BIG STAR-RADIO CITY.
BIG STAR-RADIO CITY.
Quite often, when an album that becomes highly regarded and hugely influential, is released, it isn’t a huge commercial success. Even if it’s critically acclaimed, and a few music critics realize the albums importance, its release passes almost unnoticed. This album is loved by critics and a small coterie of fans, who treasure the album. They await this band’s next record, while the music industry moves on, each week another new batch of albums being released. When Big Star’s second album Radio City was released, critics loved it, they forecasted great things for them and the album. On its release, the album wasn’t the commercial success it should’ve been, and sales were poor. That wasn’t the end of the album. Through word of mouth, people heard about the album, and it became a favorite among aspiring musicians. Since its release, it has influence two generations of musicians, including groups like Wilco, R.E.M. and Teenage Fanclub. Through their patronage, a whole new generation have discovered Big Star’s music.
Alex Chilton truly was a highly talented musician. Aged sixteen, he’d recorded a solo album, only for it to be rejected for being too commercial. When he was seventeen, he became lead singer with The Box Tops. He was their lead singer between 1967 and 1970, when The Box Tops had a number one single with The Letter. By 1971, he was almost a veteran of the music industry. It was 1971, when Alex Chilton asked Chris Bell to collaborate with him. Chilton’s idea was a duo like Simon and Garfunkel. Thankfully, Bell rejected the idea, and instead, asked Chilton to join his band Icewater. Icewater comprised Alex Bell, drummer Jody Stephens and bassist Andy Hummel. Soon, Icewater became Big Star, after a visit to grocery store they visited for food, gave them the idea. By now, the band had written several songs, of which two, Thirteen and Watch the Sunrise, would appear on their debut album.
By April 1972, Big Star were ready to release their debut album, Number One Record. They’d signed to Ardent Records, and the company founder John Fry recorded the album. Initially, all four band members were going to contribute towards writing material for the album. Eventually, Chilton and Bell’s compositions dominated the album. When they recorded the album, Big Star became one of the first groups to use a sixteen track tape recorder. This allowed Big Star to experiment, and during the recording sessions, they learnt how best to use the new technology.
By the time the album was due for release, critics loved Big Star’s music. Big Star were a group who had been influenced by many British groups. This included the Beatles, Kinks, Rolling Stones as well as, The Byrds, Otis Redding, Joni Mitchell and Simon and Garfunkel. This melange of musical influences would influence the band’s music. On its release, Number One Record wasn’t promoted or distributed properly. Stax, who were meant to promote and distribute were struggling. They couldn’t generate airplay for the album, and couldn’t even get the album into many record shops. Eventually, Stax signed a deal with Columbia Records to distribute their whole catalogue. However, Columbia didn’t seem interested is using the independent distributors previously used by Stax. This resulted in Number One Record being removed from the stores who previously sold Stax releases.
After the problems regarding the distribution of the album, tensions arose within the band. Fights erupted between band members, instruments were destroyed and Chris Bell left the group. He decided to record his own solo album. After a few months, they decided to reform the group who by now, were down but not deterred or defeated. Problems galore occurred. There was drug abuse, instruments destroyed, band members became ill and a master tape went missing. Again the band spilt up. Eventually, the band reconvened and Chilton, Stemphens and Hummel decided to record an album as a three piece band. Chris Bell did help write some songs on the album, but isn’t credited. Radio City was the album that emerged. Like Number One Record, the theme that continued throughout the album, was the theme of a big star’s popularity and their success. Just before the album’s release, Hummel too, left the band. And then there were two.
On Radio City’s release on February 1974, the album was again well received by critics who loved the album. Again, because of distribution problems, and a disagreement between Stax and Columbia Records, the album sold poorly, and only about twenty-thousand albums were sold. Since then, the album is recognized as a classic, and was included by Rolling Stone magazine in their 500 greatest albums of all time.
Big Star would only release one further album, Third/Sister Lovers. By now, there was only two remaining members of the band Chilton and Stephens. So, in September 1974, they entered the recording studio for the last time. The duo enlisted the help of various musicians and producer Jim Dickinson to complete the album. Only 250 copies of the album were pressed, and they were used to promote the album, and generate interest from record companies. Amazingly, no record company wanted to release the album, deeming it not commercial enough. That was a tragedy, because when the album was eventually released, in 1978, it was a brilliant album. Critics recognized the album’s potential when the group were promoting it, and many wrote paeans exalting the album’s beauty. Looking back, that was an opportunity spurned by many record companies. Not long after the album was eventually released, tragedy struck, and Chris Bell died in a car crash.
Interest in Big Star grew and in 1993, the group reformed. Chilton and Stephens, were joined by guitarist Jon Auer and bassist ken Stringfellow. Their first concert was at the University of Missouri Music Festival. This concert was recorded, and released as an album entitled Columbia: Live At Missouri. The new line up toured extensively, and a new album was released in 2005, entitled In Space. This album consists mostly of new songs, songs written by Chilton, Stephens, Auer and Stringfellow. When it was released, it was well received by critics, who welcomed the return of Big Star. Sadly after over ten years of belated success and recognition, Alex Chilton died of cancer on 19 July 2010. That day, music lost one of its most creative and greatest musicians.
Having told you about the career of Big Star, I’ll now tell you just why, Radio City is such a great album. Radio City opens with O My Soul. As the song opens, guitars and drums play, it’s a sound harking back to the late fifties early sixties. The tempo is quick, Big Star don’t pause for breath, it’s a big sound, loud, plenty of glorious guitars, pounding drums and Alex Chilton singing above everything. Here, the rhythm guitar playing is brilliant, no other word can describe it. It makes the track. This is a sprawling track, one that enthralls you. So much is going on, your ears hardly know what part of the track to focus on. In the end, you end up submitting to the track’s charms, and sit back and revel in a magnificent track, played by three hugely talented musicians.
Life Is White opens with guitars chime intermittently, space left between each lick. A harmonica shrieks. Completing the line up, drums play. Chilton’s vocal sounds strained. Then the sound builds, itand suddenly, out of nowhere a jangly piano plays. It brings order, to what could end up a near chaotic sound, that’s glorious. Overall, the effect and sound is big, bold and impressive. Just as impressive are the lyrics, which Chilton delivers passionately, his voice pained, as if he’s experienced the pain he describes.
As Way Out West starts the tempo is slower, the sound isn’t as full. What you hear is Chilton singing and guitars that twinkle and chime. You can hear a slight Byrds influence in the guitars. The arrangement is much simpler, just guitars drums and vocal. The way the guitar is played, space is left between the notes. This is effective, as it allows the music to breath. Way Out West is quite different from the first two tracks on the album, but still is a good track.
What’s Going Ahn begins with a guitar gently playing, and drum slowly, providing the song’s heartbeat. When Chilton sings his voice is quite, restrained, almost understated. He’s joined by the rest of the band who provide tight vocal harmonies, again, reminding me of The Byrds. Their voices combine beautifully, the result the sweetest, tightest vocal harmonies. The result is one of the best songs on Radio City.
Guitars jangle and drums play as You Get What You Deserve begins. It’s another slower song, one benefiting from a looser, more understated arrangement. Alex Chilton’s voice is quieter and softer, yet he still manages to hit the higher notes. Chilton’s guitar playing is magnificent, producing an aural delight. It’s accompanied by drums which play subtly, behind the guitar. Hummel’s bass joins the drums, proving a steady backdrop. Here, Chilton is the star of the show, his vocal and guitar playing the reason for this hook laden track’s success.
It’s a darker sound that greets you at the start of Mod Lang. Straight away, I hear a Rolling Stones influence. Chilton’s voice is rougher, he almost growls as he sings, rasping the lyrics, whooping and hollering in delight. While he sings, a gloriously bold and loud guitar plays. Its sound dominates the mix, everything else, plays second fiddle. Jody Stephens drumming fills out the sound, with him using his full kit during the track. Between guitar and drums, the track has a solid bedrock, and Chilton’s growling vocal is the icing on what is, a musical feast of a cake.
One of Big Star’s finest moments is the next track on the album. Ask any fan of Big Star to name their favorite tracks, and Back of A Car will be among them. Chilton sings as the track open. Around him the sound is reminiscent of some if The Who’s early music. It has the same huge and impressive sound. Layer upon layer of music emerges. Sometimes, it seems as if it’ll end in chaos, but, at the last minute Big Star, avert disaster. Out of potential chaos, Chilton and company produce a musical masterpiece.
The funny thing when you listen to this album, is that you can hear how Big Star have influenced other groups. When you hear a track, it reminds me of a track produced by groups influenced by Big Star. That reminds me just how hugely influential a group they were, and how we must never underestimate their importance in the history of music. Even as I listen to the next track, Daisy Glaze, I can compare the sound to that of more recent bands. Daisy Glaze has a subdued introduction, just Chilton’s slow, sweet and spacious vocal, accompanied by guitar and drums. Both guitar and drums set a sedentary pace, and the song meanders beautifully along. Everything changes just before two minutes when the song suddenly builds up. Then Big Star, kick loose, tempo and volume increase. Where there had been space before, theres music, great music, music that hesitantly emerges. When it does, the guitars chime, jangle and sometimes, even shriek. It’s very much a dichotomy of a song. The first time you hear it, it catches you unawares, it creeps up on you and then, bang, you’re caught in its wake, swept along gloriously for ninety more wonderful seconds.
When you hear the start of She’s A Mover, it’s hesitant, you can hear background chatter in the studio. However, once the track starts properly, this hesitancy disappears. Instead, Chilton’s vocal enters, slightly strained, yet confident. Around him the band play, sounding slightly like The Beatles circa Sgt. Pepper. It’s as if Chilton’s paying homage to his idols, who he saw back in 1964 in Memphis. The sound features guitar and bass, almost dueling for prominence, as they chug along. Drums join in, contributing to the retro sound. What they end up with, is a slice of the sixties, and Big Star’s fantastic faithful interpretation of one the previous decade’s biggest acts.
September Gurls starts with Big Star’s trademark jangling guitars playing and features some of their tight vocal harmonies. Again, the sound reminds me of the Byrds. It’s the guitars and vocal harmonies that does it. On this track, although the guitars are the mainstay of the track, the drums fight for prominence. Chilton’s vocal is one of the best on the album. He neither strains to reach the higher notes, nor sings too loudly. His vocal is perfect for the song, as is the arrangement. The success of the track, is down to a group effort.
A piano plays, it’s sound slightly discordant, accompanying Alex Chilton. He sings the song quietly, but as he does, it seems as if he’s struggling with the vocal. Whether it’s the key he’s singing in that’s the problem. The sound is minimalistic, just piano and Chilton, it’s not unpleasant, but just as you’re starting to enjoy the track, it’s over. It’s just under ninety-seconds long, and to me, it has an unfinished quality, and I wonder what the song would’ve been like had it been developed.
Radio City ends with another of the album’s highlights, I’m In Love With A Girl. Like the previous track, it’s a shorter track, lasting just under two minutes. This time, it’s a much better song, one you can’t fail to enjoy. It begins with an acoustic guitar strumming, Chilton sings along. His voice sounds fragile as he sings some lovely lyrics. The arrangement is subtle, allowing the song to breath. Nothing overpowers Chilton’s voice, and as you listen to the song, you’re enthralled, caught in the song’s spell. It’s the perfect way to end the album, and demonstrates that there’s more to Big Star than meets the eye.
For many years, I’ve been a huge fan of Big Star. I’ve always loved their music, and spending time researching this article has been a labour of love for me. The time I’ve spent revisiting their music was a pleasure, and reinforced just how hugely talented a group Big Star were. In their heyday, they only released three albums, but what great albums they were. Number One Record was one of the best debut albums of that era, and it was the only album recorded by the original four members of the group. Radio City was recorded by the group as a three piece band and, to me, is a much better album than their debut. Their final album Third/Sister Lovers, saw only two of members of Big Star remain. That album is a hugely underrated album, and many people overlook this album when talking about Big Star’s music.
Should you never have heard Big Star’s music, you’ve probably heard numerous albums influenced by them. If you’ve an album by amongst others, R.E.M, Wilco or Teenage Fanclub, you’ve heard music influenced by Big Star. Anyone wanting to buy this album, can buy it on a CD which features both Number One Record and Radio City. Their third album Third/Sister Lovers, is also available on CD. I would recommend these albums to anyone who hasn’t heard their music before. Once you’ve heard these albums, you too, will become a fan of Big Star, and will be enthralled by their brilliant music. Standout Tracks: O My Soul, What’s Going Ahn, Back of A Car and I’m In Love With A Girl.
BIG STAR-RADIO CITY.
SUEDE-A NEW MORNING.
SUEDE-A NEW MORNING.
Sometimes towards the end of a band’s natural lifetime, they release an album that at the time, is underrated, and it’s only some time afterwards, that its quality is recognized. This is true of the band I’m going to write about today. They were formed in 1989, and by the time they released the album this article is about, they’d released four successful albums. However, after personnel changes and various personal problems, the band seemed to be on its last legs. With a new member onboard, and after two years in the making, Suede released A New Morning. On its release, critics weren’t particularly impressed, with the new album, however, fans were. Fans were much more receptive, and welcomed the much warmer and minimalistic sound. In this article, I’ll revisit A New Morning, and see who was right, fans or critics.
Suede’s previous album Head Music, had been a huge success for the band, and had cemented their reputation as one of the most popular bands of the 1990s. By the time its follow up A New Morning was released, the band’s popularity was on the slide, and the intervening three years had proved to be particularly turbulent for the band. After the release of Head Music, Neil Codling had to leave the band, as he was suffering from the highly debilitating illness Chronic Fatigue Syndrome. His departure angered Brett Anderson, even though he knew it was for the best. Anderson felt let down. Codling’s replacement was ex-Strangelove keyboard player Alex Lee. A New Morning saw a new Brett Anderson. By now, he’d sobered up, and said that this was the first Suede album that wasn’t influenced by drugs. Whilst writing the lyrics to the songs, he’d entered seclusion, in a country house in Surrey. There he surrounded and immersed himself in literature, including books by JG Ballard and Albert Camus. At other times he took long walks in the country, marveling at the many wonders of nature.
Once the songs were written, the band headed to Stanbridge Farm Studios in West Sussex, in July 2000. They took a break to play just one concert, in Reykjavic, Iceland, where they played nine of their new songs. Suede had originally chosen Tony Hoffer, an American producer for their album. It was with Hoffer that the band headed to Rockmouth studios in Monmouth, Wales. A three week trial run with Hoffer was tried, and although some members of the band weren’t happy with the results, they decided to hire Hoffer as producer. So to Parkgate Studios in Hastings, band and producer headed. Once there, Suede recorded ten songs with Hoffer. Unfortunately, things didn’t work out, and most of the recordings were scrapped. Next to fill the producer’s chair was John Leckie, who previously, had produced The Stone Roses. Two songs, Beautiful Loser and Positivity were recorded with Leckie, but Leckie had another commitment, and Suede had to look elsewhere for another producer. Stephen Street was their next choice, and over a period of two months, Suede and Street recorded the remainder of the album, which became A New Morning. Eventually, when the cost of the album was added up, it was estimated to have cost around one million pounds.
On the albums release, critics weren’t particularly impressed, and praise for the album was moderate at best. Some fans too, weren’t impressed, but other fans thought the album had a warmer sound, and that the more minimalistic sound was something to be welcomed. The two singles released from the album Positivity and Obsessions only reached numbers sixteen and twenty-nine in the UK singles charts. A New Morning was released in September 2002, reaching number twenty-three in the UK album charts. It proved to be the band’s final studio album. In October 2003, they released a compilation album entitled Singles, and in November the band announced that the band would members would work on their own projects from the following year, 2004. After fourteen years, and five albums, Suede were no more.
Having given you some background into the making of A New Morning, I will now revisit the album, and decide whether the critics or fans were right about the album’s quality. Positivity is the first track on the album, and begins with a guitar playing, joined by drums and as the drama builds, Brett Anderson sings. His voice is strong and clear, as he sings some of the best lyrics on the album. It’s a song that sweeps along, the sound is impressive, and features quite a grandiose arrangement that suits the lyrics. The lyrics are about what sounds like an extraordinary woman, one with charm and charisma in abundance. It appears she’s a captivating woman, one who is enthralling and casts a spell on men. Positivity is a good start to the album, Anderson sings the song well, the almost grandiose arrangement suits the song and the lyrics are of the highest quality.
Obsessions, like Positivity, was one of the singles taken from the album. As Obsessions starts, you’re struck by the retro sound of the song. That’s not a criticism, just an observation. It’s a very different song to Positivity. Anderson sings the song very differently, his voice is higher, he’s almost straining as he sings the lyrics. Guitars play a big part in the song, the drums sit forward in the mix, and a harmonica plays. It’s a song that has its roots in another decade, and even reminds me of The Alarm, and some of their songs from the 1980s’. However, it’s roots go much further back than the 1980s’. Having said all that, it isn’t a bad song, it’s one that had it been successful, could have been anthemic. It has that sound. Sadly, it wasn’t successful, and that’s a shame, as it’s a good song, maybe just one that was released in the wrong decade.
Lonely Girls has a much different sound and feel from Obsessions. It’s a much slower, gentler song, one that brings out the best in Brett Anderson’s voice. Here, he’s singing within himself, and in doing so, brings out the best in what are, some intelligent and thoughtful lyrics about loneliness. The arrangement suits Anderson’s vocal and the lyrics. It has a lush sound, and it sweeps gently, never once threatening to overpower Anderson’s tender and thoughtful rendition of the lyrics. From the opening bars of the song when an acoustic guitar plays, to the bass, guitars and piano that accompany Anderson, the arrangement benefits from a subtly that allows the song’s beauty to shine through.
When Lost In TV begins, the sound is immediately distant and mysterious. For a short moment, you’re left wondering what’s about to happen. Thankfully, you’re in for a pleasant surprise, because what emerges, is another quality song sung by Anderson and played well by the rest of the band. The tempo is slower, and again, it’s a song that, had the album been released at a different time, has huge potential, and has anthemic potential. It’s a catchy song, with an infectious quality, one that you can imagine crowds singing along with. As the song opens, an acoustic guitar plays, Anderson sings, the lyrics have a strong narrative. The song has hooks galore, and as the song gets to the bridge, the rest of the band sing backing vocals and the drums play. It’s there that you’re really smitten by the song’s quality. Instantly, you’re enthralled, struck by it’s catchiness, and the beauty of the lyrics. Like many of the songs on the album, the arrangement is perfect, thanks to producer Stephen Street.
John Leckie produced the next track Beautiful Loser, and without looking at the sleeve notes, I could tell that this was one of the two songs he produced. The track starts with guitars playing, the sound is loud and bold, much rockier most songs on the album. There is a real retro sound here, and when Anderson sings, his voice is stronger and louder. Sometimes, his voice veers between this stronger style to a a near falsetto. Beautiful Loser shows a much different side of Suede, one which they carry off well. It’s quite a contrast from the much gentler songs on the album, here guitars shriek, drums are loud and Anderson’s voice is rougher and harder. For a moment, you wonder if you’re still listening to the same album. After having said all that, I really enjoyed Beautiful Loser. Producer John Leckie brought out a very different sound from the band, one that’s very different to the songs produced by Stephen Street.
Streetlife like the previous track a bigger, bolder sound. Again, the track looks backwards, and has a retro sound and feel. Like Beautiful Loser, the rockier sound returns. Here guitars are loud, they chime and shriek, drums pound and Anderson’s vocal is stronger and forceful. There is an intensity to the track, an intensity that wasn’t present on Beautiful Loser. On Beautiful Loser, the band sounder looser, here they sound almost strained. It’s as if they’re struggling to adapt to the change in style. Personally, I preferred Beautiful Loser, rather than Streetlife. That doesn’t mean Streetlife is a bad song, quite the opposite, it’s a good song, one that shows another side to Suede.
When Astrogirl starts, the sound is hesitant, you wonder what direction the track will take. When Anderson sings, his voice is strong and loud, sitting proudly at the front of the mix. Around his vocal, the sound is big, yet isn’t overpower you. Apart from the usual guitars, bass and drums, Suede add piano and mellotron to the mix. Together, this combines to produce a slower song, one with some futuristic lyrics. Anderson’s vocal is strong and clear,Astrogirl reminds me slightly of David Bowie. Maybe it’s the lyrics or maybe, sometimes, momentarily, his vocal sound a bit like Bowie. Overall, Astrogirl is another change in style for Suede, but this time, it’s a change in style that works and is one that I welcome.
Untitled… Morning starts distantly, a piano gently plays, it sets the mood. A mood that is tinged with sadness. The song starts quietly, it’s subtle, just Anderson singing and the piano playing, but quickly the song opens up. When it does, a glorious track appears. Anderson’s accompanied by the lushest of backing vocals, and on this dramatic and heartfelt song, the band produce an outstanding performance on the first part of the song. After a short interlude, the track begins again. When it does, Anderson sings, accompanied by an acoustic guitar played gently. You can hear every chord change. The rest of the band provide backing vocals, on what’s a short, happy song. Of the two songs, Untitled is the best of the two, it’s a much stronger song, one with moving lyrics and a great performance by the band. Morning, too, is a good song, but lacks the depth of Untitled.
Guitars play, their sound loud and confident, drums fearless, matching the guitar’s intensity, join the guitars at the front of the mix. On One Hit To the Body the sound is a bold, harking back to several similar tracks on the album. When Anderson sings, he’s reserved a peerless performance for this song. His voice is strong and clear, and during the song, he’s backed by thunderous guitars and pounding drums. It’s an impressive sound, Suede in full flow. Here, they don’t sound like a band at the end of their career. Quite the contrary, on this album they visit various styles of music. The sound here is contemporary, still popular today. At the end of the track, the song ends with a crescendo. I’m left impressed by this track, one that’s quite a contrast to Lonely Girls and Lost In TV.
A New Morning ends with When The Rain Falls, a much gentler track than the near raucous One Hit To the Body. Anderson’s voice is much more subdued, as is the arrangement. He’s backed by a piano, guitar and drums. This is a much more minimalistic arrangement on the track, which allows Anderson’s voice to shine, and the lyrics to take centrestage. It’s a romantic song, one about being in love, and how even when you’re doing the mundane things in life, it’s special if you’re doing it with the one you love. Again, Brett Anderson’s voice sounds slightly similar to David Bowie when he sings some of the lyrics. Sometimes it’s momentarily, other times it’s more noticeable. For me, When The Rain Falls is the ideal song to end the album. It shows Suede at their best, playing a much gentler song, a song which brings out the best it Anderson and the other band members. This song demonstrates what a talented group of musicians Suede were.
Whilst writing this article, I’ve spent a considerable amount of time revisiting Suede’s career and listening to their albums, especially A New Morning. It was an album that was two years in the making, had four producers and cost nearly one million pounds. However, having listened to A New Morning several times, I’m of the mind that it was a much better album than the critics suggested. Of the ten songs on the album, most of them are good quality. There aren’t really any really poor songs on the album. It’s a highly listenable album. Granted, it might not be the band’s best album, but it didn’t deserve to be panned by critics they way it was. Many of the band’s fans welcomed the change in the band’s music. They liked the warmer and more minimalistic sound. I also liked this change. Much as I liked their “old” sound, this, to me, was a welcome change. It was Suede’s music evolving. What was sad, was that this album marked the end of the band’s career, it was the last studio album they released. What we should not forget, is that between 1989 and 2002, Suede were one of the biggest British bands, who released five albums, and sold countless millions of records worldwide. They outlasted many of their competitors, and until the end of their career, sought to reinvent their music. Not for them churning out formulaic music, or singing in a faux cockney voice. No, there was always more to Suede than that, and for that, we should be grateful. Their legacy is some wonderful music, music that still sounds good today, and music that is still enjoyed my their huge legion of fans worldwide. Standout Tracks: Lonely Girls, Lost In TV, Beautiful Loser and When The Rain Falls.
SUEDE-A NEW MORNING.
AL GREEN-LET’S STAY TOGETHER.
AL GREEN-LET’S STAY TOGETHER.
I’ve always loved soul music, and have done for many years. Unlike many people, I don’t just focus on one style of soul music. Some people just like Northern Soul, others Motown or deep soul, while other people love the sound of Chicago, Stax or Atlantic. One other type of soul music that many people love, is Southern soul, and today, I’m going to write about one of the greatest Southern soul’s exponents, Al Green, and his 1972 album Let’s Stay Together. This album Green’s third album, released in January 1972, and is one of his finest albums. In this my second article on Al Green, I will tell you just why Let’s Stay Together is such a great album.
My previous article on Al Green was about his 1975, Is Love, which was released when his career was perceived as being in decline. When Let’s Stay Together was released, Al Green’s career was very much in the ascendancy. He was by 1972 very much one of the stars of soul music. However, his previous album Al Green Gets Next To You hadn’t been a huge success, it had sold only moderately. All would change with the release of Let’s Stay Together, an album that was critically acclaimed. It saw Green’s style range from crooning to scatting, and veer from the smoothest falsetto to the deepest, funkiest, of growls. On its release, the album was a huge success and the title track, released as a single, sold over two million copies. This album, and the single Let’s Stay Together, firmly cemented Al Green’s reputation as a one of soul music’s biggest stars. It’s an album containing nine wonderful songs, produced by the legendary Willie Mitchell, and features some of Memphis’ greatest musicians, including The Memphis Horns.
Having told you about the background to Let’s Stay Together, I’ll now tell you just what makes this such a great album. Let’s Stay Together opens with the title track Let’s Stay Together, the single that sold over two million copies. If you’ve never heard the song, it only takes one listen to realize why it’s such a great track. It opens with the Memphis Horns playing, Al almost whispers in the background Let’s Stay Together. Straight away, you’re hooked, even before he starts to sing. When he does sing, his vocal is smooth yet strong, and the way he delivers the song, it’s as if he means every word. What you’re listening to, is vintage Al Green, and it’s one of the best songs he ever recorded. He’s accompanied by Rhodes, Chalmers and Rhodes on backing vocals, who provided backing vocals on so many Hi Records albums. Their performance and contribution on backing vocals are subtle, a perfect foil for Al’s voice. The rhythm section’s contribution is important, as they provide the song’s heartbeat, and Green was lucky to have such talented musicians backing him on this album. Anyone who has ever heard this wonderful track, will be forced to agree with me, when I say that this is one of Al Green’s greatest songs.
After starting the album with such a fantastic track, it was always going to be difficult for Al Green to follow that up. What he did was put a very different sounding track next on the album. La-La For You has a very dramatic start, the Memphis Horns and Charles Hodges on piano play, they’re accompanied by drums. The tempo is much slower, and when Al sings, it’s a very different Al Green we hear. He sings the song slow, real slow, leaving space within the song that has the effect of heightening the dramatic atmosphere. His vocal is heartfelt, dramatic at times, he sounds insecure, sometimes he’s almost pleading, as he sings the songs beautiful lyrics. It’s a song that’s very different from the opening track, the piano has a gospel influence, the vocals are double tracked, and Teenie Hodges’ fantastic rhythm guitar solo is one of the highlights of the track. Overall, La-La For You is a heartfelt and passionate song, delivered brilliantly by Al Green.
The Memphis Horns play at the start of So You’re Leaving, producing an almost rasping sound. A guitar accompanies them, they’ve set the scene for Al. When he appears, his vocal is quicker, as he sings to his lover that’s leaving him. In the song he attempts to get her to stay, even offering to marry her. During the song, his vocal style is quicker and stronger. He sometimes sounds defiant, but changes, and almost pleads, desperation not far away. Midway through the song, Al scats, this improvisation effective. Behind him, the Memphis Horns and the rhythm section, especially the drums, are the stars of the track, their contributions playing a huge part in the track’s success, especially during the song’s chorus. The success of this track is not just because of Al’s sometimes strident vocal alone. Quite the opposite. It’s success is partly because of the wonderful musicians assembled by Willie Mitchell, especially the magnificent Memphis Horns.
What Is This Feeling begins again with the Memphis Horns, but this time, they don’t sound so harsh. Al carries the song wonderfully, his vocal strong, happiness etched deep in his voice. Here, he’s singing about being in love, and it’s obvious he’s glad to be in love. Rhodes, Chalmers and Rhodes backing vocals have an understated quality, they sing quietly in the background, never once threatening to overpower Al. The way the Memphis Horns play, their sound much sweeter, they too, sound pleased that Al’s in love. Their playing adds to the joyous sound on what’s one of the album’s highlights.
As Old Time Lovin’ begins drums play, accompanied by a Hammond organ, the Memphis Horns join in setting the mood. This sets the atmosphere. The tempo is slow and moody. Straight away, you feel a gorgeous slice of Southern soul is about to emerge. When Al sings, his vocal is quieter, much softer. However, sometimes he let’s go, his voice soaring, yet still singing within himself. His delivery of the lyrics is moving, you feel as if he means them. Willie Mitchell’s arrangement is perfect, the rhythm section and Memphis Horns combining masterfully, and the backing vocalists adding the finishing touches to a beautiful slice of the finest Southern soul.
On the next track, I’ve Never Found A Girl, Al Green covers a song made famous by Eddie Floyd in July 1968. Personally, I much prefer Al’s version. This is the first of two cover versions on the album. The track starts brightly, the Memphis Horns playing as if announcing the introduction of Al Green. When Al sings, he continues the much more restrained delivery of Old Time Lovin’. Here, his voice sounds strong and confident, but when he sings, he again, sings well within himself. Instead, he leaves Rhodes, Chalmers and Rhodes to sing the louder parts, only really letting his voice briefly, soar, towards the end of the song. The interplay between Green and his backing vocalists is highly effective, and they’re allowed to demonstrate just how talented they are. Al isn’t afraid to let them shine, and they make a huge contribution towards the track’s success.
How Can You Mend A Broken Heart is the second cover version on Let’s Stay Together, and sees Al cover a Bee Gees song. Like the cover version of Eddie Floyd track I’ve Never Found A Girl, Al’s version of How Can You Mend A Broken Heart is the definitive version, and will never be surpassed. The track begins with guitar and drums playing, they’re then joined by a Hammond organ, moodily playing in the background. Even before Al’s softly sung vocal enters, the mood is set. The mood is sad, it’s a track that can’t fail to pull at your heartstrings. Al’s delivery is heartfelt, as if he recognizes the emotions described in the lyrics. It’s one of his best vocal performances, and highlights how a softer, quieter and more restrained delivery can be much more moving. For six and a half spell binding minutes, you’re enthralled at Al’s heartfelt rendition this song. Before Al Green and Willie Mitchell worked their magic with this song, it was a mediocre song at best. It just goes to show how by drenching the song in soul, adding horns, backing singers, strings and a little of Al Green’s midas touch, a song can be transformed from the equivalent of a pauper to a Prince. Quite simply, Al’s version of How Can You Mend A Broken Heart is one of the most gut-wrenchingly beautiful songs, you’ll ever be privileged to hear.
After the magnificence of How Can You Mend A Broken Heart, which is an almost impossible act to follow, comes Judy. It starts with the rhythm section and strings combining. Compared to the emotional roller coaster of the previous track, this is much more laid back. Al’s performance lacks the emotional intensity of How Can You Mend A Broken Heart, and here, he seems happy, at peace with the world. As he sings his voice is light, it has a brightness as he sings the song slowly, with an understated quality. Even the arrangement is subtle, the band seem to have caught Al’s vibe, and play within themselves. This is highly effective, and works, and what they produce is gorgeous track, one that has a lovely laid back vibe, and benefits from an understated arrangement.
Let’s Stay Together closes with Ain’t No Fun For Me. It has a similar tempo to the previous track, and begins with drums playing really slowly, accompanied by a guitar. Shortly afterwards, the Memphis Horns play, announcing the presence boldly, their playing of the highest standard. They play around Al’s vocal, and behind it. On this track, they’re playing is louder, which suits the arrangement. Al’s voice is louder and stronger. During the song he sings, shrieks, and hollers, his passion almost overflowing. There is nothing understated about this track, it beautifully bold, and is a perfect way to end such a wonderful album, an album which saw Al Green at the top of his game.
Let’s Stay Together although only Al Green’s third album, is highly mature album. It features nine great songs. There are no bad songs on the album, and definitely no filler. This was one of the highlights of Al Green’s career, he’d made the transition from R&B singer, albeit a highly successful one, to a singer who’d just sold two million copies of his single Let’s Stay Together. The album was in the top ten in the Billboard Hot 100 and the UK album charts. He had a legion of fans worldwide who loved his music. During this period he was fortunate to be recording for Hi Records, and be produced by Willie Mitchell, and have such a wonderful group of musicians playing on his album. Everything was going right for Al Green, his star was very much in the ascendency. During the 1970s’ he sold over twenty-million records, and some of the albums he recorded during this time, are among some of the greatest soul albums of all time. Since the release of Let’s Stay Together, the album has been critically acclaimed, and is now perceived as one of the best albums ever recorded. Should you never have heard the album, or any of Al Green’s music, it’s an album that’s well worth buying. It’s one of the best records he ever recorded, and features some wonderful songs. Standout Tracks: Let’s Stay Together, Old Time Lovin’, How Can You Mend A Broken Heart and Ain’t No Fun For Me.
AL GREEN-LET’S STAY TOGETHER.
HAROLD BUDD, SIMON RAYMONDE, ROBIN GUTHRIE AND ELIZABETH FRASER- THE MOON AND THE MELODIES.
HAROLD BUDD, SIMON RAYMONDE, ROBIN GUTHRIE AND ELIZABETH FRASER- THE MOON AND THE MELODIES.
Previously, I’ve written two articles on the Cocteau Twins, one of my favorite groups. When the group split up, the various members of the band went their own ways, and started working on different projects. The member of the band that has been involved in the most projects, is Robin Guthrie. Since the group spilt up, he has worked with many different artists. One of these that I’ve written about before, was Annie Barker, on her debut album, Mountains and Tumults. However, Guthrie has collaborated with a number of artists, producing a number of albums, which feature many different styles of music. One of these collaborations, was with Harold Budd, the American ambient and avant garde composer. However, this was not the first time that Guthrie had worked with Budd. Their first collaboration was back in 1985 when the three Cocteau Twins collaborated with Budd. The album was entitled The Moon and The Melodies, and was credited to Harold Budd, Simon Raymonde, Robin Guthrie and Elizabeth Fraser. It wasn’t an official Cocteau Twins collaboration with Budd, no, this was very much a side project between the band and the composer.
By 1985, the Cocteau Twins had released four successful albums, Harold Budd however, was a successful composer who specialized in ambient and avant garde music. Born in 1936, in Los Angeles, and raised in the Mojave Desert, his earliest musical inspiration was hearing the wind blow telegraph wires outside his house in the desert. His career as a composer started in 1962, and in 1966 he graduated from the University of Southern California. As his career developed, his music gradually started to become minimalistic. Some of his work became increasingly experimental, such as The Oak and the Golden Dreams based on the Balinese Slendro scale, and a long form gong solo entitled Lirio. However, having decided he had taken avant garde and minimalistic music as far as he could, he decided to take a break from composing in 1970.
Instead, he started teaching at the California Institute of the Arts. By 1972, he decided to return to composition. Between 1972 and 1975, he composed four works which collectively, were entitled The Pavilion of Dreams. They were a combination of ambient music and populist jazz. In 1976, he resigned his post at the California Institute of the Arts and began working with Brian Eno, who, by now, was working as an ambient composer and musician. 1978 saw Budd’s debut album The Pavilion of Dreams released. After this, Budd went on to develop his own style of ambient music. Since then, he has released numerous albums, collaborating with artists including U2, Jah Wobble John Foxx and of course, Simon Raymonde, Robin Guthrie and Elizabeth Fraser in 1986. Even at the age of seventy-five, Harold Budd is working harder than ever, and so far, in 2011 has released one solo album, and collaborated on two other albums, one with Robin Guthrie, the other with John Foxx.
Having briefly told you about Harold Budd’s career, I will now tell you about The Moon and The Melodies. The first track on The Moon and The Melodies, is Sea Swallow Me. A piano plays, it’s slow almost meandering as the track opens, soon, it’s joined by guitars, their brightness blurred slightly, sitting back in the mix. When Liz Fraser sings her vocal is far back in the mix, her vocal veers staring quietly, soaring higher. She sings using her own unique style, the lyrics sung in what sounds like her own personal language. For what is merely a mixture of guitars and Fraser’s vocal, the sound is bold and impressive. As usual, her vocal can transform a track, and her contribution here results in what is, a great track to open the album with.
Memory Gongs opens with a sound echoing in the distant, it’s almost unrecognizable, it’s joined by layers of sound that very gradually, join the mix. The sound is hesitant, ambling, as if finds its way. Here, the focus is experimental, a piano plays, its sound verging on the discordant, unlike what you expect a piano to sound like. Gradually, your ears start to recognize it, guitars play, they too not exactly sounding like a guitar should sound like. Effects are used, they change the sound, a sound which isn’t unpleasant. It takes a while to get used to, but what you’re hearing is some extremely good ambient music. It’s totally unlike the downtempo, or chill-out music we’re now used to. This is much more in keeping with the early pioneers of ambient music, like Brian Eno and Harold Budd himself. As the track ends, I’m saddened having enjoyed this ambient excursion par excellence.
As Why Do You Love Me? opens, the introduction has much in common with the previous track. Here, the music emerges from the tunnel, like a train from a station. The tempo although much faster than the previous track, isn’t noticeably so at the start. A piano plays, in the distance, meandering unaccompanied, the sound soothing and understated. It’s just Harold Budd playing piano, then subtly, other sounds emerge. They take care never to overpower Budd’s playing. Even when Robert Guthrie plays guitar, he shows reverence, ensuring his playing never overshadows Budd. The deference showed by Guthrie is worthwhile. What emerges is a track that’s subtle, understated and a masterclass in ambient music.
When Eyes Are Mosaics begins, the sound is much more like something the Cocteau Twins would’ve produced, albeit much slower. As the track begins the tempo is slow, space aplenty left within the track. After this the tempo increases slightly, Liz Fraser makes an appearance, her introduction transforming the track. She can add another dimension to the music with her gloriously ethereal voice. Here, her voice is softer than on the opening track See Swallow Me, and behind her Guthrie’s guitars chime, adding to the Cocteau Twins-esque sound. The track is very different to the previous two, Budd’s influence isn’t as pronounced, and the sound isn’t as ambient. Maybe that’s no bad thing, as this track breaks up the flow of the album, and adds some variety. Personally, Eyes Are Mosaics is one of the album’s highlights, made all the better by Liz Fraser and her wonderful voice.
Like the previous track, it only takes a couple of bars to hear the Cocteau Twins influence on She Will Destroy You. The sound reminds me of some of their earlier work. Here, the sound is subdued, verging on understated, Guthrie’s guitars aren’t as powerful as on some of the Cocteau Twins music. His playing is restrained, and so is Liz Fraser’s singing. She sings very much within herself. Not once, does her voice soar. It still has that very special ethereal quality. Accompanying Budd and the three Cocteau Twins on this track, is Richard Thomas on saxophone whose playing is subtle. What they combine to produce, is a lovely, understated track, which demonstrates another side of Fraser, Guthrie and Raymonde.
When The Ghost Has No Home starts, the sound is both distant and extremely quiet. You find yourself straining your ears, trying to hear what is happening. What happens is Budd plays piano, and is occasionally joined by Richard Thomas on saxophone. Both play quietly, and the sound is very much minimalistic, and very Harold Budd. His piano playing is soft and gentle, as if he’s caressing the keys. In the background, Guthrie’s guitar can be heard in the distance. It’s as if he’s deciding whether or not, to make an appearance on the track. In the end, he settles for just playing very gently, so gently, you hardly hear his playing. The track is the longest on the album, just over seven and a half minutes, and during this time, you’re transported on a magical minimalistic musical journey, into Harold Budd’s ambient world.
Boozy and Blunt sees the return of a much more Cocteau Twins sounding track. The only thing missing is Liz Fraser, and as anyone knows, no Liz, no Cocteau Twins. Having said that, it doesn’t mean that this track suffers terribly for her absence. It’s still a good track, where Guthrie’s guitar meanders through this mid-tempo track, while behind him, sounds sweep gently. He, however, takes centrestage. His playing is the mainstay of the track. Everything else is just supporting him. Here he showcases his skills as a guitarist, and in doing so, plays a massive part in two minutes of understated and subtle music.
The Moon and The Melodies, closes with Ooze Out and Away. One How. This track sees the reappearance of Liz Fraser, her fourth appearance on the album. As the track opens, keyboards and guitars play, and Liz almost whispers her vocal. Her voice is almost hidden among the guitars. It just peaks out from the mix. Here, the sound is hesitant, it also has a subtlety. A guitar appears in waves, washing over Liz’s vocal. It’s like waves breaking on the beach. At last, the sound breaks out, Guthrie’s guitar and Liz Fraser’s vocal emerge, as if making a bid for freedom. Before you can revel in their glory, the track is over. I’m left slightly disappointed, I feel almost cheated. This track, to me, is a case of what might have been. By keeping the vocal and guitar subdued, it detracted from their affect, and to me, is a slightly disappointing way to end the album.
The Moon and The Melodies is an album often overlooked by Cocteau Twins fans. That to me, is a shame, because on this album Guthrie, Raymonde and Fraser show another side to their music. Granted you can immediately tell which songs they take the lead on, but when they do, their music is quite different. It’s much more spacious, lacks the intensity of some of their music, and has a much more minimalistic sound. This will be Budd’s influence shining through. Harold Budd’s music on this album, is very different to the Cocteau Twins’ music. He was among the pioneers of ambient music, and his contributions on the album, exposed fans of the Cocteau Twins to a very different style of music. It’s album of two parts, one part Harold Budd and one part Cocteau Twins. They were unlikely collaborators, but the end result was good album, one which featured some great tracks. Budd’s ambient tracks have a gorgeous understated quality, where his belief in minimalism in music shines through. His style of music is apparent in the tracks where Guthrie, Raymonde and Fraser take the lead. Their music is less intense, more spacious and more minimalist. It was a sound that I liked, and one that would influence their later albums. Twenty-five years on, the album still sounds as good as did the day it was released, which is high praise indeed. Standout Tracks: Sea Swallow Me, Memory Gongs, Eyes Are Mosaic and The Ghost Has No Home.
HAROLD BUDD, SIMON RAYMONDE, ROBIN GUTHRIE AND ELIZABETH FRASER- THE MOON AND THE MELODIES.
MARVIN GAYE-LET’S GET IT ON.
MARVIN GAYE-LET’S GET IT ON.
Today I’ve decided to write about one of my favorite albums of all time. This album is one of the most beautiful albums that you’ll ever hear. There are only eight songs on the album, and it lasts just over thirty one-minutes. It’s also an album that was once described as “one of the most sexually charged albums ever recorded.” Once you’ve heard this album, you too, will immediately be smitten by its beauty. Released in August 1973, Marvin Gaye’s twelfth studio album Let’s Get It On, went on to become one of the biggest selling albums of all time. In this article, I’ll tell you about Marvin Gaye, and why Let’s Get It On is such a seminal album.
Marvin Gaye’s previous studio album had been 1971’s What’s Going On, an album that is one of the best albums ever made. It was an album that saw Gaye at his most socially conscious, and features some of the best songs he’d ever written. To many people, it was an album he’d never equal. It also saw Gaye break through into the musical mainstream. By the early part of 1972, he was suffering from writer’s block, he was really struggling to write new material. Recording sessions for this album had dragged on from 1970. His only release since What’s Going On, had been providing the soundtrack for the film Troubled Man, released in 1972. At this time, his past was haunting him. He was struggling to come to terms with things that had happened in his past. Also, his wife’s expectations were proving hard to live up to. Another thing preying on his mind was the one million dollar recording contract he had signed, making him the highest paid soul singer. Gaye truly was a Troubled Man.
The recording sessions for Let’s Get It On seemed to take for ever, songs were recorded, then shelved, songs were written, then rewritten. Progress was, to say the least slow. Like What’s Going On, Let’s Get It On has various themes running through the album. Love and romance were the themes for Let’s Get It On, and are said to be metaphors for God’s love. There are different styles of music on the album including smooth soul, doo wop and quiet storm. Unlike many of Gaye’s previous albums, the way the album was recorded, was very different, with vocals multi-tracked.
Let’s Get It On truly is one of the most important and innovative soul albums ever recorded. It’s importance was recognized as soon as the album was released. On its release, it was critically acclaimed, and became the biggest selling album Motown had ever released, selling more than What’s Going On. It peaked at number two in the Billboard Hot 100, and stayed in the charts for sixty-one weeks. By 2007, it was estimated that the album had sold over three million copies worldwide. Since its release, the album has found its way into almost every list of the greatest albums of all time. This includes Rolling Stone magazines list of the 500 greatest albums of all time.
Having briefly told you a bit about the background to Let’s Get It On, I’ll now tell you just why, this is such a classic album. Let’s Get It On is the first track on the album. It was originally written as a religious ode to love. However, this was one of the songs that was rewritten, and was rewritten about “making sweet love.” From that familiar opening, the guitar playing, producing that glorious wah wah sound, your hooked. When Marvin sings, his voice is romantic and sensuous. Behind him, his band are very much playing a supporting role. Having said that, they’re among some of the finest musicians available, and their playing is musical perfection. Never once do they overpower Marvin’s stunning vocal. Sometimes, their playing is subtle and understated, other times, playing a huge part in the track’s success. Drums provide the tracks heartbeat, a brass section unites, adding to the beauty passion and drama, and a saxophones plays, rasping gloriously. Backing vocals unite, complimenting Marvin’s musical masterclass. As the track draws to a close, a flute plays, Marvin slows the tempo down, he whoops and you hear handclaps, and you feel humbled, humbled and privileged to have heard such a beautiful song.
When you hear Marvin sing on Please Stay (Once You Go Away) you hear an insecure Marvin, pleading with his lover not to leave him. Here the sensuousness present on the opening track is present. It’s like an ode to someone who he’s almost infatuated with, so deep is his love. He sees scared to be hurt again. It’s one of the best songs on the album, his vocal is heart achingly beautiful. The arrangement is perfect for the track, it pulsates along in the background, drums again providing the track’s heartbeat, backing vocalists harmonizing sweetly with Marvin. It’s almost like call and response. What you hear is some of the smoothest soul ever recorded, and a paean to someone very special to Marvin Gaye.
The tempo is slow, the mood extremely romantic at the start of If I Should Die Tonight. Here Marvin Gaye soul crooner takes over, and the arrangement is one of the lushest on the album. Strings and horns accompany Marvin, a piano gently plays. It’s an impassioned performance from Marvin. His voice is soft, gentle, with an understated quality. The arrangement too, is subtle, gently meandering along in the background. One of the highlights of the track is when a tenor saxophone rasps, adding another layer of depth to the song. Again, backing vocalists accompany Marvin, and they and the string section combine beautifully, and help bring out the best in Marvin’s masterful performance.
Keep Gettin’ It On is a reprise of the opening track, Let’s Get It On. It’s as if Marvin wants to reinforce just how brilliant a song Let’s Get It On, by giving us a variation on a theme. Nowadays, this would be called the sequel, personally, I’ll just call this three minutes of gorgeous music. It’s another passionate performance from Marvin, all whoops and hollers, as if, by now, he’s brimming with confidence. His backing singers provide some stunning backing vocals, the brass section play with an understated brilliance. The rest of the band continue where they left off on Let’s Get It On. Their performance still of the highest quality.
As Come Get To Me begins, Marvin almost shouts, horns jam, bongoes play. Here, the sound is much fuller, the tempo quicker. Marvin’s voice is louder and stronger than on previous tracks. The track has a real jazz influence in parts. When he sings, his voice is as soulful as ever. He carries the song really well, and as the track ends, there is a doo wop influence present. Although the song is very different to other tracks on Let’s Get It On, it fits in well with the rest of the album, and doesn’t disturb the flow or theme of the album.
Straight away when you hear the start of Distant Lover, you hear a doo wop influence. It’s a sound that has a lovely retro sound, bringing to mind a time when all music sounded like this. Distant Lover, is slow, romantic and has some beautiful lyrics. After the change in style on the last track, Marvin is back on much more familiar territory. His vocal is slower, softer and the backing vocalists interact wonderfully with Martin. Drums play slowly, leaving plenty space in the music. This sets the tempo wonderfully. Like other tracks on the album, the arrangement is subtle, and thankfully, nothing is allowed to overpower the vocals, on this beautiful song.
You Sure Love To Ball starts with percussion and a saxophone. The sound is sensuous with a capital S. This is Marvin the lover man at his best. It’s an impassioned plea, with a big production. Sultry saxophones play, strings sweep in the background, their sound lush. Marvin’s vocal is one of the best on the album, and made all the better by the change in production style. His voice is smooth, his delivery sensuous in the extreme and what you’ll hear on this track, is a song bristling with sexual electricity. This is one of the highlights of the album, and when you hear it, you’ll see just why.
Let’s Get It On closes with Just To Keep You Satisfied. The start of the song is dramatic, strings play in the background, gradually moving to the front of the mix. Once there, they join Marvin. When he sings, the lyrics are moving, a heartfelt plea, dripping in passion, that reads like an open letter to his estranged wife. Apart from the strings, much of the arrangement is minimalistic. He’s occasionally joined by backing vocalists, and a brass section. A trumpet soars as Marvin lays bare his soul, exposing his troubled life to public scrutiny. You find yourself empathizing with his pain and hurt. Towards the end of the song, he realizes that it’s too late to save their relationship, and all they can hope for, is to be happy. I’ve always been deeply moved by this song, as it’s one that shows a different side of Marvin. During this song, he allows us to see the problems he faced, the worries he had, and how he was as troubled and insecure as the rest of us. Just To Keep You Satisfied is a lovely song, one that lays bare just what was going on in his life then.
That is the story of Marvin Gaye’s seminal album Let’s Get It On, one of the greatest albums ever made. I don’t say that lightly. Nowadays, too many albums are afforded classic status. Let’s Get It On however, has stood the test of time well, it still sounds as fresh and relevant today, as it did back in 1973. It’s an album that’s filled with hooks, and has many subtleties and nuances hiding, waiting to reveal themselves. Every time I hear the album, I hear something that I’ve never heard before. In some ways, it’s almost listening to a new album. Each song on the album is of the highest quality, Marvin’s vocals and lyrics are outstanding, and he is joined by some hugely talented musicians. Together they’ve combined to produce eight of the best songs he ever recorded.
Between 1971 and 1973, Marvin Gaye recorded three great albums. The first was What’s Going On in 1971. It was followed by the soundtrack to Troubled Man in 1972. That is an album that is hugely underrated, and is one that many people forget to include when talking about his best albums. Let’s Get It On was the third of the three albums, and for me, is the best of the three. It’s an album that deserves a place in every record collection. Should Let’s Get It On not be part of your record collection, it richly deserves to take its place in your collection, along with What’s Going On and Troubled Man, three of Marvin Gaye’s best ever albums. So the next time you’re in your local record shop, pick up these three wonderful albums, you won’t regret doing so. Standout Tracks: Let’s Get It On, Please Stay (Once You Go Away), You Sure Love To Ball and Just To Keep You Satisfied.
MARVIN GAYE-LET’S GET IT ON.
HORSE-GOD’S HOME MOVIE.
HORSE-GOD’S HOME MOVIE.
Previously, I’ve written articles about various Scottish artists. Some many people will be familiar with, others that are new to them. Today, I’m going to write about an artist many people may not have heard about. However, she has had several hits in various European countries, released eight albums and toured with some huge artists, including BB King and Tina Turner. She has a huge and loyal fanbase, and possesses one of the best voices you’ll ever have the privilege of hearing. This artist is Horse and the album, her second album, God’s Home Movie released in 1993. Before telling you about the album, I’ll briefly tell you about Horse’s career so far.
Horse was born Sheena McDonald, in Newport On Tay, Fife. Aged two, her family moved to Lanark, where she grew up. On her tenth birthday, she received her first guitar. This turned out to have a huge affect on her. After that, her ambition was to become a musician.
Whilst at school, she met Sandy Ash, with whom she would sing cover versions of songs by Steve Harley and Roxy Music. Sandy Ash decided to place an advert in the music weekly NME advertising for other musicians to join their band. One person who replied was Angela McAlinden. This was to proved a hugely important meeting. Angela McAlinden and Horse started to write songs together, and little did they know that this songwriting partnership would last nineteen years.
One problem they had was choosing a name for their group. Their first choice was Rhesus Negative. McAlinden and Horse were joined by a bass player and drummer in Rhesus Negative. However, the group didn’t last long. Their next choice of name was Astrakhan. By now, demos were being sent out to various record companies. One of the demos featured a song called You Could Be Forgiven, which attracted Alex Radvyi, then at CBS songs. This lead to a deal being signed in 1986. At the same time, the lineup changed, with a new bass player Graham Brierton joining the band.
1987 proved to be an important year for Horse. The group were invited to appear on The Tube, one of the biggest UK music shows at the time. It was then that Angela McAlinden suggested they rename the group Horse. Later that year, a record deal was signed. After several months of negotiations, with Simon Potts, who was the Managing Director of Capitol UK records, the deal was signed on 23rd December 1987.
Once a record contract is signed, the most demanding period is about to begin for a new artist. They have to write new songs for their debut album, decide which one are good enough to make the album, oh and record the album. Horse’s debut album took three years to produce. During the recording Horse encountered various problems. This include Horse having an operation on her throat. She hadto stay totally silent for ten days. Eventually the album was ready to be released. In 1990, The Same Sky was released on Capitol. It reached number forty-four in the UK album charts. To promote the album, Horse toured the album, but then went on to support BB King, Aztec Camera and Tina Turner.
After the success of The Same Sky, Horse would encounter a huge problem with their record company. Simon Potts who had signed the band, moved jobs becoming head of A&R worldwide for Capitol, and quickly, it became apparent that their label wasn’t interested in Horse. After some very turbulent times, Horse managed to secure their release from their contract, and eventually signed with Oxygen records, a subsidiary of MCA. This was great news for Horse, and they began writing the material for the next album. Another problem arose when they tried to find a producer for the album. They were unable to get the producer they wanted, so took the brave to decision to produce the album themselves. God’s Home Movie the album this article is about, was eventually released in 1993, and reached number forty-two in the UK album charts.
Since the release of God’s Home Movie, Horse have released six further albums on the Randan label. Horse is still touring and recording music, and are more popular than ever. A new album is due out in 2011 and her huge and loyal fanbase await this album’s release. Having told you about Horse’s career, I’ll now tell you why God’s Home Movie is such a good album.
God’s Home Movie opens with Celebrate, a track that begins with a bass playing, then quickly the rest of the band join in. Drums are crisp towards the front of the mix, guitars chime, and then McDonald sings. Her voice is loud and strong sitting right at the front of the mix. When she sings, she articulates the lyrics perfectly. What is immediately noticeable about her voice, is her great range. An operation she had whilst recording her debut album, saw her range increase. On Celebrate she demonstrates what a brilliant voice she has. The rest of her band, perform just as well, making Celebrate a rousing track to start the album.
One of the best songs on God’s Home Movie is Shake This Mountain. As the track starts, the sound is distant, gradually moving nearer. A guitar plays, the sound loud, drums fade in and Horse joins the fray. Straight away, as you hear her sing, you realize that this song is more than a little special. There are two reasons for this. Firstly, the lyrics which are among the best on the album, and secondly, the arrangement. It features some wonderful background vocals, that see Lorna Bannon harmonizing with Horse. The sound is dramatic, the song builds and builds, and it’s catchy, with an infectious quality. It may be eighteen years since I first heard this song, but I still enjoy as much today, as I did back then.
God’s Home Movie starts with strings sweeping, a guitar is plucked gently and McDonald sings gently, her voice soft, much more subtle than on the first two tracks. This demonstrates her versatility as a vocalist. With the strings playing behind her voice, the sound is beautiful, the effect is stunning, it’s heartfelt and moving. Horse’s vocal is one of the best on the album, she sings within herself, never forcing her vocal, and never overpowering the string section. Regardless of how often you hear this track, you’ll never tire of its understated beauty.
After the sublime God’s Home Movie, Horse have a difficult job following up such a stunning track. However, when you hear the opening bars of Years From Now, you wonder if somehow they can produce a track that comes even close. The answer to this is yes. Years From Now, is another great track. When it starts, the tempo is low, the sound quiet and subtle. A guitar is plucked gently, Horse sings quietly, and you think that this is another subdued song. Wrong. After just over a minute, the band cut loose, and play brilliantly. At the forefront of the track is Horse, her voice strong and loud, singing some lovely lyrics about being in love, and growing old together. Overall, the sound is big, bold and utterly glorious. As the track fades gradually out, you smile, having wallowed in four minutes of glorious music.
Natural Law gradually shows its beauty, the start meanders, then she sings slowly her voice full of character, her delivery moving, as she takes great care singing the lyrics. She treats them with the utmost respect, as if proud of them, which she should be. Behind her, a guitar plays, it’s subtle, drums gently keeping the beat. The arrangement is perfect for the song, there’s nothing present that shouldn’t be there. Everything compliments the vocal, which to say is stunning, is almost an understatement.
My favorite song on the album A Letter To Anne Marie, is next. When I first heard this track I was smitten. Eighteen years later, I’m still smitten. As the song starts, a brass section play, drums accompany them, the sound is loud, the arrangement much fuller. After that, Horse take you on a magnificent musical journey. It’s almost unfair to single out any musician for praise, as this is very much a group effort. However, the brass section play a huge part in the track, their contribution can’t be underestimated. Sometimes, when they play, their contribution is like musical punctuation, the way it brilliantly breaks up the flow of the music, increasing the dramatic impact. Their contribution turns a good song into a great song. However, without Horse, and her fantastic vocal performance, the song wouldn’t be half as good. Here she surpasses herself, producing her best performance on the album. How she hasn’t become a much bigger star is a mystery not just to me, but to many people. With stunning performances like this, she should be a huge star.
The great songs keep on coming on God’s Home Movie, with next track, Hold Me Now, being another of the album’s highlights. Like the previous track, this song is all about the some of the parts. Again, it’s almost unfair to single anyone out for praise on this track, as the whole band have played their part in making this such a good track. However, two people deserve credit. From the start of the track, McDonald’s vocal is strong, loud and confident. Later in the track, she varies her vocal, singing quietly, later on, her voice soars, again, demonstrating her amazing vocal range. The other person who deserves huge credit is the guitarist, whose solo is one of the best you’ll hear. Quite simply, it’s amazing. Hold Me Now is one of those songs that you never want to end, and when it does, you just press repeat. That’s how good it is.
Imitation is the third great song in a row. It’s very different from the two previous songs. As it starts, strings play, McDonald sings, her voice soaring, before she settles down to give a great rendition of one of the catchiest songs on the album. It’s laden with hooks, and you’ll find yourself singing it for days. When she sings, her voice has a sweetness, which is added to by the string section. The addition of the string section on this track was a masterstroke, it has the effect of transforming the track. It compliments the vocal, and the band take care never to overpower the string section. What Horse have produced is a track that you can’t fail to enjoy. I’ll warn you though, it has an infectious quality.
When Sorry My Dear begins, a piano and guitar play, the introduction is long, as if building up the drama. The tempo is slower, the song is very different from the previous tracks. When McDonald sings, the lyrics are darker, she sings about someone with charmed life, who when the night comes can’t sleep and the fears that engulf them at this time. Horse sings the lyrics slowly, ensuring she articulates the lyrics perfectly. Even when the rest of the band join in, the tempo remains slower, the band’s performance slightly understated. This suits the song, it allows the vocal to shine, and the lyrics to take centrestage, as they’re among some of the best on the album. Although very different to other songs on the album, it’s still a good quality track by Horse.
God’s Home Movie ends with Finer, a track which start’s quietly, a piano playing, accompanied by drums which play slowly, leaving plenty space in the music. There is a jazz influence at the start of the track, with the piano playing and McDonald’s vocal. Strings join in, the sound begins to grow, but always remaining a lovely understated quality which suits the song. McDonald has reserved a much more reserved vocal for this song, and takes great care when singing never to overpower the strings or piano. Like all the songs on the album, the lyrics are of the highest quality, and tell of a romance set in a small town, and the tedious life ordinary people have to endure to survive. Although written nearly two decades ago, the lyrics are as pertinent today, as they were when the album was released. Finer, is a good way to close the album, it’s a much more gentle and thoughtful song, one that demonstrates the talent of the McDonald and McAlinden songwriting partnership.
That is the story of Horse’s career so far, and their second album God’s Home Movie. It’s been a pleasure writing this article, and spending time listening to Horse’s wonderful music. This album, to me, was their best album. It’s an album full of quality songs, songs that feature some great lyrics and are sung by a highly talented vocalist in McDonald, and played by a really tight band. Throughout the album, they produce one great performance after another, and it amazes me that Horse were not a much bigger success than they are. If you’re one of the many people who’ve yet to hear Horse’s music, then this is a good album to start with. It features some of Horse’s best songs, where they sing a variety of styles of music. Another good album for someone who isn’t familiar with Horse’s music is The Same Sky. These two albums are among the best Horse have ever recorded, and will let you hear some wonderful music, music which I’m sure you’ll thoroughly enjoy. Standout Tracks: Shake This Mountain, A Letter To Anne Marie, Hold Me Now and Imitation.
HORSE-GOD’S HOME MOVIE.
BON IVER-FOREVER EMMA, FOREVER AGO.
BON IVER-FOREVER EMMA, FOREVER AGO.
As someone who has spent more years than I care to remember immersed in music and, as a result, reading the music press, I’ve lost count of the artists how have been hailed as the savior of music. Generally, these artists are hailed as the next Beatles, Rolling Stone or Led Zepellin. Usually, they sink without trace, after at best, one reasonable album. Sometimes, they hang around and produce a brace or trio of mediocre albums. Sometimes, though the same journalists spot some highly talented artists. With the group this article is about, it would be almost impossible to fail to spot their talent. Anyone who heard Bon Iver’s album For Emma, Forever Ago, must have realized straight away, that they were listening to a great album. In this article, I’ll tell you about Bon Iver, and what makes For Emma, Forever Ago, such a great album.
Before forming Bon Iver in 2007, life hadn’t been kind to Justin Vernon. He’s an America singer songwriter, who previously, had been in he band DeYarmond Edison. That band had split up, and at the same time, Vernon’s relationship broke up and he contracted mononucleosis. To recuperate, he decided to leave Raleigh, North Carolina, and head to his father’s cabin in a remote part of Wisconsin. It was whilst there, that the idea for Bon Iver came to mind whilst watching a DVD of Northern Exposure. Bon hiver is French for good winter, and in the program, the people in Northern Exposure, wished each other bon hiver, when the first snowfall of the year arrived. After deciding hiver reminded him to much of liver, he decided not to use it.
When he arrived at the cabin, he had no plans to either write or record any music. However, to recover from what had been a tough year, he started writing and recording some songs with some basic recording equipment he had with him. He played all the instruments, and overdubbed them later. Vernon wrote a melody first, then worked on the lyrics. When the album was finished, disaster nearly struck, the album nearly, was never released. The intention was to send it out as a demo to record labels. After getting good feedback from people, Vernon decided to release the songs as they were. He first sold them at gigs he played, the signed to indie label Jagjaguwar which released the album properly. On its release in February 2008, the album received great reviews in with many music papers. Since then, the album has achieved gold status in the UK, where it was released by indie label 4AD. It also achieved gold status in Australia and Denmark.
When Vernon plays live, he’s joined by other musicians. They include Sean Carey on drums, piano and vocals, Michael Noyce on guitar and vocals and Matthew McCaughan on bass, drums and vocals. Since the success of For Emma, Forever Ago, Bon Iver have toured extensively and played at Glastonbury and Lollapalooza in 2009.
Recently, Bon Iver have released their second album entitled Bon Iver. This eponymous album, was released on June 21, 2011, and features a very different sound to For Emma, Forever Ago. Like their debut album, Bon Iver was critically acclaimed and is selling well. It was recorded in Fall Creek, Wisconsin in an old vet’s clinic, which Vernon and his brother bought and turned into a recording complex. Vernon says he loves the newly built April Bas Studios, which is situated not far from where he was brought up. Hopefully, many more wonderful albums will be recorded at those studios.
Having told you about Bon Iver’s background, I’ll now tell you why For Emma, Forever Ago is such a fine album. The first track on the album is Flume, and it begins with Vernon singing softly and strumming an acoustic guitar gently. Immediately, your struck by the tenderness in Vernon’s voice. It’s a voice that is heartfelt, especially when he sings Flume’s lyrics. They too have a tenderness, and sound almost personal to him. I like the almost lo-fi style of the arrangement, it means you’re concentrating solely on Vernon’s vocal and guitar playing. Although, other instruments play subtly behind Vernon, they never overpower the vocal. This is beautiful moving song, one that Vernon sings beautifully.
When Lump Sum begin’s, it’s almost as if a choir of angels are harmonizing, their voices bather in ethereal beauty. Once they depart, Vernon sings and plays guitar. The tempo is slightly quicker, his voice a touch higher. Here, he sounds happier, his voice slightly brighter. During the song, the angels reappear, accompanying Vernon, a perfect foil for his voice. Like the opening track, the lyrics are complex, and have an otherworldly feel when you read them. However, when Vernon sings them, they make perfect sense. It’s like he’s interpreting them for the listener. If anything, this track is better than the opening track. Maybe it’s because it’s been touched by angels.
As Skinny Love begins, the guitar playing seems slightly distant, but gradually it moves nearer. When Vernon sings, his voice is right at the front of the mix. His voice sounds confident, but sometimes he seems almost angry, a bitterness present. Maybe it’s because it’s a song about a relationship that is in trouble, maybe singing the song is cathartic for him. It allows him to vent his frustration, get rid of the anger and bitterness that’s built up within him. Other times when he whoops and claps his hands he seems almost joyous. What we have here, is another great track from Vernon, a man proving to be a bit of an enigma.
The Wolves (Acts I and II) starts hesitantly, as if Vernon is trying to figure out the best way to start the song. After that hesitant start, the song slowly starts to reveal itself. It’s what I’d call a slow burner. Again, the song sounds personal to Vernon, maybe that’s why it takes so long to open up. Maybe that’s why sometimes, he sounds hesitant, as if scared to reveal too much of himself, in a song that’s about love. About halfway through the song, the sound grows, some lovely harmonies appear, more instruments and sound effects join in with the harmonies, which are almost like an instrument, to produce a glorious sound. Overall, the effect is moving, the song stunning, and as it ends, you feel privileged to have heard such a lovely piece of music.
At the start of Blindsided you’ll hear sound effects that you feel should belong at the start of a sci-fi movie. Don’t worry, Vernon is only teasing you, and what follows, is another beautiful, almost spiritual piece of music. Again, the sound is understated, just Vernon and his trusted guitar. His voice is tender, as he sings the lyrics. The lyrics have a mysterious feel, but to me, they’re about trust, trusting someone to be there for you when you need them. The thing is, they let you down, hence you feel as if you’ve been “blindsided.” They’re touching lyrics, that make you think that previously, Vernon has been badly let down by someone.
Again, some gorgeous harmonies open Creature Fear, their beauty shining through. When they exit stage left, Vernon takes over, and when he sings he veers between a moment of hesitation, to total cohesion. The lyrics are about someone he once knew, someone he admired, maybe even loved. It’s an intriguing story, one that ends badly, with Vernon rejected. Just as the song is building, and you’re caught up in it, suddenly, it ends. This leaves the listener disappointed, and the song has an unfinished feel about it. For me, it’s very much a case of what might have been. It could have been a really good song, rather than one that sounds unfinished, almost like work in progress.
Unlike most of the songs on the album, the sound on Team is much bigger, louder and fuller. Guitar, bass and drums play, the introduction is long and dramatic. I find myself thinking that I hope all this build up is worth it. Having said that, it’s a decent musical jam. However, that’s all it is. A jam, with Vernon whistling on it. Like the last track Creature Fear, it leaves me feeling disappointed. Again, it’s more like work in progress, as if someone mistakenly pressed record as the band were jamming. To me, it doesn’t belong on the album, as it’s so different to the other tracks.
Hopefully, after two rather disappointing tracks, For Emma will be a much better song. From the start, you realize that Vernon is back in the groove, as a slide guitar, trumpet and guitar combine at the start. When Vernon sings, normal service is restored, his voice better than ever, and joined by some close, tight harmonies. The sound arrangement, is delightfully retro, the lyrics tender and heartfelt. It’s another relationship song, about loving someone who, you know is deceiving you. This song has long been my favorite from the album, and once you’ve heard it, you’ll realize why.
For Emma, Forever Ago closes with Re:Stacks, a song that begins a familiar way. Vernon and guitar play, his playing on this track subtle and gentle. He leaves space within the lyrics, space he fills with guitar. His voice is higher, as he sings the lyrics. The lyrics are very different from the other songs on the album. They’re much fuller, with a more obvious narrative. Vernon sings about someone who previously, filled a void in their life with alcohol and gambling, turning over a new leaf when they fall in love. It’s a great song to close the album, one that demonstrates Vernon’s ability as a songwriter.
For Emma, Forever Ago is one of the best debut albums I’ve heard in recent years. Of the nine songs on the album, seven are of the highest standard. One, Creature Fear is also a beautiful song but has an unfinished quality at the end. That is a minor quibble, because the rest of the songs on the album are beautiful. Vernon sings them beautifully, his guitar playing gentle, sometimes understated. The arrangements and production are perfect, they’re subtle, never cluttered, allowing the songs to shine. Since the album was released, I’ve been smitten by it, have been enthralled by it’s understated beauty. If you have yet to discover Bon Iver, I can thoroughly recommend For Emma, Forever Ago to you. It’s one of the best albums released in the last ten years, and an album that you, will quickly fall in love with. Standout Tracks: Lump Sum, The Wolves (Acts I and II), For Emma and Re:Stacks.
BON IVER-FOREVER EMMA, FOREVER AGO.
PRINCE JAMMY-OSBOURNE IN DUB.
PRINCE JAMMY-OSBOURNE IN DUB.
Regular readers to this blog will have gathered that I’ve quite a wide musical taste, because previously, I’ve written about different types of music, everything from indie, blues and soul, to house, rock and reggae. One other type of music I’ve written about before is dub reggae, and today, I’m going to write about one of Jamaica’s most prolific dub mixers and producers, Prince Jammy, and his 1983 album, Osbourne In Dub. It’s an album I’ve loved since it was released, and one I’ve heard more times than I care to remember. In this article, I’ll tell you about Prince Jammy’s career, and why Osbourne In Dub is such a good dub reggae album.
Prince Jammy was born Lloyd James in Montego Bay, Jamaica in 1947. Before his involvement with the Jamaican music scene, Prince Jammy earned his living by fixing electrical equipment for local people. This he did, from his mother’s house in Waterhouse. His other sideline was building amplifiers and sound-systems. Towards the end of the 1960s’ Prince Jammy decided to build his own sound-system. However, by the early 1970s’ he decided to leave Jamaica and headed to Canada, where he stayed until 1976.
When he returned from Canada in 1976, he decided to set up his own recording studio. He opened the recording studio at his in-laws house in Waterhouse. Some of his first recordings were with Yabby You, a reggae singer and producer, who became popular in the early 1970s’.
Prince Jammy’s next big break came when one of King Tubby’s team left, and headed to New York to work. King Tubby decided that Prince Jammy was the man to replace New York bound Phillip Smart. This opportunity allowed Prince Jammy to work with some of Jamaica’s biggest producers and musicians. One of those was the legendary record producer Bunny Lee, who King Tubby worked closely with. During his time with King Tubby, Prince Jammy concentrated on making dub music. This continued until the end of the 1970s’.
Towards the end of the 1970s’, Prince Jammy started to produce records in his own right. One of the first albums he produced, was Love Crisis, the debut album by Black Uhuru. When the 1980s’ arrived, Prince Jammy came into his own, becoming one of the most important, and innovative producers on the island, producing many dancehall records. In 1985 Wayne Smith’s single Under Me Sleng Teng, was a huge hit, and gave Prince Jammy the biggest hit of his production career. That single featured the first ever digitally made, rhythm hook, which demonstrated how far technology had progressed. He had always embraced technology in his studio, and since then, Prince Jammy is credited as being the first digital rhythm used in reggae music. This would lead to what became the modern dancehall era.
During the 1980s’ and 1990s’, Prince Jammy’s music became the sound of Jamaica. Both his productions, and sound-systems, were at the forefront of Jamaican music during this period. He has worked with the great and the good of reggae music since his early days in music. It seems he has worked with every artist you can think of. It would be easier trying to work out who he hasn’t worked with. Even now, he is still working as a producer, and still works with some of Jamaica’s most popular artists.
Having told you about Prince Jammy’s career, I will tell you just why, Osbourne Dub is such a good album. Osbourne Dub begins with Loving Tonight. Drums roll, echo transforming their sound slightly, an organ melodically meanders. The sound is dub delight, subtle and understated. It doesn’t punish your speakers, rhythms emerge, a melody plays on the keyboard. Various percussive sounds emerge, a guitar plays, all the time, things entering the mix, and combining masterfully. It’s the perfect track to start the album. Although subtle, it holds your interest and has an infectious quality.
When Reggae Stylee begins, immediately you notice the sound is louder. The drums crack, loud and crisp, space left between each beat. So regular is the beat, you await the next one, and welcome its crispness and spaciousness. Behind the drums, percussion plays, then, later on, an organ plays, hiding behind the drums, never quite getting its chance to shine. A bass plays, subtly, it too, leaving the drums to dominate the track. Unlike Loving You Tonight, if you turn the volume up here, your speakers will groan, in protest at the ferocity of the drums. Reggae Stylee however, is a great track, I love the drum sound, and how everything shows deference to its force and prominence in the track.
Straight away when Dance Dub starts you realize that the sound has a more subtle sound than the previous track. There is also much more going on, more instruments can be heard, and this produces a very different sound. It’s a track that ambles along, it’s in no rush. As the track starts, drums and keyboard play, a guitar plays. Drums sit way at the front of the mix. They’re loud, crisp and have just a tiny bit of echo running through them. They don’t overpower the rest of the track, they play nicely behind the drums, their sound shines through, playing their part in what is another triumph for Prince Jammy.
Jah In Dub has a very different sound, from the others on the album. A brass section accompany the drums, which sound duller on this track. They lack the crispness than on other tracks. It’s no bad thing, the more subdued sound. For one thing, it’s much easier on the ear. It has a lovely repetitive hook, that lures you in, and before you know it, you’re hooked. During the track, the brass section and drums dominate, the bass section lacking the shrillness you sometimes here on some dub records. Here they’re almost sweet, in tune with the dullness of the drums. On top of that, a bass plays, plodding along, a backdrop that can’t be ignored. Mainly, it’s just drums and brass taking turns to shine. Quite simply, Jah In Dub is one of the album’s highlights, its infectiousness impossible to ignore.
As Chopping Dub starts, drums play, they’re given plenty of echo, though not too much to destroy their sound totally. It’s subtly done. An organ accompanies the drums, its sound a nice contrast. For the first time on the album, the effects are let loose properly, and as the track progresses, they’re used to almost mangle the sound. Almost but not quite. The sound and effect is impressive, a treat, again, dub delight. I sit back and savor the moment. This is dub heaven. Brilliant. Don’t spare the echo. This to me, is how the effects should be used. It’s like a masterclass in how to use the mixing board, and effects in particular. In a word, masterful.
Having to follow Chopping Dub is no easy thing, however, Pumping Dub has a good attempt. Sound effects are heard as the track begins, the bass plays, its sound throbbing, drums join in, the sound chugging along. A piano plays, sounding bright, in contrast to the dullness of the drums. Its like light and shade. Deep in the depths of the track plays the bass, a menacing presence, adding even more darkness to mix. Percussion tries to lighten the sound. It becomes like a contest, which is too close to call, so I think we’ll call a draw. Although very different from the preceding track, Pumping Dub keeps up the high standard of music on Osbourne Dub, with an intriguing dichotomy of a track.
Drums play slow and spaciously, a piano plays brightly at the start of Double Trouble. Again it provides a contrast between the dullness of the drums and the light, bright, sounding piano. Between the two instruments, the basis is there for a good track. Add in a bass, some percussion and use a bit of subtle echo and the track is progressing. That’s what Prince Jammy has done when he produced the album. It’s effective and pleasing on the ear. He doesn’t complicate or clutter the sound with a multitude of instruments. Quite the opposite, it’s almost as if less is more. What he’s ended up with, is an outstanding track, one that benefits from an almost understated arrangement.
See No Evil begins a with a guitar solo, an unusual start to a dub track. It’s joined by the drums, pumping away, gradually getting louder, fighting their way to the front of the mix. The guitar drops into the mix, soaring high, then, suddenly disappearing, only to reappear. During the rest of the track it almost disappears leaving drums and piano to take centre-stage, with the drums becoming the star of the show. With the addition of the guitar, this track is quite different from others on the album, one that I love, with the guitar transforming the track from a good one, to a great one.
The drums roll quickly right at the start of Pure Is the Soul, but quickly the pace drops. It would be impossible to keep that up during the track. However, the drums are still loud, very loud and crisp, and dominate the sound. Behind them an organ meanders slowly, picking out notes slowly. Percussion is loud and crisp. It almost assaults your ears, so loud and prominent it is. A bass and guitar plays, their sound subtle, almost disappearing behind drums and percussion. Having said about the volume of the drums and percussion, it doesn’t detract from the quality of the track.
Osbourne In Dub closes with Rise Up. The track starts with keyboards and drums. Keyboards pick out a melody, drums crack, space left between the beats, which the keyboard fills. Overall, the sound is mainly drums and keyboard. Other instruments join the fray, providing the backdrop for Prince Jammy’s drums and keyboards to shine. Here, the keyboard plays well, the tempo upbeat, the sound bright. Like many other tracks on the album, the drums sit right at the front of the mix, their sound dominating the soundscape. Rise Up demonstrates how a track dominated by two instruments can combine to produce a good track.
That is the story of Osbourne In Dub, one of Prince Jammy’s best albums. The album features some highly talented musicians including Robbie Shakespear on bass and Sly Dunbar on drums. Prince Jammy’s production on the album is brilliant, it’s subtle throughout the album. Not once does he overdo the use of effects. Each of the tracks is the highest quality, there are no poor tracks on the album. It becomes difficult to find a new superlative to describe the quality of each track. The funny thing is, that many people are unaware of Prince Jammy and his music. They’ve heard of King Tubby, Lee “Scratch” Perry and Bunny Lee, but are unaware of Prince Jammy, and his music. When they hear his music they’re pleasantly surprised. It seems to me, that he is almost one of dub’s unsung heroes . Maybe, this article will go some way to rectify this, and that after people have read this article, they’ll want to hear some of Prince Jammy’s wonderful music.
Should you wish to buy this album, it is now available as part of a four disc box set, entitled Evolution of Dub Volume Six Was Prince Jammy An Astronaut? It features four of Prince Jammy’s albums. Osbourne In Dub is one of them. The others are Crucial In Dub, Kamikazi Dub and Uhuru In Dub. They’re three other great albums and this box set will let you hear some of Prince Jammy’s best albums, including the excellent Osbourne Dub. Standout Tracks: Loving Tonight, Jah In Dub, Chopping Dub and See No Evil.
PRINCE JAMMY-OSBOURNE IN DUB.
JOHN MARTYN-SOLID AIR.
JOHN MARTYN-SOLID AIR.
Previously I have written about the artist this article is about. After I’d written that article, I was listening to some of his old albums and though that I’d write another article on this artist. The problem was, which album. With this artist, he has recorded so many good albums. Having spent some time listening his old albums, I decided to write about John Martyn’s 1973 album Solid Air. Solid Air is an album that’s critically acclaimed, and is found in any list of the best albums of all time. I will now tell why Solid Air is such a good album.
The first song on the album is the title track Solid Air. This is one of John Martyn’s best known songs. It was written about his good friend Nick Drake, the legendary singer Nick Darke, who had recently died of a drug overdose. From the opening bars, it’s apparent that this is a beautiful and deeply moving song. Solid Air opens with Martyn playing acoustic guitar and Danny Thompson playing bass. When Martyn sings, his voice is full of character, it’s unlike no other voice. He almost slurs the lyrics in some places. It’s a heartfelt delivery of some beautiful lyrics. In the song, he sings about Drake “I don’t know what went wrong in your mind” and “you’ve been living on solid air.” Martyn has been deeply affected by the loss of his friend, and expresses his grief in the song. When you listen to the song, the arrangement is perfect, it’s subtle and understated. Martyn and Thompson are joined by Tony Coe on saxophone and Tristan Fry on vibes. The effect is stunning, and together, they’ve produced a beautiful song, one that is a fitting tribute to a much loved friend, and extremely talented singer and musician.
After such a beautiful opening track, it’s a hard act to follow. Anything else, you feel, will be an anticlimax. However, Martyn responds well with Over the Hill, a much more uptempo song. The arrangement still focuses on acoustic instruments, but here, Marttyn’s voice is much clearer. He sings the lyrics well, and plays the guitar. His playing is faster, and on the track, is joined by a mandolin, autoharp and violin. One of the guest artists is Richard Thomson, of Fairport Convention. Over the Hill is a very different sounding track, and in some ways, takes Martyn back to his folk roots. Like Solid Air, the arrangement understated, perfect for this track.
Another of the album’s best tracks is next. I Don’t Want To Know is a cover of a Skip Spence song. It’s a track that has been covered by many artists, but John Martyn’s version is one of the best. The track opens with Martyn gently strumming his guitar. Straight away, you realize that this is a stunning track. It almost sends shivers down your spine. John Martyn sings the song beautifully, his voice, for the most part gentle, and only raising it towards the end for effect. Here he demonstrates what great voice he possessed. The arrangement is stunning, it never overpowers the vocal, and compliments it beautifully. One of the highlights of the track is the electric piano solo, which reinforces the beauty of the melody. It’s truly a brilliant song, and a highlight of Solid Air.
I’d Rather Be the Devil is a very different song to all the previous tracks. Whereas all the previous tracks were subtle, downtempo tracks, with the emphasis on acoustic instruments, this track is electric, it’s also loud and sees Martyn and the band cut loose. From the opening bars, you can tell a change is afoot. Martyn’s voice is louder, the band go electric and there is very little subtlety involved. Having said that, it’s a good song, one that Martyn would often perform live. It demonstrates how talented a group of musicians he’d assembled for this album, and during the song, the all play really well. Having heard the first three songs, I’d Rather Be the Devil may come as a shock to the system to the first time listener, but my advice is, stick with it, give it a chance, and quickly you’ll come to realize that this is actually a good track.
Go Down Easy starts hesitantly, then Martyn plays the acoustic guitar. After I’d Rather Be the Devil, this is a much quieter, laid back track. Here, it’s just John playing his guitar and singing. The effect is powerful, his lyrics among the best on the album. His playing is crisp and he leaves space between the notes, and his voice gentle, always singing within himself. This is a lovely track, it’s long been one of my favorite tracks on the album. Once you’ve heard it, you too, will agree with me.
On Dreams By the Sea, the introduction has a real funky feel. It’s Simon Pegg’s bass playing that makes you think that. However, when you hear the track, it’s the only funky thing about the track. This track has much more in common with I’d Rather Be the Devil. The sound is much bigger, louder and fuller. Martyn’s voice is louder and stronger. His voice sits at the front of the mix, behind him, his band gradually join the fray. When they do, the effect is glorious. You’re privileged to hear some brilliant musicians at the top of their game. They play around Martyn’s vocal, taking care to never overpower it. It’s as if they’re deferring to Martyn’s genius. Overall, the effect is fantastic, and it’s a track that shows another side to Martyn on Solid Air.
There is another change of style with May You Never. It sees Martyn returning to a much more laid back and downtempo style. It’s just John singing and playing guitar, and like Go Down Easy, the effect is stunning. His voice and playing are brilliant, among the best on Solid Air. The simple arrangement allows you to focus on the beautiful lyrics, as there is nothing to distract your attention. When you hear these lyrics, they demonstrate John’s talent as a songwriter. Many people forget that as well as a brilliant singer and musician, John was also a talented songwriter who wrote numerous classic songs. May You Never was one of these songs, and is one of the best tracks on Solid Air.
An acoustic guitar plays quietly, at the start of Man In the Station, and the song meanders gently, until John sings. His voice starts quietly, but quickly it gets stronger and louder. When it does, the band enter, they too, increase the volume, then, let it drop. It becomes like a game, with peaks and troughs, one minute loud, the next quiet. It’s a beautiful song, which John and the band sing and play beautifully. For almost three minutes you’re treated to John Martyn at his best.
Solid Air closes with John Martyn in blues mode on The Easy Blues (Jelly Roll Gentle Blues). His voice takes on a weary sound, as if he’s live a thousand lives. It’s full of character, perfect for the track. His playing starts of crisp and fast on the acoustic guitar for two-thirds of the track. After the track almost grinds to a halt, it restarts and transforms into a different song. Thereafter, it’s like turning back the clock, a piano plays, it’s bluesy and brilliant. The song opens out and then gradually, winds down, the album over. Latterly, we were treated to just a minute of a very different side of John, one I’d have like to have heard more of. This was a good way to end a classic album.
Having spent a great deal of time recently revisiting John Martyn’s back catalogue, I was spoiled for choice about albums to write about. In the end, I chose to write about what is probably his best album Solid Air. It’s a brilliant album, one that I always love to hear. It’s like an old friend, so familiar it is to me. It’s one of these rare albums, that has no bad tracks. You never once find yourself skipping a track, quite the opposite, put it on, and you’re transfixed, enthralled by its beauty and subtlety. For thirty-five wonderful minutes you’re transported somewhere wonderful, taken on magical musical journey, one that never need end, all you need to do to make it laster longer is press play again. Should you never have heard this album, it’s one that belongs in every record collection. It’s a seminal album, one of the best ever made. To me, it’s John Martyn’s finest hour, the greatest album he ever recored, and the perfect introduction to John’s music. If you just want an overview of his career, a good starting point is Classics released on Artful Records in 2000. John rerecorded some of his best songs on this double album, and it allows a newcomer to his music to hear his best songs. There are plenty of other studio albums and compilations of John Martyn’s music available, and if you read a previous article I’ve written that will give you some pointers on what are the best ones to buy. Whichever ones you buy, enjoy listening to some wonderful music, by an artist who is sadly missed by his many fans. Standout Tracks: Solid Air, I Don’t Want To Know, Go Down Easy and May You Never.
JOHN MARTYN-SOLID AIR.
SLY AND THE FAMILY STONE-FRESH.
SLY AND THE FAMILY STONE-FRESH.
The band this article is about, were one of the most important bands in the late 1960s’. They were a multiracial and multi-gender band, whose music was a fusion of styles, including, soul, funk, rock and psychedelic music. Their music influenced groups across these genres. The story of this band is one which features gangsters, freedom fighters, drugs, arrests and a member of the band being jailed. In between all these dramas, this group produced several classic albums, albums that are still influencing a new generation of musicians. Sly and The Family Stone are the group, and the album is their 1973 album, Fresh.
Sly Stone was born Sylvester Stewart, in March 1944, into a deeply religious middle class family, in Dallas, Texas. Later the family moved to Vallejo, California. Although the family were highly religious, the children were encouraged to express themselves musically. The four youngest children even formed a group The Stewart Four and recorded a single On the Battlefield of the Lord. Once in high school, he joined various local bands, including The Viscaynes, a doo-wop group, who released several singles. He also released several singles under the name Danny Stewart.
After leaving high school Stewart changed his name to Sly Stone. In 1964, he became a disc jockey, for a R&B radio station in San Francisco KSOL. He also worked as a record producer for Autumn Records, where he produced various local bands. One of the records he produced, C’Mon and Swim, by Bobby Freeman became a nationwide hit. His solo singles for Autumn Records weren’t successful, and attempts at becoming singer stalled.
When Sly Stone and brother Freddie decided to form separate bands in 1966, this would prove to be fortuitous. Sly formed Sly and The Stoners with Cynthia Robinson on trumpet. Freddie formed Freddie and The Stone Souls, with Gregg Errico on drums. Saxophonist Jerry Martini, a mutual friend of Sly and Freddie, suggested that the two bands combine. This they did, forming Sly and The Family Stone in December 1966. Both Freddie and Sly were guitarists, so Sly taught himself to play electric organ, Freddie became the guitarist and Larry Graham joined to play bass guitar. Vaetta Stewart, Mary McCreary and Eva Moulton, who had formed a gospel group The Heavenly Tones, were recruited to become the band’s female backing vocalists, Little Sisters. The trio dropped out of high school to join the band.
Sly and The Family Stone played a concert at Windchester Cathedral, a club in California. Having liked the group, and saw their potential, David Kapralik of CBS Records, signed the group to the Epic Records, a subsidiary of CBS. The group recorded their debut album, A Whole New Thing which was released in October 1967. On its release, the album was critically acclaimed, especially among fellow musicians, including Tony Bennet and Mose Allison. However, the album failed to chart. One reason for the album’s lack of commercial success, was that the album was recorded live in the studio, rather than being overdubbed later. Had the album been overdubbed, it may have sounded very different. After the albums failure, Clive Davis of CBS asked Sly Stone to record a more commercial album. This, Sly Stone would do on the next album Dance To the Music.
After the failure of their debut album, and at Clive Davis’ request for a commercial record, Sly and The Family Stone headed into the studio to record their second album Dance To the Music. This album featured a new band member, Rose Stone, a vocalist and keyboard player. The single Dance To the Music became a huge hit, reaching number eight in the Billboard Hot 100. When the album was released in April 1968, it became a hugely influential album. It was one of the first psychedelic soul albums, a sound many other bands would copy. Dance To the Music sold well, and the band decided to tour the album. However, the tour was cut short when Larry Graham was arrested for possession of marijuana, and because of problems with concert promoters.
Sly and The Family Stone released their third album Life in September 1968. The album wasn’t the success of its predecessor, Dance To the Music. Critics liked the album, but the record buying public didn’t, and the album wasn’t commercially successful. On this album, Stone revisits familiar topics in unity and integration, two things which were crucial to Sly Stone, and central to his philosophy. To me, the album sits between the groups first two albums, in that it’s more commercial than A Whole New Thing, but less commercially friendly than Dance To the Music.
Their fourth album Stand! released in May 1969, featured the band’s first number one single Everyday People. This was the album that made the group famous worldwide. In the first year, the album sold over half a million copies, and was certified gold. Since then, it has sold over three million copies. The album was included in the Rolling Stone magazine’s list of the 500 greatest albums of all time. Stand! is a brilliant album, and is a must have for any record collection. It includes some of the band’s greatest songs including I Wan’t To Take You Higher, Everyday People, Stand and Sing A Simple Song.
Between 1969 and 1971, Sly and The Family Stone didn’t release a new album. In an attempt to keep the group’s music popular, and because of the demand for a new album, a Greatest Hits album was released. It featured material from the group’s first four albums. The album reached number two in the Billboard 200, and became the group’s biggest selling album.
After a hiatus lasting eighteen months, Sly and The Family Stone released their new album There’s A Riot Going On. This album saw a much different sound, it’s a darker funkier sound, less melodic than their previous work. Having said that, the album features some wonderful songs including Luv ‘N” Haight and Family Affair. There’s A Riot Going On entered the Billboard 200 at number one. Like, Stand! the album sold over half a million copies in its first year, and was certified gold. It would eventually sell over a million copies and be certified platinum. The album also is included in the Rolling Stone magazine’s list of the 500 greatest albums of all time.
Problems occured during the making of There’s A Riot Going On. The Black Panthers, who Sly Stone had been involved with, wanted Stone to make his music more militant. They wanted Greg Errico and Jerry Martini, both white musicians, replaced with black musicians, and their manager David Kapralik replaced by a black manager. This would have gone against Stone’s belief in unity and integration. His music often spoke of peace, love and understanding, and spoke against racism and discrimination of any kind. He wanted people to love each other, and love themselves too. The other problem was that Sly Stone and other members of got addicted to drugs, including PCP and cocaine. This would come back to haunt the band later in their career.
After the huge success ofThere’s A Riot Going On changes were afoot for the band. During early 1972, Jerry Martini asked Sly Stone and his managers about money that he was owed. This lead to Pat Rizzo being hired should Martini ever become suspicious about the group’s financial practices. Later in 1972, the bad feeling that existed between Sly Stone and Larry Graham spilled over. After a concert, a fight broke out between Stone’s entourage and Graham’s entourage. Both Bubba Banks and Eddie Chin had heard that Graham had hired a hit man to kill Stone, assaulted Graham’s people. Larry Graham and his wife had to climb out a hotel window to escape, with Pat Rizzo driving them to safety. Graham then quit the band, and was replaced by Bobby Womack and Rusty Allen.
Having lost their original rhythm section, and Sly Stone becoming increasingly dependent on cocaine, the group’s sound changed, becoming much stripped down and more syncopated and the rhythms much more complicated. Their next album was Fresh, which this article is about, was released in June 1973. On its release, the album received mixed views, but has since been recognized as one of the most important funk albums in musical history. The single If You Want Me To Stay reached the top twenty in the Billboard Hot 100.
The band’s next album was Small Talk and was released in July 1974. It was the final album that would feature the original lineup of the Family Stone. Time For Livin’ was the group’s final top forty US hit, and the second single Loose Booty only reached number eighty-four in the US.
The band split up in January 1975. After that, four further albums were released by Sly Stone. High on You was released in November 1975, and was Sly Stone’s first solo album.
This was followed by Heard Ya Missed Me, Well I’m Back released in December 1976 and released as Sly and The Family Stone. The album featured a new Family Stone, with trumpeter, Cynthia Robinson, the only original member. Vaetta Stewart, Mary McCreary and Eva Moulton the three members of Little Sister providing backing vocals. Only one single Family Again, was released from the album and it failed to chart. After this, Epic released Sly Stone from his recording contract.
November 1979 Sly and The Family Stone release their ninth album Back On the Right Track. This was meant to be a comeback album by Sly Stone. For the first time, Stone didn’t produce the album, with Mark Davis producing it. The album featured some of the original members of the Family Stone, including, Rose Stone, Cynthia Robinson, Pat Rizzo and Freddie Stone. Both the album and its singles failed to impress the critics. However, having spent some time listening to this album, I would suggest that the album is underrated, and better than the critics suggested.
The tenth, and final, Sly and The Family Stone album was Ain’t But the One Way released in 1982. Originally, the album was meant to be a collaboration between Sly Stone and George Clinton. Stone had guested on Funkadelic’s 1981 album The Electric Spanking of War Babies, and Ain’t But the One Way, was meant to be the sequel. However, Clinton and Funkadelic fell out with Warner Bros and left the label. Sly Stone disappeared, and was discovered to have entered self-seclusion. As a result, Stewart Levine was brought in to complete the album. Having done what he could, the album was released. It wasn’t well received by critics, and wasn’t a commercial success. It was a sad end to a long career, one that saw Sly and The Family Stone release several groundbreaking classic albums. As I said at the start of this article, the story of Sly and The Family Stone is one of many ups and downs, and much in the way of controversy.
Now that you know the story of Sly and The Family Stone, I will tell you why Fresh is such a good album. Fresh opens with In Time, a track that has a subdued start, just drums and percussion playing. Then suddenly, an organ plays and Sly Stone sings, behind him a trumpet plays and backing singers accompany him. Rhythms emerge gloriously, Stone’s voice is strong and clear. Granted the sound is different from on their earlier albums, but this is funky with a capital F. The longer the track goes on, the better it gets. It has an infectious quality, that makes you want to dance, and is a great way to start the album.
After such a great start, Fresh just gets better, with If You Want me To Stay. If you weren’t hooked after the first track you will be now. This is easily one of the album’s highlights. From the keyboard and bass at the start of the track, and Sly’s vocal, you realize that this is the work of a musical genius. While Sly sings, he’s enveloped in a musical melange of beauty, where everything combines masterfully to produce the albums best track. The track pulsates along, a bass the heartbeat of the track, a piano playing beautifully and the brass section uniting as if providing musical punctuation. In front of that, Sly’s vocal soars and falls, giving a passionate performance. Only one world can describe this track. Brilliant.
A wah wah guitar plays at the start of Let Me Have It All. When Sly sings, he’s accompanied by some brilliant backing vocalists. They’re the perfect foil for him, and take the track to another level. The band seem as if they’re playing within themselves. Their performance is almost understated, as if longing to emerge from the shadows. They never quite cut loose, and before they get the chance, the track ends. Although just a short track, it reminds us what a great band the Family Stone were, even without their original rhythm section.
Frisky begins with a Hammond organ playing, a funky rhythm, it’s joined by a guitar, which uses the effects pedal well to transform the sound. Straight away, the sound’s funky. When Sly sings, and the brass section join the fray, we’re into funk overload. The sound is big and loud. It’s a track that grows, it’s very much from little acorns. Once again, just as you’re wallowing in the funkiness of the track, it’s over. Like the previous track, it comes to a sudden end. I feel the last two tracks could have been developed, and made into an even better track. There is so much going on in the track, that doesn’t get a chance to develop. Having said that, it’s a great track, just one that could’ve been made so much better. It was a magnus opus in waiting.
The next track Thankful ‘N’ Thoughtful, has a subdued, almost understated start. A guitar laden with effects plays, a drum plays briefly and Sly sings, accompanied by his female backing vocalists. It’s like call and response. Behind him the track meanders, some rhythms waiting to emerge, develop fully. The brass section play, punctuating the track, their playing of the highest quality. Unlike the previous two tracks, this one is allowed to develop fully. When it does, it’s full of rhythms, some of which are more complex than on earlier albums. Others repeat constantly, burying themselves in your consciousness. The track has a hypnotic quality, caused by the constant repetition of rhythms and lyrics. You’ll find yourself singing the lyrics, and remember the rhythms for days afterwards. Thankful ‘N’ Thoughtful, is a great track, one that shows a different side to Sly, as it’s not a full on funk assault.
Skin I’m in starts with a a guitar, drum, organ and bass all playing quietly. When you first hear the track, you wonder where it’s heading, then, suddenly, the brass section burst into life. Sly joins them and the tempo heads upwards, the sound big and loud. Sly’s vocal veers between gentle and subdued, to almost a scream, but is always in control. The brass section play brilliantly, and are the mainstay of the track, providing some wonderful rhythms.
On Fresh, the music varies from track to track. This is the case on I Don’t Know (Satisfaction). From the start of the track, a full on funk assault looks likely. As the track begins the sound is funky, guitar, bass and brass section combining masterfully. Sly and the female backing vocalists, almost duet, they feed off each other. The track wouldn’t be half as good without their contribution. I Don’t Know (Satisfaction) pulsates, a melting pot of the most glorious rhythms, played and sung be some hugely talented musicians and singers.
When Keep On Dancin’ begins, the backing vocalists sing the lyrics from Dance To the Music. Once Sly starts singing the lyrics to Keep On Dancin’, they don’t have the same quality as Dance To the Music. This becomes more obvious when the lyrics to Dance To the Music are sung during the chorus. The lyrics may sound better without the direct comparison to a classic song. It’s like comparing a Porsche 911 to a Kia. My other criticism of the song is that it has an unfinished feel and sound. All of a sudden it ends, and you’re left thinking is that it?
More years ago than I care to remember, when I bought this album, and realized the next track was a cover of the old Doris Day song Que Sera, Sera (Whatever Will Be, Will Be) I feared that this could be a car crash of a song. The track begins with a moody Hammond organ solo playing slowly. Then a female backing vocalist sings the lead vocal. She is backed by the rest of the band, then Sly takes over the lead vocal. So far the track is promising. They sing the song slowly, totally transforming it, making it a far different song. I’ve never liked the original, but this version I enjoy. It sounds like a totally different song. There is a lovely moody, atmosphere. A wah wah guitar plays, the organ is a constant and the vocals are slow, spacious and full of character. My verdict is a very good, very different version of an old song.
The tempo increases with If It Were Up To Me. It’s the total opposite to the previous track. Again a female vocalist sings the lead, her performance strong and full of passion. Behind her, the band’s performance is understated, with occasional bursts from the brass section punctuating the track. This is another short track, but this time, it sounds finished. The structure is much better. For me, it’s one of the album’s best track.
Fresh closes with Babies Makin’ Babies. As the track begins, a Hammond organ meanders, Sly scats. Backing vocalists join in and are accompanied by the bras section. Quickly the funky atmosphere is set. It’s a magical mixture of bass, brass section, organ and vocals. When Sly sings, it seems as if much of his performance is ad-libbed, the lyrics don’t follow the usual structure of verse, chorus. However, the track works, and what Sly Stone has come up with, is a good way to end the album.
When I decided to write about Sly and The Family Stone, there were many great albums I could have chosen to write about. I’ve long been a fan of their music, and to decide, listened to all their back catalogue. In the end, I thought instead of writing about one of their more successful albums, I’d write about one of their underrated albums. Fresh is an album full of wonderful music, and it was recorded at a difficult time for the band. They’d lost their original rhythm section, and Sly and other band members had acquired a drug problem. When you consider these problems, it’s remarkable that they were even able to record an album, let alone one as good as this. The album was recorded towards the end of the original Family Stone’s career. They split up in January 1975. After that, the band was never the same again. If you’ve never heard their music, there are plenty of great albums waiting for you to discover. As well as Fresh, I’d recommend Dance To the Music, Stand and There’s A Riot Going On, as the albums to buy. These albums will allow you to hear the best of Sly and The Family Stone. Then you can explore the rest of their music. In a way, I envy you, as you’re about to discover some wonderful music. I hope you enjoy the musical journey that awaits you. Standout Tracks: If You Want me To Stay, Let Me Have It All, I Don’t Know (Satisfaction) and If It Were Up To Me.
SLY AND THE FAMILY STONE-FRESH.
THE PEARLFISHERS-THE YOUNG PICKNICKERS.
THE PEARLFISHERS-THE YOUNG PICKNICKERS.
Today I’m going to write about a group who have been recording and releasing music for twenty years. During the last twenty years, this Glasgow band have produced some beautiful melodic pop music, which has been influenced by groups such as the Beach Boys, Big Star and Big Star. When you listen to their music, it’s full hooks and harmonies, and has a timeless, classic quality. The group this article is about, are The Pearlfishers, and the album, their 1999 release The Young Picknickers.
Since The Pearlfishers were formed, they have produced numerous EPs, singles and albums. The Young Picknickers was their third album, the follow-up to 1993’s Za Za’s Garden, and 1997‘s The Strange Underworld of The Tall Poppies. Since then, they’ve released four further albums, Across the Milky Way in 2001, Sky Meadows in 2003, A Sunflower At Christmas in 2004 and Up With the Larks in 2007.
David Scott is the driving force behind The Pearlfishers, he writes the lyrics and music and is a talented multi-instrumentalist. On The Young Picknickers, as well as singing the lead vocal, he plays piano, guitars, bass, percussion and autoharp. This doesn’t mean that The Pearlfishers are a one man band. Quite the opposite. Brian McAlpine has always played a big part in the group’s success. Like Scott, McAlpine is a multitalented musician. He plays piano, organ, guitars and percussion on the album. Although Scott and McAlpine are perceived as the two main members of the group, other musicians play an important part in the group’s sound. On The Young Picknickers, Jim Gash plays drums and percussion, Deepak Bahl plays bass, Gabriel Telerman guitars and Amy Geddes plays fiddles. Other musicians play on some tracks, including Teenage Fanclub’s Norman Blake.
Having told you about the group’s background, I’ll now tell you about The Pealfishers album, The Young Picknickers. The album begins with We’re Gonna Save the Summer. When the song starts, the sound is loud and bright. The song just bursts into life, and when Scott sings the vocals the rest of the group sing tight vocal harmonies, reminiscent of the Beach Boys. Behind Scott’s vocal, the guitars chime, reminding me of Big Star. It’s a great song to the start the album, not only well sung and played, but featuring some wonderful lyrics.
Like many of The Pearlfisher’s songs, the lyrics are like mini-dramas, they tell a story. This is the case with An Ordinary Day In the Suburbs. The song begins with a piano playing and David Scott singing. He has a good voice, and sings the lyrics well, never resorting to vocal gymnastics or faux mid-Atlantic accents. This means you concentrate on the lyrics, which tell a tale of suburban romance. This track has a good arrangement, one that although it features a large number of instruments, never sounds cluttered. All of these instruments combine wonderfully, to produce a great track.
We’ll Get By starts with piano and Scott singing. You get the feeling he’s building up the drama, at the start. He is. On this track, Scott’s vocal is brilliant. The rest of the band provide a tight backing track. It’s an arrangement that owes much to another of the group’s influences Bacharach and David. Parts of the arrangement, have a real retro feel, especially the trumpet solo, and the piano playing. This track transports you wonderfully back to another era.
Blue December is a much more subdued track. It doesn’t have the uptempo feel of many of the group’s other tracks. What it does have is some lovely lyrics, lyrics which Scott sings accompanied only by a piano. Again, the song sounds as if it doesn’t belong on an album from the 1990s. Instead, you feel it belongs on an album from the 1950s’. Having said that, Scott’s vocal is full of character, his rendition is almost heartfelt. This is made all the better by him not trying to disguise his voice. He possesses a good voice, and sings the song well.
After the more subdued Blue December, the tempo increases, and you’ll hear a slice of joyous pop perfection with You Justify My Life. This is easily one of the album’s highlights and one of The Pearlfishers best songs. From the opening bars, when the drums and piano play, then Scott sings, you realize that this is an outstanding track. It’s a song that’s laden with hooks and harmonies aplenty, its infectious quality draws you in, and after the song ends you find yourself pressing repeat, and luxuriating in its beauty. The lyrics have a lovely sentiment, the arrangement is one of the best on the album, and the eclectic selection of instruments combine masterfully with Scott’s vocal to produce a mini-masterpiece.
Battersea Bardot begins with an autoharp playing, it meanders melodically and when it stops, Scott sings the vocal, backed by an organ. When Scott sings, he sings about a love affair, and falling head over heels in love. These lyrics have a really strong narrative, and allow Scott to sing what’s ostensibly a short story in just under three minutes. Much of the sound on this track has a real retro sound, the autoharp and organ, even the drums. Like other songs on the album, they’ve been influenced by artists from the past. This is no bad thing, as Battersea Bardot is a good track, one very different from its predecessor You Justify My Life.
When The Young Picknickers starts, the sound again is retro. It’s an instrumental track, which breaks up the flow of the album nicely. The track meanders slowly along a keyboards playing beautifully. There are some lovely subtle key changes, that mean the track flows gently, melodically with a gorgeous sweet sound. This is a lovely track, one that improves with every listen.
As soon as you hear Scott singing on Once There Was A Man, what you notice straight away, is his voice is much higher. This doesn’t mean that he’s having to force his vocal, not at all. The change in style in necessary to bring out the best in the song. By changing his vocal style he does this perfectly, and highlights some trademark quality vocals. Another change is the much fuller sound on this track, which is very different from other tracks. It’s no bad thing, as the band have reserved a great performance for this track, which includes some sweet vocal harmonies to back-up Scott’s vocal. What The Pearlfishers have ended up with, a great sounding track, that’s very different to others on the album.
After a real change in style, The Pearlfishers return with a beautiful slow track, one of the album’s highlights. Over and Over has some lovely romantic lyrics, which David Scott sings beautifully. His voice is back to normal, it sounds delicate, and his rendition of the lyrics is heartfelt, as if they’re personal, and mean something to him. The arrangement is subtle, understated, and allows Scott to take centre-stage when he sings those beautiful lyrics. Quite simply, a gorgeous track.
Every Day I Read the Stars sees another change in style and tempo. This is a much more uptempo song, and sees The Pearlfishers sound not unlike the Teenage Fanclub, whose Norman Blake guests on the album. When the song starts it deceives you, because it starts relatively slowly. Then, suddenly all change, the song opens up, and there are glimpses of 1960s’ sunshine pop. The guitars on the track chime and jangle, adding to this retro sound. There are some really tight vocal harmonies during the track, which are a perfect foil for David Scott’s vocal. The overall effect, is glorious, and it’s a track with a feel-good factor, one that’ll brighten your day, whenever you hear it.
Again, the tempo falls with Strawberries In the Snow, a song about relationships and love, and a song with some really good lyrics, which are tinged in sadness, and designed to tug at your heartstrings. The arrangement is perfect for the song, it’s subtle, almost understated, and never threatens to overpower the vocal. When you hear the arrangement, it reminds me of some of The Beatles arrangements on their slower songs. This is another lovely song, one that demonstrates David Scott’s talents as songwriter.
The final track on The Young Picknickers is Stella Painted Joy, is a tale of youthful relationships and wanting to grow up quickly. It’s a dichotomy of a song. One part youthful exuberance and borderline bawdy lyrics, the other part much more mature lyrics, beautiful melodies and harmonies. Personally, I much prefer the second part of the song, it shows a gentle, thoughtful and mature side of David Scott. The first part always makes me smile, and although the lyrics well written, to me, they slightly detract from the second part of the song. However, when you view the song as a whole, it works, the song is like life, growing out of the youthful exuberance of the type of lyrics of the first part of the song, maturing, and being able to write something so complex and moving, as the second part of the song. For me, the second part of the song is a thing of beauty, the type of thing you’d expect Brian Wilson in his prime to write.
I’ve thoroughly enjoyed writing about The Pearlfishers, I’ve long been a fan of their wonderful music, music that deserves to be heard by a much wider audience than it is. In Brian Scott, you have a talented songwriter and musician, capable of writing and singing some brilliant songs. Some of these songs are beautiful love songs, others a glorious slice of pop perfection. In his songs, he pays homage to some of the most talented musicians and songwriters from the past. Listen carefully, and you’ll hear Brian Wilson and Burt Bacharach influencing his music. At other times, you’ll hear Big Star and The Byrds. All of these artists, have influenced his music. Like I said at the start of this article, The Pearlfishers are not just a one man band. There’s more to them than David Scott. This is apparent on The Young Picknickers, where every member of the band, and the various guest artists, all play their part in making this a great album. There is not a bad song on the album, an album that has many different sounds and styles. The Pearlfishers music is timeless, it’s full of melodies and harmonies, and features an eclectic selection of instruments combining to produce some glorious music. If you’ve never heard their music, you really should buy this album, as this to me, is one of their best albums. It’s an album that once you’ve heard it, you’ll fall in love with their music, and find yourself listening to it over and over again. Standout Tracks: An Ordinary Day In the Suburbs, You Justify My Life, Over and Over and Every Day I Read the Stars.
THE PEARLFISHERS-THE YOUNG PICKNICKERS.
TALK TALK-THE COLOUR OF SPRING.
TALK TALK-THE COLOUR OF SPRING.
The album this article is about came out in 1986. This period was hardly a vintage time for music in the UK. Much of the music was throwaway pop music, music which was instantly forgettable. Granted there were some great bands from the UK, some that spring to mind, are The Smiths, New Order, The Cult and Simple Minds. Most of the bands that fell under the New Romantic label, were, to me, bugglegum pop, music with a short shelf life, that would have no impact on musical history. One band that bucked this trend were Talk Talk. After achieving worldwide success between 1984 and 1986, they settled down and made several classic albums. Today I’m going to write about their album The Colour of Spring, an album that saw their style completely change, and won them a completely new set of fans. After telling you a little about their history, I’ll tell you why this album, is such a great album.
Talk Talk were formed in 1981, originally starting out as a quartet. The band consisted of vocalist Mark Hollis, keyboard player Simon Brenner, drummer Lee Harris and Paul Webb on bass. Originally, they were compared to groups like Duran Duran, and were said to be part of the dreadful New Romantic musical movement. However, Talk Talk were much more sophisticated than that, as they would demonstrate in later years.
Their first record was an EP, entitled Talk Talk. After the EP’s success, this became the basis for their debut album The Party’s Over, released in July 1982. The album reached number twenty-one in the UK album charts, and the single from the album Today, gave the band a top twenty hit. This was a promising start for a band that was formed just over a year before.
In October 1982, Talk Talk supported Genesis at their reunion concert at Milton Keynes Bowl. This introduced the band to a much bigger audience. In 1983, Simon Brenner left the band, after the release of a single My Foolish Friend. The single was a completely new track, and wasn’t on their debut album. Brenner was replaced by Tim Friese-Greene, who became the unofficial fourth member of Talk Talk. He would play a huge part in the band’s future, becoming Hollis’ songwriting partner, keyboard player and producer. Although he played such a major role in the band, he didn’t tour with the band, or appear in publicity material.
Talk Talk’s next album was It’s My Life, released in February 1984. Although the album only reached number thirty-five in the UK album charts, it was a top five hit in many other European countries. In the US, the album reached number forty-two in the Billboard 200. One of the reasons for the albums success, were the singles released from the album, including Such A Shame.
Their next album was the one that really made the group a worldwide success. The Colour of Spring was released in March 1986, and saw the group abandon their New Wave style of music, which was heavily reliant on synthesizers. This new style of music won the band many more fans, and the album was certified gold in the UK by the BPI for sales of over one hundred thousand. Singles from the album also proved successful, with Life’s What You Make It reaching the top twenty, and Living In Another World reaching the top forty.
After the success of The Colour of Spring, Talk Talk headed to the studios to record their next album with a much bigger budget. This was fortunate as the album took a long time to record, and featured many guest musicians. When Spirit Of Eden was released in September 1988, it was well worth the wait and bigger budget. The album was a masterpiece. A blend of jazz, rock, classical and ambient music. Much of the music had been improvised, and the whole album recorded and edited on digital equipment. For some reason, the album didn’t sell so well. Maybe it wasn’t commercial enough, or it was too sophisticated for many casual album buyers. Spirit of Eden was certified silver, having sold over sixty-thousand copies in the UK. Talk Talk decided not to tour the album. In retrospect, this was a sensible decision, as it would be nearly impossible to recreate the album live.
While the band were recording Spirit Of Eden, their manager Keith Aspen, was trying to get the band released from their contract with EMI. Both the band and Aspen felt Talk Talk were on the wrong label. After a lengthy legal dispute, lasting several months, the band managed to secure their release from their contract with EMI. As part of the deal, EMI released a retrospective of Talk Talk’s career with EMI. This was entitled Natural History. It reached number three in the UK album charts and was certified gold, for selling over one hundred-thousand copies. In total, the album would sell over one million copies worldwide. Natural History would also provide Talk Talk with their biggest UK hit single. It’s My Life reached number thirteen in the UK singles chart and Life’s What You Make It also reached the top twenty in the singles chart.
In 1990 Talk Talk signed a two album record deal with Polydor Records. What would be their final album, Laughing Stock, was released in September 1991, on Verve Records, a subsidiary of Polydor Records. Hollis and Friese-Greene were, by now, the only two remaining members of the band, Webb having left the band by now. Before the album’s release, it had attained an almost mythical status, when news of the recording sessions were leaked out. When the album was released, the more experimental sound started on Spirit of Eden, was taken to the next stage on Laughing Stock. It was a masterful album, but sadly, one that failed to have the same commercial success as its predecessors. Laughing Stock reached only number twenty-six in the UK album charts.
Laughing Stock was the last album Talk Talk produced. They split up in 1991, with each member of the group going of to do their separate things. Mark Hollis released one solo album entitled Mark Hollis in 1998. The sound was very much like that on Spirit of Eden and Laughing Stock. After the release of his solo album, he retired from the music industry.
Having told you about the band’s history, I’ll now tell you what makes The Colour of Spring such a good album. Happiness Is Easy opens the album. The track begins with drums playing, an interjection of percussion and a keyboard plays. Then Mark Hollis sings, his voice high, clear and full of drama. Behind him, a Spanish sounding acoustic guitar plays, strings subtly sweep. Later a chorus of children sing, a trumpet plays. It’s a busy soundscape, yet never sounds cluttered. Throughout the track the drums play, always noticeable, drawing your attention to them. The sound is one that is sophisticated, full of nuances and subtleties, that won’t be apparent until you’ve heard the album many times.
One of the tracks many people will recognize from The Colour of Spring is I Don’t Believe In You. Having said that Hollis’ vocal was dramatic on the previous track, to say the same thing here, would be an understatement. A drums cracks, strings play and the track opens up. The sound is big, almost theatrical, as if preparing the stage for the leading man in what is like a mini-drama. When Hollis sings, his voice is heartfelt, passionate, verging on disbelief at singing the lyrics. His vocal is outstanding, and is fully a match for the rest of the band, who, together, set the scene perfectly for Hollis. I Don’t Believe In You is, without doubt, one of the real highlights of The Colour of Spring.
The other track from The Colour of Spring that most people will know is Life’s What You Make It. This track is very different to the two previous tracks. It’s a much louder track, one with a much fuller sound. It fills the mix, and although not the quickest track on the album, it sounds deceptively quick. From the first few bars of the track, the sound is full on, almost in your face. It lacks the subtleties of other tracks on this album. Guitars, drums and keyboards are all at the forefront of the mix, and Hollis’ vocal is loud and clear, and in keeping with the other instruments on the track. Obviously, this has been a hugely successful song, one that many people love, but although I recognize its quality, I prefer the more subtle tracks on the album.
April 5th thankfully, sees Talk Talk return to a much more subtle sound, after the full-on assault on the senses of Life’s What You Make It. This track has a much gentler sound, it’s a track that at the start meanders, but meanders beautifully. Percussion plays, you feel it’s surrounding you. Hollis vocal appears through a mixture of percussion and piano. His voice makes at first, a fleeting appearance, then returns. When he returns, he’s backed by a Hammond organ and guitar. The sound is emerging, emerging almost hesitantly, evolving through what is a mystical soundscape. The lyrics, as usual, are a thing of beauty, made all the better by Hollis’ thoughtful delivery of them. Sometimes, he uses his voice sparingly, treating it like another instrument. This is hugely effective, and adds another dimension to what is, a wonderful track.
The next track Living In Another World, has a much brighter, uptempo sound and style. Straight away, the sound is full, bright, yet hints at drama to come. Hollis’ vocal soars high above the rest of the arrangement. The arrangement features a multitude of instruments. Guitars, piano, percussion, drums, bass, saxophone, harmonica and organ all contribute to this track. One of the highlights of the track’s is Mark Feltham’s harmonica solo. Steve Winwood guests on this track, playing organ. Here, each of these instruments play their part in making this a dramatic sounding track, one that’s the complete opposite of the previous track April 5th. It was a track full of subtleties, this is a track that forgets about subtlety, and instead, decides to showcase a much more grandiose sound. Talk Talk are totally unapologetic about such grandstanding. To them, it’s an opportunity to show another side of their music. Here it’s like they’ve unleashed a monster, a very lovable monster, one that has produced a brilliant track.
Give It Up starts with a Hammond organ atmospherically playing. Drums join the track, providing a steady backdrop, like the heartbeat of the track. When Hollis sings, is voice is quieter than on the last track. By comparison, his vocal is almost subdued, at times. However, later in the track, it veers between this subdued sound, to a much stronger sound, one that perfectly articulates the song’s lyrics. This is another song which is loaded with drama. All of a sudden, sounds emerge, some dark and moody. On this track, a mellotron makes an appearance, played by Mark Hollis. It’s joined by a dobro, as well as the usual drums, bass, organ, piano and percussion. The sound is a mixture of more unusual and traditional instruments, all of which come together gloriously, to produce another noteworthy track of the highest quality.
When you hear the start of Chamelon Day, it sounds like something out of a sci-fi movie. The sound is otherworldly, not quite eery, but getting there. When Hollis sings, he does so quietly at the start, backed by a piano. Both Hollis and the piano leave plenty of space in the track. Later, and very suddenly, Hollis almost shouts the lyrics. This is only momentarily, but happens again. Chamelon Day has a very minimalist sound, it ambles very slowly, yet is full of character and some dramatic moments. It’s a lovely track, one full of subtleties and nuances, waiting for you to discover.
The final track on The Colour of Money is Time It’s Time. It starts brightly, piano and drums playing, then Hollis sing softly. As the track progresses, it gets louder and fuller. Drums come to the forefront of the mix, Holiis’ voice gets louder and the Ambrosia Choir sing. Their contribution is stunning, their voices merging beautifully with the rest of the arrangement, producing a powerful soundscape. It’s a complex piece of music, one that has been arranged perfectly, which must gave been difficult given the numerous instruments used and the addition of a choir. Quite simply, this is stunning track, and a fitting way to end such a great album.
The Colour of Spring was the first of three great albums that Talk Talk made. This was followed by Spirit of Eden and Laughing Stock. Talk Talk were about to embark on a journey that would see them produce a trio of classic albums. This was quite a change from their early work, which saw them erroneously categorized as just another New Romantic band. After this album, people saw a very different side to Talk Talk, they were viewed as serious musicians, not purveyors of bubblegum pop. They, unlike any of the bands that they were mistakenly compared with, Talk Talk produced three memorable albums, which are perceived as classic albums. None of those other bands even came close to this. Twenty years after Talk Talk split up, people still love their music, journalists still write about it and their albums still sell. In my opinion, The Colour of Love was a great album, one that deserves a place in every self respecting record collection. If you don’t own this album, I suggest that you buy a copy of The Colour of Money, Spirit of Eden and Laughing Stock. Having done that, you will be the proud owner of three wonderful albums, albums that regardless of how often you listen to them, you’ll always hear something you’ve never heard before. These albums are full of subtleties and nuances that it’s impossible to hear straight away, they slowly emerge, each time, a new one revealing itself to you. Should you buy these wonderful albums, you’ll never regret doing so, and enter into a lifelong love affair with this wonderful music. Standout Tracks: Happiness Is Easy, April 5th, Living In Another World and Time It’s Time.
TALK TALK-THE COLOUR OF SPRING.
THE BATHERS-SUNPOWDER.
THE BATHERS-SUNPOWDER.
Previously, I’ve written several articles for this blog about Scottish bands, including articles on the Cocteau Twins, Primal Scream, Belle and Sebastian, John Martyn, Love and Money, Lloyd Cole and the Commotions, Teenage Fanclub and Bloomsday. The last band, Bloomsday, featured the lead singer of the band I’m going to write about today, Chris Thomson. Bloomsday was a side project he was involved with two former members of Lloyd Cole and the Commotions, while on a break from his “day job” as lead singer of The Bathers. In this article, I’ll tell you about the band’s history and their wonderful album Sunpowder from 1995.
The Bathers were formed in Glasgow in 1985. They formed after Chris Thomson’s previous group Friends Again split up. Initially, the group were a vehicle for Chris Thomson, a singer-songwriter. In 1987, The Bathers secured their first record deal with Go! Discs Records. The deal was secured primarily by Thomson, and the resulting album was Unusual Places To Die. This was released in 1987. Due to problems with internal politics at the record company, the album wasn’t as successful as it deserved to be.
After these problems, the group switched labels. This time they signed to Island Records. They released one album on Island, Sweet Deceit, one of the group’s best album. Like its predecessor, the album failed to achieve the commercial success it deserved. It was at this time, that Thomson recorded the Bloomsday album Fortuny with former members of Lloyd Cole and the Commotions Stephen Irvine and Neil Clark.
A more fruitful period was round the corner for The Bathers. After signing a record contract with a German record label Marina, the group released three albums in a four year period. In 1993, they released Lagoon Blues and in 1995 they released Sunpowder, the album this article is about. Their third album in this trio of releases was Kelvingrove Baby. All of these albums are highly rated, and were released to critical acclaim, but one of the most popular was Kelvingrove Baby. During this period new members joined the band. Hazel Morrison played percussion, string players and arrangers Ian White on viola and violin and Mark Wilson, and keyboard player Carlo Scattini all came on board. This would change the group’s sound greatly. Many people call this the classic lineup of the band.
Although the group had always got on well with their label Marina, they decided that it would be easier working with a label that was closer to their Glasgow base. The Bathers left Marina Records and signed a recording contract with Wrasse Records. Since signing that contract, they have only released one album, in 2001, Pandemonia. Pandemonia is a musical masterpiece, not just the band’s best album, but one of the best albums released by a Scottish band in the last ten years. It’s an album that I have written about before in a previous article. The only other album released on Wrass is a compilation of the group’s best songs, entitled Desire Regained. Since then, the band have not released any new material. A new album is rumored to be in the offing. It would feature most of the musicians who played on the band’s earlier albums released in between 1993 and 1997. However, nothing has happened, fans and critics wait with baited breath, to hear the first new material they’ve released since 2001.
Having told you about The Bathers history, I’ll now tell you why Sunpowder is such a wonderful album. Sunpowder begins Danger In Love, a song about falling in love again. Danger In Love begins with thunder rolling, then an organ plays in the distance. The sound is dramatic, people speak, the organ sounds dark and moody. Then the mood changes, a piano plays softly, meandering gently, against a background of strings. When Chris Thomson sings his voice is full of emotion. He articulates, the lyrics with feeling, a sadness in his voice. Strings sweep in and out of the track, accompanying the piano and Liz Fraser’s ethereal backing vocals make this an emotional and beautiful track, one that track has been beautifully arranged.
The Dutch Venus continues the downtempo feel of the album Like Danger In Love, this track benefits from a gorgeous string arrangement, accompanied by a piano. When you hear the opening bars of the song, the mood is set. There is tinge of sadness present straight away. This is reinforced when Thomson sings the lyrics. He sings of lost love, someone he loved, then lost, a love affair gone wrong. Like many of the group’s songs it’s set in Glasgow, he name-checks Kelvingrove in west end of the City. When Chris Thomson sings the vocal, the effect is powerful, it’s as if the song is personal, as if it means something to him. The arrangement is understated, just piano, strings and Thomson singing, accompanied by Liz Fraser. Her voice is a perfect foil for Thomson, her’s is light and bright, his sad and moody. It’s a wonderful track, one of the album’s highlights, one you’ll love when you hear it.
Angel On Ruskin has a hesitant slightly start, a guitar is gently strummed, drums play, and you wonder where the track is heading. When Thomson sings, he gives the track direction. He’s joined by Liz Frazer, her backing vocals crystalline, a thing of beauty. She almost steals the show on the track. On this track the drums are more prominent than on the first two tracks. Thomson and Fraser sing the track beautifully, Fraser filling in the spaces left by Thomson in the vocal. The lyrics on this track are about being captivated by a woman’s beauty, and being enthralled by her. Here, Thomson’s lyrics have the same quality and power as good poetry. They affect how we feel, we empathize with characters involved and live the drama. I’ve always loved this song, and will never, ever, tired of hearing it.
Like many of the tracks on Sunpowder, the arrangements are beautifully understated. If anything, this adds to the dramatic affect of the music. On this track, Delft, a piano plays at the start of the track. Space is left, allowing the music to breath, and adding to the drama. When Thomson sings, his vocal is slow, full of character. He too, leaves plenty of space in his vocal. Two violins, and Thomson on piano are all the instruments used on this track. This is highly effective, and this subdued and understated arrangement suit the track perfectly, as it’s another sad love song. It’s about loving someone from afar, but they’re just out of reach, and will never be part of your life.
Weem Rock Muse starts with a guitar strumming, and Thomson singing. His voice sounds lighter, as if some of the worries have been removed from his shoulders. He sounds happier as he sings the lyrics. The vocal is accompanied by a hammond organ playing subtly in the background. As the track progresses, Thomson’s voice gets stronger, he’s joined by a harmonica, that meanders in and out the track. This adds to the soulfulness of the track. Again, the lyrics are set in Scotland, and again they’re about love. Like all of Thomson’s lyrics, they’ve a strong narrative and are thoughtful and intelligent. One problem with reviewing such a good album, is that you run out of superlatives describing each track. So I’ll just use one to describe this track. Brilliant.
On the next track, Faithless Thomson’s voice is moody, there’s a sadness present as he sings the lyrics. The song is very much a slow burner, it has a long meandering introduction, one that sets the atmosphere. When he sings, he takes on a familiar role, that of troubled troubadour. It’s a role he has the perfect voice for. His delivery is heartfelt, it’s a voice bathed in pathos. Towards the end of the track, he half-sings, half-speaks the lyrics, which really drives home their sadness. Faithless is another mini-masterpiece from The Bathers that tugs at your heartstrings.
For the first time on Sunpowder, the tempo increases on She’s Gone Forever, one of the album’s best tracks. It’ a track that deceives, because it sounds an uptempo track, but is one with sad lyrics, lyrics is about losing someone you love, a relationship breaking up. Thomson’s lyrics are some of his best, he is one of the finest lyricists you’ll come across. Also different is he arrangement, it’s much fuller, features more instruments. Another guest artist is James Grant of Love and Money. He plays acoustic guitar and sings backing vocals on the track.
The more uptempo style continues on Send Me Your Halo. It starts with an acoustic guitar playing, then Chris Thomson sings. He’s accompanied by strings playing gently, behind him. His vocal is much lighter during this track. When he sings, it’s as if the lyrics bring back pleasant memories. They’re about falling hopelessly in love, being swept off your feet and tell of a summer long love affair. This track shows a different side to The Bathers, a side we don’t see much of on this album, but it’s one I wouldn’t mind seeing again, as Send Me Your Halo is a standout track.
For Saskia begins with only a piano playing, setting the mood. When Thomson sings, the troubled troubadour enters stage left again, ready to take the spotlight. It’s just Thomson, backed by the piano, sadness seeping out his very pore. Again, the subject is about love lost, and he’s left with merely a memory, a memory he can only recreate in a song, or that appears in his dreams. It’s a memorable song, one that you’ll remember, one where you share his pain and hurt.
Strings sweep at the start of The Night Is Young, the song has an almost classical feel and sound at the start. The understated string arrangement sets the tone for what follows. It’s a romantic song, one where the cadence of Thomson’s voice helps get across, the beauty of the lyrics. Liz Fraser sings backing vocals, her voice angelic, soaring and falling, its ethereal quality almost otherworldly, so perfect it is. Their voices are like light and shade, but are a match made in heaven. They combine perfectly, to produce one of the most beautiful and heartfelt songs on Sunpowder.
The album ends with the Sunpowder, a lovely instrumental track. A piano and violin play, immediately you feel melancholy. Welcome to The Bathers world, a world you’ve privileged to visit. It’s a lovely way to end this album, one of the best albums to be made by a Scottish band in the last thirty years.
Sunpowder is one of The Bathers best albums. It’s a mini-masterpiece, full of beautiful songs. These song are full thoughtful and intelligent lyrics, which demonstrate Chris Thomson’s talent as a songwriter. They’re like poetry set to music. It would be unfair to credit Thomson alone for making this such a special album. Credit must be given to the other members of the band. This, to me, was the classic lineup of The Bathers. The lineup was augmented by two special guests, James Grant and Liz Fraser. Fraser played a huge part, contributing some wonderful backing vocals to several tracks.
After spending some time preparing and writing this article, I listened to Sunpowder many times. Each time I listened to the album, I wondered why such a fantastic album wasn’t more successful. It truly saddens me that The Bathers haven’t gone on to become a hugely successful band, with a much wider fan-base. Hopefully, after reading this article, you too, will want to hear this album, and other albums by The Bathers. If you do, you can look forward to hearing some sublime music, music that you’ll fall in love with, and never tire of hearing. Standout Tracks: Danger In Love, The Dutch Venus, She’s Gone Forever and Send Me Your Halo.
THE BATHERS-SUNPOWDER.
THE SUNDAYS-READING, WRITING AND ARITHMETIC.
THE SUNDAYS-READING, WRITING AND ARITHMETIC.
In this article I will write about a band formed by two people who had no musical background. They met while at university, and having graduated from university, and found themselves unemployed, decided that their future lay in music. This may seem like a strange career choice for an English language graduate and a graduate in Romance Languages. However, strange as it may seem, The Sundays became a highly successful band, with their debut album, Reading, Writing and Arithmetic reaching number four in the UK album charts. After telling about the band’s history, I will tell you why Reading, Writing and Arithmetic, is such a great album.
The Sundays were formed in 1988, when vocalist, Harriet Wheeler and guitarist David Gavurin met at Bristol University. Wheeler studied English language graduate, and Gavurin Romance Languages. Previously, Wheeler had played a few concerts with a band called Cruel Shoes. That was all the experience the duo had. Despite their lack of musical experience, Wheeler and Gavurin wrote some songs.
After leaving Bristol, and heading to London they met the other two members of the band. They were joined by drummer, Patrick Hannan and bassist Paul Brindley. The four of them became The Sundays. After a while, the band realized that their music was good, and decided to send out some demo tapes. Soon labels became interested in signing the band. They had managed to secure a concert at the Vertigo Club in London. Reporters from the three main music papers were present, ostensibly to review the main act. So impressed were the reporters with The Sundays music, that all three of the papers wrote glowing reviews. This resulted in a bidding war between the record labels. Rough Trade Records won the bidding war, and signed the band.
The group released their debut single Can’t Be Sure in January 1989. So highly acclaimed was the single that it was deemed one of the best singles of that year. That didn’t translate to chart success, the single stalling at number forty-five in the UK singles charts. Undeterred, The Sundays released their debut album Reading, Writing and Arithmetic, in January 1990. Straight away, the album was a huge success, reaching number four in the UK album charts. In the US, the album only reached number thirty-nine in the Billboard 200. Overall, the album sold over half a million copies. Critics loved the album, Rolling Stone especially magazine being one of the album’s biggest fans. Wheeler’s voice particularly, received many plaudits, as did the quality of their songs. During the following year, the band travelled the world promoting the album.
Sadly, disaster was round the corner for The Sundays. Their record label Rough Trade Records became insolvent. This meant the band would experience some troubled times financially. They then signed for Parlophone Records and would prepare to write and record their second album. Having spent to long touring and promoting Reading, Writing and Arithmetic, and Wheeler and Gavurin’s reputations as perfectionists when it came to writing songs, progress was slow. During this period, nothing was heard from the band. Rumors spread that the band split up. However, eventually, Blind, their second album was released in October 1992. Like their debut album, Blind was a huge success. It reached number fifteen in the UK album charts. In the US, the album only reached one-hundred and three in the Billboard 200. Despite this, it still sold over half a million copies. The critics gave the album mixed reviews, with some claiming that the standard of songwriting wasn’t of the standard of Reading, Writing and Arithmetic. The Sundays toured the UK and US during 1992 and 1993. By mid 1993, the album had fallen out of the charts. Little did fans know then, that it would be 1997 before the band released their third, and final album.
After their tour, they had headed to Thailand on holiday. On their return, they decided to take a break befor recording their new album. During this break, Wheeler and Gavurin married, and the couple’s daughter was born. They only released one song during their sojourn from the music business. This was a cover of Wild Horses, the old Rolling Stones track. The track was used for a television commercial in the US. Eventually, their third album, Static and Silence was released in September 1997. It reached number ten in the UK album charts, and number thirty-three in the Billboard 200. Static and Silence sold so well that they received a silver disc for the album. They added this to the silver disc they received for Reading, Writing and Arithmetic, and the gold discs they received for Reading, Writing and Arithmetic and Blind.
Since the release of Silence and Static, The Sundays have released no further albums. They were a band who over seven years produced three great albums, and in the process, sold well over a million albums. This is pretty good for a group founded by two people with no musical experience. Having told you about the band’s history, I’ll now tell you why Reading, Writing and Arithmetic is such a great debut album.
Reading, Writing and Arithmetic opens with Skin and Bones. As the track opens, I hear similarities with the Cocteau Twins. It’s the overall sound, and this becomes more apparent when Harriet Wheeler sings. The song is very listenable, it’s light and airy. Guitars play at the start, the sound is minimal, primarily Wheeler backed by guitar and drums. When Wheeler sings, her voice is clear, with a good range and very powerful. It’s a good start to the album, the type of song that leaves you wanting more. Thankfully, there are another nine songs on the album.
An acoustic guitar strums, at the the start of Here’s Where the Story Ends. The tempo isn’t too quick. When Harriet Wheeler sings, you’re in for a pleasant surprise. Her voice is soft, beautiful, quite different to her exertions on the previous track. That’s not to say that she sings the whole song quietly. Not at all. When she has to her voice soars, as if making a point. All the time she’s in control of her voice. Like Skin and Bones, the arrangement is understated, just Harriet and the guitar. It’s highly effective, allowing her voice to shine, when she sings some wonderful lyrics.
Comparisons with the Cocteau Twins continue at the start of Can’t Be Sure. Drums play, quite quickly, Harriet sings and when you close your eyes, you almost think that your listening to Liz Fraser and Grangemouth’s finest. One difference, an important difference, is that the sound is much clearer. Wheeler’s voice is much higher, the sound is much fuller, drums are quick and an electric guitar solos. The lyrics are about desire, how although they’re not a good thing, they’re something we can’t live without. Can’t Be Sure is a good song, though not as strong as the opening two tracks.
The style changes again with I Won. Drums loud and crisp, sit at the front of the mix, they’re joined by an acoustic guitar. Then, the highlight of the song, Harriet sings. Her voice is crystalline, it has an ethereal quality. It’s perfectly suited to sing the lyrics. She delivers them with passion, verging on anger. The lyrics are complex, and I for one, would love to know the story behind them. In some parts they read like the behavior of a recalcitrant teenager, who to quote the lyrics “won the war in the sitting room” and would like to take some matches and set the cellar alight. It almost reads like a tale of teenage angst. Whatever the story behind the lyrics, it’s a wonderful track, with same quality as the kitchen sink dramas that used to grace our television screens many years ago.
Hideous Towns has a quicker start than other songs, a solo plays on a bass, and is joined by the electric guitar. In front of bass and guitar, is Harriet’s wonderful, ethereal voice. It provides a contrast to the musical backdrop. You feel she struggles to keep up with the quicker tempo. However, she copes well, singing the song beautifully. The lyrics are loaded with dark humor, and seething social comment, about the state the UK was in at the time this album was released. When Harriet sings the lyrics, you can sense her disgust and frustration, at the situation she finds herself in. This song shows another side to The Sundays music, and is a good track, passionately played and performed.
On You’re Not the Only One, the sound is much like it was like on the first two tracks. For me, this is what the band do best. This track reverts to their acoustic sound. When the track opens an acoustic guitar plays, and Harriet Wheeler sings. Her voice is much softer, she isn’t straining to be heard against an electric guitar, or bass. Instead, she’s able to concentrate on what she does best sing. On this track, she produces a stellar performance, one of her best on the album. It isn’t just her vocal that makes this track so good, no, everything about the arrangement is perfect. What you hear on You’re Not the Only One, is one one the best songs The Sundays ever recorded.
A Certain Someone is the next track on Reading, Writing and Arithmetic. Having enjoyed the much more gentle sound on the last track, the tempo increases. Having said that, the sound is not particularly full. Drums play and a bass solos. The bass solo is intricate, with notes picked out quickly. Drums are the track’s heartbeat. Wheeler’s vocal veers between low and high, and soft and loud. Sometimes, she really lets her vocal soar. Amazingly, when she does, she never once loses control. Her performance is stunning. She possesses a fantastic voice, one with wide vocal range. When you think that Wheeler had no experience of music before forming The Sundays, that makes this more incredible. Truly, this is another triumph for the band, yet another great track on this album.
One of the songs that many people will recognize from this album is I Kicked A Boy. It’s a track that ambles along. Wheeler’s voice is soft, almost sweet. Don’t be fooled though, it isn’t always like this. She sings in front on the rest of the band. The sound is much fuller, with acoustic guitar and drums the mainstay of the sound. As the song progresses, Wheeler’s gets stronger, as if her confidence grows. I Kicked A Boy is the best track on the album. From the first time I heard this track I was of this opinion. It’s a minor pop classic.
My Finest Hour has an upbeat start, guitar and bass play. It also has some wonderful lyrics. They have lyrics that bring to mind The Smiths at their best. I love the lyrics “my finest hour was finding a pound on the underground.” They’ve a lovely almost eccentric quality, and are quintessentially English. They bring to mind The Kinks and The Smiths. Every time I hear those lyrics I smile. Harriet sings them brilliantly, and the band have reserved a great performance for this track. It’s much more complex than other tracks, which are much more minimalistic, with an understated quality. This song is a wonderful one, made all the better by such wonderful lyrics.
Reading, Writing and Arithmetic closes with Joy. The sound is dull, quite subdued at the start, as if the band are saddened by the album ending. However, listen carefully, and you’ll hear another quality song. Harriet sings the lyrics quietly at first, sounding restrained. The band join in this subdued atmosphere, playing quietly, the guitars and bass sitting quite far back in the mix. Joy meanders in places, space has been left in the track, especially in the vocals. After just over three minutes, the sound grows in stature, as if the band have tired of showing restraint. Wheeler joins in, letting herself go, her voice strengthening. Then, suddenly, just as you’re enjoying the track…it’s over. However, you’re left with happy, having heard the album close with another, in a long line of great songs.
Whilst I’ve been researching and listening to, The Sundays music, it has been like a trip down memory lane. This album is nineteen years old. It’’s hard to believe that. It only seems a few years since it was released. Nineteen years on, Reading, Writing and Arithmetic sill sounds as good as it did back in 1992. The album still sounds fresh, the songs relevant and Harriet Wheeler’s voice as good as it ever did. I’ve always wondered what direction The Sundays would have taken, if they’d released more albums, what would their music have sounded like and how would their music have evolved. It’s not just their fans that miss them, it’s the music industry. It can’t afford to lose bands of the quality of The Sundays. However, they’ve left us with three fantastic albums to remember them by. For those who want to hear their great music for the first time, I recommend that you buy Reading, Writing and Arithmetic, their debut album, and its follow-up, Blind. Both are great albums, which I’m sure you’ll love, and wish you’d heard them much sooner. Standout Tracks: Here’s Where the Story Ends, I Won, You’re Not the Only One and My Finest Hour.
THE SUNDAYS-READING, WRITING AND ARITHMETIC.
JEFF BUCKLEY-GRACE.
JEFF BUCKLEY-GRACE.
The artist this article is about, had a very famous father. In a previous article, I wrote about him. He was a successful singer-songwriter, who produced many great albums. Sadly he, like his son, died young, far too young. Both father and son, were blessed with wonderful voices, and leave behind some wonderful music. Today I’m going to write about Jeff Buckley, the son of Tim Buckley. Jeff Buckley only ever recorded one studio album, Grace. Released back in 1994, Grace was a stunning debut album. A great future was forecast for Jeff, sadly, tragedy intervened in his life, cutting it short. Music lost a great talent in May 1997, when he so cruelly drowned. In this article, I’ll tell you about Jeff’s career and his stunning album Grace.
Jeff Buckley was born on November 17th 1966, in Anaheim, California. Although the son of Tim Buckley and Mary Guibert, he was brought up as Scotty Moorhead. He was brought up by his mother and stepfather. During his childhood, he was steeped in music. His mother was a classically trained musician, playing cello and piano. Tim Buckley, his father, was a successful singer-songwriter. However, it was his stepfather, Ron Moorhead who introduced Jeff to artists like Jimi Hendrix, Led Zeppilin, Pink Floyd and Queen. He had started playing guitar aged five, and by thirteen, owned his first electric guitar. During high school, he played music, even playing in the school jazz band.
On graduating from high school, he spent a year at the Musician’s Institute, graduating aged nineteen. This course taught him about music theory and harmonies. After this, he spent six years playing guitar in various bands. Their style of music ranged from rock to reggae, and jazz to heavy metal. To make ends meet, he worked in a hotel during this time. He also worked as a session musician, playing in funk and R&B sessions.
In February 1990, Jeff moved to New York. Once settled in New York, he found it hard to get work as a musician. Whilst there, his musical tastes widened. He became interested in blues musician Robert Johnson’s music, hardcore punk band Bad Brains and Qawwali, a form of Sufi devotional music, and Nusrat Fateh Ali Khan’s work in particular. It was whilst in New York that Jeff got his next major break in music. His late father’s manager Herb Cohen, offered to help Jeff record a demo tape. This was called the Babylon Dungeon Sessions. The idea was to attract interest in Buckley as a solo artist.
1991, saw Jeff take part in a tribute show to his father Tim in New York. At that tribute concert, he performed one of his father’s classic songs I Never Asked To Be Your Mountain. His performance at the concert stimulated interest in his career. At last, his music career was going somewhere. For the next couple of years, he played numerous gigs around New York, where he honed his skills as a musician. During his concerts, he would play a wide range of material. In his sets he would play covers of everything from Edith Piaf to The Smiths and Led Zeppelin to Leonard Cohen. After a while, he started attracting interest from major record labels. Eventually, he signed to Columbia Records, signing a three album deal, worth roughly one million dollars in October 1992. In July and August 1993, he headed to the studio, to record his debut EP Live At Sin-e.
Midway through 1993, he began working on his debut album Grace. The sessions were produced by Andy Wallace, who previously, had mixed Nirvana’s Nevermind album. After a few weeks practice, the band headed to Bearsville Studios, in Woodstock, New York. They spend six weeks recording parts of Grace. Overdubbing took place in New York and Manhattan. It was there, that Buckley recorded numerous takes of his vocals, attempting to achieve perfection.
Between finishing the recording and overdubbing sessions for Grace, and its release in August 1994, Buckley headed out on the road to tour his EP, Live At Sin-e. His tour was a huge success, with many well known musicians taking in Buckley’s shows. This would include Chrissie Hynde of The Pretender and U2’s The Edge.
When Grace was released, it was critically acclaimed. Even though sales started slowly, it reached gold status in Australia, France and the US. The great and good of music all queued up to praise the album. Luminaries such as Robert Plant, Jimmy Page and David Bowie all loved the album, and widely praised it. Rolling Stone magazine loved the album, and have included it in their 500 Greatest Albums of All Time.
After the release of Grace, Buckley spent the next eighteen months touring the album. Wherever he played, he was a sell out. After all the years he’d struggled to make ends meet, Jeff was suddenly a huge star. After the tour ended in 1996, he prepared to write his next album. This was entitled Sketches For My Sweetheart the Drunk. Tom Verlaine ex-member of Television was to produce the album. Several recordings took place, and after a recording session in Manhattan, Buckley was still not happy with the album. To him, the album wasn’t finished yet. He played a few new songs at The Knitting Factory’s tenth anniversary concert. After that, he decided to head to Easley McCain Recording studios in Memphis, to work on his album. He hired a house, and became so attached to it, that he asked the owner’s if he could buy it. Whilst there, he even played a number of concerts at local venues. However, the album wasn’t going well, Buckley wasn’t happy with Verlaine as producer, and contacted Andy Wallace, producer of his first album, Grace. In preparation for the arrival of Wallace, Buckley recorded some demos and sent them to Wallace.
Whilst his band returned to New York, Buckley stayed behind to work on the album. His band arrived back in Memphis on May 29th 1997. They were going to join him in the studio to see some new material he’d been working on. That night, Buckley decided to go swimming in Wolf River Harbor, part of the Mississippi. He entered the river fully clothed. A member of his road crew watched his swim. He’d swam there before. The roadie turned, and moved a guitar and radio out of the reach of the wake of a tug-boat, that was about to pass. When he turned round, Buckley was gone, nowhere to be seen. Tragedy had struck. Sadly, after a long search that night, there was no sign of Buckley. Then on June 4th, two local residents found Jeff Buckley’s body. He was thirty-one years of age.
Since his death, Jeff Buckley’s music is more popular than ever. A number of live albums, greatest hits and Sketches For My Sweetheart the Drunk have been released since his death. His music is still attracting new fans, and his debut album Grace, is widely recognized as an outstanding album, one of the best albums of the 1990s’ I will now tell you just why Grace is such an outstanding album.
Grace opens with Mojo Pin, a song that starts quietly, the sound distant, gradually getting nearer. When it does, Buckley’s vocal emerges, soaring high at first, then dropping almost to a whisper. Behind him the track meanders gently, before opening out, becoming louder and fuller. As this happens, Buckley’s voice veers between high and low. His range is wide, his voice full of character. You get the impression he’s holding himself back, and any minute he could launch into a vocal thats loud and passionate. It happens. He almost screams, but gathers control. The same can’t be said of his band, they really let go and unleash a wall of glorious sound. Mojo Pin is a dichotomy of a track, one minute quiet, gentle, with Buckley sounding thoughtful, the next his voice soars, he nearly screams, joining the band in an almost explosive crescendo. It’s a powerful track, one that demonstrates Buckley’s talent as a vocalist.
The title track Grace is the next track on the album. Straight away, the sound is full, the tempo faster. When Buckley sings his voice is softer, he articulates the lyrics perfectly, bringing out the beauty in the lyrics. It’s one of his best performances on the album. His band play really well, the guitars particularly are a highlight of the track. Later in the track, Buckley harmonizes beautifully. Then later, his voice is much stronger, he really lets go, forces the high notes to emerge. When he does, his band join in, upping the tempo, the sound getting louder, nearly frenetic. Then suddenly, the track ends. You’re left wondering, where did that go, but are left with a wonderful memory.
Last Goodbye begins with a slide guitar playing, as if just warming up. Quickly, things get serious. What follows is a beautiful song. Buckley’s voice is strong and clear. He’s perfectly in control of his voice. Again, he demonstrates that wide vocal range. This allows him to veer from gentle and high and soaring, always in control. On this track, the lyrics are among the best on the album, heartfelt and passionate. Here, everything falls into place, his vocal, the lyrics and his band’s playing among the best on Grace.
The next song on Grace is one that will be familiar to many people. Lilac Wine has been covered by many artists. I’ve heard many of these versions. Some are good, others bad, and some the equivalent of a musical car crash. Jeff’s version is, by far, my favorite version. He poured everything he had into this song. During the song, you’ll experience a wide range of emotions. You’ll feel sad and happy, and experience highs and lows. Here his rendition is heartfelt, passionate and loaded with emotion. He brings the tempo way down low, when he sings his voice is brilliant, perfectly suited for the song. The arrangement is minimalist, just Jeff and his band playing softly behind him. It’s truly a gorgeous version of this song. After you’ve heard this version, anything else is second best.
After such a brilliant song in Lilac Wine, it’s hard to either equal or better his performance on that track. On So Real, he tries, tries very hard. It’s a good attempt. So Real is another of the album’s highlights. His voice is at its best, going between soft and gentle, to high and soaring. When he does this, he’s always in control of his powerful voice. This is something he shared with his father Tim. On this track, the arrangement is much fuller, the band are occasionally, allowed of the leash. Like Buckley, their performance veers between almost understated to full on. Having said that, they never overpower Buckley’s vocal, and compliment him perfectly.
Hallelujah sees Jeff cover another song that has been covered by many people. Written by Leonard Cohen, it’s a beautiful song, with Cohen’s version in many people’s opinion the best. Until now. Jeff sings the song beautifully, the arrangement wonderfully understated. He puts everything he has into the song. His version is one of the most moving versions of this song you’ll ever hear. When he sings the song, there are no frills, just an extremely moving and heartfelt reading of Cohen’s wonderful lyrics. This version is dramatic, when you first hear this track, it takes your breath away. It’s so different from many of the songs on the album. Only one word can describe this performance. Seminal.
Lover You Shouldn’t Have Come is a track that starts slowly, it takes nearly a minute before Buckley sings. When he does, it’s well worth the wait. His performance is brilliant. It’s another great track, one where Buckley writes both the lyrics and music. This song showcases his talents as a songwriter. Quite simply, these are some of the best lyrics on Grace. The vocal is just as good, when he sings, he sings from the heart. You feel he means every word of the lyrics, such is sincerity. Since I first heard Grace, this has long been one of my favorite tracks from the album.
Corpus Christi Carol, is from Benjamin Britton’s, A Boy Is Born. This was a song that Jeff was first introduced to in school. It’s the last of the three cover versions on the album. His version of this song is stunning. When you hear his voice, it has an ethereal quality, he controls his voice really well, resisting the urge to reinterpret the song. Instead he sings the song as it’s meant to be sung. The arrangement is subtle, understated and perfect for this beautiful song.
Eternal Life is the complete opposite to many tracks on Grace. Whereas Lilac Wine, Hallelujah and Corpus Christi Carol are quiet tracks, with a subtlety and understated arrangement, Eternal Life is the complete opposite. Straight away, the sound is loud and unapologetic. It’s right in your face. Truthfully, you worry if your speakers will survive nearly five minutes of this. The guitars are really loud, the drums are pounded, really punished. After the initial shock, when you listen to the track, it grows on you. You begin to enjoy it. Buckley’s vocal is loud, as if he’s battling his band, almost struggling to make himself heard. When eventually the tempo drops, you breath a sigh of relief, draw breath. Mistake. They start straight back up, launching another assault on their instruments. By the end, I’m exhausted, but in all honesty, I really enjoyed the track, as it showed a very different side to Jeff.
Grace ends with Dream Brother, a track that has a hesitant start. When the track starts the arrangement is gentle. A guitar plays quietly, drums play in the distance and Buckley’s vocal is understated. The song meanders along. I’m always waiting for the song to open out, the volume to increase, Buckley and the band to cut loose. After two and a half minutes the sound gets fuller, the band and Buckley still showing restraint. They’re resisting the temptation to end the album with a band. Instead Buckley’s vocal is controlled, very much within himself. His voice is still full of character and feeling when he sings the lyrics. They’re powerful, his rendition of them adding a dramatic impact. Then the song ends, not with a bang, but with a subtle, understated ending. It’s a lovely track to end the album, keeping up the high quality that runs throughout this album.
Grace was the only album released during Jeff Buckley’s short life. It was a brilliant debut album, one of the best you’ll be lucky enough to hear. It was one of the best album of the 1990s’, and is one that has stood the test of time well. Today, it still sounds as good today as the day I first heard it back in 1994. Throughout Grace, you’ll hear some wonderful songs. Three cover versions and seven original songs. The cover versions of Lilac Wine, Hallelujah and Corpus Christi Carol are three wonderful songs, songs that he has covered beautifully. In my opinion, Lilac Wine and Hallelujah are two of the best songs on the album. The remaining seven songs, are also, of the highest standard. My favorites are Last Goodbye and Lover You Shouldn’t Have Come, two great tracks. There is not one bad song on Grace, this is unusual. Usually, there are some mediocre tracks on most albums. Not on this one though. It’s one of these albums that I return to time and time again, and each time, hear something new. Each time subtleties and nuances, reveal themselves.
It’s just a pity that Jeff never made more albums, because he was a hugely talented singer, musician and songwriter. The tragedy is, that his career was so short. However, we should be thankful that he recorded Grace, one of the best album’s you’ll be privileged to hear. Should you never have heard Grace, you really should buy it, and you’ll hear some fantastic music, from a fantastic singer. Standout Tracks: Last Goodbye, Lilac Wine, Hallelujah and Lover You Shouldn’t Have Come.
JEFF BUCKLEY-GRACE.
THE REVOLUTIONARIES-CRUESHAL DUB.
THE REVOLUTIONARIES-CRUESHAL DUB.
Many people who read this blog on a regular basis will know by now that I love dub reggae. In the past I’ve reviewed several dub albums. Today, I’m going to review another great dub album. It’s one that I always enjoy listening to, and features one of the best bands in the history of reggae. This band were the house band at Channel One Studios, and featured some of Jamaica’s best musicians, including Sly Dunbar and Robbie Shakespear. They were The Revolutionaries, and the album was Crueshal Dub.
The Revolutionaries were formed in 1975, primarily, to be the house band of Channel One Studios. The studios were owned by Joseph Hoo Kim, and when artists came to record at Cannel One, The Revolutionaries would be their backing band. Past members of The Revolutionaries included Ossie Hibbert and Ansel Collins, Sly Dunbar on drums, Robbie Shakespear on bass, Bertram McLean on guitar and Tommy McCook on saxophone. Their line up reads like a who’s who of Jamaican music. Over the years they played on numerous dub albums. They also backed many great artists, most of whom were reggae artists. This would include, Black Uhuru, Gregory Isaacs, John Holt, Culture, Tapper Zukie, The Heptones and French singer-songwriter Serge Gainsbourg.
Crueshal Dub, the album this article is about, is one of many great albums the band recorded. I’ve been listening to much of their music recently, and it was really hard choosing an album to write about. In the end I chose this album. I’ll now tell you what makes it such an outstanding dub album. Crueshal Dub opens with Cell Block Dub. Drums roll, an organ plays brightly, transformed by echo. Ossie Hibbert the producer, isn’t afraid to use the effects. More drums enter the mix, they accompany the organ solo. Both are mangled by echo. The effect is powerful. A trumpet plays, it too, is given the treatment by Hibbert. What you’re hearing is dub in all its glory. Echo and delay are used widely, making this one fantastic slice of heavy dub reggae.
Dub My Whole World Up is the next track on the album. As the track starts, the drums are loud, right at the front of the mix. An organ plays, quickly the effects kick in. When that happens, the drums reverberate, echo is used heavily. It’s a great sound, to some people it sounds like a musical car crash. If you like dub, you’ll love this. The sound is big and loud, percussion plays, rhythms are played on an organ, the drums are frantic. They assault your eardrums and punish your speakers. Remember, the best way to listen to a great dub track like this, is loudly.
The sound is slightly different at the start of Fancy Dub Up. As the track starts the drums and organ are neither as loud or prominent in the mix. The use of effects isn’t as heavy as on the previous tracks. This allows you to hear the rhythms and melodies. The sound is bright and summery. Then Ossie Hibbert decides to get out his arsenal of effects. Suddenly, the sound changes. We’re into dub territory again. The sound is duller, drums are echoey, full of space. It isn’t as harsh as the previous tracks. It’s one of the album’s best tracks, and one of my favorite track by The Revolutionaries.
A brass section plays at the start of Dubbing Storm, accompanying the drums, drums which are crisp and loud. The track meanders along, there is some clever interplay between the brass section and the drums. Effects are used sparingly. They don’t overpower the track, instead, add to it, highlighting parts of the track. Drums become echoey and spacious. Throughout the track, the brass section are brilliant, and bring the track to life. This makes the track very different from previous tracks, and like Fancy Dub Up, is another highlight of the album.
Straight away, on Ten To One Dub Ossie Hibbert puts his effects to good use. Drums echo, the brass section reverberate, the organ echoes into way into the distance. Nothing is spared, they all benefit from his production skills. He doesn’t overdo it though. You can still hear some wonderful rhythms and melodies emerge. They bring to mind sunny days lolling on a beach in Jamaica, something exotic in your glass and the sun on your back. This track takes you there, such is its power. Like the last two tracks on the album, it’s very different from the first two tracks on the album, which had a heavier dubby sound. I like that sound, but many people may be put off by the sound.
The quality keeps on coming with Dress Back Dub, another great track. As the track starts, the sound is bright, breezy and with more than a hint of summer. Dress Back Dub is a track that ambles along, almost understated, just a brass section organ and drums. Again, Hibbert resists the urge to mangle the sound to within an inch of its life. That’s no bad thing, he allows a fantastic track to emerge. He’s found a happy medium, when it comes to the use of effects. This only comes with experience, and Hibbert had produced many albums by this time. The track is a combination of great musicians and an experienced producer working in unison.
When Dubbing West starts, the drums are loud, right at the front of the arrangement. They’re joined there by the brass section, who slowly play, leaving loads of space in the music. Hibbert uses echo to transform their sound. It reverberates, the drums are given the same treatment. It’s effective, improves the brass section, who are playing a melody that much of the time, goes nowhere. It’s heading down a dead end, slowly, very slowly. It’s a track that meanders, slowly, it’s full of space. There playing is good, like all the musicians on this track. The track is a good one, although not among the best on the album.
On Swinging My Dub the sound is loud and full. The brass section open the track. Quickly, they’re joined by drums and a keyboard. Then the drums take charge, they move to the front, a lovely keyboard solo drifts in, and out, the track. Whilst the drums are big and bold, almost in your face, the keyboard is the opposite, light and gentle. When the brass section play, they veer between subtle and brash. Sometimes when Hibbert unleashes the effects, your speakers quake, you fear for their health and wellbeing. Overall, the sound is impressive, the track brilliant, an example of musicians at the very top of their game.
Crueshal Dub ends with Unknown Dub. Drums and the brass section play. The brass section elbow the drums out of the way, wanting their moment in the sun. When they do, it’s impressive, one of their best performances on the albums. Drums are highly effective, the sound loose and spacey, nicely repetitive. Effects aren’t overused. Their use is subtle and sparing. It’s an example of less is more. By the end of the track, you want more, so good was the track. You end up reaching over and pressing repeat, indulging yourself with this wonderful slice of glorious dub.
The Revolutionaries have long been among my favorite reggae bands. They produced many wonderful albums, all full of some wonderful dub reggae. Many people may never have heard their music, as they’re some of the unsung heroes of reggae music. You’ll have heard their music on many other reggae albums, but may not have heard their own albums. Maybe it’s time to rectify this. Crueshal Dub is one of the best albums they ever made. Each track is a great one. The reason for this si simple, The Revolutionaries were made up of some of the most talented musicians Jamaica has ever produced, and Ossie Hibbert is one of Jamaica’s best producers. He may not be as well known as other producers like King Tubby and Lee “Scratch” Perry. However, he has produced numerous great albums, too many to list here.
If you like reggae or dub reggae, you should buy Crueshal Dub. It’s a great album, one that deserves a place in your record collection. Incidentally, you are now able to buy this album as part of a four disc box set entitled The Evolution of Dub Volume 5-The Missing Link. As well as Crueshal Dub, you will find three other discs. One more by The Revolutionaries and two by Sir Coxsone Sound. Should you buy either this album, or the box set, remember, the only way to listen to dub is loudly. So crank up the volume, and enjoy! Standout Tracks: Fancy Dub Up, Dubbing Storm, Dress Back Dub and Unknown Dub.
THE REVOLUTIONARIES-CRUESHAL DUB.
JAZZYFATNASTEES-THE ONCE AND FUTURE.
JAZZYFATNASTEES-THE ONCE AND FUTURE.
Recently in an article, I mentioned that I had been spending time listening to music I hadn’t heard for a while. One of the albums I was listening to, was the one this article is about, Jazzyfatnastees debut album The Once and Future. When I was listening to the album, I was thinking back to when I purchased the album. I’d been in Glasgow, shopping for some new music. The last shop I visited was the old Tower Records shop. It was always a great place to buy something different, imports, old soul and funk records and the latest dance music releases. To me it was music heaven. Back then, Glasgow had some wonderful places to buy music. This particular day, I saw the Jazzyfatnastees album and thought I’d take a risk, and buy it, knowing nothing about the group or their music. This can be a dangerous thing to do. You can end up buying a brilliant album, but just as easily, you can end up with the proud owner of the worst album ever recorded. Thankfully, this album fell into the first category. When I heard the album, I was smitten, I loved every track on the album, and since then I’ve listened to the album many times. Maybe once you’ve read this article, you too, will want to hear this fantastic album.
Nowadays there are only two members of Jazzyfatnastees, Tracey Moore and Mercedes Martinez. That wasn’t always the case. When they formed in 1992, they were originally a quartet. In 1993, the group signed a record deal with Tommy Boy Records. Sadly, this wasn’t the great start to their career that it should have been. By 1995, the record deal had fallen through. This lead to the quartet becoming a duo. For several years, their career stalled, it was going nowhere.
Eventually, they found themselves in Philadelphia. It was while they were there, that they landed another record deal. They’d known various members of The Roots for a while, and had been their support act several times. Jazzyfatnastees signed a record contract with The Roots record label Motive Records, which was part of MCA Records. The duo started recording their debut album The Once and Future. They wrote and produced the album themselves. When the album was released, it was innovative, ahead of its time. It was one of the first Nu Soul albums. Critics liked the album, and welcomed the freshness of their music, which was a wonderful blend of sun kissed soul, and laid back hip hop.
Since their debut album released in 1999, they’ve released one further album The Tortoise and the Hare in 2002. A third album The World Is Coming was only released for limited downloading. It still hasn’t been released as an album. I find it hard to believe that since such a good debut album that Jazzyfatnastees career has not been more successful. Back in 1999, having heard the album and read its reviews, a great future was forecast for Jazzyfatnastees. When you hear this album, you too will wonder why they haven’t been more successful.
The Once and Future opens with The Wound, a track that open with hip-hop beats sitting in the background, a guitar plays gently, then suddenly a vocal emerges, Tracey Moore’s voice is strong, confident and dripping with soul. Harmonies accompany the vocal, both Moore and Martinez singing in unison. A keyboard meanders in the background. Even though the vocal is strong, at the front of the mix, the backing vocal are sweet, a perfect foil for Moore’s vocal. The track has a lovely summery vibe, one that is perfect listening on a long hot summer’s day. It’s a great way to start the album, and makes you long to hear the rest of the album.
Drums loud and crisp sit proudly at the front of the mix, a guitar sitting behind the drums, quietly playing a lovely melody. Mercedes Martinez takes over the lead vocal, her voice every bit as good as Tracey Moore’s. She has the same strong voice, and can handle both high and lower notes. When she sings, her voice veers between strong and sweet. The vocal harmonies are wonderful, Moore and Martinez’s voices combine masterfully, producing a track that is one of the album’s highlights. It’s an outstanding slice of soul for the 21st century.
Breakthrough has a very different start from the previous two tracks. It’s a much slower track, one with an old fashioned jazzy feel and sound, which the duo add their own unique twist. Their rendition of the song is both heartfelt and dramatic. From the opening bars, this is apparent. When you hear the opening of the track, the tempo is much slower, and Tracey Moore sings the song really slow, her vocal is dramatic, full of feeling. The harmonies intertwine beautifully with her lead vocal. It’s a song with a lovely melody, beautiful harmonies and a stunning lead vocal.
Unconventional Ways starts with a keyboard playing a lovely melody, against a backdrop of crisp, slow drums. The melody meanders and Mercedes Martinez sings the vocal. She sings the song slowly, her voice soft, understated. As usual, the harmonies are exquisite. Moore and Martinez’s voices blend perfectly. The song has a real laid back vibe, and like all the song’s on the album, has some great lyrics, which Moore and Martinez cowrote. They also produced the album.
When you hear the start to Hear Me, you think the laid back vibe will continue. Wrong. After starting slowly, it builds up gradually, the song opens out and gets faster. Not too fast, just a mid tempo song. The lyrics have a strong narrative, and are full of social comment, about the problems facing urban America, and the problems facing children and women, especially the way women are being treated badly by men. When Tracey Moore sings the vocal, her voice is full of passion. There is almost anger creeping into her voice. It’s a heartfelt performance, of a great song.
Sail the Seas begins with a piano and cello playing. The sound is minimalist and spacious, before Tracey Moore sings. Her voice is gentle, her delivery slow. Behind her strings play, smoothly, quietly, understated but effective. This allows Moore’s vocal to shine. When she does, the lyrics are beautiful, tinged in sadness. For most of the song she’s only accompanied by a piano, which make the song all the more powerful. Quite simply, it’s a beautiful song.
Related To Me, like Sail the Seas, begins with a piano playing. However, the comparisons end there. Mercedes Martinez vocal is just so sweet, the arrangement the lushest on the album. As soon a you hear the song, you’re smitten. It’s a glorious and romantic song, one with lovely lyrics. The song is melodic, loaded with hooks. By the time it ends, you’re wondering why didn’t this album do so much better?
At the start of The Lie, a cello plays, the sound slightly dark and moody, hip-hop beats accompany it. Then, the sound changes, it brightens. Drums still sit at the forefront of the mix, crisp, loud and proud. The vocals are sweet as ever, the harmonies tight, mixing melodically to produce a sound that is tight, at one. Here, the lyrics are dark, bathed in pathos, describing the damage drugs can do. Although the subject matter is dark, Jazzyfatnastees performance, arrangement and production are of the highest standard.
Why is another song with a strong narrative. It reads like a mini drama. It tells the story of a woman who has been cheated on, and tells how she turned a blind eye whilst her partner cheated on her. She tells how badly she was hurt, and how the experience nearly broke her. When you hear the bright opening of the song, you wouldn’t know that you’re about to hear a song of hurt and heartache. Mercedes Martinez sings the song with her usual delivery. In doing so, her delivery verges upon the defiant. It’s as if she’s saying that was me then, now I’m a strong and independent woman. The arrangement is uptempo, the song upbeat. If you didn’t take the time to listen carefully to the lyrics, you’d be totally unaware that this was anything other than a pleasant sounding song. Thankfully, it’s more than that, it’s a song that’s well written and well sung by Martinez.
The Once and Future ends with Let It Go. It begins with the by now familiar, crisp and crunching drum beats that sit right at the front of the arrangement. A rhodes keyboard subtly plays in the background, picking out a melody that meanders beautifully. Moore and Martinez share the lead vocal. Their voices compliment each other perfectly, one filling the spaces left by the other. They harmonize beautifully, both possessing voices they must have borrowed from angels. Let It Go is a strong, soulful song, one that is a great way to end the album.
I’ve thoroughly enjoyed spending time listening to Jazzyfatnastees and their debut album The Once and Future. I had almost forgotten just how good an album it is. Each song is of the highest standard, there is not one bad song on the album. Picking the best tracks is hard to do, such is the quality. Moore and Martinez both have beautiful voices, their ability to harmonize incredible. For a debut album, it’s a highly mature album. it’s the standard of album you’d expect a group to make by their second or third album. What is even more impressive, is that Moore and Martinez also wrote and produced the album. They’re truly two highly talented women, who deserve much more success than they’ve had so far. if having read this article, you think that you’d like to hear this album, I urge you to go out and buy it straight away. You won’t be disappointed. So good is the music that, like me, you’ll be left shaking your head wondering why Jazzyfatnastees aren’t a much bigger success than they already are? Standout Tracks: The Wound, Breakthrough, Sail the Seas and Let It Go.
JAZZYFATNASTEES-THE ONCE AND FUTURE.
THE LA’S-THE LA’S.
THE LA’S-THE LA’S.
Usually, after signing their first record deal, bands are desperate to record their debut album and see if for sale in record shops. For them, it’s a sign that they “made it,” that they’ve “arrived.” Sometimes, this works against a band, as the initial recordings are hurried, and their debut album isn’t as good as it should be. In this article, I’ll tell you about a group whose lead singer, wouldn’t settle for anything other than perfection. This lead to their debut album, and only album, being recorded several times, using several producers. It’s a story that sometimes, almost descends into farce. However, when you hear the album, you realize that this pursuit of perfection was worthwhile. The group are The La’s and the album is their debut The La’s, released in November 1990.
The La’s were formed in Liverpool in 1984 by Mike Badger. He was joined shortly after by Lee Mavers, who would be the singer and rhythm guitarist. In 1986, bassist John Power joined the band. It was at this time, that founder Mike Badger left the group. This set a pattern for the band, as during the band’s lifetime, many members joined and left the group.
After various record labels wanted to sign The La’s, they decided to sign with Go! Discs. They released three singles before their debut album was released. They were Way Out in 1987, There She Goes in 1988 and Timeless Melody in 1989. None of these singles were particularly successful, with Timeless Melody the most successful, reaching number fifty-seven in the UK singles charts.
The La’s started recording their debut album in July 1987, at Matrix Studios in London. Former Smiths producer John Porter was enlisted to produce the album. A problem quickly arose. Lee Maver didn’t trust technology. This was a major problem, one that would cause the problems in the future. As a result, the recordings were cancelled.
March 1988, saw the band return to the studios. A new producer was hired in John Leckie. Leckie had previously worked with Pink Floyd and John Lennon, so was used to working with strong personalities. They headed for Jam Studios in Oxfordshire. The studio was an old school house, and band and producer lived there for three weeks. While there, the band recorded two sessions. Leckie later said that he had never heard acoustic guitars and vocals singing in harmony like that. The sound was fresh and strong. However, Mavers was a hard taskmaster. He wasn’t happy with the rest of the band. They were either playing and singing too fast, or too slow. John Leckie was frustrated. He wanted desperately to capture the band’s sound on tape, in a way that did them justice.
One day, Mavers told the band and producer that he had a new song. He started playing There She Goes. Straight away, everyone was smitten. It was apparent to everyone in the room that Mavers had written a pop classic. All they had to do was record the song. This was easier said than done. Eventually, the session was scrapped.
The La’s third attempt at recording their debut album was at with Bob Andrews in Wokingham and Jeremy Allom in Liverpool. After nine fruitless months, the sessions were cancelled. Go! Discs supremo, Andy MacDonald, decided the best course of action was that the band head to Devon with producer Mike Hedges. This lead to the group heading to Devon in April 1989. The group stayed at MacDonald’s parents house. This suited Mavers perfectly. He was keen to produce an authentic sound on the album, and one way of doing this, was by using vintage instruments and equipment. Analogue equipment was used, the band settled in to a much quieter and low key setting. Work progressed, recordings were made. This was good, until more than half way through the recording Mavers starting finding fault with the recordings. For Mavers, the album was hugely important, as a perfectionist, nothing less would do. Other members of the band were impressed with the recording, and thought that this was “the” version of the album.
Christmas 1989 saw members of the group Chris Sharrock and John Power head to Hawaii on holiday. On their return, a hug surprise awaited them. Lee Mavers had decided against releasing the album. Why? According to Ian Grimble who mixed the session, Mavers explanation was that the position of the earth had changed, the magnetic poll had changed. Mavers believed that this would mean the magnetic particles on the tape had altered. This also lead to Chris Sharrock and Barry Sutton, the guitarist, leaving the group.
After this Peter “Cammy” Camell joined the group as guitarist, and Neil Mavers, Lee’s brother, on drums. The album wasn’t released. It seemed The La’s were going nowhere. Andy MacDonald was exasperated. In desperation, and in an attempt to get an album finally released, he called in Steve Lillywhite to produce the album. Previously, he’d worked with U2 and The Rolling Stones, so surely he could at last get The La’s to record an album. Lillywhite and the group headed to the Eden Studios in London. All went well for about a month. After that, Lillywhite started to experience similar problems to his predecessors in the producers chair. Eventually, the sessions broke down, without the album being completed, Andy MacDonald asked Lillywhite to complete the album. This he did. Since then, Steve Lillywhite has said he tried to ensure that the album was completed according to Lee Mavers vision and ideas. Mavers wasn’t happy with the album, and criticized the album on its release.
That was the only album The La’s ever released. Since then, they’ve split up and reformed innumerable times. Many members have joined, and left the band, during the various reunions. Lee Mavers currently lives quietly, and isn’t involved in the music industry. That is a great shame, because he is a mercurial, maverick, genius, one of the few left in the music industry. When you listen to the album, you too, will hear this genius at work, and want him to return to the fold and write and record many more wonderful songs.
The La’s opens with Son of A Gun. A guitar strums, and when Mavers sings, he sounds just a bit like Michael Stipe of REM. His voice is strong, he carries the lyrics well. The arrangement is quite simple, just Mavers backed by a guitar, and other members of the group singing tight vocal harmonies. Although, it’s a short song, almost blink and you’ll miss it, it’s a good start to the album.
I Can’t Sleep has a bigger, fuller and louder sound. Electric guitars are loud and proud, right at the front of the mix. Behind them Mavers can be heard singing in the background. When his vocal enters the mix, it’s strong and loud, he strains, sings the lyrics with almost a discordant passion. It’s a rocky sound, with the band playing tightly. The lyrics have a surreal quality, and could they be about narcotic indulgence? Is the pipe dream about a crack pipe? It’s a good track, very different to the opening track.
When you hear the next track, Timeless Melody, you’re hearing one of the best tracks on the album. Both Mavers’ vocal and the rest of the band combine brilliantly. Guitars chime at the start of the track, the tempo is mid-paced. Mavers sings within himself, his voice clear. Midway through the track, the guitars are unleashed. This takes the track to a new level. The playing is exquisite, loud, always in control. On this track, the arrangement is perfect. Lillywhite has brought out the best in the band, ensuring the guitars and vocals unite in perfect harmony.
On this album no two tracks sound the same. Liberty Ship has nothing in common with Timeless Melody. The sound is totally different. It has a real retro sound, and has a much more gentle sound. It’s merely acoustic guitars and Mavers singing, with the rest of the band harmonizing. In the background someone whistles. It’s a pleasant track, showing the band’s versatility.
Lee Mavers’ masterpiece is next, it’s his magnus opus, There She Goes. This is a timeless pop classic, one of the best songs written in past forty years. There She Goes is a song I never tire of hearing. It’s also a controversial song. Listen to the lyrics and you’ll hear “there she blows, there she blows again, pulsing through my vein,” which is meant to be a reference to the feeling you get, when you inject heroin. Regardless of whether this is, or isn’t the case, the song is a seminal one, quite truly, a musical masterpiece. As the song starts the guitars chime brightly, the mood is bright and upbeat. This mood remains when Mavers sings. As he sings the song, it’s as if he realizes that this is his big moment, his Warholian moment, his fifteen minutes of fame. Everything about the track is perfect. The lyrics, Mavers vocal and the band’s performance. Some credit must be given to Steve Lillywhite for getting this song on tape, and producing this classic song.
After the pop perfection of There She Goes, it’s very hard to follow-up such a moment of genius. Anything else is an anti climax. However, The La’s try hard with Doledrum. The sound and feel has more in common with Liberty Ship, than There She Goes. The song is an uptempo one, primarily guitars and Mavers singing. Mavers voice is very different, his accent more mid-Atlantic than Merseyside. Worryingly, I thought I heard a Jagger-esque nasal whine. Thankfully, that aberration was merely, momentarily. I like this side of The La’s, they carry it off well. Not many bands could do that. The reason they manage to do so, is that Mavers has a good voice and the band are good musicians.
Straight away, when you here Feeling, it brings to mind another Liverpool group, The Beatles. When you here the track, you’ll be forced to agree. The guitars and vocal owe much to The Beatles. Guitars jangle, like much of The Beatles early work, and the way Mavers vocal sits in the mix is the other reason for the comparison. The more I listen to the track, the more I see the similarities. Feeling is a great track, it has a full, retro sound. It’s as if The La’s are paying homage to their city’s most famous sons.
Way Out starts with jangling guitars, and Mavers voice sounds almost angry, he sounds as if he’s nearly sneering as he sings the lyrics. That said, it’s another great track. There is some great guitar playing on the track, a fantastic solo after a minute and a half. From the start, the song is loud, the sound big. This never changes. It’s a track long on melody and has hooks a plenty. Throughout the track the band are on great form, they give their all, and in the process, produce one of the album’s best tracks.
The next song I.O.U., sees the style change again. It’s another track that has its roots in the past, and has a very retro sound. From the start, and the appearance of the jangling guitars, the retro sound is apparent. Mavers sings the song simply. His voice is clear, but almost deliberately flat, to get over the impact of the lyrics. The lyrics are bathed in pathos, and Mavers delivers them perfectly. I.O.U. benefits from a minimalist arrangement, which allows the song to shine. There are no frills, no effects added to jazz up the sound. It’s very much the sound that you’d have heard if you’d been in the studio when the song was recorded.
Freedom Song begins with guitar, then a surprise awaits the listener. Mavers doesn’t sing the song in his usual style. Instead, he half-sings, half-speaks the lyrics, lyrics which seem personal to him. There is an almost continental sound to the arrangement, which relies heavily on guitar. The song has an infectious quality, it draws you in, quickly you’re hooked. You find yourself singing the lyrics, and tapping your foot. Although very different to other tracks, it’s a great song, one you’ll listen to time and time again.
Failure has a very different sound and style. Straight away, the sound is big, loud and glorious. The La’s unleash their musical arsenal. Guitars are loud and proud, drums come to the forefront, pounded to within an inch of their life, for almost the first time on the album. Mavers joins in the near chaos, his vocal loud, nearly straining, accompanied by handclaps. Too soon, the track ends, and you’re left smiling, bathing in the memory of a couple of magical moments of full on, rock ‘n’ roll.
The La’s ends with a beautiful song Looking Glass. It could almost be a second cousin to There She Goes, so good it is. Mavers voice sounds as if he’s doubtful, questioning something, his future maybe, unsure of where he’s going, and the future of his group. The lyrics are thoughtful, among the best on the album. This song is enigmatic, a word that could be used to describe the maverick genius of Lee Mavers. A fitting song to end a brilliant album.
That is the story of The La’s and their one and only album The La’s. It’s a brilliant album, the work of Lee Mavers, a musical maverick, one who has been touched by genius. They were a group who promised so much, and sadly all they delivered was one album, a brilliant album at that. I’m always saddened that they never fulfilled their potential, that they never went on to bigger and better things. Yes, the group reformed several times, but they never again recorded another album. I’ve always wondered what would have become of them, would they have bettered this album, and would Lee Mavers have written another song as good as There She Goes. We’ll never know. Maybe having produced such a great album, and written such a seminal song, anything else they produced would have a pale imitation. What they’ve left us with is a masterpiece of an album, and in There She Goes, a song that is one of the best ever written. When you think about it, that’s not a bad legacy to leave behind. Standout Tracks: I Can’t Sleep, There She Goes, Feeling and Looking Glass.
THE LA’S-THE LA’S.
DUSTY SPRINGFIELD-DUSTY IN MEMPHIS.
DUSTY SPRINGFIELD-DUSTY IN MEMPHIS.
In this article, I’m going to write about one of the best female vocalists to come out of the UK. She was dubbed the white queen of soul. Nowadays, any female vocalist with a modicum of talent is compared with this singer. These comparisons are ridiculous. Some third rate vocalist with a nasal whine can’t be compared to a true giant of the music industry. During this artist’s career, she produced some brilliant music, and the album this article about was a landmark album. It saw her travel to Mempis to work with a brilliant producer and some hugely talented musicians. The album is Dusty In Memphis, Dusty Springfield’s seminal album released in 1969.
Dusty Springfield was born Mary Isobel Catherine Bernadette O’Brien, in West Hampstead, North London, in April 1939. She was brought up in a middle class family, that loved music. During her childhood she was exposed to a wide range of music. This included Count Basie, Rogers and Hammerstein, George Gershwin, Count Basie and Glenn Miller. Dusty Springfield loved American jazz vocalists, including Peggy Lee and Jo Stafford. It was her ambition to sound like them. Little wonder that on leaving school she would become a singer, such was her love of music.
Her first job in music was as one of The Lana Sisters. They were already established as a group, and Dusty was recruited in 1958, as a new member. Whilst a member, she received a crash course in the music industry. She recorded with them, appeared on television and in concert. During her time with them, she learned to harmonize and how to use a microphone properly. She left The Lana Sisters in 1960.
Her next venture in music was when she formed a pop-folk trio The Springfields wth her brother Don, and Reshad Field, who would later be replaced by Mike Hurst. It was here that she adopted the stage name Dusty Springfield. The Springfields recorded an album Folk Songs From The Hills, in Nashville, Tennessee. They’d travelled to Nashville intending to record a genuine American album. It was during this trip that Dusty’s musical tastes changed. She started to love pop music that had its roots in rhythm and blues music. Although the group were reasonably successful, winning the New Musical Express’ Best Vocal Group award in 1961 and 1962 they split up in 1963. Their final single was Say I Won’t Be There, gave the group their first top five hit. The last concert they played was in October 1963. After that, the group split up.
Now a solo artist, success came quick to Dusty. Her first solo single I Only Want To Be With You, sold over one million copies, and she received a gold disc. Ivor Raymomde’s production on the single owed much to Phil Spector. Having said that, his arrangement was fantastic, featuring vocals that were double-tracked, a horn section and a string section. This single was a great start to her solo career.
Her first album A Girl Called Dusty, was released in 1964. It was an album featuring Dusty Springfield covering some of her favorite songs. This album featured her first collaboration with two hugely important songwriting partnerships, Burt Bacharach and Hal David, and Gerry Goffin and Carole King. The latter partnership were a huge influence on Dusty, and she recorded their songs throughout her career.
In 1965 Ev’rything’s Coming Up Dusty was released. The album sold quite well, and Dusty ended up the top selling female singer on her record label Philips Records. This album contained many show tunes, as well as some soul songs.
She released Where Am I Going in 1967. The album wasn’t as successful as her previous two albums. It contained a wide variety of styles of music. Fans and critics liked the album, enjoying hearing her sing different styles of music. This album was followed up by Dusty…Definitely in 1968. It was the first album that Dusty co-produced with John Franz. The album was split into one side of the album with faster songs, the other with slower songs. On each side the mood is very different.
1968 also saw Dusty sign a contract with Atlantic Records for the US. This was to have a huge impact on her career, and ended up with her heading to Memphis to record Dusty In Memphis with producers Jerry Wexler and Arif Mardin, and engineer Tom Dowd. Dusty in Memphis was an attempt to relaunch her career. After her first two successful albums, her career had stalled. By heading to Memphis, it was hoped that her credibility as an artist would receive a boost. She’d never recorded an album of rhythm and blues music before, this would be a first. However, she was joined in the studios with some of Memphis’ best musicians and backing singers. She would be backed by the Memphis Cats, a fantastic group of musicians, and backing vocalists the Sweet Inspirations. This was truly the creme de la creme of the Memphis music scene. Springfield was noted as a perfectionist, nothing less would suffice. This would prove a huge challenge for produced Jerry Wexler. Another problem was her insecurity, she was a hugely insecure artist, and this wasn’t helped by working with such talented musicians, singers and producers. However, the sessions were fruitful, and produced one of the greatest albums of all time. Dusty In Memphis is widely accepted as a musical masterpiece, and is to be found in any list of the greatest albums of all time. I will shortly tell you why this is such a seminal album.
As the 1970s’ started, Dusty was still a huge name in music. She released her second, and final album for Atlantic Records A Brand New Me in 1970. In the UK, the album was released as From Dusty…With Love. The album was recorded in Philadelphia, and was produced by Kenny Gamble and Leon. They also wrote many of the songs on the album. After this album, Gamble and Huff had huge success with many groups including The O’Jays, MFSB and Harold Melvin and The Bluenotes. However, the album didn’t fare well. It only reached number thirty-five in the UK and one hundred and seven in the US. This was to be the start of the decline in her record sales and popularity.
Between 1972 and 1995 Dusty would only record seven further albums, one of which Longing, recorded in 1974, was never released at the time. During that time, her record sales declines, although some albums were reasonably well received by critics. During this period, her personal life was scrutinized by the press and media, and she headed to the US, where she lived quietly, away from the spotlight. She made comebacks, and was still popular in concert. However, she never recovered her midas touch as a solo artist. In 1987 she collaborated with the Pet Shop Boys on their sing What Have I Done To Deserve This? This introduced her to a new generation of fans. Dusty Springfield died of cancer in March 1999. Since her death, she has become something of an icon, her music is more popular than ever, and many people are revisiting the music of Dusty Springfield, an artist who recorded some wonderful music.
Having told you about Dusty Springfield’s career, I will now tell you why Dusty In Memphis is such a wonderful album. Dusty In Memphis opens with Just A Little Lovin’. Strings sweep, lushly, as the track begins, as Dusty sings. Her voice is clear, she articulates the lyrics beautifully. She carries the song so well, her voice quiet and low one minute, the next soaring and high. Behind her the Memphis Cats play, quietly, never threatening to overpower her vocal. It’s as if they recognize they’re playing their part in making history. Their performance is understated, perfect, allowing Dusty to shine, which she does, producing probably, the definitive version of this song.
Like many of the songs on this album, So Much Love is written by the two of the greatest songwriters of the time. Gerry Goffin and Carol King wrote So Much Love, a song perfect for Dusty to record. Her rendition of the song is magical. From the strings at the start, to Dusty’s heartfelt and dramatic reading of the song, to the Sweet Inspirations masterful backing vocals, the song is truly a thing of beauty. The lyrics are tinged with sadness, Dusty puts her heart and soul into the song. She sings it like she means it. Her voice soars, accompanied by the backing singers, who have beautiful voices, voices that are the perfect accompaniment to Dusty. It’s easily one if album’s highlights.
Son of A Preacher Man is the next song on the album. It’s a song that much has been written about. Deservedly so. It’s two and a half minutes of soulful pop perfection, easily the greatest song on the album, and the greatest song Dusty ever recorded. Written by John Hurly and Ronnie Wilkins, its a song that has attained legendary status, in musical history. You only need to hear the song once to hear why. Drums and guitar start the track. The drums are the perfect backdrop, the heartbeat of the song. When Dusty recorded the song, little did she know her performance would go down in history. Her performance is brilliant, her voice strong and confident. As the song starts, she sings quietly and softly, as the song progresses, her voice gets stronger, bigger and fuller. Once she sings louder, she has to some really high notes, not once, never, does she strain to reach the high notes. Her performance belays her insecurity and lack of confidence. Wexler and Mardin’s arrangement is amazing, and played a huge part in making this song the success it is. It features a brass section, the Memphis Cats and the Sweet Inspirations. All are at the top of their game. They really brought their A game to the studio the day the recorded this song Forty-two years later, Son of A Preacher Man still sounds as good as the day Dusty recorded the song.
After creating pop history, it would seem that anything else would be an anti climax. Quite the opposite, I Don’t Want To Hear It Anymore is another great song. This time it was written by Randy Newman. The song builds up to a big dramatic sound. When the track starts, you’re unaware of what’s about to happen. Gradually the song builds. From when Dusty sings accompanied by a string section the mood is sedentary, she sings the lyrics with feeling, her delivery heartfelt. As the song progresses, the backing singers enter, a wall of sound hits you. Dusty sings loudly, joining in to help create this soulful crescendo. After this, the tempo drops, and gradually, builds up again, to recreate this dramatic sound. It’s a very different sound to Son of A Preacher Man, but is one that shows a different side of Dusty.
Don’t Forget About Me is the second Goffin and King song on the album. The arrangement on this track is much different, not as dramatic as I Don’t Want To Hear It Anymore. Dusty is accompanied by a brass section and the Memphis Cats. The brass section play wonderfully, the Memphis Cats, happy to take a back seat. The stars of the show are the Sweet Inspirations. Their backing vocals are masterful, they interact beautifully with Dusty, accompanying and complimenting her performance, their voices sweet and soulful. On this track, Dusty was lucky to have so many wonderful musicians and singers accompanying her, as they all played their part in making this slice of soulful pop music.
One of the best known tracks on Dusty In Memphis, is Breakfast In Bed. The songs has a very subdued start, a guitar playing gently, a cymbal tapped quietly, and Dusty’s vocal is almost whispered. Very gradually, the sound builds, grow bigger, bigger and louder. Likewise, Dusty vocal gets louder and stronger. She varies her vocal. One minute quiet, the next louder and stronger, then, suddenly, she almost speaks the vocal. This adds to the drama. All the while, the band play, joined by strings and a brass section. Wexler and Mardin’s arrangement is perfect, they deserve huge credit for their production on this track. The big question is, would this song be as good without their skills as producers?
Just One Smile is a song with some surprises in store. It’s a sad song, one with lovely lyrics, which Dusty delivers beautifully. The song starts quietly, just a guitar accompanies Dusty. You think this is going to be a song with a minimalist arrangement. Wrong. Strings sweep in, understated, beautiful, providing a glorious backdrop for her vocal. Then the song builds, as it does, it’s as if Dusty grows in confidence. Her voice clear from the start, grows, gets stronger, she sings powerfully, articulating the lyrics with passion, giving a wonderful performance of this song.
The next song, The Windmills of Your Mind, was originally sung by Noel Harrison, and was from the 1968 film The Thomas Crown Affair. Here, it’s a case of you’ve heard the rest, now here the best. The song sweeps smoothly along, an arrangement featuring strings, a lovely acoustic guitar solo, played sparingly throughout the track, and a fuller arrangement in the latter part of the track. From a meandering beginning, where Dusty is accompanied merely by a gently strummed acoustic guitar and a cymbal tapped gently. Then strings enter, the tempo increases, however, throughout the sound is sumptuous. It envelops you, your caught up in sweetness of the music, swept along, caught in its thrall. Your taken on a magical, musical journey, one where its all peaks, no troughs. Beautiful.
Another brilliant songwriting partnership, Burt Bacharach and Hal David, wrote the next song, In The Land of Make Believe. Straight away, the sound is understated. This allows Dusty and some beautiful lyrics to take centrestage. The arrangement is perfect for the song. A guitar plays, Dusty sings, her vocal at its most gentle, with a lovely soothing tone. Behind her strings play, quietly, highlighting her vocal, which is among the best on the album.
The great thing about Dusty In Memphis, is that great songs follow one after the other. No Easy Way Down is just the latest in a long line of great tracks. Like, I Don’t Want To Hear It Anymore, this song sees the Sweet Inspirations provide some wonderful backing vocals, which transform the song, from a great pop song, to a lovely soulful song. A piano plays, as the song starts. Dusty is accompanied by strings, sweeping along. The Sweet Inspirations backing vocals are like musical punctuation, highlighting parts of the song, breaking up the flow, and helping add to the song’s impact. This works well, and is highly effective. Throughout the track, Dusty sings the song perfectly. It’s like a master at work, her delivery smooth, thoughtful and full of passion. No Easy Way Down has always been one of my favorite tracks on the album, and when you hear it, it’ll become one of your favorites, too.
Dusty In Memphis closes with I Can’t Make It Alone. This is the fourth Goffin and King composition on the album. Like No Easy Way Down, also a Goffin and King song, it starts with a piano playing, Dusty singing and strings playing. Her rendition of the song is heartfelt, full of emotion, so much so, it’s as if she has experienced the hurt mentioned in the song. There’s a rawness in her emotion, it seems personal to her. It’s a perfect way to close the album, the Memphis Cats play confidently, and the Sweet Inspirations have reserved an emotion laden performance for this song. Quite simply, it was a masterstroke to finish the album with this song.
Much has been written about Dusty In Memphis since its release. It’s one of the few albums that everyone in the music industry agrees is a true classic. When you listen to the album, it’s laden with fantastic songs. These songs were written by the great and the good of songwriting, and include Goffin and King, Bacharach and David and Barry Mann and Cythia Weil. Add to that, songs like Son of A Preacher Man and Breakfast In Bed and you can see that this album was brimming with quality songs. The use of Wexler and Mardin as producers, and Tom Dowd as engineer brought some of the most experienced and highly skilled technicians to the session. They were able to bring in the Memphis Cats and the Sweet Inspirations to help record the album. These musicians and singers were hugely talented, and vastly experienced. All of these people contributed to making the album the success it is. However, the most important person was Dusty Springfield. She was a hugely talented artist, who was at a crossroads in her career. This was her comeback album, after two albums that hadn’t sold well. Although Dusty In Memphis sold well, it should have been a much bigger hit, it should have relaunched Dusty’s career, making her a much bigger star than she had ever been. Sadly that wasn’t the case. After this album, her career stalled, her records didn’t sell as well. She removed herself from the limelight, and lead a quieter life. When she returned to the music industry, musical tastes had changed, she tried to adapt, but never quite succeeded. The irony of the situation, is that since her death, her music is more popular than it has ever been. Dusty is a highly respected musical figure, loved by many and sadly missed. She is loved by both musicians and fans alike, and her standing has never been higher. Should you never have heard this album, you really must buy it, as it’s not just the highpoint in Dusty’s career, but also one of the greatest albums of all time. When you do, you will love every minute of every song, on what is, a beautiful album. Standout Tracks: Just A Little Lovin’, Son of A Preacher Man, Breakfast In Bed and No Easy Way Down.
DUSTY SPRINGFIELD-DUSTY IN MEMPHIS.
AIR-MOON SAFARI.
AIR-MOON SAFARI.
I spend much of my time listening to music. It seems that sometimes, there aren’t enough hours in the day to hear every album I want to listen to. As a result, sometimes I don’t get a chance to listen to albums I bought years ago. So last week, I thought I’d make some time to listen to some albums from yesteryear. After much pondering, and even more dithering, I decided what albums that I would revisit. They were a cross section of the musical genre’s, covering everything from reggae to rock, and hip-hop to house, taking in folk, funk, soul and dance music. I settled down, and spend far too much time listening to old albums. It was while I was doing this, that I rediscovered this album, one that I hadn’t played for a couple of months. After I’d listened to it, I thought that I would write an article about this album, as it one I really enjoyed when it was first released, and one I revisit from time to time. The album is Moon Safari by Air, which was released in January1998.
Formed in 1995, Air are from Versailles, in France. In the beginning, Nicholas Godin, a former architecture student was the only member of Air. He was later joined by former maths student Jean-Benoit Dunckel. Both had been members of a pevious band Orange, which also included Alex Gopher. Before Dunckel joined, Godin recorded a demo with former members of funk band, Funkadelic.
From what we already know about Air, they are an intelligent duo. This extends to their name. When the group were formed, many people were unaware that Air was backronym, which is a phrase that is formed so that an acronym can be formed. Air’s backronym is Amour, Imagination, Reve, which means love, imagination dream. This intelligence extends to their music, music which people have sought to pigeon hole. So far, they’ve failed to do so, referring to it as electronica.
Various styles of music, and musicians have influenced Air. Listen carefully to their music, and you can hear the influence of Vangelis and Jean Michel Jarre and the synthesizer based music they helped popularize. 1960’s psychedelic rock groups like Pink Floyd, and progressive rock bands like Tangerine Dream. The godfathers’ of electronic music, Kraftwerk, have also influenced their sound. Air, like Kraftwerk, use many electronic instruments, but both groups use a vocoder when performing live.
Closer to home two French artists have influenced Air’s music. Space were one of the pioneers of electronic music. Originally from Marseilles, France, they started making electronic music in 1977 until 1980. During this period, they released four albums. They reformed in 1992, and have sold over twelve million albums worldwide during their career. The other French artist to influence Air is the legendary Serge Gainsbourg. He was a singer-songwriter, who between 1958 and his death in 1991, released a wide variety of albums, which cross the musical boundaries. Gainsbourg was never afraid to experiment, and sometimes, this caused him problems. His music has influenced almost two generations musicians, and is as popular today, as it has ever been.
Since forming in 1995, Air have released a number of studio albums. Their debut album was Premiers Symptomes, a collection of singles released by the band between 1995 and 1997. Moon Safari which this article is about, was released in January 1998. The album was well received and a huge commercial success.
Since then, Air have released a film score, The Virgin Suicides, in February 2000. That was followed by 10,000 Hz Legend in May 2001. This was a much different album, longer and much more experimental. A remix of this album Everybody Hertz was released in February 2002. Three further studio albums have been released. Talkie Walkie in January 2004, Pocket Symphony in March 2007 and Love 2 in October 2009. Each of these albums have seen Air’s sound evolve.
Air have worked with other artists, including Charlotte Gainsbourg, daughter of Serge Gainsbourg and Jane Birkin. She is a French singer and actress. Her 2006 album 5.55, was written and performed by Air. 5.55 was well received by critics and was commercially successful. They have also contributed music to films directed by Sofia Coppola, including her debut film The Virgin Suicides. A track by Air featured in her 2006 film, Marie Antoinette.
Having told you about Air’s career, I will now tell you why Moon Safari is such a good album. The album begins with La Femme D’Argent. In the distance water runs, then drums play, quietly at first, then loud and crisp. A keyboard joins the arrangement, forcing it way to the front of the mix. Quickly the sound builds, a melange of sounds, some sharp, some deeply melodic. This is joined by sweeping synths, producing otherworldly sounds. The overall effect is a mixture or retro and futuristic sound. They come together to produce a large soundscape, one that grabs your attentions. It’s impossible to ignore. Air have produced a track that veers between glacial and rhapsodic, and is an impressive start to Moon Safari.
Sexy Boy is a track thats roots’ are firmly in the past. The vocal is sung through a vocoder, the synths sound very old school. They squelch, sweep, squeak and beep throughout the track. Layer upon layer of sound is emitted from your speakers, surrounding, and almost overpowering you. There is sweetness present in the track, saccharine sweet. So sweet is this track, it’s like the biggest sugar rush you can safely experience. The track is hook laden, to say it’s catchy is an understatement. It’s infectious, something you should be inoculated against. A glorious slice of retro-sounding Euro pop.
All I Need is a very different sounding track. Synths reverberate, wobbling like a jelly at a child’s birthday party. Suddenly, they stop. The track then opens out, a guitar plays, a metronome clicks, a synth sneaks a look in again, then Beth Hirsch sings the vocal. This transforms the track, totally. Her voice is strong and clear, perfectly suited to deliver the lyrics. For most of the vocal, a metronome and guitar are her only accompaniment. Later, occasionally, a keyboard flits in and out of the track, and a synth drones, then sweeps. When this happens, it slightly overpowers her vocal. This doesn’t detract from what is a great track.
When I listen to Kelly Watch the Stars, two things come to mind. The first is the soundtrack to a sci-fi movie, the second is the old Heaven 17 track Temptation. When I hear that part of the track towards the start, it sounds like Temptation’s little brother. This repeats during the track. The more I hear it, the more I’m convinced. What Air have ended up with is a sweeping, new wave influenced track, with more than a little influence from space and sci-fi. It’s a great track, one that draws its influences from far and wide.
Talisman has a brooding, atmospheric start. Keyboards play, the sound is dark. It meanders, at a pedestrian pace. After just over a minute the mood lightens, the darkness lifts, the sound changes to different keys. Drums crisply and briskly play. Swathes of sound sweep, brightly. They wash over you. A mini symphony, plays before you. It’s a 21st century symphony, that transports you through different galaxies. The journey may not be long, but it’s one you’ll enjoy, and one you can go on time and time again.
Lyrics are sung through a vocoder at the start of Remember. Here, the sound is loud, ear-splittingly loud. So much so it reverberates. This sound is very much, in your face. It gets close up and personal. Remember, is an amalgamation of synths, a bit like a mini-orchestra. Some are dull, others sharp, some sweep, some squelch. The sound almost overpowers, purely because one of the synths if far too loud, and too far forward in the mix. Don’t get me wrong, the song is good, but the production could be better.
The start of the next song, You Make It Easy, reminds me of the start of a Kraftwerk track Autobahn, as both tracks begin with the sound of a car traveling along a road. After that, the similarities end. You Make It Easy has a brighter sound. Beth Hirsch sings vocals again on this track. Her voice is light and bright, and she sings the song well, singing clearly, accompanied by piano, synths and percussion. The longer the track goes on, the more the sound builds. At first, Hirsch was only accompanied only by a glockenspiel, then gradually, the sound starts to grow. By the end of the track, a multitude of instruments surround her vocal, contributing to a good track, one that is much better than the previous track, Remember.
Ce Matin La begins with a synth swooping, echoing distantly, gradually moving closer. It creeps up on you, catches you unaware. For an instant, your thrown, no idea what will happen next. Then, some pleasant surprises await. A rhodes keyboard and clavinet play, the sound becomes much more pleasing. It’s sweet, almost symphonic, sweeping, massaging at your weary, troubled soul. The next surprise is when a tuba plays a solo. Surprisingly, it works, it’s effective. After that, your hooked, fascinated by the variety of sounds that make an appearance. All you can do is sit back, relax and enjoy this track. Like other tracks on Moon Safari, this one has a reel retro sound, one that is cinematic. Much of the track reminds me of an old movie soundtrack.
There is a much different sound on New Star In the Sky than the previous tracks. An acoustic guitar strums gently, a harmonica plays, with just a bit of reverb changing the sound. The sound is quiet, gentle and meanders slowly, gradually getting louder, the sound filling out, expanding gently. When it does, it’s a lovely track, one that is spacious, allowing the song to breath. Synths whoosh and sweep, they enter, and leave the track. They combine with a multiplicity of musical instruments to produce a stunning track, one of Moon Safari’s highlights
Moon Safari closes with La Voyage De Penelope. It has a hesitant start, frantic discordant sounds play quietly in the distance. As the sound gets closer, the chaotic sound gets clearer. Not totally clear though. Reverb is use heavily on the track. This detracts somewhat from the track. When keyboards and synths play, the sound reverberates. Personally, this muddies the sound on track. It might work on some tracks, but this track would be a much better track with a cleaner sound, it would transform the track, from a good one to a very good one.
I have thoroughly enjoyed revisiting Moon Safari, an album I have always enjoyed. It was interesting to the album again. Unlike many albums that fall into the electronica or dance genres, the sound on Moon Safari doesn’t sound dated. It still sounds fresh and innovative. This was Air’s debut studio album, and such, is a very good debut album. Many artists or groups would take two or three albums to reach this standard. However, Air are talented musicians, who can play a multitude of instruments. What I admire about them, is how their music evolves. They’re not content to find a sound that’s successful, and stick with it, no, they want to reinvent themselves, experiment, and push the musical boundaries. That is what they have done during their career. Moon Safari was the album that launched their career. It’s an outstanding album, one full of some wonderful music, music that is complex and sophisticated, but also very listenable. If you’ve never heard this album, I would recommend it to anyone. It’s album full of subtleties and nuances, which aren’t apparent when you first hear the album, but through time, they will reveal themselves to you. Standout Tracks: La Femme D’Argent, Talisman, Ce Matin La and New Star In the Sky.
AIR-MOON SAFARI.
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