 5. For many a year, I’ve been a huge fan of Joe Gibbs’ music, and previously, I’ve written an article on his album Majestic Dub, another of his great albums. However, the sound on this album is slightly different. It sees Joe Gibbs embrace the then, new technology available. This has the effect of changing the sound somewhat, giving it a different sound to previous albums. Now, I’ll tell you just why African Dub 5 is such a great album, and how the new technology used changed his sound.
African Dub 5 was released five years after the fourth volume in the series. It had been a hugely popular and influential series of albums. So, in 1984, Joe Gibbs decided to revisit this series. He picked eight great tracks for the album, the first of which is The Day After. It’s a squelchy sounding synth that opens the track. It sounds like something that belongs on an acid house track, that’s produced by a Roland synth. A brass section play, and drums and bass combine. Delay is used slightly, as the track meanders slowly along. Each of the instruments combining melodically. The brass section especially, playing slowly and beautifully. Drums are spacious, the bass plods along. Occasionally, the synth cascades, slightly at odds with the dub sound. By now, effects are used subtly, delay and echo giving the track a spacey sound. Later, the synth is let loose, creating various strange, otherworldly sounds, with the help of Joe Gibbs’ effects. Overall, the addition of the synth gives dub another dimension, although too much use of the synth could start to grate or become tedious.
After what was a new twist on dub, by adding the synth, we’re back to a more traditional sound with Long Distance Affair. Here Joe lets loose with effects. Straight away, the track bursts into life, drums and bass combining. The track chugs along, then a heavy bass line is played and the brass section join the frae. In the distance, a vocal can just be heard. This track is a much more traditional dub track than the previous track. After a couple of minutes the effects start to make their presence felt, brilliantly distorting the sound, echo especially. During the track, it’s just drums, bass and brass section that play. However, with the addition of effects, and clever production, they produce a brilliant slice of old school dub reggae.
It’s an atmospheric near howling sound, that opens Full Moon In the Sky. Thereafter, the brass section take the lead, accompanied by the rhythm section. Straight away, effects are unleashed, and the sound is drenched in echo. This makes the sound reverberate beautifully. It seems gradually, on each track, Joe’s using the effects much more. Like the previous track, the bass is heavy, spacious and plodding. Likewise, the drums are slow and spacious, plenty space being left between each beat. For the first time on the album, a keyboard plays. It tinkles melodically, in contrast to the sharpness of the brass section. On this track, the tempo is much slower, the track meandering along slowly. The rhythm section drive the track along, with other sounds emitted courtesy of the brass section, keyboards and synth which is used more sparingly here. Towards the end, effects are really unleashed, transforming the sound totally. At one point I winced at the result, so powerful it was. Full Moon In the Sky like the previous track, is much more what a dub track should sound like, and here, it’s the rhythm section and Joe Gibbs who are responsible for producing a powerful, laid back and melodic slice of dub reggae.
When Ladies Night Out begins, drums laden with echo reverberate. They’re joined by keyboards guitar and bass. Sound effects interject repeatedly, the bass is way down in the mix throbbing, plodding away. Then, the brass section enter, delay transforms their sound too. This is a much slower track, one with a lovely spacey feel and sound. There’s no rush here, the pace is sedentary, really laid back. Vocals emerge, joining the mix, making a fleeting appearance. A synth enters, sweeping in momentarily. Percussion cracks like a pistol. Much is going on, but much of it is subjected to delay and echo, transforming and improving the sound because of Joe’s subtle use of the effects.
Slow echoey drums, the brass section, bass and keyboards combine masterfully at the start of Chapter 5, which is the slowest track on the album. To describe this track as meandering, would be an exaggeration, it isn’t even that quick. Laid back in the extreme is more like it, and that’s part of its charm. For four minutes it just plods along without a care in the world. The rhythm section set the tempo, and occasionally, the brass section and keyboards play, with a synth augmenting the sound. Joe meanwhile, is sparing in his use of effects, making sure not to distort what is a great sounding, summery and joyous track.
Bad Verdict opens with a bright modern sound. Chiming guitars, a drum roll and handclaps After that, a throbbing bass slow spacey drums and swooping synth combine. There is a real moderne sound produced by the synth. It creates a multitude of sounds, some of which sound otherworldly, others bleep and squelch bringing to mind acid house and the second summer of love. Unlike many dub tracks, this has a much brighter sound. This is thanks to guitar, synth and even the drums. By contrast, the bass and percussion provides a much darker sound. Effects are used sparingly, except towards the end, when Joe almost over does it, causing me to wince again. At the end of the track, I’ve wallowed contentedly in a track that sounds like a dub track thats been influenced by Chicago house. Obviously in 1984, Chicago house was still in its infancy, but this is what the two combined would sound like.
Where Bad Verdict left off, Military Intervention takes over. Here we see another track where Joe Gibbs decides to unleash a synth on a dub track. Again, a drum rolls opens the track. Thereafter it’s a melodic sounding track with a bass, synth, drums and keyboard combining. Here the synth squelches throughout the track, as the keyboard melodically plays, drums snap and crack and the bass booms deep in the mix. Mostly, effects aren’t unleashed, and I’d love to hear plenty delay, echo and reverb used to transform the sound. Especially to see what it would do to the synth sound. Occasionally, some delay is added, but is used sparingly. At the start of the track the synth sounds at odds with the rest of the arrangement, but after a while this sound grows on you. Although Military Intervention may be very different to most dub tracks, but I really like the sound. Joe Gibbs’ use of new technology available in 1984 allowed him to be innovative, and move dub in a new direction.
African Dub 5 closes with Campus Flash Back. It’s a much more traditional sound that opens the track, guitar, flute, drums and a loud throbbing bass. Then, everything changes, when a keyboard plays. That traditional sound is gone, as the keyboard has an electronic sound, that’s slightly tinny sounding. This is further highlighted when an organ plays, its sound totally different, much better. This however, doesn’t spoil the track, as by now, a great sounding arrangement has emerged. The rhythm section drive the track along, the bass especially, playing a huge part. Accompanying them are an organ, flute, percussion and yes that keyboard. Each drop in and out of the track, rhythms and melodies aplenty. At the end of this hugely melodic track, so impressed was I by it, that I was even willing to forgive the use of that keyboard.
One of the reasons I chose to write about African Dub 5 was because of the use of synths and new technology on it. By 1984, synths were much more common in music. Used properly, they could sound great, used badly, well it becomes a car crash of a sound. The only problem with many of the albums made at this time, is that some of them sound really dated. They haven’t stood the test of time well, and when you hear them, you can instantly date them. However, African Dub 5 has stood the test of time reasonably well. Thankfully, the synths weren’t overused, and on many tracks, the traditional dub reggae sound shines through. On a couple of tracks, including Bad Verdict, some of the sounds made by the synth are similar to those used in early Chicago house tracks. Overall though, Joe Gibbs has produced a really good album, that sees him use the then new technology to add a new twist to the dub reggae sound. This he’s done really well. Much of that is down to his use of some hugely talented musicians, and the assistance of Errol Thompson in arranging and producing the album.
If you wish to buy the album, it can be bought individually, or as part of a recently released four disc box set entitled Evolution of Dub Volume 4 Natural Selection. It features three Joe Gibbs and The Professional albums and one by Sly and Robbie. Standout Tracks: Long Distance Affair, Full Moon In the Sky, Chapter 5 and Bad Verdict.
JOE GIBBS AND THE PROFESSIONALS-AFRICAN DUB 5.
COCTEAU TWINS-FOUR-CALENDAR CAFE.
COCTEAU TWINS-FOUR-CALENDAR CAFE.
Since I started writing this blog, I’ve written about many Scottish bands. These have included Blue Nile, Primal Scream, The Bathers, Fortuny, Lloyd Cole and The Commotions, Love and Money and the band I’m going to write about today, the Cocteau Twins. I’ve previously written two articles about the Cocteau Twins, on their albums Heaven Or Las Vegas and Milk and Kisses. The album I’m going to write about today Four-Calendar Cafe, is quite different from these two other albums. There is less of an ambient feel about the album, it’s more pop oriented and Liz Fraser’s lyrics are much clearer than on previous albums. The album’s title is taken from a passage in William Least-Heat Moon’s book, Blue Highways: A Journey Into America. Released in November 1993, this was the penultimate album the Cocteau Twins would release before splitting up in 1998.
Four-Calendar Cafe begins with Know Who-You Are At Every Age. Drums and guitar open the track, the sound emerging from your speakers in waves. Mostly, the sound is quite soft and melodic, apart from the drums which have a slightly sharper sound. When Liz Fraser’s vocal enters, it is much clearer, but still has that lovely ethereal sound. Her voice is restrained, soft and seems at odds with the soundscape growing around her. As if paying homage to her beautiful voice, guitars chime, a gentleness present in Robin Guthrie’s guitar playing. Meanwhile, Simon Raymonde’s drumming is powerful, and sometimes, threatens to overpower Liz’s fragile sounding vocal. Thankfully, that doesn’t happen. Maybe it would’ve been better to move the drums further back in the mix. However, during the track, Liz’s sings beautifully, accompanied by some lovely chiming guitars. The track seems to wash over you, soothing you, massaging your soul, demonstrating the soulfulness of the Cocteau Twins music.
After such a good opening track, things get even better with Evangeline. This is down to an outstanding performance by the band on the album. As a distant guitar is heard, a drum crashes, then Liz sings. She and the band, slow things way down. Her vocal is really slow. Likewise the drums are played slowly, space aplenty between each beat. Even the guitars get in on the act, helping create a spacious ambient soundscape. Central to the track’s success, is Liz’s vocal. It’s slow and delicate, with a haunting beauty. Midway through the track, layers of guitar play, filling the sound out. A gentle atmospheric sound created by a synth accompanies the band. It’s like a gentle desert wind blowing, and its addition is a masterstroke, adding the final touch to the track. By the end, you’ve been fortunate to hear an ambient track that’s laid back, understated and melodic.
Chiming guitars play brightly, announcing the arrival of Bluebeard. The introduction sounds more populist than on previous albums, pointing to the more pop orientated direction of this album. No guitars drenched in feedback, here. That wouldn’t appeal to the “masses”. From the start, the sound is hugely melodic, just guitars and drums, with Liz’s vocal, much clearer, soaring high towards the heavens. Ethereal and spiritual describe her vocal. Beautiful too. For nearly four minutes, she gives one of her best vocals on the album. Sometimes, she’s unsure, questioning, wondering in the lyrics whether he’s the best man for her. Behind her, the rest of the band give an equally impressive performance, proving they’re the best men to accompany her. Bluebird maybe is an example of the more pop oriented direction of the album, but also demonstrates just how hugely talented a band the Cocteau Twins were.
Unlike the previous track, Theft and Wandering Around Lost doesn’t have the same bright start. Instead, it’s a slightly more subdued, almost duller sounding combination of plodding drums, broody bass and guitars that play. It’s only when Liz sings that the atmosphere lightens and brightens. Her voice is a complete contrast the what went before. Thereafter, the arrangement brightens, becomes more melodic. It’s fuller than on previous tracks, but even slower than Bluebeard. The track meanders along, Liz’s voice melodically fills out the sound with harmonies. They have a dreamy, otherworldly sound, which only Liz Fraser can create. Less pop oriented than the previous track, this is much more what I’d expect from the Cocteau Twins, a track that’s one-part lush and ethereal, the other, broody yet melodic.
Cymbals are played gently at the start of Oil of Angels. Then, straight away, a slow full arrangement opens up. It’s a combination of drums, bass and guitar, with Liz’s vocal at the front. The arrangement is dichotomy. At the start it’s partly dark, fulsome, yet quickly, the tempo increases. Bright guitars chime and jangle. All the time, the bass pulsates. Drums beat out a basic rhythm, adding occasional fills to add variety. However, what makes the track is Liz’s voice. Soaring high, gracefully and angelically, her voice is subtle yet fragile. What makes this such a stunning track is the subtlety of the arrangement, and the fragile beauty of Liz’s voice.
Similarly to Oil of Angels, Squeeze-Wax has a fuller arrangement, with a clever combination of guitars and rhythm section playing. Again, the arrangement has a duller sound at the start. Then, when Liz sings and the trademark chiming, jangling guitars play, the track brightens. Guitars reverberate, then chime. For the first time on the album, effects are unleashed, reverb used on the guitars. Used sparingly, this works well, adding a new dimension to the sound. Liz continues to brighten the sound, her ethereal voice rising and falling. Behind her a lovely dreamy, lush soundscape has developed, taking you on the most magical musical journey into the world of the Cocteau Twins. What this track demonstrates is that first appearances can be deceiving. After all, who’d have thought such a gorgeous track would emerge at the start of this track?
Percussion plays at the start of My Truth, giving the track a spacey, eery feel and sound. When Liz sings, her voice seems swathed, and has a lush, dreamy quality. Here, her voice is more beautiful than ever. It also seems so fragile. The arrangement almost has a minimalist quality, otherworldly sounds floating around, emerging from the mix. It’s ambient heaven, tranquil, spacious and floaty, like something from a mysterious sci-fi soundtrack. Quite simply My Truth is heavenly and beautiful, with a lovely fragility present throughout courtesy of Liz Fraser.
Essence begins slowly and moodily, meandering gently into life. It seems to gradually unfold, showing more of its understated beauty. Guitars chime slowly, synths produce space age sounds, they sweep into being accompanied Liz’s lovely slow thoughtful vocal. Like the rest of the arrangement, it’s really slow, full of space, with an understated quality. The track is just a combination of guitar, synths and Liz’s vocal. Swathes of guitars emerge, reverb slightly changing their sound. Synths interject and combine with the guitars. Together, they combine masterfully, producing a soothing, relaxing, ambient track.
After the lovely laid back previous track, Summerland is totally different. It’s a louder, fuller track. Gone is the understated beauty of Essence, in is a powerful mixture of guitars, bass and drums. Altogether it’s very different, but there’s one constant, Liz’s voice. Whilst Guthrie and Raymonde produce a powerful soundscape, Liz’s voice is quicker, but still has that ethereal quality. She has to sing quicker to keep up with the rest of the arrangement. Unlike the previous track, no space has been left, it’s a constant stream of jangling guitars and frantic drums. This produces am impressive, powerful sound which seems at odds with Liz’s voice. Overall, this great track shows a very different side to the band than the previous track.
Four-Calendar Cafe ends with Pur which begins with frantic pounding drums, slow chiming guitars and sweeping synths. Liz Fraser’s voice follows the lead of the guitar and synths and sings really slowly. It’s a a thoughtful, careful vocal. For a while, her voice stays within the same range. Her voice athen quickens, soaring beautifully. Likewise the arrangement gets louder and fuller. The guitars especially become much louder momentarily. By now Liz’s vocal is surrounded by a lovely arrangement, melodic yet fulsome. Since I first heard Pur, I’ve always loved it. What makes it special is the mixture of the power provided by Raymond and Guthrie and Liz’s thoughtful and beautiful vocal.
Four-Calendar Cafe is quite different to the Cocteau Twins previous album Heaven Or Las Vegas. This album was indeed more pop oriented. It seems that the band were trying to attract a wider fan-base. This they managed, because the album was a commercial success. Of the ten songs on the album, there isn’t a bad one. Each are of the highest standard, and are among the best music the band ever produced. Liz Fraser’s voice was brilliant on each of the tracks, her voice one of the most beautiful and ethereal you’ll hear. However, there was more to the Cocteau Twins than Liz Fraser. Robin Guthrie and Simon Raymonde played a huge part in the band’s success. Together, the three of them produced some wonderful music over an eighteen year period. Sadly, after this album, only one more Cocteau Twins album Milk and Kisses. However, for someone wanting an introduction to their music, Four-Calendar Cafe is a perfect place to start. Having said that, any of their final three albums are very listenable, and among my favorites. Standout Tracks: Know Who-You Are At Every Age, Evangeline, Squeeze-Wax and Essence.
COCTEAU TWINS-FOUR-CALENDAR CAFE.
http://www.youtube.com/watch?v=HTtL74Ytp0Y&feature=results_main&playnext=1&list=PL6A6846019BB94EC0
THE PHILADELPHIA SOUND-SWEET SOUL MUSIC
THE PHILADELPHIA SOUND-SWEET SOUL MUSIC.
Back in the 1970s, Philadelphia produced some of the sweetest, most melodic soul of the decade. It was the latest in a long line of American cities that had produced some fantastic, memorable and hugely influential soul music. Chicago produced the sound of Chess, which produced some of the best blues and soul music ever. Detroit gave us Motown, probably one of the best known of all the soul labels, that produced Marvin Gaye, Stevie Wonder, The Supremes, The Four Tops and Smokey Robinson. Memphis was responsible for Stax, the legendary label that gave the world Otis Redding, Booker T and The MGs, Sam and Dave and Isaac Hayes. Then, in 1971 Gamble and Huff launched Philadelphia International a new record label in their home city of Philadelphia.It would produce some of the most soulful music of the decade. It featured sweeping strings, lush arrangements that were punctuated by horns, and some wonderful new musicians. Philadelphia International introduced the world to artists such as The O’Jays, McFadden and Whitehead, MFSB,The Delfonics, Billy Paul and Dee Dee Sharp Gamble. This was the beginning of a magical new musical journey, which saw the label produce hit after hit. In this article, I’ll tell you about the Philadelphia Sound, and then tell you what are the best compilations to buy.
Philadelphia International was set up by Kenneth Gamble and Leon Huff in 1971, in partnership with Columbia Records. Gamble and Huff were both natives of Philadelphia, growing up in the city’s south side. By 1971, they were both experienced songwriters and producers, having over many years, learnt their craft in their own city. Clive Davis, president of Columbia Records agreed to enter a partnership with the pair, investing a $75,000 advance whereby Gamble and Huff would produce fifteen singles. A further $25,000 was set aside for a smaller number of albums.
When the label released their first three singles, they were huge successes. No wonder, they were Backstabbers by The O’Jays, If You Don’t Know Me By Now by Harold Melvin and The Bluenotes and Me and Mrs Jones by Billy Paul. Such a success was almost unheard of. The only label which had such immediate success, had been Motown. Maybe Gamble and Huff could recreate the success of Motown in Philadelphia.
The success of the label was down to the sound. People loved the mixture of music which incorporated a mixture of soul, funk, smooth jazz, tinges of gospel and the best of vocal pop music. Their use of sweeping strings, lush instrumental arrangements, horn sections that soared, punctuating the sound, even a glockenspiel playing subtly in the background. For over a decade, the music was a mixture of beautiful ballads and brilliant dance tracks.
Another part of the success of the music were the producers. Gamble and Huff produced many of the tracks, but Gene McFadden and John Whitehead were another production duo. Having said that, there were many songwriters and producers who contributed towards the success of the label. People like Thom Bell, Dexter Wansell, Linda Creed and Norman Harris. However, without some brilliant musicians, the success wouldn’t have been possible. Some musicians played on many of the label’s big hits. Three important musicians were bassist Ronald Baker, guitarist Norman Harris and drummer Earl Young. Together, they’d record as The Trammps, and were the rhythm section for M.F.S.B.
It would take forever to list the artists who recorded for Philadelphia. Groups such as The Stylistics, The Salsoul Orchestra, The O’Jays, The Three Degrees, The Jones Girls and First Choice. Singers including Billy Paul, Patti LaBelle, Teddy Pendergrass and Eddie Holman. All of these artists contributed to the success of the label and sound.
For over a decade, the Philadelphia Sound emerged beautifully from our speakers, providing us with some of the most memorable, melodic and beautiful soulful music. That music is as popular today, as it was back then. Compilations of the Philadelphia Sound are still being released today, and in this article, I’ll guide you through these compilations, and help you decide which are the best ones to buy.
LOVE TRAIN-THE SOUND OF PHILADELPHIA.
There is something for all budgets for someone wishing to buy a compilation of the Philadelphia Sound. Probably the most expensive and lavish, is a four disc box set entitled Love Train-The Sound of Philadelphia. It was released back in 2009 by Sony and includes most of the best known tracks released during the heyday of the Philadelphia Sound. It also features a comprehensive booklet featuring interviews from some of the people responsible for giving us the Philadelphia Sound.
Over four discs, you’ll hear some brilliant polished music, a mixture of soulful, dreamy ballads and some of the most danceable soul music of the 1970s’. This music features great songwriting, outstanding production and some of the most talented artists you’ll ever have the privilege of hearing. Here are my choices from this box set.
The O’Jays I Love Music begins with tom-tom drums playing, drums join in, and a vocal soars. Quickly, the song bursts into life, a mixture of bass throbbing, keyboards, sweet vocal harmonies and a trumpet playing. All this before the lead vocal. From there on, The O’Jays take you on a musical journey that demonstrates just what makes a great soul track. It’s a full arrangement, lead vocal surrounded by harmonies, short stabs from the piano punctuating the track. Horns soar brightly, drums are a constant. Later a guitar solo plays, as strings sweep in the background. So much goes on for nearly seven minutes, with everything contributing towards making a brilliant track. Here, the tempo is fast, it’s highly danceable, full of hooks, with one of the best arrangements you’ll ever hear.
My next choice is Harold Melvin and The Bluenotes Don’t Leave Me This Way, a track that has a much more subtle start, with keyboards, drums and guitar combining, slowly building the track up. When Harold enters, he’s just humming, against a backdrop of some beautiful strings. Then, when his vocal begins, it’s strong and clear, surrounded by a mixture of strings, chiming guitars, the brass section play quietly. Suddenly, the track opens out, Harold’s voice soars, the arrangement grows, The Bluenotes harmonize behind him, and quickly, the most beautiful arrangement emerges. Like the O’Jays track, it’s a full arrangement, with guitars, string and brass section among the highlights. Harold’s voice is hugely powerful, and he sings the song with passion. Meanwhile, keyboards join in, and Harold and The Bluenotes take the lead, feeding off each other. The rhythm section then take over, with Harold taking a break, towards the end of the track. Many other artists have covered this track, but be warned, Harold Melvin produces the definitive version, you only need to hear this song once to realize why.
When I was growing up, one of my favorite records was McFadden and Whitehead’s Ain’t No Stopping Us Now. It was a particular favorite of one of the DJ’s on local radio, who like me, was a great lover of the soul music coming out of Philadelphia. This was a track he played many times, and a track since then I’ve loved. McFadden and Whitehead were songwriters, producers and this became their best know track as recording artists. It begins with drums, bass and strings, and has a lovely lush introduction, with backing vocalists singing. All the time the bass is playing quickly at the bottom of the mix. When the vocal begins, it’s strong and clear, accompanied by backing singers, strings constantly sweeping, synths punctuating the sound. Part of the success of the song is the use of backing vocalists, the prominent rhythm section and those lovely lush strings. Midway through the song comes the breakdown, when they slow the song down, only to bring it back up. Later on, the brass section join in, further filling the song out. For seven glorious minutes, McFadden and Whitehead take me on a memorable trip down memory lane, with one of the most successful and joyous of the songs from that era. Quite simply the best song on the box set.
Some of the songs on the box set are lovely ballads, none more so than The Delfonics La-La Means I Love You. It’s a dramatic opening that greets the listener as drums play, then another lush arrangement begins. Drums and piano play as the vocal begins, a falsetto vocal sings the lead, with the rest of the band providing backing vocals. Here the lyrics are tender, the vocal soars, harmonies enter. Behind them, the arrangement is much more subtle, suited to the lyrics and vocal. Drums are the most prominent instrument in the arrangement. Like other tracks, the arrangement sweeps, soothingly behind the band. However, what makes the track, is The Delfonics heartfelt, moving, delivery of some beautiful, romantic lyrics.
Another ballad from the box set is Billy Paul’s You’ll Never Find Another Love Like Mine. It begins with a synth playing, a keyboard accompanying it, and then Billy sings. His voice is both gentle and clear, as he takes care singing the lyrics. Behind him the arrangement sees a mixture of string and a synth play. Backing singers compliment Billy’s voice, doing so really well. A guitar plays, accompanying Billy, and that trademark glockenspiel can be heard in the background. Throughout the song, Billy sings the song brilliantly, mostly gently and restrained, towards the end although his voice soars, he’s always in control of his powerful voice.
My final selection from this box set is The Stylistics’ track Stoned In Love With You, another lovely ballad. This is another of my favorite tracks from this era. It’s a rich, full sound that opens the track, piano and strings combining, before the vocal. When the vocal arrives, it’s another brilliant falsetto vocal, complete with lovely backing vocals. The arrangement is just as good as the vocal, strings, drums, percussion and brass section combining. Here, the lyrics are about love, and have a lovely sentiment. Likewise, the vocal is brilliant, a mixture of restraint and soaring vocals. Stoned In Love With You is one of the most recognizable songs of that era, due to the brilliant falsetto vocal, lovely lyrics and stunning arrangement.
Love Train-The Sound of Philadelphia may be an expensive box set, but includes the best music from that label. It features some of the best known, best loved and most successful songs from that time. It also features some songs that may not be as well known. Together, they provide a snapshot of one of the most influential soul labels of all time. Personally, I think there isn’t a bad song on the box set, and should you decide to buy the box set, you’ll hear some marvelous, melodic soul music. Standout Tracks: Harold Melvin and The Bluenotes Don’t Leave Me This Way, McFadden and Whitehead Ain’t No Stopping Us Now, Billy Paul You’ll Never Find Another Love Like Mine and The Stylistics Stoned In Love With You.
LOVE TRAIN-THE SOUND OF PHILADELPHIA.
PHILLY FREEDOM.
Recently there have been several compilations of music from Philadelphia. Two compilations have been released by Backbeats, part of Harmless Records. Both compilations were compiled by Ian Dewhirst. Philly Freedom is the first I’ll look at. There are nineteen tracks on the album, including tracks from Lou Rawls, Frantique, The Jones Girls, The Trammps and The Delfonics. This is a much cheaper compilation, and is really good value album. On the album, are a mixture of well know, and lesser known tracks. I’ll pick my four favorites from the album.
Lou Rawls’ You’ll Never Find Another Love Like Mine is my first choice from this compilation. It begins brightly, keyboards, drums and bass combining to produce a powerful sound. The bass is really prominent in the mix. When Lou sings his voice is strong and loud, as it soars as he delivers this lovely track. Accompanying him, is a piano that constantly, compliments his voice by highlighting certain parts of the vocal. Behind him, strings play, the rhythm section combine, backing vocalists sing. Together they complete a stunning arrangement, which together with Lou’s voice produce one of the best track’s on the album.
Another song I remember from growing up was Frantique’s Strut Your Funky Stuff, a track that was hugely popular both on radio and the dancefloor. From the opening bars, it’s apparent this a classic dancefloor hit, one that’s so catchy it’s almost infectious. It’s a female vocal, pounding drums and handclaps that open the track. The tempo is fast, repetitive, the focus on just a few instruments drums, bass, synth and brass section. Backing vocalists accompany the lead vocal, and reverb is used on the vocal. During three and half minutes, it’s impossible to keep still, all you want to do is dance. This isn’t helped by the multitude of hooks that seduce your ears, and tempt you to dance. Quite simply, Strut Your Funky Stuff is a hugely underrated track that’s one of most catchy, danceable tracks on this compilation.
The Trammps’ Where Do We Go From Here? Earlier in this article I said how important the musicians who made up The Trammps were in the Philadelphia Sound. Where Do We Go From Hear? was one of their best know tracks. It begins with that rhythm section that featured on so many hits, the brass section and strings combining. It’s a dramatic, sweeping introduction before Earl Young sings. When he sings, his voice is powerful, soaring as the rest of the band harmonize. Meanwhile, the arrangement has a lovely full sound, drums pounding at the front of the mix, while by contrast, lush strings play. Together with guitars, brass section and backing vocalists, they produce a beautiful melodic, lush sound. Earl’s vocal drives the song along, proving that he’s more than a hugely talented drummer. To me, The Trammps are one of the unsung heroes of the Philly era.
My final selection is Archie Bell and The Drells I could Dance All Night, which begins with a lovely lush introduction, a mixture of strings and brass section, with the rhythm section and guitar playing. Archie Bell’s vocal soon enters, surrounded by the arrangement. He hasn’t such a powerful voice, but still delivers the song really well. The Drells’ provide backing vocals, a piano plays, the brass section punctuate the track, as it flows along. Towards the end, Archie’s voice soars, with The Drells accompanying him, and by now the arrangement is complete, a brilliant musical melange, demonstrating just what made Philly great.
Philly Freedom is a great compilation, full of some of the best tracks that came out of Philadelphia, combined with some hidden gems. For all the album costs, it’s well worth buying if you, like me, love the music of the City of Brotherly Love. Standout Tracks: Lou Rawls’ You’ll Never Find Another Love Like Mine, Frantique’s Strut Your Funky Stuff, The Trammps’ Where Do We Go From Here? and Archie Bell and The Drells I could Dance All Night.
PHILLY FREEDOM.
PHILLY DISCO.
Philly Disco is another album released on Backbeats, part of Harmless Records. It shares the same compiler as Philly Freedom, Ian Dewhirst. He is someone who knows his subject and has picked twelve great tracks for this album. Some people will know all the tracks, others just a few. However, one thing they have in common is that they’re among some of the best music coming out of Philadelphia during that time. This time, I’ve picked three songs from this album to write about.
My first choice is Dee Dee Sharp Gamble’s Breaking and Entering, a track that begins with a siren sounding, drums pounding and the funkiest of bass playing. After Dee Dee hollers “stop thief,” she sings the vocal, providing a dramatic rendition of the track, punctuated by horns. All the while, that brilliant bass plays, backing singers subtly accompany Dee Dee. By now the tempo is quick, the sound a mixture of funk and soul. Sometimes, there is a similarity with some of the early Chic records. During this epic track, Dee Dee’s vocal veers between passionate and dramatic. Here, the drums sound like the forerunner to early house music. Occasionally, a piano or the brass section adds to the dramatic atmosphere that’s built up. For nearly seven minutes, you hear a great example of funk and soul combining masterfully.
Less intense is Jean Carn’s If You Want To Go Back. It’s a very different, less frantic sounding track, with a much subtler arrangement. Piano, drums and bass begin the track, before strings sweep in, as if signaling Jean’s entrance. Her vocal is quite restraint, softer, quieter. Only once does she unleash her voice, but remaining in control. Around her the arrangement features some lovely, lush strings, accompanied by a piano, drums strings and brass section. Like Jean’s vocal, the arrangement is nicely understated, and not once, does it come near to overpowering her vocal. A lovely track, well sung, with a great arrangement.
My final choice from this album is Billy Paul’s Bring the Family Back. The rhythm section and handclaps, open the track, then Billy sings. At first his voice is quieter, he seems to be giving a much more restrained performance. He seems to be in the groove, providing a lovely piece of smooth soul, that floats along, with strings playing quietly in the background. Backing vocalists accompany him, they’re a perfect foil for his voice. One of the highlights of the track is some brilliant bass playing, which has an understated quality. Overall, the combination Billy’s restrained vocal, handclaps, strings and the rhythm section provide a lovely, subtle, arrangement.
As well as the tracks I’ve mentioned here, Philly Disco features tracks from The O’Jays, M.F.S.B, Harold Melvin and The Bluenotes and a ten minute version of McFadden and The Whitehead’s Ain’t No Stopping Us Now. Like Philly Freedom, and other tracks in this series it’s full of some great music, and really good value. I’ve purchased several of the albums in the Backbeat series, and would recommend them to anyone who is interested in soul music. Considering that this album costs about the same as a latte and cupcake, I know what I’d prefer. After all, coffee lasts a few minutes, music is for life. Standout Tracks: Dee Dee Sharp Gamble Breaking and Entering, Jean Carn’s If You Want To Go Back and Billy Paul Bring the Family Back.
PHILLY DISCO.
PHILLY REGROOVED-TOM MOULTON REMIXES.
In the past few years, Harmless Records have been producing even more compilations than usual. By now, they’ve released over one-hundred compilation albums. In 2010 they released an album of Tom Moulton remixes of music on the Philly Groove label, entitled Philly Regrooved-Tom Moulton Remixes. Moulton was a legend in music, and was responsible for some of the earliest remixes. He could take a three minute track, and turn it into eight minutes of magical disco music. Almost single-handedly, Tom Moulton created ways to remix tracks long before technology was around. This was time-consuming, laborious work, but Tom is one-part obsessive, one-part perfectionist, and slowly and carefully, created some of the earliest, most successful disco tracks. So, back in 2010, Harmless released the first of two volumes of Tom Moulton Remixes. I’ll pick my two favorites from each album, and tell you, just what makes them so good.
My first choice is the Philly Groove Orchestra (featuring First Choice) and Let Us Entertain You. It has a stuttering introduction, a mixture of cymbals and a funky bass and then an orchestra playing. This contains a mixture of strings and brass section, with a guitar playing. The arrangement sweeps lushly along, sometimes the bass kicking in, funkiness personified, trumpets punctuating the sound. Later a saxophone blows, then eventually backing singers join the arrangement, and after the trumpets sounds her arrival the lead vocalist sings. Towards the end, a breakdown occurs, and it become something of a soul and funk workout. Thankfully, this works, and doesn’t spoil the track. Quite simply, it’s a lovely laid back, lush, joyous sound, with just a pinch of funk. Tom Moulton has taken the original track and transformed it, making it much better than the original. This is a difficult thing to do, often a remixer fails to do this, and spoils even the original track. Not Tom Moulton though.
My other choice from this album is Finishing Touch’s Second Best (Is Never Enough). Whereas the previous track was pretty laid back, this has a much more dramatic sound. Strings sweep in, opening the track, with drums punctuating the sound. The vocal joins in, accompanied by backing vocalists. Quickly, the sound takes a dramatic turn, the tempo quickening, bass, strings and drums combining. Drums play a large part in the track, constantly punctuating the track, highlighting parts of the vocal, sometimes filling gaps in the vocal. By now, a guitar chimes, the bass is more prominent. Throughout the track, the vocal is strong and dramatic, with backing vocalists complimenting the vocal. When the vocal drops out, strings and guitar play a bigger part, each getting a chance to shine. Occasionally, backing vocals interject. Towards the end, the vocal rejoins, with the backing vocals accompanying it. During the five minutes of the track, it’s a beautiful mixture of strings and vocals, which contribute most towards making this such a great sounding track.
Philly Regrooved-Tom Moulton Remixes features a dozen great tracks from the Philly Groove label. Unlike the previous three albums, you may not know as many of the tracks, but they’re great tracks, well worth exploring. When you listen to Tom Moulton’s remixes, you’ll find it hard to believe he created these tracks way before technology, and to do so, had to create his own ways of making such a remix possible. He lead the way for many others to follow, and even with the introduction of technology, it would be hard to produce such consistently good remixes. I would thoroughly recommend this album, as it’ll let you hear music from a label you’ve maybe not heard of before, and that music is really good. Standout Tracks: Philly Groove Orchestra (featuring First Choice) Let Us Entertain You and Finishing Touch Second Best (Is Never Enough).
PHILLY REGROOVED-TOM MOULTON REMIXES.
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PHILLY REGROOVED 2-TOM MOULTON REMIXES.
Earlier this year, Harmless Records brought out the second volume of Tom Moulton’s remixes of music from the Philly Groove label, entitled Philly Regrooved 2-Tom Moulton Remixes. This time the albums consisted of another eleven tracks from artists including Ultra High Frequency, First Choice, Terry Collins and The Quickest Way. Again, I’ll choose two of my favorite tracks from this album, and tell you what makes them so special.
My first choice is Ultra High Frequence’s Incompatible, a track that begins with guitar, drums, bass and strings. At first, the track begins slowly, but quickly bursts into life with a crescendo of drums. When the track opens out, the tempo increases, and the strings are interrupted by the brass section as the song sweeps smoothly along. After a long instrumental section the vocal begins. A male vocalist sings, accompanied by backing vocalists. By now, the track is a lovely bright slice of Philly soul, complete with strings, brass section and wonderful vocals. Drums punctuate the track, and a piano and brass section play. All inject further life into the track. A funky bass plays, getting into the act. For the remainder of the track, it’s a masterful mixture of vibrant vocals, and a joyous arrangement, full of life and packed full of even more hooks and melodies. Incompatible has absolutely everything you’d expect from in Philly track from, Philly, and so much more. It’s a six minute celebration of what made the Philly sound great.
The other track I’ve chosen is The Quickest Way’s Who Am I, a bright sounding track beginning with drums, strings and brass section. Like the previous track, drums punctuate the introduction. Where it differs, is when a guitar plays a solo, as does a piano. After a lengthy instrumental passage, the vocal appears. When he sings, his voice isn’t the strongest, but it’s got a good voice, melodic and soulful. It’s augmented by backing vocalists, who are accompanied by a piano solo and strings. Similarly to the previous track, this also sweeps along, the arrangement just as lush and sweet. Midway through the track there’s a breakdown, and drums play a solo, a guitar and keyboard enter, replacing the vocal. Now the track becomes something of a jazz funk track, and individual musicians get the opportunity to shine before the vocal reappears. When it does, it sounds slightly stronger. Behind the vocal a lovely arrangement has emerged a lovely mixture of soul, funk and jazz. Overall, it’s a track with a feelgood factor, one that’s uplifting and sweeps you along on a tide of some beautiful, catchy and melodic music.
Like the first volume of this series, the album contains another eleven examples of Tom Moulton’s skill as a remixer. On the album are songs that many people won’t have heard of, and that’s a huge shame because there are some great tracks on the album. All I can say, is that if you’re interested in either soul music, especially the music that emerged from Philly during the seventies, this is a must have. If you’re interested in the history of dance music, this album will appeal to you, as it’ll allow you to hear some of the earliest remixes, by one of the most important and influential individuals in the history of dance music. I’d certainly recommend this album to anyone, regardless of whether they’re a fan of soul or dance music, because it features some great music. Standout Tracks: Ultra High Frequence Incompatible and The Quickest Way Who Am I.
PHILLY REGROOVED 2-TOM MOULTON REMIXES.
I’ve hugely enjoyed writing this article, it was both, a trip down memory lane, listening to music I grew up listening to and loving, and a great opportunity to listen to some of my favorite music. It was difficult narrowing this article down to just five albums. There were several others I could’ve included, but thought it best just to focus on the music from two labels Philadelphia International and Philadelphia Groove. The first three albums concentrated on the music from the Philadelphia International label, the last two music from the Philadelphia Groove label. What they’ve got in common, is that they both produced some brilliant music. Personally, my favorite of the two labels is Philadelphia International. After all, they brought us The O’Jays, The Stylistic, Billy Paul, Lou Rawls, Teddy Pendergrass, McFadden and Whitehead and The Jones Girls. For over a decade, these artists produced some of the best soul music of the past thirty or forty years. That music is still loved by many people, and still sounds as good today, as the day it was recorded. Similarly, Philadelphia Groove gave us some wonderful music, and that too has a timeless quality, as all good music has.
Should you want to hear some of the music you’ve read about in this article, there are albums to suit all price range. If you buy any of three albums featuring music from the Philadelphia International label, you’ll be hearing some of the greatest soul music ever. Obviously the Love Train-The Sound of Philadelphia is the most expensive, but provides most of the brilliant music that great label recorded. However, the other two albums Philly Disco and Philly Freedom are good value, and a good way to hear some of that music for very little money. Philly Regrooved-Tom Moulton Remixes and Philly Regrooved 2-Tom Moulton Remixes are both good value albums, albeit slightly more expensive than Philly Disco and Philly Freedom, but allow you to hear some great music on the Philadelphia Groove label. Regardless of which albums you buy, enjoy them, and I’m sure they won’t be the last albums you buy featuring the Philadelphia Sound.
KATE BUSH-LIONHEART.
KATE BUSH-LIONHEART.
In this article, I’m going to write about one of the most remarkable singer-songwriters of the past forty years. She was discovered aged sixteen, by Dave Gilmour from Pink Floyd. He recommended her to EMI, who promptly gave her a record contract. Aged nineteen, her first solo album The Kick Inside, was released. Some of the songs on the album, had been written when she was just thirteen. Her debut single Wuthering Heights became a number one single, spending four weeks at number one. Obviously, this is a remarkable artists. Remarkable yes, but prolific no. During a career that began in 1979, she has one released just nine albums, and at one point, there was a twelve year gap between albums. Unlike most artists, she has only toured once, in 1979. Kate Bush released her second album Lionheart, it was the follow up to her debut album The Kick Inside. Released just nine months after her debut album, it was another hugely successful album that demonstrated how hugely talented an artist she was. Before telling you about Lionheart, I’ll tell you about Kate Bush’s career so far.
Kate Bush was born Catherine Bush in July 1958, in Bexleyheath, Kent. Her father Robert, was a physician who was a talented pianist, her Irish mother Hannah, had been an Irish folk dancer. Her two brothers Paddy and John were also artistic. Paddy made musical instruments, John was a poet and photographer. Together, the family lived in a farmhouse in East Wickam. As a child, Kate attended school at St Joseph’s Convent Grammar School, and latterly a Catholic girls school in London.
It was during that time, that Kate started writing her own songs. By the time she started sending out demo tapes they included fifty of her own songs. It was through Ricky Hopper passing a demo tape to Dave Gilmour, that Kate was able to produce a more professional a much more professional demo tape. Hopper was a friend of Gilmour and the Bush family. He passed the tape to Gimour, who liked what he heard, and arranged for the new demo tape to be made. Andrew Powell, a friend of Dave Gilmour’s produced the demo tape. Powell would then go on to produce Kate’s first two album. This demo tape was sent to various record companies, but in the end, Kate signed to EMI. Ironically, Kate was signed by Terry Slater, who also signed the Sex Pistols.
For the first two years of her contract with EMI, Kate continued her studies. She spent more time at school, than she did recording her album. The rationale was that if the album failed, it would have a negative impact of Kate’s career, and she might be too young to handle this. By the time these two years were up, she’s written nearly two-hundred songs. Now it was time to record her debut album.
Before she started recording her album, Kate embarked on a tour of pubs with the KT Bush Band. Instead of using her usual band members, she used experienced session musicians. A few of these session musicians stayed with her, when she brought her usual band. Recording for what would become The Kick Inside took place in June 1975 and between July and August 1977. Before the album was released, Wuthering Heights was released as her debut single. It was a huge success, spending four weeks at number one in the UK singles charts. When The Kick Inside was released in February 1978, it reached number three in the UK album charts.
Nine months later her second album Lionheart was released. Like her debut album, it was produced by Andrew Powell, but this time, Kate was assisting with the production of the album. It was recorded in the French Riviera, the only album she’s recorded outside the UK. Kate wasn’t pleased that she’d been rushed into making the album so quickly. She felt that she needed more time to get the sound on the album correct. By now, she was having to undertake much publicity work and had to embark on a tour to publicize the new album. This resulted in her setting up companies to publish her music, and manage her career. After this, she and her family would have total control of her career. Lionheart was released in November 1978, and reached number six in the UK album charts.
When Never For Ever was released in September 1980, Kate had a new producer, Jon Kelly. Kate was coproducer, having made her production debut on her Live On Stage EP. Never For Ever had a very different sound to her two previous albums. Gone was the lush, orchestral style which accompanied her band, in was a variety of different styles, including rocky sounding tracks and the “waltz sound” of Army Dreamers. Another change was the use of synths and drum machines on the album. On its release, the album reached number one in the UK album charts. This gave Kate her first number one album, and she became the first UK female solo artist to have a number one studio album.
Two years passed before Kate released The Dreaming in September 1982. This must have seemed a while to fans, but little did they know that soon, albums would become even more infrequent. When the album was released, critics were divided by its sound. They weren’t sure about the much denser soundscapes that were on the album. Some critics loved, others weren’t so sure. Even the singles taken from the album didn’t do so well. Only Sat In Your Lap did well, and it was released over a year before the album. Other singles failed to trouble the top forty. However, the album did much better, reaching number three in the UK album charts.
Hounds of Love, Kate’s fifth album, was released in September 1985. It became Kate’s most successful album and her second number one album. Instead of incurring huge expenses by recording the album in a studio, Kate built a twenty-four track studio at her home. Her previous album The Dreaming, had taken a long time to record, and proved really expensive. The new home studio saved this expense. When the album was originally released on vinyl, the second side was devoted to The Ninth Wave, which takes it’s name from Alfred Tennyson’s poem Idyls of the King, about the reign of King Arthur. It’s one piece of music, divided into various song cycles, exploring the themes of a night of dreams and nightmares. It’s an extremely powerful and thoughtful piece of music, with sees Kate make good use of a mixture of synths, traditional instruments, her faithful piano and layer upon layer of vocals. Since its release, Hounds of Love has been considered one of the most important albums of the past thirty years.
Like her previous album, Hounds of Love, Kate’s next album The Sensual World drew inspiration from the literary world. James Joyce’s seminal book Ulysses, was an inspiration for the track The Sensual World. The Sensual World was released in October 1989, four years after her previous album. On its release, it was well received by critics, and reached number two in the UK album charts. It was nominated for a Grammy Award for Best Alternative Music Album. Later, Kate reworked and rerecorded songs from The Sensual World for her 2011 album The Directors Cut.
Another four years passed before Kate released another album. The Red Shoes was released in November 1993. Accompanying the album, was a short film The Line, the Cross and the Curve. Reviews for the album were mixed, but this didn’t stop the album selling well. Kate explained that the album was meant to have a live feel to it. There was less of the effects used on previous albums. It reached number two in the UK album charts. On the album, Kate has helped by artists such as Prince, Eric Clapton and Jeff Beck. The album’s release came at a really difficult time for Kate. Her mother had died, her relationship with bass player Del Palmer had ended and Alan Murphy her favorite guitarist in the band had also died.
Kate now took a twelve year sabbatical from the music industry. During this time she spent time with her family, and bringing up son Bertie. By November 2005, she was back. Recorded between 1999 and 2005, Aerial was a double album from Kate which features a wide range of musical styles. On the album is folk, flamenco, pop, reggae, classical and Renaissance music. Like other albums, themes run through the album. Here, the second disc Sky of Honey, is one piece of music telling of the outdoor adventures of a summer’s day, from morning one day, to sunrise the next. It’s a stunning piece of music featuring nine songs. Critics loved the album, and it was critically acclaimed, being described as one of Kate’s finest albums. It reached number three in the UK album charts.
2011 saw Kate release The Director’s Cut an album where she rerecorded and reworked songs from two of her earlier albums The Sensual World and The Red Shoes. Four tracks were taken from The Sensual World and seven from The Red Shoes. In the main, the album was well received by critics. The album sold well, and reached number two in the UK album charts.
During her career Kate, Kate has collaborated with a number of artists, including her friend Peter Gabriel. She has been a huge influence on a new generation of artists, including KT Tunstall, Tori Amos and Bjork. Even though new albums by Kate are something of a rarity, she still has a huge amount of fans who love her work, and await a new album. They’ll be pleased to hear that there are rumors that a new album will be released in November 2011.
Having told you about Kate’s career so far, I’ll now tell you about her second album Lionheart. It opens with Symphony In Blue, a track that has a lush sounding introduction that’s made of Rhodes keyboard, piano, guitars and bass. When Kate sings, her voice is high, soaring way above the rest of the arrangement. She accompanies herself on piano, the bass sits way down in the mix, plodding along. Electric guitars play, drums join in, but the focus of your attention has to be Kate. Her voice is stunning, she has a great range, and during the track, her voice soars powerfully. Behind her, the arrangement is quite full, but it’s really melodic, as is her voice. Listening to the lyrics, they’re really mature for someone who was still only twenty-one. They describe the way she feels, her moods and thoughts about various subjects. Symphony In Blue is a great track to start the album, and what’s interesting is how youthful Kate’s voice sounds.
There are always numerous literary references in any Kate Bush album. Here, she references JM Barrie’s classic story Peter Pan, incidentally written not far from where I live. In Search of Peter Pan has a gentle start, played just on the piano. Kate sings unaccompanied at the start, but later percussion can be heard. The arrangement is really subtle at the start. Later, when drums and bass join the arrangement, they never overpower Kate’s vocal. It’s as if everyone is taking real care to ensure that Kate’s vocal takes centre-stage. This is only right, as her vocal is stunning. It’s also highly dramatic as her voice gets strong and louder, yet always she seems in control. Her lyrics are sensitive, telling a story about a young girl deeply unhappy at school, unhappy about her life overall. Instead, she escapes into the make believe world of Peter Pan. Not only are the lyrics really good, but Kate’s performance is stunning, one of the best on the album. However, the careful arrangement allows Kate to shine. It ensures that her voice is the most important part of the arrangement.
Three singles were released from Lionheart. The second was Wow, one of the best know tracks from the album. What sounds like strings sweeping in from the distance, opens the track. After that, a synth plays and Kate sings. Her voice is slow, atmospheric, as if she’s building up the drama. By now, the track is just meandering along beautifully, Kate’s piano and a bass playing. Then Kate unleashes that powerful voice which soars beautifully. Behind her the arrangement grows, mandolins, drums, guitars and bass combine. After that, the tracks sweeps along beautifully. You find yourself caught up in it. Occasionally, the tempo increases, but this doesn’t last long. The lyrics are about being an actor on the stage, with one of the characters struggling with his role. That’s when Kate sings “He’ll never make “the Sweeney,” a reference to a 1970s’ police drama. Wow is a wonderful track, a combination of Kate’s great voice, clever lyrics and a sympathetic arrangement.
Don’t Push Foot Your Foot On the Heartbrake has a quicker start than Wow, but gives no indication of what’s to come. Again, it’s just Kate accompanied by her piano that starts the track. She’s singing melodically, slightly quicker than previously. Then, suddenly, the track bursts into life. The contrast is amazing. From a relatively understated arrangement, it becomes nearly frantic. Drums crash, guitars play and even the piano is pounded. Meanwhile, Kate unleashes that powerful voice, and is almost screaming. As if burnt out, the band and Kate slow the song down. Then having got their breath back, they return to the fuller, frantic sound. Having said that, they produce an impressive and effective sound, during which time Kate and the band sing and play brilliantly. Although I’ve always enjoyed the song, it’s quite a contrast to previous tracks on Lionheart.
Many song on Lionheart have a strong narrative, espeacially Oh England My Lionheart. It tells the story of a pilot whose plane has been shot down, and as he heads towards the ground and his death, contemplates his homeland. Kate sings softly as she sings and plays her piano. Quickly, she’s joined by recorders playing. Harpsichords join in accompanying Kate, giving the song an old fashioned, historical sound. As she sings, she mentions things that are quintessentially English. Backing vocalists harmonize with Kate, completing the sound. Here, Kate gives a touching and heartfelt rendition of some intelligent, thoughtful lyrics. When you listen to the lyrics, and think about the story, you too, will quickly realize just what a terrible, criminal, waste of life and resources war is.
It’s a gentle meandering piano solo that opens Fullhouse, but when Kate sings, her voice is loud and strong, soaring high. Like Don’t Push Foot Your Foot On the Heartbrake, the arrangement quickly gets much fuller and louder. Kate’s joined by drums, guitars and bass, which together, combine to produce a powerful sound. Drums sometimes are pounded, guitars solos play, soaring and chiming. Here, the arrangement suits the lyrics. They talk about the thoughts that fill someones head, worming their way in, niggling and nagging away, telling them about things that aren’t happening, that aren’t real. In some ways, the arrangement replicates this, many things going on at one time, each seeking your attention. Whether this is intentional, or accidental, I don’t know, but what I know, is it’s effective.
In A Warm Room is the polar opposite of Fulhouse. The arrangement is far more subtle, the sound not as full or busy. Here, it’s just Kate and her piano. She sings the song beautifully, using her vocal range well, her piano playing just as good. Likewise, the lyrics are really good. They’re sensual, seductive, describing a woman who awaits her lover. The only problem is that she may not be around long, tiring of his familiarity. Although In A Warm Room is very different to many tracks on Lionheart, it’s simplicity is much of its appeal. It allows you to concentrate on Kate’s voice and the lyrics, both of which are equally stunning.
Like several other songs on Lionheart Kashka From Baghdad has an interesting story behind it. It tells of the story of a same-sex couple, who are cut off from their friends and family because of their relationship. Kate deals with the subject both frankly, and sympathetically. When the track opens, Kate’s accompanied by her piano, atmospheric sounds are heard in the background. Setting the scene and mood, a bass joins the arrangement. This provides a contrast to the piano. Quickly, Kate’s voice powerfully soars, joined by backing vocalists. Mostly, the arrangement is subtle, and features mandocello and panpipes, augmeting more traditional instruments. The additional of harmonies adds to the dramatic atmosphere present during the song. Both Kate’s vocals and her lyrics are excellent, her portrayal of less enlightened times both touching and sad, because of the couple’s betrayal by loved ones.
Although there are similarities between the play Arsenic and Lace, and the next Coffee Homeground, the song was actually inspired by a taxi driver who once drove Kate about. At the start, it’s almost like the music for a tango that greets you. The music is dramatic, and so is Kate’s delivery of the song. Her voice veers between a restrained style, to a dramatic soaring sound. Throughout the song, her voice is strong and clear, with Kate taking care with her phrasing. What I find remarkable about this track is that it was made using just drums and percussion, rhythm guitar, bass, synth and piano. It seems remarkable that they were able to produce such an amazing sounding track with so few instruments. Here, Kate demonstrates her versatility as a vocalist, tackling yet another style of song.
Lionheart closes with Hammer Horror and Kate paying homage to the old Hammer films that many people of Kate’s age, and even my age remember. In keeping with the films the start has a big, bold, dramatic introduction, then Kate sings gently and beautifully, accompanied by her piano. After that, things change. The arrangement gets louder, bolder as does Kate’s voice. That’s just temporarily, as she slows things down again. Thereafter, it’s a song of peaks and troughs, stops and starts. Here, the arrangement goes between a soothing sweeping sound that’s beautifully understated, to an almost overblown, much louder, fuller sound. Much of that fuller sound is created by synths, harmonium and piano, assisted by drums and guitars. This fuller sound is spectacular in nature, and a complete contrast to the much quieter, sweeping sound. Together, they create a great track, and it’s a fitting way to end a great album.
Earlier in this article, I mentioned that Kate Bush was unhappy at having to rush this album, so it could be released quickly. Personally, I think that Lionheart is a great album, featuring ten very different songs. They all have one thing in common, some wonderful lyrics, sung brilliantly by Kate. She was fortunate to have a hugely talented group of musicians working with her on this album. Each of them played a huge part in the album’s success. One thing I love about the songs, is that they’ve a strong narrative and tell an interesting story. Considering that they were written while Kate was still a teenager, that makes her achievement all the more remarkable. To me, Lionheart was a good follow-up to her debut album the Kick Inside. Since then, in the intervening thirty-two years, Kate has only produced a further seven albums. It seems a shame that she hasn’t produced many more albums, as she’s one of the finest singer-songwriters of the past forty years. However, hopefully she’ll have a new album out in November 2011. Standout Tracks: Symphony In Blue, Wow, In the Warm Room and Hammer Horror.
KATE BUSH-LIONHEART.
BOBBY WOMACK-UNDERSTANDING.
BOBBY WOMACK-UNDERSTANDING.
For over thirty years, I have loved soul music. Growing up, it was one of my favorite genres of music. Since then, it has been a life long love affair. Over the years, I’ve collected music by numerous artists, groups and on certain labels. Some of my favorites have been Bobby Bland, Esther Phillips, Al Green, Otis Clay, Marvin Gaye, OV Wright and Minnie Riperton. Among my favorite labels have been Stax, Chess, Hi and Atlantic, which together, produced some of the most important, memorable and influential soul music ever. One artist I haven’t mentioned, but who has long been a favorite, is Bobby Womack. He was one of the first soul singers I ever heard, and his music was hugely influential on me. Before the introduction of compact discs, I had every one of his albums on import. Stupidly, after replacing them with CDs, I sold them. Not a good idea. Now, they’re probably worth a lot of money, and as everyone knows, nothing produces such a lovely, warm sound as vinyl. However, I can’t turn back the clock, it’s just a lesson to us all, never sell your beloved vinyl. Anyway, when I first started listening to Bobby Womack’s music, one of his albums I always loved was Understanding, released in 1972. In this article, I’ll look back nearly forty years, at one of Bobby Womack’s greatest albums, Understanding.
Back in 1972, Bobby Womack was a successful solo artist, after many years working with either his family group The Valentinos, or as a session musician. Since 1968, he’d released three solo albums, Fly Me To the Moon in 1968, My Prescription in 1969 and Communication in 1971. His previous album Communication, was his first for his new record label United Artists. Before that, he’d been contracted to the Minit record label.
In 1972, he was due to deliver a new album to United Artists. So, in 1972, he started recording the tracks for what would become Understanding. To record his new album, he headed to the American Sound Studio in Memphis, and Muscle Shoals in Alabama. When he reached Muscle Shoals, he set about assembling some of the best session musicians of the time. This included, drummer Roger Hawkins, bass played David Hook, keyboard player Barry Beckett and guitarists Tippy Armstrong and Jimmy Johnson.
One other guest artist would contribute to the album, the maverick genius that is Sly Stone. Bobby Womack had played guitar on There’s A Riot Goin’ On. Sly and Bobby had taken to hanging out together in LA, whilst Sly was waiting to record his next album, which would be There’s A Riot Goin’ On. The pair met when after Sly had purchased a mansion in Bel Air Road, which previously belonged to John and Michelle Phillips, of the Mamas and Pappas.
It was whilst recording a Sly Stone session that Harry Hippie, one of the singles from the album, came about. Jim Ford, a singer and songwriter had happened to be at the Sly Stone session and had an idea for a song. Together, Ford and Bobby worked on the track, and eventually, Harry Hippie took shape. It was a tribute to Bobby’s brother Harry, who like in the song, lives a laid back and carefree life. Sadly, in 1973, the song became hugely poignant for Bobby when Harry was murdered by his girlfriend with whom he’d liked for five years. Harry Hippy became a huge hit for Bobby in 1973, reaching number eight on the R&B Charts. It also gave Bobby his first gold single.
When Understanding was released in 1973, it reached number seven in the Billboard R&B Charts and number forty-three in the Billboard US Pop Charts. Woman’s Gotta Have It, the first single taken from the album gave Bobby his first number one on the Billboard R&B Charts. Add to this, the later success of Harry Hippie as a single, and Bobby Womack’s career was definitely in the ascendency. 1972 certainly proved to be a good year for Bobby, further cementing his reputation as a successful solo artist.
Understanding opens with I Can Understand It, a song Bobby wrote himself. It’s also one of the best songs on the album. This is apparent from the opening bars played by the guitar, and when Bobby half-sings, half speaks the introduction. After that, the track chugs along a mixture drums, keyboards, guitars and Bobby’s brilliant vocal. For much of the song it’s a mixture of strong and raspy, soaring high, full of character. Accompanying him, are backing vocalists which are the perfect foil to his vocal. Their voices compliment his vocal beautifully. Behind him, the arrangement is full, drums drive the arrangement along, guitars scream and soar, as Bobby sometimes growls. A bass and keyboards play, the keyboard accompanying Bobby’s soaring, growling vocal. Rounding off this brilliant track are some great lyrics, where Bobby sings about a problematic relationship. They’re a mixture of serious, sadness, irony and humor. These great lyrics, combined with a brilliant performance from Bobby and his band, make this a truly brilliant track.
Woman’s Gotta Have It is a song that gave Bobby a number one single in the R&B Charts. He cowrote it with Darryl Carter and Linda Cooke Womack, daughter of the late Sam Cooke. They wrote the song to warn a man who was taking his wife for granted. Here, the track has a wonderful arrangement, one of the highlights being Mike Leech’s bass playing. The personnel used on the track includes some great musicians, including, organist Bobby Emmons, guitarist Reggie Young, Hayward Bishop on drums and percussion and Bobby Wood on piano. An organ plays at the start of the track, its sound setting the scene and atmosphere. Again, Bobby half-sings, half speaks the introduction, accompanied by Mike Leech’s bass. This plods along, dark and moody, as guitars, drums and percussion combine. Meanwhile, Bobby gives some advice about keeping a woman happy. Not only does Bobby provide a brilliant track, but marital advice is given free. His vocal is passionate, as it soars, and he veers between snarls and a much softer vocal. In the background, the arrangement surrounds Bobby, yet never overpowers his vocal. Although everyone contributes towards the track’s success, Bobby’s vocal and Mike Leech on bass, are the stars of this great track.
The next track sees Bobby cover And I Love Her, a track made famous by The Beatles, and written by Lennon and McCartney. This was on one of their earlier albums A Hard Day’s Night. Bobby’s version is slow and tender, beginning with a guitar playing, and he half-sings, half speaks the introduction. After that, he takes care with the vocal, singing it slowly, tenderness being the order of the day. Mostly he resists the temptation to let loose. Around him, the arrangement has a lushness. A guitar plays a solo, strings play and drums just keep time. It’s a lovely version of this song, with Bobby producing a beautiful, sympathetic cover version.Bobby’s voice soars at the start of Got To Get You Back, he’s protesting, saddened asking why his lover has to go. Meanwhile, slowly, the band are starting to play. Guitars, drums and keyboards join Bobby, who by now, is almost frantic. His voice is loud, he sings fast, rasping and growling powerfully with frustration. The effect is stunning, demonstrating Bobby’s talents as vocalist. The as if spent out, he slows things down. Likewise the arrangement is more subtle. Now Bobby is calmer, singing the song slower, much more restrained, though sometimes he cuts loose, screaming and snarling. Behind him, the band play really well. A combination of guitar, drums, saxophone and backing singers accompany him. Overall, Bobby’s passionate performance and a great arrangement, produce another great track.
When you hear the start of Simple Man, guitars play in the distance, a bass buzzes. Straight away, you can’t wait for the song to open out. Thankfully, it quickly does, Bobby sings, accompanying him are drums and guitar, setting the pace. In the background, that bass buzzes, a trumpet plays and a guitar solos, it screams brilliantly. By now Bobby’s found his feet, and his vocal veers between restrained then soars, snarling, screaming. Later he whoops and hollers. All the while, the arrangement is growing, keyboards filling out the sound, a glimpse of symphonic sound appears. Guitars and drums are ever present. In some ways, Simple Man sounds like a prototype for the future Blaxploitation music, that would become extremely popular. However, Simple Man was a fantastic example of music that was still to become popular.
Over the years, Bobby Womack has recorded a variety of styles of music, including a country and western album BW Goes CW. The next track, Ruby Dean has a country sound and feel. It’s totally unlike any other track on Understanding. It opens with Bobby accompanied by an acoustic guitar playing. As he sings emotionally, strings sweep behind him. When they depart, the arrangement has a much more country feel, with guitars, drums and harmonica playing. Bobby’s vocal is much more restrained, as he sings the lyrics, which are tinged with sadness, about a mother who neglects her child, and goes looking for “love” elsewhere. Although totally unlike the other tracks on the album, Bobby sings the song really well, and his more restrained performance brings out the best in the song.
A brass section plays at the start of Thing Called Love, giving the song a dramatic sound and feel. A guitar accompanies the brass section chiming brightly, as Bobby sings. His voice starts much quieter, slowly it get stronger. During the track, it’s this mixture of a quieter style, then stronger and louder. Behind him backing singers accompany him, the brass section punctuate the track, and guitar and drums complete the sound. This is one of the best arrangements on Understanding. Given Bobby’s use of such talented musicians, this shouldn’t come as a surprise. On this track, Bobby gives one of his best performances on the album. Here he’s soulful with a capital S, giving a passionate and dramatic performance.
On this album, Bobby covers two well known songs. The first was The Beatles’ And I Love Her, the other is Neil Diamond’s Sweet Caroline (Good Times Never Seemed As Good). Bobby’s version is very different to Diamond’s. Of the two versions, I prefer Bobby’s, it’s got much more soul in it. He brings the song to life. It begins with guitar and piano playing. When Bobby sings, his voice is strong and clear, he sings slowly, accompanied by strings, guitar, drums and piano. By now Bobby is really injecting life into the song, transforming it. Likewise the fuller arrangement suits the song, especially the addition of strings sweeping in the background. Drums play an important part highlighting parts of the song. Overall, it’s a brilliant version of this song, and for me, Bobby’s version is the definitive version.
Harry Hippie the song that pays tribute to Bobby’s late brother Harry, closes the album. It’s as if Bobby has kept the best song until the end of the album. Not only is it the highlight of Understanding, but one of the best songs Bobby has ever recorded. When the song starts, a keyboard plays, then Bobby sings slowly, accompanied by a guitar playing. Backing singers accompany him. Bobby’s sings the song brilliantly, taking care with the lyrics, his voice is clear and strong, his phrasing perfect. Behind him, strings play, slowly, drums keep the time. However, it’s Bobby’s vocal and some heartfelt and beautiful lyrics about his brother that make the song. Since the first time I heard the song I’ve loved it, and over thirty years later, it still remains one of my favorite songs.
This isn’t the first time I’ve written about Bobby Womack, previously, I wrote about his album The Poet II. In that article, I wrote about Bobby’s career, from his days with The Valentinos, until present day. After I’d written that article, I felt that it was only fair to write another article on one of his classic albums. That’s why I’ve written this article, that and to tell more people about Bobby’s brilliant music. Understanding was one of his best albums, but during his career, he has produced many great albums. His most popular period was between 1968 and 1975. By 1976, his music had fallen out of favor. No longer was his type of music popular. For a long time, his music failed to trouble the upper reaches of the US Charts. All this changed in 1981 when he released The Poet. It provided Bobby with a number one in the Billboard R&B Charts. Its follow-up The Poet II, reached number five in the Billboard R&B Charts, as did 1985’s So Many Rivers. Since then, his music hasn’t been as popular, and he hasn’t released a studio album since 2000. However, during his career he has released over twenty studio albums, of which Understanding is one of the best. If you’ve never heard Bobby’s music and don’t know what to buy, my advice is from his early period Understanding and Communication are two great albums. They’re available on one CD on the Stateside label, part of EMI. From his later period I’d recommend The Poet and The Poet II, both of which are fantastic albums. Should you just want a compilation album, my advice would be Midnight Mover, The Bobby Womack Collection, a two disc set which features all his early music. Regardless of which you choose, you’ll hear some brilliant soul music. Standout Tracks: I Can Understand It, Woman’s Gotta Have It, Thing Called Love and Harry Hippie.
BOBBY WOMACK-UNDERSTANDING.
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THE ROLLING STONES-SOME GIRLS.
THE ROLLING STONES-SOME GIRLS.
Today I’m going to write about an album that I’d almost forgotten about, until a few weeks ago. Over the years, I’ve bought more albums than I care to remember. Some I love and listen to constantly, others are filed away, and hardly ever see the light of day again. Some Girls by the Rolling Stones falls into the latter category. I’d almost forgotten buying it many years ago, but there it was lurking lonely and unloved in my collection. It was something that happened a couple of weeks ago that made me revisit this album. My friends were away for the day, and I was helping look after their little boy until he went to nursery. Although he’s only three, he loves music, and has done since he was tiny. When he was really young, it was Primal Scream he loved, and when he heard it, he would say “turn it up, turn it up.” So his musical tastes are quite sophisticated for a little guy. Anyway, he decided he wanted music on, so he could play his “drums.” Being a multi-instrumentalist, he sometimes changes to his “guitar.” The radio was put on, and it was The Rolling Stones song Beast of Burden that was playing. This set him off, and he was sitting there, playing away to the Stones. For the duration of the song, he became a three year old guitar hero. A mini Keith Richards or Ron Wood, albeit without the bad habits. My only worry, was that he might become a bass player. Mind you Peter Hook has done not bad playing the bass. Later that evening, I decided to dig out Some Girls, and have a listen to it. This set me thinking that maybe, it was time to reevaluate the album, and see just how good the album is. Before doing that, I’ll look at the background to the album, and what was going on then, with The Rolling Stones.
Some Girls was an album that was recorded quite quickly. During two sessions between October and December 1977 and between January and March 1978, in the Pathe Marconi Studios, in Paris. This was a worrying time for the band, as Keith Richards had been arrested for possession of heroin in Toronto, Canada in early 1977. This meant he faced the possibility of being jailed for many years.
Another problem was the arrival of punk rock. Groups like The Rolling Stones were accused of being musical dinosaurs, by many of these new “musicians.” Ironically, many of the same punks had previously loved much of the Stones music, especially their music from the 1960s’ and early 1970s’. Back then, the group were like rock ‘n’ roll outlaws, during the recording of albums like Exile On Main Street. Times however, had changed, and instead, were the target of criticism and abuse from the punks. The only piece of good news for them, was that Ron Wood had now been confirmed as an official member of the band. Some Girls would be his first album as a member of the band.
It was a very different band that reconvened for the recording sessions. For the first time since the recording of Beggars Banquet in 1968, it would be just the band that would play on the album. This meant that it would just be Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman and recruit, Ron Wood. A few other musicians added saxophone, keyboards and harmonica.
Due to Keith’s problems in Canada, Mick Jagger wrote many of the songs on Some Girls. After the criticism and abuse from the punks, he felt reenergized. Instead getting involved in a verbal sparring match with them, he decided to answer their criticisms through the lyrics on the songs on the Some Girls. Obviously, this seemed a good idea, but one of the lyrics on the album provoked accusations of racism. When you hear the lyric, it’s a horrible, crude and despicable racist lyric. When Jesse Jackson criticized the lyric, Jagger tried to explain it away as a parody of racist attitudes. Another of his responses that if you couldn’t take a joke, then it was too bad. Obviously, that wasn’t the most intelligent thing to say, making a bad situation even worse.
Much of Jagger’s inspiration came from the punk and disco scenes that were emerging in London, Paris and New York. London provided punk, New York and Paris disco, Latin music and various other types of dance music. All of this, contributed towards influencing Jagger when he wrote the songs on Some Girls.
On its release, the album was well received by critics, gaining good reviews. Some critics called it their best album since Exile On Main Street in 1972. Commercially, the album was a massive success. Some Girls reached number two in the UK, and number one in the US. It became The Rolling Stones biggest selling album. In the US alone, it was certified platinum six times over. Having told you the background to the album, I’ll reevaluate the album, to ascertain how good an album it really is.
Some Girls begins with Miss You, the first single taken from the album. It reached number one in the Billboard Hot 100, and number three in the UK singles charts. Its influence is disco and blues. This is apparent from the start, which has a moody bass playing, accompanied by guitars. Later drums and a really bluesy harmonica plays. Disco provides the beat for the track, and Jagger’s vocal sits above the rest of the arrangement, and rest of the band provide near falsetto backing vocals. The rhythm section provide the tracks stars, providing the tracks heartbeat. Bill Wyman’s bass playing is brilliant, it’s slow and plodding sitting prominently in the mix. As the song progresses, Jagger’s vocal is charismatic, one minute nearly whispering, the next soaring confidently. Richards and Woods guitar playing combines perfectly, complimenting Wyman’s bass playing. Adding the finishing touch, is a saxophone which occasionally rasps, and the reentry of the bluesy harmonica. Overall, it’s a brilliant track to open the album, demonstrating that dinosaurs are indeed extinct.
When you hear the start of When the Whip Comes Down, a rocky track maybe slightly influenced by punk in parts. It starts with a mixture of drums and guitar, a retro rocky sound apparent straight away. It’s Jagger’s vocal, and backing vocals provided by the rest of the group that maybe have been influenced by punk. There’s an anger in both Jagger’s vocal and the backing vocals. The remainder of the track sees The Rolling Stones do what they do best, rock ‘n’ roll. Here, it’s a three pronged attack on guitar. Wood, Richards and Jagger combine masterfully, their guitar playing the highlight of the track. Sometimes, they combine, other times, brilliant solos can be heard. Together the band produce a powerful sound, with Jagger’s vocal almost screaming towards the end. What always amazed me about this track, was it was only ever released as the b-side to a single. Although not as good as the opening track, it’s still a really good track, with Jagger’s vocal and the guitar playing the highlights of the track.
Just My Imagination (Running Away With Me) sees the Stones interpret an old soul classic. I’m sure Norman Whitfield and Barrett Strong never envisaged the song they cowrote being sung and played like this. This is a song I’ve always loved, and when I first heard the track I was really unsure about this version. For me, The Temptations version was the definitive version. More recently, Terry Callier covered the track beautifully, producing a very sympathetic version. Here, the Stones version is very different. It begins with a guitar solo accompanied by drums. The sound is loud. Likewise, when Jagger sings, his voice is way too loud for the song. Sometimes he’s almost growling, totally different from the original. By now, the arrangement is much fuller, much louder, again, totally different from The Temptations original. Having said that, the guitar playing is really good, the drumming likewise. However, sometimes the guitars scream and soar, solos emerge played really well. The arrangement is really good, everyone plays brilliantly, but I’ve two problems with this version of the song. Jagger’s vocal is too loud, and unsympathetic to the song. My other problem is the original. The Temptations version is brilliant. Any other version will only ever be second best. What I will say, is that it’s an interesting interpretation of a classic song.
The song which provoked the controversy regarding racism, Some Girls is next. It’s a guitar and ultra bluesy harmonica that open the track. Jagger’s voice is much better, singing the lyrics much slower. Quickly, the arrangement gets much fuller, guitars soar, screaming, drums are pounded and Jagger’s vocal gets higher. At this point, a glorious rocky track is emerging. By now the track has slowed down, Jagger sings slowly, it’s guitar solos aplenty that emerge out of your speakers. They’ve really found their A-game, and are playing brilliantly. Then they spoil it all. That horrible odious lyrics appears. It’s a blot on the landscape and although clearly, the Stones are back in form, and were still relevant as band, by uttering that horrible racist lyric, they spoil an otherwise good track.
Lies is another track that has a quicker tempo and much fuller sound. It’s a near frantic start to the track that greets the listener. From the start, the track bursts into life, guitars and drums combining. The sound is both loud and the tempo fast. Jagger almost shouts the lyrics, as the band play. Again, Richard and Woods’ guitar playing is brilliant. Here, the band let loose, and really rock, the drums and guitars driving the song along. It’s a potent combination, with Jagger vocal loud, shouting the lyrics. In the end, it’s one of the best songs on the album, and again, demonstrates that in 1978, the Stones were far from a spent force.
Far Away Eyes, begins with a sound that’s straight out of Nashville, complete with a steel guitar almost weeping during the track. The arrangement is brilliant, has a really lovely laid back sound and feel. It’s a pedal steel guitar that plays at the start of the track, accompanied by drums played slowly and subtly. Mick Jagger’s starts off by half speaking, half singing, the lyrics, although is faux American accent jars somewhat in places. Once he starts to sing his vocal is much better. However, the highlight is the pedal steel guitar accompanying him. It’s played brilliantly by Keith, and the addition of the piano really adds the finishing touches to the arrangement. Completing the package are the lyrics. After the spoken word part, they’re really good, some of the album’s best. Together, this combination makes a really good song, one that’s very different to the rest of the album.
As I hear the start to Respectable, it’s like being back in 1978, when this song was on the radio constantly, and I even remembering buying the single. From the opening bars, the Stones head into familiar rocky territory. It’s bass and drums that open the track, then chiming guitars. Mick’s vocal is one of the best on Some Girls. It’s strong, snarling at times, loud and quick. Thereafter, the track drives along, a menacing mixture of drums, bass and the magical three pronged attack on guitar from Richards, Woods and Jagger. Their playing is the highlight of the track, some brilliant solos emerge, one particularly, reminds me of Chuck Berry, one of Keith’s heroes. Charlie Watts drumming shouldn’t be underestimated, as it plays a huge part in the success of the track. Overall, everyone plays their part in making this a brilliant track. Thirty-three years later, Respectable still sounds just as good, as back in 1978.
A familiar sound opens Before They Make Me Run, it’s that familiar chiming guitar sound. One surprise awaits though. Here, Keith takes over the lead vocal. His voice is very different to Mick’s. Although, it lacks the power and strength of Mick’s, it’s full of character, if a bit weak sounding on this track. Behind him, the band make up for this, providing a fulsome backing track, with guitars aplenty, that are loud and powerful, chiming brightly. Drums sit way forward in the mix, and combined with the guitars, provide the mainstay of the track. However, although the band play really well, Keith’s vocal lets the song down for me. Maybe if the rest of the arrangement wasn’t so loud and powerful, his voice wouldn’t sound as weak. To me, his voice is overpowered by the rest of the arrangement.
My favorite song on Some Girls has always been Beast of Burden. Much as I like Respectable, this one is even better. Here the band slow things way down, and in the process, produce one of their best tracks in forty years, at least. As the track opens, a guitar plays in the distance, then, it move forward in the mix, producing a bright melodic sound. Drums join in, they too, playing really slowly. When Mick sings, he sings slowly, getting into the lovely laid back vibe the band are creating. Sometimes, they increase the tempo and volume. Mostly, the song meanders beautifully, Charlie’s drums the tracks backdrop. Again, the stars are Keith and Ron, their guitar playing masterful. Occasionally, Mick whoops, the rest of the band sing falsetto whooping backing vocals. By the end, you realize that this was The Rolling Stones back to their best, producing a tremendous track that saw them roll back the years.
Some Girls closes with Shattered, which opens with drums and guitars and Mick’s vocal loud, sometimes, complete with exaggerated mid-Atlantic accent. During the song, he resorts to shouting the vocal. Meanwhile, Keith and Ron play some great guitar solos, drums pounding and the bass plods along. Handclaps punctuate the track, the occasional whoop completing the sound. One thing that lets the song down is the lyriscs. They’re far from the strongest on the album, and have a throwaway nature, like something you’d consign to the b-side of a single. By the end, I’ve similar feelings about Shattered than I had about Just My Imagination (Running Away With Me). Similarly, the band play really well, but it’s the vocal and the lyrics that lets the track down. For me, it’s a disappointing end to what has been a good album by the band.
This has been like a trip down memory lane listening to Some Girls. Listening to it, it took me back over thirty years, to when I first heard the album, and reminded me of things that were happening back then. One of the things that was happening back then was punk. The Rolling Stones were being labelled as dinosaurs by the punks, who were the new “angry young men” of music, much like the Stones in the early sixties. Some Girls went a long way to proving that they were still a relevant musical force. It also proved that dinosaurs were long extinct, because back then, they were far from being musical dinosaurs. On the album, are some great tracks, and many critics thought that this was their best album since Exile On Main Street in 1972. Personally, I think Exile On Main Street is a far superior album, but having said that, Some Girls was a welcome return to form from the band. What’s ironic thirty-three years on, is that millions of people remember this album, but the names of many of the punk bands will long have slipped their memory. I always am reminded of a Johnny Rotten quote which I think best describes the punk movement “ ever get the feeling you’ve been cheated?” Standout Tracks: Miss You, Respectable, Lies and Beast of Burden.
THE ROLLING STONES-SOME GIRLS.
THE SMITHS-MEAT IS MURDER.
THE SMITHS-MEAT IS MURDER.
There are some eras when music wasn’t exactly at its strongest. One example that spring to mind are during the 1970s’ when prog rock was popular. It seemed like an overblown and pompous type of music. Thankfully, it hasn’t made a comeback. Another era that immediately springs to mind are the mid-1980s’. During that period, I was at college, and was exposed to every type of music that was around. Although I enjoyed some of the music, much of it left me cold. However, one band I loved, and still love, are The Smiths. In February 1985, they had just released their second album, Meat Is Murder. This was the follow up to 1984’s eponymous album. On Meat Is Murder’s release, it became the group’s only number one album in the UK. It was a very different album from their debut album, as it was much more political and vociferous, even controversial. It dealt with a number of subjects including vegetarianism and corporal punishment. This touched a nerve with and suddenly, Morrissey became a spokesman for a generation. That helped launch the band and quickly, they became one of the most poplar bands of the decade. Incredibly, they’re as popular today, as they’ve ever been, and their music as relevant as ever.
The Smiths previous album The Smiths been critically acclaimed on its release, and a commercial success, reaching number two in the UK album charts. When the album was released some people were slightly disappointed with John Porter’s production of the album. This they felt, let the album down.
By the time the group had reconvened to record Meat Is Murder, the band decided to make one change from their previous album. John Porter who had produced their debut album, wouldn’t produce the new album. Instead, Morrissey and Johnny Marr decided to produce the album themselves, assisted only by engineer Stephen Street. At the time, many people must have thought this a strange decision as neither Morrissey nor Marr, had any previous production experience. This decision worked well, and the production on Meat Is Murder is far superior to that of their debut album.
One thing that made Meat Is Murder stand out, was the album cover. The cover is an edited still from Emile de Antonio’s 1969 documentary In the Year of the Pig, which traced the origins of the Vietnam war. In a previous article, I wrote about some of the greatest album covers of all time, which included Meat Is Murder. The album cover made this one of the most instantly recognizable albums of the decade. With the combination of brilliant, powerful music and a classic album cover, this made Meat Is Murder a potent combination. On the album are ten songs, and they include some of the best songs The Smiths ever recorded.
Meat Is Murder opens with The Headmaster Ritual, an anti-corporal punishment track, which railed against children being belted or caned in schools. Thankfully, that no longer goes on, but when this track was released, this had been the norm. The track brightly bursts into life, with Johnny Marr’s jangling guitar combining with Andy Rourke’s bass and Mike Joyce’s drums. When Morrissey’s vocal enters it’s strong and clear, sitting above the rest of the arrangement. It’s instantly apparent that the production is much better than on their debut album. Everything seems clearer, the sound seems fuller. It’s a vast improvement. Morrissey sings the lyrics that tell about not wanting to go to school for fear of being beaten by cruel and sadistic teachers, whose mission in life was to brutalize the pupils. His rendition of such powerful lyrics is masterful, and Johnny Marr’s guitar playing is sublime. Together Morrissey and Marr have produced a powerful, passionate track about the shameful past of the UK’s education system.
Rusholme Ruffians sees Johnny Marr add some rockabilly guitar licks to the arrangement. This demonstrates Johnny’s versatility as a guitar player. Add to the mix Morrissey singing about going to the fair and the turbulent events that would play out during such a trip. A trip on the big wheel, the waltzer, the possibility of romance, one night stands, fights and the people working there, all play their part in what’s like a short story put to music. Here, the arrangement is relatively simple, just Johnny and his rockabilly guitar playing, bass and drums, with Morrissey singing the lyrics with feeling, as if they bring back vivid memories. Regardless of whether this is the case, Rusholme Ruffians is a very different track to most on Meat Is Murder, but brilliant all the same.
I Want the One I Can’t Have is a song about growing up and adolescent love. The sound of what sounds like a helicopter flying overhead greets the listener. Then, when drums and Johnny Marr’s guitar combine, the tempo becomes almost frantic. Morrissey’s strong vocal somehow manages to keep up with the rest of the band. Sometimes, Johnny’s guitar chimes melodically, as guitar and drums drive the track along. Mike Joyce’s drumming role on the track shouldn’t be underestimated, his drumming is tremendous. One minute it’s no frills, the next using drum fills aplenty, to fill out the sound and add variety. Overall, it’s another good track with a strong, dramatic, narrative.
At the start of What She Said what sound likes a wall of shrieking guitars plays. Having said that, it’s a virtuoso performance from Johnny. He’s really given a chance to let loose. Similarly, the drums play at a blistering speed. It’s a heady combination Morrisey is up against. He’s really having to sing loudly to be heard against the backdrop of guitars and drums. Morrissey doesn’t let the side down, and produces another energetic performance, of lyrics that are literate, slightly morbid and tinged with a dry sense of humor.
The second single released from Meat Is Murder was That Joke Isn’t Funny Anymore. It’s quite different from previous tracks, and sees the band slow things way down. An acoustic guitar with reverb plays before Morrissey sings. He too, sings much more slowly, and is accompanied by a bass which is slow and spacious. The drums and guitar get in on the act. They’re played slowly, and the combination of slow drums, bass and guitar is highly effective, adding drama to the track. All of this contributes towards making this one of the album’s highlights.
How Soon Is Now is one of the most recognizable songs from the album. It was also the first single taken from Meat Is Murder. On both How Soon Is Now and That Joke Isn’t Funny Anymore, Johnny Marr played some of the guitar parts forwards and backwards, combining to them both to produce the sound you hear. This was a complicated process which he achieved by turning the master-tape around and adjusting the volume, and playing the guitar part backwards. When How Soon Is Now begins, you hear that familiar guitar introduction loaded with reverb. After that, Morrissey produces one of his best vocals on the album. His vocal is laden with a combination of emotion, frustration and almost anger. Meanwhile, the rest of the band produce one their best performances on the album. Both Johnny’s guitar playing and Mike’s drumming producing the musical backdrop for Morrissey’s vocal. Together, the band produced one of their most memorable tracks ever.
Nowhere Fast is a humorous song. Cross The Smiths meet the Carry On team, and you’ve got the picture. It’s another track with a quick-fire tempo. The band rattle through the song, jangling guitars, frantic drums and Morrissey’s vocal a mixture of humor, sarcasm and defiance. Many people say this is just a light hearted song, but listen carefully, and the witty, catchy lyrics will leave you smiling.
Acoustic guitar and bass open Well I Wonder, with drums joining shortly afterwards. Straight away, the promise of a melodic track is apparent. Morrsissey’s sounds as if he has the weight of the world upon his shoulders. His rendition of the lyrics is bathred in sadness. This is in total contrast to the beautiful, bright, deeply melodic sound produced by the rest of the band. Essentially, it’s a dichotomy of a track. Together, they combine perfectly, producing an emotional, yet melodic four minutes of magical music.
A treat and surprise awaits the listener on Barbarism Begins At Home, another anti corporal punishment song. On the track Andy Rourke plays some amazing funky bass. Most people wouldn’t expect to hear funk and The Smiths in the same sentence, but listen carefully, and you’ll hear Andy play some funky bass, brilliantly. It’s Andy’s funky bass playing that opens the track, that and Johhny’s guitar playing. As usual, Johnny’s guitar jangles and chimes, a perfect accompaniment to Andy’s bass playing. Even Morrissey decides to get in on the funky act, whooping during is vocal. For a minute it’s as if Morrissey thinks he’s James Brown. However, normal service is soon resumed. Thereafter, Morrissey gives his usual strong, emotional and here, slightly angry rendition of the lyrics. During the track, the band experiment slightly, with Morrissey, ad-libbing, sound effects being heard, and Andy venturing into a prolonged funk based solo. As usual, Johnny Marr’s playing is brilliant. Barbarism Begins At Home is an epic track. It lasts nearly seven minutes, and during that time The Smiths produce a mesmeric funky sounding track, about a truly barbaric practice.
Meat Is Murder is the final track on the album. It’s a song about a subject Morrissey has always been hugely passionate and vociferous about vegetarianism. Here, the song is pro-vegetarianism. When the track begins, you hear the sound of cows mooing. It’s quite a powerful sound that brings home the reality of the subject. The lyrics are equally powerful. Morrissey sings them slowly. This really gets home his message. Behind him the arrangement is slow and very dramatic, the drama further increasing with the sound of cows and sheep being heard. Drums play slowly, a piano plays an almost eery solo, and even the guitar and bass slowly play. Overall it’s a really dramatic arrangement which does justice to the powerful and moving lyrics.
I’ve always been a huge fan of The Smiths, and loved their music. I remember clearly their debut album being released back in 1984. Like many people, I eagerly awaited each of their new albums. When I heard Meat Is Murder, I instantly realized that this was a hugely influential, classic album. Morrissey and Marr’s partnership was a hugely talented partnership, writing recording and producing some brilliant music. However, it would be unfair to give all the credit to Morrissey and Marr, as Andy Rourke and Mike Joyce played a huge part in the group’s success. On Meat Is Murder, Joyce’s drumming plays a huge part in the album’s sound, driving many of the songs along. Likewise, Rourke’s bass playing shouldn’t be underestimated, especially his slow, spacious playing on That Joke Isn’t Funny Anymore and his funky licks on Barbarism Begins At Home. The ten songs on the album see a variety of serious subjects tackled, many of which are serious. Amongst the most powerful are The Headmaster Ritual, Barbarism Begins At Home and Meat Is Murder. By contrast, Nowhere Fast is a track laden with humor. Overall, Meat Is Murder is brilliant album, full of great songs, played and sung brilliantly, and is one of the best albums The Smiths recorded. Standout Tracks: Rusholme Ruffians, That Joke Isn’t Funny Anymore, Barbarism Begins At Home and Meat Is Murder.
THE SMITHS-MEAT IS MURDER.
SLY AND THE FAMILY STONE-THERE’S A RIOT GOIN’ ON.
SLY AND THE FAMILY STONE-THERE’S A RIOT GOIN’ ON.
Often a band will change musical direction. There can be many reasons for this. Sometimes, it’s because they’re looking for commercial success, other times, they’re moving with changes in musical trends, it can even be to reflect changes in society. Another reason can be problems within the band, and personnel changes. When Sly and The Family Stone set about recording There’s A Riot Goin’ On, these were indeed, turbulent times for the band. Since the release of their previous studio album Stand!, much had happened had happened, and it was a in a very different environment that the band set about recording their new album.
Their previous album Stand!, had been critically acclaimed, and a huge commercial success. When the group appeared at Woodstock, this further cemented their huge popularity. CBS, their record company were desperate for a new album, however, deadlines came, and passed. New deadlines were set, and they too, were missed. To ensure their profile remained high, and to give fans a “new” album, a Greatest Hits compilation was released. This too, proved to be hugely successful, reaching number two in the Billboard 200 and becoming the band’s biggest selling album. So well thought of is the album, that it was included in the Rolling Stone magazine list of the 500 greatest albums of all time.
At this time, relationships within the band were at an all time low, especially among The Stone brothers Sly and Freddie, and bassist Larry Graham. Another problem was that drug use was rife within the band. Stories emerged that Sly Stone allegedly, carried a violin case full of drugs everywhere the band were. Drug use had worsened when the band had relocated to California. PCP and cocaine were the drugs of choice for the band, and this started to affect the recoding schedule and tours. Sly’s moods changed, suddenly he was moody, his behavior started to become erratic. Between concerts, it was reported that he spent much of his time taking drugs.
What caused a lot of controversy was Sly Stone’s newfound relationship with The Black Panthers. This was said to be affecting the band’s music. They wanted the band’s music to be more militant, both in style, and to reflect the movement’s beliefs. The Panthers wanted Sly to fire the two white instrumentalists Greg Errico and Jerry Martini, and their replacements to be black musicians. As well as this, The Black Panthers wanted manager David Kapralik sacked, and a black manager to represent the group.
Adding to all these problems was Sly Stone’s decision to hire of gangsters to manage his affairs, protect him and source him drugs. Add to that band members leaving, and this was a tumultuous time for the band. Drummer Greg Errico decided to leave the band. This was the backdrop for the recording of new album in 1970 and 1971.
With all of this going on around the band, it must have seemed unlikely that they would be in the process of recording a classic album. This they were, and on its release, There’s A Riot Goin’ became one of the most successful albums the group would ever release. The music on the album was very different to previous albums. Whereas previous albums were full of melodies, There’s A Riot Goin’ has a much darker heavier funk sound. On its release in November 1971, the album entered at number one in the Billboard 200. A year later, it sold over 500,000 copies, and had been certified gold. Although the album sold well, it provoked a mixed response from critics and fans. However, as often happens, critics revised their opinion of the album, and now, it’s perceived as one of the greatest, most influential albums of all time. Originally, the album was meant to be called Africa Talks To You, but after the release of Marvin Gaye’s seminal album What’s Going On, earlier in 1971, it was retitled There’s A Riot Goin’ as a response to What’s Going On. Having told you about the background to the There’s A Riot Goin’ On, I’ll tell you just what makes it such a classic album.
There’s A Riot Goin’ On opens with Luv “N’ Haight, a track that deals with the euphoric feeling you get when you take certain drugs. It begins with some amazing bass playing, drums playing and the rest of the band singing backing vocals behind Sly. His sister Rose sings parts of the vocal. Straight away, the change in sound is apparent. It’s a much heavier, darker, and fantastically funky sound that greets you. A Wah wah guitar plays intermittently throughout the track, adding to heavy duty funk sound. Backing vocals soar, and Sly’s vocal sounds ad-libbed in parts. Sometimes, Sly howls and screams, his vocal loud and strong. Interestingly, he recorded many of the vocals in his home studio, whilst lying in bed. Much of the album was rerecorded and overdubbed several times. This however, hasn’t dampened this magical mixture of bass heavy funk, wah wah guitar and Sly’s frenzied vocals. It’s a potent combination, one that was instrumental in changing and influencing the sound of future musicians, including the Ohio Players, George Clinton and Funkadelic.
In total contrast to Luv “N’ Haight, Just Like A Baby is a much more mellow and laid back track. From the start, this is apparent. Sly’s vocal is quieter, much more controlled, no longer prone to the frenzied exertions of Luv “N’ Haight. Likewise, the arrangement is much more laid back, and understated. Here, the bass is still prominent but isn’t as loud or heavy. The drums are slower, and here, they’re just keeping time more than anything else. Even the guitar solo, is much more subtle. Again, the lyrics are much looser in structure, and it seems Sly’s ad-libbing again. However, this works well, the band have produced a lovely laid back track.
A mixture of bass, wah wah guitar and drums emerge at the start of Poet. Then Sly sings, his vocal starts slower, still, it’s loud and strong. You get the feeling that he’s about to cut loose, and indulge in some soaring vocal gymnastics.That, however, never happens, Sly manages to restrain himself. What you notice immediately, is that it’s a drum machine that accompanies Sly. It has a slightly dated sound, as it slowly plays. The sound it produces is totally unlike the drum sound Greg Errico would’ve produced. Around Sly, a lovely warm arrangement is emerging. This is a mixture of guitar, keyboards and bass. However, just as you’re getting into the groove, loosing yourself in the rhythms and melodies that are emerging, the song ends too soon. Every time I hear this track I wish it went on for much longer, that the track had been allowed to develop and the group allowed to jam more. Although it’s a good track, I always wonder how much better it could’ve been.
Probably the best known Sly and The Family Stone is Family Affair, and when you hear that familiar introduction, you realize that for the next three minutes, you’re going to hear a fantastic track. From that introduction, the mixture of bass and drums, then the introduction of the electric piano and Rose Stone’s vocal quickly, you’re entranced. Rose and Sly spend the next three minutes, singing about the good and bad aspects of family life. Behind them, the electric piano is at the centre of the arrangement, accompanied by a combination of bass, drums and some virtuoso guitar playing. This, together with Rose and Sly’s contribution, is a formidable combination, producing not only one of the band’s best tracks, but their best known one.
Africa Talks To You was nearly the title of the album, and this would have been the title track. Nearly, to give this track its full title it’s Africa Talks To You “The Asphalt Jungle” There’s A Riot Goin’ On. It’s totally unlike the previous track, and has more in common with Luv “N’ Haight and Poet, with its looser, more freeform style and structure. Here, the lyrics are looser, they don’t have a traditional structure. Again, they seem ad-libbed, when they emerge from the midst of the arrangement. Even the arrangement has a looser, jazzy structure. Having said all that, it’s a brilliant and epic slice of funk, lasting nearly nine minutes. This is what I’d have liked to have seen Poet become, an epic jazz and funk workout. During this track, the bass plays a huge part, it’s deep, heavy and funky. Around it, guitars, drums, keyboards and percussion play, backing vocalists give a soulful accompaniment, and Sly whoops and hollers his way through the track magnificently. Truly, this huge track, about a huge continent is brilliant with a capital B.
The opening bars to Brave and Strong sound as if they could be closely related to Family Affair. It’s the drum sound that leads me to make this comparison. After that, we’re heading for another fantastic funk workout, although not magnum opus, of the previous track. Quickly bass and brass section combine, Sly decides to indulge himself in some vocal gymnastics, his voice veering between soaring and growling, to a much clearer, stronger vocal. Occasionally, you can hear the results of his overdubbing and rerecording during the track. This, however, doesn’t take away from an infectious, funky track that swings along, leaving a trail of magnificent melodies and rhythms in its wake. The addition of the brass section lifts the track to another level. Likewise, Sly’s vocal is perfectly suited to the track, adding the finishing touches to what is one of the album’s highlights.
It’s a Hammond organ that provides a lovely laid back, melodic opening to (You Caught Me) Smillin.’ The mixture of keyboards, drums and guitar, provides a lovely melodic, relaxed vibe. When Sly sings, he too, decides to join in the lovely laid back atmosphere that’s emerging. Here, his vocal isn’t as clear on this track at times. Just as you were enjoying the more restrained vocal from Sly, he decides to cut loose, and when he does, his voice rasping, soars. Sometimes, he almost growls, as he sings. When this happens, the brass section join the arrangement. Their addition drives the song, and sometimes, is like musical punctuation. This also helps fill the sound out. (You Caught Me) Smillin.’ was one of the singles released from the album, and given the melodic, hook laden nature of this track, it isn’t hard to see just why.
Blues music influences the next track Time, a track that explore philosophical themes. The blues influence is apparent in the Hammond organ solo that opens the track. It meanders gently, and is joined by a darker guitar sound. In the background the bass throbs, drums play and above all this Sly sings. Here, his voice is quieter, at the start, and it’s only after a while that his voice soars, becomes a raspy, growl like on (You Caught Me) Smillin.’ By now the sound is spacious, and a wah wah guitar contributes towards the spacey sound that has emerged. Again, it’s a track that almost ends too soon. You’re just starting to really enjoy this glorious, spacey sounding track when, it’s suddenly over. However, it’s brilliant while it lasts.
A heavy, dirty, funky bass combines with a keyboard as Spaced Cowboy begins. It’s an unusual track, laden with humor. For a while it’s an understated, instrumental jam with sounds emerging beautifully from the arrangement. Listen carefully, and you’ll hear bass, guitar, drums and keyboard. When Sly sings, he decides to yodel, as he takes on the roll of the Spaced Cowboy. The lyrics may not be the best on the album, but seem laced with humor. Joining arrangement is a harmonica, which is played brilliantly. However, much as I like the arrangement, Sly’s yodeling detracts from the rest of the track.
Runnin’ Away sees Rose Stone take over lead vocal duties of what is a pop-soul track. It’s also one of the best tracks on the album. A tenor saxophone accompanies her vocal, playing above her vocal. Behind her, drums are prominent in the mix, the bass is still funky, and a guitar plays some great licks. Overall, the stars of the track are Rose Stone for her vocal, and Jerry Martini for providing his brilliant rasping tenor saxophone.
There’s A Riot Goin’ On closes with Thank You For Talkin’ To Me Africa, a track that’s a response to the earlier track, Africa Talks To You “The Asphalt Jungle” There’s A Riot Goin’ On. Like that track, hank You For Talkin’ To Me Africa, is another epic slice of funk, which sees Sly’s lyrics exploring hedonistic themes. The sound is dark, bass heavy and has a much looser feel and sound. Sounds emerge from the mix, guitars play, drums join in, occasionally, a keyboard plays, but it’s the bass that drives the track. For just over seven minutes this epic soundscape is driven by a dark, throbbing bass that reverberates from your speakers. Sly’s vocal again, are much looser, and he’s joined by the rest of the band on backing vocals. Rose sometimes can be heard. Mainly, it’s Sly, his vocal often soaring, leading to that familiar, raspy growl emerging from the mix. Personally, I love this looser, much more freeform style where Sly and the band have time to experiment, as it allows a song to develop, and usually, a great track emerges.
Whilst I’ve been researching and writing this article, I’ve immersed myself in Sly and The Family Stone’s music, especially, There’s A Riot Goin’ On. This to me, was the greatest album they produced, and surpassed anything they’d previously produced, or would later produce. It’s hard to believe that such a seminal album emerged from the chaos that surrounded that band then. Considering the problems Sly Stone faced, he took great care in the recording of this album. It seems that he was something of a perfectionist, constantly rerecording and overdubbing different parts and the backing vocals. This lead to Sly rerecording many of the instruments himself, or getting people like Billy Preston and Bobby Womack to help him to this. He even brought in session singers to help rerecord the backing vocals. Although all of this lead to a much better album, it lead to a deterioration in the sound quality, erasing parts of the original reel-to-reel tapes. That was the downside to Sly’s perfectionism. However, the upside to his perfectionism was he produced a classic album, with a timeless quality, that’s one of the greatest, most influential albums of all time. Standout Tracks: Just Like A Baby, Family Affair, (You Caught Me) Smillin’ and Thank You For Talkin’ To Me Africa.
SLY AND THE FAMILY STONE-THERE’S A RIOT GOIN’ ON.
KAREN DALTON-IN MY OWN TIME.
KAREN DALTON-IN MY OWN TIME.
Imagine Bob Dylan describes you as his favorite singer in his autobiography, and compares your voice to Billie Holliday, and your guitar playing like the legendary Jimmy Reed’s. That must be the ultimate accolade for any singer. You may be wondering who is this singer that Bob Dylan rates so highly. Probably if you were to guess a dozen times, you wouldn’t guess their name correctly. Karen Dalton is her name, a singer who was part of the Greenwich Village folk scene in the early 1960s. It was during this period that she met Bob Dylan, and on a couple of occasions sang with him. However, Karen Dalton was more than a folk singer, when she sang, the style varied from folk and country, to blues, soul and even pop. Back in the early 1960s’, things looked so promising for Karen Dalton, however, her life would end in tragic circumstances. During her career, she only released two albums, and it’s her album In My Own Time this article is about.
Karen Dalton was born Karen J. Cariker in July 1937, in Enid Oklahoma. Growing up, she learnt to play both the twelve string guitar and long neck banjo. She wasn’t just a talented musician, she was also blessed with a fantastic voice. By the early 1960s’ she had moved to New York, and was a mainstay of the Greenwich Village folk scene. Friends included Fred Neil, and she was associated with bands including the Holy Modal Rounders. It was in 1961 that she met Bob Dylan, and sang with him a few times. She must have made a huge impression on him, considering his later compliments about her. It wasn’t just Bob Dylan Karen Dalton made a big impression on. Later, Robbie Robertson and Richard Manuel reputedly wrote Katie’s Been Gone, a track on The Basement Tapes by The Band and Bob Dylan about Karen Dalton.
Unlike many artists, it took a while before Karen Dalton released her debut album. In 1969, she released her debut album It’s Hard To Tell Who’s Going To Love You the Best on Capitol Records. This album isn’t as well known as her follow up album In My Own Time, but features some wonderful songs. The album features songs by a number of artists. Two are written by her friend Fred Neil, Little Bit of Rain and Blues On the Ceiling. Another, How Did the Feeling Feel to You, is written by folk singer Tim Hardin. Two others, are blues songs, Sweet Substitute written by Jelly Roll Morton and Down On the Street (Don’t You Follow Me Down) written by Leadbelly. With such a diverse range of material, this allowed Karen to demonstrate how versatile her voice was. Sadly, although well received, the album wasn’t commercially successful.
Her second album In My Own Time, was recorded at the famous Bearsville Studios, in New York. This studio near Woodstock, has been used by some of the biggest names in music. Tim Buckley, The Band, R.E.M. and The Rolling Stones. During 1970 and 1971, Karen recorded her second album, which was released later in 1971. Like her debut album, it was an album of cover versions and traditional songs. The album was produced and arranged by Harvey Brooks. Brooks, who had previously played bass on Miles Davis’ brilliant album Bitches Brew, and Bob Dylan’s seminal album Highway 61 Revisited, also played bass on In My Own Time. Originally, the album was released on Just Sunshine records, a label owned by Michael Lang, the promoter of Woodstock. Again, the album was well received by critics, but failed to be a commercial success.
Sadly, that would be the final album Karen Dalton released in her lifetime. For many years, she was addicted to drugs and alcohol, and bravely fought her addictions valiantly. Tragically, in 1985, Karen contracted AIDS. In March 1993, Karen died after an eight year battle with AIDS. The circumstances of her death are disputed. It’s thought she either died in upstate New York, in the care of guitarist Peter Walker, or died on the streets of New York. Regardless, of where she died, her death was a tragedy, she was only fifty-five, and had been one of the most talented singers of her generation. After her death, two further albums were released. Cotton Eyed Joe in 2007, which was a live recording from 1962. Then in 2008, Green Rocky Road was released. For such a talented singer, it seems tragic that she only produced two albums during her career. However, they were two great albums, especially In My Own Time, which I’ll now tell you about.
In My Own Time opens with Something On Your Mind, a track that begins with bass and guitar playing, but a surprise awaits you when Karen sings. Her voice is so powerful, and has a totally unique sound. It has a world weary sound, as if she’s lived a thousand lives. Not only is it strong, but it’s really high, and crystalline clear. When you hear her voice, it enthrals you, you become transfixed by its sound and power. This is something that not many singers can do instantly. Behind Karen, the arrangement is a mixture of folk and country. A Steel guitar plays, guitars, fiddles and bass accompany her, drums can be heard playing quietly. Even though the arrangement is quite full, everything plays second fiddle to Karen and her powerful voice. Here, she sings the song beautifully, and the arrangement is perfect for the song.
As I said earlier, the songs on the album are a mixture of cover versions and traditional songs, and here, Karen’s cover of When A Man Loves A Woman, is very different to any previous version. She slows the song way down, and the arrangement is straight out of Nashville. Straight away, Karen’s vocal enters, and straight away, her voice is even more powerful than before. Here, she’s giving everything she has as she sings those familiar lyrics. This version is brilliant, the song suits being really slowed down. Another thing the song suits is the arrangement, which has a real country influence. This is apparent when you hear the guitars, especially the steel guitars, which seem to almost bleed as they play. Piano and drums are played spaciously and slowly, a brass section enters, adding to the drama that’s slowly building. Deep down in the mix Harvey Brooks’ bass can be heard his playing is slow, leaving space between each notes. Overall, the combination of Karen’s voice and the arrangement is stunning, this version brings new life to a song familiar to many.
When In My Own Dream begins, a piano plays, its sound is dull, dark and just a little moody. Then when Karen sings, suddenly, you think that you’re listening to Lady Day, the late, great, Billie Holiday. The similarity is amazing. By now, she has your attention, suddenly you’re transfixed, by this incredible voice. You find yourself thinking why wasn’t she a huge star? Slowly, the arrangement fills out, a steel guitar accompanies the ever present piano. However, Karen’s voice is stealing the show. Nothing even comes close. Neither the drums, piano nor the hugely charismatic guitar playing. In the end, Karen Dalton is the star of this brilliant track, her voice peerless.
Katie Cruel is a traditional song, one that Karen arranged herself. Here the arrangement is much simpler, it’s just Karen singing and playing her banjo, accompanied by a fiddle playing. This suits the song, especially the lyrics, which are prescient. In the song one of the lyrics about Katie Cruel, tell of her how through time, she begins to drink far too much. Sadly, the same happened to Karen in real life, and was an illness she fought bravely, for many years. Listening to Katie Cruel, one can almost imagine the character as someone living in the wild west, many years ago. It’s a song with a strong narrative, that allows you visualise the characters. Karen’s arrangement of this old song is really good, and likewise, her rendition of it, which is full of character, feeling and emotion.
The first time I ever heard this album, many years ago, I was stunned by the sheer quality of the songs on the album. None more so, than How Sweet It Is. Again, many artists have covered this song, but nobody has ever sung it like Karen Dalton. Straight away, you can hardly believe this is the same song. Unlike most versions, it bursts into life, drenched in the sounds of Nashville. From the start it swings along, Katie’s sings the song quicker, her voice sounds strong, clear and happy. Behind her the rest of the band provide backing vocals, giving the arrangement a lovely old fashioned sound. Likewise, the arrangement features the sounds you’d expect on something made in Nashville. It’s the combination of the guitar sound and the drums that’s responsible for this. Karen Dalton’s version of How Sweet It Is, is unique, possibly peerless and swings beautifully.
After the swinging How Sweet It Is, it’s a much more dramatic opening that greets the listener to In A Station. Like the previous track, Karen is in brilliant form, on this song that features from a fuller, more dramatic arrangement. This is apparent from the opening bars. A drum roll opens the track, a piano plays, the sound is dramatic even before Karen sings. When she sings, her voice is stronger than ever, as it soars high, her strength and power helping add to the dramatic arrangement around her. The drama is set by a combination of brilliant piano playing, augmented by drums filling out the sound and a Hammond organ laden with character. Its sound is one of the highlights of the arrangement, and is a sound you’ll never tire of hearing. In A Station is just the latest wonderful song on the album, but for me, is one of the album’s highlights.
Take Me is another track drenched in the country sound of Nashville. It’s also a song that allows Karen to demonstrate fully her wonderful voice, which here, sounds world weary, as if she’s all the troubles of the world on her shoulders. It’s piano, drums and steel guitar that open the track, a combination that sets the scene.
The contrast between the piano and steel guitar is perfect, and the addition of Karen’s voice is a potent mixture. Here the tempo is slow, the playing spacious, allowing the music to breath. As Miles Davis said, sometimes the space between notes, is as important as the notes themselves. While the track meanders slowly along, an array of beautiful sounds emerge from your speakers, and the longer the track progresses, the better it gets. What could be better than the steel guitar played slowly? Later its joined by other guitars. Meanwhile, the piano plays, perfectly, drums steadily providing the track’s heartbeat. This is a sound that’s heart breakingly beautiful. Karen’s voice is stunningly soulful, as she sings about love, and longing for the day her lover will be hers. To me, this track is one of the best on the album, due to Karen’s voice and Harvey Brooks masterful arrangement.
Katie Cruel was the first of two the traditional songs on the album, the second being Same Old Man. There are similarities with Katie Cruel here, as Karen sings and plays banjo, and the arrangement is similarly simple. Apart from a droning noise which can be heard, it’s just Karen and her banjo. This isn’t an easy thing to do, as it requires a good voice and the utmost confidence. Karen was blessed with a great voice, and had the confidence to sing unaccompanied, and did so beautifully. Although it’s very different to most songs on the album, it shows another side of Karen, the side Bob Dylan probably encountered in Greenwich Village, back in the early sixties.
Every time I hear the start of the next track, One Night of Love, it reminds me of various songs, including a couple by Jackson Browne. It’s just the chord structure and combination of instruments. If you listen to the song, you too, will hear the similarities. The track begins with a combination of guitar, drums then piano. It’s the piano reverberating, that gives you a clue of what your about to hear. By now, the track’s beginning to open out, a steel guitar plays and the track starts to rock. However, this early promise is never fulfilled, and neither Karen or her band cut loose. There is even a bluesy sound and feel to the piano. Unlike many previous songs, Karen’s voice isn’t quite as strong, but is still as clear and full of passion and character. My only quibble about the track is it ends too soon. I’ve always felt it could’ve been developed further, and the band given free reign to jam a little, considering how good a band they were. That’s just a minor point, as this is still a great track, and demonstrates Karen’s versatility, and ability to sing different styles of music.
In My Own Time closes with Are You Leaving For the Country. Again, it’s a very different song from the previous one. It’s slower, much more gentle, and features a lovely understated arrangement. For most of the track, it’s just Karen accompanied by acoustic guitars, and a bass occasionally making an appearance. Her voice is stronger than on the previous track, and her rendition of this song perfect. She doesn’t sing the song too loud, or too fast. Instead, she takes care, and produces a stunning version of the song, one that is a fitting way to end the album.
Before writing this article, I hadn’t listened to this album for a couple of months. Revisiting it, brought home just how talented a singer Karen Dalton was. Her voice is strong and powerful, and is suited to various styles of music. It has a world weary sound, and was totally unique. She sounded unlike any other of contemporaries, although sometimes, the similarities with Billie Holiday are uncanny. Although she didn’t write her own songs, the material she chose was perfectly suited to her voice. Some of the songs she chose, she sang unlike anyone before. Examples of this are When A Man Loves A Woman and How Sweet It Is, which she interprets brilliantly. It’s hard to choose the best songs on the album, as they’re all so good. What’s sad about the Karen Dalton story, is that this was the final album she released during her career. After that, very little was heard of Karen Dalton, and in 1983, she died tragically. Since her death, interest in her music has grown, and her two albums have been rereleased, and two further albums released. I find it really sad that her music wasn’t more popular during her lifetime, however, at long last, more people are discovering Karen Dalton and her wonderful music. Standout Tracks: When A Man Loves A Woman, In My Own Dream, In A Station and Take Me.
KAREN DALTON-IN MY OWN TIME.
BOB MARLEY AND THE WAILERS-CATCH A FIRE.
BOB MARLEY AND THE WAILERS-CATCH A FIRE.
If you ask most people to name just one reggae singer, most people will say Bob Marley. Back in the 1970s’, he was hugely influential in increasing the popularity of reggae music. It was the release of Exodus, an album I’ve previously written about, that gave Bob Marley his first hit outside Jamaica. Exodus was hugely significant in raising his profile, and in increasing the popularity of reggae music. Before that, although reggae music was something enjoyed by some people, it hadn’t crossover and gained mainstream appeal. Thankfully, Bob Marley was instrumental in raising reggae music’s profile. However, Bob Marley was more than a musician, he was a political activist, someone who spoke up for the Jamaican people, someone who was a force for good and peace. Bob Marley was also a deeply religious man, a devout Rastafarian, someone who religion played an important in his life. Tragically, his life was cut short, dying age thirty-six of cancer. In this article, I’ll look back at his 1973 album Catch A Fire, one of his ever albums, one that was critically acclaimed on its release.
Catch A Fire was Bob Marley and The Wailers debut album for a major record label. This was his first album for his new record label Island Records, owned by Chris Blackwell. Bob Marley and Chris Blackwell had first met in London in 1972, when Bob Marley and The Wailers were stranded in London. They’d entered in a deal with CBS Records, and gone on tour with Johnny Nash, the American soul singer. However, things went badly wrong, and Bob, stranded in London, thought he’d approach Chris Blackwell about recording a new single. Instead, Blackwell said he wanted the group to record a whole album. This, at the time, was unheard of, but Blackwell was adamant. He asked Bob how much an album would cost, and he said between £3,000 and £4,000. Blackwell gave Marley £4,000 and headed back to Kingston, Jamaica to record Catch A Fire.
Now that Bob Marley and The Wailers had the funds to record a new album, they headed for Harry J’s recording studio in Kingston. It had an eight track recording studio, the type that rock bands were using then. Again, this was a first, as previously, no reggae band had used such a facility. Blackwell wanted more than a reggae album, he said he wanted “more of a drifting, hypnotic-type feel than a reggae rhythm.” To achieve this, Bob travelled to London to oversee Blackwell’s overdubbing of the tracks. Chris Blackwell had enlisted the help of Wayne Perkins and John “Rabbit” Bundrick, two American musicians. Perkins was responsible for re-recording some of the lead and rhythm guitar parts. Bundrick meanwhile, added organ, synths, clavinet and electric piano to the UK mix of the album. Another of Blackwell’s decisions, was to lessen the heavy bass sound. Two songs were then left off the album. This “new mix” didn’t go down well back in Jamaica. However, music critics love the album. Their reception was positive, now the only people to convince were the record buying public.
On Catch A Fire’s release in April 1973 it initially sold 14,400 copies. Although this wasn’t going to make Bob Marley a star, it had increased his profile and gained a good reception from music fans. Catch A Fire was hugely instrumental in launching Bob Marley and The Wailers. After Catch A Fire, the band embarked on a period where they released several classic albums one after another. Suddenly, after many years of trying, Bob Marley and The Wailers, were household names. One thing that saddens many people, is how the original Wailers weren’t part of this success story. They’d split up in 1973, tired of struggling for success. Little did they know in 1973, that success was just a year away.
One of the attractions of Catch A Fire for critics and music fans alike, were Bob Marley and Peter Tosh’ lyrics. They were both socially aware and militant. Neither Marley, nor Tosh, were afraid of raising subjects and issues that would be deemed confrontational. Both wished for a future where people in Jamaica, and elsewhere, would be free from oppression. Their view of the world was an optimistic one, and this is apparent in their music. Although the subject matters are, in some ways, controversial, the music on Catch A Fire is outstanding. There are nine tracks, all of which, showcase the talents of Bob Marley and The Wailers. On its release, it may not have been their most successful album, but it has stood the test of time well, and the messages within it, are as relevant today, as they were in 1973.
Catch A Fire opens with Concrete Jungle, a track that begins somewhat hesitantly, with a guitar, bass, organ and drums combining. Quickly, the track opens out and brilliant rhythms emerge as Bob sings, accompanied by The Wailers. Behind him, the arrangement has an understated quality, with a bass reverberating, an organ gently playing, drums steadily keep the beat. The track gently pulsates, as instruments emerge, joining and leaving the mix. A guitar soars, but is played subtly. One constant is the buzzing bass, which is a feature of the track. Like all the tracks on Catch A Fire, the lyrics deal with important social issues. Here, the issue is the poverty and conditions faced by people in the poorer areas of Jamaica. These lyrics, the arrangement, Bob Marley’s vocal and The Wailers’ playing combine to make this a brilliant track.
Slave Driver deals with the effrontery that was slavery, one of the most abhorrent shameful things in history. Bob Marley’s lyrics deal with the subject really well. Likewise, the arrangement is just as good. Drums and organ, accompanied by backing vocals, open the track. When Bob sings, he surrounded by reverberating rhythms, that sound melodic, yet the bass sounds slightly brittle. The arrangement has a similar understated quality to Concrete Jungle, it meanders along, never threatening overpower Bob’s vocal. This suits the song, allowing the you to focus on Bob Marley’s vocal and his righteously angry lyrics. Overall, it’s a great track that deals with one of the most shameful and despicable things in history, slavery.
The militant Bob Marley can be heard on 400 Years. It’s a track that starts with a dark, heavy, sound, very different from the two previous tracks. Even Bob’s voice sounds different, it’s deeper, there also is an edge to it. Maybe it’s because he’s airing his frustration and anger. Likewise, the arrangement is fuller. Back is that brilliant buzzing bass, accompanied by drums and guitar. Backing vocals provided by The Wailers are the perfect accompaniment to Bob’s vocal. They drench his vocal beautifully, bringing a real spiritual feel to the track. All of this, contributes towards a powerful track, which demonstrates both Peter Tosh’s talents as a songwriter and Bob Marley and The Wailers talents as singers and musicians.
One of the best known songs on the album is Stop the Train I’m Leaving, another song written by Peter Tosh. It begins with drums, guitar and organ combining, with the drums almost cracking, whilst in contrast, the organ is melodic as it meanders in and out of the track. When Bob sings, his vocal sounds strong, yet relaxed. His vocal sits right at the top of the arrangement. Behind him, one of the best arrangements on the album is emerging. A chiming guitar, throbbing bass, subtle drums, a dreamy melodic organ make a potent, musical combination. When you add Bob’s powerful, charismatic voice, you’ve the recipe for one of the highlights of Catch A Fire.
On Baby We’ve Got A Date (Rock It Baby), we see another side to Bob Marley. Here we see his romantic side, on what is a much lighter, brighter track. This is apparent when the organ plays, gently and melodically. Drums play, they’re subtle, similarly, the bass is way back in the mix. Neither overpower the organ which is a constant presence, nor do they overpower Bob’s vocal. It’s very different, it’s gentler, the edge that was present on earlier tracks is gone. Instead this is Bob Marley the romantic, the lover. Quickly, Bob’s vocal is surrounded by the most beautiful arrangement on the album. It reverberates and chugs along, a magical musical combination, supplemented by some stunning female backing vocalists.
Another track that may be familiar to many people is Stir It Up. This is one of the tracks Chris Blackwell changed, bringing in Wayne Perkins to redo the lead guitar on the track. The rhythm section begin this track, a bass reverberates, the same not played constantly, whilst drums plays. They’re joined by Perkins guitar and the bass then throbs way down in the bottom of the mix. Like the previous track, Bob’s voice sounds lighter, he also sounds happier. By now, music is emerging in waves, beautifully washing over you. Although Perkins’ guitar playing is of the highest standard, and really lifts the track, it does tend to overshadow other instruments. You’re drawn to his spectacular solos, and in doing so, miss other things that are happening, and emerging during the track. Another guest artist plays on this track, Tyrone Downie plays organ here, and while his playing isn’t as spectacular, it’s just as good, and is much more suited to the track. Having said all that, Stir It Up is one of the albums highlights, but it would’ve been interesting to hear what the track sounded like before it was overdubbed by Chris Blackwell. Maybe, it would’ve been even better without the addition of the overdubbing lead guitar parts.
Kinky Reggae has a a lovely laid back feel to it when it begins. It just gently pulsates, as it emerges out of your speakers. Straight away, it’s beauty just washes over you, and envelops you. This is a glorious sounding track, straight from the opening bars of the track. It’s a combination of bass, drums and guitar that greets you when the track opens. As the track builds up, Bob sings. Again, his voice is much more relaxed, happier as he sings lyrics loaded with not so subtle innuendo. Backing vocals join in, they suddenly emerge, to accompany and compliment Bob’s vocal. What I love about this track is the laid back feel, and the beautiful rhythms and melodies that unveil themselves. That combination and Bob’s lovely vocal, make this a track to treasure.
It’s a combination of spacious sounding bass, drums and backing vocalists that open No More Trouble. Here the tempo, is slow, pedestrian even, laden with drama as the song opens out. There is spiritual sound to the backing vocalists, and eventually, when Bob sings, his vocal is equally spacious and dramatic. This track sees Bob sing about peace, and a cessation to trouble and war, which back then, was tearing his country apart. Although the track is both spacious and dramatic, it’s understated and dignified. During the track it’s punctuated by drums and percussion, which have the effect of reinforcing the issues raised in the song. No More Trouble was written by Bob Marley, and demonstrates how brilliantly he was able to get a message across with his music. I’ve always loved both the song, and the arrangement, which has an understated quality and is spacious and dramatic.
Catch A Fire ends with yet another great track Midnight Ravers. Again, this is another of Bob Marley’s protest songs. Here, he was ahead of his time, when he wrote about the problem of pollution. A drum roll opens the track, a guitar plays, as the song meanders along. Backing singers join in. Then, when Bob sings he and his backing singers combine masterfully and melodically. Gone is the happiness and joy that was previously present in Bob’s voice. Instead, he sounds almost sad, as if saddened by the destruction he’s singing about, and it’s effect on everyone. Behind him, glorious rhythms can be heard, they play brightly. This is a complete contrast to Bob’s vocal. There is almost a darkness present in both his vocal, and that of The Wailers. Midnight Ravers is a powerful song, brilliantly sung by Bob and played magnificently by The Wailers. Such a powerful song that sadly, is even more relevant today, is a fitting way, to end such a great album.
Catch A Fire was the album that announced Bob Marley and The Wailers arrival to the wider world. Before that, they were a huge success in Jamaica, but after Catch A Fire, their popularity spread far and wide. Although Catch A Fire wasn’t a huge commercial success, as later albums would be, it’s just as good as many of his later albums. Maybe albums like Natty Dread, Exodus and Kaya would be more successful, but since the release of Catch A Fire, it has been recognized as a classic album. Nine great tracks, which feature some wonderful lyrics. These lyrics are both militant and socially aware, dealing with some of the problems affecting the people of Jamaica. Many of these problems affected people worldwide, and sadly, these problems persist today. In some ways, it was brave of Bob Marley to include such songs on the album, as many people would be put of by his militancy. However, it was these subjects that made this album what it is, that made it such an important and potent album. To me, it’s one of Bob Marley’s greatest albums, and if you’ve never heard it, it’s well worth buying. Every song is of the highest standard, and features Bob Marley’s brilliant vocals and The Wailers’ wonderful playing. Two other albums by Bob Marley and The Wailers that I’d recommend are Exodus, which I’ve written about previously, and Natty Dread. Anyone wishing to buy some Bob Marley albums, these three albums are some of Bob Marley’s best. Standout Tracks: Stop the Train I’m Leaving, Baby We’ve Got A Date (Rock It Baby), Kinky Reggae and No More Trouble.
BOB MARLEY AND THE WAILERS-CATCH A FIRE.
STEVIE WONDER-TALKING BOOK.
STEVIE WONDER-TALKING BOOK.
From an early age, I’ve always loved soul music. One of the first artists I remember hearing was Stevie Wonder. Since then I’ve always loved his music, and admired him for everything he has overcome. I can’t help but admire how he has triumphed over adversity. To have overcome blindness, yet still, achieve everything he has, says a lot about his determination and motivation. He really is an example to everyone, and someone everyone should respect. My favorite period of his music, is what many people refer to as his “classic period,” between 1972 and 1976. During this period, he released five great albums. One of those albums was Talking Book, released in 1972, at the start of this “classic period.” Talking Book features some wonderful music, including two of his best know hits, Superstition and You Are the Sunshine of My Life. In this article, I’ll tell you about Stevie Wonder’s career, and just what makes Talking Book such a classic album.
Stevie Wonder was born Stevland Hardaway Morris on May 13 1950. He was the third of six children born to Calvin Judkins and Lula Mae Hardaway. When he was born, he was six weeks premature, and because of his premature birth he was born blind. Several things combined to cause this, but one of them is retinopathy of prematurity. Aged four, his mother Lula, left his father, and moved the family back to Detroit. Once their, she reverted to her maiden name Hardaway, and changed Stevie’s surname to Morris. Since then, Morris has remained his legal name.
Like many great musicians, Stevie Wonder began playing various instruments at an early age. This included piano, drums, bass and harmonica. Another similarity to many great singers, particularly soul singers, was his participation in the church choir. By age eleven, however, Stevie Wonder would become a professional singer and musician.
It was in 1961 that Ronnie White, of The Miracles first met Stevie Wonder. His brother Gerald, had persisted in telling him all about Stevie Wonder, and how talented and singer and musician the eleven year old was. So impressed by Stevie, Betty Gordy the Chief Executive of Motown signed him to their Tamla label. Soon, he was given the name Little Stevie Wonder, after producer Clarence Paul kept referring to him as the “eighth wonder of the world.” He released a single in in the Detroit area in late 1961 entitled I Call It Pretty Music, But the Old People Call It the Blues. Two albums The Jazz Soul of Little Stevie and Tribute To Uncle Ray were released in 1962, but neither were particularly successful.
Between 1963 and 1971, Stevie Wonder enjoyed some early success. In 1963 he had his first number one hit in the US with Fingertips (Pt. 2). This track was recorded live and was from a recording called Motor Town Revue. The drummer on that track was none other than Marvin Gaye. By the mid-1960s’, Stevie dropped the Little from his name, and had a number of hits as Stevie Wonder. These included Uptight (Everything’s Alright), a cover of Bob Dylan’s Blowin’ In the Wind and A Place In the Sun. It was during this period that Stevie began working as a songwriter for Motown. One of his first hits was Tears of A Clown, a hit for Smokey Robinson and The Miracles.
Towards the end of the sixties, Stevie continued to record and write great songs. Hits kept coming for him, including For Once In My Life, Signed Sealed and Delivered I’m Yours and I Was Made To Love Her. By 1970, he was a married man, having married songwriter Syreeta Wright, and had let his Motown contract expire. Part of the reason for letting the contract expire, was his wish for more artistic freedom. To prove his point, cowrote and played many of the instruments on The Spinners hit It’s A Shame. Whilst negotiating with Motown, he recorded two albums independently. It was only once his new contract was finalised, that he returned to Motown. This new contract gave him a much higher royalty rate, and full creative control and the rights to his own songs.
Between 1972 and 1976, Stevie Wonder entered his “classic period.” It was a time when classic album, after classic album, was released. This period began with two albums during 1972. The first was Music of My Mind, an album with lyrics dealing with romantic, political and social issues. Another of the themes he explored was mystical themes. On that album, he started overdubbing and playing many of the instruments himself. It was a highly mature album for Stevie who was still only twenty-one. His second album of 1972 was Talking Book, which this article is about. It featured the Hohner clavinet. Two singles were released from the album, Superstition and You Are the Sunshine of My Life. Talking Book won three Grammy Awards. To promote Talking Book, Stevie decided to tour with the Rolling Stones. One of his reasons for doing so, was he wanted his music to be heard by a wider audience. No longer did he want to be perceived as an R&B or soul singer.
In 1973, Stevie released Innervisions, another of his classic albums. Like Talking Book, the album was critically acclaimed, a huge commercial success and won a further three Grammy Awards. Sadly, tragedy struck in 1973 when Stevie was involved in a serious car accident. It resulted in him being in a coma for four days, and temporarily losing his sense of smell and taste. As always, Stevie overcame this setback, and soon, he was back performing.
During the period 1974 and 1976, Stevie only released two albums. However, they were two great albums. Fulfillingness’ First Finale was his seventeenth album, and was a much more subdued, understated album. Unlike previous recent albums, the arrangements weren’t as full, and the tone was much more sombre. Still, the album was well received by critics and fans alike, and it became his first number one pop album. 1976 saw the release of Songs In the Key of Life, a double album, which became his best selling album. Since its release, it’s seen as one of the greatest albums ever released. Regularly, it features in the lists of greatest albums, including Rolling Stone magazines 500 albums greatest albums of all time.
After Stevie’s classic period, he continued to regularly release albums. Between 1979 and 1990, many people see this as Stevie’s commercial period. This to me, is slightly unfair, because during this period he continued to release many great albums. Among the best was 1979’s soundtrack album Journey Through The Secret Life of Plants. This was a mostly instrumental, conceptual album. Many critics and fans didn’t know what to think of the album on its release, but still it sold well, reaching number four in the Billboard 200. 1980’s Hotter Than July was my other favorite album by Stevie during this period. Four singles were released from the album, including Happy Birthday which he wrote to honor Dr Martin Luther King, and campaign for Dr King’s birthday to become a national holiday in the US. These two albums are my two personal favorites from this period of Stevie’s career. Much of the music he released during this period was highly successful commercially, but wasn’t up to the standard of his work during the “classic period.” It seemed that he had moved on, and was producing music for a wider audience. This was proving hugely successful, but maybe alienated the fans who preferred the music he produced during his “classic period.”
Between 1991 and 2011, Stevie hasn’t released many albums of new material. Most of the albums he has released during this period have been either compilation albums or live recordings. Apart from Conversation Peace in 1995 and A Time to Love in 2005, new recordings are thin on the ground. He still continues to perform and is a respected political activist. His music is now being discovered by a new generation of artists, and many artists have either sampled his music or covered his songs. Even today, people still are buying his older material and discovering the music he recorded during his “classic period.”
Talking Book was Stevie Wonder’s fifteenth album, and was released on October 28 1972. The first track on the album is You Are the Sunshine of My Life, the song that won Stevie a Grammy Award in 1974, for Best Male Pop Performance. When the track begins, it’s apparent this is a very special song. It begins with Stevie playing a Fender Rhodes keyboard playing melodically accompanied by congas played subtly. Jim Gilstrap sings the first lead vocal, and Lani Groves who sings the second lead vocal. Then when Stevie sings, his voice is strong and clear, sometimes sounding joyous as he sings some beautiful lyrics. Gloria Barley’s backing vocals are stunning, they drench the lead vocals with their beauty. Quite simply, this is not only one of the most beautiful, tender songs on Talking Book, but one of Stevie Wonder’s best ever songs.
After the tenderness and beauty of the previous track, Maybe Your Baby is a very different track altogether. Here Stevie becomes funakateer number one. From the opening bars, the most glorious slice of funk emerges. His use of synths on this track combined with Ray Parker Jr masterful electric guitar playing give the track this funky edge. Add to this, Stevie stunning vocal, accompanied by some brilliant backing singers and you get the picture. It’s a melting pot of funk and soul, with the backing singers providing the soul, with their soulful stirrings. Stevie’s vocal soars, as he whops and hollers during the track. Anyone expecting the album to continue in the vein of You Are the Sunshine of My Life is in for a shock. This hard edged funk influenced workout is a welcome and wonderful contrast to the opening track.
When You and I begins, the tempo drops, and it’s just Stevie singing and playing piano. His voice seems higher here, but his voice is crystalline clear and full of hope as he sings the lyrics. This is a love song, full of hope and optimism, where he sings about having met someone, with whom together, they’ll be able to conquer the world. Although mostly just Stevie and his piano, this lovely subtle arrangement suits the song perfectly. The only instrument you can hear is a T.O.N.T.O. synth playing. It does so subtly, and never comes near to overpowering either the vocal or piano on this stunning track.
Tuesday Heartbreak has a much fuller arrangement than You and I. It also has a lovely joyous sound. When you hear Stevie singing, he sounds both really happy, and as if he’s really enjoying himself. A Moog bass opens the track, accompanied by an alto saxophone blowing gently. On this track he uses the Hohner clavinet and Fendher Rhodes keyboard to produce the sound here. This contributes to the fuller joyous arrangement. Another key ingredient was David Sandborn’s alto saxophone playing which punctuates the track. That and backing vocals from Deniece Williams and Shirley Brewer. However, the star of the track is Stevie Wonder. Here, he gives one of his best vocal performances on Talking Book, and plays most of the instruments himself. I’ve always loved Tuesday Heartbreak, and for me, it’s easily one of the best songs on the album.
A much more subdued start awaits the listener on You’ve Got It Bad Girl. The track has a lovely warm sound at the start, as a synths and are accompanied by drums playing subtly. Stevie’s vocal is quieter, and he’s joined by backing vocalists who compliment his vocal perfectly. This is tender song about love, featuring some wonderful, thoughtful, lyrics from Stevie. He sings them tenderly, demonstrating just how good a voice he has. Here, although the arrangement features electronic instruments which back then, were in their infancy, the sound they’ve produced still sounds good. It hasn’t dated, and still retains a freshness and timeless quality. Much of this is credit to Stevie Wonder’s mastery of these instruments. In mastering them, he produced not just a great song here, but several great albums.
One of the most familiar songs from the album is Superstition, a favorite of many a fan of Stevie Wonder. Again, Stevie plays most of the instruments on the track, apart from trumpet and tenor saxophone. When the track begins, you’re greeted by that familiar combination of drums and Moog bass. I’ve heard this song so many times, and still I love this start. After that, the song is just as good, and is a joyous feelgood track, designed to lift your spirits. When Stevie sings, his voice starts quieter, whilst around him this glorious arrangement emerges. A trumpet and tenor saxophone play, the Hohner clavinet can be heard, and that combination of drums and Moog bass continues. The longer the song progresses, the stronger Stevie’s voice gets. Around him, the arrangement just improves, and sometimes, a riff emerges that reminds me of David Bowie’s 1975 hit Fame. Listen carefully, and you’ll hear it numerous times during the track. Whether Superstition had any influence on Bowie, we’ll never know. For four and a half minutes you’re swept along in a glorious mixture of melodies and rhythms, hooks aplenty catch your attention and by the end of Superstition, you long to hear its brilliance again.
What I’ve always wondered is that after such a brilliant track like Superstition, does the following track sound a slight disappointment. After all, genius is can be fleeting, and therefore, not every song will be a masterpiece. However, Big Brother ensures that comparisons are difficult because it’s a very different style of song. Here, the song is an example of Stevie Wonder’s social conscience, and demonstrates his role as political activist. He sings about how the subject of his song is tired seeing him protesting on television, and later songs about how he’s tired seeing people die in ghettos of poverty, they’re living in poor conditions and have nobody to speak up for him. These are powerful, cutting lyrics, that get straight to heart of the problem. Sadly, nearly forty years later these problems remain. When the song begins, Stevie plays harmonica and sings, whilst behind him, the arrangement is gradually building. One of the highlights of the track is Stevie’s clavinet playing which is incredible, it really swings. Likewise, his harmonica playing is masterful, and punctuates the track perfectly. What’s remarkable about Big Brother is that Stevie played every instrument on the track. To be able to do that takes a remarkable man. Stevie Wonder truly is a remarkable man. Big Brother is both magnificent musically, and an honest appraisal and protest over terrible social conditions.
Blame It On the Sun begins with Stevie playing piano and singing. He’s accompanied by T.O.N.T.O. synth which meanders gently, the Moog Bass is played subtly in the background and drums fill out the sound. A guitar can be heard, it’s gently plucked, a masterclass in subtly. Behind Stevie’s vocal, Jim Gilstrap and Lani Groves lushly accompany him, their backing vocals complimenting his voice perfectly. During this beautiful song, Stevie sings beautifully, his vocal perfectly suited to the lyrics. The lyrics written by then wife, Syreeta Wright, talk about lost love, and question where has love gone? This song is a combination of Stevie Wonder’s incredible talent, some brilliant backing vocals, a great arrangement and good lyrics. What more could you ask for?
Syreeta Wright wrote the lyrics to two songs on Talking Book, the second of which is Lookin’ For Another Pure Love. Like the previous track, the lyrics are sad, about out of the blue, getting a phone call to say that a relationship is over. These lyrics explore the sense of hurt and loss, and are well written by Syreeta. Stevie Wonder’s music is just as good. At the start, the chord progressions have a similarity to You Are the Sunshine of My Life. That’s the only similarity. This is a much sadder song, lacking the joyousness of You Are the Sunshine of My Life. From the start of the song where Stevie plays Fender Rhodes, the arrangement is understated, matching the lyrics. He’s accompanied by Jeff Beck on electric guitar, and drums play quietly in the background. Backing vocalists envelop Stevie’s vocal, sounding lush, and giving it a dream quality. The arrangement flows beautifully along, the tempo never really increasing. Overall, the arrangement is a masterclass in subtly, and it’s very much a case that less is more here. Lookin’ For Another Pure Love is quite simply one of the most beautiful songs on the album, and much of that is down to the arrangement and Syreeta Wright’s great lyrics.
Stevie Wonder closes Talking Book with I Believe (When I Fall In Love It Will Be Forever), another song where Stevie plays every instrument. It’s a track unlike any other track on the album, and almost seems out of place on Talking Book. Why is that? Maybe it’s the style of the song, maybe the lyrics seem a little bit sugary, it’s only a personal opinion. From the start it’s a dramatic track, with an almost grandiose feel and sound. A combination of piano and Hohner clavinet open the track, before Stevie sings. Behind him, the Moog bass buzzes in the background. The arrangement is quite stop start, and the clavinet reverberates during much of the track. Later in the track Stevie whoops, by now, he’s joyous. On this track he even sings all the backing vocals. Towards the end of the track, Stevie ad-libs, and the track veers of towards a funky style. This is only momentarily though. Like most of the songs, Stevie wrote this song, and it features some beautiful tender lyrics. Overall, even though the song seems out of place on the album, it’s still a good song, albeit not one of my favorites from Talking Book.
Since I first heard Stevie Wonder’s music, I’ve always loved the music he made between 1972 and 1976 most of all. During that period, he was at his creative peak, producing classic album after classic album. He produced Talking Book at the start of that period, and even though he produced several other great albums during this period, this remains my favorite. It’s an album that has no bad songs. Most of the songs he wrote himself, apart from the two he cowrote with Syreeta Wright. On Talking Book he played most of the instruments himself, apart from trumpet, saxophones and electric guitar. It was his mastery of the new electronic instruments that made this such a great sounding album. He embraced synths and instruments like the Fender Rhodes and the Hohner clavinet, which he put to great use on this album. It allowed him to move his music in a new direction, and nearly forty years later, this album sounds fresh and timeless. Sometimes when artists use electronic instruments, they quickly sound dated. Not here, and that is down to Stevie Wonder’s ability to master these instruments, and bring out the best in them. Personally, Talking Book is among his finest albums. If you’ve never heard this album, it’s well worth buying, as are any the albums he made between 1972 and 1972. Among my other favorites are Innervisions and Music of My Mind, two other great albums made by Stevie during this period. Truly, Stevie Wonder is one of the most talented and remarkable musicians ever. He should be congratulated and celebrated for overcoming his disability, and is an example to all of us. Standout Tracks: You Are the Sunshine of My Life, Tuesday Heartbreak, Superstition and Blame It On the Sun.
STEVIE WONDER-TALKING BOOK.
OASIS-DEFINITELY MAYBE.
OASIS-DEFINITELY MAYBE.
Previously, I’ve written about many different albums, and in many cases, these albums have been both innovative and commercially successful. This article is about an album that was one of the most successful of the 1990’s, but unlike many of the albums I’ve previously written about, didn’t feature a particularly innovative sound. This album wasn’t a fusion of dance and rock, it didn’t rely heavily upon synths or samples, no, it looked to the past, and reinvented and revived interest in guitar bands. Released in August 1994, Oasis’ debut album Definitely Maybe was met with critical acclaim, and upon its release, was a huge commercial success. Suddenly, Oasis were one of the biggest bands on the planet. The question is, how did two brothers from Manchester suddenly become two of rock music’s biggest stars?
Oasis were originally called The Rain, and when they formed, consisted of Liam Gallagher, Paul McGuigan, Tony McCarroll and Paul Arthurs. Later, former Inspiral Carpets roadie, and Liam’s brother Noel Gallagher, was asked to join the band. As part of agreement regarding him joining, Noel demanded complete control of the group. Previously, he’d been an aspiring songwriter, and had amassed many songs. These would replace the material the band were previously using.
Creation Records signed Oasis in 1993, and towards the end of the year, a limited edition 12” single was released, for journalists and radio stations. Quickly, it was picked up by BBC Radio, who played the single nineteen times in the fortnight after the record was released. This was almost unheard of, for a record not yet available in record shops. By April 1994, their debut single Supersonic was in the shops. It was followed by Shakermaker in June 1994, which entered the singles charts at number eleven. Such a high placing on the singles charts earned Oasis their debut on Top of the Pops. Another two singles, Live Forever and Cigarettes and Alcohol, were released from the album.
Definitely Maybe was recorded between January and April 1994, at the Monnow Valley Studio, near Monmouth. Dave Batchelor was originally chosen to produce the album. Noel knew him from his days working as a roadie for Inspiral Carpets. Things, however, didn’t work out. The sound was deemed too clean by the group, not what they were wanting, or were about. After returning from a trip to Amsterdam, the grouped decamped to the Sawmills Studios in Cornwall. Instead of Batchelor, the sessions were produced by Noel Gallagher and Mark Coyle. Noel wanted to replicate the group’s powerful live sound. To do this, he decided to record everything together. He set about removing the soundproofing between the individual instruments and let loose. Still, this didn’t bring about the sound they wanted.
By now, Oasis realized that it was unlikely their record company Creation, would pay for the tracks to be rerecorded. Instead, Marcus Russell at Creation contacted Owen Morris. He was a former recording engineer, who was now a producer. After hearing the recordings from the Sawmills sessions, Morris was told to do what was necessary to rescue the sessions. One of the first things he did was to strip away layers of guitar overdubs. This had the effect of totally transforming the sound.
Before the release of Definitely Maybe, another single Live Forever, was released. This gave Oasis their first top ten single, and whetted the music buying public’s apatite for the album nicely. Due to Creation Records ongoing financial problems, a budget of £60,000 was all that was allowed to promote Definitely Maybe. This didn’t seem to matter, because on its release, it sold 86,000 during the first week of its release. Definitely Maybe debuted at number one in the UK album charts. It became the fastest selling album in British history. Having achieved commercial success, the album was also critically acclaimed. Music critics loved the album, and gave it glowing reviews. Since its release, the album has sold millions of copies worldwide. In the UK, it was certified platinum seven times over, selling over 2.1 million copies. This was Oasis’ best selling album in the US, selling over one million albums, reaching number fifty-eight in the Billboard 200. So what made Definitely Maybe such a good album, I’ll now tell you why.
Definitely Maybe opens with Rock ‘n’ Star, a song which when it emerges out of your speakers, is just a totally infectious, hook laden slice of good time guitar rock. From the screaming guitars that greet the song’s arrival, which combine with bass and guitars to provide what can only be described as a wall of sound. Liam’s vocal is sometimes sneering as he sings the lyrics, which he’d later live fully. He became the song’s rock ‘n’ roll star, lived the life and came out the other side unscathed. For just over five minutes, you hear guitars as the should be played, they scream, screech and produce some stunning solos. Towards the end, the sound verges on chaotic, as it screams and howls, feeback screeching, testing your speakers tolerance. Thankfully, chaos is narrowly avoided. Owen Morris has produced a huge sounding song that drives along, one that you can’t help but be enthralled by. Morris’ production brings out the best in the band, the result being one of Oasis’ best ever songs, one that still sounds as good seventeen years later.
Shakermaker begins with a guitar playing, the sound isn’t as full and crystalline clear, but still is just as loud. Quickly, this changes, and the rest on Oasis join in. Again guitars and drums play the biggest part in the sound. Guitars, like before are loud, screaming, drums are pounded, enduring severe punishment from Tony McCaroll. Feedback shrieks, and at the front Noel’s vocal is charismatic, he sings slower, his voice soaring, yet always in control. Unlike Rock ‘n’ Star, Shakermaker isn’t quite as hook laden. Instead, it’s a powerful and impressive sounding track. Here, it’s as if Oasis have decided to produce Manchester’s version of Phil Spector’s wall of sound. Their version is impressive, the result stunning. In Shakermaker, they’ve produced a track, that few of their peers could even think about producing.
Drums play at the beginning of Live Forever. It’s almost a subdued start. Little do you know what’s about to happen. Even when Noel sings, his vocal starts quietly. Quickly, though the song opens out. His vocal soars, around him song opens out, the arrangement gets fuller. Guitars join, they chime brightly, drums play behind them, and the bass sits way back in the mix. Noel’s lyrics are positive, about eternal life. Once the arrangement fills out, it’s a combination of soaring guitars, producing the most glorious sound. Their sound matches the positivity, and like previous tracks, it drives along, benefiting from a fuller arrangement. Like Rock ‘n‘ Roll Star, Live Forever has an anthemic sound to it. It also has a timeless quality. I’ve always though Live Forever is a great song, one of the album’s highlights. It’s a combination of great lyrics, played and sung brilliantly and arranged perfectly by Owen Morris.
Up In the Sky literally bursts into life when guitars open the track. When drums and Noel’s vocal join, the song sounds not unlike the Beatles in parts. The Beatles were a huge influence on the Gallagher brothers, and although they never produced a similar sounding song, elements of the track have similarities. For me, it’s the vocal and some guitar parts, that lead to this comparison. Overall, Up In the Sky is a brilliant slice of sixties influenced power pop. Guitars drive the track along, drums pound away in the background, and Noel’s vocal is strong and load, as it soars above the rest of the arrangement. Like the preceding tracks, the guitar playing is stunning, and was one of the things that made Oasis such a great band. It was Oasis that reinvented the popularity of the guitar band. However, with the ability to produce such a great track, they were peerless, most other bands were mere pale imitators.
Feedback screams, emerging from the distance, a bass plays, drumsticks are hit together, and the whirlwind that is Columbia is off. Guitars play, they growl, drums play and Noel sings. His voice seems slightly buried in the mix. It’s as if he’s being overpowered by the sheer power of the rest of the arrangement. When the rest of the band join on backing vocals, their voices are almost hidden. This is a shame because around them, the rest of the arrangement is unrivaled by its power. Columbia must feature the band at their loudest. The sound of the guitars literally overpower you. You can’t help but be impressed by the sound’s power. Later, when backing vocals momentarily emerge from the arrangement, they’ve an early 1970’s glam rock sound. My only quibble with Columbia would be to move the vocals slightly further forward in the mix. Apart from that it’s a good track, with an impressive, powerful sound.
Like Shakermaker, drums begin Supersonic, and like Shakermaker, guitars quickly join the frae. Supersonic showcases Oasis’s talents brilliantly, it shows what they’re all about. Here they take clever, witty lyrics, add Noel’s self assured, sometimes sneering vocal, add some brilliant guitars, pounding drums and bass. That’s the recipe for Supersonic. What follows masterful. During nearly five minutes, Noel’s vocal is one his best on Definitely Maybe. He sometimes sneers as he sings. At the same time his vocal is laden with character and confidence. Sometimes, this seems to border on arrogance, such is his confidence. Behind him, the rest of the band pull out all the stops. They produce one of their best performance. Everything seems just to come together, they sound like seasoned veterans, not debutants. Like before, the guitars sound crisp and clean as they soar, screaming and chiming. They’re accompanied by the rhythm section. Bass and drums fill out the sound. It’s the drums that play the biggest part in accompanying the guitars. Together, they’re responsible for the magnificent soundscape that is Supersonic. However, it’s Noel’s lyrics and vocal that add the finishing touches, and ensure that Supersonic is one of the most memorable tracks from Definitely Maybe.
At the start of Bring It On Down the sound begins hesitantly. That’s just momentarily. Then Oasis head off into a really rocky sounding track. It sets of at a furious pace, all howling guitars, crashing guitars and Noel’s powerful vocal. Sometimes, his vocal is laden with effects. Bring It On Down bowls you along in its wake, its power and intensity remarkable. It’s like controlled aggression, which Owen Morris has harnessed perfectly. In doing so, he was able to reproduce what Oasis’ live sound was like. If Bring It On Down was an example of their early live sound, then it must have been one of the best live shows around.
Probably the best known track from Definitely Maybe is Cigarettes and Alcohol. Since the first time I heard the track, I’ve always thought the introduction sounded not unlike Neil Young’s Motorcycle Mama. Maybe that’s just me, but there’s something about the guitar line that’s similar. Once the track starts, it’s Noel and Oasis at their best. You can almost imagine Noel strutting around as he almost spits out the lyrics, his confidence brimming over. Likewise, the rest of the band sound just as confident as they produce the best track on the album. A wall of guitars combine masterfully, producing a sound that howls, screams and shrieks. All of which sounds tuneful and brilliant. Drums provide the track’s heartbeat and deep down in the depths of the mix, the bass plays. Overall it’s a potent combination, and is both melodic and full of brilliant rhythms. Cigarettes and Alcohol is not only the best track on Definitely Maybe, but one of finest songs they recorded. You’ll only need to hear it once to realize why.
Digsy’s Diner is a very different track from other tracks on Definitely Maybe. Like several previous tracks, guitars start the song. These guitars have a choppy sound, and are accompanied by drums. Still the sound is loud and full. Occasionally, this fuller louder sound is bordering on frantic, and Noel’s voice seems overwhelmed by the power. One difference, is the brief appearance of a piano, which tinkles away. That’s the only different ingredient with the music. Still you hear the guitars, drums and bass, but here, the lyrics aren’t as strong as previous tracks. That and the vocal are disappointing. It isn’t that the vocal is bad, it’s just it’s overpowered by the rest of the arrangement. Having said that, it’s a decent track, just not up to the high standard of the previous tracks.
An track of epic proportions awaits the listener with Slide Away. Thankfully, it’s a return to form for Oasis. From the start, you realize a good track is emerging. Guitars play brightly, they’re slower, less frantic than on Digsy’s Diner. Drums are slower, and spacious. Even Noel’s vocal is better than on Digsy’s Diner. It’s clearer, stronger and here, it’s slower. His voice is really good, and is suited to the song. The guitars soar, they sound crystal clear, as they chime brightly. Although it’s a slower song, the arrangement is still quite full, though not as full as other tracks. As the track progresses, the sound increases. Towards the end, the arrangement gets fuller, and climaxes in a crescendo of screaming guitars and pounding drums. In the end, Slide Away was a welcome return to form after Digsy’s Diner.
Definitely Maybe close with Married With Children. It’s a very different track to the rest on the album. On this track it’s just Noel singing backed by guitar. His voice us much quieter, gentler as he sings the lyrics. The lyrics are just as good, and the first time I heard this track it came as a nice surprise. To me, it showed a very different side of the band, and was a good way to end a great album.
When I started writing this article and realized that it was seventeen years since Definitely Maybe was released, i found that hard to believe. In the seventeen intervening years, a lot has happened. Oasis released six further albums, the best of which was (What’s the Story) Morning Glory, their second album, released in 1995. In 2009, Oasis split up, in acrimonious circumstances. Since then, solo albums have been made and released. However, it would be hard for either Gallagher brother to top Definitely Maybe, a brilliant debut album. Definitely Maybe was packed full of great music, songs that had guitars at their heart, songs you could sing along to, and songs that seventeen years later, sound just as good. It was also an important album for music. Suddenly, guitar bands were back in fashion. Leading the way were Oasis. In all honesty, they were peerless, and even the arrival of Britpop, didn’t stop the Oasis juggernaut. Quite the opposite, Oasis’ career at the top outlasted any of their Britpop rivals. During an eighteen year period, they produced seven albums, two of which Definitely Maybe and (What’s the Story) Morning Glory, are among the best albums released in the past twenty years. Anyone who hasn’t heard Definitely Maybe should buy it, it’s one of the best debut albums you’ll hear. To keep it company, why not buy (What’s the Story) Morning Glory, another great album, where Oasis developed and refined their sound, producing just as memorable album as their debut. Standout Tracks: Rock ‘n’ Star, Live Forever, Cigarettes and Alcohol and Slide Away.
OASIS-DEFINITELY MAYBE.
PRIMAL SCREAM-RIOT CITY BLUES.
PRIMAL SCREAM-RIOT CITY BLUES.
As someone who has spent many years reading the music press, one thing that always make me smile is how quickly an artist or group fall from grace in the eyes of the music press. One minute a group are being lauded as the savior of music, having released one of the previous decade’s most influential albums, then when they decide to change their style, they’re pilloried by the same journalists who previously, hung on their every word. It seems that unless a group releases albums the music press want to hear, regardless of how good or commercial it is, doesn’t count. Back in 2006, Primal Scream released Riot City Blues, a perfectly good album, which saw them return to a style of music they like, play well, previously have released and has proved popular with fans. That wasn’t good enough for the music press. Although reviews were mixed, some were scathing. This return to a more traditional rock ‘n’ roll album, didn’t please the journalists who fourteen years earlier, had loved and lauded the seminal Screamadelica. However, fans liked the album, and it sold well. In this article, I’ll revisit Riot City Blues and evaluate just how good an album it really was. I’ll find out who was right, the critics or the music buying public.
Riot City Blues was released in June 2006. It was the eighth album by Primal Scream and their fifth album since 1991’s Screamadelica. Since the release of Screamadelica, the band hadn’t stood still. It would’ve been easy for them to follow-up Screamadelica with a similar album. They could’ve easily exploited the new fashion for rock and dance crossover albums, but choose not to do so. Probably they knew that Screamaelica was a one-off. It was the type of album that comes along once in every generation. Screamadelica was the acid house generation’s Sgt. Pepper. After Screamadelica, Primal Scream returned to their love of rock ‘n’ roll with Give Out But Don’t Give Up, which I’ve previously written about. After that, the band released much more experimental albums with Vanishing Point in 1997, XTRMNTR in 2000 and Evil Heat in 2002. A dub album Echo Dek which I’ve previously written about, was released in October 1997. Echo Dek was an album of dub remixes of tracks on Vanishing Point by Adrian Sherwood. Unlike other groups, Primal Scream refused to continue churning out album after album of similar music. No, they’re innovators, and Riot City Blues was the first time in twelve years that they’d revisited this style of music. So how good an album is Riot City Blues? I’ll now tell you.
Riot City Blues opens with Country Girl, a track that begins with a wall of guitars playing. It’s a big sound, big, glorious and impressive. When Bobby Gillespie sings his voice is loud and strong, he’s really forcing the vocal, as he sings over the top of the arrangement. Later, when the rest of the band join in, Mani’s bass and Darren Mooney’s drums help to create what is a joyous slice of good time rock ‘n’ roll. Andrew Innes then plays mandolin, which is a total contrast to the rest of the arrangement. Overall what a way to start any album, let alone Riot City Blues. If the Rolling Stone had produced this track, music critics would be drooling over. They didn’t the Scream did, and it’s brilliant.
Nitty Gritty picks up where Country Girl left off, with more of that good time rock ‘n’ roll. Like it’s predecessor, the sound is big and bold. Starting with guitars and piano that would pay homage to the Rolling Stones at their peak. Bobby’s voice sounds more mid-Atlantic than Glaswegian, as he launches into the lyrics. This is how rock ‘n’ roll should sound, how it used to sound. Primal Scream have taken screaming screeching guitars played brilliantly, some old time piano playing, pounding drums added Bobby’s attitude laden vocals and thrown in a few handclaps for good measure. The result four and a half masterful minutes of strutting, arrogant good time rock ‘n’ roll. Magnificent.
Think The Stooges, New York Dolls and Iggy and The Stooges. Take Primal Scream, throw in all these influences, maybe some 1960’s garage bands and what you get is Suicide Sally and Johnny Guitar. For three minutes Bobby and company pay a raucous tribute to all these influences. As the track starts, you’re lulled into a false sense of security. All you can hear is Bobby singing quietly accompanied by an acoustic guitar. Then, the track literally explodes. What emerges is a melange of rocking rhythm guitars, a lead guitar that screams, then plays some sublime solos. The rhythm section get in on the act too. How the drums survive Darren’s punishment defies belief. Hidden in the depths is a keyboard that fills out the sound. Not forgetting Bobby, his vocal is passionate, angry and full of attitude. If this was a tribute to some of rock ‘n’ roll’s greats, it’s fitting one, from the last great rock ‘n’ roll band.
Many people compared this album to Give Out But Don’t Give Up. Personally, I think they’re two very different albums. This is apparent when you hear When the Bomb Drops. The tracks on Give Out But Don’t Give Up were more melodic and soulful, whereas tracks like When the Bomb Drops, portray Primal Scream almost as the angry young men of rock ‘n‘ roll. It begins with guitars growling and chiming, drums then accompany them. Bobby joins the frae, his vocal loaded in cynicism and anger, as he sings the lyrics. Guitars seem to be the weapon of choice on this track, and it’s solos aplenty with Andrew Innes and Robert Mountfield competing for the title guitar hero. Like other tracks on the album, the arrangement is full, the sound loud. Having said that, you can’t fail to be impressed by Primal Scream playing as if there lives depended on it. Quite simply they rock.
From the distance, slowly emerges a music. Guitars and a hurdy gurdy play. It’s almost discordant sounding at the start, then gradually, Little Death emerges from its slumbers. When it does, the sound is much more pleasing, much more melodic. When Bobby sings, he almost whispers the vocal, and is joined by backing vocalists who surround his voice, and are the perfect accompaniment. It’s a track that gently meanders, and it’s in no rush to reveal itself. Otherworldly noises emerge from your speakers, they tantalize you, dare you to name them. Sometimes you can, sometimes you struggle, other times you just can’t. Later guitars join, they wail, percussion plays and drums join in. It ends up an epic track, the longest on the album, one that’s fascinating and enthralls you, one where every time you hear it, more of its subtleties and nuances reveal themselves.
The 99th Floor is the complete opposite of Little Death. Instead, we’re back to the rockier side of Primal Scream. Here, the pace is frantic from the start. When the track starts, the tempo is fast, the sound loud. It’s a glorious mixture of guitars, harmonica, drums and Bobby’s angry vocal. This is no mealy mouthed and pithy nu folk album, no way, this is real rock ‘n’ roll, and Little Death is some of the best you’ll hear. It’s a musical explosion, one that demonstrates what rock music should sound like. From the intro to the end, the Scream are in full flow, and Little Death is one of the album’s highlights.
A harmonica plays at the beginning of We’re Gonna Boogie. The sound is bluesy, yet rocky. Martin Duffy’s playing is brilliant. Bobby accompanies the harmonica and behind them the rest of the arrangement is much quieter, almost understated compared to previous tracks. Mostly it’s just Bobby and the harmonica, but occasionally percussion plays quietly. Although very different, it’s still another very good track, which benefits from a much subtler arrangement.
Earlier I mentioned the group’s love of the New York Dolls. Well, here maybe they pay homage by naming a track after them, Dolls (Sweet Rock and Roll). When the track opens there’s more than a hint of Marc Bolan and T Rex in the track, particularly when the rest of the group sing backing vocals, both at the start and during the track. That’s where the similarities end. Bobby isn’t the second Marc Bolan, no he’s the first Bobby Gillespie, and as usual, his vocal suits the song perfectly. He doesn’t force the vocal, just gives his usual passionate and energetic performance. Behind him, the rest of the band revisit their own unique brand of good time rock ‘n’ roll. Overall, this combination provides a welcome trip down memory lane for those of a certain age, when all music sounded just as good.
Hell’s (Coming Down) has a very different start to other tracks on Riot City Blues. It begins with a mandolin and fiddles playing, and sounds as if it’s straight out of Nashville. There’s an authentic country side, which is combined with a slice of rock ‘n’ roll. Behind the fiddles and mandolin, guitars and drums combine, as the track sweeps beautifully along. As tracks goes, this one’s infectious and unlike anything Primal Scream have ever done before. Excellent.
Riot City Blues closes with Sometimes I Feel So Lonely, a track that could be related to Damaged from Screamadelica. It’s a beautiful, sad track, one with a lovely laid back feel. Bobby takes the tempo down, and sings the sad lyrics tenderly. He’s accompanied by backing vocalists whose backing vocals are just as tender. Behind Bobby, the rest of the band join in with the subdued and understated arrangement. Drums are played gently, a harmonica blows and French horn can be heard. Quite simply, both the lyrics and arrangement are a perfect match for each other. Each are beautifully understated, and the end result is a heart achingly beautiful song to close the album.
Since the release of Riot City Blues in 2006, I’ve always loved the album. I love the variety of songs on the album, and the passion and energy the group display. This was their eighth album, and Primal Scream still had something to new offer. They were seeking new ways to reinvent themselves, for example the experimental Little Death and the country tinged Hell’s (Coming Down). Unlike certain music critics, I thoroughly enjoy Primal Scream good time rock ‘n’ roll sound. When they play like this, they remind many people of the Rolling Stones at their prime. I feel that some people didn’t give the album a chance, and for whatever reason, chose to ignore the fact that there are ten great tracks on the album. Maybe, one of the reasons is that, after Screamadelica, when they released Give Out But Don’t Give Up they reverted to their more traditional roots. Some people viewed them as “dance traitors.” If so, fifteen years was a long time to hold a grudge. Personally, I like to give an album a chance, and if you’ve never heard it, it’s a great album, one that I’d recommend to anyone. Ten greats tracks played by one of the last great rock ‘n’ roll bands. Standout Tracks: Country Girl, When the Bomb Drops, The 99th Floor and Sometimes I Feel So Lonely.
PRIMAL SCREAM-RIOT CITY BLUES.
DONNY HATHAWAY-EVERYTHING IS EVERYTHING.
DONNY HATHAWAY-EVERYTHING IS EVERYTHING.
Sometimes, when people discuss the great soul singers, they forget about the artist I’m going to write about today. Granted he only released three studio albums and one soundtrack album during his lifetime, and two albums with Roberta Flack, but they were great albums, some of the finest you’ll be privileged to hear. Today, I’m going to write about Donny Hathaway’s debut album Everything Is Everything. Many people may never have either Donny’s music, or Everything Is Everything. Among musicians, Donny is regarded as one of soul music’s greats. Among his many fans, was the late Amy Winehouse, who referenced Donny in her best known song Rehab. Sadly, like Amy, Donny had a tragic life, battling mental health problems, and died far too young. In this article, I’ll tell you about Donny Hathaway’s life and his debut album Everything Is Everything.
Donny Edward Hathaway was born in October 1945, in Chicago. He was the son of Drusella Huntley, but was brought up by his grandmother Martha Pitts, a professional gospel singer. It’s often said that a child is a a musical prodigy. This was true of Donny. At the age of three, Donny joined his grandmother in her church choir. After graduating from Vashon High School, he headed to Howard University in Washington’ DC to study music on a fine arts scholarship. During his time at Howard, Donny formed a jazz trio. He was joined by drummer Ric Powell, and they played around the Washington area. In 1967 Donny received various offers to work within the music industry.
After leaving university, Donny’s first job within the music industry was as session musician, songwriter and producer. His first job was with Twilight Records in Chicago. Later he worked as an arranger, and was responsible for the arrangements on two of The Unifics singles Court of Love and The Beginning of My End. Donny went on to work with The Impressions, Aretha Franklin, Jerry Butler, The Staple Singers, Leroy Hutson and Curtis Mayfield.
Woking with Curtis lead to Donny becoming house producer at Curtis Mayfield’s Curtom Records. It was there, that Curtis started recording as one of the Mayfield Singers. In 1969, he recorded his first track under his own name. This was a duet with June Conquest entitled I Thank You Baby, with another duet by the pair Just Another Reason as the b-side.
Later in 1969, Donny signed to the Atco Records label. This came about after being spotted by King Curtis, a musician and producer at a music industry trade convention. This lead to Donny releasing his first successful single The Ghetto Part 1, which he cowrote with friend Leroy Hutson. Hutson would later go on to find success as a singer, songwriter and producer with Curtis Mayfield’s Curtom Records.
The Ghetto Part 1 was one on the songs on Donny’s debut album Everything Is Everything, released in July 1970. Several songs on the album were cover versions. This included Nina Simone’s To be Young, Gifted and Black and Ray Charles’ I Believe To My Soul. On its release the album was critically acclaimed. Everything Is Everything reached number seventy-three on the Billboard 200 album charts. Since its release, it’s widely been recognized as Donny’s best album.
Donny’s second album Donny Hathaway released in April 1971, featured mostly cover versions of soul, gospel and pop songs. On the album, Donny sang duets with his former classmate at Howard University Roberta Flack. This album helped Donny to “crossover,” and established him on the pop charts. On the album were covers of Carole King’s You’ve Got A Friend and Baby I Love You and Ralph McDonald’s Where Is the Love. Music critics loved the album, and the album was a huge commercial success. The album reached number eighty-nine on the Billboard 200 album charts. This wouldn’t be the last time Donny and Roberta Flack would collaborate.
1972 was a busy year for Donny Hathaway, as he released three albums. The most successful of the albums was entitled Live. It featured songs recorded during two of his concerts. Side one was recorded at The Troubadour in Hollywood, side two at Greenwich Village’s Bitter End. On its release, it reached number eighteen on the Billboard 200 album charts. Less successful was the soundtrack to Come Back Charleston Blue. Donny wrote most of the tracks and conducted the music for the album. However, it only reached number 198 on the Billboard 200 album charts. His third album of 1972, saw him reunite with Roberta Flack. This time the album was entitled Roberta Flack and Donny Hathaway, and reached number three on the Billboard 200 album charts. This would proved to be his highest ever chart placing.
The final album released during Donny’s life was Extension of A Man in June 1973. Extension of A Man Two featured one of Donny’s greatest and most powerful songs, Someday We’ll All Be Free. Two tracks from the album became successful singles, Love, Love, Love and I Love You More Than You’ll Ever Know. Although well received by critics, and featuring some wonderful music, the album only reached number sixty-nine on the Billboard 200 album charts.
After this, Donny never recorded any further solo albums. The only album released featuring his music was The Best of Donny Hathaway in 1978, which failed to chart.
On January 13 1979 Donny started recording an album of duets with Roberta Flack. By the time they’d recorded two tracks, it became apparent that Donny wasn’t a well man. His behavior became irrational, and he seemed paranoid and delusional. A decision was taken to stop the sessions, and the musicians were sent home. Just a few hours later, Donny was found dead on the pavement below the fifteenth floor of his room at New York’s Essex House Hotel. Tragically, the problems with mental illness that had troubled him during his life had led him to take his life. Throughout his life, he’d suffered from depression and paranoid schizophrenia. He took medication to control the illness, but according to his wife Eulaulah, he’d gradually become less careful about taking his medication. This tragically, led to him taking his life. Aged thirty-four, soul music lost one of its finest singers and songwriters. The two songs he’d recorded with Roberta Flack, featured on her 1980 album entitled Roberta Flack Featuring Donny Hathaway. When you listen to these tracks Donny’s voice sounds good on the two tracks. Since his death, he has become a huge influence on a new generation of artists, musicians and songwriters. He left behind some wonderful music, music which today, we can all enjoy and love.
Everything Is Everything begins with Voices Inside (Everything Is Everything), a track that opens with bass being plucked and drums playing. You feel a slice of funk is emerging, this increases when Donny shouts “let’s get down now,” and then a piano plays. Backing singers join in, Donny scats. By now the arrangement has grown, and is a glorious mixture of brass, piano backing singers and handclaps. Donny’s style is loose, he ad-lids, whoops and hollers. At the end of the track, you’ve heard three and half minutes of masterful music, which is wonderfully arranged. It’s one part soul and one part funk. Brilliant.
Je Vous Aime (I Love You), opens with drums playing and backing singers testifying. A guitar plays as Donny sings. Donny’s voice is full of emotion and sincerity, soulful with a capital S. During the song, he sings some heartfelt lyrics, about how times have been tough, yet he still loves someone. Like the opening track, his backing singers drench his voice with their soulful and gospel influenced voices. They compliment his voice perfectly. Apart from the backing vocalists, it’s just drums, and guitars which feature prominently in this wonderful arrangement. When you listen to this track, it’s hard to believe that this is Donny’s debut album, such is the maturity and confidence he displays on the beautiful track.
I Believe To My Soul has a dramatic opening, it’s a mixture of drums, keyboards and brass section. To quote James Brown it’s loud and it’s proud. When Donny joins in the tempo increases, the arrangement gets fuller and the drama increases. He sings about mistrust and betrayal, his voice loud and strong, soaring powerfully. Behind him, the brass section play brilliantly. They almost upstage Donny with their performance, punctuating the track with a virtuoso performance. Overall, the song is a combination of Donny’s powerful vocal, a brilliant brass section, and drums and keyboards helping set the dramatic scene for Donny’s tale of distrust and betrayal.
After such an energetic workout as I Believe To My Soul, Misty sees Donny return to his gospel roots. From the start, Misty has a gospel influence. This is apparent is both Donny’s vocal and the arrangement. Donny takes the tempo way down, as he sings, and behind him, a piano plays, the brass section interject beautifully. As well as singing the song slowly, both Donny and his band leave plenty space in the arrangement. This adds to the dramatic impact of the song. Misty is the total opposite from the previous track. Here he’s singing about love, here his vocal is slow, laden with emotion and heartfelt. What it has in common with other tracks is the bigger, fuller arrangement, albeit one that’s slower and spacious. Here we see Donny at his soulful best, his passionate performance amongst the album’s highlights.
When Sugar Lee begins a bass plays, in the background people can be heard whooping, hollering and clapping their hands. The arrangement is looser, less structured, with a funk and jazz influence present. Drums and piano play, along with the whooping and hollering, later a bass is plucked. It’s very different from previous tracks. Although it has it merits, towards the end, the sound veers towards chaotic, but thankfully, that never quite happens. To me, it’s an experimental sound, one that has it roots in both jazz and funk. After the previous tracks, although Sugar Lee isn’t a bad track, it’s a bit of a letdown.
A piano plays, Donny testifies. That’s how Tryin’ Times opens. A bass plays before he starts to sing, and when he does, it’s a vast improvement on Sugar Lee. In the song he sings about the poverty and social problems people were suffering from. It’s a track laden with social comment about society’s problems. When you listen to the lyrics, they’re powerful, cutting and make a lot of sense. Sadly, these problems still exist, and Donny’s words are still relevant. Like all the tracks on the album, it benefits from a good arrangement, although here, it isn’t as full as on other tracks. Tryin’ Times, a song he cowrote with Leroy Hutson, is a passionate track, with lyrics just as relevant nearly forty years later.
Donny Hathaway wrote Thank You Master (For My Soul), the next track on the album. It’s a track with its roots in the church, and features spiritual lyrics. In the lyrics Donny gives thanks, for everything he has, especially his soul. When he does, he gives another heartfelt performance. The arrangement starts slowly, with just a piano playing. Quickly, drums and a keyboard enter, to be joined by the brass section. What starts of as an understated arrangement, eventually turns into almost a jazz workout, with his band showcasing their musical abilities. It’s almost a song of two parts, and during the second part of the song, Donny is joyous, thankful for what he has. His voice becomes passionate, and sincere, as he gives thanks. You can’t fail to be moved by Donny’s moving and heartfelt performance on this track.
Even if you’ve never heard Donny’s music, you’ll probably have heard the next track The Ghetto. Again, it’s a track with a much looser arrangement. Much of the track is an instrumental with Donny ad-libbing. He whoops as a bass plays at the start of the track, then proudly announcing “this is the ghetto.” Maybe back then, he realized the impact this track would have, and foresaw how highly regarded it would be. From the start, the track has a warm feel, and for nearly seven minutes, Donny and his band produce a masterful track. It meanders beautifully along, keyboards playing, backing vocalists interjecting and percussion playing. Drums and handclaps can be heard, a bass plays, and occasionally, Donny sings. Mostly, the track moves along slowly, beautifully, a mixture of musicians playing and background voices. Whoops, hollers and screams can be heard. The improvisational style of track works well. Here, Donny has borrowed this style from jazz, and this looser style works brilliantly, ending up with one of Donny’s best known tracks.
To Be Young Gifted and Black closes Everything Is Everything. Here, Donny takes a risk, by covering a song made famous by Nina Simone. Many people regard her version as the definitive version. However, Donny’s version is good, very good, and runs Nina Simone’s version close. He sings this song about poverty and inequality brilliantly. His rendition is passionate, he sings it as if he’s angered by these things, he sees them rightly, as a blight on society. Sadly, forty years on, things are worse. The arrangement allows Donny’s vocal to shine. Again there’s a gospel influence present as a piano plays at the start. Space is left when the drums play, an organ adds to the gospel influence, as it subtly plays. A bass emerges, then organ and drums combine. Meanwhile, Donny is giving a brilliant performance. His voice soars high, laden with emotion. Towards the end of the track, backing vocalists accompany Donny, adding the finishing touches to one of the most heartfelt songs you’ll ever hear. This is his best vocals on the album, one that is up there with anything he ever recorded. It’s the combination of Donny’s vocal and the lush, gospel arrangement that make this my favorite song not just on the album, but of Donny’s. Only one word can describe this track. Brilliant.
I’ve thoroughly enjoyed researching and writing this article, as it gave me the perfect excuse to revisit Donny Hathaway’s marvelous music. It’s music that I always love listening to, and music I’d recommend to anyone who hasn’t heard it. Everything Is Everything is one of the best soul albums you could ever hope to hear. On it are nine tracks, which feature some of the best tracks Donny ever recorded. Donny’s voice is brilliant, he’s backed by some wonderful musicians and Donny Hathaway and Ric Powell’s production is masterful. This album is the best album Donny ever released in his tragically, short career. Although he only recorded three studio albums, they’re three great albums. If you’ve never heard this album, I’d thoroughly recommend it to anyone. It’s an album that once you’ve heard it, you’ll fall in love with it. Donny Hathaway had one of the best voices in soul music, it’s tragic that his life was so short. However, we should be thankful that during his lifetime, he recorded such wonderful music. Standout Tracks: Je Vous Aime (I Love You), I Believe To My Soul, Misty and To Be Young Gifted and Black.
DONNY HATHAWAY-EVERYTHING IS EVERYTHING.
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