THE LIFE AND CAREER OF LANGSTON HUGHES.
The Life and Career Of Langston Hughes.
Multitalented is the word that describes James Mercer Langston Hughes. He was a novelist, newspaper columnist, poet, playwright, social activist and songwriter. Hughes is also credited as being one of the founding fathers of jazz poetry. It’s almost an understatement to say he was a remarkable man.
Hughes was born on February 1st, 1901, in Joplin, Missouri, but grew up in various Midwestern towns. However, when Hughes moved to New York as a young man, his career flourished.
Having graduated from high school in Cleveland, Ohio, Hughes enrolled at Columbia University, in New York City. However, he dropped out. By then, publishers were taking notice of his work.
From an early age, Hughes was already a prolific writer. After dropping out of Columbia University, Hughes’ was published in The Crisis magazine. Then in 1926, his first collection of poetry, ‘The Weary Blues,’ was published. He was only twenty-five. This was a huge achievement.
However, dropping out of his course at Columbia University must have been a disappointment for Hughes. So he enrolled at Lincoln University, in Pennsylvania, and eventually graduated.
As his career progressed, Hughes wrote further collections of poetry. He published ‘The Negro Mother and Other Dramatic Recitations’ and ‘Dear Lovely Death’ in 1931; ‘The Dream Keeper and Other Poems’ in 1932; ‘A New Song’ in 1937 and ‘Madrid 1937’ in 1938. It was about black Americans volunteering in the Spanish Civil War. Much of Hughes poetry, and many of his novels were portrayals of the lives of working class black people in America.
During the early part of his career, Hughes’ debut novel ‘Not Without Laughter’ was published in 1930. He also wrote collections of short stories. This included ‘The Ways Of White Folks,’ a collection of short stories published in 1934.
Hughes wrote some of his most important plays during the thirties, including ‘Mule Bone’ in 1931 and ‘Mulatto’ in 1935. Then in 1936, ‘Troubled Island,’ the opera he cowrote with William Grant Still made its debut.
Meanwhile, Hughes had cowritten his first children’s book ‘Popo and Fifina,’ with Arna Bontemps. Just like poetry, short stories, novels, plays and later, non-fiction, he would become a prolific writer of children’s books.
By the end of the thirties, Hughes had achieved a lot in a relatively short period of time. As well as his writing, he had cofounded the New York Suitcase Theater in 1931, and the same year, he and Prentiss Taylor had setup the Golden Stair Press. The thirties were one of the most productive of Hughes’ career.
In Chicago, in 1941, Hughes founded The Skyloft Players. He wanted to encourage and promote black playwrights and put on plays “from the black perspective.” Not long after founding the Players, Hughes was commissioned to write a column for the Chicago Defender. His new column featured some of his most important, influential and pertinent work. Especially between 1942 and 1962, when the civil rights movement gained traction and became a potent force in the search for equality. Hughes wasn’t just a writer he was a social activist.
He had also been one of the founding fathers of jazz poetry in the twenties. It was perceived as an outsider art form, which existed outside of the mainstream. Thirty years after its conception, the counterculture poets of the fifties, who were part of the Beat generation, turned their attention to jazz poetry. It was back in vogue, and later, would influence hip hop, especially poetry slams. Hughes continued to influence music even after his death.
However, in 1951, Hughes published ‘Montage of a Dream Deferred,’ a book-length poem suite, in the jazz poetry style. It portrays the lives of African-Americans living in Harlem during a twenty-four hour period. Nowadays, the book is regarded as one of the most important of Hughes’ career.
Two years later, Hughes was called to appear in front of the Senate Permanent Subcommittee on Investigations, which was led by Senator Joseph McCarthy. Hughes was one of many actors, writers and poets who had to appear before the Subcommittee. He had previously been accused by many right wing politicians of being a Communist, but explained that he had never joined the Communist Party as: “It was based on strict discipline and the acceptance of directives that I, as a writer, did not wish to accept.” Following his appearance in front of the Subcommittee, Hughes decoded to distance himself from Communism and focused more on lyrical subjects.
Throughout the remainder of the fifties, Hughes continued to write collections of poetry and short stories as well as novels, non-fiction, children’s books and plays. He was a a prolific writer who was also a songwriter.
During the fifties, Hughes released five albums. They were ‘The Story Of Jazz – The First Album Of Jazz,’ The Dream Keeper and Other Poems Of Langston Hughes,’ ‘The Glory Of Negro History,’ ‘Rhythms Of The World’ and ‘The Weary Blues With Langston Hughes.’ These albums introduced Hughes, his poetry and music to a wider audience.
Hughes was also a songwriter, and with Samuel Heyward cowrote a number of songs. This included ‘Yesterday And Today,’ ‘Tired As I Can Be (So Tired Blues),’ Lament,’ ‘Mojo Blues,’ ‘Got To Live Blues’ and ‘Heartache Blues.’ It seemed that Hughes had been using his own experiences and what he had observed over the years to write these songs. He also cowrote ‘Made To Order Gal’ with Juanita R. Smith. Just like everything he did, Hughes turned out to be a talented songwriter.
Between 1950 and 1965 Hughes published his Simples’ series of books. The final book in the series turned out to be ‘Simple’s Uncle Sam,’ which was published in 1965. Sadly, two years later, Hughes passed away on May 22nd, 1967, in the Stuyvesant Polyclinic, in New York City, aged just sixty-six.
Langston Hughes was a prolific and award winning novelist, poet and playwright. He also founded a theatre company and a publishing company. Hughes was a social activist, and for twenty years, used his newspaper columns to champion and further the civil rights movement. He had a burning desire to rid America of the injustice and inequality, and played his part in bringing about change.
Throughout his life, Hughes was also an innovator. He was one of the pioneers of the jazz poetry movement. Music was part of his life, and for a one of the greatest wordsmiths of his generation, it’s no surprise that Hughes was also a songwriter. These songs, like his poetry, plays, novels and short stories are part of the legacy Langston Hughes’ left behind, and is still relevant today.
The Life and Career Of Langston Hughes.
THE LIFE AND CAREER OF ERIC GALE .
The Life and Career Of Eric Gale.
Jazz guitarist, sideman, songwriter and producer Eric Gale was born in Bedford–Stuyvesant, Brooklyn, New York, on September 20th, 1938. His grandfather was English and he also had relatives in Venezuela and Barbados. During the holidays, Gale spent time in Britain visiting family. This gave him a different worldview.
Aged twelve, Gale started playing guitar. By then, he was a pupil at various private, single-sex Catholic schools. He excelled at math and was a talented linguist who was fluent in French, German and Spanish. However, whilst at junior high school the budding guitarist spent time with a legend of jazz, saxophonist John Coltrane.
Gale used to skip school to visit Coltrane at his home, and sometimes, took part in jam sessions. These sessions inspired Gale’s inimitable style, and were part of his musical education.
After graduating high school, Gale enrolled at Niagara University, in New York. He graduated with a Masters degree in chemistry. However, much to his mother’s disappointment, he pursued a musical career than study for a PhD in chemistry.
In 1961, twenty-three year old Gale made his debut as a session musician, playing on Bobby Lewis’ ‘Tossin’ And Turnin.’ This was the first of over 600 singles and albums that Gale played on.
Over the next few year, Gale continued to work as a session musicians, working with King Curtis and Red Holloway. However, by then his career as a songwriter was also underway.
When Noble Watts released his single ‘Florida Shake’ in 1962, the B-side ‘Limbo Authentique,’ was written by Gale. This was the start of his songwriting career.
By 1965, Doris Troy was looking to replicate the success of ‘Just One Look’ and ‘What’cha Gonna Do About It.’ Troy using her pen name Doris Payne, joined forces with Gregory Carroll and Gale to write ‘One More Chance.’ The single was released in the UK and US March 1965 and features a needy, emotive and hurt-filled vocal as she vows to give her partner ‘One More Chance.’ However, the single wasn’t a commercial success in the US.
Payne and Gale wrote another song together, ’Think I’m Gonna Cry.’ Sadly, the song was never recorded by Troy.
Despite trying to forge a career as a songwriter, Gale was always in demand as a session musician. Between 1965 and 1969 he played on albums by everyone from Esther Phillips and Van Morrison to Jimmy McGriff, Nina Simone, Herbie Mann, Jimmy Smith, Pretty Purdie, George Benson, Herbie Hancock, Freddie Hubbard, Chico Hamilton and Quincy Jones. Gale was already the go-to-guitarist for many artists.
In 1970, Gale played on Roberta Flack’s classic sophomore album Chapter Two. He would play on other recordings by Flack.
Before that, Gale played on Aretha Franklin’s album Young, Gifted and Black, which was released in 1972 and certified gold. Nowadays, it’s regarded as one of her finest albums.
The same year, 1972, Gale played on Flack and Donny Hathaway’s hit single ‘Where Is the Love.’ It reached number five on the US Billboard 100, and won a Grammy Award for Best Pop Performance by a Duo or Group with Vocals. Gale was, by then, hugely in-demand as a sideman.
By then, Gale was the session guitarist for CTI Records and its Kudu imprint. During the seventies, he was sideman on albums by Grover Washington Jr, Stanley Turrentine, Phillips, Benson, Bob James, Johnny “Hammond” Smith and Hubert Laws. Still Gale found time to embark on a solo career.
Gale signed to Kudu, and released his debut album ‘Forecast,’ in 1973. It was well received by critics. He was still contracted to CTi Records by the time he released the followup.
‘Negril’ was Gale’s sophomore album, and was released in 1975. It reflects his love of the beach and Negril, a beautiful Jamaican village. Gale wrote seven of the eight tracks. They were recorded in the Harry J Studio, in Kingston, Jamaica, and featured some of the country’s best known musicians, including members of The Wailers. The result was one of Gale’s finest albums.
Whilst working on the ‘Negril’ sessions, Flack phoned Gale to ask him to return to New York to play on her 1973 album ‘Killing Me Softly.’ Gale was reluctant to leave Jamaican and return to New York, so Flack flew members of her band to him. Eventually, Gale was persuaded to return to New York and played on what’s now regarded as a classic album. It reached number two on the US Billboard 200, and the title-track topped the US Billboard 100. It also won a Grammy Award for the Best Female Pop Vocal Performance. Gale’s guitar playing played its part in the success of Flack’s fourth solo album.
Gale continued to combine his work as session guitarist at CTi with his solo career, and played on albums by some by Ashford and Simpson, Randy Crawford, Joe Cocker, Richard Holmes and on Van McCoy’s 1975 hit ‘The Hustle’. Still, Gale found time to cofound a new group, Stuff.
The newly-founded all-star jazz-fusion band released their debut album ‘Stuff’ in 1976. It was released to critical acclaim and certified gold. So was the followup ‘More Stuff,’ when it was released in 1977. The group then released ‘Live Stuff’ in 1978, and then ‘Stuff It’ in 1979 which became their third album to be certified gold. ‘Live in New York,’ which was released in 1980, was the group’s last album for fourteen years.
Meanwhile, Gale continued to combine session work with his solo career. He had signed to Columbia, and between 1977 and 1980 released four albums for the label. The first was ‘Ginseng Woman,’ an album of smooth jazz released in 1977. This was followed by ‘Multiplication’ later that year and ‘Part Of You’ in 1979. Stylistically it was similar to ‘Ginseng Woman.’ However, Gale changed direction on 1980s ‘Touch Of Silk,’ which veered between funky to dark and bluesy. Although the album was well received by critics, it wasn’t a commercial success. It marked the end of Gale’s Columbia years.
During that three year period, he had played on albums by Ashford and Simpson, Gladys Knight and the Pips, Charles Earland, Kenny Loggins, Carly Simon, Melba Moore, Teddy Pendergrass and disco diva Loleatta Holloway. Gale also played on two hugely successful albums during the late-seventies.
The first was Billy Joel’s sixth studio album ‘52nd Street,’ released in 1978. It topped the US Billboard 200, and won two Grammy Awards.
Then in 1979, Gale played on Diana Ross’ album ‘The Boss.’ It was a mixture of disco, R&B and soul. The album reached number fourteen on the Billboard 200, and was certified gold. Gale would be reunited with both Joel and Ross in the future.
Gale worked with Ross on her 1981 album ‘Why Do Fools Fall in Love.’ it marked her production debut, and became Ross’ second album to be certified platinum. The success continued with Ross’ 1982 album ‘Silk Electric,’ which was certified gold. Gale returned to play on her 1983 album ‘Ross.’ By then, Gale had played on one of the biggest albums of the early eighties.
That year, 1983, Billy Joel released ‘An Innocent Man.’ It was a captivating combination of doo wop, soul, pop and rock ’n’ roll that caught the imagination of the record buying public worldwide. It was certified gold in Australia and Hong Kong; platinum in New Zealand; triple platinum in the UK and was certified seven times platinum in the US after selling seven million copies. It was the most successful album Gale had played on.
Meanwhile, Gale had released a further three solo albums. He had signed to Elektra, and released ‘Blue Horizon’ in 1982. It found Gale exploring various genres, and was one of the most eclectic albums of his career. Despite being well received by critics it wasn’t a commercial success.
Gale then released ’In The Shade Of A Tree’ for the Japanese label JVC later in 1982. The album was released to critical acclaim and was a commercial success. It was ironic that Gale was more popular in Japan than in the US.
Then in 1983, Gale returned with ‘Island Breeze’ his second album for Elektra. It featured a new band who flitted between beautiful ballads to funk, jazz, smooth fusion and soul. This was another eclectic album. Sadly, despite its quality and positive reviews the album wasn’t a commercial success and Gale left Elektra after two albums.
He didn’t release another album for four years, and during that period, he continued to work as a session musician. He played guitar on ‘The Way You Make Me Feel,’ which featured on Michael Jackson’s 1987 album ‘Bad.’ When the song was released as a single it topped the US Billboard 100 chart, while the album sold forty-five million copies worldwide.
A year later, in 1988, Gale released two albums, ‘In a Jazz Tradition’ and ‘Let’s Stay Together.’ Sadly, they were the last solo albums released during his lifetime.
In November 1993, Stuff reformed and recorded ‘Made In America (A Remembrance Of Richard Tee). The album was released in 1994, the same year that Eric Gale passed away.
Gale was just fifty-five when he died of lung cancer on May 25th, 1994, in Baja, California. He had enjoyed a career that spanned four decades. During his carer, Gale released eleven solo albums and played on over 600 singles and albums. Eric Gale was a musician’s musician who played alongside the great and good of music. His versatility was one of the reasons Gale was constantly in demand as a session musician. Seamlessly he could switch between musical genres. This he often did on the eleven albums he released during his career.
Although Gale is best remembered as a solo artist and sideman, he was also a producer and talented songwriter. The songs he wrote over four decades a reminder of that, while his eleven solo albums feature one of the most talented jazz guitarists of his generation.
The Life and Career Of Eric Gale.
THE LIFE AND CAREER OF SONGWRITER AND PRODUCER RON MILLER.
The Life and Career Of Songwriter and Producer Ron Miller.
Ronald Norman Gould was born in Chicago, Illinois, on October, 5th, 1932, the only son of Sue and Harry. He lived with mother and two sisters. His parents had divorced when he was young, and life was tough for the Goulds who lived in poverty, surviving on relief.
Gould’s father was never around. He rarely visited, but when he did, he would take his son into a bar and played him Al Jolson records. He even told his son that we went to school with Jolson. This impressed his son, and soon, Jolson became the future songwriter’s favourite singer.
After his father’s death, his mother married Joe Miller, and Ron took his stepfather’s surname. Miller was the name he would he would use during a long and illustrious career as a songwriter and producer.
Miller spent much of his free time listening to the radio. When he was nine, World War 2 started, and began writing songs. However, because he couldn’t play piano, or read or write music, the lyrics and melodies remained in his head. That wouldn’t always be the case. Eventually, the world would hear the songs Miller wrote.
Aged eighteen, Miller joined the Marines and spent three years serving his country. Back in civvy street, he drifted from job to job. He sold washing machines and even tried to forge a career as a professional baseball player. That wasn’t to be, and baseball’s loss was music’s gain.
When Miller was twenty-four, he began his musical education. He bought arts magazines and the soundtracks to the shows that he saw. Miller bought other albums and librettos so he could study the compositions. The great American songwriters inspired him, especially Richard Rodgers who influenced him as a songwriter. This was all part of Miller’s musical apprenticeship.
So was teaching himself to play piano. Initially, he only played by ear. This proved problematic. Miller could write a song quickly, but it took several hours before he could play it on the piano. Ironically, it was as a piano player Miller got a break.
After the piano player at the Patio Lounge, in the Maryland Hotel in Chicago finished for the evening, Miller would entertain the patrons by composing humorous songs, and they would buy him a beer or give him money. One night in 1963, there was only one patron in the Lounge, Motown-founder Berry Gordy.
He asked Miller to: “play something pretty.” Miller played a ballad called “Close Your Eyes.” Gordy put five dollars in Miller’s bottle and asked him to play another song. After playing four songs, Gordy asked Miller how many songs like that he had written. Gordy was surprised when Miller said: “about a thousand.” His next question was were they all that good? Miller said “yes,” and when Gordy asked Miller if he had any modesty, he replied: “yeah, but not when it comes to writing songs!”
When Berry asked if he had heard of him, Miller replied “no.” Berry then asked if he had heard of Marvin Gave or Stevie Wonder. Again, he replied no. He soon would.
The next morning, Gordy arrived at the flat above the theatre where Miller was living and asked how much it would take for him to bring his songs to Detroit? Miller said $5,000. The next day, Gordy returned with $1,000 in cash and two $2,000 money orders. Despite being broke and being offered a life-changing sum Miller wasn’t sure what to do. So he phoned his mother, and she told him to grasp the opportunity.
After his arrival in Detroit, Miller and Wonder became friends. Initially, Wonder recorded ballads penned by Miller for his albums. Soon, Miller had written his first hit single. This was “A Place In The Sun” which he cowrote with Bryan Wells. This was the first of several hits the pair wrote for Wonder. They also penned “Someday At Christmas” and the oft-covered “Yester-Me, Yester-You, Yesterday,” which was a top ten single in the UK and US in 1967. By then, Miller had penned a Motown classic for Wonder.
“For Once in My Life” was written by Ron Miller and Orlando Murden, and was first recorded as a slow ballad by Connie Haines. The single failed commercially, and was also covered by a number of artists including Nancy Wilson, The Four Tops, The Temptations and Diana Ross and The Supremes. However, it was transformed by Stevie Wonder into an upbeat, joyous and melodic soul classic that gave him a top five hit in the UK and US in 1968.
Very different was the gospel-tinged “Heaven Help Us All” which Miller wrote for Wonder and gave him a hit in 1970. It was the last hit he penned for Wonder. By then, Miller’s tracks had featured on six of Wonder’s albums which were certified gold in the US. However, other artists had enjoyed success with Miller’s songs.
By 1971, everyone from Frank Sinatra, Tony Bennett and Glen Campbell to Nancy Sinatra and Brenda Lee to Jackie Wilson and Bill Medley had covered “For Once In My Life.” It was Miller’s most-covered composition. Other songs would prove successful and become classics.
In 1973, Miller teamed up with songwriter and producer Michael Masser to write “Touch Me In The Morning” for Diana Ross. It became the title track to her fourth studio album, and gave Ross her second number one in America. The combination of Miller’s lyrics, the arrangement and a vocal from Ross that was a mixture of emotion, sadness, sensuality and regret and resulted in a musical masterpiece. 1973 was a big year for Miller.
1977 should’ve been a big year for Miller. That year, Charlene released “I’ve Never Been to Me,” which Miller cowrote with Ken Hirsch. Randy Crawford had recorded the song the previous year. However, Charlene’s heart-wrenching and soul-baring reading of what’s akin to a musical soap opera is the definitive version of the song. Despite this, the single stalled at ninety-seven in the US Billboard 100. This, however, wasn’t the end of the story.
In 1977, Nancy Wilson covered “I’ve Never Been to Me,” which was the title-track to her album. When she released the song as a single it reached forty-seven in the US R&B charts.
Later that year, Walter Jackson recorded “I Want to Come Back As a Song, ” a the beautiful ballad penned by Miller. It was the title-track to his 1977 album. Jackson also covered “I’ve Never Been to Me” from a male perspective for the album. Still the song remained one of Miller’s hidden gems.
Then in 1978 Mary MacGregor covered “I’ve Never Been to Me” for her “In Your Eyes” album. When it was released as a single it gave her a minor hit in Billboard’s Easy Listening and Canada’s Adult Contemporary charts. However, four years later the single became a huge hit.
In 1982, Scott Shannon a DJ in Tampa, Florida, started playing Charlene’s version of “I’ve Never Been to Me.” So popular was the song that he contacted Motown president Jay Lasker to tell him about the response to song. A decision was made to rerelease the single. However, by then, a disillusioned Charlene had left the music industry, married and moved to England. Motown tracked her down and re-signed her. When the single was released it topped the charts in Australia, Canada, Ireland, the UK and reached number three in the US Billboard 100. The track Miller cowrote and coproduced was one of the most successful of his two decade career.
Still, the songs Miller was writing for other artists were proving successful. He cowrote “Can’t We Try” with Ken Hirsch for Teddy Pendergrass. It featured on his 1978 album “TP,” and features a needy, heartfelt and pleading vocal. This beautiful ballad was one of the highlights of the album, and reached number three in the US R&B charts.
Miller entered his third decade as a songwriter by co-writing “You Moved A Mountain” for Jermaine Jackson. It featured on his 1982 album “Let Me Tickle Your Fancy,” which reached forty-six in the US Billboard 100 and nine in the US R&B touch. Despite the change in musical tastes, Miller still had the Midas touch.
By 1990, Miller and Hirsch premiered their musical “Clothespins and Dreams” at the California Music Theatre in Pasadena. He had written a number of musicals during the seventies including “Cherry” and “Daddy Goodness.” This was fitting given how big an influence musicals had on Miller as a budding songwriter. Two decades later, he was still a successful songwriter combining writing songs for musicals plus songs for a variety of artists.
This included co-writing “Put Me On” for Mario’s 2002 eponymous debut album. It was eventually certified gold and reached number nine in the US Billboard 100. Two years later, thing got even better for Miller.
He and Hirsch cowrote “If I Could” for Celine Dion’s 2004 album “Miracle.” It was certified platinum in the US and gold in Belgium, France Switzerland and the UK, forty-one years after Miller made his songwriting debut. The song was then covered by a number of artists, including Barbra Streisand, Michael Bolton, Nancy Wilson, Ray Charles and Miller’s daughter Lisa Dawn Miller on her album “Fly Away.”
Sadly, three years after writing “If I Could,” which was a tribute to Miller’s children, and the favourite song he had written, he passed away on July 23, 2007, In Los Angeles, aged seventy-four. That day, music lost one of the great songwriters of his generation. Miller had forged a number of successful songwriting partnerships and wrote a number of successful songs himself. Miller was also a truly talented producer who worked with many artists.
Miller enjoyed a long and illustrious career that spanned five decades, and during that time, wrote a string of classics. They’re part of Ron Miller’s rich musical legacy that future generations of music lovers can continue to enjoy.
The Life and Career Of Songwriter and Producer Ron Miller.
MAKE MINE MONDO! 2.
Make Mine Mondo! 2.
Label: Ace.
Release Date: 28th November 2024
Format: CD.
Usually, record labels spend a considerable part of their budget promoting their latest releases. However, that isn’t always the case. Many independent labels, both big and small have a rather chaotic approach to promoting an album.
Some smaller independent labels have no budget for promotion. They’re run by wannabe record moguls, and are essentially vanity projects that lose money year-on-year. Often, the label is subsidised by the owner working for a bigger label, record shop or doing PR. None of their releases are successful because the label has no money for promotion. There’s neither radio play nor reviews in the musical equivalent of a Boulevard Of Broken Dreams. I’ve encountered these labels and artists are wasting their time signing to them.
This is often the case with bigger labels. Often they’re undercapitalised, and run by enthusiastic amateurs with no business background and very little idea of how a record labels should be run. It’s often chaotic at these labels run by the clueless, the hapless, hopeless and useless. Basically, people who in other walks of like who would be unemployable. I recently, came across a label like this and it was like One Flew Over The Cuckoo’s Nest.
To a man and woman they were truly incompetent, and the finished product was third-rate at best. Tracks spelt incorrectly, credits wrong, mastering awful and a gaudy album covers that would win prizes for its sheer awfulness. Sometimes, there’s even mistakes in the titles of this label’s releases. As labels go, this one is on the worst. No wonder, employing the Drowning Man to run the label, and someone like the Queen Of Chaos to promote their releases. Despite her promises, she’s no contacts at radio stations or amongst music journalists. Instead, she gets someone to post out a few promos and gets backs to doing what she’s best at, nothing. That’s what she does most of the time. The rest of the time she bickers and argues, and gets involved in petty office politics with pathetic, petty little people. That’s why this label’s releases sink faster than Sir Sneer and Rachel, The Junior From Accounts’ ratings. These releases are the musical equivalent of the Titanic, and this shambolic, loss-making label continues to release mediocre compilations by has-been pop stars and third-rate writers. Anything that’s new, leftfield, innovative or commercial they’ve no idea how to handle. They certainly wouldn’t know how to promote it.
In the past, some successful owners of labels didn’t believe in spending money on promoting singles or albums but still enjoyed commercial success. This includes Lew Bedell the owner of Doré Records. He was reluctant to spend money promoting a new single.
Bedell only ever commissioned photographs of his artists unless their single had charted, and very rarely advertised in the trade press. By then, Doré Records had already enjoyed a million-selling single with The Teddy Bears’ ‘To Know Him Is To Love Him,’ and Bedell a former standup comedian turned musical impresario was content to do things his way.
So much so, that Bedell was willing to take a chance on all sorts of artists and bands that arrived at Doré wanting to record a single. Those that had potential Bedell took into the studio, and quickly recorded a single. This Bedell knew wouldn’t cost much, and if the single was even a minor success would more than repay his costs. However, not all of these singles were a success, and many were destined for obscurity.
Other times, Bedell put a band together, and they went into the studio and recorded all sorts of tracks. This included fuzzed out garage, instrumentals and rockabilly. The label’s output was eclectic, esoteric and often successful. Bedell was running the label that way he wanted to.
Having graduated from high school, Lew Bedinsky headed to LA College and later, studied at the Santa Barbara State College, which was where he met Doug Mattson. Soon, the pair were performing a comedy show together on shows around the college campus, and it was soon apparent that the pair had the makings of a successful act.
So much so, that they turned professional. Before that, Bedinsky decided to change his name in 1941, and became Lew Bedell. That was the name he used for the next twelve years, when he and Mattson performed their musical comedy act. However, in 1953, the pair spilt-up, and Bedell embarked upon a solo career as a stand-up comedian.
Bedell didn’t enjoy the same success when he worked on the comedy circuit as a solo stand-up comedian. So much so, that after a year, his career was at a crossroads, and he was thinking a career after comedy.
Fortunately, Bedell was approached by his cousin Herb who was a music industry veteran and his father Max Newman with a business proposition. They were offering him the opportunity to invest in a new record company. Bedell realising that his comedy career was at a crossroads decided to invest $7,500 which helped to launch the new Era Records’ label with Herb Bedell and Max Newman.
The nascent Era Records opened its door for business in March 1955, and over the next three years, enjoyed several successful singles. With things looking good for Era Records, a decision was made to expand the business.
In 1958, Doré Records, an imprint of Era Records was founded. The newly founded Doré Records was named after Lew’s first son, who’d been born to Lew and his wife Dolores in 1957. The rationale behind forming a second label was that it would double the chances of having a record played on the radio. Its founders were also determined that Doré Records would release much more groundbreaking records.
This was the case from the day that Doré Records opened its doors. Having released two singles, a young Phil Spector approached the Bedell cousins with a new song by The Teddy Bears’ ‘To Know Him Is To Love Him.’ When Bedell heard the understated arrangement, he thought that if it was to be released on Era the record would be rerecorded. Spector disagreed and so did Lew Bedell. He heard the potential in the ‘To Know Him Is To Love Him,’ and agreed to release the track on Doré Records its original form. The single became a huge worldwide hit, topping the charts in Britain and America.
For the next couple of years, Lew and Herb Bedell’s opinions on music differed, and eventually, in May 1959, they decided to go their own ways. It was an amicable spilt with Herb Newman continuing to run Era Records, which he moved the company to new premises. Lew Bedell retained Doré Records, which stayed at 1481 Vine Street, Hollywood.
Now that Bedell owned Doré Records, he was able to run the record company the way he wanted. His cousin had been known to hire orchestras to record lavish arrangements, while Bedell’s arrangements were very different. They were usually simpler and tended to lack the polish of his cousin’s arrangements. However, they were also cheaper to produce so Bedell wasn’t spending as much producing new singles.
Sometimes, Bedell purchased masters from producers who stopped by Doré Records looking to sell a new recording. They usually didn’t cost Lew Bedell much, and would release the recording on Doré Records.
Other times, artists or bands would arrive at Doré Records looking to cut a record. Bedell would listen to them play, and if they showed any potential, he would signed them to Doré Records. After that, Bedell would take them into the studio to record a single which was released on Doré Records.
It wasn’t unknown for Bedell to put a band together and have them record a single, which would be released on Doré Records using a moniker. This allowed Lew Bedell to follow the latest musical trend, in the hope of enjoying a hit single. That was why Bedell was running a record label.
While some record labels had their own “sound” during the pre-rock era, musical impresario Bedell was willing to release an eclectic selection of music as he went in search of hit singles. That was what mattered to Bedell, and why the singles that Doré Records released during the pre-rock age were often very different. This included the various novelty singles that were released on Doré Records. They were part of the Doré Records’ story, and so are the twenty-eight tracks on ‘Make Mine Mondo! 2.’
Opening the compilation is ‘Clap Your Hands’ by Ambertones. It was released on Doré Records’ imprint Newman in 1965, then reissued on Rayjack in 1966. Garage rock and R&B collide to leave a lasting impression.
‘Slander’ was Ty Wagner’s second and final single. This oft-overlooked slice of psychedelia was released on Era in 1966, and returns for an encore on ‘Make Mine Mondo! 2.’
‘Beaver Patrol’ was originally released by The Blazers on the Acree label 1963. They were an instrumental band from California, and only released two singles. The master to their debut, a timeless surf rock hidden gem and is part of this little-known group’s lasting legacy.
Laidback, bluesy, dreamy and lysergic describes ‘I’m A Blind’ by The Wizard’s. It was released in 1966, and like many of Bedell’s releases was bang on trend and had commercial potential.
Another foot-tapping instrumental is the Shadowesque ‘Hurricane,’ by Conrad and The Hurricane Strings. It was released as a single on Era, and is a reminder of another musical age.
Joyce Harris and The Daylighters covered ‘I Got My Mojo Working.’ However, it lay unreleased until the release of ‘The Domino Records Story,’ by Ace in 1998. This cover of a familiar song features a powerhouse vocal that’s front and centre of the mix.
‘I Ain’t Drunk’ is a slice of good time blues by Memphis-born Lonnie ‘The Cat. It was released by RPM in 1954, and has stood the test of time and changes in musical tastes.
‘The Wild Bird’ by The Jive-A-Tones was released as a single on Fraternity Records in 1958. It’s a memorable high kicking instrumental that fuses elements of rock n roll, rockabilly and surf rock.
‘Hullee Gullee’ was the B-Side of Fred Richards single ‘Barricade.’ It was released on Flip in 1958. Slow and moody with lots of echo added to the quivering, shivering guitars, blues and rock combine on another hidden gem.
‘Talk To Me Baby’ was on the B-Side of Donnie Bowser’s single ‘Tomorrow,’ when it was released on the Domino label, in 1961. It’s an explosive example of early sixties rock n roll.
Soul Serenade by Beau Dollar and The Coins was an instrumental produced by Lonnie Mack, and released on Fraternity, in 1968. It’s soulful, funky and features an emotive, soul-baring vocal.
The Cave (Part 1) by Gary ‘Spider’ Webb closes ‘Make Mine Mondo! 2.’ It’s a novelty track produced by Herb Newman, that was released on Bamboo, in 1961. However, it isn’t up to the standard of the majority of the tracks, and it’s a disappointing way to close the compilation.
Musical impresarios and mavericks like Lew Bedell ran their own record companies, and were constantly looking for new and exciting music to release. That was what Bedell set out to do when he founded Era Records in 1955, and continued to do when he parted company with his cousin Herb in May 1959.
With a steely eyed determination, Bedell set about turning Doré Records into one of the leading independent labels in America. Through hard work and sheer determination succeeded in doing so. Part of his success was realising that music was constantly evolving, and not getting trapped in the past. Bedell constantly reacted to changes in musical fashion and sometimes, and sometimes, was a musical trendsetter.
These changes are documented on the new Ace’s new compilation Make Mine Mondo! 2 which features twenty-eight tracks. This includes rock ’n’ roll, rockabilly, garage rock, psychedelia plus instrumentals and novelty songs. The eclectic selection of singles on Make Mine Mondo! 2 are proof that Bedell was willing to react to the changes in musical tastes. That was the only way a record label could survive and thrive during the late-fifties and sixties.
Just like any label, Doré Records needed singles, and Bedell went in search of new artists and bands. Some of his new signings were up-and-coming bands, others were established artists that joined Doré Records’ roster. Some enjoyed a degree of success, while commercial success eluded some of the artists on Make Mine Mondo!
Some of these artists that feature on Make Mine Mondo! 2 released several singles, while others played a walk-on part on the history of Doré Records. This includes several artists who only released a couple of singles, but often they’re oft-overlooked hidden gems. So too are some of the B-Side and unreleased tracks on Make Mine Mondo! 2 which is yet another reminder of Lew Bedell’s Doré Records, which for twenty-five years, was one the leading American independent record label.
Make Mine Mondo! 2.
HERE, THERE AND EVERYWHERE.
Here, There and Everywhere.
Label: Ace.
Format: CD.
Released: 29th November 2024.
Over the years, there’s been many compilations of cover versions of songs by The Beatles. They’ve been a mixed bag, with the quality varying. They’re best described as the good, the bad and the downright ugly. Some are nothing more than exploitative cash-ins designed to relieve Beatles’ fans of their hard earned cash. That has always been the case.
Then there’s numerous reissues of the Fab Four’s twelve UK studio albums, remixes of classic albums, fifty-one compilations, five live albums and seventeen box sets. It’s an expensive business being a Beatles fan. There’s always something new to spend their hard earned cash on.
This includes the numerous books that have been written about the band. Some are by people who worked closely with the band. Then there’s the books by those who, if the truth be told, didn’t really know them at all. There’s probably a book by John Lennon’s second cousin’s hairdressers son being released for the forthcoming holiday season. After all, fans of Fab Four’s really need to read more of their hero’s antics from sixty years ago.
However, for those who are willing to eschew hastily written books that are destined for the bargain bins in the New Year there are other alternatives available. This includes ‘Here, There and Everywhere,’ a twenty-two track compilation released by Ace on CD on ‘29th’ November 2024. This is the third compilation of soul and jazz covers of Lennon, McCartney and Harrison compositions.
Opening the compilation is Sam Fletcher’s jazzy cover of ‘Can’t Buy Me Love.’ It featured on his album ‘I Believe In You,’ which was released by Veejay in 1964.
Sarah Vaughan reimagines and reworks ‘You Never Give Me Your Money.’ Backed by a truly talented band that included members of Toto, she combines jazz and pop on one of the highlights of her 1981 album, ‘Songs Of The Beatles.’
In 1970, Junior Parker covered ‘Taxman’ for his album ‘The Outside Man.’ Funk meets soul as arranger and producer Horace Ott takes this familiar track in a new direction. However, what Beatles purists thought of this reinvention is another thing?
Madeline Bell covered ‘Step Inside Love’ for her 1968 US sophomore album ‘Doin’ Things.’ A year later, the album was released in the UK. This is, without doubt, the definite version. It’s far superior to the version by Scouse warbler Cilla Black, which left a generation scarred and their ears aching.
‘Give Peace A Chance’ was John Lennon and Yoko Ono’s ridiculously naive plea recorded during a bed-in in Montreal, in 1968. Previously, the world’s political leaders had tried to bring about “peace in our time” and failed. So, it was unlikely a that a song sung by two loved-up hippies would bring about world peace. Let’s cut to the chase. This is very much a Marmite song, one either loves or loathes it. The original has me reaching for the off switch. However, since then, many artists have covered the song. This includes Randy Crawford in 1972. Her cover was released as a single in 1972, and in 1982, featured on some European versions of her ‘Windsong’ album.
Stevie Wonder produced Syreeta’s 1972 album for Mowest ‘Syreeta.’ It’s an underrated album that features a tender and emotive reading of ‘She’s Leaving Home.’ It’s a reminder of a truly talented singer who could breath life, meaning and emotion into a song.
Without doubt, one of the highlights of the compilation is Billy Paul’s cover of the Paul and Linda McCartney composition ‘Let ‘Em In.’ It was arranged by Jack Faith, who co-produced the song with Kenneth Gamble and was the title-track to Paul’s 1976 album. It was released by Philadelphia International Records, Accompanying Paul at his soulful best as makes the song his own is MFSB Mk. 2. The result was one of the finest singles of the Philly-born soulman’s career.
Nineteen years after The Drifters were founded in New York City, the latest version of the group relocated to the UK. The last three years hadn’t been kind to the group. They hadn’t enjoyed a hit since 1969, and there had been further changes the lineup. By 1972, the lineup featured Johnny Moore, Rick Sheppard and Don Thomas. In the UK, this new lineup joined forces with songwriters and producers Roger Greenaway and Roger Cook. They produced the group’s silky smooth and soulful cover of ‘Being With You.’ It showcases the vocal prowess of the late, great and much-missed singer and showman, Mr. Johnny Moore.
‘Maybe I’m Amazed’ was one of the first paeans written by Paul McCartney to his wife Linda. In 1998, it was covered by Carleen Anderson on her sophomore album ‘Blessed Burden.’ She combines soul, funk and R&B as she takes this familiar and much-loved song in a new direction.
‘My Love’ was released by Margie Joseph as a single on Atlantic in 1974. It’s euphonious and soulful with a spacious with a string drenched arrangement courtesy of Arif Mardin who arranged, conducted and produced this beautiful cover version.
‘Isn’t It A Pity’ was recorded by The Three Degrees’ 1973 Roulette album ‘So Much Love.’ However, this slow and soulful track, which was produced by Richard Barrett, never made it onto the album. It was belatedly released on ‘The Roulette Years’ later in 1973, and offers a taste of what was to come from The Three Degrees.
It’s a case of saving one of the best until last on ‘Here, There and Everywhere.’ ‘And I Love Him’ by Esther Phillips is one of the standout tracks. It was released as a single in 1965 and features Phillips instantly recognisable vocal. It’s often lived-in and worldweary. However, here it’s soul-baring and heartfelt confessional from a versatile vocalist who should’ve enjoyed much more commercial success than she did.
‘Here, There and Everywhere’ is Ace’s third compilation of soul and jazz covers of Lennon, McCartney and Harrison compositions. Most of the originals are familiar and much-loved songs. This will appeal to many fans of the Fab Four and Lennon, McCartney and Harrison’s solo careers.
Many of the covers are by some of the biggest names in jazz and soul. A few artists will be new to some people. They take tracks in new and unexpected directions. However, there’s also hidden gems aplenty on ‘Here, There and Everywhere.’ It’s the perfect holiday gift for fans of the Fab Four, and much better than a book by John Lennon’s second cousin’s hairdresser’s son.
Here, There and Everywhere.
ONE IN A ROW: THE WILLIE NELSON SONGBOOK.
One In A Row: The Willie Nelson Songbook.
Label: Ace.
Format: CD.
Willie Nelson is, without doubt, a giant of country music, and a leading light in the outlaw country subgenre. Nelson is also a prolific songwriter whose songwriting career began in the early fifties. He’s written countless classics, and many of his songs have been covered hundreds of times. This includes ‘Crazy’ and ‘Funny How Time Slips Away.’ Both feature on ‘One In A Row: The Willie Nelson Songbook,’ a new twenty-four track compilation recently released by Ace.
Nelson was born in Abbott, Texas, on April 29th, 1933. He wrote his first song aged seven, and three years later, aged ten, Nelson joined his first band. This was the start of his musical career.
In high school, Nelson was the guitarist and lead singer with The Bohemian Polka. When he graduated from high school in 1950, Nelson joined the US Air Force.
Unfortunately, problems with his back resulted in Nelson being discharged from the US Air Force. On his return home, he enrolled at Baylor University. However, after two years Nelson dropped out as he was already enjoying a successful musical career.
By the late-fifties, he was working as a DJ in various radio stations in his native Texas. He was also working at various radio stations in the Pacific Northwest. That was just part of the story.
Nelson was also working as a singer-songwriter. He struck gold early in his career writing classics like ‘Crazy’ and ‘Funny How Time Slips Away,” plus ‘Hello Walls’ and ‘Pretty Paper.’ This was just the start.
Then in 1960, Nelson moved to Nashville, and later, signed publishing deal with Pamper Music. Then he joined Ray Price’s band as bassist. However, two years later Nelson embarked upon a solo career.
His debut album ‘And Then I Wrote’ was released in 1962. It was so successful that Nelson signed to RCA Victor in 1964. The following year, 1965, he joined the Grand Ole Opry. Nelson’s star was in the ascendancy.
In 1966, his fourth album ‘Country Favorites–Willie Nelson Style,’ reached number nine in the US Country charts. The followup, ‘Make Way for Willie Nelson,’ released in 1967 reached number seven in the US Country charts. Nelson was enjoying the most successful period of his career. This continued with the release of ‘The Party’s Over and Other Great Willie Nelson Songs’ in 1968. It reached number nine in the US Country charts. Little did Nelson realise that the party was over for a while.
Between 1968 and 1972 Nelson released nine album which failed to replicate his earlier success. This resulted in a change of style for Nelson.
‘Shotgun Willie,’ Nelson’s sixteenth album, and was his debut for Atlantic. It was released on June 11th, 1973 to critical acclaim. However, ‘Shotgun Willie’ stalled at forty-three in the US Country charts. Despite this. it was introduced Nelson’s music to a younger audience and nowadays, is regarded as a landmark album. It was one of the first albums of outlaw country. This subgenre of country music was seen as an alternative to the much more conservative Nashville sound. Nelson’s new sound transformed his career.
On February 25, 1974, ‘Phases and Stages’ was released. It fared slightly better than ‘Shotgun Willie’ reaching thirty-four in the US Country charts. However, Nelson’s next album was the start of a remarkable run of commercially successful albums.
‘Red Headed Stranger’ was released to plaudits and praise on May 26th, 1975. It topped the US Country charts, reached twenty-eight in the US Billboard 200 and was certified double platinum. Nelson wasn’t just one of the pioneers of outlaw country he would prove to be one of its finest exponents.
Between the release of ‘Sound In Your Mind’ on May 26th, 1975, and ‘City Of New Orleans’ on July 16, 1984 Nelson released thirteen solo albums and collaborate on eight albums. These albums sold in excess of 20.5 million copies in the US alone, and sixteen were either certified gold, platinum or in some cases double, quadruple or five times platinum. During this period, Nelson was, without doubt, one of the biggest names in country music.
Much of his success was down to his talent as a songwriter. This was something he had been doing for quarter a century, and continued to do throughout his long and illustrious career. Many of his songs were covered by the great and good of music, as well as some lesser known names. However, there’s many familiar faces on ‘One In A Row: The Willie Nelson Songbook.’
The compilation opens with Little Esther’s version of ‘Hello Walls.’ It was released as the B-Side of the single ‘Double Crossing Blues’ on Atlantic, in 1964. Both sides were arranged and conducted by Garry Sherman, with Bert Berns taking charge of production. He gives the track an uptown groove makeover and Little Esther’s reading is heartfelt and emotive. Later, Esther Phillips would release some of her finest albums on Kudu/CTI and Atlantic. The albums she released on Kudu/CTI are the perfect introduction to Phillips’ music
‘Angel Flying To Close To The Ground’ is a track from The Bootleg Series Vol. 16: Springtime in New York 1980–1985 which Bob Dylan released in 2021. This track is one of the hidden gems from the box set and features a soul-baring vocal from Dylan who sounds as if he’s lived the lyrics.
Dionne Warwick released ‘I Didn’t Mean To Love You’ as a single in October 1976 – not 1977 as the liner notes state. The single stalled at ninety-one on the US R&B chart. However, hidden away on the B-side is an impassioned, uber soulful uptempo cover that’s an oft-overlooked track in Warwick’s back-catalogue, and one of the highlights of the compilation.
Vicki Carr covered ‘Healing Hands Of Time’ on her 1971 album ‘The Ways To Love A Man.’ It was the second of two country albums she released for Liberty/United Artists. Her vocal veers between hurt-filled to hopeful on this beautiful cover version.
One of Nelson’s most-covered songs is ‘Crazy.’ Patsy Cline released the song as a single in October 1961, and it reached number nine in the US Billboard 100 and number two in the US Country chart. The song featured on her sophomore album ‘Showcase,’ which was released in November 1961, and reached seventy-three in the US Billboard 200 chart. Cline made the song her own using a mixture of ascending and descending intervals plus broken chords on this heartbreakingly beautiful confessional. It’s the definitive version of the song, and a country music standard.
When Tom Jones released his album ‘Long Lost Suitcase’ in 2015, he included a cover of Nelson’s ‘Opportunity To Cry.’ He lets the song breath on this understated cover that’s bristling with emotion, sadness and hurt.
The Spinners’ related a rueful and deeply soulful cover of the ballad ‘Funny How Time Slips Away’ as a single on Atlantic, in 1982. Lead singer John Edwards’ stays true to Houston-born soul singer Joe Hinton’s 1964 version. This later version was arranged by Gene Page, and features on their 1982 album ‘Grand Slam.’ It reached just 167 in the US Billboard 200 and forty-three in the US R&B charts. This was a far cry from when Thom Bell produced six albums between 1973 and 1976. Four were certified gold and 1974s ‘Mighty Love’ platinum. However, ‘Funny How Time Slips Away’ is a hidden gem in The Spinners’ back-catalogue. It’s also a reminder of one of the greatest and most sucessful soul groups of the seventies.
In 2004, The Beautiful South’s covered ‘Valentine’ on their ninth album Golddiggas, Headodders and Pholk Songs.’ The album was the first to feature vocalist Alison Wheeler. It featured twelve tracks, including eleven cover versions. Paul Heaton delivers a tender, heartfelt vocal on ‘Valentine’ accompanied by strings on an understated arrangement.
When Trisha Yearwood released her album ‘This Song Remembers When’ in 1993, it featured a cover of ‘One In A Row.’ The lyrics sound deeply personal and akin to a confessional. Yearwood breathes life, meaning and emotion into what’s one of the highlights of the compilation.
Sometimes an artist or band try to reinvent a well known song. It’s the musical equivalent of reinventing the wheel. KD Lang and The Reclines don’t do that when they covered ‘These Days’ on their 1989 album ‘Absolute Torch and Twang.’ Lang stays true to Faron Young’s 1962 original. It’s a catchy, country shuffle that’s stood the test of time.
When Ray Price released ‘Danny Boy’ as a single in 1967, it reached number sixty on the US Billboard 100 and number nine in the US Country chart. On the B-Side was ‘I Let My Mind Wander,’ a sagacious and thoughtful song written by Nelson. Sadly, for too long Price’s cover has been an oft-overlooked, and deserves to be heard by a wider audience.
Closing ‘One In A Row: The Willie Nelson Songbook’ is Perry Como’s cover of ‘My Own Peculiar Way.’ It was released on RCA Victor in 1965, and this country-tinged track features a heartfelt vocal that’s full of emotion.
‘One In A Row: The Willie Nelson Songbook’ which was recently released by Ace, is a reminder of one of a truly great songwriter whose career has spanned seven decades. During that period, Nelson has released seventy-five solo albums. He’s also collaborated on a further twenty-six studio albums. Then there’s a small matter of two soundtracks, fourteen live albums and fifty-one compilations. These albums have sold over forty million in the US alone. Nelson wasn’t just a pioneer of outlaw country, this truly talented singer and songwriter became one of its leading lights and finest exponents.
Nelson’s songs are oft-covered and some have become country standards. This includes ‘Crazy’ and ‘Funny How Time Slips Away.” These tracks feature on ‘One In A Row: The Willie Nelson Songbook’ which features twenty-tracks penned by a man who wasn’t just one of country music’s greatest singers, but one of the genre’s greatest songwriters.
One In A Row: The Willie Nelson Songbook.
ISAAC HAYES-HOT BUTTERED SINGLES 1969-1972.
Isaac Hayes-Hot Buttered Singles 1969-1972.
Label: Stax.
Format: CD.
Release Date: 25th October 2024.
Isaac Lee Hayes Jr was born on 20th, August 1942 in Covington, Tennessee. He was the second child of Eula and Isaac Lee Hayes Sr. However, tragedy struck when Hayes’ mother died when he was young. The situation got even worse when his father abandoned his young family.
Fortunately, Hayes’ maternal grandparents Mr. and Mrs. Willie Wade Sr. brought their grandchildren family up. Hayes grew in the Tennessee counties of Shelby and Tipton and worked on local farms. This was also where his musical career began.
Aged just five, Hayes started singing in the local church choir. Growing up, he taught himself to play piano, Hammond organ, flute and saxophone. Little did Hayes realise that he would eventually make a career out of music.
Hayes dropped out of Manassas High School, in Memphis, and got a job in a meat-packing plant. It was a case of needs must, as he had to support his closest family. At night, Hayes played in juke joints and nightclubs in northern Mississippi.
In the late fifties, Hayes made his debut as a singer at Curry’s Club, in North Memphis. That night, he was backed by Ben Branch’s houseband. Another alumni of Branch’s band was Donald “Duck” Dunn, who joined the band in 1961. Later, he found fame with Booker T and The MGs at Stax, where he would work with Hayes. That was all in the future.
Before that, Hayes’ former teachers at Manassas High School encouraged him to complete his high school. Belatedly, he graduated aged twenty-one. By then, he had already released his debut single.
This was “Laura (We’re On Our Last Go Ro-Round),” which was released in 1962, on Chips Moman and Sy Rosenberg’s Youngstown label. Although the single received some radio play and was popular in Tennessee, it failed to make an impression nationally. That would come later for Hayes.
By 1963, he was working as a session musician at Stax in Memphis. In January 1964, Hayes added the vocal to “Yank Me Doodle” by The Baracudas. However, most of his time was spent working as a session musician and as a songwriter.
However, in January 1964 “Sweet Temptation” was released as a single on Brunswick. On the B-side was Hayes’ debut single “Laura (We’re On Our Last Go Ro-Round).” The single failed commercially. Hayes continued to work at Stax.
Hayes worked with various songwriting partners, and also wrote many songs. Then between 1964 and 1969, Hayes forged a successful songwriting and production partnership with David Porter. The pair penned songs for Carla Thomas, Johnnie Taylor, The Soul Children, William Bell, The Emotions and Mable John. One of their most successful and iconic songs during Stax’s blue label years was “Soul Man” which gave Sam and Dave a huge hit. This was one of the most successful of over fifty songs Hayes and Porter wrote. By the time their partnership came to an end, Hayes’ had already embarked upon a solo career.
In 1965, Sir Isaac and The Do Dads released “Blue Groove” as a single on Volt. However, this mediocre bluesy instrumental failed to trouble the charts, and it was another three years before Hayes released another single.
This was “Precious Precious,” a track from Hayes’ debut album “Presenting Isaac Hayes.” It was released in March 1968 and again, failed to trouble the charts. However, Hayes’ debut album faired better, reaching 102 in the US Billboard 200 and twenty-five in the US R&B chart. His next album was the start of the most successful period of Hayes career at Stax.
The nine singles Hayes released during this period feature on “Hot Buttered Singles 1969-1972,” which will be released by Stax on 25th October 2024. These nine singles were released on the Stax imprint, Enterprise.
Following the release of his debut album, Hayes demanded full that A&R executive granted him full creative control if he was going to record a followup. Bell agreed and this paid off.
Hayes released his sophomore album “Hot Buttered Soul” in June 1969. It was a landmark album that veered between symphonic soul to funk. Accompanied by The Bar Kays, Hayes recorded just four tracks that lasted over forty-five minutes. This seminal album was a future classic. It reached number eight in the US Billboard 200, topped the US R&B chart and was certified gold. There was also the small matter of two hit singles.
“Walk On By” and the Jimmy Webb composition “By The Time I Get To Phoenix” were released as a double-A side in July 1969. Both tracks had to be edited. The version of “Walk On By” on the album was edited from just over twelve minutes and three seconds to four minutes and twenty seconds. “By The Time I Get To Phoenix” which was 18.42 was edited to six minutes forty-five seconds. Both showcased Hayes new symphonic soul sound and were hit singles. “Walk On By” reached thirty in the US Billboard 100 and thirteen in the US R&B chart. “By The Time I Get To Phoenix” reached thirty-seven in the US Billboard 100 and US R&B charts. Hayes new sound was successful and Bell’s decision to grant him full creative control paid off.
In November 1969, Hayes released “The Mistletoe And Me” as a single. It’s a slice of festive symphonic soul, but is the weakest track on the compilation. Slightly better is the ballad on the B-Side, “Winter Snow.” This festive single failed to chart, which must have been a disappointment to Hayes.
“The Isaac Hayes Movement” was the name given to Hayes’ band by Marvell Thomas, and was also the title of his third album. It featured four cover versions, and was released to plaudits and praise in April 1970. Just like “Hot Buttered Soul,” it was a polished album of complex symphonic soul. It also reached number eight in the US Billboard 200, topped the US R&B chart for seven weeks and was certified gold. This was Hayes’ second gold album.
An edited version of “I Stand Accused” was released as a single in August 1970. The version on the album was eleven minutes and thirty-nine seconds, with a five minute spoken word intro. It was edited to six minutes and fifty seconds and features an impassioned and hurt-filled vocal by Hayes. On the B-Side is a beautiful seven minute symphonic soul cover of Bacharach and David’s “I Just Don’t Know What To Do With Myself.” However, the single stalled at forty-two in the US Billboard 100 and twenty-three in the US R&B charts. Hayes’ albums were more successful than his single.
That was the case with his fourth album “…To Be Continued.” It was released to critical acclaim on November 28, 1970. The album which combined symphonic soul with jazz and funk reached number eleven in the US Billboard 200 and was his third consecutive album to top the US R&B. However, the singles didn’t replicate this success.
The dramatic and sensual symphonic soul of “Ike’s Mood Pt 1” was chosen as the single, but failed to trouble the charts. On the B-Side was a cover of Bacharach and David’s classic “The Look Of Love.” It was transformed into a heartfelt symphonic soul ballad, but stalled at seventy-nine in the US Billboard 100.
Hayes next single “Never Can Say Goodbye,” was originally released as a standalone single in April 1971. By then, Hayes wife had filed for divorce and he delivers a soul-baring, needy vocal. On the B-Side was a cover of Hank Williams’ “I Can’t Help It (If I’m Still In Love With You” which was Hayes message to his estranged wife. The single reached twenty-two in the US Billboard 100 and five in the US R&B charts. It was Hayes most successful single. Not for long.
In July 1971, Hayes released “Shaft,” the soundtrack to the blaxploitation movie being released Metro-Goldwyn-Mayer. Hayes had written and produced the fifteen tracks on the double album. It was a mixture of symphonic soul, funk and soul. The album was groundbreaking, a gamechanger that changed the way soul and funk albums were made. When “Shaft” was released it topped the US Billboard 100 and US R&B charts, and was certified gold. Across the Atlantic, the album reached seventeen in the UK. The album also featured Hayes’ most successful single, “Shaft.”
The uber funky and iconic title-track was released in September 1971. It reached number one on the US Billboard 100, two on the US R&B charts and was certified gold. “Shaft” was a hit in Belgium, Netherlands and reached number four in the UK. On the B-Side was the beautiful, meandering and melodic “Cafe Regio’s” where symphonic soul meets jazz. It was the polar opposite of the high octane single.
For the followup, “Do Your Thing” was released as a single in February 1972. It’s soulful, sensuous and funky. On the B-Side was “Ellie’s Love Theme” a beautiful, pensive slice of symphonic soul where the vibes play a leading roll. Despite the quality of both sides, the single only reached thirty in the US Billboard 100, but reached three in the US R&B chart. However, “Shaft” had been Hayes most successful album, and introduced his music to a wider audience.
At the 1972, Grammy Awards, Hayes triumphed twice. He won a Grammys for the Best Instrumental Arrangement for “Theme from Shaft” and one for Best Original Score Written for a Motion Picture or a Television Special.
When Hayes released his fifth studio album, “Black Moses” on November 1, 1971, this album of cover versions reached number ten in the US Billboard 200. It was his fourth consecutive album to top the US R&B. Meanwhile in the UK, the album reached number thirty-eight. “Black Moses” failed to replicate the success of “Shaft” which nowadays, is regarded as a classic soundtrack.
After “Shaft,” Hayes released two non-album singles. The first was a cover of “Let’s Stay Together” which gave Al Green a number one single in 1972. His version is the definitive version. Hayes’ cover is a smooth slice of symphonic soul. On the B-Side was the smooth, slinky soul of “Soulsville” from the “Shaft” soundtrack. The single was released in February 1972 and reached forty-eight on the US Billboard 100 and twenty-five on the US R&B charts. This was another disappointment for Hayes.
The second non-album single was the funky and soulful “Ain’t That Loving You (For More Reasons Than One)” penned by Hayes and Porter. They duetted on the track and a disappointing cover of David Gates’ “Baby I’m-A Want You.” Bread’s original is the definitive version of the track. When the single was released in April 1972, it stalled at eight-six on the US Billboard 100 and thirty-seven on the US R&B charts. It was another disappointment for Hayes.
Closing “Hot Buttered Singles 1969-1972,” is the instrumental Soul-A-Lujah which was released in June 1969. It features Hayes, Johnnie Taylor, Eddie Floyd, William Bell, Carla Thomas plus Mavis, Cleotha and Pervis Staples. It’s a driving track which is a fusion of Southern Soul and funk. This oft-overlooked track has a late-sixties sound, and is a reminder of the music Stax was releasing during this period.
The nine singles that feature on Hot Buttered Singles 1969-1972 feature some of the best singles Hayes released when signed to Stax. He was at the peak of his powers, releasing four studio albums and the “Shaft” soundtrack. Each of these albums topped the US R&B charts, and three were certified gold. Hayes was one of the most successful artists signed to Stax.
Some of the tracks on the compilation are edited version of Hayes’ new symphonic soul sound. These edited versions were released as singles or B-Sides. For many music fans they were an introduction to Hayes’ music. When they bought the album the tracks were from, they were able to hear the tracks in all their glory. However, some music fans may prefer the edited version of the tracks. Many purists will prefer the full length tracks. It’s down to personal preference.
Having said that, there are a couple of disappointing tracks including “The Mistletoe And Me” and “Baby I’m-A Want You, where Hayes and Porter duet. The ballad “Winter Snow” is slightly better, but still doesn’t reach the heights as other tracks on the compilation. These tracks feature Hayes at the peak of his powers. That’s why for anyone who has yet to discover the singles Hayes released between 1969 and 1972, this compilation is the place to start.
Isaac Hayes-Hot Buttered Singles 1969-1972.
NEW JILL SWING 1988-94.
New Jill Swing 1988-94.
Ace.
Release Date: 27th, September 2024.
Format: CD.
In the mid-eighties, a new genre of music was born, new jack swing or swingbeat. It was a fusion of jazz, funk, rap and R&B and incorporated the production techniques of hip hop and dance-pop. Producers who pioneered this new musical movement included Bernard Belle, Terry Riley as well as Jimmy Jam and Terry Lewis.
Key to this new genre were samples. This included sampled beats and samples of existing tracks. Producers used the new E-mu SP-1200, a sampling drum machine and the Roland TR-808 Rhythm Composer when creating new tracks.
However, it wasn’t until October 18th, 1987, when Barry Michael Cooper coined the term new jack swing in his profile on Teddy Riley.
Essentially, the term new jack swing described the sound that was produced and engineered by Teddy Riley. He was also an R&B and hip hop artist and singer and songwriter. Riley was one of the leading lights of the new jack swing scene.
Nowadays, the late eighties and early nineties are regarded as the golden age of new jack swing. Singles were regularly on the US Billboard 100 and US R&B charts. In 1987, this included Keith Sweat’s first ever new jack swing single “I Want Her.” Just a few months later, Bobby Brown’s single “My Prerogative” popularised the genre even more. This he continued to do.
In 1989, the film Ghostbusters II was released. Brown sung the theme tune, “On Our Own.” When this new jack swing track was released as a single it reached number three in the US Billboard 100 and topped the US R&B charts. The single was a hit worldwide. However, like so many thing there was a but.
New Jack swing was perceived by many as a very male orientated genre. It was like a musical men’s club. In the early nineties, female R&B singers came up with their cheeky response to new jack swing, new jill swing.
The first female swingbeat group made a broke through in the late nineties. This was just the start of another new musical movement.
Unlike new jack swing, new jill swing’s sound borrowed from hip hop. The new genre was a fusion of R&B, soul, jazz, funk, hip hop and pop with a look that was carefully stylised and described as retro-modern. It reference Hollywood glamour and with some artists and groups sporting plaid skirts, baseball caps and braids. It was a sound and look that would provide popular and influence groups like Destiny’s Child. That was all in the future
“New Jill Swing 1988-94,” is a new compilation which will be released by Ace on 27th, September 2024. It features eighteen example of the new genre that was the response to new jack swing.
Opening the compilation is Allstar and Teddy Riley’s Radio Remix of I’m So Into You by SWV. It was released in 1993, and is a melodic, memorable and dancefloor friendly track that’s stood the test of time.
In 1988, Karyn White enjoyed a triumvirate of number ones in the US R&B charts. The first was “The Way You Love Me” which combines her soulful vocal with tough beats and eighties’ synths. It’s an example of late-eighties swingbeat by one of its female pioneers.
Pebbles signed as a solo artist to MCA in 1987, and three years later, in 1990, she released “Giving You The Benefit” as a single. It reached number four in the US Billboard 100 and topped the US R&B charts, and is regarded as one of her finest singles.
“Your Sweetness” is a track from the Good Girls’ “All Your Love” album. It was released on Motown in 1990. This album track combines their sweet, soulful vocals a tough, shuffling new jill swing arrangement.
R&B singer Tara Kemp was originally from Livermore, California. However, by 1991, she was part of the new jill swing scene. She signed to Irving Azoff’s nascent Giant Records in 1990. However, soon she realised that she was in the wrong movie. The label didn’t know how to market her, and when she released “Piece Of My Heart” in 1991, it wasn’t a commercial success. That’s despite her sweet, soulful vocal and carefully crafted dancefloor friendly arrangement. For Kemp, it was the one that got away.
En Vogue were a quartet of funky divas from Oakland, California, who were born to sing. They’re without doubt,the best known groups on the compilation. Their contribution is the New Jack Remix of released “Lies” that was released in 1991. It’s uber soulful, funky and combines R&B with an instantly recognisable early-nineties dancefloor friendly sound. The result is one of the highlights of the compilation.
Nuttin’ Nyce were a quartet from Sacramento, who by 1990, were signed to the Jive label. Their debut single was “In My Nature,” which reached eighty-three in the US Billboard 100 and fifty-two in the US R&B charts. It was a case of what might have been, as this earworm features their sweet but sassy and soulful vocals and a new jill swing arrangement that thirty-four years later, doesn’t sound dated.
In the summer of 1991, Shanice released her single “I Love Your Smile.” It reached number two in the US Billboard 100. Three years later, in 1994, she was signed to Motown and released the album “21…Ways To Grow. It features hook-laden dancer “I Wanna Give It To You,” which is one of the album’s highlights.
Closing New Jill Swing 1988-94 is “My Happiness” by Keisha Jackson, the daughter of Millie Jackson. This joyous and uplifting track was the highlight of her eponymous debut album, which was released on Epic in 1989.
For anyone interested in either new jack swing or new jill swing, this new eighteen track compilation may be of interest to them. New Jill Swing 1988-94 features some familiar faces and what will be some new names.
The artists and groups combine various genres and the latest technology to create music that was a mixture of the old and the new. Mostly, the music was soulful, sometimes funk and dancefloor friendly. The tracks on New Jill Swing 1988-94 are between thirty and thirty-six years old, but many of them have stood the test of time, and even today, would still fill a dancefloor.
However, the music on New Jill Swing 1988-94 is a reminder of what was an important and influential musical genre. It was a genre that inspired future generations of R&B groups and singers. Over thirty years later, the new jill swing sound can still be heard in their music.
New Jill Swing 1988-94.
THIS IS GOLDWAX 1964-1968.
This Is Goldwax 1964-1968.
Label: Kent Soul.
Format: CD.
Quinton Claunch was born on December 3rd, 1921, in Tishomingo, Mississippi. However, in the early forties he moved to Muscle Shoals, Alabama, where his music career began.
Initially, Claunch was the guitarist in various country music groups. Then in 1943, he formed The Blue Seal Pals with Edgar Clayton. Another member of the band was Bill Cantrell, who later, would cowrite a number of hit singles with Claunch.
Soon, The Blue Seal Pals were regulars on WLAY, an AM station in Muscle Shoals. This was just the start. They then moved to a rival station, WJOI, in Florence. The group were on the move once again, and became regulars on Nashville station WSM. This resulted in them becoming regulars and favourites at the Grand Ole Opry. However, in 1948 Claunch was on the move.
Following his marriage in 1948, Claunch moved to Memphis, Tennessee. That was where he met an old friend, and former WLAY disc jockey Sam Phillips, who had founded Sun Records. Claunch played on guitar on recordings by Carl Perkins, Charlie Feathers and Wanda Jackson. However, music wasn’t his only source of income. During this period, Claunch opened a hardware store. He didn’t turn his back on music though.
In 1954, Claunch and Cantrell cowrote “Daydreamin'” for Bud Deckelman. However, it was Jimmy C. Newman who had a hit with the song. “Daydreamin'” wasn’t the only hit single Claunch would write.
Three years later, in 1957, Claunch and Cantrell cofounded Hi Records with Ray Harris and Joe Cuoghi. The label went on to become one of Memphis’ best known Southern Soul labels. However, in the early days, Claunch wrote over 200 songs and was also the in-house producer. Two years after cofounding Hi Records, it was a relatively successful local label. Claunch sold his share of the label in 1959, to grow his hardware business. Four years later, he returned to the music industry.
It was in 1963 that Claunch met pharmacist Rudolph V. “Doc” Russell and attorney Robert Dobbs. The three men founded a new label, Goldwax Records, which specialised in releasing gospel and Southern Soul. Later that year, the nascent label released its first single, “Darling” by The Lyrics. This was the start of the Goldwax Records story.
Recently, Kent Soul, an imprint of Ace Records, released “This Is Goldwax 1964-1968.” It features twenty-eight tracks, including contributions from James Carr, Spencer Wiggins, George and Greer, The Ovations, O.V. Wright, Timmy Thomas, Barbara Perry and Jeanne Newman.
Fittingly, it’s James Carr’s seminal Southern Soul ballad “The Dark End Of The Street” that opens the compilation. It’s a soul-baring performance bristling with emotion as if Carr has lived the lyrics. Despite the quality of the single, it only reached seventy-seven on the US Billboard 100 and ten on the US R&B charts in 1967. There’s two other contributions from Carr. This includes the uptempo stomping single “Freedom Train,” which was released in 1968, and features lyrics full of social comment. Then there’s Carr’s impassioned and needy reading of “A Man Needs A Woman,” which was released in 1967. It’s another of his finest singles.
Spencer Wiggins was another of Goldwax Records’ biggest artists. The heartachingly beautiful ballad “Uptight Good Woman,” released as a single in 1967, epitomises everything that’s good about Southern Soul. Quite different is the catchy Memphis dancer “I’m A Poor Man’s Son.” It was the B-side of “That’s How Much I Love You” which was released in 1968. “Once In A While (Is Better Than Never At All)” was released in November 1968, and was Carr’s penultimate single on Goldwax Records. It’s a beautiful soul-baring Southern Soul ballad.
Two unreleased tracks feature on Kent’s 2009 compilation “Goldwax Northern Soul.” The first is “To Me It’s Storming” by “George and Greer.” The duo was George Jackson and Spencer Wiggins. They only released one singe, but this was one of many demos the pair recorded. The other unreleased track on “Goldwax Northern Soul” was “What’cha Gonna Do” an urgent tale of hurt and heartache by Phillip and The Faithfuls.
“I Don’t Want To Take A Chance” by ‘Wee’ Willie Walker lay unreleased until 2004, when it featured on “The Goldwax Story Volume 2.” It features an emotion bristling with emotion and sadness. He scare to “take his baby back” in case she brings him “misery” and he’s “hurt again.” It’s a powerful and moving song that. There’s also a cover The Beatles’ “Ticket To Ride” that was released as a single in 1967. “In 1968, the single “A Lucky Loser” was leased to the Checker label. However, this soulful dancer with stabs of horns accompanying Walker’s powerhouse of a vocal. It’s a mixture of emotion, happiness and joy.
Barbara Perry features twice on “This Is Goldwax 1964-1968.” The first is “Say You Need It,” which was recorded at the Fame Studios in Muscle Shoals. This soulful earworm was released as a single in 1967, but failed to chart. Perry’s other contribution is the uptempo hidden gem “A Man Is A Mean Thing.” It wasn’t released until it featured on Kent’s “New Breed R& with Popcorn.”
One of the most beautiful, moving and powerful songs on the compilation is “That’s How Strong My Love Is” by O.V. Wright with The Keys. It was released as a single in 1964 and is one of the highlights of “This Is Goldwax 1964-1968.”
Closing “This Is Goldwax 1964-1968” is a tender, heartfelt and emotive rendition of “He Called Me Baby” by country singer Jeanne Newman. It was released a single in 1967 but wasn’t a commercial success. This was her one and only single on Goldwax Records.
Sadly, Goldwax Records folded in 1969, because of differences between Claunch and Russell. The other reason was Carr’s erratic behaviour. However, by then, Carr was already unwell and can’t be blamed for demise of the label. It was primarily the differences between Claunch and Russell that were to blame for demise of Goldwax Records.
The label was relaunched in the mid-eighties by Memphis businessman Elliott Clark. Claunch returned and became its president until the nineties. However, Goldwax Records was never the label it was between 1963 and 1969. That was the label’s heyday.
A reminder of one of Memphis’ most important soul labels is This Is Goldwax 1964-1968. It’ll be of interest to all soul fans, and especially lovers of Southern Soul.
This Is Goldwax 1964-1968.
JOHN BARRY-SOMETHING’S UP! FILM, TV AND STUDIO WORK 1964-1967.
John Barry-Something’s Up! Film, TV and Studio Work 1964-1967.
Label: Ace.
Format: CD.
Release Date: 27th September 2024.
By 1967, composer and conductor John Barry was enjoying a golden era in a career that began in 1957. He had come a long way in a short space of time and already written the soundtrack to four James Bond films and won two Academy Awards for Born Free in 1966. For the thirty-four year old it was just the start.
During a long and illustrious career, Barry won six Academy Awards, a Granny, a BAFTA and a Golden Globe Award. He had come a long way from the early part of his life spent working in the cinemas his father owned in the North of England. However, both of Barry’s parents would influence him in later life.
John Barry Prendergast was born on the ‘3rd’ of November 1933, in York, Yorkshire, in England. He was the youngest of four children and came from a musical family. His mother was a classical pianist, and while he was educated at St Peter’s School, York, he received composition lessons from composer Francis Jackson who was the director music at York Minster. This stood him in good stead during a career spent composing for television and film.
This love of film began when Barry worked in the cinemas his father owned. He had started life as a projectionist during cinema’s silent era. Little did his father realise when his son started working for him that one day, his son would be composing for some of the biggest films on the silver screen.
Later, Barry would say that his childhood interests influenced not just his tastes, but his interests. This included a lifelong love affair with cinema.
Before embarking upon a musical career, Barry was called up for his national service. The two years he spent in the British Army were spent playing the trumpet. He also took a correspondence course with American jazz composer William Russo. Already Barry was thinking how he was going to spend his life?
After completing his national service, he worked as an arranger for Jack Parnell and Ted Heath’s orchestras. However, in 1957 The John Barry Seven was formed and they went on to enjoy seven hit singles on EMI’s Columbia label. The hit singles included Hit and Miss which became the theme tune to the BBC TV series Juke Box Jury.
By 1959, Barry was working as an arranger for a number of artists signed to EMI. This included the Three Barry Sisters and Adam Faith. However, later that year Barry’s breakthrough came.
He had been asked to compose the theme to Drumbeat, a BBC TV program that the corporation hoped would be a rival and compete with ITV’s Oh Boy. Although only twenty-two episodes were aired, the program launched the career of Faith and Barry.
In 1960, Barry composed the score for Beat Girl, which was Faith’s first film. When the music was later released it became the first ever British soundtrack album.
Later in 1960, Barry composed the score to another Faith film, Never Let Go. The two men were reunited two years later.
1962 was a busy year for Barry. The twenty-nine year old composer wrote the score for Never Let Go, which featured Faith. Then Barry orchestrated the score for Mix Me a Person and composed, arranged and conducted the score for The Amorous Prawn. By then, he his star was already in the ascendancy.
That was why when producers of Dr. No, the first James Bond film, were unhappy with Monty Norman’s theme and Noel Rogers, the head of music at United Artists contacted Barry. He came up with a new version of The James Bond Theme, which was still credited to Monty Norman. However, he wasn’t asked to work on From Russia With Love. That honour fell to Barry.
He composed the score for eleven of the next fourteen James Bond films, during a relationship that lasted twenty-five years. This also included 1964s Goldfinger, 1965s Thunderball and You Only Live Twice which was released in 1967. By then, Barry’s career as television and film composer was burgeoning.
Three years earlier, in 1964, Barry had written the score to Zulu which was directed by Cy Endfield.
The following years, 1965 the thirty-two year old composer wrote the soundtrack to the espionage film, The Ipcress File, which starred Michael Caine. It won a BAFTA Award for the Best British film released in 1965. However, the following year was a game-changer for John Barry.
In 1966, Born Free, the British drama produced by Sam Jaffe and Paul Radin was released. The score was written by Barry, who was nominated for two Academy Awards. This included Best Original Score and Best Original Song. For thirty-three year old Barry this was the biggest achievement of his career.
For many critics and cultural commentators, he was at the peak of his powers. A reminder of his early work features on ‘John Barry-Something’s Up! Film, TV and Studio Work 1964-1967,’ which will be released by Ace on ‘27th’ September 2024. It features twenty-five tracks by John Barry.
Opening the compilation is ‘The Syndicate’ by John Barry and His Orchestra. He produced the track and cowrote it with Trevor Peacock. The track originally featured on the cast album of ‘Passion Flower Hotel’ in 1965. Then it was released as a single in 1966. It has a big, bold, brassy and dynamic sound that typifies mid-sixties British soundtrack albums.
‘Troubadour’ was recorded by Barry in 1964 and released on United Artists as the B-Side of ‘Goldfinger’ single. The track finds Barry moving from the production side to bandleader, on this atmospheric track that’s a hidden gem from his back-catalogue.
‘A Man Alone’ featured on the soundtrack to the film adaptation of Len Deighton’s The Ipcress File. It’s one of the highlights of the soundtrack and was released as a single in 1965. Atmospheric and cinematic, it brings to life the characters in what was without doubt one of Deighton’s finest spy thrillers. On the B-Side was the cinematic sounding ‘Barbara’s Theme.’ Barry’s arrangement with vibes and strings has a wistful sound and was too good a track to be relegated to the B-Side.
Three of the best known tracks on the compilation are Barry’s themes from the James Bond franchise. This includes ‘Goldfinger’ from his 1966 album ‘The Sounds Of John Barry.’ It’s without doubt, one of the best know of Barry’s Bond themes. The second Bond theme is ‘Thunderball,’ which was the fourth Bond film. It also featured on ‘John Barry Conducts His Great Movie Hits,’ which was released in 1967. ‘You Only Live Twice’ featured former Edinburgh milkman turned secret agent, Sean Connery. Again, Barry composed the soundtrack, and the unmistakable title-track was released as a single.
Barry composed the soundtrack to two comedies set in swinging London that were directed by Richard Lester. The first was The Knack …and How to Get It which was released in 1965. Barry’s string-drenched arrangement on ‘The Knack’ featured harmonies and Hammond organ, and was one of the highlights of the soundtrack. Two years later, in 1967, he composed the soundtrack to Something’s Up! Initially, the title-track is understated but becomes dramatic and later, almost menacing showcases Barry’s considerable talents as a composer of soundtracks.
In 1966, the BBC launched a new crime drama, Vendetta. Barry composed the music. The title-track is dramatic, moody and atmospheric. CBS released the ‘Danny Scipio Theme’ as a single in 1966, but it wasn’t a commercial success. It has an equally dramatic sound but the arrangement is slower and spacious.
Closing the compilation is the iconic ‘Theme from Born Free.’ The film was released in 1966 and Barry won two Academy Awards. This included the Academy Award for Best Original Score and the Best Song. Barry was about to enjoy one of the most successful periods of his long career.
For anyone yet to discover the delights of Barry’s music then this new compilation is a good place to start. ‘John Barry-Something’s Up! Film, TV and Studio Work 1964-1967’ and a previous compilation released by Ace, ‘The More Things Change-Film, TV and Studio Work 1968-1973 By John Barry. These tow compilations will be the start of a voyage of discovery through the work of one of the greatest composers of his generation.
Sadly, John Barry died on the ’30th’ January 2011, aged just seventy-two, in Oyster Bay, New York. However, the award-winning York born composer left behind a rich and eclectic musical legacy that includes the tracks on ‘John Barry-Something’s Up! Film, TV and Studio Work 1964-1967’ which are a reminder of a musical master craftsman at the peak of powers.
John Barry-Something’s Up! Film, TV and Studio Work 1964-1967.
RODION G.A.-FROM THE ARCHIVES 1981-2017.
Rodion G.A.
From The Archives 1981-2017.
Label: Ace
Format: CD and 2LP.
In April 2022, I pitched the idea of a new Rodion G.A. compilation to Ace. This was a just over a year after the death of Rodion-Ladislau Rosca, the cofounder of Rodion G.A. By then, four years had passed since the release of the group’s previous album ‘Rozalia.’ Since then, there had been a clamour for a new album from Rodion G.A. There was plenty of unreleased material in the archives, and it was groundbreaking and innovative like the music on previous albums. I hoped that it wouldn’t take long to reach and agreement and release a new compilation.
However, when I pitched the album the pandemic was still affecting everyday life, and especially the music industry. As a result, it would take longer than usual to get to the stage when contracts were being signed.
Before that, the A&R committee had to listen to the unreleased material and approve the compilation for release. The original and correct title was ‘From The Archives,’ as the twenty-one tracks were recorded at different stages of Rodion G.A.’s career. Eventually, the contract was signed in October 2023, eighteen months after I originally pitched the compilation to the label. Now the hard work could begin as’From The Archives’ was to be released on CD and on vinyl as a double album.
I was commissioned to write the liner notes, and had also compiled, programmed the album and contributed four edits. Initially, the liner notes were meant to be 5,000 words, but I was told they could be longer to tell the definitive story of Rodion-Ladislau Rosca and Rodion G.A. Eventually, the liner notes came in at 7,000 and told the story of a groundbreaking musician, the band he cofounded and the changing political landscape in Romania during his lifetime. Along with previously unseen photos of Rodion-Ladislau Rosca and Rodion G.A. I envisaged a thirty-two page booklet for the CD version. However, already there were a few problems.
Usually, I like to work with my own choice of mastering engineers and graphic designers. I was led to believe that this would be okay. It turned out that the in-house mastering engineer would be used, and so would the label’s favoured graphic designer. This was a disappointed as I had wanted to use people who had worked on a previous Rodion G.A. album I compiled.
There were a few other problems over the next few months, including with the artwork. Then rather than reproducing the liner notes in their entirety, they were heavily and badly edited to save space in the booklet. No longer did the liner notes tell the definitive story of Rodion-Ladislau Rosca and Rodion G.A. This was hugely disappointing and I was far from happy about this, and with the person who edited the liner notes.
Having been mastered by the label’s in-house mastering engineer, the graphic design and new album cover were completed in early 2024. By then, the album was entitled From The Archives 1981-2017, and was released on ’26th’ April 2024, just over three years after the death of Rosca, the driving force behind Rodion G.A. This is his story and the story of the band he cofounded.
Who Was Rodion-Ladislau Rosca?
The words enigmatic, innovator, pioneer and maverick describe the late, great Rodion-Ladislau Rosca. He was, without doubt, one of the most talented, inventive and influential European musicians of his generation. He was also an inventor, philosopher, poet and a man who dared to dream.
Rosca spent a lifetime creating music that was ambitious, groundbreaking and innovative. He was a pioneering composer, talented multi-instrumentalist and producer. Continually the maverick musician pushed musical boundaries to their limits, and sometimes, way beyond. This he did firstly as a solo artist, and then with Rodion G.A, the group that he cofounded.
Rodion G.A. were, and still are, undoubtably, one of Romania’s biggest and most important bands. They were also one of the most influential and innovative. It’s no surprise that the band’s music has influenced several generations of musicians. The same can be said of all the music that Rosca made throughout what was a long and illustrious career.
Nowadays, he is remembered as “the Godfather of Romanian electronic music.” During a career of two parts, Rosca was a prolific composer and musician, constantly recording new music. That music was his legacy.
As legacies go, the music of Rodion G.A. is something that the world can continue to enjoy even after his death on 26th, March 2021, aged just sixty-seven. The man behind some of the most progressive and pioneering music ever to come out of Romania had lost his brave battle with liver cancer and Hepatitis B and C.
He left behind a daughter Isabella and two grandchildren, Beatrice and Dennis. To them he was their father and grandfather, but to his legion of fans he was a musical giant, and “the Godfather of Romanian electronic music.”
The Early Years.
Rosca was born in Cluj, the main city in Transylvania, on 4th, April 1953. He was half-Romanian and half-Hungarian. His mother Rozalia, was Hungarian and brought Rosca up.
From an early age, it was apparent that he was an intelligent child. He was also inquisitive and thoughtful. The only problem was that in school Rosca used to sit and daydream, letting his mind wander and imagination run riot. This: “frustrated his teachers and mother.”
Looking back on his formative years Rosca remembered: “ I was dreaming all the time, sailing somewhere on another planet, thinking about life and death, girls and music.” By then, music was already playing an important part of his life.
Rosca grew up in Romania during the open period between 1965 and 1972. During this period, there was a sense of hope for the new generation of young Romanians. This came about when Nicolae Ceaușescu came to power after the death of Gheorghe Gheorghiu-Dej, the first Communist leader of Romania. The former electrician turned politician passed away on 19th, March 1965.
A Changing Of The Guard In Romania.
In the beginning, Ceaușescu was a popular leader. He ensured that Romania had a free press. The new President also challenged the authority of the USSR, ensuring that Romania’s foreign policy had a greater degree of independence.
In 1967, Romania was the only Communist country to maintain diplomatic relations with Israel following the Six Day War.
Then in 1968, Romania was the only Warsaw Pact country which refused to participate in the Soviet-led invasion of Czechoslovakia. In a speech in Bucharest on 21st, August 1968, Ceaușescu denounced the invasion as a: “grave error.” The Romanian President was making a stand, and it looked like country was changing.
For young Romanians like Rosca, the open period in between 1965 and 1972, was a good time to grow-up. During this period, he was exposed to an eclectic selection of musical influences. Each night, he listened to the music that filled the airwaves. Rosca was like a sponge, absorbing an eclectic selection of music. This included everything from rock, pop, psychedelia and blues to jazz. The music he heard on the radio was primarily English and American. Some of these artists headed to Romania during the open period. This came about after Ceaușescu was invited to the USA. At that time, he was seen as a friend of the USA.
With his easing of the censorship laws, some of the biggest names in music headed to Romania. Among the luminaries of music to tour Romania were Blood, Sweat and Tears, plus jazz legends Lionel Hampton and Louis Armstrong. They were greeted by appreciative audiences, who until then, had only heard these artists on the radio. This included Rosca, who was about to immerse himself into Cluj’s music scene.
Becoming The “King of Records.”
Cluj sits in the middle of Transylvania. Between 1965 and 1972, it had a healthy musical scene. Rosca remembered the city: “as having a thriving and vibrant musical scene,” and he was about to dive headlong into it.
Among Cluj’s leading bands were progressive rock groups like Cromatic and the Experimental Quartet. Soon, Rosca had immersed himself in the local music scene and had established a reputation as a prolific and voracious collector of vinyl. As his reputation grew, Rosca became known as “the King of Records”.
Cluj’s very own “King of Records” would go to any length to add to his vinyl collection. Rosca made cross-border trips to Hungary, where he stocked up on hard-to-find albums. Before long, he had a record collection that was unrivalled. It included the classic rock of Led Zeppelin, The Beatles, Jimi Hendrix and The Who. However, Rosca didn’t just restrict himself to classic rock.
He was also interested in the more progressive, electronic bands of the era, including groups from Eastern and Western Europe. This included Jethro Tull, Emerson, Lake and Palmer and Yes. Other favourites included West Germany’s Kraftwerk, East Germany’s Karat, Romania’s Sfinx, Czechoslovakia’s Matador and Hungary’s Skorpio. These eclectic and esoteric influences would influence Rosca’s future musical career.
How It All Began.
From the late sixties, it became apparent that Rosca was going to make a career out of music. To do this, he had to forge his own unique sound. Rock music dominated Romanian music during this period. However, the music Rosca started to create in 1967 was very different from rock music.
Aged just fourteen, Rosca started experimenting musically, during what was an eight year musical journey. “My mother bought me a Tesla Sonet Duo reel-to-reel tape recorder, and I borrowed another from a friend. They had two tracks and three speeds 2, 4.5 and 9 cm per second. Soon, I was making music.”
Before long, Rosca was building soundscapes that featured just his vocal and guitars. “I used the multitrack recording method, because I had no group at that time and I was eager to record all my ideas and background voices at the same time. I discovered the flanger effect by using two different reel-to-reel recorders, and in some tracks used echo and delay.”
The music Rosca made over the next few years was understated, sparse, spartan, spacious and simple. It was a less-is-more approach to music making. This music could be described as improvisational and experimental and sometimes, headed in the direction of avant-garde. It was innovative music that was cerebral, cinematic, sometimes haunting and way ahead of its time. Rosca was a prodigious talent, and this was the start of his musical adventure, and a lifelong love affair with music.
A New Beginning.
A year later, Rosca’s life was transformed when he changed schools. Given her son’s passion for music, his mother Rozalia, sent him to Cluj High School of Music. No longer did he spend his days daydreaming. Instead, he was inspired by the new teachers. He studied clarinet and guitar. Meanwhile, the teachers attempted to quench his intellectual thirst. Suddenly, he was keen to learn, constantly questioning and displaying a keen intellect. It was a transformation that pleased both teachers and Rosca’s mother.
By then, music wasn’t his only interest. Aged fifteen he started flying gliders, and for the next two years was a regular at a local aero club. Then his life was turned upside down.
Disaster Strikes.
A large tumour was discovered under Rosca’s right arm. It was a hugely worrying time for Rosca and his mother. After six months in hospital he was cured.
When Rosca returned home later in 1970, he continued to study clarinet and guitar, and graduated from Cluj High School of Music. Meanwhile, he continued making music in his makeshift home studio.
Rodion’s Musical Journey Continues.
Two years later, in 1972, Rosca was nineteen, and like many young Romanians, had grown his hair. This didn’t go down well. “I was hunted by the Militia, treated like a criminal just because I had long hair”. Longhairs as they became known, were viewed with suspicion by the authority.
Meanwhile, Rosca remembers people were constantly complaining about everything he did: “The noise of my motorbike, and when I worked with my tools. They complained about the noise made by my guitar, when I recorded music onto my reel-to-reel tape machine.” However, his mother always remained supportive of her son’s love of music, and encouraged him to follow his dream of become a musician.
Soon, Rosca made tentative steps into Cluj’s burgeoning local music scene. Before long, he became a familiar face in the city’s clubs before the next chapter in his career unfolded.
Between 1972 and 1975, Rosca continued to make music in his bedroom. By 1975, he had recorded around 100 solo tracks. He was still a familiar face in the Cluj music scene. However, by then, the political landscape had changed drastically in Romania.
Darkness Descends In Romania As The Political Landscape Changes.
On his return from these visits, Ceaușescu was inspired to change direction politically. He was now an admirer of the political and economic ideology of China and North Korea. Worryingly, he admired the cult-like figure of Kim Il Sung. Ceaușescu wanted to implement the North Korean policy of Juche Idea. For aspiring musicians like Rosca, this wasn’t good news.
Suddenly, the role of the Communist Party grew within Romania. This would continue until the fall of Communism in 1989. Meanwhile, it was as if darkness had descended in Romania, and the country was transported back in time due to Ceaușescu’s volte-face. Censorship returned, books were banned and burnt, and a list of banned authors was circulated.
It was also a dangerous time to be a musician in Romania. Just like artists and writers, they were persecuted by the government. The brutal, Communist regime didn’t like free thinkers, or those who were creative or had a rebellious streak. With Ceaușescu ruling Romania with an iron fist, it wasn’t a good time to form a new band. However, that’s what Rosca did in 1977.
There’s A New Band In Cluj.
This was the genesis of the band that became Rodion G.A. For the first year, the nascent band played gigs around Cluj. During that time, the lineup continued to evolve. Then in 1978, a fortuitous meeting resulted in a new lineup of the band and a new name.
At the time, Rosca was working in a factory in Cluj. So was Gicu Fărcaș, a bassist who was also a talented drummer. The two men didn’t know each other, but quickly, bonded over their shared love of music.
Rosca let Fărcaș hear some of the songs he had recorded on his reel-to-reel tape recorders a few years earlier. He was amazed to hear that his new friend and future bandmate had played all the instruments and added the three vocals. They decided to join form a band together. Then, two became three.
The pair were joined by guitarist Adrian Căpraru in the as yet, unnamed band. With the lineup complete, all that was needed was a name.
Rodion G.A. Is Born.
It was Farcas who suggested that Rodion should be the band’s name. Then Rosca came up with the idea of adding G.A. as the other two members of the band were Gicu and Adrian. A new band was born, and became one of the most popular in Romania.
Before that, the newly named Rodion G.A. started honing their sound. Over the years, Rosca had amassed a myriad of musical equipment. When the new band was formed, he brought along his trusty to reel-to-reel tape recorders, drum machines, phasers and flangers. He even had a few secret weapons within his music arsenal. This included a toy Casio VL Tone, an East German Vermona drum machine and a Soviet made Faemi organ. It was an eclectic and leftfield collection of instruments and equipment. They played a hugely important part in the band’s unique and inimitable sound over the next few years.
On The Road.
Soon, the band were honing their sound playing live. Quickly they became a popular draw on the local musical scene. However, before long Rodion G.A. were playing further afield.
When the band embarked upon tours they played through a custom-made P.A. Amps and speaker cabinets proudly bore the Rodion G.A. logo. By then, Rosca had already established a reputation for building speakers. This included the ones the band used when they toured.
Through the handmade speakers and custom-made P.A. Rodion G.A. played their unique, genre-melting sound. It was totally different from the music other Romanian groups were playing. Sometimes, the band’s music was dense, multilayered, complicated and complex. Other times it was raw and experimental, but always innovative. Seamlessly, the group switched between and combined disparate musical genres. Rosca’s love of rock music influenced the group. Their music incorporated everything from hard and progressive rock to psychedelia, Kosmische Musik as well as experimental and electronic music. This was unheard of in Romania, and before long, the band’s star was in the ascendancy.
TV Stars.
By 1980, Rodion G.A. were a popular draw on the live circuit, and had fans all over Romania. However, as the year drew to a close, they were about to play to their largest audience.
Rodion G.A. had been invited to play live on Romanian television on New Year’s Eve. They were seen by a huge audience all over the country. It was the first, and sadly, only time the band appeared on television.
The following year, 1981, was another first for the band. They entered the studio for the first time. There was a problem though.
Electrecord.
When Rodion G.A. weren’t touring Rosca continued to write new music. However, there was a problem. The band hadn’t recorded any music.
To further complicate matters, in Romania, like other Communist countries, the only record label was owned and controlled by the state. If Rodion G.A. were going to release any music, it would have be on the state-owned Electrecord label.
Recording Studio Debut.
In 1981, Rodion G.A. headed to Radio Cluj Studio. It was the first time they had been in a recording studio. That day, the band recorded two tracks written by Rosca, ‘Acolo Unde E Mister’ and ‘Amintiri.’ Both tracks featured on the ‘Formații Rock (5)’ compilation which was released later in 1981. It was only released within Romania by the Electrecord label, and nowadays, copies are a rarity. Forty-three years later, these two tracks feature on ‘From The Archives 1981-2017.’
A Return To The Radio Cluj Studio.
At a second session at the Radio Cluj Studio, five other tracks were recorded by Rodion G.A. Sadly, they were never released. However, during the session, the recording engineer allowed Rosca to record the five tracks onto his own tape machine from the studio’s main mixing desk. This allowed the band to use these tracks to build new tracks. Some of these new tracks were played on Romanian radio stations and reached the top of the Romanian charts.
For Rosca’s mother, Rozalia, this was a proud moment. She had always been supportive of her son’s musical career, always encouraging him, knowing that one day, he and Rodion G.A. would enjoy success. She was proud of the music they recorded, telling her friends and neighbours that her son’s band had been on the radio and was topping the charts. Rodion G.A.’s second recording session had proved fruitful.
Sadly, the original lineup of Rodion G.A. didn’t record any more music. However, Rosca continued to record new music in using his impressive array of equipment in his home studio. This included a film score.
Mondo Umano.
In 1981, Rosca wrote the score to ‘Mondo Umano’ which was directed by Ioan Grigorescu. As the film opens, ‘In Linistea Noptii’ plays and the inimitable sound of Rodion G.A. can be heard. However, neither Gicu nor Adrian played on the score. It was essentially a solo project by Rosca. The film proved popular in Romania. 1.8 million cinema-goers watched the movie between its release in 1981 and 2014. This introduced Rosca’s music to a new and wider audience.
Rodion G.A.’s Success Continues.
Meanwhile, in the early eighties the band continued to play live, and its popularity grew. That was despite not releasing any further recordings. This would’ve resulted in more more publicity and exposure for the Cluj-based triumvirate.
Despite this, their popularity grew and they achieved a higher profile. This they did the hard way, by embarking upon a series of extensive tours.
During this period, Rodion G.A. played everywhere from festivals to clubs and restaurants. They were a firm favourite among Romanian music fans. However, all the time the band played live they had to be on their guard
Bands never knew when the state censors would arrive at concerts. Luckily, Rodion G.A. became expert at avoiding the state censors. They were known to chastise a group for singing: “yeah, yeah, yeah.” This was hugely frustrating and stifled musical creativity. It was very different to when Rodion started making music as a fourteen year old in 1967. Back then, there was a sense of hope within Romania. Not any more.
For Romanian bands like Rodion G.A., trying to make a commercial breakthrough during the Communist era was almost impossible. If they released singles and albums it had to be on the state-owned Electrecord label. This wasn’t going to make them rich. Touring was the band’s only income stream, and the only way to lift their profile. However, by the early eighties, other opportunities and success were coming Rosca’s way.
Other Opportunities For Rodion.
In 1983, Rosca lost his job in the factory he worked in. This meant he was able to devote himself to music full-time.
Still he continued to tour with Rodion G.A. However, he was dividing his time between touring and a variety of different projects.
He was asked to write and record the score to an animated film, ‘Delta Space Mission.’ It was written and directed by Calin Cazan and Mircea Toia.
Rosca retreated to his home studio where he wrote and recorded his score. Unfortunately, the groundbreaking music he wrote and recorded was turned down. When the film was released in 1984, it featured a score by Romanian electronic-pop producer Adrian Enescu. Sadly, it would be another thirty years before Rodion G.A.’s score for ‘Delta Space Mission’ was released.
Meanwhile, Rosca was kept busy. When the band wasn’t playing live, he was writing and recording new music. Some of this music was recorded using instruments he rescued and modified. His genius extended to transforming everyday devices into musical instruments. They featured on the music he made. By then, Rosca was a versatile composer who was able to record music for different occasions.
He was writing library music that was was used on television programs and documentaries that were shown on Romanian TV. This was just part of this chapter in his varied career.
Those who attended the theatre, concerts, festivals and even gymnastic contests heard the music Rosca wrote and recorded. He wrote several tracks that were used for gymnastic contests. This included ‘Diagonala,’ which in 2013, featured on ‘The Lost Tapes’ compilation.
However, Rosca continued to showcase his versatility as a composer and musician. He wrote the music for a play and a ballet. Both were performed by the Romanian National Opera in Cluj. This was one of the most successful periods of Rosca’s career. His music was being heard by a new and different audience to those that saw Rodion G.A. play live.
The Band Plays On.
Meanwhile, Rodion G.A. continued to play live and were a popular draw. In the summer they played the festival circuit, and clubs and restaurants in seaside towns. By then, the band was one of the most popular in Romania. They were also an award-winning band.
“And The Winner Is…”
One of of the awards Rodion G.A. won was the Special jury Prize at the Top T Buzau festival. Then in 1987 they won the Gold Anchor Prize at the Mangalia Music Festival. However, was it a Pyrrhic victory?
Three Becomes One.
In 280 BC, King Pyrrhus of Epirus’ army suffered what proved to be devastating and irreplaceable casualties when they defeated the Romans at the Battle of Heraclea in 280 BC. This was also the case at the Battle of Asculum in 279 BC, during the Pyrrhic War. In 1987, comparisons were drawn with Rodion G.A.’s award-winning performance at the Mangalia Music Festival.
Straight after winning the Gold Anchor Prize at the Mangalia Music Festival, Fărcaș and Căpraru left Rodion G.A. For their fans this came as a shock. The band had been together nine years, and quickly, had become one of the most popular in Romania. Some fans speculated that the departure of Fărcaș and Căpraru was a devastating loss, one that weakened Rodion G.A. so badly that surely, this spelt the end of the road for the band? However, despite Rosca being the last man standing, this wasn’t the case.
The Last Man Standing Continues His Musical Journey.
Following the departure of Fărcaș and Căpraru, Rosca continued to record new music and play live. He was now Rodion G.A. It was essentially a vehicle for Rosca’s music.
When Rodion G.A. played live, mostly it was just Rosca. Sometimes, new musicians were brought onboard. There were changes in the lineup which was fluid. However, the band was still a popular draw when they played live over the next couple of years.
During that period, Rosca continued to write, record and produce new music. He was still a prolific artist, and one who constantly sought perfection. That had been the case throughout his career. When he recorded a new track he would often record numerous versions, seeking to record the definitive version. It had to be how he “heard” and “imagined” the music sounding. Sometimes, he returned to a track recording a new version, making the smallest of changes. Only then was he happy with the track and it was finished. This continued until April 1989, when Rosca’s life was turned upside down.
Loss, Devastation and No More Music.
Just five days after his thirty-fifth birthday, Rosca’s beloved mother Rozalia, passed away on April 9th, 1989. She was 72. He was absolutely devastated. For much of his life he and his mother were inseparable.
Rozalia had always been there for Rosca. She had always been supportive of son’s dream of becoming a musician, and had encouraged him to follow his dream. He wanted to make his mother proud, and did.
Later, when Rodion G.A. were successful, she was so proud. He had been making music since he was fourteen, and now, his band’s music was being played on radio stations across Romania. She would tell her friends and neighbours about the success they enjoyed. This made all Rosca’s hard work worthwhile.
However, after Rozalia’s death he was bereft and heartbroken, mourning the loss of his mother. Suddenly, music no longer seemed important to Rosca. He turned his back on music.
No longer would Rodion G.A. play live, Rosca stopped recording new music. It would be a while before he made a comeback.
What Next For Rodion?
Having turned his back on music after the death of his mother, Rosca had to find a way to earn a living. One thing he had always excelled at was building and repairing speakers. He had built and repaired the speakers that Rodion G.A. used when they played live. Other people needed their speakers repaired. This presented an opportunity for the now, former musician.
Rosca started repairing other people’s speakers. He took pride in being to be able to repair any type of speaker. Nothing was beyond him. People brought their broken speakers to him. Some thought that he would be unable to repair them. When they returned, their speakers were as good as new. Soon, word had spread about Rosca’s ability to repair and build speakers.
As Rosca tried to rebuild his life, change was afoot in Romania. Things would come to a head In December 1989. Romania would become a very different country.
Revolution In Romania.
Change came about as a result of the Christmas Revolution in 1989. It began on 16th, December and ended on Christmas Day. It was an important day for another reason.
That was the day that the trial of Nicolae Ceaușescu and his wife Elena was held by an Exceptional Military Tribunal. The newly formed National Salvation Front had requested a drumhead court-martial. This is a military court-martial, which is usually held in the field, and renders summary justice.
The main charge the former President and his wife faced was genocide. It was alleged on Romania television that they were responsible for the death of 60,000 people. However, the outcome of the trial was predetermined, and Ceaușescu and his wife were found guilty. Both received death sentences and were executed at 4pm, at a military base just outside of Bucharest.
Although the violence continued in some parts of Romania until 30th, December, the execution of Ceaușescu and his wife five days earlier, marked the end of an era for Romania and Romanians. The Christmas Revolution resulted in the end of forty-two years of Communist rule. Communism was consigned to the dustbin of history in Romania. 1990 marked a new beginning for the country, and also for Rosca.
Love Is In The Air.
By 1990, Rosca was still mourning the loss of his mother. It had been a devastating blow to him. Then during a trip to the Someșeni Baths, a health resort in Cluj, he dropped some money. He didn’t realise until two women told him. To thank them, he invited them to join him for juice on the spa’s terrace. Little did he realise that one of the women would become his wife.
After enjoying a juice with the two women, Rosca started dating one of them. This was Cristina. The pair fell in love, and before long, were engaged to be married.
Later in 1990, Rosca and Cristina were married. By then, Rosca who was thirty-seven, wanted to settle down and start a family.
His dream came true the following year, 1991, when their only child Isabella Rozalia Rosca was born. Still mourning the loss of his mother, he decided that his newly-born daughter’s middle name should be Rozalia. It was Rosca’s way of honouring his mother, who had been so supportive of him, and encouraged him to follow his dream. Rosca never forgot his mother, and today her name lives on.
“The King Of Speakers.”
Now a married man with a young daughter, he had to earn a living. Fortunately, business was booming. People came from far and wide to have their speakers repaired.
In 1992, Rosca designed and copyrighted his own logo. This he would use when he was repairing speakers and later, with Rodion G.A.
Over the years, Rosca’s reputation grew, and people travelled from afar to have their speakers repaired. Some brought other electrical items which he quickly repaired. Others commissioned Rosca to build new speakers. This was no surprise. By then, he was known as “The King Of Speakers.”
Eventually, Rosca needed more space to store his vast collection of instruments, musical equipment, amplifiers and speakers he had accumulated over the years. With business booming, he needed more space to repair speakers and build new ones. It was time to move to the country.
Rosca moved to a house in rural Transylvania, where he was able to store all his musical equipment, and continued to repair and build loudspeakers. That’s what he was doing in 2008, when he was rediscovered.
Rodion G.A. Rediscovered.
It had been nineteen years since Rosca turned his back on music. Sadly, by 2008, some music fans had forgotten about Rodion G.A. Not musician, producer and label owner Mihai Antonescu. He was a fan of the band, and had a proposition for one of his musical heroes.
Antonescu and Alexandru Catrina owned and ran Roadrunner Music. They were going to release a compilation and wanted it to feature a track by Rodion G.A. He went in search of Rosca, and found him living in rural Transylvania. The pair spoke, and eventually, he asked if the compilation could feature a track by Rodion G.A. The answer was “yes.”
Rosca went in search of a track that could feature on the compilation. The one he chose was a previously unreleased track, ‘Isabella,’ which begins with a recording of his daughter crying when she was a baby. The track closed the Roadrunner Music compilation ‘The Next Dog Desert Island Selection,’ when it was released later in 2008. Little did Rosca realise that this was the start of a new chapter in his musical career.
Enter Sorin Luca.
By 2012, blogger and filmmaker Sorln Luca was fascinated by the mythology that surrounded Rosca. So much so, that he decided to try to track the reclusive musician down.
Eventually he discovered Rosca. By then, the man who was once one of Romania’s most successful musicians was an almost mythical figure. The filmmaker found him living in Așchileu, in rural Transylvania.
Before long, the pair become friends, and Luca decided to film a documentary about Rosca. Before that, the filmmaker posted a handful of Rodion G.A. tracks online, and footage of the band’s 1980 New Year’s Eve concert on Romanian TV. He had no idea what would happen next.
Soon, Rodion G.A’s music was reaching a new audience worldwide. Meanwhile, Romanian music fans were either discovering or rediscovering the band’s music. This included a collective of young musicians and producers living in Bucharest.
The Comeback.
This was the Future Nuggets collective. They spent their their time unearthing music from Romania’s musical past. When they heard the Rodion G.A. tracks that Luca had posted online, they went in search of the man behind the music.
Having met Rosca, he eventually, agreed to make a comeback later in 2012. It was twenty-three years since he turned his back on music. Now he was about to take to the stage once again, and make a much-anticipated comeback.
When Rodion G.A. took to the stage, Rosca, the comeback back King, received a rapturous applause. He was back doing what he loved, and was good at, making music. A year later, the comeback was complete.
The Lost Tapes.
There was still one thing that Rodion G.A. had never done, release an album. This was about to change.
In May 2013, Strut released ‘The Lost Tapes.’ It was a compilation of ten tracks written by Rosca and recorded between 1978 and 1983. Belatedly Rodion G.A.’s music could be heard by a wider audience.
The album was released to widespread critical acclaim. Critics were won over by Rodion G.A.’s groundbreaking and genre-defying music. It featured elements of lo-fi electronics, Kosmische Musik, spacey psychedelia and progressive rock. There were elements of classic rock, experimental music, traditional Romanian folk music and even Middle Eastern influences. This mind-blowing sonic stew introduced a new generation to one of Romania’s greatest bands. Some would get the chance to see the band play live.
On The Road Again.
Rodion G.A. played a series of concerts and workshops in Romania. Then the group headed further afield.
Rodion G.A. were played as far afield as Berlin and Moscow. In April 2014, Rosca was invited to do a workshop at the Red Bull Musical Academy. Later that month, the soundtrack he recorded thirty years previously was belatedly released, ‘Delta Space Mission.’
Delta Space Mission.
In 1984, Rosca had been asked to write and record the soundtrack for Calin Cazan and Mircea Toia’s animated film, ‘Delta Space Mission.’
However, the film featured Adrian Enescu’s score when it was released in 1984. Since then, Rosca’s score lay unreleased in his archives. That was until Record Day 2014.
The seventh Record Store Day took place in the UK on Saturday April 19th, 2014. One of the releases was Rodion G.A.’s previously unreleased soundtrack to ‘Delta Space Mission.’ It was released as a limited edition of 1,000 by Strut.
At last, collectors were able to buy and hear the mythical lost soundtrack Rosca had written and recorded thirty years earlier. They weren’t disappointed. It was another tantalising taste of the mercurial musical genius at the peak of his powers. So was an album released six months later, ‘Behind The Curtain-The Lost Album.’
Behind The Curtain-The Lost Album.
By then, Rosca had made a remarkable discovery. Between 1978 and 1984 he wrote and recorded ‘Behind The Curtain-The Lost Album’ in his basement studio. Safe from prying eyes, especially the state censor, he laboured long and hard to complete the album. However, once he finished the album he had no means of releasing his magnum opus.
Then disaster struck. The tapes containing ‘Behind The Curtain-The Lost Album’ went missing. Rosca had no idea where they were.
By then, fellow musicians and fans of Rodion G.A. had heard that Rosca had spent years recording an album. Rumours surrounded the tapes whereabouts. Had they fallen into the hands of the state censor, or had they been stolen by a jealous, rival musician who had burnt the tapes? There was even a rumour that the tapes had been smuggled out of Romania. Over the years, rumours grew about the whereabouts of the mythical album. Then one day in 2013, the tapes were found.
Between 1967 and 1989 Rosca was prolific, constantly writing and recording new music. Tapes were stored in packing cases and boxes which he kept in the basement of his home in rural Transylvania. He started looking through the boxes. Days turned into weeks. Then one day, in a box, he found some photos and tapes. He had no idea what was on them.
It turned out to be ‘Behind The Curtain-The Lost Album.’ There were also eight other tracks on the tapes. They were recorded during the same period, and featured on the vinyl version of the album when it was released on October 20th, 2014.
Sadly, by then, Rosca was seriously ill. He was bravely battling liver cancer and Hepatitis B and C.
Thirty years after completing ‘Behind The Curtain-The Lost Album’ was released to widespread critical acclaim. It was a career-defining, genre-melting album from the enigmatic musical maverick, and helped introduce his music to a new and wider audience.
The Band Plays On.
Despite Rosca’s failing health, he continued to play live. Following the release of ‘Behind The Curtain-The Lost Album,’ he played concerts in Romania and in London, Utrecht and Berlin. 2014 had been one of the busiest and most important of his career.
He had released two albums, ‘Delta Space Mission’ and ‘Behind The Curtain-The Lost Album,’ and played workshops and concerts at home and abroad.
Over the next few years, Rodion G.A. continued to play live in clubs, and at festivals. There were appearances at workshops and even a film festival.
In 2015, the band travelled to the Danish capital Copenhagen. Then in July 2016, they played at the prestigious Electric Castle festival, at Banffy Castle, in Cluj. By then, Rosca was working on a new project, ‘The Last Album.’
The Last Album.
Since the comeback of Rodion G.A., the band had been playing in clubs at home and across Europe. Often, Rosca was exposed to dance music which interested him, and when he began recording his new album, this influenced him. Rosca decided to mix the old with the new.
By then, Rosca had updated his studio. The new technology presented him with endless opportunities to record a groundbreaking album where he combined his own genre-melting sound with elements of dance music.
Despite his poor health, he laboured long and hard in his basement studio recording a new album. The months turned into years as Rosca recorded eleven new tracks. In the midst of recording what would eventually become ‘The Last Album,’ Rosca released another album, ‘Rozalia,’ in 2018.
Rozalia.
Rozalia was the name of Rosca’s late mother. He wanted to pay tribute to her with the new album. She had been so supportive of him and encouraged him to follow his dream. Now this dream was a reality and his music had found an audience worldwide.
In 2018, Rodion G.A. released a new album, Rozalia,’ on the Inversions’ label. It was the first album the band had released in four years, and was eagerly-awaited.
It featured nine previously unreleased tracks. The instrumental tracks for what eventually became ‘Nu Tu Vei Fi,’ ‘Ore,’ ‘Bătrânul Cais’ and ‘Moment’ were recorded at the Radio Cluj Studio in 1981, with Rosca then adding vocals at his home studio. ‘Tamburași,’ ‘Satul De Roua’ and ‘Tic Tac’ were all recorded at a session in 1983. ‘Singur Pe Drum’ was written by Rosca when he was a teenager, and recorded at his home studio in 2010. The newest track brought the album to a close.
Unlike previous albums, ‘Rozalia’ had a rougher, rawer sound with Rodion G.A. fusing garage and psychedelic rock. In doing so, it showcased the band’s versatility and Rosca’s ability and determination to reinvent their music. Critics were won over by ‘Rozalia’ which was released to plaudits and praise on 2nd, March 2018. Little did anyone realise that this would be the last album Rodion G.A. would release during Rosca’s lifetime.
Rodion’s Final Years.
Following the release of ‘Rozalia,’ Rosca’s health was deteriorating. Despite that, he continued to work on ‘The Last Album’ and played live when he could.
In 2019, Rodion G.A. played live in Romania, and in December travelled to London and Brussels. Then in February 2020, Rosca travelled to Lyon for a workshop. Sadly, it was one of the last times he played live. A month later, the global pandemic began and countries across the globe went into lockdown.
Rodion’s Death.
By March 2021, Rosca was seriously ill. He had bravely battled liver cancer and Hepatitis B and C since May 2012. His daughter Isabella had been told that her father wouldn’t recover, and it was only a matter of time. She was devastated and heartbroken. Especially since her mother had died on May 9th, 2017, aged just fifty-one.
On 26th, March 2021, Rodion-Ladislau Rosca, “the Godfather of Romanian electronic music,” passed away, aged sixty-seven. He left behind a daughter Isabella, and two grandchildren Beatrice and Dennis.
Farewell.
Rosca’s funeral took place on March 31st, 2021. Two tracks from ‘The Last Album,’ ‘Bells’ and ‘Don’t Cry If I Die’ were played at the memorial service which celebrated the life and music of “the Godfather of Romanian electronic music.” Rosca was then buried at the Central Hajongard Cemetery, in Cluj, the city where he was born and first found fame.
Meanwhile, fans of Rodion G.A. were in mourning after the announcement of Rosca’s death. Since his comeback, the band had played all over Europe and their groundbreaking music was discovered by a new, and much wider audience worldwide. That’s the case today, with fans of Rodion G.A. enjoying the four albums released between 2013 and 2018. They’re part of the rich musical legacy Rosca left behind.
From The Archives 1981-2017.
During a career of two parts, Rosca was prolific, constantly writing and recording new music. Most of it lies unreleased in the archives, and has never been heard before. That’s until now.
Rosca’s daughter Isabella, allowed this author access to the archives. The result is ‘From The Archives 1981-2017,’ which features twenty-one tracks. Only ‘Acolo Unde E Mister’ and ‘Amintiri’ have been released before. They featured on the ‘Formații Rock (5)’ compilation which was released in 1981. The other nineteen have never been released.
There’s four new edits on the album. Three of these edits, ‘Final Farewell,’ ‘Final Journey’ and Goodbye (Fade Away)’ were part of a lengthy genre-defying studio jam where Rosca played all the instruments. ‘The Journey’ was an edit of ‘Warning’ which Rosca recorded towards the end of his career, whist working on ‘The Last Album.’
‘From The Archives 1981-2017’ shows the different sides to Rodion G.A., a truly versatile and chameleon-like band. Their music was ambitious, groundbreaking, innovative and influential. Led by Rosca, a musical maverick and pioneer, who pushed musical boundaries to their limits and sometimes, way beyond. Seamlessly, the band switches between musical genres and sometimes, fuse disparate genres and influences within a track. That’s the case on from ‘From The Archives 1981-2017,’ which is a tantalising taste of Rodion G.A. at the peak of their powers.
It’s no surprise that nowadays, Rosca is regarded as one of the most talented, inventive and influential European musicians of his generation, nowadays. “The Godfather of Romanian electronic music” is much-missed by his family, friends and fans. However, Rosca left behind a rich musical legacy for future generations of music fans to enjoy, and this includes the music on ‘From The Archives 1981-2017.’ For that, we should be grateful.
From The Archives 1981-2017.
ALICE CLARK-ALICE CLARK.
Alice Clark-Alice Clark.
Label: Solid Japan
Release Date:
Format: CD.
Sadly, all too often, hype and image has triumphed over talent, while commercial success and critical acclaim eludes truly talented artists. Chastened by the experience, many of these artists turn their back on the music industry. They’re content to return to civvy street, free from a world populated by A&R executives, PR companies and radio pluggers. At least the artist knows that they gave it their best shot. Alas, it wasn’t to be. Now they begin the first day of the rest of their life.
This is what happened to Brooklyn born soul singer Alice Clark. Her career began in 1968, and was over by 1972. During that four-year period, Clark recorded just fifteen songs during three recording session. This includes two singles, and her 1972 album Alice Clark which nowadays is regarded as a cult classic.
Sadly, after commercial success eluded her, Clark career turned her back on music. Since then, Alice Clark has remained one of the soul music’s best kept secrets. She’s also one of music’s music enigmatic figures.
Very little is known about Clark. Indeed, her story is almost shrouded in mystery. All that’s known, is that she was born in Brooklyn, and shared the same manager as The Crystals. It was her manager that introduced Clark to singer-songwriter Billy Vera.
The meeting took place at Vera’s publishers, April-Blackwood Music. That afternoon, Vera spent time teaching her some songs that he had written. These songs would be recorded in 1969.
By the time the recording session took place, Clark had taken to occasionally phoning Vera. However, Clark who seems to have been a private person, only ever made small talk. Despite this, Vera remembers: “I got the impression her home life wasn’t that great.” He remembers that Clark: “had kids and belonged to a religious order.” These are the only thing Vera can remember about Clark. However, what nobody who heard Clark as she made her recording debut will forget is…her voice.
For the 1969 session, Jubliee’s studio was chosen. Vera who wrote and would produce the three tracks put together a tight and talented band. The rhythm section featured drummer Earl Williams, bassist Tyrell and guitarists Butch Mann and Vera. They were augmented by trumpeter Money Johnson and backing vocalist Tasha Thomas. This was the band that accompanied Clark on You Got A Deal, Say You’ll Never Leave Me and Before Her Time. Clark delivered confident and assured performances. Two of these songs became her debut single.
With the three songs recorded, the Rainy Day label decided to release You Got A Deal in January 1968. It was a driving slice of soul, with a feisty, vocal from Clark. Horns and harmonies accompany Clark as she’s transformed into a self-assured soul singer. The flip side was Say You’ll Never, a quite beautiful ballad. A number of radio stations began playing the song. Despite this, Clark’s first single wasn’t a commercial success. It was an inauspicious start to Clark’s career.
Nothing was heard off Clark until March 1969. By then, she had recorded her sophomore single. This was the George Kerr, Michael Valvano and Sylvia Moy penned You Hit Me (Right Where It Hurt Me). On the flip-side was Arthur Mitchell and Eddie Jones’ Heaven’s Will (Must Be Obeyed). The two songs were produced by George and Napoleon Kerr. This GWP Production was released on Warner Bros. Clark was going up in the world.
Alas, commercial success continued to elude Clark. When You Hit Me (Right Where It Hurt Me) was released as a single, it failed to trouble the charts. That was despite featuring impassioned, hurt-filled vocal. Tucked away on the B-Side was another ballad, Heaven’s Will (Must Be Obeyed). It features a heartfelt vocal from Clark where the secular and spiritual collide. Both sides of Clark’s sophomore single showcased a truly talented singer. Sadly, very few people heard the single. Clark was still one of music’s best kept secrets.
For the next couple of years, Clark was cast out into the musical wilderness. Then Bob Shad at Mainstream Records decided to take a chance on Clark. Mainstream Records were moving into the soul market, are were signing artists. He decided that Clark fitted the bill, and signed her to Mainstream Records.
Soon, work began on Clark’s debut album. A total of ten tracks were chosen. This included a trio of Bobby Hebb songs, Charms Of The Arms Of Love, Don’t You Care and Hard, Hard Promises. Among the other songs were Jimmy Webb’s I Keep It Hid; Petula Clark and John Bromley’s Looking At Life; Leonard Caston’s Don’t Wonder Why; Juanita Fleming’s Never Did I Stop Loving You and Earl DeRouen’s Hey Girl. The other songs chosen were John Kander and Fred Ebb’s Maybe This Time and Leon Carr and Robert Allen’s It Takes Too Long To Learn To Live Alone. These songs became Alice Clark.
With the material chosen, producer Bob Shad set about putting a band together. Apart from guitarist Ted Dubar, the identity of the rest of the band are unknown. However, Ernie Wilkins was drafted in to arrange the songs on Alice Clark. When it was recorded, the release was scheduled for later in 1972.
By then, three years had passed since a record baring Clark’s name had been released. You Hit Me (Right Where It Hurt Me) had disappeared without trace upon its release in March 1969. Everyone must have been hoping that history wouldn’t repeat itself. Alas, it did.
I Keep It Hid was chosen as the lead single, with Don’t Wonder Why featuring on the B-Side. On its release, I Keep It Hid sunk without trace. Worse was to come. When Alice Clark was released, the album failed to find the audience it deserved. Very few copies of Alice Clark sold. That was a great shame.
During the three years that Clark had been away, she grown and matured as a singer. Despite this, there was to be no followup album. After Alice Clark failed commercially, she turned her back on music. Never again did this talented and versatile vocalist return to the studio. Clark was lost to music.
During her four-year career, Clark had recorded just fifteen tracks. They’re a mixture of beautiful ballads and uptempo songs. On each and every song, Clark breathes life and meaning into the lyrics. Her delivery veers between heartfelt, impassioned and soul-baring, to assured, hopeful and joyous. It seems when Clark stepped into a recording studio, she was transformed.
No longer was Clark the quietly spoken young mother that Vera remembers. Suddenly, the God-fearing Alice Clark disappeared, and was replaced by one that wore her heart on her sleeve. She was comfortable sings songs about love and love lost, and could breathe life and meaning into songs about hope, hurt, heartbreak and betrayal. Despite her ability and versatility, commercial success and critical acclaim eluded Clark.
Chastened by the experience, Clark turned her back on the music industry. Nobody seems to know what happened to her? Mystery surrounds this hugely talented singer, who should’ve gone on to enjoy a long and successful career. Sadly, that wasn’t to be.
By 1973, You Hit Me (Right Where It Hurt Me) became a favourite on the UK Northern Soul scene. Apart from that, very few people had heard of Clark or her music. It would be a while before this changed.
As the years passed by, a few copies of Alice Clark found their way into bargain bins. Curious record collectors who chanced upon a copy of Alice Clark decided to take a chance on this little known album. Having paid their money, they discovered one of soul music’s best kept secrets,..Alice Clark. They were the lucky ones.
Since then, Alice Clark has become a real rarity. Anyone wanting an original 1972 copy of Alice Clark on Mainstream, will need to search long and hard. If they can find a copy, it will take at least $500 to prise it out of the hands of its owner. It feature a truly talented singer who could’ve and should’ve enjoyed widespread commercial success and critical acclaim. Sadly, for Clark that wasn’t to be.
Instead, commercial success eluded Clark, and in 1972, she turned her back on music. Since then, nothing has been heard of her. Mystery surrounds Clark’s life after she turned her back on music. She seems almost to have vanished into thin air. That’s a great shame. Especially given there’s been a resurgence in interest in her music and belatedly, Clark’s music is finding the wider audience that it so richly deserves. What her newfound fans would like to know is whatever happened to the truly talented Alice Clark?
Alice Clark-Alice Clark.
WE’VE ONLY JUST BEGUN-THE PAUL WILLIAMS SONGBOOK.
We’ve Only Just Begun-The Paul Williams Songbook.
Label: Ace.
Format: CD.
Release Date: 26th July 2024.
The latest instalment in Ace’s Songwriter Series is ‘We’ve Only Just Begun-The Paul Williams Songbook,’ which will be released on 26th July 2024. It features twenty-two tracks penned by a man who originally, was an accidental songwriter.
Paul Hamilton Williams Jr was born in Omaha, Nebraska, on September 19, 1940. His father was a structural engineer, and because of his work, the family were constantly moving when Williams was a child. Tragedy struck when he was thirteen, when his father was killed in a road traffic accident. After this, Williams was brought up by an aunt and uncle.
By the age of twenty-one, Williams had decided to pursue a career as an actor. He enjoyed a degree of success featuring in The Loved One alongside John Gielgud and Rod Steiger. Then in 1966, he starred in The Chase, which was produced by Sam Spiegel. It was during the filming that Williams had a glimpse of his future career.
Williams who was then twenty-four, sharing a dressing room with Marc Seaton, the son of director George Seaton. When Williams saw a guitar lying he picked it up, only for Seaton Jr to yell at him: “Don’t touch the guitar, it’s a Martin.” Williams had no idea how prestigious and expensive Martin guitars were. So he went out and bought a guitar of his own, and decided to paint it in the hippie colours. Little did he know that this guitar would change his life.
Later, whilst sitting on the step of a trailer watching the filming of a scene where Robert Redford’s character Bubber was hiding in a burning junkyard, Williams started singing: “Bubber come out wherever you are.” Robert Duvall just happened to be walking by and heard him singing. He asked Williams: What is that?” He replied: “It’a a guitar, I just bought it.” Duvall said: ‘Not the guitar. What are you playing?” Duvall walked over and asked the director to shoot Williams singing. It was a lightbulb moment for him.
He realised that if he wrote a song it was going to end up getting used. Despite that, it wasn’t until Williams was twenty-seven that he realised that he was a natural songwriter. Twenty-two of the songs he went onto write feature on ‘We’ve Only Just Begun-The Paul Williams Songbook.’
This includes ‘Someday Man’ by The Monkees, which featured on their 1969 single. It was penned by Williams and Roger Nichols and reached sixty-three in the US Billboard 100, forty-seven in the UK was the group’s final top ten hit in Australia. By then, Peter Tork had left the group, and they were now a trio. Despite that, they bring to life the lyrics which speak of generosity, humility as well as humanity. It’s an oft-overlooked track from the group’s extensive back-catalogue.
The Williams and Nichols songwriting partnership contributed ‘I Won’t Last A Day Without You’ to Diana Ross’ 1973 album ‘Touch Me In The Morning. ‘It’s not only one of the highlights of the album, but a timeless track.
In 1970, Williams and Nichols were asked to write the music for a commercial. They weren’t keen until they heard the fee. The pair went away and wrote ‘We’ve Only Just Begun.’ Despite the advert being a success for Croker National Bank, Freddie Allen’s original version was a flop when released as a single. This version is a reminder of the dawn of a new decade, and a taste of an oft-covered song that would become a modern day classic when covered by The Carpenters.
The following year, 1971, Anne Murray recorded the Williams and Nichols’ composition ‘Talk It Over In The Morning.’ It was released a single and was the title-track on her 1971 album. Despite the quality of the vocal which is heartfelt and emotive the single wasn’t a commercial success. However, it was, by far, one of the highlights of the album.
Williams contributed the heartachingly beautiful ballad What Would They Say to Helen Reddy’s 1971 album ‘I Am A Woman.’ The Australian singer was signed to Capitol, and breathes life, meaning and emotion into this beautifully orchestrated ballad. When it was released in December 1972, it topped the US Billboard 100. Fifty-two years later, and without doubt, it’s one of the highlights of the compilation.
In 1971, the Williams and Nichols’ composition ‘Rainy Days And Mondays’ was recorded by The Carpenters. It reached number two on the US Billboard 100 and was certified gold. The single is regarded as one of their finest recordings and the definitive version. However, two years later, in 1973, Freda Payne decided to cover the song for her 1973 album ‘Reaching Out.’ Her soulful vocal is accompanied by a slightly more uptempo arrangement that features a piano and lush strings as she reinvents a classic.
When Art Garfunkel was recorded his debut album ‘Angel Clare,’ he recorded ‘Travelling Boy’ which was written by Williams and Nichols. This gorgeous ballad features a vocal that’s a mixture of emotion, sadness and hurt. Garfunkel breathes life and meaning into the lyrics, and at the same time, makes the song his own.
By 1971, Petula Clark was signed to Warner Bros. That year, she released her album Warm and Tender which was arranged, conduced and produced by Arif Mardin. One of the songs on the album was ‘Let Me Be The One,’ which was penned by Williams and Nichols. Clark’s vocal veers between tender and powerful, but is always emotive and needy as she lives the lyrics, accompanied by a string-drenched arrangement.
Five years after releasing their classic single ‘Summer Breeze,’ Seals and Croft recorded ‘My Fair Share (Love Theme From One On One)’ in 1977. The song was penned by Williams and Charlie Fox, who coproduced the song with Louis Shelton. It was for a basketball film, which was a sport Williams was interested in. When the single was released this tender, thoughtful ballad reached twenty-eight on the US Billboard 100. It’s one of the hidden gems on the compilation.
Another Fine Mess by Glen Campbell would’ve been the perfect way to close ‘We’ve Only Just Begun-The Paul Williams Songbook.’ One listen to Williams’ lyrics and Campbell’s reading them is proof of this. It’s as if he’s lived and survived the lyrics. The result is one of the best, and most moving ballads on the compilation by one of the giants of country music.
However, the compilation doesn’t finish on what’s one of the highlights of the album. Instead, it’s a track by a puppet frog? Why oh why?
For anyone who is unfamiliar with Williams work, this is the perfect primer. There’s even ‘Roan Man’ from his 1970 album “Someday Man.” However, it’s as a songwriter that Williams is better known.
He forged a successful songwriting partnership with Roger Nichols, and the pair wrote many hit singles, some of which are modern day classics. This includes for The Carpenters, Diana Ross and Art Garfunkel. There’s also traces on the compilation that they wrote songs for The Monkees, Anne Murray and Petula Clark. These track are oft-overlooked hidden gems.
Oh his own, Williams wrote songs for I Am A Woman’ for Helen Reddy and ‘Another Fine Mess’ for Glen Campbell. These two tracks are among the highlights of ‘We’ve Only Just Begun-The Paul Williams Songbook’ the accidental songwriter who enjoyed a long and successful career penning songs for the great and good of music.
We’ve Only Just Begun-The Paul Williams Songbook.
THE BLUE NILE-HIGH.
The Blue Nile-High.
Label: Confetti Records.
Format: CD.
Enigmatic, reluctant and contrarian are words that best of describe The Blue Nile. They’re the complete opposite of most bands. The Blue Nile have been described as publicity shy. That’ is an understatement. Ever since Paul Buchanan, Robert Bell and Paul Joseph Moore formed The Blue Nile, they’ve been one of the most low-profile bands in musical history. It seems that when they were formed forty-three years ago, The Blue Nile ticked the “no publicity” box. This has proved a double-edged sword, and resulted in The Blue Nile becoming one of the most enigmatic groups ever. Their story began forty-three years ago.
The Blue Nile were formed in 1981, when two friends Paul Buchanan and Robert Bell, met Paul Joseph Moore, all of whom met at Glasgow University. Before forming The Blue Nile, Buchanan and Bell were previously members of a band called Night By Night. Try as they may, a recording contract eluded them. Night By Night’s music wasn’t deemed commercial enough. So Bell, Buchanan and Moore decided to form a new band, The Blue Nile.
Once The Blue Nile were formed, they set up their own record label Peppermint Records. It was on Peppermint Records that they released their debut single, I Love This Life. This single was then picked up and rereleased on the RSO label. Unfortunately for the Blue Nile, RSO became part of the Polygram label and I Love This Life disappeared without trace. Despite this setback, The Blue Nile persisted.
Still, The Blue Nile kept writing and recording material after the merger of RSO with Polygram. Some of that material would later be found on A Walk Across the Rooftops. That was in the future.
Recording of The Blue Nile’s demos took place at Castlesound studio near Edinburgh. That’s home to the man whose often referred to as the fourth member of The Blue Nile, recording engineer Calum Malcolm. He was listening to recently recorded demos through the studio’s Linn Electronics system. It had recently had a new set of speakers fitted. So the company founder, Ivor Tiefenbrun, decided to visit Malcolm to hear his thoughts on the speakers. That’s when Ivor Tiefenbrun first heard The Blue Nile.
Malcolm played Tiefenbrun a demo of Tinseltown In The Rain. Straight away, the founder of Linn was hooked. He decided to offer The Blue Nile a record contract to the label he was in the process of founding. Most bands would’ve jumped at the opportunity. Not The Blue Nile.
It took The Blue Nile nine months before they replied to Tiefenbrun’s offer. When they did, the answer was yes. The Blue Nile’s debut album A Walk Across The Rooftops would be released on Tiefenbrun’s new label Linn Reords.
A Walk Across the Rooftops.
Linn Records and The Blue Nile seemed a marriage made in musical heaven. Linn Records weren’t like a major label, pressurising The Blue Nile into making a decision and delivering an album within a certain timeframe. Instead, Linn Records allowed The Blue Nile to do what they did best, make music. From the outside, this looked as if it was working, and working well.
Years later, Buchanan commented that during Linn Records didn’t operate like a record label. Mind you, he conceded that, during this period, The Blue Nile didn’t operate as a band. However, eventually, in May 1984 The Blue Nile’s debut album was released on Linn Records.
On the release of A Walk Across the Rooftops, it was released to critical acclaim. Critics described the album as a minor classic. A Walk Across the Rooftops was described as atmospheric, ethereal, evocative, soulful and soul-baring. It also featured the vocals of troubled troubadour Paul Buchanan. Despite the critical acclaim A Walk Across the Rooftops enjoyed, it wasn’t a huge commercial success, reaching just number eighty in the UK. However, since then A Walk Across the Rooftops has been recognised as a classic album. So has the followup Hats.
Hats.
Unlike most bands, The Blue Nile weren’t in any rush to release their sophomore album Hats. There was a five year gap between A Walk Across the Rooftops and Hats. It was worth the wait. The Blue Nile had done it again. Hats was a classic.
Featuring seven tracks, written by Paul Buchanan, Glasgow’s answer to Frank Sinatra He’s a tortured troubadour, whose voice sounds as if he’s lived a thousand lives. Producing Hats was a group effort, with Buchanan, Bell and Moore taking charge of production duties. Guiding them, was Callum Malcolm. On the release of Hats, British and American audiences proved more discerning and appreciative of The Blue Nile’s sophomore album Hats.
On the release of Hats in the UK in 1989, it was critically acclaimed and commercial success, reaching number twelve in the UK. Then when it was released in America in 1990, audiences seemed to “get” Hats. Not only did it reach number 108 in the US Billboard 200 Charts, but The Downtown Lights reached number ten in the US Modern Rock Tracks charts. It seemed that The Blue Nile were more popular in America, than in Britain. Gradually, The Blue Nile’s music was beginning to find a wider and more appreciative album. Especially when they decided to embark upon their debut tour later in 1989.
Although The Blue Nile were formed in 1981, and Hats was The Blue Nile’s sophomore album, the band had never toured. Partly, The Blue Nile seemed worried about replicating the sound of their first two albums. They needn’t have worried, with The Blue Nile seamlessly replicating the sonic perfection of A Walk Across The Rooftops and Hats on the sold out tour. The Blue Nile’s star was in the ascendancy.
Their first ever tour had been a huge success. The Blue Nile had conquered Britain. However, The Blue Nile had also made a breakthrough in America. Hats had sold well, and their American tour had been successful. Most bands would’ve been keen to build on this and released another album before long. Not The Blue Nile.
Seven long years passed, where Blue Nile fans wondered what had become of Glasgow’s most enigmatic trio. However, they’d been busy. After Hats found its way onto American radio stations, The Blue Nile, who previously, had been one of music’s best kept secrets, were heard by a number of prestigious musicians. Among them were Robbie Robertson and Annie Lennox, Michael McDonald. After a decade struggling to get their music heard, The Blue Nile were big news. During this period, America would become like a second home to The Blue Nile, especially Buchanan.
He took to life in America, and in 1991, decided to make it his home. This just so happened to coincide with his relationship with actress Rosanna Arquette between 1991 and 1993. Hollywood starlets and Sunset Boulevard was a long way from Glasgow’s West End. In the midst of his relationship, disaster struck for The Blue Nile, they were dropped by their label.
Linn Records and Virgin decided to drop The Blue Nile. For some groups this would’ve been a disaster. Not for The Blue Nile.
They signed a million Dollar deal with Warner Bros. While this sounded like the ideal solution for The Blue Nile, Buchanan made the deal without telling Bell and Moore. He later explained that “none of the others were in town at the time.” With a new contract signed, The Blue Nile began thinking about their third album, Peace At Last.
Peace At Last.
The band started looking for the perfect location to record their third album. They travelled across Europe looking for the right location. This location had to be private and suit their portable recording studio. Cities were suggested, considered and rejected. Among them, were Amsterdam, Copenhagen and Venice. Being The Blue Nile things were never simple. Eventually, and after much contemplation, The Blue Nile ended up recording what became Peace At Last in three locations, Paris, Dublin and Los Angeles. For the first time, The Blue Nile recorded an album outside of their native Scotland.
For their first album for a major label, things began to change for The Blue Nile. They brought onboard drummer Nigel Thomas, a string section and a gospel choir. Peace At Last was going to be a quite different album to A Walk Across The Rooftops and Hats. However, one things stayed the same, The Blue Nile continued to work with Malcolm. With his help, Peace At Last was ready for release in June 1996. Before that, critics had their say.
Critics remarked upon the change of sound on Peace At Last. It had a much more understated, restrained sound. Acoustic guitars and piano play important parts. Still, The Blue Nile’s beloved synths remain. Occasionally, The Blue Nile add strings. There’s even a gospel choir on Happiness. Gone was the sound of A Walk Across the Rooftops and Hats. Peace At Last showed a different side to The Blue Nile and their music, one that divided the opinion of critics and fans. Buchanan, Bell and Moore were back. However, it was a different sound. One constant was Buchanan’s worldweary vocal.
Glasgow’s very own Frank Sinatra, Paul Buchanan plays the role of the troubled troubadour to a tee on songs about love, love lost, betrayal, heartbreak, growing up and growling old. Buchanan was still the tortured soul who wore his heart on his sleeve on Peace At Last.
On the release of Peace At Last, in June 1996, it reached just number thirteen and sold poorly. For The Blue Nile this was disappointing, given it was their major label debut. Worse was to come when the lead single Happiness failed to chart. The Blue Nile’s major label debut hadn’t gone to plan. Alas, Peace At Last was the only album The Blue Nile released on a major label.
High.
Following Peace At Last, it was eight years before The Blue Nile released another album. High was released in 2004. During the last eight years, the three members of The Blue Nile had been leading separate lives. Moore and Bell were content with their lives in the West End of Glasgow, while Buchanan had been spending his time between Glasgow and Hollywood. Now they were back and ready to record their fourth album, High.
Once High was recorded, all that was left was for The Blue Nile to find a label to release the album. The Blue Nile had been dropped by Warner Bros. So with the completed album, The Blue Nile shopped High to various labels. Eventually, they settled on Sanctuary, which would release High in August 2004. However, before that, critics welcomed back The Blue Nille.
Eight years after the release of Peace At Last, critics remarked that High was a much more grownup album. Songs of family life and heartbreak sat side-by-side. Buchanan who had been suffering with illness and fatigue seemed to have found a new lease of life. His lyrics are emotional, observational, cinematic and rich in imagery. They’re also poignant, and full hope, hurt and anguish. Meanwhile, Buchanan’s vocals were worldweary and knowing, while the music is emotive, ethereal and evocative. Critics love High. So did music lovers.
When High in August 2004, the album reached number ten in the UK. High proved to be The Blue Nile most successful album. This proved to be fitting.
Opening High is The Days Of Our Lives. Stabs of hypnotic, melancholy keyboards are repeated throughout the track. They provide the backdrop to Buchanan’s worldweary vocal. Soon, washes of synths, swathes of string and the occasional bursts of funky bass can be heard. Later, drums crack, adding to the drama, while the vocal is wistful and full of pathos. Just like he’s done so often, he makes the lyrics come alive, as he looks backwards at the past. This proves fitting, as High was their swan-song.
I Would Never was the first released from High. It has an understated, lush arrangement. That comes courtesy of washes of crystalline synths, acoustic guitar and pulsating bass. Then there’s Buchanan’s vocal. Glasgow’s troubled troubadour delivers a heartfelt vocal as he assures his partner “I Would Never turn my back on.” Quite simply, this is a beautiful ballad from a grown up Blue Nile.
Broken Loves opens with Buchanan’s half-spoken vocal accompanied by stabs of urgent keyboards. Frustration and emotion fill his voice as it grows in power and despair. The despair is caused by a relationship that’s all but over. This results in some soul searching from Buchanan. He paints pictures, reminiscing about their pasts. Memories from childhood seem to trigger an outpouring of emotion. His vocal becomes needy, and he’s determined they don’t give up on their relationship. Dramatic, emotive and heartbreaking, it’s an evocative description of a relationship gone wrong.
Just a lone acoustic guitar opens Because Of Toledo, as Buchanan delivers a worldweary vocal. Heartbroken and despondent, his life’s lost meaning and direction, because his relationship has ended. Again, he makes the lyrics come to life. They take on a cinematic quality. Soon, pictures unfold before your eyes, a heartbroken Buchanan l sitting despondent in the motel s he sings this heartbreakingly beautiful breakup song.
Ethereal describes the introduction of She Saw The World. That’s before the tempo and drama increases. Driven along by drums, keyboards and washes of synths Buchanan delivers an urgent emotive vocal. Memories come flooding back as he reminisces about two people who drifted apart. Sadness fills his voice as he sings: “ She Saw The World and wanted it all.” Buchanan remembers what he once had and lost. Oozing emotion, his lived-in, weary vocal and one of the best arrangements on High result in one of the album’s many highlights.
Washes of synths shimmer, while a lone piano provides a contrast as High unfolds. Buchanan’s vocal is tender, but with a sense of resignation at the relationship that’s gone wrong. A drum machine provides the heartbeat as the vocal becomes a cathartic outpouring of emotion. Mixing power, passion and drama Buchanan lays bare his weary soul for all to hear.
As Soul Boy unfolds, drums crack and are matched by a pulsating bass and meandering guitar. Buchanan’s vocal is tender and needy. He delivers the some of the best lyrics on High. This includes: “let me be the one, there’s been no other one, trusted and true, for so long…I just want to be loved by you.” With an arrangement that’s reminiscent of vintage Blue Nile and Buchanan’s needy, seductive, vocal this is The Blue Nile back to their best.
Everybody Else is quite different from the previous track. It shows The Blue Nile are determined their music stays relevant. It’s an uptempo track that’s the nearest thing to a dance track The Blue Nile produced. Buchanan’s vocal is accompanied by swathes of sweeping strings, pounding bass and hypnotic drums. He’s plays the role troubled troubadour to perfection, as The Blue Nile demonstrate another side to their music, on a track that’s not short of poppy hooks.
Stay Close closes High and sadly, the recording career of The Blue Nile. The tempo is dropped, a drum machine, crystalline guitar and washes of synths providing a melancholy backdrop for Paul Buchanan’s vocal. He’s saved the best to last. It’s as if he knew this was farewell. Digging deep, he unleashes a soul-baring Magnus Opus. His vocal is needy as he pleads, “Stay Close to me.” However, he knows though, “you’ll go your own way.” You’re drawn into this scenario, feel and share his pain and heartache. He’s not giving up though, and delivers a heartachingly beautiful vocal on this heartbreaking paean. What a way for The Blue Nile to call time on their recording career.
Although The Blue Nile only recorded four albums in a twenty year period, it’s the quality of music that matters. These four albums were almost flawless. Certainly A Walk Across The Rooftop and Hats are classics, while Peace At Last is probably the most underrated album in The Blue Nile’s back-catalogue. That brings us to High.
Having not released an album for eight years. During that period, The Blue Nile had been living separate lives. Moore and Bell were living in the West End of Glasgow, while Buchanan lived a nomadic existence, flitting between Hollywood, Europe and Glasgow.
He had been involved in some high profile relationships, and by 2004, just when everyone thought The Blue Nile were no more, they rose like a phoenix from the ashes. They didn’t even have a record deal, so agreed a deal with Sanctuary Records to release High. It proved to be the most successful album of their career.
During the time they’d been away, The Blue Nile had matured as a band. Some people said they had grownup. What had happened was life. Having been outside the bubble that was Blue Nile, Moore and Bell had to get on with life. The Blue Nile was on a hiatus, maybe a permanent one. As for Buchanan, he was leading a very different life. This gave him the material for High.
On the nine songs that comprise High, you’re drawn into the album’s lush, atmospheric sound. Having captured your attention, The Blue Nile don’t let go. Before long, the listener has fallen in love. They fall in love with music that’s hauntingly beautiful, emotive, dramatic and pensive. Much of this is thanks to peerless vocal performances of Glasgow’s very own Frank Sinatra, Paul Buchanan. He plays the role of the troubled troubadour, to a tee. His worldweary, emotive, heartfelt and impassioned vocal sounds as if it’s lived the lyrics he’s singing about. Lived them not just once, but several times over. His vocals adds soulfulness to an album that references Brian Eno, Kraftwerk, Tim Buckley, classic soul and seventies funk. The result is a compelling, innovative album, High.
After High, people thought that The Blue Nile would return, possibly after another lengthy break. Sadly, that wasn’t to be. The Blue Nile were no more.
At least they did things their way. Right up until the release of High, The Blue Nile were enigmatic, almost reclusive and publicity shy. The Blue Nile weren’t exactly your normal band. Not for them the rock “n” roll lifestyle favoured by other bands. In many ways, musical fashions and fads didn’t affect them. Their attitude was almost contrarian. Albums were recorded slowly and methodically as The Blue Nile strived for musical perfection. This wasn’t a group willing to jump onto a musical bandwagon in pursuit of fame, fortune or starlets. Quite the opposite. It seemed to be their way or no way in the pursuit of musical perfection. The Blue Nile achieved that perfection four times, and ended their career on a High.
The Blue Nile-High.
THOM BELL-DIDN’T I BLOW YOUR MIND? THE SOUND OF PHILADELPHIA 1969-1983.
Thom Bell-Didn’t I Blow Your Mind? The Sound Of Philadelphia Soul 1969-1983.
Label: Kent.
Format: CD.
During the late-sixties and seventies, Thom Bell was one of the architects of Philly Soul, and worked with everyone from The Delfonics, The Stylistics and The Spinners to M.F.S.B., The O’Jays, Three Degrees and New York City. Artists came from far and wide to work with the prodigiously talented arranger, producer, songwriter and musician. This included everyone from Dusty Springfield to Elton John and Nancy Wilson.
Sometimes, artists whose career had stalled travelled to Philly to work with Bell, in the hope that he could reinvent them or transform their ailing fortunes. That was the case with Johnny Mathis and The Spinners who were two of Thom Bell’s biggest success stories.
He produced seven albums in eight years for The Spinners during the seventies, and five of these were certified gold. Bell was the man with Midas touch.
He wrote, arranged and produced some of the finest and most memorable examples of Philly Soul. These are timeless tracks which showcase his trademark sound which includes a French horn, lush strings. Other times he would deploy what were unusual instruments for a soul song including a harpsichord or sitar. However, Bell was an innovator whose imagination knew no bounds.
Proof of that is a new compilation that was released by Kent, Thom Bell-Didn’t I Blow Your Mind? The Sound Of Philadelphia Soul 1969-1983. It features many of the great and good of Philly Soul, the music Thom Bell has dedicated three decades of his life to.
Bell was born in Jamaica on January the ’26th’ 1943, and his family moved to Philadelphia when he was a child. He grew up in a middle class household, and unlike many of his friends there was no radio he could listen to R&B on. There was no time for that.
Just like his siblings, Bell was classically trained musician. By the time he was nine, he could play piano, drums and flugelhorn. He remembers: “From when I was five ’til I was 17, I studied two or three hours a day.” This would eventually pay off and he would enjoy a successful musical career.
Before that, Bell heard one of the songs that would influence him: “First thing I heard on the radio was Little Anthony & the Imperials’ ‘Tears On My Pillow’. I thought, What kind of music is this? This is nice music!”
Bell became the singer in a new duo. His partner was none other than Kenny Gamble. He would later form a successful partnership with Leon Huff. That was all in the future, and
A year later the duo expanded to a five-piece, Kenny Gamble and The Romeos, and started to pick up work as session musicians at Philadelphia’s hot Cameo and Parkway labels. This allowed Bell to hone his skills that he would put to good use in the not so distant future.
When Bell left Kenny Gamble and The Romeos, he was replaced by Leon Huff, the future third member of The Mighty Three. However, he continued to work at Cameo-Parkway and just like Gamble and Huff, was given the freedom when he recorded singles for Eddie Holman, The Orlons, Dee Dee Sharp. However, Bell’s time at Cameo-Parkway came to an end in 1967 when the label folded. It was the end of an era.
Of all the artists and groups signed to Cameo-Parkway, Bell saw potential in The Delfonics who he took to Philly Groove Records. He worked on the four albums the group released on the label. The Delfonics also open Thom Bell-Didn’t I Blow Your Mind? The Sound Of Philadelphia Soul 1969-1983.
Bell and William Hart, the lead singer of The Delfonics cowrote ‘Didn’t I (Blow Your Mind This Time).’ Bell arranged the track which he produced with Stan Harris. When released as a single in 1970, this heartachingly beautiful Philly Soul ballad reached number forty in the US Billboard 100 and eight in the US R&B charts. The song which is now a Philly Soul classic, opens the group’s third album ‘The Delfonics,’ which was their most successful, reaching sixty-one on the US Billboard 200 and four in the US R&B charts.
Bell reinvented The Spinners and rejuvenated their ailing careers. After the group signed to Atlantic Records, it was a like a phoenix rising from the ashes. In 1976, they released ‘Rubberband Man,’ which was written by Bell and Linda Creed. She was later described as a poet, and wrote the lyrics to many of Bell’s best known songs. ‘Rubberband Man,’ which is an uptempo track where hooks haven’t been spared. The album version is a seven minute epic. However, an edit was released as a single, reaching number two in the US Billboard 100 and topping the US R&B charts. Sadly, it was the group’s final US R&B number one. The song featured on the album ‘Happiness Is Being with the Spinners,’ which was released in July 1976, reaching number twenty-five on the US Billboard 200 and five in the US R&B charts. This resulted in the album being certified gold. For The Spinners it was their fourth and final gold disc.
Another Bell and Creed composition is ‘You Are Everything,’ which was released by The Stylistics in 1971. This future Philly Soul classic reached number nine on the US Billboard 100 and ten in the US R&B charts, and was certified gold. This beautiful, heartfelt ballad full of emotion and neediness featured on the group’s debut self-titled album. When it was released in 1971, it reached number twenty-three on the US Billboard 200 and this in the US R&B charts. This gave the group the first of four gold discs in America.
Elton John and Bernie Taupin had been a hugely successful songwriting team. However, in 1976, they decided to split. The final project they worked on was with Bell. Despite John being a huge fan of Philly Soul, the recordings took place in Washington. Joining the English singer-songwriter were The Spinners and The Sweethearts Of Sigma who added backing vocals. MFSB provided the strings and horns. They were joined by other members of MFSB including Bobby “Electronic” Eli, Charles Collins and Larry Washington. One of the songs recorded during the session was the sensuous and soulful sounding ‘Nice and Slow.’ Sadly, the relationship between Bell and John broke down, and ‘The Complete Thom Bell Sessions’ wasn’t released until 1989.
New York City’s best know track is the much-sampled, million selling single ‘I’m Doin’ Fine Now.’ It was released in 1973, and lent its name to the group’s debut album, which was arranged and produced by Bell. He returned to arrange and produce their sophomore album Soulful Road, which featured ‘Take My Hand.’ This ballad is a mixture of emotion and intensity and showcases a talented band. Sadly, the album wasn’t as successful when it was released in 1975, stalling at number fifty in the US R&B charts. Not long after this two members of the group left. Niles Rodgers and Bernard Edwards went on to form Chic.
When Deniece Williams recorded her fourth solo album ‘My Melody,’ Bell was chosen to coproduce it with her. When the album was released in 1981, it reached number seventy-four in the US Billboard 200 and thirteen in the US R&B charts. The album was certified gold in the US. When ‘Silly’ was released as a single, it reached fifty-three on the US Billboard 100 and eleven in the US R&B charts. This was slightly disappointing given the quality of Williams’ stunning vocal and Bell’s arrangement which featured lush strings and woodwinds which added texture and referenced another musical legend, Burt Bacharach.
In 1974, The Spinners released their third album for Atlantic Records, ‘New and Improved.’ It was produced by Bell and reached number nine on the US Billboard 200 and was their third consecutive album to top the US R&B charts, and be certified gold. That’s no surprise give the quality of music. This includes ‘Then Came You,’ a collaboration with Dionne Warwick. She duetted with lead singer Bobby Smith before Phillippe Wynne takes over lead duties towards the end of the song. Along with MFSB at the peak of their powers, they’re responsible for an irresistibly-catchy slice of dancefloor friendly soul. It topped the US Billboard 100, reached number two on the US R&B charts and this timeless track was certified gold.
After six successful years singed to Gamble and Huff’s Philadelphia International Records, Lou Rawls signed to Epic. His first album for his new label was ‘Now Is the Time.’ It featured the bedroom ballad ‘Kiss Me One More Time’ which Bell cowrote with Deniece Williams. Like the rest of the album is was arranged, conducted and produced by Bell. He provided the perfect backdrop for a seductive and sensuous vocal from Rawls. Sadly, the single failed commercially and is one of the hidden gem in the late, great, singer’s back-catalogue.
The second song by The Stylistics on the compilation is Betcha By Golly, Wow. It’s another Bell and Creed composition, and was released as a single in February 1972, reaching number three on the US Billboard 100 and two in the US R&B charts. This resulted in another gold disc for the group. This beautiful heart-wrenching ballad that features a soul-baring vocal as another track from the group’s self-titled album and is a soul classic.
In 1969, Epic decided that they wanted lounge jazz legend Nancy Wilson to change direction. The label wanted her to move towards R&B. To do this, they hired Gamble and Huff who brought onboard Bell, Bobby Martin and Lenny Pakula as well as Norman Harris and Alan Felder. Ten tracks were recorded. They were a mixture of vocal jazz and Philly Soul. This included Joe, penned by Felder, Huff and Harris. Wilson breathes life, meaning and emotion into this tale of heartbreak and hurt. It’s without doubt one of the highlights of the album which stalled at fifty-four on the US Billboard 200 and forty one on the US R&B charts. ‘Now I’m a Woman’ is an oft-overlooked from Wilson’s extensive back-catalogue, and ‘Joe’ is a tantalising taste.
‘Brandy’ by The O’Jays closes Thom Bell-Didn’t I Blow Your Mind? The Sound Of Philadelphia Soul 1969-1983. This beautiful Philly Soul ballad was arranged and produced by Bell, and featured on their 1978 album ‘So Full of Love.’ It was released on Philadelphia International Records and features MFSB. The album reached number six on the US Billboard 200, topped the US R&B charts and was certified platinum. However, when ‘Brandy’ was released as a single it stalled at seventy-nine on the US Billboard 100 and twenty-one in the US R&B charts. It’s the one that got away for The Stylistics, and is a reminder of Thom Bell, one of the architects of Philly Soul at the peak of his considerable powers.
Thom Bell-Didn’t I Blow Your Mind? The Sound Of Philadelphia Soul 1969-1983 features twenty songs from familiar faces, old friends and new names. There’s Philly Soul classics and album tracks on a compilation which is a reminder of Bell’s skills as an arranger, conductor, musician, producer and songwriter.
He was, without doubt one of the architects of Philly Soul. and his arrangements and productions are instantly recognisable. His arrangements and productions for The Delfonics, The Stylistics and The Spinners resulted in countless Philly Soul classics and are truly timeless.
However, as this new compilation shows, there’s more to the late, great, Thom Bell than his work with these three groups. He was hugely in demand between the late sixties and early eighties, the period the compilation covers. His arrangements and productions featured on a whole host of commercially successful and critically acclaimed albums. Many were certified silver, gold and platinum and are now Philly Soul classics.
Sadly, after a lengthy illness Thom Bell passed away on December 22, 2022, aged seventy-nine, in Bellingham, Washington. Philly Soul had lost one its architects.
He was known as a perfectionist, who was also demanding of the musicians he worked with. Bell who was a hugely talented, was a modest man, respected by those he worked with and always in demand by labels and artists. Despite this, he seemed to live in the shadow of Gamble and Huff. That’s grossly unfair.
The songs Bell wrote with his songwriting partner Linda Creed have stood the test of time, and sound as good as the day they were released. Numerous are now regarded as Philly Soul classics.
Many of Bell’s other compositions as well as his arrangements and productions have a timeless sound. They showcase a truly talented man who was one of the architects of Philly Soul. Proof of that are the twenty tracks on Thom Bell-Didn’t I Blow Your Mind? The Sound Of Philadelphia Soul 1969-1983, which are a reminder of one of the greatest songwriters, arrangers and producers in the history of Philly Soul.
Thom Bell-Didn’t I Blow Your Mind? The Sound Of Philadelphia Soul 1969-1983.
ATLANTA: HOTBED OF 70s SOUL.
Atlanta: Hotbed Of 70s Soul.
Label: Kent Soul.
Format: CD.
During the fifties and sixties, the Atlanta’s black music scene was thriving. One of the most important figures during the sixties was Bill Haney.
He was a a producer, songwriter and owner of Down South Productions, which was responsible for some of the finest Southern Soul released during the sixties. Haney’s career continued into the seventies. By then, a new name was involved in the Atlanta music scene, Michael Thevis.
The story began in the early seventies when Thevis was looking for a legitimate way to get his substantial fortune into the financial system. By then, he was heavily involved in pornography. So much so, that he would later admit to a Louisville jury that he was: “the General Motors of pornography.” That was still to come.
In the early seventies, Thevis had a problem. He discovered that he was being investigated by the FBI. Not wanting to follow in the footsteps of Al Capone and Dutch Schultz who were brought down by federal investigations, he began looking for legitimate enterprises.
Casting around looking for a legitimate business, Thevis hit upon the idea of forming not one, but three record labels. This included GRC (General Recording Corporation), Aware and Hotlanta Records. These labels would become part of his nascent musical empire.
Soon, there was a new addition to Thevis’ musical empire, the Sound Pit Studio in Atlanta. It boasted some of the best equipment money could buy. Building the studio made financial sense. It saved hiring other studios, and meant artists signed to GRC, Aware and Hotlanta Records could record at the impressive new studio. And when the studio wasn’t in use, it could be hired out, and bring in much needed income. However, as all this empire building continued, tongues began wagging.
Veterans of the Atlanta music scene watched as the state-of-the-art studio took shape. This was the most advanced studio in Atlanta.Where was the money coming from? It was a similar case with the rest of Thevis’ musical empire.
No expense was spared as he expanded his musical empire. He added to his record labels the Act One publishing company, the Jason Management booking agency and a film company. They became part of Thevis’ musical empire which he was proud of and wasn’t shy about telling people about it.
Rather than keep a low profile, Thevis ran his musical empire from a lavish suite of offices in Atlanta. They were featured in Billboard in May 1974, when the magazine ran a feature on the Atlanta music industry. He told Billboard of his latest takeover, and his expansion plans.
Thevis’ most recently acquisition was the Moonsong Publishing Company, which he had purchased from Bill Brandon. This became part of the GRC’s publishing division, alongside Act One.
To run the newly expanded publishing division, Brandon joined GRC, and became the publishing manager of GRC’s R&B division. However, the acquisition of Moonsong was just part of Thevis’ grand plan.
He told Billboard of his plans to build a brand new twenty-eight story skyscraper in Atlanta. This would be where he ran his musical empire. It would have outposts in Nashville, Houston, Los Angles, New York and London. What made this seem all the more convincing was when he booked eight pages of advertising in Billboard’s Atlanta special.
To most people, Thevis came across as a legitimate businessman with big plans for the future and for Atlanta. By then, everyone seemed to buy into his grand plan. He was the local boy who had made good. It was a case of hail the conquering hero.
Incredibly, though, nobody seemed to be paying close attention to the numbers. None of Thevis’ record companies were particularly successful. They were neither consistently releasing hit singles nor successful albums. So where was all the income coming from? Was it the publishing company, recording studio, booking company or film company? Nobody knew, and nobody seemed in a hurry to find out. Given the musical entrepreneur’s past and his reputation for violence maybe this wasn’t surprising?
Originally, Thevis’ film company financed legitimate films. This included the Zhui Ming Qiang in 1973, and Seizure which was one of Oliver Stone’s earliest films. It was released in 1974.
A year later, Thevis had gone up in the world, and released Poor Pretty Eddy 1975. Every film was more successful than the last. However, although he was trying to build a legitimate business empire, he had reverted to type.
The film company he had acquired began producing pornographic films. If any journalist had even looked into activities of Thevis’ empire, it could’ve come tumbling down. This looked unlikely in early 1975.
Country singer Sammy Johns had been signed to GRC for a couple of years. In early 1973, Johns released ‘Chevy Van’ as a single. It was reported to have sold over three million copies. Given that a GRC artist had just enjoyed such a successful single, surely the label’s finances would be on a sound footing as 1975 progressed?
While most people would’ve thought so, the truth was that many of GRC, Aware and Hotlanta Records’ releases weren’t particularly successful and hadn’t sold in vast quantities.
That was despite the labels having such an impressive roster of artists. This included Dorothy Norwood, Joe Hinton, Ripple, John Edwards, Loleatta Holloway, Jimmy Lewis, Deep Velvet, Joe Graham and Sam Dees. They were part of Thevis’ musical empire which later in 1975 would collapse, leaving artists high and dry.
By the time Joe Graham signed to GRC in 1975, all wasn’t well behind the scenes, and the four tracks he released were never released. Sadly, many more tracks that were recorded by various artists and they languished unreleased in the vaults. This includes sixteen tracks on ‘Atlanta: Hotbed Of 70s Soul,’ a twenty-four track compilation from Kent Soul.
Opening the compilation is ‘Con Me,’ a heartachingly beautiful ballad from former gospel singer Miss Louistine. It’s the first of two unreleased tracks from her, and was penned by David Damon and Sam Dees. He also wrote ‘Extra-Extra,’ a joyous, uptempo track with a polished production and a vocal that’s uber soulful.
There’s also two unreleased tracks from Deep Velvet. ‘Is There Something Else’ is a ballad that was written by Mose Davis. It features a heartfelt vocal full of emotion, suspicion and hurt. ‘I’m Tired Of Dreaming’ is another polished production with lush strings and harmonies accompanying Jody Trumbo’s vocal as he breathes life and meaning into the lyrics.
Like many artists, LA-born Joe Hinton recorded a number of tracks for Hotlanta. Three of them feature on Atlanta: Hotbed Of 70s Soul. This includes the smooth, soulful hidden gem ‘Grant Me One More Day,’ a ballad that showcases a truly talented vocalist. That’s the case on ‘Depend On Me,’ a dancefloor friendly track where hooks haven’t been spared and the vocal is heartfelt and full of sincerity. ‘Shouldn’t I Be Given The Right To Be Wrong’ is a mixture of soul, funk and social comment from the pen of Sam Dees, Daniel Eckley and Hinton.
In 1973, Aware released The Steppers single ‘Come and Get It’ as the label’s third single. However, it failed commercially. Despite this, the group recorded ‘Keep On Walking.’ It was never released and this slice of seventies Atlanta soul makes a welcome and overdue debut.
Jean Battle’s sophomore single for New York-based Red Lite Records was the sensuous-sounding ‘Love Making.’ It was written by Sam Dees and has made in Atlanta written all over it.
Lorraine Johnson originally started out singing gospel, but like many singers crossed over. In 1973, she recorded the Sam Dees, Albert Gardner and Jesse Lewis song ‘Can I Hold You To It?’ Although recorded in the Sound Pit Studio in Atlanta, it was released by Atlantic Records. Sadly, this ballad wasn’t a hit despite a probing, questioning vocal which is full of emotion and doubt. ‘When Will I Stop Loving You’ is a beautiful ballad with a vocal bristling with emotion and longing.
Another hidden gem of a ballad is ‘I Need Me Some More Of You’ by singer, songwriter and producer Dee Ervin. It’s lain in the vaults for the best part of fifty years, and makes a welcome debut on Atlanta: Hotbed Of 70s Soul.
Lomita Johnson was one of the members of Side Effect. However, she also recorded ‘There’ll Always Be Forever’ as a solo artist. Sadly, the song was never released and Nancy Wilson released her version in November 1974. For Johnson it was a case of what might have been? Maybe this polished production with a heartfelt and emotive could’ve given her a hit single?
Closing the compilation is ‘My Peaceful Forest’ a cinematic, soulful and dramatic song from the underrated Dee Clark. It’s a case of keeping one of the best until last.
Of the twenty-four tracks that featured on Atlanta: Hotbed Of 70s Soul, sixteen make their debut on the compilation. Another five were released after the demise of Michael Thevis’ musical empire.
Running a regional record companies offered Thevis an opportunity and facility to launder dirty money. He may have used dirty money to buy his own label’s releases. These phantom record sales would only exist on paper, and would have the effect of laundering the dirty money through the company’s accounts.
Once the money was in the record label’s company’s accounts, tax could be paid on the profit that had been made. This would further legitimise any dirty money the company was making. Especially, as the FBI were still watching Thevis.
His musical empire all came crashing down in late 1975. Thevis’ attempt to build a legitimate business empire had failed. Soon, it emerged that his musical empire was always doomed to failure. It had been for three years, ever since the FBI starting investigating his business activities.
That was when Roger Dean Underhill was involved in a routine traffic stop. An eagle-eyed traffic officer noticed a small cache of stolen guns under the passenger seat. This resulted in him being arrested. Rather than face the consequences, Underhill decided to inform upon his business partner, Michael Thevis who he met in 1967.
Back then, Underhill was a low-ranking associate of the Gambino organised-crime family. For nearly a decade he and Thevis were associates and friends. That changed the night of the routine traffic stop.
The traffic stop lead to the start of a three year investigation that resulted in the arrest, and subsequent conviction of Thevis. For all the artists signed to GRC, Aware and Hotlanta Records this was the beginning of the end.
All the artists signed to GRC, Aware and Hotlanta Records were left high and dry. It was disaster, and all the artists affected by the collapse. They were left without a label, and some of the artists were also owed royalties, which in some cases, was a significant sum of money. The artists had no idea what the future held for them.
It was a similar case for Michael Thevis whose grand plans were left in tatters. It looked like the beginning of the end for GRC, the company he had spent three years building.
It wasn’t. His wife Veld and son Michael Jr, took over the running of GRC. For a while, it was business as usual for GRC. However, for Thevis things were about to get much worse.
He was convicted of conspiracy to commit arson and distribution of obscene materials. The man who sparked the three year investigation into Thevis, even testified in court. Underhill took to the stand, and the FBI’s informant testified against his former business partner. He thought this was the right thing to do.
It was a decision Underhill would later live to regret. In 1978, Thevis managed to escape from prison. Straight away, he was placed on the FBI’s top ten most wanted list. By then, he and some of his associates had placed an open contract on Underhill.
There’s an old saying that you never see the bullet that kills you. When the hit came, the shooter was none other than Michael Thevis. He shot and killed Roger Dean Underhill and one of his associates. Not long after the murders, Thevis was arrested and taken to a high security facility.
The Scarface of Porn was later convicted of the two murders. Over thirty years later, Thevis died in prison in Bayport, Minnesota on November the ’20th’ 2013. The man who founded GRC, Aware and Hotlanta Records was eighty-one.
One day, documentary makers will chart the rise and demise of Michael Thevis and his musical empire. It’s a story of two kinds of hits, the musical ones, and the other type that cost two men their lives.
The story of GRC, Aware and Hotlanta Records is truly compelling one, and is one that deserves to be told. These three labels released some of the best Southern Soul of the seventies and enjoyed a string of hit singles. That’s no surprise.
The labels had signed some truly talented artists from Chicago, Detroit and LA. They worked with top musicians and producers during recording sessions at the Sound Pit Studio in Atlanta. Sadly, many of the singles and albums weren’t as successful as they should’ve been. This includes future Southern Soul classics from John Edwards and Loleatta Holloway. It was a case of what might have been and missed opportunities.
Thankfully, the music of GRC, Aware and Hotlanta Records is starting to find the wider audience it so richly deserves thanks to Kent Soul. Over the years, they’ve reissued albums and released a string of compilations that features some of the unreleased music that’s languished in the labels’ vaults.
The latest compilation is Atlanta: Hotbed Of 70s Soul. For anyone yet to discover the music released by Michael Thevis’ musical empire, this new compilation is a tantalising taste of some of some of finest Southern Soul recorded during the seventies.
It’s also sure to be the start of a musical voyage of discovery that includes the majestic music of Dorothy Norwood, Joe Hinton, John Edwards, Loleatta Holloway, Jimmy Lewis and all the other talented artists who were signed to GRC, Aware and Hotlanta Records. For many their starting point will be Atlanta: Hotbed Of 70s Soul.
Atlanta: Hotbed Of 70s Soul.
JOHN SAVAGE’S SECRET PUBLIC-HOW THE LGBTQ+ AESTHETIC SHAPED POP CULTURE 1955-1979.
Jon Savage’s The Secret Public-How The LGBTQ+ Aesthetic Shaped Pop Culture 1955-1979.
Label: Ace.
Format: CD.
Release Date: 31st May 2024.
Ever since the birth of rock ’n’ roll, homosexuality has been part of popular music. However, in the fifties, it wasn’t talked about openly. That was the case right through to the sixties, where many within the gay community felt like outcasts.
In the UK, gay men were harassed by the police, and risked prosecution and imprisonment. Things started to change when the Sexual Offences Act 1967 was passed. It decriminalised private homosexual acts in England between men aged over twenty-one, but imposed heavier penalties on street offences.
However, the law wasn’t changed in Scotland until 1980, and in Northern Ireland until 1982.
Then the Criminal Justice and Public Order Act 1994 lowered the age of consent for gay men from twenty-one to eighteen. Three years later, it was lowered again, this time to sixteen. That was all in the future.
By the early seventies, attitudes had started to change. There was more openness within the gay community. That was also the case within the music industry. No longer did artists and bands have to hide their sexuality. Far from it. During the seventies, bands and artists celebrated their sexuality in song.
Some of these songs feature on ‘Jon Savage’s The Secret Public-How The LGBTQ+ Aesthetic Shaped Pop Culture 1955-1979.’ It will be released by Ace on ’31st’ May 2024. It’s a two CD set that features forty-one tracks.
Disc One.
Opening disc one is ‘I Hear A New World,’ the title-track to Joe Meek and The Blue Men’s pioneering space project. It was meant to be released by the Triumph label in 1960. However, by then, the label had encountered financial problems and only an EP was released later that year.
The earliest track on the compilation is ‘Tutti-Frutti’ by Little Richard and His Band. It was released by Speciality in 1955 and nowadays, is regarded as an R&B classic.
‘You Don’t Own Me’ is a track from Lesley Gore’s 1963 album ‘Mixed-Up Hearts.’ It’s very different from her hit singles ‘It’s My Party and ‘Judy’s Turn To Cry.’ The tracks features a self-assured vocal from Gore as she sings about female independence.
‘I’ll Be Your Mirror’ was the B-Side to The Velvet Underground’s debut single ‘All Tomorrow’s Parties.’ It was released in 1966 on Verve, and was taken from the album ‘The Velvet Underground and Nico.’ This tender paean shows a different side to the group. There’s a mixture of vulnerability and darkness in Lou Reed’s lyrics. The result is one of the compilation’s highlights.
Northern Soul favourite ‘Heaven Must Have Sent You’ by The Elgins was released on the V.I.P. label in 1966. It was penned by Holland-Dozier-Holland and reached number three in the UK in 1971.
In 1967, Al Stewart released his debut album ‘Bed Sitter Images.’ This album of folk and baroque folk marked the start of long and illustrious career. The album was produced by Roy Guest and featured ‘Pretty Golden Hair.’ It’s a song about youth, beauty, homosexuality and growing old.
‘David Watts’ featured on The Kinks 1967 EP and their fifth album ‘Something Else By The Kinks.’ It was released on Pye, and this Ray Davies composition and on first listen, the track sounds like a song about class envy. However, listen carefully to the lyrics and there’s a gay subtext to the song.
Sly and The Family Stone released their classic album ‘Stand!’ on Epic, in 1969. It’s a stunning fusion of funk, soul and psychedelia, and one of the highlights of the compilation.
For The Supremes there was life after Diana Ross. Proof of that is’ Nathan Jones.’ It featured on the Motown album ‘Touch,’ which was produced by Frank Wilson and released by Motown in 1971.
‘Walk On The Wild Side’ is a track from Lou Reed’s 1972 debut album ‘Transformer.’ It was produced by Reed, David Bowie and Mick Ronson and released on RCA Victor. When this tale of bohemian life was released as a single, it reached number sixteen in the US Billboard 100 and ten in the UK. This was the most successful single of Reed’s long career.
Disc Two.
Labelle released their classic single ‘Lady Marmalade’ in 1974. It’s a track from their 1974 album ‘Nightbirds’ which was released by Epic.
‘Nobody’s Gonna Change Me’ is a gospel-tinged track from The Dynamic Superiors’ 1974 album ‘Pure Pleasure.’ The track was written and produced by Ashford and Simpson, and is one of the highlights of the album.
‘I Need A Man’ was originally released by Grace Jones in 1975. Two years later, it featured on her 1977 album ‘Portfolio.’ That year, the 12” Disco Mix was produced by Tom Moulton. It features dancing strings arranged and conducted by Vince Montana Jr and backing vocals from the Sweethearts of Sigma. The result is an anthemic track that’s one of the highlights of Jones career.
The 12” Mega Mix of Michele’s Disco Dance features on the compilation. It was released on West End Records in 1978. The track was produced by Pierre Jaubert and Tom Moulton. However, the Mega Mix is by Patrick Cowley, and is another anthem from the disco era that’s stood the test of time.
These fourteen tracks are among the highlights of what is a truly eclectic compilation. There’s everything from soul, punk, funk and disco to folk, pop, psychedelia, R&B and rock. The compilation features a mixture of familiar faces and what will be new names to be many music fans. They contribute a mixture of classic tracks and hidden gems on Jon Savage’s The Secret Public-How The LGBTQ+ Aesthetic Shaped Pop Culture 1955-1979, which will be released by Ace, on ‘31st’ May 2024.
Jon Savage’s The Secret Public-How The LGBTQ+ Aesthetic Shaped Pop Culture 1955-1979.
TOMORROW’S FASHIONS – LIBRARY ELECTRONICA 1972-1987.
Tomorrow’s Fashions – Library Electronica 1972-1987.
Label: Ace.
Format: CD.
Release Date: 28th June 2024.
Over the last few years, there’s been a resurgence of interest in library music, with British and European record labels releasing lovingly curated compilations that are welcomed by a coterie of musical connoisseurs who have a passion for library music. This includes DJs, producers and record collectors who are willing to pay large sums of money to add original copies of rare releases to their collections of library music.
However, not everyone can afford to buy original copies of library music rarities. Instead, they buy reissues and compilations that are released on a regular basis.
On 28th June 2024, Ace will release a new compilation of library music, ‘Tomorrow’s Fashions – Library Electronica 1972-1987.’ It was compiled by Bob Stanley of Saint Etienne, and has twenty-eight tracks from the Bruton Music, Chappell, De Wolfe, Parry Music and Sylvester music libraries. These tracks were recorded between 1971 and 1987 by some of the giants of library music, including John Cameron, Alan Hawkshaw and Simon Park. They’re responsible for some of the most collectable and rare albums of library music.
Many British collectors of library music started off collecting releases by labels like KPM, De Woife, Amphonic, Bruton Music, Chappell, Conroy and Sonoton from the sixties, seventies and eighties. This is regarded by many collectors as a golden age for library music. However, albums of library music were never meant to fall into the hands of collectors.
Originally, library music was meant to be used by film studios or television and radio stations, and was never meant to be commercially available. The music was recorded on spec by music libraries who often hired young unknown composers, musicians and producers. This ranged from musicians who were known within publishing circles, to up-and-coming musicians who later, went onto greater things, and look back fondly at their time writing, recording and producing library music. This they now regard as part of their musical apprenticeship.
For the musicians hired to record library music, their remit was to supply music libraries with a steady stream of new music, which was originality referred to as production music. During some sessions, the musicians’ remit was write and record music to match themes or moods. This wasn’t easy, but after a while, they were able to this seamlessly. Soon, the musicians were able to enter the audio and write and record a piece of music that matched a theme or mood for a film or television show.
For many young musicians library music was a way to “learn their trade” while making money. It would stand them in good stead. Soon, they became versatile and talented musicians who were capable of switching between genres and moods. This included the musicians hired by KPM Music in the mid-sixties.
When Robin Phillips joined KPM Music in the mid-sixties, he proved to be an astute and visionary businessman. Two decisions he made demonstrated this. His first decision was that KPM Music should switch from the old 78 records to the LP. This made sense as this was what people were buying. They were less prone to breakage, which meant less returns and more profit. LPs could also contain more music, and be released in limited editions of 1,000. The other decision he made was to hire the best young British composers and arrangers.
Among the composers Phillips hired were Keith Mansfield and Johnny Pearson. He spotted their potential, and hired them before they had established a reputation. Many were known within music publishing circles, but not as artists or producers. Later, Phillips hired jazz musician John Cameron, Syd Clark, Alan Hawkshaw and Alan Parker. Their remit was to provide him with new music, which was referred to as production music or library music.
The remit for the new composers and musicians hired by KPM was to write music to match themes or moods. This wasn’t easy, but they were able to do so. Soon, they were creating music that became the themes for TV shows, cartoons and films. For these composers and musicians, they were now part of one of the most lucrative areas of music.
EMI realised that KPM Music had one of the best and most profitable music libraries, and decided to buy the company. While EMI spotted the profitability of KPM Music and the consistency, quality and depth of its back catalogue. However, not everyone approved of library music.
Other songwriters looked down on writers of library music. Nor was the British Musician’s Union a fan of library music. They banned their members from working on recording sessions of library music.
Somewhat shortsightedly, the Musician’s Union thought that eventually, there would come a time when there was no need for any further recordings. Their fear was that the sheer quantity of back-catalogue would mean no new recordings would be made, and their members would be left without work.
To get round the ban, KPM Records flew composers, arrangers and musicians to Holland and Belgium, where local musicians would join them for recording sessions. This meant that often, the same musicians would play on tracks for several composers.
It was only in the late seventies, that the Musician’s Union lifted their ban on new recordings of library music. By then, the golden age of library music was almost at an end. The Musician’s Union ban had cost their members dearly.
Once these tracks were recorded, KPM Music, would release albums of library music. Again, KPM Music were innovators. They’d release limited editions of albums. Often, only 1,000 albums were released. Nowadays, many of these albums are rarities and copies change hands for huge sums of money. That was all in the future.
Once library music was recorded, record libraries sent out demonstration copies of their music to advertising agencies, film studios, production companies, radio stations and television channels. If they liked what they heard, they would license a track or several tracks from the music libraries. That was how it was meant to work.
Sometimes, copies of these albums fell into the hands of record collectors, who realising the quality of music recorded by these unknown musicians, started collecting library music. However, it always wasn’t easy to find copies of the latest albums of library music. That was until the arrival of the CD.
Suddenly, record collectors and companies across Britain were disposing of LPs, and replacing them with CDs. It didn’t matter that the prices of LPs were at all-time low, some record collectors just wanted rid of their collection that they were replacing with CDs.
With people literally dumping LPs, all sorts of musical treasure was available to record collectors. This included everything from rare psych and progressive rock right through to albums of library music. These albums were often found in car boot sales, second hand shops and charity for less than a skinny latte macchiato.
This was the case throughout the period that vinyl fell from grace, and suddenly, it was possible for collectors of British library music to add to their burgeoning collections. Gradually, longtime collectors of library music had huge and enviable collections and were almost running out of new music to collect. Some collectors decided to see what European library music had to offer.
Now these collectors had a whole continent’s worth of library music to discover. Some collectors were like magpies buying albums from all over Europe, while others decided to concentrate on just one country or company. Although it was more expensive to collect European library music, gradually, enviable new collections started to take shape. This included French, German and Italian library music which was recorded during the sixties and seventies.
Later, sample hungry hip hop producers who dug deep into the crates found albums of library music. This was the ‘inspiration’ that they were looking for, and many ‘borrowed’ samples from their newfound musical treasure. Soon, other producers, DJs and collectors went in search of long-overlooked albums of library music.
Some decided to head East. They’ve spent time tracking down library music recorded in Eastern Europe during the sixties and seventies. After the fall of Communism, it was easier to find what for many DJs, producers and collectors was their holy grail.
Since then, library music has become increasingly collectable, with producers continuing to sample them, while DJs incorporate library music into their sets. It’s also big business, with record labels reissuing rare and classic albums of library music and releasing compilations. This includes ‘Tomorrow’s Fashions – Library Electronica 1972-1987.’
Opening the compilation is ‘Coaster’ from Simon Park’s album ‘High Climber.’ It was released by De Wolfe in 1982. Bubbling synths play their part in a laidback, relaxing, and summery-sounding cinematic track.
‘Rippling Reeds’ featured on Wozo’s 1979 album ‘Power Source.’ It was also released on De Wolfe, and is a spacious and ruminative sounding track. ‘Atomic Station’ a dark, moody and futuristic track also featured on the album.
John Cameron’s was one of the doyens of library music. Two albums her recorded for KPM Music, ‘Jazzrock’ and ‘Voices In Harmony’ are now regarded as genre classics. However, in 1985 his Explorer album was released by Bruton Music. It opens with Northern Lights-1, a where cascading and rippling synths are part a celestial symphony. Another of ‘Explorer’s’ highlights was ‘Infinity,’ a slow, dreamy and cinematic slice of library music from one of its finest practitioners.
In 1979, Rubba recorded the album ‘Push Button’ for De Wolfe. The seventeen slices of progressive and futuristic electronic music. This included ‘Space Walk,’ one of the album’s highlights.
Geoff Bastow’s album ‘Tomorrows World was released on Bruton Music, in 1982. It featured ‘Tomorrow’s Fashion,’ a slow, thoughtful slice of early-eighties library electronica.
Trevor Bastow was session keyboardist who played on Culture Club’s ‘Kissing To Be Clever’ and Paul McCartney’s ‘Give My Regards To Broad Street.’ Later, he wrote the theme to the TV program Keep It In The Family. In 1979, Bastow and Nick Ingham released ‘Life Of Adventure/Video Techniques’ on Bruton Music. ‘Video Techniques’ meanders along gradually, slowly revealing its secrets and showcasing Bastow’s talents.
Unit 9 released their ‘State Of The Art’ album on De Wolfe, in 1984. The album saw the group successfully fuse synths and brass. However, ’Optics’ combines elements of eighties synth pop and electronic music to create a dancefloor friendly track.
Warren Bennett came from a musical family. His father Brian was the drummer in The Shadows. The Bennetts collaborated on the 1985 album ‘In The Groove,’ which was released by Bruton Music. ‘Planned Production’ is a truly memorable mid-tempo track that’s a fusion of funk, pop and dubby mid-eighties’ electronic music.
Soul City Orchestra was another of Simon Park’s projects. In 1978 the Orchestra released the album ‘Gun Barrel Highway’ on De Wolfe. It featured the cinematic and elegiac sounding track, ‘Eagle.’
Library music is just part of the Alan Hawkshaw story. He was a pianist, composer and producer who worked with everyone from David Bowie, Olivia Newton-John and Cliff Richard to Donna Summer and Madeline Bell. However, from the late-sixties to the eighties Hawkshaw recorded many albums of library music. This included ‘Frontiers Of Science’ in 1979, which was released by Bruton Music. Two tracks from the album are included. The first is ‘Astral Plain,’ where rippling and cascading synths play their part in the sound and success of this atmospheric and dramatic soundscape. By contrast, ‘Eternity’ is a quite ruminative and timeless sounding track that encourages reflection.
Closing ‘Tomorrow’s Fashions – Library Electronica 1972-1987’ is ‘Morning Dew’ by Andy Grossart and Paul Williams. It’s a track from the 1986 album ‘Elements/Weather’ that was released by Chappell. Elements of ambient and new age music combine to create a quite beautiful pastoral sounding track.
For anyone with even a passing interested in library music, ‘Tomorrow’s Fashions – Library Electronica 1972- 1987’ is going to be of interest to them. Unlike many previous compilations of library music, it focuses on electronic sounding tracks.
By 1972, synths were becoming more commonplace, and were used to produce music that had an experimental, futuristic, space-age and sci-fi sound. The various library music companies wanted composers and musicians to produce music that was groundbreaking, inventive and innovative. If they did, their music would be licensed for use in film, `TV and adverts. That was what the library music companies were aiming for.
So between 1972 and 1987, composers and producer produced everything from electronica and synth pop to ambient and new age. Sometimes, they combined elements of funk, jazz, pop and disco with synth pop and electronic music. The musicians who recorded the albums were versatile and able to seamlessly switch and combine disparate musical genres. Proof of that can be heard on ‘Tomorrow’s Fashions – Library Electronica 1972- 1987.’
For newcomers to library music, ‘Tomorrow’s Fashions – Library Electronica 1972 – 1987’ is the perfect primer. It’s an introduction to electronic sounding library music, and covers part of the golden age of library music.
The golden age of library music began in the late-sixties and lasted until the eighties. During that period, music libraries like KPM, De Woife, Amphonic, Bruton Music, Chappell, Conroy and Sonoton released some of the best library music. Many of these album are now rarities that change hands for large sums of money. However, some are still affordable, it’s still possible to find a rarity at a bargain price. For most music fans, the easiest and cheapest way to discover the delights of library music is via compilations like ‘Tomorrow’s Fashions – Library Electronica 1972 – 1987.’
Tomorrow’s Fashions – Library Electronica 1972-1987.
DJ TONER Q4RTET- OUT SIDE.
DJ Toner Q4rtet-Out Side.
Label: Tangential Music.
Format: Digital.
Release Date: ‘3rd’ May 2024.
Over the last two decades, Spanish musician and producer DJ Toner, has been determined to break the barriers between hip hop, jazz and electronica. This he’s successfully done when collaborating with other artists, when working as a solo artist or with his DJ Toner Q4rtet. Their new solo album Out Side, will be released by Tangential Music on the ‘3rd’ May 2024. This is just the latest chapter in DJ Toner’s long career.
Antonio Herrera, aka DjToner, is based in Granada, in southern Spain’s Andalusia region. However, he’s been familiar face in the Spanish music scene for three decades. His career began in the nineties when Domestic was formed. They were also known as the Domestic Jazz Collective, and had a sound that was unique and innovative.
DJ Toner led the collective of musicians and DJs as the fused live club sounds, jazz, hip hop and flamenco. It was an innovative sound that featured some well known Spanish musician. This included drummer Marc Ayza, bassist Francis Posé, flautist and saxophonist Jorge Pardo and flamenco singer Enrique Morente, They were often joined by various international musicians, including French trumpeter Erik Truffaz. However, the collective only released two albums.
Their debut was Domestic, which was released in 2001 and showcased their inventive genre-melting sound. This was just the start for the collective led by DJ Toner.
Three years later, in 2004, the collective returned with their sophomore album Microscopical. It was a very different album to the collective’s debut. The album was a mixture of hip hop, jazz and electronica, the three genres which DJ Toner believed offered him the creative freedom he wanted to make innovative music.
DJ Toner didn’t want to sacrifice the urban origins of his music. This was one of the building blocks of the music he was making. That was the case in his career after Domestic.
This included when he collaborated with other artists, then when he embarked upon a solo career and later, when he formed the DJ Toner Q4rtet. Always, the three building blocks for the music he made were hip hop, jazz and electronica.
When DJ Toner released his debut album Grandmaster Jazz Vol.1 in April 2016, it featured some top Spanish musicians that were part of Domestic, and French trumpeter Erik Truffaz. This all-star band was led by DJ Toner who seamlessly and successfully combined jazz and hip hop on eight tracks. Critics eagerly awaited the followup.
They would have to be patient. DJ Toner was busy on other projects. In 2017, Martha High and DJ Toner released the funky, soulful single We Are One.
Five years after the release of Grandmaster Jazz Vol.1, DJ Toner was back. This time, it wasn’t a solo album. Instead, the album Blessed Are The Weird People was credited to the DJ Toner Q4rtet. Joining DJ Toner were trumpeter Erik Truffaz, vocalist Lain Faz plus trumpeter and saxophonist Jorge Pardo. The album was a fusion of hip hip, jazz, funk and soul that was released to plaudits and praise captured the imagination of DJ Toner’s fans.
The following year, 2022, DJ Toner returned with a new limited edition single Mimesis. However, his next project was with his Q4rtet.
In the studio, the DJ Toner Q4rtet recorded ten new tracks that became their sophomore album, Out Side.
Opening the album is La Rimosa, a slow and dreamy slice of jazz-tinged and smokey, cinematic hip hop. The languid arrangement has a cinematic sound that’s also mesmeric. It’s going to be difficult for the DJ Toner Q4rtet to surpass a track this good.
O´Beat and combines elements of jazz and hip hop with trip hop. Scratches, snippets of vocal and crisps combine on this cinematic soundscape.
Flama is a reminder of the music DJ Toner made with Domestic. It’s a captivating fusion of flamenco, hip hop, electronica and cinematic sounds.
Straight away, Camina has a dramatic and moody sound. That’s the case throughout the track as the Q4rtet combine everything from hip hop, jazz, electronica and library music. In doing so, they create an element of drama, mystery and suspense that sounds as if it belongs on the soundtrack to a movie.
Sweetband opens with a combination of samples, suspense, scratches and crispy beats combining with a dark piano and moody horns. The result is an atmospheric and dramatic fusion of hip hop, jazz and electronica.
The introduction the The Day has a dreamy, wistful jazzy sound. Soon, though, DJ Toner is combining hip hop and electronica with jazz. In doing so, he create a truly memorable genre-meting track that’s one of the album’s highlights.
Beeps and squeaks open Out Side creating a futuristic, sci-fi sound. They’re joined by a myriad of samples which combine with beats and the Q4rtet. Together they play their part in a dramatic, moody fusion of jazz-tinged hip hop, electronica and trip hop.
Esperanza has a wistful and melancholy sound as jazz, smokey hip hop and electronica is combined by DJ Toner. However, it’s trumpeter Erik Truffaz that plays a starring role in what’s another of the highlights of Out Side.
DJ Toner’s love of hip hop is to the fore on Under Beat, a dark, dramatic and moody track. Scratches, samples and strings are combine with crunchy beats as the track builds and reveals it cinematic secrets.
Closing Out Side is Surprise. Just like other tracks on the album, this is a carefully crafted fusion of hip hop, jazz and electronica. The result is a dramatic and cinematic sound that closes the album on a high.
Three years after the release of the DJ Toner Q4rtet’s debut album Blessed Are The Weird People, they return with the followup Out Side. It features ten new tracks where the Q4rtet combine jazz, hip hop and electronica. To this, they add elements of flamenco, trip hop, dub and even library music. The result is a genre-melting album, a carefully crafted sonic stew with samples, scratches and crispy beats galore. However, there’s also some truly talented musicians who play a hugely important part in the album’s sound.
Jazz-tinged hip hop is one way of describing parts of the album. It’s also cinematic and sometimes atmospheric and dreamy. Other times the music is wistful and melancholy. Sometimes, though, it’s dark and dramatic or moody and broody. It’s an album that’s never boring, as the DJ Toner Q4rtet constantly spring surprises throughout the ten tracks on Out Side. It’s their finest outing, Out Side is an album which anyone with even a passing interest in hip hop has to hear.
DJ Toner Q4rtet-Out Side.
GRACE CUMMINGS-RAMONA.
Grace Cummings-Ramona.
Label: Ato Records.
Format: CD.
Melbourne-born singer-songwriter and multi-instrumentalist released her self-produced debut album ‘Refuge Cove’ in 2019. A lot has happened since then, and now she’s been hailed as one of the rising stars of Australia’s thriving music scene.
Three years after the release of ‘Refuge Cove,’ Cummings returned with her much-anticipated sophomore album ‘Storm Queen’ in 2022. Just like her debut album, it was self-produced, and showcased a truly talented singer, songwriter and musician.
‘Storm Queen’ was funded by a relief program funded by the city of Melbourne-Covid relief program. When the album was released to widespread critical acclaim it was nominated for the Australian music prize in 2022. This resulted in Cummings’ music reaching a wider audience.
Just two years later, and Cummings returns with her eagerly-awaited third album ‘Ramona,’ which was released by Ato Records. Unlike her first two albums, this career-defining album was produced by Jonathan Wilson who previously, has worked with Angel Olsen and Margo Price. To record this lavishly orchestrated album, Cummings left Melbourne behind and flew to LA.
The album was recorded at Fivestar Studios in Topanga Canyon with a crack band of session musicians, who it seemed, were channeling then spirit of the legendary Wrecking Crew. They play their part in a stunning, soul-baring and very personal album from Grace Cummings.
She said prior to the release of ‘Ramona’: “In the past I’ve been caught up in worrying about whether I’m being too emotional or over-the-top, but this time around I decided not to filter any of that out… My only intention was to be myself, which meant being extremely vulnerable in my writing and my vocal performance, without going back and editing myself later on. It reaffirmed for me that being completely yourself is really the only way to offer the world something that it doesn’t already have.” That’s definitely the case here.
Producer Jonathan Wilson heaped praise on Cummings saying: “She is one of the most powerful singers I have ever recorded. Her emotional delivery of music is just stunning, a once in a lifetime thing. I remember first hearing her music and being completely blown away, which hasn’t happened in a long lonely time.”
Angel Olsen who Wilson also produced, said when she heard Cummings: “It felt like the wind of a hurricane entered the room. I remember feeling so activated and surprised by Grace’s vocal capacity that I actually felt my body brace itself against the wall.” That power and emotion is put to good use on Ramona.
It’s an album where Cummings explores what’s she capable of doing as a vocalist. Deep down she’s always known what she’s capable of. However, she seemed to hold back and didn’t unleash a vocal that’s powerful, emotive, soulful and theatrical. It’s an album that’s capable of breathing life and meaning into lyrics and seamlessly switching between different genres.
Cummings explains how things changed on ‘Ramona’: “I was able to explore a lot of things I’ve always known I could do with my voice but held back in the past, because I was trying to fit into a particular genre or sound…There are moments of prettiness on this album, but also some soul and some parts that are almost operatic—I just tried to match the feeling of the song, and didn’t think about anything else.” This has worked really well on an accomplished and flawless album that should introduce the Melbourne-born singer-songwriter and multi-instrumentalist to the wider audience her music deserves.
It’s no surprise that Cummings is a talented actress as there’s elements of theatricality throughout the album. This includes on the title-track. Cummings explains: “I wrote that at a time when I wasn’t doing well and had the sense that other people saw me as a weak little bird.” The singer drew inspiration from Bob Dylan’s 1964 song ‘To Ramona.’ She explains: “I didn’t want to be myself so I decided to be Ramona instead, full of intensity and melodrama. For me there’s a lot of safety in putting on a costume or a mask; sometimes it feels like the only way to express any true honesty and vulnerability.”
The eleven tracks on ‘Ramona’ are akin to an emotional roller coaster, as Cummings unleashes a series of soul-baring vocals on this highly personal album. It features impassioned performances that showcase Cummings’ versatility as a vocalist. Providing the perfect backdrop are Jonathan Wilson’s arrangements.
That’s the case on the opening track ‘Something Going ‘Round’ where Wilson combines the lushest of strings with dramatic drums, piano, organ, horns, tubular bells and soaring harmonies. Meanwhile, Cummings lays bare her soul delivering a vocal that’s a mixture of power, passion and emotion.
The tempo increases on ‘On and On,’ a piano led track. There’s a story behind the song. Cummings explains “I wrote that about watching a friend of mine play with their little boy and thinking how beautiful it was, and questioning any other part of life that isn’t as good as that.” It’s a beautiful, ethereal sounding track with a vocal bristling with emotion. Hooks haven’t been rationed on what’s a truly memorable and anthemic track.
It’s all change on ‘I’m Getting Married To The War.’ The arrangement starts off understated and spacious. This is the perfect accompaniment to Cummings’ heartfelt vocal. Soon, it starts to grow in power and is tinged with frustration and even anger. Meanwhile the arrangement is rockier with searing guitars and a swirling organ joining forces with the driving rhythm section and harmonies. When all this is combined it shows another side to the musical chameleon Grace Cummings.
‘Love and The Canyon’ is a piano led ballad. Wilson’s slow and understand arrangement combines elements of country and folk. It’s the perfect backdrop for another heart-wrenching and soul-baring vocal from Cummings. The result is a beautiful and moving ballad.
Strings sweep in during the introduction to ‘Work Today (And Tomorrow)’ before Cummings delivers a heartfelt, impassioned and theatrical vocal. It’s as if she’s playing a part in a play as she lives the lyrics, delivering them from somewhere deep inside and drawing upon personal experience.
‘Everybody’s Somebody’ is a relationship song where Cummings seems to criticises a former partner. Her bluesy vocal is powerful full of anger and frustration. No wonder. She sings: “Smoke in your room till the sun rises, And tell yourself that you’re number one, And maybe write a letter to your son, If you miss him so much?” Meanwhile horns, piano, guitars and drums play an important part in the arrangement as Cummings delivers one of her finest and most dramatic and moving performances on ‘Ramona.’
Prior to the release of the album, Cummings told the story behind the song ‘Common Man.’ She said: “A person I once knew wrote a song about wanting to be a common man: work 9 to 5, come home and have a cup of tea, and be so tired he wouldn’t worry about anything and go right to sleep. That sounds like my worst nightmare…So I wrote about wanting to be a cowboy instead, which to me represents complete freedom and detachment from this mundane world.” That’s the case on this carefully crafted feelgood song from Grace Cummings. Her vocal is veers between tender to a much more powerful and tougher sound. In doing so, she continues to showcase her versatility as a vocalist.
Just an acoustic guitar sets the scene on the ballad ‘Without You.’ It finds a reflective Cummings singing of love lost, while around her the world stays the same. It’s as if nobody is aware of her hurt and heartache, and the sadness she experiences every hour of every day. It sounds like a deeply personal song from Cummings and is without doubt one of the highlights of ‘Ramona.’
From the heartfelt vocal of ‘Without You,’ Cummings is transformed on ‘A Precious Thing.’ Her vocal veers from being devastated to anger, frustration and fury. The devastation is omnipresent in the lyrics to a song Cummings said: “I wrote that song on Christmas Eve, feeling exactly the way you’d assume from listening to it….It’s just an everyday tragedy that I tried to sculpt into something beautiful.” That’s apparent when listening to the lyrics: “Love is just a thing, That I’m trying to live without, And oh, what a precious thing, But it’s nothing I care about.” It’s a heart-wrenching song where Cummings sings about having her heart broken. Hopefully writing and recording the song was a powerful and cathartic experience for her.
Closing Ramona is “Help Is On Its Way.” It’s a melancholy sounding song that Cummings sings tenderly. She said that: “I think that’s the most meaningful song for me on this album…I wasn’t in a good way when I wrote it, but there’s a tiny glimmer of hope at the end that let me know what the whole record was supposed to be: a way of finding some beauty and profundity in painful times.” Let’s hope that’s the case for Grace Cummings an truly talented singer, songwriter and multi-instrumentalist who closes this deeply personal album with a song that’s full of meaning and hope.
‘Ramona’ is without doubt the finest album of Grace Cummings’ three album career. It’s a career-defining album where she comes of age musically as a singer and songwriter. She showcases her versatility and ability to breathe life, meaning and emotion into the eleven carefully crafted and lavishly orchestrated songs on the album. Sometimes Cummings’ voice is soulful, other times bluesy, while other times, elements of country, folk and rock can be heard. Cummings is a musical chameleon who flits seamlessly between disparate musical genres. The result is ‘Ramona,’ a beautiful, moving and deeply personal and stunning soul-baring and hopefully, cathartic album from Australian songstress Grace Cummings who has a big future ahead of her.
Grace Cummings-Ramona.
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