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.
PAUL McCARTNEY AND WINGS-BAND ON THE RUN.
PAUL McCARTNEY AND WINGS-BAND ON THE RUN.
Sometimes your memory plays tricks on you, and things that you’ve remembered from may years previously turn out to be very different. In a way, the memory is almost spoiled, when you revisit somewhere or something. Suddenly, it isn’t quite how you remember it, and sadly, your memory, or how you’ve chosen to remember something is shattered. There is a name for this, it’s called “false memory syndrome.” This can be applied to music. If you bought and loved an album many years ago, and for whatever reason, never heard it for a long period and eventually, decided to revisit it, your memory of that album could be shattered. It may not sound as good as it did, many years ago. A couple of years ago, I decided to risk having one of my earliest musical memories shattered. I wanted to discover whether one of the first albums I ever received, was as good as I remembered it. Not long after this Band On The Run was released, I received a copy of it. Back then, there were no CDs’ and MP3s’, instead, we had to make do with vinyl, cassettes and 8-track. When I got the album, I remember playing it time after time, and knowing every track. Many years later, someone “borrowed it,” and I never saw it again. Last year, the album was rereleased yet again. This time it was remastered and repackaged, and came with assorted goodies, including a DVD. Having seen the album advertised, I decided to take the plunge, and risk having my childhood memories shattered. Shortly, I’ll tell you whether my memories were shattered, or did the album live up to expectations. Before that, I’ll briefly tell you about the making of Band On The Run.
After finishing their 1973, Paul and Linda McCartney headed to their Scottish home to start writing material for their next album. Quickly, they grew bored, and decided to head somewhere more exotic and interesting to record the album. Eventually, they hit upon the idea of heading to Lagos, in Nigeria. However, before they even set foot in Lagos, a problem arose. Lead guitarist Henry McCullough quit the band. To make matters worse, drummer Denny Seiwell folowed suit. So come August 8, when the band left for Lagos, only Paul, Linda and Denny Laine remained in the band. They were joined by Geoff Emerick, who previously, had been The Beatles recording engineer. This was the quartet that eventually departed for Lagos.
On their arrival in Lagos, they discovered that they hadn’t landed in paradise. At that time, Nigeria was run by a military government, corruption was allegedly rife and many people were suffering from various terrible diseases. As if that wasn’t bad enough, the studio left a lot to be desired. The equipment was either broken or basic. Suddenly, the McCartney’s must have rued their spirit of adventure. Now they were there, they had to make the best of things.
So the band had established a routine. During the week they spent time in the studio, weekends were for relaxation. However, every day, the band had to travel an hour to and from their rented homes. Surely things couldn’t get any worse for them?
It could. Paul and Linda decided to take a walk one night. They were warned again against doing so. That didn’t stop them though. During their walk, the couple were robbed at knifepoint. The robbers escaped with all the couple’s valuables. This included a book with lyrics in it. Probably by now, they felt that surely nothing else would happen. Wrong. One day Paul started struggling for breath, he was helped outside the studio for fresh air, and fainted. It was thought he’d suffered a bronchial spasm, brought upon by smoking too much. Again, they must have felt that would be the end of their misfortune. Not at all.
The group decided to visit a club owned byFela Kuti the legendary African singer, musician and political activist. After their visit to the club, they were visited by Fela Kuti at the studio. He confronted Paul, accusing him of exploiting and stealing African music after they’d visited his club. To proved this wasn’t the case, Paul played the tracks to Fela Kuti.
After this latest problem, Ginger Baker invited the band to record the whole album at his studio, ARC Studio, in Ikeja. Paul didn’t want to record the whole album there, but spent a day there, recording Picasso’s Last Words (Drink To Me) there. Ginger Baker guested on the track, his contribution being percussion played on a tin of gravel.
By the third week in September, recording was complete. They arrived back in London on September 23, and spent two weeks in October doing overdubs and adding orchestral tracks. This was done at George Martin’s AIR Studios. Finally, the album was complete.
When Band On The Run was released on December 7 1973, critics loved the album. After such turbulent times recording the album, praise was heaped upon it, and it’s included in Rolling Stone magazine’s 500 greatest albums of all time. The album helped revive Paul McCartney’s career post Beatles. Band On The Run became Wings biggest selling album. On its release, it went triple platinum and spent seven weeks at number one in the UK album charts during 1974. That must be put in context. Back then, competition was much fiercer. Many artists and groups were releasing great albums, and to reach number one in either the singles or album charts, meant selling many more albums than is required now. Both singles released from the album did well. Jet, released in February 1974, reached number seven in the UK single charts, and Band On The Run, released in June 1974, reached number three. In the US, Band On The Run reached number one, and sold over one million copies.
Now that I’ve told you about the making of Band On The Run, I’ll see whether my memory of the album is correct, or whether I’ve suffered “false memory syndrome.” If I have, these childhood memories will be shattered. So let’s hope the album lives up to my distant memories. Band On The Run begins with the title track, Band On The Run. This is a song of three parts. It’s a song with a story, one that’s about escape and liberation. It tells of band being stuck in prison, escaping and then going on the run. In the first part, An electric guitar and keyboard combine melodically. When Paul sings, his voice is soft, a sadness and sense of resignation is present, as he sings about being “stuck inside these four walls” and “never seeing no-one nice again”. Once the song reaches the second part, the arrangement is brighter and fuller. Guitars and keyboards again combine, but the bass is much more prominent. Even Paul’s voice is different, it becomes almost defiant, as he thinks about escaping. As the final and part begins, and the band escape, the arrangement really opens out, and becomes much “rockier.” That final part of the song is like a new song, it literally explodes at the “start.” Thereafter, a relieved and near joyous Paul sings, whilst behind him the sound is much brighter. Acoustic and electric guitars play a large part in the sound, some leak into and out off the song, whilst drums pound. By the end of this epic song, my admiration for Paul, Linda and Denny remains intact, and if anything, the song sounds even better than all these years ago.
The second single from Band On The Run was Jet, a song that is a favourite of many people. One person who loved the song was Alan Partridge, in the television series I’m Alan Partridge. Every time I now hear this song, I think of him playing “air bass” and falling of his bed whilst doing so. For anyone who hasn’t seen the clip, it’s on youtube and hilarious. However, getting back to the song, which was inspired by a pony he owned called Jet, it wasn’t recorded in Lagos. Instead, it was recorded by Paul while the rest of the band were in Lagos. As Jet begins, I the song’s familiarity washes over me. From the guitars that unite and sometimes chime, the band’s cry of Jet and Paul’s vocal enters this is one of the band’s finest moments. It’s a song that the a combination of all the parts make this such a great song. If you take a combination of Paul’s vocal and buzzing bass playing, screaming guitars, drums providing a steady backdrop, tight backing vocals and the saxophone solo that ends the song, then that’s what makes Jet such a perfect example of power pop at its best.
After two such energetic songs, Bluebird comes as a welcome relief, it allows the listener to gather their breath. It demonstrates Paul at his best. The song features some lovely lyrics, reminding listeners of how talented a songwriter he is. Here, his voice is much quieter, his phrasing perfect and his rendition of Bluebird is tender and thoughtful. Likewise, the arrangement is just as good. As the track begins, it’s just Paul, an acoustic guitar and subtle percussion. Backing vocals are provided by Linda and Denny. This continues until a tenor saxophone plays a gorgeous solo, which fills out the sound nicely. Unlike the two previous songs, Bluebird benefits from a beautifully understated arrangement, and the simplicity of the arrangement suits the song perfectly.
Mrs Vandebilt is a very different song from the three preceding songs, but one thing it has in common is good lyrics, lyrics full of humour, but with a message. Paul’s message seems to be “what’s the use of worrying?” Okay, it’s hardly Martin Luther King’s “I Have A Dream,” speech, and as a message, maybe that’s okay for a multi-millionaire rock star. Regardless of that, Mrs Vandebilt is a good song, one that’s catchy, and full of hooks. Bass and guitar combine before Paul sings. His voice is higher, and like on other tracks, backing vocals accompany him. Sometimes, to highlight part of the song, drums are used almost like musical punctuation. When a saxophone plays, it really lifts the song. That addition, plus a great guitar midways through the song really start to fill the song out, and improve things greatly. Overall, Mrs Vandebilt is a good song, one that features some great bass playing by Paul, and a couple of brilliant guitar and saxophone solos.
When Let Me Roll It begins, the tempo is much slower, the sound and mood seem darker. It’s only when the guitar plays a solo after thirty-seconds that the mood brightens. This doesn’t last, the darker mood seems here to stay. Having said that, it’s an observation, not a criticism. It doesn’t mean this is a bad song, quite the opposite, it’s just very different to previous tracks. Unlike other tracks, the lyrics are quite simple and lack the depth of other tracks. Like other tracks, Paul’s bass throbs away, in the depths of the mix, a contrast to the brighter chiming guitars. As Paul sings he’s accompanied by backing vocalists. They sound as if they’re hidden way back in the mix. Paul’s voice sounds happy, nearly joyous. By now the track is a dichotomy, a mixture of dark and light. Darkness is provided by Paul’s dark, moody and throbbing bass, light by guitars and Paul’s vocal. Once the track has opened up, it seems that darkness is defeated, and eventually, the victor is the brighter sounding part of the song. Overall, Let Me Roll It, is an intriguing and dramatic, dichotomy of a track, one part broody and moody, the other part light and bright.
Mamunia is a song that has more in common with Bluebird, than many of the other tracks on Band On The Run. It’s a more gentle, quieter song, one with a subtle, spacious arrangement. A bright sounding acoustic guitar is strummed as the track begins. Behind it, a bass plays, its sound is spacious and gently throbs away as notes are played slowly and carefully. It plods pedestrianly and effectively away. Paul, however sings brightly, his voice not quite as high as on some songs. He leaves spaces in the vocal, and they’re thoughtfully filled by Linda and Denny. Sometimes, they sing over Paul’s vocal, combining beautifully. Occasionally, percussion plays, and towards the end, a keyboard joins the frae. What is a return to a more gentle, less “busy” track is a welcome departure after the joyous and jovialMrs Vandebilt, and the dichotomy that is Let Me Roll It. It’s a lovely contrast, and another great song from Paul, Linda and Denny, and by now, my memories of this album are still intact.
As soon as I hear the introduction to No Words I’m transported back nearly four decades. It emerges from my speakers beautifully, announcing it presence like the return of a long lost friend. Although the shortest song on the album, the best way to describe it is small but perfectly formed. From the opening bars where guitars unite, to when Paul sings, the song is masterful. His voice starts soft, almost gentle and towards the end it soars higher, and he nearly struggles to hit the notes, but gets there, just. Likewise, the arrangement transforms from a similar gentle start, and progresses to a much fuller, louder arrangement. It’s as if it’s aping Paul’s vocal. Parts of the arrangement even remind me of some the later Beatles music. Towards the end of the track, I was reminded how much I used to love this song, and today, the same is true. I can’t pinpoint exactly why, it’s a combination of Paul’s vocal, his lyrics and the arrangement. To me, it’s just one of those tracks that everything about it, works.
At the start of Picasso’s Last Words (Drink To Me). What’s instantly noticeable is how similar Paul’s voice sounds here, as it did back in his Beatles days. Like Band On The Run, Picasso’s Last Words (Drink To Me) is a track of epic proportions, and is made up of several parts. At the start of the song, it’s just Paul and his acoustic guitar, backed by the rest of the band on backing vocals. Only the occasional drum roll interrupts, that is, until just after a minute and a half. Then Picasso speaks, and the arrangement fills out. After two minutes the track is transformed, there is a short reprise of Jet, then a string section sweep in, giving the track a symphonic sound. From there, the track just keeps getting better, until, the what sounds almost like a good natured drunken sing-song at your local pub emerges, followed by Picasso’s reappearance. For the last minute, there is a mixture of strings and backing vocals. By the end of the track, you realize how complex a piece of music this is. It constantly changes, things enter and leave, only to reappear later, sometimes in a slightly different form. Some parts of the track are stunning, they’re lush and sound symphonic, and I wish that they’d been expanded upon, at the expense of other less worthy parts. Overall, it’s a good track, one that every time you hear it, reveals even more of its subtleties and nuances.
Band On The Run ends with Nineteen Hundred and Eighty Five, a track that begins with a piano played, and bass buzzing away in the background. The track is uptempo and upbeat. From the start, Paul’s vocal is energetic and joyous. During the track, there are several breakdowns, where angelic sounding backing vocalists emerge. These breakdowns have the effect of building up the drama. As the track progresses, guitars scream, Paul’s vocal is excitable, he’s almost screaming and grunting. Around him the drama builds and builds, to an incredibly dramatic crescendo, one of totally epic proportions. The effect is just incredible. By the end you’re exhausted at the exertions of everyone involved. You’re almost glad the track is over. However, Paul fools you. Just as the track has ended, the familiar title track can be heard briefly.
After revisiting Band On The Run my memories are still in tact, the album sounds just as good as all these years ago. If anything, I like the album even better. Maybe as you grow older, you appreciate the subtleties and nuances of the music. Band On The Run was always my favorite solo album by Paul, and my favorite of all the former Beatles’ solo albums. For too long, Paul’s work with Wings has been much maligned, people have been a bit sniffy about it, believing it “too poppy,” or lightweight. Obviously, comparisons are always going to be made with his work with The Beatles, and the other three members. The Beatles are a band who come along just once, their success and influence will never be replicated or repeated. Regarding the other three Beatles, apart from John, George and Ringo never released successful album after successful album. Granted, they released some good albums, but neither they nor John, released such a successful album as Band On The Run. Maybe if John’s life had not been so tragically cut short, the story may have a different ending. Sadly, that isn’t the case, and Band On The Run remains the best selling solo album by any of The Beatles. If you’ve never heard Band On The Run, it’s an album that belongs in any self respecting record collection. On the album, you’ll hear some of Paul’s best work after he left The Beatles. Standout Tracks: Band On The Run, Jet, Bluebird and Nineteen Hundred and Eighty Five.
PAUL McCARTNEY AND WINGS-BAND ON THE RUN.
GLASVEGAS-GLASVEGAS.
GLASVEGAS-GLASVEGAS.
In a previous article I wrote about how groups are never really an overnight success, and how usually, it takes many years for a band to make a breakthrough. The band this article is about, Glasvegas, are a good example of this. They were formed back in 2003, and five years later, released their debut album Glasvegas. I’d been aware of Glasvegas from day one, and over the years followed their progress closely. So when they finally made their big breakthrough I was really pleased. Before the album’s release I wondered how their music go down with audiences outwith Scotland. Many of their songs are based around life in Scottish “schemes,” large social housing estates, and what goes on within them. On the album, are songs about “square goes,” fights, social workers, absent fathers, S.A.D, sectarianism and racism. However, I needn’t have worried, their tales of gritty urban life in Scotland, seemed to strike a note, and Glasvegas sold really well. Many people reading this article, may not have heard of Glasvegas, so I’ll tell you about their career, and what made their debut album so successful.
Glasvegas were formed in 2003, by two cousins James and Rab Allan, during the summer of 2003. They were joined by Paul Donoghue and drummer Ryan Ross. In May 2004, the band managed to finance a double A-side single which featured I’m Gonna Get Stabbed and In Lvs Rab. The single was well received locally, and was played on local radio. Later in 2004, Ryan Ross left the band. This lead to the band being put on hold until a new drummer could be found.
By early 2005, Caroline McKay joined the group as drummer. There was one minor problem, she couldn’t play the drums. James Allan had hired her because she looked “cool.” Quickly, she learnt to play the drums, and the more difficult parts were played by a drum machine operated by Rab Allan. As her drumming improved, the drum machine was used far less.
At a concert in October 2006, former Creation Records founder Alan McGhee first saw the band in Glasgow. McGhee was accompanied by former Libertine Carl Barat. Barat offered the band a support slot to his new band Dirty Pretty Things. For much of 2006, Glasvegas toured with Dirty Pretty Things. 2006 saw the band release their second self-funded single. It featured Go Square Go! which appears in their debut album. After a concert at Polmont Young Offenders Institute in December 2006, the band decided to stop using drum samples. This was an important turning point for them musically.
Alan McGhee appears again in the Glasvegas story, during February 2007. The band wanted to make a video for one of their demos, Daddy’s Home. With McGhee’s help the video was shot in Glasgow’s east end and in London. This video was crucial in helping increase the band’s popularity. An idea by James Allan would also increase the band’s profile and popularity. He decided to release the band’s demos as a free download on MySpace. Quickly, the word spread about Glasvegas, and their popularity soared. After this, every concert was a sell out.
Having played numerous concerts, many of the high profile, during 2007, 5 November saw the release of Daddy’s Gone/Flowers and Football Tops. After that, interest in Glasvegas started to grow. Soon, record companies, majors and indies, were trying to sign them.
February 2008 proved to be a huge month for Glasvegas. On February they released their third, and final, limited edition single It’s My Own Cheating Heart That Makes Me Cry. A week later, on Valentine’s Day, the band decided to sign to Columbia Records. Then, on February 28, Glasvegas won the Philip Hall Radar Award at the NME Awards.
The band headed to the Brooklyn Recording Studios, in Brooklyn, New York to record their eponymous album. Producing the album were Rich Costey and James Allan. Costey had a good track record, having previously worked with My Chemical Romance, Doves and Franz Ferdinand. On their return from New York, the band filmed the video for their single Geraldine, before embarking on a sixteen month tour. During that time, they played at Glastonbury and T In the Park back home in Scotland. Glasvegas also supported both Muse and Kings of Leon during this sixteen month schedule.
September 8 2008 saw the release of Glasvegas debut album Glasvegas. On its release, it was critically acclaimed, and sold 56,000 copies during the first week of its release. The album went on to sell over 300,000 copies, and was certified platinum by the BPI. Three singles were released from the album Geraldine, Daddy’s Gone and Flowers and Football Tops. Throughout 2008 and 2009, Glasvegas toured extensively, promoting their album.
During much of 2010, Glasvegas set about recording their second. This took place in Santa Monica, California, London and Glasgow. Eventually, earlier this year, on April 4 2011, Glasvegas released their second album Euphoric Heartbeat. It was quite different to their debut album, but like Glasvegas, sold well. Although not as successful as their debut album, it reached number eleven in the UK album charts. After the album’s release, Glasvegas started touring the album in late April. Many of the dates sold out straight away. In the space of eight years, Glasvegas had come a long way.
Having told you about Glasvegas’ career so far, I’ll now tell you what made their debut album Glasvegas so successful. Flowers and Football Tops opens the album. Before telling you about the song, I’d better explain the phenomena of flowers and football tops. In Scotland, and now other parts of the UK, if a tragedy of some kind occurs, some people pay tribute by laying flowers and football tops as a tribute to the person involved. A dark, broody, sound emerges slowly from the distance. Then drums pound, a wall of guitars chime. James Allan sings loudly and passionately, about every parents worst nightmare, realizing that their son isn’t coming home that night, that tragedy has struck and they’ve been killed. During the song, he articulates perfectly the feelings that a parent must feel in such a situation. His delivery of the lyrics is perfect, full of passion, as if he’s been there, experienced the pain. He tells the real story behind why people leave flowers and football tops. Behind him, the rest of the band harmonize. Later, the sound grows, becomes much fuller and louder. There are shades of the Velvet Underground in the arrangement, at this time with the wall of sound that assaults you. Whilst this noise assaults you, he ad-libs, singing an excerpt to “You Are My Sunshine,” which fits the rest of the song. As this ends, guitars screech and growl, and the song ends. It’s a powerful song of epic proportions, about what is sadly, an increasingly common event.
My favorite song from the album is Geraldine, a song full of hooks and harmonies. It opens with chiming guitars, drums pounding away at the front of the mix and James Allan’s vocal. When Allan sings, he gives one of his best performances on the album. Maybe this is because of the great lyrics, or maybe it’s the rest of the group harmonizing brilliantly. In the lyrics, Geraldine is social worker, and rumor has it that she gave up her job to follow the band around. Talking of the lyrics, they are the best on the album. Two different lyrics especially: “when you’re standing on the window ledge, I’ll talk you back from the edge,” and “my name is Geraldine, I’m your social worker.” The first time I heard Geraldine, I realized that this was a great song, it’s laden with hooks and has a good arrangement.
The next track is It’s My Own Cheating Heart That Makes Me Cry, and it benefits from a bigger, fuller arrangement. The arrangement see James Allan having to really force his vocal against a wall of guitars and drums. His voice is a mixture of anger, despair and frustration, as he sings about infidelity and cheating on his wife. In the song, he references his former profession football, when talks about meeting women after football training. He talks about the guilt he feels, and how ecstasy makes it feel worse. This song see James Allan lay bare his past, and the combination of Allan’s vocal, great lyrics and the arrangement make this one of the album’s highlights.
When Lonesome Swan begins, it has a nineties guitar band sound. That isn’t a bad thing, just an observation. The guitars are at the heart of the glorious sound on the track. That, and the usual drum sound. James Allan’s vocal sounds weaker against this louder backdrop, but is just as effective. Here the lyrics are about a lonely woman, who in her younger days, was admired by all, but now sits alone. Even with a retro sound, this guitar heavy track is another masterful mini-drama from Glasvegas.
Like Flowers and Football Tops, Go Square Go requires some explanation for people unfamiliar with the Scottish vernacular. A “square go” in Scotland is a fight, and when someone challenges someone to a square go, they want to fight them. Go Square Go tells a familiar tale for many an adult male who had the misfortune to go to school in Scotland. Many a Scottish male will remember being challenged to a square go after school. This song tells all these men’s story, about what, and how you feel, the sense of anticipation, the adrenalin rush and for some, the fear. Guitars play as the song begins, James Allan sings and drums and bass play. Suddenly, the track explodes, the bass throbs, drums are pummeled, threatening the skin’s safety and guitars scream. Literally, it’s a wall of sound, with James Allan half singing, half chanting. He seems caught up in the memory and enjoyment of a suddenly remember square go. Whether Go Square Go is autobiographical, who knows? What I do know, is that Go Square Go is a great song, albeit one that will bring back long forgotten memories to many a Scottish male.
Earlier in this article I mentioned Polmont, in the context of Glasvegas playing a gig there. It’s also a Young Offender’s Institute, where young Scottish men are sent to instead of prison. Polmont On My Mind, is a song about it. It tells of someone who has committed a terrible crime, and as a result, been sent their. In the song, they speak of their fall from grace, and only seeing the sun shining through the cell window. Again, what sounds like a wall of guitars playing opens the track. Drums ploddingly thud. There is a drama present in the track before it opens up. When it does, the song haltingly rocks along, as guitars chime, shriek and scream. This isn’t a track that flows nicely. Instead it’s very stop, start, all false starts and pauses. To me, although it isn’t a bad track, it isn’t the best track Glasvegas will ever record. Maybe if the arrangement was different, I’d like the song much better.
As we’ve seen, all of Glasvegas’ songs are full of social comment and are about how many people live in Scotland, and many other places. Daddy’s Home carry’s on this tradition, and is about an absent father. Along with Geraldine, Daddy’s Home is one of Glasvegas’ finest track, and once you’ve heard it you’ll realize why. It’s a dark, moody sound that opens the track, a throbbing bass playing. When James Allan sings, he sings of pain and anguish, not knowing your father, not being able to do things like play football with his father. In the midst of the anger and darkness, emerges some angelic harmonies that accompany him. Overall, a combination of a darkness and anger combine perfectly to produce a brilliant track.
Stabbed in easily the weakest track on Glasvegas. Listening to James Allan’s spoken word lyrics against a backdrop of Beethoven’s Moonlight Sonata doesn’t do it for me. Even though he is trying to make a serious point in the song, it comes across as almost comedic and pithy. Somehow, it reminds me of a sketch for a low budget comedy series. The only difference is there are no laughs.
S.A.D. Light deals with Seasonly Affected Disorder, and how it takes artificial light to change a sufferer’s mood. The song begins with drums playing. They play slowly. Guitars gently chime. James Allan’s vocal is quieter and subdued. By now, you feel underwhelmed by the sound, and hope the song improves quickly. It has a slightly lifeless sound and feel to it. Later Allan’s vocal gets louder, and the arrangement louder and fuller. Even then, I still feel underwhelmed by the sound. Maybe it’s Allan’s delivery, maybe the lyrics are quite as good. They’re certainly not helped by adding parts of a children’s nursery rhyme to the lyrics. At the end of the song, I feel a sense of disappointment at a disappointingly average track.
Glasvegas ends with Ice Cream Van. An organ plays as the song begins, Allan’s vocal is half spoken, behind the droning organ. In the song, Allan deals with the problems of sectarianism and racism, two of Scotland’s shameful secrets. This arrangement is quite effective, and the lyrics deal with these problems well. My only quibble is that the droning arrangement would put people of the song, especially towards the end when the song builds to an almost chaotic crescendo. When this happens, the sound jars somewhat. However, after two disappointing tracks, Ice Cream Van is a slightly better song. It’s neither the best song James Allan has ever written, nor the best track recorded by Glasvegas, but it deals with an important issue that bights Scottish society, and dare I say one that blight’s other societies too.
Having closely followed Glasvegas’ career from day one, I was really pleased when they released their debut album. When I heard it, I thought it was a good debut album. It only has ten songs on it, and lasts only forty-one minutes. Most of the songs are really good, and deal with many of the problems that blight not only Scottish society, but society in many countries. Poverty, infidelity, absent fathers, violence and loneliness are problems that people face, the world over. On this album, Glasvegas view these problems from a Scottish perspective. They’ve done this well, with a mixture of anger, hurt, contempt and even humor. My fear when the was released was people outwith Scotland wouldn’t understand some of the lyrics, and would struggle with some of the Scottish vernacular. For example would they understand what a square go was and what was Polmont? Thankfully that wasn’t the case, and Glasvegas have established a huge fan-base in Europe and further afield. If you’ve never heard this album before, it’s worth investigating. On it are some great songs played and sung passionately by Glasvegas. Standout Tracks: Flowers and Football Tops, Geraldine, It’s My Own Cheating Heart That Makes Me Cry and Daddy’s Home.
GLASVEGAS-GLASVEGAS.
RUMER-SEASONS OF MY SOUL.
RUMER-SEASONS OF MY SOUL.
One thing that makes me laugh in the music industry, is when someone is referred to as an “overnight sensation.” This usually, is so far removed from the truth. Hardly any artist ever becomes a “star” overnight. Usually, they’ve fruitless spent years trying to make a breakthrough. Sometimes, this can mean may years playing concerts far and wide, literally living out of the back of a Transit van, as they head up and down motorways. Later, after scrimping and saving, they may record a demo, and send it out to record companies. Often, nothing is heard back, not even a short rejection letter. Then, when “suddenly they’re discovered,” the same record companies, beat a path to their door promising to make them an “overnight sensation. One singer who spent many years trying to establish herself as a singer, is Rumer. Before receiving her “big break,” she spent many years trying to establish a foothold in the music industry. When she did, she recorded one of the best debut albums of the last ten years, Seasons of My Soul. On that album, you’ll hear one of the best female vocalists of the past twenty years, and eleven wonderful songs. In this article, I’ll tell you about Rumer’s career, and what makes Seasons of My Soul, such a fantastic album.
Rumer was born Sarah Joyce, in June 1979, in Pakistan. She is the youngest of seven children and grew up first in Islamabad. When her parents divorced, the family returned to England, and lived in Carlisle, in Cumbria. On leaving school, Rumer studied at Dartington College of Arts in Devon. Later, she moved to London, to pursue a musical career. To make ends meet, Rumer worked as a waitress.
Tragedy struck for Rumer. Her mother Sarah, had been diagnosed with breast cancer. Rumer moved back to New Forest, to be with her mother. She lived in a caravan, and it was while she was there, that she started to write songs. In 2003, Rumer’s mother Sarah, died of cancer. After this, Rumer suffered a breakdown. For a year, she lived in a commune in the south of England. After that, she headed back to London, to try and pursue a career in music.
On her return to London, Rumer used the name Sarah Prentice when she sang. Between 2000 and 2001, she was the singer with La Honda, a London based folk and indie band. She first used the name Rumer in 2004, when she formed Rumer and The Denials. They released a single in 2007, which was a Come To Me High, which is one of the songs on Seasons of My Soul. Another song on Seasons of My Soul, which emerged during this time was Slow. Slow was one of the tracks on a compilation album entitled A Very Magistery Valentine.
Before the release of Seasons of My Soul, Rumer released an album in South Korea under her real name Sarah Joyce. This was called Coffee and Honey, and was released in April 2010.
Rumer signed a a record contract with Atlantic Records. Having at last, secured a record deal, Rumer and producer Steve Brown entered the recording studio. Recording Seasons of My Soul was a slow process. This took much of 2009 and 2010. However, on the album’s release, their patience was rewarded. Seasons of My Soul was released on 1 November 2010. On its release, it reached number three in the UK album charts. Since its release, it has sold over half a million copies worldwide. It wasn’t just in the UK that album was well received, and commercially successful. Throughout Europe the album sold well, and it sold well in Australia and New Zealand.
The two singles released from Seasons of My Soul didn’t do well. Slow, the first single released from Seasons of My Soul in August 2010, only reached number sixteen in the UK single’s charts. Aretha, released in October 2010, only reached number seventy-two in the UK single’s charts. Obviously, Rumer’s music is very different from the music that tends to do well as singles. R&B and dance music tend to top the single’s charts, so it was always a long shot that either Slow or Aretha would make much impression. However, the UK album charts were very different.
So impressed was legendary songwriter Burt Bacharach, with Rumer’s voice, that he inviter her to his house, so he could hear her sing. Since then, he’s written sever songs for Rumer with lyricist Steven Sater. In December 2010, Rumer released an EP, Rumer Sings Bacharach At Christmas.
2011, has seen Rumer’s talent recognized. This year, she was nominated for two Brit Awards and two UK Asian Music Awards. Rumer won the UK Asian Music Award for Best Alternative Act. She also won the MOJO Award for Best Breakthrough Act.
Having told you about Rumer’s career so far, I’ll now tell you just why Seasons of My Soul is such a fantastic album. Am I Forgiven is the opening track on the album. When I first heard this track, I was struck by Rumer’s voice. Straight away, I was reminded of the late Karen Carpenter. There are striking similarities between the two, especially when Rumer sings the higher notes. A piano plays, Rumer sings, straight away, you’re enthralled. Lush and tight vocal harmonies accompany Rumer. Later a flugel horn plays, sounding as it belongs on one of Burt Bacharach finest track’s. This is an absolutely brilliant track to open the album. It’s the combintion of Rumer’s fantastic voice, great lyrics and a wonderful arrangement.
Come To Me High has a lovely dreamy sound and feel as it begins. Rumer’s voice sounds relaxed, she sounds happy. It’s a song that gently washes over you. It’s the type of song you want to hear on a lazy Sunday morning. In some ways, it reminds me of Jerry Burns, and certain songs on her debut album Jerry Burns. As the track opens, Rumer scats, her voice slow, relaxed and seductive. Behind her, another great arrangement emerges. A Rhodes piano, double bass and drums play. They too, play slowly and gently. Their playing is spacious. Midway through the track, a flugel horn blows gently. Its entry and influence, increasing the already seductive sound. Throughout the track, Rumer’s vocal retains a lovely dreamy quality, and like the opening track, Steve Brown’s production is masterful.
When Slow begins, you could be fooled into thinking that you’re listening to Karen Carpenter. The arrangement even sounds like something out of an old Carpenters album. However, it’s not Karen Carpenter, it’s Rumer, and like Carpenter, she’s blessed with one of the most beautiful voices you’ll hear. There’s a timeless quality to Slow. It’s a song that could have been recorded forty years ago or yesterday. Regardless, of when it was recorded, it’ll still sound good in ten or twenty years, like great music does. When Rumer sings Slow, the tempo is low, the arrangement which includes a string section, lush. This compliments Rumer’s voice perfectly. Her voice almost floats out of your speakers. Quickly you’re transfixed by this beautiful voice. The other thing that’s immediately noticeable are the lyrics. Written by Rumer, they’re tender and heartfelt, telling of unrequited love. Overall, Slow is one of the album’s highlights, three and a half minutes of magical music.
Take Me As I Am, has a bigger, fuller, arrangement as the track begins. Rumer’s voice is higher. As usual, she sings clearly, her phrasing perfect. The tempo is slightly quicker, the arrangement a bit more dramatic. It builds up, and then flows along. Again, a string section features, helping to set the dramatic scene. They’re helped along buy Steve Brown playing piano, organ, flute and bass. Brown isn’t just a composer and producer, but a highly talented musicians. Another thing that helps the song are some wonderful backing vocals. One minute they’re subtle, the next they soar gloriously. They too, contribute towards making Take Me As I Am another great track, one that features some telling lyrics about the hurt Rumer has previously experienced. From these lyrics, it’s apparent Rumer is a survivor, and has lived through some really tough times.
As Aretha begins, subtly a flugel horn blows. When Rumer sings, she turns back the clock, to sing about childhood. What emerges is a song about a young girl experiencing some terrible problems. A poor childhood, and a mother whose having relationship problems. So she confesses her problems to Aretha, as she listens to her on her way to school. Aretha in turn, helps her, and through her music, helps her to deal with life’s problems. The lyrics are some of the best on Seasons of My Soul. Rumer’s performance of the lyrics is just as good. At the start of Aretha, Rumer’s voice is stronger and louder. Throughout the song her vocal is slower. Sometimes, her vocal soars, demonstrating the strength and power of her voice. During the song, the lyrics sound personal to her, as if they mean something to her. Every time I hear Aretha, I’m struck by the arrangement. It starts quietly, almost subtly, yet during the song, it builds and as Rumer’s voice soars, the arrangement grows fuller and louder. Overall, it’s an arrangement of two parts nearly, one that matches Rumer’s vocal perfectly. Both Rumer’s vocal, and Steve Brown’s arrangement, contribute towards making this such an honest and heartfelt song.
A harmonica plays as Saving Grace begins. Rumer then sings lyrics that many people will be able to empathize with. She sings about clock watching whilst working, longing to see the one she loves. They’re the only reason she can stick the daily grind of doing a job she hates. In the lyrics she sings about how good, he makes her feel. As usual, her voice has a smoothness, and ranges from soft and tender, to louder, and much stronger and fuller. Here a beautiful melody emerges during the song, and there are some lovely chord changes during the track. Saving Grace has quite a full arrangement. Many instruments feature on the track, including a lovely combination of piano, strings, saxophones and a flugel horn. Drums, bass and guitar fill out the sound. All the instruments, combine and compliment Rumer’s voice perfectly, producing a lovely song that many people will be able to empathize with.
Thankful begins with a piano and double bas playing. It’s a much quieter, more subdued sound. Rumer’s voice is quieter. She sets the scene, describing what’s going on, but quickly, hurt emerges. This is apparent when she sings “I’m alive and thankful for this time.” Later she sings about wanting to be loved, and laying someone to rest in the forest. I wonder if the song is about the death of her mother, and the problems she then experience. The song is heartfelt, the lyrics personal and touching. A much more understated arrangement is perfect for such a sad and beautiful song.
There’s a melancholy feel and sound to Healer. Healer talks about how life can feel so temporary. We never know how long life will be, and the uncertainty and fear this can cause. In the lyrics, she sings about closing her eyes and “I can feel you’re with me.” Again, I wonder if there’s a cathartic element in the song. It’s allowing her to express feelings about the loss of her mother. Like Thankful, the arrangement is quite subtle. It just features piano, B4 organ and a viola. This is perfect, given the nature of the lyrics to the song.
Like Come To Me High, Blackbird has a gorgeous dreamy sound and feel as it begins. When Rumer sings, she sings slowly, the tempo is slow, the sound subtle. The lyrics are easily, some of the best on the album. Here, Rumer is looking back, singing about growing up, doing things along with her mother. She remembers the good times, and sadly, the bad times they encountered together. Again, the lyrics are touching, laden with emotion, you can really feel Rumer’s sense of loss. Blackbird again, benefits from a fittingly subdued arrangement. It seems as if everything else in the arrangement is designed to compliment Rumer’s voice and lyrics. Not once, does anything overpower her vocal. Even when the waves of the arrangement build, never does her vocal get swept away. The vocal sits atop the arrangement, full of pent up emotion, the lyrics cathartically allowing Rumer to release her feeling and memories, in what is a fitting memorial to the person who meant most to her.
At the start of On My Way Home, a double bass and a baritone guitar are plucked slowly, subtly. A piano plays spaciously. Drums keep time. They too leave space, allowing the song to breathe, and build up the sense of drama. By now, the tempo is really slow, the song bathed in sadness and a sense of pathos present. In the lyrics, Rumer sings about loss, about following someone to the gates of heaven, watching them disappear and then searching the stars. When you hear the lyrics, they can’t fail to move you, you too, can’t help share Rumer’s pain and hurt. Her delivery of the lyrics is perfect. After the dreamy start, a piano plays, she sings, her voice quiet, yet strong. When her voice gets higher, it’s controlled, her phrasing remains perfect. Behind her, drums play, the piano is ever present. A viola can be heard, a mandolin plays. Vibes, guitars, organ and harmonica augment the sound. Their playing has a subtly present, as the track meanders and flows, gently washing over you. On My Way Home is yet another heartfelt and beautiful track, sang and played with a subtly that does the song justice.
Seasons of My Soul ends with Goodbye Girl, a cover of the classic Bread song. Rumer sings the song beautifully. She sings the song slightly higher and than the original. When she does, she again, sounds like Karen Carpenter. The arrangement differs from original, but in doing so is a fitting homage to a great song. Goodbye Girl opens with a harmonica playing, the Rumer sings. At first she sings slowly and quietly. Quickly the song get slightly quicker, and the arrangement fills out. Drums and piano play, a guitar joins the arrangement. Backing singers accompany Rumer. A glockenspiel can be heard, strings play. By now the sound has a beautiful lush sound, and is tinged with both drama and a sense of sadness. The longer the song goes on, the bigger and fuller and the arrangement gets.Towards the end there is a brilliant guitar solo. As it ends, the strings brings the song to a close. It was a masterstroke making this the final song on the album. Listen to the lyrics and you’ll hear Rumer singing “let me tell you goodbye, doesn’t mean we’ll never be together again.” Maybe this is Rumer singing to her late mother?
Since Seasons of My Soul came out, I’ve loved it. It isn’t just one thing that makes this such a great album. I love Rumer’s voice, the songs, the lyrics and the arrangements. Everything about the album is of the highest quality. Rumer possesses a fantastic voice, and is also a talented songwriter. She was accompanied by some wonderful musicians on the album and in Steve Brown, had a wonderful producer. The combination of Rumer and Brown was a magical one. Brown brought out the best in Rumer. Not only did he produce the album, but he played on it, and cowrote three tracks. Seasons of My Soul is one of the best debut albums of recent years. In Rumer, we’ve a singer how sometimes sounds like Karen Carpenter. Like Carpenter, she possesses a beautiful soulful voice, a voice that has a timeless quality. It’s a voice that is suited to a variety of songs, and can go from slow and quiet, to loud and powerful. Having listened to Seasons of My Soul many times, I’ve always been struck by how mature an album it sounds. Usually, I’d expect an artist to take two or three albums to reach this stage. Not Rumer though, she has produced a stunning debut album, one that will sound good in ten or twenty years. If you’ve never heard Seasons of My Soul, it’s an album that’s well worth buying. It features eleven great songs, sung by one of the best female vocalists of recent years. Standout Tracks: Am I Forgiven, Come To Me High, Slow and On My Way Home.
RUMER-SEASONS OF MY SOUL.
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NEIL YOUNG-HARVEST MOON.
NEIL YOUNG-HARVEST MOON.
For over twenty years, I’ve been a fan of Neil Young. My love of Neil Young’s music came from a friend of mine, who I used to work with. Jim was a huge fan of Neil Young’s music, he was almost evangelical, about Neil’s music. To Jim, Neil’s music was peerless. Eventually, I was converted, and I too became a huge fan of Neil Young’s music. For six decades, Neil Young has produced some incredible music. Firstly with Buffalo Springfield, then with Crosby, Stills, Nash and Young and finally, as a solo artist. During the past five decades as a solo artist, Neil Young has produced many memorable albums. Back in 1972, he recorded one of his finest and most successful albums, Harvest. Twenty years later, in 1992 he released Harvest Moon, which was a “sequel” to Harvest. Harvest Moon is one of my favorite Neil Young albums and before telling you about Harvest Moon, I’ll briefly tell you about Neil’s career.
Neil Percival Young was born in November 1945, in Toronto, Canada. He was the son of a successful sportswriter Scott Young. His mother Edna, was of French, Irish and American descent. During his childhood, the family moved several times. From an early age, he was interested in music. Among his musical influences were Elvis Presley, Chuck Berry, Little Richard and Johnny Cash. Strangely, the first instrument he learnt to play wasn’t a guitar, it was a plastic ukelele, which led to a ukelele, then a banjo ukelele and then a baritone ukelele. Guitar came later for Young.
By high school, his parents marriage had broken up, and Neil and his mother had relocated to Fort Rouge, Winnipeg. By then, he was playing in bands. Later, he’d drop out of high school to become a musician, and recorded demos with producer Ray Dee. It was then that Neil met Stephen Stills. At this time, Neil was writing folk songs, and one of his songs Flying On the Ground Is Wrong, was his first hit as a songwriter. 1965 saw Neil tour Canada as a solo artist.
Neil Young’s first success came as a member of folk rock band Buffalo Springfield. Between 1966 and 1968, they’d released three albums, Buffalo Springfield in 1966, Buffalo Springfield Again in 1967 and their final album Last Time Around in 1968.
After Buffalo Springfield disbanded, Neil decided to become a solo artists. Commercially, his debut album Neil Young released in 1968, wasn’t successful. This proved to be a mere blip. His second album, released in 1969, Everybody Knows This is Nowhere, was the first he recorded with Crazy Horse, his legendary backing band. It reached number thirty-four in the Billboard 200.
The 1970s’ saw Neil Young produce a number of great albums. That was one of the most successful and prolific periods of his career. From After the Gold Rush in 1970, Harvest in 1972, On the Beach and Tonight’s the Night in 1974 and Zuma in 1975, the first half of the new decade saw Neil release five great albums. Two further albums were released in the seventies, the hugely underrated American Stars ‘N’ Bars released in 1978 and Comes A Time in 1978. For me, the albums Neil released during the seventies were among the best of his career.
Having been a member of Buffalo Springfield between 1966 and 1968, in 1972, Neil Young joined with Crosby, Stills and Nash. They became Crosby, Stills, Nash and Young. He played on their 1972 album Deja Vu, and, after leaving the band, rejoined for their reunion album American Dream in 1988.
The eighties weren’t the best of Neil’s career. During that decade, he started to experiment musically. Some of the albums he produced during this period stretched even the patience of fans. Albums like Trans and Landing On Water were experimental albums, Everybody’s Rockin’ featured rockabilly songs and Old Ways featured country music. However, during this decade he released several good albums including Hawks and Doves in 1980, This Notes For You in 1988 and Freedom in 1989. Freedom was the start of the start of a several grungier sounding albums by Young.
The nineties started well with Ragged Glory, an album with a harder rockier style that featured on several of his previous albums including Everybody Knows This is Nowhere and Zuma. Harvest, the album this article is about was released in November 1992. It was, in some ways, a follow up to 1972’s Harvest. On it’s release, the album was critically acclaimed and massive commercial success. For the remainder of the nineties, Young continued to regularly release some great albums. Among the best were the grungy Sleeps With Angels and Mirror Ball, released in 1994 and 1995 respectively. He only released one further album in the nineties, Broken Arrow in 1996.
Between 2000 and 2011 Neil Young has continued to release albums regularly. By now one of rock’s elder statesmen, he continues to try to reinvent himself by releasing albums with a variety of different styles of music. Among his best albums during this period are Silver and Gold in 2000, which is a quieter, laid back album, featuring country and roots music. 2002’s Are You Passionate, which features both Crazy Horse and Booker T and The MGs is another great album, which is mostly, a lovely soulful album. There are a couple harder, rockier, tracks on the album. Overall, it’s one of Neil’s finest albums on the new millennia.
Between his first album with Buffalo Springfield, and his last solo album Le Noise released in 2010, Neil Young has released an incredible amount of albums. His music has crossed musical genres, and influenced several generations of music. During these six decades, his music has been loved by millions of fans worldwide, and every fan will have their favorite album. One of my favorite Neil Young albums, is 1992’s Harvest Moon. I’ll now tell you what makes Harvest Moon such a good album.
Harvest Moon opens with Unknown Legend. A steel guitar plays the lengthy intro at the start of Unknown Legend. Then Neil sings about a magical woman who worked in a diner, somewhere in smalltown America. It’s a heartwarming tale about what she was, and what she became. How she went from a rural femme fatale to family life. Neil’s lyrics are among the best on Harvest Moon, they’ve strong narrative and read like a good short story. You can almost close your eyes and imagine the characters and scenes he sings about. The song’s arrangement is perfect too. From the opening bars, when the guitar plays and then Neil sings. His voice is quiet and tender, an acoustic guitar accompanies him. Behind him, steel guitars and violin play. Quietly, a piano plays. Later, a harmonica solo plays, and is one of the song’s highlights. There’s a subtly about the arrangement, the band ensure nothing overpowers Neil’s tender voice. Unknown Legend is a beautiful song. Not only, one of the albums best songs, but one of the best songs he wrote in the nineties.
As Hank To Hendrix begins, a guitar plays as a harmonica blows. The tempo is slow, the style laidback, a rootsy, country influence shining through. It’s almost got made in Nashville stamped all over it. This track is like some of Neil’s much earlier stuff, and is a wonderful reminder of his roots. Hank To Hendrix i nostalgic, has a melancholy feel. It looks back to the past, and at the same time, sees a tinge of sadness creep in. When Neil sings, he’s accompanied by acoustic guitar. A steel guitar and harmonica play behind him quietly. Backing singers accompany him, their voices uniting perfectly with his. Like Unknown Legend, there is an understated feel about the arrangement. It’s a track with its roots in the past, and the sound very different from 1989’s Freedom. Quite simply, this is another beautiful song, and is another example of Neil’s talents as singer and songwriter.
You and Me is very different to the previous two tracks. An acoustic guitar opens the track. The arrangement is quite basic, it isn’t is catchy or melodic, and lacks the hooks of the previous songs. Mainly, it’s just Neil accompanied by his trusty acoustic guitar. His voice is slightly higher that before, his playing spacious. Here the tempo is way low. Sometimes, he’s accompanied by Nicolette Larson on backing vocals. Even though it’s mainly Neil and his guitar, it’s highly effective. Quickly, his voice enthralls you. It has a compelling fragility about it.
From the first time I heard the Harvest Moon, I’ve always loved the song. It’s one of those songs that everything about it combines beautifully, to produce a stunning track. At the start of Harvest Moon, it’s just Neil and his acoustic guitar. Gradually, the arrangement builds, guitars and drums sounding like they’re played gently with brushes, enter. When backing vocalist enter, they’re voices are the perfect accompaniment to Neil’s gentle vocal. What you hear is a masterclass in subtly. Everyone plays within themselves. Here, less is more. Even the harmonica is played tenderly. By the end of the track, you’re smitten. You’ve fallen in love with a gentle, heartfelt song, played carefully and subtly.
As War of Man begins, it sounds like another laidback song from Neil. Quickly, you realize the error of your ways. War of Man soon quickens up, you start to think that the sound will build. By now it’s still Neil and his acoustic guitar. Things start to change when the backing singers enter. They increase the volume, fill out the sound. Still, you think that something is about happen, that the track will open up. It’s the drums that make you think that. In the end, you’re wrong. Granted the sound is fuller, slightly louder, but never rumbustious. Guitars, backing vocals and drums, drift into and out of the track. Never once do they let loose. Anticipation and expectation prove wrong In the end, you’re glad they don’t. Instead, Neil and company have provided you with nearly six minutes of passionate music, music that bubbles under, but never bubbles over.
In One of These Days, Neil sounds reflective and thankful. Just a tinge of melancholia creeps in. During the song, he gives thanks to all the good friends he’s known, and promises, as a thank you, to one day, write them a song. If this is that song, he must have some really good friends. Again, it’s a subdued song, one that’s roots are way down in Nashville. Peddle steel guitar, creeps in to the mix, behind Neil’s vocal and acoustic guitar. Sometimes, he’s joined by backing vocalists. Their contribution has an understated quality. They accompany, but never overpower his serene vocal, on what is a beautiful track.
It’s a darker, slightly sadder sound that greets you at the start of Such A Woman, when the piano and strings plays. Even when Neil sings, there is a sadness apparent in his voice. Considering the lyrics this strikes me as strange, because this is a song about love. One where he sings about a special woman. In the song, he sings about pain, and how no-one else can kill him like she does. Such A Woman features a beautiful, lush arrangement. Strings and a piano play. They’re beauty is quite a contrast to the fragility of Neil’s voice. This contrast, plus the lyrics, are what makes this such a beautiful song.
The country feel and sound is really apparent when you hear the opening bars of Old King. It begins with a banjo playing and Neil singing. Fiddles and backing vocalists accompany him. This gives it an authentic country feel, albeit one from way in country music’s past. It seems a song totally out of place with the rest of the album. Personally, I tolerate rather than enjoy the song. Yes, it’s an authentic slice of Americana, but even a good arrangement, can’t compel me to like rather than tolerate.
Thankfully, after Old King Neil returns to form. What follows is one of the best songs on the album. As the song begins, Neil plays his acoustic guitar, taking the tempo way down. When he sings, his voice is gentle, he takes care to phrase the lyrics perfectly. Behind him, his band have reserved one of their best performances. It has a lovely understated sound and feel. Instruments and backing vocalists enter the mix. Guitars slide in and out, drums play in the background. A Spanish sounding guitar is plucked carefully. Later, Neil and his backing vocalists combine beautifully, their sweet vocals a perfect foil for his gentle, near fragile vocal. Like many of the songs on Harvest Moon, two things are present here. Great lyrics are one. Listen carefully as Neil sings, and you’ll hear lyrics we can all relate to. Who isn’t a dreaming man or woman, dreaming about things in our past, people we’ve loved and lost? Neil’s lyrics may be melancholy, but they’re true to life. The second thing that’s present, is a great arrangement. Everything is subtle, the vocals the way every musician plays. It’s highly effective. The combination of great lyrics and a a great arrangement, is a potent mix, and results in a heart achingly beautiful song.
Natural Beaty was recorded live. It begins with a harmonica blowing, Neil plays acoustic guitar and after a long instrumental introduction, he sings. It’s just Neil, harmonica and guitar. He sings the song well, and later is joined by his backing vocalists. Sometimes, when he sings higher, he seems slightly out of key, and this jars. We can forgive him this, as this is a live recording. You only get one shot at it. Overall, he sings and plays well. The track lasts just over ten minutes, and during that time, you get to hear just how good he sounds live. Not only does he sound good, but Natural Beauty is a good track, and a fitting end to what has been one of Neil Young’s best albums.
It’s over twenty years since I bought my first Neil Young album. Since then, I’ve been a huge fan of his music, and was fortunate to see him live in concert. On that tour, he was backed by the legendary Booker T and The MG’s. It was a fantastic concert, one where Neil played a mixture of old and new material. At that time, he was going through his grunge phase. The noise he produced that night, was incredible. I was right down at the front, near the speakers. My ears rang for days afterwards. What fascinated me, and still fascinates me, is how different his material can be from one album to the next. Over the years, he has produced albums in styles ranging from folk, country, grunge, rock, rockabilly and soul. He keeps his fans guessing.You never know what a new album will bring. Harvest Moon was a great album, it was subtle and understated, featured some great songs and musicians. For longtime fans, it was like going back to the early years of Neil’s career, including Harvest. For me, it came at a good time in Neil’s career. From Eldorado in 1989, Neil produced one good album after another. During that period, he changed styles, attracted new generations of fans and became the Godfather of Grunge, influencing groups like Nirvana and Dinosaur Jr. Since then, Neil hasn’t slowed down, he still regularly releases albums and tours. Not bad for a man of sixty-six. Standout Tracks: Unknown Legend, Hank To Hendrix, Harvest Moon and One of These Days.
NEIL YOUNG-HARVEST MOON.
NINEY THE OBSERVER-SLEDGEHAMMER DUB.
NINEY THE OBSERVER-SLEDGEHAMMER DUB.
As many people who regularly read this blog will have gathered by now, is that although I love all types of music, one of my favorite styles of music is dub reggae. When most people think about dub, they think of Lee “Scratch” Perry, King Tubby, Sly and Robbie, Joe Gibbs, Bunny Lee and King Coxsone. Yes, they’re some of the most important people in the history not just of dub, but reggae music. Apart from these great producers and musicians, many other people played a huge part in the history of dun music. Many of these people are almost unsung heroes, known to lovers of dub music, but unknown to most music fans. In this article, I’m going to redress the balance somewhat, and feature a singer and producer that many people may not have previously heard about. He’s Niney the Observer and in this article, I’ll review Sledgehammer Dub one of his finest albums.
Niney the Observer was born George Boswell in Montego Bay, Jamaica in 1951. Although born George Boswell, he was better known as Winston Holness. Later he became known as Niney, when he lost a thumb in an industrial accident. During the second part of the sixties, Niney worked as an engineer at KG Records. This was where he first worked as a producer. The firs track he released, was one he’d written himself, Come On Baby. It was released on the Destroyer record label.
During his career, he was fortunate to work with some of the best known, most experienced producers and work in some of the best studios. It seems that Niney never seemed to stay in the same place long. In 1967 he left KG Records, to work for the legendary producer Bunny Lee. After working with Bunny Lee, Niney then moved to Lynford Anderson’s recording studios. This was his latest port of call. Next, he went to work with Joe Gibbs. He became Gibbs’ chief sound engineer, replacing another legend of dub, Lee “Scratch” Perry. It was during his tenure at Gibbs’ studio, that he produced Dennis Alcapone. Niney also played a vital part in launching Dennis Brown’s career.
Again, Niney decided it was time to move on. Unlike before, he decided to set up as a producer. Niney’s first successful release was Blood and Fire, which when it as rereleased in 1971, eventually, sold over thirty-thousand copies in Jamaica. Having seen his friend Lee “Scratch” Perry adopt the nickname “The Upsetter,” Niney decided that he too, would adopt a nickname. Hence, The Observer was born. After the success of Blood and Fire, Niney thought that he’d set up his own label. His new label he decided would be called Observer Records. Completing what’s almost an early corporate identity, Niney decided to call his houseband The Observers. The true identity of The Observers was the Soul Syndicate.
During the early part of the seventies, Niney’s services as producer, were very much in demand. Amongst the artists he produced were Dennis Brown, The Heptones, Junior Delgado and Delroy Wilson. Niney was more than a producer, he was also a singer. Whilst working as a producer, he collaborated with Lee “Scratch” Perry, Max Romeo and Dennis Alcapone. He continued to work with other artists until the mid-seventies, working with Gregory Isaacs, Horace Andy and Ken Boothe. Towards the end of the seventies, Niney was still a producer very much in demand.
That was to change in the early 1980s’ when Niney decided to move to France. Once there, he wasn’t as busy, his services weren’t called upon very often. In 1982, he reappeared, along with a new album the Ital Dub Observer Style. By 1983, he decided to head home to Jamaica.
Once back home in Jamaica, he became house producer for the Hitbound record label at Channel One Studios. Working at Channel One, Niney was one of the first producers to work with a new star, the Beenie Man. During his time at Channel One, he produced Sugar Minot and Third World. By the mid-eighties, Niney was on the move again. This time, he headed to New York.
After a few years, in New York, he returned home to Kingston in 1988. On his return, he worked with many artists, including Junior Byles, Frankie Paul and Andrew Tosh. Later he started working with Heartbeat Records, and start producing new music and rereleasing some of their back catalogue. Throughout the 1990s’ Niney’s services were still in demand, and he still produced numerous recordings for many different artists.
This year Niney will be sixty, and during his many years involved in the Jamaican music scene, he has worked with some of the biggest producers and artists in not just dub, but reggae. He may not have as high a profile as some producers or artists, but he has made a massive contribution to Jamaican music. Having told you about his career, I’ll now tell you about Sledgehammer Dub, one of his best albums.
Sledgehammer Dub begins with Dub Long Rastafari, a track that starts with drums and guitar combining brightly, a piano plays behind them. A throbbing bass enters, then suddenly, Niney decides to let loose his box of effects. Echo is his weapon of choice, plenty of it. This transforms the drums brilliantly, as they reverberate into each other. Meanwhile, that throbbing bass plods along, the heartbeat of the track. The piano provides a contrast. Overall, the sound is quite uncomplicated, just a combination of drums and bass, piano and plenty echo. Niney doesn’t spare the drums, the result is dub with a capital D. What he’s ended up is a mixture of a light light, bright sound and a dark, throbbing, pulsating sound. It’s a gloriously summery slice of dub, from one of dub’s unsung heroes.
A brass section play at the start of Traveling Version, with Niney deciding a little delay will improve the sound. He’s right, it does. Behind the brass section, you can hear sound effects galore, drums sharply crack. Mainly, it’s a variation on a theme for the first minute, the same rhythm constantly played by the brass section. Eventually, it nearly seeps into your subconscious. Then things change, a guitar plays in the distance, a bass plays, throbbing and spacey. It’s strength shake your speakers. After a couple of minutes, the sound is still much the same, then drums and guitar enter. You welcome their variety. They play brightly until the track ends, contrasting with the darkness and repetition of earlier. Having said all that, Traveling Version is still a good dub track, one that will punish your speakers nicely.
You’re No Dub Baby has bright starts the rhythm section playing, the brass section join in and a guitar brightly chimes. From the start, Niney subtly uses the effects. Prominent in the mix is the bass, pulsating, almost vibrating, deep down low in the mix. Echo is used on the drums and brass, taking the edge of their sound. Niney’s use of effects is perfect, he neither destroys the sound, nor its clarity. Unlike many dub producers, here, Niney believes less in more when it comes to effects. It’s worked perfectly, and it’s three minutes of subtle dub music.
When Burning Dub begins, it does so brightly, and bubbles along nicely. The sound is firmly Jamaica, with a lovely summer feel. That soon changes, when the guitar, drops out of the mix, leaving just the bass to play. An organ joins in, the drums appear again. Mostly, the bass throbs away, occasionally, percussion can be heard. Sometimes, drums roll, the organ plays a beautiful melody. However, the bass is very much star of the show. Other instruments just fill out the sound, and the organ provides light, to the bass’ darkness. It’s a dichotomy of a track, one minute light and bright, the next dark and broody. Unlike other tracks, hardly any effects are used, allowing listeners to hear some of Jamaica’s finest musicians playing brilliantly.
As Kingsgate Version begins, a funk influence can be heard. It’s present in the guitar and organ. This produces quite a compelling mixture, funk and dub. Throw in some effects and the picture is clear. Unlike guitar and organ, bass and drums don’t join in the funkiness. Like all the tracks so far, the bass is loud, it throbs spaciously. Drums are delayed, distorting their sound nicely. Although just a short track, it memorably meanders along, mixing dub and funk masterfully.
Drums roll, an organ and guitar melodically play, the sound of Dub Now is upbeat and bright until the bass joins the fray. Thankfully, even its dark contrast doesn’t take away from the lovely track that’s building. It doesn’t rain on the parade of the rest of the track. Instead, its low booming sound and the spacey drums, compliment the track. Here, it’s a case of the sum of the parts ensuring a near joyous sound emerges from your speakers.
God Bless My Dub is the next track on Sledgehammer of Dub. Straight away, a vibrant track begins to appear. It’s a mixture of drums, organ, and guitar. In some ways, there is a similarity to the start of Dub Now. There will be no complaints from me about that, as it was a lovely track. Quickly, Niney decides that some echo is required before the bass enters. When it does, bass and cymbals combine. While the bass is quite “in your face,” the cymbals are played subtly, as if played by brushes. Thereafter, the track ambles along, with bass and cymbals playing a maor part, then the rest of the arrangement entering in. Sometimes, echo and delay are used. Unlike other tracks, its use isn’t quite is subtle, but still, it’s effective, and ensures you’re paying attention. For the remainder of the track, the two parts of the arrangement take part in what becomes like a musical relay, each passing the baton to the other. Whether any higher power blessed this track is open to debate, but what I know is that Niney has produced yet another great track.
At the start of Everyone’s Dubbing, a drum rolls, an organ plays. Then the heavy artillery join in. Drums and bass totally change the sound. The sound becomes a polar opposite. One minute light and airy, the next darkness descends, the atmosphere is moodier. When the light returns, the sound chugs nicely along, a feelgood factor and summery sound present. Maybe the lack of the “darker” sound is required as a counterbalance for this summery sound. After all too much of a good thing. Like many of tracks on Sledgehammer Dub, there are two contrasting sides to Niney’s arrangements. With this track, each side contrasts the other perfectly.
A pulsating bass plays as Rich and Poor Dub opens. It’s joined a by a piano melodically playing. Then suddenly, the sound seems to growl, causing your speakers to nearly blow up. The sound lacks clarity, is far too loud, making you wince. Occasionally, the sound decreases, becomes subdued. This track is a missed opportunity, as a really good track is struggling desperately to emerge. Regardless of how hard it tries, it never quite escapes. Rich and Poor Dub becomes the first disappointing track on the album. Personally, all the tngredients are there to produce a great track, all that’s needed is a more restrained approach to production, and far less effects used.
Sledgehammer Dub closes with Tribulation Version. Thankfully, the track sees a return to form from Niney. Echoey drums start the track, an organ hesitantly plays and a plodding bass throbs low in the mix. Effects are used much more sparingly. A bas sounds almost brittle, and around it instruments hesitantly play. Plenty space is left in the mix. As the organ plays, notes are stabbed out. Mainly, it’s just organ drums and bass that combine, effects subtly transforming their sound. Tribulation Version is a much better song than Rich and Poor Dub. It’s subtle and spacious, an amalgam of the musician’s skill and producers mastery of effects.
As I said in the introduction to this article, Niney is one of dub music’s unsung heroes. Although his profile isn’t as high as Lee “Scratch” Perry or King Tubby, he has produced and collaborated with some of the biggest names in reggae music. During his early career, he learnt his trade from some of the most famous reggae producers. Once he set his own label up, he was fortunate to produce a whole new generation of artists, launching many of them on the road to fame, and maybe, fortune. Whilst many people that do know about Niney, will think of him as a producer, not as a singer. However, he’s also a talented singer. Sledgehammer Dub was one of his finest albums. Ten tracks, most of them of the highest standard. They feature some brilliant music, music that is among the finest dub reggae you’ll ever hear. If you’ve never heard Niney’s music, Sledgehammer Dub is a good starting point. It can be found as part of the Evolution of Dub Volume 2, The Great Leap Forward boxset. Within that boxset, you’ll find Niney’s Sledgehammer Dub album, as well as three great albums featuring The Aggravators. Standout Tracks: Dub Long Rastafari, You’re No Dub Baby, Kingsgate Version and Tribulation Version.
NINEY THE OBSERVER-SLEDGEHAMMER DUB.
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THE ORB-U.F. ORB.
THE ORB-U.F. ORB.
In a previous article, I wrote about The Orb’s debut album The Orb’s Adventures Beyond The Ultraworld. That album proved to be one of the most influential of the decade. It was a brilliant album, one of the best debut albums you’ll ever hear. What many people wondered, was how would The Orb follow up that album. March 1992, saw The Orb release U.F. Orb their second album. U.F. Orb is a masterful mixture of ambient house, techno, downtempo music and otherworldly samples. On its release, the album reached number one in the UK album charts. Since then, U.F. Orb has been viewed as a classic album, and one of the most important albums in the development of electronic and dance music.
U.F. Orb begins with O.O.B.E, a track that begins with a rumbling sinister sound, gradually getting nearer. It’s an almost disturbing sound. Thankfully, that doesn’t last long, because synths sweep into the track, lightening the mood. They give the track a lighter, brighter, downtempo feel, as the track meanders slowly. After that, one of The Orb’s space age sounding samples enters. On their debut album, The Orb’s Adventures Beyond The Ultraworld, this became one of their trademarks. Although a meandering downtempo track is emerging, when these samples appear, and are joined by noises that you’d think belong in a Star Wars film, the track takes on a more edgy, sinister feel and sound. The longer the track goes on, the more the sound builds, a pulsating, near throbbing sound emerges, increasing the edginess. A noise that sound like a robot speaking through a vocoder can be heard. Now, the track has taken on an otherworldly feel. It’s glorious, fantastic. When you dim the lights, turn up the volume, you’re transported to another dimension. For nearly thirteen minutes, a melange of sweeping synths, beep, pulsating and throbbing noise surround, and wash over you. They’re joined by eerie samples, that have an unsettling presence. As the track ends, you feel as if The Orb have transported you to another dimension or plant, one where their national anthem is gloriously eerie, unsettling, otherworldly and utterly spellbinding.
The title track U.F Orb begins with what sounds like water running, synths sweep slowly into the soundscape. Here the sounds starts gently, washing over you. Then what sounds like a helicopter flying overheard appears, a sample of Radio Moscow plays. Suddenly, it’s like returning to those terrible Cold War years. Just when the atmosphere looks like taking becoming edgy and maybe bleak, out of nowhere, come some almost joyous sounding house influenced drums. They’re accompanied by synths. Occasionally, vocal stabs emerge, the music will pause or the helicopter can be heard, tormenting your ears. Mostly, it’s real hands in the air house music. Think raves and the late eighties. Sometimes, a sinister vocal interrupts. At the tend, a mixture of sinister sounding voices, and that helicopter break the spell, and reality kicks in. However, U.F Orb was two parts joyous, to one part surreal. Brilliant.
Blue Room was the single taken from U.F Orb, and when it was released as a single, was forty minutes long. The album version only lasts seventeen minutes. As fans of The Orb will know, they’re fascinated with aliens, space and UFOs, and the Blue Room is the alleged holding room at the Wright-Patterson Air Force Base, where supposedly, evidence of aliens is held. When the track begins, the sound ambles in, waves crash, all beeps and bleeps, very retro sounding now. A plays, feedback building up subtly. Strangely, it’s effective. Overall, the sound is a multitude of sounds, they almost trickle, rather than bleed from your speaker. For a while, it’s a soothing sound, laid back and enjoyable. Later samples play, a siren sounds, you wonder what’s going on in the Blue Room. Synths sweet, a rattling sound appears, then almost silence. Just when you least expect it, things take an unsettling turn. Noises that are unrecognizable make their presence felt, sample play. Gone is the soothing, laid back feeling. By now you’re wondering what goes on in the Blue Room. You’d love to see in, but are almost scared to do so. Another sample appears, thankfully, it’s not unsettling, quite the opposite. It calms your nerves. Then drums play, they pound, a squelchy sound accompanies them. Water drips, that lovely sample returns. Thereafter, the drums are at the forefront of the mix, swathes of sound emerging. Multi-layers of music emerge. Generally, it’s much more relaxing, apart from the occasional sample that tests your nerves. Then, when you least expect it, feedback can be heard, setting your teeth on edge. The drums, and occasional percussion are welcome contrast to the teeth grating feedback. As the track ends, muted screams, a train whistle blows, feedback and water dripping can all be heard. Truly, Blue Room has been both a magical and unsettling musical journey. If that is what is in the Blue Room, I’m not sure if I want to enter.
As Towers of Dub begins, a comedy sample plays. It’s a hilarious interplay between a security guard taking a prank phone call from someone looking for Haile Selassie. It’s absolutely priceless, and it always makes me smile. After that, a dog barks, then quietly, another spoken word sample plays. Meanwhile, a melody gently meanders, against a backdrop of the tide breaking against the beach. A harmonica plays, and quickly, the track builds. Sound effects enter, synths sweep, drums play. Echo is used to give the drums a dub feel and sound. What’s emerging is a mixture of electronica and Jamaican dub. It’s quite an effective and potent mix. As well as crunching drums and percussion, a dog barks, the harmonica returns. All the while, the dub influence is present. Suddenly, a bank of keyboards play, their sound slightly discordant. If you imagine dub music with a bluesy harmonica playing, occasionally accompanied by a dog barking you’ve got the picture. During the remainder of the track, samples and sound effects play, synths join the fray, dubby drums play and that dog barks. For fifteen laid back and sometimes, manic minutes, The Orb mix their own unique brand of ambient with one of Jamaica’s finest exports…dub. The result is masterful.
Like the Blue Room, The Orb’s interest in space, UFOs and aliens is apparent with the next track Close Encounters. Space age sounds emerge from your speakers, you could be fooled into thinking you’ve mistakenly put on a sci-fi soundtrack. Synths sweep in from space, sound effects emerge from the ether, an otherworldly sound and feel makes its presence felt. The track almost pulsates into being. Rippling synth sounds, joined by others that throb and pulsate appear. As Sun Ra said, Space Is the Place. Drums pounding enter, a house beat playing. Joined by a melange of sound effects which The Orb produce with their banks of electronic instruments. One minute, the sound sweeps understated, the next, it throbs tumultuously. Overall, it’s a heady brew, one that tantalises your senses, in anticipation of what will happen next. Quite simply, you never know, you can’t second guess The Orb. What you do know, is that they’ll always surprise and fascinate you. Omnipresent, are those drums pounding punchily and pleasantly, their presence reassuring. No effects are used to transform their sound. However, around them, effects are everywhere, sound surround them, produced by synths, sequencers and samplers, a laborious labour of love back then. With two minutes remaining, the sound growls, grinding to a halt. Samples of children playing appear, droning voices enter, the sound is quiet but slightly disturbing. It drones towards the end, a variety of sounds making their presence felt. Those droning voices remain, accompanied by a dark, somewhat threatening sound. By the end of the track, it feels as if you’ve had a close encounter with some magnificent and innovative music, music that can move you in a multitude of amazing ways.
Majestic is a word that could be used to describe The Orb’s music. However, it’s also the title of the next track. It begins darkly, then another sample referencing space appears, and the track brightens. A glacial voice emerges singing, a rhythm repeats, samples assault you, occasionally, they’re drenched in delay or echo. Drums distantly play, sounds reminding you of a dusty bazaar appear. Then banks of synths and keyboards combine, a house beat plays. By now the sound has grown. Suddenly, all you can hear is a plodding, throbbing bass play. The sound starts to rebuild. Repetition is everywhere, the same rhythms and melodies appear, disappear and reappear. Voices emerge, synths sweep in and out. What you hear is a complex multi textured sound, which features layer upon layer of music. So much is going on, you’re constantly distracted. Never try second guess The Orb, it’s impossible. Only they know who the direction this soundscape will take. What happens is samples and sound effects aplenty enter and leave the mix, synths and drums combine, then suddenly, towards the end, it’s almost quiet. You feel a surprise awaits you, and you’re correct. Sound effect and samples make their presence felt, and then…the track ends. Eleven minutes of complex, multi layered music, music that is intriguing, enthralling and full of subtleties and nuances.
Sticky End is the final track on U.F. Orb. It’s a strange almost, unsatisfying way to end the album. For fifty-seconds a bubbling sound effect can be heard. Very little happens, it doesn’t grip your attention and seems out of place on the album. Maybe it’s The Orb’s sense of humor. Who knows? Personally, I feel it’s a sad end to a great album.
For twenty years I’ve been captivated by The Orb’s music. U.F. Orb was an innovative and pioneering album. It demonstrated just what was possible using synths, samplers, sound effects and traditional instruments. Back in 1992, this album must have taken a huge amount of time to make. Technology then, was in its infancy, whereas nowadays, computers can do things quickly and easily. Even though this album is nearly twenty years old, it still sounds fresh and relevant. Unlike some dance and electronic tracks and albums, made in the early nineties, U.F. Orb still has a contemporary sound. It sounds as good in 2011, as in 1992. That’s quite a compliment, as a lot of music sounds dated, and this can happen really quickly. Like many great albums, U.F. Orb has a timeless quality. What I love about U.F. Orb is that every time you listen to it, subtleties and nuances reveal themselves, you discover new sounds. This is to be expected as their music is complex, and features many layers and textures of music. The music on the album ranges from relaxing and soothing, to edgy and almost disturbing. Sometimes it’s the musical equivalent of a horror movie, and makes you sit on the edge of your seat. That is the power of U.F. Orb, a remarkable album, an album that can elicit a multitude of thoughts and feelings as you listen to the seven songs on it. Should you not have heard the album, I recommend that you buy it. Both U.F. Orb and its predecessor, The Orb’s Adventures Beyond The Ultraworld, are brilliant albums. They’re two of the best, and most influential albums in the history of electronic and dance music, and deserve a place in your record collection. Standout Tracks: O.O.B.E, U.F Orb, Blue Room and Majestic.
THE ORB-U.F. ORB.
AMY WINEHOUSE-BACK TO BLACK.
AMY WINEHOUSE-BACK TO BLACK.
Neil Young once sang “it’s better to burn out than fade away.” It’s nothing more than a good lyric. Nobody should take this lyric seriously. Sadly, some singers seem to take this lyric seriously, witness Kurt Cobain and Sid Vicious. The way they led their lives, it was almost inevitable that they would meet untimely ends. Plenty of musicians have met similar ends, many of them because of their penchant for the “rock ‘n’ roll lifestyle.” Jim Morrison, Jimi Hendrix, Keith Moon, they all died too young. Such a death is tragic. With every generation of musicians and singers comes the possibility that one of them will die too young. Temptation is all around for musicians. You acquire more friends than you could have ever have previously imagined. Mostly, they’re friends of the fairweather type. They’ll lead you astray, take rather than give, or help you, and when your fifteen minutes of fame are over, disappear from wherever they came. Sadly, when an artist or musician needs help or support, friends are in short supply. Suddenly, people are busy, have other things to do, other people to see. If, or when, a tragedy occurs, these people are the first to eulogize about how talented their “friend” was, how tragic their passing is. What they forget to mention, is how they failed them, how they let them down in their hour of need.
On Saturday 23 July, tragically, Amy Winehouse died. She was only twenty-seven, far too young. She possessed a magical voice, recorded two brilliant albums, and had she been able to turn her life around, would’ve recorded many more magnificent albums. In this article, I won’t dwell on the controversy or negative aspects of her life. That would be unfair, and much of this controversy can’t be substantiated. Instead, this article will celebrate her music, particularly her second album Back To Black, the album that propelled Amy Winehouse to the attention of millions of music fans worldwide.
Amy Jade Winehouse was born 14 September 1983, in Southgate, North London. She was born into a Jewish family who loved jazz music. Her mother Janis was a pharmacist and her father Mitchell, a taxi driver. Mitch used to sing Frank Sinatra songs to young Amy. Soon, she too, was singing those songs. This was much to the annoyance of her teachers, when she would sing them in class. Alex, Amy’s older brother would also prove influential in Amy’s musical career.
Aged nine, her grandmother Cynthia thought that Amy should enroll at the Susi Earnshaw Theatre School where she could learn about the performing arts. By ten, she was part of a rap group Sweet ‘N’ Sour with her friend Juliette Ashby. This didn’t last long. Amy stayed at the Susi Earnshaw Theatre School for four years, before joining the Sylvia Young Theatre School full time. After about a year, Amy left the theatre school. Later, it was alleged that she was expelled for failing to apply herself and piercing her nose. It was whilst at the theatre school, Amy first appeared on television, appearing in The Fast Show, a comedy sketch show. Like other successful singers, such as Adele, Jessie J and Katie Melua, Amy attended the BRIT School in Croydon.
After discovering her brother Alex’s guitar, Amy Winehouse received her first guitar when she was thirteen. A year later, she started writing her own songs. Although she never knew it, these were her first steps to stardom. After leaving school, she had various jobs, including working as a showbiz journalist for World Entertainment News Network. During this period she sang with a local band the Bolsha Band. Her then boyfriend, Tyler James, a soul singer, sent a demo of Amy’s music to an A &R person. This led to her being signed by Simon Fuller’s company 19 Management. Wisely, Fuller helped develop the nascent star, and whilst doing so, kept the music industry in the dark about this budding star. Darcus Beese who was working in A & R at Island/Universal came across Amy by accident. He’s been shown some footage of the Lewinson Brothers and Amy Winehouse was singing on some of the tracks. Straight away, he had to find out who this singer was. Eventually, after several months, his persistence paid off. Beese wanted to sign her, but by now, she’d signed a publishing contract with EMI and recorded some songs with producer Saalam Remi, with whom she worked well with.
At last, Beese was able to introduce Amy to Nick Gatfield at Island Records. Gatfield, like Beese, spotted Amy Winehouse’s talent, and she was signed to Island. Their timing was impeccable beating of competition from EMI and Virgin, who by now, were now showing interest in signing her. Gatfield thought Amy Winehouse was the antitheses of modern manufactured music, and that he had signed a genuinely talented singer songwriter.
This proved to be the case when Frank, Amy Winehouse’s debut album was released in October 2003. Frank was produced by Saalam Remi, and of the thirteen songs on the album, Amy wrote or cowrote eleven of them. The other two songs were cover versions. On its release, Frank garnered much praise and compliments aplenty. Comparisons were made between Amy Winehouse and some of jazz and soul music’s greatest singers, including Dinah Washington, Sarah Vaughan and Nina Simone. How would I describe the music on Frank? It ranges from classic jazz, nu-soul, jazz tinged soul and even shades of funk. Amy Winehouse’s performance of Frank was all this and more. On the album, Amy lays bare her soul, and the music is indeed, frank. Such high esteem was the album held in, that it was nominated for a Brit Award and won an Ivor Novello Award. Eventually, the album was certified double platinum and sold over 600,000 copies. In the UK it reached number thirteen in the UK album charts. For a debut album, such achievements were incredible. Unbeknown to Amy and Island Records, that was just a taste of the success of her next album Back To Black.
Three years after the release of Frank, Amy Winehouse released her second, and sadly, final album Back To Black. Back To Black is a mixture of classic 1960’s soul, contemporary R&B and jazz music. Among the subject matters dealt with on the album are sex, drugs, alcohol and relationships. It’s subject matters that many young, and not so young people can relate to. The album saw Saalam Remi, joined in the producer’s chair by Mark Ronson. Ronson’s addition was a masterstroke, and the combination of the familiarity of Remi and maverick Ronson worked brilliantly. On the album’s release, it was critically acclaimed, with most critics loving the album and almost exhausting their supply of superlatives to describe the album. Again, the album won numerous awards, including Grammys for Record of the Year, Song of the Year and Best Newcomer. Mark Ronson too, won a Grammy Award for Producer of the Year, Non-Classical. Rehab, one of the singles from the album, won an Ivor Novello Award for Best Contemporary Song. Since Back To Black’s release, it has entered the UK album charts several times. It reached number three when it was released and reached number one several times. Sales of the album worldwide are well over fifteen million, and in the UK Back To Black has been certified platinum eight times. Considering that was only her second album, that was an amazing achievement.
In the introduction to this article, I said that I wouldn’t focus on the controversy or speculation surrounding Amy Winehouse’s life. That would be wrong. She should be allowed to rest in peace without people raking over her past. Personally, I find that distasteful. All I will say is that, during her sadly short life, Amy Winehouse suffered from drug and alcohol addictions. However, many people suffer from such problems. It’s an illness, not a spectator sport. Maybe if people had done more to help her, she’d still be alive today. Like many people, she had relationship problems. Again, like many people, she fell in love. Sometimes we fall in love with the wrong person, and that relationship is unhealthy for both parties involved. Getting out of such a relationship is difficult. It’s difficult to see that you’re dragging each other down, that neither party is helping the other. Perhaps, Amy just fell in love with wrong person. She won’t be the first person to do so, and sadly she won’t be the last person to do so. It’s just that usually, such a relationship doesn’t usually have such tragic consequences. Sadly, aged twenty-seven, Amy Winehouse died in Camden, London on 23 July 2011. Her career was cut tragically short, but she left behind two wonderful albums, Frank and Back To Black. I’ll now tell you just what makes Back To Black such a wonderful album.
Back To Black opens with Rehab, a song influenced by classic 1960’s soul. Amy’s voice is strong and defiant. Behind her backing singers accompany her, making you think of some of the greatest female soul groups and girl groups. Think The Supremes or Ronettes, and you aren’t far away. Her band sound as if they’ve stepped out of the sixties too. The sound is big and full. There is a lushness present that usually, you don’t find on modern music. An orchestra plays, horns feature. They rasp ravishingly, percussion plays, bells chime, drums play their sound wonderfully retro. All the while Amy’s voice enthralls you. It’s an arrangement so big and beautiful that it’s almost indescribable. Once you hear it you’ll realize why. Rehab was a song that caused much controversy. Its critics believed that it glorified abusing alcohol and drugs. That is so far from the truth. In the song, Amy sings from an addicts point of view. Many addicts don’t want to give up their addiction. They know what they’re doing is wrong, they know that they’re damaging themselves, but, they’re enjoying themselves. One day that might change. However, at that point, rehab isn’t for them. In the song, Amy is defiant, defiant because she maybe she doesn’t see herself as an addict, or maybe she doesn’t want to stop. She believes she can learn more sitting at home, listening to Ray Charles and Donny Hathaway, a bottle for company. Many people may find this attitude “shocking” or “flippant,” they’ve probably never been addicted to anything, or have an addictive personality. For me, Rehab was Amy Winehouse’s finest song, and must be one of the best songs in the last ten years. Amy sings the song brilliantly, it has wonderful lyrics and features a stunning performance by her band. Mark Ronson’s arrangement and production are perfection.
You Know I’m No Good begins with drums and bass playing. When Amy sings, her voice sound like some of the greatest jazz singer. You can hear Billie Holliday and Sarah Vaughan’s influence. Her delivery is clear and strong, her phrasing perfect. Her band surpass themselves. The sound is fulsome, a mixture between classic vocal jazz, sixties soul and contemporary R&B. Amy is like a torch singer for a new millennia. One with the voice of an angel, who sings about urban love and troubled relationships. When you listen to the lyrics, they’re dripping in black humor, and have a pathos about them. From the opening bars of the song, Ronson’s arrangement is masterful. Like Rehab, it’s a big production, featuring a brass section and even a Wurlitzer organ. All of this, and Amy’s amazing voice contributes towards making this a wonderful track.
As Me and Mr Jones begins, the sound is gloriously retro. Amy has borrowed heavily from previous generations of musicians on this track. The arrangement sounds like it belongs fifty or sixty years ago, when some of the greatest jazz and soul singers were alive. One thing that doesn’t belong in the past are the lyrics. Listen carefully, to this song about love and relationships, and in the lyrics have a contemporary and gritty edge to them. When the track begins, you’re transported back in time. A guitar plays, an upright bass is plucked. Backing singers accompany Amy. Saxophones blow, drums play subtly, overall, it’s like a song from another era, with Amy’s classy, sassy vocal completing what is, a beautiful homage to the music of yesteryear.
Just Friends opens with a Rhodes keyboard playing. Amy’s voice starts low and quickly gets stronger. Her voice is very different, has taken on a different sound. There is a richness present, that wasn’t there before. Here the arrangement isn’t as full as in previous songs, but it’s not understated. Having said that, their is a subtly about the playing on the track. It’s as if the band are allowing Amy to take centrestage on what is almost a jazz workout for her. The lyrics deal with alcohol, drugs and relationships, and touch upon betrayal in relationships. They demonstrate Amy’s talent as a songwriter, and her ability to write songs that many people can relate to. Not only has she written a great song, but her delivery is stunning and has a subtly about it.
The Ronettes. That’s what I think about when I hear Back To Black. Girl groups like The Ronettes were a huge influence on Amy Winehouse, and as the track begins, you can hear their influence. Although the sound may be influenced by the sixties, the lyrics belong in the present. Back To Black is another song by Amy that deals with a troubled relationship, and contains references to drugs. She isn’t glorifying drug usage, it’s part of the song’s strong narrative. It’s like a short story, one set in the new century, and featuring Amy as the central character. The longer the song goes on, the more I see the influence of groups like The Ronettes, and producer Phil Spector. Maybe, this is Amy Winehouse and Mark Ronson’s tribute to these wonderful groups. If so, it’s a fitting and magnificent tribute.
Even though every song on Back To Black is of the highest quality, Love Is A Losing Game is one of the best. Quite simply, it’s the most beautiful song Amy Ever song. It’s one of her best ever performances, her voice sounds gentle and very natural. She sings within herself, whilst around her, the arrangement sweeps beautifully. A string section play subtly behind her, they’re the mainstay of the arrangement. Apart from a guitar and horns playing, it’s the strings that contribute the most. For two and a half minutes you sit spellbound, enthralled and transfixed by the most beautiful track on Back To Black. Truly, it’s Amy Winehouse at her very best. Stunning.
After such a musical masterpiece as Love Is A Losing Game, any song has a hard act to follow. However, Tears Dry On Their Own is a song that when you hear the start, doesn’t sound promising. After the first verse, and when Amy sings the chorus, the song opens out, and you think things are starting to improve. The lyrics are good, but there is something about the verses, they just don’t seem to read well musically. Strangely, the chorus is much better. Amy seems to be singing the lyrics too quickly, for the arrangement behind. It’s a slightly disappointing song, which is a shame because the arrangement is really good. At the end of the song, I feel slightly disappointed, feeling it could’ve been a much better song.
At the start of Wake Up Alone, you immediately think that you’re about to hear a lovely jazzy number. You’re not disappointed, because what emerges is Amy at her best. Her is voice is strong and clear, as she sings the lyrics slowly, ensuring her phrasing is perfect. Again, it’s like taking a trip back in time, to a different era. Amy’s voice transports you back, and Mark Ronson, again, has produced a great track. Wake Up Alone benefits from a beautifully understated arrangement, one that never threatens to overpower Amy’s gorgeous vocal.
Some Unholy War continues with the slower, jazzier style of Wake Up Alone. Am upright bass plays, a guitar joins in, then Amy sings, accompanied by backing singers. As she sings, the fill in behind her, singing both after and during Amy’s vocal. This is highly effective. So is Salaam Remi’s arrangement. He’s obviously a believer that less is more, and his understated arrangement is perfect for the song. During the song, it’s just bass, guitar drums and organ that features. Like Wake Up Alone, Some Unholy War is a lovely slow jazz influenced song, which Amy sings beautifully, showing how versatile a vocalist she was.
After two downtempo tracks, He Can Only Hold Her sees the tempo increase. What differs is the style. It’s a mixture of classic soul and contemporary R&B. Immediately, you sense that Mark Ronson has gained control of the production chair. This track is much more his style, than Salaam Remi’s. Even the guitar playing at the start, doesn’t full you. Thereafter, the style is contemporary, and Ronson sprinkles his magical dust on the track. Amy’s voice is as good as ever, the arrangement is much fuller. A brass section features, backing vocalists accompany Amy and percussion is everpresent. My only quibble with this great track, is that it ends too quickly. Never mind, just press repeat.
The final track on Back To Black is Addicted, a track that deals with weed, marijuana, and addiction to it. When you listen to the lyrics, they immediately seem as if Amy’s attitude towards it is flippant. However, that is only in the context of the song. How she’s written the lyrics, they read perfectly, and are clever musically. They’re tight, rhyme brilliantly and even show her sense of humor when she sings she’d prefer weed instead of any man’s loving. Her performance of the song matches the lyrics. She’s reserved a brilliant performance for what is, the final track on the album. Straight away, the song swings, and for just under three minutes, Amy and her band sing and play beautifully. The tempo is quicker, the arrangement fuller. Behind her the brass section play, guitars, keyboards, bass and drums all combine masterfully. Addicted is a song that makes you wince, it’s makes you smile and most of all, you enjoy it because Amy sings the song brilliantly.
It’s taken me some time to write this article, and during that time I’ve thought much about Amy Winehouse and about her music. Personally, I prefer to remember her for her music. Music is what she loved, she was a hugely talented singer, musician and songwriter. Since the release of her debut album Frank, in October 2003, she was propelled into the media spotlight. Suddenly everyone wanted to know her, and everyone wanted to be her friend. Many of these people weren’t real friends. Instead, they used and abused her. These people contributed to her demise, and this cost her, her life. She lost her life, and music lost one of its most talented artists of the past ten years. She may have only produced two albums, but what great albums they were. They’re two of the best albums of the new millennia. Many an artist will never write or sing like Amy Winehouse could sing. Back To Black was a tremendous album. Eleven wonderful songs which Amy sang brilliantly, backed by some wonderful musicians. Two talented producers, Mark Ronson and Salaam Remi helped harness Amy’s talent. They too, played a huge part in the success of Back To Black. Sadly, these two wonderful albums are all we have to remember Amy Winehouse by. My hope is that in the future, when we think of Amy Winehouse, we think of these two albums, instead of the terrible problems that she suffered from, and the tragic way her life ended. Standout Tracks: Rehab, Back To Black, Love Is A Losing Game and Addicted.
AMY WINEHOUSE-BACK TO BLACK.
OTIS REDDING-THE SOUL ALBUM.
OTIS REDDING-THE SOUL ALBUM.
In this article, I’m going to write about one of the greatest soul singers ever. Sadly, during their lifetime, they only released six albums. This album was their fourth album, released in 1966. Tragically, he died in tragic circumstances aged twenty-six, when the plane he was traveling on, crashed killing six people. Since then, their music has influenced two generations of artists, and even today, many people are discovering Otis Redding’s wonderful music. The Soul Album is the album this article is about, and before reviewing the album, I’ll briefly tell you about Otis Redding’s life and music.
Otis Redding was born in September 1941, in Dawson, a small town in Georgia. Aged three, he and his family moved to Macon, Georgia. Like many soul singers, his first experience of music as when he sang in the church. It was as a teenager, that his talent first became apparent. He won a talent show held at the Douglass Theatre for fifteen consecutive weeks. This led to King Records (USA) boss Syd Nathan discovering Otis Redding.
In 1960, Otis Redding started his musical career, when he started touring the southern states of America with Johnny Jenkins and The Pinetoppers. Redding’s not only sang with the band, but doubled as Jenkins’ driver, as Jenkins didn’t have a driving license. The same year, Redding recorded two songs. These were Fat Gal released on Confederate Records and Shout Bamalama, released on Orbit Records. Both tracks were released as Otis Redding and The Pinetoppers. These songs weren’t Redding’s first foray into the recording studio. That came when Johnny Jenkins and The Pinetoppers recorded Love Twist, which was released on Atlantic Records.
It was 1962, when Otis Redding first came to the attention of the record buying public. He’d written These Arms of Mine, and recorded it when there was some studio time left over in a Johnny Jenkins and The Pinetoppers session. Volt Records, a subsidiary of Stax Records. These Arms of Mine, became a minor hit for Redding. This single, brought Redding to the attention of both Jim Stewart and Stax Records, who would release his debut album.
Aged twenty-three, Otis Redding released his first album, Pain In My Heart. The album was released in January 1964, and was produced by Jim Stewart. It was recorded for Volt Records, which was a subsidiary of the legendary Stax Records, the Memphis based record company. Four singles, all of which were successful, were released form the album. This includes one of his best known songs These Arms of Mine.
March 1965, saw Redding release his second album The Great Otis Redding Sings Soul Ballads. The album was released on Volt/Atco and was produced by Jim Stewart and Booker T and The MG’s. On the album, Redding covered songs by some of soul music’s greatest singers. This included songs by Sam Cooke and Jerry Butler. Like his debut album, this album featured songs written by Redding, and on Mr Pitiful, one of his best know songs, he cowrote the song with Steve Cropper, the guitarist with Booker T and The MG’s, who were known as Stax Records house-band. At this time, it was unusual for artists to write their own songs, but Redding was a highly talented songwriter, and during his short career, wrote some of his best known songs.
One of Redding’s best known albums, Otis Blue: Otis Redding Sings Soul in September 1965. Like his previous two albums, it was recorded at the Stax Recording Studios in Memphis. This time, the album was produced by Isaac Hayes, David Porter and Jim Stewart. On the album, he pays tribute to his idol Sam Cooke, who’d recently died, by covering three of his songs. Songs by Smokey Robinson, William Bell, and BB King are on the album. So is a cover of the Rolling Stones song Satisfaction. On the albums release, it was critically acclaimed. Critics loved the album, and since then, it’s widely been accepted that it’s one of the best albums ever released.
April 1966, saw Otis Redding release The Soul Album, the album this article is about. This time, the album was produced by Jim Stewart, Booker T and The MG’s Isaac Hayes and David Porter. It featured songs written or cowritten by Sam Cooke, Jerry Butler and Smokey Robinson. Redding wrote or cowrote, three of the songs on the album. Again, on The Soul Album’s release, it received critical acclaim and sold well.
Otis Redding released his final studio album as a solo artist in October 1966. He’d spent from May to September 1996 recording the Complete and Unbelievable: The Otis Redding Dictionary of Soul. Like his previous album, it was produced by Jim Stewart, Booker T and The MG’s Isaac Hayes and David Porter. Redding had written four of the songs on the album and cowrote three others. One of his best known songs from that album was My Lover’s Prayer. On the album’s release critics lauded the album, believing it one of Redding’s finest albums. Complete and Unbelievable: The Otis Redding Dictionary of Soul is regarded by many people as one of the greatest soul albums ever produced. Like Otis Blue: Otis Redding Sings Soul, Complete and Unbelievable: The Otis Redding Dictionary of Soul is included in Rolling Stone magazines 500 greatest albums of all time.
The final album to feature Otis Redding was King and Queen, which he recorded in a week with Carla Thomas. This album saw two of Stax Records best selling artists unite, to record an album. Two singles from the album charted in the Us singles charts, Tramp at number twenty-six and Knock On Wood at thirty. Little did anyone know, that King and Queen would be the last album released in Redding’s lifetime.
On 7 December 1967, Otis Redding recorded what many people would regard as his best known song, (Sittin’ On) The Dock of the Bay. It would the last song he’d ever record. Three days later Otis Redding would be dead.
December 9 1967, saw Otis Redding and his backing band The Bar-Kays make an appearance on the Upbeat television program in Cleveland. Later that night, he made what would be his final live appearance at Leo’s Casino in Cleveland. The following day, the plane he was traveling in crashed. Redding, four members of The Bar Kays, Redding’s manager and the plane’s pilot all died in the crash. Only one person to survive the crash was Ben Cauley.
After Redding’s death several albums were released posthumously. (Sittin’ On) The Dock of the Bay was later released as a single, and became synonymous with Otis Redding. Since his tragic death in 1967, Otis Redding’s music is still as popular as ever. If anything, interest in his music has increased. It’s critically acclaimed, and still influences artists today. The Soul Album is one of my favorite Otis Redding albums, and I’ll now tell what makes it such a special album.
The Soul Album opens with Just One More Day, a song Redding cowrote with Steve Cropper. As with all Otis Redding’s album, a crack team of musicians had been assembled to record this album. Issac Hayes and three members of Booker T and The MG’s Al Jackson Jnr and Steve Cropper were among those musicians. It’s these musicians you hear playing, as Just One More Day Begins. The track begins quietly, a guitar plays, then, Otis sings, his voice is strong and loud. He sets the mood, it’s downtempo. What he produces is one of the most moving, heartfelt performances on the album. His vocal is soulful with a capital S. Behind him, the band respond to his performance. They too, lower the tempo, and add to the drama. A Hammond organ plays, the brass section and drums interject, their contribution like musical punctuation. Here the arrangement veers between understated, and dramatic. After such a passionate and dramatic opening track, you feel everything bodes well for the remainder of the album.
It’s Growing starts with a guitar playing, after which, the brass section announce their arrival. When Otis sings, he sings much quicker. His voice doesn’t sound as strong and loud at times, but it’s just as passionate. This might be because of the arrangement. It’s much louder and fuller. Drums pound and the brass section cut loose, really showboating, demonstrating just how good musicians they are. What is important to stress though, is that, back then, the Stax studios were quite basic, lacking the sophisticated recording equipment we now take for granted. The number of channels available to record onto were much less. Having said that, Otis sings the song well, and his band are outstanding.
As Cigarettes and Coffee opens, the tempo is slow. As Otis sings, the mood is set. What you hear is Otis singing slowly, lovingly, about sitting up late with his girlfriend, smoking and drinking coffee. It’s a happy Otis, he’s in love, in love with someone who he’s just met. However, he knows immediately, that she’s the one. The arrangement is perfect for the song. As for the arrangement, it’s got a lovely understated quality. Drums provide the song’s heartbeat, and the brass section play quietly, their playing subtle. A piano occasionally plays, it too, is subtle. Overall, Otis’ performance and that of his band is masterful, it’s a mixture of a strong, passionate vocal by Redding, and a subtle, understated performance by his band.
One of Otis Redding’s idols was Same Cooke. By the time this album was recorded, it had been over a year since Cooke died. In honor of his late hero, Redding decided to include one of Cooke’s greatest songs Chain Gang on the album. This is fraught with difficulties, as anyone who has heard the original, will agree that that is the definitive version of the song. When Otis reinterprets Chain Gang, it’s very different from Cooke’s version. Straight away, you can tell that it’s an interpretation, rather than copying Cooke’s version. As the song starts, drums and brass section play where they never played before. Redding sings the song very differently, he leaves space where space never before existed. Occasionally, he grunts and whoops. His voice is strong and loud, unlike Cooke’s much more gentile version. Sometimes, Redding sings like James Brown. Even the arrangement is much fuller and louder. Instead of being almost understated, it becomes almost overblown. Maybe if I’d never heard Sam Cooke’s version, I’d be more amenable to Redding’s rendition. It has its merits, and is not a bad song. The problem is, that the original is just so brilliant.
James Cox wrote the Nobody Knows You When You’re Down and Out, and it’s a song that’s been covered my many people. Unlike Chain Gang, there’s no definitive version. Trumpets blow as the track begins, a guitar plays a jazzy lick, then Otis takes the tempo way down. His interpretation of the song is dramatic, very different from other versions. Trumpets accompany him, they play with a subtly, drums just keep time, and a piano plays. Otis and his vocal take centrestage. It’s only towards the end of the track does he increase the tempo, and even then, it’s only momentarily. This is a very different interpretation of this song, but one which I enjoyed. It was interesting to see the different way he approaches the track, how his version is so different. My only wish is that he’d used a similar approach on Chain Gang. Then he could’ve paid homage to his idol in a much more appropriate way.
Good To Me is the first of the two song Otis Redding cowrote on The Soul Album. He cowrote the song with Julius Green. From the beginning, Good To Me is a dramatic slice of Southern Soul. Even as the brass section and drums play, the mood is set. When Redding sings, immediately, the tempo drops, the drama increases, and as he sings, the song benefits from a brilliantly understated arrangement. A Hammond organ plays in the background, drums play slowly, space is at a premium. Occasionally, the brass section play. Their appearances are brief, which suits the song. Again, Otis is the centre of attention. His voice is outstanding, his delivery strong, heartfelt and dripping in emotion.
After the lovely subdued arrangement on Good To Me, things change on Scratch My Back. Trumpets play, bursting brightly into life as the song opens. Redding sings the song quicker, the arrangement is fuller, the brass section taking centrestage. They play throughout the track, and apart from the drums, no other instruments feature. Unlike, Good To Me, which had some really strong lyrics, Scratch My Back’s lyrics seem rather lightweight by comparison. Obviously, they’re laden with innuendo, and are similar to many such songs that were released on various soul labels. However, even though Redding sings the song well, and the brass section play brilliantly, I’m left disappointed at the almost lightweight, throwaway nature of the lyrics. They’re neither These Arms of Mine, nor (Sittin’ On) The Dock of the Bay.
Treat Her Right is thankfully, a return to form from Redding. It’s a much more serious, grown up song, and sees both Redding and the band put in a great performance. When Treat Her Right starts, you realize that this is a much better song. Again it’s the brass section and drums combining at the start, and thereafter, they combine with Redding during the song. Redding’s voice is much stronger, he whoops and hollers his way through the song. He’s rejoicing, enjoying himself, as the song swings along. The band too, are enjoying themselves, and really let loose, producing a joyful melange of brass and drums. For just over two minutes, you’re treated to some seminal soul music, from one of soul music’s best singers, and backing bands.
Everybody Makes A Mistake begins with the brass section playing, the sound they produce sounds sad, heart achingly sad. Drums play slowly, adding to the already downbeat sound. When Redding sings, this sadness is complete. His voice is sad, yet soulful, his delivery slow, yet strong. The song meanders along, Redding and the brass section playing. Redding sounds heartbroken, his partner has left him, and he sounds in pain, tormented almost. You can almost feel his hurt. Songs like this bring out the best in Redding. He has the ability to deliver these songs brilliantly. It’s as if he’s experienced the hurt and pain he’s singing about, and can empathize with this hurt and betrayal.
Any Ole Way is the second song Redding cowrote on the album. This time, he cowrote the song with Steve Cropper. It starts brightly with a trumpet solo, and is a much happier upbeat song. There’s even a jazz influence present in the introduction. Thereafter, it’s soul all the way. After the hurt and betrayal of the previous song, Redding in happier, singing about being in love, and awaiting his love’s arrival. The only sour note is when he wonders how long this love will last. During the song, it’s just Redding accompanied by trumpet, guitar and drums. This produces a lovely uptempo arrangement which swings along, with Redding joyously singing about being in love. It’s a complete contrast in style and subject matter to Everybody Makes A Mistake, the previous song.
The Soul Album ends with 634-5789. From when the band are counted in at the start of the song, the song swings along beautifully. It’s got a feelgood factor, and has the sound of another era. There’s almost got a quaintness about it. Redding has reserved a powerful, almost rasping delivery for the album’s closing track. Similarly, the band have reserved a standout performance for the track. A piano plays, the brass section play and the drums play steadily. Each musician raises his game for this track. Listen carefully to 634-5789, and you’ll hear a similarity with Sam Cooke. Redding’s voice and delivery is similar to Redding’s idol. That is the ultimate compliment you can pay Otis Redding. 634-5789 is a great track to end the album, and shows Otis Redding at his very best.
The Soul Album is my favorite Otis Redding album. It features Otis Redding at his best. His voice is brilliant, and he’s backed by some wonderful musicians. On the album, he sings songs written be some great songwriters. Songs written, or cowritten, by people like Jerry Butler, Eddie Floyd, Sam Cooke Smokey Robinson and Steve Cropper. Redding also cowrote two of the songs, Good To Me and Any Ole Way. This album was the second of three great albums Redding released between 1965 and 1966, on Stax Records. During that period, it was as if he could do no wrong. Two of those albums, Otis Blue: Otis Redding Sings Soul and Complete and Unbelievable: The Otis Redding Dictionary of Soul, are among the best albums ever released. Sadly, Redding’s career was tragically cut short. We’ll never know just how his career would’ve turned out, and what brilliant music he may have produced. That he only released six solo albums in his lifetime, is tragic. He was never allowed to fulfill his potential. However, he leaves behind some wonderful and magical music, music that still sounds as good today, as it did over forty years ago.
If you’ve neither heard any of Otis Redding’s music, nor own any of his albums, I would recommend The Soul Album, which this article is about, or either Otis Blue: Otis Redding Sings Soul and Complete and Unbelievable: The Otis Redding Dictionary of Soul. These three albums feature some of the best soul music ever recorded, music that deserves to be part of any self respecting record collection. Standout Tracks: Just One More Day, Cigarettes and Coffee, Everybody Makes A Mistake and 634-5789.
OTIS REDDING-THE SOUL ALBUM.
NIGHTMARES ON WAX-CAR BOOT SOUL.
NIGHTMARES ON WAX-CAR BOOT SOUL.
Have you ever thought after buying an album you know absolutely nothing about, just why you bought it? I have, many times. One of the explanations I’ve come up with, is the album cover. Imagine the scene, your in your local record store, you need your weekly fix of music, but there seems to be nothing new that you really want. However, you need something new to listen to. You feel that you must buy something. By now, desperation is taking over. The weekend won’t be complete without buying at least one new album. Do you head for the back catalogue, buy something buy some overblown, bloated and pompous 1970’s rock band? No. Here’s what many people, myself included do. We look for an interesting album cover. Now sometimes, this works. Other times, the results can be disastrous. Imagine the scene, you’ve found an album the cover has a psychedelic design, looks interesting you think, so you part with your money, and head home. On arriving home, you put the album on, and it’s the most unlistenable cross between rock and free jazz. Ouch. Often though, the results can be the opposite, and you’re attracted to an album cover, pay your money, and you’ve discovered the most brilliant album. This happened to me back in April 1999, when I discovered the Nightmares On Wax album, Car Boot Soul. I’d been drawn to the album cover, knew very little about Nightmares On Wax, but took a chance. Thank goodness I did, because that day, I discovered a downtempo classic.
In a previous article on great album covers, I wrote about this album. I didn’t go into much depth about the album, as the article was purely focusing on some of the best album covers I’d come across. This article is to the album justice, to tell you more about this great album, and tell you just what makes the album one of the best downtempo albums.
Car Boot Soul was the fourth album George Evelyn had recorded as Nightmares On Wax. So what were his secrets for recording such a great album, and how did he go about it? The way George Evelyn made the album is very different to other similar artists. Unlike similar artists, he always records guitar, bass, keyboards and vocals live. Two other ingredients were required when he made the album. One was his trusty drum machine, the other was vinyl, lovely vinyl, and loads of it. George Evelyn is one of the hungriest of crate diggers, and it’s the vinyl that he discovers whilst crate digging in dark and dusty second hand shops. Flea markets are fare game, as well as back street record shops and record fairs. These places are is natural habitat and the gems found there, provide many of the samples on the album. These three things were key to the success of Car Boot Soul.
Having told you how George went about making Car Boot Soul, I’ll now tell you just how good the album sounds. Car Boot Soul opens with Les Nuits. Immediately, the sound you hear is symphonic, as it sweeps almost grandiosely towards you. On its arrival, you’re smitten, enthralled by its subtle beauty. Slowly, the track opens out, drums are heard, sounding crisp, synths enter. A keyboard meanders, the tempo is slow, the sound spacious. It’s the keyboard and drums that become the focus of your attention. Then suddenly, out of nowhere, smooth, sweet, vocals interject, making the briefest of appearance. Layer upon layer of sounds emerge over nearly six and a half minutes. During that time, you’ve been fortunate to have heard one of the most beautiful downtempo tracks ever recorded. It’s no wonder that Les Nuits has featured on so many downtempo and chill out compilations over the years.
As Morse begins, bass and keyboard combine, an effect slightly muffles the sound, a sound that, once you’ve heard it you’re hooked. Then it fades away, the music pauses. You must hear it again. Thankfully, you do. It reappears, during a track that takes its influences from jazz and funk. As the track restarts, a bass plays, keyboards and drums combine. Snatches of vocal samples can be heard. A female vocal sings, her voice sweet, yet subtle. Repetition reinforces this understated and welcome addition. A guitar plays, its laid back jazzy influence joining joyously, adding another dimension. The guitar sounds not unlike George Benson, circa Breezin.’ Then, the most angelic vocal appears. Its appearance is sudden and unexpected, yet very welcome. For the remainder of the track, it soars above the rest of the arrangement. Drum, keyboards and synths bow to its superior sound. It proves to be the icing on the cake, combining with the vocal sample to complete what is a mini masterpiece from George Evelyn.
Ethnic Majority begins with what sounds like a James Last sample. This brings to mind memories of Abigail’s Party and fondue sets. Add in a drum machine, some crisp beats, and you get the picture. Honestly, the sound is pretty pleasing. It’s catchy, infectious, and hook laden. What you’re experiencing is a trip in George Evelyn’s time machine to the seventies. Unlike much of what the seventies had to offer, this is a welcome return to a desolate decade. Its more lounge-esque than downtempo. Like the previous two tracks, Ethnic Majority has worked his magic to produce in interesting, catchy song, that reminds those of us who are old enough to remember, a distant decade, and memories of our parent’s musical tastes.
When Jorge begins, it brings to mind another childhood memory, crackly vinyl. Jorge begins with spacious drums, a sample of a female vocalist plays, repeating the same phrase. Both the sample, and her voice are highly effective. Her voice is high, the sample short. Listen carefully, and you can hear what sounds like crackly vinyl. That reminds me of buying vinyl, taking it home and hearing it crackle, its surface never quite perfect. A warmth can be heard in this track. Whether that’s because when we think of vinyl, we think of a warm sound emerging from our speakers. For nearly two and half minutes, this glorious sound repeats constantly. The effect is amazing, highly effective and sounds lovely. Thinking back to when vinyl was king, it reminds me of the needle sticking, the same sound emerging from the speaker, constantly. Unlike here, that used to be highly annoying, and often, necessitated a trip back to a record shop to return a defective record.
Finer begins with bass playing hesitantly, then you hear a scratch, drums crisp and loud join in. Then a female vocalist joins, her vocal sounds as if it’s hidden, just peaking out from the mix. It sounds nicely understated, and quite a contrast to the drums which, crisply and spaciously pound. The arrangement is quite sparse, just bass, drums, vocal and the occasional scratch. This arrangement suits the vocal, it allows your attention to focus on it, there’s little to distract you. Even the drums, don’t distract your attention, they proudly provide the track’s heartbeat. Overall, it’s a melodic melange of sounds, one which has it roots in US hip hop, and one that demonstrates George Evelyn’s talents as artist and producer.
At the start of Easejimi, all you hear are drums pounding. Sometimes, a cymbal crashes. Apart from that not much happens, until after twenty-seconds, when suddenly, a rhythm emerges, repeating, then the track bursts into life. Trumpets unite, sounding fabulously funky, behind them, this rhythm plays. By now, a funk drenched, hook laden track has appeared. Rhythms appear, and disappear. Samples enter, only to disappear. Vocals can be heard, brass plays, a hip hop influence shows itself, scratches and vocal stabs, entering the equation. The sound is big, full and you find yourself struggling to take everything in. So much is happening, so many instruments, samples and even styles of music are present. For five and a half minutes, your senses are assailed. They’re a victim of a potpourri of glorious hooks, melodies and rhythms, that leave you marveling at the imagination and talent required to create such a masterful track.
Argha Noah begins with a dull distant sound reverberating, it’s atmospheric and mysterious. A spoken word sample appears, adding to the already dark mood. After this, a bass rumbles, the sound grows. Darkness is still present, as drums hesitantly join what is now, a space age sound. Although still dark, the addition of drums, crashing cymbals and synths slightly lighten the dark and mysterious mood. The track slowly meanders along, space present in the arrangement. Drums and bass play slowly, space between the notes vital, vital to add to the mood. It’s almost like the soundtrack to a science fiction film. A keyboard plays, providing light to the overwhelming darkness. This keyboard fills out the arrangement, filling spaces, but sometimes leaving space, this has the effect of adding to the sense of mystery. At the end of the track, you feel you’ve been on a magical musical journey, a journey through space, to another place, where Argha Noah is their national anthem.
Fire In the Middle when it begins, reminds me of Jose Padilla. It’s the guitar playing on the track, which has a lovely understated quality. Accompanying the guitars, are George Evelyn’s trademark crisp and loud drums, which almost crack, such is the clarity. A bass rumbles, sounding way back in the mix, synths sweep in. Suddenly, this combination has added almost a sweetness to the sound. Like many of the tracks on Car Boot Soul, it’s catchy, so infectious, it’s nearly contagious. Evelyn has ensured the track has hooks a plenty, which draw you in, and enthrall you. It seems one of his secrets is find a catchy sample or synth line, and repeat it many times. Then it almost worms its way into your subconscious, where it lurks, reappearing when you least expect it. Like many tracks on Car Boot Soul, there is a warmth to this track. It’s the musical equivalent of a log fire. Both have the same effect, they make you feel so good.
Survival begins brightly, melodically, with a mixture of drums, bass and keyboards playing. They’re joined by another sweet sounding female vocalist. Here, like on Finer, the vocal sits far back in the mix, sounding slightly hidden. This almost adds a touch of mystery to her. You wonder who is she, who is the owner of this beautiful voice. Similarly to Fire In the Middle, Survival is immediately catchy, hooks are everywhere. Evelyn is a master of this type of track. Although not immediately noticeable, Survival has quite a full sound. It’s a mixture of a throbbing bass, buried deep in the mix, pounding drums, keyboards, synths and vocals. Overall, this combines beautifully, producing a summery sounding song, that your ears will never tire of hearing.
Car Boot Soul ends with Capuncap, a track that, from the start, is loud and full. Drums pound, the bass pulsates, synths sweep in, announcing their arrival, and strings emerge. It’s an impressive, almost grandiose start to the final track on the album. This sound continues majestically, then just as you’re enjoying letting the many layers of music wash over you, it pauses briefly. It’s as if it’s just allowing you to absorb the music’s power and quality. Thankfully, apart from the occasional brief pause, it’s a continuous flow of music, and Capuncap is a graceful and subtle way to end Car Boot Soul.
Every time I listen to Car Boot Soul, it’s like meeting an old friend. This is an album I’ve listened to more times than I care to remember. It’s an album that is one I constantly return to, and one I never tire of hearing. Each time I listen to the album, I hear new things. Sounds that I’ve never heard before emerge. Subtleties and nuances reveal themselves. It’s a much more complex album than you first think. Especially considering that technology was much less evolved then, than now. Samplers and synths weren’t as good as they are now. Back then, even the computer’s role in making music was in its infancy. Discs full of samples are used now to make music, back then, all George Evelyn had was his trusted vinyl. So when you consider who difficult, and time consuming, it must have been to make this album, he should be commended. What he has produced is one of the finest downtempo albums ever made. That may sound like a big statement. It is, and not one I make lightly. Many other artists made similar albums, but Car Boot Soul stands head and shoulders above them. Car Boot Soul has stood the test of time, the music has a timeless quality, one that sounds as good in 2011, as 1999. I’m sure in another twelve years, Car Boot Soul will sound just as good. Hopefully, many more people will discover what is, one of the best downtempo or “chill out” albums money can buy. Standout Tracks: Les Nuits, Ethnic Majority, Jorge and Survival.
NIGHTMARES ON WAX-CAR BOOT SOUL.
NEW ORDER-REPUBLIC.
NEW ORDER-REPUBLIC.
Sometimes a great album can emerge out of the most difficult of circumstances. Even if the four band members aren’t getting along, and fighting like cat and dog, sometimes, the music they make can be outstanding. When New Order reconvened after a four year hiatus, to record Republic, it seemed that everything that could go wrong, was going wrong. During the recording sessions, morale among the band was at an all time low. Their record company Factory Records had collapsed, costing the band dearly, and New Order continued to pump money into their legendary nightclub The Hacienda in Manchester. The Hacienda, by then, wasn’t the same club as it had been at the height of the acid house years, and specifically, the second summer of love. Instead, it had been infiltrated by gangsters, and chaos and violence reigned. Opening Dry, a bar in the city centre had compounded the problem. Factory Records had previously bailed The Hacienda out, but after its demise, it no longer had a “benefactor” to subsidize it. After the demise of Factory Records, New Order signed a record contract with London Records, and their first album for their new label was Republic. Having survived such turbulent times, Republic was released on 3rd May 1993.
Republic had been recorded at Peter Gabriel’s Real World Studios near bath. It was the first New Order since 1989’s Technique, which had been released on Factory Records. Four singles were released from the album. This included Regret, Ruined In A Day, World and Spooky. Regret gave New Order their highest chart position in the US charts, reaching number twenty-eight in the Billboard Hot 100. On Republic’s release, it reached number one in the UK album charts and number eleven in the US Billboard 200. After an appearance at the 1993 Reading Festival, the four band members went their separate ways, working on various side projects. Bernard Sumner and Johnny Marr worked together again as Electronic, Stephen Morris and Gillian Gilbert recorded as The Other Two, and Peter Hook formed Monaco with David Potts, formerly of Revenge. However, much of Hooky’s time over the next few years was spent trying to solve the Hacienda problem. It would be a further eight years before another New Order album would be released, and five years before they played together as a group.
That was what was going on at the time Republic was recorded and released, and having survived such tumultuous times, it’s incredible that Republic is such a good album. Republic opens with Regret, one of the four singles taken from the album. Regret begins with guitars playing, they announce their arrival chiming hesitantly, yet brightly, reverberating, pausing briefly. Twice this happens before the songs begins properly, the sound gloriously full, drums pounding, guitars playing and Hooky’s bass ever-present. When Sumner sings, he sounds happy, his vocal sits just in front of the rest of the band. This song lacks the darkness of many previous New Order songs. It’s lighter and brighter, the tempo is quick and the song sets off at a rollicking pace. The lyrics speak of regrets, losing touch with people, knowing people, even loving them, yet being unable to trust them. Maybe this is a comment on life as a member of one of the biggest, most successful bands in the past thirty years. Listen to Regret, and what you hear are four minutes of New Order at their very best. Four great musicians, suddenly at peace with each other, playing and singing a brilliant song with some insightful lyrics.
Hooky’s bass plays at the start of World and is joined by sweeping synths and a keyboard plays. The sound is very different from Regret. When Bernard sings, Gillian Gilbert sings backing vocals. Her softer, gentler voice is a perfect foil for Bernard’s stronger, louder vocal. As they sing, the sound builds, a bank of synths seem to provide the backdrop, and become the mainstay of the track. Eventually, a keyboard interjects, and Bernard and Gilbert rejoin. Unlike the sound on Regret, which had a much more traditional, early New Order sound and feel, World is much more moderne, more influenced by the dancefloor than rock music. World is an infectious track, one that has a feelgood sound, and some thoughtful, questioning lyrics. Only two songs into Republic, the two sides to the band have emerged already.
Ruined In A Day is the third song on Republic, and the third single taken from the album. As the song begins, the tempo is much slower, and has a much more subdued sound. From the opening bars, the drama is set, an intensity is present. Drums play in the distance, the sound veers from a darkness, to a brighter sound. Still, there is a sense of theatre and drama. This continues when Bernard Sumer sings. He sings the song slowly, his voice lacking the brightness of previous tracks. Behind him the sound has a grandiose, dramatic feel, layers of synths play, with keyboards and drums combining. The track has a contemporary sound, drawing its influence from both rock and dance music. Although, very different to the two preceding tracks, Ruined In A Day is still a good track, one that has an intensity and drama present that grips you.
Spooky like the previous three tracks, was another single released from Republic. As the track begins, there is a real acid house influence. Synths and sequencers combine, a vocal emerges via a vocoder. The tempo is really dancefloor friendly. After thirty-five seconds, Bernard sings the vocal. That’s when things really start to change. Gone is the acid house influence for a while, the arrangement becomes more traditional, drums, guitar, bass and keyboards. However, things change again. Acid house influenced synths reemerge, rumbling darkly, almost thunderously. Overall, Spooky is a mixture of rock and dance, and sound’s great whether you’re at home or in a huge, cavernous, nightclub with a massive sound system.
When Everyone Everywhere begins, the difference between it and the other songs is apparent. Everyone Everywhere starts hesitantly. Drums play, Bernard’s vocal is slow, he leaves space as he sings. Behind him, the rest of the band drop the tempo. Guitars and Hooky’s brilliant bass playing can be heard, and sometimes, the guitar’s let of the leash. For a moment, it soars and screams. Most of the time, the arrangement is understated, which suits the song. It sits behind the vocal, never once overpowering it. If Bernard stops singing, the band fill the spaces. After, such different songs, Everyone Everywhere is a very different song, one that after a few plays, you’ll warm to and grow to like.
There’s an atmospheric start to Young Offender. The sound is moody and foreboding. It’s similar to Ruined In A Day. This lasts until Bernard sings, and after this the sound is much lighter, brighter and uplifting. Synths sequencers and drum machines are used to create this sound. As he sings, this sound sits behind him. These synths, sequencers and drum machines bring to mind a Balearic influence, sometimes tinges of Italian piano house emerge. Listen carefully, and even a funk influence can be heard. New Order add their own twist to these influences, using more traditional instruments to augment the sound. Young Offender is melodic, modern dance music for post acid house generation who, by now, were either growing old, or gravitating towards more mainstream house music.
Liar begins with a drums playing. There is a house influence. The house influence doesn’t end there. Keyboards play, and they too, sound not dissimilar to certain house records. Add to this sweeping synths, and you get the picture. When Bernard sings, Gillian sings backing vocals. This is similar to World. Her vocals are soft and have a sweetness. What is emerging, would’ve been unthinkable in either the days of Joy Division or early New Order. What’s that I hear you ask? Well, what you have is a really danceable track, one that’s perfect for the dancefloor. It’s catchy, infectious and hook laden, even taking into account the rather dark lyrics. They speak of betrayal, mistrust, lies and greed, maybe not the perfect subject for a dance record. However, listen to this track and you too, will want to dance, the tempo and beat are perfect for getting you on your feet.
Techno, that’s what I think at the start of Chemical. Beats are dark, synths are squelchy, a throwback to years gone back, and Chicago, home of techno. The tempo is quick, and from the start your hooked, smitten by the dark retro sound. Bernard sings in front of the beats. Behind him the sound fills out. Keyboards play, joining the fray. Sounds with an otherworldly sound emerge. They tantalize your ears, their infectiousness contagious. By now the sound is big, dark, moody, and before I forget, glorious. It’s new New Order’s take on techno, and my only regret, is Chemical didn’t last longer, because for four frantic minutes, I was transported back twenty years, to the birth of techno, and the Windy City of Chicago.
Times Change sweeps into being, it’s birth being dramatic. It’s dark moody, yet melodic. Bernard almost raps the lyrics, as behind him the rest of New Order concentrate on creating a grandiose, moody, almost cinematic soundscape. The track is laden in drama. Keyboards play dark Gothic sounding music, sometimes the sound verges upon ecclesiastical. At other times the sweeping synths produce melodies that have an understated beauty, a contrast to the overwhelming darkness that dominates the track. Drumbeats are constant, a reassuring backdrop that hardly varies. Towards the end of the track, an ethereal voice emerges from the darkness, but quickly, it’s enveloped and disappears instantly into the darkness, whence it came. Simply, Times Change’s grandiosity, intensity and darkness, is a gloriously overblown masterpiece by New Order.
A keyboard tinkles quietly, distantly at the start of Special. This opening fools you, because quickly things change. Drums, guitar and bass play, to be joined by synths. Bernard’s vocal is subtle, he sings well within himself. He sings almost quietly, with a softness. Behind his vocal, the rest of the band combine well. They too, play with a subtly. The sound grows, but never gets too loud, doesn’t ever threaten to overpower the vocal. Drums sit towards the front of the mix. Hooky’s bass playing is prominent, completing the rhythm section. The synths too, play their part, filling out the sound, contrasting well with the rhythm section. Throughout the track, it’s as if New Order are ensuring they don’t despoil what’s a bricolage of electronica and rock music.
Avalanche is another track with a dramatic opening. What sounds like vocals emerge from the distance, drums dramatically play. Keyboards lighten and brighten the mood, taking over as the prime mover in the track. Again drums appear, accompanying the keyboards. The tracks brightly sweeps along. Distant voices make a reappearance, a sound that soothes, as it sweeps along. By now a lovely glacial downtempo track has emerged, quite a contrast from other tracks. As the track ends, what sounds like a choir of ethereal voices unites, bringing a beautiful understated track to a close.
Republic may have emerged out of a chaotic time in New Order’s career, however, that hasn’t stopped the group from producing an outstanding album. Again, two major influences run through Republic. Dance and rock music have influenced the group, and those influences are apparent throughout the album. It’s always been one of my favorite New Order albums, as each track is of the highest quality. Of the eleven tracks, New Order cowrote each track. Each track features four great musicians using a mixture of technology and traditional instruments to produce some wonderful music. It’s music that thirteen years later, still sounds as fresh as the day it was released. Listening to Republic, brings to mind various genres of music. During Republic you’ll hear rock, house, techno, Balearic beats and even funk. It’s as if New Order have soaked up their favorite music, and allowed this to influence this album. For that, we must be thankful, as the album is one of New Order’s finest albums. For anyone who hasn’t heard Republic, it’s an album worth buying. To me, it’s the best of the three albums they recorded for London Records. In previous articles on New Order, I recommended Power, Corruption and Lies, Technique and their compilation album Substance. Add to those three albums, Republic, and you’ll own some of New Order’s finest music. Standout Tracks: Regret, Spooky, Liar and Times Change.
NEW ORDER-REPUBLIC.
SADE-DIAMOND LIFE.
SADE-DIAMOND LIFE.
Back in the summer 1984, it seemed that everywhere you went, this album was being played. From the release of Your Love Is King as a single in February 1984, and then the album Damond Life, in late July this was the soundtrack to 1984. It seemed that wherever you went, Sade was playing. Her voice streamed out of the radio, it was played in shops and every passing car seemed to be playing Diamond Life. Seemingly out of nowhere, Sade was not just flavor of the month, but flavor of the year. Her smooth and soulful voice, was everywhere. This was a much more sophisticated sound than much of the music that was around back then, and quickly, her star was very much in the ascendency. In the following few months, Diamond Life sold over six million copies, making Sade one of the most successful singers of the decade. Since then, she has released five further albums over a twenty-six year period. In this article, I’l tell you about Sade’s career, and then just why Diamond Life was such a hugely successful album.
Before forming Sade, Sade Adu, Staurt Matthewman and Paul Spencer Denham, had been members of Latin soul band Pride. In 1982, those three members of Pride decided to form their own band. They were joined by Paul Anthony Cook. The group was named Sade, after lead singer Sade Adu. Together, they started writing their own material. In 1983, Andrew Hale joined the band, but Cook left in 1984.
Their first live show was at Ronnie Scott’s Club in London, in December 1982, supporting former band Pride. May 1983, saw Sade play their debut American show, at the legendary Danceteria, in New York. By now, Sade were attracting interest from both the media and record companies. Eventually, in October 1983, Sade signed a record contract with Portrait Records, a subsidiary of Epic Records.
Having headed to the recording studio, Sade released their debut single Your Love Is King in February 1984. Your Love Is King was a huge hit, reaching number six in the UK singles chart. It’s still Sade’s highest UK single chart position. All was looking well for the release of debut album, Diamond Life in July 1984. Like their debut single, Diamond Life was a huge hit. It reached number two in the UK album charts, and eventually, sold over six million copies. Suddenly, Sade were huge stars. Three further singles, When Am I Going To Make A Living, Smooth Operator and Hang On To Your Love were released. The following year, 1985, Sade won a Brit Awards for best album.
November 1985, saw Sade release the follow-up to Diamond Life. Although not as huge a seller as Diamond Life, Promise was well received by critics, and became their first album to be number one in both the UK and US. Three singles, The Sweetest Taboo, Never As Good As the First Time and Is It A Crime were released. Sade had hits in the US with Sweetest Taboo and Never As Good As the First Time.
Nearly three years would pass, before Sade released another album. May 1988 saw the release of Stronger Than Pride. Again, Sade had another successful album on their hands, and Stronger Than Pride reached number three in the UK album charts. This lead to the album being certified platinum status. Four singles were released from Stronger Than Pride, with the first single, Paradise reaching the top twenty in the US and top thirty in the UK.
A further three years would pass before their next album Love Deluxe was released in November 1992. It too, was a huge success, reaching number three in the US and number six in the UK. It was eventually certified gold in the UK, and four times platinum in the US. Like Stronger Than Pride, four singles were released from Love Deluxe.
The following year, Sade recorded a cover of Please Send me Someone To Love, the old Percy Mayfield classic, for the film Philadelphia. 1994 saw Sade awarded a Grammy for No Ordinary Love, which had featured in the film Indecent Proposal. Sade received a Grammy for Best R&B Performance by a Group or Duo. Later that year, In November, Sade released a compilation album The Best of Sade. It reached number six in the UK and nine in the US and was a huge seller. In the UK it went platinum, selling over 300,000 copies and in the US went platinum four times over, selling over four million copies.
After an absence of eight years, a new album was released by Sade. Lovers Rock was released in November 2000. Unlike their previous album, Lovers Rock failed to break into the top ten. It stalled at number eighteen. However, it still sold over 500,000 copies and was certified gold by the BPI. In the US, the album fared much better, reaching number three and winning Sade a Grammy Award for Best Pop Album in 2002.
Having thought that eight years between albums was a long time, fans of Sade had to wait ten years until the release of Soldier of Love, in February 2010. The album’s release was welcomed by critics, who thought the album was a welcome return to form from Sade. On its release, the album was huge commercial success, entering the UK album charts at number four, giving Sade their highest chart position since Promise in 1986. In the US, the album sold 502,000 copies in its first week of release, and debuted at number one, selling over 1.1 million copies. Even though Sade had been away for ten years, they hadn’t lost their magic touch. Let’s hope it isn’t another ten years until their next album.
Having told you about Sade’s career, I’ll now tell you just what made their debut album Diamond Life, such a special album. Diamond Life opens with Smooth Operator. Percussion plays gently, a saxophone blows, the tempo is low, the atmosphere laid back, as Sade Adu’s smooth and dulcet tones emerge for the first time. Straight away, you’re enthralled, transfixed by the sheer beauty of her voice. Her phrasing is perfection, she leaves space in her delivery and a jazz influence can be heard in her voice. As she sings, the rest of the band play subtly behind her vocal. Occasionally, Stuart Mathhewman’s saxophone rasps, but he too, ensures he doesn’t do anything to overpower Sade’s vocal. Already, it’s hard to believe that you’re listening to a debut album, such is the maturity of the performance on the opening track. You’re left marveling at such a brilliant opening track, wondering whether the rest of the album will be just as good.
As Your Love Is King opens, a saxophone plays, setting the scene. The scene is sultry and seductive, as Sade sings. Her voice has a maturity, she never once loses control, always sings within herself. As she takes a break, Mathhewman’s saxophone takes over. His solo is stunning, it soars towards the heavens, and is a fitting substitute for Sade’s soulful voice. It’s one of the highlights of the song. Then, as Sade returns, the saxophone reappears, playing much quieter, gently interjecting, sometimes just filling spaces left by Sade. Overall, the arrangement is perfect, it’s understated. Nothing is added by producer Robin Millar, he just allows the band to play naturally, lets them shine. What he ends up with, is a stunning track, one that has a timeless quality that many great songs possess.
After two slower tracks, the tempo increases with Hang On To Your Love. Drums, keyboards and percussion play at the start. Andrew Hale leaves plenty space between the notes on keyboards, this is highly effective adding almost a sense of drama. Around him, the drums and percussion are quicker. Hale’s playing is a nice contrast. When Sade sings, her vocal is quicker, but still, that soulful voice delivers the song clearly. Here her voice is slightly higher. Behind her, the rest of the band, have their opportunity to shine, as they almost jam. A piano plays a great solo, while the drums provide a steady backdrop. Everyone gets in on the act, and when Sade rejoins, she too, joins in, into what is a much looser arrangement. Her vocal becomes much more free, almost improvising. Not everyone can carry this of, but Sade does, and demonstrates how versatile and talented a singer she is. Although quite different from the previous two songs, in that there is much more of a jazz influence present, Hang On To Your Love maintains the high standard already set by Sade. To me, the variation in style is welcome, and with a much longer song, Sade and the rest of the band can experiment more, showing just how talented a band they are.
Frankie’s First Affair starts with one of the sultriest saxophone solos that will ever caress your ears. Straight away, this sets the mood, even before Sade sings. When the does sing, her voice starts quietly and then gradually, veers higher. She’s accompanied by the saxophone which softly plays, interjecting subtly. As the track progresses, and Sade’s voice soars, the saxophone starts to soar. They accompany each other during the track, one the perfect foil for the other. Having said all that, it took more than two people to make this track. However, it’s Sade and Mathhewman on saxophone that are the main players in what is a tale of love gone wrong. As the track ends, you’ve been drawn into the drama described by Sade, you wonder who was Frankie and exactly what went wrong. The preceding four and half minutes of dramatic and heartfelt music, have allowed you to
When Am I Going To Make A Living begins with keyboards, drums and percussion uniting, until Sade makes an appearance. As she joins, her voice is quieter, slightly more subdued. Here, the rest of the band seem louder, they’re much more prominent in this arrangement. They seem further forward in the mix. Sade still sings in front of them. Thankfully, they don’t overpower Sade, but later in the track, as she sings, they’re almost competing to be heard. It becomes an impressive competition, a great voice versus a great band. In the end, it’s honors even, no winner, no loser. The arrangement has been quite different. Previously, the band took care never to overpower Sade. This seemed to change here. However the arrangement worked, the drums were louder, the saxophone blew harder, reaching previously unattained heights. Overall, the sound was louder and fuller, and this impressive sound resulted in another triumph for Sade.
A bass plays, plodding sedentary, subtly, notes seemingly picked out carefully. Drums played equally subtly join in, at the start of Cherry Pie. The tempo is much slower here, the arrangement is much more understated. Sade’s vocal sits unchallenged at the front on the mix. Behind her the band play a slight funky sound sometimes emerging. Mostly they play it straight, allowing Sade’s vocal to shine. She refuses to play it straight, and sometimes her vocal soars, she scats, then leaves space in her vocal. Straight away, the band fill the spaces, and more and more, we get a glimpse of some funky licks from the band. Cherry Pie sees the return of a looser vocal from Sade, and she veers into a much more jazzy influenced vocal. This she does well, and Cherry Pie ends granting us a preview of another side of Sade Adu, one I’d like to see much more of.
Sally sees Sade sing in a much jazzier style. When you hear the song, it brings to mind dimly lit, smokey jazz clubs. A saxophone blows, rasping as the song opens, firmly establishing the dramatic atmosphere. When Sade joins in, this dramatic atmosphere continues. Quite simply, you’re transfixed. You almost hold your breath as Sade Adu sings the lyrics, which are bathed in pathos, and have the effect of tugging at your heartstrings. The arrangement is perfect for the song, saxophone, piano and drums combining masterfully to further increase an already dramatic atmosphere. Here, Sade surpasses herself, it’s as if she’s reserved such a stunning performance for such a tragically sad song, one that’s among the album’s highlights.
When I Will Be Your Friend begins, Sade’s voice is lighter, she sounds much happier. Gone is the intensity present on Sally. Here she sings the song quicker, her vocal still as good, veering between soft and low to much higher. She manages to hit the higher notes with ease. During the track drums and percussion play, a saxophone blows as the song moves smoothly along. The same soulfulness is present in Sade’s voice as usual, and here, her voice suits the arrangement, which ambles brightly and happily along. This song might lack the emotional intensity of the previous track, but it’s still a good song, albeit a much more lightweight song than Sally.
Diamond Life ends with Why Can’t We Live Together. It begins with percussion playing, accompanied by a bass, then keyboards play, the solo beautiful, familiar like an old friend. Gradually, out of the percussion, emerges one of the most beautiful tracks on Diamond Life. The introduction is long, dramatic, building up the tension. You find yourself anticipating Sade’s vocal, hoping that it’s worth the wait. When it arrives after two minutes, it’s well worth the wait. Her voice is questioning, it’s high, she pleads for an end to war. This plea is sincere, heartfelt. Then her vocal takes a break, and the band take over. As she reappears, if possible, her voice is better. Again, she decides to improvise, and as she does, guitar and keyboards join her. After improvising, her voice strengthens and soars, then just as you enjoy a vocal masterclass from Sade, the song suddenly ends. Thankfully, you memory of this masterful song is forever with you. Should that not be enough, all you need do is press play again, and luxuriate in the dulcet tones of the wonderful Sade Adu.
Earlier in this article, when reviewing this album, after the opening track Smooth Operator, I posed the question whether, the rest of the album would be as good. I knew then, what the answer would be, and now, you know as well, that the answer is yes. There may only be nine tracks on Diamond Life, it may only last forty-five minutes, but these are among some of the finest songs that you’ll ever hear on a debut album. Diamond Life was one of the most mature debut albums I’ve heard. Each of the nine songs featured some stunning vocals and really talented musicians. The lyrics were intelligent, thoughtful and sometimes, heartfelt. These songs tugged at your emotions, made you feel happy, sad and thoughtful. Various styles of music emerged on the album. There were jazz, soul and even funk influences throughout the album. Sade Adu for me, was the real star of Diamond Life. She is one of the most talented vocalists of the past thirty years. Her voice is stunning, she can captivate an audience, transform a song and sing various styles of music. Not only is she a talented singer, she is a talented songwriter who cowrote eight of the songs on Diamond Life.
Anyone reading this article who hasn’t heard Diamond Life, are missing hearing some wonderful music. It’s an album that deserves to be part of any record collection, and is a good introduction to Sade’s music. There are five further studio albums available, plus a Best of Sade compilation, each of which contains some marvelous music, music that once you’ve heard, you’ll always love, and always treasure. Standout Tracks: Smooth Operator, Your Love Is King, Sally and Why Can’t We Live Together.
SADE-DIAMOND LIFE.
AZTEC CAMERA-LOVE.
AZTEC CAMERA-LOVE.
Back in 1988, I went to a music festival, and one of the bands that I saw that day, were Aztec Camera. I’d been invited along to this festival by a good friend of mine. The idea, was that we’d make a weekend of it. So on the Friday night, we decamped to one of our favorite watering holes, and decided to celebrate the arrival of the weekend. Not a good idea. What started as just a few liveners to celebrate the passing of another boring week at work, turned into an all-nighter. So the next morning, two very fragile guys, arrived outside a crumbling football stadium good and early, awaiting our other two “friends.” Having arrived a bit too early, we were among the first to arrive, the advantage was, we heard Aztec Camera soundcheck. Quite simply, they were brilliant. A good day awaited us we thought. Yes, the music was good, Aztec Camera and Deacon Blue played brilliant sets, Aswad were average and the Bhundu Boys instantly forgettable. Overall we enjoyed the music, the company was, well, that’s another story, and to round of the day, we ate in one of the city’s worst restaurants. That I’m still here to tell the tale, is testament to my constitution, not to the skill of the chef. Even though I’d long been a fan of Aztec Camera, that concert was the first time I saw them live. They’re a band that produced some great music, and in this article, I’ll tell you about their career and their 1987 album Love.
Aztec Camera were formed in 1980, with Roddy Frame being the mainstay of the band. When the band were formed, Roddy Frame played guitar and was vocalist, Campbell Owens was the bassist and Dave Mulholland the drummer. During the band’s lifetime, members would come and go. Eventually, Roddy Frame was the only original member. He was the driving force of the band, and wrote most of their songs. Later, Aztec Camera consisted of just Frame and session musicians.
The first anyone heard of Aztec Camera, was when one of their songs appeared on a cassette featuring unsigned bands on the Pungent Record label, which was released by the Fumes Fanzine. This fanzine was a champion of unsigned Glasgow bands, and had helped several Glasgow bands before they were signed by labels.
March 1981, saw the band release their debut single on Postcards Records, the now legendary Glasgow based indie label. On the single were We Could Send Letters and Just Like Gold. Just Like Gold also featured on the C81 compilation cassette which was given away with music weekly NME. On C81, the version of Just Like Gold was an acoustic version. Aztec Camera released their second, and final single on Postcard Records Mattress of Wire. After this, they signed to Rough Trade, then an aspiring indie label.
High Land, Hard Rain was the group’s debut album, released in April 1983. On its release, it was well received by music critics, who welcomed what was a highly mature debut album. The album reached number twenty-two in the UK album charts. Three singles were released from the album, and Oblivious was the most successful, reaching number eighteen in the UK singles charts. However, this was after the single had been rereleased. Originally, it failed to even trouble the top forty.
The following year, 1984, saw Aztec Camera release their second album Knife. It was recorded at Air Studios and produced by Mark Knopler, of Dire Straits. Knopfler’s addition resulted in a much more sophisticated sounding album of songs written by Roddy Frame. When it was released, it reached number fourteen in the UK album charts. By now, Frame had established his reputation of one the UK’s best young songwriters. His music was a must for impoverished students living in bedsits, who grew to view Frame one of the spokesman for their generation.
Three years passed before Aztec Camera released another album. This album was Love, which this article is about. Love was released in 1987, and my opinion, was the group’s finest album. Much had changed with Love, the style was slightly different, and many of the songs were hook laden and radio friendly. The production was slicker, and all of this, led to some fans saying the group had sold out, and forgotten their roots. One of the reason for the change in style was that both the band and their record company wanted to break into the lucrative American market. Sadly, Love failed to make any impact on America, but reached number ten in the UK album charts. Somewhere In My Heart, a single from the album, gave the band their biggest single, reaching number three in the UK singles chart. Overall, the album had proved a success, it had brought the group new fans, given them a top ten album and single. However, what many people forget, is that including Frame, six producers were used to complete Love. Shortly, I’ll tell you just why, Love is such a good album.
After the release of Love, Aztec Camera never really achieved the same success. In many ways, that was their most successful period. Their next album Stray, was released in June 1990. It featured a wide range of songs and types of music. The production on the album was much more subtle than on Love. However, the album only reached number twenty-two in the UK album charts. Good Morning Britain, a single taken from the album, gave the band their final top twenty single, reaching number nineteen in the singles chart.
A further three years passed before Aztec Camera released another album. Dreamland was released in May 1993. It reached number twenty-one in the UK album charts, but none of the three singles entered the top forty. One of them, Birds, failed to chart.
Aztec Camera released their final album Frestonia, in November 1995. Its release was a low-key affair, and the album failed to chart. Neither did Sun, the only single released from the album. After the failure of both the album and single, Frame left WEA ,his record label, and decided to record under his own name. After six albums in fifteen years, Aztec Camera were no more. Roddy Frame continues to record and tour, and since the demise of Aztec Camera, has released several studio and live albums.
Having told you about Aztec Camera’s career, I will now tell you about their third album Love. Love opens with Deep and Wide and Tall, a rousing start to the album. Straight away, the sound is loud and joyous, a mixture of guitars and drums, Roddy Frame sings accompanied by backing singers. It’s catchy and hook laden. From Frame’s call and response between him and the backing singers, the fuller drum sound and glorious guitar playing, this truly, is a career highpoint for Frame. Every time I hear the song, I’m transported back to that soundcheck, and can hear Frame and company belting out this song proudly. It still sounds as good today, as that day in 1988.
After such an upbeat and rousing start, Frame drops the tempo and changes the mood with How Men Are. It shows a very different side to him. The lyrics are thoughtful, and certainly make you think. They deal with love and how sometimes, certain actions can despoil such a beautiful thing. What Frame is trying to say is that maybe, what many people refer to as love, isn’t true love, which is unselfish and unconditional. With something so precious and beautiful, you’d never hurt someone you love, and maybe, the word love, is bandied about too easily. How Men Are benefits from an understated quality, that matches the melancholy mood of the song. A piano and guitar accompany Frame, whose voice is strong and clear. It’s as if he’s taking pride in such insightful lyrics. During the song, Frame’s guitar playing is subtle, and again, he’s accompanied by some brilliant backing vocalists whose voices ooze soulfulness. Their addition is a masterstroke, making a good track, even better.
Everybody Is Number One sees the joyous, upbeat nature of Deep and Wide and Tall return. It’s a track that possesses an infectiousness. This is apparent from the opening bars, when Frame is joined by backing vocalists, then the drums play, guitars join the fray. By now, it’s a musical equivalent of carnival. The band sound as if they’re enjoying singing and playing the tracks. Trumpets sound, backing vocalists, soulfully interject, the temperature by now soaring. Frame by now, is like a musical Pied Piper. You can almost imagine everyone joyously following him round the recording studio, as he gives, what is, one the best performances on Love.
Thankfully, Roddy decides to lower the tempo again at the start of More Than A Law. This is a track that showcases Frame’s talents as a songwriter. When you listen carefully to the lyrics, you can’t help but admire Frame’s ability to write lyrics which keep you enthralled, awaiting the next verse hungrily. Here, he writes about when someone falls out of love with you, and the way you feel, and how, regardless of wealth and power, we all feel the same way. His rendition of the song starts brightly, guitars jangle, drums play, and in the background, a piano plays. It’s only once he sings, that the mood changes, it’s palpable, you can almost sense the loss. As he starts to sing, he’s joined by a backing vocalist, and they enter into call and response. Thereafter, the band play really beautifully behind Frame. Unlike many people, I don’t think the sound is too polished, here, the arrangement is perfect for the song. By adding trumpets to the track, it adds something to the track, their interjection is the equivalent of musical punctuation. As always, Frame’s guitar playing is masterful, and every musicians contributes to this heartfelt and beautiful song.
Next is the song that gave Aztec Camera their biggest selling single, Somewhere In My Heart. It’s a song that for me, is one of the band’s best ever tracks. The best way to describe it, is an explosion of joyousness. From the saxophone sounding the track’s arrival, and the promise of four minutes of musical magic, the track is a rollicking example of pop perfection. A saxophone sounds, drums play and Roddy Frame sings, the tempo is fast, the sound glorious and joyous. His vocal is clear and loud, and sits at the front of the mix. He sounds proud of his song, and behind him, drums, bass, keyboards saxophone and guitars combine brilliantly. During the track Frame becomes a guitar hero, playing a sublime solo, that manages to improve this slice of pop perfection. As the track ends, I’m left wondering how could Aztec Camera produce fantastic songs like this and not end up a much more successful band?
It seems on Love we go from an uptempo track, to a much more laid back track. When you hear the introduction to Working In A Goldmine, you think that this is going to be another slower, subdued track. You end up half right. This track veers between slow and thoughtful, to much more upbeat sound. At the start, the tempo is slow, just guitars, and spacious drums play. Frame’s vocal starts slowly, he too, leaves space in his vocal, as if building up the drama. Then, as your settling in, enjoying the track, he ups the tempo, the arrangement fills out. Drums play, Frame sings faster and louder, backing singers join in, and it’s a different song completely. There’s a soulfulness to parts of the song, especially when the backing vocalist enter. What you’ve heard is song of two parts. It’s a much longer song, and one where Frame tries new things, new things that work, and prove highly effective.
One On One is another very different song on Love. From the first time I heard the album, I’ve always been in two minds about this song. Part of me likes the song, and sees some quality in it, the other part, shies away from the song, thinking it lacks the quality of the other songs on Love. It begins quickly, and when Frame sings, his vocal is quite different. It’s higher and quicker, and the track has a kind of 1980s’ electro sound, that sounds slightly dated. Frame is joined by Carol Thompson on vocals, and they sing the song like a duet. Their voices blend well, and they sing the song well. The arrangement only features drums, keyboards, percussion and guitars. However, they combine to produce quite a full sound, which is augmented by backing vocalists. Overall, One On One is a pleasant enough track, but it lacks the depth of other tracks on this album, and parts of the arrangement haven’t aged well.
When Paradise starts, it almost sweeps gracefully, with an elegance. The arrangement is understated, as the track begins. Frame, when he sings, produces an emotion laden performance. His voice is gentler than on other tracks, quieter as well. As the track progresses, I’m enthralled by the beauty and tenderness of the lyrics. Like Frame’s vocal, the arrangement has a similar subtly. Not once, do the rest of the band threaten to overpower his vocal. Drums play in the background, a guitar plays, keyboards sweep adding to the mix. The bass is plucked sparingly. Backing singers, again augment Frame’s vocal, filing out the sound. Later in the song, a wonderful guitar solo is played by Frame. Unlike other solos, this one is gentle, played subtly and with care. Towards the end of the track, backing vocalists play a bigger part, their voices uniting beautifully, as this lovely track draws to a close.
Love ends with Killermont Street, a song that namechecks a street in Glasgow. Like Paradise, we see a much different Frame. He sings the lyrics tenderly, lyrics which, if you listen carefully, have an element of humor as well. As the track begins, he sings slowly, accompanied just by acoustic guitar. This suits the songs. Then drums join in, playing slowly and steadily, providing the track’s heartbeat. Later, a piano plays, providing the finishing touches to what is tender song, telling of life within the great city of Glasgow.
It seems hard to believe that Love was released twenty-four years ago. I find it hard to believe, as it only seems like yesterday I first bought the album. During the intervening years, I’ve spent many a happy hour listening to Love, and other Aztec Camera albums. Love however, was to me, Aztec Camera’s finest album. It features nine songs, eight of which are of the highest quality. Each of these songs was written by Roddy Frame, one of the finest songwriters of his generation. For fifteen years, he produced some wonderful music, on six albums. Looking back on his career, I’m saddened that his career wasn’t more successful. With talent like Frame’s he should have been much more successful than he was. Aztec Camera was, eventually, just Roddy Frame, but during those fifteen years, he was fortunate to work with some highly talented musicians and producers, all of whom contributed something towards the group’s wonderful music. Should you never have heard Love, or any of Aztec Camera’s music, Love is a wonderful starting point, for you. If you want an overview of their career, there are several compilations available of Aztec Camera’s music, which will allow you to hear some of their best music, music I’m sure you’ll thoroughly enjoy. Standout Tracks: Everybody Is Number One, More Than A Law, Somewhere In My Heart and Working In A Goldmine.
AZTEC CAMERA-LOVE.
dereksmusicblog
dereksmusicblog 