CULT CLASSIC: HARMONIA-MUSIK VON HARMONIA.
Cult Classic: Harmonia-Musik Von Harmonia.
Having spent five months between June and November 1973 recording their debut album, a new German supergroup Harmonia, released Musik Von Harmonia in January 1974. This groundbreaking album should have been the dawn of a new and successful era for the Harmonia, but sadly it failed to find the audience it deserved and and failed commercially.
So did the followup Deluxe, which was released in June 1975. Forty years later Harmonia cofounder Michael Rother remembered this period, when I interviewed him in 2015: “The seventies weren’t a good time for Harmonia. Our music was ignored, it was tough to survive during this period.” Harmonia weren’t alone.
Other Kominische bands were releasing albums that passed almost unnoticed. Can and Amon Düül II were in a similar boat. Even Kraftwerk’s first three albums weren’t a commercial success. It was a similar story for Neu! back in 1973.
Back in 1973, Neu! had just released their sophomore album Neu! 2. It failed to match commercial success and critical acclaim of their eponymous debut album. Neu! had sold 30,000 copies in Germany alone. This was good for an underground album. However, Neu! 2 was a different matter.
The problems started when Neu! went into the studio to record Neu! 2. They had booked ten days to record their second album. This should’ve been plenty of time. Neu! had recorded their debut album in four days. However, Micahel and Klaus spent too long recording side one of the album. With only three days left, the pair panicked. Desperation set in. Then they remembered a single Neu! had released, Neuschnee which featured Super on the flip-side. This was the solution to their problems.
So for side two of Neu! 2, Michael and Klaus recorded versions of Neuschnee and Super. Michael remembers “We did all sorts of things. I played the single on a turntable, and Klaus kicked it as it played. We than played the songs in a cassette player, slowing and speeding up the sound, and mangling the sound in the process.” Just like their debut album, Neu! 2 was completed just in time. It was another: “close shave.”
With Neu! 2 complete, it was scheduled for release later in 1973. When the album was released, critics were won over by side one. Neu! were refining the sound of their debut album. Für immer was Neu! 2’s masterpiece. However, critics weren’t impressed by side two.
Many critics saw the music as gimmicky, and accused Neu! trying to fool and rip off record buyers. Indignant critics took the moral high-ground. Some record buyers agreed. “They felt that we were trying to rip them off. That was not the case.” Side two was Neu! at their most experimental, deconstructing ready made music only to reconstruct or manipulate it. However, neither critics nor record buyers realised this, and Neu! 2 failed commercially. This left Michael Rother and Klause Dinger with a problem.
Both men decided to look for a solution to the problem. Klaus headed to London, where he tried to drum up interest in Neu! Meanwhile, Michael found the solution to his problem in a song.
After hearing “Im Süden, a track from Cluster’s sophomore album Cluster II,” Micahel Rother decided to turn Neu! into the first German supergroup. So Michael embarked upon a journey to the Forst Commune, where his he had a proposal for two of his friends, Dieter Moebius and Hans-Joachim Roedelius of Cluster.
As Michael made his way to the Forst Commune, he wondered if Dieter Moebius and Hans-Joachim Roedelius would be interested in joining an extended lineup of Neu!? Then Michael began to consider another possibility, a German supergroup consisting of Neu! and Cluster? This would be a first. Nobody had ever tried this before. It was the opportunity of a lifetime.
Soon, it became apparent that Michael’s idea of a supergroup was about to take shape, just not in the way Michael had originally envisaged. That initial jam later became Ohrwurm, a track from Harmonia’s 1974 debut album Musik Von Harmonia. Following their initial jam session, Michael stayed at the Forst Commune to prepare for the recording of Harmonia’s debut album. Germany’s first supergroup had just been born. It wasn’t an extended version of Neu! Instead, it was a new band Harmonia.
Musik Von Harmonia.
Soon, Michael Rother, Dieter Moebius and Hans-Joachim Roedelius started recording what became Musik von Harmonia in June 1973. It was meeting of musical minds. Over the next five months, Harmonia recorded eight songs. The two members of Cluster were receptive to Michael Rother’s way of working. Hans-Joachim Roedelius explained recently: “there were no problems, we wanted to learn. Previously, we improvised, which made playing live problematic. A song was merely the starting point, it could go anywhere. Michael however, taught us about structure. We influenced him. It was a two-way thing.”
That’s definitely the case. Michael Rother believes: “that working with Dieter Moebius and Hans-Joachim Roedelius made him a more complete musician.” Over his time working with the two members of Cluster; “I learnt so much.”
This became apparent when Musik von Harmonia was completed in November 1973. Harmonia’s 1974 debut album, Musik von Harmonia, was a move towards ambient rock. Both Michael Rother and the two members of Cluster’s influences can be heard on the nascent supergroup’s debut album. It was released in January 1974.
When Musik von Harmonia was released, many critics realised the importance of what’s a groundbreaking classic. It saw this nascent supergroup seamlessly embrace and incorporate disparate musical genres. In the process, Harmonia set the bar high for future ambient rock albums. Despite the critical acclaim that accompanied Musik von Harmonia, the album wasn’t a commercial success.
Opening Musik Von Harmonia is Watussi. Rhythmic and hypnotic describes this track. Drumbeats courtesy of a drum machine crack, joining banks of synths. Constant panning is used, so the sound assails and surrounds the listener. Hypnotic but joyous, this is classic Kominische, albeit with a twist. The twist is the ambient influence. In the background, ambient and experimental music are fused. Washes of synths, percussion and searing, blistering guitar combine with effects. This results in a mesmeric and innovative fusion of classic Kominische with elements of ambient, avant-garde and experimental music.
Sehr Kosmisch has a much more understated, subtle sound. It’s best described as an ambient soundscape. The music unfolds in waves, growing ever closes. The drama grows, as drums steadily pulsate. There’s a cinematic quality, as purposely, Harmonia march to the beat of the drum. Meanwhile, washes of synths are variously ethereal and jagged, meandering as their eerie, broody sound grows. As the arrangement progresses, the drama builds. Gone is the understated sound. There’s a still a hypnotic, pulsating sound to the dramatic arrangement. It still unfolds in waves as it builds to its crescendo, as Harmonia reinvent Kominische muzik with a groundbreaking, moody, cinematic Magnus Opus.
Sonnenschein bursts into life, the arrangement panning from right to left. Guitars reverberate and are joined by synths, drums and futuristic, otherworldly sound effects. Together, they create a bold, dramatic and almost grandiose arrangement. Soon, it’s as if Harmonia are taking the listener on a journey. Harmonia become a benevolent, modern day Pied Piper, and the listener marches along as if en route to some idyllic, rural Kominische utopia, where carefree communal living offers an alternative to the drudgery of 9 to 5 and der mann. As they march along, Harmonia continue to rewrite Kominische music’s rulebook. To do this, they fuse ambient, avant-garde, classical, experimental, rock and world music. This results in music that’s hypnotic, grandiose, dramatic, futuristic and impressive, as musical visionaries Harmonia, continue their pioneering musical journey.
Dino is driven along by the drums, while guitars wah-wah and synths buzz and beep. Straight away, there’s a similarity to Neu!’s first two albums. That’s thanks to the hypnotic Apache beat. It’s present despite only one half of Neu! playing on Musik Von Harmonia. However, Klaus Dinger’s influence can be heard by proxy. The Apache beat is replicated by a drum machine. Soon, elements of Neu!, Cluster and Krafterk shine through. The mesmeric Apache beat, and Michael’s shimmering, sometimes choppy guitar play leading roles. By then, Harmonia are in top gear. Aided and abetted by Dieter and Hans-Joachim, they create what’s the perfect soundtrack to any journey down the Autobahn.
Swathes of eerie, haunting synths open Ohrwurm. Add to this pizzicato strings and experimental guitar. Feedback hangs in the air, as the track takes on an avant-garde sound. It’s as if Harmonia are just jamming, seeing where this leads. This was what Can did, and called spontaneous composition. By now, fuzzy guitars are sprayed across the arrangement. Menacingly, they hang in the air. So do the the jagged synths. It all becomes very avant-garde and experimental, but strangely melodic and compelling. Harmonia it seems, are determined to constantly reinvent their music, and do so, almost seamlessly.
Ahoi has an spacious, ambient sound. Just a melancholy keyboard and chiming guitar combine. They meander along, seemingly in no hurry. Space is left, as the keyboards and guitar keep each other company. The guitar reverberates into the distance, while a wistful piano poses questions that are never answered. Later, it’s all change. Waves of dramatic music threaten to assail you. Urgent strings, hypnotic keyboards and a myriad of percussion swagger along. By then, the arrangement veers towards discordant and disturbing, but remains the rights side of dramatic. A song of two parts, it shows two equally enthralling sides to Harmonia’s music.
Veterano is a dramatic, driving fusion of Kominische, psychedelia and rock. Synths, crunchy, punchy drums and mesmeric keyboards unite. They drive the arrangement along. Meanwhile guitars drift in and out. They’re panned hard right, and sometimes, sound hesitant. Other times they’re responsible for some peerless solos. A myriad of percussion adds to the hypnotic nature of this driving, urgent arrangement that forty years later, is truly timeless.
Hausmusik closes Musik Von Harmonia. A vintage sounding keyboard plays in the distant. It sounds like a reminder of another age. Gradually, it draws closer. Washes of synths, percussion and wailing guitars are panned right to left assailing and surrounding you. It’s as if Harmonia are determined to close their debut album on a high. This they do, mixing vintage and space-age sounds to create a soundscape that’s innovative, ethereal, multilayered and full of nuances and subtleties.
Forty-six years after the release of Musik Von Harmonia, Harmonia are somewhat belatedly getting, the recognition their music so richly deserve. Harmonia are now regarded as one of the finest purveyors of Kosmische musik.
Each and every one of these groups were innovators, whose music was way ahead of its time. The musicians in these groups, including Harmonia were visionaries, who were determined to make a new type of music. This music was neither going to be influenced by American nor British music.
Instead, Kosmische musik’s roots can be traced to the late-sixties, and in a way, were a reaction against the rigidity and rules of traditional music. No longer were musicians willing to be constrained by the rules of modern music. They wanted to free themselves from the shackles of rules and rigidity, and in the process, create new and groundbreaking music.
To do this, they fused a disparate and eclectic selection of musical genres. Everything from avant-garde, electronica, experimental rock, free jazz and progressive rock influenced and inspired Kosmische musik. Michael Rother explained: “we weren’t influenced by the blues music that had influenced other musicians. That wasn’t our music. Nor was the Schlager music which our parents listened to. We were looking for something new. Musically this was our year zero.” So in the late-sixties, this new breed of you German musicians embarked upon a musical revolution.
By 1974, when Harmonia released their debut album Musik Von Harmonia, Germany was in the midst of a musical revolution. At the forefront of this vanguard for change, were Can, Kraftwerk, Amon Düül II, Neu! and Popol Vuh. Only Kraftwerk had made a breakthrough. Even then, that came when Kraftwerk changed direction musically upon the release of Autobahn in 1974. They were like a new band, almost unrecognisable from their first three albums. Like the starving artist, other Kosmische bands, stayed true to their principles. Others gave up altogether, and it’s only fairly recently, that they’ve started to receive the plaudits they so richly deserve.
That’s the case with Harmonia. It’s a far cry from the seventies, which an almost rueful Michael Rother remembers; “wasn’t a good time for Harmonia. Our music was ignored, it was tough to survive during this period.” Survive they did. Not only did Harmonia survive, but recently, their music has been rediscovered by a new generation of music lovers. This has lead to Harmonia’s music being reappraised by music critics and cultural commentators. Somewhat belatedly, they’ve realised that Harmonia were musical pioneers, whose music was groundbreaking, innovative and way ahead of its time. Brian Eno went even further.
On hearing Musik Von Harmonia. Brian Eno called Harmonia: “the most important band in the world.” Harmonia went on to inspire and influence several generations of musicians during the seventies, including David Bowie, Brian Eno and Iggy Pop. Since then, several generations of musicians have been inspired by Harmonia, and their critically acclaimed debut album Musik Von Harmonia.
Innovative and timeless, Musik Von Harmonia is a Koninische classic. It’s also an album that belongs in every self-respecting record collection. Sadly, most record buyers have yet to discover the delights of Musik Von Harmonia is still a cult classic that most record buyers have still to add to their collections.
Despite that, Musik Von Harmonia is a reminder of one of the most important, influential and innovative bands in Kominische music history, and Harmonia, deserve to dine at the genre’s top table alongside Can, Kraftwerk and Neu!
Cult Classic: Harmonia-Musik Von Harmonia.
CULT CLASSIC: BOBBY WHITLOCK-BOBBY WHITLOCK.
Cult Classic: Bobby Whitlock-Bobby Whitlock
Before embarking upon a solo career in 1971, Memphis born Bobby Whitlock, had worked with some of the biggest names in music. His career started when he was just seventeen and signed to Stax Records. He went on to work with Albert King, Booker T. and The MGs, Sam and Dave and the Staple Singlers. Then in 1968, Bobby Whitlock joined one of rock’s supergroups, Delaney and Bonnie.
A year earlier, in 1967, Delaney and Bonnie Bramlett formed what would become one of rock’s first supergroups. Over the next five years, everyone from Dave Mason, Eric Clapton, George Harrison, King Curtis, Leon Russell,Rita Coolidge and the Allman Brothers were members of Delaney and Bonnie. In 1968, Bobby Whitlock joined Delaney and Bonnie and featured on two albums.
Home.
Bobby Whitlock made his Delaney and Bonnie debut, on their debut album Home. It was recorded during 1968 and 1969, at Stax Studios, Memphis. Accompanying Delaney and Bonnie, were the Stax house band plus a few friends. This included Bobby and Leon Russell. Once Home was completed, it was released later in 1969.
On the release of Home, it failed to chart. Delaney and Bonnie’s debut seemed to pass record buyers by. However, the reviews of Home were mostly positive, and the album would later be reissued. By then, critical acclaim and commercial success would’ve come Delaney and Bonnie’s way. This started with Delaney and Bonnie sophomore album, The Original Delaney and Bonnie and Friends (Accept No Substitute).
The Original Delaney and Bonnie and Friends (Accept No Substitute).
Released to widespread critical acclaim in July 1969, The Original Delaney and Bonnie and Friends (Accept No Substitute) saw everything from blue eyed soul, country, gospel and soul melt into one. Hailed as one of the best albums of 1969, it’s a surprise that The Original Delaney and Bonnie and Friends (Accept No Substitute) only reached number 175 on the US Billboard 200 charts. After the release of The Original Delaney and Bonnie and Friends (Accept No Substitute)., Delaney and Bonnie and Friends headed out on tour with Eric Clapton.
On Tour with Eric Clapton.
On their return from touring with Eric Clapton, Delaney and Bonnie released their live album, On Tour with Eric Clapton. It was released in March 1970, and peaked at number twenty-nine in the US Billboard 200 in April 1970. Over the Atlantic, On Tour with Eric Clapton reached number thirty-nine in Britain and was certified gold. Meanwhile, Delaney and Bonnie were working on their third album, To Bonnie from Delaney. However, by then, Bobby had joined Eric Clapton’s latest supergroup, Derek and The Dominoes.
Layla and Other Assorted Love Songs.
When Bobby Whitlock joined Derek and The Dominoes, he never realised, that he was about to become part of musical history. Layla and Other Assorted Love Songs would become a classic album.
For Layla and Other Assorted Love Songs, Eric Clapton wrote or cowrote nine tracks. This included Keep On Growing, Anyday, Tell The Truth and Why Does Love Got to Be So Sad with Bobby. Bobby also contributed Thorn Tree in the Garden, which closes Layla and Other Assorted Love Songs, Eric Clapton. These nine tracks, plus five cover versions, would become Layla and Other Assorted Love Songs, Eric Clapton, which was recorded in Miami.
At Criteria Studios, Miami, what can only be described as a supergroup began recording the fourteen tracks on 28th August 1970. Joining Eric and Bobby were guitarist Duane Allman, bassist Carl Radle and drummer Jim Gordon. This band recorded the fourteen tracks, including Layla and Other Assorted Love Songs’s centrepiece Layla, which tells of Eric Clapton’s infatuation for Patti Boyd, who was then married to George Harrison. It would become a track that will forever be synonymous with Eric Clapton. By the of 2nd October 1970, Layla and Other Assorted Love Songs was completed. It would released in November 1970.
When Layla and Other Assorted Love Songs was released in November 1970, reviews were mixed. That seems strange, given Layla and Other Assorted Love Songs is now regarded as a classic album. However, in 1970, some critics viewed Eric Clapton and Duane Allman’s guitar playing as macho posturing, and the love songs as lightweight. As is often the case, music critics are prone to rewrite history. Layla and Other Assorted Love Songs is a case in point. Still, the album sold well.
Despite the mixed reviews, and a limited promotional budget, Layla and Other Assorted Love Songs managed to reach number sixteen in the US Billboard 200 charts. This resulted in Layla and Other Assorted Love Songs being certified gold. Still, Polydor viewed Layla and Other Assorted Love Songs as a commercial failure. Part of the problem was some record buyers weren’t aware of Eric Clapton’s involvement.As a result, Layla and Other Assorted Love Songs was rereleased in 1972. However, there was no followup to Layla and Other Assorted Love Songs. Derek and The Dominoes was a one-off project. Following the demise of Derek and The Dominoes, Bobby Whitlock embarked upon his solo career.
Bobby Whitlock.
Having been a member of two supergroups, Bobby Whitlock decided to embark upon a solo career. He was determined to make the move from sideman to frontman. So Bobby got to work on what would become his eponymous debut album, Bobby Whitlock.
For what became Bobby Whitlock, Bobby wrote eight tracks and cowrote two more. Bobby cowrote Where There’s A Will with Bonnie Bramlett, and A Day Without Jesus with Don Nix. These ten tracks would become Bobby Whitlock, which was recorded at Olympic Studio’s Studio B.
Recording of Bobby Whitlock took place at Olympic Studio’s Studio B, between January and March 1971. Bobby was joined by what joined by what can only be described as an all-star band. This included Delaney and Bonnie and three members of Derek and The Dominoes. Bassist Carl Radle, drummer Jim Gordon and guitarist Eric Clapton provided an enviable rhythm section. They were joined by George Harrison on guitar. Bobby had played on George’s Magnus Opus All Things Must Pass, and was repaying the favour. Other guest artists included bassist Klaus Voormann, drummer Jim Keltner, saxophonist and trombonist Bobby Keys, trumpeter Jim Price and guitarist Jerry McGhee. As for Bobby, he played piano, organ, twelve-string guitar and acoustic guitar. Once the ten tracks were recorded, Bobby went looking for a record company for his debut album, Bobby Whitlock.
Before that, George Greif, Jimmy Miller’s manager got in touch. He wanted to become Bobby’s manager. So Bobby flew to Los Angeles to meet George and his business partner Sid Garris, at their offices on Beverley Boulevard. After a lengthy discussion, the three men headed to ABC-Dunhill Records’ headquarters. That’s where George and Sid introduced Bobby to Jay Lasker, President of ABC-Dunhill Records. Bobby played Jay his eponymous debut album. Having listened intently, Jay Lasker signed Bobby to a two album deal.
The first of these two albums, Bobby Whitlock, was released in March 1972. Bobby Whitlock’s release would’ve been earlier. However, ABC-Dunhill Records objected to some of the material. Eventually, Bobby Whitlock was released in March 1972. Reviews of Bobby Whitlock were mixed, ranging from critically acclaimed to favourable. One of the problems was, that critics kept comparing Bobby Whitlock to Layla and Other Assorted Love Songs. That wasn’t fair, as Bobby Whitlock was a solo album. It just so happened that many of the same personnel featured on both albums. Despite the mixed reviews, Bobby Whitlock reached number 140 in the US Billboard 200 charts. While Bobby Whitlock didn’t reach the heights of Layla and Other Assorted Love Songs, Bobby’s solo career was underway.
Where There’s a Will opens Bobby Whitlock. Literally, the arrangement explodes into life, with the all-star rhythm section driving the arrangement along. It includes drummer Jim Gordon and George Harrison on rhythm guitar. They’re joined by Eric Clapton on slide guitar. Bobby delivers a gravelly, rocky vocal and adds flamboyant flourishes of keyboards. Later, Bobby Key’s adds the finishing touch, when he unleashes a blistering saxophone solo. This seems to spur Bobby and his all-star band on, as the track reaches a rocky, dramatic crescendo where elements of blues, rock and Southern Rock unite.
Song For Paula shows a very different side of Bobby Whitlock. Just an acoustic guitar, bass and piano provide the backdrop for Bobby’s vocal. It’s tender, heartfelt and has a vulnerability. As it grows in power, so does the arrangement. Jim Gordon’s drums, guitars and Bobby’s Hammond organ are joined by a piano. By then, Bobby’s vocal veers between hopeful and needy. Accompanied by backing vocals he unleashes a soul-baring vocal. Then when the backing vocals drop out, Bobby’s all-star band kick loose. They add an element of drama, and add to the emotion in this hopeful paean.
As Bobby plays Eric Clapton’s twelve-string guitar, Traffic’s Chris Wood adds a wistful flute on A Game Called Life. Meanwhile, Delaney adds bass and a confused Bobby delivers a vocal full of bewilderment. His relationship’s at an end, he’s got his “suitcase in his hand,” and he wonders why? Backing vocals flit in, strings swirl and a flute wanders across the arrangement. All the time, hurt and confusion is omnipresent in Bobby’s vocal.
As Bobby plays acoustic guitar and delivers a worldweary vocal on Country Life, Jerry McGee’s crystalline guitar and Carl Radle’s bass marches the arrangement along. Meanwhile, Delaney and Bonnie add backing vocals. All the time, Jim Keltner’s drums add the heartbeat to this laid-back slice of country music.
The gospel tinged A Day Without Jesus was penned by Bobby and Don Nix. Bobby’s vocal is akin to an outpouring of emotion and sincerity. The rhythm section create a slow, sometimes dramatic backdrop. Meanwhile, washes of Hammond organ and gospel influenced backing vocals are the perfect foil to Bobby’s heartfelt vocal.
Back in My Life Again is quite different from the two previous tracks. A driving, scrabbling rhythm section and funky, chiming guitar drive the explosive arrangement along. They’re aided and abetted by stabs of blazing horns and a Hammond organ. Atop the arrangement sits Bobby’s gravelly, joyous vocal. He turns the track into a celebration, when he sings “now that you’re Back in My Life Again.” His all-star band raise the stakes, storming their way through the track. That’s until the tempo drops and a trombone soars above the arrangement. This allows Bobby and his band to regroup, before grandstanding their way through this celebration of love.
The Scenery Has Slowly Changed sees Bobby drop the tempo again. A crystalline guitar floats above the understated arrangement. It’s joined by Bobby’s croaky vocal and Eric Clapton and Jim Gordon on guitar. This allows Bobby’s vocal to take centre-stage. It’s rueful, and full of emotion and regret, at the love he’s lost and is missing. Later, Bobby’s vocal becomes a hurt fuelled vamp, where he delivers the vocal as if he’s lived and survived them.
I’d Rather Live the Straight Life is another country-tinged track. Seamlessly, Bobby, accompanied by his all-star band, create a track that sounds as if it was recorded in Nashville, not London. Unlike the other tracks, which were produced by Bobby and Andy Johns, Bobby and Joe Zagarino produce this track. It features bassist Carl Radle and Bobby and Jerry McGee on guitar. Their guitars are at the heart of the track’s success. Bobby’s vocal is throaty and charismatic. Later, Delaney and Bonnie add backing vocals, that give the track a raucous, singalong sound. They’re the perfect foil to Bobby, on this country-tinged track.
Just acoustic guitars and percussion accompany Bobby on The Dreams of a Hobo. His vocal is thoughtful, tender and wistful. This shows another side of Bobby. It’s captivating, beautiful and dreamy.
Closing Bobby Whitlock is Back Home in England. It’s another wistful, dreamy track. Just guitars, lush strings and drums accompany Bobby’s vocal. It’s a cathartic outpouring of emotion. Especially with the swathes of strings and meandering guitars for company. They ensure that Bobby Whitlock ends on a beautiful, emotive high.
Having been a member of two supergroups, Delaney and Bonnie and Derek and The Dominoes, Bobby Whitlock decided now was the time to move from sideman, to frontman. So, he signed to ABC-Dunhill Records and released his eponymous debut album, Bobby Whitlock, in March 1972 and reached just number 140 in the US Billboard 200 charts. However, Bobby Whitlock was released to mixed reviews.
Bobby Whitlock was an album that divided the opinion of critics. Partly, this was because they compared Bobby Whitlock to Layla and Other Assorted Love Songs. Given it was a classic album, released by Eric Clapton, an experienced artist, this was hardly comparing like with like. The critics also compared Bobby’s voice to Eric Clapton and Delaney Bramlett. Eric and Delaney, the critics announced were better singers. That may have been the case, but Bobby’s voice brought the ten songs on Bobby Whitlock to life.
Whether it was emotion, heartache, hope, hurt, joy, melancholy, neediness or sadness, Bobby was able to bring this to a song. Sometimes, his vocal sounded lived-in, worldweary and gravelly. Seamlessly, Bobby a versatile vocalist, could switch between country, gospel, rock and Southern Rock. So could his band. They also took diversions via blues and funk on Bobby Whitlock. The result was a captivating album, Bobby Whitlock.
Although Bobby Whitlock wasn’t a huge commercial success, and divided the opinion of critics upon its release, it’s an album that falls into the category of hidden gem. Just like so many albums, Bobby Whitlock passed many record buyers by. They never heard Bobby Whitlock, or any of Bobby’s other solo albums. That’s a great shame, as Bobby Whitlock is a hugely talented artist. Sadly, most people remember Bobby Whitlock as a sideman, rather than frontman.
No wonder. As a sideman, Bobby Whitlock played with everyone from Bonnie and Delaney, Derek and The Dominoes, George Harrison, Dr. John, Eric Clapton, John Lennon and The Rolling Stones. However, between 1972 and 1976, Bobby Whitlock released a quartet of solo albums. The first of these was Bobby Whitlock, his cult classic that’s variously beautiful, celebratory, emotive, ethereal, joyous, laid-back and rocky.
Cult Classic: Bobby Whitlock-Bobby Whitlock
CULT CLASSIC: CIRCLES-MORE CIRCLES.
Cult Classic: Circles-More Circles.
Between 1969 and 1977, German music was thriving. In towns and cities, new groups were being formed. Many of these bands eschewed the Anglo-American, jazz-blues tradition, and decided to plough their own musical furrow. What followed, was a musical revolution…Krautrock.
The Krautrock era lasted for eight years, and nowadays, is regarded as a golden age for German music. No wonder. From 1969 to 1977, German bands were releasing some of the most innovative, influential and important music in Europe.
In the early days of Krautrock, groups like Amon Düül, Kluster, Kraftwerk, Tangerine Dream, and Can lead the way. They were pioneers who paved the way for groups like Amon Düül II, Ashra Tempel, Cluster, Neu!, Harmonia and Popol Vuh. These groups were just the tip of what was a musical iceberg.
A whole host of other groups were releasing groundbreaking music. From Sunbirds, Ikarus and Kollektiv, to Embryo, Guru Guru, Jane and Lava. Each and every one of these groups were musical pioneers. Sadly, like all good things, the Krautrock era came to an end.
Incredibly, many Krautrock groups didn’t enjoy the commercial success that their music deserved. Even groups like Harmonia struggled financially during the mid-seventies. The problem was, many German music lovers still preferred British and American music. Ironically, they were missing out on a musical revolution that by the early eighties, many critics and cultural commentators felt, would never be repeated.
By then, Krautrock had influenced a new generation of European musicians. Across Europe, a new generation of musicians were about to form bands. Many of them had grownup listening to Krautrock. It was now regarded as some of the most innovative, influential and important music of the late-sixties and early-seventies. This music was revolutionary and would go on to influence several generations of musicians. This included two musicians in Frankfurt, Dierk Leitert and Mike Bohrmann.
The pair were part of the post Krautrock underground scene. Its roots could be traced back to the end of the Krautrock era in the late seventies. By 1983, the post Krautrock underground scene was vibrant underground movement throughout Germany. This included Frankfurt, where Dierk Leitert and Mike Bohrmann were making music as Circles, and in 1983, were about to release their eponymous debut album which takes the listener back to an exciting time in German music.
In many ways, the “post Krautrock underground” scene brought back memories of the Krautrock era just a decade earlier. It was an exciting time, with a sense that anything was possible. Once again, a new generation of new bands were making new and innovative music. Many of these bands were releasing their music independently.
This had happened during the Krautrock era. Many bands had recorded albums, and then released them on small, independent labels. Other bands, even founded their own record label. Meanwhile, groups like Neu!, hired a recording studio to record an album. Only once they had recorded an album, they took it to a record company. This meant they were making music on their own terms. However, things had changed since then.
Imbued by the D.I.Y. spirit of punk, now bands had the confidence and nous to record, release and distribute their own albums. No longer did groups view record companies as a vital cog in the musical machine. Instead, they were determined to do things their way. This included Circles.
Circles.
By 1983, music and the way music was made had changed drastically. It was very different to how Can, Cluster and Neu! made music just a decade earlier. No longer were synths, sequencers and drum machines prohibitively expensive. Now they were within the budget of musicians like Dierk Leitert and Mike Bohrmann. For aspiring musicians about to record their debut album, suddenly, there was a level playing field.
So when Dierk Leitert and Mike Bohrmann began recording Circles’ eponymous debut album, they had access to technology that a decade earlier, would’ve been way beyond their budget. With a mixture of technology and traditional instruments Circles wanted to record an album that picked up where Cluster and Harmonia left off.
For their eponymous debut album, the two members of Circles Dierk Leitert and Mike Bormann cowrote six tracks. Dierk Leitert wrote Chant, Tropflut and Intermezzo. These nine tracks would become Circles, which was recorded in Eppstein, Frankfurt.
To do this, the two multi-instrumentalists deployed an impressive musical arsenal in a studio in the Frankfurt suburbs. Both musicians were versatile, and seamlessly, could switch between instruments. Dierk Leitert was a one man rhythm section, playing drums, bass and guitar. He also played saxophone, flute and vocals. However, Dierk Leitert was equally comfortable with technology had access to a wide selection of synths and sequencer. Mike Bohrmann was equally versatile, playing guitars, bass and synths. Along with a few musical friends, an arsenal of effects and an eight track Tascam recorder, the nine tracks that became Circles.’ eponymous debut album took shape.
Once Circles was recorded, the album’s distinctive and memorable album cover was designed. This was the finishing touch to Circles, which was released on Dierk Leitert and Mike Bohrmann’s own label, Einhorn Music.
Rather than trying to interest a record label in Circles, Dierk Leitert and Mike Bohrmann decided to form their own label, Einhorn Music. This was what a lot of groups within the post Krautrock underground scene were doing. It meant that Circles were recording and releasing music on their own terms.
When Dierk Leitert and Mike Bohrmann were preparing to release Circles’ eponymous debut album, many of their contemporaries were aware of the post Krautrock underground scene. Just like Krautrock and the Berlin School, the post Krautrock underground scene was another of Germany’s best kept musical secrets. As Circles was released in 1983, still, many German record buyers seemed to prefer British and American music. History was about to repeat itself all over again.
When Circles was released, it was well received by critics. They recognised that this was a groundbreaking band from one of the most talented groups in the post Krautrock underground scene. Despite the reviews, Circles didn’t sell well. Circles sold well within the post Krautrock underground scene. However, the album remained an underground album. It didn’t crossover into the mainstream. This meant that Circles were now rubbing shoulders with everyone from Amon Düül and Kluster, to Can, Cluster, Neu! and Harmonia. Each of these groups had watched as their debut album passed German record buyers by. They missed what was groundbreaking album of genre-melting music.
Those that discovered a copy of Circles in the record store, and took a chance on the album wrapped in the mysterious album cover, were in for a veritable musical feast. Over nine genre-melting tracks lasting forty minutes, Circles set out to pick up where Cluster and Harmonia left off. What followed was a musical journey where musical genres and influences melt into one.
Straight away, Circles roots be traced back to the Krautrock era. That’s apparent on the opening track Einblicke. It seems to reference Kluster and Amon Düül II. From there, Circles draw inspiration from numerous members of Kraftwerk royalty. Everyone from Can, Cluster, Harmonia and Neu! seem to have influenced Circles. The Neu! influence is apparent on Rockcola and 10º Unter Null, which feature Rother-esque guitar solos.
Throughout Circles, there’s also brief nods to a whole host of Krautrock pioneers. Anima, Embryo, Cosmic Jokers, Dueter and Irmin Schmidt have influenced and inspired Circles. Sometimes, the influence is brief, other times it’s more it’s noticeable as a captivating and innovative album unfolds. What becomes apparent, is it’s not just Krautrock that’s influenced Circles
On what’s a magical mystery tour, Circles take the listener on a journey through musical genres. Listeners will discover elements of ambient, avant-garde, electronica, free jazz, psychedelia and rock. There’s also hints of Eastern music as a series of captivating soundscapes share their secrets.
Listen carefully, and Circles pay homage Fripp and Eno on Reibend. Circles’ contemporaries Throbbing Gristle have been another influence for the Frankfurt based pioneers. They’re determined to push musical boundaries to their limits, and sometimes, way beyond.
This is apparent on Viele Wege. It’s starting point is a Faustian collage, before elements of rock, psychedelia, avant-garde and Krautrock are added. Soon, these musical ingredients are competing for your attention on Viele Wege. Hot on its heels comes Chant, a lysergic and mesmeric mixture of musical genres. From there, the journey continues with Circles as your musical tour guide.
Before long, Circles is almost over. The brief, but futuristic, sci-fi sound of Intermezzo sounds like the Cosmic Jokers at their lysergic best. However, Circles have kept the best until last. Woistich-Umgedreht is a twelve minute epic. Hypnotic and dreamy, it’s a Magnus Opus, and the highlight of Circles.
Once Circles is over, one can’t help but wonder why the album wasn’t a bigger success? It was a truly groundbreaking album, that picked up where the Krautrock pioneers left off. Their influence could be heard throughout Circles. It’s as if Circles are paying homage to Krautrock royalty, by taking their music as a starting point and adding elements of other musical genres. The result is an album that featured groundbreaking, innovative and influential music. Circles stood head and shoulders above the musical competition.
Apart from a few discerning musical connoisseurs, it was mainly those within the post Krautrock underground scene that were aware of Circles. They realised that here was an album that deserved to be heard by a much wider audience. That wouldn’t happen until much later. By then Circles would’ve released their sophomore album More Circles.
More Circles.
Just a year after the release of their eponymous debut album, Circles returned in 1984 with their sophomore album, More Circles. It featured ten new songs from Circles. They were penned by Dierk Leitert and Mike Bohrmann, and recorded in their studio in Eppstein, in the Frankfurt suburbs. Again, Circles had put their impressive of array of technology and traditional instruments to good use.
Synths again played an important part when Circles were recording More Circles. Circles had an access to impressive selection of synths, and they helped sculpt the nine soundscapes on More Circles. Aided and abetted by melodic, Rother-esque guitars and drums bathed in echo and an arsenal of effects, More Circles began to take shape. Eventually, with a little help from their friends, Circles sophomore album More Circles was completed.
For Dierk Leitert and Mike Bohrmann, they had been before. It was a case of deja vu, right down to mysterious, album cover. However, Circles were hoping that there would be a happier ending to the story when More Circles was released later in 1984.
When critics heard More Circles, they were won over by what was another ambitious, adventurous and innovative album. Circles hadn’t stood still. Their music had evolved, and metamorphosed. They knew that any group who stood still, risked their music becoming irrelevant. That wasn’t going to happen to Circles.
Despite continuing to create music that was ambitious and innovative, it failed to find an audience outwith the “post Krautrock underground” scene. For the members of Circles, this was a devastating blow. The only small crumb of comfort was that they had made music on their own terms, and music that they believed in. This music would stand the test of time, and eventually, found the audience it deserved.
Back in 1984, those that bought a copy of More Circles had struck musical gold. Minimal Instant found a free jazz saxophone accompanying synths and a motorik beat. They may sound like unlikely bedfellows, but proved a potent combination. Sadly, all too briefly and Minimal Instant is over, and Several Steps Leading Through Different Rooms-Escapades begins to unfold. It’s a dark, moody, meandering epic lasting twelve minutes. Circles seem to enjoy the opportunity to stretch their legs, while referencing Cluster’s Zuckerzeit and washes of guitar that’s reminiscent of Robert Fripp. This leads to the cinematic Escapades, complete with fuzz guitars, as it heads in the direction of avant-garde. Then it’s all change.
Tripletwin, which features drummer Gerde Poppe. His drums add a Faustian sound to the myriad of synths. Paris Cut is best described as a futuristic symphony, where nothing is as it seems. Circles’ array of effects are responsible for this. That’s is the case on Mental Dart, where a vocoded vocal has been added. It’s akin to Dadaist poetry that’s the perfect addition to an array of haunting, sci-fi sounds. By then, Circles it seems, at their most inventive and innovative.
This continues on Trio Atonale, where everything from avant-garde, free jazz, electronica and experimental music. Briefly, there’s a hint of Pharaoh Sanders and his sheets of sound. Words like eerie, haunting and cinematic described parts of Tranquilo Gonzales. It finds Circles drawing inspiration from Cluster and Harmonia. That’s their starting point, on this pulsating, spine-tingling, cinematic track.
The eerie cinematic sound continues on Sequences, which picks up where Paris Cut left off. Again, Cluster’s Zuckerzeit has obviously influenced Circles, who on More Circles seem to enjoy creating cinematic soundscapes. They provide the soundtrack, while the listener is left to come up with the script. Whether the listener dares to come up with a script to Consequences is another thing? Is that the sound of digging? What about the futuristic sounds? Do they come courtesy of bubbling synths; or is it something more sinister? By the end of track this space age soundscape, one can’t help but think of murderous aliens beating a hasty retreat to the planet Zogg. Having conjured up that image, Circles close More Circles with Spiral Dance. With its motorik beat, it’s a reminder of Krautrock, the music that inspired and influenced Circles to embark on a career as music. For that we should be grateful.
After releasing More Circles, Circles only released one further album, The 3rd Cycle. However, that wasn’t the end of the partnership between Dierk Leitert and Mike Bohrmann. They had to much too offer musically; and continued to release albums as D.O.C. and Leitert and Bohrmann. Even today, Dierk Leitert and Mike Bohrmann are still collaborating, and releasing music together as Circles. It’s a partnership that’s lasted over thirty years.
The albums that started the Circles’ story off were Circles and More Circles which are cult classics of the post Krautrock underground era.
Both Circles and More Circles feature groundbreaking, genre-melting music. Circles combine everything from ambient and avant-garde to electronica, experimental and free jazz to Krautrock, psychedelia and rock. There’s even hints of Eastern music as Circles take the listener on a musical adventure. During that adventure, Circles draw inspiration from, and pay homage to Krautrock royalty. This includes everyone from Amon Düül II, Can, Cluster, Kluster, Neu! and Harmonia. Other influences include Michael Rother, Irmin Schmidt and Holger Czukay. They all seem to inspire Circles. So do do Fripp and Eno and Throbbing Gristle. The result are two genre classics that sadly, when they released, failed to find the audience they deserved.
For Circles, it was a case of everything comes to he who waits. Belatedly, a new generation of record buyers discovered Circles and More Circles. Suddenly, the two albums recorded in the Frankfurt suburbs now had a cult following. Copies of the albums became collector’s items, and were prized amongst collectors. So it’s no surprise that Mental Experience have reissued Circles and More Circles.
Both Circles and More Circles feature music groundbreaking music from two musical pioneers, Circles. This was the start of a lifetime making music together. Circles started as they meant to go on, creating music that was ambitious, innovative, inventive and went on to influence further generation of musicians. Circles and More Circles are cult classics that show that there was life after Krautrock.
While the Kruatrock era was a golden age for German music, music continued to evolve over the next four decades. Circles played a part in the reinvention of German music in the post Krautrock era. Their first two albums Circles and More Circles were timeless genre classics, where Circles show that there was definitely life after Krautrock.
Cult Classic: Circles-More Circles.
SCOTT WALKER MEETS JACQUES BREL.
Scott Walker Meets Jacques Brel.
Label: Ace Records.
Release Date: “31st” January 2020.
It’s no exaggeration to say that Scott Walker and Jacques Brel were two of the most influential singer-songwriters of their generation. However, if it wasn’t for Scott Walker covering nine of Jacques Brel’s songs on his first three solo albums, the Belgian singer-songwriter’s music wouldn’t have reached such a wide audience. And even today, a new generation of record buyer are discovering Jacques Brel’s music through Scott Walker. That is why it’s fitting that both men feature on the next instalment of Ace Records’ Songwriter Series, Scott Walker Meets Jacques Brel.
This nineteen track CD features Scott Walker’s nine cover version of Jacques Brel’s. They’re joined by his original versions and a cover of the Scott Walker song Seul. It was performed live by Scott Walker on his show, but he never recorded the song. It’s a track that will be of interest to fans of both singers. Their story begins in 1967, when The Walker Brothers and Scott Walker embarked upon a solo career.
By then, Scott Walker had been introduced to Jacques Brel’s songs by his German girlfriend, who loves the chansons and translated them into English for the singer. Straight away, he captivated, spellbound by Jacques Brel’s songs.
Not long after this, a demo disc of American lyricist Mort Shuman’s translations of Jacques Brel’s chansons was given to the Rolling Stones manager Andrew Loog Oldham, who passed the record to Scott Walker.
When Mort Shuman first saw Jacques Brel’s perform it had huge effect on him and he said: “The only time I’d heard such virility in a voice was in black singers…I just had to find out what he was singing about. Then I had to translate it. He wrote about things you didn’t hear people singing, of things you normally only found in philosophy or in novels. By that time, Dylan and the Beatles were doing interesting things, but I was much more impressed by Brel. Here was a man who combined raw force with the most meaningful lyrics I had heard in songs, a deep understanding of the human condition.”
Mort Shuman translated Jacques Brel’s chansons from French into cover versions that English speaking audiences could relate. Importantly, the translations stayed true to the original songs and Scott Walker would eventually record nine of Jacques Brel’s chansons that had been translated by Mort Shuman. This included three on his debut album.
When he came to record his debut album Scott, the former Walker Brother decided to record a trio of tracks written and recorded by Jacques Brel and accompanied by orchestral arrangements by Peter Knight, Reg Guest and Wally Stott. The album open was Mathilde which Jacques Brel wrote with Gérard Jouannest. It was joined by My Death and Amsterdam which were penned by Jacques Brel and focused on two things that he admitted to being “obsessed” about.
This included death, loneliness, prostitution and romance, which were themes he would revisit throughout his songwriting career.
In a 1966 interview with the British music magazine Melody Maker, Jacques Brel explained that I’m obsessed by those things that are ugly and sordid, that people don’t want to talk about, as if they were afraid of touching a wound that might soil them.”
Having released his debut album Scott in Britain on the ’16th’ of September 1967, and the album reached number three. The following year, 1968, Scott was released in America but failed to chart. That was despite Scott Walker’s covers of Jacques Brel’s three songs. They were part of an album where the vocals were dramatic, ruminative, impassioned and meditative. Scott was a classic album, and the twenty-four year old singer was hugely influenced by Jacques Brel’s impassioned, heartfelt and soul-baring vocals. He was impressed with Scott Walker’s vocals and must have felt here was a kindred spirit.
So much so, that Jacques Brel told Mort Shuman to give Scott Walker his song folio over to him. This would allow Scott Walker to cover more of Jacques Brel’s songs on his sophomore solo album Scott 2.
When it came to choosing the songs for Scott 2, two songs Jacques Brel wrote with Gérard Jouannest were chosen. They were Jackie and The Girls and The Dog. The other Jacques Brel composition was Next. These songs were much more risqué than the Jacques Brel compositions on Scott and dealt with sexual themes and decadence. However, some things stayed the same and that was the orchestral arrangements came courtesy of Peter Knight, Reg Guest and Wally Stott.
Before the release of Scott 2, Jackie was released as a single towards the end of 1967, and proved controversial because of its lyrics. This resulted in the single being banned by mainstream radio. Despite this, the single still reached twenty-two in Britain. This augured well for the release of Scott 2.
The album which was another mixture of covers and some origin material was released in March 1968 to critical acclaim, and reached number one in the UK. Sadly, the album failed to replicate that success in America when it was released in July 1968.
By then, a wider audience were discovering Scott Walker and Jacques Brel’s music. In the case of Brel, his popularity was growing in English-speaking countries. This continued with the release of Scott 3.
For his third solo album Scott Walker decided to cover Tons Of and Funeral Tango which were written by Gérard Jouannest and Jacques Brel. He penned If You Go Away with American singer, songwriter, poet and actor Rod McKuen. The trio of Brel tracks closed the album which was produced by John Franz and featured lush string drenched arrangements by Wally Scott.
When Scott 3 was released in March 1969, some critics thought that Wally Scott’s string arrangements made Scott Walker seem like a crooner who belonged on the Las Vegas strip. However, crooners didn’t usually release albums which featured dronings and jarrings sounds as well as hints of dissonance. Scott 3 was an ambitious album that showcased a vocal that matured with each album, and was perfectly suited to Jacques Brel’s songs. Despite that, Scott 3 didn’t sell as well as its two predecessors, and “only” reached number three in the UK. It was also the end of an era.
Never again did Scott Walker record another of Jacques Brel’s songs. The nine songs that he recorded on Scott, Scott 2 and Scott 3 feature on Scott Walker Meets Jacques Brel. So do Brel’s originals which he recorded in French. These tracks re the perfect introduction to two hugely talented singers who were contrarians and enigmatic. They were also innovators whose music was way ahead of their time, and as a result were sometimes misunderstood.
Scott Walker and Jacques Brel did things their way and weren’t afraid to offend sensibilities by recording songs which featured lyrics that could offend some people. They created cerebral, cinematic, dark and thought-provoking music and sang about everything from death and loneliness to prostitution and romance. It seemed nothing was off-limits for Jacques Brel and his kindred spirit Scott Walker.
Ace Records new compilation Scott Walker Meets Jacques Brel celebrates the two men’s music. The first nine tracks are Scott Walker’s covers which are followed by Jacques Brel’s original French language versions. Closing the album is Brel’s cover of the Scott Walker song Seul. He sang it on his television show, but never recorded the song. It was later recorded by Jacques Brel and his rendition is a fitting way to close this lovingly curated compilation. It’s that is a homage two great and hugely influential singer-songwriters who wrote their way into musical history. For anyone yet to discover either their music, there’s no better place to start than Scott Walker Meets Jacques Brel.
Scott Walker Meets Jacques Brel.
EZE-NRI ROYAL DRUMMERS VOL. 1
Eze-Nri Royal Drummers Vol. 1.
Label: BBE Africa.
One of the most important labels in the history of African music is Tabansi Records, which was founded in Onitsha, a trading centre in the Igbo southeast of Nigeria, in 1952. Chief (Dr) G.A.D. Tabansi had watched as Decca, and then Philips, closed the doors on their Nigerian operations. His new label became the most important and influential Nigerian record label, and consistently released music that was groundbreaking and of cultural significance.
Without doubt, one of the most culturally significant albums Tabansi even released was a live recording of the investiture ceremony of an Eze-Nri king. Given the cultural importance of the album original copies of Eze-Nri Royal Drummers Vol. 1 are incredibly rare and valuable. This puts copies beyond the budget of the majority of record buyers. Thankfully, BBE Africa has recently reissued Eze-Nri Royal Drummers Vol. 1 as part of their Tabansi Gold Series. It’s another welcome reissue and a reminder of the music Tabansi Records released during their heyday.
Having founded his new label in 1952, Chief (Dr) G.A.D. Tabansi began recording artists and then pressed the records at The United African Company’s pressing plant. After that, record vans promoted the latest releases in Nigerian villages. This was just the start for Tabansi Records.
In the sixties, The United African Company decided to concentrate on importing American and European music. With very little competition, Tabansi Records was able to concentrate on local music, which The United African Company had turned its back on. This was a big mistake.
During the seventies, Tabansi Records was the most successful Nigerian label, and its founder Chief (Dr) G.A.D. Tabansi was one of the leading light’s of country’s thriving and vibrant music scene. He had invested in the company he had founded in, in Onitsha, Lagos, all these years ago, which had its own studios and pressing plant. The company was going from strength-to-strength.
By the eighties, Chief (Dr) G.A.D. Tabansi was joined in the company by his son Godwin. He helped with promotion and developing the artists on the Tabansi roster. This included many of Nigeria’s young and up-and coming musicians plus some of its biggest names. However, by then, the label was also releasing albums of culturally significance.
This included a live recording of the investiture ceremony of an Eze-Nri king. Historians believe that the musical elements of the ceremony have never changed in over a thousand years. That is despite there being many changes in Nigeria, and indeed other parts of West Africa.
Nowadays, the majority of the countries in West Africa are republics. However, there are still a few countries that are traditional and ritual kingships. The oldest of these in Nigeria is the Nri kingdom, which is situated within the Igbo area which coincidentally, is where Tabansi Records was founded in 1952.
Originally, the kingdom of Nri was a medieval society in what’s now known as Nigeria. In medieval times, the kingdom was an area of political and religious centre and influenced around a third of the population of Igboland. It was administered or ruled by a sacred king or priest king called an Eze Nri. Their role was to manage trade and diplomacy on behalf of the Nri people. They were group of the Igbo speaking people who had divine authority in religious matters.
The kingdom of Nri welcomed anyone who had been rejected by their community and was a safe haven for them. It was also a place for slaves to free themselves from their bondage. Over the years, the kingdom expanded, but never through force. Instead, Nri expanded by forming allegiances with neighbouring communities. That was all in the future.
Nri’s royal founder Eri, was said to be a “sky being” who came down to earth and established civilisation. Later, Nri culture went on to have a permanent influence in Northern and Western Igbo, and especially through religion and taboos.
By the eighteenth Century the Nri kingdom was no longer as influential. However, remnants of the eze hierarchy persisted until the establishment of colonial Nigeria in 1911, and even today, it represents one of the traditional states within modern Nigeria. Some things it seems don’t change in Nigeria.
That includes the music on Eze-Nri Royal Drummers Vol. 1. It historians and archaeologists believe is similar to what people in Igboland heard in the early agrarian settlements at the time of Christ, or even before. That is the case with the music played by the royal investiture music group. It features three or four musicians playing hand and stick drums of various sizes as well as a large Alou Ogene. This is an Igbo cowbell, which is struck by two musicians who are seated facing each other and each strike the bell in a series of intricate cross patterns. However, on Eze-Nri Royal Drummers Vol. 1 another instrument is deployed an Oja flute, which is sometimes referred to as a talking flute.
The Oja flute is wooden, and is hand carved and has a cavity inside. On the top, is a wide opening which fits the shape of the human lower lip. There’s also a small hole at the bottom and two smaller holes close to the top on the opposite side. The musician blows through the wide opening, and places their thumb and ring fingers on the two smaller holes to control rhythm and tempo. This unique and ancient instrument can be heard throughout Eze-Nri Royal Drummers Vol. 1.
It’s an album of huge cultural significance and BBE Africa, which is an imprint of BBE Music, are to be commended for reissuing the album and making Eze-Nri Royal Drummers Vol. 1 available to a new audience. They’re now able to hear a live recording of the investiture ceremony of an Eze-Nri king. This is an important, ancient ceremony which previously very few people have heard. It’s an important part of Nri culture, and historians and archeologists believe this has been the case since the time of Christ, or maybe even before.
While much has changed in Nigeria the investiture ceremony of an Eze-Nri king stayed the same. Now for the first time, many people will be able to listen to this ancient and scared ceremony. The music on Eze-Nri Royal Drummers Vol. 1 is powerful and spiritual, and it’s a privilege to hear such an important musical document that will be of interest to anyone who is interested in Nigeria, its history, culture or African music.
Eze-Nri Royal Drummers Vol. 1.
CULT CLASSIC: AGITATION FREE-2ND.
Cult Classic: Agitation Free-2nd.
Berlin, in 1967 was where the Agitation Free story began. That was when Lutz ‘Lüül’ Ulrich, Michael ‘Fame’ Günther, Lutz ‘Ludwig’ Kramer and Christoph Franke formed Agitation. This new band quickly established a reputation as one of the pioneers of Berlin’s underground music scene.
When Agitation played live, their sets were like the “happenings” that were popular in London, New York and San Francisco’s underground scenes. At clubs like UFO in London, Pink Floyd played against a backdrop of liquid projectors. So did Agitation, who were also establishing a cult following.
Crowds packed Berlin’s clubs to see Agitation play. When Agitation took to the stage, it quickly became apparent that their music was a fusion of disparate influences. They improvised, playing with a freedom during sets that featured innovative improvised pieces. Agitation seamlessly combined elements of free jazz, rock and avant-garde with electronic, trance and world music. As they played, liquid projectors were used to show slides and short films made my members of Agitation. This added lysergic backdrop to Agitation’s set, which was much more than a concert. Instead, it was a multi-media event, or “happening.” Members of the audience and other club owners were captivated.
Berlin in the late-sixties had a thriving underground arts and music scene. New clubs had opened, including the Zodiak Free Arts Lab in West Berlin. It had been founded in 1968, at the height of the psychedelic era by Hans-Joachim Roedelius and Conrad Schnitzler. Soon, all the freelance musicians in Berlin made their way to Zodiak Free Arts Lab. This included members of Can, Tangerine Dream, Ash Ra and Neu! However, in 1968, the Zodiak Free Arts Lab’s new house band was Agitation. For what was a relatively new band, this was a coup.
Being the Zodiak Free Arts Lab’s house band lifted Agitation’s profile. It was where the great and good of Berlin’s music scene met. They were joined by artists, poets, writers, philosophers and sometimes, revolutionaries plotting change. Meanwhile, Agitation concentrated on honing their sound. However, around this time a new member had joined the band.
This was vocalist John L. His addition meant that Agitation were now a six piece band. However, John L’s addition proved to be a controversial, and short-lived one.
John L was sacked by Agitation within a year. It’s thought that this was down to John L’s habit of taking to the stage naked. This didn’t go down well, and within a year, John L exited stage left. However, after John L’s departure, Agitation got the opportunity to play at a prestigious festival.
This happened in early 1970, when Agitation were invited to play at the First German Progressive Pop Festival, at the Berliner Sportpalast. By then, Agitation’s star was in the ascendancy. They had collaborated with John Cage, Erhard Großkopf, Peter Michael Hamel and Ladislav Kupkovi at The Electronic Beat Studio. So, it was no surprise that Agitation were invited to appear at such an important festival. It seemed the dawn of a new decade coincided with an improvement in Agitation’s fortunes. That proved not to be the case.
Instead, two original members of Agitation left the band during 1970. The first was Ludwig Kramer, who was replaced by Ax Genrich. Not long after he joined Agitation, Guru Guru asked if they could “borrow” Ax Genrich. Agitation agreed, but Ax Genrich never returned. To make matters worse, Christoph Franke left to join Tangerine Dream. He became the third departure from Agitation. They were looking for two new recruits.
The first was guitarist Jörg Schwenke, who replaced Ax Genrich. Then Gerd Klemke was drafted in. However, was only a member for a year, and in 1971, Agitation’s lineup changed again.
With Gerd Klemke heading for the exit door, two new names joined Agitation. The first was synth player Michael Hoenig. Next to join Agitation was drummer and vocalist Burghard Rausch. These two additions became the classic lineup of what became Agitation Free.
In the early seventies, Agitation discovered that there was another band with the same name. At that time, Agitation were due to play a free concert, and free was added to the name. This just happened to coincide with an upturn in the band’s fortunes.
1972 was the most important year in Agitation Free’s five year career. Agitation Free who were now a quintet, at last had a stable lineup. They were now regarded as one of the most innovative groups of the Berlin School. So much so, that in 1972, Agitation Free were sponsored by the Goethe-Institut, a German cultural association, to tour Egypt, Greece, Lebanon and Cyprus. This tour proved inspirational, and inspired Agitation Free’s debut album, Malesch.
Malesch.
On Agitation Free’s return to Berlin, they had been inspired by their journey to the Near East. Part of the inspiration was the sights and sound of their recent tour. Essentially, Malesch was a fusion of exotic Near Eastern sounds which were combined with Agitation Free’s trademark sound.
When Agitation Free entered Audio Tonstudio, in Berlin on February 25th 1972, they were joined by recordist Stan Regal and producers Wolfgang Sander and Peter Strecker. They would guide the five members of Agitation Free sound the recording process.
Without a producer, recording Malesch would’ve proved difficult. Malesch was Agitation Free’s debut album. They also planned to use an eclectic and exotic sounding selection of instruments on Malesch. This was perfect for their purpose.
Guitarist Jörg Schwenk was joined by Lutz Ulbrich on zither and keyboards. Burghard Rausch played drums, percussion and added vocals. Michael Hoenig switched between synths, keyboards and steel guitar; while bassist Michael Günther also took charge of live tapes. This mixture of tradition instruments and technology would play their part on the seven soundscapes that would eventually feature on Malesch.
Malesch was released later in 1972, on the Music Factory label. The critics who reviewed Malesch, were immediately won over by what his hailed as an innovative, genre-melting album. Elements of free jazz, rock and avant garde, rub shoulders with ambient, progressive rock, psychedelia, electronic, world music and Krautrock. However, it’s not just musical genres that combine.
Layers of music intertwine on Malesch, resulting in spacey, intricate, leisurely, luxuriant, exotic and sometimes smooth and sumptuous music. Other times, the music’s mesmeric, or there’s an element of drama. Especially as guitars duel, in what seems like a fight to the death. Always, though, the music is innovative, as Agiation Free push musical boundaries. Despite this, Malesch wasn’t a huge commercial success.
While Malesch was a popular album, it seemed as if Agitation Free were destined to be forever, an underground band. That was until they were invited to perform at the 1972 Munich Olympics.
Playing at the Munich Olympics meant that people from all over the world heard Agitation Free’s music. This was publicity money couldn’t buy. However, Agitation Free were no strangers to playing live.
By 1972, Agitation Free had been constantly touring Europe for the past few years. This was the only way to build an audience. It was also the only way to promote Malesch. So Agitation Free embarked on arduous and gruelling tour.
In early 1973, Agitation Free were in France, on their first French tour. For two months, Agitation Free played in concert halls the length and breadth of France. Then on their return home, Agitation Free were asked to join the biggest names in German music.
The German Rock Super Concert was due to take place in May 1973, in Frankfurt. Agitation Free were asked to appear. This was a huge honour, and meant that Agitation Free’s music would be heard by a much wider audience. This was perfect timing, as Agitation Free were about to record their sophomore album 2nd
2nd.
Agitation Free decided to record 2nd during July 1973. It had been a busy year for the group, with their two month tour of France and preparing for German Rock Super Concert. Then there were other live appearances in Germany. So finding time to record an album, wasn’t easy. However, found time during July 1973, where they locked themselves away in the studio.
This time, Agitation Free decided to head to Munich, where they recorded 2nd at Studio 70. It was the first recording session with the latest member of Agitation Free, guitarist Stefan Diez.
He had replaced Jörg Schwenk, who had left the band. This was unfortunate timing, as Agitation Free had a settled lineup. Now the latest recruit would have to earn his stripes in Agitation Free’s rhythm section.
For 2nd, Agitation Free’s rhythm section featured Burghard Rausch on drums, percussion, mellotron and vocals; bassist Michael Günther; and guitarists Stefan Diez and Lutz Ulbrich who also played bouzouki. Michael Hoenig, the final member of Agitation Free played keyboards and synths. Unlike Malesch, 2nd was produced by Agitation Free, and released later in 1974.
For Agitation Free it was a familiar story. Critical acclaim accompanied the release of 2nd, but the album failed to sell in vast quantities. Agitation Free seemed destined to forever be a cult band. That sadly, proved to be the case. It shouldn’t have been, given the quality of music on 2nd.
First Communication opens 2nd, and almost explodes into life. It’s like being in a rock as it heads for a distant galaxy. Especially with a myriad of sci-fi sounds flitting in and out. Meanwhile,urgent flourishes of keyboards are joined by slow, crystalline guitars. They’re joined by keyboards as the lysergic arrangement meanders, lazily along. Guitars are panned left and right, complimenting each other, while the rhythm section provide the heartbeat.Stealing the show is the guitar panned right. It soars above the arrangement, a spellbinding, searing solo. As it shimmers and bristles, a Hammond organ enters, adding another layer. Soon the chiming guitar panned left enjoys a moment in the sun. Fingers fly up and down the fretboard as another stunning solo takes shape. It’s aided and abetted by the second guitar, which interjects, but is played tenderly and subtly. By then, every member of Agitation Free has played their part in sound and success of this eight minute epic, where musical genres seamlessly unite.
A dramatic crash of a piano opens Laila, Part 1. After it dissipates, a chiming guitar enters. Gradually, the understated arrangement changes course. Searing rocky guitars join the rhythm section as Agitation Free freewheel into a glorious slice of timeless rocky music.
It’s all change on Laila, Part 2. Washes of Hammond organ provide a backdrop that’s been inspired by progressive rock. With the rhythm section and guitars playing as one, there’s no showboating. That’s until the first guitar solo. The guitar panned left takes centre-stage, as the rest of the band provide a driving backdrop. Then the second guitar steps forward. It seems to have been inspired by the first solo. What follows is a game of daring do, with each guitarist trying to outdo the other. At one point, jazzy runs are tinged with hints of rock. By then, the second guitar is augmenting the first guitar. Their performance inspires the rest of the band, as they head for home, having combined elements of jazz, progressive rock, psychedelia and rock. As they do, Agitation Free show why in 1973, they were considered one of the leading lights and innovators of the German music scene.
As In The Silence Of The Morning unfolds, it’s as if a code is being tapped up. Birdsong interjects as Agitation Free experiment. They combine ambient and avant-garde, before slowly, the arrangement takes shape. Burghard Rausch keeps the beat playing just the ride. Meanwhile, a slow, probing bass, washes of Hammond organ and dual guitars combine. Agitation Free play slowly, creating a moody groove. Still, the sci-fi sounds punctuate the arrangement. So does a crystalline guitar solo. The second guitar plays a supporting role. His time will come. By now, Agitation Free are combining jazz, rock, avant garde and progressive rock. This results is a track that’s variously laid-back, melodic, mesmeric, innovative, futuristic and cinematic. That’s thanks to multitalented, musical alchemists Agitation Free.
A Quiet Walk finds Agitation Free putting their trusty tapes to good use. They’re augmented by a bass, guitar and synths. For just over four minutes, they’re part of what sounds like an ambient soundscape. This allows the listener to let their imagination run riot. Understated and minimalist, sounds and instruments drift in and out. It’s up the listener to supply to pictures to this soundtrack as they enjoy A Quiet Walk. Then as futuristic, sci-fi sounds beep and squeak, and a dramatic, droning organ plays, this is a signal that things are about to change. Agitation Free are stirring. An acoustic guitar plays, adding a Celtic influence. A bristling, searing guitar flits in and out, wah-wah-ing, while a hand drum is panned left. They’re playing supporting roles to the urgent acoustic guitar, and compliment it perfectly on what’s not just A Quiet Walk, but an enjoyable one.
Closing 2nd is Haunted Island. From the opening bars, there’s an eerie, otherworldly sound. Especially when the haunting, whispery vocals enter. They sound as if they belong on an early seventies progressive rock album. Soon, though, the vocals drop out, and what sounds like gusts of wind join a droning organ. They sit well together, as Agitation Free head for the Haunted Island. Later the rhythm section join keyboards, and the vocal returns. Synths strings, a bounding bass and blistering guitars are added. Soon another solo is underway. What follows is a guitar masterclass. It seems to lift the rest of the band, as they head for home on what’s been a career defining album…2nd.
Agitation Free should’ve built on 2nd. However, by 1974, all the years spent touring was beginning to take its toll. Agitation Free had also taken port in an experimental radio program, which was a forerunner of reality television. This “fly on the wall” documentary gave listeners an insight into life within Agitation Free. Sadly, all wasn’t well.
In 1974, the band split-up, and the five members went their separate ways. Agitation Free’s swan-song was 2nd, released in 1973. 2nd was a groundbreaking album where the Berlin based musical alchemists released what was a career defining album.
Partly, that was because Agitation Free refused to stand still. Instead, their music changed on 2nd. It was a very different album from Malesch. Elements of ambient, avant garde, electronic, jazz, progressive rock, psychedelia and rock are combined by Agitation Free. The result was an album that should’ve transformed Agitation Free’s fortunes.
That wasn’t the case. When Vertigo released 2nd, it pass record buyers by. Just like so many German bands of this era, commercial success eluded Agitation Free. The relentless and gruelling touring schedule had all been for nothing, and in 1974, Agitation Free went their separate ways.
Despite the demise of Agitation Free, a third album, Last, was released in 1976 on the Barclay label. By then, the five members of Agitation Free had embarked on solo careers.
When Last was released in 1976, Agitation Free part of Germany’s illustrious and rich musical history. Last was a reminder of what Agitation Free were capable of. Agitation Free were the nearly men, who could’ve sat at the top table of German music and Malesch and their cult classic 2nd are reminders of that.
Cult Classic: Agitation Free-2nd.
TEA AND SYMPHONY: THE ENGLISH BAROQUE SOUND 1968-1974.
Tea and Symphony: The English Baroque Sound 1968-1974.
Label: Ace Records.
Release Date: ‘31st’ January 2020.
As the sixties gave way to the seventies, music in Britain was changing, with rock becoming and harder and heavier as groups like Led Zeppelin, Deep Purple and Black Sabbath emerged and went on to become three of the most successful bands of the seventies. Meanwhile, some psychedelic groups turned their back on the genre and returning to their bluesy roots, while others became pioneers of progressive rock. However, not everyone was willing to turn their back on psychedelia.
There were still many British musicians and groups who were influenced by psychedelia, especially the homegrown variety of the genre. Its melancholy sound conjured up visions of Victoriana, and the pastoral sound of genteel village life in rural England as well as the simple pleasures of suburban living. Essentially British and specifically English psychedelia harked back to Britain’s past, which was romanticised and perceived as idyllic. It was a much more innocent and simpler time, and very different to Britain during the psychedelic era. So was the music.
A number of factors influenced the inimitable British psychedelic sound. Just like their American counterparts, British musicians questioned the establishment. This led to some musicians retreating to the countryside and their new rural idylls influenced the pastoral sound of their music. Others remained in the city, but tried to imagine the countryside in their music which often, became part of an Arcadian fantasy world. However, the countryside was just one of factors that influenced the British psychedelic sound.
This included travel. By then, a number of musicians had travelled to countries like India, Morocco and traversed Europe. The music they heard often influenced the music they went on to make. So did classical and jazz music. Some musicians embraced and dabbled with LSD which also influenced the music they made. These factors influenced the British psychedelic sound while others didn’t.
Many British musicians distrusted the nascent technology that emerged during the psychedelic era, and also rejected much of American culture. Instead, British musicians looked to their own culture for inspiration.
Meanwhile, musicians deployed an eclectic selection of instruments to create the British psychedelic sound. This included everything from the cello, woodwind and harpsichord to a variety of African instruments and the Mellotron. These instruments provided the backdrop the wistful melodies that were part of the British psychedelic sound. However, by the late-sixties psychedelia was no longer as popular as it had been. Many critics thought it was the end of an era.
That wasn’t the case, and like so many other genres of music, including blues and jazz, British psychedelia had to evolve to stay relevant. There were still many musicians who wanted to continue to create music using the same instruments and wistful melodies and they became pioneers of a new sub-genre of pop, the English Baroque sound.
At the forefront of this new musical movement were some of the psychedelic groups who were joined by the new breed of singer-songwriter. They pioneered the English Baroque which was celebrated on the CD compilation Tea and Symphony: The English Baroque Sound 1968-1974. It was compiled by writer and Saint Etienne member Bob Stanley and released fifteen years ago, and nowadays, is a collector’s item that changes hands for anything between £50 to £100. However, most people are holding on to their copies of Tea and Symphony: The English Baroque Sound 1968-1974 which is why Ace Records have released a new and improved version of the compilation.
Originally, Tea and Symphony: The English Baroque Sound 1968-1974 was only ever released on CD. However, the new and improved version, which will be released by Ace Records on CD and vinyl on the ‘31st’ January 2020. It features Lora Findlay’s artwork which has been given a makeover. That isn’t the only difference between the original and new version of Tea and Symphony: The English Baroque Sound 1968-1974.
The new version includes several tracks that haven’t been released before. The CD version of Tea and Symphony: The English Baroque Sound 1968-1974 features twenty-two tracks and includes everyone from Ray Brooks, The Honeybus, Mike Batt, Colin Blunstone, Nirvana, Les Payne, Clifford T. Ward, The Bliss and Matthew Bones.
Opening the Tea and Symphony: The English Baroque Sound 1968-197 compilation is Pictures by Ray Brooks. It was released by Polydor in 1972, and epitomises the English baroque pop sound which by then, had grown in popularity. With sweeping, swirling and cinematic lyrics Ray Brooks paints Pictures on a track that sets the bar high for the rest of the compilation.
For me the highlight of the compilation is The Honeybus’ classic I Can’t Let Maggie Go. It was written and produced by Pete Dello and released by Deram in 1968, reaching number eight in the UK. Since then, this beautiful heart-wrenching English baroque pop classic has been a favourite of many music lovers and even the opening bars are enough to bring memories flooding back.
One of the rarest tracks on the compilation is Alice a gothic tale by Jon Plum. It was released in 1969, on SNB, but failed to find the audience it deserved. Some fifty-one years later makes a welcome return and hopefully, will be appreciated by a new generation of discerning music lovers.
Another English baroque pop classic is Colin Blunstone’s Say You Don’t Mind, which was released by Epic in 1972 and reached the top twenty. This beautiful and truly memorable track belatedly launched Colin Blunstone’s career. It features a soul-baring vocal, while a cello is at the heart of this minimalist chamber pop arrangement.
Mary Jane was released by Erasmus Chorum on Chapter One in 1972, on the B-Side of their EP. It features a string led arrangement which also includes a melancholy organ and piano. They provide the backdrop to what can only be described a heartfelt and emotive vocal on this English baroque pop hidden gem.
Mention Nirvana and many people think of Kurt Cobain et al. However, for many connoisseurs of British music that isn’t the case. The original Nirvana released six carefully crafted albums between 1967 and 1974. On these albums they collaborated with top musicians, arrangers and producers. The result were albums which although released to critical acclaim, weren’t hugely successful. This includes their 1971 album Songs Of Love and Praise, which was released on Phillips. Please Believe Me is one of the album’s highlights, and a tantalising reminder of the original Nirvana, whose music is well worth discovering.
Many people will remember Justin Hayward’s cover of Forever Autumn on Jeff Wayne’s Musical Version Of The War Of The Worlds in 1979. However, this wasn’t a new track. It was penned by Gary Vigrass and Paul Osborne who were at the time part of Jeff Wayne’s team who wrote advertising jingles. Forever Autumn was originally used for a Lego advert, and was then released as a single. Vigrass and Osborne’s single was produced by Jeff Wayne, and gave the pair a major hit in Japan, and a minor hit in America. Sadly, this beautiful, wistful song failed to chart in Britain, and is another of the hidden gems on the compilation.
By the time Les Payne released I Can’t Help To Feel The Love via RCA, in 1974, he was a staff writer at Chappell Music. Sadly, the single flopped and commercial success continued to elude the talented singer-songwriter. Proof of that is Very Well, a string driven anti-war song which was tucked away on the B-Side.
Clifford T. Ward’s best known and most successful single was Gaye, which reached number eight in the UK and sold over a million copies and features on his classic album Home Thoughts. However, there’s much more to Clifford T. Ward than one song. His sophomore single was Coathanger a reflective and melodic track from his 1972 debut album Singer-Songwriter. It’s another of Clifford T. Ward’s finest albums and is the perfect introduction to a hugely talented singer-songwriter who deserved to be a huge star.
David McIvor covered Peter Green’s Closing My Eyes in 1969. The single was released on Warner Bros and produced by Fleetwood Mac’s manager Clifford Davis. He’s responsible for the dramatic arrangement as David McIvor lays bare his soul.
Closing Tea and Symphony: The English Baroque Sound 1968-1974 is Two Sugars by Matthew Bones. This was the B-Side to his 1971 single I Am The Pixi. Of the two sides, Two Sugars an observational song that sounds as if it’s been inspired by The Kinks is by far the best.
The reissue of Tea and Symphony: The English Baroque Sound 1968-1974 on and vinyl by Ace Records ‘31st’ January 2020 is a welcome. Nowadays, the original compilation is now a sought after rarity which is beyond the budget of most record buyers. Thankfully, soon, that will no longer be the case.
For the forthcoming reissue Lora Findlay’s artwork has been given a makeover and new tracks have been added to the new and improved version of Tea and Symphony: The English Baroque Sound 1968-1974. It features everything from English baroque classics, contributions from familiar faces, hidden gem, hit singles, oft-overlooked songs and little known B-Sides. They’re part of Tea and Symphony: The English Baroque Sound 1968-1974 which is a lovingly curated compilation which makes a welcome return fifteen years after its initial release, and for newcomers to the genre is the perfect primer.
Tea and Symphony: The English Baroque Sound 1968-1974.
CULT CLASSIC: CAN-FUTURE DAYS.
Cult Classic: Can-Future Days.
In the history of modern German music, Can were undoubtably one of the most ambitious and innovative groups of the past fifty years. Their music was constantly evolving and was always groundbreaking. So much so, that it was always way ahead of the musical curve. Ca’s music is also timeless and has influenced several generation of musicians. Especially, Can’s “golden quartet” of albums.
Can’s “golden quartet” of albums started with a stonewall classic, Tago Mago, released in February 1971. The followup to Tago Mago, was another groundbreaking, classic album.
Ege Bamyasi was released in November 1972. Just like Tago Mago, critical acclaim accompanied the release of what was called a pioneering album. However, despite Tago Mago and Ege Bamyasi being recognised as two of the most important and innovative albums in musical history, Holger Czukay was almost evangelical about Future Days the third in the “golden quartet” of albums.
In 2016, I interviewed Holger Czukay and asked him what he regarded as Can’s best album? Straight away, Holger responded “Future Days,” which was released in August 1973. When I asked what his favourite Can album was, without hesitation Holger responded that “Future Days is my favourite Can album.” Holger spoke almost evangelically about Future Days, which is a cult classic classic, where musical chameleons Can reinvent themselves and their music. Can had come a long way since their early days in Cologne.
Can’s roots can be traced back to 1963 where Holger Czukay met Conny Plank and Irmin Schmidt. Just like Holger, they were students of Karlheinz Stockhausen. The three studied under Stockhausen until they graduated in 1966.
Having graduated, Holger was enjoying life as a music teacher. Holger was enjoying his newfound career as an educator. He wasn’t a fan of pop or rock music. That was about to change in 1967.
That’s when Holger heard The Beatles’ I Am A Walrus in 1967, he was captivated by this psychedelic rock single. Holger describes this “as a life-changing moment…the music of the past and present came together.” At last, “here was music that made the connection between what I’d studied and I was striving towards” With the innovative use of bursts of radio and the experimental sound and structure, “I went in search of similar music.”
Soon, Holger discovered Velvet Underground, who Holger sad would later, influence Can.“Velvet Underground they were different, they were really influential” “They influenced the music I made…I remember the first time I heard Velvet Underground and where I heard it” This was “sitting in a friend’s flat looking through piles of albums. We’d study the sleeve-notes and then spread the album covers all over the floor. We scrutinised them, then immersed ourselves in the music. It was a shared experience. We listened and discussed the music. I can remember these times well.”
Inspired by what he’d heard, Holger decided to form his own band in 1968. In his new band, Holger was joined by another graudate of Karlheinz Stockhausen, Irmin Schmidt. They had spent three years studying together, so knew each other well. However, after graduating Irmin had headed to New York.
In New York, Irmin spent time with avant-garde musicians like Steve Reich, Terry Riley and La Monte Young. Soon, Irmin was aware of Andy Warhol and Velvet Underground. This inspired him to form his own band when he returned home to Cologne.
Back home, Irmin a pianist and organist formed Can with American avant garde flautist David C. Johnson and bassist Holger Czukay. Up until then, the trio had exclusively played avant-garde classical music. Now their ambitions lay beyond that. Their influences included garage, rock, psychedelia, soul and funk. So they brought onboard three new members of the group, which started life as Inner Space, and then became The Can. Eventually, they settled on Can, an acronym of communism, anarchy, nihilism
The first two new additions were guitarist Michael Karoli and drummer Jaki Liebezeit. Vocalist and New York-based sculptor Malcolm Mooney joined the band midway through 1968. By then, they were recording material for an album Prepare To Meet Thy Pnoom. Two tracks, Father Cannot Yell and “Outside My Door were already recorded. Unfortunately, record companies weren’t interested in Prepare To Meet Thy Pnoom. As a result, it wasn’t released until 1981, when it was released as Delay 1968. Undeterred, Can continued to record what became their debut album, Monster Movie.
Despite not being able to interest a record company in Prepare To Meet Thy Pnoom, Can were confident in their own ability. So Can continued recording what would become their debut album Monster Movies. That’s despite being what Holger referred to as “a poor man’s band.” They didn’t have the equipment that other groups did. What they did have was “an ambition to create innovative music.” However, before long, there was a problem.
David C. Johnson left Can at the end of 1968. He was disappointed at the change in musical direction. Little did he realise that he’d lost the chance to be part of one of the most groundbreaking band’s in musical history, Can.
Monster Movie.
Monster Movie had been recorded in Schloss Nörvenich, a 14th-century castle in North Rhine-Westphalia. Can recorded Monster Movie between 1968-69. It was the released in August 1969. This marked the debut of Can. Their career started as they meant to go on. A groundbreaking, genre-melting fusion of blues, free jazz, psychedelia, rock and world music, Monster Movies has a Velvet Underground influence. It’s as if Can have been inspired by Velvet Underground and pushed musical boundaries to their limits.
Throughout Monster Movie, Can improvised, innovated and experimented. Multilayering and editing played an important part in Monster Movie’s avant garde sound. So did spontaneous composition, which Can pioneered.
Spontaneous composition was hugely important in Can’s success. Holger remembers “that the members of Can were always ready to record. They didn’t take time to think. It was spontaneous. The music flowed through them and out of them.” Holger remembers that he was always “given the job of pressing the record button. This was a big responsibility as the fear was failing to record something we could never recreate.” In some ways, Can were an outlet for this outpouring of creativity, which gave birth to a new musical genre.
This new musical genre was dubbed Krautrock by the British music press. So not only was Monster Movie the album that launched Can’s career, but saw a new musical genre, Krautrock coined. The founding father’s of Krautrock were Can, lead by Holger Czukay. Can would soon, begin work on their sophomore album Soundtracks.
Soundtracks.
Released in 1970, Soundtracks, was Can’s sophomore album. Essentially, Soundtracks is a compilation of tracks Can wrote for the soundtracks to various films. It’s the album that marked the departure of vocalist Malcolm Mooney. Replacing him, was Japanese busker, Kenji Damo Suzuki. He features on five of the tracks, contributing percussion and vocals. The addition of Damo wasn’t the only change Can were making.
Soundtracks was a coming of age for Can. It marked a move away from the psychedelic jams of Monster Movie and a move towards their classic sound. That saw the music becoming much more experimental and avant-garde. The music took an ambient, meditative, mesmeric and thoughtful sound. This marked the beginning of what became known as Can’s classic years, when albums like Tago Mago, Ege Bamyasi and Future Days were released.
Tago Mago.
The first instalment in the golden quartet was Tago Mago. This was the first album where Kenji Damo Suzuki was a permanent member of Can. He and the rest of Can spent a year in the castle in Schloss Nörvenich. It was owned by an art collector named Mr. Vohwinkel. He allowed Can to stay at Schloss Nörvenich rent free. For what Holger described as “a poor man’s band,” this was perfect.
Holger remembers Can during this year as “just jamming and seeing what took shape. Songs started as lengthy jams and improvised pieces.” This Holger remembers is “how Can always worked” After that, Holger worked his magic. He edited them and these mini masterpieces featured on Tago Mago, which was four months in the making.
For four months between November 1970 and February 1971, Can recorded what would become one of their most innovative and influential albums, Tago Mago.
A double album, it featured seven groundbreaking tracks. Tago Mago was released in February 1971. Straight away, critics realised the importance of Tago Mago. Here was a game-changer of an album. It has an intensity that other albums released in 1971 lacked. Jazzier with an experimental sound, the music is mysterious, mesmeric and multilayered. It’s innovative, with genres and influences melting into one. Nuances, subtleties and surprises reveal themselves. No wonder. Can deliver a avant garde masterclass.
This comes courtesy of jazz-tinged drumming, improvised guitar playing and showboating keyboard solos. Then there was Kenji Damo Suzuki’s unique vocal style. All this, resulted in an album that was critically acclaimed, influential and innovative.
Released to widespread critical acclaim in 1971, Tago Mago was the start of a golden period for Can. Their reputation as one of the most innovative groups of the seventies started to take shape. Can had released one of the most innovative albums, Tago Mago. Holger remembers the reaction to Tago Mago. “I knew Tago Mago was an innovative album, but I never realised just how innovative an album it would become?
On Tago Mago’s release, it was hailed as their best album yet. However, not in Holger’s opinion. “Tago Mago is a classic album, but I much prefer Future Days.” Despite Holger’s preference, several generations of musicians have been inspired by Tago Mago, a true Magnus Opus, that belongs in every record collection. So does the followup Ege Bamyasi.
Ege Bamyasi.
Can were on a roll. It seemed they could do no wrong. They released Spoon as a single in 1972. It reached number six in Germany, selling over 300,000 copies. That was helped no end, by the single being used as the theme to a German thriller Das Messer. It seemed nothing could go wrong for Can. The money the made from Spoon, allowed Can to hire disused cinema to record what became Ege Bamyasi.
Can advertised for a space to record their next album, Ege Bamyasi. Recording began in a disused cinema, which doubled as a recording studio and living space. The sessions at Inner Space Studio, in Weilerswist, near Cologne didn’t go well. Irmin Schmidt and Kenji Damo Suzuki took to playing marathon chess sessions. As a result, Can hadn’t enough material for an album. This resulted in Can having to work frantically to complete Ege Bamyasi. Despite this, Can were still short of material. So Spoon was added and Ege Bamyasi was complete.
Ege Bamyasi was a fusion of musical genres. Everything from jazz, ambient, world music, psychedelia, rock and electronica melted into one. When it was Ege Bamyasi released in November 1972, it was to the same critical acclaim as previous albums. Critics were won over by Can’s fourth album. It was perceived as a more accessible album than its predecessors. Just like Can’s previous albums, the quality of music was consistent.
Critics hailed Can as one of the few bands capable of creating consistent and pioneering albums. They were one of the most exciting bands of the early seventies. Can were continuing to innovate and influence musicians and music lovers alike. Just like its predecessor, Tago Mago, Ege Bamyasi is an essential part of any self respecting record collection. Having released two consecutive classic albums and their first single, it seemed nothing could go wrong for Can.
Future Days.
Despite Tago Mago and Ege Bamyasi being referred to as two of the most influential albums ever released, Holger Czukay prefers Future Days. This is the album he calls “my favourite Can album.”
Future Days, was Can’s fifth album. It was the third in Can’s golden quartet, and marked a change in direction from Can. On Future Days, Can’s music head in the direction of ambient music. The music is atmospheric, dreamy, ethereal, melancholy, expansive and full of captivating, mesmeric rhythms. It’s also pioneering and progressive, with elements of avant garde, experimental, psychedelia and rock melting into one. Rather than songs, soundscapes describes the four tracks written by Can.
Recording of Future Days took place at Inner Space Studios. Can’s rhythm section featured drummer and percussionist Jaki Liebezeit, Holger Czukay played bass and double bass and Michael Karoli added guitar and violin. Irmin Schmidt keyboards and synths. Damo Suzuki who bade his farewell on Future Days, added vocals and percussion. Once the four tracks were recorded, Future Days was released in August 1973.
On its release in August 1973, Future Days was hailed a classic by music critics. The move towards ambient music may have surprised some Can fans. However, Can were constantly determined to reinvent their music. Standing still wasn’t an option. Instead, Can wanted to move forwards musically. That’s what they did. Critics described the music on Future Days, as variously atmospheric, dreamy, ethereal, expansive and melancholy. Here was an album full of captivating, mesmeric rhythms. Future Days, you’ll realise, is also a pioneering and progressive album, were Can music moved in the direction of ambient music. This must have pleased Holger’s guru Karlheinz Stockhausen. He must have looked on proudly as Can released the third of a quartet of classic albums, Future Days.
Opening Future Days is the title-track, Future Days. Straight away, ambient and avant-garde combine. Swells of futuristic, sci-fi music unfold, combining with elements of what nowadays, is referred to as “chill out” music. The music shimmers, quivers, glistens and bubbles. Sounds flit in and out of this cinematic soundscape. They’re variously captivating, dreamy, haunting, hypnotic, mesmeric and always, understated. Resistance is impossible. You’re captivated. Hungrily, you wait to see what’s about to unfold. Surprises aplenty make flitting appearances. Some last longer, their beauty almost omnipresent. For nine minutes, instruments, and the vocal, flit in and out, of this genre-melting arrangement. It’s variously beautiful, dramatic, dreamy and ethereal, as ambient, avant-garde, Krautrock and psychedelia melt into one. The result is a track that sounds both cinematic and one that could have given birth to modern “chill out music.”
There’s an element of tension and drama as Spray unfolds. Again, the track has a cinematic sound. A bubbling, gurgling Hammond organ joins a rhythm section that combines funk, Kraurock and free jazz. It’s as of Can are jamming, feeding off each other and seeing what direction their music will head. However, it thanks to Hall makes perfect sense. The disparate genres combine to create a compelling, dramatic, dreamy and lysergic musical journey. As journeys go, it’s akin to climbing onboard the DB Netz and enjoying a journey from Cologne into the surrounding Saxony countryside.
Moonshake is the shortest track on Future Days. It lasts just under four minutes. It’s very different from the previous tracks. Can’s rhythm section is joined by bursts of subtle, chiming guitars. They provide the backdrop for Damo Suzuki’s soft, pensive vocal. When it drops out, futuristic, robotic sounds grab your attention. This results in the track taking on a sci-fi sound. Then when Damo’s vocal returns, gone is the sci-fi sound. Replacing it, is one of the most accessible, poppy songs Can produced.
Bel Air closes Future Days. It’s the centre-point of Future Days. It’s a twenty-minute epic, that’s one of Can’s finest hours. The multi-layered, ambient arrangement meanders into being. This comes courtesy of a chiming guitar, probing bass and washes of synths. Meanwhile, waves break on a beach. Soon, an ad-libbed vocal and searing rocky guitar combine. Both sit back in the mix, ensuring neither overpowers the mix. At the heart of the mix, is the rhythm section, who provide the heartbeat. They take the arrangement in the direction of Krautrock, free jazz, avant-garde, experimental and rock. Joining them, are synths and percussion, in what at one point, is a freeform jam. However, it’s more than that. Later, Bel Air heads in the direction of minimalist, ambient music. There’s even a nod to avant-garde music. From there, the music grows in power, becoming bold, confident, expansive and rocky. Can are on a roll, and become a musical powerhouse during this musical tour de force. It’s the musical equivalent to an impressionistic painting, where layer upon layer of disparate musical genres are spread upon Can’s musical canvas. These genres and influences are the equivalent of colours and hues, and play their part in an innovative and expansive musical epic.
Future Days was the third in Can’s golden quartet. Just like Tago Mago and Ege Bamyasi, Future Days was hailed a classic. However, Future Days was very different from Tago Mago and Ege Bamyasi. It saw Can, forever the musical chameleons, reinvent themselves and their music. This time, Can’s music moved in the direction of ambient music.
On Future Days, the music is atmospheric, dreamy, ethereal, melancholy, expansive and full of captivating, mesmeric rhythms. It’s also pioneering and progressive, with elements of avant garde, experimental, psychedelia and rock melting into one. Rather than songs, soundscapes describes the four tracks. Future Days and Bel Air showcase Can’s new sound. Bel Air was the Future Day’s epic. It lasted just over nineteen minutes, and takes you on an enthralling musical journey and brings to an end this cult classic which was the penultimate album in their “golden quartet.”
It was followed by Soon Over Babaluma which marked the end of Can’s golden period. This was the end of a period where Can were releasing some of their most innovative and groundbreaking music. There was a change of direction on Soon Over Babaluma. Can were without a vocalist. Kenji Damo Suzuki left Can and married his German girlfriend. He then became a Jehovah’s Witness. Despite the lack of a vocalist, Can continued as a quartet. They released Soon Over Babaluma in November 1974.
When Can released Soon Over Babaluma in November 1974, it received praise from critics. With a myriad of beeps, squeaks and sci-fi sounds, Soon Over Babaluma is like musical journey into another, 21st Century dimension. A musical tapestry where layers of music are intertwined during five tracks on Soon Over Babaluma. It followed in the ambient footsteps of Future Days and brought to a close the most fruitful period of Can’s career. Following the “golden quartet,” Can didn’t go into decline. Instead, Can continued to reinvent themselves and their music. That was the story of Can’s career.
Throughout their career, Can were innovators. Although innovative is an overused word, that’s the perfect description of Can. They were an innovative and pioneering group, who weren’t afraid to push musical boundaries to their limits, and sometimes, way beyond. That’s what record buyers came to expect from musical mavericks, Can, when they released their fifth album Future Days.
On Future Days, Can’s reputation for releasing ambitious, innovative, and influential music continued. Can it seemed that they could do no wrong, and forty-seven years after they released Future Days, they’re regarded as one of the most innovative and influential bands of the past fifty years. That’s why today, and in the future, Can music will continue to influence and inspire further generations of musicians and Especially, their “golden quartet” of Tago Mago, Ege Bamyasi, Future Days and Soon Over Babaluma.
Cult Classic: Can-Future Days.
CULT CLASSIC: PETER WALKER-“SECOND POEM TO KARMELA” OR GYPSIES ARE IMPORTANT.
Cult Classic: Peter Walker-Second Poem To Karmela” Or Gypsies Are Important.
Back in 1967, Peter Walker released his seminal album Rainy Day Raga, which was released on Vanguard Records. Since then, it’s become a cult classic. Many people though, thought Rainy Day Raga wa his only album. It wasn’t and The following year, 1968, Peter released his sophomore album “Second Poem To Karmela” Or Gypsies Are Important,
It picks up where Rainy Day Raga left off, and proceeds to take things much further. So much so, that “Second Poem To Karmela” Or Gypsies Are Important has been described as: “the missing link between Ravi Shankar, Sandy Bull and Timothy Leary, in more ways than one.” This quotation makes “Second Poem To Karmela” Or Gypsies Are Important an album the everyone must hear once in their life. It showcases the considerable talents of a truly talented musician whose.
Peter Walker was born in 1938 and grew up in Medford, just north of Boston. His father played the guitar, and aged three, Peter first picked up the guitar. He was hooked. Having broken the strings on the guitar, his parents bought him a mandolin. This was an important part of Peter’s musical education.
By the time he was a teenager, his parents had decided that Peter should be a musical all-rounder. So, he Peter played brass, woodwinds, piano and later, harmonica. The guitar came later.
That came after Peter ran away from home. This was the real thing. Peter spent time travelling round America. Incredibly, he was still in the early years of high school. On his return, Peter took up the guitar. Sadly, Peter wasn’t given any encouragement.
Far from it. His stepfather was far from happy about Peter’s decision to take up the guitar. There was no stopping him though. Looking back, Peter thinks it was his way of connecting with his father, who he still missed after his parent’s split-up. While Peter played guitar, he was broadening his musical taste.
Using a radio that he’d hidden under his bed, Peter started listening to the Grand Ole Opry. Soon, his musical tastes broadened. Blues, folk, gospel, R&B and rock ’n’ roll. Peter was hooked.
So much so, that he started learning the songs he heard on his radio. He bought a capo and started learning all the keys. One of the first songs he learnt, was The House Of The Rising Sun. Soon, he realised that playing guitar made him popular.
Out of all of the ten-thousand students at the University of Cincinnati in 1957, only two people played the guitar. So, this more or less guaranteed them invites to any campus parties. After college, Peter became a beatnik. This was around 1958 or 1959.
Back in 1957, Jack Kerouac had released his seminal classic On The Road, a book which inspired dreams and for the lucky ones, road trips and easy living. Peter lived the dream. With his guitar for company, he hung around North Beach, San Francisco. It was during this time, Peter honed his sound. By night, Peter lived above the Bagel Shop in Grant Avenue. During this time, Peter met a cast of colourful characters.
Among them were Jim Gurley, who later, would find fame with Big Brother and The Holding Company. He was taking his first steps musically, as he learnt to play the guitar. Then there Brownie McGhee, Sonny Terry, Josh White, Jose Feliciano, Lightnin’ Hopkins, Joan Baez, The Jim Jweskin Jug Band and Karen Dalton. Indeed, it was Peter who lent Karen Dalton the long-necked banjo that she plays on her classic album In My Own Time. All this was part of Peter’s development as a musician.
So were the early sixties. Peter was combining his time working a regular job and honing his musical style. This included hearing Ravi Shankar live. In 1962, Peter had bought a 100 string sarangi in 1962. He saw it in the window of a shop and was intrigued. Two years later, in 1964, Peter saw Ravi live. His music would go on to influence Peter’s debut. However, by then, Peter had been on a road trip.
The death of President Kennedy had affected Peter. He headed off, after believing his life was destroyed. During Kennedy’s presidency Peter had travelled back and forward between Mexico, buying guitars. After Kennedy’s assassination, Peter headed off on the mother of road trips.
First of all he headed to Spain. With the help of the US Consulate, Peter found a Flamenco teacher. This was Senor Pappas, who Peter addressed as Maestro. Throughout the winter, which he spent in Spain and North Africa, Peter studied Flamenco. Then when he headed back to America, he heard Ravi Shankar and began studying Indian music.
Hearing Ravi Shankar live inspired Peter. He headed down to Mexico and using a stereo he’d borrowed from his friend John Barrymore’s car, set about copying Ravi Shankar’s technique on the guitar. It took seven long months of playing along with a tape played at half-speed before Peter achieved what he set out to do. Being able to play both Flamenco and make his guitar sound like Ravi Shankar would result in a captivating debut album.
That would come later. Before that, John Barrymore Jr. took Peter under his wing. They’d become good friends. So, John showed around Hollywood. John introduced Peter as if he was a guitar maestro. Peter enjoyed his spell in Hollywood, but decided to return to New York.
Back in New York, Peter and Monte Dunn started playing together. Peter also played sessions at Columbia and had a residency at Cafe Au Go Go. It was there that a representative of Vanguard Records heard Peter. They liked what they heard, came backstage and offered Peter a contract on the spot.
Delighted, Peter accepted Vanguard Records offer. He set about recording his debut album Rainy Day Raga. Peter penned nine tracks and covered Lennon and McCartney’s Norwegian Wood. On its release in 1967, Rainy Day Raga seemed to pass most people by. It wasn’t a commercial success. Rainy Day Raga was described as: “the perfect L.S.D. soundtrack.” Since then, Rainy Day Raga has become a cult classic. Most people thought that was the end of the Peter Walker story. It wasn’t.
Following Rainy Day Raga, Peter began work on his sophomore album “Second Poem To Karmela” Or Gypsies Are Important. He wrote nine tracks and cowrote Mixture with Michael Chechik which were recorded and mixed at Vanguard Records’ Vanguard’s 23rd Street Studio.
As recording of “Second Poem To Karmela” Or Gypsies Are Important began at Vanguard Records’ Vanguard’s 23rd Street Studio, Peter would be accompanied by a talented band. This included flautist Jim Pepper, organist Michael Chechik, violinist John Blair and Jim Hotep on tabla. Midnite added tamboura and ondiolines came courtesy of New York Tactical Force. Peter played sarod, guitar and sitar. Producing “Second Poem To Karmela” Or Gypsies Are Important was Michael Chechik. Once “Second Poem To Karmela” Or Gypsies Are Important was completed, it was released in 1968.
When “Second Poem To Karmela” Or Gypsies Are Important was released in 1968, lightning stuck twice. It wasn’t a commercial success. Neither critics nor music lovers picked up on “Second Poem To Karmela” Or Gypsies Are Important. Again, it passed them by. Since then, only a small group of music lovers with eclectic tastes have appreciated “Second Poem To Karmela” Or Gypsies Are Important, which I’ll tell you about.
Opening “Second Poem To Karmela” Or Gypsies Are Important is Second Song. Wistful, eerie and exotic describes the arrangement. That’s before the drums gallop away and a flute cascades. The guitar is transformed in Peter’s hand. It takes on an Indian sound. That’s down to the tuning. As for his playing, his hands flit up and down the fretboard. It’s mesmeric. He joins forces with the drums and flute. There’s an urgency, fluidity and passion in their playing.
From the distance, an Eastern sound emerges. It’s captivating. So is Peter’s playing on I and Thou. Slow, careful and tenderly he plays his guitar. Behind him, subtly, instruments accompany. They weave in and out. Tamboura and tabla combine. However, it’s Peter’s playing that has your attention. His guitar has become an extension of him and his emotions. It’s as if his emotion, fears and frustrations flow through him to his guitar on this Flamenco influenced track.
Just Peter’s lone guitar opens Southwind. He plucks thoughtfully and gently at his guitar. Miles Davis believed space is left within the arrangement. So does Peter. Here, it adds to the drama. As do the tabla and flute. Together, they ask an unanswerable question. Peter and the flute match each other every step of the way for drama. Peter’s playing is exquisite. Jim Pepper’s flute proves a perfect foil for Peter.
Tenderly, but beautifully and soon, urgently Tear unfolds. Peter has your attention. Unaccompanied, he plays a spellbindingly beautiful solo. His playing veers between tender, strident, stark and melancholy. Heartache and hurt are ever-present and you can imagine a Tear falling.
Barefoot features a myriad of influences. Gradually, they all merge into one. Straight away, there’s the influence of Ravi Shankar. It comes courtesy of Peter’s guitar and tabla. Then a flute later joins gypsy violins. They’re played urgently, creating a joyous sounding track which you could dance Barefoot and carefree to.
Subtly and wistfully, Peter strums his guitar Gypsy Song, Tabla tremble and gypsy violins lay bare their soul. They’re played with tenderness and emotion. Meanwhile, the flute flutters above the arrangement. Even when the tempo rises, melancholy and soul-searching describes this track.
Circus Day has a similar wistful sound. Peter plays his thoughtfully and slowly. His playing takes on a sense of urgency. So much so, that it’s as if the flute is trying to reassure him. Try as it might, it can’t. Gradually, the arrangement grows. So does the Indian influence. Tabla and saron accompany the flute as they play with urgency, speed and fluidity. Somehow, they keep this up throughout the day, as of trying to replicate the happiness and joy Circus Day brings.
Blake Street veers between folk and Flamenco. Confidently, Peter plays the guitar. His playing is strident. Then as you think he’s about to change tack and head of in another direction, the song is over. Your left wondering what it might have become?
Tabla set the scene on Socco Chico. They march ominously towards you. When Peter plays the sarod, it’s thoughtfully and tenderly. He then plays his guitar with confidence. Meanwhile, the flute cascades across above the arrangement. It makes you think of an eagle in full flight. Later, Peter’s guitar playing becomes urgent. So do the tabla and flute during this dramatic opus.
Mixture which closes “Second Poem To Karmela” Or Gypsies Are Important, has a different sound. That’s because of new instruments, including an organ, ondiolines and sitar. There’s even tapes playing backwards. Slow, surreal and psychedelic describes this track. To that, I’d add moody and eerie. Meandering along, it proceeds to spring a series of sonic surprises, musical genres melt into one. Gypsy violins and tablas, psychedelia, jazz and rock combine to create a lysergic melange that closes “Second Poem To Karmela” Or Gypsies Are Important on a hypnotic high.
For Peter Walker, the commercial failure of “Second Poem To Karmela” Or Gypsies Are Important must have been ironic. The title “Second Poem To Karmela” is a reference to the book Sibbartha, which is the story of a man seeking enlightenment. Once he’s become enlightened, he decides to his newly enlightened self in the material. It’s during this part of his life, the man meets Karmela, a beautiful woman. Despite this, and his newly enlightened state, he decides to return to his monastic life. For Peter this must have struck a nerve. Having failed to enlighten music lovers, he turned his back on music.
For thirty-eight years, Peter Walker was lost to music. It was in 2006, that Peter made his comeback, when he recorded Second Raga For Peter Walker. After thirty-eight years in self-imposed exile, one of music’s innovators made his return. However, what might have Peter have achieved during this thirty-eight year period? Who knows? He may have become one of the most influential and innovative artists of his generation? We’ll never know. What I do know is that Peter Walker’s self-imposed exile was music’s loss.
It only takes one listen to Second Poem To Karmela” Or Gypsies Are Important to realise this. It’s a truly innovative and influential genre-melting album. Lysergic, experimental and groundbreaking, Peter Walker was ahead of his time. That’s nothing new.
A whole host of artists have suffered the same fate. However, not all of these artists walk away from music for thirty-eight years. Peter Walker did, leaving behind two minor classics. The first of these is Rainy Day Raga in 1967. A year later, Peter Walker released his second cult classic “Second Poem To Karmela” Or Gypsies Are Important which sadly. has been overlooked since its release in 1968. Thankfully, Peter Walker’s groundbreaking, genre-melting sophomore album “Second Poem To Karmela” Or Gypsies Are Important is starting to find the wider audience it so richly deserves.
Cult Classic: Peter Walker-Second Poem To Karmela” Or Gypsies Are Important.
CULT CLASSIC: BERT JANSCH-L.A. TURNAROUND.
Cult Classic: Bert Jansch-L.A. Turnaround.
On New Year’s Day, 1973, Glasgow-born Bert Jansch announced his intention to leave folk-jazz band Pentangle, and concentrate on his burgeoning solo career. This resulted in the headline: “Pentangle Split” featuring on the first edition of Melody Maker released in 1973. For some of Pentangle’s fans, this came as a surprise, while others thought that the writing had been on the wall for a while. Especially now that Bert Jansch was a successful solo artist who had already released seven albums since 1965.
By then, folk singer Bert Jansch was signed to the Transatlantic label, and had released his eponymous debut album to critical acclaim on the ‘16th’ of April 1965. Eight months later, he released the followup It Don’t Bother Me to plaudits and praise. It looked as if the twenty-two year singer was about to enjoy a successful solo career.
With things looking good for Bert Jansch, he returned to the studio in early summer 1966, and was once again, joined by his friend John Renbourn as he recorded Jack Orion. When this third album of traditional folk was released in September 1966, the reviews were mixed. While some critics were won over by the album, and continued to fly the flag for the folk singer, others felt it was a weaker album than its predecessors. Despite that, Bert Jansch’s star was still in the ascendancy.
As 1967, dawned little did Bert Jansch realise that this would one of the most important year of his career. He entered the studio to record his fourth album Nicola in April 1967, which was Bert Jansch’s first folk rock album. When it was released in July 1967, many reviews were positive, but some weren’t sure about the new direction Bert Jansch’s music was heading. Bert Jansch had realised that his music had to evolve to stay relevant, and increase his fan-base. However, this wasn’t the only change made during 1967.
In 1967, Bert Jansch was one of the cofounders of Pentangle, which joined included his friend John Renbourn, Danny Thompson, Danny Cox and Jacqui McShee. They would combine disparate musical genres including blues, folk, folk rock and jazz over the next few years.
Having joined Pentangle, Bert Jansch’s solo career was put on hold as the new band began honing their sound and playing live. Then in 1968, Pentangle released their critically acclaimed debut album The Pentangle on the ’17th’ May 1968. It was followed by another album of folk rock Sweet Child, which was released on the ‘1st’ of November 1968 to plaudits and praise. After this, Bert Jansch’s thoughts turned to completing his sixth solo album.
Bert Jansch had started recording his sixth album in October 1968, and completed the album in November, just after Pentangle released Sweet Child. Two months later, Birthday Blues, which was produced by Shel Talmy, was released in January 1969 and was hailed as one of Bert Jansch’s finest albums. However, it would two years before Bert Jansch returned with the followup to Birthday Blues.
Buoyed by the response to Birthday Blues, Bert Jansch joined the rest of Pentangle and recorded the album Basket Of Light with producer Shel Talmy. When it was released on the ‘28th’ October 1969, it was to critical acclaim as the album reached number forty-three in Britain. Nowadays, Basket Of Light which finds Pentangle fusing folk jazz and fusion is now regarded as a minor classic, and one the Pentangle’s finest hours.
Meanwhile, Bert Jansch was working on his seventh album Rosemary Lane, between June 1970 and January 1971. Despite working on the album on and off for the best part of seventh months, Rosemary Lane, which was produced by Bill Leader received mixed reviews. This was a blow for Bert Jansch who had invested so much of his time into recording Rosemary Lane.
Two months later, and Bert Jansch was back in the studio, and spent three weeks during March 1971, recording Reflection, which was a genre-melting album. Reflection found Pentangle combining Celtic music, country, folk, folk rock, gospel and even funk on what was an ambitious and eclectic album, but one that didn’t find favour with all the critics. Some were unsure of Reflection, and their reviews were far from positive. It was a case of deja vu for Bert Jansch after the response to Rosemary Lane.
Despite the reviews of Rosemary Lane, Pentangle eventually returned to the studio and began work on their sixth album Solomon’s Seal. By then, Pentangle’s contract with Transatlantic had expired amidst arguments and wrangling over royalties. This resulted in Pentangle signing to Warner-Reprise, who had distributed their albums in America. Pentangle released Rosemary Lane on Reprise in September 1972, but the reviews were poor and so were the sales. Things weren’t looking good for Pentangle.
They got even worse when Bert Jansch announced his intention to leave Pentangle on On New Year’s Day, 1973. Melody Maker ran the story Pentangle to split in the first edition of 1973. It was the end of an era, that had ended with a disappointing swan-song that sold badly.
By then, the members of Pentangle had all spent the advances that they had received from Reprise, and owed the company significant sums of money. It would take the band until the early eighties before the advance was paid off. That was still to come, and in 1973, Bert Jansch was looking for a new record label.
He was no longer signed to Transatlantic, and had signed to Pentangle’s old label Reprise. Bert Jansch’s debut for his new label was Moonshine, which was released on Reprise in February 1973. It was produced by Danny Thompson, and saw Bert Jansch combine baroque folk and folk rock which found favour with the critics. However, after just one album, Bert Jansch left Reprise and signed for Charisma Records.
By then, Bert Jansch had written Chambertin which was one of two songs he recorded with Danny Thompson in early 1973 The other was John Renbourn’s Lady Nothing, which later, became part of Bert Jansch’s nine album L.A. Turnaround.
Having signed to Charisma, Bert Jansch began writing the rest of L.A. Turnaround. Eventually, Bert Jansch had written eight new songs including Fresh As A Sweet Sunday Morning, One For Jo, Travelling Man, Open Up The Watergate (Let the Sunshine In, Stone Monkey, Of Love and Lullaby, Needle Of Death and There Comes A Time. Bert Jansch also penned the lyrics to The Blacksmith and Doc Smith wrote the music. These songs were joined by John Renbourn’s Lady Nothing and the traditional song Chuck Old Hen which was arranged by Bert Jansch, and became L.A. Turnaround , and was recorded at between April ad June 1974, at Sound City, Sepulveda, California.
Taking charge of production was former Monkee, Michael Nesmith, while some top musicians became Bert Jansch’s band. This included a rhythm section of drummer Danny Lane, bassist Klaus Voormann and guitarists Michael Nesmith; Jay Lacy who played on Of Love and Lullaby and Jesse Ed Davis who featured on Open Up For Watergate. They were joined by Red Rhodes on steel guitar, Michael Cohen who played electric piano on The Blacksmith, while Byron Berline played fiddle and mandolin on Cluck Old Hen. Meanwhile, Bert Jansch played guitar, piano and added vocals on L.A. Turnaround , which took two months to record, and was released in September 1974.
Critics on hearing Bert Jansch’s ninth album, realised that stylistically, L.A. Turnaround was very different to his previous albums. There were elements of country rock, and traditional English folk rock on L.A. Turnaround , which was hailed as a minor masterpiece from Bert Jansch.
As Fresh As A Sweet Sunday Morning opens L.A. Turnaround , straight away it’s reminiscent of Pentangle at the peak of their considerable powers. The same can be said of Of Love and Lullaby later in the album. However, elsewhere on L.A. Turnaround , Bert Jansch and his inimitable and idiosyncratic guitar style as he moved from acoustic to rhythm guitar. His guitar takes centre-stage on the Danny Thompson produced instrumental Chambertin, and on Lady Nothing a quintessentially English folk song rich in imagery, that brings to mind a late-evening walk in a garden in the home of Wadsworth and Blake.
Travellin’ Man is one of the country rock tracks, before the bluesy Open Up The Watergate (Let The Sunshine In) breezes joyously along. The cinematic sounding Stone Monkey features some of the best lyrics on L.A. Turnaround , as troubadour Bert Jansch returned to the country rock sound that suits him. Bert Jansch then returns to English folk rock on Of Love and Lullaby, and country rock on Needle of Death where a weeping pedal steel accompanies Bert Jansch, on this poignant and ruminative sounding song. It’s one of the highlights of L.A. Turnaround and showcases one of the great British singer-songwriters of his generation at the peak of his powers. The country rock continues on There Comes A Time as a weeping pedal steel accompanies Bert Jansch’s mid-Atlantic accent as he’s accompanied by one the finest and fullest arrangements on L.A. Turnaround .
Bert Jansch combines blues and traditional folk on Cluck Old Hen, which is quite unlike the rest of the album. However, it’s undeniably Bert Jansch and is reminiscent of his previous albums. Closing L.A. Turnaround The Blacksmith, which bursts into life and is a mixture of the old, the new and traditional folk. Again, it’s reminiscent of earlier albums, but still ensures the album ends on a high.
L.A. Turnaround with its mixture of blues, country rock and traditional English folk was Bert Jansch’s ninth album, and first for Charisma. Pentangle’s influence could also be heard on As Fresh As A Sweet Sunday Morning and Of Love and Lullaby. This made L.A. Turnaround an album that looked to Bert Jansch’s past, present and into the future.
Bert Jansch was hoping that L.A. Turnaround would appeal to his fans that had followed his solo career since 1965, the fans that embraced his folk rock sound and those that had followed Pentangle’s career. However, Bert Jansch’s decisions to head in the direction of country rock, showed that he was thinking about the future and hoping to broaden his commercial appeal on L.A. Turnaround .
That should’ve been the case as L.A. Turnaround was a carefully crafted album that was released to critical acclaim, and immediately hailed as one of Bert Jansch’s finest hours. That was no surprise as L.A. Turnaround was Bert Jansch’s finest hour, and by 1974, was the most accomplished and cohesive album of his career. By then, he had released nine solo albums, and depite L.A. Turnaround’s commercial failure this cult classic is a minor masterpiece and is Bert Jansch’s finest hour and a tantalising taste of a singer-songwriter at the peak of his considerable powers.
Cult Classic: Bert Jansch-L.A. Turnaround.
STEVEN TAYLOR-SONGS OF INNOCENCE AND OF EXPERIENCE: SHEWING THE TWO CONTRARY STATES OF THE HUMAN SOUL.
Steven Taylor-Songs Of Innocence and Of Experience: Shewing The Two Contrary States Of The Human Soul.
Ace Records.
Nowadays, many critics consider that the enigmatic William Blake was England’s greatest ever poet and artist. Some critics have gone as far as to say that he was the greatest poet and artist and artist ever. Blake was certainly a revolutionary whose work was innovative and influential.
The work of Blake has influenced everyone from the pre-Raphaelite artists, Romantic poets, writers like Aldous Huxley, James Joyce, Jack Kerouac and William S. Burroughs as well as filmmakers, cartoonists and the great and good of music.
Everyone from The Beatles, the Rolling Stones, Van Morrison, Jim Morrison, Led Zeppelin and David Axelrod, who proudly described himself as a self-confessed “Blake freak were all influenced by Blake.” So has singer, songwriter, musician and ethnomusicologist, Steven Taylor.
Recently, Ace Records released definitive versions of William Blake’s Songs Of Innocence and Of Experience: Shewing The Two Contrary States Of The Human Soul. The album features twenty-nine tracks that are described as being “tuned by Allen Ginsberg and Steven Taylor” with the latter receding them posthumously for the album William Blake’s Songs Of Innocence and Of Experience: Shewing The Two Contrary States Of The Human Soul. Its roots can be traced to July 1948.
That was when Ginsberg hallucinated the voice of Blake and began chanting two songs from Songs Of Experience. This was just the start for Ginsberg.
Later, he began to set Blake’s songs to his own arrangements. This was next step in what was a lifelong love of, and homage to the man who was by then regarded by many as England’s greatest poet and artist.
Then in 1976, Ginsberg was booked to play a gig at a college and needed a guitarist. One of the professors approached a student who could accompany him on guitar. That was the easy part. The student had to be able to accompany Ginsberg as he sang Blake’s songs. Fortunately, Steven Taylor was able to do so.
Little did Steven Taylor realise that this was the start of an association and friendship between Steven Taylor and Ginsberg that lasted three decades and twenty years.
Six years later, and the two friends were wandering through Greenwich Village, when Ginsberg said that Ed Sanders was rehearsing at One Fifth Avenue and why didn’t the gatecrash the rehearsal? When the pair made their arrival, Ed Sanders was rehearing with a trio and were hoping to play at the Mudd Club. Not long after this, fate intervened when the band began singing Blake’s Oh How I Roam’d, and Steven Taylor decided to add a harmony. Ed Sanders liked when The Fugs reformed he joined the band. However, his collaboration with Ginsberg continued.
During that time, Steven Taylor accompanied Ginsberg on guitar when he performed Blake’s songs to an appreciative audience of afficianados of the legendary poet and artist’s work. The continued to work together right through until 1996, but sadly, Ginsberg passed away on the ‘5th’ of April 1997 aged seventy. That day, America mourned the passing of one of a great poet, philosopher and writer. Ginsberg’s final words to his friend were “finish the Blake.”
Steven Taylor set out to carry out the final wishes of his friend and longterm musical collaborator. He began recording Blake’s songs his two books Songs Of Innocence and Songs Of Experience. Joining his were a band that included fellow Fug Scott Petito on acoustic bass, electric bass and keyboards, drummer Billy Atwell II, pianist Marilyn Crispell and Ross Goldstein on mellotron. They recorded the twenty-nine tracks on Songs Of Innocence and Of Experience: Shewing The Two Contrary States Of The Human Soul which was recently released by Ace Records. It has been a labour of love for everyone involved in the project
Opening the album is Introduction, which is the first of eighteen songs taken from Songs Of Innocence. It was first printed in 1789, and was a conceptual collection that included nineteen poems. The book was illustrated and hand coloured by Blake. Among the other songs from Songs Of Innocence are The Shepherd, The Lamb, The Chimney Sweeper, The Little Boy Lost, The Little Boy Found, Holy Thursday and A Nurse’s Song. Some of these titles Blake revisited five years later in Songs Of Experience.
Blake published Songs Of Experience in 1794, which featured twenty-six poems. Eleven feature on Songs Of Innocence and Of Experience: Shewing The Two Contrary States Of The Human Soul. A couple of the poems, The Little Girl Lost and The Little Girl Found had featured in Songs Of Innocence and Blake moved them between the two books.
Blake also used the same title on Holy Thursday and Nurse’s Songs, but the meaning of the two songs are very different. Just like all of Blake’s work they’re cerebral and thought-provoking.
Other poems from Songs Of Experience include The Sick Rose, The Fly, The Angel, The Garden Of Love and London. They’r just some of the eleven songs Steven Taylor and his band covered. These songs have understated and subtle arrangements which allow the vocal to take centrestage. That is the case throughout this captivating album, and the less is more approach works allowing the listener to focus on the songs and work out their meaning on Steven Taylor’s homage to his late friend Allen Ginsberg Ginsberg who prior to his passing asked him to: “finish the Blake.”
While he’s not quite finished this ambitious project, twenty-nine of the forty-five songs feature on Songs Of Innocence and Of Experience: Shewing The Two Contrary States Of The Human Soul. It’s been part of Steven Taylor’s life for over twenty-two years, and the story so far features on Songs Of Innocence and Of Experience: Shewing The Two Contrary States Of The Human Soul which was recently released by Ace Records. Steven Taylor has carried out Allen Ginsberg Ginsberg’s wishes with homage to, and reminder of the enigmatic genius that is William Blake who was England’s greatest ever poet and artist who was an innovator who has influenced everyone from poets, artists, writers and musicians, and will continue do so forevermore.
Steven Taylor-Songs Of Innocence and Of Experience: Shewing The Two Contrary States Of The Human Soul.
CULT CLASSIC: RIM KWAKU OBENG-RIM ARRIVES.
Cult Classic: Rim Kwaku Obeng-Rim Arrives.
For collectors of Afro-funk and disco, many albums remain tantalisingly out of reach. This includes Ghanian drummer Rim Kwaku Obeng’s legionary lost debut album Rim Arrives. It was released in 1977, four years after a perilous time for Rim Kwaku Obeng.
He found himself stranded in London, without money, documents or friends. Soon, Rim found himself homeless, and spent six long and lonely months sleeping rough. It was only through a chance meeting with Joan Armatrading that Rim got his life back on track. This was the start of Rim Kwaku Obeng’s comeback.
By 1977, he found himself in San Francisco. Disco was at the peak of its popularity, Everyone was jumping on the disco bandwagon. Rim Kwaku Obeng was no different. When he entered the studio, Rim was determined to record an album that would fill dance-floors from Lagos to Los Angeles. He succeeded in doing so, However, it was long after 1977, that songs like Brushing Means Making Love, Gas Line and Believe In Yourself filled dance-floors.
Sadly when Rim Arrives was released, it failed to find the audience it deserved. It was only much later, that DJs spinning rare disco came across copies of Rim Arrives. They were the lucky ones. Very few copies of Rim Arrives still exist and those that do, change hands for up to £200. The story behind Rim Arrives is one of what might been. It was recorded by a truly talented and gifted musician Rim Kwaku Obeng.
He started life as Samuel K. Mfojo, in Begoro, Ghana.However, when his career in music began, he adopted the name Rim Kwaku Obeng. Music however, was in Rim’s blood.
Both his father and uncle were master drummers. It was no surprise when young Rim followed in their footsteps. Rim was a quick learner. By the time he was eighteen, he was a master drummer. There was no higher position. Or so it seemed.
Soon, Rim became the personal drummer to the Ashanti chief in his community. This was a position Rim held for the next eight years. He held this position until he was twenty-six, Then he heard the comedy group the Accra Trio.
They were playing a type of music that was new to Rim. It excited and inspired him. So much so, that Rim asked if he could tour with them. Given Rim’s position in the community, they agreed. It was to everybody’s benefit. He was after all, the Ashanti chief’s personal drummer.
This was the start of Rim’s professional career. It began with Rim touring with the Accra Trio. Then he was approached by Duke Oketa, the leader of one of the top Highlife bands in Ghana, the Uhuru Dance Band.
Over the next five years, Rim toured Britain, America and even Russia with the Uhuru Dance Band. During that period, he honed and perfected his playing style, Rim also became firm friends with Duke Oketa as the Uhuru Dance Band toured, All the time, their music continued to evolve. That was the case for five years, until Rim was called up and had to spend time in the armed forces.
Once Rim’s time in the armed forces was over, he was reunited with his old friend, Duke Oketa. He told Rim he was going to Los Angeles for a recording session. What’s more, he wanted Rim to accompany him. This was no surprise.
Rim and Duke travelled far and wide for five years. By then they had become firm friends. So when Duke Oketa headed to Los Angeles for a session, Rim went too.
By then, the Uhuru Dance Band could do no wrong. Every song they recorded, had the potential to be a hit. So, for their next session, Duke Oketa decided to head to Los Angeles, and one of the city’s top studios.
Once there, Duke booked a studio for a new recording. Duke, however, didn’t do things by halves. He booked one of L.A.’s top studios, A&M Studios. However, Duke wasn’t done yet. For his session, he hired a huge string section. They made their way to the A&M Studios expecting everything to be ready. It wasn’t.
There were no charts awaiting the string section. Duke had no option but to postpone the session for a week. Luckily, Duke knew a man who could have the charts ready within a week. That was his drummer and friend, Rim Kwaku Obeng. He got to work preparing the charts. Within a week they were completed. Duke was so pleased that he paid Rim $700. While all this was playing out, one Quincy Jones was watching on.
He just happened to be spending some time at A&M Studios. When Quincy Jones saw how Rim handled the situation with the charts, he was impressed, Preparing the charts within a week was a big ask. However, Rim managed it. So, Quincy Jones asked Rim to join him. Unfortunately for Rim. Duke got involved, and threatened to sue Quincy Jones if Rim left his employ. Despite ruining the opportunity of a lifetime, Rim stayed loyal to Duke. That was a big mistake.
After the L.A. escapade, Duke invited Rim to accompany him to London. Duke told Rim they were going to record with “a band called Traffic” and Joan Armatrading, who was then, an up-and-coming singer-songwriter. For Rim, this must have seemed like the opportunity of a lifetime. Sadly, that wasn’t the case.
When Duke and Rim arrived in London, they booked into a hotel. Everything it seemed, was going well. However, that was until Rim’s second morning in London. Rim discovered that Duke had checked out of the hotel taking with him Rim’s passport, documents, money and luggage. While the hotel staff were sympathetic at his plight, this left Rim with a huge problem, how did he get home? The answer was, he couldn’t.
With no money, passport or documents, Rim was stranded. What’s more, he had nowhere to live. In the space of little over twenty-four hours, Rim found himself homeless. For the next six long and lonely months. Rim spent them sleeping rough. He was down, out and destitute. It was as if his world had ended. Over the next six months, Rim experienced hell on earth. It was only after a chance meeting with Joan Armatrading that Rim turned his life around.
One day, Rim saw that Joan Armatrading was playing in Ronnie Scott’s jazz club. He recognised and remembered the name. Here was the young singer-songwriter that he was meant to work with when he arrived in London. So, he returned to Ronnie Scott’s the night Joan was playing. He couldn’t get in, given his dishevelled state. So, Rim tried plan B.
Rim found a phone box and tried to phone home, call collect. No luck. Eddie Lee who he was phoning wasn’t around. With things going from bad to worse, and Rim exhausted, he fell asleep in the phone box. That was until someone wanted to use the phone. Then Rim was on the move again. He was out of luck. Or was he?
Surrounded by hotels, Rim decided to try and find a hotel where he could either phone home, or spend the night. Then fate intervened, The hotel he decided to try was the one where he spent his first night in London. When the receptionist who had asked him to leave, saw the state of Rim she was worried. Rim told her what had happened, and slowly, she began to realise that he was a well known musician. So she allowed Rim to phone Eddie Lee.
Having got through to Eddie Lee, his old friend paid for a room in the hotel for three weeks. Eddie Lee also got in touch with Joan Armatrading
When she heard what had happened to Rim, and what he’d been through, Joan promised to help him.
No longer was London the lonely, scary place it had been for the past six months. During that period, Rim had survived by the skin of his teeth. It had been a terrifying time, Now life was looking up, and could only get better for Rim. Joan took Rim home, got him fed and cleaned him, and the next day, bought him new clothes. Soon, he was rehearsing with Joan’s band. Thanks to Joan Armatrading the next chapter in Rim’s life was about to begin.
By 1977, Rim Kwaku Obeng had gone from sleeping rough on the streets of London, to Los Angeles. He had struggled to raise the money to cross the Atlantic. Eventually, he had saved enough, that he could say goodbye to London.
When he arrived in L.A., Rim was able to stay with a friend while he found his feet. Soon, he was working with a group of expat African musicians. Some weren’t even professional. However, before long, Rim turned them into a crack band who were able to seamlessly, combine Western and African music. This fusion of musical influences, would feature on Rim’s debut album.
For his debut album, Rim Arrives. Rim had written seven tracks, He took the band he had honed, and augmented them with some top L.A. session players.
When the recording sessions for Rim Arrives began, Rim took his place in the rhythm section, where he played drums. That wasn’t all. He played piano, bells, clavinet, congas, piano, shaker and timbales. Joining Rim in the rhythm section were basists Baba Tunde, Max Bennett and Phillip Scott; and guitarists Arthur Adams, Jimmy Garrett and Kevin Way. Kwesi Topsy played congas, Fifi Essel shakers and Thomas Hensley piano. The horn section featured trombonist Steve Johnson; trumpeters Robert Hicks and Steve Kurash; and saxophonists Frank Mayes, Stanley Hood and Dennis Dreith who also played the flute. Anita Berry and Shirley Washington added backing vocals. Akua Sewaa switched between lead and backing vocals. Producing Rim Arrives were Rim and Kwaku Lynn. Together with a crack band of African and American musicians, they recorded what could’ve, and should’ve been an album of dance-floor fillers.
Especially with 1977, being the year disco’s popularity peaked. Everyone and anyone were releasing disco records. This included the biggest names in music, actors and stars whose career had hit the buffers. However, back in 1977 Rim was one of the rising stars of Afro-funk and disco. Rim Arrives, his debut album, many felt would lunch his career.
That didn’t happen. Instead, Rim Arrives failed to find an audience until much later. when DJs spinning rare disco came across copies of Rim Arrives. They were the lucky ones. Very few copies of Rim Arrives still exist. That’s until the recent release of Rim Arrives by BBE Africa. At last, this hidden gem can be heard by everyone. Here’s what’s in-store for them.
Gas Line opens Rim Arrives. Straight away, drums pound, horns sound and percussion plays. Stabs of horns are joined by what sounds like a party in the studio. By then, the rhythm section are laying down the funkiest of grooves. Meanwhile, Akua Sewaa takes charge of the lead vocal. It’s sultry and soulful. Backing vocals and blasts of horns reply to her call. All the time, the rhythm section and percussion are creating an irresistible, funky and dance-floor friendly backdrop. Add to this Akua Sewaa’s sassy,soulful vocal and belatedly, Rim has arrived.
As backing vocalists sing “Believe In Yourself,” a bass line bounds across the arrangement. Thunderous drums and stabs of blazing horns add an element of drama, while percussion punctuates the arrangement. The backing vocalists add a soulful sound to this anthemic dance track. It has everything you could want in a dance track. Funky? You bet? Soulful? Definitely. What more can anyone one with a track where African and Western influences combine seamlessly.
There’s a change of direction on Sunkwa (Life First). It has a much more traditional sound. Having said that, Western influences haven’t been negated. After almost cha-chaing into life, the Afro-beat influence takes over. A piano and guitar accompany Rim’s vocal. Then the horn and rhythm section combine with myriad of percussion. Rim unleashes a vampish vocal, as his band kick loose. It’s a joy to behold.
Backing vocalists add a jazz-tinged vocal as Funky Drummer deigns to show its funky delights. The drums are loud and proud. They’re accompanied by the rhythm section and guitars. Soon, musical genres are melting into one. As the vocal becomes soulful, elements of Afro-funk and disco can be heard. Soon, the track takes on a hypnotic quality, as Rim’s band lock down the groove. Playing a starring role are the backing vocalist, rhythm section and blistering guitar solo. The horns deserve an honourable mention, as five minutes of fabulously funky music shares its secrets.
Afro-disco with a funky twist. That describes Brushing Means Making Love. The backing vocalists get the party started, adding a soulful accompaniment to the pounding, dramatic and funky rhythm section. Stabs of horns punctuate the arrangement. So is percussion. Meanwhile, another sensual, sultry vocal is added. Harmonies accompany it, as elements of classic disco and Euro disco provide inspiration for Rim. By then, it’s apparent that Rim and his band are determined to the listener to 127 disco heaven.
Just the drums and percussion accompany the backing vocalists as Nothing Is Free unfolds. Soon, the bass and growling horns are dropped in. By the time the lead vocal enters, the arrangement is just the rhythm section and percussion. Backing vocalists respond to the vocal, as the arrangement builds. Horns blaze and growl, drums roll and a searing guitar solo is unleashed. It soars above the arrangement, as the band stretch their legs, before the track reaches a dramatic, and sassy crescendo.
Closing Rim Arrives is Spend Your Money. It follows a familiar formula to Nothing Is Free. Just drums and percussion accompany the backing vocalists. Then the arrangement bursts into life. Horns sound, guitars chime and chirp while the backing vocalists sings: “Spend Your Money, miser.” It’s impossible not to be won over by this track. Hooks haven’t been rationed during this good time, dance track. It has an anthemic quality. That’s not all. Like so much of Rim Arrives, Spend Your Money has a timeless sound. It has survived the test of time, and is guaranteed to fill floors and get parties started.
Rim Arrives was released in 1977, and like so many albums released during the seventies, they failed to find an audience first time around. It was only later, when a new generation of DJs were looking for rare disco to spin, that they came across copies of Rim Arrives. They were the lucky ones.
Given Rim Arrives wasn’t a commercial success, very few copies were sold. Later, in the seventies, a shortage of vinyl in parts of Africa, including Ghana, led to many albums being recycled. Doubtless, this included copies of Rim Arrives. That’s why nowadays, trying to find a copy of Rim Arrives in good condition, is like looking for the proverbial needle in a haystack. Even if an original copy of this cult classic turns up, clued up record dealers will be asking anything up to £200. No wonder as it’s essential listening for anyone whose interested in either Afro-funk, disco, funk or soul. The music on Rim Arrives is funky, soulful, dance-floor friendly and timeless. Rim Arrives is also guaranteed to fill dance-floors and get any party started.
Cult Classic: Rim Kwaku Obeng-Rim Arrives.
CULT CLASSIC: KLAUS SCHULZE-CYBORG.
Cult Classic: Klaus Schulze -Cyborg.
By the time Klaus Schulze released his debut solo album Irrlicht in 1972, he had already been in what would prove to be two of the most important, innovative and influential Krautrock bands, Tangerine Dream and Ash Ra Tempel. Both groups would write their names into the history books. However, being in a band didn’t seem suit Klaus Schulze. He found that the endless discussions got in the way of the important thing, making music. He wanted to make music, not talk about it.
Klaus’ approach was to let the music flow through him. Other musicians seemed to want to discuss every aspect of the music. Meanwhile, Klaus wanted to improvise. It was frustrating, and stifling Klaus’ creativity. As a solo artist, he wouldn’t have to put up with the endless pointless discussions. So Klaus left Ash Ra Tempel, and decided to pursue a solo career.
When Klaus embarked upon his solo career, he was something of a free spirit. He was determined to make music that was unique. Klaus couldn’t point at an artist, and say: “that’s the type of music I want to make.” While Klaus was aware of minimalist composers Terry Riley and Steve Reich, this wasn’t the type of music he was considering making. They did share some things in common, the concepts of repetition, phrasing and sequencing. Apart from that, Klaus was heading in a different direction.
This meant Klaus was never going to be accused of following in someone’s footsteps. Musically, he had a blank canvas to work with. His palette of sounds were unlike other musicians. When he began recording Irrlicht in April 1972, Klaus musical owned an amplifier that wasn’t working; a guitar; percussion; zither; an organ; a cheap microphone and a cassette recorder. The cassette recorder and microphone he used to tape the famous Freie Universitat Berlin orchestra.
Irrlich.
Before the recording of Irrlicht, Klaus had gone along to watch the Colloquium Musica Orchestra rehearse. As he stood and watched, he told the conductor “I like what you are doing, but could you do something different for me for half an hour?” With that, the bemused conductor asked “what would you like to have?” Klaus responded, with: “I don’t care, just play anything. I just want the sound. I’m going to play the tape backwards.” When Klaus returned half an hour later, his tape was ready and an integral part of Irrlicht was complete. This recording Klaus would alter with filters. Now, it was a case of bringing everything together. However, before Klaus did this, he would modify some of his equipment.
Klaus set about modifying the broken amplifier. He modified it, so that when he turned the volume up it caused feedback, tremolo and chirping sounds. The organ was modified by Klaus so that it no longer sounded like an organ. Along with his microphone and cassette recorder, Klaus set about recording his debut album, Irrlicht.
Recording of Irelicht took place in Berlin, during April 1972.With his bruised, battered and modified equipment, Klaus got to work, and the recording studio became a place where he could experiment. Using his modified organ and amplifier, plus percussion, zither and guitar, Klaus got to work. The backdrop for what was one of the most ambitious and experimental albums of 1972, was the tape played backwards. One thing was missing..synths
Incredibly, Klaus didn’t even a synth. While other artists owned banks of expensive synths, Klaus created an album that sounds as if it’s made entirely by an array of synths. Instead, Irrlicht, with its cosmic sound and ambient drones was a synth free zone. Instead, Irrlicht was more like an album of Musique Concrète. Klaus manipulated tapes, adding filters, delay, echo and an array of effects. The result was a trio of cinematic tracks that sounded like the soundtrack to an early seventies sci-fi film. It was released in August 1973 as Irrlicht.
While Irrlicht was well received by some critics, many critics failed to realise how important an influence Klaus Schulze have on music. He was a musical pioneer who would become a leading light of the Krautrock and Berlin School movements. However, very few German record buyers were aware of either movement. That was the case throughout Europe. Apart from a few discerning critics and record buyers, neither albums of Krautrock nor Berlin School found an audience. That would come much later. By then, Klaus Schulze would’ve released several albums, including his sophomore album Cyborg.
Cyborg.
When Klaus began work on Cyborg, he was still hampered by the equipment he owned. While other musicians owned banks of expensive synths, Klaus’ only synth was a twitter synth, the VCS 3. This was progress, as Klaus didn’t use synths on Irrlicht. To the VCS 3, Klaus added the organ that featured on Irrlicht, percussion and his Revox tape machine. Again, this played an important part in Cyborg’s sound.
Just like Irrlicht. Klaus would use tapes of an orchestra. Klaus had befriended music students at Colluquim Musica Orchestra. They had recorded some rehearsals at the recording studio in Berlin University. These tapes were important for several reasons.
The first was that Klaus wasn’t making much money out of music. That’s despite recording albums with Tangerine Dream, Ash Ra Tempel and releasing his debut album Irrlicht. These albums hadn’t been particularly successful. So the only time Klaus made money through music, was when he played live. Other times, Klaus had to resort to odd jobs to make ends meet. He delivered telegrams to augment his income. Given his financial situation, Klaus like many Krautrock and Berlin School bands and musicians, couldn’t afford expensive equipment. With the cupboard bare, Klaus again used the tapes to augment his array of instruments.
The tapes Klaus had been given by the music students at Colluquim Musica Orchestra, he decided to splice with a razor blade, and add to the four lengthy tracks that became Cyborg. This wasn’t easy and took time, patience and practice. However, by the time he came to record Cybord, Klaus was skilled at cutting up the tapes and rejoining them. Later, Klaus described this as “adding spice.” However, adding spice took time.
Recording of Cyborg began in February 1973, and the sessions continued until July 1973. During that five month period, Klaus played organ, the VCS 3 synth, percussion and added vocals. He also took charge of editing the tapes provided by the Colluquim Musica Orchestra. They’re billed as the Cosmic Orchestra on Cyborg, which by what became Cyborg was completed.
During the recording sessions, Klaus had recorded four lengthy tracks. They ranged from twenty-three to twenty-six minutes. Given the limitations of vinyl, there was no way that the music would fit onto one album. So a decision was made that Cyborg would be a double album. This would prove expensive for everyone involved.
It wasn’t just that a double album was more expensive to manufacture. Artists receive a reduced royalty rate for a double album. So often, artists avoided releasing a double album. Not Klaus Schulze. He must have realised that he had recorded a truly ambitious and groundbreaking, Cyborg. It found Klaus experimenting, pushing musical boundaries and fusing disparate musical genres. This time Klaus, was taking further what he began on Irrlicht. However, how would critics react?
When critics heard Cyborg, many critics realised the importance of the album. They heaped praise and critical acclaim on Cyborg. One critic from the music magazine Flash, enthusiastically described Cyborg as “cosmic music.” This didn’t please Klaus.
This he felt cheapened and debased the music on Cyborg. Cosmic music sounded as if it was the soundtrack to the cheap sci-fi novels of Klaus’ youth. One man who liked the term cosmic music, was Rolf-Ulrich Kaiser, the founder and in house producer of the Ohr label. It was the label that was about to release Cyborg. Soon, Rolf-Ulrich Kaiser had coined the phrase Cosmic Couriers. This was partly a nod to Klaus’ job delivering telegrams. The term Cosmic Couriers didn’t please Klaus, but was used to market this groundbreaking album, Cyborg. It was scheduled for release in autumn 1973.
When Cyborg was released in October 1973, the album wasn’t a commercial success. Instead, the album sold in relatively small quantities. It would be much later before Cyborg found a wider audience. That was a great shame, as Cyborg was a genre classic.
Synphära opens Cyborg. The arrangement drones almost dramatically. That’s until a melancholy synth plays. Still, the drone pulsates, sending out washes of dark, gothic and ruminative music. Meanwhile the synth adds a contrast, while the gothic sound of an organ plays. It sounds as if belongs in one of Berlin’s churches. Later, there’s a maudlin sound to the organ, as what sounds like a lament. Still the sound of the church remains. Even as sci-fi sounds fights for the listener’s attention. They disappear, only to return as traditional and futuristic sounds combine. By then, the organ drones, as space invader synth are fired across the bows of the arrangement. These sounds assail the listener, as they encircle the arrangement. It’s dominated by the dark, gothic organ and futuristic synths . Later, the dark, gothic sound lessens, the arrangement veers between futuristic, wistful, cinematic and dramatic. By then, it’s as if Klaus is providing the soundtrack to sci-fi film. This captivating, complex and cinematic conjures up a journey to distant galaxies. Quite simply, Synphära is a timeless epic
The sound of traffic opens Conphära, before a drone makes its presence felt. One wonders if this maybe inspired Kraftwerk to make Autobahn? Meanwhile sounds flit in and of the arrangement. It has a mesmeric, motorik sound as it pulsates. Just like on the previous track Klaus has layered instruments and sounds. Klaus uses them like an artist uses a palette, and creates this ambient soundscape. To do this, Klaus combines elements of ambient, avant-garde, Berlin School, experimental and musique concrète are combined with Krautrock. The result is a soundscape that replicates the sound of a city. What sounds like traffic and sirens can be heard . Later, as the drone dominates the arrangement, it sounds as if Klaus is taking the listener on a journey. That’s until the Cosmic Orchestra add a melancholy hue. They play an important role in what’s a pulsating, cinematic epic. Strings are to the fore, while synths and the organ combine. Slowly and gradually, the arrangement begins to reveal its deepest secrets. By then, ambient and cinematic become melodic, futuristic and otherworldly. Much later, the ghostly arrangement pulsates and drones, as motorik and elegiac sounds unite. Together they play their part in what becomes an ethereal, beautiful, dramatic and futuristic. This multi-layered epic invites the listener to let their imagination run riot. If they do, they’ll be richly rewarded, as they wallow in Klaus pioneering the Krautrock and Berlin School sounds.
Again, Klaus uses the sound of traffic to open Chromengel. That’s because the listener is about to embark upon a journey, a musical one. There’s a mournful sound as the journey begins. A cello plays, it’s dark, ruminative sound dominating the arrangement. Soon, strings and sci-fi synths are added. The result is captivating and beautiful. Before long, sounds assail the listener. This includes the sound of a helicopter. Mostly, the strings and sci-fi synths take centre-stage, creating a beautiful, but mournful sound. Sometimes, it’s futuristic and otherworldly, while other times it’s elegiac and ethereal. Resistance is impossible as this sci-fi symphony unfolds. Later, the strings disappear, and the arrangement features just the sci-fi sounds. Klais unleashes washes of eerie, otherworldly sounds that encircle and assaie the listener. This is Klaus Schulze at his most innovative, as this sci-fi symphony takes an unexpected twist, before it reaches a crescendo.
Neuronengesang closes Cyborg. There’s an element of darkness and drama as the arrangement decides to share its secrets. A drone dominates the arrangement, while sci-fi, space invader synths beep and squeak. Meanwhile, distant strings add a wistful hue. By then, the dark drone sounds like a ship sending out a warning in a storm. Already sounds assail the listener, and the cinematic sound taunts the listener, daring them to let their imagination run riot. As they conjure up scenarios, drones dominate the arrangement. They’re joined by futuristic, Star Wars synths. Later, it’s all change as the arrangement takes on an ethereal sound. Still, the synths beep and squeak. They’re then joined by the melancholy sound of the organ and elegiac sounds. Just like previous tracks, instruments and sounds flit in and out, adding to a track that’s variously symphonic, experimental and futuristic. There’s also darkness and drama. Beauty, melancholy and otherworldly sounds also visit, as the arrangement meanders, drones and pulsates. Always though, continues to captivate and compel as one would expect of an innovator like Klaus Schulze. He had just Cyborg released Cyborg, which would later be hailed as a genre classic.
Sadly, although many critics recognised that Cyborg was an important, innovative and influential album, it passed most record buyers by. Especially in Klaus’ native Germany, where he was one of a new wave of musicians who were writing a new chapter in the country’s musical history. It was only later that most German’s discovered the music of the Berlin School and Krautrock.
Cyborg, 1973 Klaus Schulze’s sophomore album was later regarded as a Berlin School classic. However, Cyborg also references Krautrock, plus ambient, avant-garde, drone, experimental and musique concrète. This genre-melting album features Klaus Schulze at his innovative best. He pushes musical boundaries to their limits, and sometimes way beyond. To do this, Klaus used his various modified musical instruments and his excerpts from his tapes from Colluquim Musica Orchestra. These tapes added “spice” to this captivating genre classic.
Cyborg featured four cinematic epics. They variously understated, broody, moody, dark, dramatic and gothic. Other times, the music is futuristic and full of otherworldly and sci-fi sounds. Sometimes, though, the music is beautiful, elegiac and ethereal. Occasionally, the music is eerie, mesmeric and ruminative. Always, Cyborg has a cinematic sound. The same could be said of Klaus Schulze’s debut solo album Irrlicht. Both are cult classic and feature cinematic, multilayered soundscapes. They are full of nuances, subtleties and surprises aplenty. The result is Cyborg, an epic cinematic space symphony, which features musical maverick Klaus Schulze at his innovative best on a timeless genre classic.
Cult Classic: Klaus Schulze -Cyborg.
CULT CLASSIC:REQUIEM-FOR A WORLD AFTER.
Cult Classic: Requiem-A World After.
For six months, George A. Speckert and Massimo Grandi laboured long and hard in Sparky Studios to record Requiem’s debut album For A World After. Eventually, the two men had completed what was an ambitious and innovative concept album, For A World After. It had been written by George A. Speckert and “tells the story of world annihilation through nuclear war.” Requiem had recorded a powerful and poignant musical statement.
Now that For A World After was completed, 1,000 copies were pressed. They were released on David Cassidy’s Daviton label later in the autumn of 1981. Sadly, when For A World After was released as a private press, the album failed to find the audience it deserved. For George A. Speckert and Massimo Grandi all their hard work, dedication and perseverance had been for nothing. It was a huge disappointment.
It was only much later that For A World After that For A World After began to find the audience it so richly deserved. This genre-melting, cult classic finds Requiem fusing elements of ambient, Berlin School, Krautrock and psychedelia on For A World After. In doing so, Requiem reference Berlin School pioneers, Klaus Schulze, Tangerine Dream, Conrad Schnitzler, Dieter Moebius, Popol Vuh and Michael Hoenig. It’s a captivating album, and very different from the music that originally dreamt of making.
When George A. Speckert was seven, he told his parents that he want to play the viola in an orchestra. This came as something of a surprise as George had never played the viola. Despite this, the Speckerts encouraged and helped their son to follow his dream.
So did George’s next door neighbour, a classically trained musician. He took George along to performances by the philharmonic orchestra. By then, George was receiving music lessons, and night after night, week after week, was practising on his viola. The weeks became months, and the months became years. Still, George continued to dedicate himself to music. He was determined that one day, he was going to make a career out of music.
By the time that George headed to university in Evansville, Indiana, he was already a classically trained musician. University was the next part of George’s musical education. It was also where love blossomed for George A. Speckert.
During his time at university, George fell in love with his German pen friend. Once he had graduated, George headed to Germany to be with his future wife. However, this meant sacrificing his dream of playing viola in an orchestra.
Instead, George got a job as a music teacher in the village of Bünde, in North Rhine-Westphalia. The only problem was there was no call for a viola teacher, so George found himself teaching piano and the basics of composition. Soon, George was climbing the career ladder, when he became music director in the nearby city of Löhne.
Despite being a more prestigious post, George became frustrated at the amount of paperwork he having to do on a daily basis. This was stifling his creativity. After a while, George decided to rethink his plans.
He decided to spend half his time working as a school administrator, and the other half writing, recording and producing music. This was the best of both worlds for George A. Speckert.
Before long, he was a familiar face within the local music scene. George wrote songs and worked as a producer. Sometimes, he would work with local school bands. This could range from writing a song, producing their music or even programming a synth. Not that synths were commonplace. They were beyond the budget of most bands.
The first time that George A. Speckert came across a synth was when he was producing a children’s record. George had been booked to produce We Are The Wives Of The Wanted. He also ended up accompanying the three girls on synth. This was a first, and was something of a eureka moment for George A. Speckert.
Suddenly, George A. Speckert wanted to know more about synths and the nascent musical technology. He also realised what was possible with synths and the new musical technology. Soon George realised, that the nascent technology would allow him to record an album. That was still something of a pipe dream.
Before George could even contemplate recording an album, he had to buy the necessary equipment and learn how to use it. Fortunately, he knew of a shop in Herford, in North Rhine-Westphaliathat that sold synths. It was owned by another American expat, David Cassidy. He also owned a recording studio and record label. Both would play an important part in the story of Requiem’s debut album For A World After. That was still to come.
On his first visit to David Cassidy’s music shop, he helped George choose a suitable synth. Little did George realise that this was the start of a musical voyage of discovery. It was also the start of an expensive six month period for George. Over the next six months, George assembled an array of synths, plus a keyboard, sequencer, drum machine, organ and Fender Rhodes. This proved expensive, and used up much of George’s disposable income. The rest he kept in reserve for recording his debut album.
Having bought the equipment, George set about discovering how to use it. Soon, he was immersing himself into the world of synths, sequencers and samplers. For a newcomer to the nascent technology, it was a steep learning curve. Soon, though, George began to realise the opportunities that the new technology offered. This would soon include recording Requiem’s debut album For A World After.
Inspiration for For A World After came about after George spoke to a friend who worked for the German government and the possibility of an atomic bomb being dropped on Germany. They were worried about the possibility of a third world war, between the East and West. It was after all, the height of the Cold War. George listened as his friend explained that if an atomic bomb was dropped, there would be no survivors. This was a horrifying thought, but one that inspired George to write a concept album, For A World After.
During For A World After George: “tells the story of a world annihilation through nuclear war.” This begins with the two aggressors unable to set aside their cultural or ideological differences. Soon, they’re unleashing an arsenal of bombs and rockets. Before long, the world is totally obliterated. However, like a phoenix from the ashes, the world and civilisation rebuilds. After the Destruction and Devastation, the world gradually rebuilds. This George planned on doing over six cinematic soundscapes lasting forty minutes.
To make provide the soundtrack to this third world war, George planned to deploy his newly assembled arsenal of instruments. This included a Korg MS 20 mono-synth; Korg SQ-10 sequencer; Casioton CT 201 electronic keyboard; Crumar DS-2 mono-synth with a polyphonic string section; Jupiter 4 polyphonic synth; Crumar Multiman orchestrator and a Yamaha CS5 mono-synth. To this, George added a drum machine, organ and Fender Rhodes. They had all see better days, but would be utilised by George during the recording of For A World After. He would play each of these instruments.
The only other musician who featured on For A World After, was Italian guitarist Massimo Grandi. He had been introduced by David Cassidy, who owned the music shop George bought all his equipment from. Massimo Grandi’s guitar would prove to the finishing touch to For A World After.
With Massimo Grandi onboard, work could begin on Requiem’s debut album, For A World After. They spent six months recording when the album at Sparky Studios. Massimo laid down the guitar parts, while George took charge of keyboards, synths and the rest of the nascent technology. David Cassidy engineered the sessions and fulfilled the role of producer. Gradually, the album began to take shape. Eventually, six tracks lasting just over forty minutes were completed. All that reminded was for David to master For A World After.
After this, 1,000 copies of For A World After were pressed. It was released as a private press on David Cassidy’s Daviton label. George managed to secure a distribution deal for Requiem’s debut album. Alas, For A World After wasn’t huge a commercial success. That is despite the music being ambitious, cerebral, challenging and innovative. For the two members of Requiem, it was a huge disappointment. They had dedicated six months of their lives to For A World After. It would be much later when For A World After eventually found the audience that it deserved.
Opening For A World After, is Destruction. It portrays the world on the brink of destruction. From the distance a slow and moody arrangement unfolds. A code being tapped out on a synth, before rockets soars above the arrangement. There’s a sense of foreboding as synths replicate a siren. It seems that the first bomb has dropped, and what was once a nightmare scenario has become reality. Ethereal synths are joined by a crystalline guitar solo and replicate the post nuclear landscape. Still, the sirens sound, despite there being very little, if any chance of anyone surviving the resultant nuclear winter. Drumbeats signal its onslaught, while rockets and bombs seem determined to obliterate humanity. Synths add a dramatic and urgent backdrop, while others replicate sirens, rockets and bombs. Surely, nobody can escape from this onslaught as third world war plays out? It’s a realistic, poignant and cinematic portrayal and reminder of the Cold War era and what was the nightmare scenario.
Somehow, a few survive the onslaught of bombs and rockets. They’re left to face the Devastation. People have been injured, mutilated or poisoned by the bombs that have been dropped. Towns and cities are reduced to rubble. Requiem set about creating a dark, dramatic and bubbling soundscape. Listening to it unfold, it’s sounds as if the listener is looking down from a helicopter on the trail of Devastation. As the listener is taken on a journey, slow, buzzing synths and the occasional guitar create a dark, despondent backdrop. Sometimes, it sounds as if the sound of bird song can be heard. They seem to be one of the survivors. Later, there’s a rueful, wistful sound as Requiem successfully create a post nuclear soundscape. There’s a sense of despondency and hopelessness as synths glide and bubble and the drama builds. So does the bleakness that’s replicated by a bass synth. By then, the full scale of the Devastation becomes apparent to the survivors.
It’s only having surveyed the Devastation, that there’s a Realisation by the survivors that civilisation has destroyed itself. Suddenly, the survivors are left confused and despairing at the cruelty, damage and Devastation that mankind has caused. A bass synth is played quickly as washes of futuristic music assail the listener. They’re akin to the thoughts that assail the listener as that they’re struggle to make sense of what they’ve discovered. Fittingly, the arrangement becomes dark, ominous and takes on a sci-fi sound. This suits the mood of the survivors. Synths are to the fore, and glide darkly and ominously along. Meanwhile, an effects laden Michael Rother inspired guitar is addd. Still, the bass synth dominates the arrangement, while the guitar and glacial, ethereal synths play a supporting role. As the sound draws to a close, the darkness seems to dissipate. Maybe there’s hope for the future?
Relevation finds the survivors analysing what’s happened in an attempt to make sense of it. Many years have passed since that fateful day. Everyone has accepted what happened and are determined to learn from their past mistakes. They’re determined that this will never happen again. Meanwhile, the soundscape begin to unfold, and a pulsating bass synths joins with gusts of wind and sci-fi sounds. A searing, rocky guitar joins elegiac, ethereal synths. Some of the sounds used, are almost reminiscent of Destruction. However, there’s a sense of hope, hope for the future as the guitar plays. One can’t help but wonder whether the gusts of winds signal a rebirth, and a new beginning for the survivors? Especially as the drama builds. Soon, the pulsating bass slows down and the guitar hangs in air. It’s as if it’s signalling a new beginning.
It does. Construction marks a new beginning as the People Of The World design and build new buildings. This is part of rebuilding of the post war infrastructure. Straight away, there’s a Krautrock influence in the drums. Meanwhile, notes and chords are picked out on the banks of synths. Sometimes, stabs of synths add to what’s a hopeful and upbeat backdrop. It’s very different to what’s g before. Synth strings are used to sweeten the soundscape. Briefly, the synths used are reminiscent of those used during Kraftwerk’s classic period. Augmenting the banks of synths is Massimo’s guitar. He unleashes a blistering guitar solo which cuts across the arrangement. It’s the perfect foil for George’s synths, during the joyous backdrop to this new beginning.
Closing For A World After is Creation. Having constructed the material things, the People Of The World decide to reconstruct their thoughts and spirits. They decide that tolerance, freedom of thought, communication and understanding are crucial to this work of this “Brotherhood” where everyone is happy. Synths are to the fore, with waves of synths pulsating, ebbing and flowing. Meanwhile, the lead synth piays the leading role in what could be this utopian land’s anthem. There’s a sense of hope and poignancy as the music unfolds. It marks the start of a new era for the People Of The World.
After six soundscapes lasting just over forty minutes, Requiem’s poignant concept album For A New World is over. It: “tells the story of world annihilation through nuclear war,” the aftermath, and how the People of the World having learnt from their mistakes, and rebuilt a new and better world. Out of despair, despondency and Devastation, came a new beginning and hope for the future. However, when Requiem released For A New World in 1981, it was poignant and thought provoking album.
Back in 1981, it was still the Cold War era, and a generation on both sides of the Iron Curtain lived in fear of nuclear war. For A New World is a reminder of these days, and what was the worst case scenario. Requiem replicate the Destruction, Devastation and the Realisation that mankind brought about the destruction of the civilisation. Then Requiem replicate the Construction and Creation of the post war landscape. To do this, George A. Speckert deployed banks of synths and the latest in musical technology. Adding the finishing touch was Massimo Grandi’s guitar. Together, they were responsible for what is nowadays regarded as a lost classic.
When For A New World was released, the 1,000 copies failed to sell. That was despite being ambitious, cerebral, challenging concept album. For A New World was genre-melting, cult classic that stood head and shoulder above the competition. Requiem fused elements of ambient and avant-garde with Berlin School, electronica, experimental, Krautrock, psychedelia and rock. Similarly, Requiem drew inspiration from Berlin School pioneers, Klaus Schulze, Tangerine Dream, Conrad Schnitzler, Dieter Moebius, Popol Vuh and Michael Hoenig. The result was a captivating and cinematic album, that was a heady and potent brew of musical genres and influences It should’ve introduced Requiem’s music to a much wider audience.
Sadly, it was a familiar story. Just like many private presses released on small labels, the Daviton label lacked the financial muscle to promote For A World After. However, George A. Speckert wasn’t going to give up without a fight. He negotiated a distribution deal which helped sales. Still, though, Requiem failed to sell the 1,000 copies of For A World After. Record buyers in 1981 missed out on hearing an ambitious, captivating, cerebral and challenging album of innovative and cinematic soundscapes.
It was only much later that Requiem’s For A World After began to attract the attention of record buyers. Soon, the album had attracted a cult following. Alas, by then, original copies of this cinematic and thought provoking concept album were changing hands for upwards of $500. It’s a much prized album for anyone interested in Krautrock or the Berlin School of Electronic music.
Requiem’s debut album For A World is a cerebral, cinematic, poignant and thought-provoking cult classic that’s a powerful reminder of the dark days of Cold War era, when Destruction and Devastation loomed large in the lives of people on both sides of the Iron Curtain.
Cult Classic: Requiem-A World After.
CULT CLASSIC: STOMU YAMASHTA-RED BUDDHA.
Cult Classic: Stomu Yamashta-Red Buddha.
Too often, Stomu Yamashta’s role in the popularisation of world music is overlooked by critics and cultural commentators. They forget that Stomu Yamashta helped popularise world music back in the sixties. Right through to the seventies, Stomu Yamashta was one of the leading lights in the burgeoning world music scene. That was way before world music was supposedly born in the late seventies and early eighties. By then, Stomu had been fusing traditional and popular music for two decades. He had also released a string of cutting edge albums. That’s not to mention his work with supergroup Go. Stomu Yamashta was one of the biggest names in Japanese music. This didn’t surprise people who had been following his career.
Stomu Yamashta was born Tsutomu Yamashita, in Kyoto, Japan, on 15th March 1947. Growing up, he played drums and percussion. Very quickly, Stomu Yamashta found his own unique style. He perfected this during his studies at Kyoto University, Julliard School Of Music and Berkeley School Of Music. Before long, he was being recognised as an pioneering musician.
This lead to Stomu Yamashta playing alongside Thor Johnson, Toru Takemitsu and Hans Werner Henze. By then Tsutomu Yamashita had become Stomu Yamashta. He felt it had sounded better. Now sporting a new name, Stomu was playing alongside like minded musicians. Just like Stomu, they were determined to push musical boundaries to their limits. Soon, Stomu Yamashta was known worldwide.
In 1969, Seiji Ozawa was conducting the Chicago Symphony Orchestra. Stomu Yamashta was asked to make a guest appearance. This was a huge honour for twenty-two years old Stomu Yamashta. Most musicians would’ve been intimidated at the thought of rubbing shoulders with such talented musicians. Not Stomu. He stole the show, delivering what Time Magazine called a “virtuoso performance.” Coming from such an esteemed publication, that was high praise indeed. What a way to close the first decade of Stomu Yamashta’s career.
As the seventies began to take shape, Stomu Yamashta’s star was very definitely in the ascendancy. Stomu was in demand as a collaborator.
Stomu and Japanese jazz pianist Masahiko Sato collaborated on Metempsychosis, which was released on Columbia. This album of groundbreaking jazz music was released in 1971. It was a fusion of avant garde, free jazz and modern classical. Critics were won over by this cutting edge collaboration. Later in 1971, Stomu released his debut studio album as a solo artist.
Percussion Recital was released on Columbia, in June 1971. Critics hailed Percussion Recital an inventive, genre melting album. Elements of abstract, experimental and free jazz melt into one. That’s the case from Variations From Odoru Katachi which opens side one, right through to Uzu, which closes side two. It’s a groundbreaking album, one that’s assured and innovative album, one that forty-four years later, has stood the test of time. So has his first live album,
The World Of Stomu Yamashta was released in April 1971, on Columbia. It had been recorded in the small hall of the Tokyo Metropolitan Cultural Hall on January 11th 1971. When The World Of Stomu Yamashta was released three months later, this groundbreaking release showcased one of Japanese music’s rising stars. For many record buyers, this was their introduction to the Kyoto born composer, songwriter and musician. Before long, a followup was released.
Uzu: The World Of Stomu Yamash’ta 2 was released in August 1971. Exaedros I opened the album, before Stomu improvised on Nenbutsu and UZu. It was a spellbinding and imaginative performance. Especially given Stomu’s unique and innovative style of drumming. Critics eagerly awaited the release of Stomu’s next studio album.
Luckily, they didn’t have long to wait for the release of Red Buddha. It was released later in 1971, Red Buddha was named after Stomu Yamashta’s Red Buddha Theatre Company, which was formed in 1971. The Red Buddha Theatre Company would later tour Europe, and work with director Peter Maxwell Davis. That was in the future. Before that, Stomu Yamashta released his most ambitious album Red Buddha.
Work began on Red Buddha in 1970. For Red Buddha, Stomu had composed two new tracks, Red Buddha and As Expanding As. Both tracks were lengthy, filling a side of the album. Red Buddha saw Stomu deploy a myriad of disparate instruments. Metal strings, were joined by tambura, cymbal, musical saw and mandolin harp. Then on As Expanding As, Stomu combined a steel drum and skin drum with a marimba, cow bell and wood block. The result was music that was bold, ambitious and innovative. Red Buddha was released later in 1971, and further enhanced Stomu’s reputation.
When critics heard Red Buddha, they were won over by Stomu Yamashta’s ability to create music that was not just groundbreaking, but captivating and ambitious. It seemed with each album, Stomu was trying to reinvent himself as a musician. That becomes apparent as the musical adventure that is Red Buddha begins.
Just understated drums pitter patter as the meditative Red Buddha begins. The drums are panned hard left, while instruments flit in and out. A musical saw, metal strings, tambura and cymbal can be heard. Some make a brief appearance, others are here to stay. However, it’s the mesmeric drums that take centre stage. Mostly, the tempo stays the same. Sometimes, it rises, as if in response to the otherworldly, futuristic and sometimes industrial sounding arrangement. Other times the arrangement veers between melodic to challenging. Always, Stomu ensures that the music captivates. Not once does one’s attention wander. There’s almost a hypnotic and cinematic quality. Then later, the arrangement reaches an urgent and dramatic crescendo, before returning to its understated sound.
As Expanding As has a similarly understated arrangement. It’s just the drums that play slowly and hypnotically. They too are panned hard right. This leaves the rest of the arrangement free for Stomu to deploy his eclectic and disparate selection of instruments. They play their part in what’s a melodic but almost industrial sounding arrangement. Instruments are dropped in and out. Some are instantly recognisable, including a wood block, skin drum and steel drum. Other times, Stomu disguises their sound, transforming it totally. By then, elements of avant garde, experimental, improvisation and industrial music are being combined. Later, as a marimba interjects, an alternative, industrial orchestra provide a backdrop. They boing, drone, beep, buzz and jingle. The marimba rings out, providing a contrast as what sounds like a siren sounds. An element of urgency and drama is added as As Expanding As reaches a dramatic climax, before returning to the earlier understated and spacious sound. This is similar to Red Buddha, another track where Stomu Yamashta pushed musical boundaries to their limits, and sometimes, way beyond.
By the time Stomu Yamashta released Red Buddha in late 1971, his star was very much in the ascendancy. He had already released a studio album, Percussion Recital and two live albums. He had also collaborated with Masahiko Sato on the album Metempsychosis. His most recent venture was founding the Red Buddha Theatre Company. It took its name from Stomu Yamashta’s sophomore album Red Buddha.
Stomu Yamashta recorded Red Buddha in 1970. A year later, this groundbreaking and ambitious album was released. The music is variously captivating, challenging, cinematic, hypnotic, dramatic and urgent. Other times Red Buddha is melodic and meditative. It’s a timeless album, one that was way ahead of its time.
So much so, that it’s hard to believe that Red Buddha is forty-nine years old. Stomu Yamashta was a musical pioneer. He was way ahead of the industrial music pioneers of the mid-seventies. Red Buddha incorporates a proto industrial sound. However, it’s much more melodic than the industrial music that came a few years later. There’s also elements of ambient, avant garde, drone, experimental and free jazz on Red Buddha. That’s not forgetting world music, which Stomu Yamashta Stomu had pioneered since the sixties. It shines through on Red Buddha, which was the most innovative album of Stomu Yamashta’s nascent career.
Following Red Buddha, Stomu Yamashta would release a string of innovative and groundbreaking albums. Constantly, Stomu Yamashta sought to reinvent himself musically. He also enjoyed success with his Red Buddha Theatre Company, lead the supergroup Go, composed film scores and worked with the British Royal Ballet. However, looking back and Stomu Yamashta’s long, varied and illustrious career, one of his finest moments has to be his cult classic and groundbreaking Magnus Opus, Red Buddha.
Cult Classic: Stomu Yamashta-Red Buddha.
CULT CLASSIC: TIM MAIA-TIM MAIA (1977).
Cult Classic: Tim Maia-Tim Maia (1977.
As 1977 dawned, Tim Maia had already released seven albums since his 1970 eponymous debut, and although some of these album had been released to critical acclaim and were a commercial success, the charismatic Brazilian singer found himself financially embarrassed.
Things had been going from bad to worse over the last few years and Tim Maia now found himself being chased and hounded by bailiffs and debt collectors on a daily basis. He needed his 1977 eponymous album Tin Maia which was recently reissued by Mr. Bongo Records, would sell well enough to solve all his financial problems. By then, Tim Maia was desperate and needed money, as everything he had earned since 1970 was long gone. Tim Maia had spent his money on cars, musical instruments and the rock ’n’ roll lifestyle which Tim Maia had embraced almost defiantly. However, it hadn’t always been like this.
Tim Maia, who was born in Rio De Janeiro on September the ‘28th’ 1942.Tim Maia was the eighteenth of nineteen children. Aged just six, Tim Maia earned a living delivering homemade food which his mother cooked. This Tim Maia hoped would be the nearest he ever got to an ordinary job. After that, Tim Maia decided to devote himself to music which offered him an escape from the grinding poverty that was around him.
It turned out that Tim Maia was a prodigiously talented child, who wrote his first song as an eight year old. By the time he was fourteen, Tim Maia had learnt to play the drums and formed his first group Os Tijucanos do Ritmo. They were only together for a year, but during that period, Tim Maia took guitar lessons and was soon a proficient guitarist. This would stand him in good stead in the future.
In 1957, Tim Maia domed vocal harmony group, The Sputniks who made a television appearance on Carlos Eduardo Imperial’s Clube do Rock. However, the group was a short-lived, and Tim Maia embarked upon a solo career. This lasted until 1959, when seventeen year old Tim Maia made the decision to emigrate.
Tim Maia decided to head to America, which he believed he was the land of opportunity and headed to New York with just twelve dollars in his pocket. On his arrival, Tim Maia who was unable to speak English, managed to bluff his way through customs, telling the officials that he was a student called Jimmy. Incredibly, the customs officer believed him and Tim Maia made his way to Tarrytown, New York, where he lived with extended family and started making plans for the future. By then, Tim Maia had decided he would never return to Brazil.
During his time in New York, Tim Maia held down a variety of casual jobs and it has been alleged that he even augmented his meagre earnings by committing petty crimes. However, Tim Maia also learnt to speak and sing in English, which lead to him forming a vocal group The Ideals.
During his time with The Ideals, they decided to record a demo which included New Love which featured lyrics by Tim Maia. When The Ideals entered the studio, percussionist Milton Banana made a guest appearance. Sadly, nothing came of the demo, although Tim Maia later resurrected New Love for his album Tim Maia 1973. Before that, things went awry for Tim Maia and he was eventually deported.
Confusion surrounds why and when Tim Maia was deported from America, and there’s two possible explanations. The first, and more rock ’n’ roll version is that Tim Maia was arrested on possession of cannabis in 1963, and deported shortly thereafter. That seems unlikely given how punitive penalties for possession of even a small quantity of cannabis were in the sixties. Indeed, it’s highly unlikely that Tim Maia would’ve deported, without having to serve a jail sentence first. This lends credence to the allegation that Tim Maia was caught in a stolen car in Daytona, Florida, and after serving six months in prison, he was deported back to Brazil in 1964.
Now back home in Brazil, Tim Maia’s life seemed to be going nowhere fast. He was fired from several jobs, and was also arrested several times. It was no surprise when Tim Maia decided to move to São Paulo, where he hoped that he could get his career back on track.
Having moved to São Paulo, Tim Maia, hoped he would be reunited with Roberto Carlos who had been a member of The Sputniks. Ironically, it was Roberto Carlos who Tim Maia had insulted before he left The Sputniks. Despite leaving several messages, Roberto Carlos never returned Tim Maia’s calls and he had no option but to try to make his own way in the São Paulo music scene.
Tim Maia’s persistence paid off, and soon, he had featured on Wilson Simonal’s radio show, and then appeared alongside Os Mutantes on local television. Despite making inroads into the São Paulo music scene, Tim Maia was determined to contact Roberto Carlos and sent him a homemade demo. Eventually, Tim Maia’s persistence paid off.
When Roberto Carlos heard the demo, he recommended Tim Maia to CBS who offered him a recording deal for a single, and an appearance on the Jovem Guarda television program. However, when Tim Maia’s released his debut single Meu País in 1968, it failed to find an audience.
Tim Maia tried a new approach with his sophomore single and recorded These Are the Songs, in English. It was released later in 1968, but again, commercial success eluded Tim Maia. Things weren’t looking good for the twenty-six year old singer.
Fortunately, Tim Maia’s luck changed when he wrote These Are the Songs for Roberto Carlos, which gave his old friend a hit single. At last, things were looking up for Tim Maia.
Things continued to improve when Elis Regina became captivated by Tim Maia’s song These Are the Songs. This led to Elis Regina asking Tim Maia to duet with her on the song. Tim Maia agreed and they recorded the song in English and Portuguese, which the song featured on Elis Regina’s 1970 album Em Pieno Veroa. Recording with such a famous Brazilian singer gave Tim Maia’s career a huge boost, and soon, he was offered a recording contract by Polydor.
Having signed to Polydor in 1970, and somewhat belatedly recorded his debut album Tim Maia 1970. Although it showcased a talented, versatile and charismatic singer, who married soul and funk with samba and Baião. This groundbreaking album spent twenty-four weeks in the upper reaches of the Brazilian charts and launched Tim Maia’s career.
The following year, Tim Maia returned with his sophomore album Tim Maia 1971, where elements of soul and funk were combined with samba and Baião There were even hints of jazz, psychedelia and rock, during what was an ambitious and innovative album of genre-melting music which was released to critical acclaim and commercial success. Tim Maia 1971 also featured two hits singles Não Quero Dinheiro (Só Quero Amar) and Preciso Aprender a Ser Só. Tim Maia’s star was in the ascendancy, and it looked as if he was well on his way to becoming one of the biggest stars in Brazilian music.
After the success of his sophomore album, Tim Maia headed to London to celebrate after years of struggling to make a breakthrough. For the first time in his career he was making a good living out of music, and Tim Maia was determined to celebrate and enjoy the fruits of his label. However, it was during this trip to London, that he first discovered his love of the rock ’n’ roll lifestyle.
Realising that he was only here for a visit, Tim Maia embraced the rock ‘n’ roll lifestyle and almost defiantly, lived each day as if it was his last. He hungrily devoured copious amounts of drugs and alcohol which became part of Tim Maia’s daily diet. Fortunately, his new-found lifestyle didn’t seem to affect Tim Maia’s ability to make music. That was until Tim Maia discovered a new drug that would prove to be his undoing.
In London, Tim Maia discovered LSD He became an advocate of its supposed mind opening qualities. He took 200 tabs of LSD home to Brazil, giving it to friend and people at his record label. Little did Tim Maia know, but this was like pressing the self destruct button.
Over the next two years, he released two further albums, Tim Maia 1972 and Tim Maia 1973 which were released to critical acclaim and commercial success in Brazil. The only problem was that after the success of Tim Maia 1973, Tim Maia became unhappy at the royalty rate he was receiving from his publisher. This lead to him founding his own publishing company Seroma, which coincided with Tim Maia signing to RCA Victor
They had offered Tim Maia the opportunity to record a double album for his fifth album. He was excited by this opportunity and, agreed to sign to RCA Victor, and soon, began work on his fifth album. Somehow, Tim Maia was still seemed able to function normally on his daily diet of drink and drugs. Before long, he had already recorded the instrumental parts, and all that was left was for Tim to write the lyrics.
Seeking inspiration for the lyrics, Tim Maia decided to visit one of his former songwriting partners Tibério Gaspar. That was where Tim main found the book that would change his life, but sadly, not for the better. The book was Universo em Desencanto (Universe in Disenchantment), which revolved around the cult of Rational Culture who didn’t believe in eating red meat or using drugs. Given Tim Maia’s voracious appetite for drink and drugs, he seemed an unlikely candidate to join the cult. However, sadly, he did.
Straight away, the cult’s beliefs affected Tim Maia and his music. Ever since he joined the cult of Rational Energy, he beam fixated on UFOs, Tim was now clean-shaved, dressed in white and no longer drank, ate red meat, smoked or took drugs. Always in his hand was a mysterious book. Tim Maia was a changed man, and even his music changed.
The lyrics for his fifth album, and RCA Victor debut, were supposedly about his newly acquired knowledge that came courtesy of Universo em Desencanto. With the ‘lyrics’ complete, Tim Maia’s vocals were overdubbed onto what became Racional Volumes 1 and 2. With the album completed, Tim took it to RCA Victor who promptly rejected the album.
RCA Victor’s reason for rejecting the album was that it wasn’t of a commercial standard. To make matters worse, the lyrics made absolutely no sense. There was only one small crumb of comfort, and that was that Tim Maia’s voice was improving. That hardly mattered for RCA Victor, who weren’t going to release the album. For RCA Victor, Racional Volumes 1 and 2 was huge disappointment.
That was until Tim Maia offered to buy the master tapes from RCA Victor, so that he could release the album independently. RCA Victor accepted his offer, which allowed them to recoup some of their money. Having bought the master tapes, Tim Maia set about releasing Racional Volume 1 in 1975. Sadly, it didn’t enjoy the same critical acclaim and commercial success of Tim Maia’s four previous albums. Suddenly, many of Tim Maia’s fans thought he was no longer the artist he once was.
After releasing Racional Volume 1 in 1975, Tim Maia returned in 1976 with his sixth album Racional Volume 2. Lightning struck twice when Racional Volume 2 failed to impress the critics and was a commercial failure. Nowadays, Racional Volumes 1 and 2 are cult classics, whereas in 1976 they tarnished Tim Maia’s reputation. Maybe this was the wakeup call he needed?
In 1976, Tim quit the cult after the release of Racional Volume 2. By then, he had fallen out with its leader and felt as if he had been duped. So much so, that Tim Maia wanted the master tapes to Racional, Volumes 1 and 2 destroyed. The two albums were part of his past, and now Tim Maia was ready and wanted to move forward.
Tim Maia’s music changed after Tim Maia Racional, Volumes 1 and 2 as he entered what was the most prolific period of his career. This began with the release of Tim Maia in 1976, which saw the thirty-four year old combine soul, funk and MPB (música popular brasileira). However, although Tim Maia proved reasonably popular upon its release, it didn’t match the success of his first four albums.
Tim Maia 1977
Ever since he had been signed by Polydor and received his first advance, Tim Maia had lavished large sums of money on everything from cars and musical instruments to his continued love of the rock ’n’ roll lifestyle. The rest of Tim Maia’s money was used to pay various fines he ran up, and to pay lawyers bills that had accumulated over the last few years. This came at a price, and by 1977, Tim Maia realised that he was insolvent. Almost every day, Tim Maia was forced to play a cat and mouse game as he left his flat as bailiffs and debt collectors who were constantly chasing him for unpaid bills. It was a worrying time for Tim Maia. However, Tim Maia knew that if he could record another successful album then all his financial problems would be solved.
After the disappointment of his previous album, Tim Maia returned with Tim Maia (1977) with eighth album which he once again, decided to call Tim Maia. It featured twelve new songs, including five Tim Maia wrote with various songwriting partners. He also wrote six new songs including É Necessário, Leva O Meu Blue, Venha Dormir Em Casa, Ride Twist and Roll. Flores Belas (Instrumental) and Let It All Hang Out. These tracks were recorded at three studios with some top session players and backing vocalists and was produced by Tim Maia.
He combines soul, funk, MPB and jazz with Latin influences, disco and pop on Tim Maia (1977). It’s a slick and carefully crafted album where Tim Maia is joined by lush strings, horns and backing vocals on an album where beautiful ballads sit side by side with soulful songs, funky tracks and even the instrumental Flores Belas. Just like on previous albums, Tim Maia is equally comfortable delivering heart-wrenching ballads and funky tracks.
Among the highlights are the uptempo opener Pense Menos, the beautiful ballad Sem Você with an arrangement that combines drama and lush strings. It’s followed by the funky and soulful Verão Carioca, while É Necessário is regarded by many as one of the highlights of the album. Three other beautiful ballads are Leva o meu Blue and Venha Dormir em Casa and Música para Betinha. They feature Tim Maia balladeer at his very best. Then on Ride Twist and Roll, the instrumental Flores Belas and the album closer Let It All Hang Out Tim Maia rolls back the years.
Sadly, Tim Maia (1977) which is a hugely underrated album failed commercially and thirty-five year old Tim Maia was a worried man as he continued to play cat and mouse with the bailiffs that hounded him day in day out. This wa very different to a few years previously.
Tim Maia had struggled to reach the heights of his first four albums, but on Tim Maia (1977) he was back with what proved to one of the finest, but most underrated albums of his career. It combines funk, soul, MPB and occasionally jazz, pop and disco. It’s a slick, polished but Tim Maia (1977) failed to find the audience it deserved. The maverick soul man whose career had been a roller coaster since making a commercial breakthrough with Tim Maia 1970 was still looking for an album that would transform his career.
By then, Tim Maia enjoyed every minute of the past eight years Tim Maia knew he was only here for a visit and set out to live life to the full.That was just as well as Tim Maia passed away on March the ‘15th’ 1998, aged just fifty-five. Sadly, by then, Tim’ Mai’s shows and behaviour had become predictable, and that had been the case since his 1976 post-Racional comeback. Tim Maia was never the same man or musician after his dalliance with the cult of rational behaviour. However, Tim Maia (1977)was one of the finest albums Tim Maia released after his post-Racional comeback and is a poignant reminder of one of Brazilian music’s most talented sons at the peak of his power.
Since his death in 1998, Tim Maia’s music has been a well-kept secret outside of his native Brazil, and even within Brazil, many people still aren’t aware of Tim Maia’s music. However, older record buyers still talk about the maverick singer-songwriter in hushed tones and remember the flawed genius that was Tim Maia who could’ve, and should’ve, been a huge star outside of his native Brazil. Sadly, something held him back, and stopped Tim Maia from enjoying the widespread commercial success and critical acclaim that his music richly deserved. That is despite Tim Maia being a hugely talented singer, songwriter, musician and producer, and proof of his considerable talent can be found on Tim Maia (1977).
Cult Classic: Tim Maia-Tim Maia (1977.
CULT CLASSIC: GARY MCFARLAND-SOFT SAMBA.
Cult Classic: Gary McParland-Soft Samba.
Composer, arranger, vibraphonist and vocalist Gary McParland was born on October the ’23rd’ 1933, in Los Angeles, but moved to Grants Pass, in Oregon as a fifteen year old. After graduating from high school,Gary McParland headed to college where he became interested in jazz.
Despite his burgeoning interest in jazz,Gary McParland was content to listen to music, and only started to learn to play an instrument when he joined the army. Gary McParland tried the trumpet, trombone and then the piano, with little success. It was starting to look like Gary McParland wasn’t musically inclined. That was until he discovered the vibes, and Gary McParland knew this was the instrument for him.
Within two years, he had joined a band led by Santiago Gonzales who had spotted the potential in the young vibes player. He encouraged Gary McParland to study music, and he received a scholarship from the Lennox School of Jazz where he encountered the Modern Jazz Quartet’s pianist John Lewis.
After leaving the Lennox School of Jazz, Gary McParland headed to the prestigious Berklee School of Music. This was the opportunity of a lifetime, but Gary McParland left Berklee after just one semester and moved to New York.
It wasn’t long before the New York based jazzers were taking notice of Gary McParland’s inimitable and distinctive compositions. The Modern Jazz Quartet covered Why Are Blue, Gerry Mulligan recorded Weep and Chuggin’ and Johnny Hodges covered Knuckles. By then, Gary McParland was already regarded a rising star of jazz.
Soon, Gary McParland came to the attention of Creed Taylor, who asked him to arranged All The Sad Young Men for Anita O’Day. It was released on Verve in 1962, and by then, Creed Taylor had signed Gary McParland to Verve Records.
He had recorded his debut album with producer Creed Taylor over a three days period in New York in November 1961. When Gary McParland released his debut album later in 1962, The Jazz Version Of How to Succeed In Business Without Really Trying, it was to widespread plaudits and praise.
Not long after this, Gary McFarland was asked to write the charts for Stan Getz’s Big Band Bossa Nova. Getting the opportunity to arrange and conduct Stand Getz and his band was showed that Gary McFarland’s stock was rising. The album also left a lasting impression on him.
The following year, 1963, The Gary McFarland Orchestra released their Creed Taylor produced eponymous debut album. It featured a guest appearance by pianist Bill Evans, but it was Gary McFarland whose compositions and vibes playing that attracted the attention of critics. Gary McFarland critics believed had a big future ahead of him.
Gary McFarland then led Orchestra USA on their 1963 album Debut, and in 1964 the Gary McFarland Sextet released Point Of Departure on the Impulse label. This bop-oriented album was produced by Bob Thiele and was released to the same critical acclaim as previous albums.
Buoyed by the success of Point Of Departure, Gary McFarland released Reflections In The Park and the critically acclaimed Essence in 1965. However, Gary McFarland’s next album was very different to everything he had released up until then.
Soft Samba.
This was Soft Samba, where Gary McFarland decided to give twelve familiar songs a makeover by combining Latin rhythms and vocalese. It was a stylistic departure from Gary McFarland’s previous albums, but was one with commercial potential.
Especially with covers of Lennon and McCartney’s She Loves You, A Hard Day’s Night, And I Love Her and I Want To Hold Your Hand. They were joined by Linda Laurie and Jerry Mack’s Ringo, Won’t You Marry Me, Lionel Bart’s From Russia With Love, Sashsa Distel and Jack Reardon’s The Good Life, More (Theme from Mondo Cane), Percy Faith and Mack David’s The Love Goddess, Johnny Mandel and Johnny Mercer’s Emily. The other two tracks Gary McFarland chose for Soft Samba. were California, Here I Come and La Vie En Rose. Now he had to reinvent these tracks
Gary McFarland headed to the Van Gelder Studio, Englewood Cliffs, New Jersey in 1964 with producer Creed Taylor. They were joined by a talented band that featured ten top musicians. Among them, were pianist Antônio Carlos Jobim, guitarist Kenny Burrell and percussionist Willie Bobo who helped Gary McFarland give twelve familiar tracks and gave them a Latin twist.
When Soft Samba was released in March 1965, jazz critics were shocked by how different the music on the album was. It featured Latin rhythms and vocalese on what was critics saw as an album of pop covers. This wasn’t jazz the critics cried. For goodness sake, Gary McFarland even whistles on Soft Samba was the response from shocked and disappointed critics. They were in the minority.
Other critics were won over by this irresistible musical cocktail, where Gary McFarland and his band took familiar songs in a new direction and reinvented them. There was even a nod to Stan Getz, on what was a captivating fusion of melodic feelgood music. A key ingredient was the Bossa Nova, which was provided by its founding father Antônio Carlos Jobim. The Latin rhythms, with their Soft Samba sound were combined with pop and a hint of jazz. All this was combined by Gary McFarland. His elegant, individual approach to the vibes plays an important roll, and sometimes the jazzer turns crooner as he hums and scats: “ba-ba, baya-baya, byu-byu.”
Meanwhile, there’s highlights aplenty on Soft Samba, including And I Love Her, From Russia With Love, The Good Life, The Love Goddess, Emily and the album closer La Vie En Rose. Across LA, Soft Samba was providing the soundtrack to the smartest parties, and elsewhere, bachelors mixed cocktails in the post modern flats as the album played in the background. Soft Samba which was an album that didn’t take itself too seriously, and was part of the soundtrack to 1965.
Ironically, and despite jazz critics and purists loathing Soft Samba, it was nominated for the Grammy Award For The Best Jazz Performance. Alas, it lost out to Ramsey Lewis’ The In Crowd. However, Gary McFarland had been vindicated and was set to do it all again on the followup The In Sound.
The In Sound.
After the relative success of Soft Samba, Gary McFarland decided to record the sequel, The In Sound. It found the Rolling Stones’ (I Can’t Get No) Satisfaction feature on album that consisted of old songs, new songs and familiar songs.
For The In Crowd, which featured just ten tracks, Gary McFarland penned The Hills of Verdugo, Over Easy, Fried Bananas and Wine and Bread. They were joined by Piero Piccioni’s The Moment of Truth, Frank Loesser’s Bloop Blee and Nino Oliviero, Bruno Nicolai and Alan Brandt’s The Sting Of The Bee. While many people may not have been familiar with some if these tracks mist Bacharach and David’s Here I Am which was joined by Cole Porter’s I Concentrate on You and Jagger and Richards’ (I Can’t Get No) Satisfaction.
Once again, Gary McFarland headed to the Van Gelder Studio, Englewood Cliffs, New Jersey with producer Creed Taylor and between the ‘2nd’ and ‘3rd’ August 1965 The In Sound with another talented band. It featured guitarists Gábor Szabó and Kenny Burrell, percussionist Willie Rodriguez, double bassist Richard Davis and Candido on bongos and congos. Over a two-day period,Gary McFarland and his band which featured twelve other musicians recorded the ten tracks that became The In Crowd.
With The In Crowd due to be released later in 1965, Verve’s PR department got behind the album which was promoted heavily. Even some of the critics that had slated Soft Samba, gave The In Crowd grudging praise. Other critics were won over by the album, and felt that it surpassed Soft Samba.
It seemed that Gary McFarland had settled into this new style, as he led his band during his four original songs and six cover versions, which they took in a new direction and reinvented. Among the highlights of The In Crowd were The Moment of Truth, The Sting of the Bee, Here I Am, I Concentrate and the album closer (I Can’t Get No) Satisfaction. These tracks and the rest of The In Crowd were melodic and tinged with humour, as The In Crowd was another album that didn’t take itself too seriously.
The In Crowd was melodic, feelgood music where once again, Gary McFarland combined Latin rhythms and his unique vocalese. Just like its predecessor, The In Crowd was a fusion of Bossa Nova, soft samba, easy listening, pop and jazz. It seemed that Gary McFarland had settled into his new style and was embracing it on what was a memorable, melodic, kitsch and ironic album that didn’t take itself seriously, and was an addition to pop art culture.
When The In Crowd was released, Gary McFarland’s new album wasn’t a huge success, but found enough of audience that he decided to repeat the experiment in 1967 with The Samba Strings. However, by then, Gary McFarland was back recording music that won the approval of the critics…jazz.
It was jazz music that led to Gary McFarland being called: “the most gifted arranger since Duke Ellington.” He was a versatile arranger who created inventive and melodic music by an arranger, composer and musician who could’ve become one of the greats.
Sadly, Gary McFarland never got the chance to show his full potential. Just five years after the release of The In Crowd, Gary McFarland died under what were mysterious circumstances to the say the least. He had spent the evening in 55 Bar, inNew York City on the ‘2nd’ of November 1971, and one of the drinks that Gary McFarland consumed had been spiked. A post-mortem revealed that he had consumed a poisoned drink which proved fatal, and robbed music of a great talent.
Two reminders of Gary McFarland’s potential and talent are Soft Samba and his cult classic The In Sound. It finds him fusing Latin rhythms and vocalese during his pop-jazz period which is regarded as Gary McFarland’s finest hour. The In Crowd is a reminder of an arranger, composer and musician who could and should’ve gone on to become one of greats but sadly, died in tragic circumstances and never got the opportunity to fulfil his potential
Cult Classic: Gary McParland-Soft Samba.
CULT CLASSIC: GURU GURU-UFO.
Cult Classic: Guru Guru-UFO.
By the late sixties, the members of many British and American bands were well on their way to becoming multi-millionaires. Especially groups like The Beatles and Rolling Stones who had been at the top for the best part of a decade, and were now enjoying wealth beyond their wildest dreams.
To look after their wealth, these groups employed accountants, investment companies and tax advisers. They ensured that their clients minimised their tax liability and became even wealthier. It was changed days. No longer were they angry young men angry. Instead, they were affluent and aspirational and many critics and cynics asked where had the spirit of rock ’n’ roll gone?
It was alive and well, and living in Heidelberg, Germany. That’s where The Guru Guru Groove, who later became Guru Guru, had been formed in 1968 by drummer Mani Neumeier, bassist Uli Trepte and guitarist Eddy Naegeli. However, even The Guru Guru Groove hadn’t started off as a rock ’n’ roll band.
Instead, The Guru Guru Groove’s roots were in the German free jazz scene. Initially, they had worked with Swiss pianist Irène Schweizer. who like drummer Mani Neumeier was a stalwart of the German free jazz scene, and already, had won a several prizes. However, by 1968, when The Guru Guru Groove was born, its members were embracing psychedelic rock.
The three members of The Guru Guru Groove had been won over by American and British psychedelic rock. Jimi Hendrix and Franz Zappa had inspired Mani Neumeier, Uli Trepte and Eddy Naegeli. So had The Crazy World of Arthur Brown, the Rolling Stones and Pink Floyd. These bands inspired not just The Guru Guru Groove, but Amon Düül, Can and Xhol Caravan. They would play an important part in the nascent, but burgeoning German music scene of the late sixties.
Unlike the American and British rock scenes, commune culture played an important part in the German music scene at that time. The three members of The Guru Guru Groove lived in a commune in the Odenwald region, where they experimented with various hallucinogenic drugs. Many of The Guru Guru Groove’s early concerts took place in communes. Soon, though, The Guru Guru Groove were a familiar face on they university circuit.
The Guru Guru Groove organised concerts with the Socialist German Student Union. This wasn’t surprising. Like many German bands of this period, The Guru Guru Groove were politically to the left. They were essentially a socialist band, who unlike many of their American and British counterparts, had a social conscience. This became apparent during concerts.
Concerts organised by The Guru Guru Groove and the Socialist German Student Union were spectacles. The band didn’t just take to the stage, play a few songs then say their goodbyes. Instead, members of The Guru Guru Groove read political texts between the songs. Sometimes though, the concerts descended into near anarchy. This didn’t seem to matter. All that mattered was the music.
It was a fusion of free jazz, avant garde, psychedelia and rock with the three musical alchemists combining elements of these disparate genres, wherever they played. Sometimes, this included prisons, where The Guru Guru Groove introduced inmates to their mind bending sound. By then, they were well on their way to becoming one of the leading groups in the German underground scene.
It wasn’t all smooth sailing though. Change was afoot. The Guru Guru Groove became Guru Guru, who would become one of the leading lights of German music. Guru Guru’s lineup would also change twice. Guitarist Eddy Naegeli was replaced by American Jim Kennedy. Then Ax Genrich was drafted in to replace Jim Kennedy. By then, Guru Guru’s lineup featured drummer Mani Neumeier, bassist Uli Trepte and guitarist Ax Genrich. This is regarded as the classic lineup of Guru Guru, and the one that recorded their debut album UFO in June 1970.
When Guru Guru entered the studio for the first time, Julius Schittenhelm who was a producer for the Ohr label, and his wife Doris must have realised that they were about to record what was, no ordinary band. Guru Guru were far from a power trio, featuring drums, bass and guitar.
The three members of Guru Guru unpacked, and setup a wide array in instruments and electronics. Drummer and vocalist and Neumeier added cymbals, gongs and a tape to his setup. Bassist Uli Trepte added various electronic items, including a transistor radio, mixer and intercom. New guitarist Ax Genrich added an array of effects pedals, including an Echogerät Pedal. Ax and the rest of Guru Guru were determined to record a debut album nobody would forget.
So it proved to be. Guru Guru released UFO on the Ohr label, later in 1970. It was released to almost overwhelming critical acclaim, and hailed as a groundbreaking fusion of genres and influences. These growing reviews lead to UFO selling reasonably well, and launched Guru Guru’s career. They’ve released over forty studio and live albums over a career that has spanned six decades. The first of these albums was UFO.
Stone In opens UFO. Ax’s searing, Hendrix inspired psychedelic guitar cuts through the arrangement. Its effects laden sound dominates the arrangement. The rest of rhythm section are left playing supporting roles. Briefly, Mani’s improvised vocal flits in and out. By then, Guru Guru are in full flow. Mani’s urgent drums join with Uli’s bass in driving the arrangement along. They’re still not equal partners. Not when Ax is unleashing a mesmeric, spellbinding solo as his fingers fly up and down the fretboard, delivering a guitar masterclass. It’s a stunning start to UFO, which showcases the combined talented of the classic lineup of Guru Guru, as they make their recording debut.
Sci-fi sounds arrive from the distance, before Girl Call bursts into life. Ax’s bristling guitar, a buzzing bass and crashing cymbals join with pounding drums. There’s even a burst of feedback. Quickly, Ax tames the tiger, before taking centre-stage. He unleashes another scorching, psychedelic solo. Then the baton passes to Mani, who showcases his trademark drumming style. Uli’s bass matches him every step of the way. As the rhythm section power the arrangement among, the Ax man returns. Soon, he’s spraying blistering, machine gun licks above the rhythm section. Seamlessly, Ax combines speed and accuracy, as the musical shaman works his magic on a psychedelic, rocky opus.
Literally, Next Time See You At The Dalai Lhama explodes into life. Guru Guru dive feet first into the track, with Mani and Uli creating a hypnotic, mesmeric groove. This allows Ax to unleash another barnstorming solo. Mani’s determined not to be outdone, and powers his way round his kit. Neither is Uli. The three members of Guru Guru raise their game. Elements of Led Zeppelin and Black Sabbath shine through. So do elements of avant garde, free jazz, psychedelia and progressive rock. Guru Guru play with confidence, swaggering their way through this genre-melting soundscape.
UFO finds Guru Guru at their most inventive. They utilise the array of electronic that they took into the studio. The briefest bursts of guitar make an appearance as Guru Guru improvise. Elements of avant garde, experimental and musique concrète shine through, as Guru Guru eschew traditional song structure. What follows is a cinematic soundscape, where the listener supplies the script to what sounds like a journey. That journey is on Guru Guru’s UFO, as they take the listener to an unknown destination.
A droning sound arrives from the distance on Der LSD-Marsch, which closes UFO. Like the previous track, Guru Guru improvise. This time, they create a lysergic soundscape. It’s dark, moody, eerie and ominous. Washes of guitar shimmer, while otherworldly noises squawk. Later there’s a series of beeps, as if Guru Guru’s UFO has landed, and is about to be impounded at. After that, Guru Guru return to a much more traditional song structure. Ax’s guitar references both blues and psychedelia. Mani’s pounds and powers his drums, while Uli’s bass runs match him every step of the way. However, stealing the show is Ax, who was the final piece of the jigsaw. His addition was a masterstroke. Not to be outdone, Mani unleashes another solo where his jazz roots are apparent. Later, Guru Guru become one, as they bring to a close their debut album. It’s Ax who steps forward and delivers another psychedelic solo, as Guru Guru close UFO with a flourish, and in the process, make their mark in German musical history.
UFO was one of the best debut albums of the nascent Krautrock era. Nowadays, UFO is still regarded as a Krautrock classic, and is, without doubt, one of Guru Guru’s finest albums. That’s no surprise.
The lineup of Guru Guru that played on UFO, is regarded as the classic lineup of the band. This lineup were together until 1975, when former Kollective guitarist Jürgen “Jogi” Karpenkiel replaced Ax. However, between 1970 and 1975, Guru Guru released eight albums. This includes 1971s Hinten, 1972s Känguru and 1973 Guru Guru and Don’t Call Us, We Call You. By then, Guru Guru were on a roll, and releasing some of the finest music of the Krautrock era. This music found a wider audience that many other Krautrock bands.
That’s why Guru Guru were still going strong after six decades and several changes in lineup. The one constant was drummer and vocalist Mani Neumeier, who nowadays, is regarded as one of the finest German drummers of his generation. He’s made a lot of music since UFO in 1970.
UFO is a timeless Krautrock classic, which features the classic lineup of Guru Guru. Seamlessly, the three musical alchemists fuse avant garde, blues rock, free jazz, musique concrète, progressive rock, psychedelia and rock. The result is a truly groundbreaking journey, where gradually, Guru Guru show their inventiveness.
Rather than dive in feet first with one of the more experimental tracks, Guru Guru showcase their considerable psychedelic talents on Stone In, Girl Call and Next Time See You At The Dalai Lhama. It’s only then that they introduce the listener to their most experimental music on UFO, and the the first half of Der LSD-Marsch. Guru Guru it seems, have been breaking the listener in gently, and educating them. Only then, are they ready to hear Guru Guru at their music inventive and innovative on two groundbreaking soundscapes. These two tracks show another side to Guru Guru, which references the group’s free jazz roots. UFO particularly, finds Guru Guru improvising, and pushing musical boundaries to their limits. In doing so, Guru Guru proved pioneers.
Even today, Guru Guru’s influence an be heard on the latest generation of Norwegian musicians. Many of them, seem to have been influenced by groups like Guru Guru, and are picking up where they left off. It seems that Guru Guru’s music lives on through a new generation of musicians; and through a new generation of music lovers who have discovered their music
Many of those who are discovering albums like UFO, weren’t even born when the classic lineup of Guru Guru made their first tentative steps into the recording studio. They recorded what became a timeless Krautrock classic, UFO. Part of its success is down to Guru Guru’s latest recruit, Ax Genrich. His addition to Guru Guru was a masterstroke, in what was a musical marriage made in heaven, that resulted in UFO which is lysergic and a captivating and groundbreaking cult classic.
Cult Classic: Guru Guru-UFO.
CULT CLASSIC: SKID ROW-34 HOURS.
Cult Classic: Skid Row-34 Hours.
By late 1967, Dublin’s vibrant rock scene was thriving with many newly founded bands playing in universities and clubs around the city. Some were already spreading their wings, and heading further afield taking their music to other parts of the Republic of Ireland. Its music scene had come a long way since the mid-sixties, when it started to take shape.
Since then, two recent graduates of the Dublin music scene had gone on to greater things, and were well on their way to becoming international stars. This included Ian Whitcomb and Bluesville and Van Morrison, the former lead singer of Them who had just embarked upon a solo career and released his debut album Blowin’ Your Mind! in September 1967. It charted on both sides of the Atlantic and gave Van Morrison a tantalising taste of the commercial success and critical acclaim that he would enjoy over the next fifty years. Meanwhile, a new group was already making waves on the Dublin music scene, and looked like it would be the next to graduate from the Irish music scene…Skid Row.
Skid Row had only been formed in August 1967 by formed The Uptown Band]s former bassist Brendan ‘Brush’ Shiels, drummer Noel ‘Nollaig’ Bridgeman, guitarist Ben Cheevers and vocalist Phil Lynott. They were all experienced musicians, and were veterans of numerous groups. Two members of Skid Row had been in a number of bands together, Brendan ‘Brush’ Shiels and Ben Cheevers. Skid Row they hoped was the band that would transform their fortunes.
Given Skid Row comprised experienced musicians, it wasn’t long before the newly founded Skid Row made their debut in September 1967. This took place at basement club in Lower Abbey Street in the centre of Dublin. Little did those that were present that night, realise that they had witnessed history being made and that Skid Row were in the process of writing their way into rock history.
By September 1968, Skid Row’s lineup started to change. First to leave was guitarist Ben Cheevers, who decided to continue working full-time in the electrical industry. There was a problem though. Skid Row didn’t have a suitable guitarist lined up to replace him. However, waiting in the wings was sixteen year old virtuoso guitarist Gary Moore who stylistically, modelled himself on his hero Peter Green.
Before Ben Cheevers’ departure, Gary Moore joined Skid Row and briefly, they became a five piece band. The two guitarists played together during what was hand over period. When Ben Cheevers left the band in September 1968, Gary Moore stepped out of the shadows and a star was born.
Meanwhile, Robbie Brennan temporarily replaced original drummer Noel ‘Nollaig’ Bridgeman until June 1969. Robbie Brennan featured on Skid Row’s debut single New Places, Old Faces which featured Misdemeanour Dream Felicity on the B-Side. The single was released on Song Records, an Irish label in mid-1968 and featured Gary Moore’s recording debut. Skid Row’s debut single was the only recording to feature vocalist Phil Lynott.
Later in 1968, Phil Lynott was dropped from Skid Row’s lineup after a bout of tonsillitis. During his absence, Brendan ‘Brush’ Shiels took charge of lead vocals. This spelt the end of end of the Phil Lynott. During his absence, Phil Lynott spent his time learning to play the bass. This was just as well, as his days with Skid Row were numbered.
When Phil Lynott returned from his illness, he was told that Skid Row were about to become a power trio. To compensate the disappointed Phil Lynott, Brendan ‘Brush’ Shiels gave him a bass that he had purchased from former musician Robert Ballagh for £49. Brendan ‘Brush’ Shiels also taught Phil Lynott how to play the bass, which he would put to good use when he formed Orphanage and then Thin Lizzy. However, little did Phil Lynott realise that his sacking from Skid Row was the best thing that happened to him.
Not long after this, Skid Row released their sophomore single Saturday Morning Man, which featured Mervyn Aldridge on the B-Side. Saturday Morning Man was released on Song Records. This was the last recording before Skid Row’s classic era began.
There was just one more change to Skid Row’s lineup before their classic era began. This was the return of Noel ‘Nollaig’ Bridgeman in June 1969. With drummer Noel ‘Nollaig’ Bridgeman, bassist Brendan ‘Brush’ Shiels and guitarist Gary Moore, the classic lineup of Skid Row would soon emerge as one Ireland’s leading bands.
During the remaining of the sixties, and into 1970, Skid Row’ emerged as one of Ireland’s best unsigned bands. They opened for the great and good of rock, including Fleetwood Mac. Peter Green was so impressed by Gary Moore’s guitar playing that he introduced him to Fleetwood Mac’s manager Clifford Davis and executives at the Columbia/CBS Records. This was the break that Skid Row had been looking for.
Skid.
Not long after this, Skid Row signed to CBS, and began working on their debut album Skid with producer Mike Smith. Nine songs were recorded during the session, including a new version of New Places, Old Faces. However, the session wasn’t the most fruitful of Skid Row’s career. Only two tracks were released by CBS, when Sandie’s Gone (Part 1)and Sandie’s Gone (Part 2) became Skid Row’s third single in April 1970.
By then, a decision had been made by Clifford Davis that Skid Row should re-record their debut album, and change some of the songs. The other change was the producer.
While some of the Mike Smith sessions were well recorded, he had failed to capture what was an innovative and vivacious band at the peak of their powers. They had honed their sound during their US tour, and in the process, changed rock critics’ perception of what a power trio was capable of. Skid Row’s music had been inspired and influenced by a fusion of country rock and angular progressive rock that headed in the direction of jazz. These songs featured complex arrangements, but Skid Row were a versatile and talented band who were capable of producing virtuoso performances and making it sound easy. To capture Skid Row’s sound would take a special producer, and one who understood what the band were about. Clifford Davis’ suggestion was that Peter Green of Fleetwood Mac produced Skid Row.
Skid Row added four new songs to their debut album Skid. By then, Brendan ‘Brush’ Shiels had emerged as the band’s songwriter-in-chief writing Mad Dog Woman, Virgo’s Daughter, Heading Home Again, An Awful Lot Of Woman and After Im Gone. Gary Moore contributed Felicity and the three members of Skid Row penned Unco-Up Showband Blues, For Those Who Do and The Man Who Never Was. These songs were produced by Peter Green.
As the sessions for Skid began, Gary Moore arrived with his favourite guitar, a maple Les Paul Standard which Peter Green had sold him not long after the pair first met. While it had been well used, it quickly became Gary Moore’s favourite guitar. He put it to good use on Skid Row, which was just another recording session for the band. They took recording Skid in their stride. For Skid Row it was another day at the office.
Skid Row had already recorded a number of live sessions for the BBC Radio and a number of studio sessions. This was all good experience for the band. Especially, when Skid Row went into the BBC studios, which was home to some of the best engineers in London. They took pride in getting the best performance out of the bands that they were recording, including Skid Row.
With Skid recorded, Skid Row prepared for the release of their debut album in October 1970. Skid was hailed as a groundbreaking debut album and was quite unlike the majority of albums produced by power trios. It was a cerebral album, that married disparate and unlikely musical genres, while drawing inspiration from all manner of sources during what was akin to a musical roller coaster.
Skid Row flit between and combine elements of various musical genres. This includes blues rock and hard rock, which were important components in their sound. That was only part of the story, as Skid Row were very different to the many blues rock and hard rock bands that were around in 1970. Their sound was much more sophisticated and cerebral as Skid Row take occasional diversions via blues, country, fusion, jazz and skiffle on their genre-melting debut album. It finds Skid Row playing with as one, as they combine speed, accuracy and power on what’s a breathtaking debut album. The music is complex and urgent, as musical butterflies Skid Row flit seamlessly between musical genres.
When Skid was released in October 1970, the album reached number thirty in the British charts. Considering this was Skid Row’s debut album, this was a good start to their recording career.
By then, Skid Row had moved to London, where they lived in two houses in Belsize Park. However, much of Skid Row’s time was spent touring, and opening for groups like The Allman Brothers, Santana, Ten Years After, Jethro Tull and Frank Zappa and The Mothers of Invention. The constant touring helped to spread the word about Skid Row, whose star was definitely in the ascendancy. However, after tours of America, Britain and Germany, Skid Row returned home to record their sophomore album 34 Hours.
34 Hours.
For 34 Hours, Skid Row penned Night Of The Warm Witch, First Thing In The Morning, Lonesome Still and Love Story, Pt. 1. Songwriter-in-chief Brendan ‘Brush’ Shiels wrote Mar and Go, I’m Never Gonna Let You, Parts 1 to 4. These songs became 34 Hours.
When recording of 34 Hours began, Clifford Davis took charge of production. Watching and learning, was nineteen year old Gary Moore. He and the rest of Skid Row spent just 34 Hours recording the band’s debut album.
Critics on hearing 34 Hours realised that it was a much tighter album. It received the same plaudits and praise as Skid, and a great future was forecast for Skid Row.
This was proof that the weeks and months spent touring was time well spent. Skid Row had honed their sound through constantly playing live, and on 34 Hours showcased a much heavier, progressive rock sound. It featured two nine minute epics, Night Of The Warm Witch and Go, I’m Never Gonna Let You, Parts 1 to 4. They allowed Skid Row to stretch their legs musically. By then, Skid Row had matured into a much tighter, accomplished and assured band. Still, the music on 34 Hours was groundbreaking, complex and cerebral. There was still a spontaneity to Skid Row’s playing as they continued to combine speed, accuracy, power on 34 Hours
The result was 34 Hours, an album of music that veered between, caustic, cerebral, challenging and complex to energetic and explosive to forceful, urgent and vigorous. Still, Skid Row combined elements of blues rock, country, fusion and progressive rock on 34 Hours. Apart from the country sound of Lonesome Still, 34 Hours is hard rocking album of progressive rock that incorporates elements of fusion. This is a potent and heady brew, and should’ve found favour with record buyers in 1971.
Sadly, when 34 Hours was released by CBS in early 1971 the critically acclaimed album failed to find the audience it deserved. For Skid Row, this was a huge disappointment.
Throughout the rest of 1971, Skid Row continued to tour. However, in December 1971, Gary Moore left Skid Row. Thin Lizzy’s Eric Bell briefly filed the void on a temporary basis. Ironically, Gary Moore would later replace Eric Bell in Thin Lizzy.
Paul Chapman then became Skid Row’s new full-time guitarist. However, his time with Skid Row proved brief, and the band split-up in August 1972.
While Skid Row reformed in 1973, the original lineup never took to the stage again. Over the next three years, Skid Row’s lineup continued to change, until they split-up for a second time.
That was the end of the Skid Row story until 2012, when the band reformed and released their first new album in forty-one years Bon Jovi Never Rang Me. By then, the only original member of Skid Row was Brendan ‘Brush’ Shiels. While many welcomed the Skid Row’s new album, many couldn’t help but compare them to the two cult classics they released between 1970 and 1971. Skid and 34 Hours and feature Skid Row at the peak of their considerable powers.
On Skid and 34 Hours, Skid Row rewrite the rules for future power trios. They created music that was cerebral, complex, hard rocking, innovative and progressive. Skid Row also fused and flitted between disparate and unlikely musical genres during their debut album Skid.
That was the case on the much anticipated followup 34 Hours, which nowadays is regarded as a cult classic. 34 Hours, just like Skid, is a reminder of one Ireland’s greatest musical exports during what was a short but memorable musical career. Between 1967 and the the release of 34 Hours in 1971, Skid Row’s light was shining bright and their star was in the ascendancy as they looked like becoming one of the great bands of the seventies. Sadly, that wasn’t to be and they split-up before they could realise their potential and the Skid Row story is a case of what might have been?
Cult Classic: Skid Row-34 Hours.
CULT CLASSIC: SYLVIAN AND CZUKAY-PLIGHT AND PREMONITION.
Cult Classic: Sylvian and Czukay-Plight and Premonition.
By early 1986, former Can bassist Holger Czukay was now a successful solo artist, and was working on his fourth solo album was eventually released in 1988 as Rome Remains Rome. It was being recorded at Can Studio, in Cologne, and Holger Czukay was joined by drummer Jaki Liebezeit and guitarist Michael Karoli who had both been members of Can. They were joined by a new generation of musicians of who had been influenced by Can’s music, including Jah Wobble and former Japan frontman David Sylvian who flew in to Cologne to record the vocal to Music In The Air.
After leaving Cologne airport, David Sylvian was driven to the Can Studio in on of the city’s many taxis. However, that day, he never saw the best of Cologne. The leaves had long fallen from the trees, and pavements were covered in snow and it was cold, bitterly cold. Cologne looked like the backdrop to a Cold War movie, but that didn’t matter to David Sylvian who was about to work with Holger Czukay, who was a pioneering musician who had been pushing musical boundaries to their limits and beyond for three decades. Eventually, the taxi arrived and David Sylvian made his way into the Can Studio.
David Sylvian’s destination had once been a cinema in a former life, but had been converted into a recording studio by Can. The Can Studio was where the group had recorded many of their albums, and was where Holger Czukay recorded his previous album Der Osten Ist Rot.
After meeting Holger Czukay, David Sylvian was introduced to the rest of the musicians who were working on Rome Remains Rome and looked around the famous Can Studio. He noticed that there were mattresses were scattered on floor, but what he was pleased to see was a pump organ in the studio. Twenty-eight year old David Sylvian hoped that he would get the opportunity to play the pump organ during his stay in Rome.
Plight and Premonition,
Little did David Sylvian know that when he got the opportunity to play the pump organ against a soundtrack of orchestral samples provided by Holger Czukay. Meanwhile, Holger Czukay who was watching from the control room had the tapes running and was recording the former Japan frontman’s performance. He was in a trancelike state and was enjoying playing the pump organ. Music flowed through and out of him, and it was as if it was being channeled through David Sylvian. In the control room, Holger Czukay watched and listened, realising that something special was unfolding.
After David Sylvian stopped playing the pump organ, he stood up and moved across to the piano and sat down. As airy, ethereal sounds filled the Can Studio soon, music was flowing through David Sylvian as he continued to improvise. However, after just ten or fifteen minutes, Holger Czukay told David Sylvian via the talkback system to move on to something new, a different concept.
This was the pattern for the remainder of the remainder of the evening, with Holger Czukay coaxing and cajoling a series of performances out of David Sylvian. Later, as they listened back to the performances, the ambient, avant-garde music was atmospheric and spartan and seemed to reflect winter in Cologne in early 1986. However, although both musicians were happy with what they had recorded, they realised that although they had the basis for an album, they knew that there was still a lot of work to be done.
The music that David Sylvian and Holger Czukay had recorded that night, formed the basis for their first collaboration Plight and Premonition It’s a collaboration between two musical pioneers that began by chance.
After reviewing the recordings made during the all-night session at Can Studio, David Sylvian and Holger Czukay continued to work on their first collaboration. Holger Czukay who had collaborated on several albums took charge of production on what later became Plight and Premonition.
Holger Czukay wasn’t just the producer, and was soon playing an important part in the recording process. One of his earliest and most important contributions was the piano motif he added to Plight. After that, Holger Czukay added flute samples. Elsewhere, he used orchestral and piano samples, environmental treatment and deployed his trusty short wave radio. However, his musical partner took a different approach to making music.
Meanwhile, David Sylvian who was a talented multi-instrumentalist played piano, harmonium, vibraphone synths and guitar. They were recorded and manipulated by producer Holger Czukay.
He was joined by his old friend and former Can drummer Jaki Liebezeit who added infra-sound effects. His drums weren’t necessary for the recording of Plight and Premonition which was a beat free zone.
When David Sylvian and Holger Czukay completed recording and Plight and Premonition, they mixed their first collaboration in 1987. It featured two lengthy tracks Plight (The Spiralling Of Winter Ghosts) featured on the first side, with Premonition (Giant Empty Iron Vessel) featuring on the second side of this what was an ambient classic in waiting.
With Plight and Premonition completed, David Sylvian and Holger Czukay began looking for a record company who were willing to release their first collaboration. Record companies were reluctant to release such an ambitious and innovative album. The problem was it wasn’t commercial album, and Plight and Premonition would likely only appear to connoisseurs of ambient, avant-garde and leftfield music, and maybe, fans of Can and Japan.
Eventually, Plight and Premonition was released to critical acclaim by Virgin Records in March 1988. Ironically, both David Sylvian and Holger Czukay were signed to as solo artists to Virgin Records. Somewhat belatedly, David Sylvian and Holger Czukay’s first collaboration Plight and Premonition was released and sold well enough to reach seventy-one in the UK album charts.
David Sylvian and Holger Czukay had combined elements of ambient, avant-garde, experimental and musique concrète on Plight and Premonition. The music was variously atmospheric, beautiful, elegiac, ethereal, futuristic, haunting and otherworldly. However, much of the music that David Sylvian and Holger Czukay recorded was cinematic.
Plight and Premonition’s cinematic sound transports the listener back to the bitterly cold Cologne winter in early 1986. Other times, it’s like listening to excerpts from a lost sci-fi soundtrack as a myriad of otherworldly sounds chatter as found sounds and samples interject during the two lengthy soundscapes. For much of Plight and Premonition, the music sets the listener’s imagination racing.
Sometimes, though, when David Sylvian plays the piano, beautiful music seems to flow through and out of him. However, other times the multilayered soundscapes meander along and seem almost reluctant to reveal their secrets which is the result of the first collaboration between two musical pioneers.
Buoyed by the success of Plight and Premonition, David Sylvian and Holger Czukay’s thoughts turned to a second collaboration. This eventually became Flux and Mutability.
Flux and Mutability.
After David Sylvian returned from his 1988 solo tour, which was neither the most successful nor memorable of his career, he returned to Can Studio, in Cologne in 1989, to record a new album with his friend Holger Czukay. When David Sylvian arrived at Can Studio, he realised that the old studio had received a makeover.
David Sylvian noticed that a new mixing console had been installed in the Can Studio since his last visit. There was even new lighting and a new recording engineer in the Can Studio which seemed brighter and more modern. This would make recording David Sylvian and Holger Czukay’s new album much easier, which they made with a little help from their friends.
Just like their first collaboration at the Can Studio, David Sylvian and Holger Czukay played many of the instruments themselves. David Sylvian played guitar and keyboards, while Holger Czukay played bass, guitar and added vocals. He also took charge of electronics and used a Dictaphone as a makeshift instrument. Meanwhile, former can guitarist Michael Karoli and Jaki Liebezeit who played flute and a high-pitched hand-held drum played on Flux and Mutability. Other guest artists included vocalist Michi and Markus Stockhausen who played flugelhorn. For Holger Czukay this seemed fitting as he had had studied under Marcus’ father Karlheinz Stockhausen who was one of the most important and influential composers of the ‘20th’ and early ‘21st’ centuries.
Again, David Sylvian and Holger Czukay recorded two lengthy ambient soundscapes Flux (A Big, Bright, Colourful World) and Mutability (“A New Beginning Is In The Offing”). Both were written and produced by David Sylvian and Holger Czukay. Later, they mixed Flux and Mutability, which was delivered to Virgin Records.
Flux and Mutability which was the much-anticipated followup to Plight and Premonition, was released later in 1989. Just like their first collaboration, Flux and Mutability was released to widespread critical acclaim. Critics heaped praise upon the two lengthy and carefully crafted soundscapes.
Just like on Plight and Premonition, the soundscapes on Flux and Mutability are atmospheric and cinematic. Flux which is cinematic and benefitted from a widescreen sound, where David Sylvian and Holger Czukay were keen to portray a brave new world where everything was “big, bright and colourful.” That was the case as the listener basked in Flux’s feelgood sound as the multi-layered arrangement meanders melodically along with weeping guitars and Eastern sounds playing leading roles in this seventeen minute opus.
Although sonically and stylistically Mutability had much in common Flux, David Sylvian and Holger Czukay took a different approach to recording this soundscapes. It’s akin to a musical tapestry which is woven by the two sound designers. Rather then thread, they weave using weeping guitars, electronics, samples and found sounds, and also deploy all sorts of effects and processing and result is impressive.
Together, David Sylvian and Holger Czukay create anther beautiful, cinematic ambient soundscape. It’s a case of less is more as it once again, the soundscape meanders melodically along, as the listener basks in the beauty that is omnipresent during this musical tour de force.
After the release of Flux and Mutability, David Sylvian and Holger Czukay never recorded another album together. Flux and Mutability wasn’t as successful as Plight and Premonition, which had only released seventy-one in the UK charts. That was the end of what could’ve been a long and fruitful partnership from two musical pioneers.
Despite that, David Sylvian and Holger Czukay went on to enjoy long and successful careers. Sadly, Holger Czukay passed away on the ‘5th’ of September 2017, seventy-nine. Holger Czukay was one of music important, influential and innovative German musicians of his generation. He recorded and released several classic albums with Can, and then went on to enjoy a successful solo career and collaborated on several albums. They’re all part all part of Holger Czukay’s rich musical legacy.
Nowadays the two albums that David Sylvian and Holger Czukay collaborated were released to critical acclaim and regarded as ambient classics. This doesn’t mean that they were both commercially successful. Plight and Premonition reached seventy-one in the UK and passed most record buyers by while Flux and Mutability failed to find the audience it so richly deserved. However, Flux and Mutability is a cult classic, and just like its predecessor Plight and Premonition features beautiful, atmospheric and cinematic music that makes the world seem a better place.
Cult Classic: Sylvian and Czukay-Plight and Premonition.
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