OTIS CLAY-TRYING TO LIVE MY LIFE WITHOUT YOU.
OTIS CLAY-TRYING TO LIVE MY LIFE WITHOUT YOU.
Recently, I was listening to a compilation of Stax Records music, 3000 Volts of Stax, and came across a track by Otis Clay called Come To Me. This set me thinking about how great a soul singer Otis Clay was. I have long been a fan of music, and own a number of his albums. Having finished listening to this album, I decided to re-visit Clay’s music, something I do often, and always enjoy. This made me think that maybe I should write an article on Clay, and his music. Previously, I have written about other artists who recorded on the Hi Records label, and these articles on Al Green and OV Wright have been popular. Therefore, I hope that this article on Otis Clay and his album Trying To Live My Life Without You will also be popular, and maybe people will be encouraged to find out more about Otis Clay and his wonderful music.
Otis Clay was born in 1942, in a small rural town Waxhaw, Mississippi. He was brought up in a deeply religious family, and made to attend church every Sunday. Many members of Clay’s family were singers, and during his childhood, there was always a lot of singing taking place in the Clay household. The Clay home was often used for rehearsals, and the young Otis Clay used to sit and watch these rehearsals take place. That was his first musical influence. After the rehearsals were finished, Clay used to imitate the singers that he had watched practice. This led to him starting to sing gospel music.
When Otis Clay was eleven, his family moved to Muncie, Indiana. Then, a year later, Clay started singing professionally with a gospel group the Voices off Hope. During the next few years, Clay moved from one gospel group to another. However, in 1957 he joined the Golden Jubilaires, and moved to Chicago. Then, in 1959, Clay joined the Famous Blue Jay Singers. It was during his time touring with them, that he learned old-fashioned jubilee singing. Thereafter, Clay spend most of his time singing with various gospel group.
In 1962, Clay made what would be his unofficial recording debut. Clay recorded four tracks for Columbia Records. These tracks were produced by Carl Davis. However, none of the songs were ever released. If these R&B tracks had been released on Columbia, Clay would have made the switch from gospel music to secular music much earlier than he did.
It was not until 1964, that Clay made his official recording debut. He was the lead singer on The Gospel Songbirds’ recording Let Jesus Lead You on Nashboro Records. Interestingly, another member of the group was Maurice Dollison, who went on to record the song When You Wake Me Up under the pseudonym Cash McCall.
Cash McCall, in 1965, was by then a session musician in Chicago, was partly responsible in convincing Clay to make the switch from gospel to secular singer. So, in 1965, Otis Clay eventually made the switch to secular music. He signed with George Leaner’s One-derful! Records, who were, at that time, the fastest growing record label in Chicago. McCall and also Harold Burrage became Clays‘ mentors. Sadly, Burrage died in 1966.
Clay released scored his first single on One-derful! Records in 1967. The track was a gospel tinged song called That’s How It Is (When You’re In Love). The singles reached number thirty-four in the R&B charts. His follow-up single A Lasting Love reached number forty the R&B charts. These singles gave Clay a higher profile, and A Lasting Love gave him a nationwide hit single. By now Clay’s star was in the ascendency. However, problems were just round the corner for Clay and One-derful! Records.
Disaster was to strike for Clay in 1968 when One-derful! Records collapsed. What should have been a huge stepping-stone in Clay’s career, turned out not to be the case. Otis Clay’s contract with One-derful! Records was purchased by Atlantic Records. They then set up a subsidiary company called Cotillion. The first record released on the new label was Clay’s cover version of The Sir Douglas Quintet track She’s A Mover. This reached number ninety-seven in the Hot 100. Later singles on the label failed have even the success She’s A Mover had. This was to include Hard Working Woman produced by Syl Johnson and Is It Over? produced by Willie Mitchell in Memphis. Mitchell was to have a further part to play in Clay’s career, at a later date.
In 1971, Clay moved to the Hi Records label. This was to prove to be the making of Otis Clay. It was on Hi Records that Clay was to have his biggest hits, and record the best work of his career. In 1972 he recorded the album I am featuring in this article, Trying To Live My Life Without You. The title-track Trying To Live My Life Without You gave Clay the biggest hit of his career, a number twenty-four R&B hit in 1972. This song, was later to provide Bob Seger with a number five single in the pop charts. The follow up to Trying To Live My Life Without You, was If I Could Reach Out. Clay went on to record further singles on the Hi Records and in 1977 an album entitled I Can’t Take It.
After leaving Hi Records, Clay recorded for the Elka, Rounder Bullseye Blues labels. He also recorded albums for his own label Echo. In 1998 Clay was reunited with Willie Mitchell. Mitchell produced Clay’s album This Time Around. Otis Clay still is popular, and recording and performing to this day. He has a large and loyal fanbase throughout Europe, Japan and the US.
Now that I have told you a bit about Otis Clay’s life, I will now tell you about his album Trying To Live My Life Without You. The first track on the album is the title track Trying To Live My Life Without You. It is always difficult to decide what track to start an album with. Often, an artist or record company will choose one of the strongest tracks. This is what has happened here. Trying To Live My Life Without You is by far, one of the best tracks on the album. Clay has a lot to live up to, because OV Wright previously sang this song, and many people would argue, sang the definitive version of this song. However, Clay does well, singing this song with passion and feeling. His voice is perfectly suited to the song, and for me, he almost matches Wright’s performance of this song.
On the next track, I Die A Little Each Day, Clay produces an emotional and exceptional performance, on this cover of Don Bryant song. This track is a slower song, and one can see Clay’s gospel roots and influence in the way he delivers the song. Clay’s vocal is ably assisted and complimented by the trio of backing singers, Rhodes, Chalmers and Rhodes.
The next track, Holding On To A Dying Love, starts slowly, with Clay singing his vocal in front of the band. However, this track has a bigger sound, and as a result, Clay produces a louder and stronger vocal performance. Again, on this track, Clay is ably assisted by backing singers, Rhodes, Chalmers and Rhodes. This track is a good one, that Clay delivers well, singing it with feeling and emotion.
On I Can’t Make It Alone, the track at the start has the unmistakable Hi Records sound. When you listen to this song, it is packed full of emotion and hurt, and Clay delivers the song as if he has felt and experienced, these emotions and hurt. This is a song written by Daryl Carter and Johnny Keyes, and I am sure that no-one else will have sung such a heartfelt version of this song.
That’s How It Is is another slow and sad song. The track is about a relationship that is not working. It is about a man being used by the woman he loves. Sadly, this love is not reciprocated, yet he can’t help but love her. This is a great song, full of heartbreak and pain, and Otis Clay has reserved a fantastic vocal performance for this song. Quite simply, this is a great track.
I Love You, I Need You, is another slow and sad song. The track has a glorious arrangement, one that is typical of the sound and quality that Willie Mitchell produce at Hi Records. This song is one that will tug at your heartstrings, make you feel Clay’s pain and heartache. On the track there is a fantastic organ solo from Charles Hodges, that helps, make this song the emotionally charged masterpiece that it is.
The next track You Can’t Keep Running From My Love, sees Clay tackle another tale of love, this time one that is unrequited. This song is about a one-way love affair, where the suitor’s advances are spurned, and the suitor’s attempts to convince the lady in question of their suitability. Otis Clay sings the song well and the band and the Memphis Horns produce a stand-out performance, that add to, and compliment, Clay’s vocal performance. You Can’t Keep Running From My Love, is one of the highlights of the album.
Precious, Precious is another track that OV Wright has covered, on his album Into Something (Can’t Shake Loose). By covering this track, Clay has set himself a tough task, as in my opinion, OV Wright sang the definitive version of this song. However, Clay has produced a good version of this song, albeit not as good as Wright’s version. Clay sings the song well, and has a voice that is suited to the song. Had I not heard Wright’s version of this song, I would probably be saying that this was a fantastic performance by Clay, but sadly, as good as this version is, Wright’s is better.
Home Is Where the Heart is a song written Bettye Crutcher. Clay sings this song well, and it is an emotional and heartfelt song, that almost takes Clay back to his gospel roots. When one listens to the lyrics to this song, they have a spiritual feel to them. This track features some wonderful performances from the band, the Memphis Horns and the backing singers Rhodes, Chalmers and Rhodes. Like many other tracks on this album, this suits Clay’s voice.
The final track on the album is Too Many Hands. It is a song about betrayal and hurt. Clay almost enters into a call and response with the Memphis Horns, who give a fantastic performance on this track. He sings the song well enough, but the song is not as strong as the rest of the album. This is a somewhat disappointing way to close this album.
Trying To Live My Life Without You, is a good album from Otis Clay, and anyone who has not heard his music should consider buying this album. There are some great tracks on the album. In fact, out of the eleven songs on this album, the only weak track, is the final song Too Many Hands. The songs on Trying To Live My Life Without You have been chosen well, and feature a sterling cast of musicians and singers. On this album you will here stunning performances from The Memphis Horns, The Memphis Strings, backing singers Rhodes, Chalmers and Rhodes, as well as one of soul music’s greatest rhythm sections. Willie Mitchell has done a great job in producing this album. Clay should be thankful to Mitchell, as Mitchell was responsible for bringing out the best in Otis Clay, and it is a shame that Clay did not spend longer at Hi Records and produce more albums during his tenure there. However, we should be thankful that his time at Hi Records resulted in two quality albums, Trying To Live My Life Without You and I Can’t Take It. Should you wish to buy this album, it is available as part of a two-disc set which also features I Can’t Take It and the singles Clay released on Hi Records. This is a great introduction to the man and his music. I can thoroughly recommend buying this two -disc set, as it features some wonderful music, sung by one soul music’s greatest voices. Standout Tracks: Trying To Live My Life Without You, I Can’t Make It Alone, That’s How It Is and I Love You, I Need You.
OTIS CLAY-TRYING TO LIVE MY LIFE WITHOUT YOU.
KRAFTWERK-AUTOBAHN.
KRAFTWERK-AUTOBAHN.
In this article, I will write about a group that many people may have heard about, yet will have never have heard any of their music. That band is Krafwerk and the album is Autobahn. Kraftwerk and their music are often misunderstood. Often this is because people have not taken the time to find out about them and their music. Hopefully, by the time you have read this article you will know more about Kraftwerk and their album Autobahn.
Kraftwerk were formed in 1970, by Ralf Hutter and Florian Schneider, until Schneider left the band in 2008. Many people struggle to describe Kraftwerk’s music. They are an electronic band, and their sound features strong and prominent repetitive, rhythms and melodies that are gloriously catchy. Their sound has a western style of melody, that is augmented by an array of electronic instruments, producing a minimalist sound. Lyrics are sung through electronic instruments like vocoders, and now speech recognition software. Kraftwerk were innovative, they were pioneers, being one of the first groups to see the potential in the use of electronic instruments and computers in music.
Ralf Hutter and Florian Schneider met whilst studying at the Robert Schmann Academy in Dusseldorf in the late 1960s. Both were part of the German experimental art and music seen that was thriving during that time. The Bristish musical press always wanting to categorize music, came up with the name Krautrock for this type of music. This has stuck, and forty years later this term is still in use. During this period, Hutter and Schneider were both part of a group, the Organisation. The Organisation released one album Tone Float, on RCA Records. However, after the album was released the group split up. That was to be a new beginning for Hutter and Schneider, and the start of Kraftwerk.
During the period 1970-1974, the members of Kraftwerk chopped and changed. Around seven different musicians played on the first the albums, and during the group’s live performances. The only members who remained were Hutter and Schneider. In 1970 Kraftwerk released a self-titled album Kraftwerk. In 1972, the follow up Kraftwerk 2, its follow up was released. Their third album Ralf und Florian came out in 1973. The sound on these albums, is different to what became the trademark Kraftwerk sound. On the first three albums, the sound was a type offree-form and experimental rock music. This did not feature the discipline and hooks that is found in their later work. The first two albums, Kraftwerk and Kraftwerk 2 feature traditional musical instruments, with effects used to change and distort the sound, in the production stage. On these albums, the music was like a free-form jam , with the musicians exploring what their instruments can do.
However, by their third album, Ralf und Florian, the group are beginning to move towards the sound that would bring them commercial success. On Ralf und Florian, Kraftwerk start to feature drum machines and synthesisers. This album is almost entirely, an instrumental album, although vocoders are used sparingly on the album. This is something that Krafwerk would become synonymous with.
One man who was to have a huge influence on Kratwerk, and their sound was Konrad “Conny” Plank, a producer and engineer. he had previously worked with some of Germany’s finest and best known electronic groups, including Neu!, Can and Cluster. He was responsible for shaping the Kraftwerk sound, and teaching Hutter and Schneider about production techniques. The first for albums were co-produced by Plank and Kraftwerk, at his studio near Cologne.
Kraftwerk’s fourth album was Autobahn, which was released in 1974. Autobahn saw Kraftwerk move away from the sound of the first three albums. The group had decided to invest in some of the newer technology that was available at this time. One of the things Kraftwerk invested in, was a Minimoog. This allowed the group to develop a much more innovative and disciplined sound on Autobahn. Konrad “Conny” Plank was brought in to engineer this album, and the resulting success of Autobahn, allowed the group to invest in newer technology for their studio.
Because of the success of the album, Phonogram their US label, financed a mini-tour of the album. On this tour of the USA, Canada and the UK, Kraftwerk played as a quartet. This was the beginning of a much more stable line-up for Kraftwerk. Both Hutter and Schneider played keyboards during the tour, using synthesisers to do this. The Mimimoog was joined by the APR Odyssey on the tour. For the first time in their history, the vocals were sung by both Hutter and Schneider, during a live performance. Another instrument that was to play an important part in the Kraftwerk story, also made an appearance on the tour. The vocoder was used by Scneider, and the two new members, Wolfgang Flur and Karl Bartos, contributed to the sound, by using electronic instruments that they had made themselves. Bartos also, on this tour, was to use a Deagan Vibraphone during the performances. An instrument Kraftwerk had previously relied heavily upon, the flute, began to play less of a part in their music.
Autobahn is an album that tells a story. The easiest way to review the album is to tell the story of the music on the album. Autobahn, the title track is meant to capture the feeling one has when on a long journey in a car, traveling through the countryside and urban vistas. On the journey, one must imagine that you are driving a car in the fast lane of the motorway. To pass the time, and relieve the boredom one will experience, whilst driving, the track has the sound and feel of even the driver re-tuning the radio.
This journey is based on driving on the A555 between Koln and Bonn, the first ever Autobahn built, between 1929-1932. Listen carefully to this track, and you will hear various instruments that were new and innovative at this time. Featured on this track, and the rest of the album, are the Minimog, electronic drums, vocoder, the ARP Odyssey and the EMS Synthi AKS. These instruments, and ones that they built themselves, all go towards making this track.
The track begins with a car engine being turned on, and a car horn being sounded. Thereafter, the track takes you on an atmospheric and hypnotic journey. This is something that anyone who has ever driven a long and monotonous journey on a motorway. Autobahn, the track, draws you in, you find yourself listening carefully, pondering what will happen next. When I first listened to this album, I found myself entranced, trying to anticipate what would happen next, much like you do when driving down a busy motorway. Like all of Krafwerk’s music, this track has, on it, some glorious and catchy hooks.
The rest of the tracks feature a theme. Kometenmelodie 1 (Comet Melody 1) and Kometenmelodie 2 (Comet Melody 2), the second and third tracks on Autobahn, have a two part structure. At the start of the track, there is the introduction, then comes the main track. These tracks have a theme, and are based upon the theme of the night.
Kometenmelodie 1 has a moody and atmospheric start, the track begins quietly and has a minimalist feel to it. The track wanders, with various instruments coming into, and leaving the track. This is what one would hear on a long car journey on the motorway, a multitude of varying sounds entering and exiting your personal space. During the track the tempo and sound increases, as the speed of a car would increase and surrounding noise would increase, for example, moving from the countryside to an urban area.
Kometenmelodie 2 has a different sound to Kometenmelodie 1. The sound on this track is louder and the tempo quicker. Here it really does feel as if you are in a car in the fast lane of the Autobahn, the track makes you feel and think that. Kraftwerk have been creative in the sounds used to make this track. They have succeeded in coming up with a track that, to me, sounds like a good musical representation of what it feels and sounds like to drive a car, at speed, along the fast lane of the motorway, during the night. This to me, is the best track on the album.
Throughout both Kometenmelodie 1 and Kometenmelodie 2, the tracks have the feel of the night, and are a good musical representation of the night. Krafwerk have used their various instruments well, to do this. This was not an easy thing to do back in 1974. Kraftwerk did not have the technology that is available to musicians and producers today.
The fourth track Mitternacht (Midnight), many people have said has an ominous sound and feel to it. I agree with that. There is a darkness to this track, a really brooding sound. That does not mean this is a bad track. Quite the opposite, this is a track that challenges you, makes you focus, think about what the track is about. To me, this is a track that only Kraftwerk could have produced, only they would have had the imagination and inventiveness to make such a track.
The final track Morgenspaziergang (Morning Stroll), begins with the sound of the dawn chorus birdsong. Kraftwerk used electronics to recreate this sound. At the end of the track this sound is used again, this time for longer, with the phrase Autobahn heard at the start of the album, repeated time and again, in differing ways. he track plods along, sounds spray out, and there is almost a sinister sound to the start of the track. After the introduction, the track starts to build, and you hear what sounds like birds singing, a flute plays gently and what sounds like water running. This has the effect of holding your attention and is a good way to finish the album.
After Autobahn, Kraftwerk went on to release a number of albums. The Kraftwer albums I would recommend to someone who has not heard their music before, are the albums they released from 1974-1978. These are Autobahn, in 1974, Radio-Activity released in 1975, in Trans-Europe Express released in 1977 and The Man-Machine released in 1978. These are my personal favorites. However, Kraftwerk released albums throughout the next three decades. They have never been a prolific band, and there is sometimes huge gaps between their releases. For example, they released The Mix in 1991, and then nothing until Tour de France Soundtracks in 2003. Throughout a career spanning nearly five decades, Kraftwerk have only released twelve albums. That backs up my earlier statement that they are not a prolific band. However, what they are, are a band who have released some fine albums, which has gone on to influence generations of new musicians. One can ask, would electronic and dance music have developed in the way it has, without Kraftwerk? Personally, I think not, as techno producers often quote Kraftwerk as a huge influence. It is not only electronic and dance musicians that have been influenced by Kraftwerk. Many other musicians say that Kraftwerk had a huge influence on their musical development.
If you have never heard either Kraftwerk’s music or Autobahn, I urge you to consider buying this album. Autobahn is one of Kraftwerk’s finest albums. There may only be five tracks on the album, but they are five tracks that demonstrate how Kraftwerk were musical pioneers, leading the way, for future generations of musicians. If you are someone who is a fan of electronic or dance music, and have never heard this album, it is almost part of your musical education to listen to it. This will demonstrate to you, that what many electronic and dance music artists have been doing, is nothing new, this type of music has been around for a long time. Should you wish to explore Kraftwerk’s music further, I would recommend another three of their albums, Radio-Activity, Trans-Europe Express and The Man-Machine. Standout Tracks: Autobahn, Kometenmelodie and Morgenspaziergang.
KRAFTWERK-AUTOBAHN.
LABEL FOCUS-OM RECORDS.
LABEL FOCUS-OM RECORDS.
Om Records is a San Francisco based record label, that was founded in 1995 by Chris Smith. Since then, Om Records have released a wide array of compilation and artist albums, ranging from house music to hip hop. Since then, Om Records have set up a number of other sub-labels and affiliated labels, including Om Hip Hop, Child’s Play, Smoke ‘N’ Mirrors, Deep Concentration and Colorforms.
Om Records have released many compilations throughout the last sixteen years. This includes OM Lounge, House of Om, Sounds of Om and Mushroom Jazz series of compilations. These albums feature many types of music, including deep house, funky house, soulful house, broken beat, nu-jazz, chill-out and hip-hop. Regardless of the genres of music featured on all of these compilations, one thing they all have in common, is that they feature some wonderful music.
It is not only compilations that Om Records have released, they have also released a number of artist albums. This includes albums from Kaskade, Mark Farina, Samantha James, Colette and Underworld. Om Records have also released a number singles, EPs and 12” singles.
Since 1995, I have been a huge fan of OM Records, and over the years have purchased many of their releases. In this article, I will recommend some of the best releases on this label, and tell you a bit about the music that you will find on these albums.
OM LOUNGE.
Om Lounge was released in 1995. The release proved to be a great success, so much so that Om Records went on to release ten volume and a best of compilation. However, it is no wonder that this series was so successful, as it featured some wonderful downtempo music. On this, the first in the series, there are twelve tracks, all of which are perfect to relax to. This is the type of album that is perfect to listen to post-club.
Choosing the best tracks on this album is difficult, as each one has its merits. For me, Thievery Corporation’s track Right Angles (Remix) has to be one of the best tracks on the album. It is a slow, moody and atmospheric track featuring some great drum beats and vocal samples.
Fluid Motion’s track Lost and Found has a slightly faster tempo. On this track you will hear echoey and spacey vocals, a mid-tempo drum beat, and a keyboard solo that fades in and out of the song.
Bohemian Sunset by Jazzanova has a lovely sound and feel to it. It transports you to faraway and exotic places. The pace is kept slow, the track is allowed space to breath, and the arrangement is a perfect blend of samples, instruments and vocals.
The final track on this album I will feature is Adventures In La La Land by Andy Caldwell Vs. Woolove. This song starts gently, with various sounds entering and exiting the mix, the constant throughout the track is the drumbeats, which sit prominently in the mix. The track has a dubby feel to, with the use of effects, such as echo and delay. When listening to this track, you are kept on your toes, never able to anticipate what will happen next.
Om Lounge is a great downtempo album. Granted, in places the tempo rises, but overall, this album is perfect if you want to just “chill-out”. It features some great tracks, many from artists you may already know, some you may, as yet, be unfamiliar with. This album is well worth buying, and is a perfect entree into the Om Lounge series. Standout Tracks: Right Angles (Remix) by Thievery Corporation, Lost and Found by Fluid Motion, Bohemian Sunset by Jazzanova and Adventures In La La Land by Andy Caldwell Vs. Woolove.
OM LOUNGE.
OM LOUNGE VOLUME 3.
Om Lounge Volume 3 is the next of OM Records albums that I would like to feature. This album, was released in 2000 and has fourteen tracks on it. There is a great variety of styles of music within the album, and the compilers have chosen some wonderful tracks. They have managed to keep up the same level of consistency as they did one the previous two volumes.
Mackzen and Relaxin’ by Pimp Rekker is the first song on the album I would like to feature. This track has a spacey and atmospheric start to it, however, do not let that fool you. As the track meanders and progresses, the sound fills out. One of the highlights of the track, for me, is the variety of keyboard sounds, especially the Hammond organ solo. This track gels. All of the sounds used within the track fit perfectly, and together, make a great track.
Drums Delicious by Kevin Yost, reminds me at the start of an old Nightmares On Wax track, with the sample of crackling vinyl. However, there the comparision ends. Throughout the track you will hear the sound of crackling vinyl, and repetitive vocal stabs, drumbeats and various other sounds. Taken together this produces a track that draws you in, and has a compelling sound. This is easily a standout track on the album.
Love Music (Twisted Jazz Mix) by East West Connection, has a drum and bass sound at the start. It continues throughout the track. The track features some great drum and percussion sounds, and is augmented by the sparing use of a vocal sample. Simple but effective is the use of finger clicks. The sound is quite “busy” featuring many different sounds, instruments and samples, but works because the track is well arranged and produced.
Tenderly by Soulstice, has a lovely Mediterranean feel to it. The tracks begins flamenco guitar played to accompany a sweet female vocal. Later in the track the sound fills out. More happens on the track, but as soon as this starts it finishes, allowing the beauty of the track’s vocal to shine.
Om Lounge Volume 3 is, for me, one of the best volumes in this series. The compilers have done a wonderful job bringing together such an eclectic variety of tracks. That is not an easy task. Sometimes the compiler’s are frustrated in their attempts to use the tracks they want. Here, Om surpassed themselves, showcasing fourteen tracks that deserve your attention. Buy this album and you will not regret it. If you do, you will be privy to some wonderful music, music that you will not hear on many inferior compilations. This is truly an album that anyone who enjoys downtempo music will enjoy. Standout Tracks: Mackzen and Relaxin’ by Pimp Rekker, Drums Delicious by Kevin Yost, Love Music (Twisted Jazz Mix) by East West Connection and Tenderly by Soulstice.
OM LOUNGE VOLUME 3.
OM LOUNGE VOLUME 6.
By the time many compilations get to their sixth volume, they are not producing the same quality of compilation that they did in the early years. Either that, or they have realized that they have a cash cow on their hands and decide to milk it. That was not the case by the time Om Lounge Volume 6 came out in 2002. Om Records were still finding a high quality selection of eclectic music to put on this compilation. Yes, by now, the style had changed slightly and faster paced tracks were finding their way onto the albums. This did not matter because the music was of the highest quality.
The track that opens this album Find An Oasis by Block 16 (featuring Jhelisa), was one of the faster tracks that were finding their way onto the Om Lounge compilations. The track is 120 beats per minute. However, the track is a quality one. From the atmospheric bells ringing at the start, until the end this track is shines through as one of the strongest on the album. One of the highlights of the track is Jhelisa’s vocal. She sings the sing beautifully. The track also features a masterful arrangement, the drums and strings being placed just in the right place within the mix.
Someday (Phutiristic Remix) by The Beard, begins with a keyboard playing minor chords, and then goes on to feature a lovely vocal, sitting behind a crisp and almost crunching drumbeat. However, the way the drumbeat is programmed, allows the vocal still to shine. When the drumbeat drops out of the mix, the vocal drops in. It becomes almost like a musical game of cat and mouse. The track is well arranged, I particularly like the vocal, and although some people may believe the drumbeat is too prominent, I like that it has the effect of focusing the listener’s attention.
Verano by Andy Caldwell, is the next track on the album I would like to feature. This track has an atmospheric feel and sound to it. There is almost a broken beat feel to it. Many people listening to this track who are familiar with Caldwell’s house tracks, may find it hard to believe that he is responsible for this track. The track begins with a dreamy vocal and piano, and then wanders off, slowly, meandering, using various sounds and effects to good use. Like his track on the first installment of Om Lounge, this track has a dub influence to it. This is apparent from the use of of space and effects. I like this track, it takes you on an aural journey, one which is enjoyable.
My Time by Kaskade, is a slow, moody and atmospheric track. Again, there is a dubby feel to it. There is the use of space and echoey effects, as the track grows and builds. Featuring on this track is the most gorgeous vocal by Joslyn Petty. This is easily the highlight of the track. The use of the various samples and effects, allow the vocal to shine, and this makes this easily, one of the best tracks on this album.
Having listened to this album several times while writing this review, I am struck by the variety and quality of the tracks. On this album you will hear an eclectic selection of tracks, all of which, have their own merits and qualities. It was difficult for me to choose four tracks to feature. However, I managed to do so. Someone else listening to this album may disagree, favoring other tracks. What I can say with certainty is, that anyone who buys this album will enjoy all of the tracks featured on this album. Standout Tracks: Find An Oasis by Block 16 (featuring Jhelisa), Someday (Phutiristic Remix) by The Beard, Verano by Andy Caldwell and My Time by Kaskade.
OM LOUNGE VOLUME 6.
OM LOUNGE VOLUME 8.
This album, Om Lounge Volume 8 was the eighth of ten in the series, and was released in 2004. Even though the series had been around for so long, Om Records ensured that the standard remained high. This volume was, in my opinion one of the best. The album features thirteen of the best tracks around at the time. It is testament to the compilers that the quality is as high on the eighth volume as it was with the first volume. On this album there are some wonderful downtempo tracks, that are amongst the best you will hear.
The Water and the Sun by Zeb is the opening track on the album. It is also one of the standout tracks on the album. The track begins with the use of samples and echo, after which, the drumbeat sits above the rest of the sounds on this track. Throughout the track, there are a multitude of interesting and varied sounds. This is a mid-tempo song, with an upbeat sound to it, reminiscent of bright sunny days, spent lazing under a hot sun. It is a track that has the effect of lifting your mood.
Golden Nectar by King Kooba, is a slow, atmospheric track. It begins with keyboards and exotic instruments playing alongside a potent drumbeat. The addition of scratches adds to the effect, as does a flute solo, played gently alongside, and complementing the drumbeat. The track has an exotic eastern feel to it, and has a sound that has a hypnotic feel and sound, that constantly holds your attention. During the track one wonders where the track is heading next, where this exotic musical journey will take you. The destination King Kooba take you to, is one where you will want to return to, time and time again.
Dream Machine by Mark Farina, starts with a distant sound, gradually building up, slowly developing, breaking out, to join with a slow and moody vocal. The track then heads off, keeping a steady tempo. This track has a nice repetitive quality, where you hear the same sounds, and rhythms recurring. The track is well arranged and produced, and is one of the best tracks within the album.
The final track I will feature here is The Real Thing by Emo. This is a joyous and atmospheric track, that features some beautiful lyrics. The vocal is sung really well and is surrounded in the mix by a multitude of sounds, samples and instruments that contribute to the beauty of the track. What really emphasizes the beauty of the vocal, and the lyrics, is the space the producer has left in the arrangement, and the effects that are used. Out of all of the tracks on this album, this is, by far, the best. It is the best arranged and produced track on the album.
This album, like all of its predecessors, features some wonderful music. It is a lovely album to listen to whilst relaxing. When you do this, you will be taken on a wonderful musical journey. On that journey, you will visit some wonderful musical destinations. Truly, this is wonderful album, one that is worth you purchasing. Should you do so, you to will be able to go on a magical musical journey and visit some wonderful musical destinations. Standout Tracks: The Water and the Sun by Zeb, Golden Nectar by King Kooba, Dream Machine by Mark Farina and The Real Thing by Emo.
OM LOUNGE VOLUME 8.
SOUNDS OF OM VOLUME 1.
Sounds of Om Volume 1 was released in 1999. This was the first in the series, and this proved to be another success story for Om Records. On this release there are fifteen deep house tracks. When I listen to this album, I am always struck by the quality of all of the tracks. There are neither any weak tracks on the album, nor any tracks that could be classed as “filler”. This is unusual on compilation albums, as often, a compiler will not be able to fill an album with quality tracks, and will pad the album out with inferior tracks.
One criticism, and warning, I have about Sounds of Om Volume 1, is that there are four different versions of the Naked Music NYC track If I Fall, and two of their track It’s Love. However, each version of these tracks has a different sound and feel, and it is interesting to see how each remixer has approached the track. Even this does not detract from the quality of the album as a whole.
If I Fall (Dubtronic Mix) by Naked Music NYC is the first track on Sounds of Om Volume 1 I will feature. This version features a good arrangement, with the drums sitting at the front of the mix. The vocal and synths float in and out of the mix. Throughout the track the tempo is constant. A track like this would work well when a DJ is building a set up, gradually upping the tempo. It is typical of the Naked Music NYC sound, a sound I never tire of. Overall, this is a quality track from start to finish.
Questions and Answers by Fluid Motion, carries on very much in the same vein as If I Fall (Dubtronic Mix). This is another quality deep house track. The track just flows along, keeping a constant tempo, the sounds and rhythms repeating, constantly, throughout the track. Even though this track does not feature a huge amount of sounds and instruments, it still holds you attention, and keeps you interested.
Fascinated (Monkey Drum Mix) by Orpheos has a totally different sound, and feel, to the two previous tracks I have reviewed. The tempo of the track is slightly faster, and the sound is much fuller. There is more going on in this song. During the song numerous sounds, samples and instruments fight for the listener’s attention. There is also a Latin feel to this track, with the use of percussion in the track. What I do like, is the way the track flows, then there is a gradual build up, then there is a breakdown and it all starts again. This is an interesting and varied track, that would go down well on any dance-floor. That is a huge compliment to this track, as it is over ten years old, yet still sounds fresh today.
Fresh Start (Iz House Dub) by Terra Deva, is the last song on this album I will highlight. Once again the sound is much fuller, and unlike the other songs I have featured, this track has a great vocal on it. Maybe it is just my preference, but I find a house track with a good vocal on it, much better than a good house track without a vocal on it. This adds to a track, especially this track. The vocal comes in and out of the track, and somehow this adds to the track. Overall, this is well arranged and produced track, one of the best on this album.
Sounds of Om Volume 1 is a good release from Om Records. This was the first in a series of great series of house compilations. This album features some quality house music, and although this album was released back in 1999, the music on it still sounds fresh and relevant. Anyone who enjoys house music, who does not have this album, should add it to their collection. Should they do so, they will be the proud owner of a selection of classic house music. Standout Tracks: If I Fall (Dubtronic Mix) by Naked Music NYC, Questions and Answers by Fluid Motion, Fascinated (Monkey Drum Mix) by Orpheos and resh Start (Iz House Dub) by Terra Deva.
SOUNDS OF OM VOLUME 1.
SOUNDS OF OM VOLUME 2.
Sounds of Om Volume 2, is a great compilation of fifteen quality house tracks. The music on this volume features a slightly different sound. Here, the album showcases some of the best deep and funky house tracks that were around back in 2000. Having listened to all of the Sounds of Om compilations whilst writing this article, I am of the mind that this is one of the best volumes. Buy any of the Sounds of Om series, and you will be the proud owner of some wonderful house music.
The first track on this album I will feature is Don’t Worry by Jazmin and Face. This track starts with a vocal sung through a vocoder. On this track, the vocal sits on top of some well programmed drumbeats. Also, featuring on the track is a trumpet solo that has the effect of complimenting the track. Throughout this album, many of the artists use various effects on their tracks. Here, the use of the vocoder. This sound was popular for a while, the track though, is not overuse it. If overused, it uses its effectiveness.
Lovely by Soulstice (Andy Caldwell Mix), is a one of the best tracks on the album. This track features some crunching drumbeats, a vocal and trumpet solo. The vocal and the drum sounds compliment each other, and the trumpet solo floats into the mix later on, in the track. To me, this is a classic Om Records sound. If you listen to many of their albums, this sound will feature many times. You will also find this sound, on many of Naked Music’s releases.
Laughter by Rithma, has similar features to many of the tracks on Sounds of Om Volume 1. This is a deep house track, and the track has a glorious sound to it. The track features features drum beats, synths and a breathy vocal stab. On this track the various sounds, pump in and out of the mix, and the tempo keeps a steady 128 beats per minute. A quality track like this, would not be out of place on any dance-floor.
Don’t You Cry by Gabriel Rene, has a similar sound to the Soulstice track. This is one of the standout tracks on the compilation, and is also a funky house track. It also features a drumbeat sitting towards to front of the mix, and female vocalist on the track. Nicole Weisberg is the vocalist on this track, but here, the vocal has not as large a part in track. It floats in and out of the track. Rene has used the vocal sparingly, compared to the use of a vocal on the Soulstice track. Like the Soulstice track, this track still has a freshness about in today.
Quiet Nights by Andy Caldwell, is an altogether different track that the others on this album. The sound on this track has a Balearic sound to it. A track like Quite Nights would work on a chill-out album, as well as it works here. Orlando’s vocal is, for me, what makes the track work. She sings the vocal softly, and is accompanied by some interesting sounds and samples. There are various samples used that make the listener sit up and listen, and the tempo of the drums changes throughout the track. At the start, the drums are softer and in the background, whereas later in the track, they become louder, and have a more prominent role in the track. This track is a a good one, that features different styles and influences. Listen carefully and you will hear house, broken beat and Balearic influences on this track.
Looking back, Sounds of Om Volume 2, is one of the finest in the series. The compilers have managed to ensure that, throughout the album, you will hear a wonderful selection of deep and funky house. At the time this album was released, there were many compilations out featuring this style of music. However, listen to many of them, and they have neither the quality, nor freshness that this compilation has. This release has a timeless quality about it, if you were to use some of the tracks in a mix today, it would work as well as it did in 2000 when it was released. That to me, says a lot, and I would have no qualms about recommending that you buy this album. Should you do so, I am sure you will enjoy it immensely. Standout Tracks: Don’t Worry by Jazmin and Face, Lovely by Soulstice (Andy Caldwell Mix), Laughter by Rithma and Quiet Nights by Andy Caldwell.
SOUNDS OF OM VOLUME 2.
HOUSE OF OM-KASKADE.
Another successful series of compilations by Om Records is their House of Om series. This has featured a number of the best DJs choosing a selection of their favorite tracks for a compilation. On this album House of Om-Kaskade, the second in the series, the compiler Kaskade has chosen some of the finest tracks around at that time. Many of the tracks are ones that Kaskade has remixed. Those familiar with Kaskade’s work, will know that they are a talented and prolific DJ, producer and remixer. Some of the remixes on this album are among some of their best work. Released in 2005, this album features fourteen tracks.
The first track I will feature is Can I Get (Mainline Dub) by Simon Aston. This track features a multitude of instruments and samples, which Simon Aston has arranged in such a way that, together, they produce a wonderful funky house track. One of the highlights is a vocal that floats in and out of the mix. On this track a number of effects have also been used, however, they have been used effectively, not overused. Sometimes in a track that features so many different sounds and effects, the mix can sound crowded. That is not the case here. What we have here is a great track.
Don’t Give It Up (Lawnchair General’s Mix) by DJ Hal, is an interesting and quality track. The effects used on this track seem to subdue the drum sound, which I believe works. Throughout the track keyboards and percussion is used, along with a vocal which cuts in and out of the track. This track has a deep house sound and feel to it, and is one of the best on the album. It is well arranged and produced.
Everything (Big Room Mix) by Kaskade, is to me, easily, the best track on this album. It is typical of Kaskade’s work, a great house track, that is well arranged and well produced. The track features a lengthy introduction, and then goes on to feature a sweetly sung vocal. This track is one that is catchy and full of hooks. The song has a Balearic feel to it and is one of the best tracks Kaskade have produced in their long and prolific career.
Once In A Lifetime by Full Intention faeturing Xavier, is an atmospheric deep house track, which starts with, and feature, drumbeats that have almost a Latin influence to them. Accompanying the drumbeats, are a lovely repetitive keyboard and later on in the track, a half spoken, half sung vocal. The vocal is repeated throughout the majority of the track, and like the repetition of the keyboard, this is effective, adding to the quality of the track.
House of Om-Kaskade is one of the best in this series. In all honesty, I could have chosen any one of the series to review. Each of the compilations features quality house music in abundance. Om Records have ensured that the quality of music on these compilations is always of a high standard. Throughout the series they have chosen some well know DJs to compile these compilations. Kaskade compiled this one, others have been compiled by Mark Farina, Fred Everything, DJ Sneak and Colette and DJ Heather. Should you decide to go out and purchase this album, I am sure that it will not be the last in the series you buy, you will find yourself seeking out the other albums in the series, and maybe other Om Records releases as well.
HOUSE OF OM-KASKADE.
If, having read this article, you want to know more about Om Records music, but you are undecided about which releases to buy, one way of getting to know their music, is by purchasing a compilation which features some of their best music. I can recommend three albums that will allow you to do that:
OM 100.
Om 100 was released in 2002 and is a two disc compilation album. It is a retrospective of the first one hundred releases in the label’s history. Featured on this compilation is a selection of the music that you will find on their albums. On the two discs, there are twenty-two tracks, featuring a wide selection of artists.
Disc One features eleven tracks from artists such as, King Kooba, Pimp Rekker, Mark Grant, Kaskade, Rithma and Soulstice. All of these artists have featured on many of the previous one-hundred releases. Soulstice have featured on the Om Lounge and Remixed series of compilation albums. King Kooba have also featured on the Om Lounge, Om Chilled and Departures compilations.
The second disc features a wide selection of wonderful tracks. This includes tracks from a diverse range of artists including: Mark Farina, Scuba, John Howard and Fred Everything. Mark Farina has previously compiled the Mushroom Jazz compilations and one of the House of Om compilations. He has also featured on the Om Lounge Volumes 1, 4, 5 and 8, Remixed and Om Miami compilations. Fred Everything previously compiled one of the volumes of House of Om, and has featured on the Om Miami 2006, 2007 and 2008, Om Ibiza 2009, Sounds of Om Volumes 4 and 6 and Om-The United Nations of Future Music Volume 1.
This album is a good introduction to Om Records. It features some great tracks from their first one-hundred releases. By buying this album you will be able to hear what type of music the label releases. The compilation has some good tracks on it, and should you like what you hear, you will be able to explore this label further.
OM 100.
OM 10: A DECADE OF FUTURE MUSIC.
Firstly, Om:10 A Decade of Future Music, is a three disc compilation album. It was released in 2005 to celebrate the label’s tenth anniversary. On the first disc there are twelve house tracks featuring Chuck Love, Colette, Kaskade, Mark Farina and Groove Junkies. These artists all feature on many of Om Records compilations that I have reviewed in this article. Also, Colette Kaskade and Mark Farina have all compiled albums for the House of Om series as well as producing and remixing many tracks for the label. This disc will allow you to listen to some of the music you will hear featured on compilations such as House of Om and Om House.
The second disc features thirteen downtempo tracks. On this disc you will hear some wonderful tracks by some artists who feature on other Om Records releases. You will hear tracks from Kaskade, King Kooba, Colossus and Jt Donaldson. This disc features the types of music that you will hear on releases such as the Om Lounge series of compilations.
The third disc features a selection of Classics that have been released on Om Records. On this disc you will find some fantastic tracks. Included are: It’s Love (Joshua’s Mo Musiq Mix) Naked Music NYC, Dream Machine by Mark Farina Take 5 by Johnny Fiasco and Lovely by Soulstice. In my opinion, it is worth buying the album for this disc alone.
This compilation is a good way to find out more about this wonderful label. It will let you hear the type of music Om Records released in their first ten years. During their first ten years, Om Records were at the cutting edge of electronic and dance music. They were always ahead of the competition, always able to find new artists and release tracks that featured new and exciting sounds and artists. That is not an easy thing to do, as you have to be constantly aware of the changing musical trends and tastes. Om Records and Naked Music are two labels that were able to do that. Even today, Om Records still are releasing quality music on a regular basis. Many of the labels that were around when Om Records started, have fallen by the wayside, and many of the labels that followed in their footsteps, have also disappeared. That Om Records are still going strong, is testament to the people at the label who are able to find, and release, such wonderful and quality music. This compilation is a good introduction to the label, and their music. It will allow someone unfamiliar with their music to hear a wide variety of music without having to spend huge sums of money.
OM 10: A DECADE OF FUTURE MUSIC.
OM 15: 15 YEARS OF OM RECORDS.
Om 15: 15 Years of Om Records was released in 2009 to celebrate the first fifteen years of the label’s history. The album features twenty-six tracks on the two discs. This album has two discs, Disc One is titled Night and Disc Two is titled Day.
On Disc One, Night, you will find tracks from J-Boogie’s Dubtronic Science featuring Jennifer Johns, Spirit Catches, Radio Slave and Lovebirds. This disc features a wide selection of house tracks and there is something for all tastes here.
Disc Two, Day, features a selection of slower tracks, a much more downtempo, and atmospheric, selection of tracks. Among the tracks featured here, you will find tracks from Eighty Mile Beach, Don T, Jade Alexis and Mike Monday. This is the perfect disc if all you want to do is sit back and relax. These tracks will allow you to do that, taking your mind on an aural journey, to places you have never experienced before.
This compilation features tracks that are perfect for the dance-floor, and others that you can relax to. It is an up-to-date compilation of the type of music Om Records are currently releasing. It is an album that is well worth buying, and is packed full of quality music.
OM 15: 15 YEARS OF OM RECORDS.
I have thoroughly enjoyed researching, and writing this article. It is always a pleasure to listen to the music on Om Records. This has been a perfect opportunity to re-acquaint myself with some of their music that I had not listened to for a while. It has been difficult choosing just a few of their releases to write about, as there are so many great albums I could have picked to write about. Maybe in the future, I will have to write about some more of the fantastic music on this label. What I hope that this article has done, is in introduce you to some music you were not aware of. If you had heard of Om Records before, I hope this article has encouraged you to have another look at this label’s music, as they have released so much good music since 1995. Should you decide to explore the music on this label, all I can say is enjoy the music, and have fun discovering some wonderful new music.
LOVE AND MONEY-STRANGE KIND OF LOVE.
LOVE AND MONEY-STRANGE KIND OF LOVE.
The band that I am going to write about, Love and Money, are one of Scotland’s finest bands of the past thirty years. In an eight year recording career from 1986-1994, Love and Money recorded just four albums, All You Need Is Love in Money in 1986, Strange Kind of Love in 1988, Dogs In Traffic in 1991 and their final album Littledeath in 1994. The album I will review in this article, is their second album, Strange Kind of Love.
Love and Money were formed in 1985. Three of Love and Money’s members, had previously played together in a another band, Friends Again. James Grant vocalist and guitarist, keyboard player Paul McGeechan and drummer Stuart Kerr had all been members of Friends Again. In the next nine years, Love and Money would go on record four albums and twelve singles. Although Love and Money’s music was well received by music critics, their music was not as commercially successful, as other Scottish bands who were around at that time. During this period, Scotland was blessed with some great bands, including, the Blue Nile, Lloyd Cole and the Commotions, Orange Juice and Simple Minds. Unfortunately, although well regarded within the music industry, Love and Money did not prove to be as popular with the record buying public.
Strange Kind of Love has eleven tracks on it, and when you listen to this album, you will be struck by how polished the sound is. It is as if Love and Money were trying to achieve an almost, sonic perfection, by producing an album with a flawless sound. Interestingly, one of Love and Money’s big influences were Steely Dan, and this was what they aimed to achieve, especially on their Gaucho album. The Steely Dan influence is even greater on this album, for two reasons. Firstly, Gary Katz, Steely Dan’s producer, produced Strange Kind of Love. Secondly, Steely Dan drummer, Jeff Porcaro played drums on this album. Porcaro had played on Steely Dan’s albums Pretzel Logic and Katy Lied. I am sure that when you listen to this album, you too, will hear a Steely Dan influence on Strange Kind of Love.
The first track on Strange Kind of Love is Halleluiah Man. This is a great track to start the album and is Love and Money at their finest. On this track Grant’s voice is strong, the guitar solo is one of the highlights of the track and in the background there is a funky bass solo. The whole sound on this track is strong, there is a polished feel to the track. When you listen to to the lyrics they have both a surreal quality and also have a political message to them. Grant sings doing anything “to bring the government down”. Interestingly, this track was recorded when Scotland was going through a turbulent time politically. This is an outstanding track, and a strong start to the album.
Shape of Things To Come is the next track on the album. Here, Grant sings the song slowly, in contrast to the opening track Halleluiah Man. Grant’s vocal is strong and clear, and the band accompany him in such a way that highlights his strong vocal. The band produce a strong and polished performance. Listening to this track, it is hard to believe that this is only Love and Money’s second album. This song’s lyrics have a quality that make you wonder what it is he is singing about. He sings “is this the shape of things to come”, and throughout the song, but by the end of the song, the listener is no wiser. That does not make this a bad song, quite the opposite, this is an intriguing song, that makes the listener think.
On Strange Kind of Love, this is classic Love and Money. This song has all the features I would expect from Love and Money at their best. The song has quality and thematic lyrics, features a polished performance from the band and sees Grant give a strong vocal performance throughout the track. Strange Kind of Love was one of the singles taken from this album. Sadly, it failed to break into the top forty in the UK singles chart.
The next track, Axis of Love is a slightly quicker tempo. Here the song begins with a guitar solo, then Grant’s vocal begins. On this track, Grant uses a wider vocal range. To some extent, this works, as it helps to emphasize the lyrics, although when Grant almost shouts some of the lyrics, this sounds somewhat forced. In this instance, wonder if he is out-with his vocal range’s comfort zone. Throughout the track, the band produce a polished performance, and the standard of musicianship is of a high standard. However, this track for me, lacks something. It is a pleasant enough song, but maybe the production by Gary Katz is too slick, or maybe Grant’s Grant’s vocal is not up to his usual standard.
Jocelyn Square was the third single taken from Strange Kind of Love. On this track, what you will hear is Love and Money the tight funk band. This track features lyrics that paint a picture, close your eyes and you will be able to visualize what Grant is singing about. As well as featuring some great lyrics, the song demonstrates a band who are at the top of their game. Throughout the track the standard of musicianship is of the highest standard. The guitar solo and the funky bass lines are two of the three contributory factors on what makes this such a strong track. The third factor is Grant’s voice. He delivers the song with feeling, and has reserved a stellar performance for this track. In my opinion, Halleluiah Man is the strongest track on the album, Jocelyn Square must be a close second.
On Walk the Last Mile Love and Money take the tempo down. This is a slower song. The lyrics are some of the strongest on this album. Again, they tell a story, they have a strong narrative, and there is sadness within the lyrics, when Grant sings “I never knew I could feel so old”. Grant sings this song slowly, and like a good actor, uses his voice for dramatic effect. Throughout the track, the band play behind the vocal, and this emphasizes the Grant’s delivery of some lovely lyrics. Walk the Last Mile is one of the strongest tracks on this album, and is one of my favorite Love and Money tracks.
Razorsedge has a funky start. Bass and drum start the track, and Grant changes his vocal style and the tempo and is much more upbeat. Grant almost raps the lyrics, which are not the best lyrics on the album. In fact, this is far from the best song on the album, the sound has not stood the test of time well. This sounds very much like a song from the 1980’s. It has a throwaway quality to it. There is no depth to the lyrics, and it is almost a poor man’s funk track. The song reminds me of another Scottish band around at the time Hipsway, who were a good, though short-lived band. Their album Hipsway is one that has some good tracks on it, and is worth listening to.
Inflammable sees Love and Money return to form. Here, Grant sings the song well, the tempo is slightly slower, and the lyrics feature the quality that was lacking in the previous track Razorsedge. On Inflammable, the band play gently, behind Grant, allowing his vocal to take centre-stage. This track has a jazzy feel and influence, and demonstrates how Love and Money were a band that could play different styles of music, and do so well.
Up Escalator finds Love and Money attempting another funky track. This time, however, they succeed. This song sees the band all contributing strong performances. Grant is able to match the band’s performance, giving a strong, vocal performance. This song features a wonderful harmonica solo, and a real funky bass solo. Although, in my opinion, this is not the style of music Love and Money were suited to, they have delivered a strong track, and one that deserves its place on this album.
Avalanche sees the musical style change once again. This is a song that features strong lyrics, that when you listen to them have depth and intelligence. Many people fail to listen to the lyrics to songs, and by doing so, miss out. When you listen carefully to this song the lyrics are tinged with sadness and regret, over what might have been. Not only are the lyrics and Grant’s vocal quality, so is the band’s performance. They really do this song justice, producing a performance that brings out the best in the song. To me, this is one of the album’s best songs.
The final song on Strange Kind of Love is Scapegoat. This song has a funky feel to it. Love and Money were a band who were always said to have a funk influence to their music. That is apparent here, and this is actually a good song. It demonstrates how diverse the type of music Love and Money were able to produce throughout their career. James Grant and the rest of the band really have reserved a sterling performance for this, the final track on the album. Incidentally, on this track, there is a similarity in the sound, to that of Hue and Cry, another Scottish band who were around at that time, and who were a talented band.
Strange Kind of Love is, in my opinion, a very mature album for a band who were only producing their second album. On, and throughout, this album you will hear a wide variety of styles of music. The album features some great tracks, that have some interesting and intelligent lyrics, that were sung well by a talented vocalist, James Grant. He in turn, was fortunate to be surrounded by a talented group of musicians, who, on this album, have produced some wonderful performances, and music. What cannot be underestimated though, is the influence of producer Gary Katz. He produced a very polished album, and one which, twenty-three years later, mostly, still sounds fresh. His production provided a showcase for Love and Money’s talents, and it is a shame that this album was not more successful. If, having read this review, you are interested in hearing this album, I would have no hesitation in recommending that you go out and buy Strange Kind of Love. Should you do so, I am sure you will be glad you did, as you will have purchased a quality album, by a great group, who sadly, are underrated and overlooked by the record buying public. There are other albums by Love and Money that I would also recommend, their 1991 album Dogs In the Traffic and Cheap Pearls and Whisky Dreams: The Best of Love and Money. The latter features Love and Money’s best tracks, and is a good introduction to their music. Standout Tracks: Halleluiah Man, Strange Kind of Love, Jocelyn Square and Walk the Last Mile.
LOVE AND MONEY-STRANGE KIND OF LOVE.
OLETA ADAMS-CIRCLE OF ONE.
OLETA ADAMS-CIRCLE OF ONE.
The artist that I am going to write about in this article is an object lesson to any artist who is waiting to be discovered. Oleta Adams back in 1985, was an unknown artist who, up until then, had faced rejection at every turn. Then one night in 1985, when she was performing a concert in a hotel bar Kansas City, Missouri, a chance meeting changed her career.
This chance meeting, was with Roland Orzabal and Curt Smith, the founding members of Tears For Fears, an English band, popular at the time. They were staying in the hotel she was singing in, after one of their concerts, and heard Adams perform. Orzabal and Smith liked what they heard, and two years later, in 1987, they invited Adams to perform on the next Tears For Fears album.
In 1989, Tears For Fears released their album The Seeds of Love. On the album, Adams sung a duet, Woman In Chain on one the tracks. The Seeds of Love was released as a single, and became a hit, Adams first ever hit single. When Tears For Fears went on a worldwide tour, Adams was not only the opening act on the concert tour, but also sang backing vocals and played piano with Tears For Fears.
After the success of Adams work with Tears For Fears, their record label, Fontana Records, offered Adams a recording contract in 1990. This allowed Adams to resume her solo career, that had started way back in the 1970’s. Roland Orzabal of Tears For Fears produced this new album Circle of One, alongside Dave Bascombe. The album was a huge success, reaching number one in the UK charts and number twenty in the US charts. However, when the album was released, many people wondered, who is Oleta Adams?
Oleta Adams was born in 1953, in Seattle, Washington, the youngest of six children. Her father was a preacher, and she was brought up listening to gospel music. During her early years, Adams’ family moved to Yakima, Washington. Her musical talents became apparent early on in life, when she sang in the Pilgrim Rest Baptist Church, where her father was the minister. Aged eleven, she was singing in four choirs, and was an extremely talented pianist.
When Adams left high school, she rejected the opportunity to pursue a career as a lyric soprano, and a scholarship to the Pacific Lutheran University. Instead, Adams headed to Europe, and spent a year there. On returning, she headed to Los Angeles, where she decided to pursue a musical career. There she recorded a demo tape. Sadly, the music she had recorded was not what music executives wanted. At that time, music executives were almost fixated on disco music, to the exclusion of other styles of music. This led to Adams spending years trying to get a record deal. Having been unable to secure a record deal, by 1983, Adams decided to take matters into her own hands. She recorded an album Going On Record, in 1983 and released it herself. This, sadly, did not bring her the success she craved, and it was not until Circle of One that the record buying public took notice of Adams, and her fabulous voice.
Following the release of Circle of One, Adams released Evolution in 1993. That was not as successful as her debut, only reaching number ten in the UK, and number sixty-seven in the US. Since then Oleta Adams has released further five albums. Some of these albums were gospel albums, Adams first musical influence, and others were secular albums. Sadly, Adams career has never hit the same heights as she did when Circle of One was released. So why was Circle of One so successful?
Circle of One has ten tracks on the album. The album starts with a great track Rhythm of Life. This is one of the strongest tracks on the album. This song starts slowly with quite a long introduction, then when Adams vocal begins, it is worth the wait. Adams has a honeyed vocal, with a wide range. She sings the song well, it has a mid-tempo, and her vocal is complimented by a masterful arrangement by Orzabal and Bascombe.
Get Here is a cover of a Brenda Russell song and provided Adams with the biggest hit of her career. In truth, I prefer this version of the song. Adams sings the songs so well, and produces a strong vocal performance. This song starts with a piano track, and Adams sings this song slowly and beautifully. The song sees Adams demonstrating her vocal dexterity again. This song has lovely, moving lyrics and the band play behind the vocal, allowing the vocal to shine. Here Adams gives a vocal masterclass, one that many younger singers could learn a lot from. This, to me, is one of the strongest tracks on the album.
Circle of One is a very different track to the previous to songs. This is a much quicker song. The sound on the track is a much fuller, and louder sound. The drums are very prominent in the mix, and almost overpower the vocal. Adams still produces a good vocal performance on this track. What the song lacks to me, is space. There is almost too much going on in this track. However, this is not a bad track, quite the opposite, the track is a good one, with a wonderful vocal from Adams, a good saxophone solo and some great backing vocals.
The tempo decreases on the next track, You’ve Got to Give Me Room. At the beginning on this track, Adams is only accompanied by a piano playing, and later on in the track a flugel horn played by Guy Barker. This is a track that suits her vocal style. I can imagine Adams singing a song like this back when she sang in cocktail bars. It has an atmospheric feel to the song, and the arrangement is perfect. Unlike the last track, the arrangement here has a minimal feel, which suits the song.
The next track I’ve Got To Sing My Song, sees Adams produce one of her best performances on this album. There is a gospel feel and sound to the song. The lyrics also have a spiritual theme to them. Adams uses her full vocal range here, and you will go a long way before you come across a better vocal performance. The only way to describe this song is joyous. I never tire of hearing this song, and it has the ability to lift your mood, it makes you feel better that you did before you heard it. This is, by a long way, the standout track on Circle of One.
On I’ve Got A Right the song starts with a quicker tempo, and features a great performance from Adams and her band. This track has a real jazzy feel and sound on it. The band on this track show what they are capable of, and really let loose. Adams was fortunate that on this album, that she had a great group of musicians. The piano, played by Adams and the drums played by John Cushon are ably backed by a fantastic brass section. However, credit must go to Phil Todd for his fabulous saxophone solo on this track. It really is one of the highlights of the song.
The next track Will We Ever Learn sees the tempo drop again. However, this is another lovely track. Again, Adams sings this song with passion and feeling. She goes on to demonstrate her considerable vocal talents, producing another fantastic performance. On this track, the style changes again, this track is much more up-tempo and has a brighter and more positive feel to it. Her band, once again get a chance to demonstrate what they are capable of, and produce another top-class performance.
Everything Must Change sees Adams change style again. This time, she sings the song slowly and accompanies herself on piano. What this does is add to the impact of the song. This is a powerful song, with poignant lyrics, that Adams sings with real feeling. The arrangement on this song is just right, and Guy Barker’s flugel horn solo has the effect of taking this song to another level. The drums, bass and ting, are used sparingly, and this is the best arrangement on the album.
The final song on Circle of One is Don’t Look Too Closely. Here, the track has a jazzy feel, and this demonstrates Adams’ talent as a vocalist. Throughout the album she sung in various styles from gospel to soul and jazz. On this track Adams sounds a bit like Dionne Warwick in certain parts of the song. This is a good track, which allows Adams to show that she is capable of handling different types and styles of songs.
There is also a bonus track on this album. It is a remix of Circle of One. It is a good remix of the song. However, I prefer the original, as it is such a well sung and powerful song. Circle of One does not need the bells and whistles the remix features, although it is always interesting to hear what a remixer will do to a song.
Having spent some time listening to this album, I am struck by the sheer quality of the whole album. Every song is good, there is not one bad song on the album. Throughout the album, Adams’ vocal performances are stunning, and she is very fortunate to have a top quality backing band playing on this album. It is a very mature album, especially since this was her debut for a major label. The thing that surprises me, is that Oleta Adams did not go on to have a much more successful career. By all rights and purposes, Adams’ career should have taken off. Yes, her follow up album Evolution had reasonable chart success, but after that, her career went nowhere. That is a tragedy, especially when you see people with a fraction of Adams’, have careers that are long and successful. However, whatever the reasons for Oleta Adams career stalling, she is not the first, and sadly will not last person, that this will happen to. We are fortunate that she recorded such a good album as Circle of One, and for that we must be grateful. For anyone interested in exploring her music further, I would recommend her follow up to Circle of One, Evolution, and also The Very Best of Oleta Adams, which will give you an overview of her career up until its release in 1996. I am sure if you buy these albums, you will enjoy the music on them, and will be like me, left wondering why she never enjoyed the success her talent deserved. Standout Tracks: Rhythm of Life, Get Here, I’ve Got To Sing My Song and Everything Must Change.
OLETA ADAMS-CIRCLE OF ONE.
TIM BUCKLEY-GOODBYE AND HELLO.
TIM BUCKLEY-GOODBYE AND HELLO.
In this article, I am going to write about an artist many people will not have heard of, and therefore, will be unaware of the wonderful music he recorded in his career. The artist is Tim Buckley, and in this article i will review one of his finest albums Goodbye and Hello. Goodbye and Hello was released in 1967 on the Elektra label. This was his second album, and was the follow up to his self-titled album Tim Buckley, which was produced by Jack Nitzsche and released in 1966.
Buckley was a singer, songwriter and musician. His self titled debut album, Tim Buckley, had a folk influence, however, through his career, the style of his music evolved, to encompass a jazz, psychedelia, soul, funk and avant-garde sounds and influences. What made Buckley stand out from the crowd at that time, was the way he used his voice almost like an instrument. He had an incredibly wide vocal range, that he used on many of his songs. Buckley was also a talented guitarist, playing both the Guild 12 String Guitar and a Fender Electric XII. Sadly, a permanent injury to two fingers on his left hand, sustained whilst playing football in high school, caused Buckley problems when playing the guitar. Some people believe that this led him to play extended chords, as they don’t require the use of barres.
Tim Buckley was born in 1947 in Washington DC, and later, moved to Amsterdam, New York. His first exposure to music was listening to his mother’s progressive jazz records. Throughout his childhood, he was introduced to a wide range of music, from the blues of Bessie Smith and Billie Holiday, to the jazz sounds of Miles Davis, and the country music of Hank Williams and Johhny Cash.
At high school, he sang he was inspired by the Kingston Trio and formed a group influenced by their music. Towards the end of his school career, he started missing classes to focus more of his attention on music. He was fortunate that he would meet Larry Beckett who was later, to write lyrics for Buckley, and Jim Fielder who played bass in two of the groups he joined. These two groups were The Bohemians, who played popular music, and The Harlequin 3 who were a folk group.
Another fortunate meeting for Buckley occurred in 1965, when he met Mary Guibert, a year younger than Buckley. Guibert became pregnant not long after, and they married in October 1965, giving birth to Jeff Buckley, who later became a talented singer songwriter. Mary Guibert was to be an inspiration for much of Buckley’s music. The marriage allowed Tim Buckley to spend time away from home, where his father a much decorated, US Army veteran, had became unstable, and sometimes violent. The marriage was turbulent, and Buckley soon moved into his own apartment, and soon after he realized he could not cope with married life, and the couple saw each other only occasionally thereafter. They divorced a year later in 1966, a month prior to Mary gave birth to Jeff.
Buckley left high school in 1965, and headed to college. However, college and music were too much for Buckley to cope with, and he left college after two weeks to concentrate on his musical career. He spent time playing the folk clubs in LA during 1965, and then played a number of coffee houses in Orange County. In February 1966, Buckley’s big break came. He had played a concert at a club in LA called It’s Boss, when he was spotted by Jimmy Carl Black, the drummer in The Mother’s of Invention. He recommended Buckley to Herb Cohen the manager of The Mother’s of Invention. Cohen liked what he saw, and arranged for Buckley to play a concert at the Nite Owl, in Greenwich Village, New York. It was while Buckley was there, that he met guitarist, Lee Underwood, who went on to be Buckley’s guitarist, playing on his albums. At the same time, Herb Cohen became Buckley’s manager, and arranged for him to record a demo with six tracks on it. This demo was sent to Jac Holzman at Elektra Records. Cohen liked what he heard, and after seeing Buckley live, signed Buckley to Elektra.
Tim Buckley went on to record nine studio albums for Elektra. He was with Elektra throughout his career, and released his final album Look At the Fool in 1974. Throughout his career, he constantly reinvented himself, changing his sound and style. Listen to his nine studio albums, and you will hear Buckley in various guises’ You will hear Buckley sing folk, jazz, funk and soul. On some tracks, his sound is particularly avant garde, an experimental sound, that is unlike his previous work.
Sadly, the Tim Buckley has an unhappy ending. In June 1975, Buckley played his final concert in Dallas, Texas. The day after attending an end of tour party, Buckley died of an overdose of heroin. He had managed to control a drug habit for some time, it is thought that his tolerance level was lowered, and the amount of heroin he had ingested and alcohol he consumed were the cause of his death. He left behind a second wife Judy, and an eight year old son Jeff. When Buckley died, he was only twenty-eight, although he lived a short life, he packed a lot of living into it, and left us with some wonderful music, one of those albums being Goodbye and Hello.
Goodbye and Hello has ten tracks on it, Buckley wrote six songs himself, and co-wrote the other four with Beckett. The first track on the album is No Man Can Find A War. This is an anti-war song, written by Beckett which examines the psychological nature of war. On this song, Buckley it starts with a crash of thunder and Buckley singing accompanied by the guitar. It is a deeply moving song, with evocative and moving lyrics, that tell the story of what is happening to Americans many thousands of miles away. It is a strong song to start the album.
Carnival Song is the next song on the album, and begins with sounds of a carousel. The tempo of the song is interesting, and Buckley sings the song gently. The lyrics seem to be about Buckley’s childhood memories, and have the ability to paint a picture. A picture that the listener can imagine, can visualize and smell, that is how clear the picture painted is.
The next song Pleasant Street, is a different type of song. Although the song starts brightly with guitar and piano, the lyrics are darker and brooding. There is almost a cynical nature to the lyrics. On this track Buckley shows his incredible vocal range. He goes from singing softly one minute, to really letting his voice go the next. This is a song that is well sung, and features some wonderful musicianship.
Hallucinations is a song of its time. This is song that is in tune with the counter culture that was sweeping America at that time. The song has almost the sound of a band tuning up at the start. Once the song really starts Buckley sings the softly. He sounds a bit like Al Stewart when he sings the lyrics. The lyrics have a surreal quality to them. Although not a bad song, it is not vintage Buckley. The song has a folk feel to it, but sometimes there is a frantic feel to the song, as if it is unfinished. However, one must remember that when this album was released he was only twenty, and that he had written many of the songs on this album whilst at high school.
I Never Asked To Be Your Mountain is a song about his relationship with his wife Mary. In this song he sings of his frustrations and the pressures he felt. This is a very personal song for Buckley. It has a confessional quality to it. Even the quicker tempo of the song suggests that his frustrations and feelings are pouring out. It is as if Buckley is getting his side of the story across. This is one of the best songs on the album.
On Once I Was is a lovely slow song, that finds Buckley singing about fighting on foreign shores, a response to the war in Vietnam, that tragically cost countless lives on both sides. He also sings about being a hunter and a lover, remembering all the things the character in the song has been. However, the point of the song is that once he is gone will he be remembered. This is, by far, the best song on the album. Buckley sings some poignant and beautiful lyrics well.
With the next track Phantasmagoria In Two the tempo quickens. This is another good song. The lyrics to this song are good, and are some of the best lyrics on the album. Likewise, the song features one of the strongest vocal performances from Buckley on the album. Although the musicians on this album are all good musicians, on this track Don Randi on piano and Eddie Hoh on drums produce great performances, that help make this one of the best tracks on the album.
Knight-Errand is a song that begins with an organ solo. The track has a strong folk influence. This is apparent when one listens to the lyrics. The sound of the track is very different to what has gone before. There is a baroque feel to this track. However, it demonstrates how Buckley liked to change styles and was constantly reinventing himself.
The title track Goodbye and Hello is the next song. This song has an atmospheric feel to it at the start. The song starts slowly, and then almost reaches a frantic tempo. However, just as quickly as the tempo increases, it falls again. This has the effect of being like a shock to the system. This happens several times. The lyrics almost have a medieval theme to them. It is the poorest song on the album. This is, in my opinion, not Tim Buckley’s finest hour, it is certainly not the strongest song Tim Buckley has ever recorded. I do not like the changes in tempo, or Buckley’s vocal delivery on this track.
The final song on the album is Morning Glory. This is a return to form for Buckley. On Morning Glory he sings some lovely lyrics, and the band’s performance compliments the song. The song is one that is suited to Buckley’s vocal, he sing the song softly, accompanied by a piano playing gently, and some gorgeous backing vocals, singing behind him. This is a fitting end to the album.
Having taken the time to read this review of Tim Buckley and his second album Goodbye and Hello, I hope I have stimulated your interest in what is a good album. What is hard to believe when you listen to this album, is that Buckley was only twenty when he recorded this album. What is even harder to believe is that some of the songs were written when Buckley and Beckett were only eighteen. They obviously had considerable maturity as songwriters at an early age. Goodbye and Hello was recorded at a time when the world was changing. By 1967 the world was a very different place, and music was very different. In 1962 and 1963, the world was satisfied by The Beatles and Please, Please Me and I Wanna Hold Your Hand. By 1967 music had changed and been influenced by the counter-culture that was sweeping the world. This album is a response to those changes, and when you listen carefully to the lyrics, I am sure you will agree. Within this album there is some great music, and should you enjoy this album, there is a lot more great music for you to explore within Tim Buckley’s back catalogue. A good starting point is Morning Glory: The Tim Buckley Anthology which features some of his greatest songs. Should you wish to buy some of his studio albums, I would recommend Tim Buckley, Happy Sad, Greetings From LA and Look At the Fool. Standout Tracks: No Man Can Find A War, I Never Asked To Be Your Mountain, Phantasmagoria In Two and Morning Glory.
TIM BUCKLEY-GOODBYE AND HELLO.
MUDDY WATERS-ELECTRIC MUD.
MUDDY WATERS-ELECTRIC MUD.
The album I am about to review is one that, upon its release, had the effect of dividing the opinion the artist’s fans and also, opening up the artists music to a new, wider audience. That album is Muddy Water’s 1968 release Electric Mud. Electric Mud had the effect of reviving Water’s career, a career that by 1968, was on a downward slide. However, the album’s release did not please blue’s purists, they preferred the old Muddy Waters sound, and this, to them, was almost sacrilege. This was almost shades of Dylan going electric, albeit on a much smaller scale. But why was this? The answer to this lies in the sound of the music to be found within the album. If you listen to Electric Mud, what you will find is a psychedelic blues album. That, is why the blue’s purists were upset. So who was Muddy Waters, and what was his music like prior to the release of Electric Mud?
Muddy Waters was born McKinley Morganfield in 1913, in Issaquena County, Mississippi. As he grew up, he enjoyed playing music, playing firstly, harmonica, and then when he was seventeen, he changed to guitar. When he went to parties he entertained playing his guitar, emulating the sound produced by the blues players he heard. Aged 27, he moved to Chicago for the first time, only staying there for a year. When he returned to Mississippi he ran a duke joint, and played there regularly. Waters’ big break happened when blue’s historian Alan Lomax recorded Muddy Waters for a project to record country blues musicians on behalf of the Library of Congress. Lomax returned a year later and recorded Waters again, the recordings were later released as Down On Stovall’s Plantation.
In 1943 Waters returned to Chicago hoping to earn a living as a full-time blues musician. Big Bill Broonzy gave Waters a break, allowing him to open for Broonzy. In 1945, Waters received his first electric guitar, a gift from Joe Grant, his uncle. A year later, in 1946, Waters recorded some tracks for Columbia, sadly they were not released. Waters luck changed when he met Leonard and Phil Chess, who had started a new record label Aristocrat, which later became Chess Records. His first releases on Aristocrat were not released, however, in 1948 his tracks I Feel Like Going Home and I Can’t Be Satisfied were big hits in the Chicago clubs he became a popular performer. When Aristocrat changed their name to Chess in 1948, Waters’ best known song Rollin’ Stone became a huge success. This was the start of Muddy Waters most successful period.
Waters was to be successful for the best part of the next twenty years, performing with the creme de la creme of blues musicians. Throughout that period he played alongside Little Walter on harmonica, Otis Spann on piano and Willie Dixon on bass. Dixon was also to prove influential in Waters’ career, writing many songs for Waters and other blues musicians. In 1958 Waters went to England, where crowds were both shocked and in awe of Waters’ sound. He was later to prove influential for a new generation of British bands and artists, particularly the Rolling Stones, the Yarbirds and Eric Clapton. Such was Waters’ influence that the Rolling Stones went on to record a number of his songs.
In 1960 Waters played at the Newport Blues Festival and his performance was recorded and released as his first live album At Newport 1960. This had the effect of introducing his music to a much wider audience.
However, by 1968 Waters career was on the slide, as many people who had previously followed his career turned their back on Waters, and his music. Waters was not happy that members of his own race were no longer interested in blues music. However, Waters and blues music in general, had found a new audience, consisting of white people who loved, and respected the music. By 1968 Waters had not had a hit since I’m Ready in 1956. The problem was, many of Waters’ former fans had become fans of psychedelic music that was, by now, popular. Marshall Chess however, had an idea that would revive interest in Waters’ flagging career.
In 1967 Marshall Chess, the son of Leonard Chess, had set up the Cadet Concept label to release music that Chess would not have released. The first signing for that label was Rotary Connection. Their album sold a quarter of a million copies. Marshall Chess’ idea to revive Water’s career was that Waters would release a psychedelic blues album. This was not an attempt to turn him into a psychedelic artist, no, this was a concept album. When the album was released, it horrified blues’ purists, who hated the album. They felt that Waters had turned his back on his roots. Previously, Waters sound was an electrified version of the delta blues. This was way different. The album proved to be successful. Marshall Chess estimated that album sold between 150,000-200,000 copies.
Electric Mud had the effect of relaunching Waters‘ career. In 1972 he returned to England and recorded the London Muddy Waters Sessions with Eric Clapton, Charlie Watts, Steve Winwood and Bill Wyman. Four years later in 1976, Waters played at The Band’s final concert, and can be heard and seen on the album and film The Last Waltz. In 1977 Waters signed to Johhny Winter’s label and recorded a comeback album Hard Again, which saw a return to his old sound. This album was to win a Grammy Award. Then in 1979 Waters recorded another well received album, Muddy “Mississippi” Waters Live. Waters played at ChicagoFest, the city’s premier outdoor music festival, giving a great performance, with Johhny Winter playing alongside Waters. Sadly, Waters health began to fail badly, and his last performance was in 1982, joining Eric Clapton at one of his concerts in Florida. A year later, Waters died, aged 70.
Electric Mud was released in 1968 on the same day as Jimi Hendrix’s Electric Ladyland. The album was produced by Marshall Chess, only the second album he had ever produced and contains only eight songs. However, these are eight great tracks. if you are unfamiliar with either Muddy Waters’ music or blues music in general, or do not like the sound, believing it be a depressing sound, listen to this and you will soon change your mind. This is unlike any blues album from that time. I am sure one listen to this album and you will be hooked.
The album starts with a classic song I Just Wanna Make Love To You. This is a song that Waters had recorded before, and was covered by many other blues musicians at the time. In fact you could fill several albums with cover versions of this song by a multitude of artists. This version however, is something special. The song starts with Waters on guitar and the drums playing, then the rest of the band join in. They go on to give a performance of this song unlike no other. The guitar playing, complete with fuzz-box is exquisite, Waters plays the guitar in a way Hendrix at his best would be proud of. In fact, on this track, the style is almost a homage to Hendrix. On this track, have a band at the top of their game. They change the song completely, it is sung and played much quicker, and is a different and better song.
I’m Your Hoochie Coochie Man is another blues standard, that many people will be aware of, and are likely to have heard many times before. Not played like this before they won’t! The song is transformed, the band and Waters take the song, and play it with more feeling and passion, than you would thought possible. The musicianship on this track is of the highest standard. Here you have two dueling guitars, complete with wah-wah effects, competing against drums, fuzz-bass, harmonica and piano. Waters gives a standout vocal performance, and this for me, is the definitive version of this song.
The third track is Let’s Spend the Night Together, and when you hear this version you will be hard pushed to recognize this as the song the Rolling Stones recorded. This is a far better song, played by a real bluesman, not four English middle class blues wanna-bees. On this version, the guitar track is unlike anything the Stones could ever play, it is just over three minutes of glorious guitar playing. The bass line has the feel and sound of The Temptations song Get Ready. Listen carefully to the song, and you will hear Waters clapping, gospel style, in the background. On this track he really lets himself go, ad-libbing the lyrics, changing the words, like a soul many testifying.
The next track She’s Alright begins with Waters and his band kicking loose. This track has the sound of a band jamming, the sound is loud and big. Waters and the band compete for the listener’s attentions. The guitar playing and drumming on this track are outstanding, and later in the track there is even a flute solo. Waters sings the song well, but the band are every bit his equal, if not better. If Hendrix had given a performance like this, he would have been lauded, hailed a genius, sadly, Muddy Waters never received the same acclaim, acclaim that this performance deserves. Interestingly, towards the end of the song, Waters segues into a softly played, instrumental version of The Temptations’ hit My Girl. This is actually effective, and is a good way to end a great track.
Another familiar track on the album is Mannish Boy. This is another blues standard, that many people will have heard many times before. However, like other songs on Electric Mud, they will never have heard it played like this. The track starts with Waters singing solo, and a guitar wailing in the background. Don’t be fooled by this start, because after that, the band launch into a glorious psychedelic blues jam. The song swings, has a groove to it, it is loud and funky, and unlike no other version of this song. This is, in my opinion, the best version of this song i have ever heard.
Herbert Harper’s Free Press is a funky track, but it is more than that, it is a song with a message. The song muses on the dichotomy that was the United States at that time, where in Vietnam young American men were dying fighting a war, whilst hippies sing their flower songs and burn their draft card. However, this song features some great musicians playing their instruments beautifully. On this song you will hear some great guitar playing and drumming. This is a powerful song with a message that also features some great musicianship.
The penultimate song on Electric Mud is Tom Cat. At the start of the song there is almost a call and response between the wah-wah guitar and fuzz bass. Later on the track the soprano saxophone played by Gene Barge howls and wails. He has the ability to make his soprano saxophone produce sounds that are almost not of this world, and this is a great addition to the track. Add into the mix some masterful vocals by vocals by Waters, and what you have here is a track that is totally of its time, and up there with the best psychedelic music of the era.
The final track is The Same Thing, a Willie Dixon penned song. If, I Just Wanna Make Love To You, was a good way to start this album, this is a fitting way to close it. Waters sings the song well, and is nearly overpowered by the guitars screeching in the background. The guitars and Waters enter into a duel from prominence, with Waters winning, however, only by a short head. The guitar playing is the best thing about the track. In fact, when listening to this track, you tend to be almost hypnotized by its quality, to the exclusion of everything else. This is not fair, as the band have reserved a stunning performance for the last track on the album.
Having told you about Muddy Waters and his album Electric Mud I hope that I have stimulated your interest sufficiently, that you will go out and buy this album. If you have heard of Muddy Waters, but never heard Electric Mud, you will not believe that this is the Muddy Waters that you may have heard previously. When I first heard this albums many years ago that was my reaction. I had started buying all of his older work. and chanced upon this album after having heard all of his earlier material. I was blown away, and could not believe this was the same Muddy Waters. It was, and I believe that this is one of his finest recordings. Should you enjoy this album, and want to explore Muddy Waters’ back catalogue, you will have plenty of choice. However, I will warn you that not all of his recordings are worth buying. Some are badly compiled cash-ins, where no care has been taken in choosing the songs, others are badly recorded or mastered. There are some good Muddy Waters albums available. These include ones that he recorded for Chess Records including His Best 1947-1955 and The Plantation Recordings. If, however, you would like to hear not only Waters, but also his contemporaries, you should buy The Chess Blues-Rock Songbook, Chess Blues Guitar 1949-1969 or Willie Dixon-The Chess Box. Any of these albums are a great introduction to Chess Records, one of the most influential record labels ever, and they feature some of the best blues artists of all time. I hope that this article makes you want to find out not only more about Muddy Waters, but also about blues music, which played a huge part in the development of the music we all love and enjoy today. Standout Tracks: I Just Wanna Make Love To You, Mannish Boy and Tom Cat.
MUDDY WATERS-ELECTRIC MUD.
LABEL FOCUS-NAKED MUSIC.
LABEL FOCUS-NAKED MUSIC.
In this article, I want to discuss one of the most influential labels in urban music. Over many years, Naked Music have released a wide variety of albums that include deep and soulful house music, broken beat, mid-tempo and nu-jazz releases. Such was the popularity of the albums, that they have achieved an almost cult status, and are very much in demand by collectors, even today. In this article, I will look at the best of the compilations released on Naked Music and recommend the best ones to buy, should you be inspired to investigate this labels’s great releases.
Naked Music started life in 1992 as a production company. The label was founded by Jay Denes and Dave Boonshoft. From the beginning, their releases proved to be both successful and popular, and they released tracks on OM Records, and the XL and Wave labels. After that, they released a series of high profile remixes for artists including Kellis, Sade, Maxwell and Britney Spears.
Denes and Boonshoft however, became frustrated, they felt that they needed greater artistic freedom. Their solution was simple, why not to start their own label. That is what they did in 1998. Since then Naked Music have released many compilation albums, artist albums and 12” releases. Each compilation album they have released is quality, and packed with great tracks. I will now look at the best compilation albums released of Naked Music.
NUDE DIMENSIONS VOLUME ONE.
Nude Dimensions Volume One was released in 1999, and was compiled by Bruno Ybarra and Petalpusher (Miguel Migs). This was the first compilation album that Naked Music released. However, what a debut compilation Nude Dimensions Volume One was. This album contains some fantastic deep and soulful tracks.
Out of the fourteen tracks on this compilation, there is not a weak track. From my experience of buying and listening to compilations, and I have bought and listened to many of them, this is unusual. Usually on a compilation album there will be at least one weak track. This makes choosing the best tracks on this album difficult, as I could choose any of them. On the album you will find tracks by Petalpusher, Janet Rushmore, Weekender, Blue Six and Gigi.
The opening track by Petalpusher, Breakin’ It Down (Jay’s Naked Vocal) is a great track. It has an interesting vocal sample at the start, and then the track features some great vocals, percussion and drumbeats. The vocal on this track has a Naked Music sound. On their tracks, this sweet and lush vocal is often found. From this track on, the quality just keeps coming. Take Me To Paradise (Summer Lover’s Dub) by Miguel Migs has a real summery vibe to it. It is, in my opinion, a classic soulful house track, and epitomizes the Naked Music sound. Surrender also by Petalpusher, is another standout track. Here the sound is similar, to Breakin’ It Down. The softly sung, lush, vocal, and the drum sound and percussion make this a track that is one of the best on the album. Very much in the same vein as the previous tracks, is Blue Six’s track Music and Wine (Th’ Attaboy Mix). Again, the track features the sweetest of vocals, and has a steady tempo throughout. Here, the drums are not as prominent in the mix, as they are on previous tracks. The other track that I thinks is a particularly strong track is Gigi’s Mood Is Right (Migs and Jelly Mix). This track features a vocal that is accompanied, and complimented by the rest of the arrangement. On this track,
It would be unfair to specify what particularly makes this track. Instead, what I will say is that the whole track has been well arranged and produced, and care has been taken when making this track. Standout Tracks: Breakin’ It Down (Jay’s Naked Vocal) and Surrender by Petalpusher, Take Me To Paradise (Summer Lover’s Dub) by Miguel Migs, Music and Wine (Th’ Attaboy Mix) by Blue Six and Mood Is Right (Migs and Jelly Mix) by Gigi,
NUDE DIMENSIONS VOLUME ONE.
NUDE DIMENSIONS VOLUME TWO.
Nude Dimensions Volume Two was released a year after Nude Dimensions Volume One. It was compiled by San Francisco DJ Mauricio Aviles and released in. As with its predecessor, the album features some of the best deep and soulful house that was around at the time.
On this album you will hear tracks by Blue Six, Undercover Agency, Aquanote, MJ Cole and Lisa Shaw. Throughout this album the quality of music is the highest standard. Like Nude Dimensions Volume One, the music on Nude Dimensions Volume Two still sounds fresh, and has not dated. Mauricio Aviles has chosen the tracks carefully, and managed to find some of the best tracks released back then.
Choosing the best tracks on the album is difficult, as there are so many contenders for the best tracks. On Nude Dimensions Volume One there was a great Blue Six track Music and Wine (Th’ Attaboy Mix), and on this album they have an even better track. That track is Pure (Mig’s Petalpusher Vocal) and it features a fantastic vocal on it. The track also benefits from a strong drum sound sitting prominently in the mix. This is one of my favorite tracks on any Naked Music compilation, never mind this album.
Undercover Agency’s track I Need You In My Life (Dub) starts with a crunching drum beat, and several vocal samples accompany, and compliment the drum beat. There is a repetitiveness to the track that actually keeps your attention. The track is not the fastest house track you will ever hear, it is only about 121 beats per minute. However, the track is well constructed and mixed.
Aquanote’s track True Love (Migs Petalpusher Love Dub) has the trademark Naked Music sound. The track features sweet vocals and has a real summery feel to it. This version was remixed by Miguel Migs, who has played a huge part in the Naked Music story, arranging, recording, and writing songs, as well as later compiling albums for the label. Migs influence is found on the next track I have chosen as one of the best on the album. He is responsible for the remix of MJ Cole’s Sincere (Mig’s Petalpusher Vocal) used. Here the female vocalist sings the song well, and Mig’s remix totally changes the sound of the track. The use of drums and percussion gives the track a big sound and funkiness that make this track one that will sound great on any dance-floor. Standout Tracks: Pure (Mig’s Petalpusher Vocal) by Blue Six, I Need You In My Life (Dub) by Undercover, True Love (Migs PetalpusherLove Dub) by Aquanote. and Sincere (Mig’s Petalpusher Vocal) by MJ Cole.
NUDE DIMENSIONS VOLUME TWO.
NUDE DIMENSIONS VOLUME THREE.
Nude Dimensions Volume Three was the final installment in this series. Volume three was released in 2001 and like Volume One,was compiled by Bruno Ybarra. This album sees the quality keeping up the same standard as the previous two installments. It appears that Naked Music were unwilling to make the same mistake as other record companies have previously made, by finding a winning format and then releasing so many installments that the quality suffers. One only has to point to the Hed Kandi and Cafe Del Mar compilations to prove this point.
On this album there is a change to the two previous albums. Whereas previously, the album featured deep and soulful house music, this album features a variety of different styles of music. Listen carefully and you will hear electro, broken beat, nu-jazz and the by now familiar deep and soulful house. This change of musical direction does not affect the quality of music. Quite the opposite. Maybe the change in format freshens things up, and helps the music appeal to a wider range of people.
As I have already stated, there are many quality tracks on this album, but the album starts with one of the best. That track is Gaelle’s Rain. This is a atmospheric and moody track, that Gaelle has just the voice to carry the song off. The song starts slowly with a softly played piano, and the tempo quickens mid-way through the track. This track is well arranged and the production on the track is not overblown.
The second track on this album that is worth featuring is Don’t Stop by Deep Sensation. This track has a much fuller sound, and features a wide array of instruments and samples. One thing I like about this track is the way percussion, vocal samples and effects that are used. Here they have not been overused, as is often the case, in similar tracks.
Earth Is the Place (Dub/Beats) by Nathan Haines has a funky house feel to it. The drums and percussion used have a latin influence. Some people may feel that the drum sound is “too busy”, however, I do not. I like the way samples are used repeatedly, and the snatches of vocals that drift in and out of the track. This is a very different track to those found on Volumes One and Two, as it lacks the soulfulness of many of the tracks.
The Satin Soul’s track Recover has a much more Naked Music feel to it than other tracks. This is more like the tracks found on the first two volumes. The track a prominent drum beat, a breathy vocal sample and a gorgeous vocal. For me, this track is one of the best on this album. It is well arranged and produced, and still sounds fresh today. Standout Tracks: Rain by Gaelle, Don’t Stop by Deep Sensation, Earth Is the Place (Dub/Beats) by Nathan Haines and Recover by Satin Soul.
NUDE DIMENSIONS VOLUME THREE.
MIDNIGHT SNACK VOLUME ONE.
Midnight Snack Volume One was released in 1999 and was compiled by Bruno Ybarra. This is different type of compilation from the Nude Dimensions compilations. On this compilation you will find a selection of some of the best downtempo and mid-tempo tracks that were around back in 1999. However, when I look at the tracks on this album, I would struggle to agree that some of the tracks are either downtempo or mid-tempo tracks. The reason for this is quite simple. Some of the tracks have the tempo that one would expect to find on a house track. For example, Extended Spirit’s track Propulsion is 126 beats per minute. Regardless of what genre I would call the tracks on this album, the tracks here are of the highest quality.
Cold Water Music by Aim is one of the finest tracks on the album. This is a mid-tempo track that you will find on many downtempo or chill-out albums. It is a track that features a multitude of sounds and samples that together, that have been arranged to produce a great track. It is a track that I never tired of hearing, as each time you listen to it, you will hear different things and sounds.
Central Living by Dave Warrin is a an atmospheric track that features amongst other things, bass and drums. The track to me, has the tempo of house track. It starts slowly and the tempo quicken after about a minute. There is almost a drum and bass feel to the track. It is a good track that works either as one to chill to or on the dance-floor at the start of a set.
Natural High by Jonathon Maron is a track what I would call a downtempo track. The track is only about 75 beats per minute. It features a male vocal sung over some very spacey drums and instruments. There is plenty of space in the arrangement for the track to breath. This is easily the best track on the album.
Always (Original) by Lovetronic is a track that starts slowly and goes on to feature a gorgeous female vocal singing some lovely lyrics. This track has a spartan arrangement. Here it is definitely the case that less is more. Again, this is song that has a downtempo feel to it. Standout Tracks: Cold Water Music by Aim, Central Living by Dave Warrin, Natural High by Jonathon Maron and Always (Original) by Lovetronic.
MIDNIGHT SNACK VOLUME ONE.
BARE ESSENTIALS VOLUME ONE.
Bare Essentials Volume One is another compilation on Naked Music that was compiled by Bruno Ybarra. This compilation was released on 2001 and features the best tracks released on Naked Music, and also some tracks that were unreleased.
On this album you will find some of the best artists on the label. Here you will find Blue Six, Petalpusher, Lovetronic and Night Source. However, I have three criticisms of the album. Firstly, on this album you will find several tracks that can be found on other releases on Naked Music. Secondly, on this album five tracks are featured twice. There are two versions of tracks by amongst others, Petalpusher, Blue Six and Lovetronic. My third criticism is that there are two separate tracks by Blue Six and Petalpusher. Even though I have voiced these criticisms, what you will find here are some great deep and soulful tracks.
As I have discussed some of these tracks elsewhere in this article, I will not go into them in depth. However, this is album is still worth buying, even though some of these tracks are available on other Naked Music compilations. Standout Tracks: Breakin’ It Down (Jay’s Blue Vocal) by Petalpusher, Music and Wine (Th’ Attaboy Mix), Soulmate (Original) by Summerland and You Are Love (Si Brad’s Payback Vocal) by Lovetronic.
BARE ESSENTIALS VOLUME ONE.
BARE ESSENTIALS VOLUME TWO.
Bare Essentials Volume Two was released in 2003 and was compiled again by Bruno Ybarra. The previous year 2002, saw Naked Music release artist albums by some of their best known artists, Blue Six, Aquanote and Miguel Migs. It was from these releases and previous releases that the tracks from this album were taken. So, what we have here, are some tracks from familiar artists and some new artists. Like the album cover says, this is the best of Naked Music. As was the case with previous compilations, this album is crammed full of quality music.
Inside by Central Living has the feel and sound of a classic house track. This track has a soulful feel to it and has the trademark Naked Music sound to it. Here you find the lush, sweet vocal, that features on many of the label’s best tracks. The track is well arranged and does not feature a multitude of instruments, sounds and samples.
All I Need (CJ One Remix) by Andy Caldwell starts with a prominent drum beat and then goes on feature a lovely arrangement that has within it, percussion, keyboards and vocals. This is the type of track that Andy Caldwell does well. In the same way that there is a Naked Music sound, Andy Caldwell has his own unique sound, and is responsible for producing numerous top quality tracks. This is easily one of the best tracks on the compilation, and probably the only one to feature a flute solo.
Brighter Day (Quant Remix) by Kaskade has an interesting sound. Here there is much more going on in the mix, and there is almost a broken beat feel to the track. The use of percussion and vocal samples with echo and delay adds to the track. What this track has in common with the Central Living track, is the vocal sound. However, on this track the vocal is used more sparingly, and this adds to the vocal’s impact.
The best track on the album is Rely on Me (Jay’s Bodega Vocal) by Petalpusher. This track has a fantastic arrangement. The track builds slowly, and has a wonderful sound, very melodic, featuring a lush and sweet female vocal and a keyboard solo that is one of the track’s highlights. This track has a great hook, and some good lyrics, that are well sung. Like the Andy Caldwell track this song features…yes a flute solo. Standout Tracks: Inside by Central Living, All I Need (CJ One Remix) by Andy Caldwell, Brighter Day (Quant Remix) by Kaskade and Rely on Me (Jay’s Bodega Vocal) by Petalpusher.
BARE ESSENTIALS VOLUME TWO.
CARTE BLANCHE VOLUME ONE.
Carte Blanche Volume One was released in 2000. This was another compilation that was compiled by that arbiter of taste Bruno Ybarra. Like the Midnight Snack Volume One compilation, this album features a mixture of downtempo and quicker tracks. Throughout this album you will hear a variety of tracks unlike previous Naked Music compilations. What is still present is the quality. Naked Music never let the quality drop on any of their compilations.
The Groove by Global Communications is the first song on the album. It is also a beautiful downtempo track. Although this a relatively short track, it is quality from the intro to the outro. The pace throughout the track is pedestrian and the drum beats and other sounds that are on this track, have a lovely summery feel.
Soulmate (Swag Remix) by Summerland has a stuttering start, and track starts slowly and quickly the tempo increases. The track uses effects, such as echo, to accentuate the sounds used within the track. This is effective and works well. The track sounds to fast to be a downtempo track, but too slow to be a house track. What it is though, is a track that is well arranged and produced, and has an atmospheric feel to it. Even if you were to listen to this track numerous times, you would not hear all of its subtle nuances.
Heartbeat by Qale Mota has the sweetest vocal in it. This sits behind an array of drums, percussion and samples. The track has a repetitive quality that is appealing, and pleasant to listen to. This track has a slower tempo than Soulmate (Swag Remix) by Summerland and has a similar tempo to The Groove by Global Communications. It has the sound and feel of a downtempo track. It is a pleasant song to listen to, and is one of the best on the album.
Beau Mot Plage (Freeform Reform Parts 1 and 2) begins like a classic house track. It has the tempo and feel, and is well structured. The track gradually builds up, then suddenly, at the song’s bridge, the tempo drops, only to build up again. Throughout the track a huge variety of instruments, sounds and samples are used. However, this does not have the effect of overcrowding or overpowering the song. Quite the opposite. This is a well structured song with a funky house feel to it. Standout Tracks: The Groove by Global Communications, Soulmate (Swag Remix) by Summerland, Heartbeat by Qale Mota and Beau Mot Plage (Freeform Reform Parts 1 and 2).
CARTE BLANCHE VOLUME ONE.
CARTE BLANCHE VOLUME TWO.
Carte Blanche Volume Two was released in 2001. This installment in the series was compiled by Bruno Ybarra and Gabriel Yene. The music on the album is a mixture of styles and tempos. As usual, Naked Music have produced a quality album, crammed full of top class music.
Flute Salad by Sven Van Hees is a mellow and spacey track. It begins slowly and features a flute throughout the track. Apart from the drum beat, instruments and samples are used sparingly. The track seems to meander gently for just over four minutes and is a lovely track that would grace any downtempo album.
Flight by Sidewinder is a slightly faster track. On the track an organ and saxophone are used, and this gives the track a warmth. This is complimented by the more traditional sounds found on a track like this. The use of drums, percussion and vocals make this a memorable track, that has a much fuller sound than Flute Salad by Sven Van Hees.
Silver Surfer by Cpen has a broken beat feel to it. This track benefits from a strong arrangement and production, and the way the drums are programmed is interesting. This is neither the drum sound you would find on a traditional house track, nor is it the drum sound that is found on the best downtempo tracks. However, this is a good track and is one of the best tracks on the album.
Goddess by Wai Wan is another good track. It starts slowly and gets quicker as the track develops. In places the sound is sparse, then all of a sudden, there is a frantic feel to the track. The drum beats get really quick, then all of a sudden, their tempo decreases. After that a variety of sounds, stabs and vocals drift in and out of the mix. This has a pleasing effect. Again, this track, in places has a broken beat feel to it. This is an interesting and enjoyable track. Standout Tracks: Flute Salad by Sven Van Hees, Flight by Sidewinder, Silver Surfer by Cpen and Goddess by Wai Wan.
CARTE BLANCHE VOLUME TWO.
CARTE BLANCHE VOLUME THREE.
Carte Blanche Volume Three is the last installment in this series. It was released in 2002 and compiled by Bruno Ybarra. This installment saw a change in musical direction from mid-tempo music to a more eclectic variety of music. Within this album you will hear deep house, jazzy beats, electro and retro-funk. What this really is, is fifteen quality tracks.
Light by Burn Burn has a slow start and features strings and keyboards, and moves slowly along. The track wanders slowly, the drum beats complimented by strings and various percussive sounds. This is a quality downtempo track.
Fall Into You by Stateless is easily the best track on the album. The track features a vocal that is accompanied by a beautiful melody. This is a mid-tempo track, that would not be out of place on a downtempo album or the dancefloor. The track has almost a soulful house feel to it.
Lectropic by Andy Caldwell is different from a lot of his other work. This has the tempo of a classic downtempo track. It is a slow atmospheric track, rather than house music he is better known for. However, Caldwell is a talented producer and has the ability to produce a wide range of different tracks. This track benefits from not having a huge variety of sounds on it. There is a spartan feel to the track that I like.
Falling by Gaelle is a track from her album Transient. This is slower track that is given an almost broken beat remix. Gaelle is a talented singer, and sings the song well. This remix totally changes the song. Unlike many remixes, this compliments the song. Too often, the remixer takes a perfectly good song, and does nothing to improve. In this case, this is a lovely song, that is one of the best on this compilation.
CARTE BLANCHE VOLUME THREE.
Now that you know more about the Naked Music label, I hope that you will feel inspired to go out and buy some of the music I have featured in this article. Should you do so, I am sure that you will not be disappointed. What you will have purchased is some wonderful music. Within the nine albums I have featured here, is a wonderful eclectic selection of music, from deep and soulful house, to downtempo and mid-tempo, and from broken beat to retrofunk. What all of these tracks have in common, is quality. I hope that should you buy these albums, you will want to find out more about the Naked Music label, and also the music that is on each of these albums.
OV WRIGHT-THE BOTTOM LINE.
OV WRIGHT-THE BOTTOM LINE.
The album that I am now going to write about, is one that I discovered when crate-digging, many years ago in a record shop. This album is OV Wright’s album The Bottom Line. Wright released The Bottom Line on Hi Records in July 1978. However, many people will never have heard of Wright, or his brilliant music. Hopefully, by the time that you have read this article you will know more about OV Wright, and possibly be intrigued enough, to go out and buy some of his music.
OV Wright was born in 1939, in Leno, Tennessee. In many people’s opinion, Wright is one of the best deep soul singer ever. Prior to releasing his first single There Goes My Used To Be for Goldwax Records. However, it was to be the b-side of this release, That’s How Strong My Love Is, that proved to be most popular. Prior to this release, Wright was already a successful gospel singer. He had previously sung with gospel groups the Spirit of Memphis Quartet and the Sunset Travelers. Wright was by no means the first artist to cross from gospel music to secular music. Artists such as, Aretha Franklin, Mitty Collier and Sam Cooke all left the gospel circuit to become successful soul singers.
However, Wright’s big break came when he signed with Houston based Back Beat Records. He was with Back Beat for eight years, and many soul music critics are of the belief Wright recorded his best work for that label. What is interesting is the influence that Hi Records had on Wrights career. All of the music that Wright released on Back Beat, was not only recored at Hi Records studio, were produced by Willie Mitchell of Hi Records, written by Hi Records’ songwriting team. Willie Mitchell especially, had a huge influence on OV Wright’s career, having guided Wright’s career for ten years. When, in March 1976, Wright’s contract expired with ABC/Back Beat Records expired, he moved to Hi Records, and went on to record three albums for Hi Records. These albums Wright released were: Into Something (Can’t Shake Loose) in June 1977; The Bottom Line in July 1978; and We’re Still Together in May 1979. If you take the time to seek out these three albums, you will be unearthing musical nuggets, that you will savor for years to come. Sadly, OV Wright died suddenly in November 1980 of a massive heart attack, the cause of which, was put down to Wright’s many years of drug abuse. Since his death, many people have “discovered” Wright, and he has gone on to influence a new generation of soul singers and music fans.
The opening track on The Bottom Line, is the title track, The Bottom Line. This track is a slow track which Wright sings with his trademark rasping voice. The track features the marvelous Hi Records house band, the Memphis Horns and some wonderful backing vocals. Wright sings this strong song well, and Willie Mitchell’s production is masterful.
Probably the best known song on the album is I Don’t Do Windows. This is a George Jackson and Raymond Moore song that benefits from Wright’s unique vocal style. It is a song that swings, and there is no-one better than Wright to sing it. Again, the sound produced by the band and the Memphis Horns make this a great song.
Wright next goes on to cover a song previously sung by Bobby Womack, That’s the Way I Feel About Cha. As someone who knows and loves Womack’s version, when I first heard this song I approached it with some trepidation. In some ways, I was correct to do so, Wright’s version is nowhere near as good as Womack’s version. Womack’s sings the song better, and maybe his voice is better suited to the song. Wright’s version seems too slow, and lacks the feeling Womack’s has. This is not the worst cover of this song I have ever heard, but by no means is it the best.
The next song Your Good Thing Is About To End is another cover version. This time it is a cover of a song written by Isaac Hayes and David Porter, who wrote so many good songs for the Stax record label. Again, I have heard better versions of this song, but this is an interesting version, packed full of emotion and sung with feeling. The band perform well and the backing vocalists give the song some depth and quality.
Let’s Straighten It Out is the third cover song on the album, and is a cover of a song previously recorded by Benny Latimore. This is, in my opinion, the best of the three covers song. Wright really lets loose and uses a wide vocal range to deliver this song. He sings the song with feeling, and the delivery is strong. One of the highlights of the album Aarion Nesbit’s keyboard playing.
One of the best songs on the album is next on the album. That song is I Don’t Know Why, and is written by Willie Mitchell and Don Randle. They could not have chosen a better singer to sing this song. The song is made for Wright. He produces a sterling vocal performance, singing the song with feeling and passion. This song, to me, is a classic Hi Records track.
The next song is another one written by Mitchell and Randle. Once again, this another song that benefits from Wrights vocal. The song No Easy Way To Say Goodbye, is a familiar one to many people. From start to finish this song is perfection, Wright’s voice sing the lyrics really well, and the backing vocals and keyboard playing compliment Wright’s delivery of the song.
After two previous great tracks, it is hard to keep the quality up. However, this track, A Little More Time, fails to do so, and is easily the weakest song on the album. On the song Wright name checks many long gone singers, and overall the lyrics are weak, and Wright’s delivery is average, at best.
Since You Left These Arms of Mine sees a return to form. This is a much stronger track than A Little More Time. The lyrics are better and so is Wright’s vocal performance. This track is a slow, sad song, about love gone wrong, that features some lovely backing vocals and keyboard playing.
The final track on The Bottom Line is A Long Road. It is another track written by Mitchell and Randle. It is no coincidence that some of the best tracks on the album are written by both of them, or either of them. A Long Road is another slow song, and Wright, as he has on other slower tracks, delivers the song with feeling, bringing out the best in the song. Although, on this album, I believe Wright is at his best singing faster songs, his versatility allows him to sing the slower songs just as well.
Now that you know a little about OV Wright, and this album The Bottom Line, I hope that you will decide to go out and buy this album. What you will find is an album that showcases the talents of one of soul music’s best kept secrets. OV Wright was a very talented singer, who was blessed with an unmistakable, rasping voice. Although, he may not have produced as many albums as other better known soul singers of his time, what is lacking in quantity, is made up in quality. His time at Hi Records saw him record three albums, and they are three albums which feature some of his best work. Yes, he produced good material for Back Beat Records, but I believe his albums on Hi Records are every bit as good, if not better. Should you want to buy all of OV Wright’s studio albums on Hi Records, back in 1999, Demon Records released a two cd set featuring all three albums, as well as two bonus tracks. I am sure if you do go out and buy this album, you will then go on to buy other releases by OV Wright. Should you like OV Wright’s voice and sound I would suggest you go out and buy some of Otis Clays’s albums as well. He like OV Wright and Al Green also recorded some wonderful music on Hi Records. Standout Tracks: The Bottom Line, I Don’t Do Windows, I Don’t Know Why and No Easy Way To Say Goodbye.
OV WRIGHT-THE BOTTOM LINE.
KING TUBBY-DUB FROM THE ROOTS.
KING TUBBY-DUB FROM THE ROOTS.
Like many people, I have a wide taste in music, and enjoy listening to all sorts of music. One of my favorite types of music is dub reggae. I never tire of listening to dub reggae albums, and one of my favorite albums in that genre is by King Tubby, and it is Dub From the Roots. King Tubby released Dub From the Roots in 1974, and when you look at the album credits, what strikes you immediately is the quality of personnel who feature on that album. The Aggrovators are the backing band, Augustus Pablo plays organ and piano, Ronnie Shakespear plays bass and Bunny Lee produces the album. Added to that wide array of talent involved, one must not forget that King Tubby is the mixing engineer and is responsible for creating the dub sound.
King Tubby was born Osbourne Ruddock, in 1944, in Jamaica, and later became an electronics and sound-engineer. He is widely credited as being responsible for developing the sound of dub, and helping it to evolve in the 1960’s and 1970’s. In fact, King Tubby is perceived as elevating the status of the mixing engineer to that as someone who can have a creative impact on the sound of the music that they are responsible for mixing. This is similar to the elevation in the status of DJ’s in the past twenty-five years, from people who merely play records, to artists who are capable of changing and improving the sound of a record. Many people believe that King Tubby is the founding father of dub, as often referred to as the Godfather of Dub. Indeed, King Tubby is often credited as the person who invented the remix.
Prior to finding fame, King Tubby started out as a radio repairman in the 1950’s. He put this talent to good use repairing the numerous sound systems on the island. King Tubby also built powerful amplifiers for the various sound systems. Eventually in around 1961, he decided to build his own radio transmitter and went on to run his own pirate radio station. Later, he went on to build his own sound system Tubby’s Hometown Hi-fi. This was very popular with fans of the sound systems, because of his sound system’s superior sound quality, the exclusive records he sourced and played and the sound effects he interspersed within his show. He was one of the first people to use sound effects like echo and reverb in his shows.
King Tubby’s career took another turn in 1968. He managed to get a job with Duke Reid as a disc cutter. This allowed him the opportunity to remix tracks that Reid had produced. These tracks were instrumental tracks, with King Tubby removing the vocals from the tracks. Initially, the way that King Tubby did this, was to remove the vocal track by using the sliders on the mixing desk. This worked, and then he realized that he could add to the track by changing the way the vocal sounded, and adding sound effects like echo, phase and reverb by using different settings on the mixing desk. King Tubby’s newly created sound had the effect of making his sound system the most popular in Jamaica.
After King Tubby’s discovery, and initial work for Duke Reid, he became a not only famous in Jamaica, but worldwide. Like all new methods and innovations in music, this led to other people being influenced by his work, and other producers went on to produce similar releases. King Tubby went on to work with the great and good of reggae music. He worked with Augustus Pablo, Lee Perry and Bunny Lee amongst others, and his work is still influential within the music industry today.
In 1973, King Tubby went on to try something new and revolutionary. He built a vocal booth in his studio, and this allowed him to record a vocal track onto tracks brought to him by various producers and musicians. This became known as voicing in reggae music.
King Tubby had almost retired by the end of the 1970’s, and although he still mixed dub tracks, and was a mentor to up and coming mixers and producers, he was nowhere near as prolific as he was in his prime. Producers like Scientist and King Jammy, both of whom have produced some great albums, credit King Tubby as being responsible for helping launch, and influence their subsequent careers.
Sadly, King Tubby died aged forty-five in tragic circumstances. In February 1989 he was shot and killed, outside his home, after coming home from a recording session. Although it is unclear why this tragic event occurred, it is thought to have been an attempted robbery that went dreadfully wrong. This was a sad loss to not only reggae music, but to music in general, as his influence is felt throughout music.
Moving on to King Tubby’s 1974 album Dub From the Roots, what you will find are fourteen great tracks. The first track Dub From the Roots, sees King Tubby take track and give it his unique treatment. When you hear the introduction, it lulls you into a false sense of security, it starts quietly and then suddenly the track explodes into a glorious dub soundscape. Throughout this track King Tubby takes Bunny Lee’s recording and inserts his own unique sound. Listen carefully, and you will hear the deepest of bass sounds, huge booming echoes, drum sounds that have had effects added and and an array of sounds that defy interpretation as to what they are.
On Iyhata the track is not as overpowering as the opening track Dub From the Roots. Iyhata is a much more subdued affair, featuring a glorious rhythm track. The use of sound effects is much more sparing, and this actually benefits the track. There is not to much going on that your mind starts to wander. The use of echo towards the end of the track amplifies the glorious rhythm.
Mine Field is the next track and it features a lovely mixture of drum, brass and echo at the start. The track then meanders on, the use of space adding a subtlety to the track. Throughout the track the brass section and the echo interplay. This is a good track that I rate as one of the best on the album.
The next track Hijack the Barber starts with a strangulated vocal sound, and then features a mixture of instruments. What makes the track for me is the use of drums, rhythm, brass and echo. King Tubby uses the echo to mangle the sound, but no to the extent that it spoils the sound. The use of a mangled vocal interspersed throughout the track adds to the effect.
African Roots has a different sound and feel to it. The track features mostly the rhythm section. Echo is used to good effect on this track. However, sometimes the echo has the effect of overpowering the sound, causing the speakers to rumble gloriously. This, to me, is what I want to hear in a dub track. I want to hear huge booming echo used with the drum sound, so much so, that the speakers almost give up the ghost.
The next track Double Cross, again, starts with a brass section. Also featuring on the track are a rhythm section. Both the brass section and rhythm section’s sound is relatively untouched by King Tubby and his sound effects. He has used echo and reverb, but only sparingly. This track has a spacey, atmospheric feel to it.
East Of (Arrows Hi-Fi) is the next track on this album. It has a fuller and louder sound on it. Here King Tubby uses his effects well, and the track features effects that compliment the track’s sound. Often in dub music, you will find that the track is almost unrecognizable, and is awash with sounds that smother the sound of the original track.
Invasion has a classic reggae sound to it. The Aggrovators reserve one of their best performances for this track. The backing band that accompany them play beautifully. Robbie Shakespear’s bass provides a foundation for the track, and the drummer provide a steady backdrop to this track. King Tubby finds a happy medium here, not overusing his effects.
Dub of A Woman starts with Augustus Pablo’s organ solo, which throughout the track compliments the rhythm section. The track has a lovely summery vibe, and King Tubby’s placing of sound effects is almost perfect. This track shines out as one of the best on the album.
On Dub On My Mind, we have a song that compliments the previous track Dub of A Woman really well. The sound also features the same organ sounds, and the same steady rhythm section. What differs here, is the use of sound effects. Here, they are much more prominent in the mix. This does not spoil the track, although it does not improve it much either.
The track Steeling begins with a light and breezy organ sound, which gives way to the rhythm section, who go on to provide the basis for a good track. The use of the organ throughout the track, has the effect of keeping the listener wondering what will happen now, and compliments the rhythm section’s playing. Steeling is a good, strong, track.
Dub Experience has a similar sound to Steeling, the previous track. What differs though, is the barely audible vocal that can be found within the track. The one thing that is a constant throughout this album is the high standard of musicianship. Here the rhythm section give another top class performance. Like most tracks on this album, this another strong track.
The penultimate track on the album is Declaration of Dub. This is an atmospheric track, because of the use of a haunting vocal and the sound effects. Throughout the track, the rhythm section provide a steady beat, and the other instruments and effects work round the rhythm section.
A Truthful Dub is the final track on the album. It has an upbeat tempo, and within the track, King Tubby lets loose with his arsenal of sound effects, some of which are subtle, others far from subtle. This is a good track but not my favorite track, because of the overpowering nature of some sounds effects on this track.
That is the story of firstly, King Tubby, and then, his much heralded album Dub From the Roots. What this album is, is one of the finest, and most influential dub albums ever released. Within the album you, will find some wonderful music and some wonderful musicians. King Tubby has taken these tracks and remixed, or some would say, remade them. With most of the tracks he has improved on the initial tracks, something that not all latter day remixers always do. For someone who has never listened to either dub reggae, or King Tubby’s music, this is a good album to buy. Recently, Dub From the Roots has been re-issued and it can also be found on the Evolution of Dub Volume One, The Origin of the Species box set on Greensleeves Records. On this box set you will find King Tubby’s Roots of Dub album and two other classic dub albums. Should you have enjoyed this album, you will have a lot of other albums to explore in the future. One that is worth seeking out is Bunny Lee Presents the Late Great King Tubby box set, which is a four disc box set which includes ninety-three tracks. However, a word of caution is required. In my experience, the standard of remastering on some dub albums leaves a lot to be desired, and you will need to be careful when buying dub albums, as some have a poor quality of sound. You will also need to beware of some dub compilations, as they are hurriedly compiled, feature poor quality tracks, and the standard of mastering is poor. If you are careful however, you will discover not only some great music by King Tubby, but by other great dub artists and producers. Standout Tracks: Mine Field, Hijack the Barber, Double Cross and Dub of A Woman.
KING TUBBY-DUB FROM THE ROOTS.
BOBBY WOMACK-THE POET II.
BOBBY WOMACK-THE POET II.
The album I am going to review in this article is by Bobby Womack’s 1984 album The Poet II. The Poet II was the follow up The Poet, which was Womack’s comeback album, which featured a top 10 R&B hit If You Think You’re Lonely Now. Before the release of The Poet Bobby Womack had been down on his luck. In 1976, his record label United Artists dropped him from their roster, and to make matters worse, he fell out of favor with his traditional R&B fanbase.
However, this was just the latest problem that Bobby Womack had faced in his musical career. Womack was born in 1944 and started his musical career in his family group The Womack Brothers with his brothers Friendly Jr, Curtis, Harry and Cecil touring the gospel circuit. The Womack Brothers were following in their father’s footsteps. However, an encounter with Sam Cooke saw The Womack Brothers sign to Cooke’s own label SAR Records and renamed The Valentinos and began a career in secular music, turning their back on the less lucrative gospel circuit. The Valentinos had chart success with the song Lookin’ For A Love and It’s All Over Now. Bobby Womack wrote It’s All Over Now, and he was fortunate that The Rolling Stones went on to record the track, and it reached number one in the UK charts. All went well with The Valentinos until Cooke’s untimely death. After Cooke died, they moved to Chess Records and recorded for them, but ultimately The Valentinos career ground to halt and they split up.
After The Valentinos split, Womack became a session musician, working with various artists, including Joe Tex, Sly and the Family Stone, Janis Joplin and George Benson. Solo success alluded Womack until 1968, when he recorded It’s Gonna Rain and More Than I Can Stand. However, Womack was writing songs for other artists successfully at that time including Wilson Pickett.
Womack signed to Minit Records in 1968, where he released Fly Me To the Moon, It’s Gonna Rain and More Than I Can Stand. It was when Womack joined United Artists in 1971 that his career started to take off. His first album on Unite Artists was Communication, and the track That’s the Way I Feel About Cha gave Womack his first top forty single in the US. His follow up album Understanding, featured one of Bobby Womack’s best known songs, Harry Hippie. The song Harry Hippie was based on Womack’s brother and went on to sell over one million copies, gaining him a gold disc. Understanding also featured A Woman’s Gotta Have It, which gave Womack his first number one R&B hit.
In 1974, Womack re-released The Valentinos song Lookin’ For A Love, and it became a top ten hit in the US. Up until he was released by United Artists in 1976, Womack continued to released singles and albums. However, tastes change, and possibly, Womack’s sound failed to evolve with musical tastes, and he suddenly found himself without a record contract, until the release of 1981’s The Poet.
On Womack’s 1984 album The Poet II there are only nine tracks on the album. The first track is Love Has Finally Come At Last, and on this track Patti Labelle is a guest vocalist. This track has a gentle start, with Labelle gently singing, then in comes Bobby Womack, shortly to be joined again by Labelle, this time singing louder, her voice going into a call and response with Womack. This is a song about finding love after a long time looking for it, and Womack and Labelle are a great match, their voices compliment each other’s, both have a great vocal range, and really do the song justice. However, it would be unfair not to mention Fernando Harkless’ stunning saxophone solo on this track. Overall this is a great way to start the album.
The second track, It Takes A Lot of Strength To Say Goodbye, sees Womack singing a slow song, one with lyrics that have a strong narrative. Womack sings this song well, and after about a minute, the backing vocalists, sing softly, complimenting vocals gentle vocal. Shortly afterwards, Patti Labelle joins Womack, and she goes on to almost steal the show. Her vocal is loud and strong, and she sings the song with passion and feeling. Labelle’s vocal almost overpowers Womack’s, and she sings above him, almost taking the lead vocal on the track, yet this does not detract from the track.
Through the Eyes Of A Child starts with a piano and bass, then Womack half speak and half sings the introduction. Then he goes on to sing some wonderful lyrics. On this track he is accompanied by a crack band of musicians and backing vocalists. The backing vocalists include The Valentinos, Patti Labelle and The Waters. Together, they make this a great track with, joyous and hopeful lyrics and a wonderful soulful sound.
The next track Surprise, Surprise to me, reminds me of vintage Bobby Womack. This track could have come from one of early albums, Communication or Understanding. Surprise, Surprise has a totally different sound and feel to the three previous songs. It is a slower track, with less going on. There are no big vocal solos on this track. For example, Labelle’s vocal is not present on this track. Here, Womack sings slowly, the musicians play much quieter and this works well. This is the best of the four opening track. Maybe this is because I enjoy Womack’s older stuff so much.
Tryin’ To Get Over You sees Bobby Womack ups the pace in this track. This is one of the best tracks on the album. Once again, this track sees Womack show a return to his previous best. He seems to find a confidence on this track that was lacking in the first two tracks. Maybe that is why Labelle plays such a big part on these tracks. This track though, is vintage Womack, here he rolls back the years, and it is like 1972 again.
On the next track Tell Me Why, the track begins with a long instrumental introduction. Once the track gets going, Womack sings the lyrics well, his band perform this quicker track with aplomb and the backing vocalists compliment Womack and his band well. Overall, I like this track, it is a “feel-good track”, one that would be good on the dance-floor, and when you hear it, it immediately makes you want to dance.
Who’s Fooling Who is another track with a funky feel to it. The tempo is quicker than on previous tracks. On Who’s Fooling Who, the lyrics are worth listening carefully to, as they tell a story, and have an element of humor in them. This is a good track, but once again some of the sounds on the track have not dated well. However, Womack’s vocal, the band’s performance and the glorious backing vocals are the good points of the track.
The penultimate track on The Poet II, is I Wish I Had Someone To Go Home To. The track has a spoken introduction, with Womack raspy voice adding impact. Once the track gets going Womack sings some lovely lyrics beautifully. This is easily the best song on this album. Once again, there are elements of Womack’s earlier work on this track, and it is songs like this that he sings best.
The final track is American Dream. The track begins with a sample from the famous “I Have A Dream” speech by Dr Martin Luther King, and then Womack goes on to sing some meaningful and thoughtful lyrics. At the time this record was released, the use of a spoken word sample was quite a new and brave thing to do. In my opinion the use of the sample at the start and end of the song make this track. If the sample was not used, this track would not be as good as it is.
That is the story of Bobby Womack’s 1984 album The Poet II. This is an album that I have enjoyed listening to since its release, and even though some of the sounds on a couple of tracks sound somewhat it still sounds good twenty-seven years on. In my opinion this is an album that is worth buying, there are some great tracks on it, and the album features some great singing by Womack, super musicians and stunning backing vocals. The standard of songwriting on the album is good too. However, if you do buy this album I am sure that this will be just the first of many Bobby Womack album’s you will go on to buy, and I can tell you this, you will have plenty of other great albums to choose from. Standout Tracks: Love Has Finally Come At Last, Surprise, Surprise and Tryin’ To Get Over You.
BOBBY WOMACK-THE POET II.
COCTEAU TWINS-HEAVEN OR LAS VEGAS.
COCTEAU TWINS-HEAVEN OR LAS VEGAS.
In a previous article about Annie Barker, and her album Mountains and Tumult, I mentioned that former Cocteau Twin, Robin Guthrie, produced the album, and that Annie Barker sounded like Liz Fraser, another former Cocteau Twin. This made me think that maybe the time was right for an article about the Cocteau Twins. So, I spent some time listening to their albums, and have decided that I will review the Cocteau Twins album Heaven Or Las Vegas.
The Cocteau Twins were formed in 1979 and between 1979 and 1997 the Cocteau Twins became one of Scottish music’s biggest exports, releasing eight studio albums, as well as numerous singles, EP’s and compilations. Originally, the Cocteau Twins comprised of vocalist Elizabeth Fraser, Robin Guthrie who played guitar and drum machines and Will Heggie on bass guitar. Bass player Heggie, subsequently left the band in 1983 the year after the release of their debut album Garlands, and just after the release of their second EP was released. Heggie was replaced by Simon Raymonde. Such an event could have damaged a new group badly, however, this was not the case with the Cocteau Twins. The loss of Heggie had a positive effect on the group’s musical direction, as they then went on to develop the sound that they became famous for, and that the group’s ever expanding fan-base enjoyed. Throughout their career the Cocteau Twins attracted a worldwide following of fans and their albums received good reviews from music critics. By 1990, the group were in their prime. This was the beginning of a period that would see them release three great albums, Heaven Or Las Vegas in 1990, Four Calendar Cafe in 1993 and their final studio album in 1996, Milk and Kisses.
The release of Heaven Or Las Vegas came at an eventful time in the group’s personal life. Robin Guthrie became addicted to drugs, and Liz Fraser had just given birth to a daughter a year earlier in 1989. Motherhood had an effect on Fraser and on this album are much more intelligible than on previous albums, and many of the lyrics are about her new daughter. Because of Guthrie’s “rock ‘n’ roll flu”, Simon Raymonde plays a bigger part on this album. When you listen to the album, his bass playing has a more prominent role that on previous albums. This, to me, is one of the reasons that this album is such a good one. However, after the release of the album and the concert tours to promote the album, 4AD released the album from their contract. This was said to be down to Guthrie’s drug problems. Luckily for the Cocteau Twins, Guthrie entered rehab and cleaned up, they signed a new recording contract with Mercury Records and a new member joined the band, Japanese guitarist Mitsuo Tate.
The Cocteau Twins released Heaven Or Las Vegas back in 1990 on the 4AD record label. Heaven Or Las Vegas was their sixth album, and became the Cocteau Twins most successful album in terms of chart position, reaching number seven the UK charts. Like all of the Cocteau Twins albums, it is hard to place Heaven Or Las Vegas in a musical genre. Many people have tried to categorize their music, and it has been called ambient, dream pop, post punk and new wave. All I will say is that the Cocteau Twins have a sound that is unique, I would refer to it as ambient, but will let you make your own mind up. When you listen to the ten tracks on Heaven Or Las Vegas, you will hear the Cocteau Twins evolving as a group. The sound is much more accessible than that of their earlier music. This is why Heaven Or Las Vegas is a good starting point for anyone who wants to find out more about the Cocteau Twins’ music. Indeed I would recommend anyone unfamiliar with their work to buy their final three albums Heaven Or Las Vegas, Four Calendar Cafe and Milk and Kisses. In my opinion, this is the best way to buy the Cocteau Twins music.
So what are the songs on Heaven Or Las Vegas like? Throughout this album you will be fortunate to hear Liz Fraser’s ethereal and beautiful voice singing barely intelligible lyrics, and when you can hear the lyrics, they have a surreal quality about them that is synonymous with the Cocteau Twin. This is their sound, a sound no other group can replicate. Some people say that it although beautiful, it defies description. However, I will now attempt to do that.
The first song Cherry-Coloured Funk is a slowish song, it never rises over ninety beats per minute. The track begins with Guthrie’s guitar shimmering, inviting Liz Fraser’s ethereal voice to accompany, and compliment his guitar playing. This she does beautifully, with her voice singing lyrics that are just intelligible, but at the same time have a gorgeous sound to them.
Pitch the Baby is the second song and starts with synth and guitar and then Fraser voice quickly steals the show. This song has the same tempo as Cherry-Coloured Funk but features a fuller and sharper sound. What it does have in common with Cherry-Coloured Funk is Fraser’s beautiful vocal. On this track she sings the lyrics faster, and because of the fuller sound she is almost competing with the instruments on the track.
The next track Iceblink Luck is a faster track, with a much more rounded sound than the previous track. On this track the drums play a much more prominent role and the guitar is louder. This does not spoil the track though. In fact, quite the opposite, as Fraser employs a much stronger vocal style.
Fifty-Fifty Clown is a departure in style from the previous track. Instead, what we have here is slower track, a return to the tempo on the first two songs. This track is a showcase for Fraser’s voice. There is a lushness to the track that allows Fraser’s ethereal voice to shine. This is a track that is made great by Fraser’s vocal performance.
On the next song, the title track Heaven Or Las Vegas, there is yet another change in style. The sound has a sharper jagged edge to it. Fraser employs a different vocal style, a louder, fuller sound that fits with the rest of song’s sound, to sing the almost surreal lyrics. The band’s overall sound is a much fuller sound, at odds with the previous track. This is not a criticism, merely an observation. This is something that long-time listener’s to the Cocteau Twins music have come to expect. Heaven Or Las Vegas is a good track, it demonstrates the way that the Cocteau Twins sound can evolve from one track to the next.
I Wear Your Ring sees the Cocteau Twins up the tempo significantly. This is one of the quickest songs on the album, and is also one of the most beautiful. Fraser reserves one of her best vocal performances for this track. The rest of the band choose this track to produce one of their best performances on this album. To me, this is the second best song on the album, Fifty-Fifty Clown to me, being the standout track on the album.
Fotzpolitic, the seventh track on the album sees Fraser give another great vocal performance. The track has a somewhat subdued feel to it. The band and Fraser seem to be playing and singing within themselves, almost holding something back. This does not detract from the track’s quality. Instead, it adds to the track’s impact.
On Wolf In the Breast you will hear a classic Cocteau Twins song. The song has everything you could want in one their songs, Fraser’s haunting vocal, Guthrie’s shimmering guitar’s, and now retro-sounding drum machines, and Raymonde’s steady bass, proving a rhythmic backdrop to the group’s overall sound. This is a quality track from a group who were not experiencing the easiest of times when this album was recorded.
The penultimate song on Heaven Or Las Vegas is Road, River and Rail has a mellow and atmospheric sound to it. The band play behind, and compliment Fraser’s gorgeous haunting and ethereal voice. It would be easy to say that Fraser steals the show on this track. However, that would be unfair. This song succeeds because of the contributions of all the band members, not just one individual.
The final song on the album is Frou-Frou Foxes In Midsummer Fires. This track is a perfect way to close the album. The song starts with a gentle piano intro and then goes on to feature a stunning vocal performance from Fraser that has no equal on this album. This is the song with the fastest tempo on the album and is at odds with the tempo of most of the songs on the album. However, this is a gorgeous song that never you will never tire of.
That is the story of the Cocteau Twins album Heaven Or Las Vegas. This was, to me, one of the finest albums in the Cocteau Twins career. Now that you have read this review, I hope that you will be inspired to go out and buy this album. If you do, you will not be disappointed. What you will have purchased, is a great album, by a great band. Sadly, the Cocteau Twins split up in 1997, so we will never hear their music again. This album is a gorgeous, lush, soundscape which features Liz Fraser’s stunning, ethereal voice. Each track is quality, never disappointing, and that is no mean feat. After all, how often do you hear an album where each track is of the same high standard? That is what we have here. If, after you have listened to Heaven Or Las Vegas you wish to buy other Cocteau Twins albums, I would recommend that you next buy Four Calendar Cafe and Milk and Kisses. Those two albums and Heaven Or Las Vegas are the most accessible albums in the Cocteau Twins back-catalogue, for a newcomer to the music of the Cocteau Twins. After that, you may wish to investigate the remainder of their back-catalogue. What you will find is some great music, that I am sure you will enjoy discovering. Standout Tracks: Fifty-Fifty Clown, Heaven Or Las Vegas, I Wear Your Ring and Frou-Frou Foxes In Midsummer Fires.
COCTEAU TWINS-HEAVEN OR LAS VEGAS.
JERRY BURNS-JERRY BURNS.
JERRY BURNS-JERRY BURNS.
The album that I am about review has a sumptuous, atmospheric and dreamlike sound. It is a laid back, musical soundscape that transports you on a journey that will soothe your weary soul. The album is by Jerry Burns and is called Jerry Burns. It was released back in 1992, and this is an album I have returned to time and time, again, and never tire of hearing. So who is Jerry Burns? Jerry Burns is a Scottish singer songwriter, and back in 1992 when this album first came out, the critics forecast a wonderful future for her. However, like many talented artists, Jerry Burns has found commercial success has alluded her. That, to me, is a tragedy, as Jerry Burns has a wonderful voice, and is a talented songwriter. However, what makes this album special? If you read on, I will tell you why this album is so good, and why you should go out and buy a copy.
There are ten songs on this album, and the first track is Pale Red. This is a fantastic way to start the album. Pale Red is a slow track that starts with Burns accompanied by a piano. As you listen to the song you discover a song with a strong narrative and a clever use of similes. The song describes two lovers returning to somewhere they once lived, only to find it being pulled down, and she sings about it being too late to go back. Burns also sings about what she likes about her lover. However, by the end of the song she says that she should not be with him. The pulling down of the building could be a simile for her thinking about breaking up her relationship. This song is a good start to the album.
Casually Unkind is the second song on the album. The song starts with piano and drums, and then Burns goes on to produce a great vocal performance. The lyrics to this song are about someone who is considering starting a relationship, but only will do so, on their own terms, for fear of being hurt. This is a great song, sung well, with the Burns and her band complimenting each other.
Hardly Me is an slow, atmospheric song, with lovely lyrics. In this song, the lyrics paint a picture, a picture of two lovers walking through a city, passing what Burns calls the “rich and disenchanted, dressed up in down-time”. In this song, as with the two previous songs, Burns has the ability to write songs that tell a story. The songs all have a strong narrative, and if you close your eyes you will almost be able to picture the scene that Burns is describing in her lyrics.
The next track Fall For Lovers, is a song about what happens when one falls in love after a previous relationship has goes wrong. In the song her advice is not to look back, and that time will take away the pain. Having fallen in love she realizes how much she needed “to dance again”. This is another clever use of similes, where “to dance again” is a simile for falling in love again. This is a strong song, with intelligent lyrics.
Sometimes I’m Wild carries on with the same tempo as the previous songs. This song primarily features just Burns and the piano. Other instruments gently accompany, but never overpower the vocal. Burns sings the song with feeling, and their is a spaciousness in her delivery. The track is a great showcase for Burns’ voice and is has a lovely atmospheric feel to it.
The next track Crossing Over is quite different from the previous track, the tempo is slightly quicker, and the sound is much fuller. There is more going on in the track than previous ones. The track has more instruments on it, and it feels like that this smothers Burns’ vocal. This, to me, has a negative impact on the track. I found that because of the variety of instruments, and in particular the drum sound, I was distracted from the lyrics and vocals. This is the weakest track on the album, purely because the track would have benefited from a much more pared down sound. This is a shame as the song’s lyrics are good.
On Simple Heart we have a return to form. The sound is much more spartan. Burns’ vocal has space to breath, and her voice produces a much fuller sound, there is a strength to her vocal that was lacking in Crossing Over. This is a track where less is more. Overall, this is a good song, with good lyrics, that are sung well.
There is a change in style on the next track Completely My Dear. Jerry Burns sings the song softly, in fact she almost whispers some of the lyrics at the start of the song. This increases the impact of a beautiful song, as does the way she her phrases the lyrics. In my opinion, this types of song suits Burns’ vocal style. However, she has a versatile voice and can adapt to different styles. This is the case with next song Safe In the Rain. On this song she sings the lyrics using a louder and clearer voice. This song demonstrates the versatility of Jerry Burns vocal range. The song has a slightly faster tempo than some tracks on the album and feature some gorgeous lyrics. This is another love song sung by Burns, and when you listen carefully to the lyrics you will be struck by how well she can tell a story within a song. There is an intelligence to Jerry Burns’ songs that sadly, nowadays, is lacking in many singer songwriters work.
The final song on this album is Stepping Out Slowly. This is another slow song. Burns sings the song softly, and at the start is just backed by a piano. This accompaniment has the effect of increasing the impact of a beautiful song. The song is about someone taking their time becoming involved with a new lover. They do not want to rush headlong into a relationship and are suspicious of their new lover, because they believe that they may not be the faithful kind. This is a really lovely song, is a great way to finish the album.
Jerry Burns debut album Jerry Burns is a great album which features some great tracks. Out of the ten songs on this album, nine of these songs are pure quality. Buns is a great vocalist and and a very talented songwriter. This is an album that should have done much better when it was released in 1992. However, Jerry Burns is not the first, and sadly, won’t be the last talented artist not to achieve the success their talent deserves. Today, Jerry Burns is still a singer-songwriter, sadly, she does not have the profile her talent deserves. Should you have read this review, and think that you would like to hear this album, I would recommend that you try and find a copy of this album. Once you have heard this album, you will be glad to have discovered Jerry Burns, but saddened that you did not discover her many years ago. Standout Tracks: Pale Red, Casually Unkind and Stepping Out Slowly.
JERRY BURNS-JERRY BURNS.
AL GREEN-IS LOVE.
AL GREEN-IS LOVE.
Al Green released Is Love in 1975. At that time, his career was perceived as being in decline. The sound that Green, and producer Willie Mitchell, had carefully created, and became the Hi Records sound, had been widely admired up until then. However, in 1975, this sound was seen as stale and formulaic. Many critics believed that Green could take this sound no further, and that he needed a change in direction.
By 1975, Al Green’s popularity was beginning to wane. Although he was still commercially popular, Is Love only reached number twenty-eight in the US Billboard Pop charts. However there were two possible reasons for the decline in Green’s popularity Firstly, the decline in Green’s popularity was blamed on him becoming deeply religious and becoming disenchanted with secular music. The other reason was Green had been scalded by a lover, who subsequently took her own life. Those two reason, coupled with the perceived staleness in his by now, trusted musical approach, meant that Green was fast becoming yesterday’s man.
However, maybe now that twenty-six years have passed since the albums release, this is a good time to reevaluate Is Love. I must confess though, that I am a big fan of Al Green and the sound he and Willie Mitchell created. When one listens to other releases on the Hi label you can see their influence in other artists’s music. One only need to hear Otis Clay singing Precious, Precious on his album Trying To Live My Life Without You, OV Wright singing That’s the Way I Feel About Cha on his Bottom Line album or Anne Peebles singing I Can’t Stand the Rain. Green and Mitchell influenced these artists and their music. Personally, I do not think Green was washed up by the release of Is Love. Quite the opposite. Listen carefully and you will hear some wonderful music, sung by a wonderful singer, with one of the best voices soul music has ever seen.
Is Love starts with L-O-V-E (Love). This is a joyous slice of southern soul, where Green, the Hi house band and the Memphis Horns put in a sublime performance. Green sings of love but within the lyrics the moral and spiritual confusion he is experiencing is apparent. He sings about the “apple that is so sweet” a biblical reference to temptation. However, this is Al Green back to his best, the 70s’ soul man, the lover, testifying and seducing the listener.
The second of the ten track on the album is Rhymes. This is song has lyrics that have a surreal quality, they have been described as nonsense lyrics by reviewers previously. However, this is a perfectly pleasing, if throwaway song.
The Love Sermon is a clear demonstration of the secular and spiritual dilemma facing Green. In this deeply personal song, Green lays bare the problems facing him, and examines the moral crisis he is experiencing. The song is a lovely slow paced one, where Green and his band allow the song to breath. One of the criticisms of this song, is that it does not have a traditional structure. Instead, it has the feel of Green searching and exploring and has a meditative quality. This, however, does not, in my opinion detract from the quality of the song. After all, soul music’s roots are in gospel music, so it is acceptable for soul music to have a spiritual side.
On the next track, There Is Love, Green returns to what previously, the listener would expect. However, this is no ordinary soul song. Instead when one listens to the lyrics, not only could this be a song sung to a lover, but one sung to God. The arrangement in this song is beautiful, one the best on the album. When you hear the song and the arrangement you will wonder why the critics thought that Green should take his sound no further, and try a different approach.
Could I Be the One is the best song on Is Love. The lyrics to the song are beautiful and heartfelt, Green delivers the song perfectly, and the tight band, accompanied by the Memphis Horns and Rhodes, Chalmers and Rhodes on backing vocals, make this comparable with Al Green’s best work. The pace of the song is slow and Charles Hodges organ solo and the backing vocalists emphasizes the songs beauty. This truly is a wonderful slab of southern soul that will tug at your heartstrings.
Love Ritual to me is the worst song on the album, it has the feeling of being filler, and has, in my opinion, no place on the album. Quality control failed here, and failed badly. The song has no lyrics in the traditional sense. Instead what we have is Green singing almost a stream of consciousness. The song’s only redeeming feature is the band’s performance. They give their usual tight, polished and professional performance. The rhythm of the song is good, it has a somewhat exotic feel to it. However, even such a polished performance from one of soul music’s house bands, cannot save this song.
I Didn’t Know is the next song on Is Love. The track is a slow one, and it has a bluesy feel to it. This is a good song, however, it is not a great one. It certainly is not vintage Al Green. The song starts slowly, Green singing about an old lover, how he did not know how much they loved him. However, the song could also be a spiritual one, with Green singing about how he never knew how much God loved him. Overall, the song is an atmospheric, moving one, but it is no Let’s Stay Together or Tired of Being Alone.
Oh Me, Oh My (Dreams In My Arms) is the next track. This is a good song and was the second single from the album. However, it only reached number forty-seven in the US R&B Charts and forty-eight in the US Pop charts. This is a feel-good track, although the lyrics are somewhat weak, and don’t match the performance of the band and backing vocalists. It could be seen as Green’s reaction to the arrival of disco as a musical genre, and by doing what the critics wanted, by changing his musical direction, this meant Green was caught between two musical stools.
The next track I Gotta Be More (Take Me Higher) is an improvement on the previous track. It is not vintage Al Green, however. The lyrics are of a higher standard than h Me, Oh My (Dreams In My Arms) and have some depth and meaning within them. Green’s vocal performance is strong and he is ably supported by the Hi House band. The Memphis Horns produce their usual high-class performance and the backing vocalists Rhodes, Chalmers and Rhodes have reserved one of their best performances for this track.
On the final track, I Wish You Were Here, Al Green has kept an ace up his sleeve. This track, for me, is the second best track on the album, second only to Could I Be the One. The lyrics are moving and have a quality not to be found on certain tracks on this album. Green’s vocal performance is stunning, it is his best vocal performance on the album. The band compliment his vocal, playing behind Green’s vocal, never overwhelming his vocal. This is a fitting way to end the album.
So having read this review you may feel that Is Love is a mixed bag of an album. That, maybe, would be overstating things, Certainly this is not vintage Al Green. However, the album features some wonderful songs, such as, L-O-V-E (Love), Could I Be the One and I Wish You Were Here. What the album is though, is an interesting document as to what Al Green was going through at that time in his career. He was facing conflict between secular and spiritual music, which seemed to restrain his songwriting performance. This album also demonstrates how good a band Hi Records had at that, the talent of the Memphis Horns and Willie Mitchell’s talent as both a producer and songwriter. Maybe it is no coincidence that Mitchell co-wrote L-O-V-E (Love) and Could I Be the One and wrote I Wish You Were Here on his own. One wonders what kind of album Green would have produced without Mitchell at his side. On the whole, this is a good album that is worth buying. Within the album you will find some great songs. The only really poor song, for me, is Love Ritual. Yes there are some songs that are not up to the standard of Green’s best work, but how many artists consistently produce great albums each time? So what is my advice to anyone contemplating buying Is Love after reading this article? My advice is quite simple, go out and buy Is Love, and while you are doing so, buy a copy of Let’s Stay Together, Explores Your Mind and Belle. If you do so, you will have some of Al Green’s best albums. Maybe then you will go to explore the rest of his back catalogue, and the rest of the Hi Records back catalogue, as Hi Records produced some wonderful southern soul music by Otis Clay, OV Wright and Anne Peebles. Standout Tracks: L-O-V-E (Love), Could I Be the One and I Wish You Were Here.
AL GREEN-IS LOVE
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PRIMAL SCREAM-GIVE OUT BUT DON’T GIVE UP
PRIMAL SCREAM-GIVE OUT BUT DON’T GIVE UP.
It’s never easy to followup a classic album. Countless bands have discovered that. In 1994, the latest band to realise that were Primal Scream. Three years earlier, at the height of the Acid House era, Primal Scream had released Screamadelica, a fusion of rock and dance music. Released on 23rd September 1991, Screamadelica reached number eight in Britain, and was certified double platinum. After three albums, Primal Scream had finally made a commercial breakthrough. However, as time passed by Primal Scream realised that it wasn’t going to be easy to followup Screamadelica.
Following the success of Screamadelica, Primal Scream headed out on tour, winning over rock and dance music fans simultaneously. However, not everyone was happy. Previously, Primal Scream were a rock ‘n’ roll band. Bobby Gillespie, Primal Scream’s lead singer didn’t even like dance music. He was a died in the wool rock ‘n’ roller. Then he was introduced to the Acid House scene.
Bobby, who revelled in the rock ‘n’ roll lifestyle, dived in head first. He, like the rest of Primal Scream were embracing Acid House culture. Even after Screamadelica, the party continued. Tales of hedonism were commonplace. So were stories that certain members had flown to close to the sun. Before long, the party had lasted over a year. Now it was time to record their fourth album, which became Give Out But Don’t Give Up.
For Give Out But Don’t Give Up, Primal Scream’s songwriting team of Bobby Gillespie, Andrew Innes and Robert “Throb” Young penned nine tracks. The title-track, the trio penned with George Clinton of Funkadelic and Parliament. Recording of the ten tracks began at the Roundhouse Studios, in London in September 1992.
When the Primal Scream arrived at the Roundhouse Studios, their lineup now included vocalist Bobby Gillespie, guitarists Andrew Young and Robert “Throb” Young and keyboardist Martin Duffy. They were augmented by various session musicians and backing vocalists. The sessions were stop start affairs, not helped by the band’s lifestyle. Some of Primal Scream had climbed onboard the horse, and embraced it. This wasn’t ideal for recording an album. It made the recording of Give Out But Don’t Give Up fraught with difficulties.
Over the next two years, Primal Scream worked at various studios in Britain and America. Different producers came, and went. Among them were Tom Dowd, George Drakoulias, David Bianco and George Clinton. They played their part in Give Out But Don’t Give Up’s sound. So did Jim Dickinson, The Muscle Shoal Rhythm Section, The Memphis Horns, Amp Fiddler and Toby Toman, Nico’s drummer. George Clinton and Denise Johnson were among the backing vocalists. Over the next eighteen months, at various studios, Primal Screamh and friends recorded Give Out But Don’t Give Up. Eventually, it was completed and ready for release in March 1994.
When critics heard Give Out But Don’t Give Up it wasn’t well received. Far from it. It received a lukewarm reception at best. Many of the critics didn’t like it. They weren’t willing to give the album a chance. Mostly, that’s because it was so different from Screamadelica. There other reason was because it was a return to the pre-Screamadelica sound.
Before Screamadelica, Primal Scream were good time rock ‘n’ roll band. They didn’t apologise for this. This was their sound. However, that was before Screamadelica. Good time rock ‘n’ roll bands, according to critics, cultural commentators and tastemakers, were “so not of the time.” On trend was the synthetic sound of house music. Sadly, old style rock ‘n’ roll bands were out of fashion. So Primal Scream found themselves with an unfashionable album out, one that the critics almost sneered at. Despite this, Primal Scream had the last laugh.
Upon its release, Give Out But Don’t Give Up reached number two in Britain, and was certified gold. The lead single Rocks, reached number seven in Britain. Then Jailbird reached number twenty-nine in Britain. The only disappointment was that the ballad (I’m Gonna) Cry Myself Blind, didn’t fare better than number forty-nine. However, Primal Scream had proved their critics wrong. The only problem with Give Out But Don’t Give Up was it was the wrong album, at the wrong time. If rock had been undergoing a resurgence in popularity, Give Out But Don’t Give Up would’ve been an even bigger success. With tracks like Jailbird, Rocks, and Everybody Needs Somebody, Give Out But Don’t Give Up is a hugely underrated album, from Primal Scream.
Jailbird is the perfect way to open Give Out But Don’t Give Up. The track almost has a false start. Quickly, you wonder where the track is heading. Then blistering guitars and the rhythm section combine with percussion. They provide the backdrop for Bobby’s swaggering, sassy vocal. Accompanied by soaring backing vocals, Bobby struts his way through the track. It’s a return to form from Primal Scream, who are back doing what they do so well, producing good time, rock ‘n’ roll music.
Straight away, Rocks brings to mind The Rolling Stones, circa Exile On Main Street. Thundering, pounding drums join bursts of searing guitars. They set the scene for Bobby, who picks up where he left on Jailbird. His vocal is a feisty, aggressive and powerful. Later, soaring, quivering harmonies sweep in. By then, Primal Scream are in full flight. It’s a joy to behold, as the comeback Kings pay homage to The Rolling Stones on a Primal Scream classic.
Just a lone guitar opens (I’m Gonna) Cry Myself Blind, the third single released from Give Out But Don’t Give Up. It’s a beautiful ballad, where a worldweary Bobby Gillespie shows his versatility as a vocalist. His vocal is needy, and hopeful as he sings: “baby I want you, baby I need you you.” Just then, gospel tinged harmonies are added. They’re a masterstroke. So, are washes of Hammond organ and stabs of piano. During the bridge, Primal Scream jam, and a guitar takes centre-stage. Aided and abetted by the Hammond organ, they set the scene for a soul baring vocal from Bobby on another of Give Out But Don’t Give Up’s highlights.
As Funky Jam unfolds, a cry of “get a little funky now,” sees Primal Scream head for the dance-floor. Soon, funk, acid house and rock are being fused by Primal Scream. However, it just doesn’t work. It sounds like a jam where the vocals were an afterthought. George Clinton, who remixed the track, didn’t cover himself in glory. It’s without doubt the weakest track on Give Out But Don’t Give Up. It’s as if Primal Scream, or their record company were determined to have a dance track on Give Out But Don’t Give Up. However, they needn’t have bothered, and is a track that should have been left off the album.
Big Jet Plane is a return to form for Primal Scream after the disappointment of Funky Jam. They drop the tempo, and guitars and Primal Scream’s rhythm section combine to create a wistful backdrop. Before long, Bobby delivers a vocal that’s worldweary. Tired of life touring the world, wearily, he sings: “fly me home on a Big Jet Plane.”
Free is another track remixed by George Clinton. The sultriest of saxophones and a slow, deliberate guitar is joined by a melancholy piano. Then Primal Scream leave space for Denise Johnson’s vocal. It’s tinged with hurt at the betrayal she’s experienced. Still she manages to sing: “free again.” Later, as anger and frustration boils over, she sings don’t want to touch me, everything is broken, I don’t love you no more.” Meanwhile, the understated arrangement allows Denise to centre-stage on what’s a heart wrenching ballad.
Call On Me is another good time rock ‘n’ roll song. From the get-go, Primal Scream are at their very best. That’s the case from the band are counted in. Blistering guitars, boogie boogie piano and the rhythm section kick loose. Bobby delivers another strutting, needy vocal. Accompanying him are stabs of blazing horns, and some good time piano. When all this is combined, it’s good time rock ‘n’ roll Primal Scream style.
Struttin’ is another track like Funky Jam. It’s a fusion of funk, rock and acid. Primal Scream’s rhythm section provide 4/4 beats. They’re joined by machine gun guitars, washes of Hammond organ and a myriad of sci-fi sounds. While there’s a rocky undertow to the track, it veers off in the direction of funk and Acid House. Mostly, it’s an instrumental, with the occasional burst of “Funky Jam” added. The result is a track that almost seems out of place with most of Give Out But Don’t Give Up.
Washes of a bluesy slide guitar and an a firmly strummed acoustic guitar combine on Sad and Blue. Soon, Bobby’s delivering a heart wrenching vocal. He’s then joined by sweeping, soaring gospel tinged harmonies and a Hammond organ. Meanwhile, the rest of Primal Scream provide an understated backdrop. Soulful, bluesy and beautiful, you think things can’t get any better. They do. Bobby sings call and response, before a blistering, bluesy harmonica is added. This spurs Primal Scream to even greater heights, as they fuse blues, gospel and soul, to create a quite beautiful, soul baring paean. It’s another of the highlights of Give Out But Don’t Give Up
Give Out But Don’t Give Up is the third track to be remixed by George Clinton. Although it’s funky track, there’s a somewhat experimental sound. Horns sound, before the rhythm section lock into a slow, funky groove. They’re joined by a sultry vocal from Denise. Rocky guitars, percussion and braying horns are then joined by Bobby. From there the vocals drop out, a funky jam unfolds. Primal Scream and friends show their versatility, fusing elements of funk, rock and even Acid House. Slow, moody, funky and sometimes, lysergic it’s very different from much of Give Out But Don’t Give Up. That’s why many people described Give Out But Don’t Give Up is an album with an identity crisis. That’s unfair. Primal Scream, like they would continue to do for several albums, were constantly reinventing themselves.
A wistful piano opens I’ll Be There For You. Soon, horns that sound as if they’re from a classic soul album sound and a Hammond organ plays. They’re the signal for Bobby to deliver a heartfelt, tender vocal. As he delivers his vocal, harmonies accompany him and an acoustic guitar is strummed. Then during the bridge, the rest of Primal Scream take centre-stage. Stretching their legs they jam, before Bobby, accompanied by quivering harmonies soulfully and sincerely sings: “ I’ll Be There For You.” The way he delivers the beautiful lyrics, it’s as if he means every word.
Everybody Needs Somebody, which closes Give Out But Don’t Give Up, picks up where I’ll be There For You. It’s another slow ballad, where Primal Scream show a very different side to their music. Gone is the good time rock ‘n’ roll band. Replacing it, a band that’s responsible for an understated arrangement. Guitars and a piano play before Bobby delivers a melancholy, pensive vocal. His vocal takes centre-stage, as the arrangement unfolds. The guitar and piano become more prominent. Later, sweeping harmonies accompany Bobby. They’ve a slight gospel arrangement. Rocky guitars then replace Bobby’s vocal, as the rest of the band threaten to cut loose. That never happens, and Primal Scream ensure that Give Out But Don’t Give Up closes on on a soulful high.
Following up Screamadelica was never going to be easy for Primal Scream. They were caught between a rock and a hard place. Their traditional fan base were used to Primal Scream’s good time brand of rock ‘n’ roll. Many weren’t won over by Screamadelica. Rock ‘n’ roll and Acid House were strange bedfellows. For many, it was a case of never the two shall meet. By 1994, the Acid House era was all but over. Acid House, with its synthetic sounding music, was just the latest in a long line of musical trends. However, through Aciud House, Primal Scream now had a fan base within the dance community.
While the Acid House was all but over, house music, techno and hip hop were all increasing in popularity. Dance music was here to stay. Many within the dance music community were still fans of Primal Scream. So, if Primal Scream released an album good time rock ‘n’ roll, this would alienate their new fans. Maybe, Primal Scream decided to release an album which would appeal to their old, and new fans. The result was Give Out But Don’t Give Up.
That might have seemed a good idea at the time. Here, were Primal Scream carrying on their fusion of rock and dance music. However, when the critics heard Give Out But Don’t Give Up they weren’t impressed. They didn’t hold back. Critics didn’t like Give Out But Don’t Give Up. Many accused Primal Scream of regressing, into an old fashioned rock ‘n’ roll band. That’s too simplistic though.
There’s much more than rock on Give Out But Don’t Give Up. There’s everything from Acid House to blues and funk, right through to rock soul and Southern Soul. However, Primal Scream were at their best combining blues, rock, soul and Southern Soul. Whether it’s kick ass, swaggering rock ‘n’ roll or heartfelt, soulful ballads with a bluesy hue, Primal Scream are at their very best. They never miss a beat, bringing back memories of The Rolling Stones and The Faces in their prime. That’s not all. Sometimes, Primal Scream with their soulful, bluesy sound, sound as if they’re from Memphis, not Glasgow. For ten tracks Primal Scream can do no wrong. Where things go awry, are on tracks like Funky Jam and Struttin.’
Both Funky Jam and Struttin’ were remixed by George Clinton. However, it had been a long time since George Clinton was making either hits or dance-floor friendly records. Funky Jam and Struttin’ were the wrong songs on the wrong album. Give Out But Don’t Give Up would’ve been a better album without these tracks. By doing this, Give Out But Don’t Give Up would have been much stronger album. Maybe then, critics might not have argued that Give Out But Don’t Give Up lacked direction?
Twenty-one years have passed since Since Give Out But Don’t Give Up. Primal Scream went on to release another six albums. On each of these albums, Primal Scream have constantly sought to reinvent themselves. However, Primal Scream are at their best when they’re playing their own brand good time brand of rock ‘n’ roll. It’s music that’s truly timeless. That’s the case for much of Give Out But Don’t Give Up. Whether they’re delivering their own brand of good time brand of rock ‘n’ roll, or heartfelt ballads, Primal Scream are doing what they do best on what’s the most underrated album in their back-catalogue.
Sadly, for too long, Give Out But Don’t Give Up which has been overlooked. That’s a great shame. It sees Primal Scream return from to what they do best playing rock ‘n’ roll. With Bobby Gillespie at the helm, Primal Scream the last real rock ‘n’ roll band, fly the flag for rock, and the rock ‘n’ roll lifestyle on Give Out But Don’t Give Up. They pick up where The Rolling Stones and The Faces left off with their own brand of good time brand of rock ‘n’ roll. Swaggering and strutting their way through Give Out But Don’t Give Up, Primal Scream, the last gang in town, were back with a bang, after their adventures in Acid House.
PRIMAL SCREAM-GIVE OUT BUT DON’T GIVE UP.
NIGHTMARES ON WAX-SMOKERS DELIGHT.
NIGHTMARES ON WAX-SMOKERS DELIGHT.
Smoker’s Delight is the second album from Nightmares On Wax. It was released back in 1995 on Warp Records. Nightmares On Wax’s first album was A Word of Science The 1st and Final Chapter and was released on 1991. On that album George Evelyn worked with Kevin Harper, who subsequently left the band prior to the recording Smoker’s Delight.
George Evelyn describes his sounds as a mixture of soul and hip hop. That is apparent when you listen to the Smokers Delight . Also apparent, is Evelyn’s musical influences, which he states are soul music. He grew up listening to, and being influenced by, Curtis Mayfield and Quincy Jones. Maybe that is why there is a soulfulness is his work, especially in Smoker’s Delight and Carboot Soul. Carboot Soul is the follow up to Smoker’s Delight’, and was released in 1999. Evelyn, to some people, is perceived as being responsible for founding the trip hop genre, if so, he deserves our thanks, as many people, like myself, love this genre of music.
When you listen to a Nightmares On Wax, you may find that you recognize some of the tracks. Over the years, many of Nightmares On Wax’s tracks have featured on compilation albums, such as Serve Chilled and Winter Chill on the Hed Kandi label, Cafe Del Mar Volumen Tres and The Chillout Room 2. All of these albums are worth buying as the feature some wonderful downtempo music.
Smoker’s Delight in my opinion, is one of the best downtempo albums ever. I know that is a big statement to make, but if you listen to it, then I am sure that you will find yourself agreeing with me. There are sixteen tracks on Smokers Delight, and from the first track Nights Introlude, to the final track Gambia Via Vagatorbeach, this album is pure quality. You will find within Smoker’s Delight, sixteen tracks that feature, and are full of, atmospheric and soulful sounds and slow, spacey, drumbeats. What you will also hear on this album are gorgeous lush strings and quality rhythms that would not look out of place on a 70’s Philadelphia soul album.
Smokers Delight truly is an album that you will listen to time and time again. Certainly I have had it on heavy rotation since its release back in 1995, and I never tire of hearing this album. In fact, every time I listen to Smokers Delight I hear something new. I am forever hearing subtle nuances that I have never heard before on this album. Should you decide to buy Smokers Delight, it will take you on an interesting and enjoyable aural journey, where you will visit places you have never visited before. Like its follow up Carboot Soul, this is classic downtempo or chill-out album. Smokers Delight will help you relax, unwind, and forget the stresses and worries, of modern day life. Surely if it can do that for you so easily, then it is well worth buying Smokers Delight. In fact, while you are buying Smokers Delight, why not just buy a copy of Carboot Soul as well, and then you will be the proud owner of two of the greatest albums within the downtempo or chill-out genre. Standout Tacks: Nights Introlude, Pipes Honour, Stars, Waiting For A Jeepbeat and When I’m Feeling Good.
NIGHTMARES ON WAX-SMOKERS DELIGHT.
FRAGILE STATE-THE FACTS AND THE DREAMS.
FRAGILE STATE-THE FACTS AND THE DREAMS.
Fragile State’s debut album The Facts and the Dreams was released in September 2003 on the Bar De Lune label. Fragile State are Ben Mynott and Neil Cowley. They wrote, arranged, mixed and produced all of the ten tracks on The Facts and the Dreams. Both of them have a wide range of experience in the music industry. Previously, they have arranged, mixed and produced many tracks and albums for a wide array of artists. Neil Cowley is a keyboard player and has played with a number of groups including Zero 7, and is an accomplished producer, having previously produced a number of artists. Ben Mynott may be known to some people through his other “job”. He is music journalist and has written for many publications including Blues and Soul. Although this was Fragile State’s first album, they previously released a track Nocturnal Beats on the Nocturnal Beats label.
The Facts and the Dreams is named after a title in a rare 1920’s German architecture book. Within this album, what you will find is a blend of various types of music including soul and jazz. However, this is no ordinary album, this is an album with an aim. The aim of the album is to reflect the dream of social utopia, both beautiful and fragile. One may think that is a grandiose aim, but when you listen to this album you will find some beautiful, laid back music. This is truly an album that would grace any record collection.
The first song on The Facts and the Dreams is Song of Departure. This track starts with a mid-paced drum beat and then features some gorgeous vocal snippets and samples. Also present is a soulful groove and some lush arrangements. This give this track a glorious summery vibe that clearly has its roots in vintage soul music.
The second track The Barney Fade starts with a slow keyboard solo, and then there is the introduction of some lovely strings. Throughout the track, the tempo is slow, never moving much above eighty beats per minute. This track benefits from the fact that the arrangement and production sees less rather than more in the way of samples and instruments used.
Hoop Dreams is an exquisite track. Like the previous track, the tempo is slow. Mynott and Cowley have been sparing in what instruments they have used to make this track. Too often, artists and producers seem to think that the more instruments, beats and samples used in a song the better it will be. Here, a minimalist approach has been used in the arrangement and production, and this improves the song. On the next track The Facts and the Dreams the same approach has been used, and works well. One of the highlights of the track is Cowley’s keyboard solo, which meanders throughout the track. What we have here is a beautiful, dreamy and atmospheric track, that is one of the best on the album.
Suck It and See is the next track and the pace is just a fraction quicker. It is about eighty-two beats per minute yet seems a faster track. Again, Cowley’s keyboard playing is a highlight of this short track. The track is over too soon, and I found myself wishing that the track lasted longer, and felt that it had the feel of an underdeveloped track, one that although good, could have been improved.
Panacea has a much different tempo that the previous tracks. The tempo is almost the level one would expect on a house track. This is not to say that this is not a good track. Quite the opposite. It is a nice enough track that benefits from being well arranged and produced. The standard of musicianship is very good, but it is not of the standard of the first four tracks.
Every Day A Story is very much a return to form for Fragile State. The tempo drops and the song has a lush arrangement and the keyboards, drumbeats, strings and vocals make this a lovely atmospheric track that reminds me of sunny days in exotic far away places.
The track Barney Reprise is a pedestrian and dreamy track, true chill-out or downtempo music, whichever you prefer. It is a short track, just one minute and twenty seconds in length. Unlike Suck It and See this is a short track that works.
Seraya has many qualities as a track. These include, Cowley’s keyboard playing, the vocal samples and the sparing use of drumbeats. This is another track that has benefited from a minimalist production. Fragile State don’t go in for bells and whistles on the production of the track. This helps, rather than hinders the track and what they have ended up with, is a glorious track.
The final track on the album Undercurrent is a fitting way to finish this album. It is one of the highlights of the album. It is a slow paced track where the use of a ponderous, spacey, drum beat and snatches of a female vocal give the track a depth and quality. The use of percussion also go a long way to providing a variety of sounds that hold the listener’s attention. From start to finish, this track is almost perfection, and I am sure that anyone who listens to this track will be taken by its quality and beauty.
Having read this review of The Facts and the Dreams I hope that I have convinced you that this is an album that you should invest in. It is, in my opinion, one of the best downtempo or chill-out albums of the past fifteen years. Granted it may not be up there with Carboot Soul or Smoker’s Delight by Nightmares On Wax, but that does not mean it is not a bad album. Quite the opposite. This album has some beautiful music on it and is well arranged and produced. It really is an album that that will soothe your soul, and you will find yourself drawn to it, returning to listen to it time and time again. Should you enjoy this album, Fragile State’s second album Voices From the Dustbowl is also worth exploring. It too is a quality album, and should you like The Facts and the Dreams then you will also enjoy Voices From the Dustbowl . Maybe you should take a chance, and buy both albums, because I am sure you will find that it is money well spent. Standout Tracks: Song of Departure, Hoop Dreams, Every Day A Story and Sereya.
FRAGILE STATE-THE FACTS AND THE DREAMS.
TELEFUZZ-SLEEP.
TELEFUZZ-SLEEP.
Telefuzz’s album Sleep was released in 2002. This, to me, is a glorious example of downtempo music. Others may refer to this as trip-hop, ambient or chill-out music. Regardless of how one would categorise this album, The Telefuzz sound on Sleep is a complex, almost psychedelic soundscape. This album is multi-layered and multi-textured and its influences are wide and varied. Listen carefully, and you will hear dub, electronica, ambient and funky influences. The sounds used on this album include vocal samples, slow, spacious drum beats and a multitude of scratches, beats, samples and instruments. Listening to this album is the musical equivalent of a surreal b-movie. It is like a heap-trip without the ingestion of illicit substances.
When you listen to this album it flows in the same way that a good mix album does. In some ways, it is easier to review the album as a whole, rather that the sum of the parts. However, that is not to say that there are not some outstanding tracks on the album. What strikes you, when you look at the song titles, is that they are all puns. It is almost as if the titles are all in-jokes that the listener becomes a a party to.
The album starts with the Hindenburg, a slow atmospheric song, that has a prominent drum track at the front of the mix. Behind the drumbeats one hears snippets of vocals and a wide variety of sounds, that are pleasing on the ear. This is a long track, coming in at just over ten minutes, but it is an enjoyable track that is a good start to the album. Chem-Trails starts slowly, but quickly the tempo increases. Again on this track the drums are prominent in the mix, an the array of sounds surround and accompany the drums.
The Great Gag In the Sky starts with a vocal sample, and then meanders of into an interesting melodic journey. The tempo starts slowly and later in the track the drumbeat increases and the use of vocal sample continues and adds to the track. The Needles and the Homage Done follows a similar path to the previous track. There is the start with the vocal sample and the drumbeat that increases in tempo. Voyage of the Dawn Wigger again sees the use of the vocal sample at the start, but this track differs in sound. There is another vocal used in the track and the drumbeat is a different type is not as prominent. Also, the instruments and samples used give the track sound and tempo. The similarities in the structure of those three tracks could leave Telefuzz accused of being one-trick ponies, with a derivative sound. However, that would be wrong, because one needs to listen to the whole album before coming to that conclusion. Thatt is not the case here, as each song has a different sound and feel to it.
Chariots For Hire has a slow atmospheric sound. The use of samples and synths is clever and make this track sound like a piece of music from a science-fiction film. The sound is spacious and the tempo is kept low. Towards the end of the track a vocal sample is used, and this rounds the track off beautifully. This, for me, is the best track on the album.
Once again, the next track The Last Hemperor starts with a vocal sample. However, when one listens to the whole track you will realize that this was a good idea, as it compliments the track. After that the track is a slow, repetitive, sound that holds the listener attention. The use of samples and instrumentation is clever and what Telefuzz end up with is a very good track.
One Hundred Light Years of Solitude starts with the another vocal sample, and what follows afterwords is a mellow, atmospheric sound. It is both varied and repetitive at the same time. It is varied because of the different sounds to be found within the track, and repetitive because of the use of a recurring sample. This is one of the album’s standout tracks.
Tales of the Dubonic Plague unsurprisingly starts with a vocal sample. Again we find variety and repetition throughout the track, but on this track the tempo starts slowly and then increases. This is a compelling track where the listener is drawn in, and like a good movie, does not want to leave before the end.
The title Dreams of the Dendreons sounds like an episode of a low budget science fiction series from the 1960s. What we have is a lovely slow track with a lovely female vocal being sung over an eclectic collection of samples and instruments. The sound here is very like the Nightmares On Wax sound.
If the Vice Is Right starts with a vocal sample that includes the line “i’m sitting at the opera looking at how much work it takes to bore me”. This is a line from the Comedy Central show Dr Katz. This is as good a way to start a track as any. What follows is a mixture of samples, beeps and drumbeats, the latter increasing in tempo after about two minutes. For the remainder of the track the drumbeat continues on much the same vein, but after just after five minutes there is insertion of vocal sample that recurs for the remainder of the track. This is an interesting track that mixes samples, drumbeats and a variety of sounds.
The final song Blowing Bubbles From the Blimp of the Spirit is a has a slow, meandering song that only lasts three minutes. Sadly, it is one of these songs that you wish there was more of. Although it is a good song, I believe that this song could have been developed and made even better.
That is the story of Telefuzz’s album Sleep. This is an interesting album that is worth listening to. If you don’t have a copy, it is worth trying to find a copy. If you do, what you will find is a glorious album, that is some ways is like the soundtrack to an example of film noire. Sleep successfully sees Telefuzz combine samples, beats, beeps and a multitude of various different sounds and instruments, that combine to produce a fine downtempo album. Standout Tracks: Hindenburg, Chariots For Hire, One Hundred Light Years of Solitude and Dreams of the Dendreons.
TELEFUZZ-SLEEP.
NITIN SAWHNEY-BEYOND SKIN.
NITIN SAWHNEY-BEYOND SKIN.
When I first started writing about Nitin Sawhney’s album Beyond Skin, I had intended this review to be part of an article I am writing about downtempo albums. However, when doing the research for this article I realised that to do the album justice, it would be better if I wrote a more in depth review because this is an important and complex album, which features and highlights many important and relevant issues in the modern world.
Nitin Sawhney’s album Beyond Skin was released in 1999 on the Outcaste label and was nominated for the 1999 Mercury Prize . It was Sawhney’s second album and is a album that requires, and deserves, the listener’s close attention. This album is a complex and beautiful piece of music. Sawhney described the album as “a mixture of Indian classical music, flamenco, acoustic drum and bass, hip-hop, jazz and soul. He goes on to describe the album as “a profoundly humanist album”. Although Sawhney believes in Hindu philosophy, he states that he is not a religious person.
Broken Skin is an album with a theme. The album’s theme challenges the theories behind nationality and identity, and also explores, and focuses on the theme of nuclear weapons. In the album’s sleeve-notes Sawhney describes the album as one with a time span that run backwards starting with India testing three nuclear weapons in 1998 to 1945, two years prior to India becoming independent, when Robert Openheimer created the first nuclear weapon. After the first nuclear test, Oppenheimer quoted from the Bhagavad Gita, the equivalent of the Hindu Bible, condemning what he had created. He tearfully said “Now I am become death, the destroyer of worlds. Interestingly, that quote is used at the end of the final track, Beyond Skin. When you listen to that track, and hear that quote, it is truly a thought provoking and incredibly moving piece of music. That to me, is probably one of the finest songs on the album. However, almost all of the album’s twelve tracks are strong.
The albums opener Broken Skin, which features Indian Prime Minister Vajpayee announcing India’s testing of three nuclear weapons and then goes on to feature a beautiful vocal performance of lovely lyrics by Shri. On the album’s second track Letting Go, Tina Grace gives a stunning vocal performance that increased the impact of the lyrics. Homelands is another excellent track which has a lovely atmospheric feel. The use of a wide range of instruments on this track gives the track a depth, with many layer of sounds appearing and combining to produce one of the best tracks on the album.
Sawhney is joined on the album by, amongst others, Jayanta Bose and Marque Gilmore and the album features a glorious collection of instruments including tablas, violins and flamenco guitars. This is evident on The Pilgrim, which features Rajendra Singh vocals and some masterful drum programming . The song at the end features a spoken word sample.
On the track Tides, the track opens with a clip about France conducting an underground nuclear bomb test. The use of the clip and the wonderful piano solo and a sparing use of percussion and double bass make this, for me one of the best songs on the album.
Nadia features a lovely vocal from Swati Natekar. The song starts slowly and then the pace increases, with some subtle drum programming interplaying and complimenting the vocal performance. On Immigrant a spoken word sample of Sawhney’s father stars the track, and then Jayanata Bose’s vocal begins. She has a beautiful voice that compliments the intelligent and moving lyrics. This is the best song on the album by far.
Serpents is a song that brings to mind exotic and interesting faraway places. The combination vocals, vocal rhythms and instrumentation combine to hold the listener’s attention and make this track an intersting one, although not as good as what precedes it.
Anthems Without Nations begins with a spoken word sample about a nuclear blast, and then goes on to feature the most haunting and beautiful vocal. It is an atmospheric track that one will never tire of hearing. Nostalgia a song about immigration, also begins with a spoken word sample. It then goes on to feature another great vocal from Tina Grace. Sawhney’s choice of vocalists on this album has been masterful. They really increase the impact of the tracks and hold the listener’s attention.
The penultimate song on the album The Conference, sadly to me, is the weakest song on the album. It begins with a spoken word sample and features a faster drum beat and vocal than anywhere else on the album. This track seems out of place on this album, and does not have the quality of the other eleven tracks. Broken Skin is the final song on the album, and as previously mentioned is both thought provoking and incredibly moving track.
I believe that this album is well worth adding to your collection. This is an intelligent and thought provoking album that has the courage to deal with some important and controversial subjects. Sawnhey has had the courage to tackle these themes and in doing so, has done this successfully. He has produced an album that he can be proud of. The themes to be found within this album are important ones, ones that have touched and affected all of our lives, and that of two generations of people. Sawnhey here is educating the listener, challenging their intellect, wanting them to investigate the subject matter more thoroughly, and form opinions of their own. I hope that he has been successful, as the issues are ones we need to contemplate carefully. However, this album can be listened to an two levels. Firstly, you can treat this album as almost a concept album where you can take time to listen to the subtle nuances, themes and ideas within the album. This is whar I have done. Alternatively, if you don’t want to do that, you can just spend time listening to a glorious album, featuring some wonderful music, musicians and vocalists. Either way, you will enjoy this album and return to it time and time again. I hope that this review has made you want to investigate this album and the various themes that are to found upon it. Standout Tracks: Broken Skin, Tides, Anthem Without Nations, Nadia and Beyond Skin.
NITIN SAWHNEY-BEYOND SKIN.
THE BLUE NILE-A WALK ACROSS THE ROOFTOPS.
THE BLUE NILE-A WALK ACROSS THE ROOFTOPS.
A Walk Across the Rooftops is the debut album from The Blue Nile. It was released in 1983 on the Linn record label. The Blue Nile were formed in 1981, when two friends Paul Buchanan and Robert Bell, met Paul Joseph Moore, all of whom met at Glasgow University. Prior to forming The Blue Nile, Buchanan and Bell were previously members of a band called Night By Night. However, they type of music Night By Night performed was not deemed commercial enough, and they were unable to gain a recording contract.
Once The Blue Nile were formed, they set up their own record label Peppermint Records. It was on Peppermint Records that The Blue Nile released their debut single, I Love This Life. This single was then picked up and re-released on the RSO label. Unfortunately for The Blue Nile RSO became part of the Polygram label and I Love This Life disappeared without trace.
The Blue Nile kept writing and recording material after the merger of RSO with Polygram. Some of that material would later be found on A Walk Across the Rooftops. When recording engineer Calum Malcolm heard The Blue Nile’s music, he alerted Linn Electronics. This was to prove a fortuitous break for the band. Linn gave The Blue Nile money to record a song that they could use to demonstrate the quality of Linn’s top-class stereo products. However, when Linn heard the track they were so pleased that decided to set up their own record label to release A Walk Across the Rooftops. Although this allowed the band to finally release their debut album, Buchanan at a later date, speculated whether Linn was the correct label to have signed to. He said that he felt that Linn did not operate like a record label, however, he conceded that, during that period, The Blue Nile were not like a band.
When A Walk Across the Rooftops was released it received which were positive. However, in the intervening years A Walk Across the Rooftops has gained almost a cult status and is widely recognized as one of the finest British albums of the last thirty years. When this album came out the music scene in Scotland was particularly strong. Bands such as The Associates,
So what makes A Walk Across the Rooftops such a special album. There are only seven songs and the album and it only lasts just over thirty-eight minutes, but within those thirty-eight minutes, the lush, atmospheric sound produced by The Blue Nile drawing the listener in, holding their attention, and at the end of the album the listener finds themselves wishing that there was more of the same. When one listens carefully to this album, one hears strings that are lush, a bass that is funky, and Buchanan’s world-weary voice, bringing soulfulness to the intelligent lyrics. Buchanan’s is a troubled troubadour, a tormented soul, someone who has experienced the vagaries of life, and sounds like someone who has experienced everything that life can throw at him. The album is in a word, exceptional.
With the exception of Tinseltown In The rain, the tempo of the album is slow, the arrangements of the songs exquisite, with the intelligent use of space adding to, rather than detracting from, the albums impact. There is a hauntingly beautiful feel that runs throughout the album, the sound epitomizes the city of Glasgow, with the lyrics name-checking and describing places that will be familiar to the people of that city. To me, when I listen to the album, I always think of Glasgow, of places and people, of memories mostly good.
The opening track A Walk Across the Rooftops is the first track on the album and is a slow track. it is a song about love and being in love, and the slow tempo adds to the impact of the lyrics. The beautiful lush strings, the slow steady beat of a drum machine and Buchanan’s voice combine to make this song a thing of beauty. This song is a love song with a difference. In the song, Buchanan sing of his love for Glasgow, and name-checks the things he loves about the city. It is a great way to the start the album, and amazingly, the quality is kept up from the start of the album to its finish.
Tinseltown In the Rain is the most upbeat song on the album. The song starts with a funky bass solo and keyboard combining, then the other instruments kick in, and Buchanan starts to sing some really beautiful lyrics. The lyrics reminds me of Glasgow, even the title puts me in mind of a rainy, winter night in Glasgow, people going about their business in the cold and wet, lovers walking hand in hand, and the neon lights casting their shadows over the buildings and the city. Again, on this track the string arrangements take this track to another level. Here we have a great song, with emotive lyrics, beautifully arranged, performed and produced.
From Rags To Riches is the third song on the album. At the start of the album the atmospheric sounds and the mid-tempo beat have a somewhat industrial sound. Buchanan’s vocal and the lyrics make the song. Later on in the track, the industrial sound continues and the soundscape that this song is, grows and grows, and ends up really working. To someone who has never heard The Blue Nile before, this song may seem like difficult listening, but once familiar with the song, the combination of the various instruments and sounds, mean that the whole is greater that the sum of the parts that make up this song.
Next on the album is Stay, a song with a slightly quicker tempo that Rags To Riches. It finds Buchanan singing about what is obviously a crumbling relationship, and pleading with his partner to stay, and that he will change and “learn to understand you”. Again, we have an interesting combination of instruments which combine effectively to produce a good track. The way the track evolves is due to good and careful arrangement and production.
Easter Parade is the next song and is a really slow song. It is apparently about a young man being stuck on a street whilst an Easter parade takes place around him. This evokes old and painful memories, when he attended church and learned about religion and the death of Christ. This is a sad and incredibly moving song.
Heatwave is the penultimate song on the album. This is a much more traditional song that the previous one. It starts slowly, and although some of the sounds at the start are somewhat unorthodox, the song’s structure quickly takes a more traditional form. The band play under Buchanan’s vocal, and the variety of sounds that make up the overall sound of instrumentation on the album, and Buchanan’s vocal combine to make this a great song with powerful lyrics.
The final song on the album is Automobile Noise. This is a return to what I would call the industrial sound that is heard on Rags To Riches. This is a slow song, where the start of the song is a cumulation of almost avante-garde sounds and traditional instruments. This works, and works well. The lyrics seem to be commenting on one person’s struggle to cope with life in the city, they find urban life tiring, almost soul destroying, they tire of the daily grind, and are fed up just keeping their head above water. They long to walk away from chasing the wealth the city promises, but that is always is just out of their reach. When you analyze the lyrics, there is a lot of truth in the lyrics, and what is remarkable is that this song came out in 1983. This song is a strong one, and is a good way to close this album.
In my opinion, and that of many other people, The Blue Nile are one of the most underrated bands of the last thirty years. Although they have only made four albums in thirty years, they are four great albums. A Walk Across the Rooftops is one of the best debut albums that I have ever heard. However, Hats which is the follow up to A Walk Across the Rooftops, is as good, if not better. Their third and fourth albums Peace At Last and High had considerably more commercial success than the first two albums. However, as much as they are good albums I prefer A Walk Across the Rooftops and Hats, and should you never have heard The Blue Nile’s music, I would suggest that you buy them first. Then once you have savored the delights of these albums, I would then advice you to buy Peace At Last and High. Should you buy The Blue Nile’s four albums, I am sure that you will be smitten by their wonderful music and treasure these fabulous albums.
THE BLUE NILE-A WALK ACROSS THE ROOFTOPS.
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