CULT CLASSIC: SANDY DENNY-LIKE AN OLD FASHIONED WALTZ.
Cult Classic: Sandy Denny-Like An Old Fashioned Waltz.
Sandy Denny left Fairport Convention in December 1969, and in early 1970, decided to form a new band. The new band became Fotheringay, who released their eponymous debut album in June 1970. Critics hailed Fotheringay a masterful debut, and the album sold well upon its release. This looked like the start of another successful chapter in Sandy Denny’s career.
Buoyed by the success of Fotheringay, the band began work on their sophomore album in November 1970. As the sessions continued into December 1970, it was thought that everything was going to plan and Fotheringay’s sophomore album would soon be completed. Sadly, in January 1971, it was announced that Fotheringay were no more and the band split-up. What would eventually become Fotheringay 2 was shelved and the album wasn’t released until 2008.
With Fotheringay now consigned to musical history, Sandy Denny decided to embark upon a solo career. Sandy Denny signed to Island records, and soon, began to work on to release her debut solo album, The North Star Grassman and The Ravens. For Sandy Denny, this was the start of a new and exciting chapter in her career.
The North Star Grassman and The Ravens.
After Fotheringay split-up, Island Records were keen for the latest signing to enter the studio. Sandy Denny, Island Records believed, had the potential to quickly become one of the company’s biggest selling artists. When Sandy Danny entered the studios in March 1971, it was with the weight of expectation on her shoulders.
By then, Sandy Denny was maturing as a songwriter. This was what she had planned to hone her songwriting skills after she left Fairport Convention in December 1969. By March 1971 she was an accomplished songwriter and had written eight of the eleven songs on The North Star Grassman and The Ravens. This included Late November and John The Gun which had been recorded for the Fotheringay 2 sessions. Among Sandy’s other compositions, were The Sea Captain, The Optimist, Next Time Around, Wretched Wilbur, The North Star Grassman and The Ravens and Crazy Lady Blues. They joined a rework of the traditional song Blackwaterside; Bob Dylan’s Down In The Flood and Charles Robins’ Let’s Jump The Broomstick. These songs were recorded over a three-month period with some familiar faces.
The recording sessions began in March 1971, at Sound Techniques, with Sandy Denny, John Wood and Fairport Convention’s Richard Thompson tanking charge of production. Just two songs were recorded there, Blackwaterside and Let’s Jump The Broomstick. Then things were moved in-house and the rest of the sessions took place at Island Studios, in London.
At Island Studios, Sandy Denny was accompanied on some of the tracks by the musicians that were previously part of Fotheringay. Other musicians were drafted in when they were needed. This included drummer Roger Powell, bassist Tony Reeves, Buddy Emmons on pedal steel guitar, violinist Barry Dransfield and Ian Whiteman on piano and flute organ. Royston Wood and Robin Dransfield added backing vocals on John The Gun. Co-producer Richard Thompson played accordion, bass, electric and acoustic guitar and sang on Down In The Flood. Harry Robertson arranged the strings on Next Time Around and Wretched Wilbur. That talented band spent two months recording The North Star Grassman and The Ravens which was completed by May 1971, and was released four months later.
Before the release of The North Star Grassman and The Ravens, critics had their say on Sandy Denny’s debut solo album. With its mixture of Sandy Denny compositions, and cover versions, it was a truly captivating album. Sandy Denny’’s vocals were compelling, as she breathed meaning and emotion into lyrics. Among the highlights were John The Gun, Late November, the wonderfully wistful Next Time Around and The North Star Grassman and The Ravens. That’s not forgetting Down In The Flood, where the interplay between Richard Thompson’s guitar and Sandy’s vocal is masterful. The only songs some critics felt let the album down slightly, was Let’s Jump The Broomstick and Down In The Flood. Still, though, The North Star Grassman and The Ravens was a hailed a musical masterpiece and minor folk rock classic. Sandy Denny it seemed, could do no wrong.
When The North Star Grassman and The Ravens was released in September 1971, the album didn’t sell in the huge quantities that Island Records had hoped. They seemed to envisage Sandy Denny enjoying the same commercial success that Joni Mitchell was enjoying in America. Sadly, that wasn’t to be, although Sandy Denny was enjoying the same critical acclaim that her American counterpart was enjoying. This would continue on her sophomore album Sandy.
Sandy.
There was no rest for Sandy Denny after she returned from a tour to promote the release of her debut album, The North Star Grassman and The Ravens. Two weeks later, in November 1971, Sandy Denny began recording his sophomore album Sandy at Sound Techniques and Island Studios.
By then, Sandy Denny had been busy, and had written eight new songs that would feature on Sandy. This included It’ll Take a Long Time, Sweet Rosemary, For Nobody to Hear, Listen, Listen, The Lady, Bushes and Briars, It Suits Me Well and The Music Weaver. These songs joined covers of Bob Dylan’s Tomorrow Is A Long Time, and the traditional song The Quiet Joys Of Brotherhood, which Richard Fariña had written lyrics for. These songs were recorded by a band that featured familiar faces and new names.
The first change was that Trevor Lucas had been hired to produce Sandy. John Wood who had played such an important part in the sound and success of The North Star Grassman and The Ravens was relegated to engineer. Similarly, Richard Thompson’s only part in Sandy was playing on five songs. However, one thing hadn’t changed, were the studios that were used.
Just like with Sandy Denny’s debut album, recording took place at Sound Techniques and Island Studios. When the first sessions took place in November 1971, Sandy Denny was joined by British folk royalty, including Fotheringay bassist Pat Donaldson. He was joined by four members of Fairport Convention, Richard Thompson on mandolin, acoustic and electric guitar, vocalist Linda Thomson, violinist Dave Swarbrick and Trevor Lucas on acoustic guitar. They were joined by some new names.
This included The Flying Burrito Brothers’ pedal steel player Sneaky Pete Kleinow. He was joined by organist and pianist John Bundrick. Both men played on It’ll Take A Long Time and Tomorrow Is A Long Time. The final member of Sandy Denny’s band was John Kirkpatrick who played concertina on It Suits Me Well. With the lineup of the band finalised, the recording of Sandy got underway.
With an all-star band for company, Sandy Denny recorded the ten songs over five sessions held during November 1971 and then in April and May 1972. Once the ten songs were recorded, the strings and horns were added.
Harry Robertson was brought in to arrange the strings on Listen, Listen, The Lady and The Music Weave. Allen Toussaint was drafted in to arrange the horns on For Nobody to Hear. Rather than travel to Britain, Allen Toussaint recorded the horn section at the Deep South Studio in Baton Rouge, Louisiana. Once the strings and horns were added, and Sandy was mixed and mastered, and Sandy was almost ready for release.
Before that, critics received their advance copy of Sandy, and Sandy Denny and the A&R executives at Island Records awaited their verdict.The critics were won over by Sandy, and noted that th promotion of Trevor Lucas to the position of producer had paid off. He managed to successfully combine the two disparate sides of Sandy Denny’s music. This was the traditional folk sound, and the more modern folk rock sound. Part of this was in the choice of instruments. Traditional instruments like a mandolin and acoustic guitar harked back to folk music’s past; and the pedal steel and Hammond organ were its future. However, key to the success of Sandy were Sandy Denny’s skills as a singer and songwriter.
Some of Sandy’s finest moments were on Listen, Listen, where strings and a mandolin accompany her vocals, and on The Lady, where Sandy delivers a heartfelt vocal. Then on Quiet Joys Of Brotherhood, the lushest of strings provide the perfect backdrop for Sandy. It was a similar case with the horns on For Nobody to Hear. Bob Dylan’s oft-covered Tomorrow Is A Long Time takes on new meaning thanks on Sandy. Critics were calling Sandy a minor classic. Surely the album would bring commercial success Sandy Denny’s way?
Sadly, it wasn’t to be, and when Sandy was released in September 1972, history repeated itself when Sandy was the commercial success that Island Records was hoping for. This was a huge disappointment for Sandy Denny, and it would nearly two years before she returned with her third album Like An Old Fashioned Waltz.
Like An Old Fashioned Waltz.
After returning from a tour where she was promoting her sophomore album Sandy, Island Records wanted Sandy Denny to head back into the studio. The recording then touring schedule was relentless. However, the tour had given Sandy Denny time to think about where her career was heading.
When she returned home, Sandy Denny had done a lot of soul-searching and decided that she wanted to make her impression musically. That was no surprise as Sandy Denny had been rubbing shoulders with two of Britain’s biggest musical exports, Led Zeppelin and The Who. She had performed with both bands, and saw how the other half lived. By the end of the tour, Sandy Denny had decided that she wanted to enjoy a taste of the commercial success both bands were enjoying.
This was music to executives at Island Records’ ears. However, Sandy Denny was still disappointed by the commercial failure of her first two albums. It seemed folk rock wasn’t going to make Sandy Denny rich. That was when she realised that she would have to broaden her appeal if she wanted to enjoy the commercial success she wanted.
In her heart of hearts, Sandy Denny knew her music had to change if it was going to appeal to a much wider audience. So for her third album, Like An Old Fashioned Waltz, Sandy decided to make some changes. She decided to incorporate elements of pop and jazz into her usual folk rock sound on her next album, Like An Old Fashioned Waltz. Despite deciding to change direction musically, Sandy decided to stick with Trevor Lucas who had produced Sandy.
It would’ve been awkward if Sandy Denny had decided to change producer, as Trevor Lucas and Sandy Denny had married during 1973. The only change Sandy Denny made, was to bring John Wood back as co-producer. They would co-produce Like An Old Fashioned Waltz in London and Los Angeles.
For Like An Old Fashioned Waltz, Sandy Denny had written eight new songs. This included Solo, Like An Old Fashioned Waltz, Friends, Carnival, Dark The Night, At The End Of The Day and No End. The only cover versions were Doris and Fred Fisher’s Whispering Grass and Sammy Cahn, Saul Chaplin and LE Freeman’s Until The Real Thing Comes Along. Sandy Denny remembered the two songs from her father’s record collection, and gave them a jazzy makeover. These songs were recorded in Sound Techniques, in London, and A&M Studios, Los Angeles, between May and August 1973.
Again, the great and good of folk music were present for the recording of Like An Old Fashioned Waltz. Sandy Denny was joined by former Fotheringay bassist Pat Donaldson, and six members of her former group Fairport Convention. This included Richard Thompson on mandolin, acoustic and electric guitar, guitarist Jerry Donahue, bassist Dave Pegg, drummer Dave Mattacks, violinist Dave Swarbrick and Trevor Lucas on acoustic guitar. They were joined by some familiar faces and new names.
The familiar face was John Bundrick, who played on Sandy. This time around, he played organ, piano and clavinet on Like An Old Fashioned Waltz. New names included bassist Danny Thompson, who had previously worked with Nick Drake and John Martyn. Danny Thompson was joined by drummer Gerry Conway and saxophonist Alan Skidmore. Sandy Denny’s band was shaping up nicely.
Other new names included Diz Disley on acoustic guitar, organist Jean Roussel and pianist Ian Armit. They were part of a band that spent three months recording Like An Old Fashioned Waltz in L.A. and London. Eventually, the album was released by August 1973, and executives at Island Records planned to release Like An Old Fashioned Waltz in late 1973.
That was until Sandy Denny dropped a bombshell, when she announced that she was rejoining Fairport Convention, and embarked upon a tour that lasted from autumn 1973 to June 1974. Suddenly, Island Records’ plans were in disarray and they had no option but to postpone the release of Like An Old Fashioned Waltz.
Eventually, Island Records rescheduled the release of An Old Fashioned Waltz for June 1974. By then, Sandy Denny had just returned from touring with Fairport Convention. Somewhat belatedly, Like An Old Fashioned Waltz was about to be released.
Before that, critics had their say on Sandy Denny’s much-anticipated third album. When critics heard Like An Old Fashioned Waltz, they were struck by how personal album it was.
Like An Old Fashioned Waltz finds Sandy Denny laying bare her soul and sharing her deepest secrets and fears. Many of the songs on An Old Fashioned Waltz dealt with things that preoccupied and worried Sandy Denny. This included everything from loss and loneliness, the changing of the season, a fear of the dark and ironically, the passing of time. Like An Old Fashioned Waltz was also a very different album from her two previous albums, with its jazz and pop stylings.
Especially the covers of Whispering Grass and Until The Real Thing Comes Along, which were given a jazzy makeover by Sandy Denny and her band. Stylistically, these two songs showed a different side to Sandy Denny, and jazz suited the twenty-seven year old singer-songwriter. However, the rest of Like An Old Fashioned Waltz was quite different.
On a number of tracks the lushest of strings joined a subtle piano in creating a ruminative and wistful album. Highlights included the album opener Solo, Friends, Dark The Night, At the End Of The Day and No End, which gave some insight into who Sandy Denny was as a person. Like An Old Fashioned Waltz was also a quite beautiful and extremely personal album from Sandy Denny which had won over the majority of critics.
While some reviews were positive, the usual suspects including the self-styled Dean of American Rock Critics wasn’t impressed. In his Village Voice review he called Like An Old Fashioned Waltz a “slugging album.” Other critics took a more favourable view of Like An Old Fashioned Waltz, and believed that this was the album that was destined to transform Sandy Denny’s fortunes.
Sadly, it wasn’t to be, and when Like An Old Fashioned Waltz was released in June 1974, commercial success eluded the album. Whispering Grass was chosen as the lead single, and was released in 1973. This was a strange choice, as it wasn’t one of the stronger songs on the album. Unsurprisingly, it failed to catch the attention of record buyers. For Sandy Denny this the commercial failure of Like An Old Fashioned Waltz and the single Whispering Grass was a huge blow.
Worse was to come when the release of the sophomore single Like an Old Fashioned Waltz was cancelled. For Sandy Denny, her dreams of becoming one of the biggest names in music had come to nothing. With her dreams in tatters, Sandy Denny rejoined Fairport Convention for the third and final time.
It wasn’t just Sandy Denny that embarked upon a world tour with Fairport Convention. So had her husband and producer Trevor Lucas. With Sandy Denny touring the world with Fairport Convention, her solo career was put on hold.
For Sandy Denny, Like An Old Fashioned Waltz was the one that got away, and was an album that had the potential to transform her career and introduce her music to a wider audience. Sadly, that wasn’t to be, bur since then, Like An Old Fashioned Waltz has been reappraised by critics and nowadays, is regarded as a cult classic that showcases the considerable talents of the late, great Sandy Denny who is remembered as one of the finest folk singers of her generation.
CULT CLASSIC: NEU!-NEU!
Cult Classic: Neu!-Neu!
There aren’t many artists who after leaving one of the most pioneering groups in musical history, end up founding another groundbreaking group. That’s what happened to Klaus Dinger and Michael Rother who had both been members of Kraftwerk, but left in 1971. After leaving Kraftwerk, the pair founded Neu! another Kratrock band.
Neu! went on to be one be one of the most influential groups in musical history. They’re one of the founding father’s of Krautrock. They’ve influenced everyone from Brian Eno, David Bowie, Iggy Pop, Radiohead, Primal Scream and a generation of electronic music producers. However, Neu only released a trio of albums between 1972 and 1975. Their debut album was Neu!, released in 1972. It was followed by Neu! 2 in 1973 and then Neu! ’75 in 1975. These three albums were among the most influential albums released during that period. Despite being innovative and influential, Neu!’s three albums weren’t particularly successful when they were released .
Just like so many other musical pioneers, Neu! didn’t enjoy the success their music deserved. Maybe Neu! were ahead of their time? Possibly, people didn’t understand what was essentially, a new musical genre, Krautrock. This was the case for Neu’s contemporaries Can, Cluster and to some extent, even Kraftwerk. Since then, a new generation of musicians and music lovers have discovered Krautrock. Its influence can be heard in modern music. Indeed, many musicians refer to Neu! as one of the groups that have influenced them. One of the most influential albums Neu! released was their eponymous debut album.
It was 1971 when Klaus Dinger and Michael Rother decided to form Neu. Both had been members of Kraftwerk, but not for any length of time. Klaus, a drummer, joined midway through the recording of Kraftwerk’s eponymous debut album. Michael, a bassist, joined Kraftwerk after the album was finished. When Kraftwerk was released in 1971, it wasn’t a commercial success. It only sold 30,000 copies. For the founder of Kraftwerk Ralph Hutter, this was too much. He left the band for six months. Kraftwerk carried on though.
Kraftwerk were reduced to a trio of Wolfgang Scheider, Klaus Dinger and Michael Rother. They played a few concerts, and even appeared on German television program Beat Club. However, concerts were becoming few and far between. For two members of Kraftwerk, this was becoming frustrating. Klaus Dinger and Michael Rother decided to leave Kraftwerk and form a new band.
When they founded his new band, which was based in Dusseldorf, there were debates about the band’s name. Michael though the band should have an organic name. Klaus however, had hit on the name Neu! So, the new band became Neu! To go with the new name, a pop art logo was designed and copyrighted. This new logo was seen as a comment and protest against the modern consumer society. Just like contemporaries Can, Neu weren’t afraid to combine social comment and art. Having settled on a name, Neu headed to the recording studio.
Recording of what became Neu! took place in December 1971, at Windrose-Dumont-Time Studios, in Hamburg. Four days had been booked to record the six songs that Klaus and Michael cowrote. Klaus played drums, guitar and Japanese banjo, while Michael played guitar and bass. Conny Plank, who’d produced Kraftwerk’s debut album would act as producer. He also acted as a go-between, when it came to differences of opinion between Klaus and Michael.
For the first two days, it was slow going. Nothing much was achieved. It was only only when Klaus brought along his Japanese banjo that they began to make progress. That seemed to act as a catalyst. Not long after this, Klaus first played his trademark motorik beat. That’s where Klaus plays a 4/4 drum beat with only very occasional interruptions. The effect is hypnotic and mesmeric. It can be heard on Hallogallo and Negativland. Klaus didn’t realise how influential the motorik beat would become. The sessions carried on and once they were finished, Conny Plank mixed Neu! at Star Musik Studio, in Hamburg. Now Neu! was ready for release.
On its release by Brain Records in 1972, Neu! wasn’t a commercial success. In total, it sold only 30,000 records. For Klaus and Michael this must have been hugely disappointing. They must have felt history was repeating itself again. After all, Kraftwerk’s debut album hadn’t been a commercial success. However, there was another thing the two albums had in common, they were influential and innovative albums from two of the founding fathers of Krautrock.
Opening Neu! is Hallogallo, a ten minute epic. Chiming guitars, funky bass and driving drums unite as the tempo increases. It’s a track to loose yourself in. At the heart of the arrangement is Klaus’ drumming. He creates a hypnotic groove, thanks to the motorik beat. It hardly changes, except for occasional crashing cymbals. Crystalline guitars escape from the arrangement, wah-wahing into the distance. Washes of guitar create an atmospheric, ambient sound. It’s a counterpoint to mesmeric rhythm section, where the bass and drums are one. They match each other every step in the way. Later, blistering guitars and thunderous drums see the arrangement head in the direction of rock and psychedelia, as this groundbreaking, hypnotic and genre melting track introduces musical pioneers Neu!
An eerie vocal is panned right and the sound of a plane descending from the sky opens Sonderangebot. This gives the arrangement a cinematic sound. It reappears, adding to the drama of this experimental sounding track. Sound effects are utilised, before gongs and cymbals crash. Somewhere in the distance water runs, while a droning sound makes its presence felt. The moody arrangement assails you. You’re surrounded by it, unable to escape it. Cinematic, disturbing, eerie and experimental, Sonderangebot is all this and more, including innovative.
From the opening bars, Weissensee has a moody sound. It reminds me of Pink Floyd. The tempo is slow, just Klaus’ drums providing the hypnotic heartbeat. Guitars wah-wah, as if speaking in some unknown language. Together, they march along purposefully, as elements of rock, psychedelia, funk, Krautrock and ambient music create a dramatic, cinematic opus.
Side two of Neu! was entitled Jahresübersicht and is a three part piece. The first past is Im Gluck (Lucky). Straight away, it has an experimental sound. What sounds like people in a boat, chatting and laughing can be heard. This gives the track an avant-garde, ambient sound. Droning guitars arrive from faraway. Gradually, they drift in, taking centre-stage. They’re alone, wah-wahing and recreating the sound of wistful strings. Above the arrangement, birds can be heard as a boat is rowed. You wonder where to? Here, Neu draw inspiration from ambient, avant garde, classical and experimental music, creating a wistful soundscape that’s atmospheric and cinematic.
Negativland” (Negative Land) is the second track in the three part movement. It features Klaus’ trademark motorik beat. The sound of pneumatic drills, applause and a discordant symphony assail you. It has a psychedelic sound, reminiscent of Sgt. Peppers Lonely Heart’s Club Band. Then it’s all change. A bubbling bass combines with Klaus’ motorik beat. Shredded guitars spraying feedback add a free jazz sound. There’s an avant-garde influence as sound effects are unleashed. Neu! use panning effectively, meaning the music surrounds you. By now they’re in a groove, and are exploring it fully. Rock, funk, jazz and psychedelia are combined as the Krautrock pioneers become one. It’s as if Klaus and Michael know what the other is about to do, as they create an uber funky, hypnotic, groove-laden track.
Closing Neu! is Lieber Honig” (Dear Honey). This was the final piece in this groundbreaking movement. It has pensive, spacious and melancholy introduction. Space is left, before a tender, fragile and ethereal vocal makes its entrance. Just like the arrangement, it spacious and wistful. It’s akin to a stream of consciousness, or a cathartic confessional cleansing. When the vocal drops out, a droning noise drifts in. This is the polar opposite to the rest of the arrangement. After that, the track reminds me of Im Gluck, as someone rows a boat across. That’s all you can hear, apart from the droning noise heading into the distance. The result is an enigmatic, ethereal and experimental track which poses more questions than answers.
Having left Kraftwerk to found a new band, Neu!, Klaus Dinger and Michael Rother began as they meant to go on, by creating music that was pioneering. This began with their debut album Neu! Recorded over just four days in Hamburg, Klaus and Michael, with Conny Plank producing and acting as referee, created one of the most important and influential albums in the history of not just Krautrock, but music per se. Quite simply, Neu’s importance can’t be underestimated. It went on to influence everyone from Brian Eno, Iggy Pop and Brian Eno right through to Primal Scream and Radiohead. Even forty-two years after the release of Neu! it’s still cited as album that influenced the latest generation of musicians. So, you’d think that Neu! sold millions of copies?
Sadly, that wasn’t the case. When Neu! was released, it sold just 30,000 copies. Since then, Neu! has been released several times, allowing several generations of musicians and music lovers to hear the album. This includes several generations of electronic music producers. Just like Brian Eno, Can, Cluster and Kraftwerk, Neu!’s music has influenced electronic music. There’s a reason for this. The music these artists produced was groundbreaking.
When Neu! was released in 1972 it was an album that was innovative, groundbreaking and totally unique as they combined disparate musical genres. They drew inspiration from ambient, avant garde, electronic, experimental, funk, psychedelia and rock to create their unique brand of Krautrock. This is no different to how a painter uses his palette to create paintings. Neu’s musical experiments were groundbreaking and unique. Proof of this was Klaus’ trademark motorik beat. That’s where Klaus played a 4/4 drum beat with only a very occasional interruption. The effect is hypnotic and mesmeric. It can be heard on Hallogallo and Negativland. This helped Neu! to stand out from other Krautrock groups.
It’s also why Neu!, along with Can, Cluster and Kraftwerk, are seen as the founding fathers of Kraftwerk and why forty-seven years after its release this cult classic is regarded as one of the most important, innovative and influential Krautrock albums ever released.
Cult Classic: Neu!-Neu!
CULT CLASSIC: LIGHTDREAMS-ISLANDS IN SPACE.
Cult Classic: LightDreams-Islands In Space.
Thirty-five years ago in 1981, the British Columbian band LightDreams, released their debut album, Islands In Space. It was a captivating, psychedelic sci-fi odyssey where LightDreams explored cosmic ideology. This was something that had fascinated and enthralled the band’s leader Paul Marcano ever since he first encountered the work and theories of author, physicist and space activist, Gerard K. O’Neill. So much so, that Paul decided to explore the subject on LightDreams’ debut album, Islands In Space.
Later, in 1981, LightDreams released Islands In Space. Normally, an album like Islands In Space would’ve found favour with fans of psychedelia and progressive rockers who embraced cerebral, innovative and epic albums. Alas, that wasn’t the case.
There was a quite simple reason for this. Unlike the majority of successful psychedelic and progressive rock bands, LightDreams weren’t signed to a record company. This meant there was no promotional budget to hep spread the word about slands In Space. Nor did LightDreams have the access to people with the expertise to promote what was a truly ambitious and innovative. Instead, LightDreams decided to self-release Islands In Space. They had 1,000 albums pressed on vinyl which the planned to sell themselves. Sadly, Islands In Space wasn’t the success that the members of of LightDreams had hoped.
It was only much later, that word began to spread about Islands In Space and its followup 10,001 Dreams. Occasionally, a few lucky record and tape collectors chanced upon a copy of Islands In Space or 10,001 Dreams. They paid their money and discovered tw groundbreaking hidden gems. Before long, collectors and aficionados of psychedelia were looking for copies of Islands In Space and 10,001 Dreams. This was a long shot, and most collectors came up short. Those that found a copy were transported back in time to British Columbia in 1981 when Paul Marcano met the musicians with whom he would form LightDreams.
Like most towns and cities in 1981, British Columbia had a vibrant and thriving music scene. Paul Marcano was part of this scene, and had been for eight years. By 1981, Paul deiced to look for likeminded musicians who he collaborate with, and maybe even form a band?
Having loked through the local music scene, and at his circle of friends, eventually, Paul found likeminded musicians he could work with. This included two of his friends, rhythm guitarist Cory Rhyon and keyboardist Andre Martin. They would be joined by bassist Alex Lowe, lead guitarist John Walker and Tim Moore on keyboards and saxophone.
Islands In Space.
With Paul Marcano’s search for likeminded musicians over, the search for a name. Eventually, they decided to call the newly formed group, LightDreams. This suited the type of music Paul intended to make. LightDreams was, to all intents and purposes, a vehicle for Paul Marcano. Compared to the other members of LightDreams, Paul had a wealth of experience.
He had been making music since 1973. Paul Marcano’s recording career began in 1973, when he recorded what should’ve been his debut album. For whatever reason, the album was never released. However, one of the songs would feature on 10,001 Dreams, which was LightDreams’ 1982 sophomore album. So would two songs from Paul’s unreleased sophomore album, It had been recorded in 1978, but just like its predecessor it lay unreleased. LightDreams offered Paul a new and fresh start.
Paul Marcano was brimming with ideas enthusiasm and energy. Not only had Paul been writing songs for a number or years, but he was also a talented multi-instrumentalis with a vision. That would become clear as LightDreams’ thoughts began to turn to their debut album.
With the encouragement of his friends Cory Rhyon and Andre Martin, Paul began writing Islands In Space. His creativity was about to blossom. Paul had already written I Ride With The Wind and Atmospheric Dreams/My Spirit Soars in 1976. They were perfect for the project Paul envisaged. However, two songs don’t make an album, so Paul penned four new tracks, The High Frontier, Islands In Space, Voiceless Voice, Solar Winds and Farewell Goodbyes during 1981. The other track was Atmospheric Dreams, which Paul and Cory Rhyon. These songs would become Islands In Space, where Paul shared his vision for the future.
The songs on Islands In Space had been influenced by the work and theories of author, physicist and space activist, Gerard K. O’Neill. This was someone who Paul Marcano had been enthralled by for several years. One of his theories was, that eventually, mankind would inhabit outer space. This Gerard K. O’Neill believed, would result in a much better world for those left behind inhabiting earth. No longer would there be problems with overpopulation and a reliance on natural resources. However. Paul took this proposition further, exploring whether mankind’s grasp of space-age technology could lead to a peace and cosmic presence on earth? This was the thread that ran through what was sure to a an album cerebral and ambitious music. There was a minor problem though.
Recording studios were expensive and beyond the budget of LightDreams. An alternative was, recording the album using the pro-sumer technology that was becoming popular in the early eighties. That still required funds, funds which for most new bands, were limited. However, one of LightDreams’ friends had another idea, and decided to approach executives at the TEAC Corporation, in the hope that they would let the band use some of their technology. This was a long shot, but one that paid off.
The TEAC Corporation, who were a market leader in early eighties recording equipment, allowed LightDreams to use a 144 track cassette recorder. This was beyond their widest dreams, and more than enough to the record the psychedelic opus that LightDreams were planning, Islands In Space.
Having secured what was start of the art recording equipment, work could begin on Islands In Space. Paul Marcano was joined by the rest of LightDreams. The rhythm section included just bassist Alex Lowe and rhythm guitarist Cory Rhyon. LightDreams didn’t employ a drummer on Islands In Space. Other musicians that featured on the album were lead guitarist John Walker, keyboardist Andre Martin and Tim Moore on keyboards and saxophone. These musicians were used on an ad hoc basis, and didn’t feature on every track. Some musicians only featured on one or two tracks. That’s apart from Paul, who played bass, rhythm and lead guitar, keyboards and added vocals and sound effects. He was able to use all sorts of sonic trickery and layer instruments instruments on Islands In Space. After all, he access to the latest musical technology.
To makes this music, which became Islands In Space, Paul Marcano who was producing the album would make good use of the 144 track cassette recorder. This was more than enough to record even the most ambitious Magnus Opus. Islands In Space had its very own Magnus Opus, Atmospheric Dreams; My Spirit Soars; Atmospheric Dreams a near eleven minute epic. It was just one of the seven tracks that were recorded and became Islands In Space.
Now that Islands In Space was completed, LightDreams decided to release the album themselves. This wasn’t unusual back in 1981, when there were many private pressings released. LightDreams had a 1,000 vinyl copies of Islands In Space pressed. These albums they hoped, they would be able to sell to their fellow British Columbians.
Alas, it wasn’t to be. Islands In Space, a captivating psychedelic and progressive sci-fi odyssey where LightDreams explored cosmic ideology passed record buyers by. Paul Marcano was unable to setup consignments to record shops. This was a disaster, and meant that record buyers were unable to find copies of Islands In Space in their local shops. At least a few local radio stations played tracks from Islands In Space. Later, the title-track was used on a Canadian television programme. Mostly, though, Islands In Space passed record buyers by. They missed out on an album that wasn’t just ambitious, but innovative and featured cerebral and thought-provoking lyrics.
Somewhat belatedly, word began to spread about Islands In Space. They paid their money a groundbreaking hidden gem. Before long, collectors and aficionados of psychedelia were looking for copies of 10,001 Dreams. This was a long shot, and most collectors came up short. Now though, Got Kinda Lost Records’ remastered reissue of Islands In Space allows the album to be heard by a much wider and appreciative audience.
The High Frontier opens Islands In Space, and is a guitar lead instrumental. Paul and lead guitarist John Walker take charge of the guitars. They chime and chirp, while a grinding sound is the recording of a guitar being played backwards. These guitars melt into one, with their glistening, crystalline sound being panned across the arrangement, and sometimes, back to front, At one point, it’s as if guitars are replicating the sound of a deserted beach, with seagulls flying overhead. Later, the arrangement grows in power and drama, as the guitars and bass create cinematic backdrop. That’s until a blistering, scorching guitar solo is unleashed, It’s then replaced by a sprinkling of space age sounds that come courtesy of the guitars.It seems that The High Frontier is a showcase for the LightDreams’ guitarists and their inventiveness and imagination.
On the title-track, Paul sings of his dreams that one day, there will be Islands In Space. A guitar is strummed urgently, and the sound of engine buzzing can be heard as the arrangement begins to reveal its secrets. Maybe it’s heading for one of the Islands In Space? Paul’s vocal is accompanied by guitars and washes of keyboards. Reverb is added to arrangement, adding lysergic sound. Soon, the bass is played firmly, as synths maunders and grind. Mostly this big, bold arrangement has a dreamy sound, with Paul’s impassioned vocal taking centre-stage Midway through the song, a saxophone is added,. and brings to mind Pink Floyd, and their Magnus Opus Dark Side Of The Moon. It drifts in and out, as Paul scats and guitars combine with keyboards. Together, the play their part in a carefully crafted, melodic song with cerebral and thoughtful lyrics.
The cinematic sounding Voiceless Voice sound as if it belongs on the soundtrack to the soundtrack to sci-fi movie. Glacial synths glide along, while beeps and squeaks tap out code. Meanwhile, dialogue between launch control and a spaceship is added. When the dialogue drops out, the ethereal, elegiac synths float along. They’re joined by a bass synth, which adds an element tension and drama. So too the bubbling synths and synth strings. Later, an alarm sounds and the dialogue returns “Columbia requests permission to dock?” This marks the end of this captivating voyage of discovery. Providing this cinematic accompaniment were LightDreams, who encourage the listener to let their imagination run riot? Those that do, will be richly rewarded.
I Ride With The Wind is a song Paul write back in 1976. He plays all the instruments on the track. This includes the acoustic guitar that sets the scene. It’s joined by another guitar and they provide the backdrop for Paul’s ruminative vocal. He’s contemplating space travel, and trying to imagine leaving planet earth behind and “I Ride With The Wind.” Meanwhile, just the guitars and bass accompany him. Briefly, reverb added to the vocal, before echo is added to the arrangement. It becomes dubby and beatific as if Paul’s is imagining and hoping that one day, this will be possible.
Atmospheric Dreams and My Spirit Soars are part of a twelve minute, two part suite. It’s the work of guitarist Cory Rhyon and Paul, who plays the rest of the instruments. This includes the bass that underpins the arrangement, guitar and wind chimes. Paul also adds another dreamy, beatific vocal and narrates the song with cinematic lyrics. Meanwhile, the arrangement meanders along, as Cory occasionally adds echo. He realises less is more, and this sparing use of echo proves effective. By then, elements folk rock, psychedelia and progressive rock combine. Later, a blistering rocky guitar cuts through the arrangement. Echo is added to this virtuoso performance before it drops out. Replacing it is a backwards guitar, before the scorching guitar makes a welcome return. It’s joined by an acoustic guitar before it’s all change.
Just guitars play, and add en elements of urgency as the second part of the suite unfolds. Musical genres melt into one as the guitars play. At one point, the guitars are reminiscent of Jethro Tull, as progressive rock and later folk combine. Later, the arrangement becomes understated, and there’s even a jazz influence to the guitar and bass. Things change when the buzzing bass synths makes it presence felt, before this on this genre-melting epic meanders to a close. It features Paul and Cory at their creative zenith, as they innovate and create music that’s imaginative and inventive.
Solar Winds is another instrumental. Cory’s acoustic guitar is combined with washes of Paul’s glacial synths. They’re responsible for a variety of futuristic sound, while what are described as Solar Winds are added. Together, they create a meandering backdrop that’s variously otherworldly, eerie, haunting, elegiac and futuristic. This conjures up images of the sounds and sights one would expect late at night in the desert, under the Joshua Tree.
Farewell Goodbyes closes Islands In Space. An acoustic guitar plays, as Paul dawns the role of narrator. That’s until the vocal proper enters. It’s interspersed with dialogue and sci-fi sounds, before a searing guitar is added. Later, Paul’s vocal and narration combine. They’re layered one on top of the other. Then another rocky guitar is unleashed briefly, before Paul continues his attempts to convince the listener that: “Islands In Space…are the next big taste.” These “Islands In Space.” Paul believed; “will save the human race.” Meanwhile, a guitar is panned, while there’s a beatific, hopeful sound to Paul’s vocal as he sings: “we’re on our way.” This thoughtful and cerebral song closes LightDreams debut album Islands In Space. It was a thought provoking album that deserved to be heard by a much wider audience.
Maybe things would’ve been different if Islands In Space had been released by a major label? Instead, the band self-released the album, and its release was beset with problems. Even setting up consignments of the album proved problematic. This meant that very few people outside of British Columbia got to hear Islands In Space. It was the album that got away.
Islands In Space was a polished and highly accomplished hidden gem of an album. Paul Marcano’s eight years of experience shine through on Islands In Space. By 1981 he was an experienced singer, songwriter, multi-instrumentalist and producer. He had recorded at least six albums, none of which he had released. Maybe Paul Marcano was searching for musical perfection? It may have been that Paul was searching for likeminded musicians, and only found them when he founded LightDreams in 1981.
LightDreams was essentially, Paul Marcano’s musical vehicle. He wrote six of the seven songs on Islands In Space, and cowrote the other song. Paul also produced and played many of the songs on Islands In Space. It’s a captivating, psychedelic sci-fi odyssey where LightDreams explored cosmic ideology. The lyrics are cerebral, ruminative and thought-provoking. That’s still the case thirty-five years after its release in 1981.
Alas, LightDreams’ debut album Islands In Space passed most people by. It was only discovered by a small group of discerning music fans living in British Columbia. Most collectors and aficionados of psychedelia got to the party late, as far as Islands In Space was concerned. That’s apart from a few lucky music fans who found a copy in second hand stores or bargain bins. They paid their money, and discovered a groundbreaking, genre-melting hidden gem. Before long, word was out, and collectors and aficionados of psychedelia were looking for copies of Islands In Space. The only problem was finding an original copy of the album.
Original copies of Islands In Space were incredibly rare. It was more good luck than good judgement when record buyers found a copy. Usually when they discovered a copy, the price was beyond the pocket of most record buyers. This meant a new audience who wanted to discover the delights of Islands In Space were unable to do so. Not any more though.
Islands In Space is a genre-melting album, which is a voyage of discovery.takes as its starting point psychedelia. However, Islands In Space is much more than psychedelic album. Elements of ambient, avant-garde, Berlin School, folk pop, Krautrock, progressive rock and rock can be heard throughout Islands In Spac. It’s a musical melting pot, where instruments and influences melt into one as LightDreams sculpt a captivating psychedelic sci-fi odyssey. LightDreams begin their exploration of cosmic ideology, which was continued on their sophomore album 10,001 Dreams.
Both Islands In Space, and its followup 10,001 Dreams are true cult classics, that showcase the considerable talents of LightDreams. Especially founder member Paul Marcano. He had been working towards releasing an album based on cosmic ideology for several years. This only happened when Paul Marcano met the likeminded musicians that joined him in LightDreams in 1981. Later in 19.81, Islands In Space was released. It’s the first, in a two part musical voyage of discovery, that features LightDreams’ unique, imaginative and innovative brand of cerebral and throught-provoking music on their captivating psychedelic, sci-fi odyssey, Islands In Space.
Cult Classic: LightDreams-Islands In Space.
CULT CLASSIC: ASHRA-CORRELATIONS.
Cult Classic: Ashra-Correlations.
When Manuel Göttsching released Inventions For Electric Guitar in 1975, this was meant to be the start of a new chapter in his career. Inventions For Electric Guitar was meant to be Manuel Göttsching’s debut solo album. Some eagle eyed record buyers weren’t so sure about that.
Atop the album cover to Inventions For Electric Guitar’s album were the words Ash Ra Tempel VI in small print. This muddied the waters somewhat. Did this mean that Inventions For Electric Guitar was the sixth album by Ash Ra Tempel? Maybe Manuel Göttsching had been talked into releasing one more Ash Ra Tempel album and this was the band’s swan-song? Some record buyers weren’t convinced.
If that was the case, why put Manuel Göttsching’s name on the album cover? Maybe this was paving the way for his solo career? The debate and confusion continued.
Nowadays, though, Inventions For Electric Guitar is regarded as Manuel Göttsching’s debut album. It seemed that the addition of Ash Ra Tempel VI was part of Ohr Records’ marketing campaign. Ash Ra Tempel was already a relatively well known ‘brand name’ within German music. So if record buyers didn’t recognise Manuel Göttsching’s name, there was every chance they would recognise Ash Ra Tempel. Inventions For Electric Guitar was indeed, a new chapter for him.
This new chapter continued in 1976. So did the confusion. The first place that Manuel Göttsching released his sophomore solo album New Age Of Earth, was in France. Again, the album bore the Ash Ra Tempel name. However, despite bearing the Ash Ra Tempel name, New Age Of Earth was a solo album. Manuel Göttsching had composed, played all the instruments and produced New Age Of Earth at his Studio Roma in Berlin. It seemed that the continued use of the Ash Ra Tempel name was proving problematic.
So when Manuel Göttsching signed to Virgin Records in the spring of 1977, he decided to dispense with the Ash Ra Tempel name. However, rather than release his solo albums as Manuel Göttsching, he made the decision to release them as Ashra. The first album to feature the Ashra name was New Age Of Earth. This added to the confusion.
Now there were two different versions of New Age Of Earth available. The French version bore the name Ash Ra Tempel, and the British version was credited to Ashra. However, Ashra were about to play a flying visit to Britain to promote the New Age Of Earth.
Ashra arrived in Britain in August 1977, not long after the release of New Age Of Earth. The purpose of the visit was twofold. There was the usual round of promotion meeting and gland-handling that accompanied the release of any album. Considering New Age Of Earth was Ashra’s debut for Virgin Records in Britain, there was more promotion than usual. Part of this was the second reason for the visit to London, a concert.
This was no ordinary concert. Ashra were going to play a concert at the Open-Air Theatre in Regents Park. This would mark the debut of Ashra. For Ashra, this was a high profile concert. So Manuel Göttsching brought with him, a couple of his musical friends.
To accompany him, Manuel Göttsching had brought along Lutz Ulbrich and Harald Grosskopf. They would accompany him when he took to the stage at the Open-Air Theatre in Regents Park. This would introduce the world to Ashra, and hopefully, put an end to the confusion. After this, Ashra had to return home. Manuel Göttsching had a new album to record.
Under the terms of his recording contract, Ashra had to begin work on his new album almost immediately. So on his return to Berlin, Manuel Göttsching began work on his next solo album. Recording began at Manuel Göttsching’s own Studio Roma in September 1977. He wrote and record a total of six tracks. They became Blackouts, his third solo album. It would be released by Virgin Records in 1978.
Before that, Ashra were due to fly out to Japan in late 1977. Despite being a solo artist, Manuel Göttsching decided to enlist the help of a couple of his musical friends for the Japanese tour. For the forthcoming Japanese tour, Manuel Göttsching was joined by Lutz Ulbrich and Harald Grosskopf. They became the expanded lineup of Ashra.
With the newly expanded lineup of Ashra in tow, Manuel Göttsching embarked upon the Japanese tour. It proved a huge success, with the new lineup of winning friends across Japan. After the success of the Japanese tour, Manuel Göttsching returned home, and his thoughts turned to his next album.
By then, the next Ashra album had been recorded, and Blackouts would be released in 1978, Manuel Göttsching couldn’t afford to rest on his laurels. He would need to begin work on the followup early in 1978. Most people expected it to be a solo album. After all, Manuel Göttsching had embarked upon a solo album in 1975. Since then, his star was in the ascendancy. His first two album Inventions For An Electric Guitar and New Age Of Earth were received to critical acclaim and furthered Manuel Göttsching’s reputation as a pioneer and and of the leading lights of German music. So why change what was a winning formula?
Despite this, Manuel Göttsching was beginning to think that the next Ashra album wouldn’t be a solo album. Especially given how well the trio had played during the Japanese tour. Maybe the trio should reunite for the next Ashra album. Eventually, Manuel Göttsching decided to ask Lutz Ulbrich and Harald Grosskopf to join him for the recording of his next album. That album would become Correlations, which was recently reissued as the Correlation Complete five disc box set.
Correlations.
When Manuel Göttsching decided to ask Lutz Ulbrich and Harald Grosskopf to join him for the recording of the next Ashra album, the pair agreed. For Lutz Ulbrich this was just like the old days, when he and Manuel Göttsching were both members of Ash Ra Tempel. The pair had recorded and released five albums between 1971 and 1973. Correlations was the first time they had recorded together for five years.
Before the record sessions began, Manuel Göttsching began rehearsing. For the rehearsals, he took Ashra to the old Ufa film studios in Berlin. Manuel Göttsching had managed to book one of the large rooms. This the other members of Ashra thought, was the perfect place to rehearse. This was just as well, it would be their second home for three weeks.
Before the rehearsals could begin, Ashra began to setup their instruments and equipment. The other thing he brought along was his trusty old Revox A77 mono tape recorder.
With the equipment setup, Manuel Göttsching pressed play as Ashra began to jam. That was all they did for the next three weeks. These lengthy sessions were recorded and would eventuality form the basis for the album.
After the rehearsals, the framework for some of the album. in place. Eventually, eight tracks were composed. Ice Train, Morgana Da Capo and Pas De Trois were written by the three members of Ashra. Manuel Göttsching wrote Oasis, Bamboo Sands and Phantasus. The other track on the album was Springtime. These tracks were recorded at three studios.
After the rehearsals, Ashra began work on the the album. Much of the recording took place at Erd-Studios, in Berlin with Ashra taking charge of production. Ashra brought along an array of traditional and modern equipment. This included Lutz Ulbrich’s guitar, synth strings, piano and mellotron. Drummer and percussionist Harald Grosskopf also brought along his synths. Manuel Göttsching came armed with an array electric guitars and synths. He also took charge of sequencing parts of Correlations. The recording took time, but eventually, Ashra completed the album.
With the album recorded and mixed, Ashra were ready to let executives at Virgin Records hear the new album. This new album, Ashra planned to call Phantasus.
When Ashra played Phantasus to the executives at Virgin Records, they weren’t impressed by the album. It wasn’t quite there yet they felt. There was still work to be done on the album.
For the three members of Ashra, this was a huge blow. They had spent months recording the album. However, Ashra seemed to be on the right road. They didn’t to rerecord the entire album. Some parts of the album had to be rerecorded.
Over the next weeks and months, the members of Ashra locked themselves away in the studio to salvage the album. Gradually, the album began to take shape. One track, Springtime didn’t make it onto to what became Correlations. Instead, it was replaced by Oasis, a Manuel Göttsching composition. Once the rerecording was complete, Manuel Göttsching handed the tapes over to the three engineers who had been chosen to remix the album.
Two studios and three engineers were used to remix Phantasus. Remixing took place at Audio Studio, in Berlin and at Panne-Paulsen Studio, in Frankfurt. The three engineers that were used were Udo Arndt, Eberhard Panne and Mick Glossop. He who ended up receiving a credit as co-producer. For Ashra, the decision to remix Phantasus was an expensive one, but one that paid off.
Phantasus which was renamed as Correlations, was a genre classic in waiting. When it was eventually released in 1979, critical acclaim would accompany the release of Correlations.
It was a genre-melting album where Ashra married elements of ambient, avant-garde, Berlin School, electronica, funk, jazz, Krautrock, post rock, progressive rock and rock.The result was an album where Ashra, now a fully fledged band, moved towards a much more rock oriented sound. This should’ve brought Ashra to the attention of a much wider audience.
Until then, Ashra had slipped under the musical radar, both at home and abroad. That was the case with the majority of the Krautrock and Berlin School bands and artists. While Ashra were by no means selling vast amounts of albums, they were more popular than many of their contemporaries. Ashra had also released several classic albums.
Correlations was just the latest. It marked another turning point in the chameleon like career of Manuel Göttsching. He had continually reinvented his music since the earliest days of Ash Ra Tempel. That had been the case since he Manuel Göttsching as a solo career. Now though, he was back as a member of a band, Ashra.
Their career had gotten off to a false start when they were Virgin Records rejected the original version of Phantasus. Maybe that was for the best? Ashra had returned with a stonewall classic album Correlations.
Correlations was the latest classic album from Ashra, which had been reinvented as a trio for Correlations. This was a new chapter in the career of Manuel Göttsching, as Ashra’s music moved towards a much more rock oriented sound. Forever the musical chameleon, Manuel Göttsching continued to reinvent his music, to ensure that it stayed relevant His determination to reinvent his music paid off, and the result was another innovative, genre-melting album, Correlations.
With his new band, Ashra created a genre-melting album where they married elements of ambient, avant-garde, Berlin School, electronica, funk, jazz, Krautrock, post rock, progressive rock and rock. The resultant album, Correlations became a genre classic album, and introduced Ashra to a much wider audience than previously. Sadly, still Ashra weren’t enjoying the commercial success and critical acclaim their music deserved despite the quality of music on Correlations. Some forty years after its release, Correlations is regarded as a cult classic and the perfect introduction to Ashra, who are a truly groundbreaking band and one of the most important in modern German musical history.
Cult Classic: Ashra-Correlations.
CULT CLASSIC: TOM WAITS -CLOSING TIME.
Cult Classic: Tom Waits-Closing Time.
It was in the summer of 1971, when Herb Cohen first saw and heard Tom Waits at the Troubadour in Los Angeles, which was one of the city’s top clubs in the city’s music scene and where many an up-and-coming singers and bands had started out before going on to greater things. Even some of the more experienced artists and bands still enjoyed playing at what was by then a legendary venue. Tom Waits who was just a twenty-two year old aspiring singer-songwriter, when he played at the Troubadour, and had already come a long way in a short space of time.
Just three years previously Tom Waits was a rebellious high school student who loved R&B, country music, Bob Dylan, the Beat Generation, The Twilight Zone and The Alfred Hitchcock Hour. However, in 1968, Tom Waits dropped out of high school, and got a job Napoleon’s pizza restaurant in National City, California.
During his shifts in the pizzeria, Tom Waits listened to the patrons and often scribbled down phrases and interesting pieces of dialogue which he later used in his songs. However, when Tom Waits wasn’t working in Napoleon’s, he was part of the city’s folk scene and could often be found playing in local coffee shops. Before long, Tom Waits was playing in San Diego, and as word spread about the up-and-coming local singer he was being asked to support Tim Buckley, Sonny Terry, Brownie McGhee and even one of his friends Jack Tempchin. By then, Tom Waits had come to the conclusion that he could go no further in San Diego, and would have to travel to the Troubadour Los Angeles to progress his career.
That was how Tom Waits was ‘discovered’ by Herb Cohen who at the time, was managing several artists including Frank Zappa, and was a record company executive and music publisher. Despite his track record, Herb Cohen didn’t off Tom Waits the all-important recording contract, and instead, signed him to a publishing contract. Herb Cohen it seemed saw Tom Waits as a songwriter rather than a singer.
Having signed a publishing contract, Tom Waits his job at Napoleon’s and moved to LA where wanted to concentrate on his songwriting career. However, in 1971 Herb Cohen had Tom Waits record the first of two demos in late summer of 1971 with producer Robert Duffey. Nothing came of these demos by the time 1971 gave way to 1972.
By early 1972, Tom Waits had found and moved into a flat in Sliver Springs, which was a working class ares that was home to the Hispanic community and a number of LA’s bohemians. The area would provide Tom Waits with a wealth of material over the next weeks and months.
Despite supposedly concentrating on his songwriting career, Tom Waits continued to play live and was a regular at the Troubadour which was where he first met David Geffen who had already cofounded Asylum Records. When David Geffen heard Tom Waits sing Grapefruit Moon he was “floored” and was so impressed with Tom Waits that, that night he offered the singer-songwriter a recording contract.
After Tom Waits had signed with Asylum Records, David Geffen paired his latest signing with Jerry Yester, who had formerly been a member of the Lovin’ Spoonful until the group split-up in 1968. After that, Jerry Yester had embarked upon a career as a producer and would produce Tom Waits’ debut album at Sunset Sound Recorders. That album would eventually become Closing Time.
With the ink barely dry on the recording contract, work began on Closing Time, with Tom Waits recording a pre-production tape at Jerry Yester’s home. The pair discussed the arrangements and what instruments should be used on the album. Already, Tom Waits had an idea of the type of album he wanted to record, and made it clear that he wanted a standup bass on Closing Time. This fitted with Tom Waits’ vision of recording a jazz-tinged album for his debut.
When the recording of Closing Time began in the spring of 1972, there was only one problem, and that was that Tom Waits and Jerry Yester weren’t going to be able to record late at night and into the early hours of the morning. The only time the studio at Sunset Sound Recorders was free was between 10am to 5pm. While this wasn’t exactly ideal, the pair knew that they had no option but to record during the daytime shift.
By the time work began at Sunset Sound Recorders, twenty-three year old Tom Waits had already written the twelve tracks that became his debut album Closing Time. Just like many singer-songwriters he had amassed a number of songs, and some would feature on Closing Time. However, songwriting wasn’t Tom Waits’ only talent.
Tom Waits who was already a talented multi-instrumentalist who played celeste, guitar, harmonium, harpsichord and piano on Closing Time. He also added his inimitable lived-in, gravelly vocal to eleven of the twelve tracks. Already, it sound as if Tom Waits, the new troubadour in town survived on a daily diet of Jack Daniels and Marlboro. It was a voice that sounded as if it had already lived several lives, and which was accompanied by some seasoned LA musicians.
This included a rhythm section that featured drummer John Seiter, double bassist Bill Plummer and guitarists Shep Cook who added backing vocals and Peter Klimes who played pedal steel on Rosie. They were joined by trumpeter Delbert Bennett Meanwhile, Jerry Yester took charge of production and guided the debutant singer through the maze that is recording a debut album.
For the first couple of days of the session at Sunset Sound Recorders, Tom Waits spent time finding his way around the studio, but after that, his nerves disappeared. So much so, that he was confident enough to voice his concerns at the direction of his debut album.
Producer Jerry Yester was intent on making Closing Time a folk based album, which wasn’t what Tom Waits wanted. He envisaged Closing Time as a jazz-tinged, which was what he wanted to make. Despite this difference of opinion, Tom Waits and Jerry Yester worked well together, and the singer soon grew in confidence and was directing his band. So much so, that when Ol’ 55 was recorded, drummer John Seiter was directed to add backing vocals and added a perfect harmony line before the chorus kicked in. It looked as if the recording going to plan.
Alas, at the end of the first recording session, nine songs had been recorded, but Tom Waits was disappointed with several songs, and Jerry Yester booked another session. This time, it took place at Western Union Recorders in Hollywood.
Joining Tom Waits bands the following Sunday was a trio of guest artists that included bassist Arni Egilsson and trumpeter Tony Terran who featured on the instrumental version of Closing Time, while cellist Jesse Ehrlich played on Martha. That day, only one song was rerecorded, Closing Time, while trumpets and strings were overdubbed. After ten days Tom Waits had recorded his debut album Closing Time.
With Closing Time completed, the album was mixed and mastered at Wally Heider Studios, in San Francisco. Now Tom Waits was ready to release his debut album.
Given David Geffen was keen to send Tom Waits into the studio to record Closing Time in the spring of 1972, the troubadour must have thought that the release of his debut album was imminent. Sadly, that wasn’t the case and it was nearly a year before Closing Time was released by Asylum Records.
Eventually, the release of Closing Time was scheduled for March the ‘6th’ 1972, which was almost a year after the album had been completed. It had been a long wait, and Tom Waits hoped that the critics and then record buyers would enjoy and embrace his debut album Closing Time.
Critics on hearing Closing Time discovered what was an eclectic album, that featured a variety of musical genres. There was everything from jazz, folk and blues to country-rock which was embraced by Rolling Stone magazine and the self-styled dean of rock critics Robert Christgau. Some critics even drew comparisons with Randy Newman which was high praise indeed. However, it was richly deserved.
Closing Time opens with Ol’ 55, a classic-in-waiting about escapism where a jangling piano sets the scene for Tom Waits’ lived-in vocal. His delivery of the cinematic lyrics is emotive on this anthemic track. There’s a wistfulness to I Hope That I Don’t Fall In Love With You which features a contrarian Tom Waits, while Virginia Avenue which is the first of the jazz-tinged tracks. Old Shoes (and Picture Postcards) has a much more understated arrangement with guitar and backing vocals accompanying Tom Waits on this singalong song. It gives way to the jazzy Midnight Lullaby, has a smoky late-night sound, while a piano and strings accompany a vulnerable Tom Waits on the beautiful ballad Martha.
A weeping pedal steel and backing vocals accompany Tom Waits on Rosie, as he delivers a soul-baring vocal on this country-tinged piano led song. Lonely featured a melancholy, emotive vocal before the tempo rises on Ice Cream Man. It’s very different from the rest of album and this uptempo track shows another side of troubadour Tom Waits. The bluesy, jazz-tinged Little Trip To Heaven (On The Wings Of Your Love) is much more representative of Closing Time as a trumpet accompanies Tom Waits and his piano on another beautiful song. It gives way to the jazz-tinged Grapefruit Moon, before the melancholy and evocative instrumental version of Closing Time is rich in imagery and closes this impressive debut album on a high.
Despite the quality of Closing Time, the album failed to trouble the US Billboard 200, but was certified gold in Britain and reached twenty-nine in the Republic of Ireland. However, later, record buyers rediscovered Closing Time, and for many years it’s had a cult following. They’ve been won over by a Tom Waits jazz-tinged, bluesy debut album that occasionally heads in the direction of folk music as LA’s newest troubadour announces his arrival.
Closing Time was a remarkably mature album, as Tom Waits was only twenty-two when he recorded the album with Jerry Yester. However, with his lived-in, worldweary voice he sounds much older, and is if he’s lived several lives, and the lyrics on Closing Time. Despite displaying maturity beyond his years on this carefully crafted album, there’s also a sense of loneliness, melancholy and vulnerability as the lovelorn Tom Waits wears his heart on his sleeve on Closing Time.
It’s also an album that is sardonic and fully of irony as a drawling Tom Waits sometimes resorts to sneering, which comes across a defence mechanism. Other times, Closing Time has a late-night smoky sound. Especially on the jazz-tinged tracks on Closing Time, which are among the album’s highlights. Closing Time is also a melodic album full of emotion and sometimes beauty, as Tom Waits plays a variety of characters and brings their story to life. This he would do throughout his long and illustrious career, but one of the finest albums of Tom Waits’ career was his debut album Closing Time, which is the perfect way to discover this truly talented troubadour.
Cult Classic: Tom Waits-Closing Time.
CULT CLASSIC: GORDON JACKSON-THINKING BACK.
Cult Classic: Gordon Jackson-Thinking Back.
Nowadays, Gordon Jackson’s 1969 lost classic Thinking Back, which has just been reissued by Sunbeam Records, is often referred to as a: “lost Traffic album.” However, that isn’t strictly true, despite Dave Mason, Jim Capaldi, Chris Wood, and Steve Winwood all play on Thinking Back. As is often the case, there’s more to the story of Thinking Back than meets the eye.
The Hellions.
The story began in the spa town of Worcester, England, in 1963. That was when drummer and vocalist Jim Capaldi, who previously had been a member of The Sapphires, joined forces with guitarists Gordon Jackson from Unit Five and Dave Mason who had been a member of The Jaguars formed The Hellions. However, the nascent lineup of The Hellions was still looking for a bassist and during the first few months various bassists joined and left the band.
Eventually, The Hellions were introduced to bassist Dave Meredith, who previously, had been a member of The Cherokees. Now a four piece band, The Sapphires were soon a popular draw in the Worcester area and regularly played at the Flamingo Coffee Bar. However, this was just the start for The Hellions.
By August 1964, The Hellions had turned professional, and like The Beatles before them, headed to Star Club in Hamburg, West Germany, where they became the backing band for Tanya Day a singer from Walsall. She had recently appeared on the British television show Thank Your Lucky Stars, and was regarded as something of celebrity in Britain and Germany. The next chapter in career unfolded in Hamburg, with The Hellions
Over the next few months, The Hellions discovered just how gruelling the life of a professional musician was in West Germany. This is something that The Beatles had discovered, and the gruelling schedule helped them to improve as a band. It was a similar case with The Hellions, and another band they met in Hamburg.
This was The Spencer Davis Group, who became friendly with The Hellions. Especially The Spencer Davis Group vocalist Steve Winwood, who quickly discovered that he had much in common with Jim Capaldi and Dave Mason. The friendship that was formed in Hamburg would blossom when the two groups returned home.
After returning home, The Hellions were a much tighter band and were soon backing some of the big names who visited the Midlands, including Adam Faith and Dave Berry. However, by the end of 1964, The Hellions were ready to leave the Midlands after securing a residency at the Whisky-A-Go-Go Club in London.
This brought The Hellions to the attention of the American record producer Kim Fowley and songwriter Jackie De Shannon, who helped the band secure a recording contract with Pye.
In 1964, The Hellions released their debut single Daydreaming Of You on the Pye imprint Piccadilly. It was penned by Jackie De Shannon, and produced by Kim Fowley, but sadly, the single failed to trouble the charts. History repeated itself when The Hellions released Tomorrow Never Comes and A Little Lovin’ in 1965.
Despite their lack of commercial success, The Hellions were asked to open for American vocalist PJ Proby when he toured Britain. This The Hellions hoped would introduce their music to a new and wider audience. However, still The Hellions struggled to make a commercial breakthrough.
Although the band was still to enjoy its first hit single, The Hellions added flautist and vibraphonist John “Poli” Palmer to their lineup. However, he switched to drums, which allowed Jim Capaldi to take charge of the lead vocals.Alas, this change in The Hellions didn’t result in a change in fortune for the group.
By 1966, The Hellions were struggling financially, and the expenses were mounting with each passing week. They had no option but to return to Worcester where they had started out three years earlier. However, the music scene was very different in Worcester by 1966, and things weren’t looking good for The Hellions.
As a last roll of the disc, The Hellions released one more single in 1966. This was Hallelujah, which was credited to The Revolution, but sank without trace. It was the end of the road for one of The Hellions.
Guitarist Dave Mason left The Hellions and played with various local groups, and worked as a roadie for The Spencer Davis Group. Meanwhile, Jim Capaldi brought guitarist Luther Grosvenor who had been a member of The Wavelength onboard and renamed The Hellions as Deep Feeling.
Deep Feeling.
The newly named Deep Feeling started playing in and around Birmingham, and became known for a heavier, psychedelic-tinged type of music. This they wrote themselves, and when they played live, every band member sang. When John “Poli” Palmer switched to flute or vibes, Gordon Jackson played drums. Deep Feeling was a cut above most of the bands on the Birmingham scene, and surely it was just a mater of time before they were discovered?
It was The Yardbirds manager and producer Giorgio Gomelsky that expressed an interest in Deep Feeling after seeing them play live in Cheltenham. Not long after that, Giorgio Gomelsky arranged for Deep Feeling to record their debut album. However, although the band recorded several songs, only the Jim Capaldi, Gordon Jackson and John “Poli” Palmer composition Pretty Colours was released as a single, but only in France.
Meanwhile, Deep Feeling started to travelling to London on a regular basis, and that was where they met The Animals’ manager Chas Chandler. He asked if a young, unknown American guitarist called Jimi Hendrix could join them on stage. Deep Feeling agreed and that night, three became four. Little did anyone realise that Jimi Hendrix who made his debut on a British stage with Deep Feeling would go on to become a legendary musician.
Around this time, the former Hellions guitarist Dave Mason was still drifting between bands and working as road manager for The Spencer Davis Group, who sometimes, played at The Elbow Room in Birmingham. That was there where Jim Capaldi and Dave Mason from Deep Feeling and Steve Winwood from The Spencer Davis Group would sometimes join forces with saxophonist and flautist Chris Wood who previously had been a member of Chicken Shack, and was now a member of Locomotive. However, what started out as a jam session ended up in the formation of a new band.
In early 1967,Steve Winwood announced that he was leaving The Spencer Davis Group and was about to form Traffic with Jim Capaldi, Dave Mason, and Chris Wood. This was a huge shock to the remaining members of Deep Feeling, who after careful consideration, decided to call time on the band and embark upon other musical projects.
The Solo Years.
After the demise of Deep Feeling, Gordon Jackson and John “Poli” Palmer continued to write songs together, and it looked like they had established a successful songwriting partnership. However, this changed when Georgio Gomelsky offered Gordon Jackson a recording contract with his label Marmalade Records.
Georgio Gomelsky had formed Marmalade Records in 1966, and since then, it became home to the many artists that he managed. Marmalade Records which was distributed by Polydor Records, was about to become to Gordon Jackson when he signed his recording contract, and embarked upon a solo career.
Having signed the recording contract, Gordon Jackson was soon working on his debut solo single. He wrote two new songs, Me Am My Zoo which became the single and the B-Side A Day At The Cottage on the B-Side. Both sides were produced by Dave Mason and featured the first lineup complete of Traffic. Sadly, Me Am My Zoo failed to find an audience upon its release in May 1968 and didn’t even come close to troubling the British singles’ charts.
Despite that, Georgio Gomelsky encouraged Gordon Jackson to continue writing his debut album Thinking Back. He eventually had written seven new songs which were recorded in late 1968.
Just like the recording of his debut single,Dave Mason took charge of production on Thinking Back and brought onboard Traffic who became Gordon Jackson’s backing band. They were augmented by some top musicians.
Joining the members of Traffic were Gordon Jackson’s old friend and former songwriting partner, organist and pianist John “Poli” Palmer. He was joined by bassist Rick Grech, soprano saxophonist Jim King, conga player Rocki Dzidzornu and Remic Abacca played tabla, while Chicken Shack’s Rob Blunt switched between acoustic guitar, electric guitar and electric sitar. Adding backing vocalists Julie Driscoll, Spooky Tooth’s Luther Grosvenor and Reg King, Rob Blunt switched between acoustic guitar, electric guitar and electric sitar. Gordon Jackson played acoustic and rhythm guitar and laid down the vocals on Thinking Back. Once the album was complete, Thinking Back was scheduled for release on 1969.
Before the release of Thinking Back, which had the potential to launch Gordon Jackson’s solo career, and could’ve been a profitable release for Georgio Gomelsky’s Marmalade Records the record label failed to promote the album properly. This must have been hugely disappointing for Gordon Jackson given the quality of music on Thinking Back.
When Thinking Back was released by Marmalade Records in July 1969, and was a groundbreaking and melodic fusion of folk, pop, psychedelia, rock, soul, world music and a myriad of Eastern sounds. The supergroup that played the complex music on Thinking Back were tight and versatile, on the seven songs that feature on Thinking Back.
This includes the album opener The Journey which sounds as if belongs on Traffic’s Mr. Fantasy album, until Gordon Jackson delivers his inimitable vocal on this genre-melting track. It’s a memorable and melodic fusion of drama and Eastern sounds which features elements of folk, pop and psychedelia. The tempo drops on My Ship, My Star, which is a slow, beautiful and haunting track with a spartan arrangement where just an acoustic guitar and piano accompany Gordon Jackson’s melancholy vocal. Me and My Dog originally started life as Me Am My Dog when it was released as a single, but by the time Thinking Back was released, this catchy, melodic track had taken on a new lease of life. Despite the lyrics lacking the depth of the other tracks on Thinking Back, the song still leaves a lasting memory. Very different is Song For Freedom along, where the rhythm section drive the arrangement along as horns, percussion and backing vocalists accompany Gordon Jackson on this lost dancefloor friendly sixties anthem.
Sing To Me Woman which was released as a single, but failed to chart is an out-and-out rocker that could’ve given Gordon Jackson that elusive hit single. He’s accompanied by cooing harmonies as he delivers lyrics that are rich in imagery. The seven minute epic When You Are Small is atmospheric and full of Eastern sounds as a jazzy saxophone plays, while Gordon Jackson thinks back to his youth. Closing Thinking Back is Snakes And Ladder which, has a progressive arrangement and as Gordon Jackson’s heartfelt vocal delivers lyrics that are almost surreal on this complex and carefully crafted track. It ensures that Thinking Back which is a lost classic closes on a high.
For Gordon Jackson, his debut album Thinking Back was the one that got away. It featured seven songs that were variously beautiful, haunting, lysergic and ruminative. So much so, that some of the songs on Thinking Back encourage reflection. These songs are part of an album that should’ve launched Gordon Jackson’s solo career.
Sadly, when Thinking Back was released, Marmalade Records were experiencing distribution problems, which wasn’t a good sign for Gordon Jackson. Then after Marmalade Records had pressed around 2,000 copies of Thinking Back, the label collapsed. With Marmalade Records insolvent, this was a huge blow for Gordon Jackson who many critics felt had a big future ahead of him.
While Gordon Jackson continued to play live over the next few years, he never returned to the studio and only ever recorded one single and one album. That album, Thinking Back, is a cult classic and should’ve been the start of a long and successful career for this talented singer, songwriter and musician. Sadly, Thinking Back was Gordon Jackson’s one and only album, and after the demise of Marmalade Records he spent several years playing live, before turning his back on music and embarking upon a career restoring churches. Music’s loss was liturgical restoration’s gain and Gordon Jackson never released a followup to his lost classic Thinking Back.
Cult Classic: Gordon Jackson-Thinking Back.
CULT CLASSIC: THE BATHERS-KELVINGROVE BABY.
Cult Classic: The Bathers-Kelvingrove Baby.
The Bathers were formed in Glasgow, in 1985, by singer, songwriter and troubled troubadour Chris Thomson and released six albums between 1987 and 1999. Their fifth album was Kelvingrove Baby, which is a a minor classic, that’s one of the finest Scottish albums ever released. Sadly, Kelvingrove Baby and The Bathers is a story of what might have been.
With Chris Thomson at the helm, the Glasgow based quintet could’ve, and should’ve, been one the biggest Scottish bands ever. After all, The Bathers music is articulate, beautiful, dramatic, ethereal, elegiac, emotive, languid, literate and melancholy. This is music for those that have loved, lost and survived to tell the tale. Sadly, however, The Bathers never reached the heady heights their music deserved. As a result, the six albums The Bathers released between 1987s Unusual Places To Die and 1999s Pandemonia, never reached the audience it deserved. For Chris Thomson, history was repeating itself.
The Bathers were formed in Glasgow in 1985. They formed after Chris Thomson’s previous group Friends Again split up. Initially, The Bathers were a vehicle for singer-songwriter Chris Thomson. However, in 1987, The Bathers secured their first record deal with Go! Discs Records, and released their debut album Unusual Places To Die.
Unusual Places To Die.
For their debut album Unusual Places To Die, Chris Thomson penned ten tracks. These tracks were recorded by The Bathers’ original lineup. This included bassist Sam Loup, drummer James Locke and Chris on guitar and keyboards. Joining The Bathers, were Michael Peden of The Chimes, Douglas Macintyre and James Grant of Love and Money. They played walk on parts on Unusual Places To Die, which was released later in 1987.
When Unusual Places To Die was released in 1987, it was to widespread critical acclaim. Chris Thompson’s songs seemed to strike a nerve with critics. They described the music as variously engaging, emotive and dramatic. One critic went as far to wonder whether Unusual Places To Die was the work of a genius? Despite this critical acclaim Unusual Places To Die wasn’t a commercial success. This was nothing to do with the music though.
Instead, Unusual Places To Die fell victim to the internal politics within the record company. As a result, sales of Unusual Places To Die were poor. Given the critical response to Unusual Places To Die, this was disappointing. So, it wasn’t a surprise when The Bathers switched labels for their sophomore album, Sweet Deceit.
Sweet Deceit.
After the Go Discs! internal problems sabotaged the release of Unusual Places To Die, The Bathers moved to Island Records, where the recorded Sweet Deceit.
Sweet Deceit was an epic album, featuring fifteen tracks. Chris wrote thirteen of the tracks, and cowrote the other two. He co-produced Sweet Deceit with Keith Mitchell, and the album was released in 1990.
Three years had passed since Unusual Places To Die was released. The Bathers were back, and according to critics, better than ever. Sweet Deceit was described as impressionistic, beautiful and spellbinding. One critic, quite rightly referred to the album as a mini masterpiece. However, The Bathers had been here before with Unusual Places To Die.
On Sweet Deceit’s release, lightning struck twice for The Bathers. Sales of Sweet Deceit were disappointing. Despite the critically acclaimed reviews, Sweet Deceit seemed to pass record buyers by. For The Bathers, this was a huge disappointment.
Especially when Island Records didn’t renew The Bathers’ contract. There would be another gap of three years before we heard from The Bathers again. However, Chris was still making music.
Following Sweet Deceit, Chris Thomson joined with two former members of Lloyd Cole and the Commotions, Stephen Irvine and Neil Clark, to create a Scottish supergroup, Bloomsday. They released just one album, Fortuny, which is now regarded as a classic Scottish album. Just like The Bathers two previous albums, Bloomsday’s debut album, Fortuny, was released to critical acclaim. Unfortunately, commercial success eluded Fortuny. However, a more fruitful period was round the corner for The Bathers.
Lagoon Blues.
After signing a record contract with a German record label Marina, the group released three albums in a four year period. In 1993, they released Lagoon Blues, their Marina debut.
Just like Sweet Deceit, Lagoon Blues was another epic album penned by Chris Thompson. It featured sixteen songs, which were the perfect showcase for Chris’ octave defying vocal. Accompanied by what was essentially The Bathers and friends, sixteen tracks were recorded at Palladium Studios, Edinburgh and mixed at Palladium Studios and Cava Studios, Glasgow. Once Lagoon Blues was completed, it was released in 1993.
On its release in 1993, critics remarked that Lagoon Blues was a more eclectic album. There were diversions into jazz-skiffle on Pissor, while the album opener Lagoon Blues showcased a string quartet. The strings would play an important part on Lagoon Blues, which was hailed as poetic, elegant, sumptuous and intense. The same critical acclaim accompanied Lagoon Blues, however, this time The Bathers’ music found a wider audience. It seemed after three albums, The Bathers’ star was in the ascendancy.
Sunpowder.
For The Bathers’ fourth album, and followup to Lagoon Blues, they returned with Sunpowder. It marked the debut of a new lineup of The Bathers.
Sunpowder marked The Bathers’ debut of drummer and percussionist Hazel Morrison, keyboardist Carlo Scattini and string players Ian White and Mark Wilson. These new additions would change The Bathers’ sound greatly. Many people refer to this as the classic lineup of The Bathers. This classic lineup, plus guest artist ex-Cocteau Twin, Liz Fraser, who features on four tracks, made its debut on Sunpowder.
For Sunpowder, Chris Thomson had written eleven new songs. They were recorded a at Palladium Studios, Edinburgh. Chris and Keith Mitchell produced Sunpowder, which was released in 1995.
When Sunpowder was released, it received the same critical acclaim as The Bathers’ three previous albums. Sunpowder was called sumptuous, sensual, dramatic and ethereal. Liz Fraser, an honorary Bather was the perfect foil to Chris, forever the troubled, tortured troubadour. The result was, what was The Bathers most successful album, Sunpowder. That however, would change with Kelvingrove Baby.
Kelvingrove Baby.
Kelvingrove Baby would be The Bathers’ Marina swan-song. They were certainly eaving the German label on a high.
Chris Thomson had written thirteen new songs for Kelvingrove Baby, which was recorded in Glasgow and Edinburgh. It was at these locations that The Bathers’ expanded lineup reconvened.
Picking up where they left off, were The Bathers’ new lineup, plus a few friends. The Bathers’ rhythm section included bassists Sam Loup, Douglas MacIntyre and Ken McHugh, drummers Hazel Morrison and James Locke, who also played percussion. Joining them in the rhythm section were guitarist Colin McIlroy. They were joined by accordionist, pianist and and organist Carlo Scattini, string players Ian White and Mark Wilson. Fermina Haze plays organ, James Grant of Love and Money plays acoustic guitar and with with Hazel Morrison and Justin Currie of Del Amitri, adds backing vocals. Chris plays acoustic guitar, piano and adds his unmistakable vocals. He produced most of Kelvingrove Baby, apart from Thrive, which was produced by James Locke. Once Kelvingrove Baby was completed, it was released in 1997.
Just like each of The Bathers’ four previous albums, Kelvingrove Baby was released to overwhelming critical acclaim. Kelvingrove Baby was hailed The Bathers’ finest hour. It seemed everything had been leading up to Kelvingrove Baby.
Opening Kelvingrove Baby, is the James Locke produced Thrive. Just a strummed acoustic guitar takes centre-stage, while subtle washes of keyboards flit in and out. They provide the backdrop for Chris Thompson’s vocal. For the first time on Kelvingrove Baby, Chris dawns the role of troubled troubadour, playing it to perfection. It’s as if he’s experience, lived through, and survived someone leaving him. His vocal is full of emotion of swells of strings sweep in. They’re the perfect accompaniment as Chris delivers the lyrics “up on the west coast waiting, I wear the rain like tears.” In doing so, Chris’ hurt and loneliness is there for all to see and hear.
Girlfriend is akin to a devotional from the pen of Chris Thomson. A piano and bass probe, while a cymbal is caresses. This sets the stage for Chris’ tender, emotive vocal. There’s almost disbelief in his voice that he’s found someone to call his own. He’s fallen head over heels, hence lyrics like “I’m the kind of guy, whose dreams rise unashamed, who will love you ’til the end, cos you’re my girlfriend.” With just a subtle, meandering piano, understated drums, washes of ethereal harmonies and crystalline guitar, Chris delivers a heartfelt devotional.
If Love Could Last Forever is the perfect showcase for The Bathers’ unique brand of cerebral, literate and poetic pop. After all, who apart from The Bathers write: “they flutter down like fireflies, tugging at your sleeves, somehow rise to shame you, bring you to your knees?” It’s a beautiful, soul-searching song about love. That’s the case from the opening bars, when an acoustic guitar is strummed, a guitar chimes and drums mark the beat. Then, longingly and hopefully, Chris, accompanied by cooing harmonies, sings “ If Love Could Last Forever, forever and a day.” Effortlessly, Chris breathes life, meaning and emotion into what’s a timeless paean.
While East Of East Delier has an understated arrangement, it allows Chris to unleash his full and impressive vocal range. Drums are caressed and a piano meanders. Meanwhile, a bass adds an element of darkness. This is reflected in the hurt, loneliness and regret in Chris’ vocal. His vocal soars above the arrangement, with frustration omnipresent at the love he once had and lost.
Accompanied by firmly strummed acoustic guitar No Risk No Glory, unfolds. A guitar chimes as fingers flit up and down the fretboard. Meanwhile, Chris’ vocal is a mixture of power, emotion and hurt. The hurt is obvious from the moment he sings “I was born to love her,” it’s a case of infatuation and unrequited love. With harmonies, an accordion and guitars for company, Chris delivers a cathartic outpouring of hurt. He wouldn’t have it any other way, singing ruefully “no risk, no glory.”
Dramatic and moody describes the dark, but sparse piano lead introduction to Once Upon A Time On The Rapenburg. If a picture tells a thousand stories, so does a piano. It sets the scene for Chris, as once again, he dawns the role of troubled troubadour. With shimmering strings and a deliberate gothic piano for company, Chris remembers the love affair that almost was.
Kelvingrove Baby is the centre-piece of Kelvingrove Baby. It’s a seven minute epic about an unnamed femme fatale from Glasgow’s West End who toyed with Chris’ affections. From just a strummed guitar and subtle piano, the arrangement builds. The piano plays a more prominent role, adding an element of drama. After ninety seconds drums pound and ethereal harmonies sweep in. They give way to Chris’ worldweary, lived-in vocal. Meanwhile, Hazel Morrison adds ethereal, elegiac harmonies. This seems to spur Chris on. Using his wide vocal range, he unleashes a needy vocal tour de force. Hopefully, he sings “someday I know, that you’ll be back…I don’t know, maybe then you can be my Kelvingrove Baby.” Behind him, the epic, ethereal and dramatic arrangement is the perfect accompaniment for what’s without doubt, The Bathers’ finest hour on Kelvingrove Baby.
Memories come flooding back to Chris on Girl From The Polders. Instantly, he’s transported back to another time and place. That’s when they first met, and where “I first kissed you.” With the rhythm section and piano providing a backdrop, Chris delivers another hopeful, needy vocal. He hopes that when summer returns, and heads back to Poolewe, his “songbird, melodious and pure,” is there.
Against a backdrop of quivering strings, Chris delivers a vocal on Lost Certainties that’s equal parts power, passion, frustration and sadness. Below the vocal and strings, the rhythm section drives the arrangement along, adding to the drama and intensity of this soul-baring refrain about a bewitching woman.
After the intensity of Lost Certainties, Dial has a much looser, laid-back sound. Chris eschews the power of the previous track, as The Bathers deliver an understated, spacious, melodic track. Hazel Morrison, James Grant and Justin Currie add harmonies that are yin to Chris’ yang, as he almost croons his way through Dial.
Orchestral strings and a pounding rhythm section set the scene for Chris’ vocal on The Fragrance Remains Insane. There’s an intensity in Chris’ lovelorn vocal, on this tale of love gone wrong. He’s struggling to come to terms with the breakup of his relationship, despite his claims “that I’m not crazy about you.”
If Chris Thomson had been born twenty years earlier, he’d have been a crooner. That’s apparent on Hellespont In A Storm, where he literally croons his way through the track. Accompanied by washes of accordion, swathes of strings, a subtle rhythm section and acoustic guitar. As Chris croons, emotion and regret are omnipresent. Especially when he sings “spread your wings, above you, the time has come to fly away, where I can’t follow.” Given this is the ultimate sacrifice, the beauty and emotion is almost overwhelming.
The piano lead Twelve, closes Kelvingrove Baby. Chris lays bare his soul, accompanied by his trusty piano. Later, swathes of lush strings sweep in. They provide the accompaniment to a telephone conversation, on this story of everlasting love.
For The Bathers, Kelvingrove Baby was a musical coming of age. It’s as if everything they’d been working towards was leading to Kelvingrove Baby. The music was variously atmospheric, cerebral, dramatic, ethereal, heartfelt, hopeful, literate, needy and sensual. It’s also tinged with pathos, regret and sadness. No wonder, given the tales of love found and lost. They’re brought to life by The Bathers’ very own troubled troubadour Chris Thomson. Along with the rest of The Bathers, they’re responsible for Kelvingrove Baby, a truly enthralling album.
On Kelvingrove Baby, the music is captivating. So much so, that you’re drawn into Kelvingrove Baby’s lush, atmospheric sound. Having captured your attention, The Bathers don’t let go. Before long, the listener has fallen in love. They fall in love with music that’s hauntingly beautiful, emotive, dramatic and pensive. Much of this is thanks to Chris Thomson’s peerless vocal performances. He plays the role of the troubled troubadour, to a tee. His worldweary, emotive, heartfelt and impassioned vocal sounds as if it’s lived the lyrics he’s singing about. Lived them not just once, but several times over. As a result, Kelvingrove Baby is akin to a snapshot into Chris Thomson’s life, and very soul. Indeed, Kelvingrove Baby sounds a very personal album from The Bathers’ troubled troubadour, Chris Thomson. Kelvingrove Baby was a career high from The Bathers. However, two years later, somehow, The Bathers managed to top Kelvingrove Baby.
Pandemonia, which was released in 1999, was The Bathers’ swan-song. Just like Kelvingrove Baby, the critically acclaimed Pandemonia, should’ve transformed The Bathers’ career. Sadly, despite oozing quality, The Bathers’ cerebral, literate and melodic brand of chamber pop failed to find the wider audience it deserved. As a result, The Bathers remained almost unknown apart from loyal band of discerning music lovers.
After Pandemonia, most people expected The Bathers to return after a couple of years with their seventh album. That wasn’t to be. Two years became three, became five, ten and fifteen. Now, twenty years have passed since the release of Pandemonia. Throughout the last twenty years, there have been rumours that another Bathers album is in the pipeline. With every year, that looks even more unlikely. However, maybe, they’ll return out of the blue with their seventh album.
The Bathers are unlike most bands. They’re enigmatic, almost reclusive and publicity shy. Quite simply, The Bathers aren’t exactly your normal band. Not for them the rock “n” roll lifestyle favoured by other bands. In many ways, musical fashions and fads didn’t affect them. Their attitude was almost contrarian. Albums were recorded slowly and methodically. It was as if The Bathers were striving for perfection. On Kelvingrove Baby and Pandemonia, they almost achieved the impossible. What’s more they did it their way.
This means The Bathers aren’t willing to jump onto a musical bandwagon in pursuit of fame, fortune or starlets. Quite the opposite. It seemed to be their way or no way, in the pursuit of musical perfection. By perfection this means music that cerebral, dramatic, emotive, ethereal, literate and melodic. That describes The Bathers’ fifth album Kelvingrove Baby perfectly. Kelvingrove Baby saw The Bathers strive for perfection, and very nearly, achieve the impossible.
Cult Classic: The Bathers-Kelvingrove Baby.
CULT CLASSIC: LINDA PERHACS-PARALLELOGRAMS.
Cult Classic: Linda Perhacs -Parallelograms.
In 1970, twenty-seven year old dental hygienist Linda Perhacs released her debut album Parallelograms. Some people wondered why it had taken Linda so long. After all, she was a musical prodigy.
Linda Long was born in Mill Valley, which lies just north of San Francisco’s Golden Gate Bridge in 1943. By the time she was six or seven, Linda was able to write write quite complicated compositions. She was gifted. However, as is often the case with gifted children, her teachers didn’t maybe realise this. This didn’t stop Linda enrolling in the University of Southern California.
At University of Southern California, Linda majored in dental hygiene. This allowed her to work and study. Her course also allowed Linda to explore what was unfolding around her. Remember, this was the start of the counterculture explosion. San Francisco was central to this. Being around this meant Linda was exposed to a many different cultures. It was the same with art and music. For Linda, this was creatively stimulating and would change the course of her life.
Having graduated from University of Southern California, Linda began working with periodontist. During this period, Linda immersed herself in the various philosophies that were popular. Essentially, she taught her to mediate and rid herself of negative energy. This helped her and her patients. It may also have helped Linda develop as songwriter.
Away from work, Linda and her sculptor husband used to enjoy walking in the city’s public parks. It was during these walks that Linda was first inspired to write songs. This was something Linda hadn’t done since she and her husband moved to Topanga Canyon.
Indeed, Linda hadn’t written songs for a while. Throughout her University days, Linda hadn’t been involved in making music. However, she loved music. Topanga Canyon was full of artists and musicians. So, it was the perfect place for an aspiring singer-songwriter. With an environment that inspired her, and the sense of hope that was prevalent during the second half of the sixties, this marked the cultural blossoming of Linda Perhacs.
What also inspired Linda was her travels. She spent time travelling up the Big Sur coastline, right through Mendocino, the Pacific Northwest and to Alaska. This was her road rip. So was a trip to Chimacum, on the Olympic Peninsula. These journeys were what inspired Linda to write songs. Linda stresses her journeys inspired her. Drugs played no part in stimulating her creativity. Her songs come from her experiences in life.
This includes the colours, patters and shapes that she’s seen since she was a child. Again, they’re not the result of recreational drugs. No. They’re a phenomenon that many people experience. These colours, patters and shapes inspired Linda, who soon, would be one step releasing her first album.
Linda was, by now, working in the office of Beverley Hills’ periodontist. That’s where Linda met film soundtrack composer Leonard Rosenman and his wife Kay. Linda would ask them about their forthcoming projects. Then one day Leonard said to Linda “I can’t believe that clinical work is all you do.” So, Linda told them about her music and played a tape of one of her songs. These were songs she’d recorded during her travels. Leonard took the songs home to listen to them. The next day, Linda was offered a record contract.
When Linda handed Leonard the tape, she thought that Leonard was wanting to hear a glimpse of the type of music younger people were making. After all, Leonard had a lot of projects on the go. However, that didn’t stop him offering to produce Linda’s debut album. The song that made him make that offer was the Parallelograms, which would be the title-track of Linda’s debut album. Leonard referred to this track as “visual music composition.”
Once Leonard made the offer to produce Linda’s debut album, she headed to his home. Once there, she met musicians and singers she’d only read about. It was then that Leonard explained the his concept of “visual music composition.” Leonard who’d been a composer all his life, had never been able to achieve this. Linda had. He explained that Parallelograms was different from the other tracks. They were songs. Parallelograms was different. Each of the component parts were interactive to the composer as three-dimensional sound. It’s akin to sculpting with ice, where the result is essentially a type of light and dance. For Linda, this was the way she’d always written. However, now Linda was going to take this one step further and record what became Parallelograms.
Parallelograms featured eleven tracks. Linda wrote ten of them. The exception was Hey, Who Really Cares? which Linda cowrote with Oliver Nelson wrote. Producer Leonard Rosenman brought in an all-star cast of musicians.
When recording of Parallelograms began, Leonard Rosenman and Linda were aiming to sculpt a series of soundscapes full of textures, colours and shapes. The music Linda hoped, would be “softer and ethereal.” Accompanying her were some legendary musicians. This included Shelley Mann and Milt Jackson on percussion. The rhythm section included Reinie Press on electric bass and Fender guitar and Steve Cohn on lead and 12-string guitar. John Neufield played flute and saxophone, Leonard Rosenman electronic effects and Tommy harmonica. Brian Ingoldsby was tasked with using an electrified shower hose for horn effects. Parallelograms was no ordinary album. It was truly groundbreaking.
On its release in 1970, Parallelograms was released to critical acclaim, but sadly, this psychedelic folk classic wasn’t the huge commercial success it should’ve been. This wasn’t helped by the record company’s failure to promote Parallelograms Linda, like so many other hugely talented artists failed to enjoy their commercial success and critical acclaim. So Linda returned to her job as a periodontist and nothing was heard of Parallelograms until the nineties. Since then, it has become a cult class. Interest in Parallelograms grows with each year. Maybe only now do people fully understand and appreciate this seminal, lost classic which I’ll tell you about.
The wistful Chimacum Rain opens Parallelograms. It has an understated, acoustic arrangement. That’s perfect for Linda’s tender, ethereal vocal. She also adds harmonies. They cascade and surround you, like the rain Linda is singing about. Her vocal has a dreamy, lysergic song. It’s captivating. You’re drawn to and seduced by its ethereal beauty.
Just guitars set the scene for Linda’s vocal on Paper Mountain Man. Her vocal is slow, sultry and deliberate. It’s as if she’s taking care with her phrasing and diction. Behind her, her small tight band mix blues and country. A scorching blues harmonica, guitars and percussion join forces. They leave plenty of space in the arrangement for Linda’s vocal. It’s a mixture of power, emotion and control, that’s yin to the arrangement’s yang.
Ethereal and heartfelt describes Linda’s vocal on Dolphin. She’s accompanied by a lone guitar that reminds me of Nick Drake. Linda delivers a vocal that’s spellbinding in its beauty. It’s quite simply, haunting and captivating.
Call Of The River is reminiscent of Chimacum Rain. Just a guitar accompanies Linda’s vocal. It’s sung with feeling, as cascading harmonies accompany Linda. They’re sung by Linda and compliment her vocal. The same can be said of the arrangement. It’s understated, spacious and dreamy. It also allows Linda’s vocal to take centre-stage on a track that epitomises everything that’s good about psych-folk.
Just like the previous tracks, Sandy Toes is a carefully crafted soundscape. Here, psych-folk and country combine. An electric bass joins a chiming guitar and percussion. They provide the backdrop to Linda’s vocal. She proceeds to paint pictures. Close your eyes and they come to life. Her cinematic lyrics and tender, heartfelt vocal prove a potent combination, as we hear another side to Linda Perhacs.
Parallelograms is the track that grabbed Leonard Rosenman’s attention. It’s a musical sculpture full of textures, colours and shapes. They drift in and out, to be replaced by something else. From understated and ethereal, darkness and drama makes an appearance. Soon, the lysergic, dreamy and experimental sound makes me think of Alice In Wonderland. You loose yourself in this sonic experiment, drifting away to another place and time. It’s as if the doors of perception have been opened. The only problem is, you neither want the song to finish, nor the doors to close.
Hey, Who Really Cares? is another track where Linda is just accompanied by acoustic guitar. Her vocal is rueful and full of melancholia. It’s joined by a bass, that hesitantly probes its way through the arrangement. Effects and guitars compliment Linda’s wistful vocal. She’s despairing, wondering “if anyone really cares.” Her pain seems real as she breathes life, meaning and emotion into a song where pathos and pain are ever-present.
Slow and space describes the drums that open Moons And Cattails. Chiming, crystalline guitars quiver and shiver, before Linda’s dreamy, lysergic vocal floats above the arrangement. It’s as if it’s been caught in “sandstorm” she’s singing about. After that, her vocal is deliberate and dramatic. Adding to the drama are drums played by hand and shimmering, weeping guitar. Together, this results in a track that dramatic, moody and atmospheric.
Hesitantly, a line guitars plays as Morning Colors unfolds. It’s all that accompanies Linda, as she delivers a vocal that’s heartfelt and full of sincerity. Just like other tracks, her lyrics have a cinematic quality. They’re also cerebral, haunting and beautiful. The same can be said of the flute and horn that later, accompanies Linda. They’re addition takes the direction of jazz, sometimes free jazz. This compliments the rest of the arrangement and highlights the lyrics, as takes on the role of storyteller. Using her voice like an artist uses his palette, Linda paints pictures that come to life before your eyes.
Porcelain Baked-Over Cast-Iron Wedding was one of the earliest songs Linda wrote. She wrote it in 1969. It’s an uptempo, guitar driven track. Guitars are panned left and right, enveloping Linda’s vocal. She seems determined to make the song swing. This shows another side to her. She’s accompanied by percussion, drums and bass. Linda’s vocal is full of irony, and her lyrics full of social comment at perceived stereotypes. Her combination of intelligent lyrics and subtle hooks are another example of Linda’s versatility and talent as a singer and songwriter.
Delicious closes Parallelograms. Linda’s slow, tender, ethereal vocal is joined by a guitar, as the arrangement meanders along. Her vocal soars elegantly above the arrangement, while the guitar ambles along. Cascading harmonies flit in and out. They’re the perfect accompaniment to Linda’s vocal. It’s one of her best vocals. Ethereal, heartfelt, tender and beautiful, it’s a tantalising taste of what Linda Perhacs is capable of.
Following the release of Parallelograms, it failed commercially. This wasn’t anything to do with the music. Instead, it was the record company’s failure to promote Parallelograms. As a result, Linda, like so many other hugely talented artists, failed to enjoy their commercial success and critical acclaim their talent deserves. So Linda returned to her job as a periodontist.
Nothing was heard of Parallelograms until the nineties. Since then, it has become a cult class. Interest in Parallelograms grows with each year. Maybe only now do people fully understand and appreciate this seminal, lost classic from an artist who should’ve enjoyed a long and successful career.
Looking back, Linda admits that, much as she loved music, she didn’t seem to have the drive required to make a career as a musician. She did, however, have the talent. Linda was blessed with an abundance of talent. That’s apparent listening to her critically acclaimed debut album Parallelograms.
Parallelograms is a flawless fusion of Americana, country, folk, pop, psychedelia and rock. There’s even a twist of ambient, drone pop, experimental and jazz. It’s potent and heady brew that showcases one of music’s hidden gems, Linda Perhacs.
She’s only released three albums between 1970 and 2017 This includes 2014s The Soul Of Natural Things and and 2017s I’m A Harmony. Target mark the welcome return of a truly talented and innovative singer-songwriter.
The Soul Of Natural Things was the long awaited followup to Parallelograms, and Linda Perhacs picked up where she left off in 1970. It was if she had never been away. Incredibly, forty-four years had passed before Linda returned with the followup to Parallelograms. It showcases Linda Perhacs who nearly fifty years after releasing Parallelograms is still one of music’s best kept secrets. .
Parallelograms features a hugely talented singer and songwriter, Linda Perhacs. Then there was producer Leonard Rosenman, an ambitious, innovator who in Linda, found a musical soul-mate who wanted to push musical boundaries to their limits. The result was Parallelograms an ambitious, innovative and flawless lost classic. It features the ethereal sound of Linda Perhacs, as she breathes, life, meaning, beauty and emotion into the eleven songs on Parallelograms which is a cult classic that is belatedly receiving the plaudits, praise and critical acclaim that it so richly deserves.
Cult Classic: Linda Perhacs -Parallelograms.
TIME BURGESS AND BOB STANLEY PRESENT TIME PEAKS-SONGS FOR A LATE-NIGHT DINER.
Tim Burgess and Bob Stanley Present Tim Peaks-Songs For A Late-Night Diner.
Label: Ace Records.
On April 8, 1990, the first series of Twin Peaks, which was created by David Lynch and Mark Frost, made its debut on ABC, and quickly, gained a cult following. Viewers in Britain and America were captivated by what was a landmark series that nowadays, is regarded as one of the greatest and most memorable programs in television history. It was set in the Pacific North-West which provided the perfect atmospheric backdrop for the series.
Meanwhile, iviewers in Britain wondered where a British version of Twin Peaks would be filmed? Some speculated that it would be somewhere in the North-West of England, which had a similar climate and landscape to Pacific north west. This included Tim Burgess, who grew up in Northwich, in Cheshire, supporting Witton Albion FC. That was where he met Bob Stanley, who shared Tim Burgess’ love of football, music, Twin Peaks and cafes.
It was nearly thirty years ago when Tim Burgess met Bob Stanley, who back then, was writing about the new Manchester bands for now defunct Melody Maker. He had moved from Croydon to Manchester. This came as no surprise to people who knew him. As
a teenager Bob Stanley was fascinated by British New Wave cinema and novels penned by Alan Sillitoe, Barry Hines, Keith Waterhouse and Stan Barstow. The films were usually shot in the North of England, which was where the books were based in the sixties. It later became his home and where Tim met Bob.
They shared much in common from old vinyl, the music being released by Factory Records, football and Twin Peaks which the pair believed was the finest television series ever made. The two men also share a love of cafes, although Tim Burgess has taken it a bit further than Bob Stanley.
Tim Burgess founded the Tim Peaks Diner, which during the summer moves between festival and combines tea, coffee and music. Tim Peaks Diner is a familiar sight and favourite of many festival goers. They will be pleased to see and hear Tim Burgess and Bob Stanley Present Tim Peaks-Songs For A Late-Night Diner which has just been released by Ace Records. It’s described as a soundtrack for the Tim Peaks Diner at dusk.
The twenty tracks on the compilation feature bands and artists from the North of England and Wales. This includes Young Marble Giants who contribute Choci Loni a track from their 1980 Colossal Youth album. It’s moody and minimalist and is the perfect way to open Tim Burgess and Bob Stanley Present Tim Peaks-Songs For A Late-Night Diner.
Dreamy and ethereal describes Lips That Would Kiss (Form Prayers To Broken Stone) by the Durutti Column. It’s another track from 1980, and showcases the talents of Vini Reilly one of the unsung heroes of British music. Every self-respecting record collection must have a Durutti Column album.
Breathtakingly beautiful describes the cinematic sounding Hunros (A Dream) from Gwenno’s 2018 album Le Kov. It’s a hidden gem that is well worth discovering.
I Love You (Restrained In A Moment) by The Royal Family and The Poor is a track from their 1984 album The Project Phase 1: The Temple Of The 13th Tribe. It’s a soul-baring ballad with a hint if psychedelia from a band that should’ve sadly, didn’t enjoy the success they deserved.
Jane Weaver contributes Slow Motion from her 2017 album Modern Kosmology. It’s a beautiful melancholy sounding song from a truly talented singer-songwriter.
One of the biggest names on the complain are Echo and The Bunnymen, who contribute the dark and lysergic sounding Fuel which was released in 1982.
Gnac released The Broken Fall as a single in 1996. It also featured in Omnibus, a film about David Hockney. This slow, spacious and thoughtful sounding track is a welcome addition to Tim Burgess and Bob Stanley Present Tim Peaks-Songs For A Late-Night Diner.
Dog is a genre-melting track from El Perro Del Mar’s 2008 eponymous album. It finds Sara Assbring combining elements of chamber pop, dream pop, library music and sixties girl groups. The result is a beautiful, dreamy and ethereal sounding track that deserves to be heard by a wider audience.
Forty years ago in 1979, Una Baines and Martin Bramah left The Fall, and founded Blue Orchids. The original group only released a handful of singles and the album The Greatest Hit (Money Mountain). It featured A Year With No Head, which is melodic and memorable a Blue Orchidds paints pictures on what was one their finest offerings.
Closing Tim Burgess and Bob Stanley Present Tim Peaks-Songs For A Late-Night Diner is Sky Burial by Dean McPhee. It’s a hesitant, wistful and ponderous track which features a crystalline guitar. Echo and delay is deployed effectively to create a cinematic sounding track that is sure to be a favourite on the juke box at Tim Peaks.
The twenty tracks on the Tim Burgess and Bob Stanley Present Tim Peaks-Songs For A Late-Night Diner, which is a carefully curated compilation which features a mixture of familiar faces and hidden gems from truly talented artists and bands. They’re part of what’s the perfect soundtrack to the Tim Peaks Diner at dusk. The music is variously atmospheric, cinematic, dark, ethereal, hesitant, lysergic, ponderous and wistful. It’s also beautiful and thought-provoking and paints pictures in the mind’s eye as the listener is transported to the Tim Peaks Diner. It would be home to a cast of colourful and mysterious characters just like its American counterpart in 1990. However,the Tim Peaks Diner is situated somewhere in the North of England not the Pacific North-West.
During the summer, the Tim Peaks Diner is a familiar sight at many festivals across the UK. It’s a favorite place for many festival goers who enjoy the tea or coffee and an eclectic selection of music. This includes the music on Tim Burgess and Bob Stanley Present Tim Peaks-Songs For A Late-Night Diner which has just been released by Ace Records and is a captivating collection of eclectic and cinematic music.
Tim Burgess and Bob Stanley Present Tim Peaks-Songs For A Late-Night Diner.
CULT CLASSIC: FUNKADELIC-MAGGOT BRAIN.
Cult Classic: Funkadelic-Maggot Brain.
Rumour has it, that when Funkadelic recorded their career defining album, Maggot Brain, they were on one long acid trip. Members of Funkadelic had dropped some Yellow Sunshine Acid before producer George Clinton pressed the record button and ironically, the result was their finest hour, Maggot Brain. Sadly, never again, would Funkadelic reach the same heights. Maggot Brain had come at a huge cost.
After the recording of Maggot Brain, Tawl Ross, Eddie Hazel, Billy Nelson, and Tiki Fulwood left Funkadelic. Maggot Brain became the last Funkadelic album to feature the original group. That’s not surprising.
The members of Funkadelic had a voracious appetite for the rock ’n’ roll lifestyle. Although they the were a funk band, Funkadelic liked to live life hard. Part of their lifestyle was drugs. However, their lifestyle caught up with Funkadelic and the group’s lineup was torn apart by drugs.
Drummer Tiki Fulwood was the first to leave Funkadelic. After that, the floodgates opened and Tawl Ross, Eddie Hazel and Billy Nelson departed within a year. Bernie Worrell was the last man standing. Maggot Brain may have been Funkadelic ’s finest hour, but it came at a huge price.
The original members of Funkadelic never got to share the commercial success of the group’s two most successful albums, 1978s One Nation Under A Groove or 1979s Uncle Groove Wants You. One Nation Under A Groove sold a million copies and was certified platinum, while Uncle Groove Wants You was certified gold. By then, Funkadelic’s lineup was constantly changing. It seemed they had a revolving door policy, as far as members were concerned. This was very different to the Funkadelic’s early days.
Funkadelic’s origins can be traced back to 1964. That’s when George Clinton hired musicians Frankie Boyce, Richard Boyce and Langston Booth to back his doo wop group The Parliaments. Two years later, Frankie, Richard and Langston decided to join the US Army. This left George Clinton looking for three new musicians.
George recruited bassist Billy Bass Nelson and guitarist Eddie Hazel in 1967. Later, he added guitarist Tawl Ross and drummer Tiki Fulwood. This was the lineup of The Parliaments that headed to Detroit.
Now living in Detroit, The Parliaments found themselves in a dispute with Revilot, a record company. They owned the rights to The Parliaments. So, George’s group needed a new name. That’s when Billy Bass Nelson came up with the name Funkadelic. It stuck. Soon, in 1968, Funkadelic signed to Westbound Records.
Having signed to Westbound Records, Funkadelic’s music began to evolve. Doo woo was yesterday’s sound. The newly named Funkadelic needed a new, and much more contemporary sound. Psychedelia, rock, soul and funk were the musical flavours of the month. So were Jimi Hendrix and Sly Stone. So, it made sense for Funkadelic to fuse these musical genres and influences.
This is what Funkadelic did. However, Funkadelic were no ordinary band. This was, after all, the era of the civil rights movement. Just like many other bands, the civil rights movement inspired Funkadelic. Their lyrics were full of social and political comment. Funkadelic’s music would prove to be a heady brew, when the band released their eponymous debut album.
Funkadelic.
Before Funkadelic entered the recording studio for the first time, they’d spent two years honing their sound. They were a much more tighter band, than when they became Funkadelic. This was apparent when they released their eponymous debut album.
When Funkadelic released their eponymous debut album, on 11th May 1970, it was well received by critics. Rolling Stone magazine gave the album a positive review. Other critics followed suit. Some critics remarked upon Funkadelic’s rhythm section. The rhythm section, they said, were at the heart of everything that was good on Funkadelic. This included the lengthy jams, where Funkadelic took the opportunity to stretch their legs. George Clinton’s new band, had made a strong impression
When Funkadelic was released on 11th May 1970, it reached number 126 in the US Billboard 200 and number eight in the US R&B charts. For a debut album, by a relatively new group, the future looked bright for psychedelic, funkateers, Funkadelic.
Free Your Mind… and Your Ass Will Follow.
Just two months after the release of Funkadelic, George Clinton and Co. returned with Free Your Mind… and Your Ass Will Follow. It was unlike any album ever released.
After all, no band had tried to record an album while tripping on acid. That’s until Funkadelic tried. George Clinton had a brainwave. He wondered if Funkadelic could record an album whilst tripping on acid. The result was Free Your Mind… and Your Ass Will Follow, Funkadelic’s sophomore album.
On Free Your Mind… and Your Ass Will Follow’s release, in July 1970, the album was mired in controversy. This was down to the title-track. It was a ten minute epic, where, amidst a feedback drenched backdrop,
Funkadelic managed to offend Christians everywhere. Funkadelic’s subversive attitude towards the sacred, and specifically, The Lord’s Prayer and the 23rd Psalm, meant Funkadelic were unlikely to sell many albums in America’s bible belt. They would make up for this elsewhere.
Following the positive reception of Funkadelic’s eponymous debut album, Free Your Mind… and Your Ass Will Follow received mixed reviews. It seemed Funkadelic couldn’t please all the critics, all the time. Record buyers however, were won over by Free Your Mind… and Your Ass Will Follow. It reached number ninety-two in the US Billboard 200 and number eleven in the US R&B charts. This made Free Your Mind… and Your Ass Will Follow Funkadelic’s most successful album. The followup, Maggot Brain, would be both Funkadelic’s finest hour, and the end of an era.
Maggot Brain.
Recording of Maggot Brain, Funkadelic’s third album took place during 1970 and 1971. This was the last album from the original lineup of Funkadelic. Partly, this was down to Funkadelic’s voracious appetite for drugs, and specifically, acid. What would become a classic album, cost not just Funkadelic, but the individual members dearly. Things were very different when work on Maggot Brain began.
Maggot Brain was recorded during 1970 and 1971. The lineup of Funkadelic featured a rhythm section of lead guitarist Eddie Hazel, bassist Billy Bass Nelson, rhythm guitarist Tawl Ross and drummer Tiki Fulwood. They were joined by Bernie Worrell on keyboards and backing vocalists Hot Buttered Soul. Funkadelic, unlike many groups didn’t have a designated lead vocalist. It changed from song to song on Maggot Brain, which was released on 12th July 1971.
On its release, on 12th July 1971, Maggot Brain was well received by critics. Most critics gave Maggot Brain glowing reviews. The occasional critic wasn’t won over by Funkadelic’s genre-melting music. However, mostly, critics realised Funkadelic had released the finest album of their career. This wasn’t reflected in sales.
Music buyers weren’t convinced by Funkadelic’s dark, moody worldview. Maggot Brain stalled at 108 in the US Billboard 200 and number fourteen in the US R&B charts. For George Clinton this was a huge disappointment. Worse was to come.
After the release of Maggot Brain, Tawl Ross, Eddie Hazel, Billy Nelson, and Tiki Fulwood left Funkadelic. Maggot Brain became the last Funkadelic album to feature the original group. Maggot Brain was Funkadelic’s finest hour, and is now perceived as a classic album. You’ll realise why, when I tell you about Maggot Brain.
Maggot Brain opens with the title-track. It’s a ten minute epic. A crackling sound gives way to a dark, moody spoken word introduction. It gives way to understated, sometimes dubby arrangement. At the centre of the arrangement is Eddie Hazel’s legendary guitar solo. Soon, it’s assailing you. Producer George Clinton pans the guitar right and left. All the time, the arrangement meanders along. The longer the track progresses, the better Eddie’s blistering, screaming, rocky guitar solo gets. Later, it’s drenched in feedback, as elements of psychedelia and rock unite. After that, Eddie’s guitar playing becomes understated, triply and dubby as Eddie Hazel master craftsman, delivers a stunning solo on what’s the equivalent of Funkadelic’s A Love Supreme.
Can You Get to That has a much more traditional rocky sound. This is very different to Funkadelic’s trademark sound. Gone is the groove oriented sound. It’s replaced by a joyous fusion of rock and gospel harmonies. Garry Shider and Ray Davis share the lead vocals. They’re accompanied by what seems like a joyous choir. Together, they deliver lyrics that seem to partly, have been inspired by Dr. Martin Luther King’s I Have A Dream Speech. The result is a melodic, joyous song full of social comment.
A guitar plays its way into a groove on Hit It and Quit It. Soon, the rest of the rhythm section explode into life. They’re joined by Bernie Worrell’s powerhouse of a vocal. He also plays an organ, which adds a dramatic, almost gothic sound. Adding the finishing touches are frenzied, urgent harmonies. While everyone more than plays their part in the song’s sound and success, Bernie plays a starring role. Later, so does guitar virtuoso Eddie Hazel, as he delivers another guitar masterclass.
Dubby and funky describes the introduction to You and Your Folks, Me and My Folks. Soon, it becomes a dramatic, emotive plea for unity. Here, Funkadelic Funkadelic use their music as a platform for social comment. It’s a plea for unity among the poor. If this isn’t achieved then never, ever will equality be achieved. It’s a soulful, funky anthem, where Funkadelic’s trademark sound shines through.
Super Stupid sees Eddie Hazel take charge of the lead vocals. Here, Funkadelic combine musical genres and influences. Funk, psychedelia, rock and soul combines with Sly and The Family Stone and Jimi Hendrix. The song is about a drug addict, nickname Maggot Brain, who buys the wrong drug. It’s a truly turbocharged track. At the heart of the driving, dramatic rocky track are Funkadelic’s rhythm section. Eddie however, plays a starring role, unleashing some of his finest, blistering guitar licks.
Back in Our Minds is another song about unity. It’s story about two friends who are reunited after falling out. George and Tawl Ross take charge of the lead vocal, on what sounds like a raucous, slice of good time music. Gone is the tightness of the previous track. It sounds as if Funkadelic are in a ‘relaxed’ state of mind. Sunshine soul, meets jazz, and a loose, funky sound.A myriad of avant-garde sounds are thrown into the mix. Later, McKinley Jackson adds bursts of trombone and a piano adds to the singalong nature of the song.
Closing Maggot Brain is Wars of Armageddon. It’s very different from previous tracks. Wars of Armageddon is an innovative and futuristic fusion of left-field music, sound effects and surreal lyrics. That’s not surprising, given Maggot Brain was recorded while Funkadelic were tripping on acid. Here, Funkadelic seemed to have opened the doors to perception to its fullest. They’re determined to end the album on a high. Bernie Worrell on Hammond organ and guitarist Eddie Hazel play starring roles. Meanwhile, the rhythm section create a groove laden backdrop. Above them, sound effects and snatches of dialogue flit in and out, as the original lineup of Funkadelic take their bow, producing a post apocalyptic vision of the Wars of Armageddon.
By the time Maggot Brain was released, the original lineup of Funkadelic were no more. Recording of their Magnus Opus, Maggot Brain, had taken its toll. The reason for this, were the sessions were drug fuelled. Funkadelic’s drug de jour was acid, which can have devastating effect. That was the case after Maggot Brain was completed.
Following the recording of Maggot Brain, Tawl Ross, Eddie Hazel, Billy Nelson, and Tiki Fulwood all left Funkadelic. Maggot Brain became the last Funkadelic album to feature the original and classic lineup of the group. That’s not surprising.
Funkadelic had a voracious appetite for the rock ’n’ roll lifestyle. They liked to live life hard. Part of their lifestyle was drugs. However, their lifestyle caught up with Funkadelic. Their lineup was torn apart by drugs.
Drummer Tiki Fulwood was the first to leave Funkadelic. After that, the floodgates opened. Tawl Ross, Eddie Hazel and Billy Nelson departed. Within a year, only Bernie Worrell was left. He was the last man standing. Maggot Brain may have been their finest hour, but it came at a huge price.
When Maggot Brain was released, it was to mostly critical acclaim. Critics hailed the album Funkadelic’s finest hour and while they may have released more successful albums than Maggot Brain, they never bettered it. Maggot was was their finest hour.
It saw Funkadelic at their innovative best as they pushed musical boundaries to their limit and sometimes beyond. Funk, jazz, psychedelia, P-funk, rock, soul and social comment all melt into one on Maggot Brain, which is a groundbreaking and genre-melting acid fuelled Magnus Opus, where Funkadelic throw open the doors of perception on this career defining cult classic.
Cult Classic: Funkadelic-Maggot Brain.
CULT CLASSIC: MELVIN SPARKS-TEXAS TWISTER.
Cult Classic: Melvin Sparks-Texas Twister.
Although American jazz and blues guitarist Melvin Sparks enjoyed a career that spanned five decades, the most fruitful period of his career was the seventies, when he released five albums between 1970 and 1975. Melvin Sparks’ career began at Prestige Records, where he released a triumvirate of albums between 1970 and 1972. However, after leaving Prestige, Melvin Sparks signed to Armen Boladian’s Eastbound Records in Detroit.
In 1973, Melvin Sparks entered the studio with producer Bob Porter, and an all-star band and recorded his fourth album Texas Twister, which was released later that year. It’s an oft-overlooked album which is a reminder of the late, great jazz guitarist Melvin Sparks, who sadly passed away in on March the ’15th’ 2011, just before his sixty-fifth birthday.
Melvin Sparks was born in Houston, Texas, on March the ‘22nd’ 1946, into what was a musical family. His two brothers both played guitar, and his mother ran a cafe which was a favourite hangout for local musicians. This included Don Wilkerson, Stix Hooper and Cal Green, who would prove supportive of Melvin Sparks and influenced him later in his career.
At the age of eleven, Melvin Sparks received his first ever guitar, and by the time he was in high school, was playing in his first band alongside organist Leon Spencer. Within a few years, seventeen year old Melvin Sparks had left school and embarked upon a career as a processional musician.
Initially, Melvin Sparks went out on the road with The Upsetters, who had been Little Richard’s backing band, and then went on to back some of the biggest names in R&B. For the next three years, Melvin Sparks served what was akin to a musical apprenticeship with The Upsetters, as they crisscrossed America. In 1966, The Upsetters arrived in New York which was where Melvin Sparks met the man who would transform his career.
In New York, Melvin Sparks met bandleader and jazz organist Brother Jack McDuff, who just happened to be looking for a guitarist. Melvin Sparks fitted the bill and in 1966, he joined Brother Jack McDuff’s band. Over the next few years, Melvin Sparks played on several albums that featured Brother Jack McDuff. This included his 1967 album Do It Now, and the same year, Melvin Sparks played on Do It Now, Jimmy Witherspoon with Jack McDuff’s The Blues Is Now. The following year, Melvin Sparks played on Brother Jack McDuff and David Newman’s 1968 collaboration Double Barrelled Soul. That was just part of the story.
Soon, Melvin Sparks was the go-to-guitarist for anyone who was looking for a jazz guitarist, and played alongside Lonnie Smith on his 1967 album Finger Lickin’ Good. After that, Melvin Sparks played alongside several top boogaloo artists signed to Blue Note between 1968 and 1970, including Lou Donaldson, Reuben Wilson and Lonnie Smith. However, in 1970 Melvin Sparks made the transition from sideman to solo artist.
By 1970, Melvin Sparks signed to Prestige, where he was reunited with his old friend and former high school bandmate Leon Spencer Jr, who was also signed to the label. The pair would play on each other’s albums over the next couple of years.
Sparks!
Having signed to Prestige Records, twenty-seven year old Melvin Sparks soon, began work on his much-anticipated debut album, Sparks! He was paired with producer Bob Porter who by 1970, had already established the Prestige soul-jazz sound. Now they had to choose the songs that suited this sound.
Just like many albums of soul jazz, cover versions were often the order of the day. That was the case with Melvin Sparks’ first album of Prestige soul-jazz, which featured Sly Stone’s Thank You For Being Myself, Rogers and Hart’s I Didn’t Know What Time It Was and Leiber and Stoller’s Charlie Brown. However, Melvin Sparks had decided to record The Stinker which was written by his old friend and now label mate Leon Spencer Jr, who was also part of all-star band that recorded Sparks!
When recording of Melvin Sparks debut album Sparks! began, Bob Porter took charge of production and Rudy Van Gelder was the recordist. Backing guitarist Melvin Sparks was a tight and talented band that featured drummer Idris Muhammad, organist Leon Spencer Jr, trumpeter Virgil Jones and tenor saxophonists Houston Person and John Manning. Once the album was recorded, Sparks! was scheduled for release later in 1970.
Before the release of Sparks!, critics had their say on Melvin Sparks debut album, which was an album of soul-jazz that headed in the direction of pop. Sparks! was well received by critics, and when it was released in later 1970, it was hoped that it would launch Melvin Sparks’ solo career. However, despite the favourable reviews, Sparks! failed to find a wider audience which was a disappointing start to Melvin Sparks’ career at Prestige.
Spark Plug.
After the commercial failure of his debut album Sparks!, Melvin Sparks went away and wrote Spark Plug, Conjunction Mars and Dig Dis which would featured on his sophomore album Spark Plug. These three tracks were joined by covers of Gene Redd’s Who’s Gonna Take The Weight? and Schwartz and Dietz’s Alone Together. The songs that became Spark Plug were recorded by many of the musicians that featured on Sparks!
Drummer Idris Muhammad, organists Leon Spencer Jr and Reggie Roberts, trumpeter Virgil Jones and tenor saxophonists Grover Washington Jr join guitarist Melvin Sparks. Taking charge of production on Spark Plug was Bob Porter, as a much more laid back, but funky album of soul-jazz took shape. This was similar to the Prestige “sound” that had evolved over the last few years under Bob Porter. Melvin Sparks was the latest purveyor of the Prestige sound.
Just like his debut album Sparks!, Sparks Plug, was well received by critics, and many thought that Melvin Sparks was one of Prestige’s rising stars. However, when Melvin Sparks released Sparks Plug later in 1971, the album wasn’t the commercial success that Prestige nor Melvin Sparks had hoped. For both parties, this was hugely disappointing.
Akilah!
With neither Sparks! nor Spark Plug proving particularly popular, Melvin Sparks was well aware that his third album Akilah!, was make or break for him at Prestige. Melvin Sparks was still regarded as one of Prestige’s rising stars, but he had still to make a breakthrough. It was a case of now or never as Melvin Sparks began work on Akilah!
For his third album, Melvin Sparks had written four new tracks, On The Up, All Wrapped Up, Akilah and Blues For JB. They were joined by Leon Spencer Jr’s The Image Of Love and Gene Redd and Kool and The Gang’s Love The Life You Live.
By the time Melvin Sparks recording his third album, producer Bob Porter had left Prestige, and this time, he was joined in the studio by Ozzie Cadena who supervised the recording of Akilah! This wasn’t the only change, as a very different band accompanied Melvin Sparks during the Akilah! sessions.
Familiar faces included Idris Muhammad, organist and pianist Leon Spencer Jr and trumpeter Virgil Jones. They were joined by some new names including alto saxophonists George Coleman and Sonny Fortune, flautist Hubert Laws, percussionist Buddy Caldwell, trumpeter Ernie Royal and tenor saxophonists Frank Wess and Dave Hubbard who also played flute on Akilah! It built on Melvin Sparks’ two previous albums, Sparks! and Sparks Plug, and was the most important album of his solo career.
With Akilah! completed, Melvin Sparks’ third album was scheduled for release later in 1972, and again, just like his two previous well received by critics upon its release. However, history repeated itself, and Akilah! failed to find the audience that it deserved. This was a huge blow for Melvin Sparks, who left Prestige later in 1972.
Fortunately, by the time Akilah! was released, Bob Porter who had left Prestige Records, had joined Armen Boladian’s Detroit-based label Eastbound Records. With Melvin Sparks without a label, Bob Porter recommended that Eastbound Records sign his old friend and protégé. This was the start of a new era for Melvin Sparks.
Texas Twister.
After signing to Eastbound Records, began work on his fourth album Texas Twister with his old mentor and producer Bob Porter. Melvin Sparks hoped that renewing his partnership with Bob Porter might kickstart his career.
For Texas Twister, Melvin Sparks wrote four new compositions Whip! Whop!, Judy’s Groove, Texas Twister and Star In The Crescent. They were joined by Bobby Graham’s Gathering Together, Billy Eckstine’s Want To Talk About You and Brian Potter and Denise Lambert’s Ain’t No Woman (Like The One I Got). These seven tracks became Melvin Sparks’ Eastbound Records’ debut Texas Twister.
No expense was spared for the recording of Texas Twister which was produced by Bob Porter and was recorded by band that featured some top musicians. The rhythm section of drummer Idris Muhammad, bassist Wilbur Bascomb and guitarists Ron Miller. They were joined by organist Caesar Frazier, Sonny Phillips on Fender Rhodes and Buddy Caldwell on bongos. A horn section that featured baritone saxophonist Ed Xiques, tenor saxophonist Ron Bridgewater and trumpeters Cecil Bridgewater and Jon Faddis was the final piece of the jigsaw. Melvin Sparks played his trusty Guild guitar on Texas Twister which was meant to be the start of a new era for him.
Texas Twister was released to plaudits and praise, and hailed as Melvin Sparks’ finest album. Although it was a much funkier album than his previous offerings, Melvin Sparks hadn’t turned his back on soul jazz as he led three different lineups of his band on Texas Twister. Sometimes, Melvin Sparks’ all-star band are reduced to a trio, while other times he leads an impressive ten piece combo on Texas Twister. One of Melvin Sparks’ secret weapons on Texas Twister were the bongos which added a Latin sound as he flitted between funk and soul-jazz on his comeback album.
Side One.
Whip! Whop! which opens Texas Twister is a much funkier track, and it’s as if Melvin Sparks with the help of producer Bob Porter, was in the process of reinventing himself, as funk was growing in popularity by 1973. Gathering Together features a guitar masterclass from Melvin Sparks who plays with speed and fluidity and is accompanied by tight, rasping horns as the rhythm section drive the arrangement along. Judy’s Groove is a slice of swinging soul jazz where drummer Idris Muhammad is responsible for the ambling beat as Melvin Sparks and his band showcase their skills and versatility.
Side Two.
Melvin Sparks unleashes a breathtaking and fluid solo on Texas Twister, before blazing horns and the Hammond organ enjoy their moment in the sun, and play their part in the sound and success of the title-track. The tempo drops on Ain’t No Woman (Like The One I Got), and the horns take centre-stage and are augmented by a subtle Fender Rhodes before Melvin Sparks delivers another spellbinding solo. It takes centre-stage, and sometimes, he’s joined by the horns who provide the perfect accompaniment on the track that was released as a single. I Want To Talk About You continues with the soul-jazz sound, albeit with a Latin twist, while the album closer Star In The Crescent marks a return to the bop-driven sixties soul-jazz style. It ensures Texas Twister ends on a memorable high.
Despite being well received by critics, who thought Texas Twister Melvin Sparks’ finest album, it failed to find an audience when it was released later in 1973. History had repeated itself again, and Melvin Sparks who had just released his fourth album Texas Twister was still looking to make a commercial breakthrough.
Nowadays, Texas Twister, which was released by Eastbound Records in 1973, is regarded as Melvin Sparks’ finest hour. Sadly, this Latin-tinged album of funky soul-jazz wasn’t a commercial success and original copies of Texas Twister are extremely rare. It features Melvin Sparks at the peak of his powers, as he leads a crack band of that features the great and good of seventies jazz on his cult classic Texas Twister.
Cult Classic: Melvin Sparks-Texas Twister.
CULT CLASSIC: TEENAGE FANCLUB-BANDWAGONESQUE.
Cult Classic: Teenage Fanclub-Bandwagonesque.
Hardly ever does commercial success and critical acclaim come overnight for a band. Instead, it often takes a couple of albums before a band hits their stride. That was the case with the Teenage Fanclub.
It wasn’t until the Teenage Fanclub released their third album Bandwagonesque in November 1991 that commercial success and critical acclaim came their way. Soon, comparisons were being drawn with the legendary Big Star, and a great future was forecast for the Teenage Fanclub.
Twenty-five years and six albums later, a lot of water has flown under the bridge for Teenage Fanclub. Sadly, Teenage Fanclub never quite recached the heights the critics forecast. The most successful period of their career was between Thirteen in 1993 through 1995s Grand Prix to Songs From Northern Britain in 1995. The Teenage Fanclub’s melodic, hook-laden brand of power pop proved popular in America, Europe and Australia. However, that was until the new millennia dawned.
When Teenage Fanclub released their seventh album Howdy in 2000, it stalled at thirty-three in the UK. Little did anyone realise that was as good as it got for Teenage Fanclub. Commercial success eluded their 2002 collaboration with Jad Fair, Words of Wisdom and Hope. After this it was another three years before Teenage Fanclub returned.
2005 saw the Teenage Fanclub return with their first album in five years, Man-Made. However, it reached just thirty-four in the UK. Following Man-Made, another five years passed before Teenage Fanclub returned with Shadows. While the album received mostly favourable reviews, it reached just number thirty in the UK. It was a long way from the period between 1991 and 1997, when Teenage Fanclub were one of the most successful indie bands.
The album that began the most successful period of Teenage Fanclub’s twenty-seven year career, was Bandwagonesque which is now regarded as a genre classic. It was the start of the most successful period of Teenage Fanclub’s career.
That period began in 1991. However, Teenage Fanclub had been formed just two years earlier in Bellshill, Lanarkshire in 1989. Teenage Fanclub had emerged out of Glasgow’s C86. They had been inspired by bands like The Beach Boys, The Byrds and Big Star, who Teenage Fanclub would be later be compared to.
Unlike Big Star, Teenage Fanclub were a five piece band. The original lineup featured guitarist Norman Blake, lead guitarist Raymond McGinley, bassist Gerard Love, drummer and Francis MacDonald. Teenage Fanclub’s three principal songwriters shared lead vocal duties. That was the case on their debut album.
A Catholic Education,
Just a year after the band was founded, Teenage Fanclub released their debut album in 1990. A Catholic Education would later be described as a quite un-Teenage Fanclub album. The music was dark, harsh and peppered with cynicism and controversy.
Most of the controversy stemmed from Teenage Fanclub’s decision to turn their sights on Catholic church. For a band from a city divided by religion, that was a controversial move, and one that could alienate people. What made the decision to “attack” the Catholic church, was that Teenage Fanclub prided themselves on being apolitical band. The other surprise for a band who admired The Byrds, The Beach Boys and Big Star was the sound of A Catholic Education.
For much of A Catholic Education, Teenage Fanclub unleashed a mixture of grunge and heavy metal. The only hint of what was to come from Teenage Fanclub was the Norman Blake penned Everything Flows. It was a glorious slice of power pop. This was something that Teenage Fanclub would return to later. Before that, A Catholic Education was released on June 11th 1991.
Before that, critics reviewed A Catholic Education. Reviews of the album were mixed, and very few critics forecast the critical acclaim and commercial success that came Teenage Fanclub’s way. When A Catholic Education was released by Matador, the album failed to even trouble the British or American charts. It was an inauspicious debut from Teenage Fanclub.
The King.
Just two months later, and Teenage Fanclub released their sophomore album, The King. However, in reality, The King was a quickly assembled collection of tracks.
The tracks that became The King had been recorded once Teenage Fanclub had completed what would be their third album, Bandwagonesque. Quickly, Teenage Fanclub recorded nine tracks, including covers of Madonna’s Like A Virgin and Pink Floyd’s Interstellar Overdrive. Once The King was recorded, Teenage Fanclub were hoping this would allow them to escape their contractual liability to Matador. This could have backfired.
Teenage Fanclub owed Matador an album. If they accepted The King, then they had fulfilled their contractual obligations. There was the possibility that the album could be rejected, if Matador didn’t believe the album was of a certain commercial standard,
Fortunately, they didn’t. That’s despite covers of Madonna’s Like A Virgin and Pink Floyd’s Interstellar Overdrive. The King wasn’t exactly Teenage Fanclub’s finest hour. Despite this, Matador released in August 1991.
Reviews of The King hadn’t been favourable. Despite this, The King reached fifty-three in the UK charts. It was almost ironic. Very few critics thought that The King would even trouble the charts. Teenage Fanclub had the last laugh. Free from all encumbrances, the Teenage Fanclub signed to Creation Records.
Bandwagonesque.
Now signed to Alan McGhee’s Creation Records, Teenage Fanclub like a magician pulling a rabbit from a hat, delivered the completed version of Bandwagonesque.
It featured twelve new songs from Teenage Fanclub. Norman Blake had contributed The Concept, What You Do To Me, Metal Baby and Alcoholiday. Raymond McGinley’s wrote I Don’t Know.
Gerard Love had written December, Star Sign, Pet Rock, Guiding Star and Is This Music? He also cowrote Sidewinder with Brendan O’Hare; while Satan was credited to the four members of Teenage Fanclub. They would record Bandwagonesque in Amazon Studio, in Liverpool.
The Bandwagonesque session began on 9th April 1991. Teenage Fanclub’s rhythm section featured drummer Brendan O’Hare, bassist Norman Blake and guitarist Norman Blake. Raymond McGinley played lead guitar; while the vocal duties were shared between the three songwriters. Augmenting the four members of Teenage Fanclub were Don Fleming on occasional guitar and handclaps while Dave Buchanan also added handclaps. Joseph McAlinden took charge of brass and strings. Producing Bandwagonesque, were Don Fleming, Paul Chisholm and Teenage Fanclub. By 12th May 1991, was recorded and mixed. Six months later, Bandwagonesque became Teenage Fanclub’s Creation Records’ debut.
Before that, critics had their say on Bandwagonesque. Critical acclaim had accompanied Bandwagonesque’s released. It was the first album to feature Teenage Fanclub’s melodic, hook-laden brand of power pop. With their Byrdsian jangling guitars and tight harmonies, Bandwagonesque stood head shoulders above A Catholic Education and The King. Granted, Teenage Fanclub could still rock out, and enjoyed the odd excursion into grunge, however, Bandwagonesque was Teenage Fanclub’s finest moment…by far. Record sales backed this up.
In August 1991, Star Sign was released as a single. Although reached just forty-four in the UK charts, it reached number four in the US Modern Rock charts. When the hard rocking single The Concept was released in October 1991, it reached fifty-one in the UK, and number twelve in US Modern Rock charts. Then came the main course.
On 19th November 1991 Bandwagonesque was released by Alan McGhee’s Creation Records. In Britain, Bandwagonesque reached twenty-two and in America the album reached 137 in the US Billboard 200. Bandwagonesque had introduced Teenage Fanclub to British and American record buyers. It was also the start of a six year period, when Teenage Fanclub released four albums that featured the best music of their career. This started with Bandwagonesque in 1991.
A wail of feedback opens Bandwagonesque, before Teenage Fanclub tame the tiger, and lock into a steady, rocky groove. As rhythm section create the heartbeat, choppy, seeing guitars drive the arrangement along. Atop the arrangement sits the vocal, that delivers those familiar lyrics: “I didn’t want to hurt you.” Then at 3.13 Brian Wilson meets The Byrds as swooning, heartfelt harmonies as jangling and searing guitars combine, and create a symphonic sound that’ll mend any broken heart.
Satan brings back memories of A Catholic Education, as elements of grunge and heavy metal gallop along. They buzz, beep and squeak before Teenage Fanclub unite for just over twenty seconds of hard rocking music that would make Lemmy proud.
December finds Teenage Fanclub changing direction, as they combine indie rock and pop. The tempo drops on what’s a much more mellow sounding song. Chiming, chirping and bristling guitars sit above the rhythm section as Gerard take’s charge of the vocal. It’s full of emotion and hurt. Later, tight harmonies accompany the vocal, before a false ending introduces strings. They sweep and weep, as guitars buzz and bring this song to a wistful conclusion.
As What You Do To Me unfolds, one can’t help but wonder whether one of the Teenage Fanclub’s guilty pleasures was Status Quo. They dawn their old denims, and with a nod to The Byrds, rock their way through what’s a two minute anthem. Accompanied by sweet Byrdsian harmonies, they don’t spare the hooks during this irresistible anthemic track.
A vortex of distant guitars are joined by the rhythm section on I Don’t Know. Suddenly, it’s all systems go, as the tight rhythm section and choppy, chirping licks and riffs drive the arrangement along. The vocals are unsure as they sing: “I Don’t Know.“ When the vocals drop out, their replaced by bursts of blistering, scorching guitars. At 3.25. Teenage Fanclub kick loose, searing guitars cut through the arrangement. As if realising that something special is unfolding, rolls of drums are added as indie rock and power pop combine to create another memorable and melodic moment from Bellshill’s finest, Teenage Fanclub.
Guitars swirl in the distance, effects transforming their sound. Echo and reverb are the weapons of choice on Star Sign as it begins to take shape. It’s as if Teenage Fanclub are teasing the listener, and it’s not until 1.15 when the song unfolds. Drum pounds and with the bass, underpin the arrangement. It features jangling driving, and scorching guitars. Meanwhile, the vocal is mixed back in the arrangement. This works, and allows a tight and talented band shine, as they literally come of age musically. Twenty-five years later, and this rousing fusion of indie rock and power pop is timeless, and one of the reasons why Bandwagonesque is regarded as a genre classic.
The hooks keep on coming on Metal Baby. Drums pound furiously, before relentlessly driving the hard rocking arrangement along. Meanwhile, jangling, searing and scorching guitars accompany Gerard Love’s vocal. He’s augmented by harmonies and guitar licks. By then, Teenage Fanclub seem to be relishing the opportunity to kick loose, and rock their way through another song rich in poppy hooks.
Just guitars ring out as Pet Rock unfolds. Soon, the rhythm section join the fray and Teenage Fanclub become one. They’re a tight unit, who when they recorded Bandwagonesque, had only been together since 1991. It’s hard to believe. When the vocal enters, it’s accompanied by harmonies. When they drop out, they’re replaced by bristling, scorching guitars. Meanwhile, horns blaze as the hard rocking rhythm section. Aleready Teenage Fanclub sound like hard rocking musical veterans on this melodic rocker.
Melodic rocker also describes Sidewinder. It’s one of the slower songs, where the vocals intertwine with the West Coast harmonies. Meanwhile, the rhythm section and bristling, chiming guitars create a rocky backdrop. Later, when the vocal drops out, lead guitarist Raymond McGinley dawns the role of guitar hero, and unleashes a scorching solo. As the reaches its crescendo, the guitars have become crunchy as a little bit of the West Coast of America comes to Glasgow.
Shimmering. liquid guitars open Alchoholiday, before the rhythm section lay down the tightest of grooves. The bass bounds as drums pound. Meanwhile, the vocal is heartfelt, needy and emotive. It’s also tinged with confusion as Norman sings: “there are things I want to say, but if they will be to you.” Cooing, soothing harmonies accompany the vocal as the Teenage Fanclub never miss a beat. Guitars chime and chirp, before a blistering solo cuts through the arrangement. By then, Teenage Fanclub are at their tightest, combining elements of Big Star, The Byrds and The Beach Boys, on what’s a classic track.
Stylistically, Guiding Star is quite different from previous tracks. Strings and a guitar accompany the vocal, before the bass picks its way through the arrangement. Harmonies augment the arrangement, as it threatens to kick loose. It never does, and retains what’s by Teenage Fanclub’s standard is an almost a restrained sound.
Bandwagonesque closes with Is This Music? A pulsating bass is joined by chiming, bristling guitars and drums. There’s no vocal, just Teenage Fanclub playing with freedom. The music flows through them, with the searing, scorching guitar and pulsating bass leading the way. Already one knows the question posed by Teenage Fanclub, Is This Music? Definitely, and some of the best released in 1991.
Twenty-eight years have passed since I first heard Bandwagonesque for the first time. From the first time I heard Teenage Fanclub’s third album Bandwagonesque, I realised this was defining moment for Bellshill’s finest. Bandwagonesque stood head and shoulders above A Catholic Education and The King. Teenage Fanclub had released what was without doubt, the best album of their nascent career. Soon, Bandwagonesque was being hailed as a genre classic. That’s still the case over quarter a century later.
Bandwagonesque is a welcome reminder of Teenage Fanclub, as they began what was the most successful period of their career. After Bandwagoneque introduced record buyers on both sides of the Atlantic to Teenage Fanclub, their star was in the ascendancy.
From the release of their fourth album Thirteen in 1993, through to Grand Prix in 1995 to Songs From Northern Britain in 1997, Teenage Fanclub enjoyed the most successful period of their twenty-seven year career. Their unique fusion of indie rock and melodic, hook-laden power pop proved popular in in America, Europe and Australia. Teenage Fanclub were one of the most popular British indie bands of that era, and their music influence a generation of new bands. It looked like Teenage Fanclub’s golden period would last forever. Sadly, it wasn’t to be.
After the release of Songs From Northern Britain in 1997, Teenage Fanclub’s albums never sold in the same quantities and stalled around thirty in the UK album charts. Teenage Fanclub’s golden period was over. Despite this, Teenage Fanclub continue to provide the soundtrack to the lives of a generation of record buyers.
Many people’s introduction to Teenage Fanclub was their third album Bandwagonesque, a timeless genre classic. It’s an album that belongs in every record collection. Bandwagonesque is also a record that’s guaranteed to bring back memories, of November 1991, when Teenage Fanclub released their breakthrough album. For many people, this was the start of a lifelong love affair with Teenage Fanclub, who are back on the comeback trail.
Later in 2016, Teenage Fanclub will return with their first album for six years. It’s their much anticipated tenth album Here. By the time Here is released, many of the people who discovered Teenage Fanclub through Bandwagonesque, will be well into middle age. They’ll still enjoy Here, and Teenage Fanclub’s genre classic, where perfect power pop and indie rock combine a hint of grunge to create Bandwagonesque.
Cult Classic: Teenage Fanclub-Bandwagonesque.
CULT CLASSIC: JETHRO TULL-THICK AS A BRICK.
Cult Classic: Jethro Tull-Thick As A Brick.
Jethro Tull came of age musically in 1971 when they released Aqualung, which became the most successful album of their four album career. Aqualung sold three million copies in America, and was certified triple platinum. This surpassed the success of their three previous albums, including 1969s Stand Up and 1970s Benefit. While both were certified gold in America Aqualung was a game-changer.
Suddenly, Jethro Tull were one of the biggest bands in the world. They were well on their way to becoming one of the most successful, groundbreaking and innovative progressive rock bands. Partly, that was down to Jethro Tull’s determination to reinvent themselves musically. Jethro Tull weren’t content to stand still. Instead, they experimented musically, and pushed musical boundaries to their limit. This saw Jethro Tull become one the most groundbreaking and inventive bands. However, very few people were prepared for Thick As A Brick, the followup to Aqualung.
Thick As A Brick was a concept album which were de rigueur amongst progressive rock bands. However, it wasn’t just anyconcept album though. Instead, Thick As A Brick was a concept album featuring just one lengthy track. This track, Jethro Tull described as “bombastic” and “over the top.” It was meant to be an adaptation of an epic poem written by an fictional eight year old prodigy. It’s meant to be Homeric, but with a bombastic, humorous style. The album came complete with a cover that replicates a comedic newspaper, which features the poem penned by the child prodigy. In reality, the lyrics were written by Ian Anderson, Jethro Tull’s lead singer. Up until then, he could do no wrong. Was this about to change?
The origins of Jethro Tull can be traced to Blackpool, in 1962, That’s when Ian Anderson formed his first group Blades. Originally a four piece, featuring Ian Anderson on vocals and harmonica, they became a quintet in 1963 and sextet in 1964. By that time, they were a blue eyed soul band. After three years, the band decided to head to London.
Having moved to London, the band split-up within a short time. Just Ian Anderson and bassist Glen McCornick were left. This proved a blessing in disguise. They were soon joined by blues guitarist Mick Abrahams and drummer Clive Bunker. This was the lineup that featured on their debut album This Was. That was still to come.
Before that, the band had to settle on a name. Various names were tried. Then someone at a booking agent christened them Jethro Tull, after the eighteenth century agriculturalist. Not long after that, Ian Anderson acquired his first flute.
Up until then, Ian Anderson played just harmonica and was trying to learn to play the guitar. He realized wasn’t a great guitarist though. So, decided the world had enough mediocre guitarists, decided to expand his musical horizons. So he bought his flute. Little did he realize this would be one of Jethro Tull’s trademarks. After a couple of weeks, Ian had picked up the basics of the flute. He was learning as he played. Not long after this, Jethro Tull released their debut single.
Sunshine Day was penned by Mick Abrahams, with Derek Lawrence producing the single. On its release, the single was credited to Jethro Toe. It seemed thing weren’t going right for Jethro Tull. The single wasn’t a commercial success and failed to chart. Despite this disappointment, thing got better when they released their debut album This Was.
This Was.
Recording of This Was took place at Sound Techniques in London. The sessions began on 13th June 1968, and finished on 23rd August 1968. Unlike later albums, Jethro Tull recorded This Was on a tight budget. Only £1,200 was spent recording Jethro Tull’s debut album This Was. This money would soon be recouped when This Was released.
Having released their debut album This Was in 25th October 1968, it reached number ten in the UK. This Was was well received by critics. They were won over by Jethro Tull’s fusion of blues rock, R&B and jazz. This lead to This Was being launched at the Marquee Club.
Jethro Tull were only the third band to launch their debut album at the Marquee Club. The other two were The Rolling Stones and The Who. Both were now amongst the biggest bands in the world. They had certainly conquered America. So would Jethro Tull.
When This was released in the US on 3rd February 1969, it reached just number sixty-two in the US Billboard. This was seen as a success by Island Records in Britain and Reprise in America. Jethro Tull had made inroads into the most lucrative music market in the world. It was a successful start to Jethro Tull’s career, which was about to enter a period where critical acclaim and commercial success were almost ever-present. However, there was a twist in the tale.
Prior to the recording of Stand Up, Jethro Tull’s sophomore album, Mick Abrahams left the band. Mick and Ian Anderson disagreed over the future direction of Jethro Tull. The problem was, Mick wanted Jethro Tull to stick with blues rock. Ian Anderson realised there was no real future in blues rock. He wanted to take Jethro Tull in different directions, exploring a variety of musical genres. So Mick left Jethro Tull and was replaced by Michael Barre. Little did either Mick nor Michael realize that Stand Up marked the start of a period where Jethro Tull sold over sixty-million albums.
Stand Up.
Following the departure of Mick Abrahams, who was replaced by Michael Barre work began on Jethro Tull’s sophomore album. It would be very different to This Was.
Stand Up was a much more eclectic album. Ian Anderson, who was now the primary songwriter, penned nine of the ten tracks. He drew inspiration from everything from blues rock, Celtic, classical, folk and rock. The ten tracks became Stand Up, which was recorded over three months in 1969.
Recording of Stand Up took place at Morgan Studios and Olympic Studios. The sessions began in April 1969, and continued through to May 1969. They recommenced in August 1969, when Stand Up was completed. A month later, and Stand Up was released.
Before the release of Stand Up in September 1969, reviews of the album were positive. The musicianship and production were praised. Whilst there was still a blues rock sound, Jethro Tull were expanding their musical palette. This struck a nerve with critics and record buyers.
On its release in September 1969, Stand Up reached number twenty in the US Billboard 200 Charts and number twenty in Britain. This resulted not just in the start of Jethro Tull’s first gold disc of their career and the beginning of a golden period in their career. The next album in this golden period was Benefit.
Benefit.
Following the commercial success of Stand Up, Jethro Tull returned to the studio in December 1969. Ian Anderson had written ten new tracks. These ten tracks were recorded at Morgan Studios, London. For the first time, Ian Anderson was the sole producer of a Jethro Tull album. He started as he meant to go on, producing what would become a much more experimental, and darker album, Benefit. It was completed in January 1970 and release in April and May 1970.
Before the release of Benefit, the critics had their say. They remarked upon the much more experimental sound of Benefit. Ian Anderson had allowed Jethro Tull more freedom to express themselves. He also wanted Benefit to have a live sound. This shines through. So, does Benefit’s darker sound. This Ian Anderson claimed was because of the pressure of a forthcoming American tour, and his disillusionment with the business side of the music industry. However, this didn’t affect sales.
When Jethro Tull released Benefit in the America. It was released 20th April 1970, and reached number eleven in the US Billboard 200 Charts. This meant another gold disc for Jethro Tull. However, how would British record buyers react to Benefit?
Already, Jethro Tull were more popular in America, than in Britain. Stand Up, Jethro Tull’s previous album was more successful in America, than Britain. It seemed American record buyers “got” Jethro Tull more than their British counterparts. Benefit just reinforced this. Upon its release on May 1st 1970, Benefit reached number three in Britain. While there was no gold disc, Jethro Tull were on a roll, and about to release a classic album.
Aqualung.
By December 1970, Jethro Tull had just returned from their American tour. They were on a gruelling schedule, where they recorded an album, then embarked upon long, exhausting tours. It wasn’t ideal, and already, Ian Anderson wasn’t enjoying the months away from home. He missed his friends and family. However, this was one of the downsides of being a member of one of the most successful rock bands in the world. So, while others were readying themselves for the forthcoming festive season, Ian Anderson and the rest of Jethro Tull were about to begin recording their fourth album, Aqualung.
Despite Jethro Tull’s gruelling touring schedule, Ian Anderson’s creativity hadn’t been stifled. Far from it. Ian returned with the lyrics to Jethro Tull’s most ambitious and cerebral album, Aqualung. It was a concept album that examined ”the distinction between religion and God.” This seemed an unlikely subject for an album, even a seventies concept album. However, Aqualung, which feature two new members, would transform Jethro Tull’s fortunes.
As Jethro Tull arrived at Island Studios in December 1970, two new members made their debut. Keyboardist John Evans and bassist Jeffrey Hammond were the latest recruits to Jethro Tull. Right through to February 1970, Jethro Tull recorded their most cerebral and philosophical album. Aqualung was produced by Ian Anderson and Terry Ellis. It was also their most successful album.
Once Aqualung was completed, neither Chrysalis in Britain, nor Reprise in America wasted time in releasing Jethro Tull’s fourth album. Given the subject matter, there must have been a some trepidation amongst the executives at Chrysalis and Reprise. After all, concept albums were controversial. However, what about a concept album that examined ”the distinction between religion and God?”
As copies of Aqualung were sent out to critics, executives at Chrysalis and Reprise awaited their reviews with baited breath. They need not have worried. Most of the reviews were positive. Reviews remarked upon the quality of the music, the standard of the musicianship and Ian Anderson’s lyrics. Many critics hailed Aqualung Jethro Tull’s finest album. Since then, Aqualung is seen as a classic album. However, forty-five years ago, critics embraced they hailed as an extremely cerebral album. Aqualung was music for the mind, and music the world would embrace.
On the release of Aqualung on 19th March 1971, it reached number seven in the US Billboard 200, and was certified triple platinum. Across the Atlantic, Aqualung reached number four in Britain. Elsewhere, Aqualung reached number five in Germany, and was certified gold. In total, Aqualung sold over seven million copies. This transformed Jethro Tull. They were now one of the biggest rock bands in the world.
For the two new members of Jethro Tull, this must have been hard to take in. Suddenly, the were part of a band who had just sold over seven million albums. This doesn’t happen often, even in the seventies, the heyday of the album. However, after the success of Aqualung, another member of Jethro Tull decided to call it a day.
Drummer Clive Bunker had been a member of Jethro Tull since the early days. He was part of the furniture, and replacing him wasn’t going to be easy. However, at least Clive Bunker had been able to enjoy what was the most successful album of Jethro Tull’s career, Aqualung. Following up Aqualung wasn’t going to be easy.
Thick As A Brick.
After the commercial success and critical acclaim of Aqualung, critics, record company executives and the record buying public wondered what Ian Anderson had in-store for the fifth Jethro Tull album?As always, it was a case of expect the unexpected.
What nobody expected, was that Ian Anderson would’ve penned one lengthy track that took up both sides of Thick Of A Brick. Side one of the original album featured Thick as a Brick Part I, while side two featured Thick as a Brick Part II. This song of two parts comprised Jethro Tull’s latest concept album.
Following critics conclusion that Aqualung was a “concept album,” Ian Anderson decided to have some fun at the critic’s expense. He decided to “come up with something that really is the mother of all concept albums”. One of his influences was Monty Python. Another influence was the movie Airplane. Just like Airplane poked fun at the cinema goers, filmmakers and critics, Thick Of A Brick saw Jethro Tull poke fun at their audience and music critics. However, Jethro Tull weren’t laughing at their audience, they were laughing with them. They maybe, were laughing at other groups.
Later, Ian Anderson would say Thick As A Brick was a reaction against the concept albums being released by groups like Yes and Emerson, Lake and Palmer. That would explain why Ian Anderson produced an album that he later described as “bombastic” and “over the top.”
When Jethro Tull entered the Morgan Studios, on 10th December 1971, Jethro Tull had a new drummer, Barriemore Barlow. Thick As A Brick wasn’t his most exacting album with Jethro Tull. Far from it.
Thick As A Brick was recorded in a day. It was meant to be an adaptation of an epic poem written by an fictional eight year old prodigy, Gerald Bostock. Ian Anderson even went as far as giving the fictional Gerald Bostock a co-credit. The poem was meant to be pseudo Homeric, but with a bombastic, humorous style. The album came wrapped in a cover that replicates a comedic newspaper. It features the poem penned by the child prodigy. Although Thick As A Brick’s album cover and the album had spoof written all over it, many people didn’t get Jethro Tull, or more specifically, Ian Anderson’s unique style of humour. It was way too subtle.
With Thick As A Brick complete, and the fictional Gerald Bostock’s epic poem brought to life, copies of the album were sent out to critics. They hailed the album one of Jethro Tull’s finest. The music on Thick As A Brick was groundbreaking, innovative, slick and sophisticated. Most critics were won over by music that was complicated, but tinged with subtle humour. Incredibly, some critics failed to find the funny side of Thick As A Brick, and bought it hook, line and sinker. They failed to see that Jethro Tull were poking fun at the concept album, and laughing along with their audience at what Ian Anderson perceived as its pomposity. However, what very few critics overlooked was Jethro Tull’s first prog rock offering.
Thick As A Brick marked the completion of Jethro Tull’s move towards prog rock. They had toyed with the genre before. On Thick As A Brick they embraced it. There were numerous musical themes, changes in time signature and tempo shifts on Thick As A Brick. Even the instruments used differed from Jethro Tull’s early blues rock offerings. Never before had harpsichord, lute, saxophone, timpani, trumpet, violin or xylophone featured on a Jethro Tull album. This was a first. What Ian Anderson regarded as a satirical album, marked the beginning of Jethro Tull’s conversion to prog rock pioneers.
When Thick As A Brick was released, it came wrapped in a pun riddled cover. It was disguised as a British regional newspaper, and openly mocked the style of journalism that prevailed in these provincial publications. Thick As A Brick’s newspaper cover poked fun at the style of journalism. Most of the cover was designed by Ian Anderson, with the rest of the band having a hand in the design. Ironically, the cover took longer to design than the album took to record. However, it proved to be worth the effort.
On 10th March 1972, Thick As A Brick was released, it reached number one in Australia, Canada and the US Billboard 200 charts. Back home in Britain, Thick As A Brick reached number thirteen. This wasn’t unlucky for Jethro Tull. Thick As A Brick proved to be Jethro Tull’s most popular album in Britain. It was certified silver, while Thick As A Brick was certified gold in America. Ian Anderson’s parodic concept album saw Jethro Tull triumph again, as they became prog rock pioneers.
Following Thick As A Brick, Jethro Tull went on to see eight further albums certified gold. In total, Jethro Tull sold over sixty-million albums over a recording career that lasted five decades. The most successful period of Jethro Tull’s career came between 1969s Stand Up and 1989s Rock Island. During that period, Jethro Tull were one of the most successful bands in the world. Their albums sold by the million, while their tours sold out. That’s not surprising. Jethro Tull were one of the most innovative bands of their generation.
Before Thick As A Brick, Jethro Tull experimented musically. Thick As A Brick was a turning point in Jethro Tull’s career. It sees Jethro Tull full embrace prog rock. Before Thick As A Brick, they had toyed with prog rock. Not any more. On Thick As A Brick, Jethro Tull became converts to the prog rock cause. Jethro Tull were like Paul on the road to Damascus.
Following this conversion to prog rock, Jethro Tull constantly, sought to reinvent themselves, and their music. They were determined not to stand still, and constantly release music that was ambitious, cerebral, groundbreaking and sophisticated. Aqualung had been the most cerebral album of Jethro Tull’s career. Thick As A Brick was the most ambitious and sophisticated. It was also tinged with subtle satire, satire that forty-three years later, has stood the test of time.
Thick As A Brick is an album full of subtleties and nuances that has numerous musical themes and changes in time signature and tempo shifts. Similarly, Jethro Tull reply an eclectic palette of musical instruments including harpsichord, lute, saxophone, timpani, trumpet, violin and xylophone. The use of these instruments marked a stylistic departure for Ian Anderson and Jethro Tull. Never before had they used such an eclectic selection of instruments before. However, Thick As A Brick was a first, and marked Jethro Tull’s Damascene conversion to progressive rock pioneers on Ian Anderson’s satirical pièce de résistance.
Cult Classic: Jethro Tull-Thick As A Brick.
CULT CLASSIC: THE BONNIWELL MUSIC MACHINE-THE BONNIWELL MUSIC MACHINE.
Cult Classic: The Bonniwell Music Machine-The Bonniwell Music Machine.
In 1955, Sean Bonniwell’s life changed when he heard The Platters’ Only You and decided to become a musician. Eventually, his dream became a reality, and he became one of the most influential and innovative musicians of the mid-sixties. With his band The Bonniwell Music Machine, Sean would influence a whole generation of musicians. The Bonniwell Music Machine’s music would influence psychedelia, garage and punk bands. Their most important album was their 1968 eponymous sophomore album, The Bonniwell Music Machine. It was the result of a nine year musical journey for Sean Bonniwell.
Sean Bonniwell was born in August 1940, in San Jose, California. He was inspired musically, by his father, who played trumpet. However his life changed the day he heard The Platters’ Only You. That’s when Sean, who was still a high school student, decided to make a living as a singer-songwriter. Four years later, aged nineteen, Sean formed his first band The Noblemen.
This was 1959, and Sean was a college student. The Noblemen were a folk group. Sean wanted to be part of the burgeoning folk movement, so founded The Noblemen. They were a short-lived group, lasting until 1960. It would be another three years before Sean joined another group, The Wayfarers
The Wayfarers were an existing band and Sean joined them in 1963. They’re best described as a pop-folk quartet and Sean’s time with The Wayfarers was part of his musical education. It was during this period that Sean recognised the importance of a band being prepared. For The Wayfarers, second best wasn’t good enough. They were determined to be the best, so honed their sound. During this period, The Wayfarers released a trio of albums.
Having signed to RCA, The Wayfarers released their debut album The Wayfarers At The Hungry I in 1963. Sean featured on their sophomore album, The Wayfarers At The World’s End. During that period, The Wayfarers shared the stage with some of the biggest names of the sixties. However, in 1964, Sean decided to leave The Wayfarers. He decided to form The Ragamuffins.
Although it might have surprised many people that Sean left The Wayfarers, he had a good reason for doing so. He felt frustrated artistically. He was a member of a clean cut folk pop group. This Sean felt, was too conservative. He needed to push himself and find himself as a singer and songwriter. What better vehicle for this was there than his own band, The Ragamuffins.
Formed in 1965, The Ragamuffins featured Ron Edgar, Keith Olsen and Sean. Straight away, Sean set about reinventing himself and finding his own voice. The shackles were off. No longer was he restricted. He set about finding himself as a songwriter. His timing was perfect. The psychedelic era was just about to dawn. The doors of perception were well and truly opened.
After a year as a trio, The Ragamuffins added guitarist Mark Landon and keyboardist Doug Rhodes in 1966. It was then that The Ragamuffins realised they needed a new name. Sean Bonniwell’s reasoning was “artistic survival.” He was fed up of managers asking him to play cover versions. What he wanted was the band to get up on stage and just play constantly. The band would be like a machine. So, he hit on the name, The Music Machine.
With new members and a new name, The Music Machine’s fortunes changed. They signed a recording contract with Original Sound. They then began work on (Turn On) The Music Machine. It was recorded at Original Sound Studios. A total of twelve songs were recorded, seven of which were written by Sean Bonniwell. They became (Turn On) The Music Machine.
On the release of (Turn On) The Music Machine in 1966, the singles fared better than the album. (Turn On) The Music Machine was a fusion of garage, pop, rock and psychedelia. It was groundbreaking and influential. Sadly, it wasn’t a commercially success. At least the singles were.
Talk Talk, the lead single, became a top twenty single in the US Billboard 100. The follow-up single, The People In Me, stalled at number sixty-six in the US Billboard 100. Sean felt the single should’ve fared better, but alleged problems between the band’s manager and someone at the record company didn’t help matter. Another bone of contention was the four cover version on (Turn On) The Music Machine. This was the record company’s idea. Relationships it seems, were strained. The problem was, nobody knew how badly.
After the release of (Turn On) The Music Machine, The Music Machine headed on a tour to promote their debut album. On their return home, four of the five members of The Music Machine left the band. Then there was one.
Now that The Music Machine was just Sean Bonniwell, he decided to change the group’s name again. He decided upon The Bonniwell Music Machine. This was the band that signed to Warner Bros.
With The Bonniwell Music Machine reduced to just Sean, this could’ve presented a problem for Warner Bros. After all, how was a one man band going to record an album? One solution would’ve been to bring in sidemen. That wasn’t necessary. Luckily, Sean had an album up his sleeve.
During the first six months of 1967, The Music Machine had been on a gruelling touring schedule. They decided to record some music. This includes some of the music on The Bonniwell Music Machine. Originally, these tracks, which were recorded in New Orleans, were going to be demos. The plan was for The Music Machine to rerecord them in Los Angeles. Then when the band listened to them, they realised they were good enough to release. For Sean, this was a result. He at least had an album to present to Warner Bros.
What became The Bonniwell Music Machine, features fourteen tracks. They’re a mixture of the songs recorded in New Orleans, plus some singles. Sean had penned thirteen tracks and cowrote The Day Today with Keith Olsen. Although this was hardly ideal for The Bonniwell Music Machine’s major label debut, there was no alternative. After all, Sean had a band, but no band members. It was a case of making do and mend. So, The Bonniwell Music Machine was released in 1968.
When The Bonniwell Music Machine was released in 1968, it didn’t make any impression on the US charts. Neither did the single Bottom Of My Soul. For The Bonniwell Music Machine their eponymous sophomore album hadn’t proved a commercial success.
Everything from blues, garage, pop, proto-punk, psychedelia, R&B and rock was combined by The Bonniwell Music Machine on their eponymous sophomore album. It was produced Brian Ross, who played an important role, in turning what was originally a bunch of demos into an album. This saved Sean Bonniewell from an embarrassing situation.
After all, The Bonniwell Music Machine had just signed to Warner Bros. The only problem was, that the band was no more. Sean was The Bonniwell Music Machine. However, out of a bunch of demos reworded in New Orleans, plus some singles came The Bonniwell Music Machine. This was the band’s Warner Bros. debut.
Sadly, The Bonniwell Music Machine wasn’t a commercial success. Some critics felt that The Bonniwell Music Machine was too eclectic. How wrong they were. The Bonniwell Music Machine went on to influence several generations of musicians and they were the founding fathers of psychedelia and punk. As if that’s not enough, The Bonniwell Music Machine were also one of the most important garage bands. That is why The Bonniwell Music Machine’s importance can’t be underestimated.
After the release of The Bonniwell Music Machine, Sean went on to release another four albums. Then in 1970, Sean Bonniwell turned his back on music. He was lost to music for eleven years.
Sean decided to become a westernised guru era. This affected every part his life. Sean became interested in transcendental meditation, vegetarianism and a whole host of Eastern religions. That was Sean’s life for eleven years. However, throughout that time, Sean continued to write music. That was a constant in his life. Throughout the rest of his life, Sean Bonniwell continued to make music. That was the case right up until his death on 20th December 2011. The most fruitful part of Sean’s career was as part of The Music Machine and The Bonniwell Music Machine.
Throughout their career, The Bonniwell Music Machine released innovative and influential music. They influenced several generations of musicians. Some people would go as far as to say that Sean Bonniwell was one of then most influential and innovative musicians of the mid-sixties. With his band The Bonniwell Music Machine, Sean would influence a whole generation of musicians. The Bonniwell Music Machine were founding father’s of both psychedelia and punk who would influence psychedelia, garage and punk bands. Their most important album was their 1968 eponymous sophomore album, which is a groundbreaking cult classic that has influenced severla generation of musicians.
Cult Classic: The Bonniwell Music Machine-The Bonniwell Music Machine.
SHE CAME FROM LIVERPOOL! MERSEYSIDE GIRL-POP 1962-1968.
She Came From Liverpool! Merseyside Girl-Pop 1962-1968.
Label: Ace Records.
Over the last few years, Ace Records has turned its attention to the music released by the British beat girls in the sixties and early seventies. This music made its way onto compilations like Love Hit Me! Decca Beat Girls 1962-1970 and Scratch My Back! Pye Beat Girls 1963-1968 which feature a mixture of familiar faces and new names. That is also the case with She Came From Liverpool! Merseyside Girl-Pop 1962-1968, which was recently released on Ace Records, and features twenty-five tracks.
Unlike previous compilations where compiler Mick Patrick dug deep into the vaults of Decca, Pye, EMI and most recently Philips, he turns his attention to a city in the northwest of England that is known the world over for two things, music and football…Liverpool.
The city that gave the world The Beatles had a thriving musical scene from 1962 onwards. A&R reps made their way from London to Liverpool hoping to sign the next Fab Four. Groups like Gerry and The Pacemakers, The Searchers, Rory Storm and The Hurricanes and The Merseybeats were signed by record companies hoping to strike musical gold.
While many groups enjoyed a degree of success, no other group replicated the success of The Beatles. They were a one-off. However, this didn’t stop other groups and artists for trying. This included the twenty-five artists on She Came From Liverpool! Merseyside Girl-Pop 1962-1968 which was compiled by Mick Patrick.
Opening She Came From Liverpool! Merseyside Girl-Pop 1962-1968 is Cilla Black who was crowned Liverpool’s very own pop queen with Love Of The Lover, which was released on Parlophone in 1963. Just like A Shot Of Rhythm and Blues which wasn’t released until 1997 it epitomises the Merseybeat sound. This hidden gem was the first the future game show host recorded at Abbey Road.
The Liverbirds were a Liverpudlian quartet who were particularly popular in Germany. They were signed to the Star-Club label and in 1965, released their debut album Star Club Show 4. It features Why Do You Hang Around Me. Three years later in 1968, their music had evolved and headed in the direction of R&B on their sophomore album More Of The Liverbirds., One of the highlights of the album was a cover of Long Tall Shorty, which is a reminder of this popular and talented group.
Before Cilla Black, Beryl Marsden was regarded as the finest female vocalist on Merseyside. She features twice on the compilation. Her first contribution is Everybody Loves A Lover from her 1964 album Live At The Cavern. Her other contribution is a cover of What’s She Got (That I Ain’t Got) which she released by Columbia in 1966. It features an assured performance from Beryl Marsden whose career was over by the early seventies when she returned to Liverpool and got married and had a family.
In 1953, the Vernons’ pools company decided to form its own singing group. That day, The Vernon Girls were born. The group originally featured members of staff, but they were later augmented by a few musical ringers. In 1957, The Vernon Girls made their recording debut and by 1962 were a familiar sight on British television. This popular musical troupe who were stars of stage and worked with some of the biggest names in British music contribute 1962s Lover Please and 1964s Only You Can Do It.
Three members of The Vernon Girls left the group and formed The Breakaways, who in 1963, released that That Boy Of Mine as their sophomore single on Pye. It was written and produced by Tony Hatch and is one of their finest singles from the trio who spent much of their career working as backing vocalists.
Another former member of The Vernons Girls was Samantha Jones. She had been the group’s lead vocalist, but left to embark upon a solo career. She recorded I Don’t Want To Be The One’ with g American songwrite and producer Teddy Randazzo, who was visiting the UK. However, the song was never released and makes its debut on She Came From Liverpool! Merseyside Girl-Pop 1962-1968.
So does a number of rarities which have never featured on CD. This includes The Three Bells’ Someone To Love which was penned by Goffin and King and released on Columbia in 1965. It’s joined by Nola York’s 1964 single on HMV I Don’t Understand which failed to find the audience it deserved.
Then there’s Tiffany’s 1965 single on Parlophone Am I Dreaming? By then, she was regarded as Liverpool’s new pop Queen. Her other contribution is Baby Don’t Look Down which is credited to Tiffany with The Thoughts. It was released on Parlophone in 1966. Sadly, Tiffany never reached the heights that many thought she would, and Cilla Black kept her crown. Looking back it’s a case of what might have been for this talented singer.
Among the other rarities is Sally Go Round The Roses by former Vernon Girl, Lyn Cornell. This was her final single on Decca on 1963. It’s a poppier sounding track than her earlier singles.
Just Being Your Baby (Turns Me On) by Cindy Cole was released as a single on Columbia in 1966, and although the song harks back to a deferent musical era showcases a talented vocalist who can breath emotion and meaning into a track.
Closing She Came From Liverpool! Merseyside Girl-Pop 1962-1968 is Come See Me by Sandy Edmonds. It was released in 1966 on Zodiac and features an arrangement that includes fuzz guitars, driving drums, rasping horns and backing vocalists that provide the perfect foil to Sandy Edmonds who opened for the Rolling Stones, The Searchers and The Pretty Things.This is a irresistible ear worm and closes the compilation on a high.
She Came From Liverpool! Merseyside Girl-Pop 1962-1968 which was recently released by Ace Records, is a welcome addition to their Beat Girls’ series. It’s a lovingly curated compilation that features twenty-five track that are mixture of familiar faces and new names with hits rubbing shoulders with hidden gems which are often overlooked by compilers. They’re welcome additions to this compilation that celebrates and documents the golden age of the British Girl Pop.
During the six year period that She Came From Liverpool! Merseyside Girl-Pop 1962-1968 covers Liverpool was one of the most famous musical cities in the world. This compilation takes the listener back to that time when A&R reps from London-based record labels made the journey to Liverpool during the Mersey Beat boom hoping to sign the next big girl group or beat girl. Some of those on the compilation enjoyed a successful career while others enjoyed a brief brush with fame. Others never enjoyed the success their talent deserved but later, were able to say that they were there when Liverpool was the musical capital of Britain.
Little did anyone realise that this was a golden age. However, over fifty years later and the music is still remembered fondly by many people who will enjoy reliving their youth as rediscover the music on She Came From Liverpool! Merseyside Girl-Pop 1962-1968.
She Came From Liverpool! Merseyside Girl-Pop 1962-1968.
CULT CLASSIC: MICHAEL CHAPMAN-THE MAN WHO HATED MORNINGS.
Cult Classic: Michael Chapman-The Man Who Hated Mornings.
In 1977, Michael Chapman was about to release the eight album of his career, The Man Who Hated Mornings on Deram Records. That had been his home to since 1973, when he released his fifth album Millstone Grit. By then, Michael Chapman had had come a long way since hiscareer began in 1969.
Michael Chapman’s debut album was Rainmaker, which was released in 1969, on the prestigious Harvest label. He released a further three albums on Harvest. The first of this trio of albums proved to be the most successful album of Michael’s career.
That was Fully Qualified Survivor which was released in 1970, and reached number forty-five in Britain. The following year, 1971, Michael Michael released two albums.
Following the success of Fully Qualified Survivor, Michael was keen to build on the album’s success. So, he went into the studio, and recorded his third album, Window. It was the most controversial album of Michael’s career and later disowned the album claiming it was an album of demos. However, his second album of 1971, Wrecked Again, was one of his finest albums and was a fitting way to leave Harvest.
After Michael Chapman left Harvest, it was another two years before he released another album. During that period, Michael toured almost non stop. That was his first musical love and was also where he made his money. By then, Michael knew he was never going to get rich on record sales alone. So, Michael took to touring incessantly. He liked life on the road, and the camaraderie of travelling with his band. They were like modern day minstrels, heading from town to town. This appealed to Michael. However, after a two year period where he never released an album, Michael returned with the fifth album of his career.
Michael Chapman signed to Deram Records, and in 1973, released the first of four albums on their Deram Records’ imprint of Deram Records. After a gap of two years, Michael was back with the fifth album of his career, Millstone Grit.
Released in 1973, Millstone Grit was Michael’s Deram Records’ debut. It was a return to form from Michael, who was maturing as a singer and songwriter. Maybe, Michael had found his home at Deram Records?
Despite a busy touring schedule, Michael returned to the studio to record Deal Gone Down. It was released in 1974, and is one of the most underrated albums of Michael Chapman’s back-catalogue. Deal Gone Down is a showcase for Michael Chapman’s talent as a singer-songwriter, and his versatility. Sadly, Deal Gone Down didn’t sell well. However, the thirty-three year old singer-songwriter seemed to be maturing with every album.
That was the case with Pleasures of the Street. Released in 1975, Pleasures Of The Street was Michael’s seventh album since 1969. Sadly, despite the quality of music on Pleasures of the Street, Michael was no nearer making a return to the chart. However, Michael Chapman was still a successful artist.
While Michael was averaging an album a year, it was touring where Michael was making his money. This meant Michael had a tempestuous relationship with the recording studio. He realised the longer he spent recording an album, the more money he lost through not touring. Unlike many artists, Michael realised this early in his career. It was no epiphany. Instead, it was a realisation that “time was money.” So Michael worked quickly in the studio. He was always keen to get back on the road. So were his band as the road was their natural habitat. So, when Michael arrived at the studio he was always ready to role.
This was the case when Michael began recording Savage Amusement. Michael had penned seven songs and covered Jimmie Rodgers’ Hobo’s Lament and Jimmy Reed’s How Can A Poor Man? These nine tracks were recorded at various studios, where Don Nix, formerly a member of the Stax Records’ house band, was tasked with reinventing Michael Chapman.
The sessions didn’t get off to the best start. When producer Don Nix arrived, he was on medication. This didn’t stop him heading out to a party. It was a party where Don Nix seemed to over indulge. The evening ended with Don Nix falling off a roof.
This didn’t please Michael who realised that any delays would cost him money. So Michael’s manager Max was dispatched to smooth things out.
While Michael’s manager Max, tried to sort out this little local difficulty, there was already an atmosphere. Then Michael took a dislike to the Dolby noise reduction filters. Eventually, though, Michael and Don Nix, got to work on Savage Amusement.
Recording of Savage Amusement took place at Sawmills Studios, Cornwall, Tapestry Studios, London and Ardent Studios, Memphis. Michael was a accompanied by members of his regular band, and a few guest artists. Once Savage Amusement was completed, Michael and his band returned to the road. His eighth album, Savage Amusement was scheduled for release in 1976.
Before the release of Savage Amusement, critics had their say. Straight away, they realised it was very different from Michael’s previous albums There was a reason for this. Many of Michael’s favourite guitarists came from Memphis. So, Michael wanted to make music where he could connect musically with them. Savage Amusement was essentially, a homage to the music Michael Chapman loved. He hoped it would see him return to the charts. So did executives at Deram Records.
A decision was made at Deram Records that Savage Amusement be heavily promoted. This was a first during Michael Chapman’s time at Deram Records. Given the change of direction, and quality of music on Savage Amusement, Deram Records thought the album might appeal to a wider audience.
That wasn’t the case. Savage Amusement didn’t connect with the wider record buying public. Apart from Michael’s loyal fans, Savage Amusement passed most people by. For Michael Chapman, it was a case of returning to his natural habitat, the road.
After the commercial failure of Savage Amusement, Michael could no longer afford to take a ten piece band on the road with him. Gradually, his band shrank. First ten became five. Then Michael Chapman’s band became a trio. This trio feature on The Man Who Hated Mornings.
As Michael and his band made their way to Sawmills Studio, Cornwall and Tapestry Studios, London, they had ten tracks to record for The Man Who Hated Mornings. Michael Chapman had penned seven tracks, Northern Lights, The Man Who Hated Mornings, Steel Bonnets, Dogs Got More Sense, Falling Apart, While Dancing The Pride Of Erin and Dreams Are Dangerous. Drummer Keef Hartley contributed I’m Sober Now. The other two tracks Michael chose were cover versions. Bob Dylan’s Ballad In Plain D and Blind Alf Reed’s Why Do You Bob Your Hair Girls? completed The Man Who Hated Mornings. It would be recorded by Michael tight trio and a few guest artists.
When recording of The Man Who Hated Mornings got underway, the rhythm section included drummer Keef Hartley, bassist Rick Kemp and guitarists Mick Ronson and Camel’s Andy Latimer. They were joined by steel guitarist B.J. Cole, violinist Johnny Van Derek and Pete Wingfield who played electric piano, organ and string synth. Backing vocals came courtesy of John McBurnie and Vivienne McAuliffe. They played their part in Michael Chapman’s new sound.
Critics noticed that The Man Who Hated Mornings had a much harder, electric sound. It’s apparent from the opening track Northern Lights and right through The Man Who Hated Mornings. Despite this stylistic change,sadly, still, commercial success eluded Michael Chapman. Although his sound was constantly evolving his albums failed to sell in great quantities. Especially in 1977, which was the height of the disco era and troubadours like Michael Chapman were out of fashion. For Michael Chapman, it was a frustrating time.
Just like his previous album Savage Amusement, The Man Who Hated Mornings is something of a hidden gem that is definitely worth discovering or rediscovering. Both albums show how Michael Chapman’s music was evolving.
The Man Who Hater Mornings was very different to his previous album Savage Amusement, which which was Michael Chapman’s homage to the music of Memphis. However, he never made the same album twice and on The Man Who Hated Mornings changed direction, and introduces a harder, electric sound. This featured his new trio who were joined by a few friends as Michael Chapman changed reinvented his sound.
Sadly, Michael Chapman’s new sound wasn’t a commercial success. His loyal fans bought The Man Who Hated Mornings. However, trying to reach a wider audience wasn’t easy. Cerebral and genre-melting albums featuring elements of blues, country, folk and rock were out of fashion. This spelt the end of Michael Chapman’s time at Deram Records.
Michael Chapman’s time at Deram Records ended with The Man Who Hated Mornings. That is ironic and is almost fitting, as it’s the best album he released on Deram Records. Coming a close second is Savage Amusement, the album that preceded The Man Who Hated Mornings. They’re the best of albums of Michael Chapman’s Deram Records’ years. However, after releasing nine albums in nine years he was looking for a new record label.
Ironically, a year after leaving Deram Records, Michael Chapman released another of his great “lost albums” Playing Guitar-The Easy Way. Just like Michael’s previous albums, commercial success managed to elude Playing Guitar-The Easy Way. It’s just one of many hidden gems in Michael Chapman’s back-catalogue, including Savage Amusement and The Man Who Hated Mornings. These two cult classics showcase one of the great British singer-songwriters, Michael Chapman, The Man Who Hated Mornings.
Cult Classic: Michael Chapman-The Man Who Hated Mornings.
CULT CLASSIC: THE ESOTERIC CIRCLE-GEORGE RUSSELL PRESENTS THE ESOTERIC CIRCLE.
Cult Classic: The Esoteric Circle-George Russell Presents The Esoteric Circle.
In 1971, The Esoteric Circle released George Russell Presents The Esoteric Circle a groundbreaking album that featured four pioneering Norwegian jazz musicians. Sadly, this cult classic was The Esoteric Circle’s only album.
The Esoteric Circle was founded in 1969 by bassist Arild Andersen, drummer Jon Christensen, guitarist Terje Rypdal and tenor and soprano saxophonist Jan Garbarek. The quartet met in the Norwegian capital Oslo, which in 1969, had a vibrant jazz scene. That is the still the case fifty years later.
Arild, Jon and Jan had grownup playing jazz and had been members of various quartets. Terje however, was a relative newcomer to jazz. He only started playing in 1968 and previously, had played in rock bands. Stylistically, this was a whole new ball game but after a year playing jazz he was hooked, and became a member of The Esoteric Circle.
Jan Garbarek was fourteen when started to play tenor sax and was a natural. A year later, he won first prize in the soloist category, for Norwegian Amateur jazz musicians. It seemed, Jan was destined to make a career out of music.
By 1965, Jan had his own group and they played at jazz festivals across Europe. This included Prague, Stockholm, Warsaw, Molde, Kronisberg and the prestigious, Montreux Jazz Festival. Jan also accompanied Karin Krog live and on record. During this period, Jan got the opportunity to study under a jazz legend, George Russell.
George Russell had made Oslo his home. Like many American jazz musicians he made Europe his adopted home. That’s where he taught the Lydian Chromatic Concept Of Tonal Organisation. Jan spent five years studying a theory that Miles Davis and Eric Dolphy pioneered. As well as studying with George Russell, Jan played in his sextet and big band. The other thing George Russell was responsible for, was bringing together The Esoteric Circle.
Terje Rypdal, Jon Christensen and Arild Andersen and Jan all met through George Russell. Guitarist Terje Rypdal originally played in rock bands. He was a member of Norway’s most popular pop group, The Vanguards. He then joined progressive rock and blues group Dream. By 1969, he was also a student at the Conservatory of Music.
A gifted student, Terje had just written, Eternal Circulation a symphony for an eighty-nine piece orchestra and and sixteen vocalists. He’d also played on George Russell’s Electronic Sonata For Souls Loved By Nature. This was just part of the Terje Rypdal story.
Having turned to jazz, Terje played at festivals across Europe. His background was similar to Jan. Terje played at Stockholm, Bologna, Molde and Kronisberg. Then at Badden Baden, Terje joined a group of pioneering jazz musicians, including John Surman, Roscoe Mitchell and Lester Bowie. They dipped their toe into the waters of free jazz. This wouldn’t be the last time.
Before Jon Christensen joined The Esoteric Circle, he’d been a session musician. He was the most sought after session drummer in Norway. Before long, his talents were in demand all over Scandinavia. Especially, among visiting American jazz musicians. They wanted Jon providing the heartbeat. There was more to Jon than a session musician.
Jon had been part of George Russell’s sextet and big band. He also was a member of the Steve Kuhn Trio, and played many jazz festivals. This included Bologna, Stockholm, Warsaw, Molde, Kronisberg and Montreux. Somehow, Jon also found time to play on two albums by Karin Krog. A talented and sought after musician, it’s no surprise, that Jon won the Buddy Award for Norwegian musician of the year in 1967. Two years later, another future member of The Esoteric Circle would win the Buddy Award.
This was bassist Arild Andersen. He’d played alongside Jon many times, including when visiting American jazz musicians arrived in Norway. Jon and Arild were part of Karin Krog’s. They also played at the same festivals, including Bologna, Stockholm, Molde and Kronisberg. However, Arild would play alongside another future member of The Esoteric Circle.
Arild played alongside Jan Garbarek. Their paths crossed in the mid-sixties. That’s not surprising. The Oslo jazz scene was relatively small. On other occasions, Arild accompanied George Russell and in 1968, The Don Cherry Big Band. A year later, Arild won the Buddy Award for Norwegian musician of the year in 1969. This was an important year for Arild. It was the year The Esoteric Circle was founded.
Having founded The Esoteric Circle in 1969, they entered the Henie-Onstad Kunstsenter, recording studio in Oslo in October 1969. The rhythm section of bassist Arild Andersen, drummer Jon Christensen and guitarist Terje Rypdal were augmented by tenor and soprano saxophonist Jan Garbarek. George Russell produced George Russell Presents The Esoteric Circle. It featured nine tracks. Seven were penned by Jan Garbarek and the other two, Nefertite and Breeze Ending were cover versions. These nine tracks, became George Russell produced George Russell Presents The Esoteric Circle.
Two years passed before Bob Thiele released George Russell Presents The Esoteric Circle on his Flying Dutchman Productions’ label. It was well received within jazz circles, and perceived as an important, ambitious, pioneering and genre-melting album. Sadly, it wasn’t a commercial success. As a result, George Russell Presents The Esoteric Circle was The Esoteric Circle’s only album. However, what a musical legacy it is.
The sultriest of saxophone and wistful, dramatic guitar combine on Traneflight, which opens George Russell Presents The Esoteric Circle. Percussion plays, as the rhythm section slowly join in. All the time, the music is tinged with sadness, melancholia and drama. Jazz’s past, present and future combines. Happily, the old and the innovative sit side-by-side on this beautiful, wistful track that’s designed to tug at your heartstrings.
Drums roll and pound on Rabalder. It’s as if drummer Jon Christensen is setting the scene for the rest of The Esoteric Circle. He showcases his considerable skills, making his way round the kit. His playing is flawless, as he showboats his way round his kit, showing why he was one of the best drummers in Scandinavia. Eventually, the rest of The Esoteric Circle enters. A braying, howling horn, chiming guitar and subtle bass combine. It’s the frenzied saxophone and drums that take centre-stage. The rest of The Esoteric Circle are almost playing supporting role. Again, the track heads in the direction of free jazz. Later, a searing guitar is unleashed, as if if The Esoteric Circle are drawing inspiration from John McLaughlin. Rock meets free jazz and jazz, on a truly groundbreaking track.
Just a bass and subtle cymbal open Esoteric Circle. When, The Esoteric Circle enter, they sound like a band from jazz’s golden age. They play within themselves, producing a late night, smoky sound. Partly, that’s down to the saxophone. Sometimes, it’s akin to a cathartic outpouring of hurt. All the time, the arrangement marches to the tune of Arild Andersen bass. He and drummer Jon Christensen anchor a track where jazz’s past and present combine seamlessly, producing a laid-back slice of jazz.
Thoughtfully, and pensively Vibs, unfolds with just the bass playing. Soon, the drums join and eventually, a scrabbling saxophone enters. It injects a sense of urgency and so does the driving, dramatic guitar. Again, there’s a nod to John McLaughlin, in the way jazz and rock are combined by guitarist Terje Rypdal. The rest of The Esoteric Circle combine avant-garde, jazz, experimental and free jazz. It’s a compelling fusion of influences, that was way ahead of its time. So much so, it’s hard to believe that such a groundbreaking track as Vibs, was recorded in 1969.
Sas 644 is an eight minute epic where The Esoteric Circle explore the track’s nuances and subtleties. The rhythm section of bassist Arild Andersen and drummer Jon Christensen combine. Jon works his way round the kit, and with Arild Andersen’s bass, drive the arrangement along. Soon, Jan Garbarek’s saxophone and Terje Rypdal’s choppy guitar licks enter, adding urgency and drama. They also signal that The Esoteric Circle are about to cut loose. Terje uses a myriad of pedals and effects, mangling the sound. His guitar wah-wahs and wails, as The Esoteric Circle veer between fusion and free jazz. Jan seems to be inspired by Terje. He makes his saxophone howl and wail. Other times it brays and blazes. Later, the rhythm section accompany Jan’s allowing him to take centre-stage, but sometimes, showcasing their considerable talents.
Just a hauntingly beautiful saxophone solo and deliberately strummed guitar combine on Nefertite. Occasionally, the bass wails and a cymbal crashes. Mostly the music is hauntingly beautiful, and a tantalising taste of what The Esoteric Circle are capable of.
Gee is best described as an ambitious melange of avant-garde, experimental and free jazz. It veers between ambitious, challenging, discordant and innovative.
A thoughtful, mesmeric bass gets into a groove on Karin’s Mode. Gradually, distant drums, a subtle, braying saxophone and wailing guitar combine. Terje unleashes his array of pedals and effects. The result is futuristic and funky. Not to be outdone, saxophonist Jan Garbarek makes his saxophone bray, blaze and wail. It’s as if The Esoteric Circle are improvising. They encourage each other to experiment and push musical boundaries. The status quo isn’t an option, as they unleash a groundbreaking, futuristic, eight minute epic that forty-five years after it was recorded, is truly mesmeric.
Closing George Russell Presents The Esoteric Circle is Breeze Ending where just a lone saxophone skips across the arrangement. It’s very much a showcase for saxophonist Jan Garbarek. The rest of The Esoteric Circle only make an appearance after two minutes. Drummer Jon Christensen and bassist Arild Andersen, combine. Then guitarist Terje Rypdal enters, and the track takes on a much more uplifting sound, and is a joyful, hopeful way to close George Russell Presents The Esoteric Circle.
Two years the recording of George Russell Presents The Esoteric Circle in Norway, in 1969, it was eventually released on Bob Thiele’s Flying Dutchman Productions in 1971. At last, The Esoteric Circle’s one and only album was heard by a wider audience.
When George Russell Presents The Esoteric Circle was released, it was well received by critics. They hailed it one of the most important album in European jazz history. Sadly, this critical acclaim didn’t translated into sales. George Russell Presents The Esoteric Circle wasn’t a commercial success. The problem was, here was an album that was way ahead of its time.
Listening back to George Russell Presents The Esoteric Circle, it could easily be an album that the latest generation of Norwegian jazz musicians could’ve released. Norwegian music, including jazz, is enjoying another golden age. So much good music is coming out of Norway. That was the case back in 1969, when George Russell Presents The Esoteric Circle was recorded. By 1971, Norwegian music was still thriving. Fast forward forty-eight, years and George Russell Presents The Esoteric Circle is an album that has obviously influenced a new generation of Norwegian jazz musicians.
Without George Russell Presents The Esoteric Circle has influenced the latest generation of Norwegian jazz musicians and encouraged them to have the courage to innovate and create bold, groundbreaking and genre-melting music. Thankfully, they do and some of of the most exciting and ambitious jazz music is being recorded in Norway. Partly that is because of George Russell and The Esoteric Circle and Bob Thiele who gave them the platform to showcase their considerable skills.
This George Russell and The Esoteric Circle do on George Russell Presents The Esoteric Circle which is ambitious, important, innovative and groundbreaking cult classic that deserves to be discovered by a wider audience.
Cult Classic: The Esoteric Circle-George Russell Presents The Esoteric Circle.
CULT CLASSIC: BOB THIELE EMERGENCY-HEAD START.
Cult Classic: Bob Thiele Emergency-Head Start.
Flying Dutchman Rcords was the second record label Bob Thiele founded during what was by then a long, illustrious and successful career. The first was Signature Records, founded by Bob in 1939, when he was just seventeen. However, a lot had happened in the intervening thirty years.
He had worked with many of the giants of jazz including John Coltrane, Charlie Mingus, Sonny Rollins, Archie Shepp, Albert Ayler and Ornette Colman. They were just a few of the jazz legends Bob had worked with, during his thirty year career where he had worked at some of the biggest record labels, establishing a reputation as an innovative producer. However, Bob had just been ousted from his job at Impulse Records, so Flying Dutchman Records was Bob’s comeback. On his newly founded label, his latest musical vehicle, Bob Thiele Emergency released their debut Head Start. It was just the latest chapter in what had been a varied career in music .
Signature Records wasn’t Bob Thiele’s first job in music. his career began when he hosted a jazz radio show. Then there was the jazz band Bob who was an accomplished clarinet player led. However, when he left school, Bob Thiele was determined to make his newly founded label Signature Records, a commercial success.
After founding Signature Records in 1939, Bob signed musicians who’d become legends of jazz. This included Donald Byrd, Lester Young and Errol Gardner. One of the biggest signing came in 1943, when Signature signed Coleman Hawkins. Five years later, in 1948, Signature became insolvent. Bob wasn’t out of music long though. He was soon working with Decca Records.
Having started work for Decca Records, Bob Thiele found himself running its imprint Coral Records. It was at Decca, Bob met his future wife, Teresa Brewer, a singer he was producing. Having established his reputation at Decca, where he spent most of the fifties, in 1961, an opportunity arose to become head of A&R at one of jazz’s most influential labels…Impulse Records.
Creed Taylor, left Impulse to run Verve Records. This left a massive void needing filled. Bob Thiele was the man to do this. He’d established a reputation as a talented and forward-thinking producer. This was perfect for Impulse. Over the next eight years, their roster included John Coltrane, Charles Mingus, Archie Shepp, Albert Ayler, Max Roach, Chico Hamilton, Dizzy Gillespie, Sonny Rollins and Louis Armstrong.
Bob started work at Impulse 1961 and spent eight years there. During that time, Bob Thiele enjoyed the busiest period of his career. Bob, he was hardly away from the studio, producing over 150 albums in eight years. This included John Coltrane’s seminal album A Love Supreme. Ironically, Bob’s most successful production was the sentimentality of Louis Armstrong’s What A Wonderful World. Not all of Bob Thiele’s production’s were as successful. Sadly, ambitious and innovative music wasn’t always equate to commercially successful music.
Through working with some of the most innovative and creative musicians in the history of jazz, Bob must have realized that often, large record companies aren’t the best environment for innovative and creative musicians. Often, these musical mavericks didn’t thrive within such an orthodox environment. Their creativity is restricted, meaning they’re unable to experiment and innovate, producing music the music that they really wanted, rather than what the record company wanted.
Soon, Bob Thiele, would be able to create an environment where this would be possible. By 1969, Bob had been at Impulse for eight years. He’d been responsible for producing some of the most important jazz music of the sixties. However, there’s no sentiment in music. In the musical equivalent of a musical coup d’tat, Bob Thiele was ousted from his role at Impulse. This proved to the start of the next chapter in his career.
Leaving Impulse in 1969, he founded Flying Dutchman Records which became home to everyone from Ornette Coleman, through Gil Scott Heron, Leon Thomas, Eddie “Cleanhead” Vinson, Louis Armstrong to Lonnie Liston Smith and His Cosmic Echoes. Within the right environment, Bob wanted to prove that innovative musicians could thrive, creating music that’s influential and forward-thinking. Flying Dutchman Records would also mark the debut release of Bob Thiele Emergency’s debut album Head Start.
Although Bob had already released two previous albums, Head Start was the first album from Bob Thiele Emergency. Bob had already released two solo albums, 1967s Thoroughly Modern, which was released on ABC Records. His sophomore album was 1968s Light My Fire, released on Impulse. Like his two previous albums, Head Start would prove to be an innovate album from Bob Thiele Emergency.
For the recording of Head Start, Bob Thiele Emergency would record six tracks written by Tom Scott, plus tracks written by Ornette Coleman, John Carter and John Coleman. There are also covers of three Lennon and McCartney tracks Blackbird, Julia and I will. There’s also a cover of Walter Melrose and Porter Steele’s High Society. In total, fourteen tracks were spread across four sides of vinyl. They became Head Start.
Rather than put together a band who played on each track, Bob Thiele Emergency was more like a pool of musicians. This allowed Bob to draw upon musicians whose style of playing was suited to specific tracks. Over thirty musicians played on Head Start. Some played on several tracks, other played on just one track. Among them, were alto saxophonist Ornette Coleman, trombonist George Bohanon, flautist Joe Farell, bassist Charlie Haden and drummer Elvin Jones. Bob Thiele narrated the closing track on Head Start, A Few Thoughts For The Day. He also produced Head Start, which was released in 1969,
Head Start is an ambitious, bold, genre-sprawling double album. Combining everything from psychedelia, rock, blues, bebop, free-jazz, swing and pop, it’s a captivating musical journey lasting fourteen tracks and over seventy-minutes.
On the first side of Head Start, saxophonist Tom Scott takes centre-stage. He was one of Flying Dutchman’s most successful artist. Tom showcases his skills from the get-go. The opening track, Head Start has an unmistakable sixties sound. Straight away, The Bob Thiele Emergency kick loose, on a track that sometimes, is the definition of groovy. Easy on the ear, you sense Bob is just toying with the listener. That’s the case. Freaky Zeke is very different. It’s best described as a genre-sprawling track. Here Head Start veers between jazz, blues, psychedelia and rock. Frantic and dramatic, languid to laid-back describes this four-minute melting pot of musical influences. On Beatle Ballads: Blackbird, Julia and I Will, Bob Thiele Emergency transform a trio of Lennon and McCartney classics. These three tracks are reinvented, given a jazzy makeover that brings out the beauty and subtleties of these three tracks. Lanoola Goes Limp is one of the highlights of Head Start. Driven along by a boogie-woogie influenced piano, the rhythm section provide the heartbeat and stabs of growling horns fill in the gaps to this delicious slice of jazz.
The Jazz Story is a five-part suite that filled side two. Tracing the history of jazz, it opens with Pickin’ Taters Blues, a powerful blues penned by Esther Marrow and James Rein. Sung by George “Harmonica” Smith, instantly, the listener is transported back in time. George’s vocal is weary and filled with frustration, on this slow, emotive and authentic blues. Then it’s all change, when the ragtime of Oh Didn’t He Ramble and High Society bursts into life. After the moody and heartbreak of Jungle Sound, we’re introduced to the Swing Era and Bebop. The final track in this musical history lesson, was In The Vineyard / Avant Garde, played by Los Angles collective, the Underground Music and Arts Movement. Having retold the history of jazz in six songs and twenty-five minutes, the Bob Thiele Emergency pay homage to one of the giants of jazz, John Coltrane.
Side three of Head Start featured, Dedication To John Coltrane, who’d died two years earlier, When ‘Trane died, jazz had lost one of its true legends. This three song suite was Bob Thiele’s tribute to John Coltrane. Fittingly, Elvin Jones, who played drums for John Coltrane played on Dedication To John Coltrane. The three songs weren’t linked. Instead, they were very different. Lament For John Coltrane was a truly compelling track. Veering between reflective and wistful, it’s then transformed when Ornette Coleman unleashes one of his keening, braying, improvisational alto saxophone solos. There’s then a thoughtful, pensive recital of A Love Supreme by DJ Rosko. Closing Dedication To John Coltrane, is a live recording of Holiday For A Graveyard, featuring by The Ornette Coleman. This was recorded at John Coltrane’s funeral in 1967, in St. Lutheran Church, New York. These three songs were Bob Thiele Emergency’s tribute to one of jazz’s giants, John Coltrane.
Filling the final side of Head Start, was A Few Thoughts For The Day (Biafra, King, John and Robert, The American Indian). These were Bob Thiele’s thoughts on the humanitarian crisis in Biafra, the assassination of John and Robert Kennedy and the plight of The American Indian. Lasting nearly seventeen songs, this was hint at the future direction Flying Dutchman would head. From the get-go, the music is experimental, heading in the direction of free-jazz and avante-garde. While the music was compelling and intelligent, many people failed to understand music that they perceived as challenging and discordant. That wasn’t the case. Instead, it was the start of Flying Dutchman’s tenure as one of jazz’s most innovative and inventive labels.
Fourteen tracks and seventy-three minutes long, Head Start was a genre-sprawling album. From the opening bars of Head Start, to the closing notes of A Few Thoughts For The Day, Bob and his band fused everything from psychedelia, through rock, blues, bebop, free-jazz, swing and pop. Truly, Head Start was a captivating musical journey. While Head Start was a groundbreaking album, it wasn’t a commercial success. This is despite Bob Thiele, with one eye on marketing, stating on the front cover, that retailers could only charge two cents more than the price of a single album. Regardless of this incentive, Head Start, despite its Head Start, was soon overtaken by other jazz albums. Despite this, Flying Dutchman continued to release some of the most inventive and innovative jazz music of that era. Indeed, Head Start hinted heavily at the future direction of Flying Dutchman Productions.
History shows that Flying Dutchman was no ordinary jazz label. No. It was a label that was determined to push musical boundaries, challenge musical norms and mix a multiplicity of musical genres and influences. Flying Dutchman would do all this and more. Wounded by his ousting from Impulse Records, Bob Thiele set about signing musical mavericks and innovators. These were musicians who were innovative and creative. Bob then gave them a musical environment where they could thrive. Removed from the corporate machine, they could allow their creativity and imagination to run wild. Out-with the orthodox environment of large record companies, Bob Thiele encouraged artists to create inventive, innovative and influential music. The artists he signed didn’t let him down. Instead, much of the music Flying Dutchman released is seen as some of the most important, ambitious, inventive and innovative jazz music of the late-sixties and seventies including Bob Thiele Emergency’s debut album Head Start which is a an oft-overlooked cult classic.
Cult Classic: Bob Thiele Emergency-Head Start.
THE LONDON AMERICAN LABEL YEAR BY YEAR 1967.
The London American Label Year By Year 1967.
Label: Ace Records.
For a generation of British teenagers who embarked upon a lifelong love affair with music during the fifties and sixties, the London American Recordings will forever have a place in their heart. London American Recordings was the label that introduced a British music lovers to American pop, rock ’n’ roll and soul. It licensed and released the latest American hit singles in Britain. This had been the case since the mid-fifties.
London American had been licensing singles by Atlantic, Chess, Dot, Imperial, Speciality and Sun Records since the fifties. By the sixties, further labels were licensing their releases to London American. This would include Big Town, Hi Records, Monument and Philles Records. For a generation of music lovers, this made anything featuring the London American label essential listening. It was part of their musical education.
Only by listening to London American’s releases, were music lovers able to keep track of the latest music trends. They usually started in America, then took Britain by storm. Time and time, this proved to be the case. That’s why, for a generation of music lovers, the London American label has a special place in their heart.
It brings back memories of when their love affair with music began. For some music lovers, that was nearly sixty years ago. This was the start of a life long love affair with music. Now it’s possible to relive these memories once again.
Since 2012, Ace Records have been releasing a series of compilations dedicated to the London American label. The first was The London American Label Year By Year 1956, which was released back in 2012. Recently, the twelfth instalment in the series, The London American Label Year By Year 1967 has just been released.
The London American Label Year By Year 1967 is a twenty-eight track compilation. It’s an eclectic compilation full of big names. Folk, pop, R&B, rock, soul features on The London American Label 1967. There’s contributions from Charlie Rich, Roy Orbison, O.V. Wright, The Association, Mickey Dolenz, Wilson Pickett and The Falcons, The Fallen Angels, Brenda and the Tabulations, Jack Jones and Erma Franklin. It’s a veritable feast, so sit down and enjoy the delights of The London American Label Year By Year 1967.
The late, great Charlie Rich opens the compilation with Love Is After Me which he had released on Hi Records, and was licensed by London American. This catchy and soulful single sadly failed to find the audience it deserved. It also shows another side to the man best known for countrypolitan classics like The Most Beautiful Girl In The World and Behind Closed Doors.
When Roy Orbison released Cry Softly Lonely One as a single on MGM stateside in 1967 it staled at fifty-two. Given the quality of this soul-baring single it’s the one that got away for The Big O.
Earl Harrison’s Humphrey Stomp was released on Garrison and failed to find an audience in America. This didn’t stop London American licensing this soulful stomper that was penned by New Orleans-based Earl Harrison.
While London was swinging, Nino Tempo and April Stevens’ My Old Flame was released by London American. This brother and sister duo had enjoyed hits earlier in the sixties, but when the single was released on the White Whale label it failed to chart. My Old Flame is a cover of a track that was popular in the thirties and although it brings to mind a different musical era, is a welcome addition to the compilation.
OV Wright is one of the most underrated Southern Soul singers ever. Blessed with a unique voice that could breath life, meaning and emotion into a song he should’ve enjoyed widespread critical acclaim and commercial success. Sadly, that wasn’t the case. However, Eight Men, Four Women which was penned by Deadric Malon and released on Back Beat was his biggest hit reaching eighty in the US Billboard 100 and four in the US R&B charts. Despite that, OV Wright produced the best music of his career at Hi Records where he was at the peak of his powers.
Never My Love by The Association was released by Warner Bros and reached number two in the US Billboard 100. It’s one of The Association’s finest singles and is regarded as a classic. Despite that, it failed to chart in the UK and it was only later that many record buyers discovered Never My Love.
With The Monkees one of the most successful American groups by 1967, record companies were keen to cash-in on the group’s success. Huff Puff was released as a single by Mickey Dolenz by Challenge Records. It had been cut earlier in the sixties and despite The Monkess’ popularity Huff Puff failed to chart.
The Little Black Egg was originally released by The Nightcrawlers on the Lee label in 1967. Two years later it was licensed by Kapp and reached eighty-five in the US Billboard 100. Forty-two years later the single is regarded as a garage classic.
Sue Thompson had enjoyed a string of hits earlier in the sixties, but they had dried up by 1967 when she released the dramatic sounding The Ferris Wheel on the Hickory label. Sadly, commercial success continued to elude her when the single failed to chart on both sides of the Atlantic.
When You’re Gone by Brenda and The Tabulations is an early slice of Philly Soul that Lenny Pakula and Palmer Rakes wrote with Bob Finiz who produced the track. When it was released on Dionn it reached fifty-eight and was one of several American hits the group enjoyed.
You’re The Love by The Sixpence was written by Bob Ross and produced by John Rhys who owned the Impact label. It was better known for soul than this upbeat pop garage track that is another welcome addition to The London American Label Year By Year 1967.
Crooner Jack Jones was already a successful recording artist by 1967, and was signed to the Kapp label when he released I’m Indestructible. It shows the soulful side to Jack Jones and reached eighty-one in the US Billboard 100.
Three Hundred And Sixty Five Days was released on Shout by soul man Donald Height, and then licensed by London American. Sadly, this catchy soulful dancer failed to chart on both sides of the Atlantic.
Closing The London American Label Year By Year 1967 is Big Boss Man by Erma Franklin. This cover of the Jimmy Reed shows just how talented Aretha Franklin’s youngest sister is. With the help of the songwriting and production team of Jerry Rogovoy and Bert Sterns, Erma Franklin’s career was on track and she was about to fulfil her earlier potential with singles like Big Boss Man. It ensures the compilation ends on a high.
ascinating and eclectic musical document. It demonstrates the sheer variety of music being released during 1967. There’s everything from folk, garage, pop, psychedelia, R&B, rock and soul. Eclectic is the best way to describe The London American Label Year By Year 1967 where hits sit side-by-side with misses. Similarly, classics and hidden gems rub shoulders on The London American Label Year By Year 1967. Just like previous volumes, it was compiled by Tony Rounce.
Tony Rounce should be congratulated for the way he’s approached The London American Label Year By Year 1967. Rather than choose the most successful singles released by London American during 1967, Tony has dug deeper. The result is a captivating and truly eclectic selection of tracks. Forgotten favourites and familiar faces feature, during The London American Label Year By Year 1967 which is eclectic and compelling compilation that’ll bring back memories for anyone introduced to American pop, rock ’n’ roll and soul by the London American label. The London American Label Year By Year 1967 which was recently released by Ace Records, is the twelfth instalment in this long-running and much-loved series, and will allow a generation of music lovers to relive their youth once again.
The London American Label Year By Year 1967.
EVERYTHING IS GONNA BE ALRIGHT: CELEBRATING 50 YEARS OF WESTBOUND SOUL AND FUNK.
Everything Is Gonna Be Alright: Celebrating 50 Years Of Westbound Soul and Funk.
Label: Westbound.
By 1969, Armen Boladian was a familiar face within the Detroit music scene, and the musical impresario was about to launch a new label Westbound Records. This came as no surprise to those that knew Armen Boladian who previously, had founded and run the Fascination label and the Record Distribution Corporation. However, when Armen Boladian’s latest venture Westbound Records opened its doors in 1969, he had no idea that it would become a musical institution.
In a way, that was no surprise, as Armen Boladian brought onboard talented arrangers, musicians, producers and songwriters to work with the artists he would sign to Westbound Records over the next few years. This included CJ and Company, Denis LaSalle, Dennis Coffey, Funkadelic, The Detroit Emerald and The Ohio Players. These artists would bring commercial success and critical acclaim the way of Westbound Records. Many of these artists feature on Everything Is Gonna Be Alright: Celebrating 50 Years Of Westbound Soul and Funk, which has just been released by Westbound an imprint of Ace Records.
Everything Is Gonna Be Alright: Celebrating 50 Years Of Westbound Soul and Funk is twenty-four track celebration of Westbound’s achievements featuring some of its finest releases. There’s also some lesser known tracks including the track that opens the compilation. This is Emanuel Lasky’s A Letter From Vietnam slice of socially conscious soul A Letter From Vietnam. It was the B-Side to Westbound’s first single More Love (Where This Came From) which was released in 1969.
Westbound Records most successful signing was Funkadelic who released eight albums on Westbound Records. This began with Funkadelic in May 1970 and six years later, Tales of Kidd Funkadelic was released in September 1976 just before the P-Funk pioneers signed to Warner Bros. However I’ll Bet You from their debut album Funkadelic features is a tantalising taste of the P-Funk pioneers as they embark on their musical journey at Westbound. Four years later in 1974 they released Standing On The Verge Of Getting It On and by then, Funkadelic had honed their trademark P-Funk sound. It shows how far the group had come in just four years and just like I’ll Bet You, is a reminder of one of the P-Funk Pioneers.
When Denise LaSalle released Trapped By A Thing Called Love in 1971, it reached number thirteen in the US Billboard 100, topped the US R&B charts and was certified gold. She then enjoyed hits woth Now Run and Tell That and Man Sized Job. However, the one that got away is Get Up Off My Mind which was released in 1974. It’s a single that deserved to fare better and showcases the soulful sound of Denise LaSalle at the peak of her powers.
In 1972, The Ohio Players, released their sophomore album Pain which was certified gold. It featured the single Pain (Part 1) which despite being one of the highlights of the album stalled at sixty-four in the US Billboard 100 and thirty-five in the US R&B charts. Then in 1973 Funky Worm reached fifteen in the US Billboard 100 and topped the US R&B charts. Despite this success, The Ohio Players weren’t Westbound Records most successful signing.
The Detroit Emeralds also enjoyed three consecutive top ten hits in the US R&B charts between 1971 and 1972. This began with Do Me Right which reached forty-three in the US Billboard 100 and seven in the US R&B charts. Baby Let Me Take You (In My Arms) reached thirty-six in the US Billboard 100 and five in the US R&B charts, before You Want It, You Got It reached twenty-four in the US Billboard 100 and four in the US R&B charts. By then, Armen Boladian’s Westbound Records was going from strength to strength.
When funk group Pleasure Web released Music Man-Part 1 as a single, it failed to end the audience it deserved. However, later and Music Man-Part 1 and 2 which are funky hidden gems became a a favourite of DJs and hop hop producers and introduced Pleasure Web’s music to a wider audience.
In 1975, the Fantastic Four released the album Alvin Stone (The Birth And Death Of A Gangster) which told the story of a fictional gangster. The title-track which is the standout track on the album was released as a single in 1975 and is reminiscent of The Temptations when Norman Whitfield was taking charge of production. Alvin Stone (The Birth And Death Of A Gangster) is a hidden gem of a track from a group that never reached the heights they deserved to.
During his career at Westbound, Junie was a member of both The Ohio Players and Funkadelic. He also released three solo albums. If You Love Him was released as a single by Junie in 1976 and is taken from the album Suzie Super Groupie. It’s a funky and soulful track and a reminder of the multitalented Junie.
C&J and Co’s Devil’s Gun which was released as a single in 1977, and reached thirty-six in the US Billboard 100 and two in the US R&B charts. Later, in 1977, C&J and Co released their debut album which reached sixty in the US Billboard 200 and twelve in the US R&B charts. Devil’s Gun was produced by Dennis Coffey and Mike Theodore, and mixed by Tom Moulton.. The result was a single that was soulful, funky, tough and dancefloor friendly and has stood the test of time.
The Detroit Emeralds had originally released Feel The Need In Me as a single in 1972, which released twenty-two in the US R&B charts and number four in the UK. By 1977, the hits had dried up for The Detroit Emeralds, and they needed to kickstart their ailing career. To do this, it was suggested that they record Feel The Need In Me which became Feel The Need and was released in 1977, reaching ninety in the US Billboard 100 and seventy-three in the US R&B charts. Across the Atlantic, Feel The Need reached number twelve. When The Detroit Emeralds released their new album Feel The Need, which was produced by Abrim Tilmon and mixed by Tom Moulton, it failed to even trouble the charts. That was a great shame as Feel The Need, which is a mixture of soul and disco, is without doubt, the highlight of their album.
During the disco era, many disco orchestras were founded in cities across America, and followed in the footsteps of Vince Montana Jr’s Salsoul Orchestra. This included The Mike Theodore Orchestra who released their sophomore album High On Mad Mountain in 1979. It featured the eight minute epic High On Mad Mountain, which epitomises everything that is good about the disco orchestra including rasping horns, harmonies and sweeping strings who march to the beat of Jerry Jones and Lee Marcus’ drums. This is the perfect way to close Everything Is Gonna Be Alright: Celebrating 50 Years Of Westbound Soul and Funk.
Westbound Records released an eclectic selection of music during the seventies including disco. funk, jazz-funk, P-Funk, post-P-Funk, proto-boogie, soul and soul-jazz. The music was usually carefully crafted, and often by top arrangers, musicians and producers. They played their part in making music that as often slick, soulful, funky and dancefloor friendly. Sadly the music Westbound Records wasn’t always successful and passed record buyers by.
That includes a number of tracks on Everything Is Gonna Be Alright: Celebrating 50 Years Of Westbound Soul and Funk which was recently released by Westbound Records, which is an imprint of Ace Records. The twenty-four groundbreaking and timeless tracks on Everything Is Gonna Be Alright: Celebrating 50 Years Of Westbound Soul and Funk is a reminder of Armen Boladian’s influential label Westbound Records. It helped shape hip hop and inspired several generation of producers and thankfully, the music that features on Everything Is Gonna Be Alright: Celebrating 50 Years Of Westbound Soul and Funk is belatedly being enjoyed and appreciated by music fans worldwide.
Everything Is Gonna Be Alright: Celebrating 50 Years Of Westbound Soul and Funk.
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