GAELLE-TRANSIENT.
GAELLE-TRANSIENT.
Recently, I wrote articles on Naked Music downtempo music, and while researching these articles, I found myself listening again, to songs by this artist. An artist who is highly talented, not just a singer, but also a songwriter and producer. I have long been a huge fan of her music, and have always loved the album that I am about to review. When it was released in 2004, I couldn’t wait to hear it, and wasn’t disappointed. It is a fantastic album, one that is a great showcase for her considerable talents. Her name is Gaelle, and the album is called Transient, and was released on Naked Music in 2004.
Gaelle Addison was born in New Jersey, and is now based in Atlanta. She first came to the public’s attention when she sang the vocals on dance track King of My Castle, which she recorded for Atlanta producer Chris Brann’s Wamdue Project. When the track was released here in the UK, it wasn’t a huge hit, it only became a massive hit once techno producer, Roy Malone remixed the track. Suddenly, the track was huge, it was a huge favorite with clubbers in the UK, and eventually sold over two million copies overseas. Sadly. Gaelle wasn’t allowed to enjoy her moment in the sun, when the label hired someone else to appear in the video, and lip-synch on the tour. For some reason, this was what labels did, preferring image over honesty. Gaelle’s replacement was what she calls “a buxom Argentinian lady.” Deeply saddened, this lead to Gaelle splitting with Brann.
After the split with Brann, Gaelle managed to recoup the royalties she was owed. However, a fortuitous meeting with Eric Stamile, a keyboard player, saw Gaelle launch a new production company, Speakeasy Music. She left Atlanta University, where she had been studying business management, purchased some recording equipment, and the duo were in business. They were able to teach themselves how to produce tracks using the newly purchased equipment. This lead to them producing dance tracks for San Francisco label Naked Music. So impressed with Gaelle and Stamile’s work were Naked Music, that they offered Gaelle a recording contract.
Transient took four years to produce. Why I hear you ask? There are two reasons. Firstly, to pay bills, Gaelle and Stamile had to work with other artists in the interim period. This was good experience, and they worked with Cee-Lo Green on the 2002 album, Cee-Lo Green and His Perfect Imperfections. Remixes were another source of income for them. They remixed tracks for Jagged Edge and Esthero. The second reason for the length of time it took the pair to record Transient, is that they are self confessed perfectionists. Listen to the album, and you will realize that this was four years well spent, and that the album is musical perfection.
When many people saw that this album was released on Naked Music, they would be expecting to hear an album full of house music. That isn’t the case. This is a sophisticated album, one that crosses musical genres. Listen carefully, and you will hear soul, jazz, blues, electronica and yes, a house music influence. Quite simply, it’s a glorious album, full of glorious music, by one of the best voices in contemporary music.
Transient opens with Falling, and as you hear the opening bars, of this track you’re immediately struck that you’re about to hear a quality song. The sound is complex and full. Drums sit at the front of the mix, they’re fast, almost frantic, they grab your attention, as if saying listen carefully, this is great track. Keyboards accompany the drums, and are a perfect foil to the effective harshness of the drums. However, when Gaelle sings, she transforms the track. Her vocal is fantastic, it’s strong, she sings clearly, articulating the sadness in the lyrics. She competes with the drums, singing over them, her voice refusing to be bullied by the drums. A good track to start a great album.
Parkway begins with sound effects, a radio plays, a car travels along a road, then the track opens out. Sound effects are used to good affect throughout Parkway. Gaelle’s voice is soulful, she sings she song slowly, behind a minimalist arrangement. The track benefits from having plenty space in the arrangement, especially with the drums. Unlike Falling, the drums are slow, spacey and generate a dramatic effect. When Gaelle sings, she leaves space in the vocal, this too, adds to the impact of this great song.
Give It Back has a gentle, melodic start. The introduction is played on keyboards, then Gaelle’s vocal sweet enters. It’s a bright, breezy uptempo track, one that has a huge crossover appeal. This track would work well either on radio or dancefloor, and I’m sure producers would love to remix this track. She sings a track that has its roots in soul and dance music. Her vocal has a nu-soul sound, and the drums and synths have been influence by dance music. This is a really catchy song one laden with hooks. Brilliant.
The next track, Fade Away, has an atmospheric start. Waves crash against the beach. Gaelle’s vocal keeps up the atmospheric feel. It’s slow and has a dreamy, atmospheric sound. Saying that, her voice is loud and clear, and she sings against crisp and crunching drums that accompany her vocal at the front of the mix, and an acoustic guitar plays gently. Fade Away is similar in style and sound to. Parkway, and like Parkway, is a great track.
Haiti (Interlude) is a short instrumental track. The tempo is faster, waves crash against a beach, an acoustic guitar plays, strings sweep, drums sit in front of them, crisp, loud and fast. Bursts of vocal harmony, enter and leave, adding to the beauty of the track. This is a good way to break up the flow of the album.
When Love You More starts, Gaelle sings straight away. Her voice is loud, strong and confident. This is a faster track, one that benefits from a good arrangement. Like other tracks, the drums are, loud, fast and right at the forefront of the mix. They draw your attention, you can’t escape them. That is not a criticism, merely an observation. Both piano and guitar play a part on this track, and help to shape the sound, on what is, a good track.
Repetition starts with waves crashing, keyboards playing, then Gaelle goes on to give the lushest of vocal performances. This is a love song, one with lovely lyrics, about how you feel when you’re in love and how sometimes, it’s hard to give too much of yourself, in case you get hurt, should the person leave you. The arrangement on the track is clever, the song starts slowly, there is space within the track, then towards the end it turns into almost a house track. It has the tempo and drum sound of a house track, but just when you become used to this, suddenly, the tempo drops again, back to what it was. A beautiful track, with a great vocal, lyrics and tight arrangement.
Shape Shifting, the next track, has a totally different sound and feel to it. On this track, Gaelle half sings, half speaks parts of the song. A vocoder is used frequently to transform her voice. Effects can be heard in the background. The effects are loud, predominant and repetitive, yet don’t jar or annoy, quite the opposite, the blend in well with Gaelle’s voice, and produce an interesting and different track.
The title track Transient is next, and it’s another song that Gaelle sings beautifully. Just about everything is perfect with Transient. My only quibble is that there is an effect that sits above the vocal and instruments, that you can hear sort of reverberating. It distracts your attention from everything else. I would suggest that this somewhat spoils an otherwise perfect track. The vocal and arrangement are flawless apart from that one slight criticism.
Probably the track that is most familiar to most people is Rain. It’s a song that has featured on several compilations. Rain has the tempo of a house track, and like Give It Back, has crossover appeal. This track would be at home on radio or in a club. The song starts with a piano gently, meandering, the vocal starts slowly, very slowly, but, quickly, the tempo increases. A saxophone blows, the drums get quicker, and settle into a house beat. Gaelle sings the vocal, and in doing so, leaves plenty of space in the vocal. Keyboards fill the space, and in the background, handclaps mark time. Rain is a masterful track, the highlight of the album.
When you hear Separate Rooms, the first thing that strikes you, is the drums. The have the sound and feel of what you would expect in an old drum and bass album. It’s loud and crisp, with an irregular mid tempo beat. Gaelles vocal is loud, clear and confident. Her range is good, she articulates the lyrics well. As usual, the track is well arranged by Gaelle and Stamile. Although the sound is quite full, they have achieved that with very few instruments. Maybe it’s because the drums almost dominate the track. Regardless of how it has been achieved, it’s another great track.
The final track on Transient is Moonsglow. Here Gaelle half whispers, half sings the introduction, and just behind her vocal sound effects can be heard. The drums are dull sounding, percussion is crisp and sharp. It’s an effective contrast, one that works well. Gaelle sings the song slowly, surrounded by drums, sound effects and percussion. Occasionally, brooding strings can be heard.This adds to the air of mystery present. The longer the track goes on, the louder the drums and percussion become, dominating the mix, and taking over centrestage from Gaelle. Moonsglow, although different from many of the tracks on Transient, is still a quality track.
That is the story of Gaelle and her debut album Transient. As you will now be aware, this is a brilliant album, a perfect showcase for Gaelle to show how talented and versatile an artist she is. She also co-wrote and co-produced the album with Eric Stamile. Although the album took four years to record, it was well worth the wait. Every song on the album is of the highest quality. Gaelle’s vocals are second to none. Her voice is glorious, capable of expressing and articulating every emotion, and capable of singing songs from soul to jazz to house. Not many artists can achieve that, but Gaelle can. Do yourself a favor, buy this album now, you won’t regret it. Standout Tracks: Falling, Give It Back , Repetition and Rain.
GAELLE-TRANSIENT.
FUG-READY FOR US.
FUG-READY FOR US.
Recently I wrote an article on Block 16, who had recorded their Morning Sun album on Nuphonic, a sadly lamented label, that for an eight year period, released some wonderful music. After writing that article, I was looking through some of my old albums and chanced upon another album released on Nuphonic, and that is the one I am going to write about today. Having discovered this album, it was like discovering an old friend. When I played it again, I was again entranced by its subtlety and nuances, and the variety and quality of the eleven songs on the album. This album was released by Nuphonic in 2001 and is by Fug and entitled Ready For Us.
Ready For Us is an aural journey that takes you through a variety of styles of music, and on the first track, the title track, Ready For Us, is a beautiful laidback track, featuring a crystalline and ethereal female vocalist. It is a quite beautiful track, one that soothes your troubles away, and transports you to an altogether more pleasant place. The track starts proudly, as if announcing that something both beautiful and brilliant will follow. Straight away, the female vocalists sings, an acoustic guitar plays, percussion and strings can be heard, both perfectly subtle. Throughout the track, the tempo remains constant, it gently meanders along, massaging your weary soul, its beauty enveloping you. Quite simply a great start to the album.
On RFO, the tempo increases, a house beat plays and then some orchestral sounding strings accompany the drums. This is an interesting combination that proves highly effective. The strings sweep along, the drums beats constant, always keeping up, matching their tempo. When the strings disappear momentarily the drums are joined by keyboards, until the strings rejoin. Although an unusual sound and concept, it is one that works well, and the combination of strings and drums have an infectious quality, one you want to hear more of.
Thin Air is a slightly slower track, one that has a slightly darker sound at the start. Don’t be fooled though, that changes when the sweetest of female vocalist is heard. Suddenly you hear light and shade. Drums and synths produce a soundscape from another galaxy, you become mindful of space travel, traveling to a distant planet. In keeping with this, the vocal floats in the midst of the track, and is surrounded by keyboards and synths that have an otherworldly sound. Then just short of four minutes, the journey is over, you return to terra firma, pleased to have enjoyed a lovely musical journey, one you wish had lasted longer.
On Blue Movie the tempo falls, and you enter an atmospheric and moody place, where the light is not far away, teasing you gently. The sound is both broody and dramatic, the suspense and drama building. This sounds like a soundtrack to thriller that must be made, one where the plot is packed full of intrigue and drama. On the track, synths play, drums pound and strings and piano provide a dramatic backdrop, one that has you almost looking over the shoulder. Put this on at night, and turn the lights down, you’ll be scared of what lurks behind your sofa. That is the level of drama that Fug have created. Truly a masterful track, packed full of suspense and atmosphere.
Overflow starts gently, drums and guitar playing spaciously, after which that lovely vocal starts to sing. The track has a light and bright feel. Strings including, violins, cellos, violas, can be heard on Overflow. As if this is not enough, a brass section contribute, towards this track. Even though a multitude of instruments are used, the sound doesn’t seem crowded, quite the opposite, the sound is verging on minimalist. This is a remarkable achievement, and is a credit to the arranger and producer. Like the first three tracks, Overflow is another great track.
Cheval Noir see the tempo rise just slightly. Again, an acoustic guitar played beautifully, starts the track, and behind it the track meanders, contemplating building up. Quite soon, it does, the track speeds up very slightly, and the sound opens out. Crunching drums move to the front of the mix, however, they don’t overpower the sound, they add to the track, inject some life to the track. Sweeping strings then take their turn to dominate the soundscape, although the drums still compete for attention. By now the sound has filled out, and a glorious track is developing. The sound is a fusion of styles, classical music, and a contemporary feel and sound, especially with the drums and guitar. Fug have triumphed again, producing a great track.
Chunk sees the darkness descend. Drums and piano combine well to produce a broody, moody and atmospheric track. It’s a great track, one that is the polar opposite of other tracks on the album. Although dark, the sound is not depressing. It is more atmospheric, quite dramatic, full of suspense. You even find yourself wondering what will happen next. Bass adds to the dramatic and moody feel, and then the darkness lifts slightly, as keyboards play. Then the piano returns, adding to the drama. Gradually, towards the end of the track, the suspense lessens, the tension eases, you return to normal, after a journey through darkness. You feel better for this enjoyable experience.
The next track of Ready For Us is something we’ve all had, Fairweatherfriend. Unlike Chunk, the track is lighter and brighter, and feature those beautiful sweet vocals. The track has a really impressive sound, at the start, it isn’t apparent, it just sort of creeps up on you. Suddenly, you’re hooked, caught in the headlights of its beauty. There is a subtlety about the track, the sound is almost understated, as if everything else is taking a back seat, allowing the vocals to take centre-stage. A beautiful track.
The Prophet is the next track. It’s a wholly different, though equally interesting and effective track. A piano meanders, synths squelch, drums reverberate, and this repeats, the pattern occasionally changing, with the pianist being given free reign. It’s a light and airy track, on that doesn’t tax your imagination much. It allows you to sit back, and wallow in its glorious familiarity.
By now we’re nearly through the album, El Diablo is the penultimate track. Straight away you’re transported, far away, to somewhere unfamiliar, somewhere mysterious, but somewhere intriguing. The track starts with acoustic guitar plucked confidently, adding to the mystery. This builds up the atmosphere. Quickly, you wonder where am I going, whats going to happens next. Just as you’re developing a sense of unease, a joyful brass section enter stage left, and immediately set about lightening the atmosphere. Then as you’re enjoying their company, they leave you stranded, in this unfamiliar place. Suspense surrounds your destination, then suddenly, it’s over, you’re back on familiar territory. You breath a sigh of relief, and realize, that the journey was worthwhile, was one you thoroughly enjoyed.
Shrewd Movements is the final track on Ready For Us. It’s a track that has its roots in jazz music. Again, the piano and drums play a leading role, one where they’re allowed plenty of space. They’re not crowded, given room to breath. The track is quite a simple one, merely drums, piano and double bass, the latter with a supporting role. Fug have chosen a perfect track to close the album, it’s one that winds the album down. After all the musical journeys on this album, this track meanders, beautifully, to a close.
I thoroughly enjoyed the time I spent revisiting this wonderful album. It is truly one of the hidden gems in my collection, and I’m sure is hiding in the corner of a record store near you. It’s worth having a look for, crate digging, because if you find it, you’ve found a mini masterpiece. Eleven great songs lasting fifty-one minutes, and each one brilliant. Listen carefully, and you’ll hear many different styles of music, and through time, you will discover and love, the subtlety of this album. This album will enthrall and captivate you. You’ll wish you had discovered it ten years ago, when it first came out. When your friends hear it they will envy your luck at discovering and owning such a wonderful album, one that sounds better every time you listen to it. So if you buy an album today, why not buy Ready For Us by Fug. Standout Tracks: Ready For Us, Blue Movie, Fairweatherfriend and Shrewd Movements.
FUG-READY FOR US.
NICOLE ATKINS-NEPTUNE CITY.
NICOLE ATKINS-NEPTUNE CITY.
Today I am going to write about a genuine up and coming artist, one who takes her music seriously, and has been involved in the music industry all her adult life. During her career she has been compared with some of music’s greatest singers including Roy Orbison. Her music sees a combination of orthodox vocal styles and intelligent and meaningful lyrics. So far, this artist has released two solo albums in the last four years, and it is her debut album that I will now review. The artist is Nicole Atkins, and the album is Neptune City, released in October 2007.
Nicole Atkins was born in October 1978, in Neptune, New Jersey. She was born and brought up in a middle class community, near the Shark River. Later in life, she would say the river was one of the inspirations for he music. Atkins began playing piano aged nine, and aged thirteen, she taught herself the guitar. Rather than listen to the music her peers were listening to, she immersed herself in older music, and now, cites Traffic, Johnny Cash and The Ronettes as musical influences. One singer who had a direct influence on Atkins vocal style, was Harriet Wheeler of The Sundays, an English group who recorded three albums, including their wonderful debut album, Reading, Writing and Arithmetic. Around this time, Atkins started joining local bands, and singing as a solo artist.
After leaving High School, Atkins headed to Charlotte, North Carolina, where she studied illustration at the University of North Carolina at Charlotte. This proved a good move for. The city had a thriving music scene, and quickly, she became immersed in it. At this time Uncle Tupelo were one of the city’s big bands, and they became one of her favorites. It was at this time that Atkins started writing her own material. She also befriended a number of local musicians. This led to her joining a group called Nitehawk. During he junior year, she lived in Australia. On her return, she joined Los Parasols, and released an EP called The Summer of Love In 2002.
Later in 2002, she moved to Bensonhurst, in Brooklyn, New York. She was a regular performer at open mic nights in the East Village. Here, she was influenced by a new sound, artists on the Rainbow Quartz label, which featured guitar heavy pop music and orthodox songwriting styles. Later, she would move towards the sound heard on albums by two very different artists, Roy Orbison and Wilco.
For a short time, Atkins returned to Charlotte. Whilst there, she played with several bands. It was whilst she was back in Charlotte, that she started writing and recording her EP entitled Bleeding Diamonds. She described her music at that time as, a mixture of “Americana, 60s and indie Rock.
Having moved home to her parents in New Jersey, she continued traveling to New York to be part of city’s music scene. Then, midway through 2004, she began working on a demo CD The Party’s Over. Atkins was assisted by former Fischerspooner and Fiery Furnaces drummer David Muller. The recording took place in the basement of her parents home. All they used was a Pro Tools rig, a Casio keyboard and mini recorder. Later drums were added by Muller at his apartment, and further songs recorded in Brooklyn.
During the early part of 2005, Atkins was asked by keyboard player Dan Chen about forming a new band. Atkins enlisted drummer Dan Mintzer, and later David Hollinghurst on guitar and David Layes joined on bass. The band were now known as Nicole Atkins and The Sea. Quickly, the secured a residence at small but important venue Piano’s. It was there that Gillian Bar a music industry attorney noticed the group. Shortly afterwards, the Party’s Over demo caused a bidding war between Roadrunner Records and Columbia Records. Columbia Records were the victors, and soon Nicole Atkins and The Sea were heading to Malmo, Sweden to record their debut album Neptune City with producer Tore Johansson. The album was released in October 2007. It was well received and went into the Billboard Top Heatseekers chart at number twenty and reached number six on the Heatseekers Mid Atlantic char. This was a good start to Atkins career.
In 2009, Atkins backing band The Sea split up. This lead to her forming a new band called The Black Sea. Later in 2009 Atkins split with Columbia Records. Undeterred, Atkins started working with producer Phil Palazzolo. Working with other musicians, Atkins recorded material for her second album Mondo Amore. Now that The Black Sea had a settled line up, they toured with Atkins in support of Mondo Amore. In June 2010, Atkins signed to a new label Razor and Tie, and Mondo Amore was released in February 2011. Although a change in musical direction, more influenced by Nick Cave, Scott Walker, psychedelic 60‘s rock and blues music, the album was well received by music critics, who hailed the new sound a success.
Having told you about Nicole Atkins career so far, I will now tell you what makes her debut album Neptune City such a good album. Neptune City opens with Maybe Tonight. The song opens with a lush sounding introduction, and Atkins voice sounding very much like female vocalists of years gone by, especially Stevie Nicks. Quickly it’s apparent, that you are listening to a talented artist. From the first time she sings, her voice is clear, she has a great vocal range, singing the song beautifully. Her lyrics are thoughtful and intelligent, and The Black Sea back her well. The song benefits from a good arrangement, and Maybe Tonight is a great track to start the album.
Together We’re Alone has a much different start and sound. There is an almost hesitant start to the track. Thankfully, this is momentarily. Quickly, the song open out into a beautiful track. Atkins voice sounds sweet, she articulates the lyrics clearly, with feeling. Behind her vocal, strings play, a piano plays gently and Atkins voice sits at the front of track. Another great track, albeit one with a very different sound from the opening track.
On the next track The Way It Is, the tempo and style drops. The track has a lovely moody, mysterious and atmospheric track. When I hear this track, I am transported back, back to another era. She sounds like a chanteuse from the 1960s, singing a track for a film soundtrack, one steeped in intrigues. This is a dramatic track, one that builds up, and sees Atkins give a masterful vocal performance, one where she is accompanied by some fantastic backing vocalists. This track shows another side to Atkins. After only three tracks, she is proving a very versatile and talented artist.
The style changed on The Way It Is, and it changes again on Cool Enough. Again, Atkins sounds very much like Stevie Nicks, and in some parts of the track, there is a Fleetwood Mac influence. On this track the tempo really drops. It starts with an organ playing, keyboards and a guitar that sounds like something you would hear on a 1970s or 1980s Fleetwood Mac album. That is not a criticism. As the song progresses, Atkins’ voice gets stronger and louder, as does the sound on the track. This is a great track, one that builds and builds, and benefits from both a fuller sound, and a good arrangement.
The quality keeps on coming with War Torn, an even slower song than the previous one. War Torn is a quality song, one of the albums highlights. It starts slowly, and in the arrangement, which has a real retro sound, plenty space has been left in the arrangement. As on previous tracks, a string section accompanies Atkins, really bringing out the beauty in the track. This track is a tale of heartache, one about a relationship breaking up, and Atkins compares this with a battlefield. She sings about her former lover returning to rescue her from the battlefield that is a broken relationship. A good track, with some interesting and thoughtful lyrics.
There is a brighter faster sound on Love Surreal. It has a new wave sound and feel to it. This is a continuation of the retro sound that is present on this album. There is some use of wordplay within the track. Atkins changes Love Surreal to Love So Real. The sound is faster, louder and lacks the quality of previous tracks. Maybe the problem is Atkins needs to find a style and stick to it.
The title track Neptune City has a broody and moody feel and sound. There is a darkness within the track. The guitar sounds have a real retro sound, bringing to mind a song from the late 1950s or early 1960s. It’s on tracks like this that you can hear David Lynch’s influence on Atkins music. Atkins’ voice is well suited to tracks like this, and here I can hear Julee Cruise’s influence here as well. Neptune City is a great track, a huge improvement on the distinctly average Love Surreal.
Once again, the style changes on Brooklyn’s On Fire. Again Atkins jumps from style to style. This time, the track has a familiar sound, and sees Atkins produce a track that is an amalgamation of styles. One minute she is feisty, almost angry entering into call and response with her backing singers, the next minute, she drops the tempo and sings smoothly. As the song ends, it trails off, ending with a glorious instrumental section. It is a dichotomy of a song. However, this does not mean it’s a bad song, quite the opposite, it’s one I enjoyed, and is one that shows a totally different side of Nicole Atkins.
Kill the Headlights starts quietly the erupts into a glorious crescendo of an introduction, after which Atkins sings much in the style of Texas vocalist Sharleen Spiteri. Indeed, much of the early part of track, including the introduction sounds not unlike Texas. Maybe it is just the way she sings the vocal, but there is quite a similarity. The track features drums really far forward in the mix, a predominant guitar and an orchestral sounding backing track. It is a good track, much better than Brooklyn’s On Fire.
Neptune City closes with Party’s Over. It begins with drums and guitar, and Atkins singing in front of them. Her vocal is clear, confident and loud. Again, the style changes, it’s bright, breezy sounding song, albeit one with somewhat unhappy sounding lyrics. Like the previous track, I can hear a similarity with Sharleen Spiteri, especially when she sings the chorus. This is a good way to end the album, with a catchy song, laden with hooks, one that I would say is among the best on the album.
Having spent time researching this article, I started to think about up and coming artists, and their attitude to music. In my recent experience, some people with promise would rather talk about their ambition, rather than doing anything about it. Even if you help them get a break, and the open door to opportunity, they can’t bring themselves to walk through the door, because they would rather talk about becoming a star, rather than become a star. This is sad, and in years to come these people will bore people silly about how they could have been a star. Nicole Atkins is the complete opposite from these wanna-bees. She has talent in abundance, and went out and made a career in the music industry for herself. Neptune City was a good debut album, one that shows a lot of promise, and one that she can build on. The album is full of some great tracks, featuring various styles of music. That is my only quibble with this album. Atkins maybe needs to find one style of music that she is comfortable with, and stick to that style. On Neptune City their are many types of music, and it seems each track sees a change of style. Having said that, she sings nearly every song well. The only one I was disappointed with was Love Surreal, although even that track has some merit. If after reading this article, you are interested in buying Neptune City, I would thoroughly recommend that you buy this album. It is a good debut album, from a very talented artist, one who I hope me hear much more about in the future. Standout Tracks: Maybe Tonight, Together We’re Alone, Neptune City and Party’s Over.
NICOLE ATKINS-NEPTUNE CITY.
PRINCE AND THE REVOLUTION-AROUND THE WORLD IN A DAY.
PRINCE AND THE REVOLUTION-AROUND THE WORLD IN A DAY.
The artist who this article is about, is one who has divided opinion since his career began. He is definitely an artist who people love or loath, there seems to be no happy medium. His music has been variously described as seedy and sordid, and sensuous and sexy. During his career, people have debated his lyrics, criticizing their content, provoking some strong opinions. During his career he has produced some wonderful albums, however, latterly, his work has lacked the quality of his early albums. This article is about Prince and Revolution’s album Around The World In A Day, released in April 1985.
Prince was born Prince Rogers Nelson in June 1958, in Minneapolis, Minnesota. He came from a musical family, his father was a pianist and songwriter, his mother a jazz singer. During his childhood he developed a keen interest in music, and wrote his first song aged seven. His mother and father split up when he was ten, resulting in him moving between various family members and neighbors. When he was in high school he joined his cousin’s band Grand Central, playing guitar and piano, at functions in the Minneapolis area. Later they changed their name to Champagne, and started playing their own music. This was very much influenced by amongst others, Sly and the Family Stone, Funkadelic, Miles Davis and Earth Wind and Fire.
Although Prince first recorded a demo tape in 1976, it would be a further two years before his debut album For You, appeared. It appeared just before his twentieth birthday. It received mixed reviews, and only reached number 163 in the Billboard Hot 200. Eventually, the album would nearly sell a million copies. One of the best known songs from the album was Soft and Wet.
The follow up to For You was entitled Prince. It was written and recorded quickly, taking only seven weeks to complete. Prince was released in October 1979. The album included I Feel For You, which became a huge hit for Chaka Khan. The album sold well, eventually reaching gold status.
It was Prince’s third album Dirty Mind that was his breakthrough album. Released in October 1980, it saw his sound change radically, one that the critics welcomed, giving the album great reviews. The album went into the Billboard Hot 200 at number sixty-three, eventually reaching gold status. Since then, the album has featured in Rolling Stone Magazine’s 500 greatest albums of all time.
A year later, in October 1981, his next album Controversy was released. This was his most successful chart album to date. It reached number twenty-one in the Billboard Hot 200. Controversy contained some controversial songs, and saw Prince take a more political stance on Annie Christian, and featured controversial song Jack U Off, which provoked much debate and outrage, among certain members of society.
However, Prince’s next album 1999 was the one which really saw make a commercial breakthrough. It was also the first album his band The Revolution appeared on. Released in October 1982, it brought Prince to the attention of the wider public. They liked what they heard, and the album reached number nine in the Billboard Hot 200. 1999 was the biggest selling album of 1983. Again it featured in Rolling Stone Magazine’s 500 greatest albums of all time.
Prince followed 1999 with Purple Rain in June 1984. This was the soundtrack album for the film Purple Rain. This album was the one that saw Prince’s profile outside the US increase. Also, his political side reared its head again, with Purple Rain a protest song about nuclear proliferation. On its release, Purple Rain was a huge hit, selling thirteen million copies in the US, spending twenty-four weeks at number one in the US and winning two Grammy Awards in 1985. Prince would also win a third Grammy Award for best songwriter, having written I Feel For You, which was a huge success for Chaka Khan. By now Prince was a huge success, and the pressure was on him to produce a follow up album that would match the success of Purple Rain.
Prince’s next album is the one this article is about, Around The World In A Day. It was released in April 1985. Its release was much more low profile, there was very publicity about the album. The idea was that people would make their own mind up about the music. Around The World In A Day did not feature the same commercial or radio friendly songs as Purple Rain. This album saw a change in musical style, with the album having a psychedelic feel. Comparisons, unsurprisingly, were made with The Beatles Sgt. Pepper’s Lonely Heart’s Club Band. Even with a new musical style, the album was a huge success, reaching number one in the US and going double platinum. I will shortly tell you why Around The World In A Day is a such a good album.
Since the release of Around The World In A Day, Prince has released over twenty more albums under various names. Some have been good, others disappointing to the say the least. What he has always sought to do, is be innovative, a pioneer, always trying to reinvent himself and his music. He has not been content to sit back, and churn out the same formulaic music like certain other artists, no he has challenged himself, and he should be congratulated and commended for that.
Around The World In A Day begins with the title track Around The World In A Day. Being used to the tracks on 1999 and Purple Rain, the opening track comes as something as a surprise. It starts with a flute solo, some otherworldly noise, then after a hesitant start by Prince, the song starts to take shape. The track takes a while to get going, and you find yourself thinking has Prince lost his magic touch? However, the longer the track goes on, it improves slightly. This is far from classic Prince, it is no slice of funk or soul, that you expect to hear, it’s rather a rambling, in places incoherent start to the album.
Thankfully, the next track, Paisley Park is return to form for Prince. Unlike the previous track, Paisley Park is a much more uptempo track, one with great lyrics. This is a catchy song, one that has several hooks. There is a slight psychedelic feel to the track, and features some great guitar playing and a much better vocal from Prince. Paisley Park has a real retro sound, and if you listen really carefully, you will hear all manner of instruments and sound effects, all of which produce on of the albums best tracks.
Condition of the Heart sees Prince reduce the tempo and change the style. This is a song that is atmospheric and spacious at the start, a piano plays, beautifully meandering gently along, interrupted occasionally. The sound although gentle builds, becomes dramatic, you sense something wonderful is about to happen. Then, suddenly, it does, Prince begins to sing the most gentle and beautiful vocal. It can’t fail to touch you. This is classic Prince. As the track goes on, it builds, the vocal becoming passionate, expressing and bringing to life, some fantastic lyrics. After a mediocre opening track, Prince produces a masterful performance, one of the album’s best tracks.
The quality keeps on coming with the next track Raspberry Beret. This is probably the most commercial track on the album, and one of Prince’s best known tracks. It is slice a quality pop-funk, catchy, full of hooks and radio friendly. Good lyrics, well sung and performed and featuring a brilliant arrangement, Raspberry Beret is not just one of Around The World In A Day’s best tracks, but one of Prince’s best loved songs. Twenty-five years on, the song still sounds as fresh as the day it was released.
Tamborine sees Prince sing behind a funky groove. The track features synths, bass, guitars and some of clever sounds affects. His vocal sees him using his range, one minute his voice soars, the next falls, one minute he sings falsetto, the next he roars. On Tamborine his vocal dexterity is amazing. Quite simply, Prince struts and preens though this track.
America sees Prince go all political again. When I hear artists going political, I shudder, remembering some of the car crash singles and albums that have resulted in artists developing a social conscience. One just has to think back to a group who built a career on their ability to master a mere three chords, and their political phase and that makes me worried, very worried. No, he has much more to offer. His lyrics investigate that although people in the US were free, whilst their counterparts in Eastern Europe were under Communist rule, many people in the US were only earning minimum wage, and living in terrible conditions. This was an interesting and brave comment back then, in less enlightened Cold War times. Prince sings the lyrics with passion, some might say defiance. Although not the best song he has written, I admire his bravery in approaching such a controversial subject.
When the album was released, many critics complained that it was not commercial sounding enough. That makes me wonder whether they listened to the next track, Pop Life. This is a joyous, uplifting, slice of radio friendly pop-funk music if you ever heard one. From the intro to the outro, it’s catchy, has an infectious quality and is loaded with hooks. There is nothing you can criticize about the track. From the teasing and mysterious sounding intro, to the fabulous vocal, to the throbbing bass and booming drums, to the breaking glass sound effect towards the end, it’s pop perfection.
The Ladder has a classical feel to the start. There is a slight pause, and then the song opens out to sound like a close relation of Purple Rain. Prince’s vocal is shrouded, in echo. That takes slightly away from the vocal. Mercifully, that only lasts for a while, but does reappear throughout the track. This is a shame, because Prince has reserved a brilliant vocal performance for The Ladder. He is a accompanied by backing vocals, which have an almost gospel quality. A saxophone solo plays above them. The result is a gorgeous, joyous track, one where Prince shrieks and yells, testifying like an old soul singer. It’s a track the longer it goes, the better it goes, and the more you hear it, the more you love it. Brilliant.
Temptation sees Prince totally change the sound. It becomes loud, full and frantic. Your speakers feel as if they are about to explode, with this psychedelic influenced track. Listen carefully, and give the track time, and behind all full and frantic sound, a good track is showing itself. The guitars scream, drums pound, a saxophone blows and Prince shrieks, yelps and in the process delivers his lyrics with feeling and passion. After The Ladder, this is a total vote face, one that is not unwelcome, it merely shows that there are many sides to the man that used to be known as Prince. A good track, although not one of my favorites from the album.
Listening to Prince’s music over the past few days was an interesting experience. During that time, I saw many different sides to the man, and his music. From his early days, he was always going to be a huge star. He is hugely talented, and has charisma in abundance. When you listen to the albums from 1999 released in 1982, to Lovesexy released in 1988, you hear an artist at his creative zenith. This to me, was the greatest period in his long career. Anyone wanting to buy some of his best albums show start with these albums, especially 1999, Purple Rain and Around The World In A Day. These are a perfect introduction to his music. After 1999 and Purple Rain, the pressure on Prince was huge, when it came to releasing Around The World In A Day. Many people feared that he would be unable to produce another masterpiece. Fear not, he did. Around The World In A Day is a great album, it may not be as commercial as its two predecessors, but it is an album that should grace any record collection. Granted, it may take a couple of listens to understand it fully, and enjoy is subtlety and nuances. It is worth taking the time, and being patient, because if you do, it is an album that you will go on to enjoy and treasure. It will make wonder why you did not discover it before. If you decide to purchase it, why not add 1999 and Purple Rain to your shopping list, because you will then be the proud owner of three of Prince’s best albums. Enjoy. Standout Tracks: Raspberry Beret, Pop Life, The Ladder and Temptation.
PRINCE AND THE REVOLUTION-AROUND THE WORLD IN A DAY.
COCTEAU TWINS-MILK AND KISSES.
COCTEAU TWINS-MILK AND KISSES.
The album that this article is about, is the final album by one of the best bands to come out of Scotland in the last thirty years. They were a hugely influential band, who were innovative and pioneering, and in turn, have influenced a new generation of musicians. During their career, they produced many groundbreaking singles, EPs’ and albums. Over time, they refined the glorious sound you can hear on this album. An album which I believe is one of the band’s best ever albums. The band are the Cocteau Twins, and the album is Milk and Kisses.
When the Cocteau Twins released Milk and Kisses in March 1996, they did not know that this would be their final album. In 1998, the band reconvened to record the follow up to Milk and Kisses, however, whatever happened at that meting we will never know, but it resulted in the Cocteau Twins splitting up. This meant Milk and Kisses is the last studio album by the band. In many ways, it was better that the band’s last album was one of their best, rather than limping on, recording mediocre and third rate albums, like some bands do. Now thirteen years after the band split up, when I think of the Cocteau Twins, I remember a band who, throughout their career, produced top quality music, music that was innovative, and music that like all good music, is timeless.
Milk and Kisses opens with Violaine. Violaine features the by now, typical Cocteau Twins sound, one that sounds both harsh and melodic at the same time. It begins with a bass playing, then a wall of guitars, with just a modicum of feedback, with drums sitting behind them, providing a steady beat. Afterwards, Liz Fraser sings, her ethereal voice, sweetly singing, lyrics that are both indecipherable and beautiful. Midway through the track, the tempo and volume increase, the guitars become sound becomes bigger, louder, much more frenzied. Quickly the pace drops back, and the track ends, a great song to start what was, their final album.
Serpentskirt is without a doubt one of the album’s highlights. This is a real downtempo track, one with a really laid back, sound and feel. It sees a magical combination of instruments combine with Liz Fraser’s glorious vocal to produce a great track. The track starts with the guitar playing slowly, drums join, playing at the same slow pace, leaving plenty space within the sound. Fraser’s vocal is crystalline, floating over the rest of the track. She brings life to the song, articulating perfectly the vocals. Sadly, just under four minutes later, this magical musical journey is over, leaving you contented, but saddened wanting more of the same.
Tishbite has a slightly harsher sound than Serpentskirt, until the vocal begins. That transforms the song. Suddenly, it is like light and shade, Liz Frazer sings. Suddenly, the contrast is remarkable, and highly effective. This combination of the harshness of the guitars, and the light and breathless vocal takes the track in an unexpected direction. It turns into something magical, masterful even. She can transform a track, with her graceful and fragile voice, something many vocalists would struggle to do. This is a good song, made all the better by Fraser’s wonderful vocal.
Half-Gifts begins with a sound that reminds me of a distant fairground. After that short interlude of sound, the vocal begins. This is much sooner that on other tracks. However, when you here Frazer’s delivery, you will thank the musical god’s that her appearance is so soon. Her vocal is quiet, understated, but clear and confident. The sound is unlike anything so far on the album. There is no harshness, just the sweetest of vocals. Everything sits far back in the mix, nothing is allowed to overpower the vocal. It’s a track where harmony is the key. Liz Fraser sings melodically, her ethereal voice always in control throughout this beautiful track. Quite simply, Half-Gifts is by far, the best song on Milk and Kisses.
After the tranquil sound of Half-Gifts, the tempo is raised, but the quality is consistent. Calfskin Smack is another beautiful track, where the harshness of earlier tracks is still missing. Instead, the focus is on producing another melodic masterpiece. Remarkably, the Cocteau Twins pull it off. The sound is fuller and bigger. Guitars and drums are allowed to play their part, and provide an important part of the soundscape, filling the spaces left by Fraser’s vocal. It is very much a track where the quality requires the drums and guitars to play their part as much as the vocal. Both do their jobs well, and in doing so, produce another great track, albeit, one very different to Half-Gifts.
On Rilkean Heart the tempo falls again, and the volume falls. Gone is the fuller, louder sound of Calfskin Smack, and we return to a sound that has more in common with Half-Gifts. This track benefits from having several hooks in it. One is apparent when the track begins. The song is much more catchy than many of the songs on the album. Having said that, you may struggle to whistle or sing a Cocteau Twins song. Rilkean Heart begins with a guitar solo, and Fraser quickly takes her place centre-stage, going on to produce another of her peerless performances. Her voice fits in perfectly with the rest of the track, which she sings over, using her full range within the track. A lovely track, one that sees Fraser’s ethereal and crystalline voice steal the show, again.
Ups sees the sound and style change yet again. As the track starts, I was left feeling that the track lacked the structure and discipline of other tracks. This dissipates quickly, and it’s business as usual. Fraser, Guthrie and Raymond pick up the pace, and concentrate on producing their usual top quality tracks. That they do, easily. The combination of the, occasionally, almost frantic sounding backing track, provided by Guthrie and Raymond and the calmness and tranquility that Fraser supplies combine well. Although Ups is a good track, it’s not quite of the quality of the other tracks.
Eperdu starts with waves cascading on the beach, a metallic guitar repetitively chiming and then Fraser sings. The song is spacious, the lyrics are mystical. When you listen to them you wonder at their meaning, what is their hidden meaning, if any? Like many of their lyrics, they leave you pondering their meaning. Fraser seems to have invented her own form of language, one loved by their fans. To describe it is like trying to juggle water, impossible. All I will say they have a beauty, you will appreciate, although you may struggle to master their phonetic meaning. Having said all that, Eperdu is a lovely gentle, meandering track, one I that I am sure you will enjoy letting it sonically envelop you.
There is both darkness and light present at the start of Treasure Hiding. The darkness is supplied by the guitar and drums, the shade by Fraser’s light and airy vocal. This contrast compliments each other. Throughout the track there is a conflict between dark and light, not dissimilar to good and evil. Suddenly, midway through the track, Fraser tires of playing a minor part, and rather than sing a behind everything comes to the fore, strident. However, Guthrie and Raymond outflank her, producing a wall of sound that overpowers her fragile voice. Even though this only lasts momentarily, it somewhat takes the edge of this otherwise good track.
Milk and Kisses, and therefore, the Cocteau Twins recording career, ends with Seekers Who Are Lovers. As the last song in a long and glorious career, you feel yourself willing Guthrie, Raymond and Fraser to produce a musical masterpiece out of the bag. This you want to be their Ulysses moment. They don’t disappoint. Out goes the wall of sound, in comes a much more subdued and temperate performance from Guthrie and Raymond. They hold themselves back, Fraser steps forward, and produces a performance that is brilliant. She sings the song with passion and feeling, as if knowing this is the end of their career. Not only is it one of her best performances on the album, but one the best in her career. Her voice soars, gracefully, its ethereal beauty apparent and transparent. It has a classical quality, a sweetness, a grace. Too soon, the song is over, the Cocteau Twins exit stage left, bringing the curtain down on a long and glorious career.
During the time I spent looking back at the Cocteau Twins’ career, I was struck by the depth of quality within their back catalogue. There is a huge amount of music for a newcomer to discover. If you are one of the people who have never taken the time to listen to their music, now is the time to do so. In a previous article I reviewed Heaven Or Las Vegas, in this article Milk and Kisses. Both are wonderful albums which deserve a place in your record collection. Quickly they will become as familiar to you as old friends. You will grow to love them, cherish them, forgive their faults and foibles. Milk and Kisses was the final album the Cocteau Twins produced, and having listened to it several times recently, this was a good way for them to end their career. Better to go out in a blaze of glory, having produced a brilliant album, than end up mercenary stadium rockers wearing cowboy boots and Stetsons, like a certain fourth rate band that springs to mind. Like Neil Young says better to burn out than fade away. My sentiment exactly. Standout Tracks: Serpentskirt, Half-Gifts, Rilkean Heart and Seekers Who Are Lovers.
COCTEAU TWINS-MILK AND KISSES.
BLOCK 16-MORNING SUN.
BLOCK 16-MORNING SUN.
In this article I am going to write about an album that came out ten years ago, on a small record label that, back then, was releasing many great albums and twelve inch singles. Quickly, Nuphonic Records established a reputation for releasing some great music. Between 1994 and 2002, they released albums by Faze Action, Idjut Boys, Fug Black Jazz Chronices and the Block 16 album Morning Sun, which this article is about.
I hear you ask Block 16, who are they? Block 16 were DJ and producer Glen Gunner, keyboard player Pete Zivkovic and sound engineer Raj Gupta. In 2001, they decided to make an album that incorporated all of their musical influences and favorite styles of music. To do that, they brought together some wonderful vocalists who would all feature on tracks on the album. This included Jhelisa, the late Bim Sherman and legendary soul and jazz singer Jon Lucien, who sadly died in 2007. The result was a wonderful album, Morning Sun, which was released on Nuphonic in 2001. Morning Sun was well received on its release, and is still am album that is highly regarded ten years on.
Morning Sun opens with Find An Oasis which features Jhelisa. When you hear the opening notes to Find An Oasis, it is apparent that an aural treat awaits you. The track begins with percussion, bells chime, synthesizers produce otherworldly noises, Latin sounding drums beat, then, Jhelisa’s enters. Her voice is smooth, velvety and utterly gorgeous. A veteran of numerous sessions, she uses all her experience to produce a top quality vocal. Behind her vocal, the lushest strings can be heard, gently swaying. For over six and a half minutes, the song builds and builds, unfolding, to reveal its many delights. Find An Oasis, is a great track, one that Masters At Work reworked beautifully. A fantastic track to start Morning Sun.
The title track Morning Sun, sees a musical legend make an appearance. Jon Lucien, who I have previously written about, makes a guest appearance, singing the vocal. In doing so, Lucien rolls back the years nearly forty years, to the greatest days of his career. His vocal really transforms a good track, to a great track. Lucien’s vocal is strong and clear, and during the track he improvises brilliantly, which is really effective. Morning sun begins with an acoustic guitar strummed almost hesitantly, against a backdrop of gentle percussion. Then the track starts to change, drums enter later viola, violins and cello can all be heard. The track has a huge Latin feel and sound. It brings to mind long summer days spent somewhere hot and exotic. This track has the perfect tempo and sound for the dancefloor and would work well in any DJ set.
Slow Hot Wind begins with crunching drum beats sitting right at the front of the mix. Just a tiny bit of delay has been used to change the sound. After a long introduction where the drums are given centrestage, lovely gentle vocals provide a sooting accompaniment to the drums. This is interrupted by a sample that sounds straight out of a 1960s’ or 1970s’ spy movie. It adds a moodiness, and air of mystery to the track. After that, the sound changes, the vocals are subjected to echo and delay, scratches can be heard, tom-tom drums and percussion make an entrance, and even the tempo increases slightly. However, it still is a good track, although in places, too much echo is used on the vocal, detracting from the vocal’s quality.
Bim Sherman features on the next track, My Sunshine. Again, the sound changes. At the start of the track effects are used, and you find yourself wondering what direction the track is going to take, especially when some house influenced drums are heard. Then suddenly, Sherman’s fantastic vocal emerges, to give a great performance on the track. Behind his vocal, there is almost a dub track starting to emerge. Effects and samples are used, and a reggae beat can be heard meandering along. The longer the track goes on, the more the dub influence can be heard. Sounds are twisted, subjected to a multitude of effects, that transform them into something glorious. What emerges, is new age dub track, one that changes the flow of the album, taking it in another direction. From a confusing start, My Sunshine becomes a wonderful slice on 21st century dub.
And Voodoo begins with drums, bass and scratches. This sees another direction taken by Block 16. The track features some wonderful melodies, and is loaded with hooks. Throughout the track, the catchiest parts are repeated constantly, and taken in new directions. The sound builds, featuring a great keyboard solo, behind which, an acoustic guitar is played beautifully. It is joined by a trumpet solo, some vocal samples and synths playing some futuristic sounding sounds. This track sees Block 16 use a combination of traditional instruments and technology, to produce a catchy and melodic track, laden with hooks.
Electrokution begins with a retro sounding keyboard solo. This reminds me of early Kraftwerk, all squelches and beeps, and an early techno track. Once the drums kick in, there is a more contemporary sound. The track seems to meaner, ramble even, lacking in variety. You keep waiting for something to happen, the track to open out. Apart from some different drum sounds, and a few hand claps, nothing much changes in the first three minutes. Thankfully, something happens, some strings appear, the tempo starts to build, there is a bit more variety in the track. It’s still a variation on a theme, one that Block 16 seem determined to exploit fully. They do this for nearly seven minutes. After the previous five tracks, Electrokution is a bit of a let down. It is not of the quality of the other tracks. This does not make it a bad track. Quite the opposite, this is a decent track, just a very different style of music.
Thankfully, after Electrokution the quality returns on the next track Can’t Stop, which features Robert Owens, a veteran of many house track. The track begins like many house tracks, with drums sitting about 120 beats per minute, thereafter, a synthesizer plays and then Owen’s vocal appears. He sings softly, as if just warming up, then quickly starts to demonstrate that unmistakeable voice, His voice sits in front of everything else, and sometimes, just a little delay is added to the vocal. The vocal is almost restrained from vocal. There is no falsetto soaring vocal here, he sings within himself. This suits the track, which has an understated sound and feel, almost minimalist. Owen was the perfect choice to sing Can’t Stop, and has produced as usual, a quality vocal.
Sweet Bassoon begins with a mixture of sounds and samples, all competing for your attention. Then suddenly, strings and Latin sounding drums appear, followed by squelchy sounding synthesizers. Out of this gradually emerges a lovely Latin track, one that features piano, drums, percussion and brass section. This lovely sound starts to quicken, and becomes almost frantic. A piano bursts in and out of the track, competing with drums, brass and percussion. It’s a track whose roots are firmly in Brazil. The sound is infectious, it makes you want to dance. Block 16 have produced a wonderful track, one hugely influenced by Latin music.
Ain’t Got No Time For No Jibber Jabber is a much shorter track than many on the album. It starts with booming drums and squelchy synths. Again, there is a retro sound present, with some of the sounds reminding me of early acid house tracks. The tempo is perfect for the dancefloor, and remains constant throughout. This track has quite a simple arrangement. It is merely drums and synths, which are used throughout the track. Having said that, there is enough variety within the track to keep the listener’s attention. Personally, this track transported me back in time, back to the early days of dance music, when many tracks had a similar sound. A great track, one that brings back good memories.
On the next track The Land Is Yours, it begins with what sounds like an experiment in free jazz that went badly wrong. Ouch. Bad way to start the track. After that, thankfully, things improve. Still the track continues without any indication of where it’s heading. During this period, a multitude of noises can be heard. Some you can recognize, others you can’t. The track is hardly Block 16’s finest hour, sometimes the sounds on the track begin to grate, and it is not easy listening. Somewhere I feel there is a good Latin track starting to emerge. After five minutes, things start to improve, the track I thought was there appears. It is worth the wait. Shame about everything that preceded it though. This is the weakest track on the album, and although the final three minutes are an improvement, can’t save the track.
Find An Oasis (String Reprise) closes the album. After The Land Is Yours, this is a vast improvement. Again, Jhelisa is on vocal duties, and on this version, is backed by the lushest of strings. This version is much slower, and the tempo is way down, turning the song into a downtempo version of the track. The track starts with the string section, they usher in Jhelisa’s sweet vocal, and then the track meanders, beautifully. There is space in the song, where none existed in the original version. Block 16 have transformed the song, taking it from a house track, to a downtempo one. Jhelisa’s vocal is slow, spacious, atmospheric yet she still makes the song sound bright and uplifting. Sometimes, trying to rework a song in this way, can be fatal, leading to all sorts of car crash versions and remixes. This however, is a masterful version of Find An Oasis, and is a great way to close the album.
Having spent some time researching this album, and listening to Block 16‘s album Morning Sun, and some of the other releases on Nuphonic, I am struck by how much good music they released in their eight year lifetime. They seemed to have unearthed some wonderful talented artists, and helped them to release some great albums. Nuphonic is sadly missed, I used to equate a Nuphonic album with quality. Most of their albums were of the highest standard. Morning Sun was up their with the best of them, and is full of wonderful music, music that is a variety of styles, and will appeal to a wide variety of people. On this album, Jon Lucien, Jhelisa, Bim Sherman and Robert Owen can be heard. Each bring something different to the album, and their contributions are one of the reasons why this album is so good. Buy Morning Sun and you will hear soul, jazz, house, reggae, techno and Latin music. What this adds up to, is a great album, one that you should add to your record collection, and will be one you will be glad to have discovered. Standout Tracks: Find An Oasis, Morning Sun, And Voodoo and Can’t Stop.
BLOCK 16-MORNING SUN.
TOMMY McCOOK AND THE AGGROVATORS-BRASS ROCKERS.
TOMMY McCOOK AND THE AGGROVATORS-BRASS ROCKERS.
In this article, I am going to return to one of my favorite types of music, dub reggae. This article is about one of the best saxophonists in reggae music, who played on numerous recordings, and worked with some of the greatest reggae musicians ever. Amongst the artists he worked with were Bobby Ellis, The Skalites, The Aggrovators and Sly and Robbie. He worked with many producers, including the legendary King Tubby, Bunny Lee, Duke Reid and Clement “Coxson” Dodd. His name is Tommy McCook, and the album is Brass Rockers which was recorded by Tommy McCook and The Aggrovators.
Tommy McCook was born in Havana, Cuba in 1927. Aged six, he moved to Jamaica. When he was eleven, and a pupil at the Alpha School in Jamaica, he started to play the tenor saxophone. Later, McCook would become a member of Eric Dean’s Orchestra.
When he was twenty-one, McCook was booked to play a concert in Nassau, in the Bahamas. After the concert, he eventually settled in Miami, Florida. When he was living in Miami, he first heard the music of jazz saxophonist John Coltrane. This would have a profound affect on McCook, and led to a lifetime love affair with jazz music.
In 1962, aged twenty-nine, McCook headed back to his adopted home of Jamaica. Once settled there, he was asked by a number of producers to appear on some of their recordings. One of the first of these recordings was a jazz session, for producer Clement “Coxson” Dodd. These recording were eventually released under the title Jazz Jamaica.
November 1963, saw McCook record his first ska track. This was a version of the Ernest Gold track Exodus. By coincidence, other members of the band who performed on Exodus would become members of The Skalites, of which McCook would be a founding member in the spring of 1964.
The Skalites recorded their first album at the Studio One recording studio, Clement “Coxson” Dodd’s studio. Studio One was later referred to as the Jamaican equivalent of Motown. Ska Authentic was The Skalites debut album. After the release of the album, they toured Jamaica extensively. The Skalites are credited with inventing ska music. Throughout their career between 1964 and 1965, the group recorded with some of Jamaica’s finest producers. This would include Clement “Coxson” Dodd, Duke Reid, Prince Buster and Leslie Kong. During their short career, they played in sessions with Lee “Scratch” Perry, The Wailers and Desmond Dekker. August 1965 saw the group play their final concert. After this, the group split, becoming two groups Rolando Alphonso and The Soul Vendors and Tommy McCook and The Supersonics. In 1983 the group reformed, and for the following fourteen years, would tour and record.
In the 1960s’ and 1970s’, Tommy McCook worked with many of the top reggae artists and musicians. One producer he worked with was Bunny Lee. Lee’s house band were The Aggrovators. This consisted of whatever musician Lee was using at the time. Many of reggae’s greatest artists have been a member of The Aggrovators. McCook was a member, and so were Sly Dunbar and Robbie Shakespear, Jackie Mittoo and Aston Barrett. It was with The Aggrovators, that Tommy McCook recorded Brass Rockers in 1975. Brass Rockers was produced by Bunny Lee and mixed by King Tubby. The Aggrovators would also record with Yabby You on both version sides and extended disco mixes. McCook would collaborate with Yabby You on the album Tabby You Meets Tommy McCook In Dub, and other albums.
McCook did not work exclusively for one producer. He would work with many of Jamaica’s best known producer. One producer McCook worked a lot with, was Duke Reid. McCook featured on many of Reid’s productions. He directed Reid’s house band The Supersonics.
At Channel One Studios owned by Joseph Hoo Kim, McCook would often feature in the studio’s house band The Revolutionaries, which included Sly Dunbar on drums and Robbie Shakespear on bass. The Revolutionaries worked with the great and good of reggae music. This would include Black Uhuru, Tapper Zukie, The Heptones and John Holt.
Throughout his career, McCook worked with many producers and artists, and his saxophone sound graced numerous recordings. He was a truly gifted musician, one who left his mark on reggae music, and without his saxophone playing, many of these records would not have been as good as they are. Sadly, Tommy McCook died in May 1998, aged seventy-one.
Now that you more about Tommy McCook’s life and career, I will now tell you why Brass Rockers is such a good album. Brass Rockers opens with A Dancing Dub. The track begins with drums echoing, and McCook’s saxophone playing on top of the rest of the arrangement. It is a bright, breezy track, where echo is used to good effect, slightly distorting everything but the saxophone. McCook’s solo is easily the highlight of this great opening track.
A Version I Can Feel With Love has a summery feel and sound. Like A Dancing Dub, the effects are used subtly. They don’t over distort or destroy, the drum and percussion, merely changing the sound slightly. On the track, the drums are crisp, loud and right at the front of the mix. They compete with the saxophone for your attention. Once again, the drums, percussion and piano, play second fiddle to McCook’s masterful saxophone playing.
A Lovely Melody, has a different sound totally. The drums are duller at the start, and then fall away towards the back of the mix. This leaves the way for the tenor saxophone to dominate the track. Then the drums move towards the forefront on the track, and are loud and proud, with just the right amount of echo and delay. McCook saxophone is crisp, it rasps, he plays a great solo, demonstrating why he was so in demand, by so many producers.
The Mighty Gates of Goza has a very different start. It sees the drums and other instruments distorted. That only lasts momentarily, then the track opens up. The track chugs along with McCook playing a solo, and behind him the drums are twisted and distorted, with Bunny Lee deciding it’s time to use his box of tricks. He has applied delay and echo to distort the sound. More than on previous tracks. For the first time, Lee gives the saxophone some delay, this makes the track sound much more like a traditional dub track. This is one of the best tracks on the album.
Bongo Man Dub sees a great drum sound on the track. The track begins with drums which chug along, and the Bunny Lee gets to work on them, transforming their sound with his effects, primarily delay, and a bit of echo. Drums are accompanied by McCook on saxophone. As usual McCook’s saxophone playing is superb, dominating the tarck. He blows the saxophone at a fairly frantic pace, never leaving much space in his solos. Again, Lee has decided that McCook’s saxophone needs some delay, to change the sound. This works well, softening the sound slightly, as the tenor saxophone can sound harsh on the high notes. Overall, a well performed and produced track, mixed brilliantly by King Tubby.
True Believer In Dubs starts with flute and drums, and has a very traditional reggae sound. Another change is McCooks style. Here is playing is much more restrained. This is a good thing. He doesn’t dominate the track, and other musicians get the chance to shine. It would be a shame if they weren’t as there are some great musicians on the album. This track, albeit a different style, is a great track.
The tempo increases on the next track, yet meanders along nicely. Spacious drums and soulful saxophone playing are what The Duke of Dubs is all about. It is a gorgeous slice of Jamaican sunshine. The sound is uncomplicated, and almost isn’t compromised by the effects. It is, essentially, a traditional reggae track, and a good one at that.
On The Big Bass of Dubs the tempo takes a drop. Drum, guitar and saxophone all play major parts in this track. McCook takes the initiative, leading with the saxophone, the drums working around his playing. This works well, and so does the sparing use of effects later in the track. It tricks up the sound slightly. The Big Bass of Dubs is a good song, with some lovely rhythms and a great melody.
The next track on Brass Rockers is Behold Dis Ya Dub of Class. Drums start the track, and quickly gain a spacey sound. McCook blows his saxophone, keeping the sound loud, crisp and clear. Behind him, the drums provide a backdrop, however, they struggle to be heard, drowned by McCook. This is a shame, as they could help develop what is, essentially a pretty bland track. It is repetitive, the melody although catchy, and well played, does nothing for me. It has too much of a jazz influence, and this drowns the reggae influence. Even Bunny Lee and King Tubby, a formidable duo, can’t rescue this track from mediocracy, with the use of some delay.
Thankfully, Dance With Me is a vast improvement on the previous track. This is a much better track, with a much more traditional dub reggae sound. There is much more use of effects here than on many tracks. They seem to be used to transform the drum sound mostly, the saxophone is almost untouched. On Dance With Me, there is much more space than on this track than others. Dance With Me is a vast improvement on the mundane and mediocre Behold Dis Ya Dub of Class. Thank goodness.
A Gigantic Dub is the penultimate song on Brass Rockers. Here Bunny Lee and King Tubby have decided it’s time to use their effects a bit more. This is to the benefit of the track. Drums are delayed and distorted, this gives the track a more authentic sound. Even McCook’s saxophone is given the Bunny Lee and King Tubby treatment. This is much more like what I would expect on a dub album. I keep wanting them to take a track by the scruff of the neck and really add delay, echo, reverb to a track, distort the life out of it. That, sadly, never happens, and this has to suffice. However, this works here, and makes this track a much better track.
Brass Rockers ends with The Gorgan of Dubs and Horns. This is a track with a huge jazz influence. McCook plays a great solo, it’s melodic and catchy. However, he somewhat spoils the track when he decides it’s time to improvise and thinks that it would be a good idea to add an excerpt from pop goes the weasle, a children’s nursery rhyme. Bad idea. It’s not big, it’s not clever. It detracts from what was shaping up to be a good track, beautifully played, with just a modicum of effects used. Sadly, the track goes down in my estimation, and is a rather disappointing way to end a good album.
Brass Rockers is a good album, one that is interesting when compared to other dub albums I have reviewed. It does not feature the heavy use of effects that other albums do, and this is both a good and bad thing. It is nice to hear the some of the saxophone solos untouched by affects, but on other tracks, the use of some delay or echo would not go amiss. Likewise the drums. Although delay is used, and echo less so, I would have loved to hear more delay and echo used, to transform the sound, maybe lessen the predominant jazz influence on some of the tracks. It’s not that I don’t like jazz, I do, and I have many jazz albums in my collection. I just feel that certain tracks could be improved by unleashing the effects.
However, Brass Rockers is an album that anyone who likes, or is interested in reggae, should buy. Don’t be put off by the jazz influence, there is still a huge reggae influence on the album. Tommy McCook was a hugely talented musician, and on this album, he is backed by some wonderful musicians. They have produced some great track. Overall this is a good album, of the twelve tracks on the album, I would say that ten of these tracks are quality tracks. So if, having read this article you are thinking about buying this album, I would suggest that it deserves a place in your record collection. Incidentally, this album is now available as part of a four disc set on Greensleeves Records Evolution of Dub Volume 2-The Great Leap Forward. Standout Tracks: A Dancing Dub, A Version I Can Feel With Love, The Mighty Gates of Goza and Dance With Me.
TOMMY McCOOK AND THE AGGROVATORS-BRASS ROCKERS.
CHRIS REA-WATER SIGN.
CHRIS REA-WATER SIGN.
The album that this article is about was almost never released. So little interest did the record company have in the artist, that they never gave him any money to record the album professionally. Instead, he recorded that album himself, with little in the way of overdubbing. To save money, he used drum machines on the album, totally changing his sound. When the record company received the demo version of the album, they released it. It went on to sell half a million copies, and sold well in Ireland and mainland Europe. Chris Rea is the artist, and the album is Water Sign, which was released in 1983.
Chris Rea was born Christopher Anton Rea, in Middlesborough, England in March 1951. He was a late developer when it came to music, only buying his first guitar when he was twenty-two. His musical influences were Ry Cooder and Joe Walsh. In 1973, he joined Middlesborough group Magdalene, replacing David Coverdale. Later, Rea former Beautiful Losers, but left the group when he secured a solo recording contract with Magnet Records.
Having signed with Magnet Records, he released his debut single in 1974. His debut album Whatever Happened To Benny Santini, was released in 1978. The album title referred to the name Benny Santini, that the record company wanted Rea to record under. On that album, was Fool (If You Think It’s Over). This was his biggest hit in the US, reaching number twelve in the Billboard Hot 100. The song was nominated for a Song of the Year Grammy, but lost out to Billy Joel’s Just the Way You Are. Rea’s debut album was not a commercial success, maybe his next album would be?
1979 saw the release of Deltics. Again, the album was produced by Gus Dudgeon, Elton John’s producer. Rea and Dudgeon had a difficult relationship, Rea later saying, he felt Dudgeon had “smoothed out” the blues influence in his music. Like his debut album, Deltics failed to trouble the album charts.
Rea’s third album Tennis was released in 1980. This album failed to provide even a hit single, like the two previous albums. By now, Rea’s career was following a familiar pattern. Release an album, it fails to chart, and fails to provide any hit singles. This in turn, meant an unhappy record company. By now Magnet Records, were losing faith and patience with Rea. So much so, that by his next album was not given a title, and just titled Chris Rea. Released in 1982, the album failed to chart or provide any hits.
This takes us to Water Sign, the album this article is about. Having sold well, around mainland Europe and in Ireland, this provided Rea with some breathing space in his career. It also saw Rea concentrating on touring Europe and building up a fanbase. Still, UK audiences shunned Rea’s music.
1984 saw Rea release Wired To the Moon. This was not as good an album as Water Sign, and did nothing to convince UK audiences of the merit’s of his music. This was to change in 1985. Shamrock Diaries was a much better album, and gave Rea a top twenty album in the UK, Germany and the Netherlands. This album Josephine, Stainsby Girls and Steel River. Steel River was a song that I used to enjoy, however, that song has been spoiled for me, after Rea allowed a Conservative candidate for Middlesborough to use the song in the 2010 general election campaign.
1986 saw the release of On the Beach. This was one of his best albums, and saw his fanbase in the UK hugely increase. At last the commercial success he had sought since his debut album in 1978. On the Beach sold well, and so did the follow-up album Dancing With Strangers released in 1987. Dancing With Strangers was a weaker album, lacking the quality of his three previous albums. However, it sold well, and Rea toured the world on the back of it, playing much bigger venues than before.
His next release was New Light Through Old Windows released in 1988. On this album Rea reworked previous songs and included two new songs. One of the new songs, Working On It, reached number seventy-three in the US Billboard Hot 100. The next studio album from Rea was The Road To Hell released in 1989. This album was a huge hit for Rea, reaching number one in the UK album charts. Many people consider this the high point in Rea’s career. However, they may be confusing commercial success with quality.
Rea followed up The Road To Hell with Auberge in 1990. Like its predecessor, Auberge reached number one in the UK album charts. The title track also reached number sixteen in the UK singles charts. Auberge is a very different album from the overblown The Road To Hell. Apart from the dreadful Red Shoes, Auberge is an album of good songs, that have good lyrics and sung well by Rea. To me, this was Rea’s last good album.
Two years later in 1992, Rea released God’s Great Banana Skin. The album reached number four in the UK album charts, and featured a harder, rockier sound, much like The Road To Hell. This album is a musical dichotomy, as six of the songs are good quality, whist the other five are disappointing, and some merely filler. God’s Great Banana Skin, to me, was the first indication that Rea’s career was stalling.
1993 saw the release of the disappointing Expresso Logic. It still reached the top ten in the UK album charts and provided him with a top forty single with Julia. Rea became ill with pancreatitis, and was only given a fifty percent chance of surviving. Apart from soundtrack album La Passione in 1996, Rea’s next studio album was The Blue Cafe, which gave him his final top ten album. That the album made the top ten is quite an achievement, as it was not heavily promoted, and contained no singles. King of the Beach was released in 2000, and was well received, and made the top thirty in the UK album charts.
After his life threatening illness, Rea promised himself that if he recovered, he would return to his blues roots. Since his recovery, he has released a number of albums and box sets, all reflecting his interest in the blues and other forms of music. In 2002 he released Dancing Down the Stony Road, a double album of gospel blues, which was also released as an abridged single album.
2003 saw Rea set up the JazzeeBee record label. This he explained would free him from the pressures and expectations put on artists by record companies. Since then he has released Blue Street (Five Guitars) and Hofner Blue Notes in July 2003, The Blue Jukebox in March 2004 and Blue Guitars in October 2005. After the release of Blue Guitars, he announced that he would make no further solo albums, and instead, record under the name The Memphis Fireflies and would record with some of his favorite artists.
In 2007, he announced that he would tour again, and release a new album of thirty-eight tracks on three CDs. This would be The Return of the Fabulous Hofner Blue Notes in February 2008. His last release was Still So Far To Go: The Best of Chris Rea released in 2009. This album would enter the top ten in the UK album charts.
That is the story of Chris Rea’s career, a recording career that started in 1974, and saw Rea release numerous studio albums and compilation albums. During his career, although many of these albums have disappointed, he has released some memorable albums. In my opinion, Water Sign was the first memorable album that he released. I will now tell you why, Water Sign is such a good album.
Water Sign opens with Nothing’s Happening By the Sea. This is a lovely gentle song, one that Rea sings really well. The sound is minimalist, Rea plays all the instruments, except the beautiful harmonica solo, played by Claude Nobbs. Nothing’s Happening By the Sea begins with waves gently crashing against the beach, then an acoustic guitar and drum machine meander gently, until Rea sings. When he sings, his throaty, raspy voice highlights the beauty of the lyrics. A great song to begin Water Sign.
Deep Water relies heavily on drum machines and keyboards, both of which now sound slightly dated. However, that is a minor quibble, as the song was recorded in 1983, when drum machines and synthesizers were in their infancy. The song has a much bigger sound than than Nothing’s Happening By the Sea. Again, the track starts quietly, then quickly builds up. Keyboards, drum machine and guitars all play a big part in this track. Rea’s vocal is louder, the sound bigger and fuller. The keyboard provides a constant backdrop through the track, and the saxophone playing superb. This is a quality track, even with the slightly dated sound.
The tempo drops with Candles, and like Nothing’s Happening By the Sea, the introduction is a long instrumental. When you read to the lyrics, they are moody and atmospheric, but the way Rea sings them, this isn’t the case. He sings the song slowly at first, then the song quickens, however, this doesn’t lessen the impact of the atmospheric lyrics. Listen to the song, and you imagine a dark and gloomy place, enveloped in fog. That is the impression the song gives. Rea has the ability to paint a picture with his lyrics, one that you can almost see. Candles continues the quality of the previous songs.
Probably the best song on Water Sign is Love’s Strange Ways. This is a beautiful song, one of Rea’s best songs ever. It features lovely lyrics, which Rea sings with feeling and passion. Throughout the track Rea plays an acoustic guitar, this really adds to the impact of the song, and highlights the track’s beauty. Again, the arrangement is minimalist just guitar and drum machine essentially. This does not detract from the song, if anything, it allows the vocal, and therefore the lyrics to shine.
If Love’s Strange Ways was the best song on the album, Texas runs it a close second. Texas is another slow song, but not with such a minimalist arrangement. The track starts slowly with keyboard and vocal. There is space in the song, that allows the song to breath, and highlights the lyrics. Rea sings about his hopes and dreams, that one day, he will meeting that special woman. Like many of the songs on the album, they feature some intelligent and thoughtful lyrics. Rea’s style of vocal brings them to life. This is the case here. His vocal delivery is slow and clear, leaving space to add impact to the lovely lyrics.
Let It Loose sounds like a slice of Euro-pop from 1983. It is very much a song of its time. However, it is still a decent song, albeit a dated song. The reason I say this is the synth and drum sounds. There is almost a brashness about this track, it’s loud and very in your face. Rea’s vocal is strong and loud, sitting at the front of the mix. I have always felt that Let It Loose lacks the quality of the other tracks on the album, and that the style is very different to many of Water Sign’s tracks.
One of the singles released from Water Sign was I Can Your Heart Beat. This is a quicker track, one that has a lot in common Let It Loose. Although not the Euro-pop of Let It Loose, it has the same tempo. It is however, a better song, it has matured better. The track begins with drum machine, booming, dominating the mix, then guitars kick in, playing a catchy riff that repeats constantly, then Rea’s vocal enters. His vocal at the start, seems too far back in the mix, but, despite that, his performance is good. The guitar solo on the track, is excellent, and overall this is a good track.
Many years ago, not long after this album was released, I saw Chris Rea in concert, and one of the best songs he performed was Midnight Blue. He explained that the song was about buying a new suit. If you listen to the lyrics, that becomes apparent. This song, I have always believed, was one of Water Sign’s highlights. The lyrics have a strong narrative, Rea sings them well, and the arrangement perfect. Midnight Blue starts with a guitar strummed quietly, and Rea singing in front of it, singing those wonderful lyrics. As the song progresses, the sound builds, getting bigger and louder. Like I Can Your Heart Beat, the track features some wonderful guitar playing by Rea. This is a great song, easily one of the albums best.
The penultimate song on the album is Hey You. When the song starts you hear synthesizers and drum machine that have a slightly dated sound. This doesn’t matter though, as once the song gets going, there is enough quality to excuse this. Hey You sees Rea produce one of his best vocal performances on the album, and the sound is much fuller than on other tracks. Like on most tracks on this album, Rea plays all the instruments himself.
Water Sign closes with Out of the Darkness. The track starts with drum machine, synthesizer and saxophone which produce almost a Euro-pop sound. Once Rea sings the vocal, the track is transformed, he rescues the track, with good lyrics and a good vocal performance. What lets the track down is the underlying beat, it sounds dated and hasn’t aged well. Only the guitar playing, saxophone and vocal managed to make this a decent track. Had it been rerecorded later in his career, this could have been transformed into a much better track.
Having spent some time listening to Chris Rea’s music I came away thinking that his career was disappointing. He really did not produce many truly outstanding albums. Granted, that on each of his album, there are some good songs, however, there always seems to be songs that disappoint, sometimes more disappointing ones than good ones. His first three albums showed some promise, and that was fulfilled with Water Sign. Later, Shamrock Diaries, On the Beach and Auberge were all good albums. The Road To Hell was a decent album, if somewhat pompous and overblown. However, the remainder of his output has been patchy. It saddens me that his career did not live up to the promise shown in some of his earlier work. Personally, I lost interest in his music after Auberge. That was his last good album. All of his albums post Auberge, were a disappointment. It got that a new release failed to excite, and when you heard the album, you were never pleasantly surprised. For many years, I have not listened to Rea’s music much, the albums lie not listened to, unloved even. Listening to his albums was a chore really, only made enjoyable by a few albums.
Having said all that, Water Sign, is a vastly underrated album, one most people will never have heard. It is worth getting hold of a copy, as it shows a very different side of Chris Rea, one that may even surprise some people. If you do buy this album, I am sure you will enjoy it, I enjoyed listening to this album again. It is the best of his first five albums. Should you wish to buy other albums to accompany Water Sign, I would recommend Shamrock Diaries, On the Beach and Auberge. Regarding The Road To Hell, make your own mind about it, although I can appreciate its quality, I have always felt it is slightly overblown and pompous. However, whichever of these albums you buy I hope you enjoy them, and the wonderful music on them. Standout Tracks: Nothing’s Happening By the Sea, Love’s Strange Ways, Texas and Midnight Blue.
CHRIS REA-WATER SIGN.
D’ANGELO-VOODOO.
D’ANGELO-VOODOO.
Today I have decided to write about a singer who, in a twenty year career, has only released to solo albums, yet has been compared to soul legend Marvin Gaye, and Prince. This artist is much more than a singer, he is a highly talented multi-instrumentalist, song writer and producer. The two albums he has produced have gone platinum in the US, the album this article is about reached number one, firmly establishing his credentials as one of the best artists of his generation. The album is Voodoo by D’Angelo, released in January 2000.
D’Angelo was born Michael Eugene Archer in February 1974, in Richmond, Virginia. He was born into a deeply religious Pentecostal family. His father was a preacher, and he later described his mother as a “powerful” woman. It was during his childhood that his musical talents became apparent. Aged three, the young D’Angelo picked out a tune on a piano in the family home, much to the amazement of his elder brother. Later in his childhood, he would play the Hammond organ at his father’s church.
It was 1991, when D’Angelo first came to the attention of the music industry. He signed a publishing deal with EMI Music. D’Angelo had sent a demo tape to the company which caught their attention. This resulted in him signing this contract. The first success he had was when one of the songs he wrote, U Will Know, was included on the Jason’s Lyric soundtrack. Not long after that, Gary Harris signed him to EMI Records, and he began writing and recording his debut album.
D’Angelo’s debut album Brown Sugar was released in June 1995. To begin with, the album sold slowly, then it was boosted by a single taken from the album, Lady. This reached number ten in the Billboard Hot 100, and after this, sales of the album took off. Brown Sugar is thought to have sold between 1.5 million and 2 million copies.
Unlike many artists, D’Angelo did not seek to release another album to build on the success of Brown Sugar. Instead, he took four and a half years off from the music business. During this sabbatical period, he sung tracks for soundtracks. He also sang on Lauryn Hill’s debut album The Miseducation of Lauryn Hill duetting on the track Nothing Even Matters.
Finally, in January 2000, his second album, which this article is about, Voodoo was released. Straight away, the album was a huge success. It entered the US album charts at number one. Voodoo has been described as experimental and containing a sound that is almost a groove based funk. Within the album are several lyrical themes. These include spirituality, sexuality, love, growth and fatherhood. The latter, may be because D’Angelo had married Angie Stone and the couple’s son had just been born during his sabbatical. Two singles were released from the album. Left and Right which featured both Method Man and Redman was a success, but the second single outsold and outstripped Left and Right. Untitled (How Does It Feel) was D’Angelo’s tribute to Prince, and became a huge hit, further establishing his neo-soul credentials. So well received was Voodoo, it was nominated for two Grammy Awards, Best Male R&B Performance and Best R&B Album. The album won a Grammy for Best R&B Album and the album was included in all of major music magazines end of year polls. Like Brown Sugar, the album reached Platinum status in the US, selling in excess of 1.7 million copies.
After the success of Voodoo, D’Angelo decided to have another sabbatical. Since the release of Voodoo, he has not released another studio album. His only work has been collaborating with other artists. He has appeared on Common’s 2007 album, Finding Forever on the track So Far To Go, and albums by J Dilla and Red Hot and Riot. Apart from that, and a few unfinished tracks that have been leaked onto the internet, musical sightings of D’Angelo have been rare.
June 2008 saw the release of D’Angelo’s greatest hits album, entitled The Best So Far. This album contained songs from Brown Sugar and Voodoo, as well as some rarities. A second disc contained some videos which had never before been released. The Best So Far only reached number seventy in the US album charts and number thirty-three in the US R&B Charts.
Since the release of The Best So Far, rumors have been rife about D’Angelo’s next album. It is thought to be entitled James River, and speculation has surrounded if, and when, it will be released, and what guest artists may collaborate with D’Angelo on the album. Only time will tell if the album is released in 2011.
Now that you know more about D’Angelo’s career, I will you tell you why Voodoo is such a great album. I remember awaiting eagerly the release of Voodoo, and the first time I listened to this album. It had been a long wait from Brown Sugar, and when I put the album on and listened to the first track Playa Playa I was hooked. The track begins with muffled voices and background noises, but quickly opens out into a laid back slice of jazz influenced neo-soul. A brass section plays a funky groove to accompany D’Angelo’s vocal on this spacious, almost subdued track. Playa Playa is very much a slow burner, it takes a while to get going, and when it does, it’s a great track, one where you can hear various influences shine through. One I hear on this track is Sly Stone, this groove based track, reminds me of something Stone would produce with Sly and the Family Stone. This track is a good way to open Voodoo, and all bodes well for the rest of the album.
Devil’s Pie sees the tempo and quality increase. This is one of the best tracks on the album. There are two overriding musical influences on this track, funk and hip hop. Crunching drums sit right at the front of the mix, with D’Angelo singing just behind them. Drums, scratches and use of samples, all have a hip hop influence. The rhythm that can be heard throughout the track has a real funky feel. This fusion of influences and styles, produces a great track, one that features some powerful lyrics, with biting social comment, about the problems faced in 21st century America. Voodoo may have taken a long time to make, so far, it well worth the wait.
On the next track D’Angelo is joined by two big hitters from the hip hop world. Method Man and Redman. This trio combine to produce a good track Left and Right. Like other tracks on Voodoo, Left and Right is about sex and sexuality. Read or listen closely to the lyrics, and you will discover that D’Angelo and Co. are not particularly subtle in their wooing of women. Smalltalk and foreplay are definitely on the agenda. If you are a committed feminist you may disapprove of some of the lyrics. However, saying that it is a good track, which the trio perform well. It is much slower than Devil’s Pie, and is very much a groove based track. There is space within the drum beats, which the vocals fill. The three vocals compliment each other well, and produce a good track, albeit one with some dubious lyrics.
The Line is a better track than Left and Right. On The Line, you can hear a Marvin Gaye influence in D’Angelo’s vocal. This is one of his best vocal performances on Voodoo. His vocal is strong and clear, and highlights the lyrics. The tempo is slow, the track has space to breath and the arrangement is one of the best on the album. It has a minimalist feel and sound. A great track, one of his best tracks, not just on Voodoo, but in his career.
Send It On sees the tempo increase, and the style change. This track has a lovely jazzy feel to it. The arrangement sees a brass section accompany D’Angelo, and he sings around them. As usual, the drums are loud and prominent in the mix, however, the neither overpower the vocal, nor the rest of the arrangement. Here, D’Angelo sounds like Prince, and the song has the seem romantic and sensuous sound to it. Send It On, like The Line, sees D’Angelo at the top of game, producing some of the greatest music of his career.
On Chicken Grease, the tempo really falls, almost to a pedestrian pace. Here the drums are really crisp and crunchy, some vocals sit far back in the mix, and sound a bit muddy. They could benefit from sitting further forward. The track has groove, it is rhythmic. Drums, handclaps and D’Angelo’s vocal are the best things about the track. However, overall, the track is not of the quality of tracks like Devil’s Pie, The Line and Send It On. I have always felt that this track could be improved, there is potential in the track that is not realized. It has almost an unfinished feel to it.
One Mo Gin starts slowly, and has a moody and atmospheric sound and feel to it. The first minute, you wonder where the track is going. Then the drums and vocal enter the track. D’Angelo’s vocal is good, the drums crisp and loud, and this slightly lightens the sound of the track. Throughout the track, the dark and moody sound undermines the most of the track. Then out of nowhere, towards the end of the track there is a ray of sunshine, an upbeat burst of music. Just as quickly as it appears, it disappears, and the track ends. Don’t get me wrong, One Mo Gin is not a bad track, just one that has a very different sound and feel.
The Root starts with some of the loudest and crispest drum beats so far. Thereafter, D’Angelo sings a much more upbeat vocal, one that has the same quality as on The Line. The track is about love, and how we feel when a relationship breaks up. This track benefits from some good lyrics, lyrics that D’Angelo delivers well. There is a jazzy feel to the arrangement, one that is quite laid back. A great track, a return to form, much better than Chicken Grease and One Mo Gin.
The sound and style changes vastly with Spanish Joint. The track opens with an acoustic guitar. That fools you into thinking this would be another laid back track. How wrong could you be. Quickly the sound gets big and loud. D’Angelo really uses his vocal range, and is joined by brass section, with a trumpet playing a leading role. Spanish Joint has both a jazz and funk influence, and sound. On this track, D’Angelo shows his versatility as a vocalist, arranger and producer, and has produced a good track.
On the next track, D’Angelo covers Feel Like Makin’ Love, a song that many artists have covered. He does a good job. The trademark drum sound is at the forefront of the mix, brass section, handclaps and his smooth and tender vocal, come together to make a lovely version of an often covered song.
Greatdaymornin’/Booty sees D’Angelo return to his own material, after the interlude that was Feel Like Makin’ Love. This is much better, and sees D’Angelo give one of his best vocal performances on the album. His voice very much takes centre-stage, and is given the opportunity to shine. The rest of the arrangement is good, the drums, well programmed, keyboards, bass and guitars all play their part in making this a good song. Towards the end of Greatdaymornin’/Booty sound affects and samples can be heard, and add effect and humor to the track.
Untitled (How Does It Feel) was the big hit single on this album in the US. Straight away you can hear why. It is a beautiful track that sees D’Angelo backed by a bigger band than on other tracks. This is a very soulful song, one that has the best arrangement on the album. As well as bass, guitar and drums, a piano and percussion can be heard. All of this, shows a different side to D’Angelo, he sounds more like a traditional soul singer. On Voodoo, he has shown different many different sides, and this is by far, the best. An absolutely outstanding track.
Voodoo closes with Africa, a track that starts slowly and gently, and meanders, vocals, drums and keyboards floating in and out of the mix. After nearly ninety seconds, the vocal makes an appearance. On Africa, D’Angelo sings quietly and gives a much more restrained vocal performance. He is very much singing within himself. The whole track has this lovely subdued and understated sound and feel to it. Africa is a good way to close Voodoo, it just brings the album quietly, gently, to a close.
Voodoo is a long album, thirteen songs and seventy-eight minutes. Of those thirteen tracks, eleven of them are good, two Chicken Grease and One Mo Gin, are not of the same standard. Sometimes when I listen to albums that have been released since the introduction of the compact disc, I feel that artists and bands feel compelled to use every last second of the disc’s capacity. That is wrong. What you end up with, is too many second and third rate songs padding out the album. I would much rather they released their best tracks, and if the album only last forty minutes, so be it. With Voodoo the two tracks I have highlighted don’t fall into the category I am describing. All I am saying is that, on album of such high quality, like Voodoo, if a couple of tracks fall below the quality of the others, it is very noticeable. Voodoo is a great album, one I have always enjoyed since the day it was released. If you don’t own a copy, I would suggest this is one to add to your collection. It is full of romantic, sensuous music, and should come with a warning saying: “playing this music can cause additions to your family.” This is babymaking music, so be warned. Standout Tracks: The Line, Send It On, The Root and Untitled (How Does It Feel).
D’ANGELO-VOODOO.
TEENAGE FANCLUB-SONGS FROM NORTHERN BRITAIN.
TEENAGE FANCLUB-SONGS FROM NORTHERN BRITAIN.
The band I am going to write about in this article have an unusual feature. There are three songwriters in the band, and each songwriter sings their own song. This band is a democracy, and each songwriter is given the same amount of playing time for their songs. These songwriters are Norman Blake, Raymond McGinley and Gerard Love, who along with Francis MacDonald, make up Teenage Fanclub.
Teenage Fanclub were formed in Glasgow in 1989. If you listen carefully to their music, their influences are apparent. The jangling and chiming guitar sound and vocal harmonies owes much to the Byrds, but other influences include Big Star and the Beach Boys. They released their first album in 1990, A Catholic Education. This was hardly the best start to their career. The sound has been variously described as chaotic and noisy. A Catholic Education is very much a band still trying to “find their sound.” It would be kindest to call it a difficult album.
Their second album was The King. It was released in August 1991. This saw the band secure their first entry into the UK album charts. The King reached number fifty-three in the UK album charts.
Thankfully after the false start of A Catholic Education, and to some extent The King, their third album was a vast improvement. Bandwagonesque was released in November 1991, and saw a change in the band’s sound and fortunes. On it, Teenage Fanclub started to refine what would become their trademark sound. Their jangly Byrdsesque guitar and tight vocal harmonies sound started to emerge. The album reached number twenty-two in the UK album charts. So impressed were Spin magazine with Bandwagonesque that the album won their poll for best album in 1991. In doing so, they faced stiff competition. Among the contenders were REM’s Out of Time and Nirvana’s Nevermind.
Their next album was released to poor reviews. Thirteen was released in October 1993. The album was named after a song by the legendary Big Star, one of the group’s music heroes and influences. Regardless of what the critics said, the album was a commercial success, reaching number fourteen in the UK album charts. Drummer Brendan O’Hare left the group after the album was released, owing to the oft cited “musical differences.” He was replaced by Paul Quinn, who had been the drummer in another Glasgow band, the Soup Dragons. Incidentally, Thirteen is actually a good album, one that shows the band growing as a group, and refining and honing, their musical style.
Teenage Fanclub’s next album was the album that brought them to the attention of the wider music buying public. Grand Prix was released in May 1995, and the album was critically acclaimed by music critics and fans alike. This was the album that brought the band commercial success, reaching number seven in the UK album charts. The album was full of great songs like About You, Don’t Look Back and Neil Jung. At last, Teenage Fanclub had hit the big time.
The album this article is about was the band’s next release. Tales From Northern Britain was in July 1997. It saw the band build on the success of Grand Prix, and cemented their reputation as one of the UK’s best bands. Like Grand Prix, the album was a huge commercial success reaching number three in the UK album charts. Tales From Northern Britain would be the band’s last top ten album.
Three years passed before Teenage Fanclub would release another album. Howdy! was released in October 2000. By now the band had a new record label and a new drummer. Their previous record label Creation was no more, and the band signed to Columbia. Drummer Francis MacDonald had rejoined the band whilst the group toured Songs From Northern Britain, and would play on Howdy!. On leaving Teenage Fanclub, Paul Quinn would form a new band The Primary 5. Howdy! has a similar sound to previous album Songs From Northern Britain. It is a good album, one I have always liked. However, for some reason, the people who had previously bought Grand Prix and Songs From Northern Britain failed to do so. The album only reached number thirty-three in the UK album charts.
Teenage Fanclub’s next album was a collaboration with cult icon, Jad Fair, the frontman of Half-Japanese. The album was entitled Words of Wisdom and Hope. It was released in March 2002. This album never even charted.
The band’s final album for their “new” label was Four Thousand Seven Hundred and Sixty Six Seconds, released in January 2003. This was a compilation of their greatest songs, and three new songs. Ever the democracy, each songwriter contributed one new song each. Again, the new album failed to trouble the upper reaches of the album charts, only reaching number forty-seven.
Man-Made was their next studio album. It was released in May 2005, on the band’s own label Pe-Ma. The band recorded the album in Chicago, the previous year. They enlisted John McEntire of Tortoise to produce the album. This was a departure from previous albums, when the band had produced their own albums. Sadly, the new producer did not help the band to produce a more successful or commercially successful album. The album stalled at number thirty-four in the UK album charts.
Teenage Fanclub released their ninth studio album Shadows, in May 2010. The album was well received by music critics. Spin magazine included it in its list of the forty best albums of 2010. Shadows followed a familiar pattern each. Each group of three songs is written and sung by Love, Blake and McGinley. This album saw a new member officially join the band. David McGowan joined playing keyboards, guitars and slide guitar. He had been part of the band for a number of years, before being credited as a member on the album. Even with the additional of a new member, the album only reached number thirty in the UK album charts.
That is the story of Teenage Fanclub’s career so far. It is a career that has seen them produce nine albums, and tour the world many times. They are a fantastic band to see live, one of my favorite live acts. The album this article is about Tales From Northern Britain, is not just one of their greatest albums, but one of my favorite albums, and I will now tell you what makes the album so special.
Tales From Northern Britain begins with Start Again. This is a great way to begin the album, as Teenage Fanclub are in full flow. The sound is big and loud. Vocals and guitars sit at the front of the mix. Start Again is a song about regrets, and having said things that you wish you had not, and how it is never too late start again. It is a good track to start the album, and shows the band maturing from their previous album Grand Prix.
If Start Again was a good song, it’s surpassed by the next track, Ain’t That Enough. This is a track that has both fantastic melodies and catchy hooks. It features tight harmonic vocals and Teenage Fanclub’s almost retro guitar sound. There is a sweetness to the vocals, and the drumming on the track plays a huge part in making this track the great one it is. Ain’t That Enough is not just one of this album’s best tracks, but one of Teenage Fanclub’s greatest tracks.
The sound changes on the next track I Can’t Feel My Soul. Out go the tight vocal harmonies, and it is very much a lead vocal performance. The band’s style changes too. They really kick loose, and the sound is much nearer to there like sound. It is almost a vintage rock sound. Guitars riff and scream, drums pound, the bass throbs and there is even some feedback. It is a different side of the on this album, one which I like.
I Don’t Want Control of You begins with the sound of birds cheeping and a banjo playing. Then the Fannies roll their sleeves up, and dust off that glorious sound they have by now perfected. What follows is three minutes of musical magic. Guitars chime, vocals are sweet and harmonic and the rhythm section of bass and drums provide the perfect backdrop. This is vintage Teenage Fanclub. Glorious.
The quality keeps on coming, the next track Planets, is also a thing a beauty. This is a slower track, with a very laid back feel to it. The band play acoustic guitars and the vocals are soft and sweet, the lyrics gentle, with a lovely sentiment. On the track, the band are joined by a string section, which takes the track to another level. It takes the track from a good track, to a great track. Planets shows another side to Teenage Fanclub, one that we don’t see very often.
After the lovely track, Planets, the band up the tempo on It’s A Bad World. This track has much in common with I Can’t Feel My Soul. The sound is less arranged, much more free. One person sings lead vocal, and the and the rest of the band can concentrate on providing a brilliant backing track, that is melodic and packed full of hooks. The guitar solo on this track is absolutely top drawer, it’s loud, clear and has just a tiny bit of feedback. Although It’s A Bad World has much in common with I Can’t Feel My Soul, It’s A Bad World is a much stronger track.
Take the Long Way Around starts with a big sound, one that sits right at the front of the mix, and surrounds you, the sound envelopes you. This is Teenage Fanclub indulging in some power pop. Their influences are very much apparent here. Big Star and The Byrds spring straight to mind. Later in the track when you here the close harmonies, The Beach Boys’ influence is apparent too. The track is both loud and big, but also has a gentleness to it when you hear Teenage Fanclub harmonizing. It really is yet another great track from this great album. Tales From Northern Britain really is a snapshot of a band at the top of their game.
Just when you think this album can’t get any better, it does. When you hear Winter you will realize straight away that this is a great track. No it isn’t a great track it’s a brilliant track. Sorry, wrong choice of superlative. From the introduction to the outro, Winter is pure pop perfection. It has everything you want in a Teenage Fanclub track. Sweet and tight, vocal harmonies, guitars that jangle and chime, drums that are the heartbeat of the track, sitting proudly at the forefront of the track. On Winter, the vocals harmonies are similar to the Beach Boys, the guitars pay homage to The Byrds. Quite simply, Winter is an absolutely outstanding song.
The problem any artist or group have when they have included a brilliant track on an album, is how do you follow it up? Teenage Fanclub have taken the problem by the scruff of the neck, and put I Don’t Care as the next track. It’s a good track, one that has a big, bold, sound, and is the quickest song on the album. Although not of the standard of Winter, it is a perfectly good track, one many groups would be proud to have written and recorded. The song is sung well, and features a good performance from the band. Yet again, they cut loose, showing the sort of energy and enthusiasm that they display concert.
After climbing their own mountain in the early stages of their career, trying to establish their career, it is fitting that the next song is entitled Mount Everest. The song has a dark sound and feel to it, the guitars sounding almost broody. Don’t be fooled though. Once the song opens out, the darkness disappears. It is like dawn breaking. Although not a joyous and uplifting track, it’s a good strong track, one that sees the trademark tight vocal harmonies present. Throughout the song, there is guitar solo that is reminiscent of something you would find on an old Neil Young album.
The penultimate song on Tales From Northern Britain is, Your Love Is the Place I Come From. It begins with vocals and acoustic guitar. This is a lovely laid back song, one that sees the band playing gently, very much within themselves. The lyrics have a lovely sentiment, and are about the way you feel when you are love. Your Love Is the Place I Come From shows a very different side to the band, one we don’t see often. If each time they show this side, they produce such a good song, I for one, say show this side more often.
The album closes with Speed of Light. Unlike any other song on this album Speed of Light starts with a drum solo. Again, the band’s musical heroes have influenced this track. Listen carefully, and you can hear Big Star and The Byrds. There is real East Coast influence on this track. Teenage Fanclub have taken all these elements, and added their own twist to it, to produce the sound we all know and love. On Speed of Light they give a brilliant performance. The vocals, as ever, are tight harmonic and sweet. Guitars jangle and chime, paying homage to The Byrds. Drums pound rhythmically, giving the track a backdrop and towards the end, a piano plays, providing just something extra, something that takes the track to a higher level. A great song, to end a great album.
Twelve tracks lasting a mere forty three minutes, about the time it takes to escape from Edinburgh to Glasgow, Teenage Fanclub’s home city. It is forty three minutes of pop perfection. This to me, was Teenage Fanclub’s greatest album. Grand Prix was good, but this is even better. Throughout the album, each song is of the highest quality. There are no poor songs or filler, just twelve great tracks. It took Teenage Fanclub fifth albums to get to the quality of Grand Prix. Songs From Northern Britain was their sixth album. They were no overnight sensation, they spent years learning their craft, recording singles, EPs’ and albums and many years touring to refine and perfect their sound. What saddens me is that after this album, the band never achieved the same success. Their albums never sold as well, the highest an album would reach was number thirty in the UK album charts. After Tales From Northern Britain, they kept producing brilliant, melodic, music. For some reason, their days of top ten albums and huge commercial success were over. This album for me, was the greatest moment in their career. if you have never heard Tales From Northern Britain I would recommend that tomorrow, you visit your local record shop and pick up a copy. While you are buying it, why not get a copy of Grand Prix to keep it company. These two albums are the best the band ever produced. Each contains some wonderful music. After one listen you will be hooked, you will find yourself buying their back catalogue, and regret not discovering this great band before. All I can say it’s better to have discovered Teenage Fanclub late than never. Standout Tracks: Ain’t That Enough, I Don’t Want Control of You, Planets and Winter.
TEENAGE FANCLUB-SONGS FROM NORTHERN BRITAIN.
RICHARD HAWLEY-COLE’S CORNER.
RICHARD HAWLEY-COLE’S CORNER.
In life there are two types of people, those who follow others blindly, and others who go their own way, and do their own thing. The same can also be said with the music industry. One of those people who fall into the latter category, is Richard Hawley, who this article is about. Throughout his career, he has been content to go his own way, and make his own style of music. Not for him trying to latch onto the coattails of the latest musical trend, no quite the opposite, he has concentrated on making good music, music that is appreciated and loved by his ever growing and loyal fan-base. One of the best albums that Richard Hawley has released is Cole’s Corner, an album I have always enjoyed since its release. Cole’s Corner was released in September 2005, and is an album I have returned to many times since then.
Richard Hawley was born in January 1967, in Sheffield, England. Ever since his schooldays, Richard Hawley has been interested and involvement with music. He formed his first band Treebound Story, whilst at school. When they broke up, Hawley was a member of Longpigs during the 1990s’. Longpigs were a band who were on the fringe of the so-called Britpop scene. They released a number of singles, with both On and On and She Said reaching number sixteen in the UK singles charts. Their debut album The Sun Is Often Out, released in 1996, was well received by critics on its release. It reached number twenty-six in the UK album charts. Its follow-up Mobile Home, released in 1999, would only reach number thirty-three in he UK album charts. Two things led to the group’s demise. Firstly Dee Boyle left the band, and then in 2000 their record label Mother Records collapsed. This led to the group splitting up.
After Longpigs split up Richard Hawley spent some time touring with Pulp. Hawley and Jarvis Cocker founder of Pulp were old friends, and knew each other from Sheffield. Touring with Pulp was merely a stepping stone to the next stage of his career. What would follow is the part of his career that he is best known for, his solo career.
It was purely by chance that Richard Hawley’s first album as a solo artist would be released. When Jarvis Cocker and Steve Mackey of Pulp heard a demo of Hawley’s music, they urged him to record the material and release it as an album. Hawley then headed to the recording studio, and he recorded his mini album Richard Hawley. It was released in April 2001.
The success of the mini album Richard Hawley, spurred him to return to the recording studio. Six months later, in October 2001, his first full length album Late Night Final on Setanta Records. Hawley was asked to explain the meaning of the title. He explained that late night final was what newspaper sellers shouted when selling the Sheffield Star in his home city. The album was well received by the music press. However, the album failed to sell as well as had been expected, given the encouraging reception by the music press.
Hawley did not release another album until Lowedges in February 2003. Again, Hawley decided to pay homage to his home city with the title of the album. When questioned about the album’s title, He explained that he had been on a bus in Sheffield and saw another bus with the strangely named Lowedges as its destination. Lowedges was seized upon by critics as a great album. The NME, never short of hyperbole, called it the “first great album of 2003.” This time, they were right. So good was the album, that some of the supposed great and good of music would rave about the album. This would include ahem, Coldplay. However, Radiohead and REM also rated the album highly.
2004 saw Hawley’s label Setanta collapse. This caused a delay in the release of his next album. Hawley had signed with Mute Records, part of EMI, but a bitter legal dispute saw the release of Cole’s Corner until Sptember 2005. Cole’s Corner saw Hawley namecheck Sheffield in the title. He explained that Cole’s Corner was where courting couples would arrange to meet. The album was critically acclaimed, and would be nominated for the Mercury Music Prize in 2006. Unbelievably, Cole’s Corner was beaten to the prize by Arctic Monkeys. Even the Arctic Monkeys thought that Hawley should have won. This was the album that brought Richard Hawley to the attention of the wider music buying public. However, the album still only reached number thirty-seven in the UK album charts. Later in this article, I will tell you why Cole’s Corner is such a special album.
Nearly three years would pass until the release of Hawley’s next studio album. During that period an extended version of Hawley’s mini album Richard Hawley was released in May 2007. Lady’s Bridge was released in August 2007. As usual, Sheffield would be referenced in the album title. Lady’s Bridge, he explained was in the centre of Sheffield. The album was a huge success, reaching number six the UK album charts. This success saw Hawley nominated for his first solo Brit Award for Best British Male Performer.
2009 was a busy year for Hawley. January saw him release a live album, the strangely titled Live At the Devil’s Arse. The album received a mixed reception, but sated his fan’s appetites until the release of his next studio album. Truelove’s Gutter was released in September 2009, and was given a rapturous reception. So good was the album, that it won the Mojo Record of the Year. Strangely, Truelove’s Gutter only reached number seventeen on the UK album charts.
When Hawley is not busy recording and touring, he is quite often to be found working with other musicians. Hawley has previously worked with Nancy Sinatra, Hank Marvin, Arctic Monkeys, Elbow and Lisa Marie Presley. He sometimes performs with The Feral Cats, this Hawley says, allows him to explore his interest in rockabilly music.
Now that I have told you about Richard Hawley’s career, I will now tell you just what makes Cole’s Corner the special album it is. Cole’s Corner opens with the title track Cole’s Corner. It begins with lush strings, and has a very retro sound. When Hawley sings, he has almost, the voice of a crooner. He sings the song back beautifully, backed by a very traditional arrangement, one that is absolutely glorious. The song is about the adventure that is about to unfold in an evening out, mentioned is music, people, the city lights and the night that will eventually fall. Truly, this is a wonderful song, one that although it sounds from a different age, is one of the most beautiful, heartfelt songs you will ever have the privilege of hearing.
Just Like the Rain has a completely different sound, with a country feel to the track. The sound is much more subdued than on Cole’s Corner. Hawley’s vocal style changes, his voice is louder and stronger. In the song he is searching for someone, someone he has lost, someone he misses and can’t get out of his mind. It is a sad song, a tale of woe, where he trudges through the snow filled streets, exhausted and emotional. Just Like the Rain is a good song, albeit very different to other songs on the album.
Hotel Room has more in common with Cole’s Corner than Just Like the Rain. It is one of the most beautiful songs on the album. The sound and style owe much to the past, the arrangement takes you back to another time, a time when music was very different, a time when music sounded like this. On Hotel Room, Hawley returns to his crooner alter-ego. He does this so well. The song is arranged in such a way that it compliments his vocal perfectly. This is a love song, one with lovely lyrics, that Hawley sings so well.
The more you listen to Cole’s Corner the more you realize how ambitious and radical an album this is. This is demonstrated by the next track Darlin’ Wait For Me. It is a track that sounds as if it was recorded in another era, it is a song and sound that one would associate with either the 1950s’ or 1960s. Darlin’ Wait For Me is a tender love song, one that it is impossible not to like. Like the previous three songs, Hawley’s songwriting skill shine through. Hawley has taken quite a risk releasing such a retro-sounding collection of songs. Don’t get me wrong, I love this album, but Cole’s Corner was very different from other albums out at this time.
On the next track The Ocean the quality increases. The Ocean is one of the album’s highlights. The track starts slowly, and quietly. Don’t let this full you though. It meanders along beautifully, all the while featuring Hawley’s trademark quality lyrics. This track allows Hawley to showcase his fantastic voice. His voice is strong and clear. He articulates the lyrics perfectly, bringing the song to life. Close your eyes, and you can imagine the scene that Hawley is singing about, that is how strong the narrative is. One of the highlights of the track is the guitar playing. Once the track builds, the electric guitar plays at the top of song. There are riffs galore, with Hawley showing his talents as a guitarist. This really completes the track, a track that is in my opinion, the highlight of the album.
Born Under A Bad Sign sees the quality remain of the highest standard. What also continues, is the lovely retro sound that Hawley has mastered, no, perfected. He returns to Hawley the crooner, a role he has now made his own. To complete the retro sound on this track, the guitar sound sounds as if it has been played on a vintage guitar, and has the feel and sound of a different era, one where crooners were King. The lyrics are shrouded in mystery and sadness. They seem to tell the story of someone who has had, to say the least, an eventful life, one spent in the pursuit of pleasure. Now there is nothing wrong with that. However, this seems to have caused a problem with their partner, who needs reassurance that he loves her, she wants the C word, commitment. This song is like so many of Richard Hawley’s songs, he can make everyday scenarios which, essentially, are tawdry and boring, seem interesting, almost like mini kitchen sink dramas. Like The Ocean, Born Under A Bad Sign is a superb song, one of Hawley’s finest.
The next track, I Sleep Alone sees a total change of sound and style. Although it isn’t quite a country style song, it certainly has it roots in Americana. When you first hear the song, it takes a while to grow on you. However, once you spend some time listening to it, you begin to realize that it is a good track. It is just very different from what has gone before. There is a darkness to the lyrics, it is about being alone, and loneliness. Songs like this show Hawley’s versatility as a lyricist and singer.
Tonight sees Richard Hawley return to his by now familiar role as crooner. I Sleep Alone and Just Like the Rain are like musical intermissions, just breaking up the flow of the album. I much prefer when Hawley sings this style of music. His voice is well suited, and his band are able to recreate the sound really well. This track, Tonight, is relationship song, and describes how it feels when a relationship breaks. The song tells of missing the person so badly, wanting to phone them, but trying not to. They can’t settle, and end up driving or walking around, anything to take their mind of the loss they have suffered. Hawley articulates perfectly, the way many people will have felt, when a relationship breaks up. To be able to do this so well, all in the space of four and a half minutes is quite a feat.
There is a real change of style on the next track. I thought that I had better warn you. Don’t worry though, it is still a great track. (Wading Through) the Waters of Time is a real slice of country music. That might worry some people, as they will picture men in cowboy hats singing about their horse, but no don’t worry, this is a good track. It is a sad song, and benefits from a simple arrangement, just Hawley on guitar and vocal, accompanied later in the track by a steel guitar. The song is a about death, and although quite sombre subject for a song, Hawley’s lyrics are beautiful. They don’t make you sad, instead they make you think of death in a different way. Although quite different from much of this album, this is a beautiful song, one that Hawley sings and plays so well.
Who’s Gonna Shoe Your Pretty Feet is the penultimate song on the album. It is an acoustic song, and has a very traditional sound and arrangement. The lyrics are not unlike a children’s nursery rhyme, and show a very different side of Richard Hawley. When he sings this song, he does so with a tenderness, highlighting the lyrics’ beauty. This is another track where he demonstrates his versatility as a singer and songwriter.
Cole’s Corner closes with Hawley’s version of a traditional song Last Orders. The song features Hawley’s arrangement of the song. It is played on the piano, and has a very minimalist feel and sound to it. Apart from the piano, the only other thing you hear are ghostly swathes of an echoey sound. This builds during the last minute or so of the song. It is not an unpleasant sound, and really is quite enjoyable. This is quite an interesting, almost intriguing way to end the album. Some people may question the wisdom of ending the album with Last Orders, but it is quite an effective way to end the album.
Richard Hawley has long been one of music’s mavericks. He is very much is own man, and won’t be dictated to. Not for Hawley meekly following the latest musical trend or fad. No, he concentrates solely on producing great music, music he believes in. It doesn’t matter whether his music is sounds as fit it belongs in a different era, that is irrelevant. That is because great music is timeless. In ten or twenty years, will still sound great, and will still possess that timeless quality. Richard Hawley is one of music’s most underrated artists. His music deserves a wider audience, deserves more people to appreciate his talents as a singer and songwriter.
If you are one of the people who still has not heard his music, Cole’s Corner is a good introduction to Richard Hawley’s music. It is a beautiful album, one full of great songs, all of which feature some wonderful lyrics. Hawley’s voice brings back memories of some wonderful singers, crooners I will call them. He has been compared to some of the great singers of the past. These comparisons are well deserved, because Richard Hawley possesses a wonderful voice, one that I urge you to experience. Should you buy this album, I am sure that you will then enjoy it, so much so, that you will find yourself buying his other albums, and quickly become a fan of this wonderful singer and songwriter. Standout Tracks: Cole’s Corner, The Ocean, Born Under A Bad Sign and Tonight.
RICHARD HAWLEY-COLE’S CORNER.
LLOYD COLE AND THE COMMOTIONS-RATTLESNAKES.
LLOYD COLE AND THE COMMOTIONS-RATTLESNAKES.
There are two reasons I have decided to write this article. Firstly, it takes me back to a time long ago, when I was much younger, I was a student, a time I thoroughly enjoyed in life, and this was one of the albums that was part of the soundtrack of that part of my life. It was a record it seemed, everyone listened to, it was truly a student bedsit classic. Every self respecting student had a copy, and played it morning, noon and night. So much so, that it almost became part of your DNA. Each song on the album, became like an old friend, so familiar it was. During the intervening years, every time I listen to it, I am transported back, to those chaotic, tumultuous and hedonistic times. Back then anything seemed possible, life stretched in front of you, you felt invincible and almost immortal. Sadly, these times are long gone. Each of the participants, or should that be guilty parties, as some of the things we got up to, make me cringe, and think what on earth was I thinking of, have grown up. Some have not, or have chosen not to, and still spurn responsibility, and the boredom of normal life with a vengeance. The second reason was that, in an article by Bloomsday, I mentioned that two members of Bloomsday had been members of this band. The band is Lloyd Cole and the Commotions, and the album is Rattlesnakes.
Lloyd Cole and the Commotions formed in 1982, while Lloyd Cole was studying at the University of Glasgow. The group signed a record deal with Polydor Records, and released their debut single Perfect Skin in the spring of 1984. The single sold well, reaching number twenty-six in the UK charts. The follow up, Forest Fire, did not fare so well, only reaching a disappointing forty-one in the UK charts. Later in 1984, their debut album Rattlesnakes was released. Rattlesnakes was a huge success, and reached number thirteen in the UK album charts, selling in over one-hundred thousand copies. The group received a gold disc for Rattlesnakes. Rattlesnakes features some lovely string arrangements by Anne Dudley. Producer Paul Hardiman deserves huge credit for his work on Rattlesnakes, as he was responsible for bringing out the best in the band. This album was easily, the highpoint in the bands short-lived career. He and he alone, managed to capture the true sound of the band. I have always wondered, if he had produced their second album, if it would have been a better album, and would the band’s career have been very different.
For the second album Easy Pieces, a new producer was brought in. Many people believe that this was something that their record label insisted on. That is not clear, and only the participants to that discussion know the truth. Easy Pieces was produced by Clive Langer and Alan Winstanley. The album was released in November 1985. Although the album was much more commercially successful, many people who had loved Rattlesnakes, believed that Easy Pieces was a pale shadow of Rattlesnakes. I always liked Easy Pieces, but much preferred the classic Rattlesnakes, and always believe this to be the bands magnum opus. However, Easy Pieces would enter the UK album charts at number five, and sold over one-hundred thousand copies within a month. Two successful singles were taken from the album. Brand New Friend reached number nineteen and Lost Weekend reached number seventeen. These would be the only UK top twenty hits the group would ever have.
In 1989, the band would release their final album. The new album would see another new producer for the album. Ian Stanley, who previously had been a keyboard player and songwriter with Tears For Fears, was given the job of producing the album. Mainstream was released in September 1987 and reached number nine in the UK album charts. Like their two previous albums, the album sold over one-hundred thousand copies and was certified gold. A track from the album Jennifer She Said, was released as a single. This single only reached a disappointing number thirty-one in the UK charts.
Two years after their previous album Mainstream, the group decided to split up. To commemorate the bands short and successful career, Lloyd Cole and the Commotions 1984-1989 was released. This was career retrospective, or best of. It sold well, so well, the group received their fourth gold disc.
After the band split up, Lloyd Cole embarked on a solo career. Neil Clark would continue to work with Lloyd Cole on his solo albums. He appears on the majority of Cole’s albums, and has been a regular fixture in Cole’s touring band. Blair Cowan also played on Cole’s first two solo albums.
Having given you a brief history of Lloyd Cole and the Commotions’ career, I will now tell you why Rattlesnakes is such a great album. The album opens with Perfect Skin. It is great way to open the album, in fact, it is a great way to start any album. Guitars sit at the forefront of the mix, they jangle and Lloyd Cole sings some intelligent and witty lyrics. Cole’s voice is strong, confident and betrays none of his Derbyshire roots. There is a tight arrangement on this track. Paul Hardiman has really done a good job producing this track. Perfect Skin is a track that shows great maturity, shows a band with huge potential.
Speedboat has a much different sound than Perfect Skin. Whereas Perfect Skin is a bright, breezy and uptempo song, Speedboat finds Lloyd Cole sing some thoughtful and articulate lyrics. Lloyd Cole was famous for being a wordsmith par excellence, on Speedboat that is most definitely the case. There are no meaningless rhyming couplets here, just intelligent lyrics with a strong narrative. This was a rarity back in the 1980s’. Quality pop music was in short supply. Pop music had hit rock bottom, with some terrible artists and bands producing some dreadful throwaway music, that deserved to end up in the nearest landfill site. That was why Lloyd Cole and the Commotions, and later, The Smiths, shone like a beacon through a misty landscape, that was 1980s’ pop music. Tracks like Speedboat and Perfect Skin, cemented Lloyd Cole’s reputation as someone who could write outstanding, cerebral songs.
The title track Rattlesnakes sees the tempo increase, but the quality remain constant. Rattlesnakes is a song about a frustratingly bewitching woman called Jodie. Jodie seems to be a woman who is contrary, easily bored and someone who finds it hard to love. She seems to be a woman with a past, one that torments and saddens her. Maybe her demeanor is all just, a front, and instead of the confident you woman, she is as insecure as everyone else. When many people listen to this song, you get so carried away by the song’s tempo, that they fail to concentrate on the lyrics. That is a shame, because they are some of the finest lyrics Lloyd Cole has ever written.
Down On Mission Street is a song that sees the band drop the tempo. This suits the song perfectly. It is a tale of woe, about a guy who seems to be contemplating skipping town, the reason being he has broken too many hearts. He sees to be the kind of guy for whom life is a game, not to be taken seriously, things happen, it doesn’t affect him and he moves. Moves on to his next victim. In the song Cole accuses him, asks him does he never tire of messing women around, and how can he hurt someone who helped him get back on his feet. The song is a contrast between Cole’s disapproval and the protagonist’s happy go lucky attitude. It is a song that says much about men, and sadly, men’s attitudes towards women. This is a good song, but not one that paints men in a good light.
My favorite Lloyd Cole and the Commotions track has always been the next song on the album, Forest Fire. There are so many good things that you can say about this song. i love the lyrics to the song, I think everyone has known someone who chooses to live their life in a way many people disapprove of, and many people can relate to someone who lives their life in such a way that they will burn themselves out. Sometimes, we even has a grudging respect for someone who is willing to like Icarus, fly to close the sun. They enjoy the journey, though maybe the aftermath can be a bit messy. Cole sings the lyrics beautifully, bringing the song to life, and throughout the track, the electric guitar playing is brilliant. Forest Fire is a masterpiece of a song, for me, the greatest moment, in their sadly, short career.
A song that I enjoyed Lloyd Cole and the Commotions playing was Charlotte Street. It has everything that a good pop song needs. It is full of great melodies and catchy hooks, not forgetting some wonderful bookish lyrics. The band really break out, and give a standout performance. Charlotte Street is a relationship song, one where the protagonist is remembering their meeting, how he was seduced, how the relationship was intense and lasted longer than he thought. It is a clever song, bathed in pathos. I love the bittersweet, witty lyrics, which, as always, are of the highest quality. Truly, a wonderful long.
2CV sees the band play in a very different way to other songs on the album. This is an acoustic song, one where Cole reminiscing about, a previous relationship. The relationship seems not to have been a serious, one as Cole sings “we were only wasting precious time” and he remembers his former beau mostly by the distinctive car she drove. 2CV shows another side of the band, one that they never showed very often, the quality was the same, they style of music very different.
The next track, Four Flights Up, sees a return to the more familiar style of music that Lloyd Cole and the Commotions are best known for. Guitars are at the forefront of the track, and Cole sings the song with passion, despair and almost anger. He sings about a troubled and turbulent sounding relationship. In the song he uses a clever simile about living four flights up but it feels like underground, meaning that the relationship is suffocating him. I am sure that many people will he able to empathize and sympathize with Cole’s feeling of suffocating within a relationship. This is good song, and demonstrates Cole’s intelligent use of words within songs.
Patience is the penultimate song on the album. The song is one of the quicker ones on the album. It is also one of the best one the album. Again, Cole has a sad tale to tell, and he does so well. It is a song about a relationship breaking up, and the bitterness and pettiness that one, or both parties, indulges in. Here it seems that he can’t live with her, but can’t live without her. Like many of their songs, similes and wordplay are used clever. Especially with patience, patience could mean two things within the context of the song. How you interpret the story is up to you. Regardless of that, what we have here is an excellent track.
Rattlesnakes closes with Are You Ready To Be Heartbroken? The track starts with softly, an acoustic guitar and bass play, then Cole sings the vocal, aided by backing vocalists complimenting his performance. Are You Ready To Be Heartbroken? is a song featuring some of Cole’s best lyrics, they are not only intelligent, but are to paint a picture. When you think back to when this album was released, this was something that was in short supply, as was decent music. Songs like Are You Ready To Be Heartbroken? were a joy to behold for those that valued quality music. This track is a good way to end a fantastic album.
Whilst writing and researching this article, has been like taking a journey in a time machine, back to a time when I was younger. It made me remember people I knew, things I did, some good, some funny and some stupid. However, as the song says no regrets. One album I always associate with that time is Rattlesnakes. It was an album I loved back then, and an album I still love. Rattlesnakes is a great debut album, one full of great songs. Each song features some wonderful intelligent lyrics, and these lyrics are sung well by Lloyd Cole. The band contained good musicians, who could all play their instruments well. Every one of the band, played their part in making this album the success it was. Its testament to all of them that this album has stood the test of time so well. Should you never have heard Rattlesnakes, it is an album that is well worth buying. It certainly deserves a place in every record collection. It is one of the best pop records of the decade. If you would like to purchase another of Lloyd Cole and the Commotions’ albums, to accompany Rattlesnakes, their second album Easy Pieces is another great album. Both are full of wonderful music, music that like all quality music, is timeless. Standout Tracks: Perfect Skin, Forest Fire, Four Flights Up and Patience.
LLOYD COLE AND THE COMMOTIONS-RATTLESNAKES.
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.
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