CULT CLASSIC-GALACTIC EXPLORERS-EPITAPH FOR VENUS.
Cult Classic: Galactic Explorers-Epitaph For Venus.
A great deal of mystery, speculation, and even cynicism surrounds the recording and belated release of Galactic Explorers’ debut album Epitaph For Venus. Nobody seems to know what year the album was recorded and it’s thought that the album was released between 1972 and 1976 which was when Robin Page’s Pyramid Records was in existence. However, just like any album that was recorded by Pyramid Records, the album is sure to provoke debate within Krautrock circles.
The story began just over twenty years ago with the rediscovery of the Pyramid Records’ tapes. These newly discovered taps had been missing for the best part of twenty years. This should’ve been an exciting musical discovery, and one that was welcomed by all Krautrock connoisseurs. Instead, the discovery of the Pyramid Records’ tapes was the start of a debate that still rages over twenty years later.
When the Pyramid Records’ tapes first resurfaced just over twenty years ago, this was an exciting discovery. After all, it wasn’t every day that a hitherto small, unknown private record label’s back-catalogue was discovered? This was what Cologne based Pyramid Records had been.
Pyramid Records was founded by British expat Robin Page, in 1972. By then, Robin Page was forty and one of the leading lights in the Fluxus arts movement. He had moved from London, England to Cologne, in Germany in 1969 which had been his home ever since. However, Robin Page wasn’t the only expat living in Cologne.
So was Tony Robinson, a South African, who had travelled from Cape Town, to Germany to work with the legendary Karlheinz Stockhausen, the Godfather of modern German electronic music at the WDR Studio. This was akin to serving an engineering apprenticeship, and would serve Tony Robinson well. When he left Karlheinz Stockhausen’s employ, Tony Robinson went to work at Dierks Studio in Cologne. That was where the future Genius P. Orridge would meet Robin Page.
By then, Robin Page was a successful and established artist. He was a leading light in the Fluxus movement, and was regarded as a groundbreaking artist. Robin Page used humour within his work, which sought to challenge what was regarded as good taste within the art establishment. Before long, Robin Page’s painting found an audience, and became particularly sought after. This was what Robin Page had dreamt of and worked towards since ‘leaving’ art college in Vancouver. His new-found success and financial security allowed Robin Page to work towards fulfilling another of his dreams, making music.
Robin Page was serious about making music and even had a recording studio in the basement to what looked like to anyone passing by, a derelict building. Deep within its bowels, was Robin Page’s recording studio where Pyramid Records first album was recorded. It was then pressed by a Turkish entrepreneur, who just happened to keep his cutting lathe within the same building. Although was more used to producing bootlegs, but was able to cut what became PYR 001, Pyramid Records’ first release. It came wrapped in a cover designed by a local student. History had just made with the release of Pyramid Records’ first release.
Soon, Robin Page’s nascent label had established a reputation for releasing ambitious and innovative albums. However, Pyramid Records was only in existence until 1976. During that four-year period, Pyramid Records only ever released fifteen albums. These albums were pressed in small quantities. Usually, no more than 50-100 copies of each album was pressed.
Once the albums were ready for release, founder Robin Page gave away many of the copies to his friends, while the remainder were sold in Cologne’s clubs or art galleries. None of the Pyramid Records’ releases found their way into Cologne’s many record shops. To some extent, that explains why nobody seemed to have heard of Pyramid Records, which was an underground label.
One person who was presented with a copy of PYR 001, was Toby Robinson who by 1972, had become friends with Robin Page. He was persuaded to provide the material for Pyramid Records second release, which bore the serial number PYR 002.
Essentially, Tony Robinson’s album comprised a recording of sounds bounced from one tape recorder to another. When the recording was complete, Robin Page went to visit his had a master cut, and between 50-100 copies were either given away to Robin Page’s friends, or sold in Cologne’s art galleries and clubs. No copies of PYR 001 nor PYR 002 seem to have survived. It’s a similar story with the label’s next two releases.
Neither the master tapes nor copies of PYR 003 and PYR 004 seem to have survived the passage of time. Instead, the first Pyramid Records release to survive is believed to be PYR 005. It’s one of just eleven Pyramid Records’ recordings that remain in the vaults. These recordings were made between 1974 and 1976. This contradicts the claims in 1996 that the Galactic Explorers’ album Epitaph For Venus took place in 1972 and 1973.
Many of the bands released albums on Robin Page’s Pyramid Records were part of the Krautrock scene. That was apart from The Nazgul and the Galactic Explorers. Their music was very different and had a much more avant-garde sound. Other noticeable influences include that of Karlheinz Stockhausen who had influenced many of the leading lights of the German music scene, and even the Fluxus movement. All this had influenced the three Galactic Explorers.
Very little is known about the members of the Galactic Explorers. It’s believed that Johannes Lutz, Holst Seisert and Reinhard Karwatky are all aliases. One claim was the some of the musicians who played on the Pyramid Records’ sessions were well-known musicians, who were members of top Krautrock bands. They played in the Pyramid Records’ sessions after they had finished playing with their respective bands. As a result, they had to dawn aliases when the albums were released. It may be that other musicians featured on the Galactic Explorers’ album Epitaph For Venus.
Only three musicians are credited as playing on Epitaph For Venus, which was produced by Tony Robinson. Johannes Lutz played Minimoog and Hammond organ, Holst Seisert played Fender Rhodes and synths and Reinhard Karwatky added electric organ, percussion and synths. However, snatches of guitar and bass can be heard on Epitaph For Venus. However, who played them is a mystery. So is when the sessions took place.
When Epitaph For Venus was originally released in 1996, it was claimed that the album was recorded during 1972 and 1973. This contradicts the claim that the eleven Pyramid Records’ tapes that survived were recorded between 1974 and 1976.This makes it more likely that Epitaph For Venus was recorded between 1974 and 1976. By then, the group that inspired the Galactic Explorers’ name had released their trio of albums.
Inspiration for the name Galactic Explorers most likely came from The Cosmic Jokers, whose lineup featured top German musicians including Dieter Dierks, Harald Großkopf, Jürgen Dollase, Klaus Schulze, and Manuel Göttsching. They spent the three-month period between February to May of 1973 taking part in psychedelic jam sessions. The musicians drinks had been spiked with LSD, and as they played at Studio Dierks, which was owner Dieter Dierks and where Tony Robinson once worked, The Cosmic Jokers noticed that the sessions were being surreptitiously recorded. These sessions resulted in three albums The Cosmic Jokers and Sternenmädchen’s Planeten Sit-In, The Cosmic Jokers and Galactic Supermarket.
If the Galactic Explorers were indeed inspired by The Cosmic Jokers, then this would suggest that the album was recorded at least after May 1973 when the recording sessions ended. It may be that the Galactic Explorers recorded their album after 1974, when The Cosmic Joker released their debut album? However, playing Devil’s Advocate, it could be that the group was named the Galactic Explorers at a later date by someone involved in the sessions? After all, not everyone was convinced by the Pyramid Records’ story.
Pyramid Records closed its door for the final time in 1976. Not long after that, Robin Page decided to emigrate to Canada. With him, he took Pyramid Records’ master tapes and the remaining albums. Almost nothing was left of Pyramid Records. It was as if the label had never existed.
That was until nearly twenty years later, when Tony Robinson approached Virgin Records with some of Pyramid Records’ master tapes. This resulted in the release of Unknown Deutschland-The Krautrock Archive Volume 1 in 1996. Later that year, two further volumes were released. This further fuelled the mythology and speculation that built up around Pyramid Records.
Since then, the Pyramid Records’ story has been debated ad infinitum. Sadly, far too many people have become bogged down by the controversy and speculation that surrounds the Pyramid Records’ story. It’s as if they’re determined to disprove that the music was recorded between 1972 and 1976. In doing so, all they’re doing is adding fuel to the fire, and fuelling the debate and speculation. That is a great shame, because for too long, people have become caught up in the Pyramid Records’ mythology. In doing so, they lose sight of the important thing, the music.
This includes the fifteen albums Pyramid Records released between 1972 and 1976, albums that have still to be released and albums that made their belated debut twenty years after Pyramid Records closed its doors for the final time. This includes the Galactic Explorers album Epitaph For Venus, which was made its debut in 1996 and showed a different side to the music that Pyramid Records’ released.
Lunarscape is an eighteen-minute epic that opens Epitaph For Venus. It drones and whines as otherworldly and futuristic sounds emerge from the soundscape. Soon, bubbling sounds cascade melodically and urgently. Meanwhile, subtle sounds glisten, bubble and shimmer as this captivating soundscape becomes mesmeric, as it continues to reveal its secrets. Before long, the mix is an ethereal vortex that draws the listener in. By then, an electric guitar can be heard deep in the mix amongst washes of synths and a Fender Rhodes. Constantly, sounds flit in and out, with some making only the briefest of appearances. Later, darkness emerges from the hypnotic mix. Especially when an electric organ drones and feedback howls briefly. Still, there’s an elegiac and futuristic sound as washes of synths emerge from the mix. So do a myriad of ominous, droning, sci-fi and cascading sounds. They’re part of a lysergic, cinematic soundscape that paints pictures, continues to captivate and captures the listener’s imagination. All the listener is left to do, is provide the script to this captivating and futuristic cinematic soundscape.
Understated describes Ethereal Jazz as it unfolds and sounds are emitted from the soundscape. Bubbling synths, hissing hi-hats, a chanted vocal and bursts of Fender Rhodes combine. Sometimes, there’s an Eastern influence as the genre-melting arrangement grows in power and cascades along. Avant-garde is combined with electronica, experimental and improv in a soundscape where synths are to the fore. They’re joined by a Fender Rhodes, shimmering cymbals and various beeps, squeaks and otherworldly sounds. Sometimes, cymbals crash, adding an element of drama. They joined the Fender Rhodes, while effects are used heavily to manipulate sounds. Meanwhile, the soundscape continues to bubble and meander hypnotically along. Gradually, though, the tempo rises and there’s an urgency, before the music become eerie, dramatic and spacious. It’s a case of less is more, as the sound storm blowing is replicated and is accompanied by a slow, shimmering Fender Rhodes and synths. They combine to create a moody, dramatic and ruminative ending to this sixteen minute opus.
Venus Rising closes Epitaph For Venus, where a dark, dramatic sound bubbles ominously. Soon, a droning synth is added and adds to the drama as the soundscape reverberates and eerie and futuristic sounds are emitted. By then, it sounds as if the Galactic Explorers have been asked to provide the soundtrack to a short sci-fi film. They take the listener on a trip on a spacecraft which soars high into the night sky. Always though, there’s a degree of drama which continues to build as this journey to a distant planet continues. Just like the two previous soundscapes, there’s a cinematic quality which sets the imagination racing as the Galactic Explorers take the listeners to infinity and beyond.
Sadly, Pyramid Records only released fifteen albums during the four years it was in existence, and Epitaph For Venus spent over twenty years in the Pyramid Records vaults. For whatever reason, Robin Page’s Pyramid Records never got round to releasing Epitaph For Venus. It was the one that got away for the Cologne based label.
It seems strange that Epitaph For Venus was never released by Pyramid Records? Here was a cinematic opus that was variously dark, dramatic, eerie, futuristic, hypnotic, melodic and mesmeric. Other times, sci-fi and otherworldly sounds are added as the Galactic Explorers take the listener on a captivating and genre-melting journey during this carefully sculpted album.
Using just synths, a Fender Rhodes, Hammond organ, electric organ and percussion the Galactic Explorers create what was a cinematic epic. It marries elements of avant-garde with elements of ambient, Berlin School, experimental music, Musique concrète and rock. Although there’s a Krautrock influence on Epitaph For Venus, it’s not as apparent as other albums that bore the Pyramid Records’ name. Just like The Nazgul’s album, the Galactic Explorers’ album Epitaph For Venus showcases a much purer Kominische avant-garde sound that shows a very different sound to the Pyramid Records’ sound. This is a move away from the Krautrock that can be heard on the majority of albums Pyramid Records recorded and released.
Epitaph For Venus is also one of the hidden gems in the Pyramid Records back-catalogue. Sadly, the music that Pyramid Records released and recorded doesn’t receive the recognition it deserves. That is despite producing albums of groundbreaking and innovative music. This includes the Galactic Explorers’ debut album Epitaph For Venus. If it had been released on Brain or Ohr, it would received critical acclaim. Sadly, that isn’t the case.
Instead, a small cabal of so-called, self-important musical experts are hellbent on disproving the Pyramid Records’ story. What they forget, is that during the seventies, there were many small labels that operated under the radar in cities across Europe. They released albums in small quantities, including albums that were later reissued. When these albums were reissued they weren’t subject to the same scrutiny as the albums recorded and released by Robin Page’s Pyramid Records.
Maybe that will start to change as a new generation of record buyers discover the music Pyramid Records recorded and releases between 1972 and 1976? Hopefully, these record buyers will concentrate on the music Robin Page’s label released, rather than the rumour, speculation and myth that surrounds Pyramid Records. If they do, they will discover some groundbreaking and innovative music, including the Cozmic Corridors’ eponymous debut album, and one of Pyramid Records’ finest moments, the Galactic Explorers’ debut album Epitaph For Venus.
Cult Classic: Galactic Explorers-Epitaph For Venus.
CLASSIC ALBUM: JOHN COLTRANE-A LOVE SUPREME.
Classic Album: John Coltrane-A Love Supreme.
On December 9th 1964, four musicians made their war to the Van Gelder Studio, on 445 Sylvan Avenue, Englewood Cliffs, New Jersey. They were scheduled to record an album with engineer Rudy Van Gelder who was already veteran of countless recordings, and had worked with some of the biggest names in jazz. This included John Coltrane, who was about scheduled to record a new album, which became A Love Supreme.
When John Coltrane arrived at Van Gelder Studio, he was accompanied by bassist Jimmy Garrison, drummer and percussionist Elvin Jones and pianist McCoy Tyner. For most musicians, they would’ve looked at this as just another recording session. Not John Coltrane.
While John Coltrane was still only thirty-eight, he was a veteran of over thirty albums, including many groundbreaking albums and had been at the forefront of new musical movements including bebop, hard bop and post bop. However, his solo career was just part of the John Coltrane story.
He had also accompanied some of the legends of jazz including Miles Davis and Thelonious Monk. Nothing fazed John Coltrane. In racing parlance, John Coltrane was a thoroughbred who had gone course and distance countless times. It was the same with the band John Coltrane had assembled.
Jimmy Garrison was thirty-one, and had accompanied everyone from Ornette Coleman, Philly Joe Jones and Jackie McLean, to Lee Conitz, McCoy Tuner and John Coltrane. However, Jimmy Garrison had only released one album as bandleader, Illumination! which was released in 1964, and credited to Jimmy Garrison and Elvin Jones. By then, Jimmy Garrison and Elvin Jones had formed a successful partnership as the go-to rhythm section for top jazzers.
Just like Jimmy Garrison, thirty-seven year old Elvin Jones was already an experienced musician. He had released a trio of solo albums and played on around fifty albums. This included several jazz classic, including Miles Davis’ Sketches Of Spain, John Coltrane’s My Favourite Things and Freddie Hubbard’s Ready For Freddie. Any jazz musician looking for a drummer knew to call Elvin Jones. It was the same with McCoy Tyner.
Although McCoy Tyner was only twenty-six, and the youngest member of John Coltrane’s band, he was already released five albums for Impulse! McCoy Tyner had also played on albums by the great and good of jazz. This included Freddie Hubbard, Joe Henderson, Art Blakey, Wayne Shorter, Lee Morgan and Stanley Turrentine. Then in 1962, McCoy Tyner became an integral part of John Coltrane’s band.
Since then, John Coltrane’s quartet had spent time honing their sound. During this period, John Coltrane’s sound had evolved. John Coltrane was never one to stand still. That was for lesser musicians. He was determined to innovate, and push musical boundaries to their limits, and sometimes beyond. That’s what would happen at Van Gelder Studio, on 9th December 1964.
When John Coltrane entered Van Gelder Studio, he was ready to fuse the music of the past, present and future. Hard bop, free jazz, avant grade and modal jazz were melt into one on what’s now regarded as the finest album of his career, A Love Supreme which was recorded in just one day.
With John Coltrane’s quartet assembled in Van Gelder Studio, they began setting up for the session. John Coltrane had written a four part suite, which began with Part 1: Acknowledgement. It was followed by Part 2: Resolution. These two tracks would eventually fill side one of A Love Supreme. On side two, was the eighteen minute epic, Part 3: Pursuance/Part 4: Psalm. The final part, Psalm, is a devotional, or wordless poem, which John Coltrane planned to narrate using his saxophone. Some musicologists have suggested that John Coltrane’s inspiration were the sermons of African-American preachers. This could be the case, as the track ends with John Coltrane giving thanks, saying: “Elation. Elegance. Exaltation. All from God. Thank you God. Amen.” This more than hinted that A Love Supreme was a spiritual album.
By then, John Coltrane had fallen under the spell of Ahmadiyya Islam. Some critics and music historians see this as an influence. However, essentially, A Love Supreme was about John Coltrane’s own personal struggle for purity. He expresses his thanks and gratitude for talent bestowed upon him, and perceives the tenor saxophone he plays as being owned by a higher, spiritual power. A Love Supreme part confessional, part hymnal.
Having explained the concept behind A Love Supreme, the quartet received their parts. They were a guide, and left plenty of room for the quartet to express themselves on what was going to be a genre-defying album, A Love Supreme. It saw hard bop, free jazz, avant grade and modal jazz combined by John Coltrane’s quartet.
The quartet featured double bassist Jimmy Garrison, Elvin Jones on drums, timpani and gong and pianist McCoy Turner. John Coltrane was bandleader, vocalist and wielded his trusty tenor saxophone. By the end of the 9th December 1964, A Love Supreme was complete. However, the quartet returned the following day.
On the 10th December 1964, two alternate takes of Acknowledgement were recorded. Archie Shepp played tenor saxophone and Art Davis double bass. Neither take made its way onto A Love Supreme. However, the versions recorded by the classic quartet that stand head and shoulders above the alternate takes. That’s why the tracks recorded on the 9th December 1964 that feature on A Love Supreme which was released in February 1965.
Back in 1965, record companies didn’t need months to plan a P.R. campaign to accompany an album’s release. Instead, albums were recorded, then released a couple of months later. This was the case with A Love Supreme. Before that, critics and cultural commentators had their say.
Critics on hearing A Love Supreme, were spellbound. Quickly, critics realised that they were hearing John Coltrane remake jazz history on A Love Supreme. That was the case from Elvin Jones hits the gong, and washes of cymbals resonate. Then comes that familiar four note motif on Jimmy Garrison’s bass. Even by then, some perceptive critics realised that something special was unfolding. Soon, John Coltrane was playing his tenor saxophone as if his very soul depended on A Love Supreme’s success.
By then, John Coltrane was unleashing his legendary “sheets of sound;” his playing combining power and passion. However, not once does John Coltrane resort to showboating. He plays with a humility, but still, there’s a joyousness as he gives thanks.
From there, John Coltrane gives thanks on A Love Supreme. The album is essentially, a thirty-four minute hymnal, where John Coltrane bows down, and gives thanks for the talent bestowed upon him. By then, the classic Coltrane quartet sweep the listener along, as they flit between, and sometime, fuse elements of hard bop, free jazz, avant grade and modal jazz. It’s truly mesmeric, and it’s as if John Coltrane has been touched by genius. Sometimes, there’s a ferocity to John Coltrane’s playing. However, it’s just his way of show his gratitude and appreciation, at being one of the chosen few, one of a higher power’s jazz messengers.
By Psalm, which closes A Love Supreme, John Coltrane offers up a devotional, or wordless poem. Rather than using words, John Coltrane narrates using his saxophone. As he does, he offers his most precious possession, his tenor saxophone as a token of esteem for the talent that’s been bestowed upon him. By the end of Psalm, John Coltrane is almost exhausted and spent, but gives thanks, saying: “Elation. Elegance. Exaltation. All from God. Thank you God. Amen.” This brings to an end one of the most powerful albums any music lover will experience, enjoy and embrace, A Love Supreme.
Incredibly, despite critically acclaimed reviews, which referred to A Love Supreme as a groundbreaking album, and classic-in-waiting, this landmark album wasn’t a huge commercial success. Instead, around Impulse! sold around 30,000 copies of A Love Supreme. This was par for the course for the albums John Coltrane released on Impulse!
By 1970, 500,000 copies of A Love Supreme had been sold. This resulted in A Love Supreme being certified gold. Sadly, John Coltrane didn’t see this momentous event.
On July 17th 1967, John Coltrane died, aged just forty. By then, he had recorded over fifty albums, including classics including 1958s Blue Train, which was the only album John Coltrane released on Blue Note Records. However, it was later certified gold. Then in 1959, John Coltrane released his first classic album for Atlantic Records, Giant Steps. Two years later, My Favourite Things followed in 1961. Then in 1965, came the album that came to define John Coltrane’s illustrious career, A Love Supreme.
It’s fifty-three years since John Coltrane died. By then, he was in the prime of his musical life and could’ve and should’ve gone on to be at the forefront of jazz as the genre continued to reinvent itself for two maybe three more genres. However, John Coltrane at spent his career as a pioneer of jazz, ensuring the genre neither stood still, nor became irrelevant. There was no chance that jazz was going to go the way of the blues. Not with musical pioneers like John Coltrane, Miles Davis and Ornette Coleman producing groundbreaking music. Sadly, John Coltrane never got the opportunity to embrace the change in jazz that took place during the late-sixties and early seventies. However, Joh Coltrane left behind a rich musical legacy.
Considering he died when he was just forty, it was remarkable that John Coltrane had managed to record over fifty albums. That’s not forgetting the albums he played on as sideman as part of Miles Davis and Thelonious Monk’s bands where he learnt from two giants of jazz and masters of their career. However, when he stepped out their shadows, John Coltrane was also capable of creating groundbreaking, innovative music, that changed the course of jazz history, including his Magnus Opus, A Love Supreme.
Classic Album: John Coltrane-A Love Supreme.
LOLEATTA HOLLOWAY-LOLEATTA AND CRY TO ME.
Loleatta Holloway-Loleatta and Cry To Me.
Label: Kent Soul.
Format: CD.
Release Date: ’30th’ October 2020.
Before being transformed into a disco diva by guitarist, songwriter, arranger and producer Norman “The Machine” Harris at Salsoul imprint Gold Mind Records, Loleatta Holloway released two albums of Southern Soul for Michael Thevis’ Aware Records. The first was also her debut album Loleatta , which was released in 1973. It was followed two years later in 1975 by her sophomore album Cry To Me, which brought Loleatta Holloway’s Aware Records’ years to an end.
Now forty-five years later and Kent Soul an imprint of Ace Records will release Loleatta and Cry To Me on one CD along with three bonus tracks on the ’30th’ October 2020. This is the first time these two oft-overlooked albums have been reissued on CD. They show another side to Loleatta Holloway.
She was born in the Windy City of Chicago, on November the ‘5th’ 1946, and just like Minnie Ripperton and Aretha Franklin her talent was noticeable from an early age. Growing up, music was always part of Loleatta Holloway’s life.
Her first involvement with music was when she joined her mother’s gospel group. Her time with The Holloway Community Gospel Singers was akin to a musical apprenticeship.
That was also the case for another young singer that Loleatta Holloway met whilst singing with her mother’s gospel group. This was a young Aretha Franklin who later, would influence Loleatta Holloway’s vocal style and phrasing.
In 1967, Loleatta Holloway was asked by Albertina Walker to join The Caravans, the gospel group she founded in the fifties. She agreed, and later, that year, The Famous Caravans as they were now billed, released their critically acclaimed album Help Is On The Way. Loleatta Holloway’s recording career was underway.
For the next four years, she was a member of The Caravans and on their 1969 album Think About It takes charge of the lead vocal on two tracks. However, by 1971 Loleatta Holloway was ready to embark on a new chapter in her career.
She had decided to change direction and form her own musical review. This she named Loleatta Holloway and Her Review which headed out on tour. However, back home in Chicago she acted in the musical revue Don’t Bother Me, I Can’t Cope which was how she met future husband and manager Floyd Smith, who arranged for Loleatta Holloway to record her first secular tracks.
This was a cover of a Gene Chandler song Rainbow 71, which was released on the Apache label in 1971. Later, they leased to Galaxy who were able to distribute the single nationwide. However, the song failed to chart and Loleatta Holloway returned to the studio.
Her next single was Bring It On Up, originally the B-side to Sentimental Reasons. It was around this time that Michael Thevis became aware of Loleatta Holloway, and he signed for his new Atlanta based Aware label.
Now that he had signed Loleatta Holloway, Michael Thevis wasted no time recording her first single for his new label. This was Mother Of Shame, which was released in May 1973, and reached number sixty-three in the US R&B Charts. Although it was only a minor hit, Loleatta Holloway entered the studio with producer Floyd Smith to record her debut secular album.
Loleatta.
This was Loleatta, which was recorded at the Sound Pit Studios, in Atlanta, Georgia. The album was produced by Floyd Smith who penned Part Time Lover, Full Time Fool and cowrote Only A Fool with William Johnson. They were joined by a cover George and Ira Gershwin’s The Man I Love, Syl Johnson’s We Did It, Charles Jackson and Marvin Yancy’s Our Love, Barry Despenza and Carl Wolfolk’s Can I Change My Mind, Ashford and Simpson’s Love Woke Me and Van McCoy and Clyde Otis’ Remember Me. Sam Dees who wrote a number of tracks for artists signed to Aware and its various imprints penned So Can I and cowrote Mother Of Shame with Jesse Lewis and Cleveland Yelder. Accompanying Loleatta Holloway when she recorded these ten tracks were The “Homegrown” Rhythm Section. Once the album was completed, it was released later in 1973.
By July 1973, DJs were playing Our Love which was on the B-Side of Mother Of Shame. It eventually reached forty-three in the US R&B charts and game Loleatta Holloway her second hit single.
Buoyed by the success of Our Love, Part Time Lover, Full Time Fool was released as a single. Despite being one of the strongest song on the album and an obvious choice for a single it failed to chart. This was a disappointment for Loleatta Holloway and Floyd Smith who wrote and produced the song.
There was further disappointment when Loleatta was released later in 1973 and failed to chart. That was despite the album receiving positive reviews from the critics that reviewed Loleatta
On the album opener The Man I Love, Loleatta Holloway delivers a hopeful and heartfelt vocal against an understated arrangement that combines jazz and soul. It’s a beautiful ballad that showcases her versatility.
Loleatta Holloway combines joy and power during an emotionally charged reading of reading of Syl Johnson’s lyrics on We Did It where horn blaze, backing vocalists soar above the dancefloor friendly arrangement.
Strings sweep in and drums pound to signal the arrival of Loleatta Holloway’s soulful vocal powerhouse on Our Love. She’s accompanied by soaring harmonies as she wonders and worries whether there’s any future in the relationship she’s in on this three minute mini-drama.
There’s more drama on Can I Change My Mind where horns soar above the arrangement while the vocal is mixture of power and regret. She regrets leaving her partner and wants to change her mind and “I would like to start over again, I would like to change my mind.” By then, there’s despair and emotion fill Loleatta Holloway’s voice a she breathes life and meaning into the lyrics.
Part Time Love, Full Time Full was written by Floyd Smith and is a track that features an impassioned and emotive reading of lyrics as Loleatta Holloway sings of her cheating man. Meanwhile, the band combine washes of Hammond organ, horns, cooing harmonies and the rhythm section to create an atmospheric backdrop and this stunning example of Southern Soul. It features a soul-baring vocal and is one of the album’s highlights.
Then on the ballad So Can I pride fills Loleatta Holloway’s voice is full of emotion and pride at being able to live without her cheating partner.
The tempo drops on Only A Fool and against an atmospheric backdrop Loleatta Holloway sings about her dysfunctional relationship as female backing vocalists seem to sympathise. All the time, the vocal which is full of emotion, frustration and defiance.
Love Woke Me Up has a much more understated piano-led arrangement and features a tender, heartfelt and soulful vocal. Soon, backing vocalists accompany Loleatta Holloway as she combines soul and gospel as she confesses “haven’t had a heartache today”
The arrangement to Mother Of Shame almost gallops along combining funk, soul and even a Latin influence before Loleatta Holloway unleashes an angry and frustrated vocal. The father of her child left her and she finds herself: “standing in the welfare line hoping they’ll feel the child.” When they won’t sings to the man who left her: “the welfare people are laughing at me I wish you could see now I’m a Mother Of Shame.” She remembers her parents telling her: “I should have you locked up in jail.” Despite all this, she tells him: “I love you, I miss you and I need you” as she delivers an emotive vocal during this latest slice of cinematic soul.
Closing Loleatta is the ballad Remember Me. Strings are to the fore before drums signal the entrance of the vocal and a piano accompanies Loleatta Holloway as memories come flooding back. She remembers a relationship and a man who said she “was the he always loved and you swore by the stars above or don’t you recall.” By then, sadness falls her voice as she wonders: “if you ever loved me at all” on this beautiful string-drenched ballad.
The album featured a series of vocal masterclasses from Loleatta Holloway who sounded as if she had lived the lyrics. She breathed life, meaning and emotion into the songs on Loleatta and was like actress in a play on the tales of love and love gone wrong. Sadly, very few people heard Loleatta when it was released in 1973 and this was a huge disappointment for Loleatta Holloway. The twenty-seven year old hoped that the followup fared better.
Cry To Me.
In the spring of 1974, Loleatta Holloway returned to the studio to record her next single.The song that had been chosen was a Sam Dees’ composition Help Me My Lord. It found Loleatta Holloway strutting her way through the track delivering a vocal powerhouse as she combines Southern Soul and gospel.
Then Loleatta Holloway delivers a defiant vocal that is a mixture of anger and frustration on Frederick Knight’s The World Don’t Owe You Nothin’. It features a funky, soulful arrangement that is the perfect backdrop to this mini soap opera. However, despite being the stronger of the two tracks it was destined for the B-Side.
This decision came back to haunt Aware Records when Help Me My Lord was released as a single and failed to chart. Despite this, Loleatta Holloway returned to the studio to record the rest of her sophomore album Cry To Me.
Another eight tracks were chosen for the album including Sam Dees’ I Know Where You’re Coming From and The Show Must Go On. They were join ed by David Camon’s Cry To Me; Curtis Mayfield’s Just Be True To Me; Johnny Jacobs and Ronnie Walker’s Something About The Way I Feel; A. Jerline Williams and William Johnson’s I Can’t Help Myself and Jo Armstead’s Casanova. The other track was the Loleatta Holloway composition I’ll Be Gone. These tracks were recorded at the Sound Pit Studios, in Atlanta, Georgia.
Just like Loleatta, Cry To Me was produced by Floyd Smith. Accompanying Loleatta Holloway at the Sound Pit were The “Homegrown” Rhythm Section. Just like her debut album they played an important part in the album’s sound.
This includes on the album opener Cry To Me where a piano plays slowly, guitars chime and combine with the rhythm section as Loleatta Holloway delivers a soliloquy. She’s heartbroken and sings about how her relationship is breaking up against an arrangement that is a mixture of power and drama. Strings sweep in while the rhythm section add drama and backing vocalists accompany a powerful, soul-baring vocal. It’s almost impossible not to to get caught up in the emotion and sadness of what’s one of the album’s highlights.
The Show Must Go On was written by Sam Dees who originally recorded this ballad. Loleatta Holloway delivers a hurt-filled soliloquy against Floyd Smith’s arrangement. By the time the vocal enters, the rhythm section, sweeping strings horns, gospel-tinged backing vocalists, vibes and even applause accompany a defiant, dramatic soul-baring vocal.
I Know Where You’re Coming From is a song about a relationship breakup with a twist in the tale. Loleatta Holloway delivers a soliloquy as a guitar chimes and a bass cuts through the arrangement. Meanwhile, soaring backing vocals join Loleatta Holloway as she reassures her friend: “I Know Where You’re Coming From” before singing: “why don’t you take my hand and be my man” on this timeless slice of sassy Southern Soul.
There’s a sense of drama to the ballad Just Be True To Me. It features an arrangement where strings sweep and horns rasp as the rhythm section provide the heartbeat. Meanwhile, Loleatta Holloway delivers a heartfelt and impassioned vocal that becomes needy and hopeful when she sings: “Just Be True To Me” on this beautiful ballad.
The tempo rises slightly on Something About The Way I Feel as the rhythm section, horns and vibes set the scene for an impassioned vocal. Loleatta Holloway reflects about the past and what she’s been through with her partner. She’s accompanied by backing vocalists that prove to be the perfect foil as the song swings and she gives thanks for the love she’s found, what she has and “the way I feel.” It’s a beautiful paean where the future disco diva paints pictures with the lyrics.
I’ll Be Gone is another ballad and the only song on the album written by Loleatta Holloway. She warns on this tale of love gone wrong that: “I can’t let you keep on hurting me for I’ll Be Gone.” Her vocal is bristling with emotion and hurt as the rhythm section add a degree of drama and are joined by a crystalline guitar, vibes plus sweeping and pizzicato strings. They provide the perfect backdrop as Loleatta Holloway delivers an ultimatum to her cheating, no good man.
Dramatic describes the introduction to I Can’t Help Myself before it sets the scene for Loleatta Holloway’s vocal. There’s a degree of confusion in her voice as she’s fallen for the wrong guy. “I never thought I could fall in love with a guy like you, although I know you could never be true, I find myself wanting to live with ‘cos I love you, I can’t help myself.” Meanwhile, backing vocals soar above the arrangement and coo, as drums pound, a guitar chimes, strings sweep and horns rasp. It’s one of the best arrangements on the album and the perfect accompaniment for the vocal.
Stabs of horns, backing vocalists and the rhythm section combine to create a dramatic backdrop before Loleatta Holloway unleashes a powerful, emotive vocal on Casanova. She tells her parter “Casanova your playing days are over.” Meanwhile, the backing vocalists sing “it’s over, it’s over baby” as strings sweep and swirl and the drama builds during this four minute soap open. It’s one of the eight tracks recorded at the Sound Pit and is without doubt one of the highlight Cry To Me.
With the rest of the album completed, Cry To Me was scheduled for release later in 1975. Loleatta Holloway must have been hoping that it would fare better than her debut album.
Things were looking good when Cry To Me was released as a single in January 1975 and reached sixty-eight in the US Billboard 100 and ten in the US R&B charts.
In June 1975, I Know I Where You’re Coming From was released as a single and stalled at sixty-nine in the US R&B charts. It was a case of one step forward and two steps back for Loleatta Holloway.
She released her sophomore album Cry To Me later in 1975 and although it was well received by critics but like her debut failed to trouble the charts. The problem was this future Southern Soul classic hadn’t been promoted properly. However, this time there was a reason for the lack of promotion.
All wasn’t well at Aware and the label was teetering on the brink. Despite this, Casanova was released as a single but failed to find the audience it deserved. Not long after this, Aware and the rest of Michael Thevis’ empire folded.
All the artists signed to GRC, Aware and Hotlanta Records were left high and dry. They were left without a label and some of the artists were also owed royalties, which in some cases, was a significant sum of money. These artists had no idea what the future held for them.
In the case of Loleatta Holloway she was signed to Salsoul imprint Gold Mind Records by Norman Harris. This was the start of a new chapter Loleatta Holloway who was transformed into a disco diva at her new label.
This was very different to the two albums of Southern Soul Loleatta Holloway had recorded at Aware. Sadly, neither Loleatta nor Cry To Me was a commercial success when they were released. It was only much later that the two albums started to find a wider audience.
Cry To Me is an almost flawless album from Loleatta Holloway. Most of the songs on were tailor made for Loleatta Holloway and play to her strengths. She delivers vocals that veer between dramatic, emotive, heartfelt, impassioned and soul-baring to defiant, hopeful and sassy as she struts her way through the lyrics about love and love gone wrong. Other times, the vocals are needy and hopeful as Loleatta Holloway brings the lyrics to life. Especially when accompanied by Floyd Smith’s timeless arrangements. They add to the drama and theatre of the songs on Cry To Me and are play their part in the sound and success of the album.
Sadly, Aware was the wrong label for Loleatta Holloway and the two albums weren’t promoted properly. Especially Cry To Me which was released just before Michael Thevis’ house of cards collapsed. This was a great shame and meant that very few people got to hear Cry To Me. For Loleatta Holloway it was a case of what might have been?
Forty-five years later, and Loleatta Holloway’s music is more popular than ever. Although she’s better known as a disco diva the two albums she recorded for Aware are belatedly receiving the recognition they deserves and this includes Loleatta Holloway’s Southern Soul classics Loleatta and her sophomore album Cry To Me.
Loleatta Holloway-Loleatta and Cry To Me.
TIM BOWNESS-LATE NIGHT LAMENTS.
Tim Bowness-Late Night Laments.
Label: Inside Out Music.
Format: LP with CD.
When English singer, songwriter and producer Tim Bowness released his debut album My Hotel Year in 2004, he was already forty and was best known for his work the art pop duo No-Man which he had cofounded with Porcupine Tree’s Steven Wilson. The group was founded in 1987 and by 2004 had already released five studio albums had established a large, loyal following. Despite that, the two members of No-Man continued to work on other projects.
By then, Tim Bowness was also a member of Samuel Smiles, Henry Fool and Centrozoon and had started to collaborated with Peter Chilvers. He had previously collaborated on an album with Richard Barbieri, been a guest vocalist on albums by Saro Cosentino and Alice and produced A Marble Calm. This kept life interesting for Tim Bowness. However, the one thing that he still had to do was release a solo album.
My Hotel Year.
In the autumn of 2003, Tim Bowness entered the studio to begin work on his debut solo album. The sessions continued until the summer of 2004 and he was joined by a number of his musical friends including former Soft Machine bassist Hugh Hopper, Roger Eno, Markus Reuter and Stephen Bennett of Henry Fool. Eventually, eleven tracks were recorded and the album was scheduled for release later in 2004.
Tim Bowness’ much-anticipated debut album My Hotel Year was released by One Little Indian in the second half of 2004 and was ostensibly an album of art rock that included elements of indie rock, experimental music and leftfield sounds. The album was well received by critics but failed to make any impact on the UK charts. It was a disappointing start to Tim Bowness’ solo career, and it was another ten years before he returned with the followup.
Abandoned Dancehall Dreams.
Even then, the album might not have been made if it wasn’t for a problem with No-Man’s schedule. When their 2014 album was postponed, Tim Bowness decided he could use the songs for his sophomore solo album.
He knew he would have to rework the songs that eventually feared on Abandoned Dancehall Dreams. The recording sessions took place during 2013 and into 2014. Many parts of the original songs feature the album and so does his friend and partner in No-Man partner Steven Wilson, the rest of the No-Man live band, King Crimson drummer Pat Mastelotto and Porcupine Tree bassist Colin Edwin. As well as playing on the album, Steven Wilson also mixed Abandoned Dancehall Dreams.
Nearly ten years after releasing his debut album, Tim Bowness released Abandoned Dancehall Dreams on the ’23rd’ of June 2014. The album received positive reviews from the majority of music journalists, especially those specialising in progressive rock and rock. Critics were won over by album that combined elements of art pop and art rock as well as dream pop and progressive rock and reached number eighteen in the UK rock chart. This was progress for Tim Bowness and he soon began working on the followup album Stupid Things That Mean The World.
Stupid Things That Mean The World.
Later in 2014, returned to the studio and continued to work on his third album Stupid Things That Mean The World into 2015. He was joined by musical luminaries like Peter Hammill, Phil Manzanera, Pat Mastelotto, Colin Edwin and David Rhodes the former guitarist and vocalist in Random Hold who had spent the past thirty-five years working with Peter Gabriel. It was a multitalented and versatile band that recorded an album of art rock and progressive rock with Tim Bowness.
When Stupid Things That Mean The World was released on the ’17th’ of July 2015 critics were won over by Tim Bowness’ third album. Some felt that it was the finest album of his career and it was no surprise when it reached number ten in the UK Rock chart and nine in the new UK Progressive Rock chart. This meant that Stupid Things That Mean The World was the most successful album of Tim Bowness’ career.
Lost In The Ghost Light.
In autumn 2016, Tim Bowness returned to the studio to begin work on his fourth album Lost In The Ghost Light. He was joined by some familiar faces including Colin Edwin, David Rhodes and Stephen Bennett plus guest appearances by Jethro Tull’s Ian Anderson and Kit Watkins formerly of Camel and Happy The Man. In total, eight new songs were recorded for Lost In The Ghost Light.
Lost In The Ghost Light was released on the ‘17th’ of February 2017. It was a concept album based upon the backstage and onstage thoughts of an ageing musician. Critics called the album the finest album of Tim Bowness’ career. Record buyers agreed, and the album reached number five in the UK Rock chart and eight in the UK Progressive Rock chart. However, Tim Bowness’ fans wouldn’t have long until he released another album.
Songs From The Ghost Light.
In August 2017, he returned with Songs From The Ghost Light which was a companion album to Lost In The Ghost Light. It was another album of art rock and progressive rock that featured different versions of the tracks on Tim Bowness’ fourth album. Its release was welcomed by his fans who eagerly awaited his next album.
Flowers At The Scene.
Recording of what became Flowers At The Scene took place during 2018 and featured Peter Hammill, 10cc’s Kevin Godley, XTX’s Andy Partridge, Colin Edwin as well as Jim Matheos, David Longdon and Dylan Howe. A total of eleven Tim Bowness’ compositions were recorded and his fifth solo album was scheduled for release in early 2019.
When Flowers At The Scene was released on the ‘1st’ of March 2019 it was to widespread critical acclaim as Tim Bowness continued to combine art rock and progressive rock on what was without doubt the finest album of his career. This carefully crafted album reached number five in the UK Rock and UK Progressive Rock charts making Flowers At The Scene his most successful album. Tim Bowness’ career was going from strength to strength.
Late Night Laments.
Buoyed by the success of Flowers At The Scene Tim Bowness began work on his sixth album which eventually became Late Night Laments. He wrote nine new songs which he recorded with a tight and talented band.
This included drummer and percussionist Evan Carson, double bassist Colin Edwin and guitarist and backing vocalist Kavus Torabi. They were joined by Tom Atherton on vibes and backing vocalist Melanie Woods. Adding synths were Richard Barbieri, Alistair “The Curator” Murphy and Brian Hulse who also played keyboards and guitar and co-produced the album Tim Bowness. He played synths, ukulele and added FX and samples on Late Night Laments.
When Tim Bowness released Late Night Laments on the ‘29th’ of August 2020 critics were greeted with a very different album than previous releases. Gone were most of the rock influences of previous albums. Electric guitars still feature on the album but as part of carefully crafted arrangements. So were an acoustic guitar, double bass, ukulele and percussion. The sonic sorcerer also used less in the way of FX and eschewed traditional drums and sometimes deployed a synth bass and eighties keyboards. All instruments intertwine during slow and lush arrangements where there’s both an intensity and fragility to the music.
They also showcase a talented songwriter who tackles a variety of subjects on Late Night Laments. There’s a sense of melancholy as he deals with the subjects of loss, love and emotions during this soul-baring album.
Late Night Laments opens with Northern Rain which features a heartfelt and emotive vocal from Tim Bowness. He throws a curveball as he sings: “You’re laughing” before adding a twist in the tale adding: it’s “a laughter close to crying.” The slow, moody arrangement is the perfect accompaniment to his vocal on this atmospheric and cinematic sounding track that brings about a sense of nostalgia and sadness as he sings “The world we knew is dying, and maybe that’s okay.”
Straight away, there’s a sense of darkness on I’m Better Now which features a whispered, almost sinister vocal that are companied by harmonies. They’re best described as unconventional and compliment the vocal which becomes sinister and menacing as Tim Bowness sings about a domestic murder. He’s like an actor playing and the studio is his stage and he role and he plays his part to perfection.
Darkline features an unusual selection of instruments that includes vibes, drums and later, a synth guitar similar to the one on Yes’ Owner Of A Lonely Heart. This carefully crafted arrangement that is sounds as if it’s paying homage to The Blue Nile is the perfect accompaniment to a tender, whispery and fragile vocal full of emotion and regret and despair. It’s like a confessional and is powerful and poignant.
We Caught The Light is another track with a slow, understated arrangement where a chiming guitar accompanies the deliberate vocal. It’s accompanied by vibes, double bass and later becomes heartfelt and impassioned as a backing vocalist adds the perfect accompaniment. Later, a bell chime and sci-fi sounds adds an atmospheric hue to this carefully crafted song about generational warfare.
Moody and cinematic describes the introduction to The Hitman Who Missed. It features one of Tim Bowness’ trademark vocals as a beautiful double bass plays a leading role and is augmented by vibes, subtle keyboards and harmonies as acoustic and electronic instruments unite to create the backdrop to this filmic track where Tim Bowness’ paints pictures with his lyrics. The result is another of the album’s highlights.
Understated, wistful and even dreamy describes Never A Place which features a rueful vocal from Tim Bowness. His vocal is full of emotion and sadness as memories come flooding back and he delivers the lyrics like a stream of consciousness on this heartachingly beautiful song that’s the highlight of the album.
Although several songs on the album have an understated sound, the arrangement to The Last Getaway has been stripped bare. Just a ticking beat and a slow deliberate piano and wailing, weeping synths accompanies the vocal. Again, it has a confessional quality as generational Tim Bowness explains: “Life’s adventures drove me wild.”
The slow, spacious arrangement to Hidden Life has been pared back and only the essential parts remain. This results in an atmospheric backdrop that features eighties drums that slap as synths and keyboards combine to accompany another vocal that paints pictures of another side of life.
One Last Call which closes Late Night Laments was written after rereading John le Carré’s The Spy Who Came In From The Cold. He sang the song into his computer with the window open and the wind blowing as he tried to make sense of what he calls “flawed political and religious systems.” The next day overdubs were added to the song and one of the most beautiful songs on the album was complete.
Late Night Laments is quite different from Tim Bowness’ previous albums, and features atmospheric and lush arrangements that are slow sometimes spacious while other times there’s an intensity, fragility and sense of melancholy. These arrangements combine acoustic and synthetic instruments and often have a cinematic sound and provide the perfect backdrop for Tim Bowness’ vocals.
Sometimes, he’s like an actor as he plays a series of roles and often wears his heart on his sleeve as he delivers vocals full of despair, hurt, sadness and regret, but on I’m Better it’s all change as he sounds menacing. Other times, the music is poignant, powerful and beautiful as Tim Bowness’ vocals are either soul-baring or confessionals on Late Night Laments which shows another side of singer, songwriter, multi-instrumentalist and producer on his sixth album which is also one of his finest.
Tim Bowness-Late Night Laments.
QUICKSAND-HOME IS WHERE I BELONG.
Quicksand-Home Is Where I Belong.
Label: Magic Box.
Format: LP.
Musical history is littered with examples of groups who only ever released one album during their what proves to be a short-lived career. Especially, during the late-sixties and early seventies when many record companies had unrealistic expectations.
All too often, when a band’s debut album failed to find an audience they were unceremoniously dropped by their record label. This was yet another example of short-term thinking in the music industry.
There could’ve been any number of reasons for an album to fail, and often the blame lay fairly and squarely at the door of the record company. In Britain and America there were many smaller labels that were run by enthusiastic amateurs who talked a good game but couldn’t deliver. Sadly, that’s still the case today and getting mixed up with these dreamers and fantasists can damage a band’s future prospects.
Many bands who signed to smaller labels or imprint in late-sixties and early seventies would soon regret their decision. Often, a band was so desperate to release an album that they signed a one album deal, with the option of a second album. Straight away, this put the record label in a stronger position. If the album did well, they picked up the option and if it failed the band were dropped. All to often, bands didn’t understand that contract they had signed or knew the questions to ask before signing on the dotted line. They just wanted to release an album.
Fast forward a few months and the album has been recorded, mixed and mastered; the album cover designed and the LPs are being produced at the pressing plant and are due to be sent to the distributor. By then, the band has realised that all isn’t well behind the scenes at the label. It lacks the financial muscle and marketing expertise to properly promote an album. The owner is out of their depth and is floundering, and the band know that the album that they had spent so long working on had no chance of success. This they know was their one and only chance to release an album and if it fails to find an audience their dream is over and it’s back home and to the 9 to 5 life in the factory or office.
When the album is eventually released their worst fears come true when it sinks without trace. At the post mortem, the label owner blames the distributor, the PR company, retailers who failed to stock the album, critics who failed to review it and DJs who failed to play it. The band listen and know that the only person to blame is the label owner and wait to be told there won’t be a second album. They’ve just joined the ranks of the groups who only ever releases one album.
This includes Quicksand who were formed in Port Talbot, in South Wales, in 1969 and featured drummer Robert Collins, future Man and The Neutrons bassist Will Youatt, guitarist Jimmy Davies and keyboardist Anthony Stone. The group started life as a covers band but the time they signed to the Carnaby label in 1970 their music was evolving.
Having signed to the Carnaby label Quicksand went into the studio with producer Terry Britten and recorded two Will Youatt compositions. Passing By was chosen as the single and Cobblestones relegated to the B-Side. Quicksand’s debut single saw the group move in the drection of psychedelic rock. However, the single wasn’t a commercial success and it was their only release on the Carnaby label.
Not long after this, Will Youatt left and was replaced by Phil Davies. This new lineup of Quicksand Mk II would go on to release their sophomore single.
Having left the Carnaby label, Quicksand concentrated their efforts on playing live and were familiar faces in clubs and concert halls all over Britain. Quicksand were putting in the hard yards and honing their sound in the hope that one of the many A&R men would spot them playing live.
Their luck was in and they were signed to Dawn Records which was Pye’s “underground and progressive” label. This seemed the perfect home for Quicksand.
After signing to Dawn Records, Quicksand went into the studio with producer Tito Burns to record two Phillip Davis compositions for their sophomore single. The song chosen for the single was the joyous and optimistic sounding Time To Live which features the band’s trademark harmonies as they combine the West Coast Sound, fusion and progressive rock keyboards. On the B-Side was the hidden gem Empty Street, Empty Heart which is a quite beautiful folk rock track with a country influence that shows another side of Quicksand. These two tracks showed what the Dawn Records’ latest signing was capable of.
Sadly, when Time To Live was released later in 1973 the single failed to trouble the British charts. This must have been a disappointment for Quicksand who by then, had been together for over four years.
Despite the commercial failure of Time To Live, Quicksand returned to the studio to record six more tracks for their debut album Home Is Where I Belong. Hideaway My Song, Sunlight Brings Shadows, Overcome The Pattern/Flying, Home Is Where I Belong and Hiding It All were also written by Phillip Davies. The other track was Seasons/Alpha Omega which was written by former band member Will Youatt. Taking charge of production this time round were Geoff Gill, Glyn Jones and the members of Quicksand. The result was an eclectic sounding album.
It’s hard to believe that the track that Hideaway My Song which eventually opened the album Home Is Where I Belong was recorded by a group from Port Talbot, in South Wales. It has a feelgood sound that sounds as if it’s been influenced by the California Sound which was popular at the time the album was recorded.
Very different is Sunlight Brings Shadows where the tempo rises as Quicksand change direction and unleash an unrelenting example of heavy progressive rock. Key to its success are the driving rhythm section, blistering rock guitar, banks of keyboards and Quicksand’s trademark harmonies.
Then Overcome The Pattern/Flying shows different sides to the group. It starts off as a progressive rock track with some stunning psychedelic guitar playing from Jimmy Davies before heading into freak out territory at the midway point. There’s a trippy sounding interlude before things become even more spacey, psychedelic and way-out. Lysergic doesn’t even come close to describing the second part of this musical trip.
Home Is Where I Belong is one of the most commercial sounding tracks on the album. It’s rocky and progressive in parts, and is an uplifting song with a feelgood sound and strong hook.
It’s all change on Seasons/Alpha Omega which is another track that lasts over eight minutes and allows Quicksand to showcase their considerable talents. Especially during the solos. Initially, there’s a nod to Pink Floyd before the band spring into action and the tempo rises. Soon, searing guitar, banks of keyboards, a galloping rhythm section and harmonies that compliment the lead vocal make an appearance.What follows is a masterful and majestic example of progressive rock. To non believers, the music may sound overblown and pompous but give it a chance and it’s soon apparent that this is the album’s progressive epic that shows just what Quicksand were capable of.
Quicksand have saved one of the best on Home Is Where I Belong. Hiding It All close a quite beautiful and moving progressive folk anthem that is sure to tug at the heartstrings and should’ve been released as a single.
When Quicksand’s debut album Home Is Where I Belong was released in February 1974 there was no single to proceed it. The previous single Time To Live had been released in 1973 and hadn’t troubled the British charts. Home Is Where I Belong would’ve been a tantalising taste of the delicious main dish. However, Dawn Records decided just to release the album without a single to proceed or accompany it. This backfired badly when Home Is Where I Belong sunk without trace. For the members of Quicksand this was a disaster, and they must have feared for their future.
Sadly, Quicksand’s time at Dawn Records was at an end and they never returned with a followup to Home Is Where I Belong.
Worse was to come when Quicksand split-up not long after the release of Home Is Where I Belong. By then, they had been together for five years and had released two singles and one album, Home Is Where I Belong. It’s the highlight of a career that promised so much.
Quicksand were a hugely talented and versatile band, and Home Is Where I Belong is proof of that. It’s usually described as a progressive rock album but it’s much more than that. There’s elements of the California Sound, country, folk rock, fusion, progressive folk, psychedelic rock and the West Coast Sound on Home Is Where I Belong. They seamlessly switched between and fused genres on a carefully crafted album that should’ve found a much wider audience.
That was despite being signed to Dawn Records which was Pye’s “underground and progressive” label. Maybe Dawn Records was the wrong label for Quicksand and they would’ve succeeded on a bigger label?
Especially if the had played the long game by signing Quicksand on a longer deal and helped them break into the lucrative American and European markets. Quicksand were ostensibly a progressive rock band but could also write radio friendly anthems and beautiful ballads. Maybe their music would’ve been more successful in America? Given the American influences on the album and the popularity of progressive rock in early 1974 maybe record buyers in the land of the free might have embraced, enjoyed and appreciated Quicksand’s debut album Home Is Where I Belong?
Sadly, the album was never even released in America in 1974. This was an own goal from Dawn Records who could’ve licensed Home Is Where I Belong to an American label. However, as is often the case after an album fails commercially the label moves on to the next project. Sometimes labels lose interest and other times they’re reluctant to spend any more money or even invest any more time on an album that wasn’t a commercial success. That’s a great shame and is frustrating and heartbreaking for a band.
That must have been the case for the four members of Quicksand who never recorded a followup to Home Is Where I Belong. Sadly, very few record buyers, even fans of progressive rock discovered the delights of an album that had something for everything. Progressive rock epics and psychedelic freakouts rub shoulders with anthems and beautiful ballads on Quicksand’s long-lost Magnus Opus Home Is Where I Belong which rather belatedly is starting to find a new and wider audience.
Quicksand-Home Is Where I Belong.
LARAAJI-MOON PIANO.
Laraaji-Moon Piano.
Label: All Saints Records.
Format: LP.
When Laraaji recorded two albums of spiritual keyboard improvisations at the First Unitarian Church, Brooklyn, on December the ’10th’ and ’11th’ 2018 he was fulfilling a lifetime’s ambition. He had always wanted to return the piano which was the first instrument he learned to play growing up in New Jersey in the fifties. His dream came true in December 2018 when he recorded two albums which were engineered and mixed by Jeff Zeigler. The first to be released was Sun Piano in July 2020.
Just three months later and Laraaji returns with the followup Moon Piano which was recently released by All Saints Records. It’s a companion album to Sun Piano and features ten contemplative and ruminative soundscapes that encourage reflection. Sonically, it’s a very different album to Sun Piano. However, Laraaji enjoyed recording both albums. He describes playing the piano as: “my music therapy.” This is something he has been doing since 1953, when he was just ten and living in New Jersey.
Back then, he was still called Edward Larry Gordon and music was a big part of his life. He studied violin, piano, trombone and took singing lessons. Then at high school, the future Laraaji played in the school band and orchestra. Music was big part of his life.
His family attended the local Baptist church, where Laraaji heard choral and gospel music, as well as negro spirituals. At home though, he heard very different music.
Laraaji sat and absorbed everything from jazz to R&B and rock ’n’ roll. However, it was the great piano players that inspired him including Oscar Peterson, Fats Domino and Ahmad Jamal. Over the next months and years, Laraaji spent much of his time listening to music. Still, though, he continued to play the violin, piano, trombone and sang. Music was his passion and it was no surprise that having graduated from high school this talented multi-instrumentalist decided to study music.
Having won a scholarship to study piano and composition, Laraaji headed to one of the most prestigious universities in America, Howard University, in Washington DC. During the next few years, he immersed himself in music, and also discovered marijuana for the first time.
Then during his second year, Laraaji discovered psychedelic drugs which played an important part in opening his consciousness during his spiritual awakening. However, he would later use marijuana as an aide to the creative process. Before that, his friends and family were sure that Laraaji was destined to pursue a career in music. However, that wasn’t the case.
After graduating from Howard University, he decided not to pursue a career in music, which was a huge surprise to his friends, including this he had studied alongside. Instead, Laraaji decided to pursue a career as a standup comic. His love of comedy began in college, and when he left University, he and his comedy partner decided to head to New York to audition at the Bitter End, who regularly held talent shows.
The Bitter End seemed the perfect place to launch their new career. However, the night Laraaji and his comedy partner were meant to make their debut, his partner never turned up. After being left in the lurch, he had no option to make his debut as a solo artist. He was well received, and this was the start of his new comedy career. Soon he became a regular on New York’s thriving comedy circuit.
Through his exploits as a comedian, Laraaji came to the attention of Ernestine McClendon, who was a respected theatrical agent. She took him under her wing and guided his nascent career. Soon, she was sending Laraaji to auditions, and before long, he found himself appearing on television commercials, theatre and even films.
One of these films that Laraaji appeared in was Putney Swope, which was a comedy directed by Robert Downey which examined the of role race and advertising in America. Putney Swope was very different to anything he had appeared in before, as much of the film was improvised. This which was new to him, but something he coped with admirably in the film.
In Putney Swope, the chairman of an advertising company dies, and the firm’s executive board must elect someone to fill the vacant position. However, each member, is unable to vote for himself, and Swope who was the token African-American on the board is unexpectedly elected chairman. He decides to do things his way, and fires all the staff, apart from a lone white employee. Swope then renames the company Truth and Soul, Inc. and decides that he will no longer accept represents companies selling tobacco, alcohol and war toys. The film must have made a big impression on Laraaji, because when Putney Swope was released it inspired him to look at the role of the mass media. Looking for answers, he read books and learnt to meditate.
To help him, he turned to teachers who taught him how to meditate properly He soon was practising meditation and calisthenics. He was also using piano exercises as an outlet which was how he discovered spontaneous music. Everything was improvised, off-the-cuff and experimental. Straight away, he realised the possibilities were endless. However, meditation was key to this. Soon, Laraaji was starting to realise just what he could do with music and art now that he had discovered meditation. Discovering meditation was akin to the first part of his spiritual awakening. Before long, the next part of his spiritual awakening took place.
Around 1974 or 1975, Laraaji found himself was living not far from JFK airport, and decided to go out for a walk in the evening. On his return home, he started hearing what he describes as: “the music of the spheres.” This was akin to a cosmic symphony where the music was joyous and celebratory. He became part of the music and was at one with the music. The whole experience had a lasting effect and was his spiritual and cosmic awakening.
Suddenly, he understood things that had previously puzzled him. Things now started to make sense after what Laraaji refers to as: “a trigger for a cosmic memory.” It was as if he had been enlightened. However, he wanted to know more about what had happened, and decided to embarked on a course of study.
To further understand what had happened to him, Laraaji embarked upon a study of Vedic teachings. Part of the Vedic teachings is that the yogis hear music in layers. When Larry heard this, he realised this what he had experienced and was why he was able to describe the music so vividly. His teachers told him that he had reached such a high level of consciousness that he was now able to see things differently from most people. It seemed his spiritual and cosmic awakening was almost complete. Now he decided that he wanted to recreate the music that he heard that night near JFK Airport.
At last, Laraaji was able to put his musical education to good use. He had always played music, even when he was working as a comedian and actor. Latterly, he’d been playing the Fender Rhodes, but was fed up having to transport such a heavy instrument. One night as he was preparing to go onstage, he told his “cosmic ear” that he would: “like a lighter instrument to share his musical consciousness with the world.”
A few days later, Laraaji found himself in a pawn shop where he was ready to pawn his guitar when suddenly, out of nowhere, a voice told him to swap his guitar for a stringed instrument in the shop window. This he realised was an autoharp, which he was unable to play. However, he decided to swap his guitar for the autoharp, and he after that, he headed home, where he was determined to master this new instrument.
When Laraaji took the instrument home, he tuned it to his favourite piano chords and open guitar tunings. The effect this had, was to return it to what was essentially a zither, whose roots can be traced back the ancient, traditional instrument the kithara. Gradually, through a process of experimentation, he discovered what the autoharp was capable of. Then when he added an electric pickup, this was a game-changer, and he discovered that the possibilities were endless. He was able to begin creating the music that he had heard that fateful night, albeit with a little help from a friend.
Not long after Laraaji begin playing the autoharp, he was strumming and plucking it like a guitar which seemed to him the way to play the autoharp. That was until he met Dorothy Carter who was a hammered dulcimer artist and encouraged Larry to play his autoharp with hammers. The other thing Dorothy did, was invite Laraaji to the Boston Globe Music Fest where he met another innovator.
At the Boston Globe Music Fest, he met Steven Halpern who is one of the pioneers of New Age music. Meeting Steven exposed him to music that he never knew existed, and changed Laraaji’s way of thinking. He realised that music didn’t need to follow the structures that he had been taught as a child and at university. Music didn’t need to have a beginning, end or even a melody. Instead, it could be a freeform stream of consciousness. He also learnt that there was always room for experimentation and improvisation within music. For Larry this changed his approach to music. Inspired and confident in his ability to play the autoharp, he was ready to make his debut.
The old saying that the world is a stage proved to be the case for Larry, who made his debut as a busker on the streets of New York in 1978. He had released his first album Celestial Vibration in 1978, which he hoped would introduce his music to a wider audience.
A year later, Larry was still busking and had self-released his sophomore album Lotus-Collage in 1979. However, he was busking abet in a different location. This proved fortuitous, while other said it was fate.
Laraaji was now busking in Washington Square Park and on that fateful day, he sat on top of a blanket, cross-legged and with his eyes closed, played his zither using the open tunings he favoured. As a result, he never saw Brian Eno standing watching him play. The man who many called The Godfather of ambient music was transfixed as he watched Laraaji play. Little did Brian Eno realise when he walked through the park with Bill Laswell that he would come across a fellow innovator. Recognising the potential that the busker had, Brian Eno wrote a message on a piece of paper which Laraaji as he was now calling himself found later.
The next day Brian Eno met with Laraaji and the two men spoke about ambient music and electronics. Straight away, they got on and three weeks Laraaji, was heading to Apple Studios, in Green Street, New York where he recorded Ambient 3 (Day Of Radiance).
Later in 1980, Laraaji was preparing to release Ambient 3 (Day Of Radiance), which it was hoped would launch his career and transform him from an underground artist to a successful experimental musician. The album was a groundbreaking fusion of ambient, avant-garde, dub, electronica, experimental, folk, New Age and world music, and was well released to critical acclaim. Sadly, the album wasn’t a commercial success, although nowadays it’s regarded a cult classic and one of Laraaji’s finest albums.
In 1981 Laraaji returned with his new album, I Am Ocean which was released on the Celestial Vibration label, and was the much-anticipated followup to Ambient 3 (Day Of Radiance). However, it failed to make much of an impression upon its release. Later in 1981, Laraaji was back to self-releasing his next album Unicorns in Paradise. This was something he would do regularly throughout his five decade career.
During that period, Laraaji would release over thirty solo albums. He was a prolific and innovative artist who pushed musical boundaries on his genre-melting albums. Some of these albums were released by record companies. This includes the British independent label All Saints Records who released his 1992 solo album Flow Goes The Universe.
Since then, Laraaji has released a number of other solo albums on All Saints Records, including Sun Gong, Bring On The Sun and Sun Transformations. His latest album is Moon Piano, which is the followup to Sun Piano. Just like Sun Piano, Moon Piano is very different to his previous albums.
Instead of his usual effects laden cosmic zither jams, Laraaji returned to his first musical love on Moon Piano. It features ten of Laraaji’s spiritual keyboard improvisations. They were recorded in the First Unitarian Church, Brooklyn, on the ‘10th’ and ‘11th’ December 2109 by Jeff Zeigler. It was quite different to other Laraaji sessions.
Unlike other artists, Laraaji didn’t want the church to close while he recorded Moon Piano. Instead, he wanted it to be just another day in the lives of those who use and attend the First Unitarian Church. It’s situated in a busy part of Brooklyn and members of the community use the church each and every day of the year. This could cause problems when recording the album.
Laraaji decided that the sound of the people of Brooklyn going about their business outside of the church would be part of the recording. So would the various community groups used the First Unitarian Church’s facilities. That is why everyday city sounds can be heard throughout the album. This ranges from the sound of schoolchildren playing, to police car sirens, chairs scraping, a door slamming and Laraaji breathing can all be heard during the twelve improvised pieces that became Moon Piano. There was no overdubbing, and instead, the spontaneous recordings were recorded vérité style.
This meant that only the smallest amount of artificial techniques was used to clean up what was captured by the microphones. As a result, both the full dynamic range and true spirit of the session are captured on Moon Piano. However, some of the longer pieces were edited by Christian Havins of Dallas Acid, who have collaborated with Laraaji. These shorter pieces are part of what’s a captivating and enchanting album where Laraaji at last fulfils his dream of releasing an album of piano improvisations.
Side One.
Opening Moon Piano is Prana Light where Laraaji plays slowly, carefully and somewhat hesitantly on a melancholy sounding track where beauty is omnipresent. The arrangement from Stillness can be heard in the distance and gradually this cinematic soundscape unfolds and paints pictures in the mind’s eye. Sometimes, one can hear everyday as Laraaji plays. There’s a sense of sadness and a degree of drama as he sometimes seems to pound the piano during this ruminative sound painting. Laraaji plays slowly choosing each note on Lightly with the utmost care. The result is a quite beautiful cinematic soundscape that tugs at the heartstrings. During A Quiet Journey which is one of the album’s highlights the listener has the opportunity to reflect as Laraaji’s piano playing washes over them. Closing side one is Through The Moment where the soundscape’s inherent beauty is apparent from the opening bars. It’s tinged with hope and sometimes has a mesmeric as this minimalist soundscape meanders along revealing its secrets.
Side Two.
As Bathed In A Glow opens side two a stray creaking sound interjects and becomes part of the soundscape. It meanders along and sometimes Laraaji’s playing is hesitant as it veers between wistful, emotive and ruminative to hopeful and dramatic during what’s akin to a three minute mini drama. Very different is the filmic sounding Pentatonic Smile which at 7:32 is the longest track on the album. It’s another track that paints pictures and one can picture a yacht gliding on a lake on a warm summer’s day. The sense of wellbeing continues on Feeling Lovely, which features one Laraaji’s best performances. As the soundscape unfolds and builds he combines beauty, a degree of drama and emotion. Quite different is Trance Gaze Part 1 which is a short track where darkness and drama combine. Closing the album is Trance Gaze Part 2 which starts of slowly as Laraaji leaves space before there’s a degree of urgency and drama in his playing. Meanwhile, briefly the sounds of Brooklyn can be heard in the background during this ruminative and sometimes mesmeric soundscape that encourages reflection. It’s the perfect way to close the album.
Forty-two years after Laraaji released his debut album, the seventy-seven year old releases his second album of spiritual keyboard improvisations, Moon Piano. It’s the much-anticipated followup to Sun Piano which was released to plaudits and praise in July 2020. Three months later Moon Piano which features another pieces that were recorded in the First Unitarian Church, in Brooklyn over two days in December 2019. During these two days, the church was open and being used by the local community. The sound of the community, and the people of Brooklyn going about their business can be heard throughout Moon Piano. This plays its part on what’s an enchanting and captivating album where Laraaji returns to the piano which was his first musical love.
The music on Moon Piano veers between cinematic, dark, dramatic, emotive, healing, meditative, meandering, melancholy, mesmeric, ruminative, spacious and spiritual. It’s also a beautiful, melodic and timeless album that is the perfect companion to Sun Piano.
Both Sun Piano and Moon Piano show a very different side to Laraaji who aged seventy-seven is still regarded as one of music’s best kept secrets. He’s a pioneering musician who has spent a lifetime creating groundbreaking music. However, on Moon Piano Laraaji once again returns to his first musical love, and the recording of these improvised spiritual piano sounds paintings was what he describes as “my music therapy.” The soundscapes on Moon Piano can salve and soothe a troubled and weary soul in these difficult times and allow the listener to contemplate, reflect and ruminate and sometimes offer hope for the future.
Laraaji-Moon Piano.
CULT CLASSIC: RAMSEY LEWIS- SOLAR WIND.
Cult Classic: Ramey Lewis-Solar Wind.
Nowadays, very few recording artists spend sixteen years signed to the same label, but bandleader, composer and pianist Ramsey Lewis signed to Chess Records in 1956, and his band Ramsey Lewis and The Gentlemen Of Swing their debut album later on the Argo Records imprint later that year. This was the first of nineteen albums that Ramsey Lewis released on Argo Records, before moving to the Chess Records imprint Cadet Records in 1965.
Ramey Lewis went on to release fourteen studio and live albums for Cadet Records between 1965 and 1972, and enjoyed million selling singles with The In Crowd Hang On Sloopy and Wade In The Water. With three gold discs to his name, Ramsey Lewis was one of the most successful jazz pianists, and was also enjoying something that many jazz musicians craved…crossover appeal.
By 1966, Ramey Lewis’ albums were regularly charting high in the US R&B and US Jazz charts as his popularity continued to grow. However, many of Ramsey Lewis’ albums were now charting the US Billboard 200, as his music continued to find a wider audience after the success of The In Crowd, Hang On Sloopy and Wade In The Water. This triumvirate of singles had introduced Ramsey Lewis’ music to a non-jazz audience who suddenly, were buying his albums. It looked like Ramsey Lewis had hit the musical jackpot.
Over the next few years, Ramsey Lewis’ popularity grew, and by the time he signed to Columbia Records in 1972, the thirty-seven year old pianist was one of the most prolific and successful jazz artists of his generation. Ramsey Lewis had released thirty-three albums for Argo Records and Cadet Records by the time he signed to Columbia was one of the most successful artists on Chess Records’ roster. However, with his time at Chess Records at an end, a new chapter began at Columbia.
Upendo Ni Pamoja.
Later in 1972, Ramsey Lewis released his Columbia debut Upendo Ni Pamoja which was a trio recording that featured drummer and percussionist Morris Jennings and bassist Cleveland Eaton. They worked their way through eight cover versions and Cleveland Eaton’s Trilogy of Morning, The Nite Before and Eternal Peace. It was part of album that received mixed reviews from critics, who believed that the album was a couple of tracks from being an essential album from Ramsey Lewis. He was hoping that his next album would fare better.
It wasn’t long before Ramsey Lewis began work his next album which became Funky Serenity. It saw the musical chameleon continue to reinvent himself.
Funky Serenity.
After the mixed reviews of Upendo Ni Pamoja, Ramsey Lewis was determined to make an impression with his next album Funky Serenity. It would eventually feature a mixture of cover versions and songs penned by Ramsey Lewis, Cleveland Eaton and Morris Jennings. This included What It Is!, Serene Funk and Dreams. Violinist and percussionist Eddie Green who was drafted in to play on Funky Serenity contributed Kufanya Mapenzi (Making Love) and My Love For You. They were joined by covers of Homer Banks, Carl Hampton and Raymond Jackson’s (If Loving You Is Wrong) I Don’t Want to Be Right, Justin Hayward’s Nights In White Satin, Thom Bell and Linda Creed’s Betcha by Golly, Wow and Ralph MacDonald and William Salter’s Where Is The Love. These nine tracks were recorded by a quartet which was produced by Ramsey Lewis.
When recording of Funky Serenity began, drummer, percussionist and conga player Morris Jennings was joined by bassist Cleveland Eaton and Ramsey Lewis who played piano, electric piano and harpsichord. Violinist and percussionist Eddie Green was the final member of the quartet that recorded Funky Serenity.
When critics heard Funky Serenity, it was well received by critics who called the album an essential album from Ramsey Lewis. It was regarded as a much stronger album and Ramsey Lewis’ Columbia debut, and finds him combining elements of blues, funk, gospel, pop, soul and even briefly, a hint of avant-garde. However, Funky Serenity was a reminder of why Ramsey Lewis was one of the most successful jazz pianists of his generation.
Kufanya Mapenzi (Making Love) sets the bar high on Funky Serenity before the ballad, If Loving You Is Wrong is given a jazzy makeover. Very different is the gospel-tinged and funky What It Is!, which is a reminder of Ramsey Lewis’ mid-sixties classic sound. My Love For You is a dreamy, mid-tempo ballad that ebbs and flows, before giving way to Nights In White Satin, where Ramsey Lewis drops the tempo and Ed Greene’s violin adds a brief avant-garde influence as they try to reinvent a classic. It’s all change on Serene Funk which is slow, bluesy and funky, as Ramsey Lewis pounds at the electric piano and plays a starring role. Initially, Dreams is atmospheric, eerie and otherworldly before heading in the direction of funk. This leaves just covers of Betcha by Golly, Wow and Where Is The Love which ensures that Funky Serenity closes on a high.
Buoyed by the reviews of Funky Serenity, an edited version of Kufanya Mapenzi (Making Love) was released as a single, but failed to trouble the charts. To make matters worse, when Funky Serenity was released in 1973, it failed to chart in the US Billboard 200 and US R&B charts. However, Funky Serenity reached number seven in the US Jazz charts, which offered a small crumb of comfort to executives at Columbia.
Ramsey Lewis’ Golden Hits.
After Funky Serenity’s failure to crossover, Ramsey Lewis came up with an interesting concept for his third album for Columbia. He wanted to reinvent some of his biggest and best known hits that he released on Argo and Cadet Records. This included his three biggest hits The In Crowd, Hang On Sloopy and Wade In The Water which would featured on Ramsey Lewis’ Newly Recorded All-Time Non-Stop Golden Hits, which later, became known as Ramsey Lewis’ Golden Hits.
Ramsey Lewis chose a total of nine tracks, which also included Blues For The Night Owl, Hi-Heel Sneakers, Carmen, Song Of Delilah, Slipping Into Darkness and Something You Got. They were joined by the three million selling singles The In Crowd, Hang On Sloopy and Wade In The Water, which were recorded later in 1973.
This time around, it was just a trio of drummer and percussionist Morris Jennings was joined by Cleveland Eaton on bass and standup bass and Ramsey Lewis who played piano and electric piano. Taking charge of production as the trio set about reinventing some of his best know songs was Ramsey Lewis.
When critics heard Ramsey Lewis’ Golden Hits, they were keen to hear the new versions of his three million selling singles. They didn’t have long to wait with a joyous, Caribbean influenced version of Hang On Sloopy opening the album. Wade In The Water the rhythm section proving an almost rocky backdrop to Ramey Lewis’ piano as he stayed true to his 1966 soul-jazz version. There’s also a funkified version of Hi-Heel Sneakers and a remake of Ramsey Lewis’ first funk hit Slipping Into Darkness. However, closing the album was a The In Crowd where a rocky rhythm section provides the backdrop for Ramsey Lewis who plays piano and harpsichord and closes the album on a high.
Upon the release of Ramsey Lewis’ Golden Hits later in 1974, the album sneaked into the US Billboard 200 and 198 and reached a disappointing fifty in the US R&B charts. However, at least Ramsey Lewis was back in the charts, and could begin work on a new album.
Solar Wind.
Solar Wind was a much more ambitious album from Ramsey Lewis, as he looked forward, rather than back. To do this, Ramsey Lewis added synths to his musical arsenal, and brought onboard some additional musicians.
The core band featured drummer and percussionist Morris Jennings, Cleveland Eaton on bass and standup bass and Ramsey Lewis who this time around, switched between keyboards, ARP and Moog. They were joined by drummers Carl Mars and Ron Capone, guitarist Steve Cropper, percussionist Calvin Barnes and James L. Herson on Moog. One of the new additions to Ramsey Lewis’ band wrote three of the tracks on Solar Wind.
This was Steve Cropper who joined forces with Carl Marsh to write Sweet and Tender You, Solar Wind and Love For A Day. Meanwhile Ramsey Lewis and Cleveland Eaton wrote Jamaican Marketplace, which was joined by five cover versions. This included Jim Seals and Dash Crofts’ Hummingbird and Summer Breeze, Sonny Rollins’ The Everywhere Calypso, Paul Simon’s Loves Me Like A Rock and Elton John and Bernie Taupin’s Come Down in Time. These nine tracks were recorded by the extended band in Chicago and Memphis, and released in early 1974, with Ramsey Lewis, Cleveland Eaton and Steve Cropper all receiving production credits.
Critics on hearing Solar Wind were impressed by Ramsey Lewis’ third outing for Columbia, which found him moving away from the trio sound that served him well during the fifties and sixties. With a little help from his friends who were part of an expanded band, Ramsey Lewis had recorded a carefully crafted album that featured elements of jazz, funk, R&B, soul and much more.
Opening Solar Wind was the uptempo Sweet and Tender You which was recorded in Memphis and was one of three tracks produced by Steve Cropper. Sonically and stylistically the track references Ramsey Lewis’ classic mid-sixties recordings for Chess Records. After this, the understated, but familiar strains of Hummingbird are a welcome addition, before giving way to Solar Wind, which is another slice of R&B that was made in Memphis but features a Motown backbeat. Ramsey Lewis heads to the Caribbean on Jamaican Marketplace and The Everywhere Calypso, before returning to familiar territory with three cover versions. There’s the jazz-funk of Summer Breeze, while gospel and soul-jazz combine on Loves Me Like A Rock and a pop-rock version of Come Down In Time. Closing Solar Wind was the filmic funk of Love For A Day.
After being well received by critics, Ramsey Lewis and executives at Columbia had high hopes for Solar Wind. However, upon its release in 1974 the album sunk without trace and Ramsey Lewis was back to square one.
It was a frustrating time for Ramsey Lewis as his career at Columbia wasn’t going to plan. In 1972, Upendo Ni Pamoja which was his debut for Columbia had failed to chart and so had the followup Funky Serenity in 1973. Then Ramsey Lewis’ Golden Hits reached 198 in the US Billboard 200 and fifty in the US R&B chart in 1974. This was a small crumb of comfort to a man who had enjoyed million selling singles when signed to Chess. It was no wonder that Ramsey Lewis decided to change direction on Solar Wind.
Ramsey Lewis wasn’t going to rest on his laurels and wanted to try new things. This included the new technology that was playing an important part in music. On Solar Wind which was the thirty-eighth album of his career Ramsey Lewis used synths on an album for the first time. They brought a new dimension and sound to Solar Wind, which brought a new dimension to his music on this oft-overlooked album that nowadays is regarded as a cult classic..
For Ramsey Lewis, Solar Wind was the album that got away and had the potential to rejuvenate his career which had stalled. It was an album that referenced his classic sixties sound but also included elements of Caribbean music, funk, gospel, jazz-funk, pop-rock, R&B, soul, soul-jazz and Southern Soul. Solar Wind was a musical melting pot that featured a myriad of musical genres and influences as musical chameleon Ramsey Lewis continued to reinvent himself and explore new musical ideas.
Cult Classic: Ramey Lewis-Solar Wind.
CULT CLASSIC : DAVID JOHANSEN-HERE COMES THE NIGHT.
Cult Classic: David Johansen-Here Comes The Night.
Singer, songwriter and actor David Johansen first came to prominence as the lead singer of the seminal proto punk band the New York Dolls, in the early seventies. This was the start of a long and varied career for David Johansen, who after the demise of the New York Dolls embarked upon a solo career in 1978.
This period of his career is often overlooked, especially his first three solo albums. He released his eponymous debut album in 1978 and followed this with In Style and Here Comes The Night in 1979. Both are oft-overlooked and underrated albums from David Johansen whose career began eight years earlier in 1971.
In October 1971, David Johansen joined the proto punk pioneers, the New York Dolls, and just two months later, they made their debut at a homeless shelter, the Endicott Hotel on Christmas Eve 1971. This was the start of the New York Dolls roller coaster career.
Seven month later, on July the ‘27th’ 1973, the New York Dolls released their hard rocking eponymous debut album to widespread critical acclaim. Despite the critical acclaim, New York Dolls stalled at just 116 in the US Billboard 200. This was a disappointment for everyone concerned, especially David Johansen who had assumed the role of the New York Dolls’ songwriter-in-chief.
He had played a part in writing ten of the eleven songs on New York Dolls. David Johansen had written three songs and cowrote another seven on an album that later, would be hailed as a classic. New York Dolls was the first of two classic albums the band would release within a year.
For the New York Dolls’ sophomore album Too Much Too Soon, lead singer and songwriter-in-chief David Johansen had written five of the ten songs on the album with various songwriting partners. Too Much Too Soon was produced by veteran producer Shadow Morton after the New York Dolls had voiced their dissatisfaction with Todd Rundgren’s production on their eponymous debut album. The band hoped that a change of producer would result in a change of fortune for the band.
On May the ’10th’ 1974, the New York Dolls returned with their sophomore album Too Much Too Soon. It was released to the same critical acclaim as New York Dolls, and would also be hailed as a classic album in the future. Despite the critical acclaim Too Much Too Soon reached just a lowly 167 in the US Billboard 200 and this was a worrying time for the New York Dolls.
After the release of Too Much Too Soon, the New York Dolls embarked upon a national tour, which was fraught with problems. On their return home, the New York Dolls were dropped by their record company Mercury. However, the group continued to play live.
By 1975, the New York Dolls were being “managed” by British “musical impresario” Malcolm McLaren. By then, the New York Dolls found themselves playing much smaller venues as the group began to unravel. Drug and alcohol abuse was a problem within the New York Dolls, with Johnny Thunders, Jerry Nolan and Arthur Kane embracing the rock ’n’ roll lifestyle fully. This would prove costly for Arthur Kane who occasionally, was too drunk to play live. When this happened roadie Peter Jordan took over on bass. That was the case for much of an eventful tour of Florida and Carolina during March and April of 1975.
During the tour, Johnny Thunders and Jerry Nolan argued with David Johansen, and the two men left the band. Blackie Lawless was drafted in to replace Johnny Thunders and the New York Dolls finished their tour in Florida and Carolina in April of 1975. Not long after this, the New York Dolls split-up for the first time.
Just three months later, the New York Dolls reformed in July 1975 and toured Japan with Jeff Beck and Felix Pappala. This time, the lineup of the New York Dolls featured David Johansen, Sylvain Sylvain, Peter Jordan, drummer Tony Machine and former Elephant’s Memory keyboardist Chris Robison. After an uneventful and relatively successful tour of Japan, the New York Dolls returned to New York and began playing in venues in America and Canada.
Everything seemed to be going to plan with the New York Dolls’ performance at the Beacon Theatre, in New York, in New Year’s Eve being hailed as one of their finest performances by critics. However, it wasn’t long before the New York Dolls pressed the self destruct button again.
After a drunken argument with Sylvain Sylvain, keyboardist Chris Robison was sacked, and replaced by Bobbie Blaine. He was a member of the New York Dolls when they played their last show on December the ’30th’ 1976. This was the end of the road for one of the most important and influential bands of the seventies.
Solo Years.
After the demise of the New York Dolls, Malcolm McLaren wanted David Johansen to jump on the punk bandwagon. Fortunately, David Johansen resisted Malcolm McLaren’s overtures, and decided to divide his time between the David Johansen Band and the solo career that embarked upon in 1977.
With his former New York Dolls bandmate Sylvain Sylvain, David Johansen began writing then new songs that would form the basis for his live sets and eventually, his eponymous debut album. Before that, David Johansen had to secure a recording contract, and this wasn’t far away.
By the time Blue Sky Records, an imprint of Columbia Records signed David Johansen, he had already established a reputation as a talented performer, and was regarded as a singer who could have a big future ahead of him. With David Johansen signed to Blue Sky Records, he was paired with Richard Robinson, who would co-produce the former New York Dolls’ frontman’s eponymous debut album.
David Johansen.
When recording of David Johansen began, nine tracks had been chosen for the album. This included a trio of David Johansen compositions Pain in My Heart, Donna and Lonely Tenement. They were joined Funky But Chic, Girls, Cool Metro and Frenchette which were penned by Sylvain Sylvain and David Johansen. He wrote Not That Much with Buz Verno and the pair wrote I’m A Lover with Johnny Ráo and Thomas Trask. These songs were recorded at The Record Plant, New York.
Joining David Johansen who took charge of lead vocals and played guitar, castanets and chimes, were drummer Frankie LaRocka, bassist Buz Verno and guitarists Johnny Ráo and Thomas Trask. This core band were joined by Sylvain Sylvain who played guitar on Cool Metro, organist Bobby Blain and percussionist Tony Machine who had all been part of the New York Dolls’ story. Other musicians included rhythm guitarist Joe Perry, saxophonist Stan Bronstein, violinist Scarlet Rivera and organist Felix Cavaliere, rhythm guitarist Joe Perry, saxophonist Stan Bronstein and vocalists Sarah Dash, Nona Hendryx, Gene Leppik and Jimmie Mack. Taking charge of production were Richard Robinson and David Johansen as his eponymous debut album was recorded during February 1978.
Three months later, in May 1978 David Johansen which was a carefully crafted album of tight, focused and hard rocking music. Gone was the sloppiness that had almost been a trademark of the New York Dolls, with David Johansen and his hand-picked band created a sharp and powerful backdrop for his vocals. They were very different and eschewed the camp, theatrical sound that had dismayed their critics. However, there was a nod to the New York Dolls on Funky But Chic while Cool Metro epitomises good time rock ’n’ roll. On Girls and I’m A Lover David Johansen’s vocal is full of machismo, before his vocal on Pain In My Heart is full of hurt and despair. Then on Donna and Frenchette, David Johansen lays bare his soul for all to see on his critically acclaimed eponymous debut album.
Despite the quality of music on David Johansen, when the album was released in May 1978 it failed the chart. Even the single Funky But Chic never troubled the charts, which was another disappointment for David Johansen, who tow months later, recorded an album with The David Johansen Band.
The David Johansen Band.
This was no ordinary album though. Instead, The David Johansen Group Live was originally a promotional only album that was released by David Johansen in an attempt to help promote his solo career. It was recorded at The Bottom Line, in New York on July the ’21st’ 1978.
That night, The David Johansen Band featured David Johansen who took charge of lead vocals and played acoustic guitar on Frenchette. The rhythm section featured drummer Frankie LaRocka, bassist Buz Verno and guitarists Johnny Ráo and Thomas Trask. They were joined by Sylvain Sylvain who played guitar, piano and like the rest of the band added backing vocals. The band worked their way through eighteen tracks including cover versions, songs David Johansen and the New York Dolls two albums. This included Babylon, where Johnny Thunders took to the stage with The David Johansen Band for the final song of what was a truly memorable set. It was no surprise that the recording of that night at The Bottom Line was eventually released commercially.
Initially, the album was meant to promote David Johansen’s career, but by 1983 The David Johansen Band was released on CD and found favour with critics. They were won over by The David Johansen Band’s performance five years earlier, and wondered aloud why it had taken five years to release the album? By then, David Johansen’s solo career was almost at an end.
In Style.
After the disappointing sales of his eponymous debut album, David Johansen was forced to rethink his approach to his sophomore solo album In Style. Being realistic, he knew that there was no point in releasing David Johansen II, as there was every change that the album wouldn’t sell in vast numbers. David Johansen knew that if he wanted to enjoy commercial success, he was going to have to change direction musically. If he didn’t he wasn’t going to be signed to Blue Sky Records for long.
Face with that stark reality David Johansen began work on his sophomore album, which became In Style. David Johansen wrote Big City, Justine and In Style, and with his songwriting partner Sylvain Sylvain wrote She Knew She Was Falling in Love, Swaheto Woman, Wreckless Crazy and Flamingo Road. Just like on his eponymous debut album, David Johansen wrote songs with other songwriting partners. He penned Melody with Ronnie Guy, She with Buz Verno and You Touched Me Too with Johnny Ráo. These ten tracks became In Style, which was recorded at The Schoolhouse, Westpoint, Connecticut during 1979.
At The Schoolhouse producer and guitarist Mick Ronson joined David Johansen who was set to take charge of vocals and play guitar on In Style. His band featured a rhythm section of drummer Frankie LaRocka, bassists Buz Verno and Dan Hartman plus guitarists Johnny Ráo and Thomas Trask. They were joined by organist Tommy Mandel, pianists Ronnie Guy and Ian Hunter, saxophonist Stan Bronstein. Joining the rest of the band in adding backing vocals were Sylvain Sylvain, Gary Green and engineer Dave Still. With a new producer and a few changes to the lineup of his band David Johansen set about recording his sophomore album In Style.
When In Style was completed, Blue Sky Records scheduled the release of the album for later in 1979. In Style would mark the debut of David Johansen’s new more commercial, pop rock sound. Deep down, he knew that his music had to change to attract a wider audience. It was all very well making albums that albums uncommercial albums that found favour with the musical cognoscenti, but they didn’t pay the bills. Nor would their sales please executives at Blue Sky Records. David Johansen hoped his new pop rock sound that debuted on In Style would find favour with executives at Blue Sky Records, music critics and record buyers.
The majority of critics on hearing In Style were impressed by David Johansen’s new sound. Even Robert Christgua the self-styled Dean of American rock critics, grudgingly gave In Style a B+ in one of his usual pompous reviews. At least this was a sign that David Johansen was on the right road with In Style.
In Style was a much more polished and slick album with several radio friendly songs. Gone was the hard rocking, swaggering sound of his eponymous debut album, and in its place was a much more eclectic album.
Melody the album opener saw David Johansen move towards R&B, before She showcased an almost snarling, post punk sound. Big City which features saxophonist Stan Bronstein, stylistically sounds not unlike Bruce Springsteen. So too does Justine, which like Big City, is a memorable, melodic and anthemic track. Very different is You Knew You Were Falling In Love with its reggae beats, before Swaheto Woman heads in the direction of disco. In Style marks a return to the rocky sound of David Johansen, while You Touched Me combines soulful vocal with harmonies that have been influenced by sixties girl groups. Then on Wreckless Crazy David Johansen pays homage to the New York Dolls, before delivering a soul-baring vocal on the Flamingo Road a six-minute epic that closes the album In Style.
Buoyed by the reviews of In Style, the album was released in the autumn of 1979. Sadly, history repeated itself and In Style failed to chart. Neither did Swaheto Woman when it was released as a single. By then, it was too late to jump on the disco bandwagon, which had crashed earlier in 1979. The commercial failure of In Style resulted in David Johansen rethinking his future.
Here Comes The Night.
When David Johansen returned in 1981 with his third album Here Comes The Night, much had changed since the release of In Style. David Johansen had been working with new songwriting partners, producers and even his band had changed. Much of the changes were down to David Johansen’s decision to recruit a former Beach Boy.
This was Blondie Chaplin, who had been drafted in to the Beach Boys when Dennis Wilson injured his hand and was unable to play for the best part of two years. Two new musicians joined the Beach Boys on a temporary basis, drummer Ricky Fataar and guitarist Blondie Chaplin. After a while, Brian Wilson who was impressed by both musicians made them fully fledged Beach Boys. That was the case until Blondie Chaplin left the band in 1973.
Seven years later, in 1980, Blondie Chaplin, who had spent just a couple of years with the Beach Boys, was looking for someone to work with, when he met David Johansen. Blondie Chaplin told David Johansen how he admired him as a performer, and proposed that they work together. Despite having established a songwriting partnership with Sylvain Sylvain, David Johansen agreed, and in an instant, had marginalised his old friend and songwriting partner.
Straight away, Blondie Chaplin joined David Johansen’s band as they headed out on the road. This was so Blondie Chaplin could collaborate on songs with David Johansen. Eventually, the pair had written She Loves Strangers, You Fool You, My Obsession, Here Comes The Night, Suspicion and Rollin’ Job. The pair also wrote Party Tonight with Bobby Blain. David Johansen wrote Heart Of Gold, wrote Bohemian Love Pad with Sylvain Sylvain and Havin’ So Much Fun with Elliot Murphy. These songs were recorded by David Johansen’s new band at Sundragon Studios, New York where The Ramones and Suicide had recorded pioneering albums.
One man who was missing as the recording session began was Sylvain Sylvain, who had received the musical equivalent of a kiss on the left cheek. His replacement was Blondie Chaplin who played guitar and added backing vocals. The man he had replaced, Sylvain Sylvain, was working on his own burgeoning solo career, while David Johansen’s was much changed.
David Johansen’s band featured a rhythm section of drummer Tony Machine, bassists Ernie Brooks plus rhythm guitarist Elliot Murphy who also played harmonica. They were joined by organist and pianist Tommy Mandel, pianist Bobby Blain, percussionist Ulysses Delavega and Othello Molineaux who played steel drums. David Johansen and Barry Mraz took charge of production with Blondie Chaplin credited as giving “production assistance” on Here Comes The Night.
As recording began, Barry Mraz brought the band into the studio and laid down the dominant guitar parts on each song on Here Comes The Night. Straight away, it became apparent that the two co-producers David Johansen and Barry Mraz were determined to record an album that would appeal to rock radio stations.
Mostly, David Johansen and his band unleash a hard rocking music, especially on the album opener She Loves Strangers and My Obsession, which is a mixture of urgency and paranoia. Bohemian Love Pad a carefully crafted, hard rocking song tribute to the beatnik lifestyle, while You Fool You is a catchy song which could only have been recorded in the early eighties. However, It’s not all hard rocking songs, as Marquesa de Sade heads in the direction of nu-samba, and Rollin’ Job incorporates elements of calypso.
After that, there’s no stopping David Johansen as he unleashes vocal powerhouse on the über rocky Here Come The Night, before Party Tonight and Havin’ So Much Fun showcase a good time rock ’n’ roll sound. Closing Here Comes The Night was Heart Of Gold, one of the album’s highlights. The big question was, was Here Comes The Night as the album that would see David Johansen make a commercial breakthrough?
When Here Comes The Night was released later in 1979, the album failed to make any impression on the US Billboard 200. For David Johansen this was just latest disappointment for the former New York Dolls’ frontman.
He had been trying to make a breakthrough since releasing David Johansen in 1978. It had failed to find an audience, and neither did In Style nor Here Comes The Night. Both albums showcase a talented singer, songwriter and musician who spent the first three albums of his career trying to find his true sound.
As befitting a former member of the New York Dolls, David Johansen’s eponymous debut album featured a hard rocking sound, which he eschewed on In Style, which features a number of songs written with his songwriting partner Sylvain Sylvain. These songs play their part in the sound and success of an album that deserved to find a wider audience.
After the commercial failure of In Style, David Johansen changed his songwriting partner, band and style. One person who was missed was Sylvain Sylvain, who had been David Johansen’s songwriting partner on his first two albums. He was usurped by Blondie Chaplin, on Here Comes The Night which was mostly, a hard rocking album, albeit with David Johansen throwing the occasional curveball. Sadly, Here Comes The Night followed in the footsteps of In Style, and failed to make any impression on the charts. However, Here Comes The Night is hidden gems and a cult classic that is a reminder of David Johansen’s solo career, and proved that there was life after the New York Dolls.
Cult Classic: David Johansen-Here Comes The Night.
CULT CLASSIC: TAKEO MORIYAMA-EAST PLANTS.
Cult Classic: Takeo Moriyama-East Plants.
In 1983, Japanese jazz drummer Takeo Moriyama was thirty-eight and into his third decade as a musician when he released his 1983 cult classic East Plants. It’s highly prized by collectors of J-Jazz and one of his finest albums. His story began in 1945.
Takeo Moriyama was born on the ‘27th’ of January 1945, in Katsunuma, in the Yamanashi Prefecture. As a child, Takeo Moriyama played piano before switching to drums in his late teens. This resulted in him taking a degree in percussion at the Tokyo University of the Arts.
In 1967, Takeo Moriyama joined Yosuke Yamashita’s group and embraced upon several international tours before leaving in 1975. This was all good experienced for Takeo Moriyama who was unsure about his future.
So much so, that Takeo Moriyama was unsure whether he wanted to continue working as professional musicians, and instead decided to concentrate his efforts on teaching. Between 1975 and 1977, Takeo Moriyama stayed way from studio and never took to the stage. Many of his fans wondered if Takeo Moriyama would return to his former life as a professional musician?
In 1977, Takeo Moriyama returned of from what was akin to a lengthy sabbatical and decided to found his own quartet. Soon, the Takeo Moriyama Quartet were touring West Germany, Italy and the USSR. This allowed the new group to hone their sound before recording a new albums.
This included the Takeo Moriyama Quartet’s 1977 live debut album Flush Up. Four years later, in 1981 they returned with followup, Smile.
It was a very different album, and Smile that eschewed the eruptive improvisation of the past. Smile feature a new approach from drummer Takeo Moriyama whose steady, sophisticated and unfussy style was perfect for his unique and inimitable style of composition.
When Takeo Moriyama returned with his My Dear album in 1982, pianist Fumio Itabashi was absent. He was recording and promoting his solo album Watarase. While the absence of Fumio Itabash was loss to Takeo Moriyama’s band, the bandleader knew that his pianist might not return for the followup Fast Plants.
East Plants.
By 1983, thirty-eight year old Takeo Moriyama was regarded as one of Japan’s finest jazz drummers. He had been a musician since the sixties and was a vastly experienced drummer who had .just signed to the Japanese VAP label. They would release Takeo Moriyama’s solo album East Plants later in 1983.
East Plants featured six tracks, but only one Takeo Moriyama’s composition Kagelou. The rest of the album was written by saxophonist Toshihiko Inoue, and recorded at CBS-Sony Roppongi Studio, in Tokyo.
Joining drummer Takeo Moriyama was bassist Hideaki Mochizuki, percussionist Yoji Sadanari plus Shuichi Enomoto and Toshihiko Inoue who switched between tenor and soprano saxophone on East Plants. Once the album was completed the release of East Plants was scheduled for later in 1983.
Sadly, when East Plants was released in 1983, the album passed record buyers. They missed out on what was later regarded as a J Jazz cult classic.
That was no surprise given East Plants featured several key features of Takeo Moriyama’s music. There’s the clearly connected and innovative rhythms, grooves that are accessible, balanced, controlled and elegant, while the arrangements are best described as open and orderly East Plants.
With no piano, the rhythm section are joined by percussion and saxophones . They open the album with the title-track East Plants. Its build-up is similar to a raga as a mesmeric track unfolds and is one of East Plants’ highlights. There’s an urgency to Take where the band play with power and freedom as the saxophone plays a starring role. Kaze Kaze majestic example of modal jazz, while the ferocious post bop exertions of Fields is one of East Plants highlights.
Thirty-eight years East Plants after was release it’s an album that is highly prized by collectors of J-Jazz and is regarded as one of Takeo Moriyama’s finest albums. He’s joined by talented quintet on the album and they showcase their talent and versatility on the album. Each member of this multitalented quintet play their part in the sound and success of East Plants, which is Takeo Moriyama’s mystical sounding opus which until recently, was an oft-overlooked hidden gem that is now regarded as a J-Jazz cult classic
Cult Classic: Takeo Moriyama-East Plants.
CULT CLASSIC: TERRY REID-RIVER.
Cult Classic: Terry Reid-River.
Music is all Terry Reid has ever known. It’s been his life since he left St Ivo School, in St.Ives Cambridgeshire, in 1965 . By then, it was is if he was destined to become a musician and his breakthrough came when he joined Peter Jay’s Jaywalkers.
By then, Terry Reid was just sixteen. He had been born in Huntingdon, on 13th November 1949. Growing up, Terry attended St. Ivo School, St.Ives, Cambridgeshire. That was where he joined a local band, The Redbeats.
It was when platting with The Redbeats, that Peter Jay, the drummer from a rival group, Peter and The Jaywalkers first spotted Terry Reid in action. Straight away, he realised he would be the perfect addition to Peter and The Jaywalkers. Peter Jay convinced Terry Reid to join his band, and soon, Terry was a Jaywalker.
Soon, Peter and The Jaywalkers’ star was in the ascendancy, when they were named as the support act for the Rolling Stones, when they played at the Royal Albert Hall. This was where Graham Nash of The Hollies first met Terry Reid.
The two musicians soon became firm friends, and Graham Nash suggested that Peter and The Jaywalkers should sign to the UK division of Columbia Records. Peter and The Jaywalkers didn’t have to think twice, and soon, were signing on the dotted line.
At Columbia Records, Peter and The Jaywalkers worked with producer John Burgess on their debut single, The Hand Don’t Fit the Glove. It was released by Columbia in 1967, and gave the band a minor hit. Unfortunately, by then, Peter and The Jaywalkers had split-up. After this, Terry Reid decided to pursue a solo career.
Fortunately, he come to the attention of producer and music impresario, Mickie Most. He produced Terry Reid’s debut single Better By Far. On its release in 1968, it found favour amongst DJs, who soon, began to play the single on their radio shows.
That was when Mickie Most decided to take Terry Reid into the studio to record his debut album, Bang Bang, You’re Terry Reid. When it was released later in 1968, it was to widespread critical acclaim. However, unfortunately the album passed record buyer by. Soon, so did the opportunity of a lifetime.
Terry Reid had come to the attention of Jimmy Page, who had just disbanded The Yarbirds. He was in the process of putting together a new band, The New Yarbirds, and was looking for a vocalist. Jimmy Page had set his sights on Terry Reid, and decided to recruit him for his new band. There was a problem though.
It turned out that Terry Reid had agreed to tour America with Cream. Terry was the opening act, and as part of the tour, would play the prestigious Miami Pop Festival. Everything was agreed, and Terry was a man of his word. There was no way he could back out at the this late moment. So Terry recommended Robert Plant, a Birmingham based vocalist, as The New Yarbirds to Jimmy Page. Terry’s recommendation, changed musical history. He could’ve been part of one of the most successful rock bands ever, Led Zeppelin. Incredibly, lightning struck twice for Terry Reid.
1969 found Terry Reid’s star in the ascendancy. The American tour and his appearance at the Miami Pop Festival resulted in him becoming popular in America. Terry was also a familiar face in Britain during 1969. He opened for Fleetwood Mac and Jethro Tull, and released his sophomore eponymous album Terry Reid. Although it received positive reviews from critics, the album failed to find an audience. So later in 1969, Terry headed stateside where he opened for the Rolling Stones on their American tour.
By then, Terry Reid a familiar face in America, and already built up a loyal fan-base. So touring America with the Rolling Stones allowed Terry Reid’s music to be heard by a much wider audience. Night after night, Terry opened for the Rolling Stones as they played sold-out shows coast to coast. The only Rolling Stones concert that Terry Reid didn’t play at, was their biggest and most controversial, the Altamont Music Festival.
Fortunately, Terry Reid wasn’t booked to appear on the bill of the hastily organised Altamont Music Festival. This meant he avoided the bloodshed, chaos and violence. Terry Reid had a lucky escape. However, he might not have been on the Rolling Stones’ tour if things had turned out differently with Deep Purple.
During their 1969 American tour, Deep Purple decided to change direction, and move towards a heavier, rockier sound. Vocalist Rod Evans the other members of Deep Purple though, wasn’t suited to this style. It was decided that Rod Evans would be replaced. He was already contemplating an alternative career as an actor. So Deep Purple went looking for a replacement. The man Richie Blackmore set his sights on was Terry Reid.
Unfortunately, Terry Reid was still contracted to Mickie Most and had signed an “exclusive recording contract.” Mickie Most had two options. He could let him join Deep Purple, or hold him to his contract. Rather than letting him join Deep Purple, Mickie Most held him to his contract. After all, Mickie Most had plans for Terry Reid.
Musical impresario Mickie Most decided to reinvent Terry Reid, the man who would be known as superlungs as a balladeer. This didn’t go down well with Terry Reid who fell out with Mickie Most in December 1969. Again, Mickie Most reached for the “exclusive recording contract.”
The “exclusive recording contract” that Terry Reid had signed with Mickie Most didn’t expire until 1973. Things had deteriorated to such an extent, that Terry Reid was unwilling to record with Mickie Most and headed to California to take some time out.
Over the next few years, Terry Reid only played a few live shows. This included the Isle of Wight Festival 1970 and later that year, the second Atlanta Pop Festival. Then in 1971, Terry returned to play at the Glastonbury Fayre. Apart from that performance, he kept a low profile as he ran down Mickie Most’s “exclusive recording contract.” By 1973, Terry Reid was free at last.
River.
This left Terry Reid free to sign to Atlantic Records. Soon, he began work on what became River.
For River, Terry had penned Dean, Things To Try, River and Dream. He cowrote Avenue with John Abercrombie; Live Life with Ray Davies and put lyrics to Miles Davis’ Milestones. These tracks Terry Reid recorded with his own band.
Recording began at Advision Studios, in London, with Eddy Offord producing the River sessions. Eddy Offord who went on to produce Yes and Emerson, Lake and Palmer, was regarded as a perfect fit for Terry Reid. He was no stranger to electric blues, and had produced two albums for Taste, a trio which featured Rory Gallagher. The two albums 1969s Taste and On The Boards had turned out well. So given his track record, surely, the partnership of Eddy Offord and Terry Reid would work out well?
That should’ve been the case. So, with Eddy Offord booked to produce the River sessions, Terry Reid and his band arrived at Advision Studios. He added vocals and guitar during what were long, drawn-out and frustrating sessions at Advision Studios.
For whatever reason, Terry Reid and his band didn’t hit the ground running. Usually, recording sessions ran smoothly, and weren’t long, drawn-out affairs. The River sessions was a frustrating time, with recording of what was meant to be the River a time-consuming and ultimately fruitless. There was a problem, but nobody seemed to know what? Maybe Eddy Offord was the wrong producer? That’s never became clear. What became clear, is that Terry Reid wasn’t happy with River. He decided to scrap the album, and head to Los Angeles to rerecord River.
Terry Reid and his band arrived at Wally Helder’s, in Los Angeles. This time around, the band featured drummer Conrad Isidore, bassist Leo Miles and David Lindley on electric guitar, slide guitar and steel guitar. Willie Bobo added percussion on just the one track, River. Engineer Ed Barton acted as a de facto producer. Despite that, Tom Dowd was credited as producing five tracks that made it onto River. Once the sessions were completed at Wally Helder’s in L.A, Terry headed over to Miami, clutching the master tapes.
At Criteria Studios, the final master tapes were assembled. Only two songs produced by Eddy Offord, Dream and Milestones made it onto River. Five Tom Dowd productions made it onto the River, including Dean, Avenue, Things To Try, Live Life and River. These seven tracks became River.
Once River was complete, Terry Reid delivered the completed album to his new label Atlantic Records. They scheduled the release of River for later in 1973. Maybe after two false starts during the Mickie Most years, it would third time lucky for Terry Reid?
That looked like the case when critics heard River. They were hugely impressed by Terry Reid’s comeback album. After four long years, Superlungs was back, with album that married elements of blues rock, folk rock, Latin and rock. It was impressive fusion of styles, with Terry picking up where he left off on Terry.
Critics were won over by what was, without doubt, Terry Reid’s finest hour. As a result, critical acclaim accompanied the release of River. This bode well for River.
When River was released in 1973, it was well received by critics. Many critics preferred the looser sound of River. They saw River as Terry and his band were jamming and experimenting, seeing where the tracks took them. This was very different to his first two albums. Sadly, River wasn’t a commercial success. It stalled at just number 172 in the US Billboard 200 charts. For Terry Reid, this was hugely disappointing. Signed to Atlantic Records and with Tom Dowd producing River, this could’ve and should’ve been the start of the rise and rise of Terry Reid. Since the release of River in 1973, it’s always been an underrated album.
Opening River is Dean where guitar is panned right and Terry Reid scats and a crystalline guitar is panned left and provides a contrast to the other guitar. In the middle sits the worldweary, lived-in vocal. Providing the heartbeat are the rhythm section. Conrad Isidore drums and Leo Miles’ bass become one as the vocal continues to grows in power and emotion becoming needy. Flanking the vocals are the guitars which are the perfect foil for each other and of a vocal powerhouse from th man they call superlungs.
The looser sound is apparent again on Avenue. It’s as if Terry Reid and his small band are just jamming and in search of ideas. It’s a case of seeing where the arrangement leads and this works. As they unleash searing, blistering licks the rhythm section drive the arrangement. Then all of a sudden, Terry Reid seems all in. His vocal sounds quite different to his two previous albums. It’s as if he’s lived a lot since then. Guitars scream and riff and cymbals constantly crash adding an element of drama to the whiskey soaked vocal. All the time, Terry Reid and his band push boundaries and fuse musical genres. Seamlessly rock, blues and even Southern Rock combine on this Avenue.
As Things To Try unfolds, Terry Reid and his band get to work. A steel and slide guitar are panned left as a probing bass and acoustic guitar are panned right. Thunderous drums pound and sometimes, flamboyant drum rolls punctuate the arrangement. The vocal is gravelly and raspy and it’s hard to believe Terry was only twenty-four when he recorded River. Sometimes, his lyrics are akin to a stream of consciousness. It’s as they’re constantly evolving with each take. Behind him, his crack band of musicians who are in full flow and relish the opportunity to showcase their considerable talents on this genre-melting track where they’re at the peak of their powers. This is without doubt one of River’s highlights.
An acoustic guitar is strummed urgently on Live Life before percussion is added by Willie Bobo and a country-tinged guitar is panned left. The band are at their tightest and get straight down to business and the track just flows. Terry Reid’s vocal veers between tender to powerful and impassioned and sometimes, he sounds like Robert Plant. When his vocal drops out, the band combine country-rock, Southern Rock and blues. They even indulge in a mini jam, before the vocal returns. From there the arrangement veers between dramatic to flowing and briefly, takes on a West Coast sound, as Terry’s vocal powerhouse drifts in and out.
River has a much more understated, laid-back sound and melancholy describes the arrangement. It’s just crystalline guitars and a shuffling rhythm section that combine before a tender, thoughtful vocal enters. This shows another side to Terry Reid. His vocal is clearer as he delivers some of his finest lyrics on River. The arrangement is a fusion of jazz, folk and the West Coast sound as he dawns the role of balladeer. It’s a role that suits him and is the finest track on River.
The last two tracks feature just Terry and his trusty acoustic guitar. Dream features a wistful Terry Reid. Confusion, doubt and emotion fill his vocal. So does hurt. Later, his vocal grows in power. It’s as if he’s unleashing the pain he feels. This is apparent in the way he plays the guitar. He almost pounds the strings as he delivers a soul-baring vocal.
Milestones closes River. Again, it’s just Terry and his acoustic guitar and his finger flit up and down the fretboard. He seems unsure and the microphone picks up him breathing as he thinks about the direction the track is heading. Soon, he whistles and later, scats. It’s as if he’s trying to find an in. Eventually, his tender vocal pensive vocal enters. Quickly, it grows in power as hurt and pain is omnipresent. The playing and singing proves cathartic as he vents his feelings, hurt and pain. His vocal becomes a hurt-filled wail and in the midst of this cathartic outpouring and he plays a couple of wrong notes. This doesn’t seem to matter as it’s a breathtaking vocal that oozes emotion, hurt and pain it’s a potent and powerful way to close River.
Sadly, commercial success eluded River and Terry Reid continued to be one of music’s best kept secrets. Following the commercial failure of River, Atlantic Records cut their losses and he left the label.
By the time that Terry Reid released his eponymous sophomore album music had changed. Progressive rock, heavy metal, the West Coast Sound, folk and Southern Rock were popular but Terry Reid a true musical alchemist went his own way on River.
River sees Terry Reid combining elements of blues, rock, folk, jazz, the West Coast Sound and Southern Rock. Some influences are stronger than others as he and his band jam their way through River. It has a much looser sound than his two previous albums. That’s no surprise.
During he recording of River, he and his band enjoyed lengthy jam sessions. It was a case of plug in and hit record. They played and saw where the track headed and that is apparent on River. Sometimes, it’s as if Terry and his band see where the track is heading and eventually they find an in. From there, a song takes shape. Especially on the first four tracks.
The first four tracks feature Terry Reid at his hard rocking best and he and the band feed off each other and drive each other on. Although he was only twenty-four, he was already an experienced bandleader who had had talented musicians at his side as he lays down four explosive tracks. It quickly becomes apparent why Jimmy Page thought Terry Reid would’ve be the perfect fit for The New Yarbirds and sometimes, on River he sounds like Robert Plant. That’s until the last three tracks on River.
River is an album where we hear both sides of Terry Reid. The three final songs on River, feature a very different side to Terry Reid as he’s transformed into a balladeer and lays bare his soul on the three tracks. Dream and Milestones feature Terry and an acoustic guitar. It’s akin to an outpouring of hurt, pain and emotion. These tracks are amongst the highlights of River. There’s an element of irony in this as Mickie Most thought that Terry Reid had a future as a balladeer. This was something he resisted.
Terry Reid balladeer was very different to what he envisaged for his future. He had different ideas what the future held for him. That’s what lead to the split with Mickie Most. On River, Terry Reid has his cake and eats it as he showcases his hard rocking side on the first four tracks and is transformed into a balladeer of the final three tracks. That’s why River is such a compelling album.
It provides an insight to Terry Reid as he matured as a singer, songwriter and musician. He was twenty-four when he released River in 1973. His previous album Terry Reid, had been released in 1969, when he was just twenty. Much had happened in the previous four years. This included the dispute with Mickie Most. During that period, Terry Reid didn’t play many concerts but when he did, they were high profile dates, including the 1970 Isle Of Wight Festival, the 1970 Atlanta II Pop Festival and the 1971 Glastonbury Fayre. This meant people never forgot Terry Reid. Sadly, when Terry Reid returned in 1973, his third album wasn’t a commercial success.
Released in 1973, River stalled at number 172 in the US Billboard 200 charts. River which showed the two sides of Terry Reid didn’t even match the success of his two previous albums. Terry must have rued his decision to turn down the opportunity to join Led Zeppelin and Deep Purple. That was Terry Reid’s chance to become a member of rock royalty. He certainly had the talent. Sadly, Terry didn’t get the breaks.
While Terry Reid enjoyed a successful career, he never quite fulfilled reached the heights he could’ve and should’ve. Things could’ve been very different. However, then he would never have recorded River, which shows the two sides of Terry Reid.
Cult Classic: Terry Reid-River.
ENO/CALE-WRONG WAY UP.
Eno/Cale-Wrong Way Up.
Label: All Saints Records.
Format: CD.
Brian Eno and John Cale first worked together in 1974, when they also recorded the album June 1, 1974. When it was released twenty-seven days later on the ‘28th’ of June 1974 it was credited to Kevin Ayers, John Cale, Brian Eno and Nico. Two of the three men who played on the album became friends and worked together on several occasions.
Sixteen years after Brian Eno and John Cale took to the stage at the Rainbow Theatre in London to record June 1, 1974 the two friends were reunited. Unsurprisingly there was sign of Kevin Ayers at Brian Eno’s Wilderness Studio, in Woodbridge, Suffolk when recording began in April 1990. The pair had history.
It’s alleged that the night before the recording of June 1, 1974 that John Cale found Kevin Ayers sleeping with his wife. That was why there was a tense atmosphere as the all-star band took to the stage and also explains the bemused stare that John Cale is giving Kevin Ayers on the album cover. The Velvet Underground cofounder took his revenge the following year.
When he was recording his solo album Slow Dazzle he included he wrote Guts which opens with the line: “The bugger in the short sleeves fucked my wife.” It was no surprise when Brian Eno and John Cale decided to record an album together Kevin Ayers played no part.
Instead, it was just Brian Eno and John Cale that began recording Wrong Way Up in April 1990. By then, they had written nine new tracks and Brian Eno had penned The River. These eleven tracks were recorded between April and July 1990 and would eventually feature on Wrong Way Up.
At Wilderness Studio, Brain Eno sang lead and backing vocals and played bass, guitars, Indian drum, keyboards, little Nigerian organ, Linn M1, rhythm bed, Shinto bell and Yamaha DX7 synth. John Cale added backing vocals and played bass, dumbek, harp, horn, keyboards, piano, Omnichord, strings and viola. During the session, Brian Eno and John Cale were augmented by some of their musical friends.
This included drummer Ronald Jones who also played tabla, bassists Daryl Johnson and Dave Young who played guitar and rhythm guitarist Robert Ahwai. They were joined by violinist Nell Catchpole and Bruce Lampcov who added backing vocals and engineered John Cale’s vocals on Wrong Way Up.
The songs often took shape late at night as Brian Eno locked himself away and developed lyrics through singing sing nonsense words so he could create cadences which he then developed into syllabic rhythms. The next stage was to create phrases and then melodies. It was the way that Brian Eno worked and it worked for him.
So did the way the arrangements were crafted and complimented the vocals. A sequencer and synths were used and combined with what was an eclectic selection of traditional and ethnic instruments. They feature on Wrong Way Up which was produced by Brian Eno while John Cale only was given a co-producer’s credit. This raised eyebrows when the album was released in the autumn of 1990.
By then, the two men were openly admitting that they hadn’t gotten on during some or even much of the recording sessions. It also came to light that Brian Eno had allegedly called John Cale “irrational.” The sessions seem to have been difficult.
Later, John Cale recalled how Brian Eno: “would listen to what you said, but he really didn’t have much patience with it…I haven’t figured out yet what Brian’s notion of cooperation, or collaboration, is.”
John Cale also admitted during the session he was missing his wife and young daughter. He was suffering from “cabin fever” and the tension between made things worse. Things came to a head when John Cale alleges that he saw an irate Brian Eno coming towards with a chopstick clenched in his hand. After this, a panic-stricken John Cale phoned his manager to tell him he needed to book into a hotel. This Brian Eno has no memory of disputes. However, given all that had happened it was no surprise that with Wrong Way Up complete there was no plans to record a followup to the album that was released thirty years ago.
On the ‘5th’ of October 1990 Brian Eno and John Cale released their first collaboration Wrong Way Up to critical acclaim. Only a couple of contrarian critics found fault with what was a carefully crafted album of mainstream album with commercial appeal. Maybe the contrarian critics thought that Brian Eno and John Cale were selling out?
If that had been the case, Wrong Way Up wasn’t a particularly profitable venture as it failed to chart in Britain or America. Things didn’t improve when Been There, Done That was released as a single in America and failed to trouble the Billboard 100. However, it reached number eleven on the Billboard Modern Rock Tracks chart. That was as good as it got became when Word was then released in Britain and America it failed to chart. Brian Eno and John Cale’s collaboration Wrong Way Up had passed record buyers by.
Now thirty years later Wrong Way Up has been reissued by All Saints Records to mark the album’s thirtieth anniversary. It’s an album that was made despite the personality clashes between two musical icons. It could’ve been a recipe for disaster putting two strong willed characters in the same studio for three months while they recorded an album. However, the album was finished although there was no followup. That was a great shame.
Wrong Way Up featured music that was atmospheric, cerebral, hopeful and sometime cinematic and beautiful. It was an accessible album that featured elements of ambient stylings, art pop, art rock, electronic music, pop and progressive rock that features mainstream music that should’ve appealed to a wide audience. Proof of this is the album opener Lay My Love and Spinning way which are poetic pop penned by Brian Eno and both feature peerless electronic arrangements with the latter augmented by sweeping strings .
Very different is One Word where John Cale sings a line and is answered by Brian Eye. Then during the refrains, John Cale’s voice soars high above a choir of Eno’s on this thought-provoking and experimental track where art pop and electronica combine on a track that has an eighties sound.
In The Backroom was written by John Cale and is a mini-drama in four minutes. The arrangement is atmospheric, moody and cinematic as he paints pictures with his lived-in and weary vocal. It’s one of the highlights of the album.
Although Empty Frame was recorded in 1990 Empty Frame has an eighties sound in parts. This includes the drums and synths that feature on a track rich in imagery. It’s about a never-ending journey on a ship and ironically features the line: “We have no single point of view.” It’s part of what’s an incredibly catchy and memorable track that sounds a bit like OMD who were influenced by Brian Eno.
Cordoba came about after Brian Eno read Hugo’s Latin-American Spanish In Three Months. This inspired this chilling, cinematic song about two men planning to plant a bomb on a bus. John Cale’s delivery is haunting and the scenes unfold in front of the listener’s eyes and they’re left wondering did they plant the bomb or not?
Cinematic describes Footsteps which is a three mini drama written by John Cale who delivers the lyrics. He sings of slight of hand, danger, drama and double dealing on what sounds like
the soundtrack to a film that has yet to be made.
One can’t help wonder what inspired Been There, Done That which was written by John Cale? It’s upbeat and catchy from the get-go as synth pop and art rock combine as he reflects on his life and what he thought were the best o times: “Thinking we were having a ball.” It’s only when someone says: “Been There, Done That” does his older and wiser self realises: “Been there, don’t wanna go back.”
Boogie woogie piano opens Crime In The Desert and drives this John Cale composition along. He paints pictures about Tucson and Guadalajara and tells the story of a mysterious lady murdered and her ideas stolen. All this is part of another catchy and cinematic track from the pen of John Cale.
Closing Wrong Way Up is the ballad The River which features one of Brian Eno’s finest vocals. It’s a quite beautiful and haunting song with an understated arrangement that is the perfect accompaniment to the vocal.
For anyone yet to discover Wrong Way Up, which was Brian Eno and John Cale’s one and only collaboration it’s recently been reissued to mark the album’s thirtieth anniversary. There’s also two bonus tracks Grandfather’s House and Palanquin which were recorded during the Wrong Way Up session.
It was a session beset by personality clashes and where chopsticks were perceived as a dangerous weapon by John Cale. The recording of Wrong Way Up was no ordinary recording session and the pair didn’t get on. Despite that, they spent three months locked in Brian Eno’s Wilderness Studios and drew on their past experiences to record their first collaboration. To do that, they combined elements of ambient, art pop, art rock, electronic music, pop, progressive rock and synth pop on Wrong Way Up. It wasn’t the album critics and record buyers were expecting from the two musical icons.
Brain Eno and John Cale released what was an accessible album of mainstream music that should’ve had commercial appeal.Sadly, Wrong Way Up failed to find the audience it deserved. It’s only thirty years later that Wrong Way Up is starting to receive the recognition it deserved and that record buyers are embracing an album that music’s odd couple spent three months recording. It turned out to be time well spent.
Eno/Cale-Wrong Way Up.
DOUG CARN FEATURING THE VOICE OF JEAN CARN-SPIRIT OF THE NEW LAND.
Doug Carn Featuring The Voice Of Jean Carn-Spirit Of The New Land.
Label: Real Gone Music.
Format: CD.
Doug Carn was one of the first artists that Gene Russell and Dick Schory signed when they founded Black Jazz Records in 1971. His debut solo album Infant Eyes was the nascent company’s third release and featured vocals from his wife Jean Carn. Infant Eyes was the most successful of the six albums the label released during 1971. Buoyed by this success the Doug and Jean Carn began work on the followup.
This was Spirit Of The New Land, which was released in 1972 and billed as Doug Carn Featuring The Voice Of Jean Carn. It was recently reissued by Real Gone Music, and was a new chapter in the story of Doug Carn who was still only twenty-for when he released Spirit Of The New Land.
Doug Carn was born on July the ’14th’ 1948, in St. Augustine, Florida, and growing up music was all around him and was part of the culture around him at home. His mother was a musician, while his uncle was a bebop DJ who could scat the Dexter Gordon solos. It was no surprise that growing up, Doug Carn started listening to jazz and later, decided to learn an instrument.
Initially, Doug Carn took piano lessons and proved to be a quick learner and was soon able to play Bach Two-Part Inventions. That was when it was discovered that he wasn’t reading music and playing by ear. This resulted in Doug Carn being given an alto saxophone which he also mastered was able to play well. Already he was well on his way to becoming a multi-instrumentalist and it was no surprise when Doug Carn decided to study music at university.
He enrolled at Jacksonville University in 1965, and for the next two years studied oboe and composition. When Doug Carn graduated in 1967 he headed to Georgia State University where he completed his musical education in 1969. Later that year he made his recording debut as bandleader.
The twenty-one year old multi-instrumentalist was still living in Georgia and had founded the Doug Carn Trio. However, the new combo needed gigs and the young bandleader decided to visit a friend who ran a booking agency. When he entered the office he was greeted by the receptionist and secretary who was also a singer. This was Jean Carn who later become his wife. Before that, she started singing with the Doug Carn Trio who were about to make their recording debut.
Through the owner of the booking agency, Doug Carn was introduced to Herman Lubinsky the founder and owner of Savoy Records. This introduction turned out to be a gamechanger for the bandleader.
It turned out that the label had a session booked in Atlanta which was going to be produced by Fred Mendelsohn, the President of Savoy. He explained that there was every chance that there might be some spare time after he had recorded the gospel album, and if there was, they would use the time to record the Doug Carn Trio. That turned out to be the case.
That day in 1969, the Doug Carn Trio recorded what became their eponymous debut album. It was released later in 1969 on Savoy Records but wasn’t a commercial success. However, for Doug Carn recording the album was an invaluable experience as he prepared to move to LA as the sixties gave way to the seventies.
When he arrived in LA, Doug Carn started spending time with the members of Earth, Wind and Fire and this resulted in him playing on their first two albums. He played Hammond organ on Earth, Wind and Fire which was released on February 1971 and was certified gold. Doug Carn also played on The Need Of Love which was released in November 1971. By then, his solo career was well underway.
Earlier in 1971, Doug Carn had signed to Black Jazz Records and recorded and released his debut album Infant Eyes which featured his wife Jean Carn’s vocal. Infant Eyes was the most successful of the six albums that the nascent label released during 1971. Buoyed by the success of his debut album Doug and Jean Carn began work on the followup Spirit Of The New Land.
For his second album for Black Jazz Records Doug Carn wrote Dwell Like A Ghost, My Spirit, Arise and Shine, Trance Dance and New Moon. He also covered Miles Davis’ Blue In Green and Lee Morgan’s Search For The New Land which he added lyrics too. These tracks became Spirit Of The New Land which was recorded with tight, talented and versatile band.
Recording of the album took place at Bell Studios, in New York, with Gene Russell taking charge of production. The band featured drummer Alphonse Mouzon, trombonist Garnett Brown, Earl McIntyre on tuba and Charles Tolliver played flugelhorn while George Harper switched between bass clarinet, flute and soprano saxophone. Jean Carn added vocals and Doug Carn played Fender Rhodes, Hammond organ and piano on Spirit Of The New Land.
When Spirit Of The New Land was released later in 1972, the album was billed as Doug Carn Featuring The Voice Of Jean Carn. For the first time, the Carn’s received equal billing on an album that was well received by critics and became Black Jazz Records’ best selling album of 1972.
That was no surprise given the standard of music on Spirit Of The New Land. It showcased the songwriting and keyboard skills of Doug Carn and provided a platform for Jean Carn’s impressive five octave vocal which breathes life, meaning and emotion into the lyrics on what was an eclectic album. There were elements of jazz, funk and soul as well as jazz-funk, free jazz, fusion and soul-jazz on the seven tracks on Spirit Of The New Land.
It opens with the dramatic and atmospheric Dwell Like A Ghost where Jean Carn’s five octave vocal soars high above the arrangement as drums pound and power the arrangement along. This adds to the drama. Meanwhile, Doug Carn interjects and eerie, otherworldly sounds combine with free jazz horns on this ambitious genre-melting album opener.
Jean Carn’s vocal is soulful and impassioned as a shimmering Fender Rhodes combines with wailing horns and thunderous, pounding drums. Briefly, the arrangement becomes understated and the urgent vocal enters as the arrangement to this ten minute epic rebuilds and reveals its secrets. This includes a breathtaking saxophone solo which is accompanied by the Fender Rhodes and drums. Soon, the baton passes to the trombone before bandleader Doug Carn unleashes a fleet-fingered solo. His fingers dart across the keyboard and along with Jean Carn whose vocal heads in the direction of spiritual jazz he plays a leading role in the sound and success of this jazz opus. It also features elements of jazz-funk and fusion and is one of the album’s highlights.
Sharp bursts of horns open Arise and Shine before Jean Carn’s joyous, jazzy vocal enters and she delivers lyrics full of social comment. Her vocal is a mixture of power and passion and soars above the arrangement before being replaced by the soprano saxophone and then bass clarinet take centrestage. Meanwhile, the tight talented and versatile band match them every step of the way. This includes washes of Hammond organ and drummer Alphonse Mouzon who unleashes drums rolls and pounds the hi-hat. Soon, it’s time for Doug Carn’s blistering solo which heads in the direction of soul-jazz. It’s one of his finest and when Jean Carn returns she’s joined by the bass clarinet and delivers the spiritual lyrics as the arrangement swings and then some.
Blue In Green was written by Miles Davis and features lyrics written by Doug Carn. They’re delivered by Jean Carn on this beautiful ballad which has an understated arrangement that features a flute, Fender Rhodes and drums. A less is more approach is taken and this allow the vocal to shine. It’s without doubt Jean Carn’s finest on Search For The New Land.
Very different is Trance Dance which is best described as avant-garde jazz which also features elements of African music, fusion and even elements of free jazz, funk and soul-jazz. Soon the tempo is rising and Doug Carn and his band allow the opportunity to stretch their legs and showcase their considerable talents as genres melt into one.
Search For The New Land was written by Lee Morgan and features lyrics that were written by Doug Carn. From the opening bars, there’s a degree of drama as Jean Carn unleashes a powerhouse of a vocal. It’s impassioned as she delivers lyrics that are full of social comment and sometimes spiritual. Meanwhile, Doug Carn interjects hopefully and stabs at the piano as the bass clarinet soars above the arrangement. They prove a potent combination before the saxophone replaces the clarinet and goes toe-to-toe with the jangling piano which Doug Carn then pounds, jabs stabs and adds flamboyant flourishes as he takes centrestage. Soon, Jean Carn rejoins and adds an impassioned plea on this twelve minute opus that is the centrepiece of the album.
The piano led New Moon closes Spirit Of The New Land and joins forces with drums and bursts of quivering horns as the arrangement cascades and sometimes seems to race along. In doing so, it provides the perfect showcase for Doug Carn and his band who save one of their best performances for last.
When Spirit Of The New Land was released in 1972, it built on the success of Doug Carn’s debut solo album which was released in 1971. It was the most successful album that Black Jazz Records released that year, and so was Spirit Of The New Land. However, neither album sold tens of thousands of copies but both were successful for a small independent label. That was what Black Jazz Records was. It was also a label that had a vision.
Black Jazz Records that wanted “to promote the talents of young African American jazz musicians and singers.” Doug Carn was only twenty-four when he released Spirit Of The New Land and his was Jean Carn was twenty-five. They had created an album that was an alternative to what Gene Russell and Dick Schory referred to as old school jazz. Spirit Of The New Land was a very different and new type of jazz album and featured everything from avant-garde, free jazz, funk, jazz-funk, fusion, soul, soul-jazz and spiritual jazz. These genres were combined by Doug Carn and Jean Carn who unleashed her five octave vocal on Spirit Of The New Land which at the time was their finest hour and set the bar high for future albums.
Doug Carn Featuring The Voice Of Jean Carn-Spirit Of The New Land.
KELLEE PATTERSON-MAIDEN VOYAGE.
Kellee Patterson-Maiden Voyage.
Label:Real Gone Music,
Format: CD.
When pianist Gene Russell and percussionist Dick Schory founded Black Jazz Records in Oakland, California, in 1971, the nascent label’s raison d’être was “to promote the talents of young African American jazz musicians and singers.” This was only part of their vision for their new label.
They were determined that Black Jazz Records would released an alternative to what they saw as the old school jazz that was popular at the time. They wanted to release an alternative to traditional jazz, and this included albums that featured political and spiritual influenced music. However, spiritual jazz was just part of the Black Jazz Records’ story and the label between 1971 and 1975 it released twenty albums that included everything from free jazz and funk to soul-jazz.
Fittingly, Black Jazz Records’ first release was Gene Russell’s sophomore album New Direction which was released in 1971. This was just the start of a prolific year for the label.
In their first year, Black Jazz Records also released Walter Bishop Jr’s Coral Keys, Doug Carn’s Infant Eyes, Rudolph Johnson’s Spring Rain, Chester Thompson’s Powerhouse and Calvin Keys’ Shawn-Neeq. By the end of 1971, the new label had released six albums in its first year. Other labels must have looked on enviously.
Cofounder Dick Schory had founded Chicago-based Ovation Records, which was a successful country and western label which was providing funding for Black Jazz Records and distributing its releases. This gave the label a helping hand and meant it had an edge on its competitors.
The cofounders were determined that as wide an audience as possible hear the albums that the label was releasing so Gene Russell organised a promotional tour, In September 1971, Gene Russell and his Ray Lawrence who was his marketing consultant toured America giving interviews to newspaper journalists and featured on radio and newspaper where they showcased Black Jazz Records and its artists. This resulted in valuable publicity for the label.
By 1972, Black Jazz Records was adding new artists to their roster and signed Henry Franklin who released his album The Skipper later that year. This wasn’t the only new signing made that year. However, a familiar face returned with another album.
This was organist and pianist Doug Carn who was accompanied by his wife on his sophomore album Spirit Of The New Land. He would go on to release four albums between 1971 and 1975 and they were Black Jazz Records’ most successful releases.
The other album Black Jazz Records released in 1971 was The Awakening’s debut Hear, Sense and Feel in 1972. It wasn’t as busy a year as 1971, but Gene Russell and Dick Schory were concentrating on quality not quantity. However, the following year, 1973, was a much busier year for Black Jazz Records.
Cofounder Gene Russell returned in 1973 with Talk To My Lady which was his second album for Black Jazz Records. This was followed by Rudolph Johnson’s new album The Second Coming. However, the label’s third release of 1973 was Maiden Voyage the debut album from a new signing Kellee Patterson.
By the time Kellee Patterson signed to Black Jazz Records the young singer had achieved a lot during what was already a varied career.
Kellee Patterson was born Pat Patterson in the Midwest on the outskirts of Chicago, but grew up Gary, Indiana. She started singing aged five, and growing up, won a number of local talent contests with her neighbours The Jacksons. While they won the male awards Kellee Patterson won the female awards. Given the success she enjoyed in the talent shows nobody was surprised when she became a professional singer.
When she was sixteen, Kellee Patterson made her professional debut as a singer, and by time she was at college she was singing with a group called Groovy and The Electra’s. Although they were essentially a rock group, Kellee Patterson sang covers of Gladys Knight and Aretha Franklin songs. However, after a while she parted company with the band.
Not long after this, Kellee Patterson entered the 1971 Miss Indiana pageant under her real name. She became the first black woman to win the title and qualified for the Miss America pageant in 1972.
This turned out to be the boost that Kellee Patterson’s career needed. She made some television appearances in the Chicago area and also featured in The Streets Of San Francisco in 1972. However, after Kellee Patterson’s appearance in the Miss America pageant, word started spreading that she was a talented singer. Soon, several record companies began to offer recording contracts. This included Motown who she turned down to sign with Black Jazz Records in 1973.
Having signed with Black Jazz Records Kellee Patterson began work on her debut album which became Maiden Voyage. It was an album of eight cover versions. This included Earl DeRouen’s Magic Wand Of Love; John Lehman’ Look At The Child and Be All Your Own; Don Sebesky’s Soul Daddy (Lady) and Herbie Hancock’s Maiden Voyage. They were joined by Gordon Parks’ Don’t Misunderstand; Flip Nunez’s See You Later and Lani Hall’s You. They were recorded by Kellee Patterson and a talented band.
Maiden Voyage was recorded in Hollywood Spectrum Studios, Los Angeles, and produced by Gene Russell. The band featured double bassist John Heard, bassist Henry Davis, Sajih on congas and triangle which Billy Osborne also played. The rest of the band included pianist Ernest Van Trease, flautist George Harper, trumpeter Everett Turner and John Lasalle on tambourine. They accompanied Kellee Patterson on her debut album Maiden Voyage.
When Maiden Voyage was released later in 1973, the album failed to attract the attention of critics and record buyers and became of the of hidden gems in Black Jazz Records’ back-catalogue.
That was despite Maiden Voyage being the most mainstream and commercial sounding album that was released on Black Jazz Records between 1971 and 1975. However, compared to Kellee Patterson’s later albums, Maiden Voyage is very different. It has a tougher sound and is a more challenging album. Having said that it’s also a rewarding album of laidback and mellow jazz that’s also soulful. This is down to Gene Russell’s production and the band that feature on the album.
That’s the case on Magic Wand Of Love where the rhythm section provide an understated backdrop as a flute flutters above the arrangement accompanying Kellee Patterson’s heartfelt and impassioned vocal as she delivers lyrics full of social comment. One of the most beautiful songs on the album is the cover of the piano-led, jazz ballad Look At The Child. Very different is the boogaloo of Soul Daddy (Lady) which shows another side of Kellee Patterson. So does an atmospheric reading of Maiden Voyage which features lyrics written by Herbie Hancock’s sister. It meanders along shimmering keyboards, bass and stabs of trumpet accompanying the vocal during this journey in search of love.
One of the best ballads on Maiden Voyage is Don’t Misunderstand with its late-night, jazzy sound and a wistful vocal from Kellee Patterson. The tempo rises on See You Later which features a much more powerful, soulful and sultry vocal that’s full of emotion. Meanwhile, the arrangement sashays along and provides the perfect accompaniment for the vocal on this relationship song. Then the tempo drops on You as a flute flutters and ushers in the vocal on this beautiful paean and is the perfect showcase for Kellee Patterson’s vocal. So is Be All Your Own which closes Maiden Voyage where her vocal is soulful and impassioned and is accompanied by an understated arrangement that allows the vocal to take centrestage.
For Kellee Patterson, her debut album Maiden Voyage was the one that got away. Despite the quality of music on the album it failed to attract the attention of either critics or record buyers. It was a disappointing start her to recording career and she must have wondered whether she had signed to the right label?
Kellee Patterson must have wondered if things would’ve been different if she had signed to Motown who she rejected before signing to for Black Jazz Records? It was regarded as a much more fashionable label and one who wanted: “to promote the talents of young African American jazz musicians and singers” like her. The label also wanted to release an alternative to traditional jazz. Black Jazz Records must have seemed like an attractive alternative to Motown and the perfect label to launch her career.
On Maiden Voyage, Kellee Patterson there’s songs full social comment, beautiful ballads and mid-tempo tracks on what was a carefully crafted album that veers between jazz, soul and soul-jazz. It’s an album with no weak tracks and where Kellee Patterson showcases her vocal versatility. She breathe life, meaning and emotion into the eight tracks on Maiden Voyage which was the only album she released on Black Jazz Records.
Gene Russell closed the doors at Black Jazz Records for the last time in 1975, and by then, the label he had cofounded had released twenty albums. The most successful albums were the four released by Doug Carn which featured his wife Jean. Apart from these four albums, the remainder failed to find an audience until much later.
In the nineties, DJs and record collectors rediscovered the twenty albums released by Black Jazz Records. By then, many of the albums were rarities that changed hands for large sums of money. Those that owned the Black Jazz Records’ back-catalogue cherished what was a groundbreaking collection of albums and were reluctant to part with them. This includes Kellee Patterson’s debut album Maiden Voyage which has just been reissued by Real Gone Music and is the perfect introduction to a prodigiously talented vocalist who is another of jazz music’s best secrets.
Kellee Patterson-Maiden Voyage.
JACKIE MCLEAN-IT’S TIME!
Jackie McLean-It’s Time!
Label: Blue Note Records-Tone Poet Series.
Format: LP.
When Jackie McLean and his band journeyed to Van Gelder Studio, in Englewood Cliffs, New Jersey, on August the ‘5th’ 1964, it was his fourteenth solo session for Blue Note Records and resulted in the album It’s Time! It which was recently reissued by Blue Note Records as part of their Tone Poet Series featured a new band and saw him revisit his old hard bop sound.
For the It’s Time! session, Jackie McLean had put together a new band. It still featured drummer Roy Haynes who at thirty-nine was the elder statesman of the band. The rest of the band were newcomers. This included thirty year old bassist Cecil McBee, pianist Herbie Hancock who was twenty-five and twenty-two year old trumpeter Charles Tolliver. They were due to record six new compositions that became It’s Time!
This included Das’ Dat, It’s Time and Snuff which were Jackie McLean compositions. They were joined by Cancellation, Revillot and Truth which were written by Charles Tolliver. The It’s Time session was engineered by Rudy Van Gelder and was produced by Alfred Lion and on August the ‘5th’ 1964.
The producer and engineer listened to what was a quite different album from Destination…Out!, which was regarded as one of the most innovative, progressive and experimental albums that Jackie McLean had recorded. He embraced the avant-garde on an album which was a fusion of post-bop and free jazz. It was thought that the followup would see him embrace free jazz fully. Instead It’s Time was an album of driving, swinging hard bop from his new band.
It’s Time! opened with Cancellation which is best described as an advanced example of driving hard bop. Horns add a fanfare while the rhythm section provide stop time rhythms and Herbie Hancock pounds his piano. Meanwhile, the almost abrasive sound of Jackie McLean’s alto-saxophone soars, wah wahs as his playing becomes fast and fluid. Charles Tolliver’s playing starts with the same fluidity but later heads in the direction of free jazz. It’s accompanied by a piano which veers between abstract, ruminative to dramatic, fluid and urgent as it’s played with speed and accuracy. Later, the band join forces and head for home never missing a beat during this breathtaking example of hard driving, angular and swinging hard bop.
Das’ Dat bursts into life and the quintet play as one on what’s a more traditional example of hard bop. Its bluesy roots can be quite clearly heard as Jackie McLean revisits his part. The horns and piano that play leading rolls as the rhythm section ensure the track swings. When the solos come around, up first is a sultry swinging solo from the composer and bandleader. Next up is trumpeter Charles Tolliver who plays like a veteran. So does pianist Herbie Hancock whose fingers dance across the keyboards as the rhythm section provide a subtle backdrop. Then when the band reunite and head for home combining to create what can only be described as swinging, high kicking and hard bop par excellence.
It’s Time is another of the more progressive tracks on the album and the influxes of modal jazz can be heard. The quintet play at breakneck speed before it’s time for the solos and effortlessly Jackie McLean plays with speed and fluidity. Next up, is Charles Tolliver whose solo is inventive and imaginative before he builds up a head of steam and plays with speed accuracy All the time, the piano punctuates the arrangement and then Herbie Hancock delivers a fleet-fingered solo his fingers caress, jab, stab and dance across before he accompanies Cecil McBee’s bass. When drummer Roy Haynes unleashes a solo his playing is subtle as he takes a polyrhythmic approach and plays an important part in the sound and success of what’s one of the album’s highlights.
Side Two.
Horns unite, blaze and soar on Revillot before uniting with the rest of the band playing with speed and an inventiveness. From the get-go the horns go head-to head and it’s akin to a musical duel with two master craftsman showcasing their considerable skills. They deliver spellbinding solos and everyone else plays a supporting role. Even Herbie Hancock whose play with speed, jabbing, stabbing and adding flamboyant flourishes before his playing becomes fluid and sometimes abstract. Despite that, it’s the horns that steal the show.
On Snuff the horns lead the way as drums punctuate the arrangement. Soon, it’s time for the solos and Jackie McLean steps up and plays his alto-saxophone with speed, fluidity and an inventiveness during a complex solo where it bobs, weaves and winds. Herbie Hancock accompanies him and plays a supporting role. He rises to the challenge and goes toe-to-toe with the bandleader answering the saxophonist’s call and does the same with trumpeter Charles Tolliver who unleashes one of his finest performances during a complex solo takes twists and turns. Herbie Hancock is inspired and raises his game adding further flamboyant flourishes and when his solo comes around he plays with speed, accuracy and inventiveness during a breathtaking performance. All too soon, the band reunite and it’s a race to the finishing post. It’s not hands and heels going into the final furlong. Instead, it’s a sprint finish and after a performance as good as this there’s only one winner…jazz.
Closing It’s Time! is the melancholy ballad Truth which was written by Charles Tolliver. Sometimes, the truth hurts and that seems to be the case here. His trumpet playing it emotive and has a worldweary soul-baring sound. Meanwhile, the rest of the band provides a sympathetic backdrop on this beautiful ballad that shows another side to the quintet.
Having recorded It’s Time! Blue Note Records scheduled a release for the summer of 1965. In late-June, early July It’s Time! was released in a Miles Reed album cover that would later be regarded as a design classic. The album was well received by the majority of critics who had expected Jackie McLean to fully embrace free jazz on It’s Time! They were surprised to hear an album of hard bop but welcomed its familiarity of It’s Time. Sadly, the album passed jazz fans by, and they never heard Jackie McLean’s new quintet in full flight.
It was only much later that jazz fans discovered Jackie McLean’s It’s Time! By then, it was one of the hidden gems in his back-catalogue and one the most underrated albums that he recorded at Blue Note Records. It’s Time! is an album of hard driving and swinging hard bop from Jackie McLean that features a series of breathtaking performances and is bristling with energy that somewhat belatedly is starting to receive the recognition it so richly deserves.
Jackie McLean-It’s Time!
CULT CLASSIC: JUDY HENSKE-HIGH FLYING BIRD.
Cult Classic: Judy Henske-High Flying Bird.
It was in 1962, when Judy Henske was living in Los Angeles, that the Queen of the Beatniks first came to the attention of Elektra Records’ founder Jac Holzman. He had just setup the A&R and marketing operation in LA and was on looking for new artists to add to Elektra Records’ roster. The first night he saw Judy Henske sing he knew that he had to sign her. It wasn’t just her powerful voice, it was also her presence onstage and bawdy humour. Jac Holzman was sure that this was a winning combination and set about signing Judy Henske.
Eventually, it cost Jac Holzman $2,000 to sign Judy Henske to Elektra Records. His initial offer was $1,000 which he hoped would secure the signature of Judy Henske. However, he was so keen to sign Judy Henske that he was willing to double his initial offer to $2,000. That was enough to secure her signature.
Not long after this, Judy Henske recorded her eponymous debut album in front of studio audience. Judy Henske was released on Elektra Records in 1962, with High Flying Bird following in 1963. By the time High Flying Bird was released in 1963, twenty-seven year old Judy Henske had come a long way since embarking upon a solo carer four years earlier.
The Judy Henske story began in Chippewa Falls, Wisconsin where Judith A. Henske was born on December ’20th’ 1936. She attended Notre Dame Grade School and then Notre Dame-McDonell Memorial High School, before heading to Rosary College, River Forest, Illinois. After that, Judy Henske enrolled at the University of Wisconsin, in Madison, and when she graduated moved to Ohio.
Judy Henske began working in the office of Oberlin College, Ohio. That was where Judy Henske’s first starting making music. Her boyfriend left her and moved to India. However, he left behind his banjo and soon, she had taught herself to play it. This was the start of a musical voyage of discovery. Soon, she was playing Dixieland jazz and murder ballads. Not long after this, Judy Henske relocated.
This time, she moved to Philadelphia, Pennsylvania, where she worked for a while as a cook in a Quaker co-operative. During this period, she was able to find herself and grow as a person. After that, Judy Henske was on the move again.
In 1959, Judy Henske relocated to San Diego where she lived in a sloop in a yacht basin. Not long after her arrival in San Diego, she started singing in the coffee houses in Pacific Beach and soon, in Los Angeles. That was where she first encountered comedian Lenny Bruce. The pair often worked together, during the time Judy Henske spent in San Diego. However, after spending the best part of two years in San Diego she was ready for a change of scenery.
Judy Henske headed to New York, where she was asked to contribute four live songs that would appear on a compilation. The Coffee House was released on the Dorian label in 1959, and marked the debut of Judy Henske. Soon, she was moving from East Coast to the West Coast.
1960 saw Judy Henske arrive in Los Angeles. She was a stranger in town and the only person she knew of was Herb Cohen who was one of the leading lights of Sunset Strip folk scene. For a new folk singer who had arrived in LA, Herb Cohen was a good man to know.
On her first night in Los Angeles, Judy Henske went looking for Herb Cohen. She met him outside of Cosmo Alley, one of two coffee shops Herb Cohen owned. When he saw his friend clutching her banjo he asked if she could play it? This lead to an impromptu audition and before he had hired Judy Henske and become her manager. She would receive $90 for playing at his other coffee shop, the Unicorn.
At the Unicorn, she soon became the warmup act for Lenny Bruce. By then, she had acquired a strong stage presence, where in-between songs, Judy Henske’s bawdy humour entertained patrons. They were a tough crowd, but her put downs and her incredible powerful voice captivated the patrons at Herb Cohen’s coffee shops. Before long, Judy Henske had developed an act which was a combination humorous monologues and music which made her a popular draw.
Dave Guard and The Whiskeyhill Singers.
So much so, that Herb Cohen decided to send Judy Henske to one of the biggest coffee shops in Oklahoma City. That was where she was spotted in early 1961 by Dave Guard, who previously, had been a member of the Kingston Trio. He was about to form a new group The Whiskeyhill Singers and he asked Judy Henske to join his new folk group and sing the female lead vocal? Before she could agree, Judy Henske had to ask her manager Herb Cohen? When he gave the go ahead, Judy Henske joined The Whiskeyhill Singers.
Compared to her gigs at the Unicorn, and warming up for Lenny Bruce, The Whiskeyhill Singers were somewhat staid by comparison. Dave Guard brought to Judy Henske onboard The Whiskeyhill Singers to provide balance to the group. She was going to be yin to his yang, on their debut album.
This was Dave Guard and The Whiskeyhill Singers which was released on Capitol in 1962. By then, the group had honed their own, unique sound and style. It was hailed as often innovative by critics. However, Dave Guard and the Whiskeyhill Singers failed to find an audience upon its release. Nether did the singles Ride On Railroad Bill nor Plane Wreck At Los Gatos when they were released in 1962. Despite this, The Whiskeyhill Singers began work on their sophomore album.
How The West Was Won.
Before that, The Whiskeyhill Singers were asked to provide some songs to the How The West Was Won soundtrack. Originally, the producers of this MGM wanted to the Kingston Trio to feature on the soundtrack. However, when they heard that Dave Guard had a new group, The Whiskeyhill Singers they felt their sound was much more suited to the soundtrack. This resulted in the The Whiskeyhill Singer being asked to feature on the How the West Was Won soundtrack. For Judy Henske, and the rest of The Whiskeyhill Singers this was the break they were looking for.
The Whiskeyhill Singers began work on their sophomore album, which was completed later in 1962. However, The Whiskeyhill Singers 2nd Album was never released by Capitol Records. Nor long after that, Dave Guard called time on The Whiskeyhill Singers. It had been a short-lived, unfortunately, unsuccessful project that lasted just over six months. However, they had managed to record a lot of music during this period.
After the demise of The Whiskeyhill Singers, Judy Henske decided to return to Los Angeles, where the folk boom was continuing. She was able to pickup where she left off, singing at the Unicorn and at the Troubadour which was well on its way to coming one of LA’s top music venues. It was where many of the biggest names in music hung out, including some of the leading lights of the folk scene.
As the folk boom continued, many within the music industry were keen to profit from the genre’s popularity. Many music industry veterans were aware that folk music, like previous genres, was a bubble, that could burst at any minute. The trick was to make hay while the sun shined. This included compiling and releasing a slew of folk compilations. With Judy Henske’s star in the ascendancy, it was no surprise that she was asked to feature on a couple of these compilations.
This included featuring on folk compilations like and Folk At The Troubadour. These compilations would introduce Judy Henske and the other artists to a much wider audience when they were eventually released. By then, twenty-six year old Judy Henske had made a big breakthrough.
It was just another night when Judy Henske took to the stage at an LA club. She had honed her stagecraft and had onstage presence that was the envy of many less talented singers. Judy Henske made it look so easy as she unleashed her incredibly powerful voice. She brought meaning and emotion to lyrics and seamlessly switched between folk and blues. Then in-between songs, she embarked on a long, but carefully cultivated monologue. The patrons were won over by Judy Henske and so was Elektra Records’ founder Jac Holzman.
He had just setup A&R and marketing operation in LA and was on looking for new artists to add to Elektra Records’ roster. That was why he was sitting in the club, as Judy Henske started to sing. Straight away, he knew that he had to sign her. Her combination of music, monologues and bawdy humour Jac Holzman was sure, was a winning combination. Jac Holzman set about signing Judy Henske, and adding her to Elektra Records’ burgeoning roster.
Eventually, it cost Jac Holzman $2,000 to sign Judy Henske to Elektra Records. His initial offer was $1,000 which Jac Holzman was hoping would secure Judy Henske’s signature. When she hesitated, Jac Holzman reached over and scored out $1,000 and replaced it with $2,000. That was enough to secure the signature of Judy Henske, who joined Elektra Records’ roster of folk singers.
Not long after this, Judy Henske recorded her eponymous debut album in front of studio audience. This was what Judy Henske had been working towards for three years.
Judy Henske.
When Judy Henske joined Elektra Records, she joined Phil Ochs and Fred Neil, Judy Collins and soon, Tim Buckley. Jac Holzman was well on his way to securing the signatures of the creme de la creme of young American folk singers.
Not long after signing to Elektra Records, Judy Henske began preparing to record her debut album. Jac Holzman had decided to record the album in front of a large studio, with an invited audience. At first, Jac Holzman thought of recording just Judy Henske and her guitar. However, he wanted a bigger sound, so decided to hire an orchestra.
Jac Holzman secured the services of Onzy Matthews, an experienced LA based bandleader. Meanwhile, guitarist John Forsha would trombonist John ‘Streamline” Ewing would lead the orchestra. They would accompany Judy Henske on eleven tracks.
For her debut album, Judy Henske chose two of her own songs, Hooka Tooka and Lily Langtree. Judy Henske arranged Low Down Alligator, Ballad Of Little Romy, Wade In The Water, I Know You Rider, Love Henry, Every Night When The Sun Goes In and wrote new lyrics to Salvation Army Song. They were joined by JC Johnston’s Empty Bed Blues and James Shelton’s Lilac Wine. These songs would be recorded in LA, and become Judy Henske’s eponymous debut album.
Once Judy Henske had recorded her much-anticipated eponymous debut album, it was released on Elektra Records in 1962. Critics on hearing Judy Henske, realised she was a very special and versatile singer, and the album received praise and plaudits.
While Judy Henske was well received by critics, who were appreciative of the album and a very special young singer who was making her debut, the album failed to find an audience outside of the folk community. While this was disappointing, Judy Henske and Elektra Records’ founder Jac Holzman were playing the long game.
High Flying Bird.
By the time it came time for Judy Henske to record her sophomore album High Flying Bird, she was a popular draw in Los Angeles and New York. It looked as if her star was in the ascendancy. This was the perfect time for Jac Holzman to send Judy Henske back into the studio.
When it came to recording High Flying Bird, Judy Henske penned Oh, You Engineer with Shel Silverstein. She also added new lyrics to a number of traditional songs, including Buckeye Jim, Columbus Stockade, Lonely Train, Duncan and Brady, Good Old Wagon and Charlotte Town. Judy Henske also arranged Blues Chase Up A Rabbit. The other songs included Billy Ed Wheeler’s High Flying Bird which was joined by Till The Real Thing Comes Along, Hoagy Carmichael’s Baltimore Oriole, Arthur Herzog Jr and Billie Holliday’s God Bless The Child and Bart Howard and John Peter Windsor’s You Are Not My First Love. These thirteen songs became Judy Henske’s sophomore album High Flying Bird.
This time around, Jac Holzman who oversaw production, decided to take a different approach. There was no orchestra on Flying Bird, just a small band that featured a rhythm section of drummer Earl Palmer, bassist Bill Montgomery and guitarist Jack Marshall. They were augmented by two familiar faces, trombonist John ‘Streamline’ Ewing and Jack Forsha who would play the twelve string guitar. This quintet accompanied Judy Henske who switched between banjo and guitar on the thirteen tracks. They were recorded in small studio in Los Angeles and became High Flying Bird.
When critics heard High Flying Bird, they were greeted by a very different side of Judy Henske. Gone is the orchestra that accompanied Judy Henske on her eponymous debut album. High Flying Bird featured a much pared back sound, where the arrangements play second fiddle to Judy Henske as she moves between tear jerking ballads and rousing, uptempo tracks where she kicks loose. High Flying Bird was a potent and heady brew and one that won over critics.
Just like Judy Henske, High Flying Bird proved popular within the folk community upon its release in 1963. The problem was, that Judy Henske’s music wasn’t finding a wider audience beyond the folk community. When Jac Holzman ran the numbers, he realised that High Flying Bird hadn’t sold enough copies to warrant offering Judy Henske another contract. For Judy Henske it was the end of the for her at Elektra Records.
After just two album, Judy Henske and High Flying Bird, one of the rising stars of the American folk scene found herself without a label. For Judy Henske her recording career was already at a crossroads.
It was ironic that she had released to accomplished albums, Judy Henske and High Flying Bird, which later, was credited as one of the albums that led to the folk rock genre. However, in 1963, nobody realised that Judy Henske had provided what was essentially the blueprint to folk rock. It was only much later, when music historians were tracing folk rock’s roots that they realised the importance and relevance of Judy Henske’s sophomore album High Flying Bird.
After leaving Elektra Records, Judy Henske released Little Bit of Sunshine…Little Bit of Rain on Mercury Records in 1965. Just like her two Elektra Records albums, Little Bit of Sunshine…Little Bit of Rain failed to find a wider audience. Sadly, it was a similar case with The Death Defying Judy Henske, which was released on Reprise in 1966.
Three years later, in 1969, and Judy Henske and her husband Jerry Yester, who was also a musician, released their cult classic Farewell Aldebaran in 1969. There was no followup, as the couple were about to embark upon a new musical venture.
By 1971, Judy Henske and Jerry Yester had founded Rosebud with Craig Doerge, John Seiter, and David Vaught. Rosebud released their eponymous debut album in 1971. However, following Rosebud’s release, the band played a couple of live shows, and split up. Judy Henske and Jerry Yester divorced, and she went on to marry and Craig Doerge in 1973. Not long after this, Judy Henske retired from performing and recording.
Judy Henske was only thirty-even when she announced that she was retiring from music. She continued to write songs and eventually, after over twenty years away from music, Judy Henske was ready to make a comeback in the nineties.
Her comeback went so well, that Judy Henske released two studio albums 1999s Loose In the World and 2004s She Sang California. By then, Judy Henske’s music was finding a wider audience receiving the recognition it deserved. Especially her first two albums Judy Henske and High Flying Bird. They’re a reminder on Judy Henske at the peak of her powers when it looked like she was destined to become one of the biggest names in folk music. Sadly, that wasn’t the case, and Judy Henske whose now eighty-three, and has been blind for the past thirteen years, didn’t enjoy the success her talent warranted. A reminder of Judy Henske’s considerable talent can be found on the two albums she released for Elektra Records Judy Henske and her the peerless High Flying Bird which nowadays, is regarded as an album that provided the blueprint to folk rock.
Cult Classic: Judy Henske-High Flying Bird.
CULT CLASSIC: MICHAEL CHAPMAN-PLAYING GUITAR THE EASY WAY.
Cult Classic: Michael Chapman-Playing Guitar The Easy Way
Nine years after releasing his debut album Rainmaker on Harvest Records, Michael Chapman released Playing Guitar The Easy Way which was very a different album from his previous ten albums. Partly that was because of the title and the album cover. Some people who looked at the cover thought it was an album about how to play the guitar. It wasn’t. However, Playing Guitar The Easy Way had some secrets within its sleeve-notes.
The idea behind Playing Guitar The Easy Way was to make life easier for aspiring guitar players and in the sleeve-notes, Michael Chapman had included a series of practical tips. He makes it clear that this isn’t an instruction book just a series of handy hints that will make life easier for experienced guitar players. Each song has its own handy hint and they’re explained concisely. No matter whether the guitarists had been playing six weeks or six years it would help you. That’s not all.
For hardcore Michael Chapman fans, there’s even a list of tunings for many of his songs. If they wanted to cover Goodbye To Monday Night the tuning is DADGBE. If Wrecked Again is one of their favourites Michael Chapman songs then the tuning is also DADGBE. All this made Playing Guitar The Easy Way a unique album. It was also his tenth album since he released his debut in 1969. A lot had happened to Michael Chapman since then.
Before releasing his 1969 debut album Rainmaker, on Harvest Records, Michael Chapman taught art and photography and he was a part-time musician. However, he was a regular on the folk circuit and traveled from his home county of Yorkshire down to London and Cornwall. It wasn’t until 1967, that Michael Chapman was “discovered.” Two years later, he released his debut album Rainmaker. This was the first of four albums Michael Chapman released on Harvest.
Rainmaker.
Harvest Records, a subsidiary of Capitol Records, was home to Pink Floyd, Kevin Ayers, Third Ear Band and Deep Purple. Michael Chapman found himself in illustrious company. Here were some of the most progressive musicians of the late-sixties. The label’s newest signing was well thought of and executives at Harvest thought Michael Chapman had a big future. So much so, that they brought in Gus Dudgeon to produce Rainmaker, Michael’s 1969 album.
Rainmaker was released to widespread critical acclaim in 1969 and was hailed as a cut above mainstream British folk. The album showcased Michael Chapman’s skill as a songwriter, musician and singer. Sadly, Rainmaker which was a mixture of folk, blues and rock wasn’t a commercial success. Neither was his sophomore album Solo Guitar.
Solo Guitar.
Solo Guitar was released later in 1969 and unlike Rainmaker, was released on the Standard Music Library label. It featured nine tracks written by Michael Chapman which showed that he was already starting to mature as a songwriter. However, this album of folk and blues failed to find an audience and commercial success continued to elude him. Despite this, Harvest decided to persist with Michael Chapman believing success wasn’t far away.
Fully Qualified Survivor.
After the release of Solo Guitar Michael Chapman continued to strengthen his songwriting skills. He seemed to be a perfectionist as he worked on new material for his third album. This was no bad thing and paid of.
For the recording of his third album Fully Qualified Survivor, Michael Chapman was reunited with producer Gus Dudgeon, and also brought a new lead guitarist onboard. This was Mick Ronson who later, made his name as David Bowie’s guitarist. However, before that the new addition played his part in transforming Michael Chapman’s fortunes.
A combination of some of Michael Chapman’s best songs, Gus Dudgeon’s production work and a guitar masterclass from Mick Ronson resulted in critics hailing Fully Qualified Survivor as a mini-masterpiece. It struck a nerve with music fans and reached number forty-five in the UK. After the commercial success and critical acclaim Fully Qualified Survivor enjoyed, it looked like Michael Chapman was about to become one of the most successful artists of the early seventies.
Window.
Sadly, that wasn’t to be. For his third album Window, producer Gus Dudgeon seemed to allow Michael Chapman more freedom. He had written nine new songs for Window which lyrically, was a much more eclectic album. This wasn’t the only change, Mick Ronson didn’t feature on Window which was produced by Gus Dudgeon.
When Window was released the album divided opinion. Compared to Rainmaker and Fully Qualified Survivor, Window wasn’t perceive as Window as progression and Michael Chapman was treading water. Record buyers agreed and Window failed to chart on its release in 1970. Michael Chapman would later argue that that was no surprise.
After the release of Window, he disowned Window and alleged it comprised a series of unfinished demos which Harvest released when he was on tour. Ironically, Window, the album Michael Chapman disowned has been have reevaluated by critics and is now regarded as his most underrated album.
Back in 1971, after the release of Window, Michael Chapman’s career at a crossroads. He knew that he had to get his career back on track and managed to do this with his next album, Wrecked Again.
Wrecked Again.
Wrecked Again features eleven songs written by Michael Chapman and saw him reinvent himslef musically. The album is often described as his “Memphis” album, but the best way to describe Wrecked Again is eclectic. Everything from folk, blues, rock, country and jazz can be found within Wrecked Again, which was recorded at Rockfield Studios and produced by Gus Dudgeon.
When Wrecked Again was released early in 1971, Michael Chapman’s fifth album failed to chart. Record buyers weren’t won over by the album’s eclectic, all encompassing sound. At least critics were and recognised Wrecked Again as a return to form from the Leeds’ born troubadour. Sadly, Harvest decided Wrecked Again would be Michael Chapman’s final album for Harvest.
Millstone Grit
After leaving Harvest, Michael Chapman signed to Decca which became his home for the next few years. His Decca debut was Millstone Grit which was released in 1973. It was much more eclectic than some of the albums he had previously released and featured everything from folk and folk rock to blues and country. However, Millstone Grit failed to find and commercial success continued to elude Michael Chapman.
He was down but not out and a year later, returned with one of his finest albums, the hugely underrated Deal Gone Down.
Deal Gone Down.
When Deal Gone Down was released in 1974 and was the followup to Millstone Grit. Critics on hearing the album hailed Deal Gone Down as one of Michael’s finest albums. Michael Chapman was back with an album that combined folk rock with a more traditional rocky sound. It was an album that should’ve appealed to a wide audience. Sadly, the album wasn’t a commercial success and it would be another two years before Michael Chapman released another studio album.
Pleasures Of The Streets.
In 1975 Michael Chapman decided to release his first live album, Pleasures Of The Streets. Playing live was what he liked doing best so he decided to record a live album during his European tour. The result was Pleasures Of The Streets, which was a tantalising taste of what Michael Chapman sounded like live. It was also an album that made commercial sense.
Live albums were growing in popularity during the mid-seventies, and the release of Pleasures Of The Streets saw Michael Chapman dip his toe into what was an expanding market. It was oped that this would help rejuvenate his recording career? After all, his last album to chart was 1970s Fully Qualified Survivor. However, despite the quality of Michael Chapman’s first live album, it failed to trouble the charts. It was a frustrating time for the Leeds-born troubadour.
Savage Amusement.
The following year 1976, Michael Chapman released Savage Amusement which was his first studio album since 1974s Deal Gone Down. It was his seventh studio album and by then, Michael Chapman was talented songwriter. That was evident on the nine new songs he had written for Savage Amusement which was produced by Don Nix. He was backed by his usual band on what was a vastly underrated album of folk rock.
When it was released in 1976 on Decca, it was well received by critics but failed to chart despite its undoubted quality. It was now six years since Fully Qualified Survivor reached forty-five in the UK charts. Michael Chapman’s time at Decca wasn’t a successful one and was about to come to an end.
The Man Who Hated Mornings
Despite the disappointment of the commercial failure of Savage Amusement, Michael Chapman began work on the followup. Having written seven new songs that would feature on The Man Who Hated Mornings, he decided that he would produce the album himself.
The result was an album country rock, folk and folk rock that featured Michael Chapman at his mellowest. It was one of the finest albums of Michael Chapman’s career and he and executives at Decca hoped that this was the album that would kickstart his career.
Things were looking good for Michael Chapman when critics called The Man Who Hated Mornings one of his finest albums of recent years. It was an album that showed that he was capable of moments of genius. Sadly, the record failed to find an audience and never came close to troubling the charts. Worse was come, when it was announced that Michael Chapman and Decca were about to part company.
Playing Guitar The Easy Way.
Having left Decca, Michael Chapman signed to Criminal Records. His first release for the label was Playing Guitar The Easy Way which featured twelve tracks. Eleven were written byMichael Chapman. The exception was Rockport Sunday, which was penned by Tom Rush. They were recorded by Michael at Virgin Studios.
At Virgin Studios, in London, recording of Playing Guitar The Easy Way got underway. Michael Chapman played a selection of classic guitars including a Fylde, Martin D.16, Fender Stratocaster and Gibson 175. He also used some secret weapons during the sessions. This included a FOXX fuzz box, MXR phase shifter, H.H. tape delay, Korg synthesiser pedal and wah wah pedal. During the sessions, Keith Herd was the engineer and Michael Chapman took charge of production on Playing Guitar The Easy Way.
Normal Norman opens Playing Guitar The Easy Way and just like all the tracks on the album, it begins with an open tuning. Before long, Michael Chapman is unleashing waves of bluesy guitar. Seamlessly, his hands flit up and down the fretboard and his playing seem to have matured since his 1969 debut Rainmaker. That’s apparent on the album opener which showcases one of British music’s best kept secrets.
The bluesy sound continues on Revival Time where there’s similarities with the previous track. Again, it’s a reminder that Michael Chapman is one of British music’s most underrated guitarists. It doesn’t take long to realise this as he uses he makes good use of a phase shifter as the two guitars embark upon a spellbinding duel.
Understated and mellow describes Suite Mellow Dee. So does joyous. It’s two minutes of beautiful, meandering, music where Michael Chapman plays both acoustic and slide guitar. They’re a perfect foil for each other. Then towards the end of the track, the slide guitar drops out, as the lone acoustic guitar takes centre-stage on this mellow, laidback track.
On English Musick Michael Chapman deploys his fuzz box as he unleashed dramatic rocky licks on his electric guitar. Meanwhile, he also plays his trusty acoustic guitar and his playing is quick, intricate and folk-tinged. His hands fly up and down the fretboard and hear two sides to Michael Chapman.
After the usual open tuning Pipe Dreams unfolds and has a mellow, country blues’ sound. That’s thanks to brief bursts of slide guitar which is augmented by Michael Chapman’s trusty acoustic guitar. They work well together and before long, he ups the ante. At breakneck speed his hands fly up and down the fretboard never missing a note. As if by magic layers of music melt into one as Michael Chapman becomes a one man band and showcases his considerable skils.
Deliberate strums of guitar prove to be a curveball on High Wide and Handsome. Before long, Michael Chapman returns to his familiar country blues sound and then he plays some slide guitar. It’s no exaggeration to say that this is a glorious sound. It sounds as ifMichael Chapman was weaned on Mississippi Fred McDowell and Blind Willie Johnson and is paying homage to their memory.
Straight away, Michael Chapman deploys his box of tricks on A Scholarly Man. He uses it to briefly transform the sound. After that his guitar rings out and at breakneck speed he gives what can only be described as a guitar masterclass. He digs deep, drawing upon all the music that’s influenced him and what follows is best described joyous and dramatic and is one of the highlights of Playing Guitar the Easy Way.
Sometimes In The Night has a wistful sound. Having said that, there’s an ethereal beauty in the music which is simplicity itself. Essentially, it’s one man and his guitars, albeit, aided and abetted by his effect boxes. He uses them sparingly. At first it’s just Michael Chapman on his acoustic guitar, Before long, he’s playing a double and subtly uses effects to shape the sound. His fingers fly up and down the fretboard, twisting, shaping and honing the sound. Almost effortlessly he creates a track that’s melancholy, wistful and has an ethereal beauty.
Listening to Loop The Loop is reminiscent of the legendary country and western singer, songwriter and guitarist Merle Travis. He played a Gibson and sometimes so does Michael Chapman. On Playing Guitar The Easy Way he had a variety of guitars to call upon. Here he makes his guitar sing as he seamlessly combines elements of blues, country and western and folk.
Rockport Sunday sees Michael Chapma’s guitar ring out joyously. He’s a guitarist’s guitarists and technically, he’s up there with the best British guitarists of his generation. He’s a hugely talented, versatile and technically proficient guitarist and here he demonstrates what he’s capable of.
Envious Eyes allows Michael to show different sides to his music. One minute, the music is understated and thoughtful, the next it takes on a country hue. That’s because Michael deploys his wah-wah pedal and he also plays two different guitars. They sound very different and at one point, the second guitar is replying to the first guitar’s call. It wah wahs across the arrangement, as we hear yet another side to Michael Chapman’s music.
Steel Bonnets closes Playing Guitar the Easy Way. He strums the guitar and deploys the phaser making the music shimmer and quiver and reverberates into the distance. Effects aren’t overused and instead they’re used sparingly. This add to what’s a beautiful, mellow and melancholy track and the perfect way to close the album.
Playing Guitar The Easy Way was Michael Chapman’s eleventh album and very different to his previous albums. It was an album made up entirely of instrumentals. This was the perfect showcase for Michael Chapman who is without doubt, one of the best British guitarists of his generations.
That’s apparent from the first time you hear Playing Guitar the Easy Way. You’re spellbound by his playing as his hands fly up and down the fretboards. He draws inspirations from blues, country and western, country blues, folk and rock. Michael Chapman is just as happy playing acoustic guitar as he is unleashing some slide guitar and in his hands a guitar comes alive. He has the ability to make a guitar come to life and it sings. The music he creates veers between bluesy, hopeful, joyous, melancholy through to uplifting and wistful. Other times, it’s beautiful and ethereal. However, despite the undoubted quality of Michael Chapman’s music, he’s still one of British music’s best kept secrets and Playing Guitar the Easy Way is a cult classic that has still to find a wider audience. Sadly, so has most of his albums.
Only Michael Chapman’s 1970 album Fully Qualified Survivor charted and even then, it stalled at number forty-five in the UK. For the rest of his career it’s a case of what might have been? Commercial success and critical acclaim managed to elude Michael Chapman and that was the case with 1978s Playing Guitar the Easy Way. It showcases a man whose been described as a guitarist’s guitarist and one of British music’s best kept secrets who aged seventy-nine is still playing live and has released over forty albums. One of Michael Chapman’s finest albums is his cult classic Playing Guitar The Easy Way.
Cult Classic: Michael Chapman-Playing Guitar The Easy Way
DEUTSCHE ELEKTRONISCHE MUSIK 4: EXPERIMENTAL GERMAN ROCK AND ELECTRONIC MUSIC 1971-83.
Deutsche Elektronische Musik 4: Experimental German Rock and Electronic Music 1971-83.
Label: Soul Jazz Records.
Format: CD.
Release Date: ‘16th’ October 2020.
Nowadays, the period between 1968 and the early eighties is regarded as a golden period for German music, and saw groundbreaking artists and groups like Amon Düül, Can, Cluster, Deuter, Faust, Harmonia, Neu!, Popul Vuh and Tangerine Dream released innovative albums that would influence and inspire future generations of musicians. This music ranged from Krautrock to the
Berlin and Düsseldorf Schools of Electronic Music which nowadays, are regarded as the holy trinity of modern German music.
Despite the importance of Krautrock and the Berlin and Düsseldorf Schools of Electronic Music, many of the leading lights of these scenes didn’t enjoy the critical acclaim and commercial success that their innovative music deserved. It was only much later, that a new generation of musicians and record buyers discovered the wealth of groundbreaking music that had been recorded between 1968 and the early eighties and realised its importance. Here were albums that were innovative and way ahead of the musical curve, but sadly, in many cases had failed to find an audience. However, this was about to change.
Belatedly, a new generation of musicians, record collectors and journalists, began to fly the flag for Krautrock and also the Berlin and Düsseldorf Schools of Electronic Music. Suddenly, the music started to influence a new generation of musicians and was growing in popularity.
Before long, the music was receiving the recognition it deserved and eventually few record companies released compilations of music from Germany’s golden era. This included Soul Jazz Records will released Deutsche Elektronische Musik 4: Experimental German Rock and Electronic Music 1971-83 as a two CD set on the ‘16th’ of October 2020 and features nineteen tracks.
Opening Deutsche Elektronische Musik 4: Experimental German Rock and Electronic Music 1971-83 is Patella Black by Alex. It’s taken from his 1973 eponymous debut which was released on the Pan label. However, Alex Wiska’s career began in 1964 when he joined The Famous Four and then later, became a member of The Playboys. Then in 1967 he formed his own band Ombächli who released their debut single later that year. The following year, Alex Wiska was studying classical guitar at Köln Musik Konservatorium when he met Holger Czukay and Jaki Liebezeit. They would later go on to found Can and in 1973 co-produced Alex’s debut album. By then, he was one of the pioneers of electric Baglama which features on his debut album. It can be heard on Patella Black which is captivating and inventive fusion of Anatolian rock, progressive rock and psychedelia.
Nowadays, Can are regarded as one of the most important, innovative and influential of the Krautrock bands. By 1972, they were signed to United Artists and released I’m So Green as a single. It features a vocal from inimitable Damo Suzuki and is a tantalising taste of one of Can’s classic albums Ege Bamyasi which belongs in every record collection.
One of the oft-overlooked Krautrock groups is Agitation Free. They were formed in 1967 and were the house band at he legendary Zodiac Arts Centre, in Berlin. By 1973, they were signed to Vertigo ad released their sophomore album 2nd. It featured Laila, Part II a breathtaking track where elements of Krautrock, progressive rock and even fusion melt magically into one.
Amon Düül II roots can be traced to a Munich commune where the group was born and became part of the city’s underground music scene. Their music was a mixture of free-form improvisation and psychedelic rock and in 1969 they released their groundbreaking debut album Phallus Dei and followed this up in 1970 with the seminal classic Yeti. Two years later in 1972, the group had signed to United Artists and released Wolf City which brought to an end what was the classic period for Amon Düül II. A reminder of this is the genre-melting title-track Wolf City where they seamlessly combine Krautrock and psychedelic rock to create what was one of the album’s highlights.
Michael Rother came to prominence as a member of Kraftwerk before joining Neu! and then Harmonia. He then embarked upon a long and successful solo career and nowadays is regarded as one of the greatest German guitarists of his generation. His playing is inventive and imaginative. That’s the case on Flammende Herzen which is the title-track to his 1977 debut album as he plays slowly and carefully leaving space while a Motorik beat accompanies him. Flammende Herzen and the followup Sterntaler are the perfect introduction to Michael Rother.
In 1978, pioneering avant-garde musician Conrad Schnitzler was signed to the Egg label when he released his experimental electronic album Ballet Statique. The title-track features on the compilation and sounds way ahead it’s time. So much so, that it’s hard to believe that is was released in 1978.
Kalacakra’s contribution to the compilation is Nearby Shiras which is a track from their incredibly rare private press Crawling To Lhasa. It was released in 1972 and is fusion of Kraut-folk and psychedelic rock with a spiritual sound. The highlight of the album is Nearby Shiras which is a welcome addition to the compilation.
Et Cetera was founded in 1971 and later that year, released their eponymous debut album on Global Records. The album featured Mellodrama 2a which was an experimental and innovative fusion of avant-garde, jazz, rock and world music.
By 1979, Roedelius was still signed to Sky Records when he released his new album Selbstportrait (Teil 1 Sanfte Musik). It featured Halmharfe which was a quite beautiful but understated and almost mesmeric soundscape.
Cluster’s Hans-Joachim Roedelius and Dieter Moebius joined forces with Michael Rother of Neu! to create the German supergroup Harmonia. Their sophomore album was Deluxe which was released on Brain in 1975. It features Deluxe (Immer Wieder) one of the album’s highlights and a reminder of Harmonica at the peak of their powers on a Krautrock classic.
Witthüser and Westrupp released their debut album Der Jesuspilz/Musik Vom Evangelium on the Pilz label in 1971. The album featured Schöpfung (1. Mose 1) and finds the duo combining folk rock and psychedelic rock on this beautiful track that closes Deutsche Elektronische Musik 4: Experimental German Rock and Electronic Music 1971-83.
Just like the three previous instalments in the series, Deutsche Elektronische Musik 4: Experimental German Rock and Electronic Music 1971-83 features talented, innovative and influential bands and musicians who played their part in what was a musical revolution in Germany. In the late-sixties, a group of musicians set out to rewrite musical history in Germany and create new, exciting and innovative music for a new generation. They succeeded in doing so, and the proof of that is the music on Deutsche Elektronische Musik 4: Experimental German Rock and Electronic Music 1971-83.
It includes Krautrock and tracks from the Berlin and Düsseldorf Schools of Electronic Music and further afield. There’s also elements of acid folk, ambient, avant-garde, electronica, experimental, industrial, modern classical, progressive rock, psychedelia and rock. All these influences can be heard on Deutsche Elektronische Musik 4: Experimental German Rock and Electronic Music 1971-83, which is the latest instalment in this occasional series.
Deutsche Elektronische Musik 4: Experimental German Rock and Electronic Music 1971-83 is the perfect introduction to the golden age of modern German music, especially when added to the three previous volumes. This could be the start of a lifelong love affair with Krautrock or the Berlin and Düsseldorf Schools of Electronic Music.
However, Deutsche Elektronische Musik 4: Experimental German Rock and Electronic Music 1971-83 will also be of interest to anyone who is interested in the golden age of German modern music.
Hopefully, Deutsche Elektronische Musik 4: Experimental German Rock and Electronic Music 1971-83 won’t be the last in this occasional series, as there’s plenty more material awaiting discovery. This could be a compilation series that runs and runs, and it won’t be long until Volume 5.
This critically acclaimed and lovingly curated compilation series combines tracks from familiar faces with contributions from new names and a selection of hidden gems. That is the case on Deutsche Elektronische Musik 4: Experimental German Rock and Electronic Music 1971-83. It’s the latest instalment in a series that looks back at what was the most important period in modern German music, and showcases some of the most important, innovative and influential German artists and bands from this golden era.
Deutsche Elektronische Musik 4: Experimental German Rock and Electronic Music 1971-83.
DR JOHN-IN THE RIGHT PLACE.
Dr John-In The Right Place.
Label: Get On Down.
Format: LP.
Very few musicians or bands can be accurately described as an overnight success. That is something that hardly ever exists except in the minds of a few tabloid journalists . The reality is that most bands need to do the hard yards and hone their sound before commercial success comes their way. That was the case with Dr John.
Commercial success eluded him until he released his fourth album The Sun, Moon and Herbs on August the ’31st’ 1971. That was despite him having already released future classics like Gris Gris and Babylon. Sadly, neither album was a commercial success and it was only much later that critics reappraised both albums and they started to find a wider audience. However, The Sun, Moon and Herbs fared better spending five weeks on the US Billboard 200 peaking at 184 . It was a start for Dr John, and something he could build on.
Things improved when Dr John’s Gumbo was released on April the ’20th’ 1972, and spent eleven weeks on the US Billboard 200 reaching reached 112. Gradually, Dr John’s music was starting to find the wider audience it deserved.
When he released his sixth album In the Right Place on the ‘25th’ of February 1973 it was a gamechanger and transformed Dr John’s career. Not only was did it become his biggest selling album, it featured his biggest hit single which became one of his classic songs. Those that were unaware of the Dr John story and didn’t know that the thirty-one year old had been a professional musician since he was thirteen.
The future Dr John was born Malcolm John “Mac” Rebennack Jr, on November the ‘20th’ 1940, in New Orleans, Louisiana. He grew up in the Third Ward of New Orleans, and music was always around him.
His father Malcolm John Rebennack ran an appliance shop in the East End of New Orleans, where he repaired radio and televisions and sold records. He introduced his son to the music of King Oliver and Louis Armstrong. However, one of the people who inspired Mac Rebennack was his grandfather who he heard singing minstrel songs. So did hearing his aunts, uncles, cousins and sister playing the piano. Despite this, Mac Rebennack wasn’t inspired to take music lessons.
This only came later when he was a teenager. He also joined a choir, but was soon asked to leave. However, over the next few years Mac Rebennack learnt to play the guitar and later piano, and through his father’s contacts in the local music scene was soon playing alongside some well known names including Guitar Slim and Little Richard. This was just the start for Mac Rebennack.
When he was thirteen, he met Professor Longhair and he was instantly impressed by the flamboyant showman. Mac Rebennack was soon playing alongside his new hero, and this was the start of his professional career.
Around 1955 or 1956, Mac Rebennack made his debut in the recording studio when he was signed as a singer and songwriter by Eddie Mesner at Aladdin Records. The future Dr John’s career was underway and towards the end of 1957 with the help of Danny Kessler, he joined the musician’s union. That was when he considered himself to be a professional musician.
By the time he was sixteen, Mac Rebennack had been hired by Johnny Vincent at Ace Records as a producer. This led to him working with Earl King, James Booker and Jimmy Clayton. This was all good experience for the young, up-and-coming musician
Despite his new career, Mac Rebennack was still a student at Jesuit High School. This didn’t stop him playing in night clubs and forming his first band The Dominoes. The Jesuit fathers weren’t happy with Mac Rebennack’s lifestyle and issued him with an ultimatum. He was to either stop playing in nightclubs or leave the school. Not long after this, he was expelled from the school. It turned out to be the best thing that happened to him as he was able to concentrate on music full time.
By the late-fifties, Mac Rebennack was playing with various bands in and around New Orleans. This included his own band Mac Rebennack and The Skyliners. However, the young bandleader had also embarked upon a career as a songwriter.
In 1957 Mac Rebennack cowrote his first ever rock ’n’ roll song Lights Out. It was recorded by New Orleans based singer Jerry Byrne, and released on Specialty Records later in 1957 and give him a regional hit.
Two years later, in 1959, Mac Rebennack also enjoyed a regional hit single when he released Storm Warning, a Bo Diddley inspired instrumental on Rex Records. This was the first hit he enjoyed in a long, illustrious and eventful career.
After Storm Warning, Mac Rebennack and Charlie Miller joined forces and recorded singles for various local labels. This included Ace, Ron, and Ric. They continued to release singles until Charlie Miller decided to move to New York to study music. Mac Rebennack stayed in the Big Easy and continued his career.
Around 1960, Mac Rebennack was playing a gig in Jacksonville, Florida, when his career was changed forevermore. That night, his ring finger on his left hand was injured by a gun shot during an incident. This was a disaster for a right handed guitarist and when he recovered he made the switch to bass guitar. However, after a while Mac Rebennack switched to the instrument he made his name playing, the piano.
Soon, Mac Rebennack had developed a style that was influenced by Professor Longhair who he had met when he was thirteen. It looked as if this was a new chapter in Mac Rebennack’s musical career.
That wasn’t the case and Mac Rebennack ended up getting involved in the dark underbelly of The Big Easy. He was using and selling illegal drugs and at one point, running a brothel. It was almost inevitable that Mac Rebennack was going to have a brush with the law.
He did. In 1963, when Mac Rebennack was arrested on drug charges and sentenced to two years in the Federal Correctional Institution, in Fort Worth, Dallas. By the time his sentence ended and he was released in 1965, New Orleans was a different place.
There had been a campaign to rid the city of its clubs, which meant that musicians like Mac Rebennack found it hard to find work. That was why he decided to move to LA where he knew he could find work as a session musician.
It turned out to be a good decision, and it wasn’t long before Mac Rebennack was one of the first call session musicians in LA. That was the case for the rest of sixties and the seventies. He was also a member of the legendary Wrecking Crew and worked with some of the biggest names in music. This was the new start Mac Rebennack had been looking for when he left New Orleans.
Growing up Mac Rebennack had developed an interest in New Orleans voodoo. This was something he revisited during his early years in LA when he began to develop the concept of Dr John, which initially he thought could be a persona for his friend Ronnie Barron. The concept was based on the life of Dr John, a Senegalese prince, a witch doctor, herbalist and spiritual healer who travelled to New Orleans from Haiti. He was a free man of colour who lived on Bayou Road, and claimed to have fifteen wives and over fifty children. It was believed Dr John also kept a variety of lizards, snakes, embalmed scorpions as well as animal and human skulls, and sold gris-gris, voodoo amulets which were meant to protect the wearer from harm. This Mac Rebennack incorporated into the project he was working on for Ronnie Barron.
Soon, Mac Rebennack had decided to write, produce and play on an album and stage show based on his concept with Dr John emblematic of New Orleans’ heritage. It was meant to feature Ronnie Barron. However, when he dropped out of the project Man Rebennack took over the role and adopted the identity of Dr John. This was a turning point in the life and career of the man born Mac Rebennack.
Dr John became the name that he found fame as and won five Grammy Awards. However, that was still to come.
Having adopted the moniker Dr John,The Night Tripper he was signed by Atco Records and recorded his debut album Gris Gris. It was his his own “voodoo medicine” and marked the start of what’s now regarded as a golden era for Dr John.
Gris Gris.
When a copy of Dr John’s debut album Gris Gris, which was sent to Atlantic Records’ founder Ahmet Ertegun he disliked the album so much, that he was reluctant to even release the album and said: “how can we market this boogaloo crap?” This wasn’t the response that Dr John had been hoping when he recorded Gris Gris which was a combination of psychedelia, blues, free jazz, R&B, soul, funk, jazz. Add to this psychedelic stew the authentic music of the melting pot that is New Orleans and the voodoo image that Dr John had carefully cultivated and Gris Gris was like no other album that Atlantic Records had released. That presented the label with a huge problem.
Atlantic Records’ PR department had idea to promote an album like Gris Gris, as they had no cultural reference points, nothing to compare the album to. Despite the best efforts of Atlantic Records PR department, when Gris Gris was released on January the ’22nd’ 1968 and introduced the world to Dr John The Night Tripper, it failed to trouble the charts and neither critics nor record buyers understood Dr John’s groundbreaking debut album. However, like so many albums that fail to find an album on their release, Gris Gris was later reappraised and belatedly, was recognised as a seminal album that was the start of a rich vein of form from Dr John.
Gris Gris was the start of a six-year period when Dr John could no wrong, and released seven innovative albums that are among the his finest work.
Babylon.
This included his sophomore album Babylon on January the ’17th’ 1969. It was a powerful, cerebral and innovative genre-melting album which socially had much in common with Dr John’s debut album Gris Gris.
Sadly, critics didn’t ‘get’ Babylon and the album which failed commercially. However, just like Gris Gris, Babylon was later reappraised by critics and nowadays is regarded as one of his finest albums and a minor classic.
Remedies.
Following the commercial failure of Babylon, things went from bad to worse for Dr John, before he could begin work on his third album Remedies. This started when a deal went south, and he was arrested by the police and ended up in jail. It was a worrying time for Dr John who was parole, and if he ended up with a parole violation, he knew he might end up in the infamous Angola jail. That didn’t bare thinking about, and already Dr John was desperate to get out of the local jail. However, he needed someone to post bail, so contacted his managers who he remembers: “were very bad people.” This proved to be an understatement.
Not long after this, Dr John’s managers had him committed to a psychiatric ward, where he spent some time. By then, it was obvious to Dr John that his managers were no longer playing by the rules. All he wanted to do was make music, and everything that had happened recently were nothing to do with music. Instead, it was all connected to Dr John’s increasingly chaotic lifestyle, which made it all the more frustrating for those that realised just how talented the Gris Gris Man was.
Eventually, having managed to put his problems behind him, Dr John wrote the six tracks that became Remedies using his real name Mac Rebennack. Among the tracks Dr John had written was What Goes Around Comes Around which later became a favourite during his live shows and Mardi Gras Day which paints pictures of New Orleans when it comes out to play. Very different was Angola Anthem which was inspired by a friend of Dr John’s who had just been released from Angola, the Louisiana State Penitentiary after forty years. Dr John paid tribute to his friend with an eighteen minute epic that took up all of side two of Remedies. It was produced by one of the most successful producers of the day.
Although Harold Battiste had produced Gris Gris and Babylon, he was replaced by Tom Dowd and Charles Greene who were tasked with transforming Dr John’s career. However, although Tom Dowd was enjoying the most successful period of his career, he had never worked with anyone like Dr John.
When Remedies which was released in the spring of 1970, just like his two previous albums, critics didn’t seem to understand Remedies, which was credited to Dr John The Night Tripper. Remedies was another ambitious album of genre-melting, voodoo-influenced album where Dr John The Night Tripper through everything from psychedelia, blues, R&B, soul, funk and jazz into the musical melting pot and gave it a stir to create an album where the music was mysterious, otherworldly and haunting.
By the time Remedies was released on April ‘9th’ 1970, some FM radio stations had picked up on the album, and were playing it on their late shows. Despite the radio play Remedies had received, the album never troubled the charts, and it was only much later that record buyers realised that they had missed out on another important and innovative album from Dr John.
The Sun, Moon and Herbs.
Despite Dr John’s first three albums failing to find an audience, many of his fellow musicians were fans of his music, and were only too happy to feature on his fourth album The Sun, Moon and Herbs. This included Eric Clapton, Mick Jagger, Bobby Whitlock, Graham Bond, Carl Radle, Jim Gordon and Doris Troy. They were joined by The Memphis Horns as Dr John and Charles Greene took charge of production.
They were responsible for a dark and swampy sounding album that is rich in imagery and paints of New Orleans on a hot, sticky night as thunder crackles and rumbles in the distance like the drums on The Sun, Moon and Herbs. When it was released on August the ’31st’ 1971, still critics struggled to understand Dr John’s music, but this time, The Sun, Moon and Herbs which featured an all-star cast, spent five weeks in US Billboard 200 and peaked at 184. At last, Dr John’s music was starting to find a wider audience.
Dr John’s Gumbo.
Buoyed by the success of The Sun, Moon and Herbs, Dr John decided to record an album of cover versions for his fifth album. These weren’t just any cover versions. Instead, they were covers of what were New Orleans’ classics. These tracks became Dr John’s Gumbo.
The recording took place at Sound City Studios, in LA with Dr John playing guitar, piano, cornet and taking charge of the vocals. He was joined by drummer and percussionist Fred Staehle, bassist Jimmy Calhoun and guitarist Ken Klimak. They were joined by percussionist Richard Washington, a horn section plus backing vocalists Shirley Goodman, Tammy Lann, Robbie Montgomery and Jessica Smith. Producing Dr John’s Gumbo were Harold Battiste and Jerry Wexler.
They produced what was Dr John’s tribute to the music of the city of his birth. It was a very different album to his four previous releases. Dr John’s Gumbo marked a move away from what his persona Dr John The Night Tripper. Some critics didn’t understand Dr John’s musical alter ego and certainly didn’t “get” the voodoo references. Despite that, he had a cult following. That was about to change.
When Dr John’s Gumbo was released critics called it one of Dr John’s finest albums. They preferred and understood the music on the album which was much more straightforward, accessible and steeped in New Orleans’ R&B traditions. Especially, tracks like Iko Iko, Dr John’s new composition Somebody Changed The Lock, Mess Around, Let The Good Times Roll, Junko Partner, Those Lonely Lonely Nights and the Huey Smith Medley. These songs were part of what was akin to a homage to the Big Easy that showcased Dr John’s considerable talents. It was also Dr John’s most accessible album.
Dr John’s Gumbo was released on April the ‘20th’ 1972, it spent and spent seven weeks in the US Billboard 200. On June the ‘24th’ 1972 it reached 112 in the US Billboard 200 and became Dr John’s most successful album. However, that would change with the release of his next album In The Right Place.
.
In The Right Place.
Following the success of Dr. John’s Gumbo, Dr John began work on the followup album which eventually became In The Right Place. It was a very different album from its predecessor which was an album of covers of New Orleans’ classics. The only song that Mac Rebennack aka Dr John had written was Somebody Changed the Lock. This time things were different.
Mac Rebennack had penned seven new songs for his sixth album including Right Place, Wrong Time, Same Old Same Old, Just the Same, Life, Such A Night, Shoo Fly Marches On and Cold, Cold, Cold. He joined forces with Jessie Hill to write Qualified and the pair wrote I Been Hoodood with Alvin Robinson. The other two tracks were covers and included James Waynes’ Travelling Mood and Allen Toussaint’s Life. These eleven tracks became In The Right Place which was recorded in Miami, Florida.
Dr John travelled to Criteria Studios, in Miami, where he recorded In The Right Place with songwriter, musician, arranger and producer Allen Toussaint. He was one of the most influential figures in the New Orleans’ music scene and was able to bring out the best in Dr John. Especially with The Meters acting as his backing band. Their lineup included drummer Joseph Modeliste, bassist George Porter Jr, lead guitarist and organist Art Neville. They were joined by The Bonaroo Horn Section, Gary Brown on acoustic and electric saxophone and Allen Toussaint who showcased his versatility as he switched between a variety of instruments. Adding backing vocals were Jessie Smith and Robbie Montgomery while percussionist Ralph MacDonald and David Spinozza made guest appearances. They augmented the all-star band that accompanied Dr John on In The Right Place as Allen Toussaint took charge of production. He was the perfect foil for Dr John and the result was one of his finest albums.
Once In The Right Place was completed, Dr John and Allen Toussaint returned to the Big Easy and Atco began preparing for the release of In The Right Place.
It was a fusion of blues, funk and New Orleans R&B. There’s also elements of gospel, jazz, New Orleans rock, soul and voodoo funk on another Dr John album where musical genres melted into one.
Side One.
That was the case with the album opener Right Place, Wrong Time. It bursts into life and there’s a degree of urgency as funk, New Orleans R&B, rocky guitar licks and soulful, soaring backing vocals combine and accompany Dr John on a track that would become a classic and a staple of his live shows. Same Old Same Old has a slow, moody and swampy sound that features on previous albums. This is the backdrop for a despairing vocal about the mundane reality everyday life and especially the 9-5 grind. Very different and quite beautiful is the ballad Just The Same where gospel-tinged and soulful harmonies accompany the heartfelt vocal. Then as Qualified unfolds Dr John showcases his peerless piano playing before he and his all-star band deliver a breathtaking performance. They combine funk, jazz, New Orleans R&B, rock and soul on a track that has made in the Big Easy by Dr John and has his name written all over it. Traveling Mood is a tale of love gone wrong which still swings. Horns punctuate the arrangement which features a complex bass line as Dr John’s piano plays a leading role as he contemplates his future. The tempo drops and the Dr is accompanied by soulful backing vocalists as he delivers his message Peace Brother Peace “all over the world.”
Side Two.
It’s a cover of Allen Toussaint’s Life that opens the second side, and gives way to another Dr John classic, Such A Night. This hook-laden song is instantly recognisable and is without doubt one of his finest and most popular songs. Just like it Right Place, Wrong Time it was always on the setlist when Dr John played live. Shoo Fly Marches On is another genre-melting track where blues, funk, jazz and R&B combine with a searing a rocky guitar and soulful harmonies. They’re the perfect accompaniment to the lived-in and impassioned vocal on a track that was way ahead of its time. I Been Hoodood has a moody, swampy sound that is best described as voodoo funk and is one of the album’s highlights. Cold Cold Cold features a vocal full of hurt from Dr John who discovers his partner has been cheating on him. Soaring harmonies, horns, washes of Hammond organ and piano accompany his soul-baring vocal on this tale of love gone wrong. It brought to a close In The Right Place which was a gamechanger of an album.
Critics on hearing In The Right Place which was a fusion of funk, blues and New Orleans R&B hailed the album as one of his finest. Later, the album would regarded as one of Dr John’s classic albums and the album that transformed his career.
Right Place, Wrong Time was released by Atco as the lead single from In The Right Place and it gave Dr John the biggest single of his career. It reached nine on the US Billboard 100, six in Canada and ninety-eight in Australia. Then when In The Right Place was released on February the ’25th’ 1973, it spent thirty-three weeks on the US Billboard 200 and peaked at twenty-four on June the ’23rd’ 1973. This meant that In The Right Place was the most successful album of Dr John’s career.
What Ahmet Ertegun had foolishly described as: “boogaloo crap” just a few years earlier, was now proving profitable for his company. Dr John was having the last laugh. In The Right Place was the sixth of seven albums that Dr John released via Atco Records between 1968 and 1974. While these albums weren’t always appreciated or understood by critics, they’re now regarded as part of what was a golden era for Dr John.
He was at his creative zenith during his Atco Records years and was often misunderstood even by the supposed experts who ran the label. It was only much later that critics reappraised the albums that Dr John released for Atco Records and realised that he was recording and releasing ambitious, imaginative and innovative albums of genre-melting music. That describes perfectly the music on his first four albums Gris Gris, Babylon, Remedies and The Sun, Moon and Herbs.
Ironically when he returned to what was a much more traditional R&B sound for his fifth album Dr John’s Gumbo, Dr John enjoyed the most successful album of his career. That was until he followed this up with In The Right Place which featured two classic tracks Right Place, Wrong Time and Such A Night. They would go on to become staples of his live sets over the next four decades. They would prove eventful for Dr John.
He only released one further album for Atco, and that was Desitively Bonnaroo on the ‘8th’ of April 1974. It was the much-anticipated followup to In The Right Place. It was also produced by Allen Toussaint and found The Meters backing Dr John. However, the album only spent eight weeks on the US Billboard 200 and peaked at 105 on June the ‘1st’ 1974. This brought the curtain down on Dr John’s Atco Records’ years.
Nowadays, the Atco Records’ years are regarded as a golden era in Dr John’s career which lasted six decades. One of the finest albums of Dr John’s Atco Records’ is In the Right Place a genre-melting epic produced by Allen Toussaint who coaxed, cajoled and brought out the best in Dr John and in the process transformed his career.
Dr John enjoyed a long and illustrious career, and released thirty studio albums and nine live albums. He also won six Grammy Awards and was inducted into the Rock and Roll Hall of Fame in 2011. However, it wasn’t always been smooth sailing for Dr John who battled heroin addiction but eventually he conquered his demons and continued to released albums and tour.
Sadly, Dr John passed away on June the ‘6th’ 2019 aged just seventy-seven. Dr John was a truly talented and versatile musician who was a mercurial maverick. However, he left behind a rich musical legacy which includes the seven albums he recorded during his Atco Records years including his classic album In The Right Place which was Dr John’s most successful album and introduced his music to a much wider audience. Hopefully, Get On Down’s reissue of In The Right Place will have a similar affect and a new generation of record buyers will discover one of the finest albums of Dr John’s career and embark upon a journey through his back-catalogue.
Dr John-In The Right Place.
ANDREW WASYLYK-FUGITIVE LIGHT AND THEMES OF CONSOLATION.
Andrew Wasylyk-Fugitive Light and Themes Of Consolation.
Label: Athens Of The North.
Format: LP.
When Dundee-based writer, producer and multi-instrumentalist Andrew Wasylyk released his fourth album Fugitive Light and Themes Of Consolation on the Athens Of The North label this brought to an end a journey that began back in 2017. That was when he released Themes For Buildings and Spaces, which was the first instalment in a trilogy of albums that were journeys through the architecture and landscape of Eastern Scotland. This was followed in 2019 by The Paralian, which was shortlisted for the Scottish Album Of The Year Award. Bringing the trilogy to a close is Fugitive Light and Themes Of Consolation. It’s the latest chapter in the Andrew Wasylyk story.
For anyone unfamiliar with Andrew Wasylyk, this is the alias of Scottish writer, producer and multi-instrumentalist Andrew Mitchell. He was born in Dundee in 1982, and by the age of eight was learning to play the violin and cello. Neither instrument was for him, and he turned his back on music. Instead, he decided that he wanted to follow in his elder brother’s footsteps and become a footballer. Andrew Mitchell’s priorities changed when his uncle gave him an eighties Fender Stratocaster when he was sixteen.
Up until then, he was happy to listen to music and spent his spare time listening to cassettes of everything from Crystal Gayle and The Beatles to Carl Cox. However, by the time Andrew Mitchell left school in 1999, his musical tastes were expanding and becoming even more eclectic. Soon, he and his friends had discovered Cannonball Adderley, Fairport Convention and The Salsoul Orchestra as well as Gang Starr, Pavement and Olivia Tremor Control. This search for new music continued as Andrew Mitchell decided to form a band.
He and his friend Matthew Marra formed the indie pop group The Hazey Janes which also featured Alice Marra and Liam Brennan. They signed to Measured Records and in 2004, released their eponymous debut album. This was the first of five albums the group released over the next thirteen years. During this period, the toured the UK several times, opened for Wilco across Europe and appeared at the South By Southwest Festival with Andrew Mitchell playing guitar and keyboards. All the recording sessions and tours were a learning experienced and shaped him as a musician for life beyond and after The Hazey Janes.
Andrew Mitchell went on to work with Art Of The Memory Palace, Electric Soft Parade, School Of Language, Deacon Blue, Idlewild and Roddy Woomble. However, he had also embarked upon a solo career. That was when Andrew Wasylyk was born.
Soroky.
On November the ‘6th’ 2015, Andrew Wasylyk released his debut album Soroky. This was the name of the village in West Ukraine that his grandfather Iwan Wasylyk was from.
Soroky was a cinematic, cerebral and sometimes uneasy sounding album that was recorded in just five days on the island of Mull. It found Andrew Wasylyk drawing inspiration from baroque pop, modern classical and seventies Laurel Canyon singer-songwriters and his fragile and emotive vocal sounding as if he had been influenced sonically and stylistically by The Blue Nile’s Paul Buchanan, The Bathers’ Chris Thompson, former Associate Billy McKenzie as well as Scott Walker and Randy Newman. These influences shine through on an album which deals with a variety of themes. This ranges from the sense of disillusionment and anxiousness on Last Of The Loved right through to the playful retort of Mr White, It’s No Trouble At All. The result was a powerful and poignant debut solo album that borrowed from music’s glorious past and showcased a talented singer-songwriter who it seemed had bright future ahead of him.
Themes For Buildings and Spaces.
Andrew Wasylyk returned on the ‘28th’ of April 2017 with his sophomore album Themes For Buildings and Spaces. It was also the first instalment in the trilogy of albums that were journeys through the architecture and landscape of Eastern Scotland. The album had been inspired by his home city of Dundee, famed for jam, jute and journalism. However, it was the city’s architecture and open spaces that inspired the instrumental soundscapes on Themes For Buildings and Spaces. They reflect the materials which are in everyday use in the city as it’s evolved in the postwar years.
This includes Under High Blue Skies which pays homage to the Brutalist architecture in Dundee while Drift and Lower Dens Works reflects the city’s industrial past and especially the jute mills. Heavy industry is no longer part of Dundee and The Howff with its understated sound is reminder of a city that was once an industrial powerhouse. Sadly that’s no longer the case and sadness and wistfulness permeates an album which is a nostalgic look back at Dundee’s glory days. However, there’s also optimism and hope for the future on Themes For Buildings and Spaces.
The Paralian.
In 2019, Andrew Wasylyk released The Paralian which was the second instalment in the trilogy. The album came about after he received what was a once in a lifetime opportunity.
The previous year, 2018, Andrew Wasylyk was offered a residency invite by the arts centre and historic house, Hospitalfield, in Arbroath. He spent the next five month composing and creating new music on their recently restored nineteenth Century Erard Grecian harp and the house’s original grand piano. This music was inspired by the Angus landscape and incorporated field recordings made during trips to Seaton Cliffs and Bell Rock Lighthouse and formed the basis for The Paralian.
Then as winter gave way to spring, all that was left was for Andrew Wasylyk to augment the harp, piano and field recordings with synths, drones, an upright piano, flugelhorn, euphonium, oboe and a string trio. The result was The Paralian, which drew inspiration from disparate musical genres including ambient music, British folk, classic British jazz from the sixties, experimental music, fusion, modern classical, soundtracks and the golden era of library music. All these influences were part of Andrew Wasylyk’s atmospheric and cinematic album where he painted pictures and takes the listener on a journey where he explores the exchanges between sea and shore. The result was the finest album of his career and one whose filmic sound brought back memories for many people.
Fugitive Light and Themes Of Consolation.
The final instalment in the trilogy was Fugitive Light and Themes Of Consolation which was recorded between the summer of 2019 and January 2020. The album was written by Andrew Wasylyk who is a talented multi-instrumentalist who plays all of the instruments on the album as he returns to where the journey began…Dundee,
On Fugitive Light and Themes Of Consolation, Andrew Wasylyk returns to his home city. He retraces his steps on this journey upriver as sets sail and heads upriver, inland and home as he navigates his way to the city famous for jam, jute and journalism. This means sailing across the River Tay’s inner estuary and watching as the pale moon shines on the barren winter fields as the watery winter light casts a shadow on the empty city streets at dawn. They sit proudly upon what once was a quarry that was excavated to build the Dundee that Andrew Wasylyk’s journeys across. That journey is documented on and the city celebrated on the ten tracks on Fugitive Light and Themes Of Consolation.
Side One.
The music Fugitive Light and Themes Of Consolation is understated, subtle and cinematic. This filmic album from Andrew Wasylyk is also atmospheric and evocative. However, the album opener A Further Look At Loss is tinged darkness, sadness and melancholy. There’s a change of mood on Last Sunbeams Of Childhood as Andrew Wasylyk reflects on what’s the best days of our lives. Fugitive Light Restless Water then meanders along veering between a ruminative and hopeful sound as ambient, modern classical and jazz combine to create a beautiful soundscape. The Violet Hour is a piano-led cinematic track with a pastoral sound as birds sing, horns play and strings add a haunting sound. It paints a picture of a city awakening from its slumbers where sadness and hope could be near neighbours as dreams are dashed and come true. After the mechanical opening to Everywhere Something Sublime suddenly it’s all change and beauty is omnipresent as Andrew Wasylyk picks the perfect combination of instruments especially the piano, percussion and muted horns. He’s like a painter picking the perfect selection of colours as a masterpiece takes shape.
Side Two.
There’s an almost moody, haunting sound to In Balgay Silhouettes which sounds as if it belongs on the soundtrack to a French film from the sixties. Then Awoke In The Early Days Of A Better World offers hope, hope for the future. That’s apart from in Sturgeon’s Scotland where the nasty Nat’s peddle their divisive policies. Meanwhile, the genre-melting arrangement meanders melodically and floats dreamily along fusing elements of ambient, fusion, library music and modern classical music with industrial sounds and clicking kick drums. It’s a quite beautiful and memorable combination.
Even the title (Half-light Of) The Cadmium Moon paints pictures as the journey continues. That’s the case from the opening bars as the piano plays before instruments drop in and out playing a supporting role as the music becomes ethereal, elegiac and sometimes dramatic. It’s always cinematic and so much so, that one can imagine the city appearing in the (Half-light Of) The Cadmium Moon. There’s then a sense of melancholy in Black Bay Dream Minor as if the journey nears its ends that the city is no longer the proud industrial powerhouse it once was. On Lost, Aglow which closes the album there’s a sense of sadness as a Fender Rhodes is joined by drums and wistful horns as the arrangement almost reluctantly unfolds. Later, the shimmering Fender Rhodes shimmers and horn give way to the unmistakable sound of the sea. One is left to wonder how the journey ended and did the traveller reach dry land and home on this cinematic epic?
Fugitive Light and Themes Of Consolation is without doubt the finest album of Andrew Wasylyk’s career. It’s also the final instalment in a trilogy of albums that were journeys through the architecture and landscape of Eastern Scotland. Fittingly, the singer, songwriter, multi-instrumentalist and producer journeys back to Dundee the city of his birth, which has also inspired him as a musician.
On Fugitive Light and Themes Of Consolation Andrew Wasylyk seems draws inspiration from Alice Coltrane, Brian Eno, David Axelrod, John Barry, Mark Hollis and Virginia Astley and during the album fuses everything from ambient music, avant-garde, jazz, library music, modern classical, soundtracks and spiritual jazz. All this plays their part in the breathtaking cinematic journey where Andrew Wasylyk paints pictures with music on Fugitive Light and Themes Of Consolation which is a career defining album from the thirty-eight year old Dundonian.
Andrew Wasylyk-Fugitive Light and Themes Of Consolation.
VICTOR CHUKWU-AKALAKA-/UNCLE VICTOR CHUKS AND THE BLACK IROKOS-THE POWER.
Victor Chukwu–Akalaka /Uncle Victor Chuks and The Black Irokos–The Power.
Label: BBE Africa.
Format: CD.
Release Date: ‘6th’ November 2020.
By 1977, Victor Chukwu was regarded as one of masters of Igbo highlife and over the next two years recorded two of his most important and rarest albums. The first was a solo album Akalaka, and The Power which was credited to Uncle Victor Chuks and The Black Irokos. These two albums will be reissued on one CD by BBE Africa on the ‘6th’ of November 2020 as part of their Tabansi Gold series. These albums are also a reminder of Victor Chukwu’s unique brand of Igbo highlife. It’s feelgood music that is uplifting, dignified and spiritual that played and continues to play an important part in Igbo culture.
The roots of Igbo highlife can be traced to the late-fifties, and Onitsha, a city which was located on the banks of the Niger River in Nigeria’s Anambra State. That was where Igbo highlife was born.
Igbo highlife grew in popularity during the early sixties, especially just after Nigeria gained independence. However, all wasn’t well in Nigeria. There was poverty, wages were low and housing was overcrowded and dangerous. This resulted in strikes and by June 1964 the Nigerian people had enough and there was a general strike. Although this resulted in wage increases, there was tension between the army and civilians who believed the government was corrupt. It went to the polls at the end of 1964.
On the ‘30th’ of December 1964, there was meant to be an election in Nigeria. However, in some parts of the country the election didn’t take place until the ‘18th’ of March 1965. The Northern People’s Alliance won the election, but the result was marred by violence accusations that the result had been manipulated. Sadly, things were about to get worse for the people of Nigeria.
Ten month later there was a military coup on the ’15th’ of January 1966. Just four months later, the 1966 anti-Igbo pogrom began in May and lasted until September. By then, an estimated 80,000 to 100,000 Igbos and people of southern Nigerian origin had been murdered. Another million Igbos fearing for their lives fled from the Northern Region to eastern Nigeria.
This led to the secession of the eastern Nigeria region and the declaration of the Republic of Biafra. Sadly, those that had sought sanctuary were now caught up in the Nigeria-Biafra war which began on the ‘6th’ of July 1967, and lasted until the ’13th’ of January 1970. After a war lasting two years, six months, one week and two days there had been 100,000 military casualties, while between 500,000 and three million Biafran civilians died of starvation and Biafra rejoined Nigeria.
During what was a bloody period in Nigerian history, Igbo highlife’s popularity grew. It was primarily guitar-based music, which also included a combination of horns and vocal rhythms. They’re sung in a call and-response style in Igbo or pidgin English. The music takes its 6/8 time signature from the Ogene bell that take a prominent place at the front of Igbo gatherings.
The Igbo bell can also be heard on Victor Chukwu’s solo release Akalaka and on Uncle Victor Chuks and The Black Irokos’ album The Power. They’re two of the albums that Victor Chuku recorded and released for the Tabansi label between the late-seventies and early eighties.
Before signing to Tabansi, Victor Chukwu and The Black Irokos had released Vol. 1-Nwanne Bu Nwanne on the Jet Sound Studio label in 1975. The bandleader wrote the six tracks on this album of Igbo highlife which was recorded at the Jet Sound Studio. It’s one of the earliest recordings of Victor Chukwu and nowadays, is an extremely rare album with copies changing hands for upwards of $375.
Next stop for Victor Chukwu was Tabansi Records, which by the late-seventies was Nigeria’s biggest and most important record company. It was founded by Chief Tabansi in Nigeria in 1952, and filled a void when major labels like Decca and later, Philips closed the doors on their Nigerian operations.
In the early days, Chief Tabansi recorded artists in the towns and villages in parts of Nigeria, and then pressed the records at The United African Company’s pressing plant. After that, record vans promoted the latest releases in Nigerian villages. This was just the start for Tabansi Records.
In the sixties, The United African Company decided to concentrate on importing American and European music. With very little competition, Tabansi Records was able to concentrate on local music, which The United African Company had turned its back on. This was a big mistake
During the seventies, Tabansi Records was the most successful Nigerian label, and its founder Chief Tabansi was one of the leading light’s of country’s thriving and vibrant music scene. He had invested in the company which was based in Onitsha, Lagos, and by the seventies, it had its own studios and pressing plant. Tabansi Records was going from strength-to-strength. This was the perfect time for Victor Chukwu to sign to Tabansi Records.
Akalaka.
Very little is known about the time Victor Chukwu spent signed to Tabansi Records. He released three albums for the label, including his solo album, Akalaka. It’s thought that it was recorded around 1977, at the Tabansi Studios in Onitsha.
Victor Chukwu wrote and arranged the four tracks that became Akalaka. He was joined in the studio by a drummer, bassist and some horns. To augment this small but tight and talented band Victor Chukwu doubled his tenor saxophone and adds guitar. Taking charge of production was Chief Tabansi who also mixed and mastered Akalaka.
It’s thought that Tabansi Records released Akalaka later in 1977. However, like so many of the Tabansi Records’ releases the exact dates of the recordings and release dates are unknown. It requires a degree of detective work and sometimes, an element of guesswork to work out a release date. That was the case with Victor Chukwu’s Tabansi Records’ debut Akalaka.
Ogbu Mmadu (Murderer) was recorded in 6/8 time and opens Akalaka. It combines a Igbo highlife groove with calypso influenced horns and Victor Chukwu’s Hawaiian-tinged guitar which weaves and winds its way across the arrangement. He’s accompanied by backing vocalists as he delivers an impassioned vocal and narrates the story about the Murderer.
Although Nwanne Bu Nwanne was recorded in 6/8 time it’s quite different from the album opener. The tempo increases and the music is joyous and uplifting as the arrangement trots along. It features a myriad of percussion, stabs of horns and woodwind which join forces with the crystalline, chiming guitar. They create an almost mesmeric backdrop for the vocal which veers between a vamp to jazz-tinged and soulful on one of the album’s highlights.
Born Throwaway is another example of major key Igbo highlife. However, this time, the vocal and backing vocals are delivered in pidgin rather than the regular Igbo language. Meanwhile, the arrangement has an almost mesmeric quality as the percussion and guitar melt into one and stabs of blazing horns punctuate the arrangement which later becomes funky. When all this is combined it’s a spellbinding and potent combination.
Closing the album is Akalaka (Mind Your Business). It’s delivered in a similar storytelling style to Chief Stephen Osita Osadebe. Horns and woodwind play a leading role in the arrangement as Victor Chukwu delivers a warning to the listener to Mind Your Business.
When Akalaka was released in 1977, Victor Chukwu’s debut for Tabansi Records the album wasn’t a commercial success. Very few copies and sold and nowadays, Akalaka is one of Igbo highlife rarity.
Despite the commercial failure of Akalaka, the music was of the highest quality. Victor Chukwu took Igbo highlife as a starting point and with the help of a tight and talented band combined elements of funk, jazz and soul. The result was music joyous, uplifting and akin to a call to dance and sometimes thought-provoking and cerebral. Other times, there was a spiritual quality to the music which sometimes, was like a mini moral tale. This made Akalaka an intriguing album. Given the quality of music on the album it deserved to find a wider audience. Sadly, that wasn’t the case and very few people bought or heard Akalaka. Despite that, Victor Chukwu’s career at Tabansi Records continued.
The Power.
The next album he recorded was The Power, where he was billed as Uncle Victor Chuks and The Black Irokos. Just like Akalaka, it’s not known when the album was recorded and released. It could be 1979 or as late as 1984 as there are a few copies of the album that are dated 1984. However, going by the catalogue number it seems more likely that The Power was released in 1979.
For The Power, Victor Chukwu had written three new tracks which he arranged. He also played tenor saxophone and guitar on the album. It was recorded at the Tabansi Studios in Onitsha, and produced, mixed and mastered by Chief Tabansi.
When The Power was released it also failed to find an audience. That was despite being an ambitious album that tried to take Igbo highlife in a new direction. Proof of that was the album opener.
Onwu Uwa (Famine) which is played in 6/8 time opens The Power and sounds almost psychedelic. That’s because of the way the electric guitar is played. The strings are dampened and plucked pizzicato style as effects are added from the mixing desk. Soon, blazing horns are added and combine with percussion and an impassioned and heartfelt vocal delivers lyrics full of social comment on this powerful, genre-melting track that in parts is experimental.
Just like the previous track, Anya Ukwu (Envy) is played in 6/8 time and features a pizzicato guitar which combines with an impressive ogene drumming combo. At one point, the track seems to have been influenced by Ghanian sikyi minor key highlife. Meanwhile, Victor Chukwu delivers the lyrics to this genre-melting moral tale.
Oge Chukwu(Time For God) closes The Power and it’s a case of saving the best until last. Victor Chukwu’s guitar weaves and lopes its way across the arrangement and just like the horns and woodwind plays a starring role. Together they play their part in this uplifting, joyous and spiritual opus.
Despite the undeniable quality of the music on The Power it also failed to find an audience. That was despite being an ambitious and innovative album of Igbo highlife where Uncle Victor Chuks and The Black Irokos weren’t afraid to experiment on this genre-melting album. They added funk, gospel, jazz, psychedelic and soul to Igbo highlife on the three tracks. One was full of social comment, another was a moral tale and the album closer was spiritual. The Power was a joyful, powerful and thought-provoking album that just like Akalaka, failed to find the audience it deserved.
Since then, a new audience has discovered the delight of Victor Chukwu’s album Akalaka and Uncle Victor Chuks and The Black Irokos’ The Power. The starting point on both albums is Igbo highlife, which is combined with funk, Ghanian highlife, gospel, jazz and soul. The result is music that’s joyful, uplifting, catchy, soulful and dancefloor friendly as also thought-provoking and spiritual. It’s a powerful combination that will be of interest to anyone with a passing interest in African music.
The only problem is that very few copies of the album are available. When they come up for sale, the prices are beyond the budget of most record buyers. However, on the ‘9th’ of November 2020 BBE African will release Akalaka and The Power on one CD and LP. At last, record buyers on a budget can discover the delights of Victor Chukwu’s two Igbo highlife rarities Akalaka and The Power.
Victor Chukwu–Akalaka /Uncle Victor Chuks and The Black Irokos–The Power.
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