PRIMAL SCEAM-ECHO DEK.
PRIMAL SCREAM-ECHO DEK.
Recently I was talking to a friend about our favorite albums, and we were going through some of the albums we liked. Having spoken about some of the more obvious choices, we went on to chat about the more obscure albums we each liked. It was then that I mentioned the album that I am going to write about today. The album was released my one of my favorite bands of the last thirty years, and they are a band who have released albums of various kinds of music. Everything from rock, dance and dub. This band are responsible for, in my opinion, one of the greatest albums of the past twenty years. They are also one of the last proper rock and roll bands, a band who have lived the rock ‘n roll lifestyle, and survived to tell the tale, or what they can remember. In this article, I will write about Primal Scream’s album Echo Dek.
Echo Dek was an album that was experimental in nature. It is a fusion of two of my favorite things. These two are Primal Scream’s music and dub reggae. The album was released by Primal Scream in October 1997, and was a dub remix of Primal Scream’s previous album Vanishing Point, which had been released in July 1997. Adrian Sherwood was responsible for most of the remixes on Echo Dek.
Echo Dek was Primal Scream’s sixth studio album. Their first album Sonic Flower Groove was released in 1987, five years after the group were formed by Bobby Gillespie and Jim Beattie in Glasgow in 1982. Although the band were formed in 1982, until 1984, Gillespie was the drummer with the Jesus and Mary Chain. He left when he was given the ultimatum either leave the either split Primal Scream up, or leave the Jesus and Mary Chain. It was after leaving the Jesus and Mary Chain, that Primal Scream started to became a really successful band.
When Sonic Flower Groove was released in 1987. The album only reached number sixty-two in the UK album charts. This was a good start for a debut album. However, this was not good enough for the group, and was one of the reasons for the original line-up splitting up. Jim Beattie left the band. This left only Bobby Gillespie, Andrew Innes and and Rogert “Throb” Young as orignal members of the group.
In 1989 Primal Scream released their second album entitled Primal Scream. The sound on this album was much different to Sonic Flower Groove. It had a harder sound, a much more traditional rock album. Unfortunately, the album did not sell well, leaving Primal Scream at crossroads in their career.
The follow up to Primal Scream was the seminal album Screamadelica, which was released in 1991. It saw Primal Scream make an album that was a fusion of dance and rock music. This was a huge success commercially, and reached number eight in the UK album charts. Screamadelica won the prestigious Mercury Music Award in 1992, and is seen as one of the most influential albums of all time.
Having recorded such a musical masterpiece as Screamadelica, it was always going to be following it up. Maybe that is why it took three years until Give Out But Don’t Give Up was released in 1994. It saw them return to a mostly traditional rock ‘n roll album. The album received mixed reviews, with some people believing it drew too heavily on their musical influences, especially the Rolling Stones. Britain’s New Musical Express called Primal Scream “dance traitors.” However, if you take the time to listen to the album with an open mind, it is a great album, with some fantastic music on it. The problem with album for some critics, was that it was not the same as Screamadelica. I believe that Primal Scream realized that they could not equal Screamadelica, and decided to move their music in a new direction, something they have often done.
A further three years passed before Primal Scream would release another album. Vanishing Point was released July 1997. Vanishing Point was named after, and inspired by the film from 1971 Vanishing Point. The idea behind the album was to make music inspired by the mood of the film, which has an air of paranoia and claustrophobia about it. Vanishing Point’s influences are clearly dub reggae, ambient music, krautrock and dance music. Guests on the album included reggae legend Augustus Pablo, Glen Matlock and The Memphis Horns.
Echo Dek, the album this article is about, was released in October 1997. Nine of the tracks from Vanishing Point were then remixed by Adrian Sherwood and released as Echo Dek. It is a difficult task to remix an album, and this has been tried many times, often with limited success. However, this is one of the best. So good is Echo Dek, that it stands alone as album. Sherwood’s huge experience as a dub reggae producer has been put to good use, and what you have is a fusion of dub reggae and rock music. When you put the album on, some great dub tracks emerge from this album.
Since releasing Echo Dek in 1997, Primal Scream have only released four futher albums, XTRMNTR was released in January 2000. It saw the band take a much more political stance, and on the album, they attacked the police, government and multinational corporations. When the album was released, is was critically acclaimed. Since then it is widely thought of as the second best Primal Scream album ever, behind Screamadelica. This was the first album that Gary “Mani” Mountfield received a songwriting credit since joining the band.
Primal Scream’s next album Evil Heat was released in August 2002. The song was not as political as their last album. Although it is another good album by the band, Evil Heat has a darker and harder feel and sound to it. On the album Primal Scream are joined by guest artists Robert Plant and Kate Moss. Moss sang a duet with Bobby Gillespie on Some Velvet Morning, which was previously recorded by Lee Hazlewood and Nancy Sinatra.
Riot City Blues was released in June 2006. On this album the band return to a more traditional rock ‘n roll album. This did not please some critics. Showing a real lack of originality, the critics accused the band of running out of ideas, something that has been leveled at bands since rock ‘n roll started. Anyone who takes time to listen to the album, will hear some great tracks like Country Girl, We’re Gonna Boogie and Sometimes I Feel So Lonely.
The last album released by Primal Scream was Beautiful Future released in July 2008. On its release, the album was described as a mixture of Philly soul, dark electro, British pop and rock ‘n roll riffs all given the Primal Scream treatment. The album saw guest appearances from folk singer Linda Thompson and Josh Homme of Queens of the New Age. Beautiful Future was a welcome return to form for the band, and proved to the critics that the Scream were back.
Now that you know a little about Primal Scream’s history, I will now tell you why Echo Dek is such a good album. The first track is Living Dub, which begins with sound effects and booming drums. When Bobby Gillespie’s vocal emerges, it surrounded by a variety of other worldly sounds. Just as quickly as his vocal emerges, it disappears. This continues, as if playing a musical game of hide and seek. The sound is atmospheric with a capital It is a great track, one that transports you to place deep into Primal Scream and Adrian Sherwood’s worlds.
Duffed Up begins with a constant drum beat, one which gently echoes. Then into the mix, comes Eastern influenced sounds, and a muted jazz influenced trumpet sound. By now, your ear is just becoming attuned to this pleasant cornucopia of sounds. However, just when you are starting to enjoy the track, it is over. It only lasts just over three minutes. I have always felt that this is a song that could have been developed, taken further, made into an even better track than it is.
Revolutionary starts quietly, then it sorts of meanders along. Bobby Gillespie’s voice is hidden in the depth of the mix. It is surrounded by the other instruments, and has been twisted with delay and echo. There is contrast in the track between the vocal which is given the full dub treatment, and the remainder of the track which has not been subjected to such rigorous treatment by the effects. What we have ended up with, is a great track, one of the best on the album.
Ju-87 begins with a doorbell ringing and some crunching drums. The drums sit proudly at the front of the mix. Occasionally, something else enters the mix. It might be a sound, or the doorbell. Then, all of a sudden, things change. The track gets louder, faster, much faster, more is happening in the track. It is not quite frantic the sound and feel, but not far away. Your senses are assaulted. You find yourself thinking, where did that come from? Then all of a sudden, things change, the track starts to slow down slightly, there is more space in the track. Soon after, the track is over, a track which Sherwood can, quite rightly, be proud of.
First Name Unknown begins with a spoken word sample accompanied by roaring drum beats, and synthesizer producing some unrecognizable sounds. Behind that is a whispered vocal with a sinister feel to it. The drums have a repetitive beat, and are joined by another surreal sample. Overall, the track has a glorious sinister quality. There is a darkness about the track, one that draws you towards it, makes you want to experience it again, and again.
Vanishing Dub starts with a radio playing then…stops. The track then starts again, and we hear a track that is both melodic and dark at the same time. It is a pleasant track, where the melody and drum beats take turns of grabbing the limelight. When the melody steps into the spotlight it is understated, but when the drums take their turn, the sound is big and brash. Later when Bobby Gillespie’s vocal enters the song, his vocal is clear, and sits in the centre of the mix. Just when you start to enjoy the G-man, he is gone, to be replaced by a variety of experimental sounds. These are pleasing on the ear, and help the track to wander to its end.
When you listen to Last Train, it has a melodic reggae inspired feel. The track meanders along. It sounds totally understated, as if it is always about to break out, erupt into a crescendo of noise and effects. Strangely, it never does. Effects cut in, and out off, the track. This is highly effective. I always find myself listening intently, waiting for something to happen, something that will grab your attention. However, you are left waiting, and in all honestly, the anticipation is half the fun, even though to quote Bob Marley, you are waiting in vain.
On the penultimate track on Echo Dek, Wise Blood, the tempo and sound increases. Here the sound is bigger and dominates the track. Space is at a premium, unlike on many of the tracks. During the track, the tempo is about one-hundred and thirty beats per minute. It is the second quickest track on the album. Wise Blood has a real dub influence. It is full of echo, delay and effects. The original track is twisted, and transformed into something I am sure Primal Scream could never have envisaged. To envisage this, would require quite a remarkable rock ‘n rock cocktail. However, what Adrian Sherwood has ended up with, is a fantastic fusion of rock and dub.
Echo Dek closes with Dub In Vain. At the start of the track, listen carefully and you can hear a rock ‘n roll band struggling to be heard. They are so far back in the mix, that you would need a telescope to see them. The track is really subdued, it sounds almost muddy, but brilliantly muddy. This is a track that, once you have heard it, you will want to hear again. The use of effects, and vocals to add something to the track, really works, this was a stroke of genius. A word of advice, the best way to listen to this track is really loud, so next time the neighbors are away, turn the volume up, add plenty of bass, and hit play. Enjoy.
I have listened to Echo Dek many times since it came out. It has always been an album that has intrigued me. Also, it has also been one that i have always enjoyed. Although not a true studio album, Echo Dek could not have been made without Primal Scream having made Vanishing Point. What is interesting is to listen to Vanishing Point and then listen to Echo Dek. If you do so, you will be struck by how Adrian Sherwood has transformed the music on Vanishing Point. He has done a wonderful job. Truly, it is a work of a genius. Every track on Echo Dek is of the highest quality. Throughout the album, your attention never wavers, you are transfixed, scared to lose concentration, just in case you miss something. You never know what will happen next. Even when you have listened to the album as many times as I have, each time you listen to it, you hear sounds and subtle nuances, that you missed the previous time you listened to it. Having read this article, you should find yourself thinking about buying Echo Dek, my advice is go ahead, you will not regret it. Echo Dek is a great album, and a great listen. My only word of advice would be, get a copy of Vanishing Point, so that you can compare and contrast the two albums.
Primal Scream have long been one of my favorite groups. I have been a fan since day one, and have watched them emerge, and evolve as a band. During the past twenty-nine years, their musical styles have changed. They have reinvented themselves numerous times, and are one of rock music’s great survivors, and I don’t mean just in the musical sense. Primal Scream have lived the life that any self-respecting rock band should live. Sometimes that has lead to carnage and overindulgence, and some of the group contracting, ahem, rock ‘n roll flu. However, they have all come out the other side, mostly unharmed. It could be that they are one of the last great hedonistic groups of our time. It seems that nowadays, music is full of little ex-public school boys, who form dreary little nu-folk bands, and sing about being poor, something they have never experienced. Sadly, the music press love this tedious nonsense, and are all to prepared to write self indulgent puff pieces on those tawdry little bands, and their tedious music. Lord help us if that is the future of music. If it is, we should rejoice that bands like the Scream are still about, still rebelling, still hedonistic and still producing great music. Bobby Gillespie and the rest of Primal Scream, I salute you, your hedonistic rock ‘n roll lifestyle has been a thing of beauty, keep it up. Standout Tracks: Living Dub, Revolutionary, First Name Unknown and Vanishing Dub.
PRIMAL SCEAM-ECHO DEK.
MASTERS AT WORK-THE TENTH ANNIVERSARY COLLECTION.
MASTERS AT WORK-THE TENTH ANNIVERSARY COLLECTION.
In a recent article about Incognito, I mentioned that I had been listening to a Masters At Work 10th Anniversary box set. Afterwards, I was listening to a few tracks from that box set again, and thought that now would be a good time to write about Masters At Work, who have done so much to popularize modern dance music, especially house music and hip hop. They have been one of dance music’s most successful and innovative remixers and producers, working with the great and good of not only dance music, but music per se. So in this article, I will tell you about Masters At Work’s history, and about the two box sets released to celebrate their tenth anniversary, Masters At Work 10th: The Anniversary Collection Part One 1990-1995 and Part Two 1996-2000.
Little Louie Vega and Kenny “Dope” Gonzales met when Louie Vega was asked to prepare an idea for an album for Atlantic Records. Vega was then a DJ, remixer and producer. When he was recording the album he brought in a number of artists to perform on the album This included Marc Anthony who would sing the lead vocals, and India who would sing backing vocals and help write the songs with Derek Whitaker. Another member of the team would be added, one which would radically change Vega’s future. Louie Vega had been aware of Kenny “Dope” Gonzales for some time, he was perceived as an up and coming figure in the New York music scene, and Vega had this idea that they may become long term musical partners. Gonzales was brought into the session to help, and the two quickly gelled as a partnership, each complimenting the other’s skills perfectly.
After the session was over, they decided to form a partnership. What they needed was a name, and they hit on the idea of resurrecting one of legendary DJ Todd Terry’s old recording monikers from the 1980s’, Masters At Work. Although the duo did not now it at the time, a legendary and extremely fruitful partnership had just been created. That was 1990, and from that day on, until this day, the pair have produced, remixed and recorded numerous tracks.
From 1990, Masters At Work were perceived as the next big thing in dance music. They were commissioned to remix tracks by a huge variety of artists. One of their earliest successes was their track The Ha Dance. The track was a massive hit in clubland, and established Masters At Work as one of the best up and coming remixers and producers. Another hit followed. This was Our Mute Horn, a deep house track which featured Marc Anthony on background vocals. Like The Ha Dance, Our Mute Horn was a huge success in clubland, cementing their reputation, as one of the hottest remixers of the time. Little did they know what was to follow, and that they would become one of the most successful remixers and producers of all time.
One of their biggest early commissions was when Leslie Doyle commissioned the duo to remix Tito Puente’s Ran Kan Kan. The track was featured in the movie, Mambo Kings. This track allowed Vega and Gonzales to work with session musicians and expand and experiment in a Latin flavored direction. The result was a track that sounded new, fresh and totally innovative.
After that success, other record companies sought to tap in the Masters At Work magic. One such label was Warners, who commissioned them to remix the Saint Etienne single Only Love Can Break Your Heart. This track gave them their biggest underground success, at this stage of their career.
These were some of the projects that allowed the duo to establish their reputation. Since then Masters At Work flourished. Those early commissions got established their reputation, and allowed them to go on and work with many more artists. Some of these artists had high profiles within the music industry. Between 1990 and 1995 Masters At Work went on to work with Babrbara Tucker, Marta Wash, Ce Ce Peniston, Chic, India and Simply Red. They also recorded under a variety of other guises. Masters At Work would record under the names Kenlou, Sole Fusion and Nuyorican Soul.
Masters At Work’s Nuyorican Soul project, saw them work with musicians. This was a change from working with samples and synthesizers. They were able to enlist the help of some wonderful artists and musicians. On the album featured Roy Ayers, George Benson, Jocelyn Brown, Tito Puente and members of the Salsoul Orchestra. The album saw a mixture of music and styles, including disco, jazz and Latin music, and the album featured cover versions of tracks like Runaway and Sweet Tears. These were songs originally covered by Loletta Holloway and Roy Ayers originally. The album was a huge success, and introduced many more people to Masters At Work’s music, albeit, in a different form.
Between 1996 and 2000 Masters At Work’s popularity and profile increased. They were much in demand for remixing and production work. Their services as DJs were also much in demand, and they spent time traveling round the world deejaying at some of the world’s biggest nightclubs. This cemented their reputation even further. During this time, they continued to work with a wide variety of artists, some of which had high profiles in the music world outwith the dance music scene. This would include India, Incognito, Tony Touch, Kenny Lattimore, Daft Punk, George Benson, Luther Vandross and Eternal. This demonstrated how highly thought of Masters At Work were by both artists and people within the industry.
The second box set takes us to 2000. Since then, Masters At Work have continued to remix, produce and DJ. By now they are very much elder statesmen of the dance music scene. However, they still continue to produce some fantastic remixes and original material. Their music is still among the best house music that you will hear anywhere. Regarding their older work, between 1990 and 2000, it is a fantastic canon of work. Within the two box sets, and the eight discs, are some wonderful tracks. These tracks still sound as good in 2011, as they did the day they were produced. They would sound as good in any DJ set today, as they did when they were released. How many house tracks can you say that about? In fact, how much music sounds as good nearly twenty years on? Not many.
Masters At Work 10th: The Anniversary Collection Part One 1990-1995.
Having told you about Masters At Work’s history, I will now pick some of the best tracks from each box set. I will begin with Masters At Work 10th: The Anniversary Collection Part One 1990-1995. This box set has some of their best ever work. It was such a hard job whittling down the number of tracks to review, but I somehow have managed to do so. Here are my six choices from the 1990-1995 box set.
The first track I have chosen is an absolute classic track, one that when it came out, took dancefloors by storm. It is River Ocean featuring India Love and Happiness. From the squawking birds, backing vocals and percussion, to the crunching drum beats, right at the front of the mix, the track has a joyous sound. Love and Happiness builds and builds, its glorious Latin feel enthralling. It is a mammoth track, with India’s vocal at the centre, surrounded by drums and percussion which together, come together to make a classic house track, one that has a great Latin influence to it.
The second track I have chosen also features a female vocalist. This time it is Beautiful People by Barbara Tucker. Beautiful People was a huge hit in 1994, reaching number one on the US Hot Dance Club Songs chart. When you hear it, you will know why. The track starts with keyboards and drums, then straight away, Tucker sings the vocal. Straight away you are transported back, back to a time when house music was in its heyday, and tracks like this were what you would here. Quality slices of vocal house. The arrangement and production is really slick here. Masters At Work have surpassed themselves, this is easily a career highpoint. It is uplifting, inspirational and guaranteed to fill any dance-floor.
Ride On the Rhythm by Marc Anthony at the beginning sounds as if it has its roots in Italian piano house. However, when the track gets going it is a vocal house track. This was one of Vega and Gonzales’ first tracks together, and when you listen to it, you can see why they joined forces. As well as the vocal, I love the rap after about three minutes, it takes the track in a whole new direction, as shows that the duo have always looked to be innovators and pioneers. The track benefits from a very full sound. Within the track are drums, organ, percussion and some fantastic backing vocals, which compliment Anthony’s vocal beautifully. Truly, a great track, even twenty years later.
Carry On by Martha Wash is a fantastic vocal house track. Wash used to be a backing singer for Sylvester, and was also one of the Weather Girls, and sang on some of Black Box’s tracks. It features an absolutely standout vocal performance from Martha Wash. She really has the most fantastic voice, and all Masters At Work has to do was provide a backdrop for her vocal. They do that remarkably well, producing a backdrop containing the most wonderful rhythms and melodies. The track has hooks galore, and it is no wonder the track reached number one in US Hot Dance Club Songs chart.
When You Touch Me by Masters At Work featuring India begins with a drum beating, then immediately the vocal appears. India’s vocal is strong, highlighting the lyrics, giving a vocal masterclass. It is as if she is saying want to know how to sing vocal on a house track? Well watch this. Her vocal is surrounded by keyboards, drums and percussion, which ebb and flow, as does the vocal, one minute soaring, then the next falling, allowing the rest of the track its moment in the sun. It is a track that builds and builds, and features a great arrangement and production. The track ends up a track of epic proportions, one of Masters At Work greatest moments.
My final choice from this box set is Chic Mystique by Chic. Here Masters At Work are working with a legendary group, one who’s reputation dwarfs that of the producers. Before I originally heard the track, I was wondering how they would approach the task, and what they could do to improve on what was a classic sound. I was pleasantly surprised, they have given the Chic sound a much more contemporary sound, in fact, some people found it hard to believe that what they were listening to Chic. The sound is big and bold, the vocal right up the at front of the mix. It is surrounded by drums, organ and percussion, the sound dominates the mix, but does not overpower the vocal, quite the opposite, it compliments it beautifully.
Those are my selections from Masters At Work 10th: The Anniversary Collection Part One 1990-1995. Having listened to the box set a few times over the last couple of days, I am struck by the quality of the remixes and productions on this box set. It was difficult choosing just six tracks to review. In the five year period, Masters At Work worked with a huge number of artists, from various types of music and in doing so, have produced and remixed some wonderful tracks. This box set is well worth buying, on it you will hear some classic house music, as well as some familiar artists who have been given the Masters At Work treatment. Here it included Chic, Daft Punk, Tito Puente, Chic and Simply Red. If that is not enough, you will also find Barbara Tucker, India, Martha Wash, Nuyorican Soul and Ce Ce Peniston. Surely that is a good enough to buy this brilliant box set. If you buy it, I am sure you will thoroughly enjoy some wonderful tracks, from the golden age of house music. Standout Tracks: Love and Happiness by River Ocean featuring India, Beautiful People by Barbara Tucker, Ride On the Rhythm by Marc Anthony, Carry On by Martha Wash, When You Touch Me by Masters At Work featuring India and Chic Mystique by Chic.
Masters At Work 10th: The Anniversary Collection Part One 1990-1995.
Masters At Work 10th: The Anniversary Collection Part Two 1996-2000
Masters At Work 10th: The Anniversary Collection Part Two 1996-2000, sees the duo’s career continuing on an upward spiral. They were amongst the most in demand remixers and producers anywhere. Artists were desperate for Masters At Work to sprinkle some of their magic dust on their music. Some high profile artists arrived at their door, wanting them to introduce their music to a wider audience. This would include Eternal, George Benson and Daft Punk. However, in many cases, they could only do so much. The original track had to have some merit. They were not magicians. If a track had no merit, no amount of remixing and studio trickery could improve it. On the box set however, is a selection of their finest moments, and I have picked my favorite six tracks to review.
To Be In Love by India is my first selection. I know people will be saying, that is the third track he has chosen featuring India, how many more will there be. Well, I can assure you that is the last. India has been a huge part of the Masters At Work success story. Her vocals are on some of their greatest tracks. This track is no exception. The track has a subdued start, and then, quickly drums and keyboards make an appearance, with a beautiful rhythm emerging. Easily the highlight of the track is when India sings. At the start, she gives a much more understated performance, not quite the diva of previous track. However, she quickly finds her voice and goes on to give the sweetest, soulful performance. This is the India we know and love. India has one of the greatest voices you will hear on any house track. So good is her voice, she could easily have had a career as a solo artist in mainstream music. To me, this is her greatest moment, one that will be hard to surpass.
Nights Over Egypt by Incognito was the reason I decided to write this article, and an article on Incognito. I had been listening to this track when I decided to write an article on both Incognito and Masters At Work. This track is from their album No Time Like The Future, a huge success from 1999. It Was originally recorded by The Jones Girls. It was with trepidation that I first listened to Incognito’s version, as the original was a favorite track of mine. I was pleasantly surprised by Incognoto’s cover version, it was a fantastic cover version. Masters At Work have taken Incognito’s track and given it a makeover. It becomes a great house track, starting with the trademark Masters At Work drum beats, an extended introduction, that allows the track to meander at one-hundred and twenty beats per minute. It is nearly a minute and a half before the vocal emerges. When it does it sits firmly behind drums, that do not drown the vocal. It is a masterful arrangement of a classic song, one that adds something to Incognito’s original track. What it adds, is a make it a very danceable track.
I Wonder Why? (He’s the Greatest DJ) by Tony Touch has a slightly different start to it, than a lot of Masters At Work Tracks. The sound is not as big as other tracks, but then the drum beats arrive to fill out the sound. Then comes the piece de resistance, the vocal. As soon as the vocal cuts in you realize you are hearing a quality track. The female vocalist has the sweetest voice, and perfect for the track, she sings it beautifully. What really compliments her vocal is the way the rap appears, and often quickly disappears. It is a nice contrast to the vocal. In addition to the vocal, the drums, percussion, keyboards and fantastic backing vocals all play their part in making this a brilliant track, one that would light up, and fill, any dance-floor.
It’s Alright I Feel It by Nuyorican Soul is a track from Masters At Work 1993 Nuyorican Soul project. It is a track that has a heavy Latin influence to it, when you listen to the introduction especially. The track features a gloriously powerful vocal performance, a wonderful piano solo and an abundance of Latinesque percussion. However, the best thing about the track is by far, the vocal. Its power and passion, take this track from being a good track, to a great one. The arrangement and production on the track is perfect, Masters At Work have used all their experience to produce one of the most passionate tracks on the box set.
Sunshine After the Rain by Monday Michiru has a dramatic start booming drums, underlaid by more drums and percussion. The tempo starts quick, the slows down when the vocal enters. Just as quickly, the tempo quickens, and we are of on a joyful journey of some wonderful vocal house. At the front of the mix, sits a great vocal, bright, uplifting and wonderfully soulful. Another of the tracks highlights, is the brass section, especially the trumpet solo, which is just the icing on the cake, as far as the track is concerned. Throughout just over eleven minutes, your spirits are lifted, you are taken on the most wonderful musical journey. It is a track you will never tire of hearing.
Runaway by Nuyorican Soul is quite simply one of the greatest tracks on this box set. It is a gloriously, uplifting good time song, one that never fails to get people started. On this version, Jocelyn sings the lead vocal, no easy task, when the original was sung by the legendary Loletta Holloway. Brown does a great job, and although only a few members of the Salsoul Orchestra are present on this track, it stays true to the original. I won’t say it is as good as the original, that would be pushing things a bit far, that, in my opinion, is one of the greatest dance-floor classics ever. This version is good, Masters At Work have played it straight, neither trying to trick-up the track too much, nor trying to better the original. A great track, worth the price of the box set, one that will get you dancing, it is impossible not to when you hear the track.
Over the last few days, I have listened to this box set three times. It tool me that amount of time to choose the six best tracks, so hard a task it was. The problem was, that there is so much good music within this box set. You listen to one disc and think that is good, then you the next disc is even better. This continues throughout four discs, full of great track. In the end, you go back to tracks that have long been favorites, ones that are classic Masters At Work tracks. This box set Part Two 1996-2000, was released on the same day as Part One 1990-1995, and together over eight discs was a snapshot of one of the greatest and most prolific production teams in dance music. Part Two 1996-2000, like its predecessor, some of their greatest tracks, and I would go as far as say, some of the greatest tracks in the history of house music.
If you are interested in finding out more about house music, this is a great way to find out more about it. Should you want to merely relive your youth, this box set will bring back some wonderful memories. However, if having read this article, you find yourself thinking, I quite fancy buying this box set, or both box sets, I would say go ahead, you won’t regret it. You will hear some wonderful music, music that takes us back to a time when house music was at its peak, when there was so much great music around, produced by some wonderful artists and producers, of which Masters At Work were one of the best. Standout Tracks: To Be In Love by India, Nights Over Egypt by Incognito, I Wonder Why? (He’s the Greatest DJ) by Tony Touch, It’s Alright I Feel It by Nuyorican Soul, Sunshine After the Rain by Monday Michiru and Runaway by Nuyorican Soul.
Masters At Work 10th: The Anniversary Collection Part Two 1996-2000
MASSIVE ATTACK-BLUE LINES.
MASSIVE ATTACK-BLUE LINES.
Recently I wrote an article about Portishead, a group from Bristol, who were pioneers of the trip hop scene. In this article, I will write about another group who were at the forefront of the trip hop scene, and who did as much to popularize, and develop trip hop as a musical genre. That group are Massive Attack and the album is their debut album Blue Lines released twenty years ago in 1991.
Massive Attack were founded are a trip hop duo who were founded in 1998 in Bristol. The members of Massive Attack met when members of Bristol musical collective The Wild Bunch. They were DJs Daddy G and Andrew Vowles and former graffiti artist, turned rapper Robert Del Naja. The Wild Bunch were innovators, being one of the UK’s first sound-systems, being hugely successful in the club scene in the Bristol area.
When Massive Attack started out, in 1988, they were a trio, involved in producing music. Their first release was Any Love by Carlton McCarthy. The track was released independently. However, with help from Neneh Cherry, Massive Attack signed a record deal with Circa Records in 1990. This meant Massive Attack had to produce six studio albums, and a best of compilation. When you consider the terms of the deal now, this was quite a long term deal, with both parties locked into an agreement that could last the group’s career. What would happen, if, as proved to be the case, Massive Attack proved to be hugely successful? Would the terms improve? Or would they be locked into a deal that was not as beneficial as a shorter term deal that could be re-negotiated, or contained break clauses. I suppose, artists in their haste to sign a record deal, do not consider these things. What is most important to artists is producing albums, and getting their music released. Later Circa Records later become a subsidiary of Virgin Records.
Massive Attack have always been perceived as a group who pushed musical boundaries, and who were always open to experimenting on their albums. They have constantly sought to challenge orthodox musical theories. This is apparent when you listen to their music, they have written songs that do not have choruses, something that was seen as diametrically opposite to most musical theory. Listen to the sounds on their albums, you will hear effects used to change the dynamics and sound of instruments. The use of distortion on guitars, the way they the use effects to highlight dramatic high-points within string sections or orchestral sections. Another example is their use of samples and loop. The final production process sees Massive Attack use technology to it best effect. They are masters of editing and mixing, transforming the musical soundscapes, into a masterful mix, that has no equals. Massive Attack have always been willing, and looking to introduce new ideas and technology into their music, to help it evolve, and move on to the next level, always leading and pioneering, never following.
Blue Lines was Massive Attack’s first album for Circa Records, released in April 1991. It was a huge success, reaching number ten in the UK album charts. Massive Attack were helping in the recording of Blue Lines by Neneh Cherry and Cameron McVeigh. Part of the album was recorded in Massive Attack’s house. The album featured a number of different guest vocalists, including reggae legend Horace Andy, and an old friend from their Wild Bunch days. Their friend Neneh Cherry also sang backing vocals on Hymn of the Big Wheel. One of the songs on the album was Unfinished Sympathy, which is a fantastic track featuring a hugely complicated string arrangement, which Will Malone scored. Unfinished Sympathy was recorded at the famous Abbey Road studios.
On Blue Lines release, what struck many critics and record buyers was the variety, and range of influences of music on the album. If you listen carefully, the album is a fusion of dub, reggae, hip hop, electronic music, classic 1970s soul. It cemented Massive Attack’s as musical pioneers, and saw electronic music move towards a more downtempo, laid back sound. On the album sampling, rapping and breakbeats all feature, on various tracks. Blue Lines was critically acclaimed on its release, and has since gone on to be seen as one of the best albums released in the past twenty years.
Having released such a successful debut album, the pressure was on Massive Attack when they recorded their second album. The pressure was increased now that Shara Nelson had left Massive Attack, to be replaced by Everything But the Girl’s Tracy Thorn. No problem. They recorded and released Protection in September 1994, and it was a huge success, reaching number one in the UK album charts. It is seen as one of the best downtempo, or chill out albums ever, and is an essential part of anyone who loves chill out music’s record collection. So well thought of, Rolling Stone magazine included it on their Coolest Albums of All Time List. Like Blue Lines, Protection included a number of guest artists including Tricky on vocals on the track Karmacoma, and Craig Armstrong on piano. Protection was remixed by DJ Mad Professor in 1995, and released as No Protection.
Four years would pass until the release of Massive Attack’s next album. April 1998 saw their third album Mezzanine released. The album was produced by Neil Davidge. Unlike their previous two album, the sound was a change from their laid back sound. Mezzannine had a darker sound, and featured both ambient and abstract sounds. On the album, were a plethora of samples, including Led Zeppelin, Manfred Mann and Isaac Hayes. Manfred Mann sued Massive attack for the use of a sample from one of their yawn inducing tracks Tribute. Andy Vowles would leave the band after Mezzanine, citing creative conflicts. A number of guest artists would feature on Mezzanine, including Horace Andy and former Cocteau Twin, Liz Fraser. The album was a huge success worldwide, reaching number one in the UK album charts.
In February 2003, Massive Attack released their fourth album 100th Window. The only original member of the band involved in making the album was Robert Del Naja. 100th Window is the first Massive Attack album not to feature samples. Gone are the jazz influences and stylings of previous albums. One difference from Mezzanine is that the album is not as dark, and has a brighter sound and feel to it. As usual, a number of guest artists featured on the album, including Horace Andy, Sinead O’ Connor and Damon Albarn. Like previous albums, 100th Window reached number on in the UK album charts.
The last album Massive Attack released, Heligoland was released in February 2010. Heligoland was the first Massive Attack album for seven years. In the interim period, they had been concentrating on soundtrack albums, releasing three between 2003 and 2010. These were In Prison My Whole LIfe, Battle In Seattle and Trouble the Water. Seven years was a long time between albums, and musical tastes and trends change, sometimes quickly. The release of Heligoland would be a test for Massive Attack, to see if they were still as popular as previously. They enlisted a huge number of guest artists to feature on the album. They would include Mazzy Star, Guy Harvey of Elbow, Damon Albarn and Adrian Utley of Portishead. To publicize the album’s release, eight low budget films were released online. The album was received well, and sold well. Unlike previous albums it only reached number six in the UK album charts. However, the album was later certified gold, and Massive Attack’s seven year hiatus had neither affected their popularity, nor their reputation as a pioneering and groundbreaking group. Incidentally, Massive Attack still have one album to produce from the six album deal they signed twenty-one years ago.
Having told you about the history of Massive Attack, I will now tell you just why their debut album Blue Lines such a special, groundbreaking and fantastic album. Blue Lines opens with Safe From Harm. The track begins with drum beats, bass and then Shara Nelson makes an appearance, singing the vocal beautifully. Nelson’s vocal sits in front of the drum beats, and are interrupted by a spoken word sample, one that punctuates the track, adding to the atmospheric feel of the track. This is highlighted by the spaciousness of the drum beats, samples and scratches used throughout the track. Although on of the faster tracks on Blue Lines, it is a great track to begin a great album.
The second track One Love, sees the groundbreaking and innovative music continuing. Massive Attack really lower the tempo, to a pedestrian level, the track settling at sixty-eight beats per minute. On this track, there are scratches and samples aplenty, accompanying reggae legend Horace Andy’s moody vocal. One Love is track to chill to, one that still sounds as good, twenty years later.This track shows how Massive Attack used a combination of creativity, sampling and studio trickery, to produce a masterful downtempo classic.
The title track, Blue LInes, sees the tempo increase and the style change. Blue LInes has a minimalist feel and sound to it. Adrian “Tricky” Thaws raps in front of crunching drum beats, scratches and a very melodic backbeat. Tricky’s rap makes the track, the words are both clever and contain humor. It is a simple, yet effective track, one that has its roots in American hip hop. Although only the third song on the album, each track has been very different. What follows, takes the album to a new level.
Be Thankful For What You’ve Got is, by far, the best track on the album. The song is a cover version of a song originally written by Tong DeVaughn and was a huge hit for him, reaching number four on the US Billboard Hot 100 chart. It is a glorious track, which features a great melody, and some really catch hooks. Tony Bryan’s vocal brings the song to life, giving it almost a classic 1970s’ soul sound. His vocal is augmented by the hammond organ that plays in the background, the occasional scratch, and the backing vocalists who compliment Bryan’’s voice beautifully. I have always loved the original, and when I first bought the album approached the track with trepidation, as the song was one of my all time favorites. Thankfully, I was not disappointed, Massive Attack took a classic song, and gave it a new dimension, a new twist, and in the process, have produced a fantastic track, the best on Blue Lines.
Five Man Army sees the track begin with a rap, the drum beats crunch, prominent in the mix. Percussion plays around the beats and vocal. Then Tricky sings a vocal. Joining the mix comes Horace Andy, in the background at first, then taking centre-stage, just when the track begins to a have a reggae feel and sound. This is a great track, one that draws influences from reggae, hip hop and jazz, it is melting pot of styles and influences.
Shara Nelson returns to vocal duties on Unfinished Sympathy. This is the second best track on the album. It is a masterpiece of a track, featuring a lovely lush string arrangement and an outstanding vocal performance from Nelson. The sound is big, loud and glorious. I cannot criticize the track in any way, the vocal and string section is exquisite, as is the piano, drums and percussion. Truly, an outstanding track, the best original piece of work on the album.
On Daydreaming Massive Attack share vocals with Shara Nelson. This is a good contrast. Massive Attack rap their part of the track, the lyrics heavy on social comment and even parodying Topol’s dreadful If I Were A Rich Man. Nelson for her part, brightens up the track, her voice soaring, and falling, articulating the lyrics beautifully. The contrast between the two vocal styles, is part of what makes the track work, the other thing is the insightful, intelligent lyrics, which tell of a broken society in the UK. Twenty years on, what has changed?
Lately is the penultimate track on the album. Nelson again sings the vocal. She sings the vocal behind lush strings, crisp, crunchy, drum beats, and a funky bass line. It is a slower track, one with an abundance of space. The crackly sound that continues through the track, brings back memories of scratched vinyl, and the scratches, are like punctuation in the music, and the scratches are used sparingly adding to the track’s ambience. This track is definitely, one of the albums high-points.
Blue Lines closes with Hymn of the Big Wheel. The track has a dark and atmospheric feel and sound at the start. You wonder where Massive Attack are going with the track. When the track takes shape, Horace Andy gives his best performance on the album, and is accompanied by Neneh Cherry on backing vocals. His vocal is loud, clear and passionate. He is backed by and some intriguing rhythms, you find yourself trying to distinguish the sounds, you pick out drums, synthesizers, percussion yet other sounds elude you. So you end up sitting back, and letting the track’s beauty engulf you, saddened when the track and album ends.
One thing that struck me having listened to Blue Lines a number of times since I decided to write this article, is just how fresh the album sounds. If you had not heard the album before, and someone let you hear it, many people would think that it is a new release. This is testament to Massive Attack, they were innovators, pioneers of dance and electronic music, miles ahead of other artists. One has to remember that was their debut album, and Blue Lines shows a great deal of maturity. The album is almost flawless. There is not a bad track on the album. How many other debut albums can you say that about? Usually there are one or two tracks on a debut album that let it down, not here. The other remarkable thing is that often when an artist or band produces an outstanding debut, often they never scale these heights again, that was the peak of their career. Massive Attack went on to equal, if not better Blue Lines with their next two albums Protection and Mezzanine. On these albums, they were striving not only better their previous albums, but to evolve, and reinvent themselves. That is no mean feat, to be able to do that.
If you don’t own a copy of Blue Lines it is well worth buying a copy, it is a great album, packed full of fantastic, innovative music. It is an album that still sounds fresh, twenty years on, it still sounds as good as it did when it was released. Should you decide to buy another of their albums to accompany Blue Lines, I would recommend protection or Mezzanine, both of which are great albums, and like Blue Lines, are albums you will listen to over and again. Standout Tracks: Safe From Harm, Be Thankful For What You’ve Got, Unfinished Sympathy and Lately.
MASSIVE ATTACK-BLUE LINES.
INCOGNITO-NO TIME LIKE THE FUTURE.
INCOGNITO-NO TIME LIKE THE FUTURE.
Recently, I was listening to a Masters At Work 10th Anniversary Collection box set and on that box set, were two remixes of tracks by the band I am about to write about. The band is Incognito and the tracks were Always There and Nights Over Egypt from their 1999 album No Time Like The Future. This was a great album by a band who have been together since 1979 and have recorded fourteen studio albums. No Time Like The Future was their seventh studio album and was one of their most successful ever. I will now tell you about the band and their wonderful album No Time Like The Future.
Incognito were formed in 1980 by Jean-Paul “Bluey” Maunick. Bluey was by now, an experienced musician, having previously been in bands from an early age. Previous bands included New Life and 1970s jazz funk band Light of the World. In 1978 Light of the World signed to Ensign Records and released their self titled album Light of the World. The album included the tracks Midnight Groovin’ and Swingin’ and was both critically acclaimed and commercially successful.
In 1980 Bluey and Paul “Tubs” Williams decided to form Incognito. Again, the group signed to Ensign Records and in 1981 released their debut album Jazz Funk, which included some highly respected musicians. This included drummer Jeff Dunn, who would later play with Van Morrison and Peter Hinds on keyboards. The album reached number twenty-eight in the UK album charts. Not long after, Incognito would split up.
It would be 1991 before Incognito released their second album Inside Life. In the intervening years, Bluey had been recording tracks at home, including most of Inside Life. A chance meeting with legendary dj Giles Peterson at The Southport Weekender saw Incognito sign to Peterson’s Talkin Loud label. Peterson was able to bring together Jocelyn Brown and Incognito, a partnership that would proved fruitful for both parties. Inside Life was released and reached number forty-four in the UK album charts.
Incognito became really successful after the release of their third album, Tribes, Vibes and Scribes, which was their second for new label Talkin Loud. The album featured the wonderful Maysa Leak singing lead vocal on a cover of the Stevie Wonder song Don’t You Worry ‘Bout A Thing. A track from the album took the US by storm. This was an instrumental entitled L’arc En Ciel De Miles received massive airplay on US Quiet Storm Radio, and gave the band a huge hit. The album was well received in the UK and reached number forty-one in the album charts.
1993 saw the band release their next album Positivity. A track from this album, Deep Waters, would provide the band with another hit in the US. This great track now is now a smooth jazz classic. Although the album includes many great tracks, two of the best are Givin’ It Up and Still A Friend of Mine. Positivity reached number fifty-five in the UK album charts, and sold one-million albums worldwide.
Incognito’s next album was 100* and Rising which was released in 1995. This album saw Bluey record the album at the Abbey Road Studios and use a full string section. Two tracks on the album Everyday and I Hear Your Name would later be remixed by two of the biggest producers, Masters At Work and Roger Sanchez. Stevie Wonder would add harmonica to a remix of I Hear Your Name. These remixes were all part of introducing Incognito’s fantastic music to a wider audience. 100* and Rising was their biggest chart success reaching number eleven in the UK album charts.
It would be two years before Incognito released another album. 1997 saw Incognito release Beneath the Surface. Again, Maysa Leak would feature on vocals, and the album featured Bluey’s trademark polished production. By this time, the band had a huge live following and were one of the most in-demand acts around.
The album this article is about, No Time Like the Future was released in 1999. It was to prove a massive success for Incognito, and saw Karen Bernod, Maysa Leak and Jocelyn Brown feature on lead vocals. The album featured a cover of The Jones Girls classic Nights Over Egypt. Also on the album are Wild and Peaceful, Marrakech and Fearless. No Time Like the Future is my favorite Incognito album, and was an album that saw the band’s popularity soar. I will shortly tell you what makes No Time Like the Future such a special album, and one that twelve years later, sounds as fresh as it did on its release.
A new millennium saw Incognito continue to regularly release albums. Each album was packed full of great music. 2001 saw the release of Life, Stranger Than Fiction. On this album their are five new additions on lead vocal. This includes former Sade backing singer Tony Momrelle, Sarah Brown, Keli Sae, Xavier Barnett and Dianna Joseph.
Life, Stranger Than Fiction was followed up with 2002’s Who Needs Love. Two high profile guests featured on this album. Ed Motta played on the album’s opening track Who Neeeds Love? Paul Weller played acoustic guitar on the instrumental Blue.
Adventures In Black Sunshine was released to celebrate Incognito’s twenty-fifth anniversary, in 2004. Maysa Leak sung lead vocal on seven tracks including a cover version of the Doobie Brothers song Listen To the Music. George Duke also played keyboards on the album. This album saw three instrumentals included, bring back memories of their early albums and Light of the World.
Since then, four further studio albums have been released. In 2005 Eleven was released on Dome Records and featured Maysa Leak, Tony Momrelle and Imaani all taking turns on lead vocals.
Eleven was followed by Bees-Things-Flowers in 2006 on Dome Records. Here Incognito would revisit some of their classic tracks and include a number of cover versions. The classics included Always There featuring Jocelyn Brown on lead vocal, Deep Water and Still A Friend of Mine. Cover versions would include Roy Ayers’ Everybody Loves the Sunshine and Summer In the City by Seals and Croft and Earth, Wind and Fire’s, That’s the Way of the World.
Tales From the Beach was Incognito’s next album. It was released in 2008. Once again, vocals were shared by Tony Momrelle, Imaani and a Joy Rose. The album was packed full of danceable tracks, and took Incognito towards their thirtieth anniversary nicely.
The last album they released was 2010’s Transatlantic RPM on Dome Records. This album saw Incognito celebrate their thirtieth anniversary. Some illustrious guest vocalists joined Incognito on Transatlantic RPM. Chaka Khan sang a duet with Mario Biondi on Lowdown, a Boz Scaggs track. She also featured on The Song, and Mario Biondi featured on I Can’t Get Enough. Other guests included Ursula Rucker on Gotta and Leon Ware on the beautiful ballad Line In the Sand. This album was a fitting way for Incognito to celebrate thirty years in the music business. They were recognized by their contemporaries and peers as a group who, during their thirty year existence, had recorded and released so much wonderful music.
Having told you about Incognito’s history, I will now tell you about No Time Like The Future, and why this album deserves a place in your record collection. The first track is Wild and Peaceful. Wild and Peaceful features a long, meandering and glorious instrumental introduction. Piano, drums, and keyboards are just some of the instruments that you hear. Just when you think it cannot get any better, it does. Maysa Leak sings lead vocal, and in doing so, brings life and meaning to the song. She has been one of Bluey’s best discoveries and biggest assets. She has a fabulous soulful voice, a voice that is perfectly suited to the song. She is ably aided and abetted by some great backing vocals, and together, all of this makes a great song, and a great start to No Time Like The Future.
Get Into My Groove is a delicious slice of soul, jazz and funk. It has the funkiest, most uplifting introduction. Quickly, the vocal enters and this leads to one of the most joyful sounding tracks on this album. However, if you take time to listen to the lyrics, they feature some insightful lyrics about false and broken promises made by world leaders and power-brokers, and the harm their broken promises have caused. Bluey seems to have achieved the impossible here. He has written a joyous sounding song, featuring lyrics with righteous indignation. Billy Bragg could never have achieved this!
it Ain’t Easy has a slightly slower tempo than the previous two tracks. Jocelyn Brown takes over vocal duties, and sings a song about the complicated nature of relationships. In the song she details how we all struggle to figure what is going on in each other’s minds, and how we end up spending ages trying to read the signs, trying to discover what the other is thinking. This a song that anyone who has ever been in a relationship can, or should be able to relate to. We have all been there, especially at the early stages of a relationship, wondering what our partner is thinking, wondering have I done or said the wrong thing? Bluey has managed to describe this feeling perfectly in six and a quarter minutes. So as well as providing us with some great music, he also offers guidance on relationships. A great song, one that we can all relate to.
The next track on the album is Marrakesh, one of the best, and I would go as far to say, that this is a classic Incognito track. It starts slowly, and smolders, it is enigmatic, moody and totally beautiful. Marrakech transports you far away, to somewhere warm, exotic, and full of promise, with someone you love. You are taken away from drudgery, boredom, routine and I suppose, normality, to somewhere that sounds like paradise. Since I first heard this album, I have always loved and cherished the smoldering beauty of Marrakech.
Fearless starts with a male vocalists singing one note in unison, this continues, then reappears, intermittently, all behind a backdrop of lovely rhythms. Thankfully, we are spared this annoying backdrop for a while, and then it reappears. It is not effective, just annoying, very annoying. After a while it really grates. It spoils the rest of the track. Take out the vocal and you have a great track. I have always felt that this spoils the song.
Nights Over Egypt sees Incognito cover the old Jones Girls classic Nights Over Egypt. This could be a difficult task, after all, how do you improve a Philadelphia classic? Incognito get round this problem easily. They reinterpret song. The vocal is exquisite and is accompanied by a band who really swing. Behind all of this is some house influenced drum beats. This puts a new twist on a classic song, and is a dance-floor classic, especially the Masters At Work remix. When I first listened to this track I approached it with trepidation. After all I love the original, and I did not see how this could be either equaled or better. I need not have worried, Bluey has taken a classic song and reinterpreted it wonderfully.
Centre of the Sun is a slow burner, it starts quietly, gently, with Maysa Leak singing beautifully in front of the rest of the band. On the track, she displays her vocal versatility. Quite simply, she has the voice of an angel. The song is one about love lost, when you meet who you think is the one, but it proves not to be the case. After, comes the pain, the pain of losing someone, having to get over the pain and hurt, and learning to love again. This is what happens here, she meets someone and learns to love again. A great song, well song by Maysa, and a nice contrast from some of the faster songs on the album.
More of Myself is a song with a spacious arrangement. Incognito play slowly, leaving lots of space within the arrangement. This applies to the vocal. It is sung slowly, and quite wonderfully. The vocal’s quality is added to, by the backing singers, who compliment the vocal perfectly. Like the previous song this is a relationship song, albeit one where there appears to be a happier ending.
The penultimate song on the album is I Can See the Future, has almost a jazz funk feel and sound to it. The song is mostly instrumental, with the bank showcasing their collective and individual talents. Occasionally, the song is punctuated by melodic vocals, when the vocalists sing short bursts of lyrics. It is a good song, one that is quite different to the majority of tracks on the album. I Can See the Future is Incognito revisiting their roots, and doing so with aplomb.
No Time Like The Future closes with Black Rain. This is a track that takes a while to come to life. When it does, the drums have a drum and bass sound to them. They play, whilst in the distance keyboards repeat the same melody. Then strings begin to make an appearance, and are joined by an infrequent spoken word sample. Black Rain is a long track, and has an experimental sound and feel to it. I have always imagined it as part of a film soundtrack, as it has an atmospheric, almost broody sound, with an air of mystery to it. For me it was a strange choice to close the album. In my opinion, this would have been better as the penultimate track, and I Can See the Future closing the album. When i listen to the album, and hear this track close the album I always feel short changed, and I am left thinking that it is not up to the standard of the other tracks. However, that does not mean it is a poor track, no, it is a track that sees Incognito pushing musical boundaries, and trying something new and different.
Since I decided to write this article, I have spent a while revisiting Incognito’s back catalogue. This was a pleasure. I have always loved their music, right back since the days of Light of the World. No Time Like The Future was one of many high-points in Incognito’s history. They are a band who have been producing music for over thirty years, and during that period, have been an innovative and pioneering group. Much of this is down to Bluey’s creativity and imagination. He is a hugely talented musician, arranger and producer. This album was an example of his innovation and creativity. He took a number of highly talented musicians, and vocalists like, Jocelyn Brown and Maysa Leak and brought out the best in them, and in the process produced an album that sounds as good today as it did in 1999. Standout Tracks: Wild and Peaceful, Get Into My Groove, Marrakesh and Nights Over Egypt.
INCOGNITO-NO TIME LIKE THE FUTURE.
BLOOMSDAY-FORTUNY.
BLOOMSDAY-FORTUNY.
The group I am going to write about in this article, were a short lived project, between members of two of Scotland’s finest bands. Bloomsday were formed by Chris Thomson of The Bathers and two former members of Lloyd Cole and the Commotions Stephen Irvine and Neil Clark.
The story of how Bloomsday is quite an interesting one, and shows how sometimes record company politics can lead to the demise of promising and successful bands. This story nearly saw one of the best bands to come out of Scotland in the last thirty years nearly strangled at birth. Chris Thomson formed Friends Again whilst studying English literature at university. Being in a band was much more alluring than academia. Having secured a record deal, Friends Again released several singles and the album Wrapped and Unwrapped. A dispute over the band’s musical taste saw Friends Again split up. This lead to Thompson forming The Bathers.
Having signed a record deal with Go! Discs, The Bathers released their debut album Unusual Places To Die in 1987. Although the album was well received by critics, internal problems with their record company, meant it was not possible to build on the enthusiastic response.
After this disappointment, Thomson then went back to plan their second album, Sweet Deceit. By now the band were on the Island record label. Sweet Deceit was released in 1990. Once again, the album was critically acclaimed, once again problems with their record company scuppered the band’s chances of commercial success. Island records was at this time was a label in chaos, members of staff were being sacked and Sweet Deceit was doomed to failure. At best the album was seen as a token release. Yet again, Thomson had been denied the success his music deserved. This lead to him forming Bloomsday.
By 1989 Lloyd Cole and the Commotions had split up, and Stephen Irvine and Neil Clark found themselves without a band. This was when Neil and Clark joined forces with Chris Thomson. Suddenly the trio had a new musical vehicle, that was Bloomsday, and in 1990 they released their one and only album Fortuny, an album which many people, myself included, consider a minor classic. Read on and you will discover why.
Here is the deal, take three great musicians and songwriters, get them to form a band and then let them write enough songs for an album. What you get is a song like Strange Honey, the first song on Fortuny. When you listen to Strange Honey you are immediately struck by song’s great lyrics. Yes, there are similarities to both The Bathers and Lloyd Cole and the Commotions, intelligent and thoughtful lyrics, which feature a really strong narrative. Strange Honey is a song about admiration, and love, although maybe falling in love was not part of the plan. That was not meant to happen, although it appears to have. Thompson sings the song well, articulates the lyrics effectively, and Clark, Irvine and friends back Thomson perfectly.
Black River has a very different start to Strange Honey. They are polar opposites, Strange Honey started with acoustic guitar, Black River, has a bigger louder sound featuring electric guitar and drums. The lyrics have a classical and mythical feel to them. Throughout the song there is a clever use of similes. The sound is totally unlike what you would expect to hear on either an album by The Bathers or Lloyd Cole and the Commotions. That does not make this a bad song, quite the opposite, I like the track, although I feel the guitar and drums dominate the sound. This means that Thomson’s vocal is almost drenched. I would love to hear this song re-recorded with guitar and drums much further back in the mix. It is a good song, but one that could be better.
Forever Through Traps and Lies is a far better song than Black Honey. Thomson’s voice is not fighting a losing battle with guitar and drums. Instead, the way the song is arranged, compliments his vocal. Here the lyrics are intelligent, and are about temptation and love. The song starts gently, Thomson almost whispering the lyrics, then quickly, the song opens out, and the story unfolds. During the song Thomson almost enters a duet with the backing singer, their voice complimenting each other perfectly. What you end up with, is a track that is one of the album’s best.
Torn has a moody feel to it, and tells a tale of woe. The song is obviously about someone who is a tormented soul, having lost their lover. Thomson delivers the song perfectly, giving an outstanding vocal performance, one that transmits the hurt and pain that is being felt. Quite simply, an outstanding performance of a brilliant song.
Having heaped such praise upon the last track Torn, it is hard to believe that the next song, Universal Thirst could be better. Believe it or not, it is the case here. Thirst sees Thomson sing despairingly, about losing the one true love he has ever had, and about holding out for their return. He sings how love has a genius for holding on, surely a sentiment many people will recognize, and be able to relate to. Thomson’s genius is being able to portray a wide gambit of emotions, and in doing so, make it real for the listener. His ability for being able to empathize with what we all feel, and suffer, and articulate in such a way that we recognize, and relive it, with him, is uncanny. Having thought Torn was a great song, Universal Thirst, is even better.
North Country Girl lacks the intensity of the previous two songs. That is not a criticism, merely an observation. What the song does have is quality. The lyrics have a strong narrative and tell a story, and tell the story well. It appears that the North Country Girl has lived life in the fast life, and like Icarus, has flown to close to the sun. She previously has the looks, power and ability to make grown men crumble, sadly that is no longer the case, and she is a shadow of herself seeking direction. It is a good song and a good story, one that reads like a morality tale, the sort of things mothers would tell their daughters, so they keep on the supposed path of righteousness.
Lemon Beach is a faster song that has much in common with Black River. The sound is fuller, and here Thomson sounds not unlike Lloyd Cole. When you listen to the lyrics, they are eloquent and astute, they have the depth that all the songs on Fortuny have. The arrangement on Lemon Beach is much better than the aforementioned Black River. The vocal is not swamped by the rest of the band, instead, the vocal and band compliment each other, each bringing something to the arrangement that the other cannot. This is a strong track, albeit, one that cannot match the quality of some on the album.
I Cheated Myself (For Someone Like You) has always been my favorite song on the album. Everything from the vocal to the lyrics make this a great song. It is a song of betrayal and regret. There is the realization after the event of how stupid you have been, to have had an affair with someone like that. It is what you lost, to get what you thought you wanted, you don’t think about. It is only afterwards you realize what you lost, and what you will never regain, for something that was not worth it, and after which you despise yourself for. That is what I Cheated Myself (For Someone Like You) is about, and I am sure many people who listen to the lyrics feel the song was written about them. Well, hindsight is a wonderful thing. Maybe that should be the follow-up. Quite simply, I Cheated Myself (For Someone Like You) is the best track on the album.
Serene is the penultimate song on Fortuny. It is another song that features a strong narrative, that takes you on a journey, a journey that you can almost visualize. So strong is the picture you find yourself there, can smell the musty Panamanian floorboards, visualize the snowstorm in Adelaide and picture the everglades. That is how good the song is, when you can imagine yourself as part of account. Thomson is like an 11th century troubadour or minstrel, singing of his wanderings and experiences, sharing them with the listener. He does so exquisitely, bringing the song to life, for us all to enjoy and share.
The final song is 63 Cinnamon Crescent. It is a song that features Joycean lyrics that have a somewhat surreal quality to them. They are intelligent and erudite, two words that describe all the lyrics on this album. Thomson sings the vocal well, and Clark and Irvine provide a simple yet effective, backing track, one that allows the vocal to shine and dominate the arrangement. 63 Cinnamon Crescent is a good way to close a great album.
Having listened to Fortuny more times than I care to remember since the album’s release back in 1990. It is an album that I find myself return to time and time again. Each time I appreciate the album’s quality, and savor the intelligent and sophisticated lyrics. These are lyrics that Thomson articulates perfectly, demonstrating his strength and ability as a songwriter. My comparison to a medieval troubadour, is not far fetched, as he is a master storyteller, someone who can bring lyrics to life. Throughout Fortuny, he does a masterful job.
What saddens me about this album, is that it was not a huge commercial success. Instead it is an album that has a cult following, loved and cherished by a few, instead of by many. Sadly, this album came out at the wrong time. It was released when dance music was king, and thoughtful and intelligent music was neither wanted, nor valued by the music buying public. My hope is that when people read this article, they are intrigued and interested enough to consider buying this album. Should you decide to buy this album, you will instantly fall in love with the beautiful music on Fortuny. Standout Tracks: Forever Through Traps and Lies, Torn, Universal Thirst and I Cheated Myself (For Someone Like You).
BLOOMSDAY-FORTUNY.
JON LUCIEN-RASHIDA.
JON LUCIEN-RASHIDA.
Today I thought I would write about an artist who many people will not be aware of, despite the artist receiving two Grammy nominations for the album this article is about. The artist is Jon Lucien, and the album is Rashida, his second album, released on RCA Records in 1973.
Jon Lucien was born Lucien Harrigan, in 1942, in Tortola the main island of the British Virgin Islands. Lucien was brought up by his father in Saint Thomas, in the US Virgin Islands. His father was a musician, and was an influence on his son, and his eventual choice of career.
During the middle of the 1960s, Jon Lucien decided to move to New York, to fulfill his ambition of embarking on a musical career. It would be 1970 before he would eventually release his first album. The album was entitled I Am Now. On this album, one can hear clearly, one of Lucien’s big influences Nat King Cole shine through. One of the track’s on I Am Now, is Dindi, written by legendary Brazilian composer, Antonio Carlos Jobin. Lucien’s version is a beautiful version, of a beautiful song. Most of the tracks on the album are cover versions. Some work really well, others seem like a strange choice for this album. The most misguided choices are Who Will Buy? and The Sound of Music. These tracks seem totally out of place on the album, especially the latter, which is really not suited to Lucien’s vocal style, and should not have been put on the album.
His second album, is Rashida, the album this article is about. Rashida contained some of Lucien’s best known tracks. This includes Lady Love, Rashida and Would You Believe In Me. Jon Lucien received two Grammy nominations for tracks on Rashida. One was for Rashida, one of the album’s standout tracks. Unlike his debut album, I Am Now, all the songs were written by Lucien. Lucien’s brother, Eric Harrigan Jr played drums on Rashida. For me this is Jon Lucien’s best album. It is an album which contained some wonderful music, music which still sounds great nearly forty years later.
1974 saw Lucien record his third album Mind’s Eye with producer Dave Grusin. The album was Lucien’s third and final album for RCA Records. On Mind’s Eyes, Lucien’s brother Keebo Harrigan played drums. It contained Listen Love, So Little Time and Ghetto Song.
Having left RCA Records, Lucien signed a contract with CBS. His first album for his new label was Song For My Lady, released in 1976. The follow up to Song For My Lady was his 1976 album Premonition. That was his last album of original material for CBS. They released The Best of Jon Lucien in 1980.
There were six years between Premonition and Romantico his next album. After the release of Romantico, Lucien did not release another album until 1991. The album he released in 1991 Listen Love, was very much a return to form, after his lengthy hiatus. There was not such a gap between his next albums. In 1993 Jon Lucien release Mother Nature’s Son.
Four years passed until the release of Endlless Is Love. This was released one year after the tragic death of his seventeen year old daughter in a plane crash. This was one way he mourned her loss, through music, as music he believed, was a special force, one that allowed them to communicate.
Jon Lucien released his final studio album Precious Is Love. One year later The Best of Jon Lucien was released. After that, no further music was released by Lucien. He died in August 2007, aged sixty-five.
Having briefly told you about Jon Lucien’s life and career, I will now tell you why Rashida is such a good album. The album opens with the track Kuenda. Kuenda begins with waves crashing onto the beach, gulls circling overhead and children laughing.Then Lucien sings accompanied by merely an acoustic guitar strummed gently. Here he is almost scatting, during the track. This is an interesting choice of track to start the album. It is a pleasant enough song, but far from the strongest on the album. I wonder why Lucien did not put one of the stronger tracks first, and put this song last on the album. It would have been a better way to close the album, than start it.
Would You Believe In Me? is the next track on Rashida, and is a much stronger track. This is vintage Jon Lucien. From when he counts the band in, until the track ends two and half minutes later, the song is absolute quality. The track features Lucien singing in front of band that includes a brass section. That brass section gives the song an injection of life, and almost a feel of the Carribean. Lucien sings this joyous song with feeling and passion. It is a song of love, one that features some beautiful lyrics, which demonstrate Lucien’s skill as a songwriter. This is one of Jon Lucien’s greatest moments, one that I never tire of hearing.
Lady Love is another of Lucien’s love songs. The lyrics have an innate beauty, which Lucien translates into one of the most beautiful love songs that you will ever hear. On this song, the arrangement is such, that Lucien’s voice is allowed to dominate the track. It is given centre-stage, and Lucien’s rich baritone, delivers the song perfectly. Like, Would You Believe In Me?, Lady Love has the most exquisite lyrics. On Rashida, every song was written by Lucien, whereas on his first album, most of the songs were cover versions.
The next song Luella, is another one of Lucien’s love songs. What is different is the sound. Two things differ. Firstly, the song features a bigger sound and benefits from having a band that features a brass section and percussion, as well as the more traditional instruments. Secondly, Lucien’s vocal style is different on this track. He improvises quite a lot during the track, and revisits the scat vocal style of the opening track. Here, this is effective, and contrasts well with his usual vocal style. Luella is a good track, but after the previous two masterpieces, Luella was always going to have a hard act to follow.
Shana is a slower, quieter song. Lucien sings the song accompanied only by acoustic guitar. The song sees Lucien in a pensive mood, looking to the past. It is a complete contrast to Lady Love and Do You Believe In Me? This song shows yet another side of Jon Lucien, there is not the same joyousness within the lyrics, yet the songs feature his trademark quality lyrics.
The next song is entitled Satan, is easily the poorest song on the album. It features just under four minutes of Lucien scatting, and giving a performance that can be blamed on musicians who believed free jazz had something to do with music. Quite simply, this song has no place whatsoever on this album, or any album.
After the previous desperate track Satan, Rashida sees Lucien return to form. Rashida is one of the best songs Lucien wrote and sang. No wonder this song was nominated for a Grammy. Lucien has reserved one of his best performances for Rashida. He sings this lovely song gently, articulating perfectly, the lyrics, highlighting their thoughtfulness and exquisite quality.
War Song sees Lucien sing about the futility of war, and how a life lost, is a life wasted. He gives a strong vocal performance, using his vocal range well, to sing his powerful and intelligent lyrics. Although this is a very different song from others on this album, it is well written and well sung by Lucien. This song shows that Lucien was not a one trick pony, who could only sing and write love songs.
Esperenza sees Lucien changing his style again. He plays acoustic guitar and scat his way through the song. It is very effective, it is a gentle and pleasant, pleasing on the ear. Unlike Satan, this track works, maybe because of the way he sings the song.
Love Everlasting is the penultimate song on Rashida. This is one of the best songs on the album. It features a lovely string arrangement, and sees Lucien sing the song really well, starting off scatting, then continuing with a much more traditional vocal style. The song meanders, gently, the tempo constant, Lucien’s phrasing is perfect, he leaves space in the song, which highlights the lyrics and their beauty.
The album ends in much the same way as it began. Zenzile sees Lucien scat in this song, improvising totally. This is something he does a lot on the album. On this track, he does so throughout the track, on others he does so fleetingly. This track may be a lost opportunity, as the track has the basis for a really good song. However, it is a good way to end a good album.
During the last few days I have spent some time re-listening to Jon Lucien’s music. It is music that I have loved for many years. He was a really talented singer and songwriter, one who should have become a much bigger star than he was. His music deserved a much wider audience. The albums he made during the 1970s were, by far, his best work. I Am Now was very much Lucien finding his feet as an artist. Maybe he realized that his over-reliance on cover versions on that album was a mistake, and on Rashida and Mind’s Eyes he wrote all the songs himself. That was a good move, and a huge improvement. Later in his career, he was far from prolific, and seemed to lose his way, never scaling the heights of his early career, maybe even failing to realize the huge potential he had as a singer and songwriter. However, we should be glad that Jon Lucien recorded the music he did, he has left behind, a wonderful legacy, for future generations of music lovers to discover. Should you wish to purchase Rashida, and I hope you will, it is available along with I Am Now and Mind’s Eye on a two disc set released in 2001 on Sony Music. Standout Tracks: Would You Believe In Me?, Lady Love, Rashida and Love Everlasting.
JON LUCIEN-RASHIDA
DOWNTEMPO MUSIC-SOME OF ITS FINEST MOMENTS.
DOWNTEMPO MUSIC-SOME OF ITS FINEST MOMENTS.
For some time, I have been planning a retrospective of downtempo music. Immediately, I hear you say downtempo music, what is that? Downtempo music is the way I describe what many people would call chill-out music. I have chosen to use the term downtempo music because for a while, this style of music was hijacked, often by the major record labels, who sensing an easy way to make money, released all sorts of dreadful compilations with chill-out in the title. This lead to a multitude of terrible compilations hit the market, making many people turn their back on this style of music, disgusted by the inferior quality of many of the releases. What did not help, was certain established compilations started releasing poorer quality installments of previously popular series’. Many people will recognize the guilty parties, some of whom are still persisting with these third rate releases. This lead to this genre of music becoming much less popular, and some people treated the genre with almost contempt. That was a shame, as during the “golden age” of this music, some wonderful music was released. Hopefully, this review will reacquaint people with some of these wonderful releases, and help separate the wheat from the chaff.
In this review, I will look back at some of the best compilations that were released in what I would call the “golden age” of downtempo music. I have picked a wide range of releases, from a wide variety of labels, some you will have heard of, some you will not be familiar with.
BLUE LIGHT ONE-AN UPSTAIRS RECORDINGS COMPILATION.
The first album that I have chosen to include in this review is Blue Light One-An Upstairs Recordings Compilation. This compilation was released in 2002, and features the artists who record for Upstairs Recordings. There are twelve tracks of wonderful laidback, downtempo grooves on this album, including tracks by Telefuzz, Earball The Wiliam Casion Experience and Ed Swanz. Previously, I reviewed Telefuzz’s album Sleep, so you will be familiar with their sound. In case you are unfamiliar with the other artists, I will now choose four of the albums best tracks.
Red Lights by Matt Voogan starts with a beautiful acoustic guitar solo, and then goes on to feature some great rhythms. The track is faster than some on the album, but meanders along, repeating and highlighting, some wonderfully programmed synthesizers and drums. Effects, including delay, are used sparingly, to slow the track down, or highlight a sound or instrument. Overall, a well constructed, and produced track.
Salamino by Miguel Graca, is slower than Voogan’s track. It has a different sound, much more minimalist, using synthesizers and drums. A female vocal drifts in and out of the sound, and sits quite far back in the mix. The track has a drum and bass feel to it. I like the constant repetition of sounds, within the track, it works well, and you find yourself waiting expectantly, for the familiar sounds to return, and tantalize your ears again. Graca has produced one of the albums strongest tracks, one that still sounds fresh nearly ten years on.
The Real Funicello by The Wiliam Casion Experience, has long been one of my favorite tracks on this album. This track is slower, and features a fuller, more varied sound. In the track, effects and samples are used effectively, they fill the sound, popping up all through the track, assailing your sense, taking them in a journey through a psychedelic soundscape. This is easily the standout track on Blue Light One.
Isla De La Piedra by Earball, is a slightly faster track, and one that has many layers. During the track, so much happens, you hear sounds and samples a plenty. At the start, you will hear The Orb influencing the sound, thereafter, the sound is very much unique. Samples cut in and out, effects transform and reenergize the sound, and towards the end a female vocalist sings beautifully, over and around the rest of the sounds and samples. Earball has contributed a great track to this compilation, one that I never tire of hearing.
Blue Light One is an album that is well worth buying. It offers a much different sound to many of the albums that were coming out in 2002. By then the standard of quality of downtempo music was at a low. This release restored my belief that there were still artists out there, willing to push musical boundaries, and produce new and quality music. Buy this album, and it will take you on an a downtempo and almost, psychedelic journey, one which you will allow you to hear and experience a multitude of intoxicating wonderful music. Standout Tracks: Red Lights by Matt Voogan, Salamino by Miguel Graca, The Real Funicello by The Wiliam Casion Experience and Isla De La Piedra by Earball.
BLUE LIGHT ONE-AN UPSTAIRS RECORDINGS COMPILATION.
HIGHWAY AND LANDSCAPE.
Highway and Landscape is a two disc set which was released in 1997 on Distance Records. This was the first of three Highway and Landscape compilations. It features a number of artists that you will struggle to find on other similar compilations. That is a shame, because there is some wonderful music on the two discs. The tracks were selected by Oliver Velay and Eric Pajot and contains tracks from a number of labels including T:me Recordings, Hardkiss, Reflective and R&S. There are some well known and lesser know artists on this album, including Dave Angel and John Beltran as well as T-Tauri and Single Cell Orchestra. I will choose two of the best tracks from each disc.
Curiosity (What It Is) by Molasses is one of the tracks I have chosen from the first disc. The track begins with drum and bass, and the drum sound is like something you would find on a blaxploitation album, but slowed down, way down. Behind the drum sits the bass which is slow and spacious. Then the track opens out, into a bright and breezy track, one which would be a lovely accompaniment to any Balearic sunset. Throughout the track, the bass makes an appearance, repeating the same notes. Too quickly, this great is over. It lasts just under three minutes. However, it is three minutes of your life well spent.
Teleport To Origin by Valleyman is the second track from disc one I have chosen. Again this is a slower track. It is an atmospheric soundscape, with an almost space age feel to it. I can imagine this accompanying a sci-fi film. It makes you think of space, and traveling towards unexplored planets. The track features numerous sounds, samples and instruments. There is a contrast between the main part of the track with slowly meanders, and the drum beat which overrides it. What really reinforces the feeling of space, is the vocal samples, which float in and out of the track, a couple of times. There use is rationed, and when used sparingly, as here, is extremely effective. This is easily the best track on this disc.
Adjustable by Being is my first choice of track to feature from disc two. This is a slightly quicker track than the two tracks from the first disc. The track has a long and slow build up, the sound is not too busy or full. Sounds repeat, then disappear, only to reappear, and the tempo remains constant. It is a pleasant track to listen to, it does not assault your senses with an arsenal of sounds and samples. Quite the opposite, the constant repetition, gently soothes and massages your soul, its familiarity like a comfort. Being have produced a great track, one that I hope you too, will enjoy as much as I do.
Amazing Discoveries by Move D is a similar tempo to Adjustable by Being. It has an atmospheric, almost futuristic feel to it. The music pulsates throughout, behind the constancy of the drums and keyboards. Chords, samples and drumbeats repeat consistently, highlighting and featuring, dramatic peaks in the music. There is both darkness and light within the track, sometimes both at the same time. It is track that offers a different type of downtempo music, one that is much more sophisticated than on many other albums, because of the complex nature of the sound.
If you have never heard this album, and whether you are someone who loves downtempo music, or someone who has never heard it before, this album is well worth buying. Highway and Landscape, when it came featured a totally different type of music. The music was much more experimental in nature, and sounded fresh, new and vibrant. By 1997, many “chill-out” albums were being churned out, often featuring the same artists. This offered something new, something that stimulated and refreshed me. At the time, I hope that there would be further releases, thankfully there were, two further volumes were issued, and they were every bit as good, if not better. Standout Tracks: Curiosity (What It Is) by Molasses, Teleport To Origin by Valleyman, Adjustable by Being and Amazing Discoveries by Move D.
HIGHWAY AND LANDSCAPE.
HIGHWAY AND LANDSCAPE 3.
Highway and Landscape 3, was the final installment in what was a short lived, yet brilliant series. Why it was the last volume, puzzles me, because here was their strongest release in the series, featuring some of the fantastic tracks that you will struggle to equal. This third volume was selected by Jean-Yves Leloup, who has handled the job with aplomb. He describes the tracks as a collection of deep beats and cinematic breaks. Like the first volume, this was a two disc set, therefore, I will choose the two best tracks from each disc.
Tropiq by I:Cube is my first choice from disc one. The track starts quietly, and like a volcano, sometimes, things are emitted from it. Here the track rambles along keeping the same tempo, and rhythm, which repeats beautifully. Then, sometimes, a new sound suddenly, appears in the mix. This is immediately noticeable, as by now, you are intimately aware of the track, due to the clever use of repetition. I:Cube have produced a track that is well structured and produced, that is one of the best on this album, never mind this disc.
The Blazing Water by Shantel, is the other track I have chosen from disc one. This track starts quietly, and gently and slowly unfolds. At the start samples and a vocal dominate, then the drum beat sits firmly at the front of the track. Behind the drums, sits vocals, a trumpet and synthesizers. All, however, have their moment in the sun, as they take turns to dominate the track, sitting proudly at the front of the mix. After four minutes, a spoken word sample can be heard, this changes and freshens things. I found myself awaiting its return. Thankfully it did, but only at the end of the track. Maybe limiting its use was wise, as sometimes they are overused. This is a fantastic track, one that I cannot fault, and one I love to hear.
My first choice from disc two Mind Food by PCS. This track puts me in mind of a scene from a 1960s spy movie. The track is moody, atmospheric, yet not dark. There is a lightness to the track, this is due to the mix of instruments used. They are played in a restrained way, and feature strings, a bass and drums. Sounds weave into, and out off the track. Overall, it is a great track, with a real cinematic feel to it. All we need now, is someone to make a movie to accompany the track.
My final selection from this album is Week End A Brives (Goo Remix) by Superbonbon. This track features an almost classical influence in places, yet the crunching drum beat is almost what you would expect from an army marching into battle. However, listen behind the drumbeats and you will hear much more. Numerous spoken word samples, scratches and strings will be amongst what you will hear. Although the drum beat is prominent and loud, it does not spoil the track. What it does is provide variety, as many of the drum beats on downtempo tracks sound very similar. This is an interesting and innovative track, one that is well worth investigating.
Highway and Landscape 3 has always been one of my favorite downtempo albums. I remember the first time I put this on after buying this album I was blown away. It was so innovative and pioneering, so very different from what was being released in 2002. I was sorry that no further volumes of Highway and Landscape were released, it was one of the best series of compilations about. While this series ended too soon, certain other compilers never knew when enough was enough, and kept churning third rate volumes of weak wannabe downtempo music. So if you never heard this album when it was released, I suggest that this weekend you visit your local record shop and try to find this album. I can assure you will not be disappointed, and will then seek out volumes one and two, as within the three volumes is some brilliant music. Standout Tracks: Tropiq by I:Cube, The Blazing Water by Shantel, Mind Food by PCS and Week End A Brives (Goo Remix) by Superbonbon.
HIGHWAY AND LANDSCAPE 3.
CAFE DEL MAR VOLUMEN UNO.
Cafe Del Mar was one of the first downtempo compilation series’ to be released. This was the series that many other record companies tried to imitate, once they saw how successful Cafe Del Mar was, and how many albums that were sold each year. What was special about this series was how eclectic the choice of music on these albums were. You could find a jazz track by Stan Getz, a remix of a John Martyn track or an old Penguin Cafe Orchestra track. For me, that was part of the beauty of the series. You never knew what you would find on the volume. After nine volumes, the series lost something for me. There was never the same quality or eclecticism on the albums. However, that still leaves some wonderful music for you to discover.
The Story of Light by William Orbit is the first track I will feature from the album. This track builds up slowly, taking over a minute to do so. After a minute and a half, the track opens up to feature a vocal accompanied by a variety of instruments, and samples. The track has a joyous feel and sound. One can imagine it going down well beneath the Iberian sunset. When you hear the track, it makes me shudder when I realize how long ago it was originally released. Although released back in 1994, the track still sounds as fresh today, as it did back then.
Smokebelch II by Sabres of Paradise has a totally different feel and sound to it. Whereas, Orbit’s track was uplifting, this track has a much more subdued sound. It gently, and slowly meanders along, repeating and revisiting the same sounds and ideas, but in doing so demonstrate and highlight the track’s quality and beauty. The tempo is almost unchanged throughout, and the same sounds appear and reappear. Regardless of the times I have heard this track, I still enjoy hearing it again, it is like being visited by an old friend, one who, even though you have seen many times, you always enjoy seeing again.
My next choice is Sundance by Sun Electric. The track opens with a cloud of thunder and vocal samples and drum beats. Thereafter, what follows is vocal accompanied by drum beats, percussion, samples and the occasional peal of thunder. It is one of these tracks that, still sounds as good as the first time you heard it. The track has a a quality and depth that many other tracks of this nature lack. This is why the track still sounds as fresh eighteen years on.
My final choice from the album is Estelle by A Man Called Adam. This is one of the slowest tracks on the album, and is, in my opinion, easily one of the best. It has the most beautiful and sweetest vocal on the track. It is given centre-stage, and everything else, is merely an accompaniment. This includes a woodwind instrument, percussion, piano solo and several spoken word samples that are used liberally within the track. Estelle is one those tracks, many people tried to imitate, but failed to do so. A great track, from a great album.
Cafe Del Mar Volumen Uno was the first in a long running series. It was the beginning of a huge success story, one that many people embraced. Each year many people looked forward to the Cafe Del Mar new release. Having spent a long time revisiting downtempo albums, including these albums, I chose this volume as one of the best. From the first track, to the last track, each is of the highest quality. There are releases from some of the great and good of electronic and dance music. This allows the new listener to experience some wonderful music, from some wonderful artists. If you have never heard this album, or any of the other albums in the series, this is a good starting point. Should you enjoy this album, I would advise you try the first eight volumes, and then tread carefully. Standout Tracks: The Story of Light by William Orbit, Smokebelch II by Sabres of Paradise, Sundance by Sun Electric and Estelle by A Man Called Adam.
CAFE DEL MAR VOLUMEN UNO.
CAFE DEL MAR VOLUMEN CUATRO.
As the Cafe Del Mar series was so influential, and contain so much good music, I have decided to include two of their compilations. This volume was the fourth in the series, and was released in 1997. Like the three previous volumes, volume four contained some wonderful, eclectic music.
The first song I have chosen to feature is Sunshine’s Better (Talvin Singh Mix) by John Martyn. Unlike many of the songs on the Cafe Del Mar series, this track is sung by an artist better known for other genres of music. Martyn is better known for rock, folk and blues song. Here Talvin Singh has taken one of Martyn’s tracks and stripped the track back, and overlaid some drum beats to make a great track. He brings out the warmth and beauty in Martyn’s voice. This also made a further generation aware of John Martyn’s wonderful music. This track really works, because of the minimalist sound of the track. In my experience, these remixes can be either be very effective, or absolutely dire. Thankfully this is the former, rather than the latter.
Return Journey by Voices of Kwahn opens with the sound of waves gently lapping against the beach. Then the track features a female vocal accompanied by drum beats, synthesizers, samples and a multitude of noises which filter towards the surface, sometimes just coming to your attention, then as quickly, disappearing. The whole effect is exultant, uplifting and joyous. This is easily, the album’s best track, as it will take something extra special, to surpass Return Journey.
The final track I have chosen is Troubled Girl by Karen Ramirez. This track was from her album Troubled Dreams. It has a lovely Latin feel to the track, and Ramirez sings the song really well. Troubled Girl makes you think of warm days, on golden sandy beaches, in some exotic and exciting location. Although the track is not a traditional downtempo track, it fits in well with the compiler’s eclectic selection policy. It is a good track, one that you will enjoy hearing, and one that will always lift your mood.
Place De La Concorde by Fila Brazillia is a very laid back, minimalist sounding track. Without much anything much happening, this track is both, intriguing and effective. The same instruments and samples are used to constantly repeat the same rhythms. However, these rhythms are so catchy and outstanding that you don’t mind hearing them time after time. Fila Brazillia have produced a great track full of catch hooks and great rhythms, that is one of the highlights of the album.
Cafe Del Mar Volumen Cuatro, was yet another great compilation in this series. Like volume one that I reviewed earlier in this article, there are no poor tracks on the album. One difference is that the choice of music is much more eclectic. This is a good thing, as that was much more representative of the chill-out sets played by djs when the genre was in its infancy. Like the first volume, this is a good starting point to a newcomer to Cafe Del Mar or downtempo music. Instead of buying either volumes uno or cuatro, why not buy them both. If you decide to do that, you will find that you will be able to by volumes one and two, on one two disc set. It is also the case with the first eight volumes. This allows you to buy the first eight volumes for the price of four albums. Should you do that, you are in for a treat. Enjoy. Standout Tracks: Sunshine’s Better (Talvin Singh Mix), by John Martyn, Return Journey by Voices of Kwahn, Place De La Concorde by Fila Brazillia and Troubled Girl by Karen Ramirez.
CAFE DEL MAR VOLUMEN CUATRO.
SERVE CHILLED.
Serve Chilled was released in 1999 on the Hed Kandi label, and was the brainchild of compiler Mark Doyle. On this album he collected together some of the best downtempo releases of the time, and put twenty-eight of the best on this two disc set. Looking back, this compilation was new and exciting at the time. Everything about the album, was different from other similar releases. This was because of the stunning artwork, the packaging and not forgetting, the great tracks that are to be found on Serve Chilled. For a few years, this became a release to anticipate. That lasted for a while, and then something happened, it lost its freshness, some of the tracks did not have the same quality, and like many people, I lost interest in the series, and the label. Part of the problem was, they started releasing far too many albums, covering too many styles of dance and electronic music, and sadly, quality control suffered. However, for a few short years, this was a wonderful series, one that many people enjoyed, and still treasure.
The first track from disc one I have chosen to feature is Moon Sequence by Herbaliser. Moon Sequence is true downtempo track, it is slow, spacey, and atmospheric with a capital A. So realistic, is the track, that you feel as it you are beside Herbaliser in a rocket, embarking on some sort of trip! The song features a great arrangement, the spoken word samples and slow drum beats are the mainstay of the track. Other sounds join, and compliment this sound, resulting in, a truly great track.
The Beat Experience by Pepe Deluxe is the second track I have chosen to feature on this disc. Like Herbaliser’s track, this track features a spoken word sample. This also has a space-age feel to it. However, in the background, there is a glorious rhythm, one with the catchiest of hooks. This is due to the use of a sample, one from an old disco track. Throughout the track it is present, constantly reminding you of its beauty. There is humor in the track, listen carefully for the sound that it accompanies the rhythm. Clearly, someone is enjoying a vigorous workout, but definitely not one you would get away with in your local gym. Clearly, The Beat Experience is one of the album’s best track’s, one that twelve years still sounds good.
Marching On by Ballistic Brothers is a mid-tempo track, and has a positive feel to it. When you hear the drum arrangement on the track, it has almost a drum and bass feel to it. The track has a jazz influence, which is apparent when you listen to the way the track has been arranged. It is a bright, breezy song, one that slowly unfolds, into a great track. It would fit a downtempo set, or one where the dj is slowly building the pace up, over the course of a long set.
Beyond My Imagination by the Jazz Vandall’s is the final track I have chosen to feature from Served Chilled. This is a slightly faster song than the others I have chosen from this album. It starts at a pedestrian pace, with an ethereal, otherworldly feel, then features both a lovely saxophone solo and beautiful female vocal. From there, the vocal dominates the track, and the drums are spacey, and assisted by some the wonderfully effective sounds and samples joining the mix, all doing their best to ensure the vocal is still centre-stage. The plan works well, the vocal makes the track, is easily the best thing about the track. Don’t get me wrong, everything else plays its part in making this track the standout track on this disc, but with such a great vocal, it deserves all the plaudits it gets.
Having spent time listening again to this album, and many other downtempo albums, I still enjoy Serve Chilled. It is an album that would make a great introduction to downtempo music as it features some of its best known artists. On the album are Nightmares On Wax, Afterlife, Thievery Corporation and The Herballiser. The question I asked myself was has this album stood the test of time well? I believe I can honestly answer yes. This is one of the strongest in the series. Essentially, the first three volumes of this series were the best, after that, I never believed the quality was the same. So if you are wondering whether to buy this album, I would recommend doing so, as long as you stick to the first three volumes you will be fine, after that it is caveat emptor, buyer beware. Standout Tracks: Moon Sequence by Herbaliser, The Beat Experience by Pepe Deluxe, Marching On by Ballistic Brothers and Beyond My Imagination by the Jazz Vandall’s.
SERVE CHILLED.
WINTER CHILL.
Winter Chill was a companion to the Serve Chilled series. It was release a mere four months after Serve Chilled. On this series, the style of music was slightly different, it was a bit darker, yet still contained some wonderful downtempo tracks. On this two disc set, released in 1999 on the Hed Kandi label, you will find twenty-seven great track. Like its cousin Serve Chilled, the best of the Winter Chill series are the first three. Thereafter, the quality was not as good as previously, the compilers seemed to lose their Midas touch. As I stated previously, I blame this on the fact that by now, Hed Kandi were releasing too many different releases and that led to the quality suffering. However, this installment featured some of the period’s best downtempo tracks, and I will now choose the four of the best from the album.
The first track I have chosen from disc one is We Be the Crew by Wiseguys. It starts with a spoken word sample, has a lush quiet start and then the mood quickly changes. We Be the Crew has been heavily influenced by hip hop, and is a totally different style of track from many others on this album. Throughout the track, you will hear many pleasant surprises. Just when you are least expecting it, a sample will appear, or a noise or instrument. It is very effective, because underneath the beats and samples, a lovely melody plays, it repeats throughout, providing a lighter, contrast to the heavier beats. Wiseguys have produced a track that, unlike many others from that period, still sounds really fresh and innovative.
The second track I have chosen is Survival by Nightmares On Wax. They were responsible for popularizing the downtempo sound, and in Carboot Soul and Smokers Delight, two albums I have reviewed previously, have produced some of this genre’s best music. Survival is one of their finest tracks and is from Carboot Soul. The track is full of glorious rhythms and melodies, and hooks galore. The track features keyboards, drums and a fantastic female vocalist. It is a gentle, laid back track, almost the diametric opposite of the Wiseguy’s track. Such is the quality and suitability of their music, you will find Nightmares On Wax tracks on many downtempo albums. Nightmares On Wax’s sound spawned numerous imitators, none capable of matching the original, not be a long chalk.
‘Round Midnight by Nighthawks is the first track from disc two I have chosen to feature. This track is very much jazz influenced. From the title paying homage to Miles Davis seminal album ‘Round About Midnight, to the sultry trumpet solo, to the understated beats that sit behind it, the track is five and a half minutes of musical perfection. The track benefits from a minimalist arrangement, that accentuates the track’s beauty.
My final choice from Winter Chill is Chanel 1 Suite by The Cinematic Orchestra. This track is quicker than the Nighthawks one. It starts gently, and is a track that meanders, repeating its highlights, changing tempo towards the end, heading towards an almost frantic crescendo. It is quite a busy track, featuring drum beats, samples, percussion and an occasional trumpet solo. Unlike the minimalist arrangement on “Round Midnight, this arrangement sees the producers take the opposite direction. However, this works, and works well.
Winter Chill was another good compilation series, in my opinion, one of their finest. The music on this album features some great artists, including Nightmares On Wax, Aim, LTJ Experience, The Cinematic Orchestra and Herballiser. It is one of their strongest releases, and was one that many people enjoyed, and awaited its release in anticipation of hearing some great new tracks. For a while they were pleasantly pleased with what they heard, but like all good things, they come to an end. Although many volumes were released, I felt that after three volumes, these compilations had lost their edge. There were still good tracks on later volumes, but not is many, the quality was lacking somewhat. So if you decide to investigate the Winter Chill series, the first three are the best, then tread carefully. Standout Tracks: We Be the Crew by Wiseguys, Survival by Nightmares On Wax, ‘Round Midnight by Nighthawks and Chanel 1 Suite by The Cinematic Orchestra.
WINTER CHILL.
It was quite a difficult choice deciding what albums to include in this review. I have stuck to albums that were released by smaller labels, as the smaller labels were the ones that were releasing the best music. They seemed able to be ahead of the curve, they were aware of musical trends, and were able to provide a showcase for new up-and-coming artists. The bigger labels meanwhile, seemed to just want to cash in on the popularity of a new genre, and used their releases as a platform for their own artists and back catalogue. This resulted in some dire releases, with all sorts of music being given the chill-out tag. If you are looking for these albums, I suggest to check the nearest landfill site to London, as that was the best place for them. Here I have tried to highlight two types of downtempo music. On the Highway and Landscape albums and Blue Light One compilation, the music is much more experimental and groundbreaking. Artists on these albums took the genre in a new direction, and were pioneers, showing what was possible with technology, samples and traditional instruments. The other releases, Cafe Del Mar, Serve Chilled and Winter Chill maybe tended to focus on the more traditional downtempo or chill-out music, only including a few of the more experimental tracks. Regardless of the style of music within these releases, they all have one thing in common, and that is they all feature some wonderful music. It reminds me of a time when dance and electronic music was really exciting, there was a vibrancy about the scene, smaller labels were releasing wonderful music, new genres were emerging and people were really open minded about music. Sadly, that did not last. The big labels gatecrashed the downtempo market, smaller labels fell by the wayside and previously good compilation series’ started releasing third rate releases. However, for a few years, many good downtempo compilations were released, and I hope you have as much fun exploring them today, as I did many years ago.
JOE GIBBS AND THE PROFESSIONALS-MAJESTIC DUB.
JOE GIBBS AND THE PROFESSIONALS-MAJESTIC DUB.
Although I love all types of music, and have a record collection that spans all the musical genres, one type of music I have always loved is dub reggae. In a previous article, I wrote about one of the dub reggae’s pioneers and greatest King Tubby. The person this article is about, was also someone who was one of reggaes most prolific producers. He worked with some of the greatest reggae musicians, and is responsible for producing some of the best reggae music ever produced. He is Joe Gibbs, and the album is Joe Gibbs and Professionals album Majestic Dub.
Joe Gibbs was born Joel A. Gibson, in Montego Bay, Jamaica, in November 1942. Before becoming involved in the music industry, he worked as an electronics engineer in the US. When Gibbs returned home to Jamaica, he opened an electrical repair shop in Kingston. Primarily, he repaired and sold televisions. Eventually, he began to sell records in his shop. With the Jamaican music scene rapidly expanding, he decided to become more involved within the music industry. In 1967, he installed a two-track tape machine in the back of his shop, and started recording local artists. This lead Gibbs to work with Lee Perry, who was no longer working with Clement “Coxsone” Dodd. The following year, 1968, Gibbs assisted by Bunny Lee, launched the Amalgamated record label. One of the first successes, was Roy Shirley’s track, Hold Them, which was one of the first rocksteady releases.
Eventually, Lee Perry would split with Gibbs to launch his legendary Upsetter label. To replace Perry, Gibbs brought Winston “Niney” Holness, later to become Niney the Observer, to assist him with the Amalgamated label. This partnership proved successful, ensuring Gibbs’ releases were hits. Until 1970, Rocksteady was the popular sound in Jamaica. Among the artists Gibbs worked with, during the Rocksteady era, were Ken Parker and Errol Dunkley, and backing bands the Hippy Boys and Lynn Taitt and the Jets.
Even after Rocksteady’s popularity peaked, Gibbs continued producing Rocksteady singles for The Heptones and The Ethiopians. He would also have his first international success at this time. Nick Thomas’ single Love of the Common People, reached number nine in the UK charts. Gibbs released two compilations of Rocksteady singles entitled The Heptones and Friends, which sold well in Jamaica. This period saw Gibbs launched new labels Pressure Beat, Jogib and Shock.
Having outgrown his previous studio, Gibbs set up a new one at Retirement Crescent in 1972. This period saw Gibbs start working with Errol Thompson, who, previously been sound engineer at Randy’s Studio. The new partnership were known as the Mighty Two. Gibbs’ studio band were now The Professionals, which included Sly Dunbar on drums and Robbie Shakespear on bass, who later became Sly and Robbie. During the next few years, Gibbs would be one of the most prolific reggae producers, working with the great and good of reggae music. Amongst the artists Gibbs would produce are Black Uhuru and Big Youth. In total, Gibbs would produce over one-hundred number one hits in Jamaica.
1975 saw Gibbs renew his studio, installing a sixteen-track recording studio, and record pressing plant. Throughout the next few years, he would launch many new labels. Although he kept producing music, the style of music changed. He would produce lover’s rock, roots reggae and dub reggae releases, by Junior Byles, Gregory Issacs and Dennis Brown. One of the albums he produced in 1977 was the album by Culture, Two Sevens Clash. This album would have a huge influence on some of the punk artists, including The Clash. Even today, this album is still recognised as one of the finest reggae albums ever. During the remainder of the 1970s the Mighty Two remained just as prolific, producing a huge number of successful singles and albums. This includes the album that this article is about, Majestic Dub, which Joe Gibbs and The Professionals released in 1979.
In 1980 Errol O’Meally was an aspiring songwriter, who was friendly with JC Lodge a young singer. The aspiring songwriter believed Lodge to be talented, along to Joe Gibbs to let him hear her sing, and hear his songs. He liked both songs, and singer, and asked Lodge to sing a cover of country and western song Someone Loves You, Honey, a Charlie Rich song. This was a huge hit, reaching number one in Jamaica, and earned Lodge both silver and gold discs in Holland. However, this was to prove disastrous for Gibbs. He failed to pay the songwriter royalties, and this bankrupted Gibbs and resulted in his studio being closed. In 1982 album also entitled Someone Loves You, was released byPrince Mohamed featuring his deejay style.
Also in the early part of the 1980s Gibbs set up a record distribution outlet in the Florida. Gibbs and Thompson then began to produce a new style of music. This was dancehall style music. They went on to work with both unknown, and established stars, including Barrington Levy and Dennis Brown. These releases allowed the Mighty Duo to continue having chart success.
For almost ten years, the Mighty Duo did not work within the music industry. Instead they would spend almost ten years running Gibbs’ downtown Kingston grocery store. However, Gibbs’ son Carl “”Rocky” Gibbs became a music producer. As well as, producing his own music, he would rerelease many of Joe Gibbs’ biggest hits.
1993 saw the Retirement Studios reopen and the Mighty Duo would sometimes produce music with Sydney “Luddy” Crooks of The Pioneers. The music they produced became popular in Brazil, where Gibbs would spend more time. One of his final business ventures before his death, was when Gibbs joined with Chris Chin of VP Records and the pair went into business together. Sadly, Joe Gibbs died in February 2008, aged sixty-six.
Now that I have told you a little about Joe Gibbs life and work, I will now tell you about his 1979 album Majestic Dub. Majestic Dub is different to many dub albums, the sound is innovative, and sees the use the use of electronics, making the sound different, yet effective. There are nine tracks on the album, the first of which is Ten Commandments. This track is quite different from the majority of dub track. It begins with a synthesizer which is used throughout the track. The use of a synthesizer is effective, and makes the track sound much more moderne. Listen carefully, to the introduction, and the start of the track sounds not unlike early techno tracks. Gibbs has taken dub reggae, and given it a modern update. It works, works, but only in small quantities. If overused, the sound would be annoying, and grate after a while. Ten Commandments is a good track, and has a refreshing sound.
The title track Majestic Dub is next, and starts with resounding drum echoing loudly, and is joined by a rhythm that is a glorious slice of Jamaican reggae. Within the track, the rhythm section which includes Sly and Robbie produce a stunning performance, producing the basis for the track, which everyone else feeds off, and works around. Some of the drum sounds on this track, sound as if they have been played on an electric drum set. This is effective, although personally I prefer the traditional drum sound. Again, this could be seen as a way to modernize the dub reggae sound. However, I very much believe the maxim “if it’s not broken don’t fix it.’ One thing that I really like on Majestic Dub, is the was various sounds float in, and out of the soundscape, especially the vocal.
Social Justice continues the moderne sound on the album. Everything is as you would expect but there appears to be a synthesizer lurking just behind the drums. It is used sparingly, and does not spoil the sound, quite the opposite, it adds a new dimension to the track. This is easily the best track on the album so far. The sound is big and bold, and has so many layers of sounds, that they fight for your attention. A great track, produced by the mighty duo, with help of some fantastic musicians.
Kings of Dub is glorious track which, to me, has a Bob Marley influence to it. This track has a much lighter feel to many dub reggae tracks. As the album heads towards this track, prepare to experience an aural treat, and hear some fantastic, tight, rhythms. Gibbs has not overdone the use off effects, they add to, and highlight the track’s quality. Whereas Social Justice featured many layers of music, this track flows, constantly keeping the rhythm tight and sweet. This track, shows that dub reggae is a genre that encompasses a wide variety of different sounds and styles.
The beginning of Edward the Eighth sounds like a cross between music from science fiction or horror b-movie. Saying that, the sound is intriguing, you wonder what will happen next. What happens is the track opens out to a fantastic dub reggae track. The sound is much more traditional, and features a great rhythm section, and vocals and keyboards that also play a huge contributory part in making Edward the Eighth a superb track.
International Treaty sees the quality continue. If anything, this track is even better. It features a really tight band playing at the top of their game. The track is more a straightforward reggae track, with just a bit of echo added. It is such a great track it seems a shame to overuse the effects. What Gibbs has done, is just added the tiniest bit of echo, in parts of the track that it does not spoil the flow of this great track.
The next track, Martial Law, sees much more in the way of effects used. Here, this breaks up the flow of the rhythms, but in doing so, highlights their beauty. Throughout the track, this memorable, melodic, rhythm is repeated, and even by the end of the track, you want to hear more, you want the track to last longer, the rhythm to be developed. However, one has to be content with nearly three minutes of musical magic. Definitely a track you will want to hear time and time, again.
Nations of Dub begins with a spoken word intro, then what you hear is another tight rhythm track which is interrupted by a multitude of sounds and effects. Listen carefully, and you will hears sirens, windows smashing, vocal samples and effects. All of these assail your senses, you concentrate on one sound, it disappears, to be replaced by another, and this continues, throughout the track. It is a great dub track, with a much more traditional sound than some on this album.
Embargo is the final track on Majestic Dub. It starts with a vocal which has lots of delay and echo on it. Delay and echo is used throughout the track. It is almost used like musical punctuation, highlighting and breaking up sounds. Here the track is quicker, at times, the sound is fuller. Again, the sound is much more orthodox, more what many people expect a dub reggae track to sound like. This was another fantastic track, and a good one to close a fantastic album.
Should you not have heard Joe Gibbs’ music, this is a good place to start. It will let you hear nine great slices of dub reggae. Another great thing about the album is the musicians that play on it. Sly Dunbar, Robbie Shakespear and Tommy McCook are among the musicians that play on Majestic Dub. These are some of the finest reggae musicians ever, and they perform brilliantly throughout this album. Throughout this album, there is not a weak track, and every one features the trademark Joe Gibbs’ production. If you are new to Joe Gibbs and having read this article, want to buy this album, I have good news for you. This album can be found in the Evolution of Dub Volume 4 Natural Selection four disc box set. As well as Majestic Dub, by Joe Gibbs and The Professionals, you will find African Dub Chapter 5 and State of Emergency. The other album is Syncopation by Sly and Robbie. Every one of these albums are well worth listening, and this is a good way for a newcomer to dub reggae to build a collection of albums. I hope that this article will not only inspire you to buy Majestic Dub, but also explore dub reggae, a wonderful musical genre, with numerous fantastic albums and tracks to discover. Standout Tracks: Kings of Dub, Edward the Eighth, International Treaty and Martial Law.
JOE GIBBS AND THE PROFESSIONALS-MAJESTIC DUB.
ASTRID-BOY FOR YOU.
ASTRID-BOY FOR YOU.
Often in articles I write about artists that many people will not, yet, have discovered. These artists have, for some reason, not made the commercial breakthrough their music deserves. This often, surprises not only the artists, but also many people within the music industry. Often, these artists, have an abundance of talent, like the one I am about to write about. To me, that demonstrates the unfairness of the music industry, where talent alone, is not enough to ensure commercial success. Astrid Williamson is a prime example of this. She is a hugely talented singer and songwriter, who has produced four albums, but sadly, as yet, commercial success has eluded her. In this article, I will write about Astrid, and her debut album, Boy For You.
Astrid Williamson was born and brought up in the Shetland Islands in Scotland. During the 1990s, she graduated from the prestigious Royal Scottish Academy, with a degree in music. She cofounded a band called Goya Dress, with Simon Pearson and Terry de Castro. The band released one album, Rooms is 1996. However, Goya Dress would split up in 1996, when Astrid Williamson signed to One Little Indian Records, and started to release solo material. The other two members of Goya Dress de Castro and Pearson joined David Gedge, who was the vocalist and songwriter with The Wedding Present in Cinerama. At the time Williamson started releasing solo material, she also founded Incarnation Records, her own record label.
1998 saw Astrid release her debut album, Boy For You, the album this article is about. The album was released on Nude Records, and was produced by Malcolm Burn. When the album was released, it was well received by music critics, but sadly, was not a commercial success. Part of the problem was, I believe, that the music was so different to everything else that was about. Williamson was, ahead of the curve, her music ahead of its time.
Williamson’s next recording was with Stephan Eicher on the album Louanges. This was in 1999. Eicher was born in Switzerland, and was formerly a member of the band Grauzone, who had a hit single Eisbar. Since becoming a solo artist Eicher has released seventeen albums between 1978 and 2007.
The following year, 2000, Astrid Williamson sang backing vocals on Twisted Tenderness, the third release by Electronic. Electronic were formed by Johnny Marr, formerly of The Smiths, and Bernard Sumner of New Order.
In 2003 Astrid released her eponymous album Astrid Williamson. By this time, Astrid was recording as Astrid Williamson, to avoid confusion with a group also called Astrid. This was the long awaited follow up to Boy For You. The album was released on Williamson’s Incarnation Records. Astrid Williamson saw Williamson coproduce the album with Robert White. Like her debut album, this album failed to provide Williamson with the commercial success her music deserves.
Three years later, in 2006, Day of the Lone Wolf was released by Williamson. This was her third album, and was released by Incarnation Records. Day of the Lone Wolf saw Williamson produce the album herself. Sadly, the album did not prove to be a commercial success.
The last album Astrid Williamson released was 2009’s Here Come the Vikings. This album was released on One Little Indian Records. Without wanting to labour the point, Here Come the Vikings did not sell well enough to provide Astrid Williamson with the success her beautiful music deserves. My only hope is that her next record, is the one that brings her to the attention of the wider music buying public. Williamson’s concerts are well attended, and she has a loyal fan-base, one that appreciates, and loves her music. One can only hope, that sometime soon, more people will hear her music and make Astrid Williamson the huge success she deserves to be.
Having told you about Astrid Williamson, I will now tell you about her gorgeous debut album, Boy For You. The album opens with I Am the Boy For You. This track starts with Williamson singing and playing the guitar. What follows is Astrid singing some wonderful lyrics, that, at times, have a surreal quality. Theses lyrics feature some intelligent wordplay, and rhyming couplets, that make you experience a wide gambit of emotions. This is love song, but one with a difference. In the song, a lover writes about their qualities, and what they do for their partner, and at end of the song, warns not to toy with them. I have always liked this track, enjoyed the lyrics, their surreal quality and humour. Astrid sings the track well, and she demonstrates her talents as singer, songwriter and musician here.
On Everybody’s Waiting, Astrid changes the style, and the tempo. The song sees Astrid sing the song slowly, and here, she phrases the lyrics wonderfully. This has the effect of showcasing their quality, and beauty. Everybody’s Waiting, sees Astrid sing some thoughtful lyrics, about how every one of us, is waiting for something that will make us feel better than before, and will improve our lives, and often, that will be someone, someone who will make our live better. This track, features some intelligent and thoughtful lyrics and, in my opinion, is one of the best on the album.
What Do You is the next song on the Boy For You, and sees another change in style and tempo. This demonstrated Astrid’s versatility, as singer, musician and songwriter. She seems able to write and sing a wide range of styles. The song sees Astrid give a great vocal performance, and features layer upon layer, of glorious backing vocals, which accompany and compliment Astrid’s vocal. Like the two preceding tracks on the album, What Do You is a great track, one Astrid sings beautifully.
On World At Your Feet, Astrid slows things down again. The song sees Astrid in a pensive mood, singing about wanting a friend to meet someone who will make her happy. She seems to have embarked upon a series of doomed relationships, where she gives all of herself, but ends up getting hurt. At the end of the song, Astrid sings that if she had a wish, she would give it her, so she could find love, and her life would be complete. When you listen to the lyrics to this song, you are immediately struck by how a talented a songwriter Astrid is. She can write songs with a really strong narrative, that almost paint a picture, one that you can see clearly. This picture is so clear that you can visualise the characters in the song, so much so, you feel you almost know them, you can almost feel their pain and hurt. Astrid has produced a masterpiece of a song, one that demonstrates her wide array of talents.
Sing For Me is one of the slower tracks on the album. Here, Astrid is joined by former member of her old band, Goya Dress, Terry de Castro. He plays trumpet and sings backing vocals on this track. Like all of Astrid’s songs, the lyrics are well written, and bring the song to life. The subject matter of Sing For Me is either about unrequited love, or a dream. Either scenario would fit. The character in the song, is very much in love with someone, then at the end of the song, she wakes, and they are gone. Since Boy For You was released, I have always enjoyed this song, and the lyrics enigmatic qualities.
Someone is easily the best track on the album. It is a beautiful, slow song, one that benefits from a simple arrangement. Astrid sings the song only accompanied by a steady, constant, drumbeat, and guitar. This adds to the dramatic affect of the song. The track features a beautiful, tender vocal from Astrid, where she carefully phrases, some insightful lyrics. Her ability to tell a story within a song is a rare gift, one that many musicians do not have. Here, Astrid has this abundance. The song is about meeting someone who, at first you are unsure of, then you are drawn towards. In the song there is a dichotomy, between whether the relationship will work, or not. This has always been my favorite of all Astrid’s songs, I love the lyrics, the vocal and the arrangement. Truly, it is beautiful song.
Hozanna is a much more upbeat song, than the previous track Someone. The song is one that makes a salient comment on modern life, and religion. The song tells the story of a television evangelist, one who seems sad, tired and lonely. As his popularity and television ratings rise, he becomes tired, tired physically, and tired of the people who come to watch him. Astrid tells the story well, and the subject matter of the song shows her versatility as a songwriter. A great song, sung and performed really well.
If I Loved You is a totally different type of song. It is a much more traditional pop song. What we have here is a bright and breezy upbeat song that is completely at odds from the rest of the album. However, Astrid’s trademark quality lyrics feature, as always. Although quite different from the rest of the album, it is still a good track.
Outside has an atmospheric start, the sound is quite full, and surrounds Astrid’s vocal. This is effective. Her vocal has an almost ethereal quality, and floats around in the mix. The instruments used in this song blend well with the vocal, and produce a magical soundscape.
The final song on Boy For You, is Say What You Mean. It starts gently, slowly, with Astrid singing softly, then, all of a sudden, the song opens out. As quickly as the tempo increases, it falls. Say What You Mean is about a failed love affair. However, there is still a bond between the former lovers. The potential problem though, is the attraction merely one way? This is a good song to end the album. Like all of Astrid’s songs they are beautifully sung, well arranged and have some wonderful lyrics.
Although I said that Say What You Mean is the final track, there is a hidden track on this album. There is space between Say What You Mean ending, and this beautiful track entitled If You See the Man. On the track Astrid sings and is accompanied only by a piano. This is lovely track, with beautiful, heartfelt lyrics. If You See the Man is too good a song to be a hidden track, it deserves to be part of the album, and given a more prominent place, so that more people are aware of it.
Now that you have read this article, you will know more about Astrid Williamson, and her wonderful music. I hope that this article has inspired you to find out more about Astrid, and her music. What would be wonderful is if a lot more people were to discover Astrid and her music. Her music deserves a much wider audience. It is sad that such a hugely talented singer, songwriter and musician has not gone on to greater commercial success. This album is now thirteen years old, yet still sounds as fresh the day it was released. How many albums can you say that about. Boy For You is definitely worth purchasing. Should you do so, you will fall in love with Astrid Williamson’s music, and will be seeking out the rest of her back catalogue. If you wish to buy another Astrid Williamson album to accompany Boy For You, I would recommend her second album Astrid Williamson, or her third album Day of the Lone Wolf. Either of these albums would be the perfect accompaniment to Boy For You. What I can promise you is that these albums will be ones you treasure, and return to, time and time again. Standout Tracks: I Am the Boy For You, Everybody’s Waiting, Someone and Hozanna.
ASTRID-BOY FOR YOU.
SHUGGIE OTIS-INSPIRATION INFORMATION.
SHUGGIE OTIS-INSPIRATION INFORMATION.
Today I am going to write about an artist and album that many people will not have heard of. To me that is a tragedy, because this artist is one of the most talented musicians you will here, and the album is a minor classic. The artist is Shuggie Otis, and the album is Inspiration Information.
Shuggie Otis was born Johnny Alexander Veliotes in November 1953, in Los Angeles, California. His father was legendary Johnny Otis, R&B maestro, musician, bandleader and music impresario. Aged two, Shuggie Otis began playing guitar, and when he was twelve, began playing professionally in his father’s band. Because of his age, he would often have to don a disguise, to play in the late night, nightclubs.
Although Shuggie Otis perceived as just a guitarist, that is not the case. He is a multi-instrumentalist, and as well as singing and playing guitar, can play piano, organ, drums and bass. His influences are wide ranging, and were influenced by his father’s wide group of musician friends. Otis counts jazz, blues and R&B as influences on his music. I do not like categorizing music, because sometimes that puts people of listening to new music, but Otis’ music is variously described as a mixture of R&B, soul, funk, jazz and blues.
The music that was popular when Otis was growing up would also have a huge influence on his musical development. Artists like Sly and the Family Stone, Love and guitar virtuoso Jimi Hendrix, would all influence Shuggie Otis. His first big break came when Al Kooper asked the fifteen year old Otis to play on the second volume of his Super Session albums, which would be entitled Kooper Session. Otis had big shoes to fill, as in the previous album, Stephen Stills and Mike Bloomfield had featured on the album. Kooper Session was recorded in just one weekend at a studio in New York. This was his debut as a recording artist, albeit, as a session musician. His second recording session was not far away.
When Otis returned to Los Angeles he joined his father and a singer called Delmar “Mighty Mouth” Evans, to record an album entitled Cold Shot. This album was released on the Kent Records, a Los Angeles label, in 1969. The trio would release another album Snatch and the Poontangs.
Shuggie Otis released his debut album later in 1969 on Epic Records. It was called Here Comes Shuggie Otis, and featured a number of guest artists. Joining Otis on the album were father Johnny, Leon Haywood, Wilton Felder and Al McKibbon. Having such well known musicians join him on the album, further contributed to his burgeoning reputation. Blues legend, BB King, referred to Otis as his “favorite new guitarist” in a magazine interview. Otis went on to play and record with numerous artists at this time. This would include soul legends Etta James and Bobby “Blue” Bland, blues musician Eddie Vinson and with Frank Zappa. Shuggie Otis would play bass guitar on Peaches En Regalia on Zappa’a Hot Rats album.
The album which really brought Otis to the attention of the music buying public, was his second album Freedom Flight. The album was released in 1971 on Epic Records. Freedom Flight features his best known single Strawberry Letter 23. Although Otis was a multi-instrumentalist, and played many of the instruments on the album, he was assisted by a number of musicians. Two of the most recognizable are George Duke and Aynsley Dunbar. Both Freedom Flight and Strawberry Letter 23 entered the Billboard 200. However, Strawberry Letter 23 was heard by George Johnson, who played the song to producer Quincy Jones. They both loved the track, and decided to release a cover version. The cover version was a huge hit for the pair.
In 1974, the album that this article is about, Inspiration Information was released. Apart from the horns and strings, Otis played every instrument. Only one single that was released from the album, the title track, Inspiration Information entered the Billboard 200. The album had not had the impact that had been hoped. After three years work, Shuggie Otis’ work had been in vain. However, not long afterwards, Otis would be offered two amazing opportunities.
The first of these opportunities occurred, when Billy Preston approached the twenty-one year old Otis, asking him if he would join the Rolling Stones on their forthcoming world tour. Incredibly, he turned this offer down. Not long after that, Quincy Jones approached Otis about producing the follow-up to Inspiration Information. Again, Otis declined the offer. Other people would make similar offers, all of them were turned down.
After this, Shuggie Otis acquired a reputation for being a slow worker, when it came to the recording process. Epic Records were not happy about this, and Otis’ contract with Epic was nullified. This left him without a recording contract.
During, and after this period, Shuggie Otis became someone who valued his privacy. He was now a married man, having married Judith Peters, formerly Miss Mercy, a member of the GTO’s, an all-girl group created by Frank Zappa. The other change in his life, was by now, the couple had a young son, Johnny III, known as Lucky. He too is a professional musician and producer.
After Inspiration Information, Shuggie Otis would record no further albums of his own work. His days as a solo artist were over. His only work was as a session musician. Even then, he only worked, and recorded, with his father Johnny’s various musical projects.
A few years after the release of Inspiration Information, Otis’ marriage broke-up, and he was divorced. He would then marry Lillian WIlson. She was the daughter of Gerald Wilson, the legendary, and pioneering trumpeter and bandleader. The couple would have one son, Eric, who is now a musician and producer.
Although Shuggie Otis would release no further albums of original material, he would release two compilation albums. In 1994 he released Shuggie’s Boogie: Shuggie Otis Plays The Blues and then In Session: Great Rhythm and Blues in 2002. Since then, his only other recording appearance was on a track from Mos Def’s 2004 album The New Danger. Otis played on the track Blue Black Jack. That was the last time that Shuggie Otis played on any recording. However, his music has been widely sampled, by artists including Beyonce`, Outkast and R2D2. So maybe you will have heard Shuggie Otis’ music, but not realized it. I will now tell you more about Shuggie Otis’ 1974 album Inspiration Information.
Inspiration Information begins with the title track Inspiration Information. What a way to start any album, never mind this album. This song is a glorious and joyous, love song, that is also a huge slice of sunshine pop. Whenever I hear this song my mood is lifted. It has a feel-good factor. Listen to it, and it will make you want to sing and dance, laugh and cry. Inspiration Information truly is one of my favorite songs, ever. If this was the only song on earth, I could listen to it for eternity. Everything about the song is perfect, Otis’ vocal, the arrangement and production are of the highest quality.
Island Letter sees the tempo change. Whereas Inspiration Information was an upbeat song, Island Song is a much more laid back affair. The song sees Shuggie Otis sing the song slowly, and his vocal is surrounded by the lushest of arrangements. This track has a melancholy feel to it. Why is that? Quite simply, it is a combination of the lyrics and the instruments. They draw you in, envelope you, yet at the end, leave you with a sense of sadness. To me, this is the sign of a good track, one that can change your mood, and make you experience a wide range of emotions. Like Inspiration Information, Island Letter features a group of top class musicians, who together, have produced a masterpiece of a track, albeit, one that was musically, ahead of its time.
Sparkle City starts with a combination of guitar, piano and bass. Then other instruments begin to enter the track, and prepare to dazzle and tantalize your senses. The track has all sorts of influences, from jazz, soul to funk. Here, the sound is predominantly funky. No, that is wrong, the sound is totally, and gloriously, funky. Nearly six minutes of some wonderful funky music, where the band and Otis feed off each other, coming together, as one, having produced a fantastic track.
When you hear the next track, Aht Uh Mi Hed, you always feel that a lovely track is going to emerge. From the beginning of the track, it promises much, however, for a large part of the track, the sound is too full. There are too many sounds and noises which clash, and distract your attention. Too many instruments feature on the track. At times, the sound seems muddled, almost confused. It could do with the track being stripped back, and rebuilt. If you take out the extraneous sounds, there is a great track waiting to be discovered, a lost gem, waiting to be polished. However, at the end of the track, I am left disappointed and frustrated, annoyed and saddened almost, at what might have been, at the great track this could, and should, have been.
Happy House is merely a short song, a musical interlude, lasting a minute and a quarter. It is a snatch of what could have been, had the song been developed. It is a distraction, but not an unpleasant distraction. The sound is undulating, and just when you have got used to the unusual vocal performance by Otis, the track is over.
On the next track,Rainy Day, Otis find his a-game again. The sound on this track is very much jazz influenced. It is a lovely melodic, yet atmospheric, track, one that I wish was longer. There is a lot of space within the song, allowing the song to breath. Rainy Day also features a great string arrangement. When I hear this song, it reminds me of something that would feature on one of the classic film soundtracks of the 1960s or 1970s.
XL-30 is another of the shorter tracks on the album. Here, the sound is much more experimental than other tracks. The track begins with drums playing, then the organ joins the fray. During the track, the drum beat is fairly constant, whereas the organ plays an unusual time signature, and adds some otherworldly effects to the mix. There is almost a free jazz feel, and sound, to this track. I do not believe that the track works. It lacks the melodic aspect of much of Otis’ music, and the sound on XL-30 almost jars.
Thankfully, Pling! is a totally different style of track. It is a lovely meandering instrumental. It slowly unveils its beauty during the four and a half minutes of the track. Throughout the track, the tempo is consistent, and instruments float in, and out of the track. Each of them go towards building this incredible sonic soundscape. When I hear some of the instrumental tracks, like Rainy Day and Pling!, I would love to have heard a whole album of this type of music. I believe that this is something Shuggie Otis could do brilliantly, especially if they were of the standard of Pling!
Not Available is the final track on the Inspiration Information. Just like Inspiration Information was a great start to the album, Not Available is a great way to close the album. It is a bright and breezy, slice of summer. A track that regardless of how many times you listen to it, you will always hear something different. Like the previous track Pling!, Not Available is another instrumental, and like Pling! this is another great instrumental. The song features a wide variety of instruments, but the guitar, bass and drums provide the springboard for the track. The other instruments all play their part, and contribute the icing on the cake. All of this, makes Not Available a fine way to end the album.
That is the story of Shuggie Otis’ 1974 album, Inspiration Information. In my opinion, it is one of the most underrated albums of all time. However, the problem with Inspiration Information is that it was away ahead of its time. When you look back at the music that was popular back then, this album was totally different, it was innovative, and pushed the musical boundaries. Sadly, commercially the album was not successful, and that was the last original material we heard from Shuggie Otis. That was tragic. Here was a hugely talented musician, with so much to offer, who could have achieved so much, and he disappeared almost, without trace. However, we should be grateful that he recorded three albums, and that this album, Inspiration Information, contains so much wonderful music. I can thoroughly recommend this album to anyone who has not heard it before. Should you go out and buy this album, you will fall in love with the music on it. It will be constantly on your stereo, and will be the soundtrack to your summer. Standout Tracks: Inspiration Information, Island Letter, Sparkle City and Pling!
SHUGGIE OTIS-INSPIRATION INFORMATION.
NEW ORDER-POWER, CORRUPTION AND LIES.
NEW ORDER-POWER, CORRUPTION AND LIES.
In this article I will write about one of the most influential bands of the last thirty years. This band was formed after a tragedy, and went on to change their sound several times. They were innovators, not followers, always ahead of the trend, pushing musical boundaries, and embraced the use of technology within their music. In the process, they and have influenced a generation of new bands and musicians. The band I am describing is New Order, and the album is their second album Power, Corruption and Lies which was released in 1983.
New Order were formed in 1980, from the remnants of Joy Division, after the tragic death of Joy Division’s lead sing Ian Curtis. Shortly after Curtis’ death, the remaining members of the Joy, Division Peter Hook, Stephen Morris and Bernard Sumner, decided to carry on making music. They felt that it would be wrong to use the Joy Division name, so changed their name to New Order. Without a vocalist, and missing a member of the group, they had two problems to overcome. All three members of the group took turns singing lead vocal, and it was decided Bernard Sumner would be the new lead singer. Their reason for this was simple, they felt the guitar was the easiest instrument to play whilst singing. That was one problem solved. The other problem would soon be solved. The group felt that they wanted someone to join the group that they knew, and whose musical style and skill was comparable with theirs. So Gillian Gilbert, Stephen Morris’ girlfriend was invited to join the group on keyboards and guitar. Gilbert had previously played with Joy Division occasionally filling in on keyboards or guitar. Now that the line up was complete, New Order could start making music.
New Order’s first single was Ceremony. It had been written before Curtis’ death. The new group’s sound was similar to that of Joy Division. Although the songs were melodic, there was a darkness to their sound. One difference however, was the use of synthesizers in the new group’s music. Their first album Movement, was released in November 1981. The album would reach number thirty in the UK album charts. Later, New Order would say that this was a low point in their career, but the good thing about it was that Movement’s producer, Martin “Zero” Hannet showed the band how to use a mixing desk in a recording studio. This showed them how to produce their own music, which they would later to do great effect.
A trip to New York in 1981, changed New Order’s musical direction forever. On the trip, the were introduced to new styles of music. They heard electro, post-disco and Latin Freestyle music. At the same time, the group started listening to Italian disco music, and Stephen Morris taught himself how to program drums. All of this, would have a Damascan change on their music. This was apparent when New Order would release their next two singles. Temptation and Everything’s Gone Green, was not the dark brooding sound of Ceremony, quite the opposite. The new singles were heavily influence by the music that they had been exposed to in New York.
Their second album, Power, Corruption and Lies, which this article is about, was released in March 1983. This new album saw a huge change in style. On the album, this was the first time New Order had used technology. The sound was synthesizer based and was a fusion of techno music, with traditional guitar based music. Listen carefully, and you will hear a sound influenced by electronic music pioneers Kraftwerk and disco and hi-nrg pioneer Giorgio Moroder. The album reached number four in the UK album chart. Confusion was one of the singles released from the album. This was the single that brought the group to the attention of dance music fans, and established their reputation as dance music pioneers.
The change in the New Order’s sound became even more apparent, when they released the seminal track, Blue Monday. Blue Monday has a 4/4 beat, a drum beat that is sequenced. This track was innovative and highly influential. From the introduction with its semi-quaver kick drum to the use of the Oberheim DMX drum machine; and from the slightly out of synch sequencer melody, to the pulsating Moog Source synth bass, this is a great track. Bernard Sumner later said that Blue Monday had been hugely influenced by tracks like Sylvester’s disco classic You Make Me Feel (Mighty Real), and Dirty Talk by Klein and MBO. Blue Monday reached number seven in the UK singles chart, and went on to become the best selling twelve inch single of all time.
New Order released their third album Low-Life in May 1985. This album saw New Order fully cross over from traditional guitar based rock music, to pioneers of the quickly burgeoning dance music scene. Low-Life saw the group use both synthesizers and samplers on this album. Before the albums release, one of the tracks on Low-Life was released as a single. The track was Perfect Kiss, and this was the first time that New Order would release a single that was also on an album. Low-Life was another success for New Order and would reach number in the UK album charts.
The following year, in September1986, New Order released the follow up to Lowlife. This was the album Brotherhood. Brotherhood had one side of New Order’s more traditional guitar bases songs, and the other featured their new electronic music. The album includes the song that broke New Order in the US, Bizarre Love Triangle. Like their two previous albums, Brotherhood brought the group commercial success, reaching number nine in UK album charts. However, the album only reached number 161 in the US Billboard 200.
1987 saw New Order release a compilation album Substance. Substance contained the group’s new single True Faith. It also contained all of their twelve inch singles, and new versions of Temptation and Confusion entitled Temptation ’87 and Confusion ’87. This release was double album, and the second disc contained a new song 1963, as well as the groups b-sides. The album reached number three in the UK album charts. It also gave New Order their first hit album in the US, reaching number thirty-six in the US Billboard 200.
Their next studio album was Technique. At this time in their career, New Order were being heavily influenced by both the balearic house music and acid house. This led New Order to head to Ibiza to record their new album. Released in February 1989, the album entered the UK album charts at number one. Technique contains tracks influenced by acid house music, but also their more traditional guitar, drum and bass sound. About this time, Bernard Sumner joined Johnny Marr, formerly of The Smiths, to start a new band called Electronic. Peter Hook decided to do likewise, starting a new group called revenge. Both Sumner and Hook left the group, but still made music in a New Order style. Another problem for the group at the demise of Factory Records in 1992. This left the band without a record label, until they later signed for London Records.
New Order did not record another album until 1993. Republic was released in May 1993. It was the groups debut album for their new label, London Records. Like its predecessor, Technique, the album entered the UK album charts at number one, and in the US reached number eleven the US Billboard 200. Four singles were released from the album. Regret, Ruined In A Day, World and Spooky. This was a huge change from when New Order would not release an album track as a single. After the band had toured the album, the band was put on hold, allowing its members to continue with their side projects. Peter Hook would form Monaco, Gilbert and Morris formed the Other Two, Sumner rejoined Electronic, and collaborated with The Chemical Brothers. New Order would not be seen again until 1998, when they would play again live as a group.
New Order’s next album was released in August 2001. Get Ready was the group’s seventh studio album. On this album, the sound was much more guitar orientated. Bernard Sumner felt that they had almost neglected the instrument, having left it alone for a while. The album was still commercially successful, but only reached number six in the UK album charts and number forty-one in the US Billboard 200.
In March 2005, New Order released their final studio album, Waiting For the Siren’s Call. This was the first album New Order had released since Gillian Gilbert left the band to look after her children. She was replaced by Phil Cunningham. Although hired to play guitar, he also cowrote one of the album’s songs. This was the first, and only, of New Order’s albums to have a title track. The album gave New Order a number five album in the UK album charts and reached number forty-six in the US Billboard 200.
In 2006 the group played a number of concerts, and rumors spread that the group were about to split up. This was denied by Hook after a show in Buenos Aires, and by Morris in January 2007. However, in May 2007 Peter Hook was interviewed on a UK radio station and admitted that he and Bernard Sumner were no longer working together. A statement in July 2007 by Morris and Sumner stated that New Order would continue without Hook. Statements were made by various members throughout the next two years about New Order’s future. The future became clearer when Sumner stated that no further New Order albums would be made. This seems to be end of one of British music’s greatest groups. However, who knows, maybe they will return?
Now that you are familiar with the history of New Order, I will tell you why Power, Corruption and Lies is such a special album. The opening track on the album is Age of Consent. Age of Consent begins with bass, drums and guitar and Hook sing the vocal. On this track, the sound is the more traditional New Order sound, until the synthesizers enter the mix after one minute forty-five seconds. This has the effect of totally transforming the sound. Out is the traditional guitar, drums and bass sound, in is something altogether more dynamic, and innovative. However, the “traditional instruments” are used to good effect as well. There is some delicious bass playing on this track. Age of Consent is a rousing track, one that starts the album well.
Peter Hook plays a slow and tight bass line at the start of We All Stand. He is then joined by some of the new technology on the track. Synthesizers and drum machine produce an atmospheric, futuristic sound. Sumner’s vocal adds to the effect. It is surrounded by layers of sounds, which together, produce a moody twenty-first century soundscape. The track is a marriage of their traditional sound, and the now technology they embraced on this album. Overall, this is a good track. Although by no means, a slice of sunshine, this moody and atmospheric track is one that shows the new direction New Order were heading.
The Village is the next track, and it really sees New Order master the new technology available to them. New Order really embrace the technology to great effect, and produce one of the albums best tracks. Everything about the track is much better. This track has a brighter feel and sound to it. Here, Peter Hook’s bass lines and the synthesizers come together well. Sumner sings the vocal well, and the lyrics are much more positive. The band all produce a standout performance, playing as one, giving their all, to produce four and a half minutes of joyous and glorious innovative music.
586 when you listen to it, sounds like the seminal Blue Monday’s little brother. It starts slowly, with sequencers, meandering, seemingly nowhere in particular. After just under two minutes the track opens out and develops. It then grabs your attention. Why? Quite simple really. 586 then features Blue Mondayesque drum beats, and the similarities are striking and astounding. One difference between the two tracks is that Sumner sings a vocal on 586. Blue Monday, that classic track, as we all know, is an instrumental. I love 586, from the sound of the sequencers, to the perfectly programmed drum sound, to Bernard Sumner’s anguished sounding vocals, it is a classic New Order track.
Your Silent Face is the next track on the album. Quite, simply this is a sonic masterpiece. The track is absolute perfection. Everything about the track comes together beautifully. Hooky’s bass playing and the sequencers is a marriage made in heaven, they feed of each other, the interchange, and almost, cooperation between them, is extraordinary. Sumner’s vocal is just the icing on the cake, sparse, yet effective.
Ultraviolence is another uptempo track. The start sees an amalgamation of drum machine and synthesizers. Later in the track, the bass enters the fray and competes for the listener’s attention. The track sees the continual repetition of sounds, which is effective. This track is rhythmic and pulsating, yet full of tension, and sometimes, darkness. However, the fusion of instruments, technology and vocal works beautifully, and what the band have produced is a track that lead the way, showed that New Order were leaders not followers.
Ecstacy relies heavily upon the new technology New Order embraced and welcomed on this album. The track has been heavily influenced by Kraftwerk. Nowhere is this more apparent that when you hear the vocoder sound, that drifts into, and out of the song. This is something Kraftwerk used in their classic 1970s albums, Autobahn, The Man-Machine, Radio Activity and Trans-Europe Express. New Order use this effectively, the vocoder is not over used. It merges beautifully with the other sounds on the track, and produces a wonderful instrumental. The longer Power, Corruption and Lies goes on, the tracks just get better and better.
The final track on Power, Corruption and Lies is Leave Me Alone. When you hear the opening bars to the song, you realize that this song is going to be worth hearing. It does not disappoint. Sumner and the rest of the band, return to their more traditional sound to close the album. He sings the vocal well, and the band have kept an ace up their sleeve with this track. It is a bigger, fuller sound, one that New Order would return to later in their career. Leave Me Alone is a nice contrast from the other songs on album, and is a great way to end their second, and groundbreaking album.
During the last few days, I have spent some time listening to New Order’s music, and if they had not produced Power, Corruption and Lies, their history would have been very different. This album sees a group evolving, their sound changing, and I would even say, improving. This album is very different to their debut album, Movement, and hugely different to the Joy Division sound. New Order were brave, changing their sound, this was a huge risk to take. They could have lost their existing fan-base. That thankfully did not happen. Quite the opposite. They widened their appeal, and became one of the most important British groups of the past thirty years. New Order were pioneers, innovators who changed the landscape of music, and changed it for the better.
Power, Corruption and Lies is an important album, in musical history, and is one that deserves a place in any record collection. It is an album that joins the dots between German electronic music, techo, disco and rock music. One must ask whether, without Power, Corruption and Lies, later albums like Primal Scream’s Screamdelica, would have been made. If you have not heard this album, or any of New Order’s music, this is a good introduction to their music. I would recommend to accompany it, Technique and their compilation album Substance, which contains some of their best work. Should you buy Power, Corruption and Lies and any of other albums I have recommended, you will not be disappointed, you will hear some wonderful innovative music from one of Britain’s best groups at their peak. Standout Tracks: The Village, 586, Your Silent Face and Leave Me Alone.
NEW ORDER-POWER, CORRUPTION AND LIES.
BELLE AND SEBASTIAN-THE BOY WITH THE ARAB STRAP.
BELLE AND SEBASTIAN-THE BOY WITH THE ARAB STRAP.
The group that I am about to write about, recorded their first single in 1996, whilst at college, and went on to record their debut album in three days. Since then, they recorded a further eight albums and have achieved almost cult status, amongst their large and loyal fan-base. This band is yet another successful group that hails from Scotland, and they are Belle and Sebastian, and the album is The Boy With The Arab Strap.
Belle and Sebastian were formed in 1996, at Stow College, in Glasgow. The band was formed by two students, Stuart Murdoch and Stuart David, and was named after Cecile Aubry’s 1965 book Belle et Sebastien. Since then, many members have joined and left the group, one of the most influential being, Isobel Campbell, who joined in 1996 and left the group in 2002, singing vocals and playing cello. Other members include Stuart David, Chris Geddes and Sarah Martin.
Whilst at college, in 1996, Belle and Sebastian recorded some demo tracks with the college’s music professor Alan Rankin. In case you are thinking Alan Rankin, I know that name, I will put you out of your misery. Rankin played keyboards and guitars in The Associates alongside the late Billy Mackenzie. The Associates released three albums, The Affectionate Punch in 1980, Fourth Drawer Down in 1981 and Sulk in 1982. He also released four solo albums in the 1980s.
Getting back to Belle and Sebastian, the demos came to the notice of the college’s business studies department, who each year, released a single on the college’s record label. Belle and Sebastian, by then, had recorded a number of songs, enough to fill an album. Having been so impressed by Belle and Sebastian’s music, that year, the label decided to release an album, called Tigermilk. The album was recorded in three days, and one-thousand copies vinyl were pressed. Tigermilk was well received and the album sold out quickly. This lead to Murdoch and David deciding to become a full-time band, and further members joining the band. Isobel Campbell joined on vocals and cello, Stevie Jackson guitar and vocals, Richard Coburn on drums and Chris Geddes on keyboards.
After Tigermilk’s success, the group signed to Jeepster Records in August 1996, they released their second album If You’re Feeling Sinister in November 1996. Many people believe that this is their finest album. American magazine Spin, liked the album so much, that they put it at number seventy-six in their top one-hundred albums released between 1985-2005. Rolling Stone magazine put the album in its list of essential albums of the 1990s.
After the release of If You’re Feeling Sinister, the group released series of EPs during 1997. The EPs were Dog On Wheels, Lazy Line Painter Jane and 3.. 6.. 9 Seconds of Light. Dog On Wheels was actually four songs that were recorded prior to the group’s formation. It reached number fifty-nine in the UK charts. Lazy Line Painter reached number forty-one in the UK charts, and 3.. 6.. 9 Seconds of Light became the group’s first top forty single, reaching number thirty-two in the UK charts.
The album that this article is about, The Boy With The Arab Strap was released in September 1998, and reached number twelve in the UK charts. Unlike previous Belle and Sebastian albums, Stuart Murdoch does not sing the vocal on all of he tracks. On The Boy With The Arab Strap, Isobel Campbell, Stevie Jackson and Stuart David, sing vocals. The album received mixed views from the music press. Long time supporter of Belle and Sebastian Rolling Stone magazine, and The Village Voice praised the album, others were not as impressed. However, since its release, many people believe he Boy With The Arab Strap, and not If You’re Feeling Sinister, is the band’s best album.
The name of the album caused a minor controversy within the Scottish music scene. There was a band called Arab Strap who consisted of Aiden Moffat and Malcolm Middleton, and they recorded and performed between 1995-2006. Moffat was none to pleased that the name of his band featured in the title of Belle and Sebastian’s new album. This lead to a minor war of words between two of the Scottish music scene’s then, leading bands.
In 1999 Belle and Sebastian, won the award for Best Newcomer at the Brit Awards. This was a strange decision, because by then, the group had released three awards. Tigermilk was also rereleased on Jeepster Records, making the album available to a much wider audience.
Belle and Sebastian released their fourth album Fold Your Hands Child, You Walk Like A Peasant. The album gave the group their first top ten album. They also released a single Legal Man, which was not on the new album. It reached number fifteen in the UK singles charts. This lead to Belle and Sebastian appearing on Top of the Pops.
The follow up to Fold Your Hands Child, You Walk was released in 2000. It was entitled Storytelling. Storytelling was the score to the Todd Solondz film Storytelling. Belle and Sebastian had problems getting in touch with Solondz, and in the end, the film Storytelling only contained six minutes of the group’s music. The album was not well received by the group’s fans, and was a major disappointment.
Two major events occurred in 2002 that would affect Belle and Sebastian . Firstly, the band left Jeepster Records and joined Rough Trade Records. Secondly, Isobel Campbell left the band. Campbell had been a huge part of the group’s success, and many people, including myself, wondered where Belle and Sebastian went from there.
The following year, 2003, they released a new album Dear Catastrophe Waitress. This album was produced by Trevor Horn, and was a change in sound. Belle and Sebastian had made an album of much more radio friendly music. The other change was in the production of the album. Horn had produced a much more polished sound, although some people believe that album was “over-produced”. Dear Catastrophe Waitress, was well received, and Belle and Sebastian regained their credibility as an indie group. Later that year, Belle and Sebastian would achieve a first. Step Into My Office Baby, was the first time the group had released a track from an album as a single.
In 2005 Belle and Sebastian released Push Barman To Open Old Wounds. This was a compilation of their singles and EPs on the Jeepster label. The following year saw the release of The Life Pursuit. It reached number eight in the UK charts. It also reached number eighty-five in the Billboard 200, their first album to chart in the US. Two singles were released from the album, Funny Little Frog and The Blues Are Still Blue. Both singles charted, the former reaching the top twenty, and the latter just entering the top forty.
2010 saw Belle and Sebastian release their latest album, Belle and Sebastian Write About Love. The album was released in October 2010 and saw the band collaborate again with Tony Hoffer, who produced 2006’s The Life Pursuit. Write About Love was the lead single from the album.
Now that you know more about Belle and Sebastian’s history, I will now tell you what makes The Boy With The Arab Strap such a good album. The first track on the album is It Could Have Been A Brilliant Career. This is a really great way to start the album. It Could Have Been A Brilliant Career features some really thoughtful and sad lyrics, which have a really strong narrative. The song is well sung, and when you hear the vocal, you instantly think of Nick Drake as an influence. On the track is a good arrangement, that highlights the vocal.
Sleep Around the Clock sounds totally different from It Could Have Been A Brilliant Career. The tempo is quicker, and sounds totally different from the opening track. What it has in common is the lyrics. Here the lyrics are strong, intelligent and tell a story. My one quibble with the track is that the instruments, at times, overpower the vocal. One is left straining to hear the lyrics, over the instruments. That, to me, is a shame, as this a great song, with fantastic lyrics. However, I still think this is a good song, albeit, one where the production could have improved the song, by making the vocal stronger, or more prominent in the mix.
Isobel Campbell sings the lead vocal on Is It Wicked Not To Care? She sings this song beautifully, and has just the right voice to carry the song off. Campbell has a fantastic voice, as she would later prove in her collaborations with Mark Lanegan. Here, she almost whispers the vocal, and is effectively accompanied by an acoustic guitar, and some glorious backing vocals. This track has a very retro sound, almost 1960s French feel to it. Is It Wicked Not To Care? has always been, and will always be, one of my favorite Belle and Sebastian tracks.
Ease Your Feet Into the Sea, is another of album’s best songs. The arrangement is perfect for the song. Stuart Murdoch gives one of his best performances on this track. His vocal, highlights the beauty of the song. Behind Murdoch, the band play beautifully, all the instruments come together beautifully. The use of purely acoustic instruments is highly effective, and Ease Your Feet Into the Sea, is a classic Belle and Sebastian track.
A Summer Wasting sees a change in style and tempo. The song starts slowly, and then the song quickens. When the drums enter the song, they play a strange beat. This makes you focus on the song. When you do, you hear lyrics about a student spending the summer relaxing, no work to do, books to read, just spending time not doing anything much, just watching time passing them by. This song is one any former student will be able to relate to. Although this is a just a short song, it is two minutes of lovely lyrics and music.
Seymour Stein sees Stevie Jackson take the lead vocal on this song. Immediately, the start of the song makes me think of a Nick Drake track. The chords and style are similar to those Drake used to such great effect. Here, Jackson has good voice, it is a nice change to Murdoch’s vocal. What I have always liked about Belle and Sebastian, is their intelligent lyrics. For example, the track is about Seymour Sten, a record industry mogul, who is one of the most influential players in the music industry. Towards the end of the song if you pay close attention to the lyrics, they say “he reminded you of Johnny, before he went Electronic”. This is Johnny Marr, formerly of The Smiths and later member of Electronic. Seymour Stein is another good track, with great lyrics and a strong narrative.
The next song A Space Boy Dream, features a spoken word performance from Stuart David. For me, this does not work, and the track does not fit on the album. I know that the band always wanted to push the boundaries, but this spoils the flow of the album. The music that plays behind David’s vocal features some nice rhythms and I think the track would have worked better as an instrumental. A Space Boy Dream is the first disappointing track on the album.
Dirty Dream Number Two sees Murdoch retake the lead vocals. This track sees a return to their previous high standards. When you listen to the track carefully, there is a Northern Soul influence to the track. Take away the vocal, and what you have is almost a Norther Soul soul track. You could be transported back to Wigan Casino in an instant. This is a great track, one of the albums best.
The title track The Boy With The Arab Strap, sees once again, the style and tempo change. On the track, the vocal is accompanied by handclaps, a piano and drums. They all play a prominent role in sound, later a hammond organ enters the fray, and what sounds like a recorder. All of this melee of instruments and sounds, somehow, join together to produce a great track. The lyrics to the song are intelligent and witty. They tell a story about jailbirds, errant lovers and the seedy underbelly of city life. The Boy With The Arab Strap, is another mini-masterpiece from Belle and Sebastian.
Stevie Jackson returns to take the vocal lead on Chickfactor. The lyrics tell a tale about a young man going to New York and meeting a girl he falls in love with. They then enter into a long distance relationship, and the song tells about his insecurities when he can’t contact his estranged love. Reading the lyrics, they tell a story well, so well, you can almost imagine the scenes, but a couple of lines have an almost Lewis Carroll feel to them. For example, “something’s gone wrong, said the spider to the fly”. When I listen to the lyrics, I see parallels with the literate quality of the lyrics, on Lloyd Cole and Commotions albums, especially Rattlesnakes. Quite simply, another stunning track.
Simple Things is a short track. However, what it lacks in length, it makes up in quality. The lyrics feature an enigmatic young man, singing to the young lady of his dreams. In the track, he tells her how he feels, and what she has to do to to win his affections. Although the song only contains four verses, it tells a story, and allows the listener to picture the scene clearly.
The final song on The Boy With The Arab Strap, is The Rollercoaster Ride. While Simple Thing was a short track, this is, by far, the longest song on the album. Murdoch’s vocal is made for this song. He sings the song slowly, and is accompanied on backing vocals by Isobel Campbell. Their voices blend together beautifully. The remainder of the band play quietly in the background, their performance tailor-made to bring out the beauty of the lyrics. They never overpower the vocal, yet do not give a subdued performance. The guitars and drums provide a simple, yet effective backdrop, for Murdoch and Campbell’s voices. Belle and Sebastian have chosen a great track to close the album with, as the song almost winds down, slowly, gently, bringing the album to a glorious conclusion.
The Boy With The Arab Strap has only twelve songs on the album, and it lasts a mere forty five minutes. However, for those forty-five minutes your eyes and brain is given an aural treat. Throughout the twelve tracks you will experience a multitude of emotions, from joy to sadness. You will find yourself laughing and crying, sometimes within the space of a couple of minutes. Belle and Sebastian are wordsmiths of the highest standard. Their lyrics can paint a picture, or tell a story. On this album, they do this wonderfully. If you have never heard this album, or heard Belle and Sebastian’s music, this album is a must have for any record collection. They are one of Scotland’s and the music industry’s best kept secrets. Once you become a fan, you enter a love affair with their music. However, this is love affair where you will not be cheated on, or will not break. Put simply, once you have found and experienced their music, you will never stray, never regret the meeting, and enjoy the new found relationship with some beautiful, thoughtful and intelligent music. Standout Tracks: It Could Have Been A Brilliant Career, Is It Wicked Not To Care?, Ease Your Feet Into the Sea and The Rollercoaster Ride.
BELLE AND SEBASTIAN-THE BOY WITH THE ARAB STRAP.
VAN MORRISON-BACK ON TOP.
VAN MORRISON-BACK ON TOP.
Recently, I have been listening to a wide variety of music, with a view to writing articles for this blog. It was when I was sitting looking through a huge pile of albums, that I re-discovered the album I am going to write about. This album is Van Morrison’s album Back On Top. Morrison released Back On Top in 1999, and it was his twenty-seventh album. Prior to this album’s release Morrison had been going through a somewhat lean period. His albums lacked the quality that his earlier music had, and critics and fans were left disappointed. Back On Top was a return to form for him, and many people including myself, believe this to be the last good album he produced. Prior to telling you why this album is so special, I will tell you about Van Morrison.
Van Morrison was born George Ivan Morrison in November 1945. Morrison was an only child, and was fortunate to grow up in a house where music was plentiful. His father George, was reputed to have one of the country’s largest record collection, which he purchased during a trip to Detroit. The young Van Morrison grew up listening to an eclectic collection, of some of the greatest music, that has ever been recorded. In his formative years he heard Ray Charles, Muddy Waters, Charlie Parker, Solomon Burke, Leadbelly, Woody Guthrie and Hank Williams. This music would prove to be a huge influence in both his choice of career, and the music he would produce.
Morrison was given his first acoustic guitar when he was eleven. Having bought the book The Carter Family Style Alan Lomax’s book Then a year later, he formed his first band The Sputniks, who played skiffle music. The Sputniks played various concerts, with Morrison singing and arranging the music. Other groups were formed after The Sputniks demise, they however, were short lived. After hearing Jimmy Giuffre play saxophone, he convinced his father to buy his saxophone. He learned to play the tenor saxophone and read music. Having learnt to play the saxophone, he joined several groups including The Javelins, who went on to become The Monarchs.
Aged fifteen, he left school, and found work as a window cleaner. He would sing about this in two of his songs, Cleaning Windows and St Dominic’s Preview. As well as playing with The Monarchs, he also played The Harry Mack Showband, The Great Eight and with his friend Geordie (GD) Sproule. When he was seventeen he toured Europe with The Monarchs, now called the International Monarchs. The group continued until 1963 when they disbanded. Afterwards, Morrison joined Sproule in the Manhattan Showband with Herbie Armstrong. Armstrong would later join Brian Rossi and the Golden Eagles, and Morrison was hired as a blues singer.
In 1964, Morrison was to join the band that gave Morrison exposure internationally. The group would become Them. Morrison answered an advert to play in a R&B band at Belfast’s Maritime hotel. He created Them from a band was then known as The Gamblers, who changed their name to Them, after a 1950s horror movie Them! They quickly gained a reputation as good live band, with Morrison playing saxophone and sharing vocals with Billy Harrison. Them played a mixture of cover versions and original songs written by Morrison. Dick Rowe of Decca Records spotted the band’s potential and they signed a standard two year record deal. During that two year period, Them released ten singles and two albums. Three of the singles charted, Baby, Please Don’t Go in 1964, Here Comes the Night and Mystic Eyes in 1965. The singles did well in the US, so Them toured the country in May and June of 1965. The even performed at the legendary Whisky A Go Go in Los Angeles. Towards the end of the tour, Them left the US after having problems with their manager Phil Solomon, over monies paid to the band. This and the fact that their visas had expired, meant Them returned home dejected. Them would only played two more concerts in Ireland, before splitting up.
After leaving Them, Morrison would spend time finishing the songs that would be found on Astral Weeks. However, prior to the release of Astral Weeks Morrison encountered a problem. He had not read the contract he signed with Bang Records in 1967 carefully enough. So when he had recorded eight tracks, with Bert Berns, which Morrison believed would be for four singles, the Band Records released them in 1967 as the album Blowin’ Your Mind! One of the tracks, was Brown Eyed Girl, and it proved to be one of Morrison’s most popular songs.
Berns died in 1967, and he became involved in a contractual dispute with Berns’ widow which resulted in him not being allowed to record or perform in the New York area. This was a huge blow to Morrison, and he struggled to get concert bookings. When he did perform, he did so with professionalism. Warner Bros then decided to sign Morrison, and managed to resolve the dispute with Bang Records.
1968 saw the release of Astral Weeks. Astral Weeks includes a mystical song cycle, and contains music that people have struggled to classify since its release. The music within the album is enigmatic, and defies description. It is a beautiful album, quite easily the best album Morrison has ever released. So highly thought of is Astral Weeks, that it is routinely referred to as one of the greatest albums of all time.
The follow up to Astral Weeks was Moondance, released in 1970. Moondance became his first million selling album. It was released to critical acclaim. This decade was one that saw some of his best work. Like Astral Weeks, Moondance is always seen as one his greatest ever albums. These two albums, were a fantastic start to his solo career. The problem he had was, he had set the bar exceptionally high. Anything less than the the standard of these two albums would be deemed a failure. Unlike many artists, Morrison had not spent time working up to the release of two of music’s greatest albums. Instead, he had arrived almost unknown, and gone on to make the greatest of starts to a career.
In total, during the 1970s, he released nine studio albums and one live album. It was the most fertile period of his career, and he would release some fantastic albums. My favorites from this period include 1970’s Moondance, Tupelo Honey in 1971, Saint Dominic’s Preview in 1972, Hard Nose the Highway in 1973, Wavelength in 1978 and Into the Music in 1979. Looking back at his output in this decade, the quality of his music back then was consistently good. It is hard to think of many artists who were consistently producing this standard of music.
The 1980s were not as kind to Van Morrison. This new decade began badly, his first album of the 1980s, Common One was pilloried by music critics. Many people were left shaking their head after listening to Common One, and wondered had Morrison lost his midas touch. Common One’s follow up, Beautiful Vision appeared two years later in 1982. It was a partial return to form, and included the song Cleaning Windows. Scandanavia, an instrumental, from the album was nominated for the Grammy Award for Best Rock Instrumental.
Inarticulate Speech of the Heart, released in 1983, like some of his previous albums, focused on the theme of faith and spirituality. Morrison believed that here, he was “moving towards producing music for meditation”. This is one of my favorite Van Morrison albums. It features a number of instrumental tracks. He justified their inclusion by saying it was not the words used, “but the force of the conviction behind the words that mattered”. In my opinion, this is his best album during the 1980s, closely followed by Avalon Sunset.
Throughout the remainder of the decade he released a further five studio albums and one live album. Of those five albums, 1986’s No Method, No Guru, No Teacher and 1989’s Avalon Sunset are the best of the remainder of his 1980’s output reaching numbers twenty-seven and thirteen in the UK charts.
The next decade started and ended well for Morrison. In 1990 he released Enlightenment and in 1999 released Back On Top, which this article is about. During the remainder of the decade, Morrison released seven studio albums and one live album. These albums included tributes to Mose Allison and collaborations with The Chieftans, Georgie Fame and John Lee Hooker. Apart from Enlightenment and Back On Top, the 1990s were not a vintage period for Van Morrison.
Since 2000 Morrison has never really produced anything that comes anywhere close to his best work of the 1970s. Between 2000-2011 he has released six studio and two live albums. None of the studio albums have the quality his early music has. However, it should be remembered that during that period he was in his fifth and sixth decade as a recording artist. He has, between 1967-2009, recorded thirty-three studio albums and five live albums. Unlike Neil Young for example, Morrison’s career has not had the same consistency and longevity.
Having told you a little about Van Morrison, I will now tell you about his album Back On Top. The album opens with Goin’ Down Geneva, which has a blues influence to it. Rather than set the song in the American south, Morrison has set in a number of European cities. I know that it is maybe hard to take seriously an aging, multi millionaire, rock-star singing a blues song with Geneva in the title, but stick with the song. It has a glorious bluesy start and features a really tight band. Morrison sings the song well, although his voice maybe shows the vagaries of age. The piano playing on this song really makes this track. It seems as if the rest of the band are merely sitting back and letting Geraint Watkins showcase his talents on piano. This is a good start to the album, and one is left wondering can this possibly be a return to form for Morrison.
Philosopher’s Stone is the second track on the album, and when one listens to the track, it is very much a return to form for Morrison. Here, he rolls back the years, producing a track that would not be out of place on some of his finest albums of the 1970s. His voice on Philosopher’s Stone is stronger and much better, and shows a glimpse of what he sounded like at his peak. The song features some of the best lyrics Morrison has written for a long time. In the lyrics, Morrison is searching for something elusive, striving to find it, he calls it the Philosopher’s Stone, but maybe what he is searching for is what we all search for, happiness. Like Goin’ Down Gevena, Philosopher’s Stone’ are not lyrics that are written by someone who seems to be happy, they seem to be searching for something, could that be happiness?
There is a change of tempo with the next track In the Midnight. The song is a love song, one he sings slowly and with a tenderness. When the album was released, Morrison described the song as “bedroom music, pure and simple”. In the Midnight features some tender and thoughtful lyrics, and Morrison does not disappoint, he has delivered a quite beautiful song, one that I am sure many people will be able to relate to. Everyone will be able to think of someone who has made them feel the way Morrison describes in the song’s lyrics. This song is a thing of beauty, and must be one of Morrison’s finest love songs in a long time.
The title track, Back On Top sees Morrison in a reflective mood. He is in an optimistic frame of mind, either about his personal or professional life. I feel it must be the former, rather than the latter, as his career was not going particularly well at this point in time. The song is another strong song. It has a lovely hook in it, and features a great performance by his band. Special mention must go to Geraint Watkins on hammond organ, Pee Wee Ellis on tenor sax and Morrison on harmonica. When one looks at the list of musicians Morrison has used on this album, it he has assembled a fantastic group of musicians to accompany him on Back On Top. Four songs into the album, and this is looking like a return to form for Morrison, the big question is, can it last a whole album?
When the Leaves Come Falling Down sees Morrison produce a stunning vocal performance on one the albums best songs. It is slow, has minimalist feel. The arrangements benefits from the vocal sitting prominently in the mix, with everything else, including a beautiful string section, sitting behind the vocal, very much playing a supporting roll.
On High Summer Morrison uses religious imagery in the song. Listen carefully, and you will hear references to both Lucifer and God. He also revisits some of his work from the 1960s by using the phrases “red sports cars” and “mansions on the hill. None of this matters though. Why? The reason is simple, Morrison has produced a great song, one he sings well, and plays a fantastic harmonica solo on.
The song Reminds Me of You, starts with the band playing slowly and softly, then Morrison’s vocal enters the mix. He sings the song with feeling, and he phrases the words carefully, as if wanting to highlight them, make someone listen to them. This could well be the case. The song is about love and heartbreak, that he wrote in 1996, after he broke up from a long-term relationship. However, by the time he recorded the song, he had been reunited with the lady in question. When you listen to the lyrics, you can share his pain, feel his hurt, after all, surely everyone has felt like this, at one time in their life? This truly is, an absolutely beautiful song, vintage Morrison, and I don’t so that lightly.
New Biography, sees Morrison singing about people who he thought were friends, who betrayed him. This is based on people who spoke to someone who wrote a biography of Morrison, and betrayed his trust. The song also sees Morrison commenting on the subject of celebrity, and people who have written books about him. Van Morrison has a novel, and doubtless profitable way of dealing with unwelcome publicity, he writes a song about it. Why bother with the expense of a super-injunction when you can write a song about the subject? Incidentally, it is a good song, one Morrison sings well and one the band play well. It has swing about it, and has another lovely hook in the song.
Precious Time is the next song on the album. It is a song Morrison wrote about how quickly time slips away, and how it is important that one enjoys each day. The song features a very insightful lyric “it doesn’t matter to which God you pray, precious time is slipping away”. In the space of thirteen words, Morrison says something we should all remember. This track is a good song with intelligent, insightful lyrics. The song has spiritual lyrics, and sees Morrison dwelling on how precious life is. I wonder whether this is a song that only an older artist could write and sing, as when we are younger we all feel we will live forever.
The final song on Back On Top is Golden Autumn Day, and is the second song on the album to be set at this time of year. The song sees Morrison enjoying being in an unnamed town or city. However, quickly the mood of the song changes, and Morrison is mugged, and he reflects that things are no longer what they once were. The song sees Morrison sing some great lyrics that have a really strong narrative. Close your eyes and you are almost there, and can almost picture the seen. He has reserved one of his best vocal performances for this song. Golden Autumn Day also features some fantastic performances by the band. Once again, Pee Wee Ellis on tenor saxophone deserves credit for a great performance on this track. Fiachra Trench’s string arrangement also deserves a mention, as it really adds to the track, and without the strings, the track would not be as good as it is. This is a great track to close a great album.
During the last few days, when researching and writing this article, I have spent a lot of time finding out more about Van Morrison, and even more time listening to his music. That is something I always enjoy doing. Having listened to Back On Top a number of times, I am struck by how good an album it is. There is not a poor track on this album. It really was a return to form for Van Morrison. Sadly, however, after Back On Top, he never produced anything of this quality. This saddens me greatly. What saddens me even more, is that in my opinion, this was Morrison’s last good album, and that was twelve years ago. Should after reading this article, you decide to buy this album, you will not be disappointed, it is a great album, packed full of fantastic songs. If you want buy other Van Morrison albums, here are some of my recommendations: Astral Weeks and Moondance from the 1960s; Hard Nose the Highway and Into the Music from the 1970s; Inarticulate Speech of the Heart and Avalon Sunset from the 1980s; and Enlightenment and Back on Top from the 1990s. Should you buy any, or all, of these albums, you will hear some of Van Morrison’s best music on these albums. Standout Tracks: Philosopher’s Stone, In the Midnight, When the Leaves Come Falling and Reminds Me of You.
VAN MORRISON-BACK ON TOP.
HAPPY MONDAYS-PILLS ‘N’ THRILLS AND BELLYACHES.
HAPPY MONDAYS-PILLS ‘N’ THRILLS AND BELLYACHES.
In a previous article, I wrote an article Primal Scream’s classic album Screamadelica, which was one of the greatest albums of 1990’s. Screamadelica was a snapshot of a new movement of music which was a fusion of rock music and dance music. A year prior to the release of Screamadelica, the Happy Mondays had released Pills ‘N’ Thrills and Bellyaches, another album that led the way, and would prove to be hugely influential. It was one of the greatest albums of the so-called, Madchester music scene, and the Happy Mondays would, later, come to personify what rave culture was all about.
The Happy Mondays were formed in 1980, and throughout their history, the band’s line up has been fluid, constantly evolving, with members leaving and others joining, or even rejoined. Originally, the band consisted of Shaun Ryder on lead vocals, his brother Paul on bass guitar, Mark Day on lead guitar, Paul Davis on keyboards and drummer Gary Whelan. Later on, Mark “Bez” Berry would join ostensibly to provide backing vocals, percussion and be the group’s dancer. However, when you read the credits for Pills ‘N’ Thrills and Bellyaches his role seems to be Bez, the life and soul of the party. Rowetta Satchell joined as backing vocalist in the early 1990s.
Their first official release was an EP entitled the “Forty Five EP”. Many people wrongly call this EP the Delightful EP after its first track. The EP was released in September 1985.
Tony Wilson, the hugely influential Manchester music impresario, was responsible for discovering the Happy Mondays. They had taken part in a battle of the bands at the Hacienda nightclub in Manchester. Wilson and New Order co-owned the Hacienda. At the time the group had a manager, Phil Saxe. However, they decided to change management, and this was to proved a fruitful union.
In 1987 the Happy Mondays released their debut album Squirrel and G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out). It was produced by John Cale, formerly of the Velvet Underground. The album failed to chart in the UK, although it reached number four in the UK indie charts. A problem arose with one of the tracks on the album. On the album, was a track called Desmond, which to put it politely, borrowed heavily from a track by The Beatles, Ob-La-Di, Ob La Da. The sample had not been cleared, and then owner of The Beatles back catalogue, Michael Jackson forced the removal of Desmond from future pressings of the album. Only a few hundred copies of the album had been released with the track on it, and on future pressings, the track 24 Four Hour Party People replaced Desmond. The final track on the album, Little Owen’s Rap, is listed in the compact disc’s running order, but does not appear on the album.
The Happy Mondays second album Bummed was released in November 1988. It was produced by legendary producer Martin Hannet. He was partly resposible for developing Joy Division’s sound and produced albums for, amongst others, the Durutti Column, Nico and John Cooper Clarke. Hannet also worked briefly for New Order and U2. On Bummed, Hannet used a lot of reverb and echo on the drums. Some people question whether this actually helps or inhibits the sound. Bummed features rock music which includes funk influenced bass and drum rhythms. There is a electronic influence on the album, which is apparent in the keyboard melodies. Some of the tracks were remixed, by various high-profile remixers. One of the tracks, Lazyitis was remixed by Paul Oakenfold. This had the effect of hugely increasing the group’s profile, and exposing their music to the dance-floor, especially the increasingly popular rave scene. Fans of electronic and dance music were for possibly, the first time, exposed to the Happy Mondays music. Bummer only reached number fifty-nine in the UK charts, but reached number two in the UK Indie charts.
The album this article is about, Pills ‘N’ Thrills and Bellyaches, was released in November 1990. It reached number four in the UK album chart, and was Happy Mondays first album to chart in the US, reaching number eighty-nine. The album was produced by Paul Oakenfold and Steve Osborne. Oakenfold and Osborne formed the Perfecto Records team, who produced and remixed a number of artists including Suede and New Order. Pills ‘N’ Thrills and Bellyaches was given a good reception by music critics on it release, and it was the right album at the right time for the Happy Mondays. It exposed their music to their traditional fan base and also those who had become interested in the rave scene and dance music. Their music is a fusion of styles. Imagine a mixture of rock, funk, house music and northern soul, that is what their sound was like at the time. The album went platinum in the UK, and the band embarked on a series of successful and high profile tours. They were known as
After the release of Pills ‘N’ Thrills and Bellyaches, the Happy Mondays next album was Yes Please! This was their fourth studio album. It was released in September 1992 and reached number fourteen in the UK charts. However, it failed to chart in the US. The six original members of the band disbanded in 1993.
In 1999, the Happy Mondays decided to reform. The line-up was Shaun and Paul Ryder, Gary Whelan and Mark “Bez” Berry. New members joined the band. This included Wags, Ben Leach, a formed member of The Farm, Rowetta Satchell and a number of session musicians. In 1999, they released a cover of Thin Lizzy’s famous track, The Boys Are Back In Town, which reached number twenty-four in the UK singles charts. The also were the support act for Oasis on their Standing On the Shoulder of Giants tour. The band split up again in 2000.
The Happy Mondays reformed for the third time in 2004. This version of the group included Shaun Ryder, Gary Whelan and Mark “Bez” Berry. Also joining the group were Kev Sandhu, Danny Newman and the rest of his band Sonic Audio, who featured on turntables. Paul Ryder would never play again with the band, having sworn never to play with his brother Shaun again, after the break-up in 2000. The group toured during 2005 and played the final show in Manchester.
They released their fifth, and final album Uncle Dysfunktional in July 2007. It reached number seventy-three in the UK album charts. The band toured in 2009, and again in 2009. The tour in late 2009, saw the Happy Mondays supporting the Psychedelic Furs in the US and Canada. This tour saw the line-up change again. Paul Ryder’s son, and Shaun Ryder’s nephew, Jack Ryder, standing in for Gary Whelan on drums. This was to be the last time the group toured.
Looking back on the band’s twenty-nine year career, it is amazing that the band only released five studio albums and two live albums. They were a group that many people, including myself, feel should have gone on to have a much more successful career. However, when one looks back at their career, one can ask the question, how many groups produce two great albums, never mind one great album. The Happy Mondays Bummed and Pills ‘N’ Thrills and Bellyaches, both of which are great albums. I will now tell you why Pills ‘N’ Thrills and Bellyaches is such a good album.
Pills ‘N’ Thrills and Bellyaches starts with the track Kinky Afro. It is a track that features some lovely rhythms and grooves and riffs. Shaun Ryder sings the lyrics really well. When I listen to the lyrics, they appear to involve a dialogue between a father and son. The father explains about himself, then the son telling the father what he thinks about him. That is far from complimentary. It is like a kitchen sink drama for 1990. The song is infectious, you can’t stop singing it. What a great song to start the album.
God’s Cop starts with a screaming guitar riff, and then the funk enters. The song is about police corruption, and how easy it is for the police officer to get away with the corruption. Within the lyrics about a serious subject, police corruption, is the trademark Happy Mondays’ humor. On this track they sing about the police officer and his boss, smoking drugs. This tracks sees the group fusing rock, funk and house music, to produce five minutes of great music.
Donovan is another track with some great lyrics. The song starts with the lyrics: “six cheap people in an empty hotel, every last one with a story to tell, give them all pills so their heads won’t swell”. As soon as you hear these lyrics you are drawn into the story. You find yourself want to know what happens next. However, the rest of the lyrics do not have the same standard, after that it is slightly downhill. The rest of the lyrics are not as strong. This does not make it a bad song though. Quite the opposite. It is a good song, it is just that the rest of the lyrics fail to match the early promise they show. The song starts slowly and then just over halfway through the track, the tempo increases. Ryder sings the song well, varying his vocal throughout the track.
Grandbag’s Funeral has a somewhat retro sound to it. The track sounds not unlike the Beatles. In fact Paul McCartney said that he thought the Happy Mondays sounded like The Beatles. I think it is the guitars and vocal that makes me draw this comparison. This track has the most traditional sound on the album so far. There is not the same funk influences on this track. THe Happy Mondays were obviously looking to the past for inspiration on this track, not forwards. I like this track, but prefer the sound on Kinky Afro and God’s Cop.
The next track is Loose Fit. Here the style and influence is different from the previous track. It has a much more modern sound, out is the retro sound of Grandbag’s Funeral. The track has a funky feel to it, and features a really loose vocal from Ryder. He leaves plenty of space in the track, at the start, allowing the track room to develop and breath. Occasionally, the tempo of the vocal increases, and the rest of the band join in. Just as quickly as the tempo of the vocal increases, it drops. This continues throughout the track. It is really effective, and adds to the impact of the track.
Dennis and Lois sees the tempo increase. The track features a quicker vocal and it features a good performance by all of the band. I especially like the guitars and keyboards on this track. What I do not like at all about the track is the use of the effects. The effects are overused on the track, and this takes away the impact of the effects. Effects are a powerful tool for a producer. However, they must know where and when to use them. Sometimes, if they are used sparingly they are more effective. Their overuse here, detracts from what is a good song. Maybe a more experienced production team would not have made the same mistake, as this was early on in Oakenfold and Osborne’s production career. This is not enough to spoil the track, it is a good song, although not the best on the album. I just wish that the next time the album is rereleased that the overuse of the effects is rectified, it would really improve the track.
Bob’s Yer Uncle is the next song on Pills ‘N’ Thrills and Bellyaches. This song features some interesting lyrics. It is a song about a couple whose love life is not what it once was. The song is about how the husband wants to spice up their sex life and what he wants to do to make their sex life more interesting. His wife is not interested and this frustrates him. I find the song loaded with irony, and almost ignorance. Maybe the husband should ask why his wife why she feels the way she does. This is a track I have always enjoyed, and is one of the best on the album.
When you hear the opening bars to Step On, they are instantly recognizable. They transport you back in time, to a time and a place. The song was huge, it seemed wherever you went, it was being played. You turned on the radio, this song was being played. If a car or van passed you, what was on the radio? Yes, you got it in one, Step On. Even though it was played so much, and you heard it so often, it still is a great track. It reached number five in the UK charts and number fifty-seven in the US Hot Hundred. Quite simply, this is a great track, that is one of the Happy Mondays’ finest tracks.
Holiday starts with the sound of a plane taking off. Then the you think the track will open out into a glorious slice of funk. However, that is not the case. There is a funk influence, early on in the track, that is heard throughout the track. The bass and guitar have a funky sound. But the promise early promise is unfullfilled. Don’t get me wrong, Holiday is not a poor song. Ryder sings the vocal well, and your attention is pulled in a multitude of directions. Listen carefully, and you will hear all sorts of samples, sounds and instruments. Two things that I like about this track, are the guitar sound and the backing vocals. The guitar playing is some of the best on the album, and the backing vocals have almost a gospel sound. With this track, it is a case of what might have been. Although this is a good enough track, this could have been a really funky track, had it been developed and more attention paid to the arrangement and production.
The final track on Pills ‘N’ Thrills and Bellyaches, is Harmony. When I listen to this track I am immediately struck by how the track seems to meander, almost without direction. There is almost lazy style of playing and singing on the song. Instruments, Ryder’s vocal and backing vocalists flow in and out of the track. It is almost like a freeform jam session. The strange thing is, it is effective. This works. It seems a good way to end the album. My only criticism is that the sound seems muffled, everything seems as if it is sitting too far back in the mix.
Having spent some time revisiting, Pills ‘N’ Thrills and Bellyaches, it really was the high point in the Happy Monday’s career. To use boxing parlance, it was their one shot at the title. Although their previous album Bummed was a good album, Pills ‘N’ Thrills and Bellyaches, is their best album. It is sad that they never went on to bigger and better things. The album that followed Yes Please! and Uncle Dysfunktional never saw them produce such a complete album. To me, it is a case of unfulfilled promise, very much what might have been. Pills ‘N’ Thrills and Bellyaches, is by no means a perfect album, it has a couple of tracks that let it down, namely Dennis and Lois and Holiday. However, I have no hesitation in recommending anyone who has not heard the album, or heard the Happy Monday’s music to go out and buy it. A good album to accompany it is Bummed. Once you have both albums, you will have the best music of the band’s career. I am sure you will enjoy listening to their music as much as I did, all those years ago. Standout Tracks: Kinky Afro, God’s Cop, Bob’s Yer Uncle and Step On.
HAPPY MONDAYS-PILLS ‘N’ THRILLS AND BELLYACHES.
SOUL II SOUL-CLUB CLASSICS-CLUB CLASSICS VOLUME 1.
SOUL II SOUL-CLUB CLASSICS-CLUB CLASSICS VOLUME 1.
When Soul II Soul released their debut album Club Classics Volume 1, in April 1989, the album was like a breath of fresh air. Suddenly, someone had released an album that was totally different from anything else that was around at that time. Not only was the album different from other music around in 1989, it was fresh, featured great music, music that you could dance to. Throughout, that summer, Soul II Soul was the soundtrack to the spring and summer. When you walked along the city streets, you could hear their music being played in shops, hear it in passing cars and in all of the pubs and clubs. It was joyful, happy music, that had a feel-good factor. Even now, if you listen to this album, it still sounds fresh and innovative. Not bad for an album that is now twenty-two years old.
Soul II Soul were founded in the late 1980s in London. When people first heard of Soul II Soul, they were a sound system, who played at street and house parties. The group were founded by Jazzie B, and throughout their career, the line up constantly evolved. Many different singers and musicians were part of the group’s line-up. This included Caron Wheeler, Simon Law and Nellee Hooper.
The group were constantly experimenting with music, and as a result of one of their musical experiments that they secured their first recording contract with Virgin Records. They made their own dub plate version of their song Fairplay. When Virgin Records heard the track, they offered Soul II Soul a contract.
Their first singles Fairplay and Feel Free, both released in 1988, reached number sixty-three and sixty-four respectively. However, 1989 saw a change in fortune for Soul II Soul. The release of Club Classics Volume 1, saw Soul II Soul have two hit singles, Keep On Moving and Back To Life (However Do You Want Me), which reached numbers five and one respectively. Caron Wheeler sung the lead vocal on both tracks. For many people, she was the sound of Soul II Soul, her vocal instantly recognizable. Club Classics Volume 1 went on to reach number one in the UK and number fourteen in the US. The album went platinum in both the UK and US. In the US the album won two Grammy Awards for Best R&B Performance By A Duo Or Group With Vocals for Back To Life and Best R&B Instrumental for the track African Dance.
The follow-up album to Club Classics Volume 1 was Volume II: 1990-A New Decade. It reached number one in the UK album charts and number twenty-one in the US. This album spawned two top ten hits, Get A Life and A Dream’s A Dream. They reached number three and six respectively in the UK. Like Club Classics Volume 1, Volume II: 1990-A New Decade, went platinum. The album also won two Soul Train awards.
Soul II Soul had only one more top ten single in the UK. This was Joy from their third album, Volume III: Just Right which reached number three in the UK album charts. The album did not sell well in the US, only reaching number eighty-eight in the US. This was the last Soul II Soul album that charted in the US. In 1993 they released their greatest hist album, Volume IV: The Classic Singles 88-93, which reached number ten in the UK album charts. This was the last album they released for Virgin Records. They then moved to Island Records. Soul II Soul only released two further studio albums, Volume V-Believe, in 1994, which reached number thirteen in the UK album charts. Their final studio album, Time For Change, in 1997, failed to chart. The group split up in 1997, but got back together, to perform some live performances in the 2000s.
Having told you the history of Soul II Soul, I will now tell you why Club Classics Volume 1 is such a good album. The album starts with quite easily, one of Soul II Soul’s most recognizable tracks, Keep On Moving. It is six minutes of glorious and joyous music. Caron Wheeler has the perfect voice for the track. Her voice dominates the track, sitting proudly atop the rest of track’s rhythms. Keep On Moving has a lovely, feel-good factor. This track, twenty-two years on, still sounds good. It has a freshness, play it in any club, and it will still fill a dance-floor. A great start to the album.
Fairplay starts with another great vocal, this time sung by Rose Windross. Jazzie B has arranged the track in a way that the drums are really prominent in the mix, and Windross’ vocal is almost competing against the drum beats. This is effective though. Windross has a great voice, and has to use her full range to sing the song. It is a really good up-tempo track, one which I always enjoy hearing.
Holdin’ On Bambelela sees Jazzie B take over vocal duties. His vocal is half spoken at the start, and then he sings the rest of the track. Although not blessed with the great voice, his voice suits the song. It a song with a message, and his style of vocal gets the message across. He is accompanied by some wonderful backing singers and a really strong arrangement. The track also features some Zulu vocals by Shikisha, which bring a different and interesting dimension to the track. This is another good track, from a great album.
On Feelin’ Free Live Rap, Jazzie B performs a rap vocal, accompanied by Dolby and turntables. This is an example of hip hop when the music was all about delivering a positive message. However, since the days of tracks like this, and the early years of Def Jam, and other labels, hip hop has been hijacked by styles such as gangsta rap. This in my opinion, has nothing to do with what hip hop is really about. I like Feelin’ Free Live Rap, I ike the vocals, Dolby’s scratching and the rhythms that sit behind the track.
When one listens to African Dance it is apparent why it won a Grammy Award for Best R&B Instrumental. It is a really strong track, and features a flute solo by Kushite. It reminds me of Yusef Lateef and Herbie Mann. The flute solo is the highlight of the track. The drum beats, percussion, keyboards and piano all play a supporting roll, as the flute solo takes centre-stage, and very much steals the show. African Dance is one of the best instrumentals you will hear.
On the track Dance once again, Kushite plays flute on the track. Jazzie B sings the vocal and gives a good vocal performance. He has chosen the correct tracks to sing the vocals on. This track suits his style of vocal delivery. The lyrics are powerful, and tell a story. On this track the drum beats and are clear and crisp, sitting towards the front of the mix. The flute is used sparingly, and the keyboards and percussion blend together well to produce another good track.
Next on the album is Feel Free. The track features Do’reen singing the lead vocal, with Carol Wheeler producing some fantastic backing vocals. Both Do’reen and Carol Wheeler have great voices and combine together well. Do’reen’s voice is strong and clear. Wheeler’s voice compliments Do’reen’s well. Feel Free also benefits from having a lovely, lush string arrangement by the Reggae Philharmonic Orchestra. Throughout the track, the sound is full and loud, and benefits from a fantastic arrangement by Jazzie B. It is a great track, one that I never tire of hearing.
Do’reen performs the lead vocals on the next track Happiness Dub. Happiness Dub has a really impressive, repetitive start and some Latinesque drum beats on the track. Here the keyboards and drums feature heavily. The rhythm is glorious, all the better, for the constant repetitiveness, which highlights its quality. On the track, Do’reen’s vocal is used to good effect, it weaves in and out of the track, filling the spaces left by the rhythms. Delay is used on her vocal, but only sparingly, to highlight a word of phrase. Sometimes, effects can be overused, but not here. This track keeps up the albums quality, and is another different style to be found on the album.
Back To Life (Accapella) features Caron Wheeler on vocals. She produces what can only be called a masterful performance, singing unaccompanied for the best part of two minutes and forty-five seconds. On Back To Life (Accapella) she uses her vocal range, and uses it ever so well. When the rest of the arrangement enters the mix, it is a glorious sound. The track exudes happiness and good times, makes you feel good, and makes you want to dance. This is, quite simply, a fantastic track, and that is thanks to Caron Wheeler.
The final track on Club Classics Volume 1, is Jazzie’s Groove. Here Jazzie B half sings the vocal over a great rhythm track. It features crunching drumbeats, a brass section and Jazzie B talking about the origins of Soul II Soul. It is effective as track. There is a lot going on, sounds, instruments and rhythms droop into the mix quickly, and just as quickly as they have appeared, they disappear. Although maybe not the best track on the album, it still deserves it place on the album.
Having spent some time researching and writing this article, for a short time I have been transported back to 1989. To a time when Soul II Soul and Club Classics Volume 1 was the nations soundtrack. As I Said in my introduction, their music was everywhere. However, it deserved to be, as the album features some some glorious music, music that I believe is timeless. This album has stood the test of time well. Unlike many albums from that time, it neither sounds dated, nor is it irrelevant when compared to modern music. It is hard to believe this album is twenty-two years old. I have thoroughly enjoyed my trip back to 1989, I just wish that everything that I remembered everything that happened in 1989 so fondly.
If you have never heard this album, I suggest you quickly seek it out. It is the highlight of Soul II Soul’s career, and is also a snapshot of what music was like back in 1989. What saddens me is that Soul II Soul never had a longer and more successful career. It seems to me that having promised so much with this their debut album, Club Classics Volume 1, they should have gone on to produce many more great albums, and evolved with the changes in music. That did not happen, by 1997 they had split up, and never were to produce another album. For me, this is a shame, as they could have gone on to provide the soundtrack for a generation. Thankfully, they produced this great album and we should thank Soul II Soul for giving us Club Classics Volume 1. Standout Tracks: Keep On Moving, Fairplay, Feel Free and Back To Life (Accapella).
SOUL II SOUL-CLUB CLASSICS-CLUB CLASSICS VOLUME 1.
JENNIFER WARNES-FAMOUS BLUE RAINCOAT.
JENNIFER WARNES-FAMOUS BLUE RAINCOAT.
A few days ago, I put my Ipod on shuffle, and as sometimes happens, after a few tracks, it played a fantastic track. That track was Famous Blue Raincoat, the title track from Jennifer Warnes’ 1987 album Famous Blue Raincoat. I had not listened to this album for a few months, so looked the album out, put it on the compact disc player, and listened to it, not once, but twice. When I had finished listening to the album, I thought that this was an album that I should write an article on. It is an album that in many ways is, underrated and one that many people either do not know about, or have forgotten about. Hopefully, once you have read this article, you will decide that you want to go out and buy this album, and you too, will enjoy this album as much as I have since its release in 1987.
Jennifer Warnes was born Jennifer Jean Warren, in Seattle, Washington in March 1964, and was raised in Ananheim. She was able to sing, and wanted to sing from an early age. When she was seven, she was offered her first recording contract. Her father decided that Warnes was far too young to become a recording artist, and turned the contract down. From then until the age of seventeen, she sang in the local church, and also at local pageants. Aged seventeen, Warnes was offered an opera scholarship to the Immaculate Heart College. However, that was not for her, and durning the mid 1960s, she decided to follow in the footsteps of Joan Baez, and become a folk singer. For the next few years, she toured the various clubs and theaters, singing folk music.
Then in 1968, Warnes signed a record contract with Parrot Records, who were a subsidiary of London Records. She recorded her debut album I Can Remember Everything in 1968, however, it failed to chart in either the US or UK. Later in 1968, she joined the cast the television program The Smothers’ Brothers Comedy Hour. In November 1968, Jennifer Warnes joined the California cast of the stage musical Hair. She played the female lead in this version of Hair. At this time she was still performing using the name Jennifer Warren. However, early on in her career, she was advised to change her name from Jennifer Warren to Jennifer Warnes. This was to avoid her being confused with a Broadway and film actress also called Jennifer Warren.
In 1969, Warnes released a single in the UK called Let the Sunshine In on London Records. This single was released by her using the name Jennifer. This was prior to her changing her name, so to avoid any confusion over her name, she dropped her surname from the title. Also in 1969, she released her second album See Me, Feel Me, Touch Me, Heal Me. Once again, the album failed to chart in either the UK or US.
In 1971 Warnes met Leonard Cohen. This was to proved to be an important meeting for Warnes and Cohen. Warnes remained a friend of Cohen’s since then. She was one of Cohen’s backing singers on his tour of Europe. Then she was the vocal arranger and guest singer on Cohen’s albums Live Songs, Various Positions, I’m Your Man, The Future, Filed Commander Cohen and Recent Songs. Warnes duetted with Cohen on the song The Smokey Life on Recent Songs.
Warnes released her third album Jennifer in 1972. This album was released on the Reprise record label. Like her first two albums, this album was not successful commercially. It failed to chart in either the UK or US. This album was produced by John Cale, formerly of the Velvet Underground
1976 saw Warnes release her fourth album entitles Jennifer Warnes. This album provided her with her breakthrough single Right Time of the Night. This reached number six in Billboard hot one hundred.
In 1979 Warnes recorded a song for the film Norma Rae called It Goes Like It Goes. This won her an Academy Award for the best original song. She was nominated for a second Academy Award in 1981, for her song One More Hour from the film Ragtime. One More Hour was written by Randy Newman. Then in 1982 she won another Academy Award for best original song for Up Where We Belong, which she sang with Joe Cocker for the film An Officer and A Gentleman. The song reached number one in the Billboard hot one hundred. Warnes won a third Academy Award for her duet with Bill Medley called (I’ve Had) The Time of My Life. This song was from the film Dirty Dancing. The song also won a Golden Globe award.
Also, in 1979 Warnes released a new album. The album was Shot Through the Heart. This album charted in the US, reaching number ninety-four in the US charts.
The album that this article is about, Famous Blue Raincoat was released in 1987. It was Warnes tribute album to her long term friend Leonard Cohen. All of the songs on the album were written by Cohen. The songs come from a variety of Cohen’s album, from 1969‘s Songs From A Room to 1984‘s Various Positions. Two of the tracks were from Cohen’s new album I’m Your Man, which was then unreleased. Famous Blue Raincoat reached number seventy-two in the US and thirty-three in the UK charts. The album was well received by critics on its release, and features a number of well known musicians, including Stevie Ray Vaughan, David Lindley and Van Dyke Parks. Leonard Cohen sang a duet with Warnes on the track Joan of Arc.
After the release of Famous Blue Raincoat, Warnes only released two further albums, 1992’s The Hunter and 2001’s The Well. Neither of these albums made any impact on the charts in either the UK or US. Since then, she has recorded tribute songs for artists like Warren Zevon and Ian Tyson. In 2009 she embarked on a tour of parts of the US. Then in 2010, she started working on a new solo album of new original material. As yet, this album has not been released.
The first song on the album is First We Take Manhattan. When Famous Blue Raincoat was released, First We Take Manhattan had not been released by Leonard Cohen. It was on his new album I’m Your Man. Having heard both songs many times, I like both versions for different reason. Warnes brings the song to life, by singing the song slightly quicker. Her voice suits the song well, and the arrangement is totally different to Cohen’s version. What I do like about Cohen’s version though, is the way the backing singers accompany him. Here, the way the song is arranged, the guitar solo fills in the gaps where the backing singers were in Cohen’s version. This track starts the album well, and is an interesting interpretation of this song.
On Bird On A Wire, she really slows the song down. When you listen carefully to the lyrics, you are struck by how powerful they are. Cohen is quite simply a master of his craft, when it comes to songwriting. Such a beautiful song needs the right person to sing it. Jennifer Warnes is that person. She sings the song exceptionally well, her interpretation and inflection is perfect. She allows plenty of space in the song. simply a master of his craft, when it comes to songwriting. Such a beautiful song needs the right person to sing it. Jennifer Warnes sings the song exceptionally well, her interpretation and inflection is perfect. The track is well arranged and produced. There is nothing added to the song that you feel does not belong there. Quite simply, this is a beautiful version, of a beautiful song.
The title track, Famous Blue Raincoat, is the next track on the album. With all of the tracks on the album, it is difficult not to compare Warnes’ version with Cohen’s original version. This version differs to the original as it begins with a really atmospheric and moody saxophone solo. Warnes slows the song way down, and goes on to perform the song beautifully. The arrangement is minimalist, and features a tenor saxophone drifting in and out of the track, occasionally. This is used sparingly, and makes it even more effective. Once again, this is a lovely song, well performed by Warnes.
Joan of Arc is the next track on the album. The track has an unusual arrangement at the start. For nearly the first minute of the track, hardly anything happens, occasionally an instrument plays briefly, almost as if it is being tuned. This almost spoils the track for me. Thereafter, Warnes sings a moving duet with Leonard Cohen. Their voices compliment each other, and this is a good version of the song. However, this track is not as good as the previous tracks. It is not a bad song, or bad version of this song. The problem is, that Warnes has set the standard so high, with the first three songs on the album.
On the next track, Ain’t No Cure For Love, Warnes returns to the high standards she set with the first three songs on the album. This was the second song on the album that was taken from Cohen’s unreleased album I’m Your Man. She interprets Cohen’s lyrics really well, and give a good performance on this track. She demonstrates quite a wide vocal range on this track. It is interesting listening to how both singers choose to interpret the same song. Although I like Warnes version, in fact, like it a lot, Cohen’s version is just that little bit better. It is not Cohen’s vocal I prefer, it is the arrangement on Cohen’s version I prefer. The ideal version would be, Warnes singing the song the way it is arranged on Cohen’s version.
Coming Back To You is a lovely song on this album. Again, Jennifer Warnes has just the right voice to sing the song. The lyrics on this song tell a story, a story that is sad and heartfelt. To be able to deliver such powerful and sad lyrics, a vocalist must deliver the song the correct way. Warnes is able to do that. She sets the correct mood for the song, and the arrangement compliments her delivery. This is a song that Warnes has interpreted perfectly, and is, for me, the best version of this song.
Unlike the majority of songs on this album, this is a song that Cohen did not write himself. Song of Berandette is a song he co-wrote with Bill Elliott and Jennifer Warnes. This song begins with a piano and strings. Warnes then sings the song accompanied only by the piano. Later in the tracks feature, adding to the beauty and atmosphere. The lyrics are probably, amongst the best on this album. The way its is arranged is quite simple. Jennifer Warnes delivers a hauntingly beautiful performance, of this beautiful song.
A Singer Must Die is the penultimate song on Famous Blue Raincoat. On this song, at the start, Warnes is only accompanied by backing singers. They manage to produce the sound of a choir. This track is arranged by veteran producer, arranger and musician Van Dyke Parks. His arrangement of this track is masterful. The sound produced by Warnes and the backing singers is joyous. This track, is easily, one of the best on the album.
The final track on the album is Came So Far For Beauty. This is the second song on the album that Cohen only co-wrote. He co-wrote the song with John Lissauer. The lyrics to the song when you listen to them, are sad, and read almost like a warning. It is another track that benefits from Warnes’ style of vocal delivery. Once again, she slows the song way down, this has the effect of adding to the song’s effectiveness and dramatic impact. It is a a great song, and is a fitting way to end the album.
If, having read this article, you are interested in buying this album, I can honestly say that it is a great album, full of great songs. It is interesting to hear how Warnes has chosen to interpret Leonard Cohen’s music. In my opinion, she interpreted each song really well. In some cases, I prefer her version to Cohen’s original. If you have previously hear Cohen’s music, this album is well worth buying, because here, you will hear the songs sung in a different way. Warnes sings the songs in a different way. Her voice has none of Cohen’s gruffness, and in some cases, brings the songs to life. Warnes is much more of singer than Cohen. Should you never have heard Leonard Cohen’s music, I would suggest you go out and buy Famous Blue Raincoat, and also, a couple of Leonard Cohen albums. Two Leonard Cohen albums to buy to compare these songs are I’m Your Man and Greatest Hits. This will give you the chance to compare and contrast the two different versions of each song. Famous Blue Raincoat is a great album that I believe deserves a place in your record collection, it features some wonderful songs, sung by a singer with a great voice, who is backed by a very talented group of musicians. Buy this album and you will listen to it time after time. Standout Tracks: Bird On A Wire, Song of Berandette, A Singer Must Die and Came So Far For Beauty.
JENNIFER WARNES-FAMOUS BLUE RAINCOAT.
JOHN MARTYN-THE APPRENTICE.
JOHN MARTYN-THE APPRENTICE.
In this article, I am going to write about an artist who has long been a favorite of mine. This artist recorded twenty studio albums in their lifetime between 1967 and their death in 2009. They were an artist whose music crossed the musical genres, and encompassed folk, blues, jazz and rock. Throughout, their career they toured prolifically, and were one of the great live performers of their generation. The artist I am about to write about is John Martyn, and his album The Apprentice.
John Martyn was born Iain David McGeachy, in 1948 in New Malden, Surrey, England. Both his parents were opera singers, so from an early age Martyn was exposed to music. When he was five, his parents divorced and much of his childhood was spent at his grandmother’s in Glasgow.
His musical career began aged seventeen, playing a mixture of blues and folk music. Legendary folk singer Hamish Imlach was to prove to be an early influence, even a mentor, to Martyn. Quickly, Martyn became a leading figure on the London folk circuit. Thereafter, things started to move quickly for Martyn. Aged nineteen, he signed to Chris Blackwell’s Island Records in 1967. Later that year, his debut album London Conversation was released. Just over a year later, his second album The Tumbler was released. On this album, the style of music was to change, to a much more jazz influenced sound.
By the time Martyn was to release his third album Stormbringer, he had met and and married Beverley Martin. Previously, she had been a solo artist, Beverley Kutner, working with Jimmy Page and Nick Drake. Once again, the sound changed on Stormbringer, with Martyn playing his acoustic guitar through a fuzzbox, phase shifter and Echoplex. John and Beverley Martyn released one further album together. This was the The Road To Ruin, like Stormbringer released in 1970. Ny then, Island Records wanted to market Martyn as a solo artist, and Beverley Martyn’s role on further albums was as a backing singer. She returned to her career as a solo artist.
During the period 1971-1980, Martyn recorded and released six studio albums and his Live At Leeds album in 1975. By far, the best album of this time was the seminal album Solid Air. Solid Air is seen as one of the best albums of the 1970s. The title track was a tribute to Nick Drake, a close friend of Martyn’s who died tragically of an overdose. During the recording of Solid Air, Martyn was to meet bassist, Danny Thompson, who he collaborated with until his death in 2009. Martyn’s vocal style changed during the recording of Solid Air. At that time, he started to develop a new slurred vocal style. The timbre of this new vocal style resembled a tenor saxophone.
His next album Inside Out featured a much more experimental style of music, with more emphasis on improvisation. In 1975 Island Records refused to release Martyn’s live album, Live At Leeds. Martyn resorted to selling signed copies by mail from his home. After the release of Live At Leeds in 1977, Martyn headed to Jamaica on holiday, and ended up collaborating with famed reggae producer Lee “Scratch” Perry. One World is seen by some people as the first ever trip hop album, and Martyn as the father of trip hop.
The 1980s were a turbulent time for Martyn personally and professionally. By the end of the 1970s his marriage had broken down. This led to Martyn pressing “the self destruct button” as he described it. Martyn became addicted to alcohol and drugs. He later said this was avery dark period in his life. Grace and Danger was the album that came out of this period. The album described what he was going through at that time. Blackwell had held the album’s release back a year, because of his friendship with both John and Beverley Martyn. This was to be the last album he released for Island Records.
After leaving Island Records in 1981, Martyn joined two albums for WEA. These albums, Glorious Fool and Best Kept Secret saw a change from Martyn’s traditional sound, with his new label trying to make him a more mainstream artist, with more commercial success. Martyn only stayed with WEA for the two albums.
After leaving WEA, Martyn returned to Island Records. Back at Island Records, he released two studio albums Sapphire and Piece By Piece, and a live album, Foundations. Island Records dropped Martyn in 1988.
In 1990, Martyn released the album that this article is about, The Apprentice, on Permanent Records. It is thought that one of the reasons for Martyn’s departure from Island Records, was that they did not like the demo recordings of what would become The Apprentice. As a result, Martyn paid for the recording of the album. On its release, it was given a good reception by music critics, who believed that the album was a return to form for Martyn.
After the release of The Apprentice, Martyn only released five more albums prior to his death in 2009. The follow up to The Apprentice’s was Cooltide. This was another return to form for Martyn. One of his better of his later releases was Glasgow Walker, released in 2000. This album sees Martyn experimenting with trip hop on Cool in This Life, and a cover version of Cry Me A River.
Sadly, John Martyn died in January 2009, aged sixty-one. When he died, the music industry lost one of its most talented and charismatic and talented performers. He is sadly missed by his legions of fans. However, we are lucky that he has left behind a huge body of work that we can all still enjoy. Many people still enjoy listening to his music, and cherish seeing him live in concert. I saw him play at a small venue in Edinburgh many years ago, and when he stopped for an interval he chatted happily with the concert-goers. That was probably a memory that everyone he spoke to will remember to this day. It is hard to imagine any modern day artist even contemplating doing that nowadays.
I will now tell you about John Martyn’s album The Apprentice. The Apprentice was released in 1990 on Permanent Records. The first song on the album is Live On Love. As soon as you hear John Martyn singing the first few bars of the song, you can tell that that this is a return to form for Martyn. His voice is clearer, he sings the song well, and the lyrics are well written, with a strong narrative. The song is a love song, about finding love when you have almost given up hope. This is a good start to the album, and features a good performance from Martyn and his band.
The River has an atmospheric start to the song. Since the first time I ever heard this song, it has always made me think of Glasgow, and the River Clyde. This may be because Martyn lived in Glasgow, and grew up at a time when the river provided work, via the shipyards for large swathes of the population. In the song he sings about about having worked for years on the river, yet having nothing to show. This is quite a poignant comment, as many men and women spent years working on the river, and at the end of their career’s had nothing to show for it financially, and many conversely suffering poor health because of the working conditions. I think this is one of the album’s strongest tracks. The song tells a very real story, and describes the lives of many people perfectly.
Look At the Girl is a lovely song, with lovely lyrics. When you listen to the song carefully, you understand that the song is about a young girl, who has grown up and has “turned out so fine”. This song sounds personal to Martyn. It as if he is proud of the subject of the song. That is what makes me think the song is personal to him. It is song that Martyn sings so well, his voice is much clearer and his phrasing is much better than on previous albums. This song demonstrates clearly, that The Apprentice was a return to form for Martyn.
Income Town has a bigger and busier sound. This song has a quicker tempo than the previous songs. Martyn sings the song quicker, and that band have a bigger part to play in the track. The band Martyn has chosen. features a strong group of musicians. On this track they demonstrate their talents, and bring the track to life. When you listen to Income Town, you would think the track was recorded live, as you can hear people cheering. However, the crowd noise has been overdubbed onto the track in the studio. Income Town is a good track, but not as good as many on the album.
Send Me One Line is quite simply a stunning track. Three things make this song the best on the album. Firstly, the track as some lovely lyrics. It is a song about love, and a relationship that never happened. Martyn reflects in the song on what might have been. Secondly, John Martyn produces great vocal performance. Gone is the slurred vocal, of numerous previous albums, that many of his long term fans knew and loved. Thirdly, Andy Shepherd’s saxophone solo compliments both the vocal and the song. This track is as good as anything Martyn has written or recorded for many a year.
Deny This Love has a lot in common with Income Town. Both tracks feature a bigger and busier sound. On both tracks, the band play a bigger part than on previous ones, and give strong performances. The difference between the two tracks is that Deny This Love is a better song than Income Town. The lyrics to the song are stronger and better, and Martyn produces a good vocal performance.
Hold Me starts with a slow and atmospheric introduction that Martyn sings softly. After that, the track opens up, and Martyn and his band, go on to sing, and play this song beautifully. Later in the track, Martyn plays a wonderful guitar solo which adds to the track’s quality and beauty. One thing I like about this track, is the way there is space in the song, this allows the song to breath, and adds to its quality.
The weakest track on the album is Upo. This, to me, is the only poor track on the album. Upo has a jazzy feel to it, and although the band play the song well the lyrics and Martyn’s vocal performance is weak. Here, Martyn returns to his slurred style of vocal. I do not mind that. It can be incredibly powerful and effective. However, here the combination of weak lyrics and a poor vocal make this a disappointing track.
The Apprentice is a much better song than Upo. It starts slowly, and quickly the tempo increases. Martyn’s vocal is stronger and clearer. Throughout the track Dave Taif-Ball plays a really effective bass solo. It drifts in and out the track, just at the right time, and proves effective. In some parts of the song, the band really cut loose, allowing them to showcase their own individual talents. Overall, this is a good track that reminds me of some of Martyn’s earlier work.
The penultimate song on the album The Moment. It is a nice song, that, like many others on this album, features some great lyrics. This album has demonstrated Martyn’s talent as a songwriter. To me, his songwriting on this album is better than some of the albums that immediately preceded this album. Throughout the album the majority of the songs are well written, with some great lyrics. This track features a heartfelt and dramatic performance from Martyn. He has reserved one of his best vocal performances for this song.
Patterns In The Rain is a quite beautiful song. It is nearly as good as Send Me One Line. The song sees Martyn deliver some lovely romantic lyrics with feeling. He sings the song really well, and his band play behind him on this track. They allow him and the song to take centre-stage, playing quietly and effectively. This is a great way to end the album, and is one of my favorite John Martyn songs.
The Apprentice was a return to form form for John Martyn. On its release, it was well received by both music critics and fans. Previously, Martyn had being going through what seemed like a musical mid-crisis. Both critics and fans had been disappointed by some of the material he had released prior to The Apprentice. Thus, when The Apprentice came out, many people felt that he had turned a corner, and that the future would be bright for him. However, he would only release five more albums in his lifetime. In my opinion, The Apprentice was, by far, his finest release between 1990-2009. Cooltide and Glasgow Walker are both good albums, but not as strong as The Apprentice.
The Apprentice is an album that contains some great tracks on it. These songs are well written, and well sung by Martyn. He put together a strong band to back him on this album. They repaid his faith in them, by producing some great performance on the album. If having read this article, you are interested in either John Martyn’s music or his album The Apprentice, I can strongly recommend that you buy this album. It is a good starting point for anyone who has not heard his music before. However, Martyn released twenty studio albums during his lifetime, as well as numerous live albums and compilations. If you would like to hear some of his earlier work, Martyn rerecorded many of his best known songs for the compilation album Classics, released on Artful Records. On Classics, there are some fantastic recordings of some of his most famous songs, and it is a great introduction to his music. Two of his best ever albums are Solid Air and One World. These albums deserve a place in every record collection, and feature some of John Martyn’s greatest work. Standout Tracks: Live On Love, Look At the Girl, Send Me One Line and Patterns In The Rain.
JOHN MARTYN-THE APPRENTICE.
PORTISHEAD-DUMMY.
PORTISHEAD-DUMMY.
In previous articles, I have written about groups who were innovators within their chosen genre. Previously, I have written articles about King Tubby, Kraftwerk, The Orb and Primal Scream. Each of theses groups have produced albums that have been influential in various ways. King Tubby pioneered dub reggae and is believed to have invented the remix; Krafwerk were one of this first groups to use electronic instruments and computers in music; The Orb were pioneers in their use of samples within tracks; and Primal Scream fused rock and dance to produce their masterpiece Screamadlica. The band, and album, that I am now going to write about, Portishead, and their album Dummy, were also influential, and made a huge contribution to music, and are credited with popularising and helping to establish the trip-hop genre.
Portishead are an English band from Bristol. They were formed in 1991 and are named after the nearby town of Portishead. Since 1991, Portishead have only released three albums. These are Dummy in 1994, Portishead in 1997 and Third in 1998. Portishead consist of three members, Geoff Barrow, Beth Gibbons and Adrian Utley. Sometimes, Dave McDonald who was the engineer on their debut album Dummy, is referred to as the fourth member of Portishead.
When it was released in 1994, this album was widely acclaimed by music critics and as an innovative and pioneering album. Portishead mixed together elements of psychedelic and and experimental music, which together, became known as trip-hop. At that time, the music scene was in Bristol was thriving. The Bristol Sound was at his peak, with groups such as Massive Attack, Portishead, Tricky and the Wild Bunch Soundsystem providing the city’s soundtrack. Another thriving scene in the city, was the graffiti art scene. Graffiti artists such as Banksy, were contributing a colorful backdrop to Bristol’s landscape, much to the chagrin of Bristol’s denizens.
During the early 1990s, the city of Bristol was exposed to a huge variety of musical styles. These musical influences, all helped to spawn the genre that became known trip hop. Throughout the city, it was a musical melting pot, people were listening to hip hop, dub reggae, acid jazz, techno, disco and psychedelic music. Being exposed to such a huge variety of different music styles, groups such as Portishead, were bound to use these influences in the music they were producing.
When one looks back at Portishead, the group’s various talents complimented each other perfectly. Each brought their own unique talent to the group. Beth Gibbons was the vocalist, and without her delicate, and almost sullen, or sulky, vocals on the tracks, their music would not have same impact. The other two members, Geoff Barrow and Adrian Utley were renowned sonic manipulators, who had the ability to take a sound or sample and transform it totally into something unimaginable.
One of the biggest influences on Portishead, at the time they were making Dummy, was 1960s and 1970s film soundtracks. The music on these albums are said to be there primary musical influence. When one listens to album carefully, these influences are apparent. For example one track features a sample of Lalo Schifrin’s The Danube Incident, Eric Burdon and War’s Margic Mountain, Isaac Hayes Ike’s Rap III and the Smokey Brookes’ track Spin It Jig.
Having told you about Portishead, and the musical environment that spawned Dummy, I will now tell you about the album. Dummy features ten tracks. The first of these tracks is Myterons. Mysterons starts with various samples and scratches. One of the samples has an eeriness to it, this is magnified by the various scratches. Next Beth Gibbons vocal takes centre-stage in the track. She has the perfect voice for the track. There is a moodiness and sense of mystery in her voice, and Utley and Barrow show their mastery of sonic manipulation by using a multitude of samples, scratches and drumbeats to accompany, and highlight the vocal track. This is a good track to start the album. It has a moody and atmospheric feel to it, but at the same time, provides a showcase for Gibbons vocal ablilities.
Sour Times starts with the use of a sample from Lalo Schifrin’s, The Danube Incident. The track brings to mind Cold-War spy thrillers and secret assignations between rival agents in the shadow of the Berlin Wall. This track also features a sample of Smokey Brookes’ track Spin It Jig. These samples are the building blocks for the track. Portishead use other instruments and samples within the track. Both a rhodes keyboard and hammond organ feature on the track as well as guitar. The highlight of the track is Gibbons’s vocal. Her voice perfectly suits the Lalo Schifrin’s, sample and blends in well with it. This track demonstrates how samples, instruments and vocals can be blended together to produce something totally different to the component parts. I am sure Lalo Schifrin never envisaged a piece of his work being used so effectively in this way, to produce something quite different.
Strangers starts with a shrill sound, and then various samples and scratches. When you first hear the start of the track you wince somewhat. It does not have the most promising start. However, if you give the track time, it opens up, and begins to show promise. After not the most promising start, the song improves and actually, you become drawn into it. The song maybe lacks the quality of the first two tracks, but features some interesting aspects. Gibbons vocal, as i the previous tracks is good, and the samples used are interesting. I found myself listening carefully, trying to identify one the samples, and suddenly realized that they had sampled an old Weather Report track, Elegant People. Portishead were innovators when they produced this album, and their manipulation of sounds, samples and scratches works well.
It Could Be Sweet sees a return to form for Portishead. This is a much better track than Strangers. The sound is much more subdued. Gibbons voice is given the opportunity to shine. Her voice sits at the front of the track, and the drum beats and rhodes sit behind the vocal. The arrangement on this track has a minimalist sound to it. Here, this works perfectly. This arrangement has made It Could Be Sweet is one of the album’s best tracks.
Wandering Start starts with a dull repetitive sound, and then Gibbons’ vocal joins the song. She is accompanied by various drum beats, samples and scratches. These are almost like an alternative twenty-first century orchestra. Utley and Barrow have used these extremely effectively to build a track that has an atmospheric and almost sinister quality to it. With this track, you concentrate on everything that is happening in the song, you find yourself trying to second guess what will happen next. Sometimes your guess is correct, other times you are way of the mark. if you listen carefully to this great track, you will hear a sample of an Eric Burdon and War track, Magic Mountain.
The next track Numb features a glorious multitude of instruments, samples, scratches and almost other-worldly sounds. To accompany this varied sonic palette is Beth Gibbons voice. On this track, Gibbons’ vocal is stunning. She has reserved one of her finest vocal performances for Numb. Her voice accompanies, and is complimented by, the the cornucopia of sounds that have been used within this track. This is a fine track, one that show what can be done with a hammond organ, bass, drum beats and a lot of imagination.
Roads begins with a dark and brooding sound, and then opens up to feature a vocal by Beth Gibbons that sounds like not unlike Liz Fraser of the Cocteau Twins. The track then features a wider array of instruments than on any other track on the album. The tempo is almost pedestrian in places, and this brings out the track’s beauty. On this track there is a fantastic arrangement of strings. This, the vocal and the dark brooding sound, that repeats throughout the track contribute towards producing one of the standout tracks on the album.
Pedestal begins with a multitude of samples and scratches, and a vocal that sounds subdued. The samples and scratches in combination with the muted vocal, provide an atmospheric track, that draws its inspiration from early hip hop tracks. Andy Hague provides a masterful trumpet solo that adds a different dimension to the track. His trumpet solo adds a variety to the sound, that changes the track, as without it, the track might sound as if it lacks something. This track is a good one, though not the best on the album.
Biscuit is another track where you find yourself trying to identify the sample used in the track. This time the sample is from an old Johnnie Ray track, I’ll Never Fall In Love Again. This is, in my opinion, the weakest track on the album. There is too much happening in this track. Portishead have used too many samples, scratches and surreal sounds. This does not help the track. Quite the opposite, it detracts from the track. At the start of the track, a variety of samples are used. One sounds like a badly scratched vinyl record playing. Thereafter, a wide variety of strange and other worldly sounds feature. Gibbons’ vocal can’t even rescue the track, and maybe Portishead should have heeded the maxim less is more. If they had used fewer samples, sounds and scratches this track may have been a better one.
The final track on Dummy is Glory Box. This track begins with a sample of an Isaac Hayes track Ike’s Rap III, which is used throughout the track. On this track, the sample works, even the scratchy sound! In some ways, it adds to the effectiveness of the sample. Gibbons, sings the vocal well, and uses her vocal range well. The guitar solo is well placed in the track, it does not overpower the vocal, and highlights the quality of the vocal and also, the track. This track is much better than the previous track Biscuit, and is more like the quality of the other tracks on Dummy. The track features almost waves of sound, that rise to a crescendo and fall, quite suddenly. A good example is Gibbons’ vocal towards the end of the track. I enjoyed this track, and thought it was quality track to end a quality album.
That is the story of Portishead, and their debut album Dummy. I have always been impressed that Portishead were able to produce such a good first album. They used the technology that was available to them at the time, well. At that time, technology was nowhere near as advanced as it is now. So what Portishead were able to achieve is a considerable achievement. The resulting music, is a fusion of traditional instruments such as, guitar, bass and drums, and the newer technology including samplers, samples and scratches. Added to that, is Gibbons glorious vocal, and of course, a lot of creativity and imagination. What all of that has combined to produce is an album that led the way, and help launch a new genre of music, trip hop. This is a great album, and if you have never heard of Portishead, or their album Dummy, I can strongly recommend that you consider buying this album. Should you do so, you will not be disappointed. Dummy is an album that you will return to time and time again, and each time you do so, you will hear sounds and subtle nuances that you have never have hear before. In many ways, each time you listen to this album, is like hearing a different album, as you will hear and focus on, different aspects of this wonderful music. Standout Tracks: Sour Times, It Could Be Sweet, Numb and Roads.
PORTISHEAD-DUMMY.
MINNIE RIPERTON-PERFECT ANGEL.
MINNIE RIPERTON-PERFECT ANGEL.
When writing a previous article on The Orb, I mentioned that they had used a Minnie Riperton sample on one of their tracks. Some time later, I was thinking that maybe it was time I wrote an article on Minnie Riperton as, although some of her music is heard occasionally on the radio, many people may be unaware of her, or the story of her life. I feel that Minnie Riperton’s story deserves telling, and her music deserves the attention of the wider public. Hopefully, by the time you have read this article, you will know more about Minnie Riperton and her wonderful music.
Minnie Riperton was born in 1947 in Chicago, Illinois. She was the youngest child in a family of eight. All of the Riperton family were musically talented, and from an early age, Minnie Riperton took an active interest in the arts. As a child, she attended ballet and modern dance classes, however, it soon became apparent to her parents that Minnie was talented both as a vocalist and musically. Riperton’s parents encouraged her to pursue training in both singing and music.
Minnie Riperton attended the Lincoln Center in Chicago. There she received operatic training from Marion Jeffery. She was taught how to practice breathing and phrasing, and was told to pay particular attention to her diction. One thing that is strange about her training, is Minnie Riperton was encouraged to use her vocal range, which, at her peak was a remarkable five and a half octaves. This is contrary to orthodox operatic training and philosophy. During her tenure studying under Marion Jeffery, Riperton learnt how to sing a range of musical styles, from operettas to show tunes. This was meant to prepare Riperton for a career as an opera singer. Marion Jeffery’s belief in the young Riperton’s ability, meant that she encouraged her pupil to go and study the operatic classics at Chicago’s Junior Lyric Opera. However, by then, Minnie Riperton interest in opera was waning, and she was becoming more interested in different types and styles of music, especially soul, rock and rhythm and blues.
After graduating from Hyde Park High School, Riperton enrolled at the Loop College and was fortunate enough to join the Zeta Phi Beta Sorority, Incorporated. Alas, her college career did not last long, she decided to drop out of college and pursue a career in music. Then in 1967, Riperton met her future husband Richard Rudolph who was a songwriter. They would marry in 1972.
Minnie Riperton’s professional musical career started when she became a member of The Gems. She was spotted by Raynard Miner when Riperton was singing with the A Capella Choir. He became her musical mentor. The Gems released a number of singles, but commercially, they were not a success. Two of their best known songs were I Can’t Help Myself in 1964 and He Makes Me Feel So Good. Later The Gems became known as Studio Three and sang backing vocals on Fontella Bass’ classic song Rescue Me. During the period 1966-1967, The Gems recorded under various different names, notably as The Girls Three, releasing a track called Baby I Want You in 1966. In 1967 as The Starlets, they released the now Northern Soul classic My Baby’s Real. in 1968, The Starlets released the follow-up to My Baby’s Real, entitled Watered Down. That was their last recording together, and Riperton’s final recording as part of a girl group.
Minnie Riperton met another person who was to prove influential in her career, that was Billy Davis. Davis wrote two songs for Riperton, Lonely Girl and You Gave Me Soul. In honour of Billy Davis, she recorded the songs as Andrea Davis. This was a stepping stone in Riperton’s career.
The next stepping stone in her career was when she joined Rotary Connection in 1967. Like Sly and the Family Stone were, Rotary Connection were a multi-racial and experimental group which Riperton fronted with Sidney Barnes. Although they were a popular live group, playing many outdoor festivals, as support act for some of the bigger names in rock music, commercial success remained elusive for Rotary Connection. They released their self-titled debut album Rotary Connection in 1967, and five other albums between 1967-1971, the last album as New Rotary Connection. However, Riperton left Rotary Connection in 1969 to pursue a solo career, frustrated at Rotary Connection’s lack of commercial success.
Minnie Ripperton released her first solo album Come To My Garden in 1970. On the album she was accompanied by Charles Stepney, who also was the producer of the album. The album failed to sell well, however, since its release, it has been recognized as one of the finest albums ever produced.
By 1973, Minnie Riperton was semi-retired and was now a housewife, married with two children. She had made demo tape of a song called Seeing You This Way, and a young Epic Records rep heard the tape. He took the tape to Don Ellis, Vice-President of A&R, at Epic Records. Ellis like what he heard. Subsequently, Riperton signed to Epic Records. Riperton then decided to move her family from Chicago to Las Angeles. It was there that she recorded the album Perfect Angel, that I am featuring in this article. When the album was released in 1974, album sales started off slowly. Three singles had been released from the album, and it was her husband Charles Rudolph who convinced the record company to release Loving You as a single. Loving You reached number two in the UK charts and number three in the US charts. The album Perfect Angel went on to sell over a million copies, earning Riperton a gold disc.
Riperton released three further albums after Perfect Angel, which all failed to sell as well as Perfect Angel. Tragedy struck for Riperton when she contracted cancer in 1976. At the time, Riperton was given six months to live, and despite this, she continued to record and tour. Sadly, in 1979, Minnie Riperton died, aged thirty-one. Minnie Riperton’s legacy is that leaves behind some wonderful music, music that we are fortunate to have. The sad thing is, that many people, are still, as yet, unaware of Minnie Riperton and his wonderful music. My hope is that everyone who is reading this article, will take the opportunity to listen Minnie Riperton’s album Perfect Angel, and maybe then, the rest of her music.
Perfect Angel begins with the track Reasons. The track opens with an electric guitar solo, and then Riperton goes on to demonstrate her vocal ability. On this track, she makes use of her amazing vocal range. Her voice soars, then as quickly drops, never losing control, always its seems, in full control. Throughout the track, she is accompanied by legendary session guitarist, Sneaky Pete and also, a bass that throbs. His guitar playing is the perfect accompaniment for Riperton’s soaring vocals. Reasons is a good way to start Perfect Angel, as it demonstrates Riperton’s vocal ability perfectly.
On It’s So Nice (To See Old Friends) Riperton’s small backing band come into their own. They provide the perfect accompaniment for Riperton’s sweetly sung vocals. Here, she sings within herself. Her phrasing of the song is perfect, and adds to the beauty of the song. Sneaky Pete’s pedal steel guitar sits beautifully behind the vocal, adding the perfect embellishment to the song. This a beautiful song, with lovely lyrics, that Riperton sings so well.
Take A Little Trip is a song that many people will be familiar with. The track is one of two tracks that Stevie Wonder either wrote, or co-wrote. It features some lovely, thoughtful lyrics, that have the effect of soothing and relaxing, your weary soul. The song sees Riperton’s previous operatic training coming in useful, as she delivers the song in such a way that the song has space to breath. This track is well arranged and features a good performance from a tight and talented band.
This album is a showcase for Minnie Riperton’s vocal abilities, and wide vocal range. There is a huge contrast between the next track Seeing You This Way, and the previous track Take A Little Trip. Whereas on the previous track Riperton sang the song softly, and very much within herself, on this track Riperton cuts loose, using her five and half octave range to good advantage. Riperton has the perfect voice to sing Seeing You This Way. Her voice rises and falls, going from high to low, with ease, always in control. The song has a faster tempo, and the band play around the vocal, never overpowering the vocal, always complimenting Riperton’s voice. Take A Little Trip is a good song, one that only a talented vocalist, like Riperton can sing well.
The Edge of A Dream is one of seven songs on the album that Riperton co-wrote with her husband Richard Rudolph. They were a talented partnership, and have written the best songs on this album. In my opinion, one if the best is The Edge of A Dream. It features some glorious and thoughtful lyrics. The song has an innocence about it, and also has a spiritual feel to it. On this track Riperton is accompanied by a piano, and backing singers, that, when they combine with the vocal, make this a fantastic track. Incidentally, one of the backing singers on this track was Denise Williams, who sang the track Free.
The title track, Perfect Angel was written by Stevie Wonder. He provided Riperton with a great song. This is a song about love, that Riperton brings alive. There is a beauty in the song, that is to be found in many songs written by Wonder. Riperton sings the song gently. At times, she using her breathing and diction, to phrase the song, so that she brings out the songs innate beauty. On this track, Riperton is accompanied by backing vocalists whose voices almost mimic, yet compliment her voice. They add to song, seeming to just know exactly when to sing, and how to sing. Perfect Angel is a lovely song, and Riperton performs the song so well.
Every Time He Comes Around features the band more than in previous tracks. Here, a fuzz guitar features heavily on the track. It does not play over the vocal, it plays around the vocal. On this track, the band are more or less free rein. They are allowed to showcase their talents. Their talents are considerable. Riperton has chosen her band well. They know exactly when to play, and when not to. This is apparent on this track, where Sneaky Pete’s fuzz guitar lifts this track from a good track, to a great track.
Probably the best know track on this album is Loving You. This is the track that most will remember Minnie Riperton for. It is a song that, to some extent, launched her career, and brought her to the record buying public’s attention. I could easily expend numerous superlatives to describe this song. All i will say is that this is an exquisite song. From the birdsong at the start, throughout the song, Riperton sings the sumptuous lyrics quite beautifully. This song is just under four minutes of musical beauty. The sentiments in the lyrics, can’t fail to tug on the heartstrings, and bring out the romantic, in even the coldest heart. Quite easily, this is the best song on the album, if not the best song in Riperton’s short career.
Our Live closes Perfect Angel. It starts with a gentle harmonica solo. Thereafter, Riperton articulates the song perfectly. Her phrasing is clear and perfect. The song flows, gently building, and, as quickly as Riperton ups the tempo, the tempo drops. On Our Live, she demonstrates, once again, her unique vocal range. Her voice travels up and down, the scales, reaching notes that some vocalists can only dream about. This song is almost a duet between Riperton’s vocals and the harmonica. It is an interesting arrangement, one that the production team of Riperton, Rudolph and Stewart Levine make work. Our Live is a good way to close this great album.
Having told you about Minnie Riperton, and her wonderful album Perfect Angel. Having listened to the album several times while writing this article, I am impressed by the quality of the songs on this album. Out of the nine songs on this album, every one is of the highest quality. Quite simply, there is not a poor song on the album. Even though Come To My Garden is said by many critics to be her best ever album, I strongly believe that Perfect Angel is every bit as good, if not better. This album benefited hugely, from having the wonderful track Loving You on it. If Loving You had not been released as a single, Minnie Riperton’s career may have taken a very different turn. What I find hard to believe is that it was only released as an afterthought, as the fourth single from the album. It was lucky Charles Rudolph was able to convince Epic to release the song as a single. What saddens me, is that post-Perfect Angel, Riperton’s career never reached the same heights. It appears that, since her tragic and early death, people have revisited Riperton’s music, and are only now, starting to appreciate her considerable talents.
If you are someone who is, as yet, unaware of Riperton’s music, I can strongly recommend that you you buy Perfect Angel. Luckily for you, the album is now available on the Stateside label with Riperton’s 1975 album Adventures In Paradise on the same disc. That is as good a place to start, if you wish to explore Minnie Riperton’s music. If, having bought Perfect Angel/Adventures In Paradise you like what you hear, I recommend you then buy Come To My Garden and then Stay In Love and Minnie, both of which are available as one disc on the Stateside label. Should you do that, you will be privy to the music of one of soul music’s greatest female vocalists. Standout Tracks: Reasons, Take A Little Trip, Perfect Angel and Loving You.
MINNIE RIPERTON-PERFECT ANGEL.
THE ORB-THE ORB’S ADVENTURES BEYOND THE ULTRAWORLD.
THE ORB-THE ORB’S ADVENTURES BEYOND THE ULTRAWORLD.
Recently, I wrote and article about one of electronic music’s most influential and pioneering groups Kraftwerk. In that article, I said that Kraftwerk had influenced future generations of musicians, including electronic and dance artists. One of the artists who they had a huge influence on was The Orb. The Orb became one of electronic music’s pioneers, and are one of the most influential groups in electronic music. They were also responsible for producing one of electronic music’s finest albums, The Orb’s Adventures Beyond the Ultraworld. In this article, I will write about The Orb and their album The Orb’s Adventures Beyond the Ultraworld.
The Orb were founded in 1988 and were responsible for spawning the genre known as ambient house. The two original members of The Orb were Alex Paterson and Jimmy Cauty. Cauty was also a member of another influential group KLF. In 1990 Cauty left The Orb, due to a dispute over which record company should release their music. The Big Life label offered the group a record deal, but Cauty wanted the album released on the KLF Communications label. This caused the group to split up. However, throughout their history, various other members have joined, and left, the group. After Cauty’s departure, four new members joined the group. These members were: Andy Falconer and Kris “Thrash” Weston, both studio engineers, guitarist Steve Hillage and producer Thomas Fehlmann. This was to be the line-up that produced The Orb’s Adventures Beyond the Ultraworld.
When Cauty and Paterson first started performing they were ambient and dub DJs. Their inspiration was both electronic music and ambient music from the 1970s, primarily Kraftwerk and Brian Eno. Other genres of music also were a big influence including reggae music, Krautrock, drum and bass and trip hop. Amongst the other influences cited by The Orb are dub reggae pioneer King Tubby, Prince, Alice Cooper and T-Rex.
Another thing that was a big influence on the group and their sound was science fiction. This is apparent when you listen to their music and hear some of the samples used, or if you were lucky enough to witness one of their live performances. Often in their live performances, The Orb have used imagery projected on to screens onstage that feature futuristic cityscapes and townships, alien beings, morphing faces, shapes and images and a multitude of other surreal images. Their videos would also feature such montages, which would often contain surreal images of clouds, astronauts and psychedelic images such as neon-colored dolphins. Such features led to comparisons to Pink Floyd’s early “happenings” or concerts.
In 1988 The Orb released their first track Tripping On Sunshine on a German compilation album Eternity Project One. This track became one a popular acid house anthem. A year later in 1989, The Orb released a four track EP which was based upon samples taken from KISS FM, a New York radio station. This was released on Alex Paterson and Martin “Youth” Glover’s new record label WAU! Modo Records. The duo set up this label as they wanted to maintain their financial independence from the major record labels. Not long after that, Paterson and Glover decided to change the style of music they were producing. Gone was the beat-heavy music they had previously produced, in was music was a more laid back type of music. This was music that would be listened to post club, music for after hours listening.
Around this time, The Orb were given the opportunity to DJ at the chill-out room in the Heaven nightclub. This event grew in popularity over time, and The Orb incorporated multitrack recording and then linked then to a number of record decks and mixer. They then used numerous records, CDs, cassettes, sound effects and samples in their set. What they did not use, was records without heavy rhythms and drum beats. The reason for this was so that they did not want to disturb the chilled out atmosphere. Two of their favorite types of music they played was chill-out and dub reggae. The duo described this as ambient house. Thus, a new genre of music was launched.
In 1989 The Orb and Martin Glover, recorded a session for DJ John Peel’s radio show on BBC Radio 1. They had used a huge variety of samples and recordings on these songs. One of these songs was known as Loving You and featured the Minnie Riperton song Loving You. This caused a major problem, as Riperton’s management had not given clearance for the use of the sample of Riperton’s vocal. However, by then the single had been released. This lead to the track having to be re-released, with a vocalist who sounded like Riperton singing the vocal. The track’s title was then renamed A Huge Ever Growing Pulsating Brain That Rules From the Centre of the Ultraworld. Even though the track was twenty-two minutes long, it still reached number seventy-eight in the UK charts.
Following the split with Cauty, Paterson started work on Fluffy Little Clouds with Glover. On this track The Orb used samples from Steve Reich’s Counterpoint and an interview with Rickie Lee Jones. Once again, The Orb fell foul of the legal system, and were required to pay Jones an undisclosed sum for the use of her voice on the recording. As if this was not bad enough, then Glover decided to rejoin Killing Joke. After all this turmoil, Little Fluffy Clouds only reached number eighty-seven in the UK charts.
During 1991 the new line-up went into the studio and three weeks, six recording studios and around twenty other musicians later, The Orb’s Adventures Beyond the Ultraworld was completed. The additions had proved to be shrewd additions to The Orb. Falconer and Weston’s previous jobs working in recording studios provided the group with the technical ability required to create the sounds portraying the different aspects of space travel, and in particular, Apollo 11. Hillage’s guitar playing was used to good effect by Falconer and Weston to portray these sounds. When the album was released, it was well received by the critics in the UK, Europe and especially in the US. What the critics liked, was how the album encompassed ambient music, house music and sampling. The Orb’s Adventures Beyond the Ultraworld reached number twenty-nine in the UK album charts.
In the twenty years since The Orb released The Orb’s Adventures Beyond the Ultraworld, they have continued recording, and released an album Metal Spheres as recently as 2010. In the last twenty years they have recorded nine further studio albums. The follow up to The Orb’s Adventures Beyond the Ultraworld, UF Orb was their most successful album, reaching number one in the UK charts. Throughout their career, The Orb have led the way, they have remained pioneers, challenging and changing the way electronic music is made and sounds. As well as recording and performing, they have enjoyed a long and successful career as remixers, and have remixed music for a wide variety of artists including Depeche Mode, Primal Scream and Jean Michel Jarre. Now that you I have told you about The Orb’s history, i will now tell you why The Orb’s Adventures Beyond the Ultraworld is such a special album, that it deserves a place in your record collection.
The first track Little Fluffy Clouds starts with a sample of a cockerel and then the sample of Rickie Lee Jones, which is used effectively throughout the track. After that, the track is a magical montage of instruments, sounds and samples that, together, have effect of creating an atmospheric track, that holds your interest, and makes you curious to discover what happens next. When you listen to this track it is hard to believe that it was released twenty years ago. There is a freshness about the track, that makes it almost timeless.
Earth (Gaia) is the next track on the album. Again, the track starts with a spoken word sample. This sample has a darkness about it, which is intensified with the use of the samples that surround and accompany it. The track slowly builds, introducing new sounds and samples, which increase the intensity of the track. Throughout the track the spoken word sample is used. This is effective, as it adds to the darkness and brooding nature of the track. I like this track as it was innovative and showed what it was possible to do using a combination of samples and instruments. A track like this, pushed the musical boundaries, showed people what it was possible to do.
Supernova At the End of the Universe uses a combination of a clap of thunder and a spoken word sample about space travel to start the track. After that the track settles down to a minimalist sound. the rhythms are gentle, bereft of any prominent or heavy drum tracks. Then, all of sudden, the drum beats are the most prominent feature in the mix. Although they have the effect of overpowering the other sounds and samples, they sit well with the rest of the track. The intermingling of the drums, sounds and spoken word samples, combine effectively, producing an interesting, aural adventure.
On this track, Back Side of the Moon, The Orb take you on a journey to outer space. This track has obviously been influenced by their love of, and interest in space travel and science fiction. When you listen to the various sound used on this track there is a soothing quality, that makes you think of space. This is further enhanced by snippets of spoken word samples, from what sounds like some of the old Apollo space missions. One can almost imagine floating gently through space, weightless, without neither a care, nor worry. This is a long track, just over fourteen minutes long, but when you listen to it, it has the effect of soothing and relaxing you, taking you away from the mundane and triviality of modernity, to somewhere, different, maybe better. This to me, is the best track on the album.
On Spanish Castles In Space, the track starts quietly, then a spoken word sample briefly, interrupts the gentle, and soothing soundscape. Thereafter, the track starts to gently meander, but just as quickly as you have been lulled into a false sense of security, the sound changes, to a a darker sound, featuring a spoken word sample. This track is like a lot of The Orb’s tracks, it is a musical dichotomy. In one track you can hear the musical equivalent of light and shade, or night and day. This is one of the reasons that I enjoy this album, and this track.
Perpetual Dawn features The Orb’s interest in science fiction and particularly, space travel. You will hear part of the countdown that is heard when a space mission launches. Then you will hear noises, and samples that defy explanation, set against a mid-tempo beat. This repeats and features some surreal sounds, which to me, do not work in the track. By three minutes of the nine and a half minute track, I am hoping that the track improves. Thankfully, there some improvement. However, this track does not have the quality of previous tracks.
Into the Fourth Dimension is a better track than Perpetual Dawn. This track features various samples at the start. They provide a nice contrast. From spoken word samples, to a choir singing, this is a good way to start the track. Once again, The Orb are lulling the listener into a false sense of security. What follows in crunching drum beats right at the front of the mix. Sitting behind the drumbeats are violins, snippets of classical music and dark brooding samples, some almost inaudible. The track builds up throughout the track, layer upon layer of sounds unfolding, coming together to create a powerful track that peaks about 115 beats per minute. This is a huge improvement on the previous track. On this track The Orb have got their A-game back. This track shows how The Orb were willing to push the boundaries of music, and why they were innovators, that many younger dance and electronic artists cite as influences and inspirations.
The next track, Outlands, features a moody, atmospheric start, using a number samples that make the listener focus on the music. Just when you are getting used to the slower tempo, things change, the tempo speeds up, the samples get louder, faster and even more surreal. You begin to wonder, what an earth will happen next. You become fascinated, drawn in to the track. This truly is an aural adventure through a parallel universe, one that you have never visited, and one that you could never have imagined existed. The track takes you on a surreal journey, where you hear sounds that you just can’t quite identify, snippets of speech float in and out of the track, and in front of that, constantly there, drumbeats that are heavy, that crunch and don’t let you forget that they are there. Outlands is a great track, one that takes you on the type of journey your local travel agent can’t arrange.
Stars 6 and 7 8 9 is the penultimate track on this album. The track starts with the trademark use of samples, this time the sound of a car engine, birdsong and then a spoken word sample. Even the sound of a bee makes an appearance. Over and above all this is a glorious tranquil rhythm, which has the effect of relaxing the listener. However, by now we know not to be lulled into a false sense of security, because anything could happen next. The track gently saunters along, gently caressing the brains neurons and synapses, the rhythm ebbs and flows, complimented by numerous well chosen samples. There is nothing in the track that interrupts the tracks beauty, this is definitely post-club listening. This is easily one of the best tracks on the album. Eight minutes of glorious tranquility, one you should definitely experience.
The final track on The Orb’s Adventures Beyond the Ultraworld is A Huge Pulsating Brain That Rules From the Centre of the Ultraworld: Live Mix Mk 10. As well as having the longest title on this album, this track is also the longest in length, coming in at just under nineteen minutes. This is nothing, one of The Orb’s singles, Blue Room, was almost forty minutes long. Despite that, it still managed to chart, reaching number eight in the UK charts, the longest ever single to chart. This track, however, has a slower tempo and features everything we, by now, expect to hear in a track by The Orb. Throughout the track, the group of used a multitude of sound, samples and instruments. In this track, there are the samples of the cockerel and the Minnine Riperton soundalike. All of this is effective, contributing to the overall quality of the track. This is like a long musical soundscape, composed using only technology, samples and a few instruments. Although the track is “busier” than some of the tracks on the album, this does not make it any less of a track. Quite the opposite, The Orb should be congratulated for achieving such a complex track using only the technology that was available to them at that time. This is a good track, although not the best on the album.
The Orb’s Adventures Beyond the Ultraworld is like other albums I have previously written about, it is innovative. The Orb pushed the musical boundaries when making this album. They showed what was possible by using the technology that was available, and also a lot of imagination and creativity. Considering the technology at their disposal, what they have produced is quite amazing. Nowadays with all the new music software, and technology, artists and producers have at their disposal, creating a track is much easier. Back in 1991, The Orb had to work out how to create that tracks on this album. There was no person or book they could refer to, because what they were doing had never been done previously. They were pioneers, innovators, much like Kraftwerk, one of there heroes were. What they have produced is truly a great album, one that sounds as good today, as it did in 1991, when it was released. It really is timeless.
If you have never heard of The Orb or their album The Orb’s Adventures Beyond the Ultraworld, I would recommend that you go out and buy it. This is an album that is one that should be in every record collection, it paved the way for much of the electronic and dance music that came after it. It is not just electronic and dance music it has influenced, many other artists now use samples and computers in their music. The Orb’s have influenced a generation of musicians, and many people’s first exposure to electronic and dance music would be this album. So if, after reading this article you are curious, I would suggest tomorrow, go visit your local record shop and buy a copy of this album, you won’t be disappointed. If you want to buy another The Orb to accompany The Orb’s Adventures Beyond the Ultraworld, I would recommend their next album U.F. Orb. What you will have in your possession are two great albums. I hope you will enjoy them. Standout Tracks: Little Fluffy Clouds, Supernova At the End of the Universe, Back Side of the Moon and Stars 6 and 7 8 9.
THE ORB-THE ORB’S ADVENTURES BEYOND THE ULTRAWORLD.
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