JOHN MARTYN-SOLID AIR.
JOHN MARTYN-SOLID AIR.
Previously I have written about the artist this article is about. After I’d written that article, I was listening to some of his old albums and though that I’d write another article on this artist. The problem was, which album. With this artist, he has recorded so many good albums. Having spent some time listening his old albums, I decided to write about John Martyn’s 1973 album Solid Air. Solid Air is an album that’s critically acclaimed, and is found in any list of the best albums of all time. I will now tell why Solid Air is such a good album.
The first song on the album is the title track Solid Air. This is one of John Martyn’s best known songs. It was written about his good friend Nick Drake, the legendary singer Nick Darke, who had recently died of a drug overdose. From the opening bars, it’s apparent that this is a beautiful and deeply moving song. Solid Air opens with Martyn playing acoustic guitar and Danny Thompson playing bass. When Martyn sings, his voice is full of character, it’s unlike no other voice. He almost slurs the lyrics in some places. It’s a heartfelt delivery of some beautiful lyrics. In the song, he sings about Drake “I don’t know what went wrong in your mind” and “you’ve been living on solid air.” Martyn has been deeply affected by the loss of his friend, and expresses his grief in the song. When you listen to the song, the arrangement is perfect, it’s subtle and understated. Martyn and Thompson are joined by Tony Coe on saxophone and Tristan Fry on vibes. The effect is stunning, and together, they’ve produced a beautiful song, one that is a fitting tribute to a much loved friend, and extremely talented singer and musician.
After such a beautiful opening track, it’s a hard act to follow. Anything else, you feel, will be an anticlimax. However, Martyn responds well with Over the Hill, a much more uptempo song. The arrangement still focuses on acoustic instruments, but here, Marttyn’s voice is much clearer. He sings the lyrics well, and plays the guitar. His playing is faster, and on the track, is joined by a mandolin, autoharp and violin. One of the guest artists is Richard Thomson, of Fairport Convention. Over the Hill is a very different sounding track, and in some ways, takes Martyn back to his folk roots. Like Solid Air, the arrangement understated, perfect for this track.
Another of the album’s best tracks is next. I Don’t Want To Know is a cover of a Skip Spence song. It’s a track that has been covered by many artists, but John Martyn’s version is one of the best. The track opens with Martyn gently strumming his guitar. Straight away, you realize that this is a stunning track. It almost sends shivers down your spine. John Martyn sings the song beautifully, his voice, for the most part gentle, and only raising it towards the end for effect. Here he demonstrates what great voice he possessed. The arrangement is stunning, it never overpowers the vocal, and compliments it beautifully. One of the highlights of the track is the electric piano solo, which reinforces the beauty of the melody. It’s truly a brilliant song, and a highlight of Solid Air.
I’d Rather Be the Devil is a very different song to all the previous tracks. Whereas all the previous tracks were subtle, downtempo tracks, with the emphasis on acoustic instruments, this track is electric, it’s also loud and sees Martyn and the band cut loose. From the opening bars, you can tell a change is afoot. Martyn’s voice is louder, the band go electric and there is very little subtlety involved. Having said that, it’s a good song, one that Martyn would often perform live. It demonstrates how talented a group of musicians he’d assembled for this album, and during the song, the all play really well. Having heard the first three songs, I’d Rather Be the Devil may come as a shock to the system to the first time listener, but my advice is, stick with it, give it a chance, and quickly you’ll come to realize that this is actually a good track.
Go Down Easy starts hesitantly, then Martyn plays the acoustic guitar. After I’d Rather Be the Devil, this is a much quieter, laid back track. Here, it’s just John playing his guitar and singing. The effect is powerful, his lyrics among the best on the album. His playing is crisp and he leaves space between the notes, and his voice gentle, always singing within himself. This is a lovely track, it’s long been one of my favorite tracks on the album. Once you’ve heard it, you too, will agree with me.
On Dreams By the Sea, the introduction has a real funky feel. It’s Simon Pegg’s bass playing that makes you think that. However, when you hear the track, it’s the only funky thing about the track. This track has much more in common with I’d Rather Be the Devil. The sound is much bigger, louder and fuller. Martyn’s voice is louder and stronger. His voice sits at the front of the mix, behind him, his band gradually join the fray. When they do, the effect is glorious. You’re privileged to hear some brilliant musicians at the top of their game. They play around Martyn’s vocal, taking care to never overpower it. It’s as if they’re deferring to Martyn’s genius. Overall, the effect is fantastic, and it’s a track that shows another side to Martyn on Solid Air.
There is another change of style with May You Never. It sees Martyn returning to a much more laid back and downtempo style. It’s just John singing and playing guitar, and like Go Down Easy, the effect is stunning. His voice and playing are brilliant, among the best on Solid Air. The simple arrangement allows you to focus on the beautiful lyrics, as there is nothing to distract your attention. When you hear these lyrics, they demonstrate John’s talent as a songwriter. Many people forget that as well as a brilliant singer and musician, John was also a talented songwriter who wrote numerous classic songs. May You Never was one of these songs, and is one of the best tracks on Solid Air.
An acoustic guitar plays quietly, at the start of Man In the Station, and the song meanders gently, until John sings. His voice starts quietly, but quickly it gets stronger and louder. When it does, the band enter, they too, increase the volume, then, let it drop. It becomes like a game, with peaks and troughs, one minute loud, the next quiet. It’s a beautiful song, which John and the band sing and play beautifully. For almost three minutes you’re treated to John Martyn at his best.
Solid Air closes with John Martyn in blues mode on The Easy Blues (Jelly Roll Gentle Blues). His voice takes on a weary sound, as if he’s live a thousand lives. It’s full of character, perfect for the track. His playing starts of crisp and fast on the acoustic guitar for two-thirds of the track. After the track almost grinds to a halt, it restarts and transforms into a different song. Thereafter, it’s like turning back the clock, a piano plays, it’s bluesy and brilliant. The song opens out and then gradually, winds down, the album over. Latterly, we were treated to just a minute of a very different side of John, one I’d have like to have heard more of. This was a good way to end a classic album.
Having spent a great deal of time recently revisiting John Martyn’s back catalogue, I was spoiled for choice about albums to write about. In the end, I chose to write about what is probably his best album Solid Air. It’s a brilliant album, one that I always love to hear. It’s like an old friend, so familiar it is to me. It’s one of these rare albums, that has no bad tracks. You never once find yourself skipping a track, quite the opposite, put it on, and you’re transfixed, enthralled by its beauty and subtlety. For thirty-five wonderful minutes you’re transported somewhere wonderful, taken on magical musical journey, one that never need end, all you need to do to make it laster longer is press play again. Should you never have heard this album, it’s one that belongs in every record collection. It’s a seminal album, one of the best ever made. To me, it’s John Martyn’s finest hour, the greatest album he ever recored, and the perfect introduction to John’s music. If you just want an overview of his career, a good starting point is Classics released on Artful Records in 2000. John rerecorded some of his best songs on this double album, and it allows a newcomer to his music to hear his best songs. There are plenty of other studio albums and compilations of John Martyn’s music available, and if you read a previous article I’ve written that will give you some pointers on what are the best ones to buy. Whichever ones you buy, enjoy listening to some wonderful music, by an artist who is sadly missed by his many fans. Standout Tracks: Solid Air, I Don’t Want To Know, Go Down Easy and May You Never.
JOHN MARTYN-SOLID AIR.
SLY AND THE FAMILY STONE-FRESH.
SLY AND THE FAMILY STONE-FRESH.
The band this article is about, were one of the most important bands in the late 1960s’. They were a multiracial and multi-gender band, whose music was a fusion of styles, including, soul, funk, rock and psychedelic music. Their music influenced groups across these genres. The story of this band is one which features gangsters, freedom fighters, drugs, arrests and a member of the band being jailed. In between all these dramas, this group produced several classic albums, albums that are still influencing a new generation of musicians. Sly and The Family Stone are the group, and the album is their 1973 album, Fresh.
Sly Stone was born Sylvester Stewart, in March 1944, into a deeply religious middle class family, in Dallas, Texas. Later the family moved to Vallejo, California. Although the family were highly religious, the children were encouraged to express themselves musically. The four youngest children even formed a group The Stewart Four and recorded a single On the Battlefield of the Lord. Once in high school, he joined various local bands, including The Viscaynes, a doo-wop group, who released several singles. He also released several singles under the name Danny Stewart.
After leaving high school Stewart changed his name to Sly Stone. In 1964, he became a disc jockey, for a R&B radio station in San Francisco KSOL. He also worked as a record producer for Autumn Records, where he produced various local bands. One of the records he produced, C’Mon and Swim, by Bobby Freeman became a nationwide hit. His solo singles for Autumn Records weren’t successful, and attempts at becoming singer stalled.
When Sly Stone and brother Freddie decided to form separate bands in 1966, this would prove to be fortuitous. Sly formed Sly and The Stoners with Cynthia Robinson on trumpet. Freddie formed Freddie and The Stone Souls, with Gregg Errico on drums. Saxophonist Jerry Martini, a mutual friend of Sly and Freddie, suggested that the two bands combine. This they did, forming Sly and The Family Stone in December 1966. Both Freddie and Sly were guitarists, so Sly taught himself to play electric organ, Freddie became the guitarist and Larry Graham joined to play bass guitar. Vaetta Stewart, Mary McCreary and Eva Moulton, who had formed a gospel group The Heavenly Tones, were recruited to become the band’s female backing vocalists, Little Sisters. The trio dropped out of high school to join the band.
Sly and The Family Stone played a concert at Windchester Cathedral, a club in California. Having liked the group, and saw their potential, David Kapralik of CBS Records, signed the group to the Epic Records, a subsidiary of CBS. The group recorded their debut album, A Whole New Thing which was released in October 1967. On its release, the album was critically acclaimed, especially among fellow musicians, including Tony Bennet and Mose Allison. However, the album failed to chart. One reason for the album’s lack of commercial success, was that the album was recorded live in the studio, rather than being overdubbed later. Had the album been overdubbed, it may have sounded very different. After the albums failure, Clive Davis of CBS asked Sly Stone to record a more commercial album. This, Sly Stone would do on the next album Dance To the Music.
After the failure of their debut album, and at Clive Davis’ request for a commercial record, Sly and The Family Stone headed into the studio to record their second album Dance To the Music. This album featured a new band member, Rose Stone, a vocalist and keyboard player. The single Dance To the Music became a huge hit, reaching number eight in the Billboard Hot 100. When the album was released in April 1968, it became a hugely influential album. It was one of the first psychedelic soul albums, a sound many other bands would copy. Dance To the Music sold well, and the band decided to tour the album. However, the tour was cut short when Larry Graham was arrested for possession of marijuana, and because of problems with concert promoters.
Sly and The Family Stone released their third album Life in September 1968. The album wasn’t the success of its predecessor, Dance To the Music. Critics liked the album, but the record buying public didn’t, and the album wasn’t commercially successful. On this album, Stone revisits familiar topics in unity and integration, two things which were crucial to Sly Stone, and central to his philosophy. To me, the album sits between the groups first two albums, in that it’s more commercial than A Whole New Thing, but less commercially friendly than Dance To the Music.
Their fourth album Stand! released in May 1969, featured the band’s first number one single Everyday People. This was the album that made the group famous worldwide. In the first year, the album sold over half a million copies, and was certified gold. Since then, it has sold over three million copies. The album was included in the Rolling Stone magazine’s list of the 500 greatest albums of all time. Stand! is a brilliant album, and is a must have for any record collection. It includes some of the band’s greatest songs including I Wan’t To Take You Higher, Everyday People, Stand and Sing A Simple Song.
Between 1969 and 1971, Sly and The Family Stone didn’t release a new album. In an attempt to keep the group’s music popular, and because of the demand for a new album, a Greatest Hits album was released. It featured material from the group’s first four albums. The album reached number two in the Billboard 200, and became the group’s biggest selling album.
After a hiatus lasting eighteen months, Sly and The Family Stone released their new album There’s A Riot Going On. This album saw a much different sound, it’s a darker funkier sound, less melodic than their previous work. Having said that, the album features some wonderful songs including Luv ‘N” Haight and Family Affair. There’s A Riot Going On entered the Billboard 200 at number one. Like, Stand! the album sold over half a million copies in its first year, and was certified gold. It would eventually sell over a million copies and be certified platinum. The album also is included in the Rolling Stone magazine’s list of the 500 greatest albums of all time.
Problems occured during the making of There’s A Riot Going On. The Black Panthers, who Sly Stone had been involved with, wanted Stone to make his music more militant. They wanted Greg Errico and Jerry Martini, both white musicians, replaced with black musicians, and their manager David Kapralik replaced by a black manager. This would have gone against Stone’s belief in unity and integration. His music often spoke of peace, love and understanding, and spoke against racism and discrimination of any kind. He wanted people to love each other, and love themselves too. The other problem was that Sly Stone and other members of got addicted to drugs, including PCP and cocaine. This would come back to haunt the band later in their career.
After the huge success ofThere’s A Riot Going On changes were afoot for the band. During early 1972, Jerry Martini asked Sly Stone and his managers about money that he was owed. This lead to Pat Rizzo being hired should Martini ever become suspicious about the group’s financial practices. Later in 1972, the bad feeling that existed between Sly Stone and Larry Graham spilled over. After a concert, a fight broke out between Stone’s entourage and Graham’s entourage. Both Bubba Banks and Eddie Chin had heard that Graham had hired a hit man to kill Stone, assaulted Graham’s people. Larry Graham and his wife had to climb out a hotel window to escape, with Pat Rizzo driving them to safety. Graham then quit the band, and was replaced by Bobby Womack and Rusty Allen.
Having lost their original rhythm section, and Sly Stone becoming increasingly dependent on cocaine, the group’s sound changed, becoming much stripped down and more syncopated and the rhythms much more complicated. Their next album was Fresh, which this article is about, was released in June 1973. On its release, the album received mixed views, but has since been recognized as one of the most important funk albums in musical history. The single If You Want Me To Stay reached the top twenty in the Billboard Hot 100.
The band’s next album was Small Talk and was released in July 1974. It was the final album that would feature the original lineup of the Family Stone. Time For Livin’ was the group’s final top forty US hit, and the second single Loose Booty only reached number eighty-four in the US.
The band split up in January 1975. After that, four further albums were released by Sly Stone. High on You was released in November 1975, and was Sly Stone’s first solo album.
This was followed by Heard Ya Missed Me, Well I’m Back released in December 1976 and released as Sly and The Family Stone. The album featured a new Family Stone, with trumpeter, Cynthia Robinson, the only original member. Vaetta Stewart, Mary McCreary and Eva Moulton the three members of Little Sister providing backing vocals. Only one single Family Again, was released from the album and it failed to chart. After this, Epic released Sly Stone from his recording contract.
November 1979 Sly and The Family Stone release their ninth album Back On the Right Track. This was meant to be a comeback album by Sly Stone. For the first time, Stone didn’t produce the album, with Mark Davis producing it. The album featured some of the original members of the Family Stone, including, Rose Stone, Cynthia Robinson, Pat Rizzo and Freddie Stone. Both the album and its singles failed to impress the critics. However, having spent some time listening to this album, I would suggest that the album is underrated, and better than the critics suggested.
The tenth, and final, Sly and The Family Stone album was Ain’t But the One Way released in 1982. Originally, the album was meant to be a collaboration between Sly Stone and George Clinton. Stone had guested on Funkadelic’s 1981 album The Electric Spanking of War Babies, and Ain’t But the One Way, was meant to be the sequel. However, Clinton and Funkadelic fell out with Warner Bros and left the label. Sly Stone disappeared, and was discovered to have entered self-seclusion. As a result, Stewart Levine was brought in to complete the album. Having done what he could, the album was released. It wasn’t well received by critics, and wasn’t a commercial success. It was a sad end to a long career, one that saw Sly and The Family Stone release several groundbreaking classic albums. As I said at the start of this article, the story of Sly and The Family Stone is one of many ups and downs, and much in the way of controversy.
Now that you know the story of Sly and The Family Stone, I will tell you why Fresh is such a good album. Fresh opens with In Time, a track that has a subdued start, just drums and percussion playing. Then suddenly, an organ plays and Sly Stone sings, behind him a trumpet plays and backing singers accompany him. Rhythms emerge gloriously, Stone’s voice is strong and clear. Granted the sound is different from on their earlier albums, but this is funky with a capital F. The longer the track goes on, the better it gets. It has an infectious quality, that makes you want to dance, and is a great way to start the album.
After such a great start, Fresh just gets better, with If You Want me To Stay. If you weren’t hooked after the first track you will be now. This is easily one of the album’s highlights. From the keyboard and bass at the start of the track, and Sly’s vocal, you realize that this is the work of a musical genius. While Sly sings, he’s enveloped in a musical melange of beauty, where everything combines masterfully to produce the albums best track. The track pulsates along, a bass the heartbeat of the track, a piano playing beautifully and the brass section uniting as if providing musical punctuation. In front of that, Sly’s vocal soars and falls, giving a passionate performance. Only one world can describe this track. Brilliant.
A wah wah guitar plays at the start of Let Me Have It All. When Sly sings, he’s accompanied by some brilliant backing vocalists. They’re the perfect foil for him, and take the track to another level. The band seem as if they’re playing within themselves. Their performance is almost understated, as if longing to emerge from the shadows. They never quite cut loose, and before they get the chance, the track ends. Although just a short track, it reminds us what a great band the Family Stone were, even without their original rhythm section.
Frisky begins with a Hammond organ playing, a funky rhythm, it’s joined by a guitar, which uses the effects pedal well to transform the sound. Straight away, the sound’s funky. When Sly sings, and the brass section join the fray, we’re into funk overload. The sound is big and loud. It’s a track that grows, it’s very much from little acorns. Once again, just as you’re wallowing in the funkiness of the track, it’s over. Like the previous track, it comes to a sudden end. I feel the last two tracks could have been developed, and made into an even better track. There is so much going on in the track, that doesn’t get a chance to develop. Having said that, it’s a great track, just one that could’ve been made so much better. It was a magnus opus in waiting.
The next track Thankful ‘N’ Thoughtful, has a subdued, almost understated start. A guitar laden with effects plays, a drum plays briefly and Sly sings, accompanied by his female backing vocalists. It’s like call and response. Behind him the track meanders, some rhythms waiting to emerge, develop fully. The brass section play, punctuating the track, their playing of the highest quality. Unlike the previous two tracks, this one is allowed to develop fully. When it does, it’s full of rhythms, some of which are more complex than on earlier albums. Others repeat constantly, burying themselves in your consciousness. The track has a hypnotic quality, caused by the constant repetition of rhythms and lyrics. You’ll find yourself singing the lyrics, and remember the rhythms for days afterwards. Thankful ‘N’ Thoughtful, is a great track, one that shows a different side to Sly, as it’s not a full on funk assault.
Skin I’m in starts with a a guitar, drum, organ and bass all playing quietly. When you first hear the track, you wonder where it’s heading, then, suddenly, the brass section burst into life. Sly joins them and the tempo heads upwards, the sound big and loud. Sly’s vocal veers between gentle and subdued, to almost a scream, but is always in control. The brass section play brilliantly, and are the mainstay of the track, providing some wonderful rhythms.
On Fresh, the music varies from track to track. This is the case on I Don’t Know (Satisfaction). From the start of the track, a full on funk assault looks likely. As the track begins the sound is funky, guitar, bass and brass section combining masterfully. Sly and the female backing vocalists, almost duet, they feed off each other. The track wouldn’t be half as good without their contribution. I Don’t Know (Satisfaction) pulsates, a melting pot of the most glorious rhythms, played and sung be some hugely talented musicians and singers.
When Keep On Dancin’ begins, the backing vocalists sing the lyrics from Dance To the Music. Once Sly starts singing the lyrics to Keep On Dancin’, they don’t have the same quality as Dance To the Music. This becomes more obvious when the lyrics to Dance To the Music are sung during the chorus. The lyrics may sound better without the direct comparison to a classic song. It’s like comparing a Porsche 911 to a Kia. My other criticism of the song is that it has an unfinished feel and sound. All of a sudden it ends, and you’re left thinking is that it?
More years ago than I care to remember, when I bought this album, and realized the next track was a cover of the old Doris Day song Que Sera, Sera (Whatever Will Be, Will Be) I feared that this could be a car crash of a song. The track begins with a moody Hammond organ solo playing slowly. Then a female backing vocalist sings the lead vocal. She is backed by the rest of the band, then Sly takes over the lead vocal. So far the track is promising. They sing the song slowly, totally transforming it, making it a far different song. I’ve never liked the original, but this version I enjoy. It sounds like a totally different song. There is a lovely moody, atmosphere. A wah wah guitar plays, the organ is a constant and the vocals are slow, spacious and full of character. My verdict is a very good, very different version of an old song.
The tempo increases with If It Were Up To Me. It’s the total opposite to the previous track. Again a female vocalist sings the lead, her performance strong and full of passion. Behind her, the band’s performance is understated, with occasional bursts from the brass section punctuating the track. This is another short track, but this time, it sounds finished. The structure is much better. For me, it’s one of the album’s best track.
Fresh closes with Babies Makin’ Babies. As the track begins, a Hammond organ meanders, Sly scats. Backing vocalists join in and are accompanied by the bras section. Quickly the funky atmosphere is set. It’s a magical mixture of bass, brass section, organ and vocals. When Sly sings, it seems as if much of his performance is ad-libbed, the lyrics don’t follow the usual structure of verse, chorus. However, the track works, and what Sly Stone has come up with, is a good way to end the album.
When I decided to write about Sly and The Family Stone, there were many great albums I could have chosen to write about. I’ve long been a fan of their music, and to decide, listened to all their back catalogue. In the end, I thought instead of writing about one of their more successful albums, I’d write about one of their underrated albums. Fresh is an album full of wonderful music, and it was recorded at a difficult time for the band. They’d lost their original rhythm section, and Sly and other band members had acquired a drug problem. When you consider these problems, it’s remarkable that they were even able to record an album, let alone one as good as this. The album was recorded towards the end of the original Family Stone’s career. They split up in January 1975. After that, the band was never the same again. If you’ve never heard their music, there are plenty of great albums waiting for you to discover. As well as Fresh, I’d recommend Dance To the Music, Stand and There’s A Riot Going On, as the albums to buy. These albums will allow you to hear the best of Sly and The Family Stone. Then you can explore the rest of their music. In a way, I envy you, as you’re about to discover some wonderful music. I hope you enjoy the musical journey that awaits you. Standout Tracks: If You Want me To Stay, Let Me Have It All, I Don’t Know (Satisfaction) and If It Were Up To Me.
SLY AND THE FAMILY STONE-FRESH.
THE PEARLFISHERS-THE YOUNG PICKNICKERS.
THE PEARLFISHERS-THE YOUNG PICKNICKERS.
Today I’m going to write about a group who have been recording and releasing music for twenty years. During the last twenty years, this Glasgow band have produced some beautiful melodic pop music, which has been influenced by groups such as the Beach Boys, Big Star and Big Star. When you listen to their music, it’s full hooks and harmonies, and has a timeless, classic quality. The group this article is about, are The Pearlfishers, and the album, their 1999 release The Young Picknickers.
Since The Pearlfishers were formed, they have produced numerous EPs, singles and albums. The Young Picknickers was their third album, the follow-up to 1993’s Za Za’s Garden, and 1997‘s The Strange Underworld of The Tall Poppies. Since then, they’ve released four further albums, Across the Milky Way in 2001, Sky Meadows in 2003, A Sunflower At Christmas in 2004 and Up With the Larks in 2007.
David Scott is the driving force behind The Pearlfishers, he writes the lyrics and music and is a talented multi-instrumentalist. On The Young Picknickers, as well as singing the lead vocal, he plays piano, guitars, bass, percussion and autoharp. This doesn’t mean that The Pearlfishers are a one man band. Quite the opposite. Brian McAlpine has always played a big part in the group’s success. Like Scott, McAlpine is a multitalented musician. He plays piano, organ, guitars and percussion on the album. Although Scott and McAlpine are perceived as the two main members of the group, other musicians play an important part in the group’s sound. On The Young Picknickers, Jim Gash plays drums and percussion, Deepak Bahl plays bass, Gabriel Telerman guitars and Amy Geddes plays fiddles. Other musicians play on some tracks, including Teenage Fanclub’s Norman Blake.
Having told you about the group’s background, I’ll now tell you about The Pealfishers album, The Young Picknickers. The album begins with We’re Gonna Save the Summer. When the song starts, the sound is loud and bright. The song just bursts into life, and when Scott sings the vocals the rest of the group sing tight vocal harmonies, reminiscent of the Beach Boys. Behind Scott’s vocal, the guitars chime, reminding me of Big Star. It’s a great song to the start the album, not only well sung and played, but featuring some wonderful lyrics.
Like many of The Pearlfisher’s songs, the lyrics are like mini-dramas, they tell a story. This is the case with An Ordinary Day In the Suburbs. The song begins with a piano playing and David Scott singing. He has a good voice, and sings the lyrics well, never resorting to vocal gymnastics or faux mid-Atlantic accents. This means you concentrate on the lyrics, which tell a tale of suburban romance. This track has a good arrangement, one that although it features a large number of instruments, never sounds cluttered. All of these instruments combine wonderfully, to produce a great track.
We’ll Get By starts with piano and Scott singing. You get the feeling he’s building up the drama, at the start. He is. On this track, Scott’s vocal is brilliant. The rest of the band provide a tight backing track. It’s an arrangement that owes much to another of the group’s influences Bacharach and David. Parts of the arrangement, have a real retro feel, especially the trumpet solo, and the piano playing. This track transports you wonderfully back to another era.
Blue December is a much more subdued track. It doesn’t have the uptempo feel of many of the group’s other tracks. What it does have is some lovely lyrics, lyrics which Scott sings accompanied only by a piano. Again, the song sounds as if it doesn’t belong on an album from the 1990s. Instead, you feel it belongs on an album from the 1950s’. Having said that, Scott’s vocal is full of character, his rendition is almost heartfelt. This is made all the better by him not trying to disguise his voice. He possesses a good voice, and sings the song well.
After the more subdued Blue December, the tempo increases, and you’ll hear a slice of joyous pop perfection with You Justify My Life. This is easily one of the album’s highlights and one of The Pearlfishers best songs. From the opening bars, when the drums and piano play, then Scott sings, you realize that this is an outstanding track. It’s a song that’s laden with hooks and harmonies aplenty, its infectious quality draws you in, and after the song ends you find yourself pressing repeat, and luxuriating in its beauty. The lyrics have a lovely sentiment, the arrangement is one of the best on the album, and the eclectic selection of instruments combine masterfully with Scott’s vocal to produce a mini-masterpiece.
Battersea Bardot begins with an autoharp playing, it meanders melodically and when it stops, Scott sings the vocal, backed by an organ. When Scott sings, he sings about a love affair, and falling head over heels in love. These lyrics have a really strong narrative, and allow Scott to sing what’s ostensibly a short story in just under three minutes. Much of the sound on this track has a real retro sound, the autoharp and organ, even the drums. Like other songs on the album, they’ve been influenced by artists from the past. This is no bad thing, as Battersea Bardot is a good track, one very different from its predecessor You Justify My Life.
When The Young Picknickers starts, the sound again is retro. It’s an instrumental track, which breaks up the flow of the album nicely. The track meanders slowly along a keyboards playing beautifully. There are some lovely subtle key changes, that mean the track flows gently, melodically with a gorgeous sweet sound. This is a lovely track, one that improves with every listen.
As soon as you hear Scott singing on Once There Was A Man, what you notice straight away, is his voice is much higher. This doesn’t mean that he’s having to force his vocal, not at all. The change in style in necessary to bring out the best in the song. By changing his vocal style he does this perfectly, and highlights some trademark quality vocals. Another change is the much fuller sound on this track, which is very different from other tracks. It’s no bad thing, as the band have reserved a great performance for this track, which includes some sweet vocal harmonies to back-up Scott’s vocal. What The Pearlfishers have ended up with, a great sounding track, that’s very different to others on the album.
After a real change in style, The Pearlfishers return with a beautiful slow track, one of the album’s highlights. Over and Over has some lovely romantic lyrics, which David Scott sings beautifully. His voice is back to normal, it sounds delicate, and his rendition of the lyrics is heartfelt, as if they’re personal, and mean something to him. The arrangement is subtle, understated, and allows Scott to take centre-stage when he sings those beautiful lyrics. Quite simply, a gorgeous track.
Every Day I Read the Stars sees another change in style and tempo. This is a much more uptempo song, and sees The Pearlfishers sound not unlike the Teenage Fanclub, whose Norman Blake guests on the album. When the song starts it deceives you, because it starts relatively slowly. Then, suddenly all change, the song opens up, and there are glimpses of 1960s’ sunshine pop. The guitars on the track chime and jangle, adding to this retro sound. There are some really tight vocal harmonies during the track, which are a perfect foil for David Scott’s vocal. The overall effect, is glorious, and it’s a track with a feel-good factor, one that’ll brighten your day, whenever you hear it.
Again, the tempo falls with Strawberries In the Snow, a song about relationships and love, and a song with some really good lyrics, which are tinged in sadness, and designed to tug at your heartstrings. The arrangement is perfect for the song, it’s subtle, almost understated, and never threatens to overpower the vocal. When you hear the arrangement, it reminds me of some of The Beatles arrangements on their slower songs. This is another lovely song, one that demonstrates David Scott’s talents as songwriter.
The final track on The Young Picknickers is Stella Painted Joy, is a tale of youthful relationships and wanting to grow up quickly. It’s a dichotomy of a song. One part youthful exuberance and borderline bawdy lyrics, the other part much more mature lyrics, beautiful melodies and harmonies. Personally, I much prefer the second part of the song, it shows a gentle, thoughtful and mature side of David Scott. The first part always makes me smile, and although the lyrics well written, to me, they slightly detract from the second part of the song. However, when you view the song as a whole, it works, the song is like life, growing out of the youthful exuberance of the type of lyrics of the first part of the song, maturing, and being able to write something so complex and moving, as the second part of the song. For me, the second part of the song is a thing of beauty, the type of thing you’d expect Brian Wilson in his prime to write.
I’ve thoroughly enjoyed writing about The Pearlfishers, I’ve long been a fan of their wonderful music, music that deserves to be heard by a much wider audience than it is. In Brian Scott, you have a talented songwriter and musician, capable of writing and singing some brilliant songs. Some of these songs are beautiful love songs, others a glorious slice of pop perfection. In his songs, he pays homage to some of the most talented musicians and songwriters from the past. Listen carefully, and you’ll hear Brian Wilson and Burt Bacharach influencing his music. At other times, you’ll hear Big Star and The Byrds. All of these artists, have influenced his music. Like I said at the start of this article, The Pearlfishers are not just a one man band. There’s more to them than David Scott. This is apparent on The Young Picknickers, where every member of the band, and the various guest artists, all play their part in making this a great album. There is not a bad song on the album, an album that has many different sounds and styles. The Pearlfishers music is timeless, it’s full of melodies and harmonies, and features an eclectic selection of instruments combining to produce some glorious music. If you’ve never heard their music, you really should buy this album, as this to me, is one of their best albums. It’s an album that once you’ve heard it, you’ll fall in love with their music, and find yourself listening to it over and over again. Standout Tracks: An Ordinary Day In the Suburbs, You Justify My Life, Over and Over and Every Day I Read the Stars.
THE PEARLFISHERS-THE YOUNG PICKNICKERS.
TALK TALK-THE COLOUR OF SPRING.
TALK TALK-THE COLOUR OF SPRING.
The album this article is about came out in 1986. This period was hardly a vintage time for music in the UK. Much of the music was throwaway pop music, music which was instantly forgettable. Granted there were some great bands from the UK, some that spring to mind, are The Smiths, New Order, The Cult and Simple Minds. Most of the bands that fell under the New Romantic label, were, to me, bugglegum pop, music with a short shelf life, that would have no impact on musical history. One band that bucked this trend were Talk Talk. After achieving worldwide success between 1984 and 1986, they settled down and made several classic albums. Today I’m going to write about their album The Colour of Spring, an album that saw their style completely change, and won them a completely new set of fans. After telling you a little about their history, I’ll tell you why this album, is such a great album.
Talk Talk were formed in 1981, originally starting out as a quartet. The band consisted of vocalist Mark Hollis, keyboard player Simon Brenner, drummer Lee Harris and Paul Webb on bass. Originally, they were compared to groups like Duran Duran, and were said to be part of the dreadful New Romantic musical movement. However, Talk Talk were much more sophisticated than that, as they would demonstrate in later years.
Their first record was an EP, entitled Talk Talk. After the EP’s success, this became the basis for their debut album The Party’s Over, released in July 1982. The album reached number twenty-one in the UK album charts, and the single from the album Today, gave the band a top twenty hit. This was a promising start for a band that was formed just over a year before.
In October 1982, Talk Talk supported Genesis at their reunion concert at Milton Keynes Bowl. This introduced the band to a much bigger audience. In 1983, Simon Brenner left the band, after the release of a single My Foolish Friend. The single was a completely new track, and wasn’t on their debut album. Brenner was replaced by Tim Friese-Greene, who became the unofficial fourth member of Talk Talk. He would play a huge part in the band’s future, becoming Hollis’ songwriting partner, keyboard player and producer. Although he played such a major role in the band, he didn’t tour with the band, or appear in publicity material.
Talk Talk’s next album was It’s My Life, released in February 1984. Although the album only reached number thirty-five in the UK album charts, it was a top five hit in many other European countries. In the US, the album reached number forty-two in the Billboard 200. One of the reasons for the albums success, were the singles released from the album, including Such A Shame.
Their next album was the one that really made the group a worldwide success. The Colour of Spring was released in March 1986, and saw the group abandon their New Wave style of music, which was heavily reliant on synthesizers. This new style of music won the band many more fans, and the album was certified gold in the UK by the BPI for sales of over one hundred thousand. Singles from the album also proved successful, with Life’s What You Make It reaching the top twenty, and Living In Another World reaching the top forty.
After the success of The Colour of Spring, Talk Talk headed to the studios to record their next album with a much bigger budget. This was fortunate as the album took a long time to record, and featured many guest musicians. When Spirit Of Eden was released in September 1988, it was well worth the wait and bigger budget. The album was a masterpiece. A blend of jazz, rock, classical and ambient music. Much of the music had been improvised, and the whole album recorded and edited on digital equipment. For some reason, the album didn’t sell so well. Maybe it wasn’t commercial enough, or it was too sophisticated for many casual album buyers. Spirit of Eden was certified silver, having sold over sixty-thousand copies in the UK. Talk Talk decided not to tour the album. In retrospect, this was a sensible decision, as it would be nearly impossible to recreate the album live.
While the band were recording Spirit Of Eden, their manager Keith Aspen, was trying to get the band released from their contract with EMI. Both the band and Aspen felt Talk Talk were on the wrong label. After a lengthy legal dispute, lasting several months, the band managed to secure their release from their contract with EMI. As part of the deal, EMI released a retrospective of Talk Talk’s career with EMI. This was entitled Natural History. It reached number three in the UK album charts and was certified gold, for selling over one hundred-thousand copies. In total, the album would sell over one million copies worldwide. Natural History would also provide Talk Talk with their biggest UK hit single. It’s My Life reached number thirteen in the UK singles chart and Life’s What You Make It also reached the top twenty in the singles chart.
In 1990 Talk Talk signed a two album record deal with Polydor Records. What would be their final album, Laughing Stock, was released in September 1991, on Verve Records, a subsidiary of Polydor Records. Hollis and Friese-Greene were, by now, the only two remaining members of the band, Webb having left the band by now. Before the album’s release, it had attained an almost mythical status, when news of the recording sessions were leaked out. When the album was released, the more experimental sound started on Spirit of Eden, was taken to the next stage on Laughing Stock. It was a masterful album, but sadly, one that failed to have the same commercial success as its predecessors. Laughing Stock reached only number twenty-six in the UK album charts.
Laughing Stock was the last album Talk Talk produced. They split up in 1991, with each member of the group going of to do their separate things. Mark Hollis released one solo album entitled Mark Hollis in 1998. The sound was very much like that on Spirit of Eden and Laughing Stock. After the release of his solo album, he retired from the music industry.
Having told you about the band’s history, I’ll now tell you what makes The Colour of Spring such a good album. Happiness Is Easy opens the album. The track begins with drums playing, an interjection of percussion and a keyboard plays. Then Mark Hollis sings, his voice high, clear and full of drama. Behind him, a Spanish sounding acoustic guitar plays, strings subtly sweep. Later a chorus of children sing, a trumpet plays. It’s a busy soundscape, yet never sounds cluttered. Throughout the track the drums play, always noticeable, drawing your attention to them. The sound is one that is sophisticated, full of nuances and subtleties, that won’t be apparent until you’ve heard the album many times.
One of the tracks many people will recognize from The Colour of Spring is I Don’t Believe In You. Having said that Hollis’ vocal was dramatic on the previous track, to say the same thing here, would be an understatement. A drums cracks, strings play and the track opens up. The sound is big, almost theatrical, as if preparing the stage for the leading man in what is like a mini-drama. When Hollis sings, his voice is heartfelt, passionate, verging on disbelief at singing the lyrics. His vocal is outstanding, and is fully a match for the rest of the band, who, together, set the scene perfectly for Hollis. I Don’t Believe In You is, without doubt, one of the real highlights of The Colour of Spring.
The other track from The Colour of Spring that most people will know is Life’s What You Make It. This track is very different to the two previous tracks. It’s a much louder track, one with a much fuller sound. It fills the mix, and although not the quickest track on the album, it sounds deceptively quick. From the first few bars of the track, the sound is full on, almost in your face. It lacks the subtleties of other tracks on this album. Guitars, drums and keyboards are all at the forefront of the mix, and Hollis’ vocal is loud and clear, and in keeping with the other instruments on the track. Obviously, this has been a hugely successful song, one that many people love, but although I recognize its quality, I prefer the more subtle tracks on the album.
April 5th thankfully, sees Talk Talk return to a much more subtle sound, after the full-on assault on the senses of Life’s What You Make It. This track has a much gentler sound, it’s a track that at the start meanders, but meanders beautifully. Percussion plays, you feel it’s surrounding you. Hollis vocal appears through a mixture of percussion and piano. His voice makes at first, a fleeting appearance, then returns. When he returns, he’s backed by a Hammond organ and guitar. The sound is emerging, emerging almost hesitantly, evolving through what is a mystical soundscape. The lyrics, as usual, are a thing of beauty, made all the better by Hollis’ thoughtful delivery of them. Sometimes, he uses his voice sparingly, treating it like another instrument. This is hugely effective, and adds another dimension to what is, a wonderful track.
The next track Living In Another World, has a much brighter, uptempo sound and style. Straight away, the sound is full, bright, yet hints at drama to come. Hollis’ vocal soars high above the rest of the arrangement. The arrangement features a multitude of instruments. Guitars, piano, percussion, drums, bass, saxophone, harmonica and organ all contribute to this track. One of the highlights of the track’s is Mark Feltham’s harmonica solo. Steve Winwood guests on this track, playing organ. Here, each of these instruments play their part in making this a dramatic sounding track, one that’s the complete opposite of the previous track April 5th. It was a track full of subtleties, this is a track that forgets about subtlety, and instead, decides to showcase a much more grandiose sound. Talk Talk are totally unapologetic about such grandstanding. To them, it’s an opportunity to show another side of their music. Here it’s like they’ve unleashed a monster, a very lovable monster, one that has produced a brilliant track.
Give It Up starts with a Hammond organ atmospherically playing. Drums join the track, providing a steady backdrop, like the heartbeat of the track. When Hollis sings, is voice is quieter than on the last track. By comparison, his vocal is almost subdued, at times. However, later in the track, it veers between this subdued sound, to a much stronger sound, one that perfectly articulates the song’s lyrics. This is another song which is loaded with drama. All of a sudden, sounds emerge, some dark and moody. On this track, a mellotron makes an appearance, played by Mark Hollis. It’s joined by a dobro, as well as the usual drums, bass, organ, piano and percussion. The sound is a mixture of more unusual and traditional instruments, all of which come together gloriously, to produce another noteworthy track of the highest quality.
When you hear the start of Chamelon Day, it sounds like something out of a sci-fi movie. The sound is otherworldly, not quite eery, but getting there. When Hollis sings, he does so quietly at the start, backed by a piano. Both Hollis and the piano leave plenty of space in the track. Later, and very suddenly, Hollis almost shouts the lyrics. This is only momentarily, but happens again. Chamelon Day has a very minimalist sound, it ambles very slowly, yet is full of character and some dramatic moments. It’s a lovely track, one full of subtleties and nuances, waiting for you to discover.
The final track on The Colour of Money is Time It’s Time. It starts brightly, piano and drums playing, then Hollis sing softly. As the track progresses, it gets louder and fuller. Drums come to the forefront of the mix, Holiis’ voice gets louder and the Ambrosia Choir sing. Their contribution is stunning, their voices merging beautifully with the rest of the arrangement, producing a powerful soundscape. It’s a complex piece of music, one that has been arranged perfectly, which must gave been difficult given the numerous instruments used and the addition of a choir. Quite simply, this is stunning track, and a fitting way to end such a great album.
The Colour of Spring was the first of three great albums that Talk Talk made. This was followed by Spirit of Eden and Laughing Stock. Talk Talk were about to embark on a journey that would see them produce a trio of classic albums. This was quite a change from their early work, which saw them erroneously categorized as just another New Romantic band. After this album, people saw a very different side to Talk Talk, they were viewed as serious musicians, not purveyors of bubblegum pop. They, unlike any of the bands that they were mistakenly compared with, Talk Talk produced three memorable albums, which are perceived as classic albums. None of those other bands even came close to this. Twenty years after Talk Talk split up, people still love their music, journalists still write about it and their albums still sell. In my opinion, The Colour of Love was a great album, one that deserves a place in every self respecting record collection. If you don’t own this album, I suggest that you buy a copy of The Colour of Money, Spirit of Eden and Laughing Stock. Having done that, you will be the proud owner of three wonderful albums, albums that regardless of how often you listen to them, you’ll always hear something you’ve never heard before. These albums are full of subtleties and nuances that it’s impossible to hear straight away, they slowly emerge, each time, a new one revealing itself to you. Should you buy these wonderful albums, you’ll never regret doing so, and enter into a lifelong love affair with this wonderful music. Standout Tracks: Happiness Is Easy, April 5th, Living In Another World and Time It’s Time.
TALK TALK-THE COLOUR OF SPRING.
THE BATHERS-SUNPOWDER.
THE BATHERS-SUNPOWDER.
Previously, I’ve written several articles for this blog about Scottish bands, including articles on the Cocteau Twins, Primal Scream, Belle and Sebastian, John Martyn, Love and Money, Lloyd Cole and the Commotions, Teenage Fanclub and Bloomsday. The last band, Bloomsday, featured the lead singer of the band I’m going to write about today, Chris Thomson. Bloomsday was a side project he was involved with two former members of Lloyd Cole and the Commotions, while on a break from his “day job” as lead singer of The Bathers. In this article, I’ll tell you about the band’s history and their wonderful album Sunpowder from 1995.
The Bathers were formed in Glasgow in 1985. They formed after Chris Thomson’s previous group Friends Again split up. Initially, the group were a vehicle for Chris Thomson, a singer-songwriter. In 1987, The Bathers secured their first record deal with Go! Discs Records. The deal was secured primarily by Thomson, and the resulting album was Unusual Places To Die. This was released in 1987. Due to problems with internal politics at the record company, the album wasn’t as successful as it deserved to be.
After these problems, the group switched labels. This time they signed to Island Records. They released one album on Island, Sweet Deceit, one of the group’s best album. Like its predecessor, the album failed to achieve the commercial success it deserved. It was at this time, that Thomson recorded the Bloomsday album Fortuny with former members of Lloyd Cole and the Commotions Stephen Irvine and Neil Clark.
A more fruitful period was round the corner for The Bathers. After signing a record contract with a German record label Marina, the group released three albums in a four year period. In 1993, they released Lagoon Blues and in 1995 they released Sunpowder, the album this article is about. Their third album in this trio of releases was Kelvingrove Baby. All of these albums are highly rated, and were released to critical acclaim, but one of the most popular was Kelvingrove Baby. During this period new members joined the band. Hazel Morrison played percussion, string players and arrangers Ian White on viola and violin and Mark Wilson, and keyboard player Carlo Scattini all came on board. This would change the group’s sound greatly. Many people call this the classic lineup of the band.
Although the group had always got on well with their label Marina, they decided that it would be easier working with a label that was closer to their Glasgow base. The Bathers left Marina Records and signed a recording contract with Wrasse Records. Since signing that contract, they have only released one album, in 2001, Pandemonia. Pandemonia is a musical masterpiece, not just the band’s best album, but one of the best albums released by a Scottish band in the last ten years. It’s an album that I have written about before in a previous article. The only other album released on Wrass is a compilation of the group’s best songs, entitled Desire Regained. Since then, the band have not released any new material. A new album is rumored to be in the offing. It would feature most of the musicians who played on the band’s earlier albums released in between 1993 and 1997. However, nothing has happened, fans and critics wait with baited breath, to hear the first new material they’ve released since 2001.
Having told you about The Bathers history, I’ll now tell you why Sunpowder is such a wonderful album. Sunpowder begins Danger In Love, a song about falling in love again. Danger In Love begins with thunder rolling, then an organ plays in the distance. The sound is dramatic, people speak, the organ sounds dark and moody. Then the mood changes, a piano plays softly, meandering gently, against a background of strings. When Chris Thomson sings his voice is full of emotion. He articulates, the lyrics with feeling, a sadness in his voice. Strings sweep in and out of the track, accompanying the piano and Liz Fraser’s ethereal backing vocals make this an emotional and beautiful track, one that track has been beautifully arranged.
The Dutch Venus continues the downtempo feel of the album Like Danger In Love, this track benefits from a gorgeous string arrangement, accompanied by a piano. When you hear the opening bars of the song, the mood is set. There is tinge of sadness present straight away. This is reinforced when Thomson sings the lyrics. He sings of lost love, someone he loved, then lost, a love affair gone wrong. Like many of the group’s songs it’s set in Glasgow, he name-checks Kelvingrove in west end of the City. When Chris Thomson sings the vocal, the effect is powerful, it’s as if the song is personal, as if it means something to him. The arrangement is understated, just piano, strings and Thomson singing, accompanied by Liz Fraser. Her voice is a perfect foil for Thomson, her’s is light and bright, his sad and moody. It’s a wonderful track, one of the album’s highlights, one you’ll love when you hear it.
Angel On Ruskin has a hesitant slightly start, a guitar is gently strummed, drums play, and you wonder where the track is heading. When Thomson sings, he gives the track direction. He’s joined by Liz Frazer, her backing vocals crystalline, a thing of beauty. She almost steals the show on the track. On this track the drums are more prominent than on the first two tracks. Thomson and Fraser sing the track beautifully, Fraser filling in the spaces left by Thomson in the vocal. The lyrics on this track are about being captivated by a woman’s beauty, and being enthralled by her. Here, Thomson’s lyrics have the same quality and power as good poetry. They affect how we feel, we empathize with characters involved and live the drama. I’ve always loved this song, and will never, ever, tired of hearing it.
Like many of the tracks on Sunpowder, the arrangements are beautifully understated. If anything, this adds to the dramatic affect of the music. On this track, Delft, a piano plays at the start of the track. Space is left, allowing the music to breath, and adding to the drama. When Thomson sings, his vocal is slow, full of character. He too, leaves plenty of space in his vocal. Two violins, and Thomson on piano are all the instruments used on this track. This is highly effective, and this subdued and understated arrangement suit the track perfectly, as it’s another sad love song. It’s about loving someone from afar, but they’re just out of reach, and will never be part of your life.
Weem Rock Muse starts with a guitar strumming, and Thomson singing. His voice sounds lighter, as if some of the worries have been removed from his shoulders. He sounds happier as he sings the lyrics. The vocal is accompanied by a hammond organ playing subtly in the background. As the track progresses, Thomson’s voice gets stronger, he’s joined by a harmonica, that meanders in and out the track. This adds to the soulfulness of the track. Again, the lyrics are set in Scotland, and again they’re about love. Like all of Thomson’s lyrics, they’ve a strong narrative and are thoughtful and intelligent. One problem with reviewing such a good album, is that you run out of superlatives describing each track. So I’ll just use one to describe this track. Brilliant.
On the next track, Faithless Thomson’s voice is moody, there’s a sadness present as he sings the lyrics. The song is very much a slow burner, it has a long meandering introduction, one that sets the atmosphere. When he sings, he takes on a familiar role, that of troubled troubadour. It’s a role he has the perfect voice for. His delivery is heartfelt, it’s a voice bathed in pathos. Towards the end of the track, he half-sings, half-speaks the lyrics, which really drives home their sadness. Faithless is another mini-masterpiece from The Bathers that tugs at your heartstrings.
For the first time on Sunpowder, the tempo increases on She’s Gone Forever, one of the album’s best tracks. It’ a track that deceives, because it sounds an uptempo track, but is one with sad lyrics, lyrics is about losing someone you love, a relationship breaking up. Thomson’s lyrics are some of his best, he is one of the finest lyricists you’ll come across. Also different is he arrangement, it’s much fuller, features more instruments. Another guest artist is James Grant of Love and Money. He plays acoustic guitar and sings backing vocals on the track.
The more uptempo style continues on Send Me Your Halo. It starts with an acoustic guitar playing, then Chris Thomson sings. He’s accompanied by strings playing gently, behind him. His vocal is much lighter during this track. When he sings, it’s as if the lyrics bring back pleasant memories. They’re about falling hopelessly in love, being swept off your feet and tell of a summer long love affair. This track shows a different side to The Bathers, a side we don’t see much of on this album, but it’s one I wouldn’t mind seeing again, as Send Me Your Halo is a standout track.
For Saskia begins with only a piano playing, setting the mood. When Thomson sings, the troubled troubadour enters stage left again, ready to take the spotlight. It’s just Thomson, backed by the piano, sadness seeping out his very pore. Again, the subject is about love lost, and he’s left with merely a memory, a memory he can only recreate in a song, or that appears in his dreams. It’s a memorable song, one that you’ll remember, one where you share his pain and hurt.
Strings sweep at the start of The Night Is Young, the song has an almost classical feel and sound at the start. The understated string arrangement sets the tone for what follows. It’s a romantic song, one where the cadence of Thomson’s voice helps get across, the beauty of the lyrics. Liz Fraser sings backing vocals, her voice angelic, soaring and falling, its ethereal quality almost otherworldly, so perfect it is. Their voices are like light and shade, but are a match made in heaven. They combine perfectly, to produce one of the most beautiful and heartfelt songs on Sunpowder.
The album ends with the Sunpowder, a lovely instrumental track. A piano and violin play, immediately you feel melancholy. Welcome to The Bathers world, a world you’ve privileged to visit. It’s a lovely way to end this album, one of the best albums to be made by a Scottish band in the last thirty years.
Sunpowder is one of The Bathers best albums. It’s a mini-masterpiece, full of beautiful songs. These song are full thoughtful and intelligent lyrics, which demonstrate Chris Thomson’s talent as a songwriter. They’re like poetry set to music. It would be unfair to credit Thomson alone for making this such a special album. Credit must be given to the other members of the band. This, to me, was the classic lineup of The Bathers. The lineup was augmented by two special guests, James Grant and Liz Fraser. Fraser played a huge part, contributing some wonderful backing vocals to several tracks.
After spending some time preparing and writing this article, I listened to Sunpowder many times. Each time I listened to the album, I wondered why such a fantastic album wasn’t more successful. It truly saddens me that The Bathers haven’t gone on to become a hugely successful band, with a much wider fan-base. Hopefully, after reading this article, you too, will want to hear this album, and other albums by The Bathers. If you do, you can look forward to hearing some sublime music, music that you’ll fall in love with, and never tire of hearing. Standout Tracks: Danger In Love, The Dutch Venus, She’s Gone Forever and Send Me Your Halo.
THE BATHERS-SUNPOWDER.
THE SUNDAYS-READING, WRITING AND ARITHMETIC.
THE SUNDAYS-READING, WRITING AND ARITHMETIC.
In this article I will write about a band formed by two people who had no musical background. They met while at university, and having graduated from university, and found themselves unemployed, decided that their future lay in music. This may seem like a strange career choice for an English language graduate and a graduate in Romance Languages. However, strange as it may seem, The Sundays became a highly successful band, with their debut album, Reading, Writing and Arithmetic reaching number four in the UK album charts. After telling about the band’s history, I will tell you why Reading, Writing and Arithmetic, is such a great album.
The Sundays were formed in 1988, when vocalist, Harriet Wheeler and guitarist David Gavurin met at Bristol University. Wheeler studied English language graduate, and Gavurin Romance Languages. Previously, Wheeler had played a few concerts with a band called Cruel Shoes. That was all the experience the duo had. Despite their lack of musical experience, Wheeler and Gavurin wrote some songs.
After leaving Bristol, and heading to London they met the other two members of the band. They were joined by drummer, Patrick Hannan and bassist Paul Brindley. The four of them became The Sundays. After a while, the band realized that their music was good, and decided to send out some demo tapes. Soon labels became interested in signing the band. They had managed to secure a concert at the Vertigo Club in London. Reporters from the three main music papers were present, ostensibly to review the main act. So impressed were the reporters with The Sundays music, that all three of the papers wrote glowing reviews. This resulted in a bidding war between the record labels. Rough Trade Records won the bidding war, and signed the band.
The group released their debut single Can’t Be Sure in January 1989. So highly acclaimed was the single that it was deemed one of the best singles of that year. That didn’t translate to chart success, the single stalling at number forty-five in the UK singles charts. Undeterred, The Sundays released their debut album Reading, Writing and Arithmetic, in January 1990. Straight away, the album was a huge success, reaching number four in the UK album charts. In the US, the album only reached number thirty-nine in the Billboard 200. Overall, the album sold over half a million copies. Critics loved the album, Rolling Stone especially magazine being one of the album’s biggest fans. Wheeler’s voice particularly, received many plaudits, as did the quality of their songs. During the following year, the band travelled the world promoting the album.
Sadly, disaster was round the corner for The Sundays. Their record label Rough Trade Records became insolvent. This meant the band would experience some troubled times financially. They then signed for Parlophone Records and would prepare to write and record their second album. Having spent to long touring and promoting Reading, Writing and Arithmetic, and Wheeler and Gavurin’s reputations as perfectionists when it came to writing songs, progress was slow. During this period, nothing was heard from the band. Rumors spread that the band split up. However, eventually, Blind, their second album was released in October 1992. Like their debut album, Blind was a huge success. It reached number fifteen in the UK album charts. In the US, the album only reached one-hundred and three in the Billboard 200. Despite this, it still sold over half a million copies. The critics gave the album mixed reviews, with some claiming that the standard of songwriting wasn’t of the standard of Reading, Writing and Arithmetic. The Sundays toured the UK and US during 1992 and 1993. By mid 1993, the album had fallen out of the charts. Little did fans know then, that it would be 1997 before the band released their third, and final album.
After their tour, they had headed to Thailand on holiday. On their return, they decided to take a break befor recording their new album. During this break, Wheeler and Gavurin married, and the couple’s daughter was born. They only released one song during their sojourn from the music business. This was a cover of Wild Horses, the old Rolling Stones track. The track was used for a television commercial in the US. Eventually, their third album, Static and Silence was released in September 1997. It reached number ten in the UK album charts, and number thirty-three in the Billboard 200. Static and Silence sold so well that they received a silver disc for the album. They added this to the silver disc they received for Reading, Writing and Arithmetic, and the gold discs they received for Reading, Writing and Arithmetic and Blind.
Since the release of Silence and Static, The Sundays have released no further albums. They were a band who over seven years produced three great albums, and in the process, sold well over a million albums. This is pretty good for a group founded by two people with no musical experience. Having told you about the band’s history, I’ll now tell you why Reading, Writing and Arithmetic is such a great debut album.
Reading, Writing and Arithmetic opens with Skin and Bones. As the track opens, I hear similarities with the Cocteau Twins. It’s the overall sound, and this becomes more apparent when Harriet Wheeler sings. The song is very listenable, it’s light and airy. Guitars play at the start, the sound is minimal, primarily Wheeler backed by guitar and drums. When Wheeler sings, her voice is clear, with a good range and very powerful. It’s a good start to the album, the type of song that leaves you wanting more. Thankfully, there are another nine songs on the album.
An acoustic guitar strums, at the the start of Here’s Where the Story Ends. The tempo isn’t too quick. When Harriet Wheeler sings, you’re in for a pleasant surprise. Her voice is soft, beautiful, quite different to her exertions on the previous track. That’s not to say that she sings the whole song quietly. Not at all. When she has to her voice soars, as if making a point. All the time she’s in control of her voice. Like Skin and Bones, the arrangement is understated, just Harriet and the guitar. It’s highly effective, allowing her voice to shine, when she sings some wonderful lyrics.
Comparisons with the Cocteau Twins continue at the start of Can’t Be Sure. Drums play, quite quickly, Harriet sings and when you close your eyes, you almost think that your listening to Liz Fraser and Grangemouth’s finest. One difference, an important difference, is that the sound is much clearer. Wheeler’s voice is much higher, the sound is much fuller, drums are quick and an electric guitar solos. The lyrics are about desire, how although they’re not a good thing, they’re something we can’t live without. Can’t Be Sure is a good song, though not as strong as the opening two tracks.
The style changes again with I Won. Drums loud and crisp, sit at the front of the mix, they’re joined by an acoustic guitar. Then, the highlight of the song, Harriet sings. Her voice is crystalline, it has an ethereal quality. It’s perfectly suited to sing the lyrics. She delivers them with passion, verging on anger. The lyrics are complex, and I for one, would love to know the story behind them. In some parts they read like the behavior of a recalcitrant teenager, who to quote the lyrics “won the war in the sitting room” and would like to take some matches and set the cellar alight. It almost reads like a tale of teenage angst. Whatever the story behind the lyrics, it’s a wonderful track, with same quality as the kitchen sink dramas that used to grace our television screens many years ago.
Hideous Towns has a quicker start than other songs, a solo plays on a bass, and is joined by the electric guitar. In front of bass and guitar, is Harriet’s wonderful, ethereal voice. It provides a contrast to the musical backdrop. You feel she struggles to keep up with the quicker tempo. However, she copes well, singing the song beautifully. The lyrics are loaded with dark humor, and seething social comment, about the state the UK was in at the time this album was released. When Harriet sings the lyrics, you can sense her disgust and frustration, at the situation she finds herself in. This song shows another side to The Sundays music, and is a good track, passionately played and performed.
On You’re Not the Only One, the sound is much like it was like on the first two tracks. For me, this is what the band do best. This track reverts to their acoustic sound. When the track opens an acoustic guitar plays, and Harriet Wheeler sings. Her voice is much softer, she isn’t straining to be heard against an electric guitar, or bass. Instead, she’s able to concentrate on what she does best sing. On this track, she produces a stellar performance, one of her best on the album. It isn’t just her vocal that makes this track so good, no, everything about the arrangement is perfect. What you hear on You’re Not the Only One, is one one the best songs The Sundays ever recorded.
A Certain Someone is the next track on Reading, Writing and Arithmetic. Having enjoyed the much more gentle sound on the last track, the tempo increases. Having said that, the sound is not particularly full. Drums play and a bass solos. The bass solo is intricate, with notes picked out quickly. Drums are the track’s heartbeat. Wheeler’s vocal veers between low and high, and soft and loud. Sometimes, she really lets her vocal soar. Amazingly, when she does, she never once loses control. Her performance is stunning. She possesses a fantastic voice, one with wide vocal range. When you think that Wheeler had no experience of music before forming The Sundays, that makes this more incredible. Truly, this is another triumph for the band, yet another great track on this album.
One of the songs that many people will recognize from this album is I Kicked A Boy. It’s a track that ambles along. Wheeler’s voice is soft, almost sweet. Don’t be fooled though, it isn’t always like this. She sings in front on the rest of the band. The sound is much fuller, with acoustic guitar and drums the mainstay of the sound. As the song progresses, Wheeler’s gets stronger, as if her confidence grows. I Kicked A Boy is the best track on the album. From the first time I heard this track I was of this opinion. It’s a minor pop classic.
My Finest Hour has an upbeat start, guitar and bass play. It also has some wonderful lyrics. They have lyrics that bring to mind The Smiths at their best. I love the lyrics “my finest hour was finding a pound on the underground.” They’ve a lovely almost eccentric quality, and are quintessentially English. They bring to mind The Kinks and The Smiths. Every time I hear those lyrics I smile. Harriet sings them brilliantly, and the band have reserved a great performance for this track. It’s much more complex than other tracks, which are much more minimalistic, with an understated quality. This song is a wonderful one, made all the better by such wonderful lyrics.
Reading, Writing and Arithmetic closes with Joy. The sound is dull, quite subdued at the start, as if the band are saddened by the album ending. However, listen carefully, and you’ll hear another quality song. Harriet sings the lyrics quietly at first, sounding restrained. The band join in this subdued atmosphere, playing quietly, the guitars and bass sitting quite far back in the mix. Joy meanders in places, space has been left in the track, especially in the vocals. After just over three minutes, the sound grows in stature, as if the band have tired of showing restraint. Wheeler joins in, letting herself go, her voice strengthening. Then, suddenly, just as you’re enjoying the track…it’s over. However, you’re left with happy, having heard the album close with another, in a long line of great songs.
Whilst I’ve been researching and listening to, The Sundays music, it has been like a trip down memory lane. This album is nineteen years old. It’’s hard to believe that. It only seems a few years since it was released. Nineteen years on, Reading, Writing and Arithmetic sill sounds as good as it did back in 1992. The album still sounds fresh, the songs relevant and Harriet Wheeler’s voice as good as it ever did. I’ve always wondered what direction The Sundays would have taken, if they’d released more albums, what would their music have sounded like and how would their music have evolved. It’s not just their fans that miss them, it’s the music industry. It can’t afford to lose bands of the quality of The Sundays. However, they’ve left us with three fantastic albums to remember them by. For those who want to hear their great music for the first time, I recommend that you buy Reading, Writing and Arithmetic, their debut album, and its follow-up, Blind. Both are great albums, which I’m sure you’ll love, and wish you’d heard them much sooner. Standout Tracks: Here’s Where the Story Ends, I Won, You’re Not the Only One and My Finest Hour.
THE SUNDAYS-READING, WRITING AND ARITHMETIC.
JEFF BUCKLEY-GRACE.
JEFF BUCKLEY-GRACE.
The artist this article is about, had a very famous father. In a previous article, I wrote about him. He was a successful singer-songwriter, who produced many great albums. Sadly he, like his son, died young, far too young. Both father and son, were blessed with wonderful voices, and leave behind some wonderful music. Today I’m going to write about Jeff Buckley, the son of Tim Buckley. Jeff Buckley only ever recorded one studio album, Grace. Released back in 1994, Grace was a stunning debut album. A great future was forecast for Jeff, sadly, tragedy intervened in his life, cutting it short. Music lost a great talent in May 1997, when he so cruelly drowned. In this article, I’ll tell you about Jeff’s career and his stunning album Grace.
Jeff Buckley was born on November 17th 1966, in Anaheim, California. Although the son of Tim Buckley and Mary Guibert, he was brought up as Scotty Moorhead. He was brought up by his mother and stepfather. During his childhood, he was steeped in music. His mother was a classically trained musician, playing cello and piano. Tim Buckley, his father, was a successful singer-songwriter. However, it was his stepfather, Ron Moorhead who introduced Jeff to artists like Jimi Hendrix, Led Zeppilin, Pink Floyd and Queen. He had started playing guitar aged five, and by thirteen, owned his first electric guitar. During high school, he played music, even playing in the school jazz band.
On graduating from high school, he spent a year at the Musician’s Institute, graduating aged nineteen. This course taught him about music theory and harmonies. After this, he spent six years playing guitar in various bands. Their style of music ranged from rock to reggae, and jazz to heavy metal. To make ends meet, he worked in a hotel during this time. He also worked as a session musician, playing in funk and R&B sessions.
In February 1990, Jeff moved to New York. Once settled in New York, he found it hard to get work as a musician. Whilst there, his musical tastes widened. He became interested in blues musician Robert Johnson’s music, hardcore punk band Bad Brains and Qawwali, a form of Sufi devotional music, and Nusrat Fateh Ali Khan’s work in particular. It was whilst in New York that Jeff got his next major break in music. His late father’s manager Herb Cohen, offered to help Jeff record a demo tape. This was called the Babylon Dungeon Sessions. The idea was to attract interest in Buckley as a solo artist.
1991, saw Jeff take part in a tribute show to his father Tim in New York. At that tribute concert, he performed one of his father’s classic songs I Never Asked To Be Your Mountain. His performance at the concert stimulated interest in his career. At last, his music career was going somewhere. For the next couple of years, he played numerous gigs around New York, where he honed his skills as a musician. During his concerts, he would play a wide range of material. In his sets he would play covers of everything from Edith Piaf to The Smiths and Led Zeppelin to Leonard Cohen. After a while, he started attracting interest from major record labels. Eventually, he signed to Columbia Records, signing a three album deal, worth roughly one million dollars in October 1992. In July and August 1993, he headed to the studio, to record his debut EP Live At Sin-e.
Midway through 1993, he began working on his debut album Grace. The sessions were produced by Andy Wallace, who previously, had mixed Nirvana’s Nevermind album. After a few weeks practice, the band headed to Bearsville Studios, in Woodstock, New York. They spend six weeks recording parts of Grace. Overdubbing took place in New York and Manhattan. It was there, that Buckley recorded numerous takes of his vocals, attempting to achieve perfection.
Between finishing the recording and overdubbing sessions for Grace, and its release in August 1994, Buckley headed out on the road to tour his EP, Live At Sin-e. His tour was a huge success, with many well known musicians taking in Buckley’s shows. This would include Chrissie Hynde of The Pretender and U2’s The Edge.
When Grace was released, it was critically acclaimed. Even though sales started slowly, it reached gold status in Australia, France and the US. The great and good of music all queued up to praise the album. Luminaries such as Robert Plant, Jimmy Page and David Bowie all loved the album, and widely praised it. Rolling Stone magazine loved the album, and have included it in their 500 Greatest Albums of All Time.
After the release of Grace, Buckley spent the next eighteen months touring the album. Wherever he played, he was a sell out. After all the years he’d struggled to make ends meet, Jeff was suddenly a huge star. After the tour ended in 1996, he prepared to write his next album. This was entitled Sketches For My Sweetheart the Drunk. Tom Verlaine ex-member of Television was to produce the album. Several recordings took place, and after a recording session in Manhattan, Buckley was still not happy with the album. To him, the album wasn’t finished yet. He played a few new songs at The Knitting Factory’s tenth anniversary concert. After that, he decided to head to Easley McCain Recording studios in Memphis, to work on his album. He hired a house, and became so attached to it, that he asked the owner’s if he could buy it. Whilst there, he even played a number of concerts at local venues. However, the album wasn’t going well, Buckley wasn’t happy with Verlaine as producer, and contacted Andy Wallace, producer of his first album, Grace. In preparation for the arrival of Wallace, Buckley recorded some demos and sent them to Wallace.
Whilst his band returned to New York, Buckley stayed behind to work on the album. His band arrived back in Memphis on May 29th 1997. They were going to join him in the studio to see some new material he’d been working on. That night, Buckley decided to go swimming in Wolf River Harbor, part of the Mississippi. He entered the river fully clothed. A member of his road crew watched his swim. He’d swam there before. The roadie turned, and moved a guitar and radio out of the reach of the wake of a tug-boat, that was about to pass. When he turned round, Buckley was gone, nowhere to be seen. Tragedy had struck. Sadly, after a long search that night, there was no sign of Buckley. Then on June 4th, two local residents found Jeff Buckley’s body. He was thirty-one years of age.
Since his death, Jeff Buckley’s music is more popular than ever. A number of live albums, greatest hits and Sketches For My Sweetheart the Drunk have been released since his death. His music is still attracting new fans, and his debut album Grace, is widely recognized as an outstanding album, one of the best albums of the 1990s’ I will now tell you just why Grace is such an outstanding album.
Grace opens with Mojo Pin, a song that starts quietly, the sound distant, gradually getting nearer. When it does, Buckley’s vocal emerges, soaring high at first, then dropping almost to a whisper. Behind him the track meanders gently, before opening out, becoming louder and fuller. As this happens, Buckley’s voice veers between high and low. His range is wide, his voice full of character. You get the impression he’s holding himself back, and any minute he could launch into a vocal thats loud and passionate. It happens. He almost screams, but gathers control. The same can’t be said of his band, they really let go and unleash a wall of glorious sound. Mojo Pin is a dichotomy of a track, one minute quiet, gentle, with Buckley sounding thoughtful, the next his voice soars, he nearly screams, joining the band in an almost explosive crescendo. It’s a powerful track, one that demonstrates Buckley’s talent as a vocalist.
The title track Grace is the next track on the album. Straight away, the sound is full, the tempo faster. When Buckley sings his voice is softer, he articulates the lyrics perfectly, bringing out the beauty in the lyrics. It’s one of his best performances on the album. His band play really well, the guitars particularly are a highlight of the track. Later in the track, Buckley harmonizes beautifully. Then later, his voice is much stronger, he really lets go, forces the high notes to emerge. When he does, his band join in, upping the tempo, the sound getting louder, nearly frenetic. Then suddenly, the track ends. You’re left wondering, where did that go, but are left with a wonderful memory.
Last Goodbye begins with a slide guitar playing, as if just warming up. Quickly, things get serious. What follows is a beautiful song. Buckley’s voice is strong and clear. He’s perfectly in control of his voice. Again, he demonstrates that wide vocal range. This allows him to veer from gentle and high and soaring, always in control. On this track, the lyrics are among the best on the album, heartfelt and passionate. Here, everything falls into place, his vocal, the lyrics and his band’s playing among the best on Grace.
The next song on Grace is one that will be familiar to many people. Lilac Wine has been covered by many artists. I’ve heard many of these versions. Some are good, others bad, and some the equivalent of a musical car crash. Jeff’s version is, by far, my favorite version. He poured everything he had into this song. During the song, you’ll experience a wide range of emotions. You’ll feel sad and happy, and experience highs and lows. Here his rendition is heartfelt, passionate and loaded with emotion. He brings the tempo way down low, when he sings his voice is brilliant, perfectly suited for the song. The arrangement is minimalist, just Jeff and his band playing softly behind him. It’s truly a gorgeous version of this song. After you’ve heard this version, anything else is second best.
After such a brilliant song in Lilac Wine, it’s hard to either equal or better his performance on that track. On So Real, he tries, tries very hard. It’s a good attempt. So Real is another of the album’s highlights. His voice is at its best, going between soft and gentle, to high and soaring. When he does this, he’s always in control of his powerful voice. This is something he shared with his father Tim. On this track, the arrangement is much fuller, the band are occasionally, allowed of the leash. Like Buckley, their performance veers between almost understated to full on. Having said that, they never overpower Buckley’s vocal, and compliment him perfectly.
Hallelujah sees Jeff cover another song that has been covered by many people. Written by Leonard Cohen, it’s a beautiful song, with Cohen’s version in many people’s opinion the best. Until now. Jeff sings the song beautifully, the arrangement wonderfully understated. He puts everything he has into the song. His version is one of the most moving versions of this song you’ll ever hear. When he sings the song, there are no frills, just an extremely moving and heartfelt reading of Cohen’s wonderful lyrics. This version is dramatic, when you first hear this track, it takes your breath away. It’s so different from many of the songs on the album. Only one word can describe this performance. Seminal.
Lover You Shouldn’t Have Come is a track that starts slowly, it takes nearly a minute before Buckley sings. When he does, it’s well worth the wait. His performance is brilliant. It’s another great track, one where Buckley writes both the lyrics and music. This song showcases his talents as a songwriter. Quite simply, these are some of the best lyrics on Grace. The vocal is just as good, when he sings, he sings from the heart. You feel he means every word of the lyrics, such is sincerity. Since I first heard Grace, this has long been one of my favorite tracks from the album.
Corpus Christi Carol, is from Benjamin Britton’s, A Boy Is Born. This was a song that Jeff was first introduced to in school. It’s the last of the three cover versions on the album. His version of this song is stunning. When you hear his voice, it has an ethereal quality, he controls his voice really well, resisting the urge to reinterpret the song. Instead he sings the song as it’s meant to be sung. The arrangement is subtle, understated and perfect for this beautiful song.
Eternal Life is the complete opposite to many tracks on Grace. Whereas Lilac Wine, Hallelujah and Corpus Christi Carol are quiet tracks, with a subtlety and understated arrangement, Eternal Life is the complete opposite. Straight away, the sound is loud and unapologetic. It’s right in your face. Truthfully, you worry if your speakers will survive nearly five minutes of this. The guitars are really loud, the drums are pounded, really punished. After the initial shock, when you listen to the track, it grows on you. You begin to enjoy it. Buckley’s vocal is loud, as if he’s battling his band, almost struggling to make himself heard. When eventually the tempo drops, you breath a sigh of relief, draw breath. Mistake. They start straight back up, launching another assault on their instruments. By the end, I’m exhausted, but in all honesty, I really enjoyed the track, as it showed a very different side to Jeff.
Grace ends with Dream Brother, a track that has a hesitant start. When the track starts the arrangement is gentle. A guitar plays quietly, drums play in the distance and Buckley’s vocal is understated. The song meanders along. I’m always waiting for the song to open out, the volume to increase, Buckley and the band to cut loose. After two and a half minutes the sound gets fuller, the band and Buckley still showing restraint. They’re resisting the temptation to end the album with a band. Instead Buckley’s vocal is controlled, very much within himself. His voice is still full of character and feeling when he sings the lyrics. They’re powerful, his rendition of them adding a dramatic impact. Then the song ends, not with a bang, but with a subtle, understated ending. It’s a lovely track to end the album, keeping up the high quality that runs throughout this album.
Grace was the only album released during Jeff Buckley’s short life. It was a brilliant debut album, one of the best you’ll be lucky enough to hear. It was one of the best album of the 1990s’, and is one that has stood the test of time well. Today, it still sounds as good today as the day I first heard it back in 1994. Throughout Grace, you’ll hear some wonderful songs. Three cover versions and seven original songs. The cover versions of Lilac Wine, Hallelujah and Corpus Christi Carol are three wonderful songs, songs that he has covered beautifully. In my opinion, Lilac Wine and Hallelujah are two of the best songs on the album. The remaining seven songs, are also, of the highest standard. My favorites are Last Goodbye and Lover You Shouldn’t Have Come, two great tracks. There is not one bad song on Grace, this is unusual. Usually, there are some mediocre tracks on most albums. Not on this one though. It’s one of these albums that I return to time and time again, and each time, hear something new. Each time subtleties and nuances, reveal themselves.
It’s just a pity that Jeff never made more albums, because he was a hugely talented singer, musician and songwriter. The tragedy is, that his career was so short. However, we should be thankful that he recorded Grace, one of the best album’s you’ll be privileged to hear. Should you never have heard Grace, you really should buy it, and you’ll hear some fantastic music, from a fantastic singer. Standout Tracks: Last Goodbye, Lilac Wine, Hallelujah and Lover You Shouldn’t Have Come.
JEFF BUCKLEY-GRACE.
THE REVOLUTIONARIES-CRUESHAL DUB.
THE REVOLUTIONARIES-CRUESHAL DUB.
Many people who read this blog on a regular basis will know by now that I love dub reggae. In the past I’ve reviewed several dub albums. Today, I’m going to review another great dub album. It’s one that I always enjoy listening to, and features one of the best bands in the history of reggae. This band were the house band at Channel One Studios, and featured some of Jamaica’s best musicians, including Sly Dunbar and Robbie Shakespear. They were The Revolutionaries, and the album was Crueshal Dub.
The Revolutionaries were formed in 1975, primarily, to be the house band of Channel One Studios. The studios were owned by Joseph Hoo Kim, and when artists came to record at Cannel One, The Revolutionaries would be their backing band. Past members of The Revolutionaries included Ossie Hibbert and Ansel Collins, Sly Dunbar on drums, Robbie Shakespear on bass, Bertram McLean on guitar and Tommy McCook on saxophone. Their line up reads like a who’s who of Jamaican music. Over the years they played on numerous dub albums. They also backed many great artists, most of whom were reggae artists. This would include, Black Uhuru, Gregory Isaacs, John Holt, Culture, Tapper Zukie, The Heptones and French singer-songwriter Serge Gainsbourg.
Crueshal Dub, the album this article is about, is one of many great albums the band recorded. I’ve been listening to much of their music recently, and it was really hard choosing an album to write about. In the end I chose this album. I’ll now tell you what makes it such an outstanding dub album. Crueshal Dub opens with Cell Block Dub. Drums roll, an organ plays brightly, transformed by echo. Ossie Hibbert the producer, isn’t afraid to use the effects. More drums enter the mix, they accompany the organ solo. Both are mangled by echo. The effect is powerful. A trumpet plays, it too, is given the treatment by Hibbert. What you’re hearing is dub in all its glory. Echo and delay are used widely, making this one fantastic slice of heavy dub reggae.
Dub My Whole World Up is the next track on the album. As the track starts, the drums are loud, right at the front of the mix. An organ plays, quickly the effects kick in. When that happens, the drums reverberate, echo is used heavily. It’s a great sound, to some people it sounds like a musical car crash. If you like dub, you’ll love this. The sound is big and loud, percussion plays, rhythms are played on an organ, the drums are frantic. They assault your eardrums and punish your speakers. Remember, the best way to listen to a great dub track like this, is loudly.
The sound is slightly different at the start of Fancy Dub Up. As the track starts the drums and organ are neither as loud or prominent in the mix. The use of effects isn’t as heavy as on the previous tracks. This allows you to hear the rhythms and melodies. The sound is bright and summery. Then Ossie Hibbert decides to get out his arsenal of effects. Suddenly, the sound changes. We’re into dub territory again. The sound is duller, drums are echoey, full of space. It isn’t as harsh as the previous tracks. It’s one of the album’s best tracks, and one of my favorite track by The Revolutionaries.
A brass section plays at the start of Dubbing Storm, accompanying the drums, drums which are crisp and loud. The track meanders along, there is some clever interplay between the brass section and the drums. Effects are used sparingly. They don’t overpower the track, instead, add to it, highlighting parts of the track. Drums become echoey and spacious. Throughout the track, the brass section are brilliant, and bring the track to life. This makes the track very different from previous tracks, and like Fancy Dub Up, is another highlight of the album.
Straight away, on Ten To One Dub Ossie Hibbert puts his effects to good use. Drums echo, the brass section reverberate, the organ echoes into way into the distance. Nothing is spared, they all benefit from his production skills. He doesn’t overdo it though. You can still hear some wonderful rhythms and melodies emerge. They bring to mind sunny days lolling on a beach in Jamaica, something exotic in your glass and the sun on your back. This track takes you there, such is its power. Like the last two tracks on the album, it’s very different from the first two tracks on the album, which had a heavier dubby sound. I like that sound, but many people may be put off by the sound.
The quality keeps on coming with Dress Back Dub, another great track. As the track starts, the sound is bright, breezy and with more than a hint of summer. Dress Back Dub is a track that ambles along, almost understated, just a brass section organ and drums. Again, Hibbert resists the urge to mangle the sound to within an inch of its life. That’s no bad thing, he allows a fantastic track to emerge. He’s found a happy medium, when it comes to the use of effects. This only comes with experience, and Hibbert had produced many albums by this time. The track is a combination of great musicians and an experienced producer working in unison.
When Dubbing West starts, the drums are loud, right at the front of the arrangement. They’re joined there by the brass section, who slowly play, leaving loads of space in the music. Hibbert uses echo to transform their sound. It reverberates, the drums are given the same treatment. It’s effective, improves the brass section, who are playing a melody that much of the time, goes nowhere. It’s heading down a dead end, slowly, very slowly. It’s a track that meanders, slowly, it’s full of space. There playing is good, like all the musicians on this track. The track is a good one, although not among the best on the album.
On Swinging My Dub the sound is loud and full. The brass section open the track. Quickly, they’re joined by drums and a keyboard. Then the drums take charge, they move to the front, a lovely keyboard solo drifts in, and out, the track. Whilst the drums are big and bold, almost in your face, the keyboard is the opposite, light and gentle. When the brass section play, they veer between subtle and brash. Sometimes when Hibbert unleashes the effects, your speakers quake, you fear for their health and wellbeing. Overall, the sound is impressive, the track brilliant, an example of musicians at the very top of their game.
Crueshal Dub ends with Unknown Dub. Drums and the brass section play. The brass section elbow the drums out of the way, wanting their moment in the sun. When they do, it’s impressive, one of their best performances on the albums. Drums are highly effective, the sound loose and spacey, nicely repetitive. Effects aren’t overused. Their use is subtle and sparing. It’s an example of less is more. By the end of the track, you want more, so good was the track. You end up reaching over and pressing repeat, indulging yourself with this wonderful slice of glorious dub.
The Revolutionaries have long been among my favorite reggae bands. They produced many wonderful albums, all full of some wonderful dub reggae. Many people may never have heard their music, as they’re some of the unsung heroes of reggae music. You’ll have heard their music on many other reggae albums, but may not have heard their own albums. Maybe it’s time to rectify this. Crueshal Dub is one of the best albums they ever made. Each track is a great one. The reason for this si simple, The Revolutionaries were made up of some of the most talented musicians Jamaica has ever produced, and Ossie Hibbert is one of Jamaica’s best producers. He may not be as well known as other producers like King Tubby and Lee “Scratch” Perry. However, he has produced numerous great albums, too many to list here.
If you like reggae or dub reggae, you should buy Crueshal Dub. It’s a great album, one that deserves a place in your record collection. Incidentally, you are now able to buy this album as part of a four disc box set entitled The Evolution of Dub Volume 5-The Missing Link. As well as Crueshal Dub, you will find three other discs. One more by The Revolutionaries and two by Sir Coxsone Sound. Should you buy either this album, or the box set, remember, the only way to listen to dub is loudly. So crank up the volume, and enjoy! Standout Tracks: Fancy Dub Up, Dubbing Storm, Dress Back Dub and Unknown Dub.
THE REVOLUTIONARIES-CRUESHAL DUB.
JAZZYFATNASTEES-THE ONCE AND FUTURE.
JAZZYFATNASTEES-THE ONCE AND FUTURE.
Recently in an article, I mentioned that I had been spending time listening to music I hadn’t heard for a while. One of the albums I was listening to, was the one this article is about, Jazzyfatnastees debut album The Once and Future. When I was listening to the album, I was thinking back to when I purchased the album. I’d been in Glasgow, shopping for some new music. The last shop I visited was the old Tower Records shop. It was always a great place to buy something different, imports, old soul and funk records and the latest dance music releases. To me it was music heaven. Back then, Glasgow had some wonderful places to buy music. This particular day, I saw the Jazzyfatnastees album and thought I’d take a risk, and buy it, knowing nothing about the group or their music. This can be a dangerous thing to do. You can end up buying a brilliant album, but just as easily, you can end up with the proud owner of the worst album ever recorded. Thankfully, this album fell into the first category. When I heard the album, I was smitten, I loved every track on the album, and since then I’ve listened to the album many times. Maybe once you’ve read this article, you too, will want to hear this fantastic album.
Nowadays there are only two members of Jazzyfatnastees, Tracey Moore and Mercedes Martinez. That wasn’t always the case. When they formed in 1992, they were originally a quartet. In 1993, the group signed a record deal with Tommy Boy Records. Sadly, this wasn’t the great start to their career that it should have been. By 1995, the record deal had fallen through. This lead to the quartet becoming a duo. For several years, their career stalled, it was going nowhere.
Eventually, they found themselves in Philadelphia. It was while they were there, that they landed another record deal. They’d known various members of The Roots for a while, and had been their support act several times. Jazzyfatnastees signed a record contract with The Roots record label Motive Records, which was part of MCA Records. The duo started recording their debut album The Once and Future. They wrote and produced the album themselves. When the album was released, it was innovative, ahead of its time. It was one of the first Nu Soul albums. Critics liked the album, and welcomed the freshness of their music, which was a wonderful blend of sun kissed soul, and laid back hip hop.
Since their debut album released in 1999, they’ve released one further album The Tortoise and the Hare in 2002. A third album The World Is Coming was only released for limited downloading. It still hasn’t been released as an album. I find it hard to believe that since such a good debut album that Jazzyfatnastees career has not been more successful. Back in 1999, having heard the album and read its reviews, a great future was forecast for Jazzyfatnastees. When you hear this album, you too will wonder why they haven’t been more successful.
The Once and Future opens with The Wound, a track that open with hip-hop beats sitting in the background, a guitar plays gently, then suddenly a vocal emerges, Tracey Moore’s voice is strong, confident and dripping with soul. Harmonies accompany the vocal, both Moore and Martinez singing in unison. A keyboard meanders in the background. Even though the vocal is strong, at the front of the mix, the backing vocal are sweet, a perfect foil for Moore’s vocal. The track has a lovely summery vibe, one that is perfect listening on a long hot summer’s day. It’s a great way to start the album, and makes you long to hear the rest of the album.
Drums loud and crisp sit proudly at the front of the mix, a guitar sitting behind the drums, quietly playing a lovely melody. Mercedes Martinez takes over the lead vocal, her voice every bit as good as Tracey Moore’s. She has the same strong voice, and can handle both high and lower notes. When she sings, her voice veers between strong and sweet. The vocal harmonies are wonderful, Moore and Martinez’s voices combine masterfully, producing a track that is one of the album’s highlights. It’s an outstanding slice of soul for the 21st century.
Breakthrough has a very different start from the previous two tracks. It’s a much slower track, one with an old fashioned jazzy feel and sound, which the duo add their own unique twist. Their rendition of the song is both heartfelt and dramatic. From the opening bars, this is apparent. When you hear the opening of the track, the tempo is much slower, and Tracey Moore sings the song really slow, her vocal is dramatic, full of feeling. The harmonies intertwine beautifully with her lead vocal. It’s a song with a lovely melody, beautiful harmonies and a stunning lead vocal.
Unconventional Ways starts with a keyboard playing a lovely melody, against a backdrop of crisp, slow drums. The melody meanders and Mercedes Martinez sings the vocal. She sings the song slowly, her voice soft, understated. As usual, the harmonies are exquisite. Moore and Martinez’s voices blend perfectly. The song has a real laid back vibe, and like all the song’s on the album, has some great lyrics, which Moore and Martinez cowrote. They also produced the album.
When you hear the start to Hear Me, you think the laid back vibe will continue. Wrong. After starting slowly, it builds up gradually, the song opens out and gets faster. Not too fast, just a mid tempo song. The lyrics have a strong narrative, and are full of social comment, about the problems facing urban America, and the problems facing children and women, especially the way women are being treated badly by men. When Tracey Moore sings the vocal, her voice is full of passion. There is almost anger creeping into her voice. It’s a heartfelt performance, of a great song.
Sail the Seas begins with a piano and cello playing. The sound is minimalist and spacious, before Tracey Moore sings. Her voice is gentle, her delivery slow. Behind her strings play, smoothly, quietly, understated but effective. This allows Moore’s vocal to shine. When she does, the lyrics are beautiful, tinged in sadness. For most of the song she’s only accompanied by a piano, which make the song all the more powerful. Quite simply, it’s a beautiful song.
Related To Me, like Sail the Seas, begins with a piano playing. However, the comparisons end there. Mercedes Martinez vocal is just so sweet, the arrangement the lushest on the album. As soon a you hear the song, you’re smitten. It’s a glorious and romantic song, one with lovely lyrics. The song is melodic, loaded with hooks. By the time it ends, you’re wondering why didn’t this album do so much better?
At the start of The Lie, a cello plays, the sound slightly dark and moody, hip-hop beats accompany it. Then, the sound changes, it brightens. Drums still sit at the forefront of the mix, crisp, loud and proud. The vocals are sweet as ever, the harmonies tight, mixing melodically to produce a sound that is tight, at one. Here, the lyrics are dark, bathed in pathos, describing the damage drugs can do. Although the subject matter is dark, Jazzyfatnastees performance, arrangement and production are of the highest standard.
Why is another song with a strong narrative. It reads like a mini drama. It tells the story of a woman who has been cheated on, and tells how she turned a blind eye whilst her partner cheated on her. She tells how badly she was hurt, and how the experience nearly broke her. When you hear the bright opening of the song, you wouldn’t know that you’re about to hear a song of hurt and heartache. Mercedes Martinez sings the song with her usual delivery. In doing so, her delivery verges upon the defiant. It’s as if she’s saying that was me then, now I’m a strong and independent woman. The arrangement is uptempo, the song upbeat. If you didn’t take the time to listen carefully to the lyrics, you’d be totally unaware that this was anything other than a pleasant sounding song. Thankfully, it’s more than that, it’s a song that’s well written and well sung by Martinez.
The Once and Future ends with Let It Go. It begins with the by now familiar, crisp and crunching drum beats that sit right at the front of the arrangement. A rhodes keyboard subtly plays in the background, picking out a melody that meanders beautifully. Moore and Martinez share the lead vocal. Their voices compliment each other perfectly, one filling the spaces left by the other. They harmonize beautifully, both possessing voices they must have borrowed from angels. Let It Go is a strong, soulful song, one that is a great way to end the album.
I’ve thoroughly enjoyed spending time listening to Jazzyfatnastees and their debut album The Once and Future. I had almost forgotten just how good an album it is. Each song is of the highest standard, there is not one bad song on the album. Picking the best tracks is hard to do, such is the quality. Moore and Martinez both have beautiful voices, their ability to harmonize incredible. For a debut album, it’s a highly mature album. it’s the standard of album you’d expect a group to make by their second or third album. What is even more impressive, is that Moore and Martinez also wrote and produced the album. They’re truly two highly talented women, who deserve much more success than they’ve had so far. if having read this article, you think that you’d like to hear this album, I urge you to go out and buy it straight away. You won’t be disappointed. So good is the music that, like me, you’ll be left shaking your head wondering why Jazzyfatnastees aren’t a much bigger success than they already are? Standout Tracks: The Wound, Breakthrough, Sail the Seas and Let It Go.
JAZZYFATNASTEES-THE ONCE AND FUTURE.
THE LA’S-THE LA’S.
THE LA’S-THE LA’S.
Usually, after signing their first record deal, bands are desperate to record their debut album and see if for sale in record shops. For them, it’s a sign that they “made it,” that they’ve “arrived.” Sometimes, this works against a band, as the initial recordings are hurried, and their debut album isn’t as good as it should be. In this article, I’ll tell you about a group whose lead singer, wouldn’t settle for anything other than perfection. This lead to their debut album, and only album, being recorded several times, using several producers. It’s a story that sometimes, almost descends into farce. However, when you hear the album, you realize that this pursuit of perfection was worthwhile. The group are The La’s and the album is their debut The La’s, released in November 1990.
The La’s were formed in Liverpool in 1984 by Mike Badger. He was joined shortly after by Lee Mavers, who would be the singer and rhythm guitarist. In 1986, bassist John Power joined the band. It was at this time, that founder Mike Badger left the group. This set a pattern for the band, as during the band’s lifetime, many members joined and left the group.
After various record labels wanted to sign The La’s, they decided to sign with Go! Discs. They released three singles before their debut album was released. They were Way Out in 1987, There She Goes in 1988 and Timeless Melody in 1989. None of these singles were particularly successful, with Timeless Melody the most successful, reaching number fifty-seven in the UK singles charts.
The La’s started recording their debut album in July 1987, at Matrix Studios in London. Former Smiths producer John Porter was enlisted to produce the album. A problem quickly arose. Lee Maver didn’t trust technology. This was a major problem, one that would cause the problems in the future. As a result, the recordings were cancelled.
March 1988, saw the band return to the studios. A new producer was hired in John Leckie. Leckie had previously worked with Pink Floyd and John Lennon, so was used to working with strong personalities. They headed for Jam Studios in Oxfordshire. The studio was an old school house, and band and producer lived there for three weeks. While there, the band recorded two sessions. Leckie later said that he had never heard acoustic guitars and vocals singing in harmony like that. The sound was fresh and strong. However, Mavers was a hard taskmaster. He wasn’t happy with the rest of the band. They were either playing and singing too fast, or too slow. John Leckie was frustrated. He wanted desperately to capture the band’s sound on tape, in a way that did them justice.
One day, Mavers told the band and producer that he had a new song. He started playing There She Goes. Straight away, everyone was smitten. It was apparent to everyone in the room that Mavers had written a pop classic. All they had to do was record the song. This was easier said than done. Eventually, the session was scrapped.
The La’s third attempt at recording their debut album was at with Bob Andrews in Wokingham and Jeremy Allom in Liverpool. After nine fruitless months, the sessions were cancelled. Go! Discs supremo, Andy MacDonald, decided the best course of action was that the band head to Devon with producer Mike Hedges. This lead to the group heading to Devon in April 1989. The group stayed at MacDonald’s parents house. This suited Mavers perfectly. He was keen to produce an authentic sound on the album, and one way of doing this, was by using vintage instruments and equipment. Analogue equipment was used, the band settled in to a much quieter and low key setting. Work progressed, recordings were made. This was good, until more than half way through the recording Mavers starting finding fault with the recordings. For Mavers, the album was hugely important, as a perfectionist, nothing less would do. Other members of the band were impressed with the recording, and thought that this was “the” version of the album.
Christmas 1989 saw members of the group Chris Sharrock and John Power head to Hawaii on holiday. On their return, a hug surprise awaited them. Lee Mavers had decided against releasing the album. Why? According to Ian Grimble who mixed the session, Mavers explanation was that the position of the earth had changed, the magnetic poll had changed. Mavers believed that this would mean the magnetic particles on the tape had altered. This also lead to Chris Sharrock and Barry Sutton, the guitarist, leaving the group.
After this Peter “Cammy” Camell joined the group as guitarist, and Neil Mavers, Lee’s brother, on drums. The album wasn’t released. It seemed The La’s were going nowhere. Andy MacDonald was exasperated. In desperation, and in an attempt to get an album finally released, he called in Steve Lillywhite to produce the album. Previously, he’d worked with U2 and The Rolling Stones, so surely he could at last get The La’s to record an album. Lillywhite and the group headed to the Eden Studios in London. All went well for about a month. After that, Lillywhite started to experience similar problems to his predecessors in the producers chair. Eventually, the sessions broke down, without the album being completed, Andy MacDonald asked Lillywhite to complete the album. This he did. Since then, Steve Lillywhite has said he tried to ensure that the album was completed according to Lee Mavers vision and ideas. Mavers wasn’t happy with the album, and criticized the album on its release.
That was the only album The La’s ever released. Since then, they’ve split up and reformed innumerable times. Many members have joined, and left the band, during the various reunions. Lee Mavers currently lives quietly, and isn’t involved in the music industry. That is a great shame, because he is a mercurial, maverick, genius, one of the few left in the music industry. When you listen to the album, you too, will hear this genius at work, and want him to return to the fold and write and record many more wonderful songs.
The La’s opens with Son of A Gun. A guitar strums, and when Mavers sings, he sounds just a bit like Michael Stipe of REM. His voice is strong, he carries the lyrics well. The arrangement is quite simple, just Mavers backed by a guitar, and other members of the group singing tight vocal harmonies. Although, it’s a short song, almost blink and you’ll miss it, it’s a good start to the album.
I Can’t Sleep has a bigger, fuller and louder sound. Electric guitars are loud and proud, right at the front of the mix. Behind them Mavers can be heard singing in the background. When his vocal enters the mix, it’s strong and loud, he strains, sings the lyrics with almost a discordant passion. It’s a rocky sound, with the band playing tightly. The lyrics have a surreal quality, and could they be about narcotic indulgence? Is the pipe dream about a crack pipe? It’s a good track, very different to the opening track.
When you hear the next track, Timeless Melody, you’re hearing one of the best tracks on the album. Both Mavers’ vocal and the rest of the band combine brilliantly. Guitars chime at the start of the track, the tempo is mid-paced. Mavers sings within himself, his voice clear. Midway through the track, the guitars are unleashed. This takes the track to a new level. The playing is exquisite, loud, always in control. On this track, the arrangement is perfect. Lillywhite has brought out the best in the band, ensuring the guitars and vocals unite in perfect harmony.
On this album no two tracks sound the same. Liberty Ship has nothing in common with Timeless Melody. The sound is totally different. It has a real retro sound, and has a much more gentle sound. It’s merely acoustic guitars and Mavers singing, with the rest of the band harmonizing. In the background someone whistles. It’s a pleasant track, showing the band’s versatility.
Lee Mavers’ masterpiece is next, it’s his magnus opus, There She Goes. This is a timeless pop classic, one of the best songs written in past forty years. There She Goes is a song I never tire of hearing. It’s also a controversial song. Listen to the lyrics and you’ll hear “there she blows, there she blows again, pulsing through my vein,” which is meant to be a reference to the feeling you get, when you inject heroin. Regardless of whether this is, or isn’t the case, the song is a seminal one, quite truly, a musical masterpiece. As the song starts the guitars chime brightly, the mood is bright and upbeat. This mood remains when Mavers sings. As he sings the song, it’s as if he realizes that this is his big moment, his Warholian moment, his fifteen minutes of fame. Everything about the track is perfect. The lyrics, Mavers vocal and the band’s performance. Some credit must be given to Steve Lillywhite for getting this song on tape, and producing this classic song.
After the pop perfection of There She Goes, it’s very hard to follow-up such a moment of genius. Anything else is an anti climax. However, The La’s try hard with Doledrum. The sound and feel has more in common with Liberty Ship, than There She Goes. The song is an uptempo one, primarily guitars and Mavers singing. Mavers voice is very different, his accent more mid-Atlantic than Merseyside. Worryingly, I thought I heard a Jagger-esque nasal whine. Thankfully, that aberration was merely, momentarily. I like this side of The La’s, they carry it off well. Not many bands could do that. The reason they manage to do so, is that Mavers has a good voice and the band are good musicians.
Straight away, when you here Feeling, it brings to mind another Liverpool group, The Beatles. When you here the track, you’ll be forced to agree. The guitars and vocal owe much to The Beatles. Guitars jangle, like much of The Beatles early work, and the way Mavers vocal sits in the mix is the other reason for the comparison. The more I listen to the track, the more I see the similarities. Feeling is a great track, it has a full, retro sound. It’s as if The La’s are paying homage to their city’s most famous sons.
Way Out starts with jangling guitars, and Mavers voice sounds almost angry, he sounds as if he’s nearly sneering as he sings the lyrics. That said, it’s another great track. There is some great guitar playing on the track, a fantastic solo after a minute and a half. From the start, the song is loud, the sound big. This never changes. It’s a track long on melody and has hooks a plenty. Throughout the track the band are on great form, they give their all, and in the process, produce one of the album’s best tracks.
The next song I.O.U., sees the style change again. It’s another track that has its roots in the past, and has a very retro sound. From the start, and the appearance of the jangling guitars, the retro sound is apparent. Mavers sings the song simply. His voice is clear, but almost deliberately flat, to get over the impact of the lyrics. The lyrics are bathed in pathos, and Mavers delivers them perfectly. I.O.U. benefits from a minimalist arrangement, which allows the song to shine. There are no frills, no effects added to jazz up the sound. It’s very much the sound that you’d have heard if you’d been in the studio when the song was recorded.
Freedom Song begins with guitar, then a surprise awaits the listener. Mavers doesn’t sing the song in his usual style. Instead, he half-sings, half-speaks the lyrics, lyrics which seem personal to him. There is an almost continental sound to the arrangement, which relies heavily on guitar. The song has an infectious quality, it draws you in, quickly you’re hooked. You find yourself singing the lyrics, and tapping your foot. Although very different to other tracks, it’s a great song, one you’ll listen to time and time again.
Failure has a very different sound and style. Straight away, the sound is big, loud and glorious. The La’s unleash their musical arsenal. Guitars are loud and proud, drums come to the forefront, pounded to within an inch of their life, for almost the first time on the album. Mavers joins in the near chaos, his vocal loud, nearly straining, accompanied by handclaps. Too soon, the track ends, and you’re left smiling, bathing in the memory of a couple of magical moments of full on, rock ‘n’ roll.
The La’s ends with a beautiful song Looking Glass. It could almost be a second cousin to There She Goes, so good it is. Mavers voice sounds as if he’s doubtful, questioning something, his future maybe, unsure of where he’s going, and the future of his group. The lyrics are thoughtful, among the best on the album. This song is enigmatic, a word that could be used to describe the maverick genius of Lee Mavers. A fitting song to end a brilliant album.
That is the story of The La’s and their one and only album The La’s. It’s a brilliant album, the work of Lee Mavers, a musical maverick, one who has been touched by genius. They were a group who promised so much, and sadly all they delivered was one album, a brilliant album at that. I’m always saddened that they never fulfilled their potential, that they never went on to bigger and better things. Yes, the group reformed several times, but they never again recorded another album. I’ve always wondered what would have become of them, would they have bettered this album, and would Lee Mavers have written another song as good as There She Goes. We’ll never know. Maybe having produced such a great album, and written such a seminal song, anything else they produced would have a pale imitation. What they’ve left us with is a masterpiece of an album, and in There She Goes, a song that is one of the best ever written. When you think about it, that’s not a bad legacy to leave behind. Standout Tracks: I Can’t Sleep, There She Goes, Feeling and Looking Glass.
THE LA’S-THE LA’S.
DUSTY SPRINGFIELD-DUSTY IN MEMPHIS.
DUSTY SPRINGFIELD-DUSTY IN MEMPHIS.
In this article, I’m going to write about one of the best female vocalists to come out of the UK. She was dubbed the white queen of soul. Nowadays, any female vocalist with a modicum of talent is compared with this singer. These comparisons are ridiculous. Some third rate vocalist with a nasal whine can’t be compared to a true giant of the music industry. During this artist’s career, she produced some brilliant music, and the album this article about was a landmark album. It saw her travel to Mempis to work with a brilliant producer and some hugely talented musicians. The album is Dusty In Memphis, Dusty Springfield’s seminal album released in 1969.
Dusty Springfield was born Mary Isobel Catherine Bernadette O’Brien, in West Hampstead, North London, in April 1939. She was brought up in a middle class family, that loved music. During her childhood she was exposed to a wide range of music. This included Count Basie, Rogers and Hammerstein, George Gershwin, Count Basie and Glenn Miller. Dusty Springfield loved American jazz vocalists, including Peggy Lee and Jo Stafford. It was her ambition to sound like them. Little wonder that on leaving school she would become a singer, such was her love of music.
Her first job in music was as one of The Lana Sisters. They were already established as a group, and Dusty was recruited in 1958, as a new member. Whilst a member, she received a crash course in the music industry. She recorded with them, appeared on television and in concert. During her time with them, she learned to harmonize and how to use a microphone properly. She left The Lana Sisters in 1960.
Her next venture in music was when she formed a pop-folk trio The Springfields wth her brother Don, and Reshad Field, who would later be replaced by Mike Hurst. It was here that she adopted the stage name Dusty Springfield. The Springfields recorded an album Folk Songs From The Hills, in Nashville, Tennessee. They’d travelled to Nashville intending to record a genuine American album. It was during this trip that Dusty’s musical tastes changed. She started to love pop music that had its roots in rhythm and blues music. Although the group were reasonably successful, winning the New Musical Express’ Best Vocal Group award in 1961 and 1962 they split up in 1963. Their final single was Say I Won’t Be There, gave the group their first top five hit. The last concert they played was in October 1963. After that, the group split up.
Now a solo artist, success came quick to Dusty. Her first solo single I Only Want To Be With You, sold over one million copies, and she received a gold disc. Ivor Raymomde’s production on the single owed much to Phil Spector. Having said that, his arrangement was fantastic, featuring vocals that were double-tracked, a horn section and a string section. This single was a great start to her solo career.
Her first album A Girl Called Dusty, was released in 1964. It was an album featuring Dusty Springfield covering some of her favorite songs. This album featured her first collaboration with two hugely important songwriting partnerships, Burt Bacharach and Hal David, and Gerry Goffin and Carole King. The latter partnership were a huge influence on Dusty, and she recorded their songs throughout her career.
In 1965 Ev’rything’s Coming Up Dusty was released. The album sold quite well, and Dusty ended up the top selling female singer on her record label Philips Records. This album contained many show tunes, as well as some soul songs.
She released Where Am I Going in 1967. The album wasn’t as successful as her previous two albums. It contained a wide variety of styles of music. Fans and critics liked the album, enjoying hearing her sing different styles of music. This album was followed up by Dusty…Definitely in 1968. It was the first album that Dusty co-produced with John Franz. The album was split into one side of the album with faster songs, the other with slower songs. On each side the mood is very different.
1968 also saw Dusty sign a contract with Atlantic Records for the US. This was to have a huge impact on her career, and ended up with her heading to Memphis to record Dusty In Memphis with producers Jerry Wexler and Arif Mardin, and engineer Tom Dowd. Dusty in Memphis was an attempt to relaunch her career. After her first two successful albums, her career had stalled. By heading to Memphis, it was hoped that her credibility as an artist would receive a boost. She’d never recorded an album of rhythm and blues music before, this would be a first. However, she was joined in the studios with some of Memphis’ best musicians and backing singers. She would be backed by the Memphis Cats, a fantastic group of musicians, and backing vocalists the Sweet Inspirations. This was truly the creme de la creme of the Memphis music scene. Springfield was noted as a perfectionist, nothing less would suffice. This would prove a huge challenge for produced Jerry Wexler. Another problem was her insecurity, she was a hugely insecure artist, and this wasn’t helped by working with such talented musicians, singers and producers. However, the sessions were fruitful, and produced one of the greatest albums of all time. Dusty In Memphis is widely accepted as a musical masterpiece, and is to be found in any list of the greatest albums of all time. I will shortly tell you why this is such a seminal album.
As the 1970s’ started, Dusty was still a huge name in music. She released her second, and final album for Atlantic Records A Brand New Me in 1970. In the UK, the album was released as From Dusty…With Love. The album was recorded in Philadelphia, and was produced by Kenny Gamble and Leon. They also wrote many of the songs on the album. After this album, Gamble and Huff had huge success with many groups including The O’Jays, MFSB and Harold Melvin and The Bluenotes. However, the album didn’t fare well. It only reached number thirty-five in the UK and one hundred and seven in the US. This was to be the start of the decline in her record sales and popularity.
Between 1972 and 1995 Dusty would only record seven further albums, one of which Longing, recorded in 1974, was never released at the time. During that time, her record sales declines, although some albums were reasonably well received by critics. During this period, her personal life was scrutinized by the press and media, and she headed to the US, where she lived quietly, away from the spotlight. She made comebacks, and was still popular in concert. However, she never recovered her midas touch as a solo artist. In 1987 she collaborated with the Pet Shop Boys on their sing What Have I Done To Deserve This? This introduced her to a new generation of fans. Dusty Springfield died of cancer in March 1999. Since her death, she has become something of an icon, her music is more popular than ever, and many people are revisiting the music of Dusty Springfield, an artist who recorded some wonderful music.
Having told you about Dusty Springfield’s career, I will now tell you why Dusty In Memphis is such a wonderful album. Dusty In Memphis opens with Just A Little Lovin’. Strings sweep, lushly, as the track begins, as Dusty sings. Her voice is clear, she articulates the lyrics beautifully. She carries the song so well, her voice quiet and low one minute, the next soaring and high. Behind her the Memphis Cats play, quietly, never threatening to overpower her vocal. It’s as if they recognize they’re playing their part in making history. Their performance is understated, perfect, allowing Dusty to shine, which she does, producing probably, the definitive version of this song.
Like many of the songs on this album, So Much Love is written by the two of the greatest songwriters of the time. Gerry Goffin and Carol King wrote So Much Love, a song perfect for Dusty to record. Her rendition of the song is magical. From the strings at the start, to Dusty’s heartfelt and dramatic reading of the song, to the Sweet Inspirations masterful backing vocals, the song is truly a thing of beauty. The lyrics are tinged with sadness, Dusty puts her heart and soul into the song. She sings it like she means it. Her voice soars, accompanied by the backing singers, who have beautiful voices, voices that are the perfect accompaniment to Dusty. It’s easily one if album’s highlights.
Son of A Preacher Man is the next song on the album. It’s a song that much has been written about. Deservedly so. It’s two and a half minutes of soulful pop perfection, easily the greatest song on the album, and the greatest song Dusty ever recorded. Written by John Hurly and Ronnie Wilkins, its a song that has attained legendary status, in musical history. You only need to hear the song once to hear why. Drums and guitar start the track. The drums are the perfect backdrop, the heartbeat of the song. When Dusty recorded the song, little did she know her performance would go down in history. Her performance is brilliant, her voice strong and confident. As the song starts, she sings quietly and softly, as the song progresses, her voice gets stronger, bigger and fuller. Once she sings louder, she has to some really high notes, not once, never, does she strain to reach the high notes. Her performance belays her insecurity and lack of confidence. Wexler and Mardin’s arrangement is amazing, and played a huge part in making this song the success it is. It features a brass section, the Memphis Cats and the Sweet Inspirations. All are at the top of their game. They really brought their A game to the studio the day the recorded this song Forty-two years later, Son of A Preacher Man still sounds as good as the day Dusty recorded the song.
After creating pop history, it would seem that anything else would be an anti climax. Quite the opposite, I Don’t Want To Hear It Anymore is another great song. This time it was written by Randy Newman. The song builds up to a big dramatic sound. When the track starts, you’re unaware of what’s about to happen. Gradually the song builds. From when Dusty sings accompanied by a string section the mood is sedentary, she sings the lyrics with feeling, her delivery heartfelt. As the song progresses, the backing singers enter, a wall of sound hits you. Dusty sings loudly, joining in to help create this soulful crescendo. After this, the tempo drops, and gradually, builds up again, to recreate this dramatic sound. It’s a very different sound to Son of A Preacher Man, but is one that shows a different side of Dusty.
Don’t Forget About Me is the second Goffin and King song on the album. The arrangement on this track is much different, not as dramatic as I Don’t Want To Hear It Anymore. Dusty is accompanied by a brass section and the Memphis Cats. The brass section play wonderfully, the Memphis Cats, happy to take a back seat. The stars of the show are the Sweet Inspirations. Their backing vocals are masterful, they interact beautifully with Dusty, accompanying and complimenting her performance, their voices sweet and soulful. On this track, Dusty was lucky to have so many wonderful musicians and singers accompanying her, as they all played their part in making this slice of soulful pop music.
One of the best known tracks on Dusty In Memphis, is Breakfast In Bed. The songs has a very subdued start, a guitar playing gently, a cymbal tapped quietly, and Dusty’s vocal is almost whispered. Very gradually, the sound builds, grow bigger, bigger and louder. Likewise, Dusty vocal gets louder and stronger. She varies her vocal. One minute quiet, the next louder and stronger, then, suddenly, she almost speaks the vocal. This adds to the drama. All the while, the band play, joined by strings and a brass section. Wexler and Mardin’s arrangement is perfect, they deserve huge credit for their production on this track. The big question is, would this song be as good without their skills as producers?
Just One Smile is a song with some surprises in store. It’s a sad song, one with lovely lyrics, which Dusty delivers beautifully. The song starts quietly, just a guitar accompanies Dusty. You think this is going to be a song with a minimalist arrangement. Wrong. Strings sweep in, understated, beautiful, providing a glorious backdrop for her vocal. Then the song builds, as it does, it’s as if Dusty grows in confidence. Her voice clear from the start, grows, gets stronger, she sings powerfully, articulating the lyrics with passion, giving a wonderful performance of this song.
The next song, The Windmills of Your Mind, was originally sung by Noel Harrison, and was from the 1968 film The Thomas Crown Affair. Here, it’s a case of you’ve heard the rest, now here the best. The song sweeps smoothly along, an arrangement featuring strings, a lovely acoustic guitar solo, played sparingly throughout the track, and a fuller arrangement in the latter part of the track. From a meandering beginning, where Dusty is accompanied merely by a gently strummed acoustic guitar and a cymbal tapped gently. Then strings enter, the tempo increases, however, throughout the sound is sumptuous. It envelops you, your caught up in sweetness of the music, swept along, caught in its thrall. Your taken on a magical, musical journey, one where its all peaks, no troughs. Beautiful.
Another brilliant songwriting partnership, Burt Bacharach and Hal David, wrote the next song, In The Land of Make Believe. Straight away, the sound is understated. This allows Dusty and some beautiful lyrics to take centrestage. The arrangement is perfect for the song. A guitar plays, Dusty sings, her vocal at its most gentle, with a lovely soothing tone. Behind her strings play, quietly, highlighting her vocal, which is among the best on the album.
The great thing about Dusty In Memphis, is that great songs follow one after the other. No Easy Way Down is just the latest in a long line of great tracks. Like, I Don’t Want To Hear It Anymore, this song sees the Sweet Inspirations provide some wonderful backing vocals, which transform the song, from a great pop song, to a lovely soulful song. A piano plays, as the song starts. Dusty is accompanied by strings, sweeping along. The Sweet Inspirations backing vocals are like musical punctuation, highlighting parts of the song, breaking up the flow, and helping add to the song’s impact. This works well, and is highly effective. Throughout the track, Dusty sings the song perfectly. It’s like a master at work, her delivery smooth, thoughtful and full of passion. No Easy Way Down has always been one of my favorite tracks on the album, and when you hear it, it’ll become one of your favorites, too.
Dusty In Memphis closes with I Can’t Make It Alone. This is the fourth Goffin and King composition on the album. Like No Easy Way Down, also a Goffin and King song, it starts with a piano playing, Dusty singing and strings playing. Her rendition of the song is heartfelt, full of emotion, so much so, it’s as if she has experienced the hurt mentioned in the song. There’s a rawness in her emotion, it seems personal to her. It’s a perfect way to close the album, the Memphis Cats play confidently, and the Sweet Inspirations have reserved an emotion laden performance for this song. Quite simply, it was a masterstroke to finish the album with this song.
Much has been written about Dusty In Memphis since its release. It’s one of the few albums that everyone in the music industry agrees is a true classic. When you listen to the album, it’s laden with fantastic songs. These songs were written by the great and the good of songwriting, and include Goffin and King, Bacharach and David and Barry Mann and Cythia Weil. Add to that, songs like Son of A Preacher Man and Breakfast In Bed and you can see that this album was brimming with quality songs. The use of Wexler and Mardin as producers, and Tom Dowd as engineer brought some of the most experienced and highly skilled technicians to the session. They were able to bring in the Memphis Cats and the Sweet Inspirations to help record the album. These musicians and singers were hugely talented, and vastly experienced. All of these people contributed to making the album the success it is. However, the most important person was Dusty Springfield. She was a hugely talented artist, who was at a crossroads in her career. This was her comeback album, after two albums that hadn’t sold well. Although Dusty In Memphis sold well, it should have been a much bigger hit, it should have relaunched Dusty’s career, making her a much bigger star than she had ever been. Sadly that wasn’t the case. After this album, her career stalled, her records didn’t sell as well. She removed herself from the limelight, and lead a quieter life. When she returned to the music industry, musical tastes had changed, she tried to adapt, but never quite succeeded. The irony of the situation, is that since her death, her music is more popular than it has ever been. Dusty is a highly respected musical figure, loved by many and sadly missed. She is loved by both musicians and fans alike, and her standing has never been higher. Should you never have heard this album, you really must buy it, as it’s not just the highpoint in Dusty’s career, but also one of the greatest albums of all time. When you do, you will love every minute of every song, on what is, a beautiful album. Standout Tracks: Just A Little Lovin’, Son of A Preacher Man, Breakfast In Bed and No Easy Way Down.
DUSTY SPRINGFIELD-DUSTY IN MEMPHIS.
AIR-MOON SAFARI.
AIR-MOON SAFARI.
I spend much of my time listening to music. It seems that sometimes, there aren’t enough hours in the day to hear every album I want to listen to. As a result, sometimes I don’t get a chance to listen to albums I bought years ago. So last week, I thought I’d make some time to listen to some albums from yesteryear. After much pondering, and even more dithering, I decided what albums that I would revisit. They were a cross section of the musical genre’s, covering everything from reggae to rock, and hip-hop to house, taking in folk, funk, soul and dance music. I settled down, and spend far too much time listening to old albums. It was while I was doing this, that I rediscovered this album, one that I hadn’t played for a couple of months. After I’d listened to it, I thought that I would write an article about this album, as it one I really enjoyed when it was first released, and one I revisit from time to time. The album is Moon Safari by Air, which was released in January1998.
Formed in 1995, Air are from Versailles, in France. In the beginning, Nicholas Godin, a former architecture student was the only member of Air. He was later joined by former maths student Jean-Benoit Dunckel. Both had been members of a pevious band Orange, which also included Alex Gopher. Before Dunckel joined, Godin recorded a demo with former members of funk band, Funkadelic.
From what we already know about Air, they are an intelligent duo. This extends to their name. When the group were formed, many people were unaware that Air was backronym, which is a phrase that is formed so that an acronym can be formed. Air’s backronym is Amour, Imagination, Reve, which means love, imagination dream. This intelligence extends to their music, music which people have sought to pigeon hole. So far, they’ve failed to do so, referring to it as electronica.
Various styles of music, and musicians have influenced Air. Listen carefully to their music, and you can hear the influence of Vangelis and Jean Michel Jarre and the synthesizer based music they helped popularize. 1960’s psychedelic rock groups like Pink Floyd, and progressive rock bands like Tangerine Dream. The godfathers’ of electronic music, Kraftwerk, have also influenced their sound. Air, like Kraftwerk, use many electronic instruments, but both groups use a vocoder when performing live.
Closer to home two French artists have influenced Air’s music. Space were one of the pioneers of electronic music. Originally from Marseilles, France, they started making electronic music in 1977 until 1980. During this period, they released four albums. They reformed in 1992, and have sold over twelve million albums worldwide during their career. The other French artist to influence Air is the legendary Serge Gainsbourg. He was a singer-songwriter, who between 1958 and his death in 1991, released a wide variety of albums, which cross the musical boundaries. Gainsbourg was never afraid to experiment, and sometimes, this caused him problems. His music has influenced almost two generations musicians, and is as popular today, as it has ever been.
Since forming in 1995, Air have released a number of studio albums. Their debut album was Premiers Symptomes, a collection of singles released by the band between 1995 and 1997. Moon Safari which this article is about, was released in January 1998. The album was well received and a huge commercial success.
Since then, Air have released a film score, The Virgin Suicides, in February 2000. That was followed by 10,000 Hz Legend in May 2001. This was a much different album, longer and much more experimental. A remix of this album Everybody Hertz was released in February 2002. Three further studio albums have been released. Talkie Walkie in January 2004, Pocket Symphony in March 2007 and Love 2 in October 2009. Each of these albums have seen Air’s sound evolve.
Air have worked with other artists, including Charlotte Gainsbourg, daughter of Serge Gainsbourg and Jane Birkin. She is a French singer and actress. Her 2006 album 5.55, was written and performed by Air. 5.55 was well received by critics and was commercially successful. They have also contributed music to films directed by Sofia Coppola, including her debut film The Virgin Suicides. A track by Air featured in her 2006 film, Marie Antoinette.
Having told you about Air’s career, I will now tell you why Moon Safari is such a good album. The album begins with La Femme D’Argent. In the distance water runs, then drums play, quietly at first, then loud and crisp. A keyboard joins the arrangement, forcing it way to the front of the mix. Quickly the sound builds, a melange of sounds, some sharp, some deeply melodic. This is joined by sweeping synths, producing otherworldly sounds. The overall effect is a mixture or retro and futuristic sound. They come together to produce a large soundscape, one that grabs your attentions. It’s impossible to ignore. Air have produced a track that veers between glacial and rhapsodic, and is an impressive start to Moon Safari.
Sexy Boy is a track thats roots’ are firmly in the past. The vocal is sung through a vocoder, the synths sound very old school. They squelch, sweep, squeak and beep throughout the track. Layer upon layer of sound is emitted from your speakers, surrounding, and almost overpowering you. There is sweetness present in the track, saccharine sweet. So sweet is this track, it’s like the biggest sugar rush you can safely experience. The track is hook laden, to say it’s catchy is an understatement. It’s infectious, something you should be inoculated against. A glorious slice of retro-sounding Euro pop.
All I Need is a very different sounding track. Synths reverberate, wobbling like a jelly at a child’s birthday party. Suddenly, they stop. The track then opens out, a guitar plays, a metronome clicks, a synth sneaks a look in again, then Beth Hirsch sings the vocal. This transforms the track, totally. Her voice is strong and clear, perfectly suited to deliver the lyrics. For most of the vocal, a metronome and guitar are her only accompaniment. Later, occasionally, a keyboard flits in and out of the track, and a synth drones, then sweeps. When this happens, it slightly overpowers her vocal. This doesn’t detract from what is a great track.
When I listen to Kelly Watch the Stars, two things come to mind. The first is the soundtrack to a sci-fi movie, the second is the old Heaven 17 track Temptation. When I hear that part of the track towards the start, it sounds like Temptation’s little brother. This repeats during the track. The more I hear it, the more I’m convinced. What Air have ended up with is a sweeping, new wave influenced track, with more than a little influence from space and sci-fi. It’s a great track, one that draws its influences from far and wide.
Talisman has a brooding, atmospheric start. Keyboards play, the sound is dark. It meanders, at a pedestrian pace. After just over a minute the mood lightens, the darkness lifts, the sound changes to different keys. Drums crisply and briskly play. Swathes of sound sweep, brightly. They wash over you. A mini symphony, plays before you. It’s a 21st century symphony, that transports you through different galaxies. The journey may not be long, but it’s one you’ll enjoy, and one you can go on time and time again.
Lyrics are sung through a vocoder at the start of Remember. Here, the sound is loud, ear-splittingly loud. So much so it reverberates. This sound is very much, in your face. It gets close up and personal. Remember, is an amalgamation of synths, a bit like a mini-orchestra. Some are dull, others sharp, some sweep, some squelch. The sound almost overpowers, purely because one of the synths if far too loud, and too far forward in the mix. Don’t get me wrong, the song is good, but the production could be better.
The start of the next song, You Make It Easy, reminds me of the start of a Kraftwerk track Autobahn, as both tracks begin with the sound of a car traveling along a road. After that, the similarities end. You Make It Easy has a brighter sound. Beth Hirsch sings vocals again on this track. Her voice is light and bright, and she sings the song well, singing clearly, accompanied by piano, synths and percussion. The longer the track goes on, the more the sound builds. At first, Hirsch was only accompanied only by a glockenspiel, then gradually, the sound starts to grow. By the end of the track, a multitude of instruments surround her vocal, contributing to a good track, one that is much better than the previous track, Remember.
Ce Matin La begins with a synth swooping, echoing distantly, gradually moving closer. It creeps up on you, catches you unaware. For an instant, your thrown, no idea what will happen next. Then, some pleasant surprises await. A rhodes keyboard and clavinet play, the sound becomes much more pleasing. It’s sweet, almost symphonic, sweeping, massaging at your weary, troubled soul. The next surprise is when a tuba plays a solo. Surprisingly, it works, it’s effective. After that, your hooked, fascinated by the variety of sounds that make an appearance. All you can do is sit back, relax and enjoy this track. Like other tracks on Moon Safari, this one has a reel retro sound, one that is cinematic. Much of the track reminds me of an old movie soundtrack.
There is a much different sound on New Star In the Sky than the previous tracks. An acoustic guitar strums gently, a harmonica plays, with just a bit of reverb changing the sound. The sound is quiet, gentle and meanders slowly, gradually getting louder, the sound filling out, expanding gently. When it does, it’s a lovely track, one that is spacious, allowing the song to breath. Synths whoosh and sweep, they enter, and leave the track. They combine with a multiplicity of musical instruments to produce a stunning track, one of Moon Safari’s highlights
Moon Safari closes with La Voyage De Penelope. It has a hesitant start, frantic discordant sounds play quietly in the distance. As the sound gets closer, the chaotic sound gets clearer. Not totally clear though. Reverb is use heavily on the track. This detracts somewhat from the track. When keyboards and synths play, the sound reverberates. Personally, this muddies the sound on track. It might work on some tracks, but this track would be a much better track with a cleaner sound, it would transform the track, from a good one to a very good one.
I have thoroughly enjoyed revisiting Moon Safari, an album I have always enjoyed. It was interesting to the album again. Unlike many albums that fall into the electronica or dance genres, the sound on Moon Safari doesn’t sound dated. It still sounds fresh and innovative. This was Air’s debut studio album, and such, is a very good debut album. Many artists or groups would take two or three albums to reach this standard. However, Air are talented musicians, who can play a multitude of instruments. What I admire about them, is how their music evolves. They’re not content to find a sound that’s successful, and stick with it, no, they want to reinvent themselves, experiment, and push the musical boundaries. That is what they have done during their career. Moon Safari was the album that launched their career. It’s an outstanding album, one full of some wonderful music, music that is complex and sophisticated, but also very listenable. If you’ve never heard this album, I would recommend it to anyone. It’s album full of subtleties and nuances, which aren’t apparent when you first hear the album, but through time, they will reveal themselves to you. Standout Tracks: La Femme D’Argent, Talisman, Ce Matin La and New Star In the Sky.
AIR-MOON SAFARI.
PREFAB SPROUT-FROM LANGLEY PARK TO MEMPHIS.
PREFAB SPROUT-FROM LANGLEY PARK TO MEMPHIS.
In the past, I’ve been lucky enough to see many bands and artists in concert. Some of these concerts have been brilliant, others woeful. The band that this article is about, fall into the first category. When I saw them live, they were amazing, putting on a performance full of energy and passion. They played all of their well known tracks, and some new stuff. By the time the concert was over, the audience were enthralled, won over by the outstanding performance they had been fortunate enough to witness. The band this article is about is Prefab Sprout, and the album is From Langley Park To Memphis, released in March 1988.
Prefab Sprout were formed in 1978 in Newcastle, England. Paddy McAloon is the lead singer and songwriter, and is widely recognized as one of the most talented songwriters of his generation. During the band’s lifetime, there have been several personnel changes. The band released their first album Swoon on Kitchenware Records in 1984. It reached number twenty-two in the UK album charts. Swoon was a good debut album, and it was obvious that Prefab Sprout were a band with a good future ahead of them. Even in the early days, Paddy McAloon’s songwriting was of the highest standard, streets ahead of other songwriters around then.
Thomas Dolby produced their second album Steve McQueen. The album was critically acclaimed and featured the track When Love Breaks Down, which gave the band their first top thirty single, reaching number twenty-five. Although well received by critics, the album only reached number twenty-one in the UK album charts.
When From Langley Park To Memphis was released, the album sold much better, reaching number five in the UK album charts. The album also provided the band with their first top ten single, The King of Rock ‘N’ Roll, which reached number seven. Both Stevie Wonder and Pete Townsend made guest appearances on this album.
The next album Prefab Sprout released was Protest Songs, which was originally recorded in 1985. Protest Songs, although a good album, with some great tracks on it, failed to sell as well as From Langley Park To Memphis. It only reached number eighteen in the UK album charts.
1990 saw Prefab Sprout release Jordan: The Comeback. Like their second album Steve McQueen, Thomas Dolby was in charge of production. Jordan: The Comeback was a brilliant album, very different from earlier albums. The sound is much different, it’s bigger dramatic and maybe more accessible than previous albums. This album provided the band with another top ten album, reaching number seven.
Their next album was their most successful. What’s ironic about this, is that it was a compilation album, released in 1992, The Best of-A Life of Surprises. It reached number three in the UK album charts.
Prefab Sprout’s next studio album Andromeda Heights, wasn’t released until 1997. It is a vastly underrated album, one people overlook when looking back at Prefab Sprout’s career. Like their previous two albums, it reached the top ten, peaking at number seven. Sadly, that was the last successful album the band released. Wendy Smith left the band after a brief tour to promote Andromeda Heights. Whether that has any baring on the group’s lack of commercial success, is open to debate.
Since the release of Andromeda Heights, Prefab Sprout have only released three further albums. 1999 saw the release of 38 Carat Collection, another “best of” collection, which their record label CBS released as the group were leaving the label. It made little impact on the album charts, reaching only number ninety-five.
Two further studio albums were released by Prefab Sprout. The Gunman and Other Stories in 2001. This was a a concept album based around the theme of the wild west. By now, the only members of the band were Paddy McAloon and his brother Martin. The album received mixed reviews, and only reached number sixty in the album charts.
The last album released by Prefab Sprout was Let’s Change The World With Music in 2009. It was a welcome return to form for the band, and featured some wonderful music. Critics gave the album favorable reviews, but sadly, the album only reached number thirty-nine in the album charts.
Sadly, in the last few years, Paddy McAloon has suffered from poor health. This has affected his vision and hearing. He doesn’t give many interviews, and is a private person. Thankfully, during his musical career so far, he has written and sung some wonderful songs, songs that many people treasure to this day. My hope is that his health will improve, and very soon, he’ll be back doing what he does best, writing and singing brilliant pop music.
Now that you know about Prefab Sprout’s career, I will tell what makes From Langley Park To Memphis, such a great album. The album opens with Prefab Sprout’s biggest single The King of Rock ‘N” Roll. Straight away the album grabs your attention, grabbing you by the scruff of the neck and screaming listen! From the opening vocal harmonies and the synth playing, to Paddy McAloon’s vocal you hear is four and a half minutes of pop perfection. It’s Intelligent pop music that’s catchy, infectious and laden with hooks. You can’t fail to be seduced by its charms. A brilliant start to the album.
After such a great start to the album, pop perfection continues with Cars and Girls. Like The King of Rock ‘N” Roll, it’s another slice of perfect pop from Paddy McAloon. The track starts with backing vocals sweetly harmonizing, drums crash, and then the track turns into yet another minor pop classic. Paddy McAloon is a master at writing this type of track. It’s hook overload, the band give one their best performances on this track. The sound is big, full and very smooth. Drums and guitars are the forefront of the track. Wendy Smith’s backing vocals are a perfect foil for McAloon, and together, they produce a joyous uptempo track.
Prefab Sprout allow you to draw breath by dropping the tempo on I Remember That. It’s a slower track, one with a much simpler arrangement. The lyrics are romantic and thoughtful, and McAloon’s delivery of them is soft, gentle and highlight their beauty. I Remember That, starts gently, and meanders beautifully, benefiting from an understated arrangement. Quite simply, a lovely track.
Strange noises produced by a synth start Enchanted. This fools you. You wonder where the track is heading. Thankfully, it’s heading in the right direction. McAloon sings the sweetest of vocals, his voice very different from the previous track. There is one problem with the track. It features a synth which produces some jarring sounds. These sounds that are at odds with the rest of the arrangement. They’re like a minor assault on your senses, and slightly spoil the rest of the arrangement. That said, Enchanted is still a good track, one that would be better without the addition of that synth.
Nightingales is a much better track, a real return to form for the band. A keyboard plays at the start of the track, McAloon sings, his voice sweet, almost seductive. The arrangement is perfect, keyboard, drums understated, play in the background, sleigh bells and Stevie Wonder on harmonica complete the lineup. They sit in the background, never overpowering the vocal, allowing McAloon to take centre-stage, singing some intelligent, sad and thoughtful lyrics.
Hey Manhattan sees the band up the tempo. It’s a joyous song, one that strides along proudly. The sound is grandiose, overblown and totally glorious. It’s a song filled with hope and promise, a journey through about the sights and sounds of the American way. From the start, the song sweeps along proudly, the band coming together to produce one of their greatest songs. It’s not only a highpoint on this album, but in their career. When I hear tracks like this, I’m astounded that Prefab Sprout were never a much bigger band, especially in the US.
The next track, Knock On Wood, sees a very different sound and style. It’s a melting pot of styles. Listen carefully, you’ll even hear a slight reggae sound trying to emerge. Here, the sound meanders, rhythms and sounds emerging, developing and flowing, a variety of styles. Sometimes they blend well, merging effectively. McAloon sings the song with a very different style. His vocal is almost subdued, not as clear or confident. This suits the style of the song. The lyrics are tinged with sadness, even cynicism, and are about the problems with relationships. Knock On Wood is quite different to other songs on the album, one that shows another of the many sides to Prefab Sprout.
The Golden Calf starts with jangling guitars, reverberating. Drums provide a steady backdrop. The sound is both loud and full. McAloon’s vocal is high, loud and somewhat forced. His voice is full of passion. This track has a real 1980s’ sound. It’s like being transported back in time. When you listen to the lyrics, their full of vivid imagery, and even have a surreal quality in places. It’s an interesting track, one that seems slightly out of place on this album, it’s loud, almost raucous in places, totally different from tracks like I Remember That and Nightingales. However, having said all that, this is still a good track.
Nancy (Let Your Hair Down For Me) is the complete opposite to the previous track, The Golden Calf. Whereas The Golden Calf was loud, sometimes even raucous, Nancy (Let Your Hair Down For Me) is a beautiful, gentle song, one that has some of lovely lyrics. It’s the complete opposite to the previous track. When Paddy McAlloon sings the lyrics, he sings them softly, as if he means them, they almost sound personal to him. The arrangement is understated, deliberately subdued, allowing the song to breath, the lyrics to stand out, show their beauty.
From Langley Park To Memphis ends with The Venus of The Soup Kitchen. It starts with McAloon and Smith singing in unison. Then McAloon takes over, half-singing, half-speaking the lyrics. His voice is strong and clear. He is aided and abetted effectively, by Wendy Smith on backing vocals. The arrangement isn’t over complicated. There is nothing in the arrangement that doesn’t add to the song, and improve it. It’s a fitting song to end the album, a masterful example of McAloon’s songwriting skills and a brilliant overall performance from the band.
From Langley Park To Memphis was one of Prefab Sprout’s best albums. Although their early albums were all good, this album was much better. There are some wonderful songs on the album, songs that are amongst the best in the band’s career. The King of Rock ‘N” Roll, Cars and Girls and Hey Manhattan are minor classics, some of the best songs they’ve written and recorded. Even twenty-three years later, these songs sound as good as the day they were released. Like all quality songs, they sound timeless. McAloon’s voice on this album is fantastic. He demonstrates that he is capable of singing different styles of songs. Each time, he does so brilliantly. Should you never have heard this album before, or Prefab Sprout’s music before, I can highly recommend From Langley Park To Memphis. It’s an album full of wonderful music, some of the most perfect pop music your ears will be privileged to hear. Prefab Sprout released many fine albums, but among my other favorites are Jordan: The Comeback and Andromeda Heights. Should you just wish to hear their best work, the album to buy is The Best of-A Life of Surprises. One album that is hugely underrated is the last album they released, Let’s Change The World With Music. Whichever album you buy, you will hear some wonderful, joyous music, music that is timeless, and music you’ll never tired of hearing. Standout Tracks: The King of Rock ‘N” Roll, Cars and Girls, Hey Manhattan and Nancy (Let Your Hair Down For Me).
PREFAB SPROUT-FROM LANGLEY PARK TO MEMPHIS.
TERRY CALLIER-TIMEPEACE.
TERRY CALLIER-TIMEPEACE.
This article is about one of the most talented and charismatic artists I have ever been fortunate to see live. When you see him in concert, you’re immediately taken with his presence on stage. There is something about him that makes him stand out from other artists. He is a deeply religious man, but also a very humble man. I have written about him before, about his album Lifeline, a fantastic album, released in 1999. The album I will review today is Timepeace, Terry Callier’s comeback album, released in 1998.
I have written about Terry Callier and his career before. Born in Chicago, in 1945, he grew up in the North Side of Chicago, and was friends with other giants of soul music, Jerry Butler, Curtis Mayfield and Major Lance. He started playing folk clubs and coffee houses, before falling under the spell of legendary jazz musician John Coltrane’s music. Samuel Charters of Prestige Records met Callier, and encouraged him to record an album in 1964. This was The New Folk Sound of Terry Callier. Disaster struck. Charters inexplicably, decided to take the tapes of the album to the Mexican desert. This delayed the release of the album until 1968.
It would be a new decade before Terry Callier recorded another album. This was when he recorded three albums for Cadet Records, a subsidiary of Chess Records. These three albums are some of his best work. Occasional Rain was released in 1972, What Color Is Love in 1973 and I Just Can’t Help Myself in 1974. All of these albums contain some wonderful music, and I can recommend these albums to anyone interested in Terry Callier’s career. Alternatively, Essential-The Very Best of Terry Callier, released in 1998, contains the best of these three albums.
After being dropped by Cadet Records, Callier signed for Elektra. He recorded two great albums for Elektra. Both Fire On Ice, released in 1977, and Turn You To Love, released in 1978, were critically acclaimed. However, both sold badly.
Callier continued to tour until 1983. It was that year that he was given custody of his daughter. This led to him retiring from music. He took classes in computer programming and got a job at the University of Chicago. In his spare time, he studied for a degree in sociology. During this period, only one album was released, TC In DC, a live album recorded in Washington in 1982, before his retirement. It was released in 1996.
In the late 1980s’ UK DJs started playing Callier’s music in clubs. This led to Acid Jazz Records releasing I Don’t Want To See Myself (Without You), a track Callier recorded in 1983. From then on, Callier made trips to the UK to play concerts during his holidays from work.
Terry Callier began to make a comeback in the late 1990s. He recorded a track with Beth Orton on her Best Bit EP, which was later on her Trailer Park album. Then in 1998, he recorded Timepeace. The album saw Callier receive an award from the United Nations for outstanding artistic achievement and his contribution towards world peace.
Since the release of Timepeace, Callier has released a number of albums. They include the brilliant album Lifetime, released in 1999. Other albums have included studio albums Speak Your Peace released in 2002, Lookin’ Out released in 2004 and Hidden Conversations released in 2009. Two live albums and an album of remixes have also been released. It seems that Terry Callier’s comeback is complete. His music has found a new audience, and is reigniting the passion of his older fans, who missed his wonderful music, during his sabbatical. Now that I’ve told you about Terry Callier’s career, I will tell you what makes Timepeace such a wonderful album.
Timepeace opens with Ride Suite Ride (Intro). Callier strums gently on his guitar, singing some powerful lyrics. He is backed by organ and piano. The arrangement is minimal, adding to the drama of this short, powerful track.
Lazarus Man starts with percussion playing in the distance, Callier’s guitar meanders. The song slowly builds, dramatically, you’re dying to hear the lyrics, because of they match the introduction, they will be stunning. When Callier sings, you’re not disappointed, they’re spiritual, of biblical proportions. During the song, his voice veers from gentle and understated, to soaring and passionate. Throughout the song the drama builds, gradually, slowly. What emerges is Callier giving a stunning rendition of Lazurus Man, a song that when he sings it live, literally takes your breath away, such is the song’s dramatic impact.
The style changes, and the tempo drops, with Keep Your Heart Right, as if Callier’s pausing for breath, after his exertions on Lazarus Man. What stays the same is the quality and the passion. His voice is clear, emphasizing the beauty of the lyrics. It’s a song of hope, a beautiful one. On the track John Moulder’s guitar solo is exquisite, taking the track to another level. The backing vocalists are a perfect foil for Callier, they accompany him throughout the song, and fill in the spaces his vocal leaves. Quite simply, a stunning track, one I never tire of hearing.
Java Sparrow is the next song on Timepeace. It has an atmospheric start, water pours in the background, Callier’s guitar plays against the backdrop of water flowing. After that, he sings. When he does, prepare for a musical treat. His voice is stunning, his vocal is gentle, never forced, his rendition thoughtful, sung with feeling. The arrangement is perfect. It never overpowers his vocal, allowing his vocal to be the focus of your attention. This allows you to luxuriate in his performance, one that is among the best on the album.
The next song is one that will be familiar to many people, People Get Ready/Brotherly Love. People Get Ready is a classic Curtis Mayfield song, and Brotherly Love is a song Terry Callier wrote with daughter Sundiata. Callier’s version of People Get Ready begins with organ and guitar Then he gives a moving rendition complete with Gary Plummley’s brilliant tenor saxophone solo and some fantastic backing vocalists. The song blends into Brotherly Love beautifully, an equally beautiful song. The lyrics are positive, a message of hope, in troubled times. You can tell the lyrics contain an important messaage from Callier, so passionate is his performance. Towards the end of the song, the band cut loose, and turn the song into a slice of funky jazz. A saxophone blows, organ, piano, guitar bass and percussion all take turns to shine, and the backing singers improvisation is masterful, creating a wonderful suite of songs.
After the frantic and joyous ending to Brotherly Love, Callier slows things down on Love Theme From Spartucus, a song Callier cowrote with Alex North. From the gentle and spacious strummed guitar of the introduction, the dramatic atmosphere is palpable. After a minute, Callier sings, his voice slow, leaving plenty space, to add to the dramatic impact of the song. This works really well. You’re immediately drawn to the lyrics, they become the most important thing in your world, for the duration of the song. They’re a thing of beauty. A message of freedom, one that is highly relevant today, when people are downtrodden and oppressed worldwide. It’s a song about freedom, something we all take for granted, yet for some people, to quote Callier “it’s so far, so near.” Love Theme From Spartucus, is a moving and powerful song, one that makes you thankful of something we all take for granted, freedom.
No More Blues is a more upbeat song, which starts with drums guitar and Gary Plummley’s soprano saxophone. When Callier sings, his vocal is slow and clear, articulating the lyrics well. As the song progresses, the tempo increases slightly, becoming a jazz workout. Drums, piano, saxophone and those wonderful backing singers bring the song to life, transforming the song. More instruments enter the mix, sometimes quickly dropping out. The sound becomes bigger, fuller. Callier’s band show they’re masters of their instruments. He takes a back seat, allowing the to shine. When he returns, he joins in the improvisation, showing a different side to his vocal style, one that I enjoyed. What he ends up with, is a very different style of song, but still one of the highest quality.
The title-track Timepeace is next. It’s a song that begins with an improvisational style, various instruments that include saxophone, guitar and percussion. When Callier sings, his voice is loud and strong. He sings in front of the band, they in turn, fill the spaces his vocal leaves. Timepeace’s lyrics are deeply spiritual, full of imagery, with a strong narrative. Both Callier’s vocal and the band’s performance are of the highest standard. One man who deserves credit is the legendary Pharoah Saunders, whose tenor saxophone solo, is one of the highlights of the track. His playing compliments Callier’s voice perfectly, never overpowering the vocal, and filling spaces which Callier leaves. Saunders and Callier both give fantastic performances on this wonderful track.
Terry Callier wrote Following Your Footprints with Wayne Shorter. It’s track with a strong jazz influence. Right from the start this is apparent. Callier is joined on vocals by Veronica Cowper. Their vocals blend together perfectly. Throughout the track, each member of the band takes centre-stage, showcasing their considerable talents. Mark Edwards on piano, Gary Plummley on saxophone and Dave Barnard on bass all give musical masterclasses. Again, Callier decides to improvise, and during what is a long track, joins with his band in demonstrating his vocal agility. Following Your Footprints is very different to much of Terry Callier’s other work, but is a good song, one that you need to listen to several times to appreciate its subtleties and nuances.
C’est La Vie begins with percussion and piano. Its an upbeat song, that sets off at a jaunty tempo. Callier’s vocal is light and gentle. He takes care to articulate the lyrics, lyrics that are about love, and the fear of losing the one you love. As the song progresses, his voice strengthens and gets louder, as if wanting to emphasize the lyrics. The song features great performances from the band, they seem to have reserved a standout performance for this song.
One of the best tracks on the album is next, Coyote Moon. It’s a song with wonderful lyrics. So strong is the narrative, that you can close your eyes and picture what Callier is singing about. That’s how descriptive the lyrics are. You can picture leaving the crowded city, to the peace of the countryside, with fog rolling down the mountains, and traveling along empty roads. Terry Calier’s rendition of this song is so good, that it allows you to imagine these places. The way Coyote Moon is arranged, is understated, allowing Callier’s vocal to shine. Behind Callier, the band play gently, never overpowering or crowding his vocal.
Aka New York Al is the next song on Timepeace. Its introduction meanders, smoothly, sometimes hesitantly. When Callier makes an appearance, he half-speaks, half sings. The lyrics sound personal to Callier, and he sings about travelling through life with the subject of the song, telling of their shared experiences. Callier sings the song beautifully, it’s a heartfelt rendition of the song. This song benefits from a simple arrangement, and Toni Moore and Suzanne Palmer’s backing vocals compliment Terry Callier’s voice wonderfully.
Timepeace ends with Traitor To The Race. On this uptempo song, Callier’s vocal style is very different. When he sings, he is almost rapping the lyrics. It’s a song full of social comment, that describes the problem faced by young people in the American projects, where people of the same race kill, abuse and hurt each other. Caliier sounds angry, annoyed and saddened, despairing at the futility of this behavior. This song could be describing similar problems faced by young people worldwide. The lyrics are highly pertinent, and as relevant today, as twelve years ago, when the album was released. Traitor To The Race has a much more contemporary feel and sound to the arrangement, one that matches the lyrics. It’s a very different song from others on the album, but is one with an important message, one that must be told, and something done about it.
Timepeace truly was a magnificent comeback album from Terry Callier. After eighteen years away from a recording studio, it seemed like he had never been away. His voice was better than ever, and his songwriting skills just as good as before. The years spent on sabbatical hadn’t diminished his creativity, quite the opposite, it was like he returned refreshed, with plenty to say, desperate to say it. This album sees him tackle a variety of subjects, love, spirituality, friendship and social problems. Much had changed during his absence from music, but Callier returned fresh, ready to comment on a changing world. Since then, he has produced a number of albums. My particular favorite album since Timepeace, is Lifeline, an album that is even better than Timepeace. For someone who has never heard Terry Callier’s music, Timepeace and Lifeline are good introductions to his later albums. If you want to explore his earlier work Essential-The Very Best of Terry Callier, is a good starting point, and covers all his recordings on Cadet. However, it doesn’t include his work on Elektra. That is available on About Time-The Terry Callier Story 1965-1982. There are many compilations of Terry Callier’s music available, these are the best. They’ll give you an overview of his musical career. They will introduce you to the various periods of his career, and then let you explore his music further. You have a fantastic musical journey in front of you, one that I’m sure you’ll thoroughly enjoy. Standout Tracks: Keep Your Heart Right, Java Sparrow, People Get Ready/Brotherly Love and Coyote Moon.
TERRY CALLIER-TIMEPEACE.
DR JOHN-ANUTHA ZONE.
DR JOHN-ANUTHA ZONE.
The artist I’m going to write about today is one of the greatest live acts I have ever been privileged to witness. Twice I have been lucky enough to witness him live in concert, each time he was brilliant, producing a masterful performance. One of the concerts I was at, was when he was touring the album this article is about. On that night, he produced a performance that turned back time. He played some of his classics, and much of this album. Everyone present, was enthralled by his brilliance, his piano playing and singing were of the highest standard. The second time I saw him in concert, he was even better. My advice is, if you ever get a chance to see Dr John in concert, you must go, you’ll not be disappointed. Anutha Zone is the album this article is about, released in 1998.
Before telling you about this brilliant album, I will briefly tell you about Dr John’s life and career. He was born Malcolm John “Mac” Rebennack jr, in November 1940. His music is a combination of various types of music. Blues, jazz, zydeco, boogie-woogie, rock and roll and even pop. Starting out as a session musician towards the end of the 1950s, he was originally a guitarist, who also played piano. Fame didn’t come either quickly, or easily for him. It was only in the early 1970s’, that he came to the public’s attention. He drew inspiration from medicine shows and Mardi Gras, and his stage shows were spectacular, containing outlandish costumes and voodoo ceremonies.
Some of his best work was released between 1968 and 1974 on Atco records. His debut album Gris-Gris, is a classic album, one that shows Dr John at the peak of his powers. It contains voodoo rhythms and chants, and stays true to the musical tradition of New Orleans. So highly regarded is the album, that it is in Rolling Stone magazine’s top 500 albums. Three further seminal albums followed in a similar vein to Gris-Gris. Babylon in 1969, Remedies in 1970 and The Sun, The Moon and The Herbs in 1971. All are albums that I would highly recommend as a snapshot of Dr John’s earliest work. To me, these albums are among his best ever.
Gumbo was released in 1972. It contained many songs that were important in New Orleans music. Like its predecessors, it contains some wonderful music, and Dr John’s interpretation of this music, is among his finest work. It has been described by many as psychedelic voodoo music. Indeed, he wouldn’t explore the psychedelic voodoo music until Anutha Zone, the album this article is about.
After Gumbo Dr John decided to expand his musical horizons, and explore other musical styles. In 1973 he recorded In the Right Place, with Allen Touissaint and The Meters, analbum of New Orleans funk music. It’s another important album, one highly regarded by music critics. He followed this Desitively Bonnaroo, another album of New Orleans funk music. Again, it’s a highly regarded album, one filled with some wonderful music, showing Dr John at the peak of his powers.
Dr John released three other albums in the 1970s’ the best of which was Hollywood Be Thy Name, released in 1975. It was nowhere near the standard of his other albums in the late 1960s and early 1970s.
The 1980s were not the greatest period in Dr John’s career. My favorite album from that period is In A Sentimental Mood, released in 1989. On this album, he plays some old standards, and his voice and piano playing are brilliant.
The 1990s were slightly kinder to Dr John. 1994 saw him release Television. Although still not a return to his earlier brilliance, the album contains some good music. By 1998, his glory days were long gone, a distant memory. He was still remembered fondly by people like myself, long term fans, who loved his music. Then in 1998, it was announced he’d recorded a new album, one which saw him collaborate with a number of “guest artists” and which was produced by John Leckie. Granted, guest artists were hardly musical heavyweights, but John Leckie was a highly respected and talented producer. Immediately I was interested. When the album was released, it was a pleasant surprise, Dr John had rolled back the years to produce a great album, one I well tell you more about shortly.
After Anutha Zone, Dr John has released seven further albums between 2000 and 2010. They’re a mixed bunch. Some are good, very good and others not so good. The best are Duke Elegant in 2000, a tribute to Duke Ellington, where Dr John interprets some of his songs. Creole Moon released in 2001, Mercernary a tribute to Johnny Mercer, which sees Dr John sing a number of Mercer’s songs and Tribal released in 2010, are the best albums he has released post Anutha Zone. The rest of the albums released in tis period all have some good music, but aren’t among his best work.
Having briefly told you about Dr John’s long and distinguished career, I will now tell you about Anutha Zone, a wonderful album. Anutha Zone sees Dr John return to the psychedelic voodoo music of Gumbo, so to get in the mood, draw the blinds, light some candles and burn some incense. The album opens with Zonata, what can only be described as a short musical interlude. Dr John warming up before the main event, he slowly plays some moody piano. Although only forty-six seconds, it’s forty-six magical seconds.
Quickly, the mood becomes magical, a real slice of down home New Orleans. It’s funky, moody, Dr John’s vocal whispering, slightly eerily on Ki Ya Gris Gris. He has set the mood now. Percussion and congas, set the mood, guitars, drums all contribute towards the mood. What makes the track, is Dr John’s vocal, one minute whispering, eerily and moodily, sending shivers down your back, the next shrieking. Quite simply, this track is a moody, eery, slice of New Orleans.
The tempo increases, and the mood changes with Voices In My Head. There still is an intensity with in the track. This track sees a guest appearance by Gaz Coombes, of Supergrass. Underwhelmed? I am. Voices In My Head is a real return to form by Dr John. His vocal is strong, clear, showing signs of his glory days. Behind him, his band are brilliant. They’re tight, a crack group of musicians. Drums provide a steady backdrop, and horns augment the sound, filling the space left by the vocal. Towards, the end of the track, the pace quickens, the sound intensifies, resulting in powerful track.
Hello God sees Dr John half-speaking, half singing the lyrics. His voice is deep, gravelly and atmospheric. Perfect for this song. There is both an intensity and moodiness, within the track. So palpable it is, you can almost sense it. At the start of the song, the drums are slow and spacey, in keeping with the half-spoken mercurial vocal. The song is a dichotomy. It veers between darkness and light. On this track, The London Gospel Community Choir provide backing vocals. This results in a big sound, one that compliments Dr John’s vocal, and brings the song to life. Their role is of huge importance, and provide the light to the earlier darkness of the track.
John Gris begins with distant drums, a flute playing, and a return to his psychedelic voodoo music of yesteryear. Straight away, the atmosphere is sinister, otherworldly and glorious. It’s a trip down memory for long term fans. One that brings to mind Mardi Gras, spine-tingling experiences and New Orleans at its most outlandish. His whispered vocal, adds to the atmosphere, as does the melange of musical instruments, including birambao, percussion, horns, flute, drums and droning backing vocals. Quite simply, an otherworldly musical experience with no equal.
One of the album’s best tracks is Party Hellfire. Making a guest appearance on guitar and vocal is Paul Weller. From the opening bars of the piano you realize that you’re in for a musical treat. What follows is just under five minutes of brilliant piano playing and singing by the Dr. The lyrics are among the best on the album. It is a track that is almost flawless. Every musician produces a brilliant performance, and Carleen Anderson deserves credit for her backing vocals. My only quibble is Paul Weller’s backing vocals. They don’t blend in well with the rest of the backing vocalist, tending to overpower the others. I get the impression he’s trying too hard in such exulted company. Don’t give up the day job Paul. Apart from that minor quibble, this is a masterful track.
I Don’t Wanna Know, is a cover of an old John Martyn song. Apart from John Martyn’s version, this is one of the best versions. Dr John sings the song beautifully, singing the song straight, with no frills. He sings the song the way it was meant to be sung. The addition of a Hammond organ really fills the song out, adding character to it. Both the arrangement and production are of the highest standard. John Leckie’s production is of the highest standard on this album. Like the last track, Weller’s vocal tend to grate, and are not suited to the arrangement. That is my only criticism of this brilliant song.
The title track Anutha Zone is the next track. After three great tracks, one after the other, this song has a lot to live up to. Sadly, it’s no equal to the previous three tracks. Although it’s a prime slice of funk, with Dr John’s piano playing of the highest standard, and his vocal good, the lyrics let the song down. Everything else is good, the arrangement and production, and the standard of musicianship. All that lets the song down, is slightly weak lyrics.
Thankfully, I Like Ki Yoka, sees a return to the high standard of the rest of the album. The atmosphere is moody, moody with a capital M. From the start your taken on a journey, one that’s otherworldly, with a hint of the supernatural. A saxophone blows, setting the tone, afterwards Dr John whispers moodily, before singing. Drums, percussion and brass section provide a backdrop, with backing vocalists accompanying Dr John. Once the track ends, you feel relieved, yet privileged, to have heard such a great track.
The mood doesn’t lighten any, with The Olive Tree. What changes is the lyrics. They’ve a spiritual theme. Straight away, Dr John keeps the moody, atmosphere up. It’s broody, dark almost heavy. His band join him in accomplishing this. Drums, percussion, congas and clarinet all set the mood. Dr John’s vocal matches this mood. His vocal is strong and dramatic, articulating the powerful lyrics. What he ends up with, is a strong track, one thats dark and moody.
Soulful Warrior begins with an organ playing, its sombre. Then quickly, the mood changes, heading uptempo. The rhythms are joyous, catchy and infectious. However, the lyrics are dark and sad, touching on the futility of war and conflict. Dr John’s singing is among the best on this album. His voice is softer, not as loud, and is more melodic, than on other tracks. Both Dr John and is band are at one on this track, and have produced a great track.
Dr John’s voice is at his darkest, moodiest best on The Stroke. His vocal is almost a growl, as if suppressing his anger and disgust. The lyrics match the darkness of his mood. Contributing to this atmosphere, is the backing band. Their performance meanders, moodily, full of darkness, occasionally, allowing the light to shine in. It’s a great track, one that will send shivers down your spine, and one you’ll never tire of hearing.
Anutha Zone closes with Sweet Home New Orleans. It’s very much a case of after the dark, comes the light. After the darkness of The Stroke, comes the light of weet Home New Orleans. Although it starts slowly with piano and brass section playing, don’t be fooled, the Dr and his band are just warming up. Good things come to those who wait. That’s the case here, because soon, the track opens up, to become a great slice of New Orleans tinged funk. Dr John’s voice and piano playing are stunning, and behind him he is fortunate to have a wonderful group of musicians and backing singers. All of them come together to make this a fantastic end to a great album.
Anutha Zone was a welcome return to form from one of my musical heroes. It was one of his best albums in a long time. During a career that now spans six decades, he has produced many masterful albums. Strangely enough, he is not an artist that is widely known. He is very much one of music’s best kept secrets. Many people call him a musician’s musician, like JJ Cale. It’s a pity that more people haven’t discovered this secret. On Amutha Zone, there are some wonderful songs, songs Dr John sings and plays piano brilliantly on. He’s backed by his usual wonderful band, as well as some “guest artists,” whose contribution to this album, is minimal in my opinion.
Anyone who has read this article and is thinking about buying Anutha Zone, my message to them is go ahead, it’s a brilliant album, one that will immediately make you a fan of Dr John. There are numerous other albums of Dr John’s that are well worth buying. In fact, all the albums I have mentioned in this article are the basis for a collection of Dr John’s best albums. They will give you a snapshot of the best of his career. If you buy these albums, you’ll not go far wrong, and you’ll find yourself wondering why did I not discover Dr John sooner? Standout Tracks: John Gris, Party Hellfire, I Don’t Wanna Know and I Like Ki Yoka.
DR JOHN-ANUTHA ZONE.
BOB MARLEY AND THE WAILERS-EXODUS.
BOB MARLEY AND THE WAILERS-EXODUS.
Although I love all types of music, one type of music I have always loved is reggae music. Ever since I was young I have reggae. Mostly it’s dub reggae I like, but I like all types of reggae. One artist who has always been a favorite of mine, is Bob Marley. Marley produced many great albums during his sadly, short, career. One of the best was Exodus, which he recorded in Jamaica and London in 1976 and 1977. It’s an album that since its release, has been considered one of the greatest albums of all time. Before I tell you why Exodus is such a great album, I’ll tell you a little about Bob Marley’s life and career.
Bob Marley was born in February 1945, in Nine Mile, Saint Ann, Jamaica. He came from a mixed race family. His father was a white Jamaican, who was a captain in the Royal Marines. Although he never saw his family, his father supported them financially, until he died when Bob Marley was ten. Marley’s mixed race background led to questions about his racial identity during his life. However, he saw himself as a black African. Two of his biggest influences were Marcus Garvey and Haile Selassie. From an early age, Marley’s political and religious views were established. Throughout his life he would publicize the Rastafari movement and Jamaican music, two things hugely important to him.
An important, but chance meeting with Neville “Bunny” Livingstone, who became Bunny Wailer would play a huge part in Marley’s future. Marley left school aged fourteen, to make music with Joe Higgs, who was a local musician and devout Rastafari. Whilst jamming, Marley met Peter McIntosh, who would become Peter Tosh, who like Marley, wanted to make music. In 1962, Marley recorded two singles, under the name Bobby Martell.
By 1963, Marley, Wailer and Tosh had established a ska and rocksteady band. They changed names often, but eventually became the Bob Marley and The Wailers. The group were active between 1963 and 1974. It was during this period that Marley became Rastafari and married Rita Anderson. Bob Marley struggled to become successful during this period. Success continued to allude Marley. Even an alliance with Lee “Scratch” Perry failed to produce success for Marley, ending in acrimony between the pair. The session produced some wonderful music, among the best of Marley’s career, and is well worth hearing.
By 1973, Bob Marley and The Wailers were still struggling. When Catch A Fire was released, it was well received by critics, but didn’t sell well. This lead to the Wailers splitting up. After they split, Marley continued recording as Bob Marley and The Wailers.
Between 1974 and 1981, he was about to enter a period that saw him produce a number of classic albums, including Exodus. The album that gave his first hit outside Jamaica was Natty Dread released in 1975. It included the single No Woman, No Cry. That was a huge hit, and introduced the world to the wonderful music of Bob Marley. The follow-up to Natty Dread, was Rastaman Vibration in 1976. This was the album that broke Marley in the US. It reached number one on the Billboard Hot 100, and stayed there for four weeks. Little did Marley know that in December 1976, his life would be at risk.
Marley had agreed to participate in a free concert in Jamaica called Smile Jamaica. It had been organized by the Jamaican Prime Minister to ease tension between two political groups who were at war. Two days before the concert, Marley, his wife Rita and his manager Don Taylor were all shot and wounded, in an attempt on their life. Despite this, Marley still played in the concert.
This attempt on his life lead to Marley leaving Jamaica. He spent a month in the Bahamas recovering and writing at Island Records owner Chris Blackwell’s Compass Point Studios in Nassau. During his stay there, he recorded material for his next two album Exodus and Kaya. The rest of Exodus was recorded in London, while Marley recovered from the attempt on his life.
Exodus propelled Marley to international stardom. The album was a success worldwide, firmly establishing him as global superstar. Three singles were released from the album Jamming, Waiting In Vain and One Love/People Get Ready. In the US, Exodus only reached number twenty in the Billboard Hot 100. It was a huge success in the UK, and other countries worldwide. SInce then, the album has been recognized as one of the best album ever recorded, with Rolling Stone magazine including it in their top 500 albums of all time. I will tell you what makes this album so special shortly.
After Exodus, only three more albums would be released in his lifetime. Kaya the follow-up to Exodus was released in 1978. It had been recorded in the Bahamas at the same time as much of Exodus was recorded. It has a very soft and laid back sound, with songs about love and marijuana. The album sold well, and entered the top five in the UK album charts.
Survival was released in 1979. It was a highly political album. Marley is at his most militant on this album, with African unity one of the key themes. The album was meant to be one of a trilogy of albums, with Uprising and Confrontation completing the trilogy. Survival sold well, and shows another side of Marley.
Uprising was released in 1980. It was the final album released in Marley’s lifetime. O the album, nearly every song is to do with Marley’ Rastifarian beliefs. The album closes with Redemption Song, which has since become a classic acoustic folk song. Although the album sold well, in only reached number forty-one in the US Billboard Hot 100, but sold better in the UK.
Bob Marley died of cancer in May 1981. He had been suffering from a malignant melanoma which was discovered when he injured his toe playing football in July 1977. Between July 1977 until his death, Marley continued to record and tour. The third record in the trilogy Confrontation was released two years after his death. It comprised unreleased material recorded during his lifeline.
Having told you about Bob Marley’s life, I will now tell you what makes Exodus such a fantastic album. Exodus opens with Natural Mystic, which opens with a slow reggae beat and Marley singing softly. His voice is laid back, almost lazy, but he articulates the lyrics clearly, with feeling. The arrangement has left loads of space in the track, allowing it to breath. Bass, drums and guitar are joined by a brass section, which brings the track to life. It’sa great track to start a classic album.
So Much Things To Say is the next song on the album. Like much of Marley’s music, spiritually is important to him, and this is the case here. It’s a very spiritual song, one that Marley sings well. He delivers the song passionately and powerfully. The way the song is arranged is quite simple, just drums, guitar, bass and organ. There is a similarity with the rhythm and that of Natural Mystic. Both sound quite similar. That is no bad thing as the rhythm is so catchy, it’s infectious. What makes the song is the lyrics, they’re powerful and the message delivered passionately.
Guiltiness starts with drums, crisp and loud, which are joined by organ, bass and guitar. Later the brass section joins. Marley’s vocal is clear, as if desperate to get across his message. As Marley sings, the rhythm section meanders along, playing gloriously, creating a masterful backdrop for his vocal. His lyrics are powerful and intelligent. Marley was a man with a social conscience, and was firmly on the side of the oppressed. He gets his message across here really well, via this thoughtful song.
The Heathen’s lyrics are like a cry to arms from Marley. He calls for the “fallen fighters to rise up and take there stance again.” This is Marley the militant, at his political best. Helping to encourage the downtrodden and oppressed to rise up, and crush their oppressors. I’ve always found this an inspirational song, one that is still relevant today, and always will be. Marley sings the song passionately, with just enough defiance. Behind him, The Wailers have produced a masterful performance, one to match the inspirational lyrics.
The title track Exodus is next. A bass plays, is joined by piano and brass section, then Marley enters stage right. When he does, he goes on to produce one of the best performances on the album. He sings some highly spiritual lyrics, that can’t fail to touch you. You experience the trials and tribulations, as well injustices suffered. When Marley sings the lyrics to Exodus, you can sense his anger and frustration, but also his hope for the future, and belief that one day, things will change, and improve. Exodus is a powerful track, one of the best on the album.
How do you follow a brilliant track like Exodus? Quite simple, with another fantastic track Jamming. This is a track that takes me back over twenty years, this album was the soundtrack to the summer of 1977. Exodus was on heavy rotation, and one of the most played tracks was Jamming. Immediately, when you hear the opening bars, you know this is going to be a joyous slice of sunshine. Drums start the track, the piano plays, then Bob Marley sings, some joyous lyrics. It’s a feel-good track, one with a lovely catchy rhythm. It’s highly infectious, almost contagious. It’s no exaggeration to say that listening Jamming is one of the best three and a half minutes you will ever spend.
The quality keeps on coming with Waiting In Vain. Here the tempo drops, Marley sings a beautiful love song. As usual he sings the lyrics beautifully, they’re heartfelt, passionate, a plea to a lover. Waiting In Vain ambles along, Marley singing in front of a brilliant rhythm section. The arrangement is tight. Nothing is out of place. You’re witnessing some fantastic musicians at the top of their game. What you’re also privilege to hear is a lovely love song, beautifully sung.
One of my favorite songs by Bob Marley is Turn Your Lights Down Low. It’s a song that I never tire of hearing. A paean to love, one of the most beautiful and romantic songs you will ever hear. What makes the song, is they way its arranged. Throughout the song, from the drums that open the track, and Marley singing, the whole song is understated. There is nothing unnecessary in the in arrangement. It’s an example of where less is more. Marley is backed by a rhythm section, percussion, organ and backing vocalists. Each ensure they don’t overpower Marley’s vocal, and sit firmly in the background. Marley, in turn, sings quietly, gently, emphasizing the inherent beauty in the lyrics. The result is stunning. A brilliant love song, one that is timeless.
The tempo increases with Three Little Birds. Previously, we’ve heard Marley the militant politician, his spiritual side and Marley the lover. This song seems to fit into the first category, with him delivering a message, telling his people not to worry, things would be okay. Like Jamming, the track is an uptempo, feel-good track, one that lifts your spirits, gives you hope for the future. From the introduction with drums and organ, until Marley sings, the mood is positive. Thereafter, the track flows joyously, full of rhythms and hope. Marley is accompanied by backing vocalists, who are a perfect foil for his voice They compliment his vocal style perfectly. The Wailers, as usual, are a backing band with no equals, and played a huge part in shaping Bob Marley’s sound.
Exodus closes with One Love/People Get Ready. This is a great way to end the album. A song with a powerful message, which is still as relevant today, as then. One Love starts softly, meandering along gently. When Marley starts to sing the lyrics, their power hits you. His sincerity and hope for the future shines through. Their message is strong, heartfelt and delivered in hope. It shows Marley’s talent as both singer and songwriter, and like much of his music, was one with a message, and with a purpose. The song is sung and played perfectly, Bob Marley and The Wailers reserving one of their best performances for the final track, on this seminal album.
Exodus is, in my opinion, one of the greatest albums of Bob Marley’s, tragically short career. Ten songs, covering politics, spirituality and love. Each of them of the highest standard. Not only was it one of his best albums, but it was one of the best albums between 1975 and 1980, a real low point in the UK music scene, when punk and prog rock tormented the ears of music lovers, masquerading as music. Between the same period, Marley was producing some of the greatest music of his career. Every album he produced was of the highest standard, and was crammed full of wonderful music, music that offered hope to many people. It’s a tragedy that in 1977, he first became ill, and that his life was cut short, dying too young, aged thirty-six. Had he lived, he would’ve had so much to offer, he could have become a spokesman for a generation. Thankfully, he left a wonderful legacy. He left behind some wonderful music, that we are all still able to enjoy.
Exodus was a highpoint in his career, if you have never heard it, I would recommend that you buy it straight away. You won’t be disappointed, you’ll be privileged to hear some of Bob Marley’s greatest work. He produced many other great albums, but I would recommend Catch A Fire and Natty Dread as two other albums worth buying. They’ll allow you to experience different sides to Bob Marley and his music. Standout Tracks: The Heathen, Exodus, Jamming and Turn Your Lights Down Low.
BOB MARLEY AND THE WAILERS-EXODUS.
DUFFY-ROCKFERRY.
DUFFY-ROCKFERRY.
I’m not usually the type of person that bothers much with commercial music. Most successful commercial music is the result of hype and marketing, rather than talent. This is nothing new in the music industry. Much of the success of many punk and post-punk groups was due to puff pieces and hype in the music press. Their talent was minimal, so friendly music journalists were dispatched to write articles praising these groups. However, the artist this article is about, has talent in abundance. She possesses one of the most soulful voices in the music industry, and her debut album was a huge commercial success, selling six million copies worldwide. When I was first alerted to this singer, I was immediately taken with the quality of her voice. Even before the release of her first album, comparisons were being made with the late Dusty Springfield. Duffy is the artist in question, and the album is Rockferry, her debut album.
Duffy was born Aimee Annn Duffy, in June 1984, in Bangor Wales. She grew up speaking Welsh, but quickly learned to speak English, as even then, she wanted to be a singer. She recalls writing songs with her twin sister and older sister, as a child. After her parents divorce, when she was ten, her home life was, to say the least, turbulent. Her musical inspiration came from watching videos of the 1960s’ television program Ready Steady Go. Duffy’s love of soul music stemmed from watching a Whoopi Goldberg film Sister Act. This also inspired her to become a singer.
Duffy’s career followed a familiar pattern to many artists. She joined local bands and sang with them. Duffy even spent a year in Switzerland working with writer and producer Soren Mounir, using the name Souego. On her return to Wales, she went to college and it was there, a lecturer gave her some good advice. He told her go on the dole and become a singer. This she did, joining bands, and building up a local following in a local jazz and blues club. She even entered a talent show on Welsh television. Expected to win, she came second. Later, she said it was an unhappy period in her life. Her next foray in music was recording a three song EP in Welsh. in 2008 it would give Duffy a number one hit in Wales.
Her big breakthrough came on meeting Jeanette Lee of Rough Trade Records in August 2004. Lee arranged a meeting with Bernard Butler, ex guitarist with Suede, now a record producer. Butler proceeded to educate Duffy about soul music, downloading tracks by Bettye Swan, Al Green, Anne Peebles and Doris Duke onto Duffy’s ipod. She would listen and learn during her travels between London and Wales. Her debut album Rockferry took four years to make. During that time, she worked with several writers and producers. The biggest influence was Bernard Buler who cowrote and produced four tracks on the album. His influence and expertise were invaluable, as a mentor, writer and producer. On its release in March 2008, the album sold 180,000 copies in the first week of its release, and 60,000 on the release date. Rockferry ended up selling six million copies worldwide, and turned Duffy into a global success story. In 2009, the album won a Grammy for Best Pop Vocal Album, and three Brit Awards.
The follow-up to Rockferry, Endlessly was released in November 2010. Endlessly saw Duffy change producer and form a songwriting partnership with Albert Hammond Snr. On its release, the album wasn’t as well received. It only reached number nine in the UK album charts. Nor did the one single Well, Well, Well didn’t fare well either, reaching only number thirty-seven in the UK singles chart. Why did this album not fare so well? That is hard to explain. Maybe her split with Rough Trade Management and Jeanette Lee in January 2010, and the lack of Bernard Butler as mentor, writer and producer have affected her. Both Lee and Butler played a huge part in launching Duffy’s career. In February 2011, Duffy announced that she was taking a break from music before recording her next album. The big question for me is, will she ever replicate the success of Rockferry?
Rockferry opens with the title track Rockferry, one of the standout tracks on the album. The track opens with piano and guitar, the piano sounding slightly moody, the guitar chiming. Then a remarkable transformation occurs. Duffy sings. Her voice transports you back, back in time. It’s like revisiting the past, a time when singers like Dusty Springfield were in their prime. It’s a lovely retro sound. Her voice is loud, strong and confident. She has a great control of her voice, a wide vocal range and her voice is filled with sincerity. It’s a dramatic song, one that sweeps along, and builds to an emotional climax. A great song to start the album, it grabs your attention, and makes you long to hear how Duffy will follow such a strong song.
Having asked how she would follow Rockferry, the answer is quite simple, with a quite masterful track, one that is even better than the opening track. If ever a song painted a picture, then Warwick Avenue does. Warwick Avenue is about a love affair, one that has gone badly wrong, she sings of being hurt, feeling smothered and wanting to be free. So strong are the lyrics that you can visualize the scene playing out in front on you. You can imagine the turbulent relationship, empathize with her pain and hurt. In the end you too, want her to be free from this dreadful relationship. That is how strong the narrative is. The song has a retro sound and feel, beginning with bass and guitar, playing gently behind Duffy’s vocal. Her delivery is passionate, and emotional. As the song progresses, the sound builds, stings sweep in and out, leaving the minimal backdrop of guitar and bass. Towards the end, the song builds, the sound becoming bigger, Duffy’s emotional vocal is stunning. Quite simply, a brilliant song.
Serious has a very different sound than the previous two tracks. It has a brighter, more uptempo sound. That is until you listen to the lyrics. They’re another relationship song, again one that hasn’t gone well. She sings about feeling like an accessory to her partner, and being the butt of his jokes. The point of the song is how can he be serious about love when he behaves like this. When she sings the song, she doesn’t use such a wide vocal range. There are no soaring vocals, preferring to sing in a lower key. The song is well arranged and produced, it flows, benefiting from some great strings, piano playing and backing vocals. Like the other songs so far, the songs reference points are firmly in the past.
The next track is Stepping Stone, a song Duffy said was about not telling someone how she felt about them. It’s a personal song. Stepping Stone has a minimalist sound, Duffy’s voice sits at the front of the mix, behind her strings, drums and piano play quietly, allowing Duffy’s vocal to shine. This is a much better song than Serious, and much of that is down to the way the song has been arranged.
Duffy sighs at the start of Syrup and Honey, before singing, accompanied only by a guitar. Her voice is worldweary, sounding cynical about a relationship. She sings the song beautifully, producing an emotional performance, packed with feeling and frustration. The arrangement is hugely effective, just Duffy backed by guitar. This demonstrates how talented a vocalist she is.
Hanging On Too Long has a lovely subdued start, with just guitar, drums and string playing. When Duffy sings, her vocal is equally subtle. Quiet, gentle and thoughtful. Her voice is full of emotion and passion. The delivery is strong. Behind her strings sweep, a guitar plays and backing singers join Duffy, giving the song a gospel sound. For someone still quite young, her voice is both strong and mature. To be able to deliver this song so well, is testament to her talent, and a good production team.
Like Stepping Stone, the next track Mercy, is autobiographical. Duffy says it’s a song about sexual liberation and “not doing something somebody else wants you to do.” A dull drum sound starts the track, then when Duffy sings, you’re transported back to the 1960s’. It could almost be an old Northern Soul track. It has the perfect tempo, 130 beats per minute. Her vocal is both strong and sweet. The arrangement has a real retro sound, Duffy and her backing singers singing call and response. They’re a perfect foil for Duffy, and complete the retro sound. Mercy was a huge hit in 2008, and when you listen to this great song, you will hear why.
On Rockferry, the songs are a range of styles, and on Displayed Devotion, the style changes again. The soulfulness remains. That is a constant. Displayed Devotion is a slower song. Strings, drums and guitar provide a backdrop for Duffy’s sweet rendition of the song. Her voice is perfectly suited to the song, she carries it well, singing well within herself, never unleashing her powerful voice. Again, the song sounds from a different era. That said, it’s a glorious song, sung beautifully.
As I’m Scared begins minor chords play, the song meanders gently, Duffy sings, quietly at first, then more powerfully. For most of the song her voice is low and seductive. It draws you in, makes you listen carefully to the lyrics. They’ve a strong narrative, are very descriptive, allowing you a view of her world, and her sadness. The arrangement is perfect, understated, never overblown. Strings especially, bring out the beauty in the song. It allows her vocal to take centre-stage, on this lovely track.
Rockferry closes with Distant Dreamer. It’s a song with big sound, one where Duffy unleashes her voice, displaying her wide vocal range. The production takes as its reference point Phil Spector, and other 1960s’ producers. This is a wall of sound. When the song begins, you can sense this is going to be a dramatic song, one with a big sound. Distant Dreamer builds and builds, the sound gradually grows. Duffy’s voice gets louder and stronger. Her delivery is passionate, totally heartfelt. The production matches this, building the song up, so that it will end in a glorious crescendo. You witness a moment of high drama as the song moves towards its conclusion. Then suddenly, the tempo drops, the strings sweep and the song ends. Afterwards, you feel drained, after being caught up in the intensity and drama of this fantastically powerful song.
Rockferry is a wonderful album, one where the world was introduced to a hugely talented artist, blessed with a glorious voice. Duffy’s debut album was unusual, unusual in the sense that every song was of the highest quality. There are no second-rate songs or filler. She was fortunate to be surrounded by some hugely talented writers and producers. They helped bring out the her talent that she quite clearly had, and helped her to develop as a singer and songwriter. Bernard Butler’s influence was huge. He was not merely cowriter and producer, he was much more than that. Butler was very much Duffy’s mentor, teaching her about music and the music industry, and introducing her to the work of some wonderful artists. His role can’t be understated. Jeanette Lee at Rough Trade Management also had a huge role in shaping Duffy’s career, and like Butler, her contribution shouldn’t be underestimated. When she recorded Endlessly, neither Butler, nor Lee, were part of Duffy’s “team.” I wonder if Butler and Lee were still about, if Endlessly would’ve been a better, and more successful album. If I had anything to do with Duffy’s future, I would recommend reuniting with Butler, and starting where they left off with Rockferry.
Having spent some time listening to Rockferry and the follow up Endlessly, I’m left wondering why her record company didn’t stick with the personnel that produced Rockferry? That would have made sense. They could’ve developed Duffy’s career gradually, allowed her to explore new sounds and styles. Instead it was all change for Endlessly. Endlessly isn’t a bad album, quite the opposite, there are some good tracks on it. What it lacks is the quality of songs on Rockferry, and the slick arrangements and production. I hope that Duffy’s next album is more Rockferry than Endlessly. She is hugely talented, and possesses a fantastic voice. It would be a shame if she never scaled the heights of Rockferry again. Standout Track: Rockferry, Warwick Avenue, Mercy and Distant Dreamer.
DUFFY-ROCKFERRY.
LEFTFIELD-LEFTISM.
LEFTFIELD-LEFTISM.
In previous articles, I have often written about artists who have been pioneers, who have either produced a groundbreaking album that has had huge affect on music, artists who are pioneers and innovators, leaders not followers. This article will feature another group who are pioneers, and have been credited with being one of the pioneers of progressive house music and incorporating house music with dub reggae. Over the past twenty years, members of this group have been at the forefront of electronic and dance music, pioneering new ideas and sounds. When this album was released in January 1995, I remember being blown away by it, the music on it sound fresh and innovative, unlike nothing else around then. Sixteen years on, Leftfield’s album Leftism, sounds just as good.
Leftfield were formed in London in1990 by Paul Daley and Neil Barnes. Daley wasa veteran of the UK music scene, having previously been in the Brand New Heavies, The Rivals and A Man Called Adam. Before releasing their own albums, Leftfield was a vehicle for the production and remix work. They first used the name when they released a single Not Forgotten. Barnes was responsible for the editing, arrangement and production, and Daley for remixing the track.
After spending a few years releasing singles, the duo decided to release their debut album. This would become Leftfield. It was a remarkable album, crossing musical genres. This would include house, dub, techno and breakbeat. On its release, it reached number five in the UK album charts and reaching platinum status. So well regarded was the album, it was shortlisted for the 1995 Mercury Music Prize, ultimately losing out to Portishead’s album Dummy.
Four years later, the follow-up album Rhythm and Stealth was released. Having discovered their sound, the style and sound on Rhythm and Stealth remained similar. The album reached number one in the UK album charts, gaining platinum status. Again, the album was shortlisted for the Mercury Music Prize in 2000. However, like 1995, the album lost out, this time to Badly Drawn Boy’s album The Hour of the Bewilderbeast.
In 2002, Leftfield split up. Eight years later, they reformed, playing a number of high profile festivals and concerts. Since then, Daley has decided to leave the group, to concentrate on his DJ commitments. Barnes has decided to continue touring, using a backing band and singers. Although Leftfield only released two albums, the albums were of the highest quality. Leftism is one of the best, and most innovative and influential albums of the 1990s’. I will now explain why.
Leftism opens Release the Pressure. The track starts quietly, as if playing in the distance, the sound gradually getting nearer. Gradually, the sound awakes, building, meandering gently, showing its beauty. Synths shimmer, distant drums reverberate, a flute plays, then Earl Sixteen’s charismatic vocal enters. Thereafter, the sound opens up. Squelching synths, echoey drums enter. The track gets louder, the tempo increases, suddenly the track is in full flow. Having taken nearly three minutes to get to this point, it has been worth the wait. So much is happening, the sound is complex, instruments drop in and out of the track, vocals are ad-libbed. You never lose interest, your always waiting to see what happens next. Once this brilliant track ends, you’re saddened, having been enthralled by this complex and infectious track.
Afro-Left has an exotic sound at the start. It transports you somewhere warm and dusty, somewhere exotic, interesting and beautiful. Djum Djum Berimbou half speaks, half sings a vocal, behind some frantic electro drums. The contrast between the vocal and drum sound is interesting. Berimbou’s vocal is slow and spacious, whilst the drums are furiously fast, with no space in the sound. If it were a race, my money would be on the drums. Almost midway through the track, the drums dominate the mix, only when they slow down slightly, does the vocal take their place at the front of the mix. Drums are really well programmed on this track, and make this a great track for any dancefloor. Towards the end of the track, percussion makes an appearance, changing the sound totally. At the end of the track, you feel exhausted, having tried to keep up with the pace of this fascinating track.
The next track Melt, has a dramatic, moody start, then synths appear adding to the almost sinister sound. A trumpet brightens the sound, then more synths appear, squelching and sweeping, building the tension. Effects like echo and delay are used effectively, to transform the sound. The tempo remains constant throughout the track. Sounds mushroom out of the mix, changing the sound, adding to the darkness. Sometimes, the mood lightens, but this is momentarily. Melt is a great track, one with a creeping darkness, where sometimes light sneaks a look through the darkness.
Song of Life begins with an atmospheric sound, voices echo in the background, a synth meanders darkly, then echoey drums with a whispery vocal can be heard. The sound is intriguing, slightly dark, but hinting at something about to appear. What appears is a vocal singing in the distance, crying joyously, then the drums increase in pace, the sound softens, the darkness has lifted. From that moment, the track changes, the tempo increases, transforming into a house beat. Towards the end of the track, another change happens. Vocals appear, the drums disappear, and when they reappear, their sound changes to a joyous beat. A great end, to a great track.
When the next track Original starts, you hear beeps, squeak and other otherworldly noises. By contrast, when Toni Halliday sings briefly, her voice is light and bright. After that the sound veers between darkness and light. The synths and drums provide the darkness, but there is an underlying melody that provides the light. When Halliday next appears, she almost reads the lyrics, and in doing so, adds character to them. Original has a full sound, so much is going on in the track, your drawn to so many different sounds and noises. Having said that, it’s a masterful track, one that is well arranged and produced.
Black Flute begins with frantic crashing drums, a keyboard plays, echoing. This is a fast track, the fastest on the album. It’s perfect for the dancefloor. The sound is repetitive, loud, the pace frantic. Unlike many tracks like this, there is variety in the drum sound, not just the constant 4/4 beat for Leftfield. They mix things up. Essentially, this is a simple track, just drums, synths and keyboards. However, it’s still a hugely impressive sounding track.
Space Shanty has a similar tempo and sound to Black Flute. The tempo is fast, the sound full and loud. Drums are loud and crisp, and sit at the front of the mix. They’re accompanied by synths that shimmer and pulsate. As the track progresses, it builds and builds, and the track has plenty going on to hold the listener’s attention. Like Black Flute, it’s a perfect track for the dancefloor, and would sound good in any DJ’s set today.
Inspection (Check One) starts with snatches of vocal dialogue. Straight away I’m hooked, intrigued to find out where this track is heading. Spacey drums enter, cymbals crash, synths produce some surreal sounds and then Danny Red toasts, like Jamaican DJ’s of old. His performance is impressive, full of character, adding to the growing soundscape. Vocals echo, far in the background, pulsating synths and sirens can all be heard. Drums and synths, come to the forefront of the mix, vocals and effects interject, then suddenly it’s over. The track ends, the aural adventure over, and you realize that you’ve had a wonderful journey.
On Storm 3000, the tempo decreases. What doesn’t change is the frantic drum sound, which sometimes, has a drum and bass sound. At the start you’re lulled into a false sense of security. A car can be heard driving along an empty road. You wonder if this is going to be a quieter, more mellow track. It isn’t. What follows is full on assault on your senses. Drums are loud and fast, synths produce a multitude of indescribable sounds, and when the track closes, thunder crashes. Excellent.
The penultimate track on Leftism is Open Up. A synth sighs, a vocal sings, then quickly, the pace picks up. Crisp, punchy drums are accompanied by synths, which together produce an infectious track. On vocal duties is John Lydon aka Johnny Rotten. His vocal is very different from his Sex Pistols or PIL days. He sings the track passionately, adding something to the track. What that something is I wouldn’t like to guess. Although not blessed with the greatest voice, he does his best. Thanks for coming Johnny. Since the album was released, I’ve always thought that maybe a better singer would have added more to the track. The vocal is the only thing that lets the track down.
Leftism closes with 20th Century Poem. It has a moody, atmospheric start. A spoken vocal is accompanied by synths, sounding broody, producing gentle waves of sound. Halfway through the track, the synth sound builds and builds. You keep feeling it’s going to break out, set off at a frantic pace. It doesn’t. It keeps building behind a really moody soundscape. It’s creepy and sinister sounding. Then just as you were enjoying see where this track is heading, bang, it’s over. All that you hear afterwards, is what sounds like the run-out groove on an old vinyl record, and that’s momentarily. The end of the track somewhat spoils it for me. It gives the track an almost unfinished feel. To me, it’s like a strange ending to a really good film. However, apart from that minor quibble, 20th Century Poem, is a really good dark and moody track.
That is the story of Leftfield’s debut album Leftism. It was a great debut album from them, one that sixteen years later, is perceived as a highly import and influential album in the development of dance and electronic music. Since then, this great album has influenced a new generation of artists and producers, and is held in such high esteem, that it is thought to be one of the most important albums of the 1990s’. Since Leftism’s release, I have loved this album, and while preparing this album, I have thoroughly enjoyed listening to it again. It’s one of these albums that I always return to, and always enjoy. What saddens me about Leftfield, is that during their career, they only released two studio albums. I’ve always felt that it would have been interesting to see how their music developed, what direction it would have taken. Sadly, that will never happen, they have gone their separate ways. Thankfully, they’ve left behind a wonderful legacy, in Leftism and Rhythm and Stealth. If you’ve never heard Leftism, I can thoroughly recommend it, especially if you’re someone who is interested in electronic and dance music. Having said that, anyone who loves good music will enjoy Leftism, a wonderful album that deserves a place in any self respecting record collection. Standout Tracks: Release the Pressure, Afro-Melt, Space Shanty and 20th Century Poem.
LEFTFIELD-LEFTISM.
THE BLUE NILE-PEACE AT LAST.
THE BLUE NILE-PEACE AT LAST.
The group this article is about, have only released four albums since forming in 1981. They have a reputation for working slowly, and the album this article is about was released seven years after their previous album. This album saw the group change their style. Previously it was based upon synthesizers, electronic instruments and percussion. The new sound on this album, sees the acoustic guitar played a bigger part. Released in June 1996, the album is Peace At Last, by The Blue Nile.
After seven years, The Blue Nile released the follow-up to 1989‘s Hats. Hats was received to critical acclaim, and reached number twelve in the UK album charts. This meant the group had a lot to live up to with their new album, Peace At Last. On its release, the album received mixed reviews, and sold poorly. Whether this was a reaction to the change in style in the band’s music, it’s hard to tell. That baffled me, because Peace At Last is a great album, one with ten great songs, with intelligent and thoughtful lyrics. As usual, the standard of musicianship and production is fantastic. In some ways, the album is more accessible, with the music on the album much lighter and easier on the ear. It is a good introduction to Blue Nile and their music. Although, I have always loved The Blue Nile’s first two albums, I felt that this album saw their music evolve. This is something that happens with all artists, it’s natural, allows them to develop as artists and explore new styles of music. I have chosen to review this album because it’s a wonderful album, and one that is vastly underrated.
Peace At Last begins with Happiness, a track that begins quietly, with a sweeping synth, an acoustic guitar strummed gently and then Paul Buchanan sings. After a seven year absence, his voice his just the same, he still sounds like the troubled troubadour of the first two albums. His voice is world weary, one that has lived a life. However there is one change. He sounds content, Happiness is a song about being content with life, domestically and personally. The sound on the track is minimalist, apart from the introduction of a gospel choir after about three minutes. This transforms the sound. Their short performance is joyous and uplifting. At the end on the track, Buchanan ponders whether the happiness will last. Great start to the album.
Tomorrow Morning starts in a similar vein to Happiness. It opens with acoustic guitar strummed, and Buchanan is in a rather pensive mood. In this song about love, he is insecure, wondering about what tomorrow brings. His emotions go from total insecurity to euphoria and happiness in the space of half a verse. The lyrics are some of the best on the album. They have a strong narrative, allowing the listener to hear the range on emotions Buchanan experiences. This song has quite a simple arrangement, the acoustic guitar plays a major role, a piano features and synths disguised as strings, all combine, to produce a stunning song.
The start to Sentimental Man sees guitar and drums come together to produce a moody and pensive atmosphere. Buchanan is in a thoughtful mood, and sings that it’s “not about money, and all about love.” His contentment shines through on this song. He is truly a man at piece with world. The sound on this track is bigger and fuller, than the previous two tracks. As the track progresses, the sound grows, peaking towards the end. Electric guitars, synths and drums dominate the track, and Buchanan’s vocal is loud strong, he shrieks and whoops, something unheard of before. A change in sound, but quality remains consistent.
There are two things that make the next track, Love Come Down, such a great track. The lyrics are among the best on the album, and Buchanan gives an outstanding vocal performance. Like other track, acoustic guitar starts the track. Drums are loud and sit at the front of the mix. The longer the track goes, the better the vocal. It’s a dramatic and passionate reading of the intelligent and thoughtful lyrics.
When you hear the first few lines of Body and Soul, you immediately realize that this is one of the best songs on the album. The track has a familiar theme, acoustic guitar and vocal start the song. After that, the track builds, and opens out into one of the most beautiful and heartfelt songs on the album. Strings are used to augment the sound, they are understated, sit at the back of the mix, sweeping in and out of the track. The acoustic guitar is played loudly, with confidence, accompanying Buchanan’s soulful rendition of the lyrics. Speaking of the lyrics, they are an ode about love. How we feel when in love, and are an example of our feelings and hopes for the future when in love. They are some of the best lyrics on Peace At Last.
Holy Love has a totally different sound and feel. In many ways, it owes much to the sound on previous Blue Nile album. Backing vocalists sing one note, synths and drums sound dark, almost dull. Synths squelch, drums have a retro sound and feel, and even Buchanan’s vocal style has changed. As the song progresses, you find yourself wondering what direction it’s heading. Lyrics are sparse, the vocal has an experimental sound and feel, with Buchanan having to almost improvise. This is a good track, but lacks the quality of others on the album.
The Blue Nile return to a familiar theme on Family Man, contentment, contentment in your personal life. Family Man is a gentle song, one with similarities to Easter Parade on A Walk Across the Rooftops. It’s the sound and feel that make me draw this comparison. The track has a minimal sound, and starts with piano, which features heavily throughout the song. Later in the track, synths are transformed to sound like a string section, which add depth and feeling to the track. Buchanan’s voice is perfectly suited to deliver the heartfelt lyrics on this beautiful track.
Following the minimal sounding last track, the sound changes dramatically on War Is Love. The sound is fuller, with a moody, dramatic sound. War Is Love starts with those magical strings, via the synths, drums are loud, slow and crisp. Quickly, the sounds builds, Buchanan’s voice sounds moody, perfect to deliver the lyrics, which are about the breakdown of a relationship. His voice fluctuates, getting the message over about a turbulent, troubled relationship. In contrast to the darkness, the strings sit behind his vocal, producing light to Buchanan’s darkness. A sad song, delivered sincerely by Buchanan, which continues the quality on Peace At Last.
After the dark sounding War Is Love comes God Bless You Kid. Drums and strings start the track, giving it a lush sound. Buchanan’s mood and vocal seem happier. The song sweeps along, the sound gradually developing, yet still mostly drums, strings and synths accompanying the vocal. A guitar can be heard in the background. The lyrics are enigmatic, almost surreal, and I wonder if the lines “there is going on, when you get to the top” is a comment on The Blue Nile’s experience of having achieved successful in the music industry. God Bless You Kid shows a much different sound of the band, one that we never saw on A Walk Across the Rooftop or Hats. Like much of this album, it has a gentle, mellower sound, quite removed from their previous sound.
Peace At Last closes with Soon, another beautiful, gentle and mellow song. It starts slowly, keyboards playing, Buchanan sings. This is another love song. One about how can love coming soon, when we least expect it to. It can happen at given time, in even the most mundane situation. As you would expect from Blue Nile’s lyrics their clever, well constructed and the narrative is strong. You can close your eyes and imagine the scene being played out, and the characters involved. The track meanders, develops through time, building up slowly, until a great track evolves. One that Buchanan sings really well, behind a backdrop of sweeping strings, spacious plodding drums and percussion. It’s a lovely, soothing track, truly a thing of beauty, and a great way to end this great album.
Having spent some time listening again to Peace At Last, I can’t believe how it failed to receive the critical acclaim that the first two Blue Nile albums A Walk Across the Rooftop or Hats received. Although Peace At Last has a much different sound to its predecessors, it still is a great album, one full of fantastic songs that feature intelligent and thoughtful lyrics. Whether people had grown to love their “old sound,” and were shocked by the change in style, that could be one explanation. Another could be that the album was released at the wrong time. Seven years saw a huge difference in the type of music that was popular. Maybe it was just the wrong time to release the album. However, what this meant, is that a huge number of people missed out on hearing a wonderful album. That is their loss. My hope is that people will reevaluate this album, and realize what they’ve missed. What they missed was a great album. I hope that after reading this article, people will decide that they want to hear this album, hear what they’ve been missing, and make up for lost time. Should you decide to buy this album, and you’ve never heard The Blue Nile’s music, why not buy their other albums, A Walk Across the Rooftop, Hats and High. A Walk Across the Rooftop and Hats, are two classic albums, ones that should be in every record collection. Their final album High, is also worth buying. On High, the acoustic guitar is still present, but the group make a return to the sound that can be heard on Hats. So, if you’re unfamiliar with The Blue Nile’s music, this is a time to rectify that, by going out and buying their wonderful albums. Standout Tracks: Happiness, Love Come Down, Body and Soul and Soon.
THE BLUE NILE-PEACE AT LAST.
NEW ORDER-TECHNIQUE.
NEW ORDER-TECHNIQUE.
The story of the making of the album this article is about, is one of excess, hedonism, eleven crashed hire cars and four memorable months spent in Ibiza. Regardless of the carnage that took place when this album was being recorded, it was all worth while, because when the album was finished, it proved to be a landmark album, not just for the group that recorded it, but for music in general. It is a fusion or rock and dance music, and gave the group that recorded it, their first UK number one album. New Order is the group, and the album is Technique, released in January 1989, on Factory Records.
Recorded in 1988, in Ibiza and Peter Gabriel’s Real World Studios in Bath, Technique was the fifth studio album by New Order. Technique sees acid house and balearic beats, incorporated into New Order’s rock and electro style. The style of music on Technique was heavily influenced by an album released in 1987 by Danish group Laid Back, entitled See You In the Lobby. This influence is apparent when Bernard Summer sing certain parts of Fine Time, which was the first single released from Technique in November 19988.
Fine Time would reach number eleven in the UK singles’ charts. Two other singles were released from Technique, one of which would result in a lawsuit being served on the band. The other tracks were remixed and released as singles. Round and Round was released in February 1989 and reached number twenty-one in the UK singles’ charts. Run was the single that resulted in a lawsuit being served on New Order. John Denver’s publishing company claimed that a guitar break on Run sounded like one on Denver’s song Leaving On A Jet Plane. New Order settled out of court, and the single was released as Run 2, in August 1989. After all that drama, the single only reached number forty-nine in the UK singles’ charts.
When Technique’s was released in 1989, the album was critically acclaimed. Since then, may people believe that this was New Order’s best ever album. In the twenty-two years since his release, it is now recognized as a classic album, one that was hugely important in the development of music. One could ask whether Primal Scream would have made Screamadelica without Technique?
Having told you about Tecnnique, and its importance as an album, I will now tell you what makes it such a great album. Technique opens with Fine Time, the first single taken from the album. Cymbals and bass begin the track, soon, crunching drums, squelchy synths and Bernard Summer sings the vocal. Around his vocal, the sound is huge, loud and glorious. The sound is familiar, transports you back, back to when music was much better. Synths reverberate around the vocal, echoey, keyboards and drums explode in a crescendo. Summer’s vocal is confident. Vocal samples provide an almost eery backdrop. Drums and percussion take over, and dominate the mix. Synths play a huge part, effects can be heard. The sound is joyous, reminding you of long hot nights dancing without a care in the world. From intro, to outro, it’s a great track, one of New Order’s best.
All the Way sees the sound change. Technique is an album of two styles. One part traditional New Order, where guitar, bass and drums provide their more traditional rock sound. Other songs see the group influenced by Acid house and balearic beats. Here, this is one of the more traditional tracks. This is no bad thing. It’s good to here the “old” New Order. The guitar and drums start the track, with Summer singing the vocal. This is a much more traditional New Order song. It’s a fast song, one that sees the band provide a vintage performance. Summer’s vocals and guitar are top quality. Hook’s bass playing and Morris’ drums are a powerful rhythm section, providing a perfect backdrop the track. Gillian Gilbert keyboard playing injects life into the track, filling the spaces left by the others. It’s a great track, one with defiant lyrics sung by Summer.
Love Less opens with someone coughing in the background, and quickly drums and guitar combine well, melodically, before Summer sings. He has reserved one of his best vocal performances for Love Less. His vocal is clear, articulating some great lyrics perfectly. The song features some brilliant guitar playing by Summer. This is what makes this fantastic song so catchy. That and some great lyrics.
After the return to their more traditional sound, Round and Round sees New Order return to their “new” sound. Round and Round is very much a slow burner. It builds and builds, and takes time to open up. The track has an atmospheric, mysterious start, then drums play, synths enter, catchy and melodic. Drum machines can be heard, and a multitude of sounds and effects, enter, then leave the mix. It is another joyous, upbeat track, one that wants to make you dance, tap your feet. Barney’s vocal floats into and out of, the track, before he sings the vocal. When he does, the lyrics are excellent. This was the first album where Bernard Summer wrote the lyrics. For a first attempt he did really well. Round and Round is one of the best tracks on Technique, and is laden with hooks and melodies.
Guilty Partner is another of the more traditional New Order songs. It begins with crisp drums sitting right at the front of the mix. Morris uses all his kit in the introduction, in what sounds very much like “old” New order. Hooky’s bass makes an appearance, then Barney sings. His vocal has to compete with drums, bass and guitar. He manages to fend off the assault from the others, and produces a strong vocal performance. The drum sound on this track has a real retro sound. It sits really far forward in the mix. There is a great guitar that shines through towards the end of the track. Like every track on the album so far, Guilty Partner is a quality song.
The song that resulted in the lawsuit is next. Run sees the band stick to their old style of music. It’s a masterful track, one with great lyrics and a great all round performance by the band. Although this was the most radio-friendly single taken from the album, it failed to make much of an impact on the UK charts, reaching only number forty-nine. That, to me, is a shame, as it’s a great track, one with strong lyrics about finding someone, and falling in love. This song is one of the albums highlights, catchy, infectious and hook laden.
Mr Disco sees the return of the influence of acid house and balearic beats. The track is a real fusion of two styles of music. Rock and dance have combined to produce this track. Hooky’s bass starts the track, before crunching house beats enter the mix, to be accompanied by guitars that are loud, and synths that complete the sound. Barney’s vocal sits atop this huge soundscape, where so much is happening. So much is happening, sounds enter, sometimes momentarily, all adding towards, and contributing to, this glorious track. Remarkably, twenty-two years later, Mr Disco sounds as fresh and contemporary as the day the album was released.
Drums crunch, repetitively and synths squelch at the start of Vanishing Point. The influence is house, techno and rock. Quite a combination, but very effective. Like Mr Disco, the sound is full and loud, very impressive. After the drums and synths, the track blossoms, opening out to a lovely bright anthemic track. Keyboards and drums and synths all play a part in the build up of the track. Eventually, after a minute and a half, Barney sings, like the Pied Piper of acid house, almost preaching about the trials and tribulations of life. So much is going on in this track. Synths play a huge part in shaping the sound. They add rhythms and melodies, and fill out the sound. Drums provide a backdrop, both traditional and drum machines. Hooky’s bass is reliable as ever, throbbing away in the background. Each time you listen to Vanishing Point, you hear something different. Subtleties and nuances, reveal themselves each time you hear this brilliant track.
Technique closes with Dream Attack. The sun-kissed Ibiza influence continues with this track. Although very different from Mr Disco and Vanishing Point, it is different from the more traditional New Order tracks. Dream Attack has a softer feel and sound. It lacks the harshness of say, All the Way. Drums sits at the front, sounding slightly sharp. By way of contrast, the guitars, keyboards and synths “soften” the sound. Barney’s voice completes the sound, he sings the song perfectly, his voice quieter and softer than on some tracks. Like many tracks on this album, it’s melodic, packed full of hooks. This was a great track to end a great album.
That is the story of New Order’s fifth album Technique, an album that in my opinion, was their best ever album. Nine great songs and two very different styles. The album is a combination of their traditional style and dance music. After immersing themselves in the culture for many years, that rubbed off onto their music. This was not the first time dance music had a profound on their music. Listen to their previous few albums, and you will see this. There latest visit to the white island of Ibiza, had a huge affect of the group and their music. The result can be found on this album. Although hugely expensive to make, and a long time in the making, Technique was worth all the time and money. It really is a musical masterpiece, a landmark album, one that anyone interested in indie, rock or dance music will enjoy. It deserves a place in any record collection. Along with Screamadelica by Primal Scream, Technique is one the best crossover records made by a rock band to incorporate dance music. Should you decide to buy Technique, it’s best to buy the Collector’s Edition released in 2008, which has a bonus disc with instrumentals, remixes and 12 inch mixes. If you wish to purchase other New Order albums, I would recommend Substance, which gives a good overview of their career until 1987, including singles, b-sides and 12 inch mixes. Power, Corruption and Lies is another great New Order album, one that I have previously reviewed. Again, it is worth buying the Collector’s Edition which includes a number of remixes and instrumentals. These are three New Order albums I would highly recommend that you buy. Should you do so, you will be the proud owner of some of New Order’s best music. Enjoy. Standout Tracks: Fine Time, Round and Round, Mr Disco and Vanishing Point.
NEW ORDER-TECHNIQUE.
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