ALAIN BELLAICHE-SEA FLUORESCENT/KIRLIAN EFFECT.
Alain Bellaïche-Sea Fluorescent/Kirlian Effect.
Label: Souffle Continu.
Format: CD.
Alain Bellaïche was born in Tunis, the capital of Tunisia, but spent his childhood in Cannes, on the French Riviera which was where he discovered music and played his first concerts.
Initially, he played in friends’ houses where he was guaranteed a captive and appreciative audience. Soon, he had graduated to the local folk clubs where he continued to hone his sound and stagecraft. By then, Alain Bellaïche’s talent was apparent and he was already dreaming of making a living as a musician. That however was all in the future.
Before that, he journeyed to Paris where he enrolled at the influential and prestigious Ecole des Beaux-Arts in Paris. Having graduated, Alain Bellaïche continued his musical career and in 1973 headed to he left France and headed to America.
That was where his home for the next ten years and where he recorded two albums for David Geffen’s Asylum Records. The first album was a collaboration with a fellow countryman.
Metropolitain.
This was Metropolitain which was Alain Bellaïche collaboration with Alain Renaud of Heldon, the Paris-based progressive rock and space rock band. For the album, Alain Bellaïche had written nine new tracks and cowrote The Last One with Alain Renaud. The only cover version was Steve Winwood’s Can’t Find My Way Home. These track were recorded at Bell Studio, New February and March of 1974 in Bell Studio, in New York, with a tight talented band that included keyboardist Nils Lofgren, and the album was released later in 1974.
Billed as Alain Bellaïche avec Alain Renaud on Metropolitain, the pair fused elements of blues, folk, jazz, pop and rock on what was a vastly underrated album. Sadly, the album slipped under the musical radar and record buyers missed out on what was a carefully crafted and enchanting album.
Sea Fluorescent.
After Metropolitain failed to find an audience, Alain Bellaïche began work on his debut solo album Sea Fluorescent. He wrote another nine new tracks which he decided to record at Bell Studio, New York during September and October 1975.
Joining Alain Bellaïche who played acoustic guitar, electric guitar, 12-string guitar, percussion and vocals during the Sea Fluorescent sessions was a small but talented band. This included drummer and percussionist Jean-François Fabiano who also played bells, cabasa, celesta, congas, maracas, triangle, tambourine, vibes and whistle. They were joined by bassist Wornell Jones and Jerry Goodman who played electric violin. Taking charge of the arrangements and production was bandleader Alain Bellaïche who spent the next two months recording his debut album. By October 1975 Sea Fluorescent was complete and ready for release in 1976. So was another album Alain Bellaïche had featured on.
Alain Bellaïche had joined Heldon in the studio when they recorded their fourth album. He only played on one track Perspective IV, which was a near twenty-two minute epic which was the highlight of Heldon IV “Agneta Nilsson” when it was released in 1976.
When Asylum Records were preparing for the release of Sea Fluorescent in 1976 Alain Bellaïche’s debut album sat alongside releases by Bob Dylan, Joni Mitchell, The Byrds and Tom Waits. He was rubbing shoulders with music royalty. The only problem was the music on Sea Fluorescent was very different and he had been influenced by Herbie Hancock, John McLaughlin, Led Zeppelin, The Spencer Davis Group and Weather Report. This resulted in what was an eclectic sounding album that referenced a variety of genres.
Opening Sea Fluorescent is California where the funky rhythm section are soon joined by Alain Bellaïche’s vocal powerhouse. It seems to have been inspired by Led Zeppelin’s Robert Plant. Meanwhile, the bandleader’s guitar veers between funky to rocky and references the West Coast. Later, keyboards are added to this memorable example of West Coast funk that whets the appetite for the rest of the album.
A lone acoustic guitar plays on San Andreas and is joined by vibes and a scatted vocal. What follows is a beautiful, dreamy cosmic ballad that is truly timeless and should be a favourite of compilers.
From the opening bars of I’m Angry there’s more than a nod to The Who. Alain Bellaïche’s vocal is full of frustration and hurt at the betrayal he’s experienced. This is reflected in his scorching, searing guitar licks as the rhythm section drive the arrangement to this rocky anthem along.
The rhythm section and guitar combine before Alain Bellaïche’s impassioned vocal enters on Got My Place In The Country. He unleashes rocky and funky guitar licks as a walking bass is dropped in and out. Later, Jerry Goodman’s electric violin is added to this genre-melting track. It features elements of jazz-funk, folk, fusion and pop-rock on a truly memorable song.
A strummed guitar opens Reggae and Western before the bass, drums and piano enter and the song starts to build. When Alain Bellaïche’s vocal enters it’s tender as he sings of leaving the city behind and being with the woman he loves. Backing vocalists accompany him on this cinematic ballad and soar above the piano-led arrangement.
Understated describes Spanish Roots as an acoustic guitar plays and weaves its way across the arrangement. At first it’s played gently but sometimes it’s played with power and passion. Just vibes accompany the guitar on a track that shows yet another side of Alain Bellaïche.
From the get-go, it’s obvious that Foolin’ Myself is one of the album’s highlights. Alain Bellaïche delivers a soul-baring vocal and with his band combine blues, jazz-funk and fusion. His vocal is rueful, emotive and fool of regret as he sings of a relationship that broke up and the partner he loved, lost and can’t find now that he’s changed his way. When his vocal drops out blistering guitars punctuate the arrangement to this memorable and melodic tale of love lost.
Sun Blues is another short track where an acoustic guitar plays before an impassioned vocal is added. Soon, it drops out and the before long track this quite beautiful track is at an end.
Closing Sea Fluorescent is the title-track which is an instrumental that lasts 6:30. It’s a case of less is more with a chiming guitar being joined joined by a bass that cuts through the arrangement which is punctuated by drums as cymbals rinse and hiss. Later, the sound of birdsong is added as this laidback and cinematic arrangement meander along as Alain Bellaïche saves one of the best songs on the album until last.
Sadly, when Alain Bellaïche’s debut album Sea Fluorescent was released by Asylum Records in 1976 it failed to find the audience it deserved. Part of the problem that the record company didn’t know how to market him? Alain Bellaïche was put in the Asylum Records’ catalogue beside Bob Dylan, Joni Mitchell, The Byrds and Tom Waits. However, his music sounded nothing like theirs. That was a mistake as Alain Bellaïche had honed his own inimitable sound.
On Sea Fluorescent, Alain Bellaïche flits between and fuses avant-garde, funk, fusion, jazz, jazz-funk and pop-rock and rock. Sometimes, the album heads in the direction of AOR and West Coast funk and there were the occasional forays in the direction of folk. Sea Fluorescent was an ambitious, innovative and eclectic album where the music was variously anthemic, beautiful, cinematic, melodic and memorable. It also showed the different sides to Alain Bellaïche who was a talented and versatile musician who should’ve gone onto to greater things. Sadly, it was five years before he returned with new music.
In 1981, Kirlian Effect released their epigynous debut single on the French label Carrere. It found Kirlian Effect combining fusion and jazz-funk on Armadillo-Botafogo which featured a vocal from Alain Bellaïche. Tucked away on the B-Side was the hidden gem Chacha Emotionnel. However, history repeated itself when then the single failed commercially. It must have been a bitter blow for Alain Bellaïche given the quality of the music and sadly, he never released any more music after Kirlian Effect. It was his one and only single.
Just like many albums and singles that failed to find an audience first time round, a new generation of record buyers have discovered both Sea Fluorescent and Kirlian Effect which nowadays are rarities. Nowadays, a copy of Sea Fluorescent can change hands for as much as $300. This is beyond the budget of most people and is why the Souffle Continu label’s reissued on CD of Sea Fluorescent and Kirlian Effect is a welcome one.
Now a new generation of music lovers can discover Alain Bellaïche’s long lost hidden gems Sea Fluorescent and Kirlian Effect which were recorded by Alain Bellaïche during his ten year American adventure. Sea Fluorescent should have been the start of a long and successful solo career for Alain Bellaïche, but sadly, commercial success and critical acclaim eluded this talented and versatile singer, songwriter, arranger and producer whose music is somewhat belatedly, is starting to find an appreciative audience.
Alain Bellaïche-Sea Fluorescent/Kirlian Effect.
ESTHER PHILLIPS-WHAT A DIFF’RENCE A DAY MAKES.
Esther Phillips-What A Diff’rence A Day Makes.
Label: Music On CD.
Format CD.
Despite releasing eighteen albums during a career that lasted thirty-five years most people haven’t heard of Esther Phillips. That’s a great shame because she was one of the most talented, versatile and underrated singers of her generation. She possessed a totally unique and unmistakable voice and her versatility allowed her to sing blues, country, jazz, pop and soul. Esther Phillips was a truly versatile vocalist who from an early age seemed destined to make a career out of music.
Esther Mae Jones was born in Galveston, Texas, on December the ‘23rd’ 1935, and when she was growing up her parents divorced. This resulted in her spending part of her time with her mother in the Watts district of Los Angeles and the rest of her time with father in Houston. The church played an important part in the Esther Mae Jones’ life and she sang in the church choir. That was where her voice developed and by the time she was fourteen she was already a talented vocalist. That was when she saw the advert for a talent contest at a local blues club.
This was the perfect opportunity for Esther Mae Jones. However, she was reluctant to enter the talent contest until her sister encouraged her to do so. Reluctantly, she agreed and entered and won the talent contest at The Barrelhouse which was owned by Johnny Otis. He was so impressed that he recorded her for Modern Records and she joined his traveling revue, the California Rhythm and Blues Caravan, where she was billed as Little Esther.
A year later, in 1950, aged just fifteen, Little Esther’s recording career began when she released her debut single Double Crossing Blues which reached number one in the US R&B Charts. This was the first of a number of successful singles she released on Savoy with the Johnny Otis Orchestra.
The followup to Double Crossing Blues was Mistrusting Blues a duet with Mel Walker which was released in 1950 and topped the charts for four weeks. However, Little Esther’s third single Misery stalled at number nine in the US R&B charts in 1950. Later that year, she released Cupid’s Boogie and her latest collaboration with the with the Johnny Otis Orchestra resulted in her third number one US R&B single.
Further success came Little Esther’s way during 1950 when Deceivin’ Blues reached number four in the US R&B charts while Wedding Boogie and Far Away Blues (Xmas Blues) both reached number six. Little did the young singer know that she had just enjoyed the most successful year of her career. Never again would she reach the same heights.
Two years later in 1952, Little Esther released Ring-a-Ding-Doo which reached number eight in the US R&B charts. It was her eight hit single of her short carer. However, it would be another ten years before she enjoyed another hit single.
By the mid-fifties, Little Esther had become addicted to drugs and having to spend time in hospital recovering. After she left recovered and left hospital money was tight so she had moved back into her father’s house in 1954. To make ends meet, she sang in small nightclubs around the Southern states of America. However, sometimes she relapsed and spent time in a private hospital in Lexington, Kentucky, receiving treatment for her addiction.
By 1962, the twenty-seven year old singer was billed as Little Esther Phillips. She had adopted the name “Phillips” after she saw it on a gas station sign. One night she was singing in a club in Houston where she was spotted by country singer Kenny Rogers. He was so impressed that he helped her get a contract with his brother Lelan’s Lenox Record label.
This was a new start for Little Esther Phillips and was home for her for the next two years. By 1962, she had overcome her problems and was ready to relaunch her recording career. Her comeback single Release Me produced by Bob Gans, and reached number one in the R&B Charts and reached number eight in the US Billboard 100. It looked like Little Esther Phillips was back.
In 1963, she released I Really Don’t Want to Know as the followup and it stalled at sixty-one in the US Billboard 100. This must have been a disappointment for Little Esther Phillips after she enjoy. Little did she know that things would get worse before they got better.
Later in 1963, she released Am I That Easy to Forget which failed to trouble the charts. This was another bitter blow for Little Esther Phillips. Things improved when You Never Miss Your Water (Til the Well Runs Dry) reached seventy-three in the US Billboard 100 and gave her a minor hit single. This was a small crumb of comfort and the followup You Want It (I’ve Got It) failed to chart. 1963 had been a difficult year for Little Esther Phillips and she hoped that things would improve in 1964.
It did when she released she signed to Atlantic Records in 1964 and Double Crossing Blues was released as single in March. However, it was the B-Side Hello Walls that reached number thirty-six in the US R&B charts and give Little Esther as she was billed a minor hit single.
This was the perfect way to start her career at one of the biggest and most prestigious American record labels. It was a huge opportunity for Little Esther Phillips. However, when she released Mo Jo Hannah in May 1964 it failed to chart. It was a similar case with It’s Too Soon To Know in September and Some Things You Never Get Used To in December 1964. Little Esther Phillips must have known that she needed a hit single soon to kickstart her career at Atlantic Records.
In March 1965, Esther Phillips as she was now billed released a cover of The Beatles song And I Love Him as a single. It reached number forty-four in the US Billboard 100 and eleven in the R&B Charts, and this resulted in The Beatles bringing Esther Phillips over to the UK, which were she gave her first overseas concerts. It looked like she was on the verge of commercial success and critical acclaim.
Sadly, that wasn’t the case. When Moonglow and Theme From Picnic was released as the followup to And I Love Him in July of 1965 it failed to trouble the chart. It was a similar case with Esther Phillips’ debut album And I Love Him which was released in 1965. This many people thought was just a blip but sadly that wasn’t the case.
A year later, in 1966, Esther Phillips enjoyed a minor hit with When A Woman Loves A Man which reached seventy-three in the US Billboard 100 and twenty-six in the US R&B charts. She also released two albums Esther and The Country Side of Esther Phillips on Atlantic Records but neither album charted. This was a huge disappointment was The Country Side of Esther Phillips was one of the finest albums of her career.
The Country Side of Esther Phillips.
The Country Side of Esther Phillips was very different to her debut album and showcased another side of her music. Esther Phillips was better known for singing soul and R&B but seamlessly she switched to country music on her sophomore album. So much so, that it sounded as if she was born to sing country music.
Tracks like I Really Don’t Want To Know, Be Honest With Me, I’ve Forgotten More Than You’ll Ever Know and No Headstone On My Grave came to life in Esther Phillips’ hands. When critics heard The Country Side of Esther Phillips it was hailed the finest of her career so far. However, on its release the album failed to chart. Things weren’t looking good for Esther.
Sadly after the release of The Country Side Of Esther Phillips in 1966, the thirty-one year old never released another studio album on Atlantic Records. As the sixties progressed, Esther Phillips’ earlier drug problem resurfaced and she’d to enter rehab again. Whilst in rehab, she met Sam Fletcher which would later prove fortunate.
As she was recovering from her drug addiction, she released some singles for the Roulette label in 1969. After that, she re-signed to Atlantic Records and released the live album Burnin’ which was a recording of a 1969 concert at Freddie Jett’s Pied Piper Club.
Burnin’ (Live At Freddie Jett’s Pied Piper, LA)
Three years after she’d left Atlantic Records, Esther Phillips she signed to a new contract. This turned out to be just a short stay and she never entered Atlantic Records’ studio. Instead, she released a live album Burnin’ (Live At Freddie Jett’s Pied Piper, LA).
On Burnin’ (Live At Freddie Jett’s Pied Piper, LA), Esther Phillips works her way through eight tracks. They’re tailor made for her and she showcase her versatility and her ability to make lyrics come to life. This is apparent from the opening track a cover of Aretha Franklin and Ted White’s Don’t Let Me Lose This Dream. She follows this up with a heartfelt, soul-baring take on Lennon and McCartney’s And I Love Him. Cry Me A River Blues is transformed as she delivers a vocal powerhouse. There’s no stopping her now and Makin’ Whoopee takes on a sassy, jazz-tinged sound, as Esther Phillips swings and kicks loose. If It’s The Last Thing I Do features a wistful and pensive vocal and it’s a beautiful cover. The same can be said of her reading of Please Send Me Someone To Love which features a needy, hopeful vocal as her band fuse blues and jazz. That’s the perfect way to close Burnin’ (Live At Freddie Jett’s Pied Piper, LA), which was the perfect showcase for Esther Phillips.
When Burnin’ (Live At Freddie Jett’s Pied Piper, LA) was released it was to widespread critical acclaim. It also reached number 115 in the US Billboard 200 charts and number seven in the US R&B charts. Ironically, Burnin’ (Live At Freddie Jett’s Pied Piper, L.A.) was Esther Phillips’ Atlantic Records’ swan-song. A new chapter in the Esther Phillips story was about to unfold.
The following year 1970, Johnny Otis who had discovered Esther Phillips reentered her life. She performed with The Johnny Otis Show at the 1970 Monterey Jazz Festival and this allowed her music to be heard by a much wider audience. Maybe her luck was changing?
That proved to be the case. In 1971, Esther Phillips signed to Kudu/CTi and began what was the most successful period of her career. This started with her Kudu/CTi debut was From A Whisper To A Scream.
From A Whisper To A Scream.
By 1971, Esther Phillips had been through several labels and still hadn’t found a label she could call home. That was until 1971 when she signed to Kudu/CTi. She was hot property after the release of Burnin’ (Live At Freddie Jett’s Pied Piper, L.A.) which showed what she was capable of. The only problem was her private life and if she could stay free of drugs. If she could, the sky was the limit for her.
Executives at Kudu/CTi realised this and knew that Esther Phillips was capable of becoming one of the biggest names in soul, jazz and R&B. By 1971, she was in a good place and great things were expected of her at Kudu/CTi when she began work on her label debut From A Whisper To A Scream.
Time was spent choosing songs that suited Esther Phillips and played to her strengths, her inimitable voice. It was a voice that sounded like it lived a thousand lives. This made it perfect for songs like Gil Scott-Heron’s Home Is Where The Hatred Is, Allen Toussaint’s From A Whisper To A Scream and That’s All Right With Me. They sounded as if they’d been written especially for Esther Phillips. Along with six another tracks they were recorded at Van Gelder Studio, Englewood Cliffs, New Jersey by an all-star band.
Creed Taylor was brought in to produce From A Whisper To A Scream while Pee Wee Ellis arranged the tracks and conduct the band. It included some of the top jazz and funk musicians of the day. This included a rhythm section of drummer Pretty Purdie, bassist Gordon Edwards and guitarists Cornell Dupree and Eric Gale. They were joined by organist and pianist Richard Tee and Dick Griffin, who was part of a horn and string section. Along with backing vocalists, they accompanied Esther on From A Whisper To A Scream. It was released in 1972.
When From A Whisper To A Scream was release it was to critical acclaim and Esther Phillips picked up where she left off on Burnin’ (Live At Freddie Jett’s Pied Piper, L.A.). It reached number 137 in the US Billboard 200 and sixteen on the US R&B charts. Things were about to get even better for Esther Phillips.
Later, Set Me Free from the album From A Whisper To A Scream was nominated for a Grammy Award, but Aretha Franklin won the award. Ironically, the Queen of Soul thought Esther deserved to win and presented Esther Phillips with the award. This was the start of one of the most successful periods of her career.
Alone Again, (Naturally).
Later in 1972, and buoyed by the success of From A Whisper To A Scream Esther Phillips released Alone Again, (Naturally). This was her second album for Kudu/CTi. Again, the album was produced by Creed Taylor and everything was put in place for Esther Phillips. This included the songs that suited her and a a band of top musicians that were about to accompany her.
Among the songs chosen for Alone Again, (Naturally), Use Me, where Esther Phillips was at her sassiest. Ballads Let Me In Your Life and I’ve Never Found A Man (To Love Me Like You Do) showcases Esther’s soulful side and allow her to live lyrics. She sounds as if she’s experienced the loneliness and emotion she sings about. On Alone Again (Naturally), a despondency in her vocal as she unleashes a cathartic outpouring of sadness and pain. Then during Esther Phillips’ cover of Do Right Woman, Do Right Man she gives the song a new twist, before closing Alone Again, (Naturally) with her take on Alone Again, (Naturally) where she’s accompanied by band of top musicians.
This includes many of the same musicians that featured on From A Whisper To A Scream. This included a drummer Pretty Purdie, bassist Gordon Edwards and guitarists Cornell Dupree and Eric Gale. Bassist Ron Carter, drummer Billy Cobham and guitarist George Benson were brought onboard. Organist and pianist Richard Tee also returned. He was joined by percussionist Ralph MacDonald and Maceo Parker, who was part of the horn section that featured on Alone Again, (Naturally). It was produced by Creed Taylor, and released later in 1972.
On its release in 1972, Alone Again, (Naturally) was well received by critics. No wonder as the album featured some of the best musicians of the seventies. They provided the perfect backdrop for Esther Phillips as she combined elements of blues, funk,R&B and soul on another critically acclaimed album. It reached number 177 in the US Billboard 200 charts and number fifteen in the US R&B charts. Esther Phillips’ career it seemed, was entering a golden period. Especially when Alone Again Naturally was nominated for a Grammy Award.
Black-Eyed Blues,
After releasing two albums in 1972, Esther Phillips returned in 1973, with Black-Eyed Blues which was produced by Creed Taylor, with Pee Wee Ellis arranging and conducting. Just like her two previous albums, recording took place at Van Gelder Studio, Englewood Cliffs, in New Jersey where the six tracks were recorded. They were a compelling collection of tracks.
Just like her two previous albums, a lot of thought went into the tracks on Black-Eyed Blues. This included Bill Withers’ Justified, Carolyn Plummer’s I’ve Only Known A Stranger, Carolyn Franklin’s and Leonard Feather’s You Could Have Had Me, Baby. The other two tracks were covers of Duke Ellington and Paul Webster’s I Got It Bad And That Ain’t Good and Chris Stainton and Joe Cocker’s Black-Eyed Blues. These six tracks were recorded by a new band.
Unlike her two previous albums, Black-Eyed Blues featured a very different band. The rhythm section featured drummer Ian Wallace, guitarist Charlie Brown and bassists Boz and Ron Carter. Pianist Tim Hinkley and percussionist Arthur Jenkins were joined by backing vocalists plus a horn and string section. They accompanied Esther Phillips on her third album for Kudu/CTi, Black-Eyed Blues.
When Black-Eyed Blues was released in 1973, it was well received by critics. They were won over by this compelling mixture of ballads and uptempo tracks. Esther Phillips was at her best laying bare her soul during wistful, heartfelt ballads and then she kicked loose on the uptempo numbers. Accompanied by a tight, talented band, musical genres melted into one. Jazz, funk, R&B and soul combine throughout Black-Eyed Blues which reached number seventeen in the US R&B charts. For Esther Phillips this was a disappointment.
Ever since the release of Burnin’ (Live At Freddie Jett’s Pied Piper, L.A.), every Esther Phillips’ album entered the US Billboard 200 charts. Not Black-Eyed Blues despite its undoubted quality. The album seemed to pass many people by and as a result, it’s one of the hidden gems in Esther Phillips’ discography. However, back in 1973, Esther Phillips must have wondered if Black-Eyed Blues failure to enter the US Billboard 200 charts, was merely a blip or was her luck changing?
Performance.
After Black-Eyed Blues failed to enter the US Billboard 200 charts, everyone at Kudu/CTi began working towards getting Esther Phillips’ career back on track. Producer Creed Taylor along with associate producers Eugene McDaniels and Pee Wee Ellis put together an all-star band. A great deal of care had gone into choosing the seven songs they would record with Esther Phillips. They were seen as tailor made for her.
The seven songs on Performance were another compelling collection of tracks. Esther Phillips drops the tempo and delivers a slow, sultry, take on I Feel The Same. The title track Performance, is another slow, melancholy track and is a reminder that she was a talented songwriter. Sadly, that’s often overlooked. Esther Phillips then gets funky and sassy on Doing Our Thing. Eugene McDaniels’ Disposable Society is another song full of social comment. She then nails a vocal that’s slow, feisty and funky and she seems to be relishing the opportunity to reflect on the way society is heading. Living Alone (We’re Gonna Make It) is a beautiful ballad, where Esther Phillips is at her melancholy, thoughtful best. Then she romps her way through Dr. John’s Such A Night. Living Alone (We’re Gonna Make It) heads in the direction of gospel while Isaac Hayes and David Porter’s Can’t Trust Your Neighbour With Your Baby oozes social comment and is a reflection of American society circa 1974. During the seven tracks on Performance, Esther releases a series of vocal masterclasses and she’s aided and abetted by an all-star band of session musicians.
This includes a rhythm section of drummer Pretty Purdie and Steve Gadd, bassists Gordon Edwards and guitarists Eric Weissberg, Jon Sholle and Charlie Brown. They’re joined by percussionist Pee Wee Ellis, flautist Hubert Laws and pianists Bob James, Richard Tee and Richard Wyands. Patti Austin and Deniece Williams were among the backing vocalists that joined the string and horn section on Performance. It was released in 1974.
Later in 1974, Performance was released to widespread critical acclaim. Performance featured Esther at her best, as she combined ballads and uptempo tracks. Accompanied by a crack band, Performance was without doubt one of Esther Phillips’ best albums. Sadly, it stalled at just number forty-six in the US R&B charts and for Esther Phillips and everyone at Kudu/CTi, this was hugely disappointing. Performance should’ve fared much better. However, this was a sign of the direction Esther Phillips’ career was heading.
What A Diff’rence A Day Makes.
After the disappointment of 1974s Performance Esther Phillips joined forces with Joe Beck to record What A Diff’rence A Day Makes. This executives at Kudu/CTi hoped would kickstart her career. Just like previous albums, a great deal of care was taken choosing the songs for the album.
By the time work began on What A Diff’rence A Day Makes, disco was growing in popularity and Esther Phillips like a number of other soul singers would record disco tracks between 1975 and 1979. This it was was hoped would introduce their music to a new and wider audience. That was the hopes of Esther Phillips and executives at Kudu/CTi as work began on What A Diff’rence A Day Makes.
Eight tracks were chosen for including Gamble and Huff’s One Night Affair, Maria Grever and Stanley Adams’ What A Diff’rence A Day Makes, Ralph MacDonald and William Salter’s Mister Magic plus Brenda Harris’ You’re Coming Home. They were joined by Jim Price’s I Can Stand A Little Rain, Lu Emerson’s Hurtin’ House, David Nichtern’s Oh Papa and Jerry Capehart’s Turn Around, Look At Me. These tracks were recorded by Esther Phillips and an all-star band.
Recording took place at Van Gelder Studio, Englewood Cliffs, in New Jersey during April 1975. The rhythm section featured drummer Chris Parker, bassist Will Lee and rhythm guitarist Steve Khan. Lead guitarist Steve Beck arranged the album and was joined by Eric Weissberg on pedal steel guitar, keyboardist Don Grolnick, percussionist Ralph McDonald plus a string and horn section. Creed Taylor took charge of production on What a Diff’rence A Day Makes which marked a stylistic departure for Esther Phillips.
She toyed with disco during What A Diff’rence A Day Makes. In doing so, Creed Taylor transformed Esther Phillips into a strutting disco diva during parts of the album. However, she hadn’t turned her back on soul and R&B on What A Difference A Day which features elements of jazz and funk.
Opening What A Difference A Day Makes is One Night Affair where Esther Phillips unleashes a soulful vocal powerhouse against Joe Beck’s pulsating dancefloor friendly arrangement. He combines rocky guitars, dancing strings, blazing horns and rhythm section who take the arrangement to 127 disco heaven. In doing so, the reinvention of Esther Phillips begins.
This continues on What A Diff’rence A Day Makes where a brief breathy and sensuous vamp precedes Esther Phillips soulful and sassy vocal. Soon, the all-star band are combining disco, funk and jazz. Meanwhile, the rhythm section and percussion power the arrangement along as strings sweep and swirl as a saxophone accompanies the breathy vamp. They drops out when a rocky guitar takes centrestage before the vocal returns and is replaced by a searing guitar and the vamp on a track that would transform Esther Phillips into a strutting disco diva.
The tempo drops on Mister Magic and initially the arrangement is underrated as a chiming guitar, shimmering keyboard and braying horns accompany the galloping rhythm section. Meanwhile the vocal is needy and full of longing as a searing, scorching guitar that’s a trademark of the album and drifts in and out. It’s part of this soulful, funky dancer with rocky guitars.
You’re Coming Home is a slower track and the searing rocky guitar and soaring horns set the scene for her vocal. It’s emotive and needy as she sings “I’ll sit here waiting for the phone to ring and say You’re Coming Home.” Meanwhile, keyboards join the rhythm section who provide the heartbeat accompany and horns punctuate the arrangement as Esther Phillips makes a welcome return to her more familiar soulful side.
I Can Stand a Little Rain is another of the soulful sides on the album. A weeping pedal steel combines with a peal of thunder before Esther Phillips’ vocal veers between heartfelt, rueful before growing in power as the horns and the keyboards join the atmospheric arrangement. After a clap of thunder, horns soar above the arrangement and a blistering guitar accompanies one of the most soulful and impassioned vocals on the album.
Understated describes the introduction to Hurtin’ House as chiming guitars combine with bursts of trailing horns and the rhythm section. Then Esther Phillips unleashes a sassy and sometimes soul-baring vocal. Just like previous tracks the horns play an important role and sometimes sound like those on David Bowie’s Fame which was recorded in July 1975. Meanwhile, funk, R&B and soul are being combined by Esther Phillips and her all-star band on what’s one of the oft-overlooked tracks on the album.
Atmospheric with a country influence describes the introduction to the ballad Oh Papa. The rhythm section combine with the pedal steel and Hammond organ as Esther Phillips delivers a tender, emotive vocal. Later, the horns enter and it’s then it’s all change as horns march and strings sweep adding a degree of drama. When they drop out, they’re replaced by the pedal steel and the understated country sound makes a welcome returns and proves the perfect foil for Esther Phillips pensive vocal.
The band drop the tempo on Turn Around, Look At Me closes What a Diff’rence A Day Makes and a pedal steel weeps and adds a country influence. Meanwhile, Esther Phillips combines country, gospel and soul while the band create an understated backdrop. When her vocal drops out it’s replaced by Joe Beck’s guitar which proves the perfect replacement. Then when the vocal returns the pedal steel accompanies Esther Phillips on what’s one of the most beautiful songs on the album.
When What A Difference A Day Makes was released it reached thirty-two in the US Billboard 200 and thirteen in the US R&B charts. The album crept into the Australian charts at ninety-nine. However, back home What A Diff’rence A Day Makes was released as a single and reached number twenty in the US Billboard 100, ten in the US R&B charts and number one single in the disco charts in 1975. In Australia the single reached thirty-eight and six in the UK. However, there was more good news when What A Diff’rence A Day Makes was nominated for the Best Rhythm and Blues Vocal Performance–Female. Esther Phillips career was back on track.
During 1976, she released two albums including Capricorn Princess which reached number twenty-three in the US R&B charts. Later that year, Esther Phillips released For All We Know was Kudu/CTi which stalled at number thirty-two in the US R&B charts. Not long after this she left Kudu/CTi and signed to Mercury Records where she released four albums.
The first was 1977’s You’ve Come A Long Way, Baby which failed to chart. So did All About Esther Phillips when it was released in 1978. Her next album was Here’s Esther, Are You Ready in 1979 which reached forty-seven in the US R&B charts. Two year later in 1981, A Good Black Is Hard To Crack was released by Mercury but failed to chart. Little did anyone know that it was the final album released in Esther Phillips’ lifetime.
She recorded one final album in 1984, A Good Way To Say Goodbye, which was released in 1986. Not long after completing what was her swansong, sadly, Esther Phillips died August the ‘7th’ 1984, from liver and kidney failure, caused by drug use.
Johnny Otis, the man who discovered Esther Phillip conducted her funeral service which was held in Los Angeles. Since Esther’s death, her albums has been reissued. This includes What A Diff’rence A Day Makes which was recently reissued by Music On Vinyl. It shows the different sides one of the most underrated singers of her generation, Esther Phillips.
Arranger Joe Beck and producer Creed Taylor transformed Esther Phillips into a disco diva on parts of What A Diff’rence A Day Makes. Other times she returns to her familiar soulful sound and sometimes she takes the album in the direction of country, gospel and R&B. What A Diff’rence A Day Makes was very different album and to the previous albums she had released on Kudu/CTi and featured element of funk, jazz and rock. It succeeded in rejuvenating Esther Phillips’ career and resulted in her fourth Grammy nomination. Despite that she was was unknown by most record buyers.
During a career that lasted thirty-five years, Esther Phillips’ music passed most people by. Many record buyers were unaware that she was one of the most talented, versatile and underrated female vocalists of her generation. Esther Phillips possessed a totally unique voice and was able to breath life, meaning and emotion into lyrics. Whether it was blues, country, jazz, pop, soul or disco she made music come alive and was a truly versatile vocalist whose career spanned thirty-five years. However, Esther’s career should’ve lasted longer. Sadly, that wasn’t to be.
Esther Phillips struggled throughout her life with drug addiction and this interrupted her time at Atlantic Records. As a result, she never had the opportunity to fulfil her potential and if things had been different, Esther Phillips could’ve and should’ve become one of the most successful singers of her generation. Sadly, that wasn’t to be. Esther Phillips died thirty-six years ago, in 1984 was just forty-eight but left behind a rich musical legacy, that includes What A Diff’rence A Day Makes the album that rejuvenated her career and resulted in her fourth Grammy Award nomination.
Esther Phillips-What A Diff’rence A Day Makes.
DUKE PEARSON FEATURING BOBBY HUTCHERSON-THE PHANTOM.
Duke Pearson Featuring Bobby Hutcherson-The Phantom.
Label: Blue Note Records Tone Poet Series.
Format: LP.
By June 1968, Atlanta-born pianist Duke Pearson was thirty-five, and was about to begin record the twelfth album of his career, The Phantom. It would be the seventh album he had recorded for Blue Note Records since he first signed for the label in 1959, and later that year, had released his debut Profile.
Duke Pearson’s time at Blue Note Records was the most productive of his recording career. He signed to what was jazz’s premier label in 1959, and later that year, released his debut album Profile. Tender Eyes followed in 1960 and was his second album for Blue Note Records which he called home for most of his career.
In 1961, Duke Pearson signed to Polydor and recorded his third album Angel Eyes. However, it wasn’t released until 1968. By then, much had happened to Duke Pearson.
Next stop was Prestige where later in 1961 he recorded Dedication! Just like Angel Eyes, there was a delay in releasing the album and it wasn’t until 1970 that it was belatedly released.
On January the ‘12th’ 1962, The Duke Pearson Quintet recorded an album for the short-lived Jazztime label. This was Hush! which was released to critical acclaim later in 1961. Two years later Duke Pearson returned home to Blue Note Records.
He made the journey to Van Gelder Studio, in Englewood Cliffs, New Jersey, on the ‘21st’ of November 1964 and recorded what was the most ambitious album of his career. Wahoo featured Duke Pearson at his creative zenith on what was one of best and most sophisticated albums of hard bop released during the mid-sixties. When it was released just before the end of 1964, it was hailed as the finest of Duke Pearson’s career.
After releasing his critically acclaimed album Wahoo, Duke Pearson signed to Atlantic Records and recorded two albums during 1965. This included The Duke Pearson Nonet’s album Honeybuns whig was recorded on May the ‘25th’ and ’26th’ 1965 and was well received when it was released in 1966.
For his second album for Atlantic Records Duke Pearson was joined by an all-star band as he recorded what was an album of blues-tinged soul-jazz that ventures into hard bop. Just like its predecessor, reviews of Prairie Dog were positive. Despite that, Duke Pearson left Atlantic Records and once again returned to Blue Note Records.
Sweet Honey Bee.
This time it was for good, and Duke Pearson would call Blue Note Records home for the remainder of his recording career signed to the label. This began with Sweet Honey Bee which featured six Duke Pearson compositions and Big Bertha which he cowrote with Memphis Slim.
Joining Duke Pearson was all-star band that recorded Sweet Honey Bee at Van Gelder Studio on December the ‘7th’ 1966. They were responsible for a series of musical masterclasses on what was hailed as one of the finest albums of Duke Pearson’s career as he combined hard bop, post bop and soul jazz. It was released in 1967 and marked his return to the Blue Note Records’ fold.
The Right Touch.
Buoyed by the success of Sweet Honey Bee, Duke Pearson and his band recorded the followup The Right Touch on September the ’13th’ 1967. He had written the six tracks that were recorded at Van Gelder Studio by his octet that included Stanley Turrentine, Freddie Hubbard and James Spaulding. They raised their game during a session producer by Francis Wolff.
During The Right Touch, Duke Pearson’s music continued to evolve as he and his band combined Latin jazz, post bop and soul jazz. Critics hailed this as an almost flawless album and one of his finest albums. Duke Pearson was in a rich vein of form and it seemed could do no wrong.
Introducing Duke Pearson’s Big Band.
Having recorded albums with a trio, quintet, sextet, octet and nonet Duke Pearson decided to record an album with a Big Band. The album Introducing Duke Pearson’s Big Band was recorded at Van Gelder Studio on December the ‘15th’ 1967 and this time, was produced by the bandleader himself. He had penned five of the nine track on the album which was a stylistic departure for Duke Pearson.
He was taking a risk by recording an album that was very different to the hard bop albums that had proven popular amongst jazz fans. His compositions on Introducing Duke Pearson’s Big Band were very different but just as memorable. It was a case of expect the unexpected, while his interpretations of covers were captivating and left a lasting impression. Introducing Duke Pearson’s Big Band might have been an experimental album, but it was also an album was the perfect showcase for the multitalented bandleader, composer and pianist when it was released in 1968.
The Phantom.
By the time Duke Pearson began work on his twelfth album The Phantom, he was an important figure at Blue Note Records. He had helped move the label in the direction of hard bop and shape the new sound in his role as producer. Duke Pearson had also worked as arranger and sideman at Blue Note Records. In 1963, he had played on Bobby Hutcherson’s album The Kicker. Now it was time for the vibraphonist to return the favour on The Phantom which was billed as Duke Pearson Featuring Bobby Hutcherson.
For what would be Duke Pearson’s twelfth album featured four new compositions including The Phantom, Bunda Amerela (Little Yellow Streetcar), Los Ojos Alegres (The Happy Eyes) and Say You’re Mine. They were joined by covers of Willie Wilson’s Blues For Alvina and The Moana Surf which was penned by flautist Jerry Dodgion. He was part of the band that recorded The Phantom.
The first session took place at Van Gelder Studio on June the ‘24th’ 1968 when “Bunda Amerela (Little Yellow Streetcar) was recorded by the band. It feathered drummer Mickey Roker, bassist Bob Cranshaw, guitarists Sam Brown and Al Gafa plus pianist Duke Pearson. They were joined by Bobby Hutcherson on vibes and flautist Jerry Dodgion. Adding a Latin flavour was the percussion including congas played by Victor Pantoja and Carlos “Patato” Valdes who also played güiro. The result of this genre-melting album was recorded on September the ‘11th’ 1968 with engineer Rudy Van Gelder and producer Francis Wolff.
When The Phantom was released later in 1968, critics discovered another ambitious album from Duke Pearson whose music continued to evolve. It was an album of post bop where he continues his mission to push musical boundaries. To do this, he add a healthy sprinkling of Latin percussion and complicated harmonies that were inspired by avant-garde music. This lesser musicians might have struggled to cope with, but most of the time this multitalented, experienced and versatile band cope admirably during this innovative and intriguing album.
Side A.
The Phantom opens with the ten minute title-track where the groove simmers and smoulders adding more than a degree of drama and tension on this cinematic opus. It sets the bar high for the rest of the album.
Very different is Blues for Alvina which has a much more understated arrangement and finds the band adopting a less is more approach. Space is left as the flute dances across the arrangement and drums and congas add a subtle accompaniment. Duke Pearson’s piano has a slinky sound as it take centrestage on a track where blues, jazz and Latin music melt into one during three magical minutes.
Joyous and uplifting describes Bunda Amerela (Little Yellow Streetcar), which is largely because of the addition of the Latin percussion as the arrangement sashays along with Jerry Dodgion’s flute and Bobby Hutcherson’s vibes playing leading roles. Later, Duke Pearson’s fingers dance across the keyboard during a spellbinding solo where the bandleader and composer steals the show.
Side B.
Los Ojos Alegres (The Happy Eyes) opens the second side of The Phantom and the Bossa Nova beat transports the listener to the Rio de Janeiro. Duke Pearson’s piano and then the vibes atop the the crisp beat during what’s akin to a slice of musical sunshine that’s sure to brighten up even the dullest day.
It’s all change on Say You’re Mine which first featured on Donald Byrd’s album The Cat Walk. It’s a welcome addition and is a beautiful, tender and dreamy track where Duke Pearson and the band paint pictures with music. It brings to mind walking hand-in-hand with the one you love on a rainy day. Other times, the music is ruminative and invites reflection and contemplation.
The Moana Surf closes The Phantom and has starts of slowly and almost hesitantly as the guitar and flute combine. Soon, a drum roll, stabs of piano and vibes signal that it’s all change as the tempo rises. Latin percussion is added and but it’s the flute that plays a starring role before the baton is passed to the vibes and then the piano. In doing so, this allows some showboating and band members to showcase their considerable skills. Later, drums, hissing hi-hats and percussion combine and take centrestage but maybe for too long? When the arrangement gradually rebuilds it comes as a relief. The band is reunited and soon the track reaches a crescendo bringing the album to a close.
The Phantom was another ambitious album where from Duke Pearson where he combined elements of avant-garde, Bossa Nova, Latin jazz and post bop. It was the next step in his career and saw his music continue to evolve. Sadly, the album wasn’t the commercial success he or Blue Note Records’ new owners Liberty Records had hoped. Despite that, he stayed at the label he called home.
That was the case until 1971, when Duke Pearson retired from his position at Blue Note Records. The label’s new owners had made changes and it was time for the thirty-nine year old to head for pastures new. Initially he taught at Clark College and in 1973 toured with Carmen McRae and Joe Williams. By then, the Duke Pearson Big Band was back in business and touring and things were looking good for its leader. Sadly, that wasn’t the case.
Later in the seventies Duke Pearson received a crushing blow when he was diagnosed with multiple sclerosis, and he died on August the ‘4th’ 1980 at the Atlanta Veterans Hospital aged just forty-two. That day, jazz and the wider musical community was in mourning at the loss of a truly talented pianist, composer, bandleader arranger and producer who left behind a rich musical legacy.
This includes The Phantom, which although it’s one of the lesser known and sometimes overlooked album in Duke Pearson’s impressive back-catalogue. The Phantom, is anther ambitious album from the Atlanta-born pianist whose music was continuing to evolve when it was released in 1968, and fifty-two years later it’s just been reissued by Blue Note Records as part of their Tone Poet Series and is fitting homage and reminder of the late, great and multitalented Duke Pearson.
Duke Pearson Featuring Bobby Hutcherson-The Phantom.
ROLAND HAYNES-2ND WAVE.
Roland Haynes-2nd Wave.
Label: Real Gone Music.
Format: CD.
Forty-five years ago in 1975, Roland Haynes released his debut album 2nd Wave on the Detroit-based Black Jazz Records. The label was founded by Gene Russell and Dick Schory and released twenty albums between 1971 and 1975. 2nd Wave was the label’s penultimate release and it folded later in 1975. By then, the label had released a number of important, influential and innovative albums including 2nd Wave.
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. So had another new signing The Awakening, who released Hear, Sense and Feel.
In between albums from Henry Franklin and The Awakening Doug Carn released his sophomore album. This was Spirit Of The New Land which featured his wife Jean Carn, and was the label’s most successful release of 1972.
1973 was Black Jazz Records’ busiest year. Familiar faces returned with new albums including Gene Russell’s Talk To My Lady and Rudolph Johnson’s The Second Coming. However, Black Jazz Records were still signing new artists.
Their latest signing was Kellee Patterson who released her debut album Maiden Voyage in 1973. It was the twelfth album that the label had released in two years.
The other three albums released during 1973 were from familiar faces and included Walter Bishop, Jr’s Keeper Of My Soul, Doug Carn’s Revelation and The Awakening’s Mirage. Again, Doug Carn was responsible for Black Jazz Records’ most successful album.
Doug Carn returned in 1974 with Adam’s Apple which was the label’s biggest selling album that year. Black Jazz Records only released two more albums during 1974 Henry Franklin’s The Skipper At Home and Calvin Keys’ Proceed With Caution! 1973 wasn’t a busy year for Gene Russell and Dick Schory’s label which would release just two more albums.
The first album Black Jazz Records released in 1975 was Roland Haynes’ 2nd Wave. It was also the keyboardist’s debut album.
When Roland Haynes signed to Black Jazz Record very little was known about him. He hadn’t played on any other albums as a session musician, but his talent was undeniable and that was why he was about to record his debut album.
Although Roland Haynes was primarily a keyboardist, he could also play the bass. This meant he had a lot in common with Henry Franklin who was booked to play on the sessions for 2nd Wave. He remembers the session and Roland Haynes: “It was a lot of high energy, it was fun cause Roland was a high energy guy.” That was evident in the music he was about to record.
Roland Haynes led a quartet during the 2nd Wave sessions. It featured drummer Carl Burnett, bassist Henry Franklin and Kirk Lightsey whose wah-wah-fuelled Fender Rhodes proved to be the perfect foil to Roland Haynes’ keyboard playing as the band recorded six of his compositions.
When 2nd Wave was finished and ready for release it was an album that was described as “fresh and today” on the cover. It was also an album that musically was ahead of its time. Soul-jazz, fusion and jazz-funk featured on the six tracks on that was later compared to John Patton’s 1969 album Accent, Herbie Hancock’s classic album Head Hunters and Miles Davis’ seventies band that featured Chick Correa, Herbie Hancock, Joe Zawinul and Keith Jarrett. However, when 2nd Wave was released it was a familiar story.
Just like a number of other albums released by Black Jazz Records since 1971, commercial success eluded Roland Haynes’ debut album 2nd Wave. The album sunk without trace and passed critics and record buyers by. They missed out on one of the hidden gems in the Black Jazz Records discography.
Opening 2nd Wave is the ballad Eglise, where the inimitable lush sound of the Fender Rhodes plays a leading role and combines with the rhythm section who underpin the arrangement. Especially Carl Burnett’s drums and his hi-hats which are an important addition. However, it’s the deliciously dreamy floaty keyboards that provide the perfect foil to the Fender Rhodes during this breathtaking ballad.
Carl Burnett’s drumming on Second Wave is uber funky and upbeat and urgent. He’s joined by wah-wah-fuelled keyboards and a fleet-fingered Fender Rhodes solo. The band play with urgency combining jazz-funk and fusion. They also seem to have drawn inspiration from Blaxploitation soundtracks and Herbie Hancock’s Head Hunters during this spellbinding jam.
Straight away, Kirstin’s Play heads in the direction of fusion. Again, the keyboards and shimmering, chiming, chirping Fender Rhodes are to the fore as the drums power the arrangement along. It’s as if they’ve been asked to score a high speed car chase, and in doing so, combine fusion and jazz-funk to create what’s one of the album’s highlights and one of the hidden gems from Black Jazz Records’ back-catalogue.
After taking a back seat on previous tracks bassist Henry Franklin enjoys the opportunity to showcase his considerable talents on Aicelis. His bass accompanies a shimmering Fender Rhodes as drummer Carl Burnett plays slowly taking care to not overpower the rest of Roland Haynes’ beautiful, languid and sometimes slightly dramatic arrangement. It sounds as if it’s been partly inspired by the Mahavishnu Orchestra.
Descent features both the keyboards and Fender Rhodes to the fore as the arrangement races along. It’s driven along by the rhythm section, but the keyboards to take centrestage. The funky Fender Rhodes is played with speed, power and accuracy and is matched every step of the way by the other keyboards. Meanwhile, Carl Burnett pounds on the cymbals which augment the myriad of keyboard on this high speed jam. This eight minute epic sounds as if it’s been influenced by Miles Davis’ seventies band, Herbie Hancock’s Headhunters, Jan Hammer and even Bill Bruford.
Closing 2nd Wave is Funky Mama Moose. It’s another funky track with the quartet getting into the groove as the Fender Rhodes and keyboards combine with the rhythm section. Soon, Roland Haynes chants: “Funky Mama Moose.” Then when it drops out this allows the band to unleash one of their funkiest performances on a track that DJs, dancers and sample hungry producers will love.
After the release of 2nd Wave in 1975, Black Jazz Records released just one more album later that year. This was Cleveland Eaton’s Plenty Good Eaton. Not long after this, the label closed its doors for the last time and Gene Russell started a new label Aquarican Records.
It was the end of an era as Black Jazz Records had set out to release an alternative to traditional jazz, and this included albums that featured political and spiritual influenced music. This was all very admirable, but only the Doug Carn albums enjoyed any degree of success. The sales although relatively small were good for an independent label. However, maybe they would’ve fared better if released on a bigger label?
The same can be said about Roland Haynes’ 1975 debut album 2nd Wave where he combined funk, fusion, jazz-funk and soul-jazz on six tracks. They were inspired by everything from Bill Bruford and Blaxploitation soundtracks to Herbie Hancock’s classic album Head Hunters, Jan Hammer, Mahavishnu Orchestra and Miles Davis’ fusion band. These influences shine through on 2nd Wave which was one of the oft-overlooked albums from the Black Jazz Records’ back-catalogue.
Thankfully, that’s no longer the case and a new generation of record buyers are discovering the delights of 2nd Wave which is one of the rarest albums that Black Jazz Records released. However, original copies of Roland Haynes’ debut album are much prized amongst record collectors and change hands for large sums of money. The recent reissue of 2nd Wave by Real Gone Music is to be welcomed as now this once oft-overlooked hidden gem is available to everyone who can discover the delights of Roland Haynes’ one and only album 2nd Wave which is a mini masterpiece.
Roland Haynes-2nd Wave.
CLASSIC ALBUM: DEEP PURPLE-DEEP PURPLE IN ROCK.
Classic Album: Deep Purple-Deep Purple In Rock.
Nowadays, the seventies are regarded as the golden era for rock music. It was when rock music came of age. It’s certainly when commercial success and critical acclaim came the way of Deep Purple. Between 1970 and 1975 they enjoyed were on of the most successful British rock bands and enjoyed commercial success and critical acclaim worldwide. The album that started this run of commercial success was Deep Purple In Rock which features one of the hardest rocking groups of the seventies in their heyday.
Vying with Deep Purple for the title of Kings of seventies rock were Led Zeppelin and Black Sabbath. Just like Deep Purple, they were hugely successful and hard rocking bands. They were also the hardest living living rock groups and this lead to them being known as the “unholy trinity of British hard rock and heavy metal.” The three groups were proud of their infamy and wore it like a badge.
The “unholy trinity’s” penchant for the rock ’n’ roll lifestyle was legendary with excess and extravagance an everyday occurrence. Similarly, chaos and carnage was omnipresent as the “unholy trinity” toured the world. Each group seemed to determined to outdo the other as hotel rooms were wrecked, televisions thrown out of windows and copious amounts of drink and drugs consumed. This would ultimately come at a human cost later in the seventies with the death of Led Zeppelin’s John Bonham. Until then, the party continued and the “unholy trinity” continued to make what would be remembered as some of the best, and most memorable music of the seventies. They were living the dream. Especially Deep Purple, who had only been formed in 1968.
Deep Purple were formed in 1968 in Hertford. However, the story begins in 1967 when ex-Searchers drummer, Chris Curtis, contacted London based businessman Tony Edwards with a business proposition. He wanted to create a supergroup which he would name Roundabout. The idea behind the name was that the lineup was fluid. Members would come and go, on what was akin to a musical roundabout. Tony Edwards liked the idea and brought onboard Jon Coletta and Ron Hire. They named their new venture Hire-Edwards-Coletta (HEC) Enterprises. Now with financial backing, Chris Curtis started putting together Roundabout.
The first member of Roundabout was Jon Lord, a classically trained organist who had previously played with The Artwoods. Guitarist Richie Blackmore, who recently, had been working as a session musician in Hamburg auditioned and he too joined Roundabout. So did bassist Nick Simper whose most recent band was The Flower Pot Men and was a friend of Richie Blackmore. The two other members of Roundabout were also friends.
Rod Evans was then recruited as the nascent group’s lead vocalists. Previously, he was a member The Maze whose drummer was Nick Paice. He became the final piece in the jigsaw. However, he was not the first choice drummer.
Originally, Bobby Woodman was meant to be Roundabout’s drummer and was the drummer when Rod Evans auditioned as vocalist. Richie Blackmore had previously watched Nick Paice playing live and was was impressed with the young drummer . Although he was just eighteen, Richie Blackmore knew he was a good drummer. So when Bobby Woodman headed out to buy cigarettes, Nick Paice was auctioned. Instantly, everyone realised he was a better drummer and when Bobby Woodman returned with his cigarettes he was told he was no longer Roundabout’s drummer. This must have been a huge disappointment for him. However, it meant that Roundabout’s lineup was settled. Or so people thought.
Roundabout were kitted out with the finest equipment and lived at Deeves House in South Mimms, Hertfordshire. This was their home during March 1968 and that was, until they headed out on a short tour of Denmark and Sweden. It was during this tour that Roundabout became Deep Purple.
It was Richie Blackmore that came up with the name Deep Purple. This was the name of his grandmother’s favourite song and was the name he wrote on the blackboard when everyone was asked to choose a new name for the nascent band. Deep Purple wasn’t the favourite though. That was Concrete God. However, the members of Roundabout decided against it. They felt the name was too harsh and Roundabout became Deep Purple and began recording their debut album in May 1968.
Shades Of Deep Purple.
When Deep Purple entered Pye Studios, in Marble Arch, London Deep Purple in May 1968, they had chosen ten songs for their debut album Shades Of Deep Purple. Seven songs were written by members of Deep Purple. The other three songs were cover versions. This included Joe South’s Hush, Lennon and McCartney’s Help! and Joe Roberts’ Hey Joe which is synonymous with Jimi Hendrix. These ten songs were recorded by the original version of Deep Purple. This included vocalist Rod Evans, drummer Ian Paice, bassists Nick Simper, organist Jon Lord and guitarist Richie Blackmore. Producing Shades Of Deep Purple was a friend of Richie’s, Derek Lawrence. Once Shades Of Deep Purple was recorded, it was released later in 1969
When critics heard Shades Of Deep Purple they weren’t impressed. Reviews were mostly negative. Since then, critics have rewritten history and most reviews of Shades Of Deep Purple are positive. Back in 1968, things were very different. Shades Of Deep Purple was perceived as an unfocused album with its mix of psychedelia, progressive rock, pop rock and thanks to Richie’s guitar riffs, hard rock. That was why many critics disliked Shades Of Deep Purple. Record buyers had different ideas about Shades Of Deep Purple,
Shades Of Deep Purple was released in July 1968 in America. It reached number twenty-four in the US Billboard 200 charts. This was no doubt helped by Hush reaching number four in the US Billboard 100 charts. Two months later, Shades Of Deep Purple reached number fourteen in Britain. For Deep Purple their debut album had been a commercial success and their lives transformed.
After the commercial success of the single Hush and Shades Of Deep Purple, Deep Purple were booked into a gruelling tour of America. Their American record company, Tetragrammaton, decided that Deep Purple should record another album. So Deep Purple headed into the recording studio in September 1968 to record The Book of Taliesyn.
The Book of Taliesyn.
Time was against Deep Purple. There wasn’t long before their American tour began and they only had five new songs written. They had to rely upon cover versions to complete The Book of Taliesyn. Neil Diamond’s Kentucky Woman, Lennon and McCartney’s We Can Work It Out and River Deep, Mountain High completed The Book of Taliesyn and it was released in America in December 1968,
Just like Shades Of Deep Purple, The Book of Taliesyn was a mixture of psychedelia and progressive rock. The only difference was it had a harder edge. Deep Purple’s trademark sound was evolving and critics seemed to prefer The Book of Taliesyn. It received a much more favourable reception from critics. This was also the case upon the release of The Book of Taliesyn.
Released in December 1968, The Book of Taliesyn reached number fifty-four in the US Billboard 200. Two singles were released in America. Kentucky Woman reached number thirty eight in the US Billboard 100 charts. Then River Deep, Mountain High stalled at number fifty-three in the US Billboard 100 charts. The Book of Taliesyn charted in Canada and Japan. It seemed word was spreading about Deep Purple. However, in Britain, The Book of Taliesyn failed to chart. That wasn’t the only problem Deep Purple would have.
Deep Purple.
By 1969, Deep Purple were becoming a tight, talented band. Onstage and in the studio they were growing and evolving and this included as songwriters. Although they’d only been together just over a year they were a much better band. They had released two albums and were touring constantly. There was a problem though. Which direction should their music take?
Some members of Deep Purple wanted their music to take on a rawer, harder sound. This didn’t please everyone. Lead vocalist Rod Evans and bassist Nick Simper were in the minority. Organist Jon Lord, guitarist Richie Blackmore and drummer Nick Paice wanted the band to change direction. With the band split, this wasn’t the best way to prepare for the recording of their third album Deep Purple.
For Deep Purple, the band were keen to turn their back on cover versions. Deep Purple only featured one cover version, Donavon’s Lalena. The eight tracks were all written by members of Deep Purple. Just like their first two albums, Deep Purple would be produced by Derek Lawrence.
Recording of Deep Purple took place during a two-month tour. Deep Purple had ensured they had some free days where they could record their third album during January and March 1969. Recording took place at the De Lane Lea Studio, London. They were familiar with the De Lane Lea Studio. Previously, Deep Purple had rerecorded The Bird Has Flown there and were familiar with the room. This allowed them to work quickly. With their reputation in America growing they wanted their eponymous album released as soon as possible.
As soon as Deep Purple was recorded, Deep Purple jumped on a plane and headed back to America. They rejoined the tour of the country that had claimed them as their own. There was a problem though. Tetragrammaton, Deep Purple’s American label hadn’t pressed the album. Worse than that, the label had financial problems. Within a year, they would be insolvent and filing for bankruptcy. Already, this was affecting Deep Purple. Their manager John Colleta headed home. He decided that this would save on a hotel room. Things it seemed, couldn’t get any worse for Deep Purple.
On the release of Deep Purple in June 1969, the album had a harder sound. Elements of blues, progressive rock and heavy metal combined on seven tracks. The exception was The Bird Has Flown. It veered off in the direction of classical music. Mostly, though, Deep Purple’s trademark sound was evolving. How would critics and fans respond to Deep Purple?
Given the problems with Tetragrammaton, it’s no surprise that Deep Purple wasn’t a commercial success. Tetragrammaton couldn’t afford to promote Deep Purple properly. Despite generally positive reviews from critics, Deep Purple stalled at 162 in the US Billboard 200 charts. It failed to chart in the UK on its release in November 1969. At least Deep Purple charted in Japan. Things looked up when Deep Purple was certified gold in Germany. That was the only good news Deep Purple enjoyed.
The tension that was within Deep Purple bubbled over after the release of their third album. This lead to vocalist Rod Evans and bassist Nick Simper being replaced. In came vocalist Ian Gillan and bassist Roger Glover. Little did anyone realise that this would later, be perceived as the classic lineup of Deep Purple. It was also the lineup that recorded the album that saw Deep Purple make a commercial breakthrough in Britain, Deep Purple In Rock.
Deep Purple In Rock.
With their new lineup, Deep Purple Mk II entered the studio for the second time. They made their recording debut on Concerto for Group and Orchestra which was a collaboration between Deep Purple and The Royal Philharmonic Orchestra. However, Deep Purple In Rock was the start of a new era in Deep Purple’s history.
Recording of Deep Purple In Rock took place at IBC, De Lane Lea and Abbey Road Studios. A total of seven songs were recorded. They were written by Deep Purple. These seven songs showcased the new Deep Purple. The music was heavier and more like what would be seen as their classic sound. This was essentially hard rock or heavy metal. It was after the success of Deep Purple In Rock that lead to Deep Purple being referred to as the third member of the “unholy trinity of British hard rock and heavy metal.
Deep Purple released Deep Purple In Rock on 3rd June 1970. This was Deep Purple’s first album to be released to widespread critical acclaim and commercial success. It was the first Deep Purple album to reach the top ten in Britain. Deep Purple In Rock reached number four in Britain. In America, Deep Purple In Rock only reached number 143 in the US Billboard 200 charts. Elsewhere, Deep Purple In Rock was a huge commercial success worldwide.
From Europe to Argentina, America and Japan, Deep Purple In Rock was a huge success. This resulted in gold discs for Deep Purple in America, Argentina, Britain, France and Holland. For Deep Purple, Deep Purple In Rock was a game-changer. Their decision to change direction musically was vindicated. Now, Deep Purple were one of the biggest bands in rock music. This was apparent on Deep Purple In Rock.
Speed King explodes into life, opening Deep Purple In Rock. Deep Purple’s rhythm section are at the heart of the action. Ian Paice’s drums crack and pound, and with Roger Glover’s bass, drives the arrangement along. Meanwhile, Ritchie Blackmore unleashes a blistering, searing guitar. Ian Gillan delivers a powerhouse of a vocal on this slice of good time rock. This gives way Jon Lord’s psychedelic keyboard solo. Then a scorching guitar solo is unleashed at breakneck speed. When Ian’s vocal returns, briefly, he pays homage to Little Richard with a burst of Tutti Fruti. By then Deep Purple are in full flight. It’s an impressive sound, as one of the “unholy trinity” kick loose, and showcase their considerable talents before reaching a dramatic crescendo.
Just Ritchie Blackmore’s crunchy guitar opens Bloodsucker. It’s played with speed and precision before the rhythm section join the fray. So does Ian Gillan’s powerful vocal. He’s always in control. Even when his vocal gives way to a vamp that’s reminiscent of Jimmy Page. By then, Deep Purple are in full flight. Ian is swaggering and strutting his way through the lyrics. When his vocal drops out midway through the song, Jon Lord’s keyboards and Richie’s guitar take centre-stage. They unleash peerless solos as they feed off each other. This inspires the rest of Deep Purple. Somehow they raise their game. A hard Deep Purple are accompanied by a machine gun, vampish vocal from Ian Gillan. It’s the finishing touch to this swaggering slice of glorious über hard rock.
Understated keyboards open Child In Time. They’re played slowly and thoughtfully, taking care not to overpower Ian Gillan’s vocal. It’s tender and heartfelt, but grows in power and passion. When the vocal drops out, the rhythm section and cooing harmonies combine. Soon, though, the vocal becomes a powerful vamp as the momentum grows. Ian Paice sprays machine gun drums before Ritchie Blackmore unleashes a blistering, rapid fire guitar licks. By then, the arrangement is galloping along, all the time, gathering speed. It’s akin to a jam now. Deep Purple enjoy the opportunity to stretch their legs. Jon Lord’s keyboard solo goes toe-to-toe with the guitar. That’s until the arrangement almost grinds to a halt. Then keyboards begin to rebuild the arrangement. They’re joined by the vocal which is a mixture of drama and theatre. Later, harmonies add to the drama as the arrangement builds, before this ten minute hard rocking opus reaches a dramatic ending.
From the get-go, Deep Purple are rocking hard and fast on Flight Of The Rat. The rhythm section power the arrangement along, while scorching, blistering licks are unleashed. Ian Gillan delivers another swaggering vocal. By then, he had established himself as one of the top rock vocalists. Similarly, Ritchie Blackmore was one of the top rock guitarists, and his ability to play with speed, precision and accuracy is highlighted here. The same can be said of keyboardist Jon Lord. Meanwhile, the rhythm section anchor the arrangement, as Richie unleashes a succession of machine gun licks. There’s even a few funky licks thrown in for good measure. Then after the song almost grinds to a halt, Deep Purple are off and running. Drummer Ian Paice and Richie on guitar enjoy their moment in the spotlight, before the group reunite. They head for the big finish on what’s another epic track.
The rhythm section and guitar combine on Into The Fire. It’s slower than previous tracks, but is just as rocky and heavy. Especially as Ian Gillan delivers a gravelly, vocal powerhouse. Behind him, the deliberate arrangement features Deep Purple at their heaviest. Later when the vocal vocal drops out, a scorching guitar sits atop, the chugging arrangement. When Ian returns, he continues to unleash what’s one of his best, and most powerful vocals, as Deep Purple seamlessly fuse elements of blues, psychedelia and rock.
Drums set the scene on Living Wreck, before washes of psychedelic organ and scorching guitars enter the fray. They’re joined by another lived-in, throaty vocal from Ian Gillan. When his vocal drops out, washes and flourishes of keyboards join the rhythm section and scorching guitar. Midway through the track, the bass and keyboards add an element of darkness while searing guitars cut through the arrangement. Later, Ian who sounds as if he’s lived and survived the lyrics, delivers a vocal masterclass. Then keyboardist Jon Lord steps forward and unleashes a breathtaking performance. His keyboards play an important part in the sound and success of Living Wreck, which is a truly timeless track.
Hard Lovin’ Man closes Deep Purple In Rock. Dramatic, rocky flourishes are followed by machine gun guitars and psychedelic keyboards. They’re joined by thunderous bursts that come courtesy of the hard rocking rhythm section. Equally hard rocking is Ian Gillan powerhouse of a vocal. Again, it’s reminiscent of Jimmy Page as it soars above the arrangement becoming vampish. By then, the arrangement is galloping along. Richie Blackmore unleashing guitar licks like a gunslinger. Jon Lord’s keyboards have a sixties sounds as he plays them with speed and precision. Sometimes he stabs at them, and they wail like a siren. Later, a searing guitar solo cuts through the galloping arrangement. It became a jam, before Ian’s vocal returns. Just like the rest of Deep Purple, he plays the role of Hard Lovin’ Man to a tee, as they take their bow on Deep Purple In Rock.
Although Deep Purple In Rock was Deep Purple’s fourth album, it was the album that transformed their career. Before Deep Purple In Rock, the only success the band had enjoyed was a gold disc in Germany for their third album Deep Purple in 1969. A year later, Deep Purple In Rock was released to widespread critical acclaim and commercial success. It reached number four in Britain, but only reached number 143 in the US Billboard 200 charts. However, elsewhere, Deep Purple In Rock was a huge commercial success worldwide.
From Europe to Argentina, America and Japan, Deep Purple In Rock was a huge success. This resulted in gold discs for Deep Purple in America, Argentina, Britain, France and Holland. For Deep Purple, Deep Purple In Rock was a game-changer. Their decision to change direction musically was vindicated. Now, Deep Purple were one of the biggest bands in rock music. This success lasted until 1975.
Following Deep Purple In Rock, Deep Purple released another six albums between 1971 and 1975. These albums saw Deep Purple become one of the biggest bands in the world. This started when 1971s Fireball reached number one in Britain and thirty-two in the US Billboard 200. As a result, Fireball was certified gold in Germany, Holland and America. However, this was just the start.
Having made a breakthrough in America, Machine Head was released in March 1972. It reached number seven in the US Billboard 200 and number one in Britain. Across the English Channel, Machine Head was certified gold three times in France. In Argentina, Machine Head was certified platinum. However, Machine Head was most successful in America, where it was certified double-platinum. However, this wasn’t the end of Deep Purple’s commercial success during 1972.
On its release in December 1972, Made In Japan reached number fifteen in Britain and was certified gold. Made In Japan reached number one in Austria, Germany and Canada. In Norway, Made In Japan reached number seven. Then in April 1973, Made In Japan reached number six in the US Billboard 200. For Deep Purple, this resulted in even more gold and platinum discs.
Across the word, Made In Japan was a commercial success. After being certified gold in Britain, it was then certified gold in France. Made In Japan was then certified platinum in America, Austria, Germany and Italy. In Argentina, Made In Japan was certified double platinum. Just four years after they first formed, Deep Purple were one of the most successful rock bands in the world. This was set to continue.
When Who Do We Think We Are was released in January 1973, it reached number four in Britain and number fifteen in the US Billboard 200. This resulted in gold discs in America and France. Compared with Deep Purple’s recent success this was seemed slightly disappointing. To make matters worse, vocalist Ian Gillan and bassist Roger Glover left the band after Who Do We Think We Are. Deep Purple’s career looked like it was at a crossroads.
It wasn’t. The two departing members of Deep Purple were soon replaced. A then unknown David Coverdale became Deep Purple’s vocalist. Glen Hughes of Trapeze took over as bassist. They had big shoes to fill. However, with the help of the remaining members of Deep Purple, managed to do so during 1974. It was one of the busiest years of Deep Purple’s career.
Burn was the first of two album Deep Purple released during 1974. On its released in February 1974, it reached number three in Britain and number nine in the US Billboard 200. This resulted in gold discs in America, Argentina, Britain, France, Germany and Sweden. Then when Stormbringer was released in November 1974, it became apparent that Deep Purple had incorporated elements of soul and funk in their music. Despite this, Stormbringer reached number six in Britain and number twenty in the US Billboard 200. Stormbringer was certified gold in America,, Britain, France and Sweden. 1974 had been one of the most successful years of Deep Purple’s career. Sadly, 1975 was the beginning of the end.
When Deep Purple’s tenth album Come Taste The Band was released in October 1975, guitarist Ritchie Blackmore had left the band. Replacing him on the album was Tommy Bolin. With this latest change to the lineup, Come Taste the Band still reached number nineteen in Britain and forty-three in the US Billboard 200. Come Taste The Band was certified silver in Britain, and gold in Argentina and Czech Republic. While Come Taste The Band didn’t match the success of previous albums, that was the least of Deep Purple’s worries.
Following the release of Come Taste The Band, David Coverdale and Glen Hughes left to form Whitesnake. This lead to Deep Purple splitting up in 1976. However, Deep Purple reformed in 1984. This lasted until 1994, before Steve Morse revived the Deep Purple name. However, Deep Purple never again enjoyed the commercial success they enjoyed between 1970 and 1975.
Deep Purple’s breakthrough album was Deep Purple In Rock in 1970. This was the start of five years of commercial success and critical acclaim. During that period, Deep Purple challenged Led Zeppelin and Black Sabbath for supremacy as most successful and hard rocking band. There was also another competition going on. This was to see which of the “unholy trinity of British hard rock and heavy metal” was the hardest living band. It was a close fought and hard won contest.
Over the years, Deep Purple’s penchant for the rock ’n’ roll lifestyle was legendary. It came with the territory. This was after all, rock ’n’ roll during the early seventies. Chaos and carnage was omnipresent and expected as Deep Purple toured the world. This never seemed to affect Deep Purple’s music. Proof of of this is Deep Purple In Rock which features Deep Purple at their hard rocking, hard living best on the album that transformed and launched their career.
Classic Album: Deep Purple-Deep Purple In Rock.
CLASSIC ALBUM: EMERSON. LAKE AND PALMER-TRILOGY.
Classic Album: Emerson, Lake and Palmer-Trilogy.
By the time Emerson, Lake and Palmer set about recording their third studio album Trilogy, it seemed everything they touched turned gold. Their first two studio albums had been certified gold in America and so had their live albums Pictures At An Exhibition and Welcome Back My Friends to the Show That Never Ends… Ladies and Gentlemen. Already, Emerson, Lake and Palmer were on their way to becoming one of the biggest bands in progressive rock.
Eventually, Emerson, Lake and Palmer would sell over forty million albums. Their most successful period was the seventies. Between 1970s Emerson, Lake and Palmer and 1978s Love Beach, the prog rock giants released six albums. Each album was certified gold in America. However, like many progressive rock bands they were more popular in America than Britain.
Only two of Emerson, Lake and Palmer’s albums were certified gold in Britain and two silver. However, in 1972, Emerson, Lake and Palmer’s star was on the ascendancy. Their first live album had been released in 1971 and was certified silver in Britain. Then their 1972 sophomore album Tarkus reached number one in Britain,
It surpassed the success of Emerson, Lake and Palmer’s eponymous debut album on both sides of the Atlantic so they began work on their third studio album Trilogy it looked like they could do no wrong. On both sides of the Atlantic, Emerson, Lake and Palmer were enjoying commercial success and critical acclaim. This had been the case since their 1970 eponymous album
Emerson, Lake and Palmer.
The Emerson, Lake and Palmer story begins in 1970. That was the year Emerson, Lake and Palmer was founded and they released their eponymous debut album.
Keith Emerson and Greg Lake first met at the Fillimore West, in San Francisco. Both of them were at a musical crossroads. Keith was a member of The Nice, while Greg Lake was a member of King Crimson. Nether Keith nor Greg felt fulfilled musically. So, the decided to form a new band.
This new band would feature Keith on keyboards, Greg on bass and a drummer. Their first choice for a drummer was Mitch Mitchell, who was without a band, after The Jimi Hendrix Experience split-up. They agreed to jam together. Then the music press heard about this jam session.
Rumours started doing the rounds that Jimi Hendrix was going to join this new supergroup. That put an end to the jam session. It never took place. Jimi Hendrix had never been asked to join the supergroup. Mitch Mitchell meanwhile, lost interest in the project. This presented a problem. Keith and Greg still didn’t have a drummer. Then Robert Stigwood, who was then the manager of Cream, suggested Carl Palmer’s name.
Carl Palmer was another experienced musician. He’d previously been a member of The Crazy World Of Arthur Brown. At that time, he was a member of Atomic Rooster. So Carl was approached. He was, at first, reluctant to leave Atomic Rooster, which he’d cofounded. However, when he spoke to Keith and Greg he realised that he could be part of something special.
Having left Atomic Rooster, he became the third member of the newly formed supergroup Emerson, Lake and Palmer. They made their debut was at The Guildhall, Plymouth, on 23rd August 1970. Then on 26th August 1970, Emerson, Lake and Palmer stole the show at the Isle Of Wight Festival. This resulted in Emerson, Lake and Palmer being offered a recording contract by Atlantic Records.
Ahmet Ertegün the President of Atlantic Records realised the potential in Emerson, Lake and Palmer. Here was a band who wouldn’t just sell a huge amount of records, but could fill huge venues. So, not long after signing Emerson, Lake and Palmer, Ahmet Ertegün sent them into Advision Studios, London.
At Advision Studios, Emerson, Lake and Palmer recorded ten tracks that became their eponymous debut album. Although this was meant to be the birth of a supergroup, the ten tracks on Emerson, Lake and Palmer came across as a series of solo pieces. However, Emerson, Lake and Palmer were a new band who has just recorded an eclectic and innovative album.
Although many people refer to Emerson, Lake and Palmer as progressive rock band, they’re much more than that. Their music is eclectic. They draw inspiration from a variety of sources. This includes classical, folk rock, jazz, psychedelia and rock. Some of the music is futuristic. That’s in part to Keith Emerson’s use of the Moog synth. The result was a pioneering, innovative album that would launch Emerson, Lake and Palmer’s career.
When critics heard Emerson, Lake and Palmer, they hailed the album as innovative and influential. On its release in the UK in October 1970, i Emerson, Lake and Palmer reached number four. Three months later, on New Year’s Day 1970, Emerson, Lake and Palmer was released in the US. It reached number eighteen in the US Billboard 200 and was certified gold. Ahmet Ertegün, the President of Atlantic Records had been vindicated. Emerson, Lake and Palmer were on their way to becoming rock royalty.
Tarkus.
It was a case of striking when the iron was hot for Emerson, Lake and Palmer. They returned to Advision Studios, in London to record what became their sophomore album Tarkus. It was much more of a “band” album. Emerson, Lake and Palmer were now a tight, musical unit. This was very different from Emerson, Lake and Palmer, which was more like an album of solo pieces. Tarkus saw the birth of Emerson, Lake and Palmer as one of the giants of progressive rock.
Tarkus was released in June 1971 which wasn’t originally the plan. Instead, Pictures At An Exhibition was meant to have been Emerson, Lake and Palmer’s sophomore album. This was a live album which was recorded in March 1971. It saw Emerson, Lake and Palmer interpret Modest Mussorgsky’s opus Pictures At An Exhibition and was a groundbreaking album. There was a problem though, Emerson, Lake and Palmer’s management didn’t agree.
They weren’t sure that what essentially an interpretation of a classical suite was the direction Emerson, Lake and Palmer should be heading. That was why Tarkus became the followup to Emerson, Lake and Palmer.
On its release in June 1971, critics realised that Tarkus marked a much more united Emerson, Lake and Palmer. They were well on the way to finding their trademark sound. Gone were ballads and jazz-tinged tracks. Instead, it was progressive rock all the way. Record buyers loved Tarkus which reached number one in the UK. Over the Atlantic, Tarkus reached number nine in the US Billboard 200 and was certified gold. Following the commercial success of Tarkus, Pictures At An Exhibition was released later in 1971.
Pictures At An Exhibition.
Pictures At An Exhibition was released as a budget priced album in November 1971. It reached number three in the UK. In America, Pictures At An Exhibition reached number ten in the US Billboard 200. This resulted in Emerson, Lake and Palmer’s third consecutive gold album. A year later, three became four.
Trilogy.
Just like previous albums, Emerson, Lake and Palmer were determined to push musical boundaries on Trilogy, their third studio album. Just like their two previous albums, Trilogy was recorded at Advision Studios, London, which was where the nine tracks on the album took shape.
For Trilogy, Keith Emerson and Greg Lake cowrote four tracks, The Endless Enigma (Part One), The Endless Enigma (Part Two), The Sheriff and Trilogy. Keith Emerson also wrote Fugue and Abaddon’s Bolero, while Greg Lake contributed From The Beginning. Living Sin was the only song the three members of Emerson, Lake and Palmer cowrote. However, they arranged the cover of Aaron Copland’s Hoedown. It was given a makeover on Trilogy, the latest groundbreaking album from Emerson, Lake and Palmer.
At Advision Studios, Emerson, Lake and Palmer began work on Trilogy.Keith Emerson played Hammond organ, Steinway piano, Moog synth, Mini Moog Model D and and a zurna. Greg Lake took charge of vocals, acoustic, electric, and bass guitars. Carl Palmer played drums and percussion. Just like previous Emerson, Lake and Palmer albums, Greg Lake produced Trilogy. It found Emerson, Lake and Palmer at their innovative best, producing progressive rock, but with a twist.
An example of this was the inclusion of Abaddon’s Bolero on Trilogy. Rather than the usual 3/4 rhythm a Bolero would have, it was turned into a march by using a 4/4 rhythm. Emerson, Lake and Palmer also pioneered the beating heart sound on Trilogy. Pink Floyd would use it to such good effect on Dark Side Of The Moon. So would Jethro Tull on A Passion Play and Queen on Queen II. This sound was first heard on Endless Enigma Part One. It came courtesy of Carl Palmer’s Ludwig Speed King bass drum pedal. Once again, Emerson, Lake and Palmer were demonstrating that they were one of the most innovative progressive rock bands. Their efforts were rewarded.
When critics heard Trilogy, they hailed the album a classic. It was a truly captivating and eclectic album, where Emerson, Lake and Palmer combined musical genres and influences. Apart from prog rock, everything from classic rock, symphonic rock, classical, folk and world music can be heard. Emerson, Lake and Palmer continued to embrace the latest technology in what seemed like their quest for musical perfection. They also made use of overdubbing. This made their music difficult to replicate live. The band always felt they came up short live. Despite this, Trilogy well and truly wowed the critics. It would do the same with the record buying public.
On its release in January 1972, Trilogy reached number two in the US. As usual, Emerson, Lake and Palmer enjoyed more success in the US. Trilogy reached number five in the US Billboard 200. This resulted in another gold disc for Emerson, Lake and Palmer. They were now progressive rock royalty, thanks to their latest epic Trilogy, which I’ll tell you about.
Opening Trilogy is The Endless Enigma (Part One.) It’s the first of three parts that makeup The Endless Enigma. The introduction lasts ninety-six seconds and a bass drum replicates a heartbeat, while a Moog adds sci-fi sounds. Meanwhile, a piano adds sudden bursts of cinematic sounds. By now, the arrangement is reminiscent of an early seventies thriller. That’s until the synths burst into life, and with the rhythm section, urgently drive the arrangement along. Keyboards continues to inject a sense of urgency and drama and this is replicated in the vocal. It veers between tender to despairing, dramatic and frustrated. As Greg experiences a wide range of emotions, there’s a brief nod to The Who as the prog rock gives way to classic rock. Mostly though, it’s prog rock all the way, as Emerson, Lake and Palmer combine drama, urgency and emotion on the first track on The Endless Enigma trilogy.
Fugue is the second part in The Endless Enigma. Just a lone, melancholy piano plays. Gradually, though, the tempo increases, and an acoustic guitar is strummed. However, it’s Keith’s piano that plays the starring role. Greg’s acoustic guitar plays a supporting role in a track that veers between wistful and ethereal, to urgent and dramatic.
The third and final part in The Endless Enigma movement, is The Endless Enigma (Part Two). Just like Fugue, it’s a relatively short track, lasting just two minutes. During that period, Emerson, Lake and Palmer make their presence felt. Urgent stabs of a driving piano are joined by drums. Soon, the arrangement is stripped bare, and bells ring out. They set the scene for the synths and a deliberate vocal. Briefly, a vortex of futuristic synths accompany him, as The Endless Enigma, a truly ambitious epic reaches its crescendo.
Greg Lake wrote From The Beginning. It’s a Trilogy’s acoustic ballad. Every Emerson, Lake and Palmer album had one. Just a lone acoustic guitar is plucked and strummed. The playing veers between tender to firm. Similarly tender is the vocal which is also heartfelt and needy. Meanwhile, space is at a premium in the arrangement. Emerson, Lake and Palmer don’t feel the need to fill it. Instead, just understated drums and an electric guitar join the acoustic guitar and futuristic, sci-fi synths which replaces the vocal om this beautiful, atmospheric ballad.
Hesitantly, The Sheriff unfolds. It’s as if Emerson, Lake and Palmer are looking for an in. When they find it, there’s no stopping them. The rhythm section and synths combine rock and even a touch of funk. Briefly, Emerson, Lake and Palmer jam, before the vocal enters and tells the story of The Sheriff and Josie. As the story unfolds the vocal grows in power and eventually, becomes a vocal powerhouse. Then when his vocal drops out, Emerson, Lake and Palmer enjoy another opportunity to jam. When the vocal returns it completes the story and then a curveball is thrown when twenty seconds of honky tonk piano is added and is accompanied by woodblocks. This shows Emerson, Lake and Palmer at their inventive and innovative best.
Hoedown seems an unlikely song for Emerson, Lake and Palmer to cover. However, they transform the track. This required them to rearrange the track. An organ and banks of synths play important roles. So do the rhythm section. They join the synths and organ in driving the arrangement along. Literally, the arrangement unfolds at breakneck speed, resulting in the musical soundtrack to a space-age Hoedown.
Trilogy is a near nine minute epic. Its orchestral introduction gives way to the piano and Carl Palmer’s tender, thoughtful vocal. His heartbroken vocal plays a part in the pastoral quality of the track. No wonder. Just lush strings, flourishes of piano and the vocal sweep in and out. However, thing soon change as the piano injects a sense of urgency. Soon, a buzzing synth and the rhythm section have kicked loose. Now we hear a very different side to Emerson, Lake and Palmer. Gone is the symphonic, pastoral sound. Replacing it is Emerson, Lake and Palmer at their hard rocking best. They combine prog rock and classic rock. There’s even a nod to sixties psychedelia and jazz. Seamlessly, musical genres become one on this musical Magnus Opus.
Jazz-tinged synths opens Living Sin and they’re played with a swagger. This suits the throaty vocal that drifts in and out the track. It’s accompanied by banks of synths and the rhythm section. Together, they power the arrangement along. By then, the vocal is a gravelly powerhouse and it’s as if it’s been inspired by Robert Plant. Later, when Emerson, Lake and Palmer jam it’s as if they’ve been inspired. They pull out the stops and show just why, Emerson, Lake and Palmer in 1972, were regarded as progressive rock royalty.
Closing Trilogy is Abaddon’s Bolero, which is played in 3/4 time. This makes the track sound like a march. Indeed, Emerson, Lake and Palmer march to the beat of Carl’s drums. They’re understated, allowing the keyboards to take centre-stage. Gradually, as the melody is continually repeated, the arrangement builds. Layers are added. This includes strings, flutes, a Hammond organ, a Moog synth, a mellotron and a probing bass. Many of these instruments had to be overdubbed. While this took time, it was well worth it. From the earlier understated arrangement, a glorious wall of sound emerges on this eight minute orchestral epic.
Just like their two previous albums, Emerson, Lake and Palmer and Tarkus, Trilogy was a complex, innovative, genre-melting album. Emerson, Lake and Palmer embraced the latest technology in what seemed like their quest for musical perfection. They also made use of overdubbing and all this made their music difficult to replicate live.
The more complicated and multilayered Emerson, Lake and Palmer’s became the more difficult it was to replicate live. An example was Abaddon’s Bolero, where overdubbing was used extensively. Layer upon layer of instruments were added resulting in a complex orchestral arrangement. However, playing it live was impossible. After several attempts to play the track live they couldn’t make it work. Eventually, they gave up and cut it from their set. That was the problem with some of Emerson, Lake and Palmer’s music. Its complexity made playing it live a huge challenge. For a band as popular as Emerson, Lake and Palmer this could’ve proved a problem.
It didn’t. Instead, their sets featured songs that were possible to replicate live. This was just as well. By the time Trilogy had been released in 1972, Emerson, Lake and Palmer were a hugely successful band on both sides of the Atlantic. They were festival favourites and stadium fillers. Emerson, Lake and Palmer were also one of the most innovative progressive rock bands.
By 1972, Emerson, Lake and Palmer were hitting their stride and Trilogy resulted in their fourth gold disc in America alone. Eventually, the group sold over forty million albums. However, their most successful period was the seventies.
Between 1970s Emerson, Lake and Palmer and 1978s Love Beach, the progressive rock giants released six studio albums. Each of them were certified gold. So were their two live albums Pictures At An Exhibition and Welcome Back My Friends to the Show That Never Ends… Ladies and Gentlemen. This made Emerson, Lake and Palmer one of the biggest progressive rock bands of the seventies. They were also one of the most innovative.
Very few bands were as innovative, inventive and influential as Emerson, Lake and Palmer. Continually, they pushed musical boundaries to their limits, and sometimes, it seemed beyond. This worked. They never stood still, and their music became stale. That’s why, forty-three years after the release of Emerson, Lake and Palmer’s third studio album Trilogy, it sounds as innovative and ambitious as it did in 1972.
Trilogy found Emerson, Lake and Palmer growing, evolving and maturing as a band. They had come a long way in the past two years. Now they were tight and multitalented. Emerson, Lake and Palmer were also a visionary band, who seamlessly, were capable of fusing classical music, folk, jazz, progressove rock, psychedelia, rock and symphonic rock. All these disparate musical genres played their part in the sound, and success, of Trilogy, Emerson, Lake and Palmer’s timeless epic.
Classic Album: Emerson, Lake and Palmer-Trilogy.
THE BATHERS-KELVINGROVE BABY.
The Bathers-Kelvingrove Baby.
Label: Marina Records.
Format: CD.
The Bathers were formed in Glasgow, in 1985, by singer, songwriter and troubled troubadour Chris Thomson and released six albums between 1987 and 1999. Their fifth album was Kelvingrove Baby, which which was recently reissued by Marina Records is a a minor classic that’s one of the finest Scottish albums ever released. Sadly, Kelvingrove Baby and The Bathers is a story of what might have been.
With Chris Thomson at the helm, the Glasgow-based band could’ve and should’ve been one the biggest Scottish bands ever. After all, The Bathers music is articulate, beautiful, dramatic, ethereal, elegiac, emotive, languid, literate and melancholy. This is music for those that have loved, lost and survived to tell the tale.
Sadly, The Bathers never reached the heady heights their music deserved. As a result, the six albums The Bathers released between 1987s Unusual Places To Die and 1999s Pandemonia, never reached the audience it deserved. For Chris Thomson, history was repeating itself.
The Bathers were formed in Glasgow in 1985. They formed after Chris Thomson’s previous group Friends Again split up. Initially, The Bathers were a vehicle for singer-songwriter Chris Thomson. However, in 1987, The Bathers secured their first record deal with Go! Discs Records, and released their debut album Unusual Places To Die.
Unusual Places To Die.
For their debut album Unusual Places To Die, Chris Thomson penned ten tracks. These tracks were recorded by The Bathers’ original lineup. This included bassist Sam Loup, drummer James Locke and Chris on guitar and keyboards. Joining The Bathers, were Michael Peden of The Chimes, Douglas Macintyre and James Grant of Love and Money. They played walk on parts on Unusual Places To Die, which was released later in 1987.
When Unusual Places To Die was released in 1987, it was to widespread critical acclaim. Chris Thompson’s songs seemed to strike a nerve with critics. They described the music as variously engaging, emotive and dramatic. One critic went as far to wonder whether Unusual Places To Die was the work of a genius? Despite this critical acclaim Unusual Places To Die wasn’t a commercial success. This was nothing to do with the music though.
Instead, Unusual Places To Die fell victim to the internal politics within the record company. As a result, sales of Unusual Places To Die were poor. Given the critical response to Unusual Places To Die, this was disappointing. So, it wasn’t a surprise when The Bathers switched labels for their sophomore album, Sweet Deceit.
Sweet Deceit.
After the Go Discs! internal problems sabotaged the release of Unusual Places To Die, The Bathers moved to Island Records, where the recorded Sweet Deceit.
Sweet Deceit was an epic album, featuring fifteen tracks. Chris wrote thirteen of the tracks, and cowrote the other two. He co-produced Sweet Deceit with Keith Mitchell, and the album was released in 1990.
Three years had passed since Unusual Places To Die was released. The Bathers were back, and according to critics, better than ever. Sweet Deceit was described as impressionistic, beautiful and spellbinding. One critic, quite rightly referred to the album as a mini masterpiece. However, The Bathers had been here before with Unusual Places To Die.
On Sweet Deceit’s release, lightning struck twice for The Bathers. Sales of Sweet Deceit were disappointing. Despite the critically acclaimed reviews, Sweet Deceit seemed to pass record buyers by. For The Bathers, this was a huge disappointment.
Especially when Island Records didn’t renew The Bathers’ contract. There would be another gap of three years before we heard from The Bathers again. However, Chris Thomson was still making music.
Following Sweet Deceit, Chris Thomson joined with two former members of Lloyd Cole and the Commotions, Stephen Irvine and Neil Clark, to create a Scottish supergroup, Bloomsday. They released just one album, Fortuny, which is now regarded as a classic Scottish album. Just like The Bathers two previous albums, Bloomsday’s debut album, Fortuny, was released to critical acclaim. Unfortunately, commercial success eluded Fortuny. However, a more fruitful period was round the corner for The Bathers.
Lagoon Blues.
After signing a record contract with a German record label Marina, the group released three albums in a four year period. In 1993, they released Lagoon Blues which was their Marina debut.
Just like Sweet Deceit, Lagoon Blues was another epic album penned by Chris Thompson. It featured sixteen songs, which were the perfect showcase for Chris Thomson’s vocal. Accompanied by what was essentially The Bathers and friends sixteen tracks were recorded at Palladium Studios, Edinburgh and mixed at Palladium Studios and Cava Studios, Glasgow. Once Lagoon Blues was completed, it was released in 1993.
On its release in 1993, critics remarked that Lagoon Blues was a more eclectic album. There were diversions into jazz-skiffle on Pissor, while the album opener Lagoon Blues showcased a string quartet. The strings would play an important part on Lagoon Blues, which was hailed as poetic, elegant, sumptuous and intense. The same critical acclaim accompanied Lagoon Blues, however, this time The Bathers’ music found a wider audience. It seemed after three albums, The Bathers’ star was in the ascendancy.
Sunpowder.
For The Bathers’ fourth album, and followup to Lagoon Blues, they returned with Sunpowder. It marked the debut of a new lineup of The Bathers.
Sunpowder marked The Bathers’ debut of drummer and percussionist Hazel Morrison, keyboardist Carlo Scattini and string players Ian White and Mark Wilson. These new additions would change The Bathers’ sound greatly. Many people refer to this as the classic lineup of The Bathers. This classic lineup, plus guest artist ex-Cocteau Twin, Liz Fraser, who features on four tracks, made its debut on Sunpowder.
For Sunpowder, Chris Thomson had written eleven new songs. They were recorded a at Palladium Studios, Edinburgh. Chris Thomson and Keith Mitchell produced Sunpowder, which was released in 1995.
When Sunpowder was released, it received the same critical acclaim as The Bathers’ three previous albums. Sunpowder was called sumptuous, sensual, dramatic and ethereal. Liz Fraser, an honorary Bather was the perfect foil to Chris Thomson forever the troubled, tortured troubadour. The result was, what was The Bathers most successful album, Sunpowder. That however, would change with Kelvingrove Baby.
Kelvingrove Baby.
Kelvingrove Baby would be The Bathers’ Marina swan-song. They were certainly eaving the German label on a high.
Chris Thomson had written thirteen new songs for Kelvingrove Baby, which was recorded in Glasgow and Edinburgh. It was at these locations that The Bathers’ expanded lineup reconvened.
Picking up where they left off, were The Bathers’ new lineup, plus a few friends. The Bathers’ rhythm section included bassists Sam Loup, Douglas MacIntyre and Ken McHugh, drummers Hazel Morrison and James Locke, who also played percussion. Joining them in the rhythm section were guitarist Colin McIlroy. They were joined by accordionist, pianist and and organist Carlo Scattini, string players Ian White and Mark Wilson. Fermina Haze plays organ, James Grant of Love and Money plays acoustic guitar and with with Hazel Morrison and Justin Currie of Del Amitri, adds backing vocals. Chris Thomson plays acoustic guitar, piano and adds his unmistakable vocals. He produced most of Kelvingrove Baby, apart from Thrive, which was produced by James Locke. Once Kelvingrove Baby was completed, it was released in 1997.
Just like each of The Bathers’ four previous albums, Kelvingrove Baby was released to overwhelming critical acclaim. Kelvingrove Baby was hailed The Bathers’ finest hour. It seemed everything had been leading up to Kelvingrove Baby.
Opening Kelvingrove Baby, is the James Locke produced Thrive. Just a strummed acoustic guitar takes centre-stage, while subtle washes of keyboards flit in and out. They provide the backdrop for Chris Thompson’s vocal. For the first time on Kelvingrove Baby, he dawns the role of troubled troubadour, playing it to perfection. It’s as if he’s experience, lived through, and survived someone leaving him. His vocal is full of emotion of swells of strings sweep in. They’re the perfect accompaniment as he delivers the lyrics “up on the west coast waiting, I wear the rain like tears.” In doing so, the hurt and loneliness is there for all to see and hear.
Girlfriend is akin to a devotional from the pen of Chris Thomson. A piano and bass probe, while a cymbal is caresses. This sets the stage for a tender, emotive vocal and there’s almost disbelief in his voice that he’s found someone to call his own. He’s fallen head over heels, hence lyrics like “I’m the kind of guy, whose dreams rise unashamed, who will love you ’til the end, cos you’re my girlfriend.” With just a subtle, meandering piano, understated drums, washes of ethereal harmonies and crystalline guitar, Chris Thomson delivers a heartfelt devotional.
If Love Could Last Forever is the perfect showcase for The Bathers’ unique brand of cerebral, literate and poetic pop. After all, who apart from The Bathers write: “they flutter down like fireflies, tugging at your sleeves, somehow rise to shame you, bring you to your knees?” It’s a beautiful, soul-searching song about love. That’s the case from the opening bars, when an acoustic guitar is strummed, a guitar chimes and drums mark the beat. Then, longingly and hopefully, Chris, accompanied by cooing harmonies, sings “ If Love Could Last Forever, forever and a day.” Effortlessly, Chris Thomson breathes life, meaning and emotion into what’s a timeless paean.
While East Of East Delier has an understated arrangement, it allows Chris to unleash his full and impressive vocal range. Drums are caressed and a piano meanders. Meanwhile, a bass adds an element of darkness. This is reflected in the hurt, loneliness and regret in Chris Thomson’s vocal. His vocal soars above the arrangement, with frustration omnipresent at the love he once had and lost.
Accompanied by firmly strummed acoustic guitar No Risk No Glory, unfolds. A guitar chimes as fingers flit up and down the fretboard. Meanwhile, Chris Thomson’s vocal is a mixture of power, emotion and hurt. The hurt is obvious from the moment he sings “I was born to love her,” it’s a case of infatuation and unrequited love. With harmonies, an accordion and guitars for company he delivers a cathartic outpouring of hurt. He wouldn’t have it any other way, singing ruefully “no risk, no glory.”
Dramatic and moody describes the dark, but sparse piano lead introduction to Once Upon A Time On The Rapenburg. If a picture tells a thousand stories, so does a piano. It sets the scene for Chris Thomson as once again, he dawns the role of troubled troubadour. With shimmering strings and a deliberate gothic piano for company he remembers the love affair that almost was.
Kelvingrove Baby is the centre-piece of Kelvingrove Baby. It’s a seven minute epic about an unnamed femme fatale from Glasgow’s West End who toyed with Chris Thomson’s affections. From just a strummed guitar and subtle piano, the arrangement builds. The piano plays a more prominent role, adding an element of drama. After ninety seconds drums pound and ethereal harmonies sweep in. They give way to a worldweary, lived-in vocal. Meanwhile, Hazel Morrison adds ethereal, elegiac harmonies. This seems to spur Chris Thomson on and using his wide vocal range, he unleashes a needy vocal tour de force. Hopefully, he sings “someday I know, that you’ll be back…I don’t know, maybe then you can be my Kelvingrove Baby.” Behind him, the epic, ethereal and dramatic arrangement is the perfect accompaniment for what’s without doubt, The Bathers’ finest hour on Kelvingrove Baby.
Memories come flooding back to Chris Thomson on Girl From The Polders. Instantly, he’s transported back to another time and place. That’s when they first met, and where “I first kissed you.” With the rhythm section and piano providing a backdrop he delivers another hopeful, needy vocal. He hopes that when summer returns, and heads back to Poolewe, his “songbird, melodious and pure,” is there.
Against a backdrop of quivering strings, Chris Thomson delivers a vocal on Lost Certainties that’s equal parts power, passion, frustration and sadness. Below the vocal and strings, the rhythm section drives the arrangement along, adding to the drama and intensity of this soul-baring refrain about a bewitching woman.
After the intensity of Lost Certainties, Dial has a much looser, laid-back sound. Chris Thomson eschews the power of the previous track, as The Bathers deliver an understated, spacious, melodic track. Hazel Morrison, James Grant and Justin Currie add harmonies as Chris Thomson almost croons his way through Dial.
Orchestral strings and a pounding rhythm section set the scene for the vocal on The Fragrance Remains Insane. There’s an intensity in Chris’ lovelorn vocal, on this tale of love gone wrong. He’s struggling to come to terms with the breakup of his relationship, despite his claims “that I’m not crazy about you.”
If Chris Thomson had been born twenty years earlier he would have been a crooner. That’s apparent on Hellespont In A Storm, where he literally croons his way through the track. Accompanied by washes of accordion, swathes of strings, a subtle rhythm section and acoustic guitar. As Chris croons, emotion and regret are omnipresent. Especially when he sings “spread your wings, above you, the time has come to fly away, where I can’t follow.” Given this is the ultimate sacrifice, the beauty and emotion is almost overwhelming.
The piano lead Twelve, closes Kelvingrove Baby. Chris lays bare his soul, accompanied by his trusty piano. Later, swathes of lush strings sweep in. They provide the accompaniment to a telephone conversation, on this story of everlasting love.
For The Bathers, Kelvingrove Baby was a musical coming of age. It’s as if everything they’d been working towards was leading to Kelvingrove Baby. The music was variously atmospheric, cerebral, dramatic, ethereal, heartfelt, hopeful, literate, needy and sensual. It’s also tinged with pathos, regret and sadness. No wonder, given the tales of love found and lost. They’re brought to life by The Bathers’ very own troubled troubadour Chris Thomson. Along with the rest of The Bathers, they’re responsible for Kelvingrove Baby, a truly enthralling album.
On Kelvingrove Baby, the music is captivating. So much so, that you’re drawn into Kelvingrove Baby’s lush, atmospheric sound. Having captured your attention, The Bathers don’t let go. Before long, the listener has fallen in love. They fall in love with music that’s hauntingly beautiful, emotive, dramatic and pensive. Much of this is thanks to Chris Thomson’s peerless vocal performances. He plays the role of the troubled troubadour, to a tee. His worldweary, emotive, heartfelt and impassioned vocal sounds as if it’s lived the lyrics he’s singing about. Lived them not just once, but several times over. As a result, Kelvingrove Baby is akin to a snapshot into Chris Thomson’s life, and very soul. Indeed, Kelvingrove Baby sounds a very personal album from The Bathers’ troubled troubadour, Chris Thomson. Kelvingrove Baby was a career high from The Bathers. However, two years later, somehow, The Bathers managed to top Kelvingrove Baby.
Pandemonia, which was released in 1999, was The Bathers’ swan-song. Just like Kelvingrove Baby, the critically acclaimed Pandemonia, should’ve transformed The Bathers’ career. Sadly, despite oozing quality, The Bathers’ cerebral, literate and melodic brand of chamber pop failed to find the wider audience it deserved. As a result, The Bathers remained almost unknown apart from loyal band of discerning music lovers.
After Pandemonia, most people expected The Bathers to return after a couple of years with their seventh album. That wasn’t to be. Two years became three, became five, ten and fifteen. Now, twenty years have passed since the release of Pandemonia. Throughout the last twenty years, there have been rumours that another Bathers album is in the pipeline . However, Chris Thomson who nowadays is working as a gardener in Glasgow said in a recent interview that a new album from The Bathers was forthcoming and hopefully would be released in 2021. Let’s hope that’s the case for a band that could’ve and should’ve been one of Scotland’s most successful bands.
Alas, The Bathers are unlike most bands. They’re enigmatic, almost reclusive and publicity shy. Quite simply, The Bathers aren’t exactly your normal band. Not for them the rock “n” roll lifestyle favoured by other bands. In many ways, musical fashions and fads didn’t affect them. Their attitude was almost contrarian. Albums were recorded slowly and methodically. It was as if The Bathers were striving for perfection. On Kelvingrove Baby and Pandemonia, they almost achieved the impossible. What’s more they did it their way.
This means The Bathers aren’t willing to jump onto a musical bandwagon in pursuit of fame, fortune or starlets. Quite the opposite. It seemed to be their way or no way, in the pursuit of musical perfection. By perfection this means music that cerebral, dramatic, emotive, ethereal, literate and melodic. That describes The Bathers’ fifth album Kelvingrove Baby perfectly where The Bathers strive for perfection and very nearly achieve the impossible.
The Bathers-Kelvingrove Baby.
NIMBUS SEXTET-DREAMS FULFILLED .
Nimbus Sextet-Dreams Fulfilled.
Label: Acid Jazz Records.
Format: LP.
The roots of the Glaswegian-based contemporary jazz combo can be traced to Scotland’s capital Edinburgh, where pianist, keyboardist and bandleader Joe Nichols was studying at Edinburgh University. That was where he met his long-time collaborators drummer Alex Palmer and bassist Mischa Stevens. They’ve been performing together since then.
In 2018, Nimbus Sextet’s lineup was almost complete when saxophonist Martin Fell and trumpeter Euan Allardice joined the group. The final piece of the musical jigsaw was the addition of James Mackay. And now there were six.
Since then, Nimbus Sextet have been honing their sound and playing live in Scotland and further afield. However, one of the most important gigs of the band’s nascent career was supporting Gilles Peterson at Glasgow’s much-missed Sub Club. Watching the band play was Wayne A. Dickson of Groove Line Records who spotted their potential and during the gig was convinced the Acid Jazz Records would be interested in signing Nimbus Sextet. They were and Wayne A. Dickson, who has a wealth of music industry experience is now managing Nimbus Sextet.
With his help and encouragement and a lot of hard work on their own part Nimbus Sextet are going from strength-to-strength. They embarked upon a UK tour in February and March of 2020. Anyone who has been fortunate enough to see Nimbus Sextet live will agree that it’s an impressive sight and sound. The starting point for their music is jazz which heads in the direction of fusion and jazz-funk and also incorporates elements of funk neo-soul and world music. Live Nimbus Sextet take the audience on a musical adventure and are at their best when they improvise. It allows this talented and versatile group to showcase their considerable skills as the musical alchemists reinvent the material they’ve written over the last couple of years.
This includes the lead single from Nimbus Sextet’s forthcoming album Dreams Fulfilled which was recently released by Acid Jazz Records. During Trap Door Nimbus Sextet showcase their unique take on jazz. They fuse everything from funk and fusion to jazz-funk during this hook-laden and truly memorable and melodic single Trap Door.
Buoyed by the success of Trap Door, Nimbus Sextet returned with their much-anticipated sophomore single Lily White, which features vocalist Anthony Thomaz. It’s a song that was written in the winter of 2018 before saxophonist Martin Fell joined the group. He was travelling by train from Glasgow to Leeds and the vibrations of the train inspired what became the song’s rhythms. Then as he gazed out at the snow flecked fields this provided the inspiration for the song’s main theme. Soon, the song started to take shape, and once it was completed all the saxophonist needed was a vehicle for it.
When Martin Fell joined Nimbus Sextet he let the rest of the group hear the song. They spotted the song’s potential and decided to recorded it for their debut album Dreams Fulfilled. Joining the group was Anthony Thomaz who delivers a smooth, soulful and sassy vocal. He paints pictures and brings the lyrics to life with a neo-soul vocal. Meanwhile the rest of the group combine elements of jazz-funk, fusion, and jazz as they provide the perfect backdrop for this melodic and memorable song that showcases the combined and considerable talents of Nimbus Sextet.
Understated, atmospheric and cinematic are words that spring to mind as Deep Dark Blue Lights starts to reveal its secrets. So does wistful and melancholy. Meanwhile Nimbus Sextet’s playing is initially restrained as the rhythm section and wheezing keyboards combine to create a rueful slice late-night jazz. A fleet-fingered and funky bass signals it’s time to change direction and a blazing, quivering horn soars high above the arrangement. It’s joined by rolls of thunderous drums and banks of keyboard before a curveball is thrown and the tempo drops but there’s an element of drama. Soon, elements of jazz, funk, fusion and the influence of Herbie Hancock can be heard before this captivating and genre-melting eight minute epic reaches a crescendo. It’s been a roller coaster ride.
From the get-go, there’s a sense of sadness and melancholy on Klara. This comes courtesy of the soul-baring soliloquy. It begins with the line: “why can’t you see what you’re doing to me” and soon hurt and heartache is there for all to hear. When the soliloquy drops out, the jazzy arrangement meanders along with a probing piano playing a leading role as the rhythm section provide an understated backdrop. This less is more approach is perfect and as the piano leads from the front and the band jam. Later, the arrangement is stripped bare and the trumpet enters joining forces with a jazz-tinged guitar, the rhythm section and piano . With less than a minute to go the trumpet is played with power and passion and helps brings this beautiful track to a close. It’s without doubt one of the album’s highlights.
Séance is another of the slower tracks on the album. Keyboards give way to the horns which then flutter as the rhythm section provide the arrangement’s heartbeat. It has a wistful sound as the arrangement meanders along the horns occasionally flutter before the arrangement returns to its previous pedestrian sound. This allows the listener to reflect and ruminate. Later, the horns are played with speed and power adding a hopeful sound as the band jam and the track is transformed. It head in the direction of fusion when a blistering guitar is unleashed before returning to the earlier wistful sound. In doing so, this show’s Nimbus Sextet’s versatility during a track that’s full of twists and turns as well as subtleties and surprises.
The piano play a leading role on Dreams Fulfilled and is joined by the rhythm section during this understated and spacious arrangement that gradually reveals its secrets. Drums punctuate the arrangement, hi-hats ring out and a muted horn plays and accompanies the piano which is played deliberately and plays a starring role. Later, it’s played tenderly as is the alto saxophone. Not for long though and soon it’s being played with power as it soars high above the arrangement and along with the piano plays a starring role as the band jam for the last time. They enjoy the opportunity to stretch their legs before just Joe Nichols’ piano remains for the final minute and he adds a flamboyant flourish before taking his leave on this stunning nine minute cinematic opus which closes Dreams Fulfilled on a high.
Nimbus Sextet’s recently released debut album Dreams Fulfilled was much-anticipated and certainly doesn’t disappoint. The two singles Trap Door and Lily White are an important part of the album’s narrative and a tantalising taste of what was to come from the Glasgow-based group. However, these are just two of the six tracks that were recorded at Luigi Pasquini’s Anchor Lane Studios, in Glasgow. The result was an album that showcase a talented and versatile band who can seamlessly switch between and combine disparate musical genres and influences.
Jazz is at the heart of each and everyone of Nimbus Sextet’s songs on Dreams Fulfilled. They combine elements of funk, fusion, jazz-funk, Neo-Soul and world music during the six tracks on Dreams Fulfilled. Sometimes, the influence of Herbie Hancock can be heard in pianist and keyboardist Joe Nichols’ playing. In the rhythm section bassist Mischa Stevens has obviously been inspired by classic funk keep things funky with fleet fingered solos. However, it’s unfair to single two band members out as everyone plays their part in the sound and success of Dreams Fulfilled.
It’s a captivating musical journey where the music veers between smooth and soulful to hook-laden, melodic and memorable to beautiful and joyous right through to understated, atmospheric and cinematic. Sometimes, the music is wistful and rueful and allows the listener to reflect, ruminate and contemplate. Dreams Fulfilled shows the different sides to Nimbus Sextet who are one of the rising stars of Scotland’s vibrant and eclectic music scene and look like becoming one of the success stories of the forthcoming decade. Especially if they can continue to record albums of the quality of Dreams Fulfilled which showcases Nimbus Sextet’s versatility during a carefully crafted, genre-melting album that’s full of twists and turns and subtleties and surprises.
Nimbus Sextet-Dreams Fulfilled.
LOFTS AND GARAGES-SPRING RECORDS AND THE BIRTH OF DANCE MUSIC.
Lofts and Garages-Spring Records and The Birth Of Dance Music.
Label: BGP.
Format: CD.
Release Date: ‘30th’ October 2020.
As 1979 dawned, the tide was turning against disco, which had been one of the musical success stories of the late-seventies, and had provided the soundtrack to dance floors across the world. That was about to change.
Its critics stated that some disco was formulaic, while others thought the music was mechanical. An article in Time magazine went much further, describing disco as a “diabolical thump-and-shriek.” Another of disco’s biggest critics was Steve Dahl, a Chicago based DJ.
Up until Christmas Eve 1978, Steve Dahl had a show on WDAI in Chicago. This changed when WDAI’s owners read about New York’s WKTU-FM, a struggling rock station that decided to change format in 1978 and began to play disco. Suddenly, the ratings were soaring. The owners of WDAI decided to follow in the footsteps of WKTU-FM, and on Christmas Eve 1978, Steve Dahl was fired.
Talented DJs like Steve Dahl were never out of work for long, and soon, he was hired by the album rock station WLUP. Not long after starting at WLUP, Steve Dahl realised that the anti-disco backlash had begun. Soon, he started mocking rival station WDAI’s Disco DAI slogan on air, changing the slogan to Disco Die. This was just the start of Steve Dahl’s carefully orchestrated campaign.
Before long, the DJ had created his own mock organisation the Insane Coho Lips, which was Steve Dahl’s very own anti-disco army complete with a motto. This was that: “Disco Sucks.”
The anti-disco backlash gathered pace and led to the Disco Demolition Night at Comiskey Park, the home of the Chicago White Sox on the ’12th’ of July 1979.
Everyone who brought a disco record was admitted for ninety-eight cents. Crowds flocked from far and wide to watch the disco records being blown up at half-time during a double-header between the Chicago White Sox and the Detroit Tigers.
For many in the crowd that night, seeing the crate of disco records blown up was the highlight of the evening. Pressing the detonator was Steve Dahl. After the explosion, many in the crowd rushed onto the field and the pitch was damaged, which resulted in the Chicago White Sox having to forfeit the game. However, Chicago White Sox weren’t the only losers, because that night, disco died.
After that, record companies lost interest in disco, and record companies began looking for the “next big thing.” The times they were a changing in dance music and so were DJs.
This had been the case since the seventies during the disco era, when many DJs had a much higher profile than their predecessors and assumed the role as tastemakers. Some of the highest profile DJs were David Mancuso at The Loft and Larry Levan at the Paradise Garage, plus Walter Gibbons and Frankie Knuckles who straddled the disco and house era. Many of the DJs were regarded as high priests of music and their DJ box as their pulpit, and dancers came to the worship at the altar.
That was still the case in New York in what was regarded as the post disco era. Many music journalists seemed to be celebrating the demise of disco.However, disco’s death was exaggerated and it would go on to make a full recovery.
Before that, DJs in the Big Apple began spinning an eclectic selection of music. This included Afro-funk, boogie, Chicago House, Latin rock, mid-tempo Miami productions and extended mixes of Norman Whitfield productions. Some DJs even sprinkled their sets with classic funk, soul and even a few disco tracks. Others were looking for something different and new.
Especially Larry Levan at the Paradise Garage who at the time was one of the high profile DJs in the Big Apple. However, after the demise of disco he like many other DJs was looking for new music to play in his sets. He knew a number of American cities had a vibrant music scene and this included Chicago where house music was born and New York which was home to Spring Records.
The Rifkind brothers had founded Spring Records in 1967 which was an independent label that initially specialised in soul and funk music and was home to Joe Simon, Millie Jackson and the Fatback Band. Spring Records wasn’t just successful in America, its releases sold well in other parts of the world. Partly, this was because of the financial support it received from Polygram and its successor Polydor.
This success continued into the disco era. Spring Records which was based in New York was perfectly placed to climb onboard the disco bandwagon. Joe Simon, Millie Jackson and the Fatback Band all enjoyed a commercial success during the disco era. The label also signed Krystal and Renee Pryor who also enjoyed a degree of commercial. However, by 1979 executives at Spring Records were thinking about the future.
Spring Records executive producer Alan Schivek signed Busta Jones who released the Gino Soccio produced single (You) Keep On Making Me Hot later in 1979. It had a much slower tempo and hinted at the music that the label would release in the future.
In 1980, Spring Records’ executive producer Alan Schivek made three new signings. They were Arthur Baker, Michael Jonzon and Maurice Starr and who would become three of the most influential producers of the post disco era.
While some of the productions featured on the main Spring Records label, others featured on a new imprint Posse Records. It was founded in 1979 and was the latest addition to the Spring and Event Records’ family. The new label was run by Bill Spitalsky who was the company’s president. Some of the Posse Records productions feature on Lofts and Garages-Spring Records and The Birth Of Dance Music which will be released by BGP on the ‘30th’ of October 2020. It features ten tracks including contributions by C-Brand, Ritz, Fonda Rae, Fatback, Glory, Blaze, Body and Lonnie Youngblood. These tracks were played in clubs across the Big Apple including The Loft and Paradise Garage and played their part in the development of modern dance music.
C-Brand was founded in Detroit by Michael Calhoun and Warnsby Stegall who produced the long version of the group’s second single Wired For Games which was released in 1982. It was their debut single on Spring Records and the followup to (Shake Your) A-S-S-E-T-S which was released on Detroit International and was a mixture of soul and funk. Wired For Games had a much more contemporary sound and saw elements of boogie, funk, soul, disco strings and electronica seamlessly mixed by producers Michael Calhoun and Warnsby Stegall during this eight minute joyous dancefloor filler and is the perfect way to open Lofts and Garages-Spring Records and The Birth Of Dance Music.
In 1981, Ritz released the vocal version of Workin’ Out as their sophomore single on Posse Records. It was written and produced by the Boston trio of Arthur Baker, Maurice Starr and Michael Jonzun. They fuse funk, boogie and a soulful vocal to create a track that led to the electro dance movement.
Fonda Rae released two singles on Posse Records including Live It Up. The short vocal version of a track written by Fonda Rae and Freddie Perez which they produced by Danny Weiss. The vocal has been influenced by classic disco and the arrangement is an early example of boogie with a hint of piano house. It’s a potent mix and one that has stood the test of time.
Feel was a studio soul-boogie duo that showcased the talents of Chris Hills and Danny Weiss who arranged and produced The Players Association in the eighties. They released a quartet of singles including Got To Have Your Lovin’ on Posse Records in 1983. It’s a fusion of boogie, electro, funk and a sassy, soulful vocal. Alas, commercial success eluded this single which was popular in clubs in New York and further afield.
Mynk only released the one single on Posse Records, Get Up An’ Dance (Dance With Me) in 1981. It was written by Gerry Thomas who produced the single with Bill Curtis. It’s the vocal version is included on the compilation and this boogie track was a favourite of DJs and dancers in Britain and America.
By 1984, The Fatback Band were known as Fatback and released Spread Love as a single on Spring Records. It was taken from their 1983 album Is This The Future? On the vocal version of Spread Love Fatback combine electro, funk and a dubby, sensuous vocal as they continue to reinvent their music.
Although Glory released Let’s Get Nice as a 12” single on Posse Records in 1981, it’s the 7-inch vocal version that features on Lofts and Garages-Spring Records and The Birth Of Dance Music. It’s a funky slice of electro where a vocoder is used throughout the song. It’s effective and works well on this oft-overlooked rarity.
Blaze was an electro hip hop collaboration between Maurice Starr and Michael Jonzun. They wrote and produced the vocal version of We Come To Jam which was released as a single on Posse Records in 1982. It’s an innovative and memorable fusion of boogie, electro, funk, hip hop and soul from Blaze that sadly, was their only release.
In 1985, Body released Have Your Cake as a 12 single on Posse Records. There were three versions including the vocal version. It was written by Yvette Flowers with Kenny Beck who produced the single. There’s a Germanic sound before elements of house and a soul vocal combine on this underrated dance track.
Sing A Song was released by saxophonist and bandleader Lonnie Youngblood as a single on Spring Records in 1985 closes Lofts and Garages-Spring Records and The Birth Of Dance Music. He delivers a heartfelt and soulful vocal as backing vocalists accompany him and the arrangement combines elements of funk and mesmeric electronica. It’s a case of saving one of the best until last on the compilation.
Despite Spring Records and its Posse Records imprint releasing groundbreaking singles by some of the most important, influential and innovative producers of the time, commercial success eluded the singles on Lofts and Garages-Spring Records and The Birth Of Dance Music. These singles were popular amongst DJs and dancers in clubs in America and further afield. This included in Britain, where DJs discovered the delight of the new sound that was being released by Spring Records and its Posse Records imprint.
The music that Spring Records was releasing was evolving and was very different to what it released in the seventies. It had released soul, funk and Southern Soul before its dalliance with disco later in the seventies. As the eighties dawned dance music was very different in the post disco years. Gone were the disco orchestras with their lush string arrangements and horns which were replaced by synths and drum machines on new the boogie, Chicago House and electro singles. This was dance music for the post disco generation.
Alas, it turned out that disco wasn’t dead, it was just enjoying a deep sleep. When it awoke from its slumbers disco went underground and was embraced and enjoyed by new and old fans alike. Since then, disco’s popularity has continued to grow until the present day.
The same can said of dance music in all its forms. Over the last twenty-five years there’s been a huge increase in interest in dance music. Hardly a week goes by without the release of a new compilation of dance music. Ironically, this includes the many disco compilations that are released each year. That’s despite the supposed death of disco in 1979.
Apart from disco, there are many dance music compilations are released each week. Many feature a selection of dance classics and others are a retrospective of the most important dance labels. These are the labels that shaped modern dance music and this includes Spring Records and its Posse Records imprint which are celebrated on the new BGP compilation Lofts and Garages-Spring Records and The Birth Of Dance Music.
Lofts and Garages-Spring Records and The Birth Of Dance Music.
HAPPY TIMES-THE SONGS OF DAN PENN AND SPOONER OLDHAM VOL 2.
Happy Times-The Songs Of Dan Penn and Spooner Oldham Vol. 2.
Label: Ace Records.
Format: CD.
Release Date: ‘30th’ October 2020.
One of the greatest songwriting partnerships of the past sixty years is without doubt Dan Penn and Spooner Oldham. The pair met at Fame Studios in Muscle Shoals in the mid-sixties and went on to form a formidable songwriting partnership.
Over the next few years the pair wrote hit singles for Arthur Conley, Dionne Warwick, Etta James, Irma Thomas, James Carr, Joe Simon Percy Sledge, Solomon Burke and The Sweet Inspirations. Many of the songs that Dan Penn and Spooner Oldham wrote are now known as Southern Soul and the pair were architects of the genre.
The Dan Penn and Spooner Oldham songwriting partnership was a versatile one, and they also wrote country, pop and rock songs. BJ Thomas, Charlie Rich and The Box Tops were beneficiaries of the pair’s songwriting partnership.
Sometimes, the pair joined forces with other songwriters and this brought further success their way. By the time the Dan Penn and Spooner Oldham songwriting partnership came to an end in the early seventies, they had achieved more than many songwriters achieve in a lifetime.
Nearly fifty years after this exclusive songwriting partnership came to end Ace Records are about to release Happy Times-The Songs Of Dan Penn and Spooner Oldham Vol. 2 on ‘30th’ October 2020. It’s the much-anticipated followup to Sweet Inspiration: The Songs Of Dan Penn And Spooner Oldham which was released in 2011 and featured some of the pair’s best known songs.
Happy Times-The Songs Of Dan Penn and Spooner Oldham Vol. 2 turns its attention to the pair’s lesser known songs and features contributions from Arthur Conley, Bill Brandon, BJ Thomas, Bobby Womack, Don Varner, June Conquest, Merlee Rush, Percy Sledge, Ronnie Milsap, Spooner’s Crowd, The Box Tops, The Yo Yo’s and Wilson Pickett. These tracks are a mixture of unreleased tracks, singles, B-Sides and album tracks and is another reminder of one of the great songwriting partnership Dan Penn And Spooner Oldham.
June Conquest opens Happy Times-The Songs Of Dan Penn and Spooner Oldham Vol. 2 with I Do. It was produced by Rick Hall and Staff at Fame Studios in 1966 and was regarded as a potential single. However, this soulful dancer which seems to have been influenced by Motown lay unreleased until 2012 when this soulful dancer made its debut on all Of Fame (Rare And Unissued Gems From The Fame Vaults).
In 1967, The Box Tops which featured future Big Star vocalist Alex Chilton, released their biggest hit single The Letter. Tucked away on the B-Side was the Dan Penn production Happy Times which is a vastly underrated example of pop-soul.
In 1966 Sandy Posey from Jasper, Alabama, released her debut album Single Girl on MGM Records. The most powerful track on the album which was produced by Chips Moman was Hey Mister. It features a vocal full of despair and hurt as she breathes meaning and emotion into the harrowing lyrics.
When Arthur Conley released his third album Soul Directions on Atco, in 1968, it opened with You Really Know How To Hurt A Guy. The song had originally been recorded by Jimmy Hughes in 1965. However, this latest Southern Soul cover featured a vocal full of sadness, regret and a sense of melancholia.
The Power Of Love was recorded by Don Varner at Quinvy Studios in early 1967 but this Motown influenced song lay unreleased until 1989. That was when it featured on a Charly compilation Rainbow Road-Rare Soul From The Quinvy/Broadway Sound Studio Volume 5. At last, this long-lost hidden soulful gem was available for all to hear. It makes a welcome return on Happy Times-The Songs Of Dan Penn and Spooner Oldham Vol 2.
I Need A Lot Of Loving was released as a single on Goldwax in 1966. Lead vocalist Louis Williams sounds as if he’s paying homage to Sam Cooke on this single which it was hoped would result in a change of fortune for the label.
The late Bobby Womack was one of the greatest soul singers of his generation. Proof of this is Broadway Walk which Dan Penn and Spooner Oldham wrote with Darryl Carter and was released as a single on Minit in October 1967. It’s now regarded as one of Bobby Womack’s finest performances as he vamps his way through the lyrics to this soulful slice of Memphis funk.
Cousins James and Bobby Purify formed a soul duo in 1965 and by 1966 had signed to Bell Records. In 1967, they released The Pure Sound Of The Purifys-James and Bobby which featured the beautiful ballad Hello There. It’s another hidden gem that is a welcome addition on the compilation.
By 1968 Dee Dee Sharp had signed to Atco and was working with producer Tom Dowd. He produced Help Me Find My Groove which is a stunning slice of gospel-tinged Southern Soul.
It was hoped that The Goodies would be Memphis’ answer to The Shangri-Las. Sadly, things didn’t turn out that way. By the time Stax sent them to record with Dan Penn and Spooner Oldham their career was teetering on the brink. They wrote and produced the ballad Goodies which has a vocal that sounds as if it’s been influenced by The Shangri-Las. Despite this, and an arrangement that was recorded at American Studios commercial success eluded this carefully crafted single.
In 1969, BJ Thomas recorded I’ll Pray For Rain for his album Young and In Love which was released on Scepter Records. It’s a compelling ballad with an impassioned vocal that showcases a truly talented singer.
Closing Happy Times-The Songs Of Dan Penn and Spooner Oldham Vol. 2 is I’ll Be Your Baby by Spooner’s Crowd. It’s an instrumental that features Dan Penn on piano and is played waltz time. It was proceed by Rick Hall and released on Cadet in 1966 but failed to find an audience. This oft-overlooked track is the perfect way to close a compilation that pays homage to two songwriting greats.
Nine years after the release of the critically acclaimed compilation Sweet Inspiration: The Songs Of Dan Penn And Spooner Oldham, Ace Records are about to release then much-anticipated followup. This is Happy Times-The Songs Of Dan Penn and Spooner Oldham Vol. 2 which features twenty-four of the pair’s lesser known tracks. There’s tracks that lay unreleased, B-Sides, album tracks and singles that failed to find the audience they deserved. They all have one thing in common quality.
That’s no surprise as these songs were written by one of the greatest songwriting partnerships of the past sixty years. They were all produced by top producers who brought out the best in artists who were either well known names or making their way in the world of music. The result is a compilation that oozes quality and Happy Times-The Songs Of Dan Penn and Spooner Oldham Vol. 2 and is a fitting followup up to Sweet Inspiration: The Songs Of Dan Penn and Spooner Oldham.
Happy Times-The Songs Of Dan Penn and Spooner Oldham Vol. 2.
THIS IS FAME 1964-1968.
This Is Fame 1964-1968.
Label: Kent Soul.
Format: CD.
Release Date: ’30th’ October 2020.
Back in the sixties, many record companies sent their artists to the Fame Recording Studios, in Muscle Shoals which was home to Rick Hall and the legendary Muscle Shoals Rhythm Section. They had previously transformed ailing careers and worked on million selling albums and Rick Hall was fast becoming the go-to producer for the biggest names in soul. He and the Muscle Shoals Rhythm Section had worked with Aretha Franklin, Arthur Alexander, Arthur Conley, Candi Staton, Etta James, Otis Redding and Wilson Picket. However, that was just part of he story.
Rick Hall and the Muscle Shoals Rhythm Section had also worked with Jimmy Hughes, Clarence Carter, Art Freeman, Jeanie Greene, Dan Penn, George Jackson, Billy Young, June Conquest and James Barnett. They’re just some of the artists that feature on This Is Fame 1964-1968 which will be released on Kent Soul, an imprint of Ace Records on the ’30th’ October 2020. It’ll be a welcome release for anyone who loves soul and especially Southern Soul. The story began over sixty years ago.
The story starts during late fifties when Rick Hall, Tom Stafford and Billy Sherill founded a record label, and built their first studio above the City Drug Store in Florence, Alabama. However, by the early sixties this nascent partnership had split-up resulting in Tom Stafford and Rick Hall needing a new studio.
They decided to move to what had been a tobacco warehouse in Muscle Shoals, Alabama. Having settled in the new studio, it wasn’t long before Rick Hall soon recorded what would be his first hit single, Arthur Alexander’s You Better Move On. Wisely, he decided to invest the profit in a better studio, and moved to their current location Avalon Avenue in Muscle Shoals, Alabama. The first hit single Rick Hall recorded in his new studio was Jimmy Hughes’ Steal Away. Little did Rick Hall know it back then, but soon his new studio would see artists coming from far and wide to record at Fame.
After Rick’s success with Jimmy Hughes, word got out that Fame was the place to go to record a new single or album. Quickly, everyone from Tommy Roe to The Tams, and from Joe Tex, Joe Simon, George Jackson and Clyde McPhatter right through to Irma Thomas, Etta James and Mitty Collier. Even Aretha Franklin recorded at Muscle Shoals. Indeed, it was at Muscle Shoals that Jerry Wexler brought Aretha Franklin, to record her 1967 album I Never Loved A Man the Way I Loved You. However, why did all these artists choose to head to Muscle Shoals to Fame?
Part of the reason was the session musicians that worked with Rick Hall. This included the legendary Muscle Shoals Rhythm Section and Muscle Shoals Horns. They were some of the hottest and tightest musicians of that era. This included drummer Rodger Hawkins, bassist David Hood, guitarist Jimmy Johnson and keyboardist Barry Beckett. When they recorded together, they were one of the finest backing bands ever. Between 1961 and 1969, when they departed from Fame to found the rival studio Muscle Shoals Sound Studio. However, for eight years, they helped make Fame Records Southern Soul’s greatest label. They can be heard on numerous singles and albums. The Muscle Shoals Rhythm Section and Muscle Shoals Horns can also be found on many of the tracks on This Is Fame 1964-1968.
Opening This Is Fame 1964-1968 is Jimmy Hughes’ 1964 single Steal Away. This is fitting, as it’s the single that transformed Rick Hall and the Fame Recording Co’s fortunes. When Steal Away, was released it gradually, began to climb the charts. Eventually, reached number seventeen in the US Billboard 100 and number two in the US R&B chart. Buoyed by the success of Steal Away, Jimmy Hughes had the confidence to quit his job in Robbins Rubber factory. He recorded his debut album Steal Away, which became the first album to be released bearing the Fame logo. However, Steal Away is also stonewall Southern Soul classic that even fifty-two years later, is truly timeless.
By the time Clarence Carter released She Ain’t Gonna Do Right in 1967, he had enjoyed two hit singles. Clarence had signed to Fame Records in late 1966. His first solo single was Tell Daddy, which reached number thirty-five in the US R&B charts. The followup Thread The Needle reached number ninety-eight in the US Billboard 100 and thirty-eight in the US R&B charts. Later in 1967, he covered Dan Penn and Lindon Oldham’s She Ain’t Gonna Do Right. It was produced by Rick Hall and Staff, and released later in 1967. Sadly, two didn’t become three for Clarence Carter, when She Ain’t Gonna Do Right failed to chart. That’s despite being an irresistible slice of soul-baring Southern Soul.
Otis Clay was and still is one of soul music’s best kept secrets. He had an abundance of talent, and should’ve enjoyed commercial success and critical acclaim. Proof of this his cover of Don Covay’s That Kind Of Lovin’, which was produced by Rick Hall and Staff. It was the B-Side to Do Right Woman, Do Right Man. When it was released as a single by Cotillion in October 1968 it failed to trouble the charts. This became a familiar story for Otis Clay who only enjoyed five minor US R&B hits during his career. Sadly, Otis Clay died in January 2016, and That Kind Of Lovin’, is the perfect reminder of one of the most talented Southern Soul men in full flight.
James Barnett only ever released the one single on Fame Records, Keep On Talking. It’s a Dan Penn and Spooner Oldham composition which was released as a single in January 1966. Alas, commercial success eluded Keep On Talking and most people expected the single to fade into obscurity. That wasn’t the case though. Later, James Barnett’s Keep On Talking found an audience within the UK Northern Soul scene, where even today, it’s still a favourite of dancers and DJs.
By August 1967, Jimmy Hughes was about to bid farewell to Fame Records. His swan-song was a cover of Hi-Heel Sneakers, which was produced by Rick Hall and Staff. When Hi-Heel Sneakers was released as a single, it failed to chart. This was Jimmy Hughes’ second single that failed to trouble the charts. Record buyers missed out on a barnstorming performance from Jimmy Hughes on this oft-covered song. However, it’s a welcome addition to This Is Fame 1964-1968.
Jeanie Greene was one of the female vocalists who made the journey to Muscle Shoals, and recorded at Fame Recording Studios. One of the songs she recorded was Don’t Make Me Hate Loving You. It was never released until it found its way onto Ace Records’ three CD box set The Fame Studios Story 1961-1973 in November 2011. Nearly nine years later and Jeanie Greene’s impassioned plea makes a welcome return. She’s joined by the Muscle Shoals Rhythm Section as she combines gospel and Southern Soul on this beautiful and moving ballad.
George Jackson played an important role in the rise and rise of Fame Records. He was a prolific songwriter, whose songs were covered by many artists. However, George Jackson also enjoyed a lengthy recording career. One of the labels he was signed to was Fame Records where he recorded Back In Your Arms. It’s a heart-wrenching Southern Soul ballad with gospel tinged harmonies. Incredibly, Back In Your Arms was never released as a single. That’s despite being a beautiful and timeless Southern Soul ballads that one will never tire of. It was definitely the one that got away for George Jackson.
Having enjoyed a hit single with Tell Daddy earlier in 1967, Clarence Carter began working on the followup. He wrote Thread The Needle, which was produced by Rick Hall and Staff. It was released later in 1967 as Clarence Carter’s sophomore single on Fame Records. Thread The Needle reached number ninety-eight in the US Billboard 100 and thirty-eight in the US R&B charts. Stylistically and sonically it’s not dissimilar to Tell Daddy and there’s even a nod to Sam and Dave and even Otis Redding on what’s another of Clarence Carter’s finest moments at Fame Records.
Art Freeman only ever released two singles on Fame Records.His second and final single, A Piece Of My Heart was his finest moment. It was released in March 1967 but failed to make any impression on the charts. Fifty-three years later, and A Piece Of My Heart is a welcome addition to This Is Fame 1964-1968. Quite simply, it epitomises everything that’s good about Southern Soul. It’s also an introduction to another of Southern Soul’s nearly men, Art Freeman who should’ve reached greater heights.
June Conquest’s recording career lasted just eight years. During that period, she released just six singles. This included one single on Fame Records, Almost Persuaded. It was a Rick Hall production that was released in 1964. When it wasn’t a commercial success June Conquest was dropped by Fame Records. This seemed somewhat hasty, as June Conquest was obviously a talented vocalist. She doesn’t so much deliver lyrics but live them. Her vocal is a mixture of melancholia, sadness and disappointment on Almost Persuaded which is a real hidden gem. That’s almost an understatement. It’s much better than that and is essential listening for anyone who likes their music soulful.
The only single James Barnett released on Fame Records was Keep On Talking. It was released in January 1966, but failed to even trouble the lower reaches of the charts. That was the end of James Barnett’s career at Fame Records. However, tucked away on the B-Side was Take A Good Look. It’s a beautiful Southern Soul ballad, where the Muscle Shoals Rhythm Section and Horns provide an understated backdrop. This allows James Barnett’s vocal to take centre-stage, as he lays bare his soul for all to hear. The result is another tantalising taste of James Barnett, and one of the highlights of This Is Fame 1964-1968.
Closing This Is Fame 1964-1968, is Jimmy Hughes’ I Worship The Ground You Walk On. It’s a Dan Penn and Spooner Oldham composition which was released as a single in 1966. It reached twenty-five on the US R&B charts, and gave Jimmy Hughes’ his fourth hit single. It’s one of his finest moments, with Jimmy Hughes’ vocal akin to a confessional on this beautiful Southern Soul ballad.
It’s nearly nine years since Kent Soul, an imprint of Ace Records began their comprehensive reissue of the music recorded at Fame Recording Studios, in Muscle Shoals. The next instalment is This Is Fame 1964-1968 which features twenty-four songs produced by Rick Hall and featuring the legendary Muscle Shoals Rhythm Section. With songs from Jimmy Hughes, Clarence Carter, Art Freeman, Jeanie Greene, Dan Penn, George Jackson, Billy Young, June Conquest and James Barnett, This Is Fame 1964-1968 is Southern Soul at its best.
Familiar faces and new names rub shoulders on This Is Fame 1964-1968. There’s singles, B-Sides and unreleased tracks on This Is Fame 1964-1968. That’s not forgetting more than a few hidden soulful gems. They’re among the twenty-four reasons for vinyl enthusiasts to buy This Is Fame 1964-1968. It’s a reminder, if any was needed, of one of Southern Soul’s premier labels, Fame Records, during what was its most successful years.
Key to the success of Fame Records were producer Rick Hall, and his house band the Muscle Shoals Rhythm Section. They can be heard throughout This Is Fame 1964-1968, which is a welcome addition to Ace Records ongoing and lovingly curated reissue program.
This Is Fame 1964-1968.
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.
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