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