CULT CLASSIC: HARMONIA-DELUXE.
Cult Classic: Harmonia-Deluxe.
In June 1975, the three members of Harmonia returned to their studio in Forst for the recording of their sophomore album, Deluxe. It would become the followup to Musik Von Harmania, which had been released in January 1974. Sadly, this groundbreaking album had failed to find an audience. It was a bitter blow for Harmonia.
Following Brain Records’ release of Musik Von Harmania in January 1974, Harmonia headed out on a promotional tour. In these pre-internet days, this was the only way a band had of promoting their album. Harmonia could’ve picked a better time for a tour.
The tour took place was the middle of a long, cold German winter. Early 1974 was especially cold and Harmonia travelled wrapped in layers of clothes. Their gruelling schedule saw them crisscross Germany, and some nights, they played towns, other nights, some of West Germany’s biggest cities. Among the audience were fans of Neu! and Cluster, and they were joined by the few people who had bought Musik Von Harmonia. Those that made their way to each venue, heard this nascent supergroup at their inventive best. This included on the 23rd March 1974, at Penny Station in Griessem, Germany.
That night, Harmonia’s concert at Penny Station in Griessem was to be recorded, and would be released as a live album. Buoyed by the thought of recording their debut live album, Harmonia gave one of their finest performances of their winter tour. From the moment Harmonia took to the stage, they were at their innovative, genre-melting best. Those that heard Harmonia that night, thought that the resultant live album would be the perfect showcase for the nascent supergroup.
It should’ve been. Sadly, the resultant live album, Live 1974 would only be released on 18th September 2007. By then, the Harmonia story had taken several few twists and turns.
Once Harmonia’s tour was over, Hans-Joachim Roedelius and Dieter Moebius began work on the next Cluster album. Meanwhile, Michael Rother and Klaus Dinger owed Brain Records an album. Then Neu! would have fulfilled their contractual obligations.
Neu! 75.
For the recording of what became Neu!! ’75, Michael Rother and Klaus Dinger reunited in December 1974 at Conny Plank’s studio. By then, Conny’s Studio was the go-to recording studio for German groups. They all wanted “the genius” to sprinkle his magic on their albums. This would be the case for Neu! ’75.
The two members of Neu! had changed. Klaus was heavily into rock music, while Michael’s interest in ambient music was growing. As Michael explains: “After two years apart, we were different people. To complicate matters, Klaus wanted to move from behind the drum kit. He felt he was hidden away. I can understand this. But it was what Klaus did so well. However, he wanted to become an entertainer, playing the guitar and singing. He wanted to bring in two new musicians to replace him.” This included Klaus’ brother Thomas and Conny Plank’s former engineer Hans Lampe. These new musicians would allow Neu! to make a very different album.
Michael realised this was problematic. “By then Klaus could be difficult to work with. I realised we had compromise, so ended making an album with two very different sides. Side one was old Neu! and side two was new Neu!” On side two Klaus come out from behind his drum kit and play guitar and sing. He became the entertainer on what proved to be an album of two sides. It was completed in January 1975, and released later that year.
When critics were sent copies of Neu! ’75, they were struck by side one’s subtle, ambient, melodic sound. Michael remembers: “we used keyboards and phasing a lot on both sides. While Michael Rother’s name was written large all over side one; side two was very different, and quite unconventional. Reviews were mixed, partly because of side two. Some critics felt that if Neu! ’75 had the same sound throughout, it would’ve been hailed a classic. However, later Neu! ’75 and Neu!’s earlier albums would be reevaluated. Before that Neu! ’75 was released.
Just like Neu! 2, Neu! ’75 didn’t sell well. The problem was, many people didn’t understand what was essentially parts of two disparate albums joined together. The proto-punk of side two was so different from the ambient sound of side one. Records buyers were confused, and didn’t understand what Neu! stood for? It seemed that Neu! were just the latest groundbreaking group whose music was misunderstood and overlooked.
Michael looking back at Neu! ’75 reflects: “It was a time time. Klaus wasn’t the easiest person to work with. He was involved with different people, and being pulled in different ways. We were also very different musically. Then there were the new drummers on side two. They weren’t particularly good. Certainly neither were as good as Klaus,” a rueful Michael remembers. “It was a difficult project. By then Klaus was different to the man I’d met a few years earlier.” Michael wouldn’t work with Klaus for another decade. By then, Michael would’ve embarked upon a solo career. That was still to come. Before that, Michael would record what became Harmonia’s sophomore album, Deluxe.
Deluxe.
With Neu! having fulfilled their contractual obligations, Michael Rother was free to record Harmonia’s sophomore album, Deluxe. Hans-Joachim Roedelius and Dieter Moebius took time out from Cluster and began work on the followup to Musik Von Harmonia, Deluxe.
Joining the three members of Harmonia, was a new face, Conny Plank, who was co-producing Deluxe. Conny Plank and Michael were good friends, and had worked together on three projects. This included Kraftwerk’s aborted album and Neu!’s two album. The addition of the man who Michael Rother calls: “the genius,” just happened to coincide with Harmonia changing direction musically.
Deluxe saw a move towards Kominische musik. Partly, this was down to the addition of Guru-Guru drummer Mani Neumeier. He played on some tracks, and added a Kominische influence. Another change was that Michael Rother’s guitar played a more prominent role. That wasn’t Michael’s only influence.
The music on Deluxe was more song oriented. This was Michael Rother’s influence. He had taught the two members of Cluster the importance of structure. However, still Harmonia were experimenting, pushing musical boundaries. This was Cluster’s influence. Other parts of Deluxe had been influenced by Michael Rother. Hans-Joachim Roedelius agrees. “Michael Rother’s influence can be heard on Deluxe, more so than on Musik von Harmonia.” What was also noticeable, was that Deluxe had a more commercial sound.
“This wasn’t a conscious decision. The music morphed and evolved, and the result was Deluxe,” Hans-Joachim Roedelius reflects. Michael Rother agrees. “Every album I’ve made I set out for it to be commercial. Sometimes, though, it doesn’t work out that way.” Sadly, that proved to be the case.
When Deluxe was released in 1975, it was to the same critical acclaim as Musik von Harmonia. The noticeable shift to what was a more commercial sound, surely would lead to a change in Harmonia’s fortunes?
That wasn’t to be. Deluxe was released on 20th August 1975, and sales of the album were slow. They never picked up, and history it seemed, was repeating itself. Michael reflects: “Still our music was being ignored. It was a difficult time for us. So much so, that Michael decided to record his debut solo album. However, he left and the other members of Harmonia left behind a classic album, Deluxe.
Straight away, Harmonia’s showcase their finely sculpted, and much more structured sound on Deluxe. Michael Rother had encouraged the other members of Harmonia to incorporate traditional song structures on the album. This he told them, would be easier to replicate live. However, two other changes played an important part in Deluxe’s sound and eventually, success.
The two other changes Michael Rother made, were to bring onboard Conny Plank to co-produce Deluxe; and Guru Guru drummer Mani Neumeie to play on some tracks. Deluxe was going to be a very different album, and the new Harmonia make their presence felt from the get-go.
A futuristic synth signals the arrival of the synths and keyboards on album opener Deluxe (Immer Weiter). Washes and stabs of meandering, lazy synths join dreamy keyboards. Sometimes the synths have a futuristic, otherworldly sound. Other times, they just shimmer, and melt blissfully into the ether. Meanwhile, understated drums underpin the arrangement. Later, melodic, ruminative vocals are shrouded in effects. This results in a noticeable Kraftwerk influence. One wonders if this is down to Michael, a former alumni of Kraftwerk? For his part, Michael unleashes bursts of jagged, rocky guitar. Occasionally, his guitar produces an elegiac wash of lysergic, melodic and mysterious music. Soon, the arrangement veers between ethereal, cinematic, mesmeric, occasionally dramatic and sometimes, futuristic and otherworldly. This is down to the sci-fi synths and carefully hewn keyboards. That’s not forgetting the slow, pulsating heartbeat. It adds an element of drama, to the genre-melting arrangement. At its heart, are elements of ambient, avant-garde, Kominische and rock. They’re combined by Harmonia and Conny Plank, who create what’s Harmonia’s neu, groundbreaking sound.
Synths sweep and beep on Gollum, before Guru Guru drummer Mani Neumeie almost caresses his drums. He eschews the power he unleashed on previous Guru Guru albums. Meanwhile, sci-fi synths shimmer and glisten. They range from Blade Runner-esque, to ethereal and elegiac. Sometimes, it’s as if Harmonia are providing the soundtrack to a sci-fi film. However, it’s left to the listener to provide the soundtrack as the arrangement glides effortlessly along. Gradually, the tension builds to this cinematic track. Mani’s drums rumble, while hypnotic keyboards add tension and drama. All the time, the otherworld synths flit in and out, as this timeless, cinematic track heads towards its dramatic crescendo.
Kekse is reminiscent of both of library music being produced in Britain and Europe in the early seventies, and Eastern European experimental music. The arrangement is like a mesmeric merry-go-round with sound effects interjecting. What sounds like animals and birds, gives way to lumbering seventies synths. Meanwhile, the mainstay of the arrangement has an obvious Kominische influence. Other parts of the arrangement, have been influenced by avant garde, classical and experimental music. Later, dreamy synths meander as the sound effects become more prominent. It’s like a journey into the Forst countryside, complete with the soundtrack of animals, birds and the tranquil sound of a river. Adding the final touch is a pastoral piano solo from Hans-Joachim Roedelius. Gradually though, its ethereal beauty dissipates, leaving a memory of Harmonia at their most ambitious and innovative.
As Monza (Rauf Und Runter) unfolds, synths meander, flutter and stutter. Meanwhile, Michael Rother unleashes washes of his guitar. It reverberates into the distance. Deep down in the arrangement, sound effects bubble, and an guitar chirps. All this plays a part in what’s a dark, dramatic arrangement. Then it’s all change, when Mani is let off the leash. He powers the arrangement along, and Michael discovers his inner guitar hero. By then, a joyous, freewheeling fusion of Kominische, rock and proto-punk has unfolded. It’s Mani’s drums that underpin the arrangement, while searing, blistering guitars are unleashed. They’re augmented by bursts of vocals and keyboards. Mostly though, it’s Mani and Michael who drive the arrangement along. Rocky guitars, crashing cymbals and pounding drums join sci-fi synths as Harmonia are a group transformed, on what’s one of the highlights of Deluxe.
Banks of progressive rock keyboards open Notre Dame. The keyboards almost sound as if they belong in a church. They’ve a big, bold and impressive sound. Some would say grandiose. That’s no bad thing. Soon, though, a drum machine provides a subtle, sonic heartbeat. Then after 1.22 it’s all change, as otherworldly synths become elegiac. A futuristic sound gradually emerges from the slow, pedestrian arrangement. Synths and keyboards play a leading role. Panning is used effectively, giving the arrangement a lysergic sound. Later, the progressive rock keyboards return for an encore, and race across the arrangement. The hypnotic drumbeats make no attempt to keep up, and provide a contrast to this captivating musical adventure.
Walky Talky closes Deluxe, Harmonia’s 1975 sophomore album. A bass is joined by plink plonk keyboards, before what resembles a braying horn interjects. This however, comes courtesy of Harmonia’s trusty synths, and adds an element of drama. Mani, Guru Guru’s legendary drummer returns for the finale. So do the futuristic, sci-fi synths and washes of Michael’s guitar. It chirps, shimmers and glistens, producing an elegiacal sound. By then, a myriad of disparate sounds are flitting in and out of the arrangement. They range from subtle and ethereal, to bold and dramatic, right through to futuristic, haunting, mesmeric and even otherworldly. It’s fitting finale to Deluxe, and finds Harmonia at their very best. Sadly, in 1975, very few people heard this future Kominische classic.
Just like so many Kominische groups, including Amon Düül II, Can, Cluster, Faust and Neu!, Harmonia’s music passed most German record buyer by in the seventies. For Harmonia, these were tough times. Neither Musik Von Harmonia, nor Deluxe sold well and Live ’74 wasn’t even released until 2007. By then, things would be very different,
Gradually, though, Kominische muzik began to grow in popularity. By the nineties, and the internet age a new generation of record buyers had discovered Kominische muzik. Harmonia were regarded as one of the Kings of Kominische muzik.
It it was fortunate that the long lost master tapes for Tracks and Traces were discovered and belatedly released in 1997. Over the next ten years, interest in Harmonia was at an all-time high.
Just like so many Kominische groups, including Amon Düül II, Can, Cluster, Faust and Neu!, Harmonia’s music passed most German record buyer by in the seventies. For Harmonia, these were tough times. Neither Musik Von Harmonia, nor Deluxe sold well. Live ’74 wasn’t even released until 2007. By then, things would be very different and interest in Harmonia increased.
By 2007, Harmonia’s Live ’74 album was reissued. To promote the album, the three members of Harmonia reunited for what turned out to be their final concert. Never again would the three members of Harmonia take to the stage together.
Dieter Moebius, Harmonia’s synth player died on 20th July 2015. He left behind a rich musical legacy, including what many critics regard as Harmonia’s finest hour, Deluxe.
On Deluxe, Harmonia changed direction musically. Michael Rother encouraged the other members of Harmonia to incorporate traditional song structures on the album. This he told them, would be easier to replicate live. The result was a finely sculpted and structure album, where Harmonia combine disparate genres.
Elements of ambient, avant garde, experimental and progressive rock can be heard on Deluxe. So can psychedelia and classic rock. However, Deluxe has a much more prominent Kominische influence than Musik Von Harmonia. Partly, this comes courtesy of Guru Guru’s legendary drummer Mani Neumeier. He played on three tracks on Deluxe, and his drums add a Kominische influence. Another change was that Michael Rother’s guitar played a more prominent role. It steps out of the shadows of the keyboards and synths, and helps transforms Harmonia’s sound. The other change from Musik Von Harmonia, was the addition of Conny Plank, who co-produced Deluxe.
By then, Conny Plank was a vastly experienced producer. He had worked with Michael Rother on Kraftwerk’s aborted album, and then on Neu!’s first three albums. The two men had established a good working relationship, and Conny Plank was the perfect man to help sculpt and structure Harmonia’s new sound on Deluxe. It was a remarkable transformation. One can’t help but wonder what Harmonia’s next album would’ve sounded like?
Although Harmonia went on to collaborate with Brian Eno on Tracks and Traces, Deluxe was their swan-song. Harmonia as a band was quietly dissolved, and what become one of the most innovative, inventive and influential Kominische bands were no more.
Hans-Joachim Roedelius and Dieter Moebius continued to work together as Cluster. Michael Rother embarked upon a career as a solo artist.
It was only much later that Harmonia’s two studio albums Musik Von Harmonia and Deluxe, enjoyed the critical acclaim and started to find the wider audience their music so richly deserved. For Harmonia, it was a case of better late than never. Now somewhat belatedly, Harmonia are regarded as Kominische royalty, and Musik Von Harmonia and their timeless Kominische classic Deluxe are part of a huge treasure trove of Kominische muzik awaiting discovery.
Cult Classic: Harmonia-Deluxe.
STARLESS-EARTHBOUND.
Starless-Earthbound.
Format: LP.
Label: Last Night From Glasgow.
Just over four years after Starless released their critically acclaimed eponymous debut album, the Scottish supergroup make a welcome return with their long-awaited and much-anticipated sophomore album Earthbound, which was recently released on the Last Night From Glasgow label. It’s the latest chapter in the Starless story, and is an album that was nearly two years in the making.
After the success of the group’s eponymous debut album, work began on the followup. By then, Paul McGeechan who “conceived, produced and realised” the Starless’ concept, was a veteran of the Scottish music scene.
His career began in 1982, when he cofounded Friends Again, which also included future Bathers’ lead singer Chris Thompson and James Grant, later of Love and Money. The group only released one album, the cult classic Trapped and Unwrapped in 1984. However, when the group split-up in 1984 a new group was born.
This was Love and Money which included three former members of Friends Again, Chris Kerr, James Grant and keyboardist Paul McGeechan. They released four albums to plaudits and praise between 1986 and 1993, including Strange Kind Of Love, and became one of the most successful Scotland’s most successful musical exports during this period. Sadly, the group split-up in 1994 and it was a case of starting over for Paul McGeechan.
Later in 1994, he joined a new band, Cowboy Mouth which featured Douglas MacIntyre, Gordon Wilson, Grahame Skinner and Michael Slaven. The new group released two albums 1994s Life As A Dog and Love Is Dead in 1995. Sadly, commercial success eluded both albums and Cowboy Mouth proved to be a short-lived venture.
By then, Douglas MacIntyre, Gordon Wilson and Paul McGeechan had already formed a new group, Sugartown who released their debut album Swimming In The Horsepool in 1995. Although it was well received by critics, the album failed to find the audience it deserved. This was another disappointment for Paul McGeechan, and not long after this he decided to move in a different direction.
He decided to concentrate on production which made sense as he had worked with some of the best in the business, including Tom Dowd and Gary Katz during his time with Love and Money.
Over the next few years, he worked with the great and good of Scottish music not just as producer, but also as a mixer recordist, remixer, and sideman. It seemed that artists across Scotland had Paul McGeechan’s number on speed-dial and he worked with Ricky Ross, Isobel Campbell, The Pearlfishers, James Grant, Justin Currie, the BMX Bandits, Emily Smith and Kris Drever. Paul McGeechan’s decision to reinvent himself had paid off. Then came a phone call out of the blue in 2011.
It was totally unexpected and was the phone call he never expected to receive. Love and Money had decided to reform to for what was billed as “one night only.” Love and Money were going to play at the Glasgow Royal Concert Hall as part of Celtic Connections 2011. Soon, the show sold out, and when Love and Money made their comeback in their hometown, they received a rapturous reception as they worked their way through two entire albums, Strange Kind Of Love and Dogs In The Traffic. When Love and Money left the stage that night, a seed had been planted.
In December 2011, Love and Money’s comeback continued. This time, they played another hometown show, but chose the Clyde Auditorium. So successful was the show, that Love and Money decided to record their fifth solo album, and first since 1993.
This was The Devil’s Debt, which was released in October 2012 and received positive reviews from critics. It was the first Love and Money album in nineteen years and was welcomed by fans old and new. However, not long after this, Paul McGeechan’s thoughts turned to a project he had been contemplating for several years, Starless.
Starless.
The new group was the brainchild of Paul McGeechan, and a project he first contemplated a couple of years before the Love and Money reunion. It was only after the reunion, that he decided to return to songwriting and his new songs found their way onto what became Starless eponymous debut album.
For his new project, Paul McGeechan had a wish-list of well known names from Scottish music. He knew it wasn’t going to be easy to persuade everyone to take part in the project.
Apart from former Cocteau Twin Liz Fraser, everyone agreed to take part and Paul McGeechan was joined in the studio by some of the great and good of Scottish music for the recording of Starless. This included The Blue Nile’s Paul Buchanan, The Bathers’ Chris Thomson, former Capercaillie vocalist Karen Matheson and folk singer Julie Fowlis. They were joined by Lau’s Kris Drever and Ewan Vernal who was by Paul McGeechan’s during much of the recording of Starless. Eventually, the album was completed and his dream had become reality.
When Starless was released in May 2016, it was to critical acclaim. Critics heaped praise on an album where the Scottish supergroup incorporated elements of Scottish-Gaelic traditional music, pop, rock, an element of theatre and were joined by The Prague Philharmonic Orchestra. It was an album full of ethereal beauty where troubled troubadours with worldweary vocals join lush strings in producing what was an almost flawless album. The big question was would there be a followup?
Earthbound.
There was, and just like its predecessor Starless, the much-anticipated followup Earthbound was a star-studded affair that took the best part of two years to record. Joining Paul McGeechan this time around were some old friends from his musical past, including some of the cast from Starless.
This included his old friend from Friends Again, and Bathers frontman Chris Thompson and folk singer Julie Fowlis, who made a welcome return on Earthbound. They were joined by Hipsway’s Grahame Skinner, former Big Dish frontman Steven Lindsay, onetime Delgado Emma Pollock and Jerry Burns. There’s also contributions from Marie Clare, Karliene, Silvia Ramón Gérard and The Prague Philharmonic Orchestra who played such an important part in the sound of Starless.
Recording of Earthbound took place in three studios in Scotland, Waterside Productions, Chem 19 and UWS. Then producer Paul McGeechan travelled to Smecky Studios in the Czech capital where he recorded the Prague Philharmonic Orchestra’s contribution. By then, he knew he had almost completed the project that was conceived nearly two years earlier. After nearly two years of hard work, Earthbound, the much-anticipated followup to Starless was complete.
Eventually, in late-May 2020, Starless received their long-awaited sophomore album Earthbound. The band’s eponymous debut album had set the bar high, and it wasn’t going to be easy to match never mind surpass the quality of Starless. However, if anyone could do it, it was Paul McGeechan and his all-star band Starless on Earthbound.
Side A.
Opening Earthbound is Long Bhriseadh (Shipwreck). It’s an emotive instrumental full of drama that paints pictures as strings sweep and the piano plays. Later, the sound of waves break on the deserted shore and in the distance a piper plays, adding to the heartbreak and drama on this cinematic sounding track.
The traditional Gaelic lament Ailein Duinn features a heartfelt and impassioned vocal from Karliene. Meanwhile, strings sweep, the piano plays and drums provide the heartbeat. Then later, the sound of waves lapping on the beach is added and is the finishing touch to what’s a truly beautiful track.
Paper is a piano lead track that features a tender, thoughtful vocal from former Delgado Emma Pollock. As the understated arrangement unfolds and evolves there’s a nod to trip hop pioneers Portishead. Later, strings sweep, swirl and dance as the Castle Douglas-born singer delivers a tender, soul-baring vocal on one of Earthbound’s highlights.
Breakdown marks the Starless debut of former Big Dish frontman Steven Lindsay. He delivers an impassioned and bittersweet vocal that’s akin to a confessional. Meanwhile, drums, crack, strings cascade and along with the piano set the scene and add an element of drama to this four minute mini-drama.
Making a welcome return on Spellbound is Chris Thompson of The Bathers. A distant piano and strings set the scene on this understated and spacious. Just a lone piano accompanies the troubled troubadour as he enters and takes centrestage. Soon, he’s painting pictures with his lived-in, worldweary vocal and breathing life and meaning into the lyrics. Meanwhile, drums provide the heartbeat and strings sweep and later quiver and shiver. They frame the wistful vocal during a spellbinding performance from one of Scotland’s finest vocalists.
There’s a sense of melancholy from the opening bars of Glittering Light as a piano plays and the arrangement gradually reveals its secrets. This includes cinematic strings and a tender, heartfelt vocal from one of Scottish music’s best kept secrets Jerry Burns. She’s accompanied by an arrangement that shimmers and glistens as strings sweep and later with a voice full of emotion, asks: “where are you now?”
Side B.
The sound of Morse code opens Settling Mist before a lone piano plays and is joined by strings. They sweep majestically and later are joined by pipes in creating a cinematic track that latterly, has a quintessentially Scottish sound.
The ethereal sounding Marie Clare Lee featured on Starless’ eponymous debut album. She makes a welcome return on Chase The Devil, where she lays bare her soul on a widescreen symphonic epic.
Very different is Cridhe Aingeal, an eerie, atmospheric and filmic interlude that lasts just twenty-five seconds.
Seesaw and sweeping strings add a melancholy hue on Somewhere In The Night as they accompany Steven Lindsay’s impassioned vocal. It’s joined by drums and synths as the drama builds on an arrangement that in parts, harks back to the eighties. Meanwhile, the vocal is mixture of power and passion as he sings: “so pray for me and shield me from the light, and wait for me.” Framing his needy pleas is a stirring, string drenched arrangement that proves to be the perfect accompaniment.
Another of the highlights of Earthbound is Sea Shanty No.2 (Wish You Were Here) Hipsway frontman Grahame Skinner delivers a vocal full loneliness, longing and hurt. He sounds as if he’s lived the lyrics as the strings sweep and swirl and a backing vocalist adds to the sense of longing.
Chris Thompson returns Calvary which initially has an understated arrangement. Soon, its beating heart is joined by a guitar and strings that add a degree of urgency. Meanwhile his vocal takes on a confessional quality as the genre-melting arrangement builds and becomes dramatic. This is perfect backdrop for a vocal that’s akin to a cathartic unburdening from The Bathers’ frontman.
Closing Earthbound is the lament Ailein Duinn (1957) which was written in Gaelic for sea captain for Alan Morrison by his fiancée Annie Campbell. They set sail to Lewis in 1788, and sailed into a storm and the vessel sank with only Annie Campbell surviving. She was broken hearted and wrote this lament for her lost love. Sadly, she died a few months later having wasted away because of the grief and heartbreak and her lasting legacy is this lament.
Starless reinvent Annie Campbell’s lament and give it a ‘21st’ Century makeover. It opens with the sound of waves breaking on the shore and claps of thunder as Julie Fowlis’ vocal enters. It’s replaced by melancholy strings before she returns and continues to deliver a tender, heartfelt and emotive vocal. Then when it drops out the sound of waves crashing and gently breaking on the beach can be heard. They’re accompanied by a harpsichord and later, replaced by what’s meant to be a ship using Morse Code to tell of the shipwreck that they’ve discovered after the storm. It’s a sobering and heart-wrenching way to close the album with such a tragic story that is guaranteed to tug at the heartstrings.
Nearly four years after the release of their eponymous debut album, Starless make a welcome return with the long-awaited and much-anticipated sophomore album Earthbound. Just like its predecessor, Starless founder Paul McGeechan was joined by an impressive all-star lineup. However, this time around, he’s shuffled the pack and some new names join the cast. This includes Emma Pollock, Grahame Skinner and Steven Lindsay. They joined Chris Thompson, Julie Fowlis and Marie Claire Lee who featured on Starless, and play their part in the sound and success of the followup Earthbound. So do the Prague Philharmonic Orchestra whose contribution to the album can’t be underestimated.
They play their part in sweeping, widescreen arrangements that provide the perfect backdrop to songs that are variously atmospheric, beautiful, cinematic, dramatic. elegiac and ethereal. Other songs are haunting or full of hurt, loneliness, longing and melancholia and are brought to life by some of Scotland’s finest vocalists who breath life, meaning and emotion into the lyrics. They play their part in a near flawless opus that marks the welcome return of Paul McGeechan’s all-star band Starless, on their near flawless sophomore album Earthbound.
Starless-Earthbound.
BOILLAT THERACE QUINTET-BOILLAT THERACE QUINTET +3.
Boillat Thérace Quintet-Boillat Thérace Quintet +3.
Label: We Release Jazz.
Format: CD.
Release Date: ’10th’ July 2020.
By 1974, the Swiss jazz scene was thriving, and the Montreux Jazz Festival which had been launched in 1967, was in its eight year. The organisers had surpassed themselves with what was an all-star lineup
Between the ‘2nd’ and ‘7th’ July 1974, the great and good of jazz arrived at what was now one of Europe’s premiere jazz festivals. Legends of jazz including Cecil Taylor, Art Ensemble Of Chicago, Billy Cobham, Sonny Rollins, Mahavishnu Orchestra and The Gil Evans Orchestra were due to arrive and entertain Swiss jazz fans. They also inspired the local jazz musicians.
That had been the case since the early days of the Montreux Jazz Festival, and suddenly, new bands being formed and creating ambitious, inventive and innovative music. This was the case in towns and cities across Switzerland.
Another jazz hotspot was the region that surrounds Lake Geneva. It was home to jazz activist and one of Switzerland’s top pianists Jean-François Boillat, and Raymond Thérace. He was known for his versatility and ability to play a variety of wind instruments including the flute and tenor saxophone. This talented duo decided to form a their own band and the Boillat Thérace Quintet was born.
They recorded two albums between 1974 and 1975. Their debut album was Boillat Thérace Quintet which was recorded between the ‘17th’ and ‘19th’ January 1974. By then, the lineup featured drummer Eric Wespi, bassist Frédéric Pecoud and percussionist Rogelio Garcia. They were joined by Jean-François Boillat on piano and Fender Rhodes, while Raymond Thérace switched between flute and tenor saxophone during the sessions.
Boillat Thérace Quintet recorded six tracks that made it onto the album. This included 1224, Rahsaan Rahsaan and Cenovis which were written by Jean-François Boillat and Raymond Thérace. They were joined by covers of Roland Kirk’s Sweet Fire, Keith Jarrett’s In Your Quiet Place and Freddie Hubbard’s Straight Life. However, three other cover versions were recorded but never made it onto the album. This included Herbie Hancock’s Dolphin Dance, Wayne Shorter’s Adam’s Apple and Claude Engel’s ‘5th’ Of July, Dulong Street. They’re why We Release Jazz’s CD version of the album is now billed as Boillat Thérace Quintet +3. They’re a welcome addition to the reissue of what’s now an incredibly rare European jazz album.
With the album complete, there was no sign of a indie or major label signing the Boillat Thérace Quintet.They decided like a lot of artists and bands in the early to mid seventies to self-release their album. Boillat Thérace Quintet was scheduled to be released by PMP Pierre Maire Productions later in 1974.
While self-releasing their album gave the Quintet control over every aspect of the release, and potentially was more profitable, it wasn’t without a number of pitfalls. The band’s money was at risk and they were paying for everything directly. This included recording and manufacturing the album. Often by the time they paid for this there was very little money left.
Very few artists and bands had the marketing budget and expertise that a record company had. They also had a contract with a distributor who could get the album into record shops. Bands self-releasing an album couldn’t, and often, resorted to taking boxes of albums around local record shops in the hope that they would take some on sale or return.The other option was to sell their album after concerts. It was hard work, but bands were able to release an album and for many, this was something that they had dreamt of.
Later in 1974, Boillat Thérace Quintet was released in Switzerland by PMP Pierre Maire Productions. Just like many other private presses, only a small number of copies Boillat Thérace Quintet were pressed. Despite the quality of music on this album of soul-jazz and modal jazz it was a low-profile release that slipped under the musical radar. Very few people outside of the local jazz scene were aware of the release of Boillat Thérace Quintet. It was another private press that failed to find the audience it deserved.
Opening the album is 1224, which is dedicated to Geneva’s public transport line Tram 12. It finds the Boillat Thérace Quintet grabbing the listener’s attention from ye get-go. What follows is a memorable and sometimes funky, dramatic and cinematic slice of soul-jazz that takes the listen on a musical journey.
The tempo drops on the cover of Roland Kirk’s Sweet Fire. It’s beautiful, dreamy and sensual cover and shows another side to the Boillat Thérace Quintet.
They change things around on Rahsaan Rahsaan where the rhythm section propel the arrangement along, and Jean-François Boillat’s piano and Raymond Thérace flute plays leading rolls. Drum fills punctuate the arrangement to a track that sounds as if it belongs on the soundtrack to a French or Swiss film.
For those unfamiliar with Cenovis it’s the Swiss equivalent of Marmite. Here, Jean-François Boillat switches to Fender Rhodes and combines with the rest of the rhythm section and percussionist Rogelio Garcia to provide the perfect backdrop for Raymond Thérace’s tenor saxophone. He gives one of his finest performances playing with speed, control and accuracy as his sultry saxophone breezes across the arrangement playing its part in the feelgood summery sounding track where jazz, funk, fusion and Latin are combined seamlessly by the Quintet.
Very different but quite beautiful is the wistful piano lead ballad In Your Quiet Place. It encourages reflection and is one of the album’s highlights.
Boillat Thérace Quintet close their eponymous debut album on a high with Straight Life. Funky fusion and soul-jazz are combined on a track where Raymond Thérace unleashes a peerless performance on tenor saxophone. He’s combines power and speed but is always in control. Meanwhile, Jean-François Boillat fingers dance across the keyboard to his Fender Rhodes on this irresistible track that would still fill a dancefloor. It’s akin to a call to dance and resistance is impossible.
Although there’s only six tracks on Boillat Thérace Quintet they’re all of the highest quality. There’s everything from funk and fusion to Latin, modal jazz and soul-jazz and sometimes, several genres are fused within the space of a track. This the Boillat Thérace Quintet do effortlessly and seamlessly.
While each member of the band are obviously talented and versatile musicians, cofounders pianist Jean-François Boillat and tenor saxophonist and flautist Raymond Thérace play starring roles. They’re playing is flawless and veers between beautiful, dreamy melancholy, sensual, understated and wistful on the ballads. Other times, the music is cinematic, dancefloor friendly or fiery, funky, sultry and irresistible. Not once will the listener be tempted to reach for their remote control.
Not even on the bonus tracks, which on many albums can be hit or miss affairs. That isn’t the case here and they’re welcome additions and offer further insight into Boillat Thérace Quintet who only released two albums during their career. This includes their eponymous debut album which nowadays, is a much-prized rarity among collectors of European jazz that changes hands for around €250. However, the reissue of Boillat Thérace Quintet means that a jazz fans old and new, will be belatedly be able to discover the delights of this long-lost hidden gem of an album that is one of the jewels in the crown of Swiss jazz.
Boillat Thérace Quintet-Boillat Thérace Quintet +3.
GREG FOAT-SYMPHOMIE PACIFIQUE.
Greg Foat-Symphonie Pacifique.
Label: Strut
Release Date: ‘3rd’ July 2020.
Prolific and versatile are words that describe London-based Greg Foat, who nowadays, is regarded as one of Britain’s top jazz pianists and composers. His career began back in the noughties, and in 2009, he founded The Greg Foat Group who went on to release five albums between 2011 and 2016. That is just part of the story.
Greg Foat who has previously been described as a “born collaborator,” has also recorded albums with Warren Hampshire as well as James Thorpe and Nick Moore aka Linkwood. These albums featured everything from library music, pastoral acid folk, soul-jazz and haunting, cinematic compositions. They were released to plaudits and praise and were a commercial success. Despite such a hectic schedule,
Despite collaborating on six albums since 2017, Greg Foat still finds time to record solo albums.
His latest solo album is the much-anticipated Symphonie Pacifique, which is the first album that Greg Foat has released for Strut, who he signed to earlier in 2020. It’s a new start for the London-based bandleader, composer and pianist, and is the ninth album that Greg Foat has released in the last four years. Symphonie Pacifique is best described as an expansive and widescreen album that features some of the lushest soundscapes Greg Foat has recorded.
For the recording of Symphonie Pacifique, Greg Foat built these lush soundscapes using choral textures, and uses a harp and tubular bells on the album. He explains: “It has been a hallmark of my previous albums to use choral voices and tubular bells to sound more like chordal instruments… “I used pedal steel for the first time on these tracks.” The pedal steel was put to good use on the album.
It opens with the ruminative Prelude, which lasts just twenty-eight seconds. Very different is Symphonie Pacifique, where the rhythm section set the scene and stabs of piano tease the listener. They know something special is about to unfold, and it does. Greg Foat’s fingers dance across the rippling keyboard as strings sweep and a choral influence can be heard. Together they paint pictures of blues skies, golden beaches and better times. Later, he pounds the piano as if in frustration, but celestial voices reassure and strings sweep as if saying the good times will return.
Undulation is another short wistful soundscape that invites reflection. It gives way to Anticipation, a sensuous sounding, groove-based soundscape that initially, its dubby and dreamy with a Balearic influence. There’s even a nod to Underworld’s Born Slippy as synths, sweeping, swirling strings and scatted vocals combine. Later, it’s all change as duelling braying horns are unleashed and cascade as they’re played with power and speed. By now, the influence of Donald Byrd and the Mizell Brothers can be heard on this captivating, ethereal and cinematic soundscape.
Mu is another ruminative interlude where dark strings dominate. It’s followed by Yonaguni where disparate genres melt into one. This includes everything from slinky jazz-funk, house, funk and acid jazz. However, it’s Greg Foat’s piano that plays a leading role, while seesaw strings, sci-fi sounds and ethereal vocals play supporting roles in this uplifting and memorable song with a summery vibe. So has the languorous, and leisurely sounding Island Life which is one of the highlights of the album.
Greg Foat explains about Nikinakinu. “This was one for my stepson Nicky. I worked up this idea with him and my Zimbabwean drummer friend Sam Chagumachinyi so it has a slightly African feel to it and uses pentatonic scales”. The tempo rises on this genre-melting workout. Funk and fusion combine with the African influence on this feelgood track where Greg Foat channels the spirit of Herbie Hancock and blasts of horns provide the perfect accompaniment.
Man Vs Machine sounds as it’s been insprired by a classic Kraftwerk track. Percussion combines with an analog drum duet on what’s best described as ‘21st’ Century robo-funk.
Very different is the beautiful, haunting and ruminative Before The Storm. It sounds as if it should belong on a film soundtrack. So does the atmospheric and cinematic After The Storm. The experimental sounding Meditation On A Pedal Steel sounds as if it should belong on a Wim Wenders soundtrack. It’s one of the finest tracks on Symphonie Pacifique.
One of the most poignant tracks on the album is Lament For Lamont. It’s a tribute to KPM library music legend Duncan Lamont who also worked with Frank Sinatra, and recorded Best Of The Bossa Novas one of the biggest selling British jazz albums. He featured on Greg Foat’s album The Mage and was meant to play on Symphonie Pacifique. Sadly, he passed away a couple of months before the sessions, and this is Greg Foat’s beautiful, poignant tribute to one of the unsung heroes of British jazz, and a hero to many afficianados of library music.
Pointe Vénus is meanders along encoring the listener to reflect and ruminate. Greg Foat’s piano is accompanied by an understated and ethereal arrangement that floats along. Later, horns adds a jazzy hue and accompanies the rippling piano adding a degree of drama and to the beauty that is omnipresent. Beauty is also omnipresent throughout Mother’s Love, where a distant saxophone is part of an ethereal and dubby soundscape.
Closing Symphonie Pacifique is Epilogue-Three Tenors. Greg Foat heads to the control room and lets the three tenors take centrestage. They create an undulating, shimmering and dubby soundscape that is subtle, understated and again encourages reflection. It’s the perfect way to close the album.
Symphonie Pacifique is without doubt, the finest solo album of Greg Foat’s career. It’s an emotional roller coaster with a cinematic quality where the music veers between ruminative and inviting reflection to beautiful, languorous and joyous on what’s an almost flawless album.
It finds Greg Foat flitting seamlessly between and combining disparate genres and influences. There’s everything from African music to ambient, Balearic, dub, electronica, funk, house and jazz to jazz-funk, fusion, library music, soul-jazz and soundtracks. Then there’s the influence of everyone from David Axelrod, Donald Byrd, Herbie Hancock, Kraftwerk, the Mizell Brothers, Underworld and Wim Wenders. Add to all these disparate genres and influences lush strings and choral influences and Symphonie Pacifique is a captivating that doesn’t disappoint.
Bandleader, composer, pianist and producer Greg Foat comes of age musically on Symphonie Pacifique, which is his Magnus Opus, and a timeless album that sets the bar high for the future. However, if anyone can top Symphonie Pacifique it’s Greg Foat who is one of the leading lights of British jazz and an inventive and innovative musician never lets his standards drop despite his prolificacy.
Greg Foat-Symphonie Pacifique.
DEEP PURPLE-BURN.
Deep Purple-Burn.
Label: UMC/Virgin EMI.
Release Date: ‘10th’ of July 2020.
When Ian Gillan and Roger Glover left Deep Purple in 1973, this left a huge void for one of the unholy trinity of British hard rock and heavy metal. They were regarded as almost irreplaceable, and had played a huge part in Deep Purple’s rise to titans of rock. For Deep Purple and their legion of loyal fans, it was the end of an era.
Deep Purple had come a long way since they changed their name from Roundabout in 1968. However, success didn’t come overnight and it was their fourth studio album Deep Purple In Rock, released in June 1970 that transformed their fortunes. It was certified gold in Britain, America, Italy and France. This was just the start for Deep Purple.
For the next three years, commercial success and critical acclaim would be constant companions of the original lineup of Deep Purple. During that period, they were one of the hardest rocking groups of the seventies. They also established a reputation as one of the hardest living bands.
Deep Purple, Black Sabbath and Led Zeppelin were crowned the: “unholy trinity of British hard rock and heavy metal.” The three groups seemed proud of their infamy, and wore it like a badge.
The “unholy trinity’s” penchant for the rock ’n’ roll lifestyle was legendary. Excess and extravagance was 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. Hotel rooms were wrecked, televisions thrown out of windows and copious amounts of drink and drugs consumed during lengthy tours.
By 1973, all wasn’t well within Deep Purple and the group needed a break. Their management pushed them to finish Who Do We Think We Are despite bad feeling and tension within the band. This led to Ian Gillan quitting the group following the second Japanese tour in the summer of 1973. Then Roger Glover was dismissed at the insistence of Richie Blackmore. It was a huge loss, and many critics thought this could be a fatal blow for Deep Purple.
They brought onboard Glenn Hughes who had been the bassist in Trapeze, and unknown vocalist David Coverdale. The new lineup of Deep Purple began work on their eighth studio album Burn in November 1973. However, the Deep Purple story began six year years earlier.
Although Deep Purple were formed in 1968 in Hertford, the story begins in 1967. That was 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. He’d previously played with The Artwoods. Guitarist Richie Blackmore, who recently, had been working as a session musician is Hamburg auditioned. He also joined Roundabout, and so did bassist Nick Simper, whose most recent band was The Flower Pot Men. He was a friend of Richie Blackmore.
The two other members of Roundabout were also friends. Rod Evans was recruited as the lead vocalists. Previously, he was a member The Maze, and their drummer was Ian Paice. He became the final piece in the jigsaw. However, he wasn’t the first choice drummer.
Originally, Bobby Woodman was meant to be Roundabout’s drummer. He was drummer when Rod Evans auditioned as vocalist. However, Richie Blackmore had seen Nick Paice playing before, and although he just eighteen, knew he was a good drummer. So when Bobby Woodman headed out to buy cigarettes, Ian Paice was auctioned. Instantly, everyone realised he was a better drummer. When Bobby returned with his cigarettes he was no longer Roundabout’s drummer. However, at least 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. 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. That 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. So 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’d 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 unfocused. It was a mix of psychedelia, progressive rock, pop rock and thanks to Richie Blackmore’s hard rock guitar riffs. 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. They headed into the recording studio in September 1968 to record what became The Book of Taliesyn.
The Book of Taliesyn.
Time was against Deep Purple as there wasn’t long before their American tour was due to begin. They only had five new songs written and 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. 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. This included as songwriters. Although they’d only been together just over a year, they were a much better band. They’d released two albums and toured 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. So, they were familiar with the room. This allowed Deep Purple to work quickly. With their reputation in America growing, Deep Purple 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, with 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. Little did Deep Purple realise that they were entering the most successful period of their career.
Fireball.
Fireball was the first of three number one albums Deep Purple would have in Britain. Belatedly, Britain had “got” Deep Purple. They were their own, and were proud of that. The hard rocking quintet’s unique brand of hard rock was winning friends and influencing people. Having toured extensively, at last Deep Purple were now part of British rock royalty. This continued with Fireball.
Given Deep Purple extensive touring schedule, albums were recorded whenever the band had downtime. Fireball was recorded during various sessions that took place between September 1970 and June 1971. Recording took place at De Lane Lea Studios and Olympic Studios, London. Other sessions took place at The Hermitage, Welcombe, North Devon. During these sessions, seven tracks were recorded. Each of the tracks were credited to the five members of Deep Purple. Unlike other bands, everyone in Deep Purple played their part in the songwriting process. That had been the case since the first album Deep Purple Mk. II had recorded, Deep Purple In Rock. Just like Deep Purple In Rock, Fireball would be a commercial success.
Most critics gave Fireball favourable reviews. There were very few dissenting voices. Apart from later, members of Deep Purple. They felt Fireball wasn’t their best album. Record buyers disagreed.
Across the world, Fireball was a huge commercial success. Fireball was released in Britain in July 1971. Record buyers in America and Europe had to wait until September 1971. By then, Fireball had reached number one in Britain and was certified gold. Two singles were released in Britain. Strange Kind of Woman reached number eight and Fireball number fifteen. This was just the start of Fireball’s success.
When Fireball was released in America it reached number thirty-two in the US Billboard 200 charts and was certified gold. In Canada Fireball reached number twenty-four. Fireball proved one of Deep Purple’s most successful albums in Japan, reaching number sixty-six. Australians were won over by Fireball, when it reached number four. Deep Purple proved popular in Israel, where they enjoyed a top ten album. However, it was in Europe that Fireball burnt brightest.
On Fireball’s release in September 1971, it reached number one in Belgium, Denmark, Germany and Sweden. Fireball reached the top ten in Finland, France, Holland, Italy Norway. Despite the widespread commercial success and critical acclaim Fireball enjoyed in Europe, the only gold disc awarded was in Holland. However, Deep Purple would make up for this with their sixth album, Machine Head.
Machine Head.
By 1972, Deep Purple had established themselves as one of the hardest working bands in music. They seemed to be constantly touring. When they weren’t touring, they were recording. As a result, Deep Purple were about release their sixth album in less than four years, Machine Head.
Unlike their five previous albums, Deep Purple didn’t head into the recording studio. Instead, they brought the recording studio to them. They were booked to stay at the Grand Hotel, in Montreux Casino, Switzerland. So that’s where they brought the Rolling Stone’s sixteen track mobile recording studio to. Between the 6th and 21st December 1971, Deep Purple were meant to record their sixth album, Machine Head. However, there was a problem.
Lead vocalist Ian Gillan had contracted hepatitis and his doctors advised him to rest. For Deep Purple, this was a disaster. The hotel rooms and mobile recording studio was booked. They’d already had to cancel their forthcoming American tour. Cancelling the recording of their sixth album would be an utter disaster. No doubt realising the gravity of the situation, and buoyed by the excitement of starting recording a new album, Deep Purple decided to head to Switzerland.
Deep Purple landed in Switzerland on 3rd December 1971. Only one further concert had to take place at Montreux Casino. That was Frank Zappa’s now infamous concert. It took place on the 4th December 1971. During Frank Zappa’s set, an over enthusiastic member of the audience fired a flare. It hit the roof, causing the Montreux Casino to go on fire. Fortunately, nobody was hurt. Unfortunately, the Montreux Casino was in no fit state to double as a makeshift studio. Luckily, the Montreux Casino’s owner Claude Nobs new a theatre nearby that could be transformed into a makeshift studio. Deep Purple headed to the Pavilion where they recorded a song based on the somewhat surreal experience at the Montreux Casino. This song would become a classic, Smoke On The Water.
For what became Machine Head, Deep Purple had six songs completed. They were all credited to the five members of Deep Purple. So would the unfinished song with was provisionally titled “Title No. 1.” However, as the five members of Deep Purple spoke about the events at the Montreux Casino, bass player Roger Glover uttered the immortal words “Smoke On The Water.” A classic had been born.
During a sixteen day period between the 6th and 21st December 1971, Deep Purple recorded their sixth album, Machine Head. The conditions weren’t ideal. The mobile recording studio was parked outside and cables run through the Pavilion. They ran along corridors and under doors. It was far from the ideal conditions to record an album. Coupled with Ian Gillan’s medical condition, it’s a wonder Deep Purple were able to even record an album, never mind a career defining album.
Machine Head was released on 25th March 1972. Reviews varied between favourable to glowing. Although reviews mattered, what counted was sales. There was no problem there. On its release, Machine Head reached number one in eight countries. This included Argentina, Australia, Austria, Britain, Canada, Denmark, France and Yugoslavia. In Holland, Italy, Japan, Norway andSweden, Machine Head reached the top ten. Across the Atlantic, Machine Head became Deep Purple’s most successful album, when it reached number seven in the US Billboard 200 charts. Given the commercial success of Machine Head, it received a plethora of gold and platinum discs.
Having reached number one in their home country, Machine Head was certified gold in Britain. Across the English Channel, Machine Head was certified gold twice. 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 the commercial success. Machine Head featured two singles.
Never Before was chosen as the lead single in Britain. Although it reached number twelve, this seemed a strange choice. After all, Smoke In The Water was a classic in waiting. It reached number four in the US Billboard 100 charts. It wasn’t until 1977 that belatedly, Smoke In The Water was released as a single, where it reached number twenty-one. How it wasn’t released as a single in 1972, remains a musical mystery. However, having released a career defining album, Machine Head, Deep Purple headed out on their Machine Head World Tour.
Made In Japan.
The Machine Head World Tour would be one of the most gruelling tours Deep Purple had embarked upon. It was scheduled to last the rest of 1972 and into 1973. Deep Purple were a hugely successful band. That’s why music lovers in the four corners of the globe wanted to see and hear Deep Purple. That included in Japan.
By August 1972 Deep Purple had arrived in Japan. They’d been popular in Japan for most of their career. However, Machine Head transformed Deep Purple’s fortunes. This included in Japan. On the 15th and 16th of August 1972, Deep Purple took to the stage in Osaka. Then on 17th August 1972, Deep Purple landed in Tokyo. These three concerts were recorded and became Made In Japan, which was akin to a a heavy rock masterclass from Deep Purple.
For anyone who couldn’t make the Machine Head World Tour, Made In Japan was the perfect reminder of a legendary tour. Especially the Japanese leg. Between the 15th and 17th August 1972, Deep Purple were at their hard rocking best.
This continued wherever they went. However, there were a lot of people who wanted a reminder of this legendary tour. For others, who for whatever reason, couldn’t get to see Deep Purple, a double album entitled Made In Japan was almost as good. It was released in Britain in December 1972 and in America in April 1973.
When critics heard Made In Japan, even the most cynical and hardbitten rock critic had to compliment Deep Purple. They were no one of the three best heavy rock bands in the word. Led Zeppelin were the best and Deep Purple and Black Sabbath fought it out for second place. So well received was Made In Japan, that it was heralded as one of the finest live albums ever. Made In Japan further reinforced Deep Purple’s reputation as one of the greatest heavy metal bands.
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 and 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. Their 1972 legendary live album, Made In Japan, is a reminder of Deep Purple at their very best.
Following Made In Japan, commercial success and critical acclaim continued for Deep Purple. There would also be changes in lineup, breakups and reunions. However, the classic lineup of Deep Purple features on Made In Japan. The classic line up of Deep Purple bid a farewell on 1973s Who Do We Think We Are.
When Who Do We Think We Are.
Following the critical acclaim and commercial success of Made In Japan, Deep Purple were keen to build on the momentum created by their live opus. Fortunately, Deep Purple had already recorded a new studio album. It had been recorded in Europe, during summer and autumn 1972.
The five members of Deep Purple had penned seven new songs, and they were recorded during using the Rolling Stones Mobile Studio. It made its war to Rome, Italy in July and part of When Who Do We Think We Are was recorded there. Then in October 1972, When Who Do We Think We Are was completed in Frankfurt in Germany. With their new studio album completed, this should’ve been a time for celebration. It wasn’t though.
Far from it. The group was slowly being ripped apart by disagreements within Deep Purple. Tensions had been high when When Who Do We Think We Are was being recorded. Things got so bad, that members of the Deep Purple weren’t speaking to each other. This resulted in a schedule having to be drawn up, so that warring band members could record their parts separately. Somehow, though, the five members managed to record the followup to Made In Japan. The big question was, would the internal strife affect quality of music on When Who Do We Think We Are?
When critics heard When Who Do We Think We Are, there was no consensus. Critics felt the quality of music was inconsistent. That was why reviews ranged from mixed to negative. Some critics accused Deep Purple of merely “going through the motions of making an album.” This was a far cry from previous albums.
When Who Do We Think We Are was released in January 1973, it reached number four in Britain. Across the Atlantic, the album proved successful, selling 500,000 copies within the first three months. This helped When Who Do We Think We Are reach 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.
With Ian Gillan and Roger Glover having left Deep Purple, this left a huge void. marked the end of an era for Deep Purple. Ian Gillan and Roger Glover were almost irreplaceable. They had played a huge part in Deep Purple’s rise to titans of rock.
From Deep Purple In Rock, right through to Made In Japan, Deep Purple enjoyed critical acclaim and commercial success. Deep Purple, and its classic lineup of Ritchie Blackmore, Ian Gillan, Jon Lord, Ian Paice and Roger Glover were one of the biggest bands in the free world. However, the departure of Ian Gillan and Roger Glover looked as if this spelt the end of Deep Purple. Maybe it would be best if Deep Purple called it a day, while they were at the top. The last thing they wanted to do was besmirch their illustrious musical legacy. However, the three remaining members of Deep Purple weren’t ready to call it a day.
Instead, the two departing members of Deep Purple were soon replaced. A then unknown David Coverdale became Deep Purple’s vocalist, while 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, and saw them release Burn which has just been released by UMC/Virgin EMI on the ‘10th’ of July 2020.
Burn.
With the two new members of Deep Purple onboard, work began on the first album of Deep Purple Mk. III’s career. When work began on what became Burn the five members of the band were involved. There was a problem though as Glenn Hughes had unexpired contractual obligations. This meant he couldn’t be credited on the album. Despite this, Glenn Hughes and the rest of Deep Purple cowrote five songs. The exceptions were Sail Away and Mistreated, which Richie Blackmore and David Coverdale cowrote. A200 which closed Burn, was written by Richie Blackmore, Jon Lord and Ian Paice. These songs were recorded in Montreux, in Switzerland.
Recording of Burn took place during November 1973. The Rolling Stones Mobile Studio had been hired, and made its way to Montreux. This was where the new lineup of Deep Purple made its debut. Deep Purple Mk. III featured a rhythm section of drummer Ian Paice, bassist Glenn Hughes and guitarist Richie Blackmore. Augmenting the rhythm section, was keyboardist Jon Lord. They provided the backdrop for new vocalist David Coverdale. He was part of a group that moved Deep Purple’s traditional sound forward. There was more of a boogie influence on Burn, which even featured elements of funk and soul. Once Burn was completed, Deep Purple would shortly showcase their new sound.
With Burn recorded, and the release scheduled for 15th February 1974. Before that, critics had their say on Deep Purple’s eighth studio album. Most of the critics were impressed with Deep Purple Mk. III’s ‘debut’ album. The hard rocking Burn set the bar high, as a hard rocking Deep Purple kicked loose. There was no stopping them, as they incorporated elements of boogie, blues, funk and soul. Burn was an album where Deep Purple’s music began to evolve. However, how would their fans respond?
On the release of Burn on 15th 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. Richie Blackmore, Jon Lord and Ian Paice’s decision to continue with Deep Purple had been vindicated.
Storm had been well received by critics and was a commercial success. While it wasn’t as successful as some of their earlier albums, it was something to build on for Deep Purple Mk. III.
Stormbringer.
Buoyed by the success of Storm, Deep Purple’s thoughts turned to their next album which became Stormbringer. Deep Purple and Martin Birch coproduced the album, which was recorded at Musicland Studios, in Munich, Germany, between August and September 1974.
When Stormbringer was released in November 1974 there was no consensus amongst critics. Their reviews ranged from favourable to mixed although the album featured future classics like Lady Double Dealer, High Ball Shooter and the wistful ballad Soldier of Fortune. Despite the mixed reviews, the album was certified silver in Britain and gold in America and France. However, the album sales were way down, and to make matters worse David Coverdale didn’t like the funky soulful parts of Stormbringer.
On the ‘21st’ of June 1975, it was announced that after just two albums with Deep Purple, David Coverdale had left the band. He joined forces with Ronnie James Dio of Elf, and formed a new band waging they called Ritchie Blackmore’s Rainbow. The name was shortened to Rainbow after the first album. By then, it was all change with Deep Purple.
After the departure of David Coverdale, the other members of Deep Purple cast their net wide and looked at some of the biggest names in music. Everyone from Rory Gallagher, Mick Ronson, Humble Pie’s Clem Clempson and Zal Cleminson of The Sensational Alex Harvey Band. Eventually, one of the quintessential British rock groups settled on American Tommy Bolin who had been a member of The James Gang between 1973 and 1974. He made his debut on Come Taste The Band.
Come Taste The Band.
Deep Purple Mk IV began recording what became Come Taste The Band on the ‘3rd’ of August 1975. The sessions finished on the ‘1st’ of September 1975, and after two months, Deep Purple’s tenth album was complete.
Come Taste The Band was released on the ‘10th’ of October 1975, and Deep Purple returned to a much more traditional hard rocking sound on what was a much more commercial sounding. However, Come Taste The Band the consistency and quality of previous albums and was described as a weak album.
Things didn’t improve for Deep Purple when the album stalled at forty-three on the US Billboard 200. The only small crumb of comfort was when Come Taste The Band reached number nineteen in Britain and was certified silver by November 1975. However, the sales of the album worldwide were disappointing. It was hoped that the 1976 tour would help sales.
In 1976, Deep Purple toured Come Taste The Band and things didn’t go to plan. Although Tommy Bolin was a talented guitarist, his problems with hard drugs started to affect his ability to performances. Fans didn’t realise he was in the throes of addiction and booed him because he couldn’t play solos like Ritchie Blackmore. To complicate matters, Glenn Hughes was addicted to cocaine and all this resulted in a number of poor performances. Things got so bad that the future of Deep Purple was in doubt.
Although Deep Purple Mk. IV called time on their career in the spring of 1976 the break up of the band was only announced in July 1976. By then, only Jon Lord and Ian Paice remained from the lineup of Deep Purple that released Shades Of Deep Purple in 1968. They had been with the band since they released their debut album Shades Of Deep Purple in 1968. Ten albums and four lineups later they were the last men standing and had been with the band through good times and bad.
This included a five year period where the classic lineup of Deep Purple were at the peak of their powers as they released four studio albums and the live album Made In Japan. Between 1970s Deep Purple In Rock and 1975s Who Do We Think We Are, the classic line hardly put a foot wrong. Albums like Deep Purple In Rock, Fireball, Machine Head and Made In Japan are now regarded as classic albums and Jon Lord and Ian Paice played their part in the sound and success of these albums, held transform Deep Purple into one of the most successful and hardest rocking British rock bands of the seventies. They were also one of the hardest living British bands.
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. This lead to them being known as the “unholy trinity of British hard rock and heavy metal.” The three groups seemed proud of their infamy, and wore it like a badge.
The “unholy trinity’s” penchant for the rock ’n’ roll lifestyle was legendary. Excess and extravagance was 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. They were living the dream. This continued until the release of Who Do We Think We Are.
By the time Deep Purple began work on Who Do We Think We Are all wasn’t well within the band. Things had gotten so bad, that a schedule was drawn up that allowed band members to record on their own. Somehow, Deep Purple managed to complete Who Do We Think We Are, which was well received by critics and a commercial success. After that, Ian Gillan and Roger Glover left Deep Purple. It was the last album the classic lineup of Deep Purple released.
The departure of Ian Gillan and Roger Glover looked as if this spelt the end of Deep Purple. However, they continued to record and tour but were never quite the same band.
Deep Purple released just three albums after the departure of Ian Gillan and Roger Glover. The first was Burn, which featured elements of boogie, blues, funk and soul, and was by far the best of this trio of albums. It was well received by critics and a bigger commercial success than its predecessor Who Do We Think We Are. Despite that, Burn isn’t regarded as one of Deep Purple’s classic albums. However, it’s much better and stronger album than Stormbringer and Come Taste The Band which are both disappointing albums. Nowadays, Burn is regarded as the last great album that Deep Purple released before splitting up in July 1976.
Just like classic albums like Deep Purple In Rock, Fireball, Machine Head and Made In Japan, Burn features Deep Purple at their hard rocking best. These albums have stood the test of time and so has Burn, which is the best of the rest and an essential album for anyone interested in Deep Purple’s music.
Burn is also a reminder of the golden age of rock, when Deep Purple, Black Sabbath and Led Zeppelin the “unholy trinity of British hard rock and heavy metal” ruled the roost, and recorded and released a string of classic albums that are truly timeless and part of Britain’s rich musical legacy.
Deep Purple-Burn.
CREAM-DISRAELI GEARS.
Cream-Disraeli Gears.
Label: UMC/Polydor.
Format: Vinyl.
Release Date: 10th July 2020.
Nowadays, the British rock group Cream are regarded as the world’s first ever supergroup. They were founded in the summer of 1966, and split-up in November 1968, having released four albums that sold over fifteen million copies worldwide. This included their critically acclaimed sophomore album Disraeli Gears, which was released in November 1967 and hailed a classic by critics. By then, Cream had come a long way in a short space of time.
By July 1966, Eric Clapton was in his second spell with John Mayall and The Bluesbreakers. He originally joined in April 1965 and was a Bluesbreaker until August 1965. That was when he left the band for the first time.
In November 1965, Eric Clapton returned to the fold and for the next eight months he was back with the Bluesbreakers. During this period, John Mayall and The Bluesbreakers recorded their classic album Blues Breakers With Eric Clapton in April 1966.
Three months later, and Blues Breakers With Eric Clapton was released by Decca on the ‘ 2nd; July 1966. Critical acclaim accompanied what’s regarded as a British blues classic. It reached number six in the UK charts and this should’ve been a reason to celebrate. However, Eric Clapton was neither happy nor feeling fulfilled musically.
Instead, he felt constrained musically. Eric Clapton was unable to stretch his legs within John Mayall and The Bluesbreakers. There was certainly no room for invention and he found this was frustrating. So much so, that he was even considering forming his own band. However, the Blues Breakers With Eric Clapton had just been released and looked like being the band’s most successful album. Despite that, Eric Clapton’s nascent career was at a crossroads.
To take his mind off his problems, Eric Clapton decided to go and see blues guitarist Buddy Guy in concert. That night, Buddy Guy took to the stage with a trio. When Eric Clapton saw the trio live, he was so impressed that he decided to form a new band. They would also be a trio, Cream.
Having made the decision to leave John Mayall and The Bluesbreakers, Eric Clapton began looking for musicians to join his band. He knew drummer Ginger Baker, who was a member The Graham Bond Organisation. Ginger Baker was tiring of Graham Bond’s drug addiction and bouts of instability. So much so, that he was considering his future.
When Eric Clapton approached Ginger Baker about joining his trio, the answer was yes. However, there was a catch. Eric Clapton had to agree to hire The Graham Bond Organisation’s bassist Jack Bruce.
Eric Clapton already knew Jack Bruce and played alongside him on two occasions. The first came in November 1965 when Jack Bruce sat in with John Mayall and The Bluesbreakers during November 1965. More recently, Eric Clapton and Jack Bruce were part of Steve Winwood’s band Powerhouse, which also featured Paul Jones. During the two sessions, Eric Clapton had been impressed by Jack Bruce proficiency and prowess as a bassist. Jack Bruce who had previously enjoyed working with Eric Clapton, agreed to join the band. However, he was surprised that Ginger Baker had recommended him to Eric Clapton.
During their time with The Graham Bond Organisation, Ginger Baker and Jack Bruce had a volatile relationship. The two members of the rhythm section were known to argue onstage. Sometimes, things got so bad that they traded blows. However, that was the past. Ginger Baker and Jack Bruce agreed to put their differences aside. A musical truce was declared. Suddenly, there was peace in our time. All for the good of the new group.
With the lineup complete, the nascent band set about establishing the ground rules. They envisaged that songs would be collaborations, with each member playing a part in writing the lyrics and music. Next on the agenda was a name for the group. It didn’t take long for them to come up with the name Cream. The music press had been describing the new band as the: “cream of the crop” of British musicians. Cream was essentially the first British supergroup. They were about to make what was their unofficial debut.
This took place on the 29th of July 1966, at the Twisted Wheel nightclub in Manchester. That night, it was hosting the Sixth Annual Windsor Jazz & Blues Festival. Cream was a special guest, and in absence of new material, ran through a set of blues covers. Little did those in the audience realise that they had just witnessed history being made.
Just three months later, in October 1966, Cream took to the stage with another legend of sixties music, Jimi Hendrix. He was a fan of Eric Clapton and was keen to jam with his new band on his arrival of London. Little did anyone realise that by the end of the sixties, both Cream and Jimi Hendrix would’ve become two of the biggest names of the late-sixties music scene.
Later in 1966, Cream was still experimenting musically, and had yet to decide who would be the group’s lead vocalist. Eric Clapton’s shyness meant he was reluctant to take charge of the lead vocals. Instead, Jack Bruce became Cream’s lead vocalist. However, during Cream’s lifetime, Eric Clapton would add harmonies and the lead vocal on a number of tracks.This included a track on Cream’s debut album Fresh Cream.
Fresh Cream.
Almost straight away, work began on Cream’s debut album, which later became Fresh Cream. It featured ten songs. They were a mixture of new songs and cover versions.
The new songs included Jack Bruce’s N.S.U. and Dreaming. He cowrote Sleepy Time Time with his first wife and songwriting partner Janet Godfrey. She cowrote Sweet Wine with Ginger Baker, who wrote the instrumental Toad. Other songs included a cover of song Cat’s Squirrel, which was arranged by Cream and a quartet of blues classics.
This included Willie Dixon’s Spoonful. Cream decided to cover Robert Johnson’s From Four Until Late which Eric Clapton arranged. It was joined by Rollin’ and Tumblin’ which Muddy Waters penned using his real name, McKinley Morganfield. The final blues classic was Skip James’ I’m So Glad. These songs were recorded over a three-month period.
Recording of Fresh Cream took place between July and October 1966 at two separate studios in London. Some sessions took at Rayrik Studios, while others took place at Ryemuse Studios. Drummer Ginger Baker joined bassist Jack Bruce in the rhythm section. He also played harmonica, piano and took charge of seven of the eight lead vocals. Guitarist Eric Clapton added the lead vocal on Four Until Late. Meanwhile, Robert Stigwood ‘produced’ what would later became Fresh Cream. It was completed by October 1966.
The release of Fresh Cream was scheduled for the 9th of December 1966. Before that, Cream released their debut single Wrapping Paper in October 1966 . It was penned by Jack Bruce and Pete Brown, but didn’t feature on Fresh Cream. Wrapping Paper showcased a psychedelic pop sound that Cream returned to. This proved popular and reached thirty-four in the UK charts. Things were looking good for Cream.
Nearer the release of Fresh Cream, critics had their say on the nascent supergroup’s debut album. Nearly every critic lavished praise and plaudits on Fresh Cream. They were won over by an album that ranged from blues rock to psychedelia and a much more hard rocking sound. Cream’s debut was an eclectic and accomplished album. Especially the psychedelic sound of N.S.U, the bluesy Sleepy Time and the Jack Bruce penned ballad Dreaming. Four Until Late shakes off his shyness and makes his debut on lead vocal on the cover Robert Johnson’s Four Till Late. However, one of Cream’s finest moments on Fresh Cream was their reinvention of I’m So Glad. It’s transformed into something that Skip James could never have envisaged. Given the critical reaction to Fresh Cream, it seemed that the future looked bright for Cream.
They prepared to release Fresh Cream on the 9th of December 1966 on Robert Stigwood’s new independent record label, Reaction Records. The same day, Cream released their sophomore single, I Feel Free. Just like their debut single, it didn’t feature on Fresh Cream. Despite that, I Feel Free reached number eleven in the UK and fifty-three in Australia. Meanwhile, Fresh Cream reached number six in the UK, ten in Australia and twenty in France. This resulted in Fresh Cream being certified gold in Britain and France. The success continued when Fresh Cream was released in America.
The American version of Fresh Cream was released by Atco. It featured a slightly different track listing. I Feel Free opened the album, with the British version of Fresh Cream following. This proved popular among American record buyers. Fresh Cream eventually reached thirty-nine in the US Billboard 200 and was certified gold. For Cream, this meant that their debut album Fresh Cream had been certified gold in three different continents. Critics wondered how they could they followup such a successful album? Cream returned with a classic album, Disraeli Gears.
Disraeli Gears.
Following the success of Fresh Cream, Cream headed out on tour. In March they landed in America, to play their first American tour. They were part of a package tour, and were booked to play nine dates at the Brooklyn Fox Theater in New York.
Each day, Cream played three times. However, the early concerts weren’t well received. DJ turned promoter Murray the K wasn’t impressed. He placed Cream at the bottom of the bill. Towards the end of the run, they were reduced to playing just one song during each set. The New York part of their American tour had been a disaster. They wouldn’t forget Murray the K in a hurry.
Having returned home from their American tour, Cream’s thoughts turned to their sophomore album. They had been writing what later became Disraeli Gears for some time.
When Cream was formed, the plan had been for the band to collaborate on songs. Alas, none of the eleven tracks on Disraeli Gears were written by the three members of Cream. They arranged the traditional song, Mother’s Lament. Sometimes, the members of Cream wrote alone. Jack Bruce wrote We’re Going Wrong and Ginger Baker penned We’re Going Wrong. Mostly, the members of Cream wrote alone or formed songwriting partnerships with other musicians and songwriters.
Jack Bruce and Eric Clapton cowrote Sunshine Of Your Love with Pete Brown. It would become one of their known songs. So would Strange Brew, which Eric Clapton wrote with Pete Brown. Meanwhile, Jack Bruce wrote Dance the Night Away, SWLABR and Take It Back with Pete Brown. Eric Clapton and Martin Sharp wrote Tales of Brave Ulysses. These songs were joined by a couple of cover versions.
This included Arthur Reynolds’ Outside Woman Blues which was arranged by Eric Clapton. The other cover versions was World Of Pain, which was penned byFelix Pappalardi and Gail Collins songwriting partnership wrote. Just like the rest of Disraeli Gears, it was recorded in New York, during May 1967.
Recording of Disraeli Gears took place at Atlantic Studios, New York. This time around, Cream was joined by a new producer, with Felix Pappalardi replaced ‘musical impresario’ Robert Stigwood. The twenty-seven year old was a classically trained musician who having turned his back on classical music, became a successful singer, songwriter, bassist and producer. However, Disraeli Gears was one of the biggest projects of his career, and was a much more complex album than Fresh Cream.
Ginger Baker played drums and percussionist and joined his cohort, bassist Jack Bruce in the rhythm section. Jack Bruce also played harmonica, piano and took charge of seven of the eight lead vocals. Eric Clapton switched between lead guitar, rhythm guitar and twelve-string guitar. He also added the lead vocal on Strange Brew, World of Pain and Outside Woman Blues. It seemed that Eric Clapton was well on his way to overcoming his shyness, as Cream changed direction musically.
Critics realised this when they received their promotional copies of Disraeli Gears. It took its name from a malapropism which alluded to the former British Prime Minister Benjamin Disraeli. Eric Clapton had been taking about buying a racing bike during a car journey. Mick Turner who was driving the car responded that it should have: “Disraeli Gears” when he meant derailleur gears. That malapropism gave birth to tittle of the album critics were holding. When they listened to Disraeli Gears, they soon realised that Cream was moving away from the blues’ roots.
That was apart from on the cover of Blind Boy Reynolds’ Outside Woman Blues and Take it Back. It had been inspired by American students burning their draft cards. These were the only bluesy tracks on Disraeli Gears. Mostly, Cream moved towards psychedelia on Disraeli Gears. Tracks like Strange Brew, Sunshine Of Your Love, Dance The Night Away, Tales Of Brave Ulysses and We’re Going Wrong found Cream embracing psychedelia on an album that stood head and shoulders above the competition. Critic acclaim accompanied the release of Disraeli Gears.
On 2nd November 1967, Cream released their sophomore album Disraeli Gears. In Britain, Disraeli Gears reached number six and was certified platinum. Meanwhile, Disraeli Gears reached number two in France and twenty in Norway. Halfway round the world, Disraeli Gears reached number one in Australia and was certified platinum. However, Disraeli Gears was a huge success across North America. It reached number ten in Canada and number four in America. By then, Disraeli Gears had sold over a million copies. This resulted in Cream receiving their first platinum disc in America. However, that wasn’t the end of the success for Cream.
They released Sunshine Of Your Love as a single in January 1968. It reached seventeen in the UK, eighteen in Australia, three in Canada and five in the US Billboard 100. This resulted in Sunshine Of Your Love being certified gold in Britain, Australia and America. After just two albums, Cream was one of the biggest bands in the world.
Following Disraeli Gears, Cream would rebased just two more albums. This included their third and final studio album Wheels Of Fire, which was released on the ‘9th’ of August 1968 and became world’s first platinum-selling double album. By then, all wasn’t well within the band.
Cream’s manager Robert Stigwood announced they were disbanding in November 1968. They had just completed recording their swansong Goodbye Cream a month earlier in October 1968. It featured three tracks recorded in the studio and another three which were recorded live. When Goodbye Cream was released in February 1969 and topped the British charts and reached number two in America. It was the end of an era for Cream.
They sold over fifteen million copies of Fresh Cream, Disraeli Gears and Wheels Of Fire and Goodbye. That is why nowadays, Cream are regarded as rock royalty. Cream were also the first British supergroup. Soon, others followed in Cream’s wake but never came close to replicating the commercial success and critical acclaim that Cream enjoyed. They were in a league of their own.
Each of the albums they released found Cream’s music evolving as they continued to create groundbreaking music. This includes on their sophomore Disraeli Gears where they fuse blues rock, hard rock and psychedelia to createa timeless classic that belongs in every self respecting record collection.
Cream-Disraeli Gears.
CULT CLASSIC: DIES IRAE-FIRST.
Cult Classic: Dies Irae-First.
For many new bands, their main objective is to release an “album” and they want to do this as quickly as possible. This will be a sign that they’ve “arrived” and have one foot on the musical ladder. Sadly, for some bands, that’s as far as it goes. The album fails to sell and that’s the last that’s heard of them. Sadly, they’re in the majority as musical history is littered with bands that “could’ve been contenders.”
What many people fail to realise, is that the difference between success and failure is often, akin to a toss of coin. Many bands could’ve gone on to have a glittering career, or influence future generations of musicians. That was the case with Dies Irae, one of the earliest bands of the Krautrock era.
Dies Irae could’ve and should’ve reached far greater heights. They were founded in 1968, and by the time they released their debut album First in 1971, the band looked like they were destined for greatness.
By then, Dies Irae were a popular band on the live circuit. Regularly, they shared the bill with bands that would become some of the biggest names in Krautrock history. Night after night, they held their own agains future Krautrock greats and critics embraced Dies Irae’s psychedelic-progressive sound. So did concert goes. It looked as if they had a bright future in front of them when they were about to release their debut album First in 1971.
When First was released in 1971, there was a problem. The lyrical content of First was controversial. So much so, that the majority of West German radio stations promptly banned the album. With little or no radio play, First failed to find the audience it deserved. For the members of Dies Irae, this was a huge disappointment. This hadn’t been part of their hopes and dreams when they founded the band in 1968.
That’s when Rainer Wahlmann, Andreas F. Cornelius, Harald H.G. Thoma and Robert J. Schiff founded Dies Irae. However, Rainer Wahlmann can trace roots of the band can be traced back to the late-fifties and early sixties.
That’s when Rainer Wahlmann first remembers listening to the music of Elvis Pressley, Eddie Cochran, Buddy Holly, Little Richard and Bill Haley. This was to all intents and purposes his musical education. However, his music didn’t go well with everyone. His father and other adults in the village were angry that he and his friends were listening to American music. For Rainer Wahlmann this made the music all the more appealing.
“I was honestly impressed. This kind of weird music really disturbed the adult world so much, and was able to make them really angry!” This resulted in Rainer Wahlmann’s father deciding to teach his son a musical lesson. “My father played the guitar and he always tried to teach me the songs he used to sing. I hated those songs and as a result I never really learned to play the guitar.” Despite this he made a career out of music. Before that, his musical tastes began to change.
“Later, about 1963/64, I started to listen to early British beat bands like The Searchers, The Kinks, The Animals and The Who.” By then, British groups were popular in America and Europe. However, his father wasn’t a fan. “My first records were of the Rolling Stones and my record player got thrown out the window by my father.” For Rainer Wahlmann this was the last straw.
“I decided to fight with music for freedom of thought and against intolerance. With some schoolmates we began practicing. I couldn’t play anything, but I thought I had something to say. I pretended to be the singer.” Soon, what started out as a protest and act of defiance, inadvertently launched Rainer’s musical career.
By 1968, a new wave of bands were being formed across West Germany. Many were inspired by psychedelia, which was popular on both sides of the Atlantic. However, Dies Irae would be more like Amon Düül and Guru Guru, with a darker sound.
The four men behind Dies Irae’s darker sound were harmonica player and vocalist Rainer Wahlmann, drummer Andreas F. Cornelius, bassist Robert J. Schiff and guitarist Harald H.G. Thoma. They cofounded Dies Irae in 1968, began working on honing their sound.
Over the next weeks and months, Dies Irae gradually honed and refined their sound. It became much more closely aligned with Amon Düül and Guru Guru. Dies Irae’s music had a similar darkness. However, unlike many bands who were pioneers of the nascent Krautrock scene, Dies Irae didn’t reject American musical influences.
As the Krautrock era began in 1969, many groups turned their back on American music. Especially the influence blues had had on music. That for many Krautrock pioneers was the music of the past. They were determined to reinvent music and many bands, including Amon Düül and Can pioneered improvisation. However, Dies Irae didn’t turn their back on the blues influence and instead, decided to keep their options open.
As the sixties became the seventies, Dies Irae were a favourite of the live scene and they shared concert and festival bills with future Krautrock favourites. Audiences were won over by Dies Irae’s crowd pleasing fusion of psychedelia, progressive rock, blues and rock. Their music seemed to appeal to a wider audience than some bands. This augured well for Dies Irae who were preparing to release their debut album First.
For their debut album, nine tracks were penned. Seven were written by Rainer Wahlmann and the other three members of Dies Irae. Salve Oimel and Run Off were credited to the four members of Dies Irae. These tracks would become First, which was recorded in Hamburg, with a legend of German music.
Recording of what what became First took place at the Star Studio in Hamburg. The engineer was none other than Conny Plank. He had already worked with some of the most innovative groups of the Krautrock era. By the time the Krautrock era drew to a close in 1977, Conny Plank would’ve played a leading role in recording and producing everyone from Kraftwerk and Cluster, to Guru Guru, Neu!, Lava, Kollectiv, Harmonia and Grobschnitt. The man that Michael Rother would later call “the genius,” would’ve more than played his role in the Krautrock era. However, for the recording of First, Conny left the production to Jürgen Schmeisser.
He was an experienced producer, who initially, ran the Pliz label, which was a subsidiary of the BASF corporation. Already, Jürgen Schmeisser had produced Ardo Dombec, Blackwater Park, McChurch Soundroom and Virus for the label. Now he was set to work with Dies Irae.
Dies Irae arrived at Star Studio Hamburg on the 3rd of June 1971. Harmonica player and vocalist Rainer Wahlmann watched as the rhythm section of drummer Andreas F. Cornelius and bassist Robert J. Schiff setup. They were joined by guitarist Harald H.G. Thoma. Once the equipment was setup, the members of Dies Irae realised that now was the moment they had spent three years working towards and the next two days could make or break their career.
After two days recording the nine tracks, First was completed and now, their debut album would be released on the Pliz label. They were about to follow in the footsteps of Ardo Dombec, Blackwater Park, McChurch Soundroom and Virus.
Later in 1971, First was released on the Pliz label. While the album was well received by critics, there was a problem. Rainer Wahlmann’s lyrics were deemed too controversial to be played on West German radio stations. They banned the album which was a huge blow for the members of Dies Irae.
Without radio play, people how were people going to hear about First? To make matters worse, Pliz, a subsidiary of BASF wasn’t like other record labels.
Part of the problem was, by 1971, BASF was a vast conglomerate and the record company was just part of its business portfolio. BASF didn’t seem to have the personnel to run what was a pan European record company. That was only part of the problem.
To make matters worse, they seemed to lack the expertise to promote First. That essentially killed the album. Especially since BASF seemed to lack a proper distribution network that would ensure that the album found its way into shops. That was the last straw.
Just like other albums released by BASF’s record label, First failed commercially. Albums were lucky to sell even a couple of thousand copies if they were really lucky. It seemed Dies Irae had signed to the wrong label. Things could’ve and should’ve been very different. After all, First was album that deserved to reach a much wider audience.
Lucifer literally bursts into life, opening First. There’s a blues-rock sound as Rainer Wahlmann’s harmonica and the rhythm section drive the arrangement along. That’s until he dawns the role of psychedelic preacher. With chiming guitars for company, his languid, lysergic vocal begins to delivers his message. Then the blues rock arrangement explodes, and Dies Irae cut loose and his vocal becomes an impassioned roar, that surely, influenced the punk generation? Meanwhile, the rhythm section provide the pounding heartbeat, and sometimes, produce a proto-punk sound. Harald H.G. Thoma’s blistering, searing guitar plays a starring role. When it’s panned, it adds to the trippy, freakbeat sound. With less than a minute to go, the psychedelic preacher proclaims: “theirs is the dawn of the new era,” on what’s a truly memorable start to First.
Another Room is best described as a spoken word, lysergic sketch lasting just thirty seconds. It sounds as if one of Dies Irae has taken a Trip, as he giggles uncontrollably.
Straight away, classic rock and blues combines on Another Room. There’s a nod to Led Zeppelin as the rhythm section and guitar combine and set the scene for Rainer Wahlmann as he sings: “ I moved away some days ago, away from my home town, into the bright city lights.” Then when the vocal drops out, the rest of the band fuse elements of psychedelia and progressive rock. By then, it’s apparent just how tight and talented a group Dies Irae are as they showcase their considerable skills. Then with a minute to go, the vocal returns and it’s a mixture of power, passion and emotion. Then the baton to the rest of the band, as the song reaches a blistering, rocky crescendo.
As Rainer Wahlmann advises “tune in,” the arrangement to Trip heads in the direction of avant-garde, psychedelia and free jazz. Dies Irae jam for just over a minute, before the arrangement almost dissipates. All that’s left is a whispery vocal, which is accompanied by what’s an eerie, cinematic and lysergic backdrop. A guitar weeps, a bass bounds in the distance and drums are caressed as what’s easily the most psychedelic track on First unfolds. Rainer Wahlmann seems to pickup where the Lizard King left off. As a guitar shimmers across the arrangement, the rhythm section play subtly. Later, avant-garde, psychedelia and free jazz combine on this magical, mesmeric and lysergic Trip.
Harmagedon Dragonlove finds Dies Irae at their hard rocking best. They sound like one of the unholy trinity of rock, as the rhythm section drive the arrangement relentlessly along. Then there’s a brief, dreamy burst of what sounds like mid-seventies Pink Floyd. Then Dies Irae are off and running. Rainer Wahlmann sounds every inch the strutting frontman of a rock ’n’ roll band. Behind him, the rest of Dies Irae are at their hard rocking best. That’s apart from the brief bursts of dreamy, lysergic music, and a diversion via progressive rock. Mostly, though Dies Irae are kicking loose and a blistering, searing guitar and the thunderous rhythm provide the perfect backdrop to the swaggering vocal.
Tired was one of the songs on the album that attracted controversy. Initially the track has an understated introduction as the bass and guitar combine with a bluesy harmonica before the drums drive the arrangement along. Soon, Rainer Wahlmann’s singing: “start living in your dreams, fly a dovetail joint, get on a trip” which was regarded as a controversial lyric in conservative West Germany in 1971. Then in the next verse, he adds to the controversy with an attitude filled vocal and sings: “get rid of those mindfuckers, fuck you too.” Later, it’s just the harmonica that plays, before the rest of Dies Irae return. Rainer Wahlmann and guitarist Harald H.G. Thoma play call and response, while the rhythm section power this bluesy jam along.
Witches’ Meeting is a nine minute epic, has a jazz-tinged introduction. The bass walks the arrangement along while a blistering guitar and drums combine. The vocal has a jazz influence, before it drops out. Then Dies Irae jam, combining jazz with elements of blues, classic rock and progressive rock. At 2.10 the song literally grinds to a halt, before the bass continues to walk the arrangement along. Later, washes of shimmering, effects laden psychedelic guitar join rumbling drums as Dies Irae jam and improvise. Again, this gives them the opportunity to show that they belonged in the musical Bundeslegia. It’s another stunning genre-melting jam.
Red Lebanese is another of the songs that attracted controversy in 1971. With its references to smoking hash, this was just another reason for the authorities to ban the album from being played on radio. The decision of West Germany’s moral guardians meant that a wider audience were denied the opportunity of hearing First on radio stations.
That was a great shame, as Red Lebanese finds Dies Irae at their hard rocking best. That’s the case from the get-go as bursts of blistering guitars join the driving rhythm section. The vocal fills left the gaps by the rest of the band. Then when it drops out, the arrangement takes on a bluesy hue and later, became jazz-tinged before bursts of guitar are panned right and left. Then at 2.38 the arrangement almost grinds to a hal before Dies Irae rebuild and a crystalline acoustic guitar adds a sunshine sound. Later, lysergic guitars give way to a choppy, hard rocking rocking arrangement before the band veer between blues and rock. Seamlessly, they switch between genres, and in the process, showcase their versatility and considerable skills.
Closing First is Run Off which starts offs a jam before Dies rie throw a curveball. The tape speed is increased producing a cartoonish sound. This they must have thought would leave a smile on the listeners’ faces until the next time.
Sadly, there wasn’t a next time for Dies Irae and First was their one and only album. They left the Pliz label shortly after the release of the album. This was disappointing and a case of what might have been for Dies Irae.
Rainer Wahlmann left Dies Irae in 1972, and this was a huge loss for the band. He wasn’t just the frontman and harmonica player, he was Dies Irae’s lyricist. Without him, Dies Irae weren’t the same band. That’s despite Andreas F. Cornelius, Harald H.G. Thoma and Robert J. Schiff being hugely talented musicians. However, without their frontman and lyricist, it was just about the end of the road for Dies Irae.
They continued until 1973, when eventually, they called time on their five year career. It was yet another case of what if?
Dies Irae are another band from the Krautrock era who should’ve enjoyed widespread critical acclaim and commercial success. The band featured four hugely talented musicians, who seamlessly, could switch between genres.
Although referred to as a band who combined psychedelia and progressive rock, there’s much more to Dies Irae’s music than that. They combine elements of avant garde, blues, classic rock, experimental, free jazz and jazz on First. Sometimes, though, when Dies Irae combine blues and rock, they sound not unlike Led Zeppelin. Sadly, Dies Irae didn’t enjoy the same success. .
The problem was, Dies Irae signed to the wrong label. Pliz in 1971, seemed to a be somewhat dysfunctional record company and wasn’t equipped to promote new artists. Despite being part of a multinational company, Pliz wasn’t able to promote and distribute the album properly. Things might have been different if Dies Irae had signed to Ohr or Liberty Records? Maybe they would’ve promoted First more effectively? Sadly, that wasn’t the case. However, Dies Irae weren’t alone.
In the early seventies, countless German bands were in a similar situation to Dies Irae. Many were also releasing groundbreaking albums which also sunk without trace. Often, it was through no fault of the band. Many had signed to the wrong label and often they lacked the knowledge, nous or funds to promote an album. As a result, albums that could’ve played an important part in German musical history were lost for a generation.
It was no surprise that after the failure of First, and the demise of Dies Irae that Rainer Wahlmann was bitter about the failure of First. He had been part of a group that should’ve enjoyed a long and successful career. Instead, they only released one album, which West Germany’s moral guardians banned from the radio. For Rainer Wahlmann and the rest of Dies Irae the dream was over and they weren’t going to rub shoulders with the leading lights of German music.
Given what happened, it’s no surprise that Rainer Wahlmann turned his back on music and returned to the ‘real world.’ With the dream over, he found a steady job and settled down. While it wasn’t the rock ’n’ roll lifestyle he had dreamed of, he enjoyed the security the 9-5 slog brings. However, like many musicians he still loved music and performing. It was in his blood.
It was almost inevitable that Rainer Wahlmann would make a comeback. When he formed his new band Green Wave he decided that this time around, music was going to be a hobby for him. He was making music on his terms and enjoying himself.
Nowadays, First is regarded as a cult classic that somewhat belatedly is starting to find the wider audience it deserved, and Dies Irea the nearly men of German music are receiving the recognition they so richly deserve.
Cult Classic: Dies Irae-First.
CULT CLASSIC: M.F.S.B.-UNIVERSAL LOVE.
Cult Classic: M.F.S.B.-Universal Love.
Unlike Motown, countless books haven’t been written about Philadelphia International Records. That’s a missed opportunity, as there are many stories waiting to be told. Until now, only parts of the Philadelphia International Records’ story has been told. Many of those who played an important part in the rise and rise of Philadelphia International Records, haven’t had the opportunity to tell their story. This is a missed opportunity as Philadelphia International Records is one of the most important labels in the history of soul music.
The history of Philadelphia International Records can be separated into two distinct periods. In 1971, the label was founded by Kenneth Gamble and Leon Huff within a year they were enjoying commercial success and critical acclaim. This was the start of the label’s first period, a golden era which lasted between 1972 and 1975.
From 1976 onwards was Philadelphia International Records’ second period.The label still released the a number of classic soul albums, and some of their releases enjoyed commercial success and critical acclaim. However, by the late-seventies through to the early eighties, there sometimes seemed to be a lack of quality control at the label, and the albums released were a mixed bag. Some of the artists just weren’t good enough to be signed to Philadelphia International Records. It was a very different label to the one that released some of the finest soul music between 1972 and 1975.
During that period, Philadelphia International Records released a string of classic soul albums. Playing their part in the sound and success of these albums was the original and classic lineup up of M.F.S.B. They’re often referred to as Philadelphia International Records’ house-band. That however, is doing them a huge disservice.
M.F.S.B. were much more than a house-band. These musicians were also songwriters, arrangers and producers. Look at the sleeve-notes to any album released on Philadelphia International Records between 1972 and 1975, and members of M.F.S.B. like Vince Montana Jr, Norman Harris and Ron Baker were arrangers, producers and songwriters. This dispels the myth sometimes perpetuated by people who should know better, that M.F.S.B. were “just” Philadelphia International Records’ house band. Instead, they provided the heartbeat to the music of Billy Paul, The O’Jays, Harold Melvin and The Blue Notes, The Three Degrees and countless others. M.F.S.B. were also one of Philadelphia International Records’ most successful acts.
Love Is The Message was M.F.S.B’s debut album, released in 1973, with M.F.S.B. following later that year. During 1975, which was a pivotal year for both Philadelphia International Records and M.F.S.B, they released two more albums.
The first of these, was Universal Love, which would prove to be M.F.S.B’s penultimate album for Philadelphia International Records. Philadelphia Freedom which proved to be M.F.S.B’s swansong for Philadelphia Freedom was released later in 1975. However, by the time Universal Love was released, M.F.S.B. and musical auteurs Gamble and Huff were locked in what was a bitter dispute.
At the heart of M.F.S.B’s dispute with Gamble and Huff was money. Although people involved aren’t keen to divulge exact details, it has been alleged that musicians were only offered a pay increase of $5, from $25 to $30 per session. Arrangers and producers were only offered an increase of $10, from $50 to $60 per session. This was a risky situation as M.F.S.B. were Philadelphia International Records’ crown jewels and featured on every album.
Replacing the original lineup wouldn’t be possible. Where would you find another Baker, Harris, Young rhythm section, Vince Montana Jr, Bobby “Electronic” Eli or Larry Washington? It’s not as if Gamble and Huff would be able to wander down to Manpower and hire an all-star band. Granted Philly had many talented musicians, but not as good as the original lineup of M.F.S.B. This was a high stakes poker game ad onlookers wondered which side was bluffing?
During 1975, while the negotiations continued, there was still music to be made, including albums by M.F.S.B. This included Universal Love.
It featured eight tracks, with Gamble and Huff contributing just three, Sexy, M.F.S.B and My Mood. Leon Huff joined forces with McFadden and Whitehead plus Victor Castarphen to write Let’s Go Disco. One of the best know racks on the album was K-Jee which was written by Charles Heardon and later, was included on the fifteen-million selling Saturday Night Fever soundtrack.
The three other tracks that would feature on Universal Love prove that M.F.S.B. were much more than musicians. Ron Baker cowrote Human Machine with Leon Huff, while Norman Harris and Bobby Martin cowrote T.L.C. (Tender, Lovin’ Care). Bruce Hawkes and Cynthia Biggs cowrote Love Has No Time Or Place. Just like previous M.F.S.B. albums, recording of Universal Love took place at Sigma Sound Studios in Philly, which was owned by Joe Tarsia.
By the time the recording sessions began, Norman Harris, Ron Baker and Bruce Hawkes were still all locked in the dispute with Gamble and Huff. The members of M.F.S.B. were professionals and didn’t let the dispute affect their performances during the session. Sadly, the recording sessions for Universal Love proved to be the penultimate appearance of the original and best lineup of M.F.S.B.
Playing on Universal Love were all the M.F.S.B. greats. Providing the album’s heartbeat were the Baker, Harris, Young rhythm section, along with guitarists Bobby “Electronic” Eli and Roland Chambers. Ron “Have Mercy” Kersey and Leon Huff played keyboards and were joined by percussionist Larry Washington and vibes virtuoso Vince Montana Jr. Violinist Don Renaldo was part of the string section and alto saxophonist Zach Zachery plays an important part in Universal Love’s sound. Norman Harris, Bobby Harris and Bruce Hawkes all arranged or produced tracks, while Gamble and Huff produced five tracks. Once Universal Love was completed, it was released later in 1975.
On the release of Universal Love in 1975, it reached number forty-four in the US Billboard 200 and number two in the US R&B Charts. When T.L.C. (Tender, Lovin’ Care) was released as a single, it reaching number fifty-four in the US R&B Charts and number four in the US Disco Singles Charts. Sexy then reached number forty-two in the US Billboard 200, number two in the US R&B Charts and number one in the US Disco Singles Charts. Surely now Gamble and Huff would realise just how important M.F.S.B. were to Philadelphia International Records? They were responsible for a successful album that had won over critics and has stood the test of time.
Opening Universal Love is the Gamble and Huff penned and produced Sexy, arranged by Bobby Martin. Just Norman Harris’ chiming guitar opens the track, before M.F.S.B. kick loose. Vince Montana Jr’s vibes, Bobby “Electronic” Eli’s wah-wah guitar and an uber funky Baker, Harris, Young rhythm section join growling horns and lush, dancing strings. Soon, the music veers between funk, disco and jazz. One minute it’s choppy and funky, the next strings ensure it flows smoothly along. Horns blaze, strings swirl and the rhythm section provide a pulsating heartbeat. They’re augmented by vibes, percussion and wah-wah guitars as M.F.S.B. lay down a marker, showing just what they can do. In doing so, the irresistibly fuse funk, jazz and disco seamlessly and peerlessly.
Not many bands have a track named after them, but M.F.S.B. did. It was written by Gamble and Huff and arranged by Bobby Martin, and is a fitting tribute to their considerable talents. Stabs of keyboards, a pounding Baker, Harris, Young rhythm section and waves of Hammond organ combine before the horns and strings get to work. Horns growl, strings dance with joy while Vince Montana Jr, subtly sprinkles vibes across the arrangement. Soon, M.F.S.B. have hit their stride and the arrangement is a mass of braying horns and cascading string as the thunderous rhythm section drive the arrangement along. Here, every member of M.F.S.B. play their part, but it’s the horns that tug at your heartstrings. They’re crucial to the sheer beauty, emotion and drama of the arrangement and make this such a potent, powerful and moving track.
Human Machine was penned by Ron Baker with Leon Huff and has a much more experimental sound. Given the title, this isn’t unexpected. There’s a spacious, choppy and thoughtful sound to the arrangement as it unfolds. The unmistakable sound of Bobby “Electronic” Eli’s wah-wah guitar is at heart of the arrangement. Keyboards, the Baker, Harris, Young rhythm section and grizzled horns provide the mainstay of the arrangement. When strings sweep in, they smoothen out the arrangement, which still, has a jumpy, edgy sound and feel. It’s quite different to the two previous tracks, and is best described as innovative track, something which Philadelphia International Records were famous for.
On Love Has No Time Or Place backing vocalists join M.F.S.B. Strangely, it isn’t the Sweethearts of Sigma who were also such an important part in Philadelphia International Records’ sound and success. The backing vocalist play their part in this grand, lush dance-floor friendly track. Blazing horns, lush, wistful strings and elegant, crystalline harmonies sweep in while Baker, Harris, Young provide a funk, hustle style backdrop. They’re joined by vibes courtesy of Vince Montana Jr, percussion, keyboards and even space-age synths. While this wasn’t the first time synths appeared on a Philadelphia International Records’ album, and they seem out of place in the arrangement. Thankfully this doesn’t spoil the track as it floats along with harmonies, strings and horns key to the track’s sound and success.
T.L.C. (Tender, Lovin’ Care) was written by two legends of Philly Soul, Norman Harris and Bobby Martin. Straight away, a curveball is thrown when the jazzy introduction unfolds and sultry horns take you back to another era. Then it’s all change. Baker, Harris, Young take charge and join forces with a Hammond organ and Bobby “Electronic” Eli’s wah-wah guitar. Next comes rasping horns and swirling strings before Norman Harris lays down some of his unique jazz-tinged guitar lines. Meanwhile, pensive horns, dancing strings and bursts of Earl Young’s thunderous drums play crucial roles. There’s a real hustle sound to this joyful, uplifting fusion of Philly soul, jazz, funk and disco which quite simply, is one of the best tracks on Universal Love.
Let’s Go Disco is driven along by the Baker, Harris, Young rhythm section, piano and percussion. Chanted vocals are added before blazing horns and sweeping strings enter. With the vocals and rhythm section combining, this gives the arrangement a real hypnotic, driving sound. It’s catchy, memorable and sheer simplicity. It’s like a mantra, a call to dance, to a soundtrack provided by M.F.S.B.
K-Jee proved to be the most successful track on Universal Love. Charles Heardon who wrote K-Jee, would later, hit the musical equivalent of fifteen consecutive home runs, when the track was included on the fifteen-million selling Saturday Night Fever soundtrack. From the stabs of keyboards, percussion, urgent flourishes of strings and grizzled horns you’re transported back to disco’s heyday. M.F.S.B. seem to raise their game even higher. A myriad of percussion join Baker, Harris, Young, searing guitars and rasping horns. Strings dance, swirl and sweep and Bobby “Electronic” Eli adds wah-wah guitar. Zach Zachary’s growling alto-saxophone and a wash of wailing Hammond organ provide the icing and cherry for this delicious, cake. So good and tasty was the cake, that it sold fifteen-million slices.
Closing Universal Love is My Mood a much more mellow track. Just a subtle sprinkling of Vince Montana Jr’s vibes, percussion and Norman Harris’ sparse jazzy guitar combine before the arrangement grows. Baker, Harris, Young provide the understated heartbeat. Melancholy strings sweep and swirl, horns rasp and growl while keyboards add a warm melodic sound. M.F.S.B. resist the urge to kick loose one more time. Only the horns, drums and strings are given leeway, but don’t overdo things, bringing Universal Love to a mellow, pensive and quite beautiful close.
The standoff between M.F.S.B. and Gamble and Huff certainly never affected the quality of music on Universal Love. Quite the opposite. It’s almost as if M.F.S.B. were determined to show Gamble and Huff what they were risking losing. This was a high stakes poker game, and Universal Love saw the stakes rising.
Baker, Harris, Young, Bobby “Electronic” Eli, Larry Washington and Vince Montana Jr. had raised their game on Universal Love fusing Philly Soul, funk, disco and jazz. M.F.S.B. had upped the ante with another commercially successful and critically acclaimed album. It was another impressive addition to their discography.
After Universal Love, the original lineup of M.F.S.B. recorded one more album for Philadelphia International Records, Philadelphia Freedom. That proved to be a prophetic title. By the time Philadelphia Freedom was released, the original lineup of M.F.S.B. had achieved their own version of Philadelphia Freedom.
Realising their demands weren’t going to met, M.F.S.B. called Gamble and Huff’s bluff. When no agreement could be reached M.F.S.B. headed to New York, taking their considerable talents to Salsoul Records, which had been founded by the Cayre brothers. The members of M.F.S.B. became The Salsoul Orchestra who nowadays, are regarded as the greatest of the disco orchestras. They played their part in the rise and rise of Philadelphia International Records.
This included the Baker, Harris, Young rhythm section who provided M.F.S.B.’s heartbeat, guitarist Bobby “Electronic” Eli, vibes virtuoso Vince Montana Jr, violinist Don Renaldo, percussionist Larry Washington and keyboard player Ron “Have Mercy” Kersey. This was a huge loss for Gamble and Huff. They couldn’t replace the irreplaceable.
By the time 1975 was over, The Salsoul Orchestra’s eponymous debut album had sold over one-million copies. The original members of M.F.S.B. had played and won what was a high stakes poker game.
Following the departure of many of the original lineup of M.F.S.B., Philadelphia International Records still released a number of classic soul albums that were commercially successful. However, by the late-seventies and into the early eighties there seemed to be a lack of quality control at Philadelphia International Records. Some of the artists and groups that were signed weren’t good enough, and others were living on past glories. The albums they released were mixed bags at best and destined for the dollar bins after failing to excite critics or record buyers. It was changed days for Gamble and Huff
By the mid-eighties, Philadelphia International Records was no longer as successful as it once was. Gone were the days when albums would sell a million copies, and a roster included legends of Philly Soul like Billy Paul, The O’Jays, The Three Degrees, Harold Melvin and The Blue Notes and later, Teddy Pendergrass. Long gone were the original lineup of M.F.S.B. who had played such an important part in the Philadelphia International Records’ story.
There’s no doubt that the loss of the combined talents of the original members of M.F.S.B. affected Philadelphia International Records. They were hugely talented musicians, arrangers, producers and songwriters and played an important part in the success of Philadelphia International Records between 1972 and 1975. M.F.S.B. Mk II couldn’t fill the shoes of their predecessors. That was almost impossible and while they were talented musicians, the music Philadelphia International Records never sound the same. It was the end of an era.
Ironically, many of the musicians that became The Salsoul Orchestra flourished. It was as if their talents were unleashed. Baker, Harris, Young, Bobby “Electronic” Eli, Ron “Have Mercy” Kersey and Vince Montana Jr. all flourished as songwriters, arrangers and producers at Salsoul. Gamble and Huff’s loss was very much Salsoul’s gain.
Anyone who listens to Universal Love will realise that. Not only does Universal Love features M.F.S.B. at the peak of their powers, whilst playing one of highest stakes poker games in musical history. The lesson to be learnt from this saga, is that “the workman is worthy of his hire.” Especially if they’re as talented as the original and classic lineup of M.F.S.B.
Cult Classic: M.F.S.B.-Universal Love.
ATA RECORDS: THE LIBRARY ARCHIVE VOLUME 1.
ATA Records: The Library Archive Volume 1.
Label: ATA Records.
Format: CD.
Release Date: ‘10th’ July 2020.
Nowadays, library music is highly collectable, especially the albums released by KPM, De Woife, Amphonic, Conroy and Sonoton from the sixties, seventies and early eighties. That is regarded by many collectors as a golden age for library music. This is ironic, as the albums of library music were never meant to fall into the hands of collectors.
Originally, library music was meant to be used by film studios or television and radio stations, and was never meant to be commercially available. The music was recorded on spec by music libraries who often hired young unknown composers, musicians and producers. This ranged from musicians who were known within publishing circles, to up-and-coming musicians who later, went onto greater things, and look back fondly at their time writing, recording and producing library music. This they now regard as part of their musical apprenticeship.
For the musicians hired to record library music, their remit was to music libraries with a steady stream of new music, which was originality referred to as production music. During some sessions, the musicians’ remit was write and record music to match themes or moods. This wasn’t easy, but after a while they were able to this seamlessly. Soon, the musicians were able to enter the audio and write and record a piece of music that matched a theme or mood for a film or television show.
Once the library music was recorded, record libraries sent out demonstration copies of their music to advertising agencies, film studios, production companies, radio stations and television channels. If they liked what they heard, they would license a track or several tracks from the music libraries. That was how it was meant to work.
Sometimes, copies of these albums fell into the hands of record collectors, who realising the quality of music recorded by these unknown musicians, started collecting library music. That is still the case today, and nowadays, many original albums of library music are highly collectable. Often, though, these albums are beyond the budget of most record buyers. Luckily, many independent record labels are reissuing library music.
Hardly a week goes by without a new library music compilation hitting the shelves of record shops. Then there’s the reissues of classic albums of library music from the golden age. Sometimes, new albums of library music are released by a new generation of musicians. This happened recently.
This includes Neil Innes and Pete Williams who run ATA Records, and decided to try their hand at writing library music. The tracks they wrote and recorded at their studio in a lock up garage in Leeds, in Yorkshire, were one-offs and lay unreleased until recently. By then, they had an album’s worth of material and the eleven tracks have just been released on the compilation ATA Records: The Library Archive Volume 1. It’s sure to appeal to anyone interested in library music.
The music on ATA Records: The Library Archive Volume 1 is atmospheric, cinematic, emotive, evocative funky, haunting, weird and it’s also wonderful. It sounds as if Neil Innes and Pete Williams have been channeling the spirit of KPM, De Woife, Amphonic, Bruton, Conroy and Sonoton as they recorded the eleven tracks on the compilation. This has been the case for other albums released by the label.
This includes The Sorcerers’ haunting soundtracks, the big band brass of The Yorkshire Film and Television Orchestra and those purveyors of the finest soul-jazz. The Lewis Express who many people will remember for the Theme From ‘The Watcher’ on their eponymous debut album. Library music has influenced many of the albums released by ATA Records, and Neil Innes and Pete Williams have both played their part in these releases. They were also recording library music in their spare time over the last few years.
Eventually, there was enough for the first compilation in what they play to a series of releases The Library Archive. The first is ATA Records: The Library Archive Volume 1. It was recorded using the same recording techniques and equipment that was used to create the albums released during the golden age of library music. Even the minimalist cover is a nod to the legendary KPM releases of the sixties and seventies which Neil Innes and Pete Williams have been inspired by.
That is apparent throughout ATA Records: The Library Archive Volume 1. It opens with the Slap, Whack and Blow, which is a horn driven slice of cinematic funk that sounds as if it was inspired by Keith Mansfield’s KPM recordings. This retro recording transports the listener back to the seventies when this was the type of music that could regularly be heard on British television.
Duck Strut is driven along by the bass and combine with drums and percussion to create the groove. They’re joined by stabs of keyboards while the understated horns and flute sound as if they’ve been influenced by Quincy Jones on what’s best described as Brit-funk. Don’t be surprised to hear this track used on film or television in the future.
The Needle Nose is dramatic and cinematic and sounds as if it belongs in an episode of The Sweeney just before the blag goes down. Wiretap is another moody and atmospheric track with a cinematic sound. It would be perfect for a film shot in the seventies during the Cold War.
Wigged Out sounds like a homage to Italian library legends I Marc. Especially the organ which was one of their trademark sounds.
On Nuclear Wind I and II, Neil Innes and Pete Williams deploy a mellotron and Moog which were often used on classic library music albums. Here, their role is to provide the counterpoint to the tender, otherworldly vocals on these atmospheric and thought-provoking tracks.
Kaye Okay is another that sounds as if it was inspired by Keith Mansfield’s KPM recordings. It’s also a track that will be familiar to anyone who grew up in Britain the seventies. Tracks like this have a nostalgic sound as they were often used by television producers for light entertainment shows and will bring back memories for many people of a certain age.
Siren’s Sea is an acoustic track with a haunting and beautiful ethereal vocal. It washes over the listener as they imagine the scenes folding in front of their mind’s eye.
Very different is Midnight Heist, a jazz-funk track which wouldn’t sound out of place on a seventies cop show. Closing the album is the experimental sci-fi sounds of Planet Nine. It shows another side to the library music that Neil Innes and Pete Williams have been making.
Hardly a week goes by without the release of a new library music compilation, the reissue of a classic album or new album that has been inspired by the genre’s golden era. Some of the new albums of library music are often a mixed bag, but ATA Records: The Library Archive Volume 1 is one of the best.
It sounds as if it was recorded during the golden age of library music. This is no surprise as Neil Innes and Pete Williams use the same recording techniques and the same equipment. What is remarkable is that the music on the compilation was recorded in a lockup garage in Leeds. That is something Keith Mansfield, Syd Dale, Alan Hawkshaw and Johnny Hawksworth never did.
These great names and the legendary labels like have also inspired Neil Innes and Pete Williams as they begin their journey with ATA Records: The Library Archive Volume 1, and hopefully they will go “marching on together” and create future instalments in the series.
ATA Records: The Library Archive Volume 1.
CULT CLASSIC: ERIC ANDERSEN: SWEET SURPRISE.
Cult Classic: Eric Andersen: Sweet Surprise.
In 1975, thirty-two year old folk singer and songwriter Eric Andersen moved to Greenwich Village, New York, where it had all started for him in the early sixties. Back then, Eric Andersen was part of the folk scene, and as a twenty-one years in 1964, had auditioned for Vanguard Records at Gerdes Folk City, a well known music venue in the East Village. The audition was successful, and Eric Andersen was signed to Vanguard Records.
The following year, 1965, Eric Andersen released his debut album Today Is The Highway on Vanguard Records. It was well received by critics, and launched Eric Andersen’s nascent career.
1966 was one of the most important years of Eric Andersen’s career. He made his debut at the Newport Folk Festival, and released his sophomore album ‘Bout Changes ‘N’ Things. Songs like Violets Of Dawn, Thirsty Boots,I Shall Go Unbounded and Close The Door Lightly When You Go showcased a hugely talented songwriter who many critics believed had a big future ahead of him. Just like his debut album, ‘Bout Changes ‘N’ Things was released to plaudits and praise, and Eric Andersen was seen as one of the rising stars of the vibrant folk movement.
When Eric Andersen released ‘Bout Changes ‘N’ Things 2 in 1967, it had much in common with ‘Bout Changes ‘N’ Things. The same songs featured on the album, but they had been rerecorded and Eric Andersen had used different instruments. The songs were resequenced, and When ‘Bout Changes ‘N’ Things 2 was released, it showed another side to these familiar songs as Eric Andersen’s music evolved and moved towards folk rock.
The reinvention of Eric Andersen’s music continued on his fourth album More Hits From Tin Can Alley, which was released in 1968. It was the most eclectic album of Eric Andersen’s career.
When it came time for Eric Andersen to record his fifth album for Vanguard Records, A Country Dream, he was following in the footsteps of many folk singers who had also made the journey to Nashville. Joining Eric Andersen was a band that featured top session players. They played their part in Eric Andersen’s first album of country rock which featured a cover of Otis Redding’s Sittin’ On The Dock Of The Bay. It was given a makeover and was one of the talking points of A Country Dream when it was released in 1969. Despite being well received, A Country Dream was Eric Andersen’s swan-song for Vanguard Records. He was about to go up in the musical world.
After releasing five albums for Vanguard Records, Eric Andersen signed to Warner Bros. Records. Later in 1969, Eric Andersen released Avalanche where he flits between country-rock and his now familiar folk rock sound. Some of the songs are cerebral, while others feature a reflective, introspective Eric Andersen as he sings of roller coaster romances. However, on It’s Comin’ and It Won’t Be Long, Eric Andersen sounds like Bob Dylan right down to his phrasing. Other songs are understated and allow Eric Andersen’s emotive vocal to centre-stage as this new chapter to his career began.
This new chapter continued with the release of Eric Andersen in 1970. It was Eric Andersen’s second album for Warner Bros. Records, and saw him continue to mature as a singer and songwriter. He had written then entire album which saw Eric Andersen continue to combine country rock and folk rock and on occasions move towards a pop rock sound. Despite being one of his finest albums of recent years, Eric Andersen failed commercially. For Eric Andersen this was the end of his time at Warner Bros.
Later in 1970, Eric Andersen joined Janis Joplin, the Grateful Dead and country rockers The Speckled Hen on the Festival Express Tour. It wound its way across Canada and introduced Eric Andersen’s music to a new audience. However, it would be two years before Eric Andersen returned with a new album.
By 1972, Eric Andersen had signed to Columbia and began work on Blue River which was produced Norbert Putnam and features The Jordanaires and Joni Mitchell on backing vocals on the title-track. When Blue River was released later in 1972, it was to overwhelming critical acclaim. Record buyers were also won over by an album the featured elements of AOR, country rock, folk rock, pop and rock, and Blue River reached 169 in the Us Billboard 200. This meant that Blue River was Eric Andersen’s most successful album. It had taken seven years and eight albums, but somewhat belatedly, Eric Andersen had made a commercial breakthrough.
Buoyed by the success of Blue River, Eric Andersen returned to the studio and began work on the followup, which was going to be called Stages. Eric Andersen completed the album, but before it could be released, the master tapes disappeared. This was almost unheard of, and despite searching high and low for the master tapes, there was no sign of it. For Eric Andersen this was a devastating blow, as he had just made a commercial breakthrough.
The loss of the Stages’ master tapes affected Eric Andersen badly, and he decided to take a break from recording. Little did anyone realise that this break would last two long years.
It wasn’t until 1974 that Eric Andersen decided that he was ready to return to the recording studio. This was perfect timing as Clive Davis, who signed Eric Andersen to Columbia, had founded a new label Arista earlier in 1974 and was looking to add artists to the roster. One of the artists he wanted to sign was Eric Andersen, who signed to Arista in 1974, and began work on Be True To You. It’s the first of two albums that Eric Andersen released for Arista as he hit the comeback trail.
Be True To You.
Having signed to Arista, Eric Andersen began writing the ten songs that eventually became Be True To You. This was the much-anticipated followup to the album that was regarded as his masterpiece, Blue River. Be True To You was an album Eric Andersen’s fans had waited patiently for. They had heard about the loss of the master tapes to Stages, and Eric Andersen’s two year absence from the recording studio.
Some of the songs on Be True To You had originally featured on Stages, while others were new songs that Eric Andersen had just written. There was also one cover version Ol 55 on Be True To You. These songs became part of an album that focused on the subject of love and various events that happened during life. However, there was more to Be True To You than that. The album also dealt with how love had affected other people. Be True To You featured two themed sides, with side one entitled I’m Weary Of These Petty Wars while and side two Lovers They Make Promises, But Lovers They Tell Lies.
Recording of Be True To You began at Eric Andersen’s comeback album began at Wally Heider’s in August ’74, when Keep Fallin’ Like the Rain was recorded with producer Tom Sellers who was joined in the control room by John Florez. The pair co-produced the song with Eric Andersen before moving to another of LA’s top studios.
Four months later, in November 1974, Eric Andersen arrived at The Sound Labs, where he once again joined by a band that featured some of city’s top musicians. Some of the musicians were part of the core band, while others were drafted in to play on one or two tracks on Be True To You. The rhythm section alone included drummers Dennis St John, John Guerin, and Russ Kunkell; bassists Emory Gordy, Scott Edwards and Mark Sporer and guitarists Dean Parks and Chris Bond. They were joined by pianist Allen Lindgren, flautist Ernie Watts, cellist Jesse Ehrlich, tenor saxophonist Tom Scott and Richard Bennett who played acoustic guitar and steel guitar. Among the backing vocalists were Maxine and Julia Waters, Jackson Browne, Hern Pedersen and Maria Muldaur. Meanwhile, Tom Sellers took charge of production, except on Ol 55 Tom Sellers which was co-produced by John Florez. By December 1974, Be True To You was completed and ready for release in 1975.
Before the release of Be True To You in 1975, critics had their say on what was the belated followup to Blue River and essentiality, Eric Andersen’s comeback album after three years away. Just like Blue River, critics dissevered that Be True To You was a carefully crafted album where featured folk rock, country rock and pop rock. Critics hailed Be True To You a fitting followup to Blue River, and welcomed the return of Eric Andersen. His partnership with producer Tom Sellers was success.
Tom Sellers was responsible for a slick, polished production with woodwind and strings sweetening the country rock ballad Moonchild Riversong which open the album. It gives way to the beautiful heartfelt ballad Be True To You where again strings sweetens the sound and harmonies add the finishing touch. Very different is Wild Crow Blues where the tempo increases and Eric Andersen showcases a tougher country rock sound. The tempo drops on Ol 55, an anthemic country rock ballad where a weeping steel guitar provides the perfect foil to Eric Andersen’s vocal. Time Run Like A Freight Train features an understated arrangement and a tender, soul-baring vocal from Eric Andersen who sometimes sounds like James Taylor. This beautiful ballad closes side one, which was entitled I’m Weary Of These Petty Wars.
Side two was entitled Lovers They Make Promises, But Lovers They Tell Lies and opened with the hurt-filled folk rock ballad Liza, Light The Candle. It’s followed by Woman, She Was Gentle where backing vocals accompany Eric Andersen’s vocal which is akin to a confessional. Can’t Get You Out Of My Life features another emotive, hurt-filled vocal which is delivered against a jaunty arrangement where harmonies and a sultry saxophone play starring roles. It’s all change on The Blues Keep Fallin’ Like The Rain, where blues and jazz combine as Eric Andersen accompanied by drums played with brushes, subtle harmonies, a Wurlitzer and saxophone delivers a vocal full of sadness and despair. Closing the album is Love Is Just A Game, another beautiful ballad where a piano, lush strings and backing vocals accompany a rueful vocal full of hurt. It closes Be True To You on a high, and is one of many highlights on the album.
Just before the release of Be True To You, Eric Andersen and Arlen Roth played at the opening show of Bob Dylan’s Rolling Thunder Revue. This was a huge coup, and great publicity for his forthcoming album Be True To You.
Sadly, when Eric Andersen released Be True To You in 1975, his Arista debut failed to trouble the charts. This was a huge disappointment for Eric Andersen, who maybe, had been away too long? Three years had passed since Blue River, and many record buyers had short memories and may have forgotten about Eric Andersen. Music was also changing by 1975, and record buyers had moved on to different genres. However, despite the commercial failure of Be True To You, Eric Andersen decided to begin work on the followup Sweet Surprise.
Sweet Surprise.
For Sweet Surprise, Eric Andersen wrote eight new songs whist living in one room high in the mountains of Montana. This backdrop provided the inspiration for Eric Andersen to write Sweet Surprise, where he would renew his partnership with producer Tom Sellers.
Just like on Be True To You, Tom Sellers took charge of production on Sweet Surprise. This time, it was a much smaller band who joined Eric Andersen when recording of Sweet Surprise and they used a different selection of instruments to those that featured on Be True To You.
This time around, Eric Andersen’s band included a rhythm section of drummer Chris Parker, bassist Tony Brown and guitarists Sister Joon Millington who also played acoustic guitar and Arlen Roth who played lead acoustic guitar. They were augmented by David Mansfield who played steel guitar and fiddle, percussionist Antonio Ramos, keyboardist Tom Sellers and Richard Bell who keyboards and ARP synth. Additional musicians included Jennifer Condos acoustic guitarist Paul Horan, Happy Traun on concertina and mandolin, cellist Wacky Jacky Robbins, steel guitarist Ben Keith and saxophonist Tom Scott. They provided the backdrop for Eric Andersen on Sweet Surprise which was released in 1976.
Just like Be True To You, Sweet Surprise was a slick, polished album that veered between country rock, folk rock and even pop rock. That was the case on the album opener Lost In A Song, where country rock and pop rock melt into one in this beautiful ballad. How It Goes is country rock all the way as a weeping guitar accompanies Eric Andersen’s vocal which sounds like Bob Dylan. Eric Andersen showcases his “own” vocal on the understated ballad Dreams Of Mexico which gives way to San Diego Serenade. It features saxophonist Tom Scott and a weeping guitar on this jazz-tinged, country rock ballad that closes side one.
Sweet Surprise opens side two and is another country rock ballad where Eric Andersen delivers a heartfelt vocal. The balladry continues on the ballad Down At The Cantina which features a hopeful vocal from Eric Andersen. It’s a similar case on Crazy River which features a country rock arrangement. Closing Sweet Surprise is another beautiful ballad where Eric Andersen delivers a tender vocal against an understated but effective carefully crafted arrangement. This ensures that Sweet Surprise closes on a high.
Sweet Surprise was scheduled for release later in 1976. Before that, the critics sat in judgment, before having their say on the followup to Be True To You. The majority of critics were impressed by Sweet Surprise, which should’ve found an audience within the country music community.
When Sweet Surprise was released in 1976, the album failed to even trouble the charts. This was another disappointment for Eric Andersen, who wound’t release another album for Arista.
Eric Andersen’s Arista years lasted two just two years, and during that period he released Be True To You and Sweet Surprise. It was the end of another chapter in a story that began in 1964 when Eric Andersen auditioned for Vanguard Records at Gerdes Folk City.
Twelve years later, and Eric Andersen’s time at Arista had come to a close after releasing just two albums in two-year. During his short stay at Arista, Eric Andersen released Sweet Surprise, which is best described one of the hidden gems in his back-catalogue. It showcases a talented singer, songwriter and guitarist whose music didn’t find the audience it deserved. Sadly, Sweet Surprise slipped under the musical radar on an album where Eric Andersen embraces country rock on his second set for Arista. After the commercial failure of Sweet Surprise, Eric Andersen didn’t release another album in America for eighteen years.
By the late seventies, Eric Andersen found himself without a record company, and for nearly two decades he fell into obscurity. During that period, Eric Andersen moved to Europe, and released 1980s Midnight Son, 1984s Tight Is The Night and Istanbul in 1985. Things changed in 1988 when Eric Andersen released Ghosts Upon The Road which sold well and caught the attention of critics in Europe. Still though, Eric Andersen was a forgotten man in America, despite producing albums of the quality of Sweet Surprise a carefully crafted hidden gems that is a reminder of his Arista years.
Cult Classic: Eric Andersen: Sweet Surprise.
NEIL YOUNG-HOMEGROWN.
Neil Young-Homegrown.
Label: Reprise Records.
Format: CD.
By June 1974, Neil Young was twenty-eight and was preparing to begin work on a new album Homegrown, which would’ve been the sixth album of his career, and the followup to On The Beach which was scheduled for release on the ‘19th’ of July.
It was the much-anticipated followup to his classic album Harvest, which was released to commercial success and critical acclaim on the ‘1st’ of February 1972. Harvest had topped the US Billboard 200 charts for two weeks and was the best selling album of 1972 in America where it eventually sold in excess of over four million copies. On The Beach had a lot to live up to.
While Neil Young’s career was going from strength-to-strength, his longterm relationship with actress Carrie Snodgress was deteriorating. They had met after her award-winning role in the 1970 film Diary Of A Mad Housewife. She was the inspiration for A Man Needs A Maid, which Neil Young wrote about contemplating starting a new romantic relationship. This was the first of a number of new songs he wrote about his relationship with Carrie Snodgress.
The next was Motion Pictures which Neil Young wrote for On The Beach which was recorded between February and April 1974. Two months later, in June 1974, Neil Young began work on Homegrown, which featured a number of songs that were inspired by his relationship with Carrie Snodgress.
The recording of Homegrown began in earnest on the ‘16th’ of June 1974, which was the day before a Crosby, Stills, Nash and Young session. They were planning to record a few songs before heading out on a lengthy summer stadium tour. However, with a day free, Neil Young took the opportunity to record a new song he had written.
This was Love Is A Rose, which was essentially a reworking of Dance, Dance, Dance which Crazy Horse had recorded on their 1971 eponymous debut album. Despite being recorded in 1974, Love Is A Rose sounds as if Neil Young was picking up where he left off on Harvest. Linda Ronstadt saw the potential in the song which gave her a country hit in 1975. It would also eventually find its way onto Homegrown.
On The Beach.
Before that, On The Beach was released on the ‘19th’ of July 1974. It was a very different album to Harvest and not what critics and record buyers expected. Some critics were surprised by the underproduced sound and felt that it was an album full of darkness and despair. That wasn’t strictly true.
On The Beach was recorded after Tonight’s The Night which found Neil Young expressing his grief following the deaths of Crazy Horse guitarist Danny Whitten and roadie Bruce Berry. By the time On The Beach was recorded, Neil Young was ridding himself of much of the despair he had been feeling when he recorded Tonight’s The Night. While there’s still darkness and despair there’s also pessimism and hope.
Record buyers didn’t seem to “get” On The Beach, which stalled at sixteen in the US Billboard 200 but was still certified gold. Across the Atlantic, the album was certified silver. On The Beach was nowhere near as successful as Harvest, and it would only be much later that the album received the recognition that it deserved.
Homegrown Continues.
Nearly three months later, on the ‘12th’ of September 1974, Crosby, Stills, Nash and Young stadium tour were about to play a concert at Wembley Stadium, in London, that evening. The opening act was The Band, and with time on their hands before the concert Neil Young and Robbie Robertson made their way to Ramport Studios to record a track together for Homegrown. That day, they recorded the bittersweet acoustic duet White Line. It was time well spent.
After the Crosby, Stills, Nash and Young stadium tour was over, the next session for Homegrown began on the ‘11th’ of December and lasted two days. The session included Band drummer Levon Helm and Ben Keith on pedal steel guitar. Both play a crucial part in the sound and success of the album opener Separate Ways, where Neil Young delivers a vocal full of loneliness, hurt and heartbreak. During the same session, he recorded the hopeful sounding Try, which features Emmylou Harris on backing vocals. It’s the polar opposite of Separate Ways which it follows on Homegrown.
The next day, the ‘13th’ of December the band reassembled and recorded two more tracks. This included Homegrown, a tongue-in-cheek tribute to hemp. Neil Young rerecorded the song with Crazy Horse and it featured on the 1977 album American Stars ‘N’ Bars. So was the other song recored that day, the acoustic ballad Star Of Bethlehem which features beautiful harmonies from Emmylou Harris. It’s one of the highlights of Homegrown and the perfect way to close the album.
There was no rest for the band over the festive season, and on New Year’s Eve they were back in the studio. They sound as if they’re in good spirts on the bluesy vamp We Don’t Smoke It No More. It has a looser sound and is reminiscent of the 1975 album Tonight’s The Night. However, the song which was the last Neil Young recorded during 1974 deserves its place on Homegrown.
Four days later, on the ‘4th’ of January 1975 the band were reunited and Neil Young recorded Vacancy. He switches between guitar and harmonica and delivers an impassioned vocal where he probes and questions: “who are you…what’s your name?” on one of the hidden gems on Homegrown.
Just seventeen days later, on the ‘21st’ of January 1975, Neil Young and his band entered the Sound Recorders, in LA, and recorded the four other tracks that feature on Homegrown. The piano lead Mexico and Kansas are solo performances by Neil Young and both are best described as short, lysergic sounding songs.
Florida which was recorded the same day, and is a surreal sounding spoken word dream that is akin to a stream of consciousness.
The other track recorded that day was Little Wing where Neil Young plays harmonica and guitar as he delivers a rueful vocal. It’s the best of the tracks recorded during the final session and was released on the Hawks and Doves album in 1980.
These twelve tracks would eventually make their way onto Homegrown. However, that is only part of the story. Around thirty tracks were recorded over a seven month period. Many of them were solo performances and many were acoustic recordings with just Neil Young his guitar and harmonica. With so many tracks to choose from, there should’ve been no problems choosing the tracks that would make it onto Homegrown. Several track-listings were compiled and they were being considered when word came through that the album had been cancelled by Neil Young.
By then, Homegrown’s album cover had been designed and Reprise were preparing for the release. It was totally unexpected and through their plans into disarray. What had happened?
Neil Young had decided to hold a listening party to let some of his friends hear Homegrown. This included members The Band and Crazy Horse who partied into the early hours. Having heard Homegrown, Neil Young played the other side of the tape which featured Tonight’s The Night. When Rick Danko heard it he said: If you guys don’t release the fuckin’ album, you’re crazy.’” It was enough to make Neil Young change his plans.
This in a way is not surprising, as the songs are very personal, and reveal his feelings about his failing relationship with actress Carrie Snodgress. Later Neil Young said about releasing Homegrown: “It was a little too personal…it scared me.” It was shelved and Tonight’s The Night released instead.
When Tonight’s The Night was released on June the ’20th’ 1975, Neil Young’s expression of grief was well received by the majority of critics. However, it stalled at just twenty-five in the US Billboard 200 and failed to sell as many copies as On The Beach. However, Tonight’s The Night was certified silver in the UK and gold in Australia. This was a small crumb of comfort.
Since Homegrown was shelved in 1975, the album lay unreleased in Neil Young’s vaults, and has taken on an almost mystical quality. His fans hoped that one day, the album would be released. This was due to happen on It Record Store Day 2020 as part of Neil Young’s Archives’ series. When the date of Record Store Day 2020 was changed due to the coronavirus pandemic Reprise decided to release Homegrown on the ‘19th’ of June 2020. This was forty-five years after its intended released date.
Rather belatedly Neil Young’s many fans got to hear Homegrown which is one of his most personal albums. It’s a soul-baring album where he reveals his feelings about his failing relationship with Carrie Snodgress, the mother of his young son Zeke. Sadly, their relationship came to an end in 1974, during the recording of the album. Maybe completing the album proved cathartic for Neil Young, although when it came to release Homegrown he was reluctant to do so.
Homegrown has a confessional quality and with its intimate arrangements and an understated and minimalist production style, it’s a very personal, poignant and powerful album from Neil Young where he lays bare his hurt and heartbreak after the breakup of his relationship with Carrie Snodgress on what’s akin to a diary that he never expected anyone to read.
Neil Young-Homegrown.
KENNY DORHAM-TROMPETA TOCCATO.
Kenny Dorham-Trompeta Toccato.
Label: Blue Note Records.
Format: Vinyl.
On December the ‘15th’ 1953, twenty-nine year old Texan trumpeter Kenny Dorham had already been a member of Dizzy Gillespie, Billy Eckstine and Lionel Hampton big bands and had joined Charlie Parker’s Quintet in December 1948. Less than five years later, and the sideman embarked upon a solo career when he signed the Debut label, which was founded by Charles Mingus and his wife Celia, with drummer Max Roach. This was a new chapter in Kenny Dorham’s career.
He journeyed to the Van Gelder Studio, at 25 Prospect Avenue, Hackensack, New Jersey, to record his debut album as leader, Kenny Dorham Quintet. It was well received upon its release in 1954, and this should’ve been the start of a long and illustrious career for the bandleader, composer and trumpeter.
By 1955, Kenny Dorham had signed to Blue Note Records, and in October released one of his finest albums for the label, Afro-Cuban. This was first of start five albums that he released for Blue Note Records over a ten year period.
1956 was an important and sometimes frustrating year for Kenny Dorham. He was one of the charter members of The Jazz Crusaders, although his involvement was relatively short-lived. When drummer and fellow cofounder Art Blakey took over The Jazz Crusaders’ name he decided to found a new band The Jazz Prophets. They played on his second album for Blue Note Records.
This was ‘Round About Midnight At The Cafe Bohemia which was recorded on the ‘31st’ of May 1956. Later that year, the same lineup recorded another album together, and Kenny Dorham And The Jazz Prophets Volume 1 was released on ABC-Paramount. Still, Kenny Dorham found time tow work with two giants of jazz.
He had recorded with Sonny Rollins, and then joined the Max Roach Quintet after the death of Clifford Brown. 1956 was an important year in the career of Kenny Dorham.
As 1957 dawned, ‘Round About Midnight At The Cafe Bohemia on. This sextet recording was released to plaudits and praise in January 1957. However, it would another four years before Kenny Dorham released another album on Blue Note
Over the next four years, he released albums on the Riverside, New Jazz and Time labels. Then on the ‘15th’ of January 1961 Kenny Dorham recorded Whistle Stop for Blue Note Records with an all-star band.
Five months later, Whistle Stop was released and hailed as his finest album Blue Note Records. Kenny Dorham was the comeback king, and “in 1975 five British critics picked Whistle Stop as one of 200 albums that belonged in a basic library of jazz recorded after World War II.”
Buoyed by the response to Whistle Stop, Kenny Dorham released the live album Inta Somethin’ on Pacific Jazz in March 1962. Reviews of the album were mixed, although Matador which was released by United Artists in April 1962 was a return to form from Kenny Dorham.
He returns to Blue Note Records and Una Mas (One More Time) on the ‘1st’ of April 1963. Little did any of the Quintet realise that this would be the penultimate album that Kenny Dorham would record. By then, he was frustrated that he still wasn’t well known within the jazz scene and that his music wasn’t receiving the recognition he deserved.
In an interview for the album’s liner notes he said: “All I can say is that if it’s going to happen, it’ll happen. But it’s going to have to happen within a reasonable time. After all, I’ll soon be into my ‘25th’ year on the trumpet. Anyway, however it goes, I’ll just keep playing. That’s where the basic satisfaction is at”
When Una Mas (One More Time) was released in January 1964, the majority of the reviews were positive. However, just like his previous albums, it wasn’t a particularly successful release. Still his music was being heard by a small group of discerning jazz lovers. For Kenny Dorham it was a disappointing and frustrating time.
On September the ‘14th’ 1964, nearly eleven years after he made his debut as bandleader, Kenny Dorham journeyed to the Van Gelder Studio with his quintet. They were about to record Trompeta Toccat. It turned out that this was the last time he would make the journey as a bandleader.
That day, his band featured drummer Albert Heath, double bassist Richard Davis and pianist Tommy Flanagan. They were joined by tenor saxophonist Joe Henderson who wrote Mamacita, while bandleader Kenny Dorham played trumpet and wrote the other three new compositions. Producing Trompeta Toccato was recorded by Rudy Van Gelder and produced by Alfred Lion. Just like so many Blue Note Records’ sessions, the album was recorded in one day, but wasn’t released until 1965.
By the time Trompeta Toccato was released in July 1965, Kenny Dorham was working as a sideman. It was also his swansong, and he would never record another album of new material. That was a great shame as Trompeta Toccato was one of the finest albums of his career. Sadly, it failed to find the wider audience it so richly deserved.
Trompeta Toccato opens with the title-track which is played in 6/8 time. Just Kenny Dorham’s trumpet and then the piano play slowly leaving space on what seems like a melancholy sounding track. Then it’s all change as the rhythm section, piano and a blazing, braying horns that are like a tag team as they bobs and weave their way across the arrangement which has taken on an Afro-Latin feeling. Later, pianist Tommy Flanagan plays a lengthy ruminative solo that invites refection before passing the baton to Richard Davis’ slow deliberate and thoughtful bass. Latterly the band unite and Joe Henderson’s trumpet soars about the rest of arrangement to this ambitious and complex twelve minute modal epic.
“Night Watch is a bluesy, cinematic track with a strong and memorable hook, where the Quintet are at their tightest and paint vivid pictures. Kenny Dorham described the scene as: ”It’s very late at night, and the mood is what comes when you’re alone at that time”. That describes it perfectly and many people will have experienced that feeling and be able to relate to it. Again the horns are to the fore as the band play as one. Then when the solos come round bandleader and trumpeter Kenny Dorham blows hard but is always in control and his playing melodic as the rhythm section ensure the track swings. Tenor saxophonist Joe Henderson then takes charge and plays his solo effortlessly. So does pianist Tommy Flanagan, who adds to the late night sound with one of his finest solos as the rhythm section provide the heartbeat. Then the horns take charge and add a sense of melancholia that many people will have experienced when they find themselves along late at night.
Mamacita is a twelve bar Bossa Nova written by Joe Henderson that came to life during the recording at the Rudy Van Gelder Studio. The band knew they were on the right road when they got producer Alfred Lion and photographer Francis Wolff moving to the rhythm. That’s sure to be the case from the opening bars as the piano and drums combine and then the trumpet and tenor saxophone enter. By then, toes are sure to be tapping and hips are swaying. This is just the start as the solos are still to come. First up is tenor saxophonist Joe Henderson whose playing is flawless and he sets the bar high. Kenny Dorham matches him every step of the way and so does pianist Tommy Flanagan. Then when the band reunite, the horns take the lead as the track swings as this Bossa Nova transports the listener to the Copacabana Beach in Rio De Janeiro.
Closing Trompeta Toccato is The Fox which bursts into life and has a 12-8-12 bar structure. It’s driven along by the rhythm section as Kenny Dorham plays with speed, power, urgency and a fluidity putting his twenty-five years of experience to good use. Then he bass the baton to Joe Henderson and his braying, rasping tenor saxophone scampers along as if the hounds are on the heels of The Fox. Tommy Flanagan replicates that urgency on the piano as his fingers flit up and down the keyboard. Later the band become one and the urgency increases before reaching a crescendo and Kenny Dorham takes a bow.
Sadly, Trompeta Toccato was Texan trumpeter Kenny Dorham’s swansong as bandleader. However, he had saved one of his finest albums until last, and combines hard bop, Afro-Latin, modal jazz and Bossa Nova on Trompeta Toccato. That comes as no surprise.
He’s backed by a hugely talented and versatile Quintet, with pianist Tommy Flanagan and tenor saxophonist Joe Henderson playing starring roles on the album. Just like Kenny Dorham they showcase their considerable skills when the solos come around their playing is variously tight, inventive, expressive, urgent and fluid as they feed off each other and drive each other to greater heights. They played their part in an album that should’ve been a turning point in Kenny Dorham’s career.
When Trompeta Toccato was released in July 1965 it failed to find the audience it deserved. This was a huge disappointment for Kenny Dorham. By then, he was already disillusioned as even his finest albums, including Trompeta Toccato, weren’t selling well and he he wasn’t receiving the recognition from critics and the jazz establishment that he felt he deserved. That was why Kenny Dorham decided to call time on his solo career after Trompeta Toccato.
After that, he continued to work as a sideman, but latterly only sporadically. By then Kenny Dorham was writing for Downbeat magazine as he was suffering from kidney disease and was unable to make a living as a musician. Tragically, this truly talented and vastly underrated bandleader, composer and trumpeter passed away on December the ‘5th’ 1972 aged forty-eight in New York. Jazz was in mourning at the loss of Kenny Dorham.
While he may not have been as prolific as other artists or enjoyed such a lengthy career, Kenny Dorham released some vastly underrated albums that somewhat belatedly are starting to find a wider audience. This includes Trompeta Toccato, which was one of his finest albums, and what was sadly his swansong, but along with Whistle Stop is the perfect introduction to the late, great Kenny Dorham.
Cult Classic: Kenny Dorham-Trompeta Toccato.
HEDVIG MOLLESTAD-EKHIDNA.
Hedvig Mollestad-Ekhidna.
Label: Rune Grammofon.
Format: CD.
In May 2018, award-winning Norwegian guitarist, vocalist, bandleader and composer Hedvig Mollestad was thirty-six and one of the leading lights of the vibrant Nordic music scene. Her band the Hedvig Mollestad Trio had already released five albums and had already recorded their sixth album Smells Funny. Despite the commercial success and critical acclaim that that the Trio were enjoying, Hedvig Mollestad was starting to think about writing for a larger group. She wanted to expand her musical horizons, and a letter she received allowed her to do that.
When Hedvig Mollestad opened the letter it as from the organisers of the long-running and prestigious Vossajazz festival which was established in 1973. The organisers wanted to commission a work for 2019 festival. This was the perfect opportunity to do what she had been thinking about, and write for a bigger group. She accepted the invitation and began working on the commission.
Hedvig Mollestad called the completed commission Ekhidna, which is a figure from Greek mythology that is half woman, half snake. She said the commission featured loosely tied themes about “human struggle and being a mother in times when our increasing inability to live in harmony with nature paints a bleak picture.”
With the commission complete, Hedvig Mollestad began putting an expanded band together. This was no ordinary band and featured some top musicians, and it was akin to a nascent supergroup.
Joining bandleader and guitarist Hedvig Mollestad were Elephant9 drummer Torstein Lofthus, and percussionist Ole Mofjell who was the youngest member of the band but had plenty of experience within the European improv scene. They were joined by Marte Eberson who spent five years of her career with Highasakite, and Erlend Slettevoll of The Core and Grand General who both switched between keyboards and synths. The final member of the band was Portuguese trumpeter Susana Santos Silva who Hedvig Mollestad played alongside in Mats Gustafsson´s Nu-Ensemble. This was the lineup that would appear at the Vossajazz festival.
Billed as the festival by the lake, Vossajazz took place in April 2019 and three works had been commissioned. However, Hedvig Mollestad was the guest of honour and with her band played her new work Ekhidna, which lasted seventy-five minutes. It was a spellbinding performance of a genre-melting piece that won over critics at Vossajazz.
After the success of the performance at Vossajazz, it was decided to release Ekhidna as an album. To make it suitable for album release, the full festival version was edited, tightened up in places, and then the band recorded Ekhidna earlier in 2020 at Amper Tone studio in Oslo with Hedvig Mollestad taking charge of production. Once the album was complete, it was scheduled for release in the summer of 2020.
Hedvig Mollestad’s much-anticipated solo album Ekhidna was recently released by Rune Grammofon, and marks another chapter in her distinguished career. On Ekhidna she leads a a multitalented and versatile sextet which features six soundscapes that last just forty minutes. This is much shorter than the original work premiered at Ekhidna lasted seventy-five minutes.
Ekhidna opens with No Friends But The Mountains which lasts just under two minutes. It is atmospheric, moody and cinematic with the guitar and trumpet playing starring roles on a track that sounds like it’s part of the score to a Norwegian Western.
Very different is A Stone’s Throw which combines elements of heavy rock, fusion, progressive rock and metal. Again, Hedvig Mollestad’s blistering, riffing guitar plays a leading role as Torstein Lofthus’ drums power and drive the arrangement along. Then from 1.46 to 3.03 it’s all change and it’s as if Dave Gilmour circa Dark Side Of The Moon has made a guest appearance, as the guitar glistens and shimmers during an interlude that is best descried as pastoral fusion. However, normal service is the resumed as the band explode out of the blocks with machine gun riffs sprayed across the driving arrangement. It gathers speed and become urgent and frenzied before a detour via the earlier hard rocking sound and then fusion on this seven minute genre-melting opus.
The searing guitar that opens Antilone is a mere amuse bouche before this pile driver of an arrangement explodes into life. Soon, the band fuse elements of progressive rock, fusion, math rock and draw inspiration from King Crimson, the Mahavishnu Orchestra, Jimi Hendrix and Frank Zappa’s Mothers of Invention. This is given a ‘21st’ Century makeover by producer and bandleader Hedvig Mollestad. She unleashes one of her finest solos wielding her guitar like a musical Merlin as she unleashes a blistering, searing and scorching solo where she plays with speed, power and invention before the track reaches a crescendo after ten magical minutes. It’s been a truly breathtaking performance.
Slightly Lighter has a much more understated sound as a shimmering, glistening and rippling guitar glides across the spacious arrangement. It’s very different to much of what’s gone before and is melancholy ruminative and invites reflection.
On Ekhidna Hedvig Mollestad swaggers centrestage and unleashes a Hendrix-inspired guitar solo as the drums add a degree of drama, trumpet brays and the rest of the band join the frae. As Hedvig Mollestad unleashes another virtuoso performance she deploys an array of effects before exiting stage left. Trumpeter Susana Santos Silva then unleashes an improvised solo playing with speed, power and urgency, as the interplay between the two drummers add to the drama and intensity. So does the guitar when it returns, Hedvig Mollestad channels the spirit of Hendrix before this improvised epic reaches a crescendo.
One Leaf Left closes Ekhidna and as it unfolds, it has an understated sound. The guitar takes centrestage before the trumpet and keyboards add to the wistful, melancholy and filmic sound. At 5.20 the searing, scorching guitars cuts through the arrangement and at one point the band seem to draw inspiration from Santana. By now, it’s rocky and dramatic and a very different soundscape thanks to Hedvig Mollestad’s intoxicating and breathtaking guitar riffs. It’s a case of keeping one of the best until last on Ekhidna.
Hedvig Mollestad’s new Ekhidna which was recently released by Rune Grammofon, and is an album with its roots in the past and present. It’s an album that has been influenced by classic and hard rock, fusion, improv, math rock, metal, progressive rock and psychedelia. Then there’s the influence of Black Sabbath, Led Zeppelin, Frank Zappa’s Mothers Of Invention, Jimi Hendrix, King Crimson, Pink Floyd and Santana as well as Miles Davis and Mahavishnu Orchestra. All these disparate genres and influences play their part in the sound and success of Ekhidna.
It finds Hedvig Mollestad leading her new supergroup from the front and plays a starring role throughout the six soundscapes on Ekhidna. They seamlessly switch between and combine different musical genres, and sometimes, Hedvig Mollestad throws a curveball and the soundscapes on Ekhidna heads in a new direction and it becomes a magical mystery tour. This the cerebral supergroup take in their stride on Ekhidna, which is an intoxicating epic and features Nordic guitar wielding riff-meister Hedvig Mollestad at the peak of her considerable powers as she embarks on a new chapter in her glittering career.
Hedvig Mollestad-Ekhidna.
CULT CLASSIC: MAYNARD FERGUSON-M.F HORN 4 AND 5: LIVE AT JIMMY’S.
Cult Classic: Maynard Ferguson-M.F. Horn 4 and 5:Live At Jimmy’s.
The first time many jazz fans heard Canadian jazz trumpeter Maynard Ferguson, was when he joined the when the twenty-four year old joined Stan Kenton’s new Innovations Orchestra in 1949. This was home for Maynard Ferguson for the next four years and was where he first came to prominence.
Suddenly, Maynard Ferguson’s star was in the ascendancy and this resulted in him winning the prestigious Down Beat reader’s poll for best trumpeter in 1950, 1951 and 1952. This was quite a feat as he was up against many top trumpeters, including Chet Baker, Dizzy Gillespie, Miles Davis and Louis Armstrong. However, a year after winning his third Down Beat award, Maynard Ferguson left Stan Kenton’s employ and became a session musician at Paramount Pictures.
At Paramount Pictures, Maynard Ferguson soon became their first choice trumpeter and featured on forty-six soundtracks, including The Ten Commandments in 1956. However, his work at Paramount Pictures didn’t take up all of Maynard Ferguson’s time and he was still able to record with other artists. This offered another lucrative source of income for him. However, his contract with Paramount Pictures stated that he wasn’t allowed to play in jazz clubs.
Some nights, Maynard Ferguson circumvented this band by using an alias, and playing in clubs under the moniker Tiger Brown or Foxy Corby. However, by then, he was becoming increasingly unhappy about his lack of live performances and gradually became disillusioned with life at Paramount Pictures. As a result, he left Paramount Pictures in 1956.
Having spent February and March of 1956 recording Havana 3 A.M. with the Pérez Prado Orchestra, Maynard Ferguson was installed by Morris Levy as the bandleader of the Birdland Dream Band. This was a fourteen-piece all-star band that played at Morris Levy’s Birdland jazz club in New York. Alas, the Birdland Dream Band was a short-lived venture and only recorded two albums over the next year. After recording the two albums, Morris Levy’s dream of an all-star jazz band came to an end. However, many members of the Birdland Dream Band joined the new band that Maynard Ferguson formed in 1957.
Having spent much of last few years working at Paramount Pictures, and a sideman, and then with the Pérez Prado Orchestra and the Birdland Dream Band, Maynard Ferguson decided that from now on, he was going to concentrate on his own band. While he made the occasional guest appearances as a sideman, Maynard Ferguson concentrated his efforts on his new band
Over the next three decades, Maynard Ferguson’s band featured some of the top jazz musicians of the day, and also, some the best up-and-coming musicians. When he came across one of jazz’s rising stars, he was more than willing to give them an opportunity to showcase their skills. They had plenty of opportunity to do so, and between 1957 and 1973 Maynard Ferguson’s band had released over twenty albums and once again, the bandleader’s star was in the ascendancy.
By Tuesday the ‘10th’ of July 1973, forty-five year old Canadian bandleader Maynard Ferguson was regarded as one of the top jazz trumpeters, and was able to hold his own with the best in the business. That was despite fierce competition from Miles Davis, Freddie Hubbard, Don Cherry, Donald Byrd, Jack Johnson, Woody Shaw and Art Farmer. However, Maynard Ferguson had been around since the late-forties and had a wealth of experience and planned to put to good use at a very special lunchtime gig on Tuesday the ’10th’ of July 1973.
The concert was part of the 1973 Newport Jazz Festival, which had relocated to New York a year earlier, in 1972. Maynard Ferguson had been booked to play a series of gigs at Jimmy Ryan’s jazz club on West ‘52nd’ Street during the 1973 Newport Jazz Festival. Although Maynard Ferguson was always busy recording and playing live, he was able to find time to play at the prestigious Newport Jazz Festival. However, what Maynard Ferguson hadn’t planned on doing was recording a live album at Jimmy Ryan’s jazz club on the ’10th’ of July 1973. That wouldn’t have happened if some very special visitors hadn’t come to see him play live.
One of the hottest tickets of the 1973 Newport Jazz Festival was Ella Fitzgerald concert at the Carnegie Hall. Many jazz fans struggled to find a ticket and the scalpers were doing a roaring trade that night. However, many within the music industry were fortunate enough to have a ticket. However, saxophonist, composer and producer Teo Macero was on business, and was at the Carnegie Hall to record the concert. He was joined by music critic Mort Goode and they witnessed a peerless performance from the Queen of Jazz that was one of the highlights of the 1973 Newport Jazz Festival. After the concert, Teo Macero and Mort Goode decided to head to Jimmy Ryan’s jazz club on West ‘52nd’ Street where they wanted to see Maynard Ferguson live.
Maynard Ferguson was now signed to Columbia, and had already recorded and released five albums for the label. That number would soon rise to six. When Teo Macero and Mort Goode arrived at Jimmy Ryan’s jazz club they met a handful of Columbia executives, and got talking before Maynard Ferguson and his band took to the stage. They were spellbound during what was a barnstorming performance.
That night, everything just fell into place during an almost flawless performance. Jimmy Ryan’s jazz club had brought out the best in Maynard Ferguson and his band.
After the performance, Teo Macero, Mort Goode and the Columbia executives and went backstage to see Maynard Ferguson, and congratulate him on his performance. Soon, the talk turned to Maynard Ferguson recording a live album at Jimmy Ryan’s jazz club during the 1973 Newport Jazz Festival. While that was a good idea, the logistics made this impossible.
Maynard Ferguson explained that he was only playing two more nights at Jimmy Ryan’s jazz club, and then, had to move on. He had a busy schedule and couldn’t even stay for an extra day to record a live album. This was a huge disappointment for everyone in the room. When Maynard Ferguson checked his diary, he realised that he could return a couple of days later on Tuesday the ’10th’ of July 1973. Was this any use to Columbia Maynard Ferguson wondered?
Eventually, it was decided to grab the bull by the horns and record a live album at lunchtime at Jimmy Ryan’s jazz club on Tuesday the ’10th’ of July 1973. It was the perfect venue for Maynard Ferguson to record a live album. That album became M.F. Horn 4 and 5: Live At Jimmy’s which was released in 1974..
Having made the decision to record the live album that became M.F. Horn 4 and 5: Live At Jimmy’s, the Columbia executives had to work out the logistic of recording the album. They needed the personnel with the knowledge and skills to record a live album. Teo Macero was given the job of producing the concert, and the necessary equipment would be in place for the recording of M.F. Horn 4 and 5: Live At Jimmy’s at lunchtime at Jimmy Ryan’s jazz club on Tuesday the ’10th’ of July 1973. There was one more thing that was needed for a live album, an audience.
Selling tickets at short notice was impossible for the executives at Columbia. Ideally, they wanted the same type of audience that had been at Jimmy Ryan’s jazz club the first night they saw Maynard Ferguson. They were enthusiastic and excited but respectful of Maynard Ferguson and his band. That would’ve been the perfect backdrop for Maynard Ferguson’s live album M.F. Horn 4 and 5: Live At Jimmy’s. However, after some thought Columbia executives came up with a ready-made alternative audience. The press and record company executives were invited to hear Maynard Ferguson and his band play a special two-hour concert that started at midday.
On Tuesday the ’10th’ of July 1973, trumpeter Maynard Ferguson was joined by the twelve members of his band on the stage of Jimmy Ryan’s jazz club on West ‘52nd’ Street. It was a multitalented band that featured a mixture of top musicians and also a number of up-and-coming players that was drawn from three continents.
Maynard Ferguson’s band featured three British musicians, including drummer Randy Jones, Pete Jackson who played electric piano and saxophonist and flautist Andy MacIntosh. They were joined by flautist and baritone saxophonist Bruce Johnstone from New Zealand, while Ferdinand Povel from the Netherlands was a flautist and tenor saxophonist. The remainder of the twelve strong band were American.
This included Rick Petrone who switched between acoustic and electric bass. In the horn section were Lin Biviano, Danny Cahn, John de Flon and Bob Summers who played trumpet and flugelhorn. They were joined by trombonists Randy Purcell and Graham Ellis, while Andy MacIntosh played alto and soprano saxophone and flute. This all-star band would accompany Maynard Ferguson during his two-hour session which was being recorded by Teo Macero.
As Maynard Ferguson and his big band took to the stage, they opened the show with a six-minute version of Pete Jackson’s Teonova which he had dedicated to Teo Macero who was sitting just off the stage recording the concert. As he watched on, Maynard Ferguson and his big band were soon showcasing their considerable skills during solos, vamps and when they played as one. Already, there’s an energy and intensity, especially when Maynard Ferguson plays with power as he unleashes a blazing and dazzling solos. Other times, his playing is slightly more restrained, but still full of emotion, as he and his big band set the bar high for the rest of the album.
Maynard Ferguson and his big band then cover Jimmy Webb’s MacArthur Park. Initially they stay true to the original, before Maynard Ferguson’s trumpet adds a rueful, emotive sound. However, when the tempo increases, the track is transformed as it heads in the direction of jazz-funk, fusion, funk, Latin and rock. Bandleader Maynard Ferguson allows his band to shine as the track takes a series of twists and turns and enthusiastic audience enjoy this masterful reinvention of a classic track.
Pete Jackson’s genre-melting Left Bank Express bursts into life, and is six minutes of majestic rock-swing that is partly built around a pulsating Bossa Nova vamp. Whether it’s during the solos or when they play as a big band, the all-star ensemble reach new heights. After that, there’s no stopping Maynard Ferguson’s big band. Especially during a cover of the standard I’m Getting Sentimental Over You. It takes on a beautiful, rueful, late-night sound, before giving way to a fast and furious swinging bebop inspired version of Don Menza’s Two for Otis. Following hard on its heels is the Maynard Ferguson composition Stay Loose For Bruce. It’s memorable bluesy, mid-tempo track that certainly swings. So does Nice ‘n Juicy which heads in the direction of jazz-funk and fusion as Maynard Ferguson takes the big band sound in a new direction.
Mike Abene’s The Fox Hun is a breathtaking example of bebop where Maynard Ferguson and his big band play at breakneck speed. It’s followed by the bluesy Got The Spirit, a near ten minute track where Bruce Johnstone on baritone saxophone plays a leading role. There’s also a hint of fusion before the tempo rises and the big band stretch their legs. When they’re in full flight it’s a joy to behold and it’s no surprise that the enthusiastic audience make their appreciation felt. Closing the show was Blue Birdland where the horns swing, and Maynard Ferguson introduces the band before bidding the audience farewell.
The following year, 1974, Maynard Ferguson released his sixth album for Columbia, M.F. Horn 4 and 5: Live At Jimmy’s to critical acclaim. It was a double album that featured ten tracks that lasted sixty-three minutes. M.F. Horn 4 and 5: Live At Jimmy’s was an irresistible reminder of Maynard Ferguson and his all-star big band at the peak of their powers.
The big band was led by composer, trumpeter and bandleader Maynard Ferguson, who in 1973 was one of the top jazz trumpeters. He led a multinational big band that featured familiar faces and new names who were talented and versatile musicians. This is apparent throughout M.F. Horn 4 and 5: Live At Jimmy’s and finds the big band switching seamlessly between and combing musical genres. This included bebop, blues, funk, fusion, jazz, jazz-funk, Latin and rock. However, always, though, Maynard Ferguson returns to the big band sound which he reinvents throughout M.F. Horn 4 and 5: Live At Jimmy’s.
Nowadays, M.F. Horn 4 and 5: Live At Jimmy’s is regarded as one of the finest albums that Maynard Ferguson released during his Columbia years, and this cult classic is the perfect introduction to that period of the jazz superstar’s long and illustrious career
Cult Classic: Maynard Ferguson-M.F. Horn 4 and 5:Live At Jimmy’s.
CULT CLASSIC: LONNIE LISTON SMITH AND THE COSMIC ECHOES-ASTRAL TRAVELLING.
Cult Classic: Lonnie Liston Smith and The Echoes-Astral Travelling.
Sometimes, a record company proves to be the perfect fit for an artist. That was the case with Bob Thiele’s Flying Dutchman Productions which was the perfect label for Lonnie Liston Smith and The Echoes’ unique brand of cosmic jazz.
Through working with some of the most innovative and creative musicians in the history of jazz, Bob Thiele had realised that often, large record companies aren’t the best environment for innovative and creative musicians. He realised that these musical mavericks didn’t thrive within such an orthodox environment because their creativity is restricted. This meant that they were unable to experiment and innovate like they would like to.
That was why when Bob Thiele parted company with Impulse, who he had transformed into one of jazz’s pioneering labels, he founded Flying Dutchman Productions. This was the label that Lonnie Liston Smith and The Echoes signed to, and released a quintet of groundbreaking albums. Their debut was the cosmic jazz classic Astral Travelling, which was the latest chapter in Lonnie Liston Smith’s career.
It was almost inevitable that Lonnie Liston Smith would become a musician. He was born in December 1940, into a musical family. His father was a member of Richmond Gospel music group the Harmonising Four and members of The Soul Stirrers and Swan Silvertones often visited the Smith household.
Growing up, Lonnie Liston Smith inherited his father’s love of music and learned to play piano, tuba and trumpet in High School and college. Next stop was Morgan State University.
Inspired by Trane, Bird and Miles Davis, Lonnie Liston Smith embarked upon a degree in musical education. Throughout his time at University, he continued playing the pianist in local clubs and singing backing vocals. He played with alto saxophonist Gary Bartz and trombonist Graham Moncur. This was all part of his musical eduction. Having completed his BSc in musical education at Morgan State University, Lonnie Liston Smith walked straight into a job.
On leaving Morgan State University, he got a job with the Royal Theatre’s house band. For a young musician, this was would help turn them into a musical all-rounder as had to be able to accompany a wide range of artists. For Lonnie Liston Smith this was the next stage in his musical education. After this he moved to the New York.
Having moved to the Big Apple, he was luck enough to get a gig playing piano in Betty Carter’s band. This helped Lonnie Liston Smith get his name known in New York. Then in early 1965, Lonnie caught a break when he joined Roland Kirk’s band.
He made his recording debut on March 14th 1965 on Here Comes The Whistleman, which was recorded live in New York. However, Lonnie Liston Smith only played on the title-track, Making Love After Hours, Yesterdays and Step Right Up. Thenhe featured on Roland Kirk and Al Hibbler’s 1965 live album A Meeting Of The Times. This enhanced his reputation and after this, Lonnie Liston Smith joined one of jazz’s top bands.
Over the last few years, The Jazz Messengers had established a reputation for hiring young musicians looking to make a name for themselves. Lonnie Liston Smith joined in 1965 and shared the role with Mick Nock and Keith Jarrett. However, with The Jazz Messengers ever evolving lineup, he only played three in concerts. These three concerts just so happened to be at the legendary Village Vanguard. Despite that, the lack of gigs made this frustrating and disappointing time for Lonnie Liston Smith. Luckily, he was rehired by Roland Kirk.
He rejoined Roland Kirk’s band in time to play on his 1968 album Now Please Don’t You Cry, Beautiful Edith. This established his reputation as the go-to-guy for a pianist and it was the start of period where he worked with some of the most innovative and inventive jazz musicians. Especially when he joined Pharaoh Saunders’ legendary free jazz band.
Pharaoh Saunders had worked closely with John Coltrane right up to his death in 1967. The following year, he decided to form a new band. Its music is best described as free jazz and musical boundaries were pushed to their limits and beyond. Recognising a fellow believer in free jazz, Pharaoh Saunders asked Lonnie Liston Smith to join his band and went on to play on four of his finest albums.
This included Karma which was released in 1969. It was followed in 1970 with Jewels Of Thought and Summun Bukmun Umyun. Completing the quartet was 1971s Thembi which was another groundbreaking album.
During this period, Pharaoh Saunders and his band were constantly pushing boundaries and rewriting the musical rulebook. Their music was truly innovative and ambitious and even Lonnie Liston Smith was challenged. On Thembi, he was asked to play the Fender Rhodes and this was the first time that Lonnie Liston Smith had came across an electric piano. However, he rose to challenge and wrote Thembi’s opening track Astral Travelling. Later, it would become synonymous with Lonnie Liston Smith and The Echoes. Before that, he would play with some of jazz’s mavericks.
One of these mavericks was Gato Barbieri who had just signed to Bob Thiele’s nascent label Flying Dutchman Productions. It was already establishing a reputation for providing musicians with an environment where innovative and creative musicians could thrive.
Lonnie Liston Smith played on Argentinian saxophonist Gato Barbieri’s 1969 debut album The Third World. Bob Thiele’s next signing was Leon Thomas and he played on his debut album Spirits Known and Unknown. Soon, Lonnie Liston Smith was a regular at Flying Dutchman sessions.
When the time came for Gato Barbieri to record his sophomore album Fenix in 1971, he called Lonnie Liston Smith. After playing the album he joined Gato Barbieri’s band and played on his 1972 album El Pampero. He also toured throughout Europe with Gato. Then came the opportunity of a lifetime when Lonnie Liston Smith got the chance to work with another jazz legend.
He was still a member of Gato Barbieri’s band when Miles Davis got in touch, and wanted Lonnie Liston Smith to join his band. This was too good an opportunity to turn down.
Having been one of the pioneers of fusion, Miles Davis music was starting to evolve and change direction again. He was experimenting with funk, and continuing to explore the possibilities of electronic instruments which were the flavour of the month. However, he was doing this outside the studio environment. That’s why there are very few recordings of Lonnie Liston Smith playing alongside Miles Davis at that time. That came later, when the pair were reunited. Before that, Lonnie Liston Smith decided to move on and embark upon his solo career, and recorded his debut album Astral Travelling.
For Astral Travelling, Lonnie Liston Smith wrote four new tracks. The other track was Astral Travelling, which Pharaoh Saunders had recorded on Thembi. These five tracks were recorded by an all-star jazz band, who were christened The Cosmic Echoes.
When recording of Astral Travelling began, Lonnie Liston Smith had put together some of the most talented and innovative musicians. The Cosmic Echoes’ rhythm section included bassist Cecil McBee, drummer David Lee and guitarist Joe Beck. Sonrily Morgan and James Mtume played percussion and conga, Gee Vashi tamboura and Badal Roy tabla. George Barron played tenor and soprano saxophone and Lonnie played piano and electric piano on Astral Travelling. Bob Theile produced Astral Travelling, which was released in 1973.
On its release in 1973, Astral Travelling was critically acclaimed. It was as if Lonnie had drawn upon all his experience working as a sideman. He’d worked with Pharaoh Saunders, Gato Barbieri, The Jazz Messengers, Leon Thomas, Stanley Turrentine and Miles Davis. He was no ordinary musician and was an innovator, who was determined to push musical boundaries to their limits and beyond. This is apparent on Astral Travelling.
Opening Astral Traveling is the title-track, which first featured on Pharaoh Saunders’ Thembi album. Lonnie Liston Smith’s Fender Rhodes sets the scene for a myriad of percussion. Above the languid, meandering arrangement sits the alto saxophone. It’s played with power, passion and control. When it drops out the Fender Rhodes and probing bass intermingle with the percussion. The percussion provides an exotic Eastern sound. It’s a case of East meets West on this beautiful, languid, mellow and spiritual opus which showcases Lonnie iston Smith’s unique brand of cosmic jazz.
A blistering, explosive dissonant saxophone and flourishes of piano combine as Let Us Go Into The House Of The Lord unfolds. Meanwhile, percussion provides the perfect accompaniment to the piano. Together they provide flourishes of ethereal beauty. Especially when bells chime. As for the saxophone, it’s slow and soul searching. When it drops out, the piano and percussion take charge. Then later, bursts of frenzied saxophone make their presence felt. While waves of ethereal music unfold in waves, the husky saxophone is akin to an unburdening of the soul. The result is cathartic, beautiful and emotive.
Rejuvenation sees Lonnie Liston Smith’s band join forces to create a track that’s dramatic and emotive. That’s the case from the opening bars. The rhythm section, piano and saxophone join forces. Lonnie iston Smith boldly and flamboyantly plays the piano, while a bright, airy saxophone solo soars above the arrangement. It’s powered along by the rhythm section and percussion. However, it’s the piano and George Barron’s saxophone that play starring roles. Everything else plays a supporting role. They seem to bring out the best in each other and both reach new heights producing virtuoso performances.
Slow and dramatic describes I Mani (Faith). Playing starring roles are flamboyant flourishes of Lonnie’s piano and heartachingly beautiful saxophone solo. They’re augmented by the rhythm section and percussion. Again, they’re playing supporting roles. Later, Lonnie Liston Smith plays a supporting role to tenor saxophonist George Barron. He unleashes a blistering, scorching, searing saxophone solo. Unleashing power, passion and emotion, pushing the saxophone to its limit. Inspired, the rest of the band join in. What follows is a frenzied jam session. Having reached its dramatic, explosive crescendo, a calm descends. There’s a return to the spellbinding beauty of earlier. It’s augmented by a flamboyance and drama as Lonnie Liston and The Cosmic Echoes on what’s been a captivating performance.
In Search Of Truth has a much more tranquil and spiritual sound. Lonnie unleashes flourishes of piano while percussion and the rhythm section provide a slow, thoughtful accompaniment. George Barron adds a sultry, soul searching saxophone solo. Quickly, it drops out, the piano and plucked bass asking a series of question. You can sense their frustration, that their questions aren’t being answered. As the track progresses, this frustration grows. Later, this frustration turns to a sense resignation that they’ll forever be In Search Of Truth. This results in thoughtful, cerebral track that’s still relevant today.
Aspirations closes Astral Travelling. It’s not just slow and serene, but melodic and thoughtful. Lonnie Liston Smith’s Fender Rhodes reverberates, producing a melancholy sound. Percussion accompanies him, adding to the already wistful sound. Space is left within the arrangement, allowing it to breath. Flourishes of Fender Rhodes add a sense of drama to this poignant, spiritual opus where pathos is ever-present.
Innovative, influential and way ahead of the musical curve, describes Lonnie Liston Smith. So does serene and spiritual. Proof of this is the music on Astral Travelling. It shows that Lonnie Liston Smith was way ahead of his time. Here was a musician determined to push musical boundaries to their limits, and sometimes, beyond. That describes what Lonnie Liston Smith was trying to achieve on Astral Travelling, where he drew inspiration from all the jazz greats he’d worked with.
This includes Pharaoh Saunders, Gato Barbieri, The Jazz Messengers, Leon Thomas, Stanley Turrentine and Miles Davis. He borrowed from each of these artists and the result was his unique brand of cosmic jazz that has gone on to influence several generations of musicians and music lovers. Despite this, Lonnie Liston Smith’s albums weren’t the huge success it deserved to be.
With its fusion of avant garde, experimental, free jazz and orthodox jazz, Lonnie Liston Smith’s music never found the wider audience it deserved. Maybe the problem people didn’t understand Lonnie Liston Smith’s music? That’s why his music has only enjoyed a cult following and he never enjoyed the critical acclaim and commercial success enjoyed that came John Coltrane and Miles Davis’ way. That’s a great shame, given the quality of Lonnie Liston Smith’s back-catalogue.
Between 1973s Astral Travelling and 1976s Reflections Of A Golden Dream, Lonnie Liston Smith released a quintet of outstanding albums for Bob Thiele’s Flying Dutchman Productions. His debut was Astral Travelling, a true cosmic jazz classic, which is a tantalising taste of what Lonnie Liston Smith was capable of and the perfect introduction to a groundbreaking and pioneering musician and one of music’s mavericks.
Cult Classic: Lonnie Liston Smith and The Echoes-Astral Travelling.
MARTIN FREEMAN AND EDDIE PILLER PRESENT JAZZ ON THE CORNER TWO.
Martin Freeman and Eddie Piller Present Jazz On The Corner Two.
Label: Acid Jazz.
Anyone with even a passing interest in the Acid Jazz will have heard of Eddie Piller. He has been a stalwart of the scene for over thirty years, and during that time, the fifty-six year old has been a DJ, promoter and founded the Acid Jazz record label in 1987. This was the start of new chapter in Eddie Piller’s career.
Over the next few years, the Acid Jazz scene blossomed, and in 1992. Eddie Piller found himself writing, remixing and playing flute on Mother Earth’s album Stoned Woman which he also produced. By then, Eddie Piller was an experienced producer and his career continued apace.
So would Eddie Piller’s career as a compiler, which began in 1989 when he and Giles Peterson compiled Totally Wired (A Collection From Acid Jazz Records).
Since then, Eddie Piller has compiled numerous compilations for a variety of labels, including critically acclaimed compilations for Blue Note, BGP Records and Acid Jazz. Nearly thirty years later, and he’s still compiling new compilations.
By 2016, Eddie Piller was about to add a new role to his impressive CV, when he asked his friend and fellow musical aficionado Martin Freeman to join him in hosting a jazz radio show. Little did they know how popular that show would when they started playing some of their favourite jazz cuts.
It was a case of anything goes during On The Corner, with the hard bop of Lee Morgan and Art Blakey, followed by soul-jazz, jazz-funk and the original acid jazz to the post modern spiritual jazz of Kasami Washington. The new radio show proved hugely popular, and week after week, the pair were inundated with emails and tweets. That was when they knew that they couldn’t leave things there, and began thinking of where they went next?
Eventually, they decided to release a compilation with each of them choosing eleven cuts each on Martin Freeman and Eddie Piller Present Jazz On The Corner which was released by Acid Jazz in April 2018. The compilation was such a success that the pair began working on the followup, which has just been released.
Martin Freeman and Eddie Piller Present Jazz On The Corner Two, which has just been released by the Acid Jazz label and is a two CD set. The two compilers have each chosen twelve of their favourite tracks. Disc one features Martin’s Picks and disc two features Eddie’s Choices. The twenty-four tracks on Martin Freeman and Eddie Piller Present Jazz On The Corner Two feature contributions from familiar faces, old friends and new names and choosing the highlights isn’t going to be easy.
Disc One-Martin’s Picks.
Opening the compilation is The Magilla a track from Stanley Turrentine’s 1967 album for Blue Note Records, The Spoiler. This Duke Pearson composition was one of the highlights of what was an eclectic album, and showcased one of the most distinctive tenor saxophonists in sixties jazz.
In 1966, Nina Simone released I’m Gonna Leave You as a single on Phillips. It was taken from the album High Priestess Of Soul which was arranged and produced by Hal Mooney. Accompanied by a big band, she delivers an impassioned and swinging version of Rudy Stevenson’s song that is truly timeless.
Lonnie Liston Smith and The Cosmic Echoes released Expansions on Bob Thiele’s Flying Dutchman label in 1975. One of the highlights of the album was Summer Days. It’s a slice of funky soul-jazz that breezes along and is a reminder of those long carefree Summer Day of yesteryear.
Roy Ayers Ubiquity released the album A Tear To A Smile on Polydor in 1975. Sadly, the album wasn’t as successful as previous albums. However, it featured the title-track with its tough, funky sound and a peerless vibes solo from Roy Ayers. It was easily the standout track on this album. Despite this, it’s often overlooked by compiler and is a welcome addition to the compilation.
Much of Horace Silver’s career was spent signed to Blue Note Records who released his album Silver ’N’ Wood in 1976. It was an album of hard bop that featured two four part suites. This included Tranquilizer Suite Part 4: Perseverance and Endurance. It’s one of the highlights of what wasn’t one of Horace Silver’s strongest albums but is a reminder of one the great jazz pianists of his generation.
Closing side one of Martin Freeman and Eddie Piller Present Jazz On The Corner Two is Chico Hamilton’s Conquistadores (The Conquerors). It’s taken from his 1965 album album El Chico, which was predicted by Bob Thiele and released on Impulse. It finds sextet fusing elements of Latin jazz, Bossa nova, and avant-garde on this oft-overlooked genre-melting track.
Side Two-Eddie’s Choices.
Emanuel K Rahim and The Kahliqs open disc two with Al Amin (The Knower), a track from their 1972 album Total Submission. It was released on Joe Fields’ Cobblestone label and features an impassioned and emotive vocal from Ralph Sawyer.
Gene Ammons’ Jungle Strut is a favourite of many compilers and has appeared on a number of compilations over the years. It was released as a single by Prestige in 1970, and featured on the album Brother Jug! It’s a soul-jazz classic and Jungle Strut is the highlight of the album.
In 1968, George Benson signed to A&M Records and released Shape Of Things To Come which was his first album produced by Creed Taylor. Most of the tracks on the albums were cover versions, including the title-track which was written by Barry Mann and Cynthia Weil. It’s reinvented by this all-star band and George Benson adds fleet fingered flamboyant flourishes on his guitar.
Leaving This Planet which was released on Prestige in 1974, is regarded as one of Charles Earland’s finest albums. It was an ambitious double album where the bandleader and producer switched between Hammond organ, keyboards and synths. Charles Earland’s finest moment on this groove-oriented soul-jazz album was the title-track, which not only showcases his skills as a keyboardist but a vocalist as he combine passion and emotion.
The Lyman Woodard Organisation released their debut album Saturday Night Special, on Strata Records in 1975. It featured Creative Musicians, an uplifting song about self determination where jazz, funk and Latin music melt into on a track from this contemporary jazz album everyone should hear once in their life.
Closing Martin Freeman and Eddie Piller Present Jazz On The Corner Two is Patrice Rushen’s Haw-Right Now. It’s taken from her debut album Prelusion, which was released on Prestige in 1974 when she was just twenty. It was an instrumental album that combines post bop with elements of fusion and one of the highlights was Haw-Right Now which closes the album on a high.
Martin Freeman and Eddie Piller Present Jazz On The Corner Two will be of interest anyone who has listened to their radio show over the last few years. It features the type of music that the two tastemakers have been playing over the last few years. There’s twenty-four tracks from familiar faces and new names.
This includes contributions from giants of jazz like Stanley Turrentine, Nina Simone, Horace Silver, Roy Ayers Ubiquity, Chico Hamilton and George Benson. Then there’s tracks by Lonnie Liston Smith and The Cosmic Echoes, Gene Ammons and Charles Earland who sadly, didn’t enjoy the widespread success that their considerable talent deserved. However, their music is appreciated by many music fans and the inclusion of their tracks will hopefully introduce their music to a wider audience. That’s the case with hidden gems from Emanuel K Rahim and The Kahliqs and The Lyman Woodard Organisation which are welcome additions to the compilation.
Just like the first instalment in the series, Martin Freeman and Eddie Piller Present Jazz On The Corner Two combine familiar tracks, deep cuts, hidden gems and cosmic jazz rubbing shoulders on this latest lovingly curated compilation which is one of the finest jazz compilations of 2020 so far.
Martin Freeman and Eddie Piller Present Jazz On The Corner Two.
ANDREW HILL-SMOKE STACK.
Andrew Hill-Smoke Stack.
Label: Blue Note Records.
Format: Vinyl.
By the time Chicago-born pianist Andrew Hill released his sophomore album Black Fire on Blue Note Records in 1964, he was already thirty-two, and was making up for lost time. He had only started to play the piano when he was thirteen but made rapid progress. Earl Hines spotted the young pianist’s potential and encouraged him, and so did German composer, conductor, musician and teacher Paul Hindemith who he studied with until 1952. This paid off, and just two years later, Andrew Hill began working as a sideman. It was a rapid rise for someone who only took up the piano eight years earlier.
Andrew Hill was born in Chicago on the ‘30th’ of June 1941, and was brought up by his parents William and Hattie alongside his brother Robert, who was a singer and classical violinist. As a child, the future jazz great attended the University of Chicago Laboratory Schools. However, he didn’t start playing the piano until he was thirteen.
It turned out that he was a natural and his potential was spotted by another Chicago-born jazz pianist Earl Hines. He encouraged Andrew Hill, which may have changed the course of his career.
He had started out as a boy soprano, singing, playing the accordion and tap dancing. This was all part of an act that Andrew Hill had developed, and between 1943 and 1947 he was a familiar face at talent shows in the Windy City, and won two Thanksgiving parties at the Regal Theatre, which were sponsored by the local newspaper, the Chicago Defender. This was ironic because a few years earlier, he was selling the paper on the city streets. The same paper would later document Andrew Hill’s career.
Before that, Chicago-born composer, arranger and musician Bill Russo met Andrew Hill and referred him to Paul Hindemith. The high respect German composer, conductor, violist and violinist was teaching at Yale and taught Andrew Hill on an informal basis until 1952. By then, his career was well underway.
Andrew Hill had been playing in local R&B bands and alongside touring jazz musicians since he was a teenager. He had already shared the stage with Charlie Parker and Miles Davis, and the future looked bright for the young pianist. However, he was still learning about music.
In 1950, saxophonist Pat Patrick taught Andrew Hill his first blues changes on the piano. This was a revelation for the nineteen year old, who three years later, would make his professional debut.
This was with the Paul Williams’ band and much later, Andrew Hill remembered: ”At that time, I was playing baritone sax as well as piano. However, he settled on the piano which was the instrument he eventually made his name playing.
The following year 1954, Andrew Hill made his recording debut as a sideman. Within a decade he had embarked upon a solo career. That was all in the future.
Over the next few years Andrew Hill worked as a sideman and established a reputation as an up-and-coming pianist. He also met two men who would influence him stylistically, Barry Harris and Joe Segal.
In the late-fifties, Andrew Hill started to work as an accompanist for jazz singer Chicagoan Dinah Washington. Her popularity had soared during the fifties and she was enjoying the most successful period of her career. Working with the Queen of the Blues was a prestigious gig for Andrew Hill who also embarked upon a solo career whilst in her employ.
He signed to Warwick Records which had been established by Morty Craft in New York, in 1959. The new label released everything from rock ’n’ roll by Johnny and The Hurricanes to jazz albums by Pepper Adams, Curtis Fuller, Teddy Charles and Andrew Hill. His debut album was So In Love, a hard bop album which was produced by Fred Mendelsohn and released in 1960. However, the album wasn’t a commercial success and Andrew Hill continued to accompany Dinah Washington.
This he continued to do until 1961. By then, the nomadic life as a sideman and years spent touring had taken their toll, and Andrew Hill was ready to settle down.
He was thirty in 1961, and decided to move to New York which became his new home. This made sense as the Big Apple was the jazz capital of America and home to many of the top jazz clubs. It was also where he worked with Al Hibbler and Johnny Hartman. Living in New York seemed to suit Andrew Hill. Despite that, he decided to move to Los Angeles.
This came about after he got the chance to work with Roland Kirk’s quartet who were playing at the Lighthouse Café, in Hermosa Beach. However, it wasn’t long before Andrew Hill was heading home having also played on Roland Kirk’s album Domino. It was released in November 1962, and was the second album he had played on that year.
The other was Walt Dickerson’s To My Queen. It was also released in 1962 and was a showcase for Andrew Hill’s piano playing. However, 1963 would be the busiest year of his career.
For part of 1963, Andrew Hill worked as sideman playing on Jimmy Woods’ Conflict and then on Hank Mobley’s No Room For Squares and Joe Henderson’s Our Thing which were released by Blue Note Records. This was the label that Andrew Hill had signed to, and in November 1963 would record his sophomore album.
Three years had passed since the release of So In Love, and Andrew Hill was keen to kickstart his solo career. There was no better place to do so, that at Blue Note Records which was jazz’s premiere label. He would be working with some of the biggest names in jazz as well as recordist Rudy Van Gelder and producer Alfred Lion.
Black Fire.
On the ‘8th’ of November 1963, Andrew Hill and his band travelled to the now familiar environs of Van Gelder Studio, which was situated at 445 Sylvan Avenue, Englewood Cliffs, New Jersey. The band that arrived at the studio wasn’t the one that was meant to record the album. Drummer Philly Joe Jones had to drop out because of scheduling problems and was replaced by Roy Haynes. He was joined by in the rhythm section by bassist Richard Davis who later played on Van Morrison’s classic album Astral Weeks. Completing the lineup were saxophonist Joe Henderson and bandleader Andrew Hill who wrote the seven tracks on Black Fire.
Unlike many Blue Note Records’ albums which were recorded in a day, Black Fire took two days to record. The band made the return journey to New Jersey and recorded the rest of the album ‘9th’ of November 1963. Now Andrew Hill’s Blue Note Records’ debut was ready to release.
When Black Fire was released to critical acclaim in the spring of 1964, it was hailed as a powerful and impressive album that was unique. Here was an album that stood out from the crowd. The music was adventurous and innovative and borrowed from avant-garde and combined this with hard bop, Afro-Cuban rhythms and modal harmonics. While the music on the album was complex and sometimes challenging it was rewarding and Black Fire was later heralded as a timeless modern jazz classic. Andrew Hill had set the bar high with his Blue Note Records’ debut. How would he follow this up?
Smoke Stack.
While many record labels would’ve waited until Black Fire has been released before sending Andrew Hill back into the studio, that wasn’t the way Blue Note Records operated. Alfred Lion decided that his new signing should return to the Van Gelder Studio n the ’13th’ of December 1963 and record the followup to Black Fire, Smoke Stack.
Just like Black Fire, Andrew Hill had written the seven tracks that would become Smoke Stack. It was going to be a very different album from Black Fire as it would feature two bassists.
Joining Andrew Hill at Van Gelder Studio were drummer Roy Haynes and bassists Richard Davis and Eddie Khan. They worked their way through seven compositions and this time, the session lasted just the one day. However, Smoke Stack wasn’t released until August 1966.
By then, Andrew Hill played on Bobby Hutcherson’s 1965 album Dialogue and recorded six more solo albums. He released Judgment! in September 1964, which was followed by Point Of Departure in April 1965. After this, Blue Note Records decided the time was right to release Smoke Stack.
Nearly three years had passed by the time Smoke Stack was released in August 1966 and often, an album can sound dated. That wasn’t the case when it was released to mostly critical acclaim and hailed as a cerebral and innovative album which was a showcase for Andrew Hill’s enviable compositional skills and one of the leading pianists of the early-sixties. However, despite the reviews of Smoke Stack the album failed to match the success of Black Fire. It was the album that got away for Andrew Hill.
Looking back, Smoke Stack found Andrew Hill’s music evolving, and it was quite different to the previous album he had recorded in 1963, Black Fire and featured what were akin to seven impressionistic tone poems. They showcased a talented composer who was confident enough to eschew conventionally structured compositions and encourage spontaneity and allowed his band to improvise and play with freedom and fluidly. This was something that Andrew Hill explored on future albums, especially Point Of Departure.
On Smoke Stack, gone was much of the obvious Afro-Cuban rhythms on what was another ambitious, adventurous, complex cerebral album of post-bop. It was an album where Andrew Hill was the midpoint between hard bop and free jazz. Having said that, Smoke Stack eschewed much of the looseness and dissonance of free jazz. However, the lengthy and sinuous modal improvisations made it a challenging album for some listeners. Those who understood and embraced the album found it was a rewarding experience.
That was despite some of the music being dark, broody and ruminative. It was also subdued and sometimes slightly discordant. However, the loose and nebulous song structures of the seven tone poems allowed the quartet to shine.
Andrew Hill came into his own on the angular modernist piano structures, and during the improvised solos his playing borders on provocative. Some critics described his playing insular and cerebral and a few as challenging. However, by 1963 when the album was recorded jazz was evolving and not everyone understood the direction the music was heading or what he was trying to achieve. On Smoke Stack Andrew Hill and his band play with an unbridled freedom and the constantly changing combination of two bassists made it a unique and innovative album that stood out from the crowd.
Among the album’s highlights are the beautiful, gossamer ballad Verne, which was dedicated to Andrew Hill’s first wife, Laverne Gillette. It’s haunting and poignant. Another highlight is the understated and blues-tinged 30 Pier Avenue. Then there’s Ode To Von which Andrew Hill dedicated to saxophonist Von Freeman. These three tracks are part of what was the most ambitious and innovative album that Andrew Hill had recorded during his career. Incredibly Smoke Stack was recorded in 1963 and was without doubt an album that was way ahead of its time.
The cerebral Chicagoan bandleader, composer and pianist was an innovator and pioneer and Smoke Stack is an oft-overlooked and underrated album. Partly because it wasn’t as successful as Black Fire and maybe because some critics and record buyers didn’t understand what Andrew Hill was doing or like the direction his music was heading.
That was a great shame given the quality of music on Smoke Stack. It veers between broody and ruminative to beautiful, delicate, expressive, emotive and haunting on what’s an ambitious, innovative and complex album that captivates, challenges and ultimately is rewarding for those who embrace and understand Andrew Hill’s vision on Smoke Stack, which was recently reissued on vinyl by Blue Note Records.
Andrew Hill-Smoke Stack.
STARLESS-EARTHBOUND.
Starless-Earthbound.
Format: CD.
Label: Last Night From Glasgow.
Just over four years after Starless released their critically acclaimed eponymous debut album, the Scottish supergroup make a welcome return with their long-awaited and much-anticipated sophomore album Earthbound, which was recently released on the Last Night From Glasgow label. It’s the latest chapter in the Starless story, and is an album that was nearly two years in the making.
After the success of the group’s eponymous debut album, work began on the followup. By then, Paul McGeechan who “conceived, produced and realised” the Starless’ concept, was a veteran of the Scottish music scene.
His career began in 1982, when he cofounded Friends Again, which also included future Bathers’ lead singer Chris Thompson and James Grant, later of Love and Money. The group only released one album, the cult classic Trapped and Unwrapped in 1984. However, when the group split-up in 1984 a new group was born.
This was Love and Money which included three former members of Friends Again, Chris Kerr, James Grant and keyboardist Paul McGeechan. They released four albums to plaudits and praise between 1986 and 1993, including Strange Kind Of Love, and became one of the most successful Scotland’s most successful musical exports during this period. Sadly, the group split-up in 1994 and it was a case of starting over for Paul McGeechan.
Later in 1994, he joined a new band, Cowboy Mouth which featured Douglas MacIntyre, Gordon Wilson, Grahame Skinner and Michael Slaven. The new group released two albums 1994s Life As A Dog and Love Is Dead in 1995. Sadly, commercial success eluded both albums and Cowboy Mouth proved to be a short-lived venture.
By then, Douglas MacIntyre, Gordon Wilson and Paul McGeechan had already formed a new group, Sugartown who released their debut album Swimming In The Horsepool in 1995. Although it was well received by critics, the album failed to find the audience it deserved. This was another disappointment for Paul McGeechan, and not long after this he decided to move in a different direction.
He decided to concentrate on production which made sense as he had worked with some of the best in the business, including Tom Dowd and Gary Katz during his time with Love and Money.
Over the next few years, he worked with the great and good of Scottish music not just as producer, but also as a mixer recordist, remixer, and sideman. It seemed that artists across Scotland had Paul McGeechan’s number on speed-dial and he worked with Ricky Ross, Isobel Campbell, The Pearlfishers, James Grant, Justin Currie, the BMX Bandits, Emily Smith and Kris Drever. Paul McGeechan’s decision to reinvent himself had paid off. Then came a phone call out of the blue in 2011,
It was totally unexpected and was the phone call he never expected to receive. Love and Money had decided to reform to for what was billed as “one night only.” Love and Money were going to play at the Glasgow Royal Concert Hall as part of Celtic Connections 2011. Soon, the show sold out, and when Love and Money made their comeback in their hometown, they received a rapturous reception as they worked their way through two entire albums, Strange Kind Of Love and Dogs In The Traffic. When Love and Money left the stage that night, a seed had been planted.
In December 2011, Love and Money’s comeback continued. This time, they played another hometown show, but chose the Clyde Auditorium. So successful was the show, that Love and Money decided to record their fifth solo album, and first since 1993.
This was The Devil’s Debt, which was released in October 2012 and received positive reviews from critics. It was the first Love and Money album in nineteen years and was welcomed by fans old and new. However, not long after this, Paul McGeechan’s thoughts turned to a project he had been contemplating for several years, Starless.
Starless.
The new group was the brainchild of Paul McGeechan, and a project he first contemplated a couple of years before the Love and Money reunion. It was only after the reunion, that he decided to return to songwriting and his new songs found their way onto what became Starless eponymous debut album.
For his new project, Paul McGeechan had a wish-list of well known names from Scottish music. He knew it wasn’t going to be easy to persuade everyone to take part in the project.
Apart from former Cocteau Twin Liz Fraser, everyone agreed to take part and Paul McGeechan was joined in the studio by some of the great and good of Scottish music for the recording of Starless. This included The Blue Nile’s Paul Buchanan, The Bathers’ Chris Thomson, former Capercaillie vocalist Karen Matheson and folk singer Julie Fowlis. They were joined by Lau’s Kris Drever and Ewan Vernal who was by Paul McGeechan’s during much of the recording of Starless. Eventually, the album was completed and his dream had become reality.
When Starless was released in May 2016, it was to critical acclaim. Critics heaped praise on an album where the Scottish supergroup incorporated elements of Scottish-Gaelic traditional music, pop, rock, an element of theatre and were joined by The Prague Philharmonic Orchestra. It was an album full of ethereal beauty where troubled troubadours with worldweary vocals join lush strings in producing what was an almost flawless album. The big question was would there be a followup?
Earthbound.
There was, and just like its predecessor Starless, the much-anticipated followup Earthbound was a star-studded affair that took the best part of two years to record. Joining Paul McGeechan this time around were some old friends from his musical past, including some of the cast from Starless.
This included his old friend from Friends Again, and Bathers frontman Chris Thompson and folk singer Julie Fowlis, who made a welcome return on Earthbound. They were joined by Hipsway’s Grahame Skinner, former Big Dish frontman Steven Lindsay, onetime Delgado Emma Pollock and Jerry Burns. There’s also contributions from Marie Clare, Karliene, Silvia Ramón Gérard and The Prague Philharmonic Orchestra who played such an important part in the sound of Starless.
Recording of Earthbound took place in three studios in Scotland, Waterside Productions, Chem 19 and UWS. Then producer Paul McGeechan travelled to Smecky Studios in the Czech capital where he recorded the Prague Philharmonic Orchestra’s contribution. By then, he knew he had almost completed the project that was conceived nearly two years earlier. After nearly two years of hard work, Earthbound, the much-anticipated followup to Starless was complete.
Eventually, in late-May 2020, Starless received their long-awaited sophomore album Earthbound. The band’s eponymous debut album had set the bar high, and it wasn’t going to be easy to match never mind surpass the quality of Starless. However, if anyone could do it, it was Paul McGeechan and his all-star band Starless on Earthbound.
Opening Earthbound is Long Bhriseadh (Shipwreck). It’s an emotive instrumental full of drama that paints pictures as strings sweep and the piano plays. Later, the sound of waves break on the deserted shore and in the distance a piper plays, adding to the heartbreak and drama on this cinematic sounding track.
The traditional Gaelic lament Ailein Duinn features a heartfelt and impassioned vocal from Karliene. Meanwhile, strings sweep, the piano plays and drums provide the heartbeat. Then later, the sound of waves lapping on the beach is added and is the finishing touch to what’s a truly beautiful track.
Paper is a piano lead track that features a tender, thoughtful vocal from former Delgado Emma Pollock. As the understated arrangement unfolds and evolves there’s a nod to trip hop pioneers Portishead. Later, strings sweep, swirl and dance as the Castle Douglas-born singer delivers a tender, soul-baring vocal on one of Earthbound’s highlights.
Breakdown marks the Starless debut of former Big Dish frontman Steven Lindsay. He delivers an impassioned and bittersweet vocal that’s akin to a confessional. Meanwhile, drums, crack, strings cascade and along with the piano set the scene and add an element of drama to this four minute mini-drama.
Making a welcome return on Spellbound is Chris Thompson of The Bathers. A distant piano and strings set the scene on this understated and spacious. Just a lone piano accompanies the troubled troubadour as he enters and takes centrestage. Soon, he’s painting pictures with his lived-in, worldweary vocal and breathing life and meaning into the lyrics. Meanwhile, drums provide the heartbeat and strings sweep and later quiver and shiver. They frame the wistful vocal during a spellbinding performance from one of Scotland’s finest vocalists.
There’s a sense of melancholy from the opening bars of Glittering Light as a piano plays and the arrangement gradually reveals its secrets. This includes cinematic strings and a tender, heartfelt vocal from one of Scottish music’s best kept secrets Jerry Burns. She’s accompanied by an arrangement that shimmers and glistens as strings sweep and later with a voice full of emotion, asks: “where are you now?”
The sound of Morse code opens Settling Mist before a lone piano plays and is joined by strings. They sweep majestically and later are joined by pipes in creating a cinematic track that latterly, has a quintessentially Scottish sound.
The ethereal sounding Marie Clare Lee featured on Starless’ eponymous debut album. She makes a welcome return on Chase The Devil, where she lays bare her soul on a widescreen symphonic epic.
Very different is Cridhe Aingeal, an eerie, atmospheric and filmic interlude that lasts just twenty-five seconds.
Seesaw and sweeping strings add a melancholy hue on Somewhere In The Night as they accompany Steven Lindsay’s impassioned vocal. It’s joined by drums and synths as the drama builds on an arrangement that in parts, harks back to the eighties. Meanwhile, the vocal is mixture of power and passion as he sings: “so pray for me and shield me from the light, and wait for me.” Framing his needy pleas is a stirring, string drenched arrangement that proves to be the perfect accompaniment.
Another of the highlights of Earthbound is Sea Shanty No.2 (Wish You Were Here) Hipsway frontman Grahame Skinner delivers a vocal full loneliness, longing and hurt. He sounds as if he’s lived the lyrics as the strings sweep and swirl and a backing vocalist adds to the sense of longing.
Chris Thompson returns Calvary which initially has an understated arrangement. Soon, its beating heart is joined by a guitar and strings that add a degree of urgency. Meanwhile his vocal takes on a confessional quality as the genre-melting arrangement builds and becomes dramatic. This is perfect backdrop for a vocal that’s akin to a cathartic unburdening from The Bathers’ frontman.
Closing Earthbound is the lament Ailein Duinn (1957) which was written in Gaelic for sea captain for Alan Morrison by his fiancée Annie Campbell. They set sail to Lewis in 1788, and sailed into a storm and the vessel sank with only Annie Campbell surviving. She was broken hearted and wrote this lament for her lost love. Sadly, she died a few months later having wasted away because of the grief and heartbreak and her lasting legacy is this lament.
Starless reinvent Annie Campbell’s lament and give it a ‘21st’ Century makeover. It opens with the sound of waves breaking on the shore and claps of thunder as Julie Fowlis’ vocal enters. It’s replaced by melancholy strings before she returns and continues to deliver a tender, heartfelt and emotive vocal. Then when it drops out the sound of waves crashing and gently breaking on the beach can be heard. They’re accompanied by a harpsichord and later, replaced by what’s meant to be a ship using Morse Code to tell of the shipwreck that they’ve discovered after the storm. It’s a sobering and heart-wrenching way to close the album with such a tragic story that is guaranteed to tug at the heartstrings.
Nearly four years after the release of their eponymous debut album, Starless make a welcome return with the long-awaited and much-anticipated sophomore album Earthbound. Just like its predecessor, Starless founder Paul McGeechan was joined by an impressive all-star lineup. However, this time around, he’s shuffled the pack and some new names join the cast. This includes Emma Pollock, Grahame Skinner and Steven Lindsay. They joined Chris Thompson, Julie Fowlis and Marie Claire Lee who featured on Starless, and play their part in the sound and success of the followup Earthbound. So do the Prague Philharmonic Orchestra whose contribution to the album can’t be underestimated.
They play their part in sweeping, widescreen arrangements that provide the perfect backdrop to songs that are variously atmospheric, beautiful, cinematic, dramatic. elegiac and ethereal. Other songs are haunting or full of hurt, loneliness, longing and melancholia and are brought to life by some of Scotland’s finest vocalists who breath life, meaning and emotion into the lyrics. They play their part in a near flawless opus that marks the welcome return of Paul McGeechan’s all-star band Starless, on their near flawless epic Earthbound.
Starless-Earthbound.
CULT CLASSIC: JOE HOUSTON-KICKIN’ BACK.
Cult Classic: Joe Houston-Kickin’ Back.
Joe Houston’s career began in 1941 when he was just fifteen, and a saxophonist in a touring band never turned up. This presented the bandleader with a problem. However, he needn’t have worried as Joe Houston was in the audience and this was the breakthrough the young saxophonist had dreamy about.
From an early age, Joe Houston was determined to make a career out of music. So much so, that he bought a red suit with white trousers which was what many of the touring bands wore. One night, when the saxophonist didn’t show, Joe Houston who looked the part, offered his services. He grabbed his saxophone, and took to the stage and that night, his career began in earnest. By them, he had come a long way in a short time.
Joe Houston was born on 11th July 1926, in Austin, Texas and it was in school, that Joe discovered music. Originally, he played the trumpet but before long he switched to the saxophone. Soon, he was an accomplished saxophonist and good enough to play in a touring band by the time he was fifteen. That was just the start of his career.
By 1943, Joe Houston had joined a touring band and spent three years touring Kansas, Chicago and the mid-west. These three years were an important part of his musical education and by the end of the Second World War, Joe Houston was ready to rub shoulders with some of the biggest names in music.
Among the musicians Joe Houston worked with, were pianist Amos Milburn and vocalist Big Joe Turner. He was impressed by the young saxophonist that he asked Joe to put a new band together for him. In return, Big Joe Turner recommended Joe Houston to Freedom Records.
When Joe Houston signed to Freedom Records in 1949, he was only twenty-three. However, he had been a professional musician eight years. He had played with some big names, and learnt from each of them. This included learning what it took to be a bandleader.
In 1951, he formed the Joe Houston and Orchestra and their first release was Blowin’ Crazy, which was released on Macy’s Recordings. He hoped to build on the success of previous “blowing’” saxophone releases and Blow Joe Blow gave him a regional hit in the South. This lead to the Bihari brothers buying the track which they planned to release nationwide.
The Bihari brothers were well known within the music industry and owned several labels, including Los Angeles’ based Modern Records. Just like Big Joe Turner, the Biharis were impressed by Joe Houston. They made the journey to Houston to record several sides they planned to release.
Before that, they released Blow Joe Blow. While it wasn’t a nationwide hit, it showed the Biharis that Joe Houston had a big future ahead of him. Their paths would cross again.
After meeting the Biharis, Joe realised that L.A. was jazz central. So he decided to relocate to tinseltown. This worked in Joe’s favour. He played on numerous sessions, and released singles on various labels, including Mercury, Combo, Modern and its subsidiary RPM. This somewhat scattergun approach paid off.
In 1952 Joe enjoyed his first hit single with Worry, Worry, Worry. It reached number ten in the US R&B charts. Later, in 1952, Hard Time Baby also reached number ten in the US R&B charts. After eleven years, Joe Houston had made a breakthrough.
Another two years passed and Joe Houston enjoyed a hit with All Night Long. It was released on John Dolphin’s Money Records in 1954. Soon, All Night Long was regarded as a South Californian classic. Joe Houston was back, and back with a hit.
Over the next couple of years, Joe Houston kept making records and working as a sideman. Then in 1956, Joe Bihari entered Joe’s life when he bought All Night Long and made it the lead track from his album Blows All Night Long. This was the first of seven albums Joe Houston released on the Biharis labels.
The other five were released on their Crown imprint. This included four albums in 1962 Rockin’ And Rollin,’ Doin’ The Twist, Twisting In Orbit and Wild Man Of The Tenor Sax. Then in 1963, Joe Houston jumped on another bandwagon, and released Surf Rockin.’ He followed this up with Limbo. It was his last album for another fifteen years.
Over a recording career that started in 1951, Joe Houston had watched musical genres and trends come and go. He had been there through when the twist and then surf music was popular. By 1978, another musical genre was at the peak of its popularity, disco. So with the help of his old friends the Bihari brothers, Joe Houston decided to release an album that just happened to include a couple of disco tracks.
By then, the Biharis were keen to release new albums. For some time, they had been running reissue label and while this was profitable they needed a change and decided to launch their new label, Big Town.
Having decided to setup a new label, Jules Bihari started to look for artists and decided to give Joe Houston a call. They knew each other well and had first worked together twenty-six years previously.
The only problem was that Joe Houston hadn’t released an album since 1963. However, he had never stopped working during that period. He knew that his profile wasn’t as high as it once was, and that music had changed since he last released an album, but he was a versatile musician and jumped at the opportunity to make a comeback.
For his long awaited comeback album, Joe Houston and Jules Bihari penned eight tracks. Jules used the alias Jules Taub. This wasn’t fooling anyone especially the musicians who played on Kickin’ Back. They realised that Jules Taub was Jules Bihari.
Joe Houston decided to produce his comeback album and put together a tight, talented band for the recording of Kickin’ Back. The rhythm section featured drummer Ross Solomone, bassist Ted Butler and Larry Johnson on bass and guitar. Bo Rhambo played alto and tenor saxophone, while Freddy Clark and Joe Houston both played baritone and tenor saxophone on Kickin’ Back. It was scheduled for release in 1978.
There was no fanfare when Kickin’ Back was released in 1978, and Jules Bihari didn’t go out of his way to promote Joe Houston’s long-awaited comeback album. When it was released the album passed most record buyers by. Adding insult to injury, Kickin’ Back was soon deleted by the Big Town label.
For Joe Houston his fusion of blues, funk and disco had neither proved profitable nor raised his profile and he returned to playing live in LA’s clubs. Kickin’ Back was a case of what might have been for the veteran saxophonist. If only the album had been promoted properly a wider audience might have discovered an eclectic album.
Hawaiian Disco opens Kickin’ Back and straight away, there’s an obvious early sixties hot rodding sound. It’s as if Joe Houston has been inspired by his 1963 album Surf Rockin.’ That’s no bad thing. It all starts with the drums, then the guitars and blazing saxophone join in. Soon, they’re in full flight and it’s an impressive sound and for five minutes, Joe Houston and his tight, talented band create a joyous and irresistible sounding dance track.
Not many artists would’ve have thought of fusing blues and disco. Joe Houston did, and the result was T Bone Disco. Surf guitars are joined by the rhythm section and then a growling, scorching saxophone. It soars above the arrangement as the drums and piano play leading roles. By then, musical genres are melting into one. Blues, disco, R&B and surf are combined by a band of hot shot musicians. Each and every one of them have earned their stripes, and unleash peerless performances.
The tempo drops on Mr. Big, which sounds as if it belongs on an early seventies Blaxploitation soundtrack. Just a loose, spacious rhythm section and chiming guitar provide the backdrop to what can only be described as a saxophone masterclass. Joe Houston never misses as a note, as his scorching, rasping solo steals the show. Everyone else plays a supporting role as the veteran saxophonist takes centre-stage.
Baby What You Want Me To Do sees Joe Houston return to the blues. The rhythm section and crystalline guitar set the scene for his needy, lived-in vocal. Then when his vocal drops out, guitarist Larry Johnson steps up and unleashes a glistening, shimmering solo, before replying to Joe’s vocal. He pleads and vamps his way through the lyrics, constantly asking: “Baby What You Want Me To Do.”
Trippin’ In sees another change of style. The tempo stays the same as the band create a chugging beat. This allows Bo Rhambo’s alto saxophone to take centre-stage as he adds a jazzy hue to the fusion of blues and R&B behind him.
Why Don’t You Rock Me bursts into life and the chugging beat makes a reappearance. Meanwhile, stabs of piano and a chiming guitar accompany Joe’s blistering saxophone solo. He doesn’t hold back and used the track to showcase his considerable skills. In doing so, he once again steals the show.
Kicking Back-Part One sees Joe and his band at their funkiest. That’s the case from the get-go when drums are joined by hissing hi-hats, wah-wah guitar and funky bass. The band kick loose, and produce one of their best performances. Adding the final touch is a scorching saxophone solo. It’s part ofwhat’s an inspired performance on a track that would later find favour with deep funk DJs.
Closing Kickin’ Back, is Kicking Back-Part Two. It picks up where Part One left off, and is a variation of a theme. That’s no bad thing as Joe Houston and his band are at their best, with a track that was right on trend, and even today, finds its way into many a DJs record box.
Fifteen years after releasing his last album, Joe Houston made a welcome return. Jules Bihari gave him the opportunity to rejuvenate his career and Joe Houston didn’t let him down.
Seamlessly, Joe Houston and his tight, talented band switch between blues, disco, funk, jazz, R&B and surf throughout Kicking Back. Sometimes, they fuse several genres on the same track and it all seems effortless. That’s what Joe Houston and his band were capable of. They were also capable of making music that in 1978, was bang on trend.
That’s why Kickin’ Back could’ve and should’ve been a successful album, and maybe even featured a hit single? Sadly, that wasn’t to be because Jules Bihari decided not to promote Kickin’ Back. That was the same with his new label’s Big Town’s other releases. They sunk without trace, and were soon deleted.
For Joe Houston it must have been a disappointing experience. He must have felt he had been let down badly by a man who was supposedly one of his friends. After all, why release an album and not promote it? Thankfully, this didn’t put Joe Houston off releasing another album.
He made a comeback in 1981, when he released Earthquake on Imperial. After that, Joe Houston continued to record and play live right until 2005.
Sadly, Joe Houston suffered a stroke in 2005, and wasn’t able to played live again. He lived in Los Angeles until he passed away after suffering from a stroke on December the ‘28th’ 2015. However, Joe Houston left behind a rich musical legacy including his cult classic Kickin’ Back showcases his considerable talent and versatility.
Cult Classic: Joe Houston-Kickin’ Back.
CULT CLASSIC: BROTHERS AND SISTERS-DYLAN’S GOSPEL.
Cult Classic: Brothers and Sisters-Dylan’s Gospel.
For too long, backing singers have been the forgotten heroes of music and that has been the case since the sixties. Mostly, they were largely anonymous figures and their raison d’être was to make the stars sound good. Backing singers, like session musicians, were hired guns and everyday, they found themselves working with different artists. So they had to be versatile and able to adapt. They could be singing soul today jazz tomorrow working on a rock album the next again day. The best back vocalists took this in their stride and often, were called upon time and time again by producers.
This included The Sweethearts of Sigma and The Sweet Inspirations who were among the creme de la creme of backing vocalists. So were Merry Clayton, Gloria Jones, Sherlie Matthews, Ed Wallace and Fred Willis who during the sixties, all worked with songwriter and producer Lou Adler.
He had established a reputation as one of Los Angeles’ top producers and worked with the great and the good of music. Who Lou Adler didn’t know, wasn’t worth knowing. This also included the best session musicians and backing vocalists LA had to offer.
When producing a session he always called upon the same backing vocalists who he had formed a good relationship with. So much so, that Lou Adler decided he wanted to make an album where the backing vocalists would play a starring role. The only problem was, by 1969, the songwriter, producer and artist manager was without a record label. Despite that, he decided now was the time to make the album with backing vocalists. He knew he would find a record company willing to release the album.
The result was Dylan’s Gospel the debut album from Brothers and Sisters, which featured some of the LA’s top backing vocalists. In total, twenty-seven session singers appeared on Dylan’s Gospel. Among them are Merry Clayton, Ruby Johnson, Shirley Matthews, Clydie King, Patrice Holloway, Julia Tillman. So too did Edna Wright of The Honeycones and Gloria Jones who recorded the original version of Tainted Love in 1965. It was an all-star lineup that gathered at Sound Recorders Studios.
When the recording sessions at Sound Recorders Studios in L.A, Lou had drafted Gene Page, who arranged Dylan’s Gospel. Ten of Bob Dylan’s finest songs were chosen to be recorded by Brothers and Sisters. Accompanying Brothers and Sisters were some of L.A’s best session players. The rhythm section included bassist Jerry Scheff and drummer Gene Pello. Evelyn Freeman played organ, Gene Page piano and percussionist Joe H. Vaerga. Producing Dylan’s Gospel was Lou Adler. The Dylan’s Gospel sessions weren’t like most other sessions Lou Adler had produced.
Looking back, many who were present at the recording sessions at Sound Recorders Studios in Hollywood, remember the sessions as akin to a four-day party. The great and the good of music swung by. Carole King came to hear the Brothers and Sisters. So did Peggy Lipton and Papa John Phillips. Then there cousins, mothers, partners and friends of the Brothers and Sisters. They ate, drank and enjoyed listening to what was gospel rock ’n’ style. The sessions were like a four day party where the Brothers and Sisters transformed ten Bob Dylan tracks.
Sadly, when Dylan’s Gospel was released on Ode Records in 1969, the album passed most people by. This unique album wasn’t a commercial success. For once, Lou Adler’s Midas touch failed him. Dylan’s Gospel joined the ranks of great albums never to be heard by a wider audience.
The Times They Are A Changing opens Brothers and Sisters’ debut album Dylan’s Gospel. Just an organ and piano combine to create an authentic gospel backdrop for Merry Clayton’s vocal powerhouse. She unleashes a vocal that’s equal parts power, passion and emotion. She brings hope to the lyrics that “The Times They Are A Changing.” Meanwhile, harmonies, coo, sweep and soar while the drums add to the drama. Seamlessly, a Bob Dylan classic is transformed into a hopeful, stirring, gospel track.
Just a lone piano opens I Shall Be Released. It’s joined by a rumbling bass and a heartfelt soaring vocal. Backing vocalists reply to the vocal. Meanwhile a wailing Hammond organ, piano and subtle drums provide the perfect backdrop. It never overpowers the vocal or harmonies. They’re at the heart of the track’s success. The vocal is a fusion of sincerity and emotion. So much so, that the lyrics take on a new meaning. Joyous describes the swaying, soaring harmonies which are the finishing touch to this reinvention of I Shall Be Released.
Edna Wright takes charge of lead vocals on Lay Lady Lay. A bubbling bass, drums played with hands and harmonies accompany her tender vocal. Soon, a piano enters as the Brothers and Sisters kick loose. Soulful and needy describes Edna’s vocal. She’s accompanied by cooing harmonies. They soar above the arrangement and later she combines gospel, soul and jazz and as she kicks loose her vocal becomes sultry and sensual, as she delivers a vocal masterclass.
Distant harmonies and a gospel tinged piano make their way towards you. Then a rousing, stirring version of Mr. Tambourine Man unfolds. The song is totally transformed. Partly that’s down to the lead vocal which ensures the song swings. Then there’s the rousing harmonies and the tight talented band who transform this Bob Dylan classic which becomes a stirring, rousing celebration.
All Along The Watchtower is right up there with the best songs Bob Dylan has written. Here, new life and meaning is breathed into a familiar song. Atmospheric and dramatic describes the arrangement as the rhythm section, stabs of piano and washes of Hammond organ accompany soaring, swaying harmonies and handclaps. The lead vocal is a combination of controlled power, emotion and passion. This inspires the rest of the Brothers and Sisters as they clap their hands, stomp their feet and unleash some of their finest harmonies as they reach new heights on the album.
Of all the songs on Dylan’s Gospel, The Mighty Quinn is the one that really takes on new life having been given a gospel makeover. The Brothers and Sisters throw themselves into the song and their rousing harmonies and handclaps are joined by a wailing Hammond organ, rhythm section and rasping horn. Then there’s Merry Clayton’s joyous and celebratory vocal, which later becomes a vamp. It takes the song to new places and results in the song Bob Dylan had always hoped for.
Ethereal harmonies open Chimes Of Freedom and heavenwards. Then when they drop out, an impassioned lead vocal enters. It oozes emotion and so does the female vocal that picks up the baton. When they join together, they’re accompanied by a gospel piano, probing bass and washes of Hammond organ. They add to the spiritual sound of a track that Bob Dylan started and the Brothers and Sisters finished.
For many people, Gloria Jones’ name will be forever synonymous with Tainted Love. That’s until they’ve heard her vocal tour de force on I’ll Be Your Baby Tonight. As she kicks loose, swaying, soaring and joyous harmonies join a jangling piano that accompanies Gloria as she lays claim to the song, her vocal a mixture of sass and neediness.
Piano and drums combine as My Back Pages unfolds and a tender, wistful vocal is accompanied by rousing gospel harmonies. They coo above the arrangement, while the unmistakable sound of a Hammond organ is dropped in. Lou Adler’s timing is perfect and it adds to the emotion and is the perfect accompaniment to the Brothers and Sisters on this emotive opus.
Without doubt, Just Like A Woman is one of Bob Dylan’s finest hours. That’s why it’s a fitting way to close Dylan’s Gospel. Replacing the familiar harmonica in the introduction is a church organ. This sets the scene for the massed ranks of Brothers and Sisters. They throw themselves into the song. The twenty-seven Brothers and Sisters become one and it’s an impressive and powerful combination that is emotionally overpowering. In the midst of Brothers and Sisters, someone hollers “Yes She Should” while spontaneous vamps are unleashed. It sounds as if the Brothers and Sisters are having the time of their lives while making some of the best covers of Bob Dylan songs you’ll ever hear.
That’s no exaggeration. Bob Dylan songs are some of the most covered in the history of popular music. However, Brothers and Sisters’ ten covers of Bob Dylan songs are some of the best you’ll ever hear. The ten tracks ooze emotion, meaning, joy, hope and happiness. That’s thanks to some of the finest backing vocalists of the sixties.
They reinvent some of the tracks, especially The Mighty Quinn, Chimes Of Freedom and My Back Pages. These are tracks that Bob Dylan started and the Brothers and Sisters finished. They made this trio of tracks their own and their unique brand of gospel is tailor made for these songs. That’s the case with the rest of the ten tracks on Dylan’s Gospel. The songs literally, take on new meaning in the hands of the Brothers and Sisters. As a result, the music is rousing, stirring, joyous, celebratory and emotive. It was a session that nobody who witnessed it would ever forget.
It’s been described as a four-day part, where the great and the good of music swung by to hear the Brothers and Sisters. Carole King, Peggy Lipton and Papa John Phillips were present and so were countless cousins, mothers, partners and friends of the Brothers and Sisters. They ate, drank and were merry as they witness gospel rock ’n’ style. The sessions were like a four day party where the Brothers and Sisters transformed ten Bob Dylan tracks. During the sessions, the onlookers must have thought that Dylan’s Gospel was bound to be a commercial success.
Sadly, when Dylan’s Gospel was released on Ode Records, in 1969, it wasn’t a commercial success. There was absolutely nothing wrong with the music which oozes quality. Maybe the problem was that Lou Adler signed the Brothers and Sisters to the wrong label? Ode Records was too small and didn’t have the funds and personnel to promote Dylan’s Gospel. A major label like Columbia Records or A&M would. If either of these labels had released Dylan’s Gospel, it would’ve been a huge commercial success and the album would’ve been hailed an innovative, modern classic. Sadly, that wasn’t the case and it was a case of what might have been the for Brothers and Sisters’ debut album Dylan’s Gospel.
Belatedly, Brothers and Sisters’ cult classic Dylan’s Gospel is starting to find a wider audience, and a now new generation of record buyers are hearing some of the finest Bob Dylan covers ever recorded.
Cult Classic: Brothers and Sisters-Dylan’s Gospel.
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