THIS IS IT! MORE FROM THE VAN McCOY SONGBOOK 1962-1977.
This Is It! More From The Van McCoy Songbook 1962-77.
Label: Kent Soul.
Everything comes to he who waits. So says the maxim. And that is the case with the followup long-awaited and much anticipated followup to 2010s The Sweetest Feeling, which was Kent Soul’s first collection of songs penned by Van McCoy. Now nine years later, and This Is It! More From The Van McCoy Songbook 1962-77 has just been released by Kent Soul, an imprint of Ace Records. It’s a welcome release that features twenty-four sought after dancefloor friendly tracks from the pen of Van McCoy, who far too many people only associate with The Hustle. That is only part of the story of this truly talented, singer, songwriter, arranger and producer whose songs have been recorded by the great and good of music over the past six decades.
Van McCoy’s career as a songwriter spanned a twenty year period, beginning in 1959, and continuing up until his tragic death on the ‘6th’ of July 1979, aged just thirty-nine. Despite his career being cut so tragically short, Van McCoy left behind a musical legacy that included the 300 songs he wrote between 1959 and 1979. This includes the twenty-four on This Is It! More From The Van McCoy Songbook 1962-77.
Opening This Is It! More From The Van McCoy Songbook 1962-77 is Kenny Carlton’s Lost And Found, a melodic dancer which was released on Blue Rock, in 1968, and is a favourite on the UK Northern Soul scene. So is Major Lance’s Wait Till I Get You In My Arms, which was released on Okeh in 1967 and Erma Franklin’s Abracadabra from 1967. It’s also a favourite on the Belgian popcorn scene.
Another highly rated dance track is Sandi Sheldon’s You’re Gonna Make Me Love You, which was released on Okeh in 1967. Some collectors and connoisseurs have gone as far as to call it one of the greatest dance records ever recorded.
Betty Everett who contributes Gonna Be Ready, which was released on Vee Jay in 1965, is another of the hugely talented soul sisters on This Is It! More From The Van McCoy Songbook 1962-77. This includes
Way before Peaches and Herb recorded Reunited, this boy and girl duo which featured Francine Barker and Dave Kapralik recorded We’re In This Thing Together. It was written, arranged and conduced by Van McCoy and released on Date in 1966. However, commercial success eluded We’re In This Thing Together, and it wasn’t until the late seventies when Peaches and Herb released Reunited, which featured the third Peaches Linda Greene, that they enjoyed a hit single. Two of the three Peaches feature on This Is It! More From The Van McCoy Songbook 1962-77. Francine Barker’s Mr DJ, which was released on Columbia in 1968, and Laura Greene ’s Memories and Souvenirs which was released on Capitol in 1972 showcase two talented singers . Interestingly, Memories and Souvenirs which Van McCoy co-produced is a taste of the disco sound that would play such an important part in seventies dance music.
The Choice Four who released ten singles during their career, were Van McCoy’s attempt at putting together a boy band. If I Don’t Love You was a track from their Finger Pointers album, which was released in 1974 by RCA, and is a beautiful soulful, string drenched smoocher.
The standout track on This Is It! More From The Van McCoy Songbook 1962-77 is Baby Don’t Change Your Mind by Gladys Knight and The Pips. It’s a timeless classic from their 1977 album Still Together, which was released on Buddah. By then, Gladys Knight and The Pips were enjoying the commercial success and critical acclaim their talent warranted.
For David Ruffin there was life after The Temptations who he left in 1969. By 1976, his career was in the doldrums and he looked like yesterday’s man. Then Van McCoy rejuvenated his ailing career writing, arranging and producing Everything’s Coming Up Love which was the title-track to David Ruffin’s 1976 album for Motown.
Closing This Is It! More From The Van McCoy Songbook 1962-77 is Melba Moore’s This Is It, an infectiously catchy dance track released on Buddah in 1976. This version is the Tom Moulton mix, which will still fill a dancefloor forty-three years after its release.
The nine year wait for the followup to The Sweetest Feeling, has been worth it with the release of This Is It! More From The Van McCoy Songbook 1962-77 by Kent Soul. It features songs by superstars, famous faces and new names. There’s hits, hidden gems, B-sides and tracks that should’ve lit up the charts on this lovingly curated compilation . It’s a reminder of just how talented, a singer, songwriter, musician, arranger and producer Van McCoy was during a career that lasted just twenty years. However, during that period, Van McCoy wrote 300 songs, including the twenty-four on This Is It! More From The Van McCoy Songbook 1962-77, which is a fitting and homage to the man and his music.
This Is It! More From The Van McCoy Songbook 1962-77.
JOHN JAMES-THE TRANSATLANTIC RECORDS YEARS.
John James-The Transatlantic Records Years.
When twenty-one year John James first started playing in folk clubs across Britain, many musicians and music fans were struck by just how versatile a guitarist he was. Many started referred to the Welsh singer-songwriter as a virtuoso as he showcased his fingerstyle guitar technique. Seamlessly, he could switch between blues to jazz and even ragtime. Musically, John James was a man for all seasons. However, what many musicians and music fans didn’t know, was that John James was a recent convert to the guitar.
John James who was born in Lampeter, Wales in 1967, learnt the basics of music on the piano, but at the age of twelve, decided to switch to the guitar. This was a decision he certainly wouldn’t regret.
Having mastered the guitar, John James would later, start playing in various pop and R&B bands on the local live circuit. For John James, this akin ti serving a musical apprenticeship and where he learnt his trade.
After a while, John James turned his back on the local pop and R&B bands, and decided to concentrate on acoustic folk. This was no surprise, given the American folk boom of the early sixties. Across the Atlantic, many an aspiring folk musician made their way to Greenwich Village, in New York, where Bob Dylan, Phil Ochs, Tom Paxton, Fred Neil, Tom Rush and Gordon Lightfoot had embarked upon successful careers. Many young, musicians also became part of the British folk boom, including John James.
He was twenty-one when he made his debut on the British folk scene, where John James joined Pentangle, Gerry Rafferty, Gordon Giltrap, Ralph McTell and Al Stewart. For the next two years, John James crisscrossed Britain, playing in various folk clubs. Each night, John James’ set was a mixture of his own songs, and a selection of old ragtime piano songs which were rearranged for on the guitar. This proved a winning combination on the folk scene, as John James served what was the final part of his musical apprenticeship. It would stand him in good stead for the future, as the sixties gave way to the seventies.
In 1970, twenty-three John James was approached by Transatlantic Records, with the offer of a recording contract. The A&R people at Transatlantic Records had heard John James playing live, and realised that the music on his setlist would prove popular with record buyers. It didn’t take long for John James to accept Transatlantic Records offer, before he signed on the dotted line. This was the start of a five-year spell at Transatlantic Records, where John James released four albums between 1970 and 1975.
Morning Brings The Light.
Now that John James had signed to Transatlantic Records, they were keen for John James to begin work on what became his debut album, Morning Brings The Light. It would feature a mixture of John James and cover versions.
For Morning Brings The Light, John James chose a selection of songs that reflected one of his live sets. This included eight of his own compositions including If Only I, One Long Happy Night, Once I Lived By The Sea, Picture Rag, A Little Blues, So Long Since I Was Home, Lampeter and Morning Brings The Light. They were augmented by Pickles and Peppers which was arranged John James, plus Stan Kelly’s Liverpool Lullaby, Hogan’s Alley (Black Eyed Blues) and the Original Dixieland Jazz Band’s Ostrich Walk. These twelve songs were produced by Chris Golbey.
Transatlantic Records contracted out the recording of John James’ debut album, which was recorded by a production company. Chris Golbey was credited as producer and Len Black executive producer. They oversaw John James as sang and played his trusty guitar on the twelve tracks became Morning Brings The Light.
Morning Brings The Light was well received by critics and amongst the folk community. Critics were won over John James, as he switched between folk, blues and ragtime. It was no surprise that when Morning Brings The Light was released, John James’ debut album found favour within the folk community. Transatlantic Records who knew their market, it sold reasonably well. However, not well enough to reach the British charts. Despite that, John James had sold well for a folk album, and the future looked bright for the Welsh troubadour.
John James.
Two years before John James returned with his eponymous sophomore album. During that period, John James concentrated on the playing live. This was much more profitable for many folk singers, who were reluctant to give up lucrative live work. However, for any artist, an album was like a calling card, and had the potential to introduce their music to a much wider audience.
For his eponymous sophomore album, John James wrote seven of the eleven tracks, including To Meet You I Hurry Down, Evening Comes Quickly, Three Through The Lanes, Tim E Whay, Song Around A Square, Rolling On Down and Daughter Of The Wind. They were joined by four cover versions including Pete Berry’s Jazzbo’s Holiday. The other three tracks Original Rags, Stoptime and Listening To That Old Rag and Ragtime Dance were Scott Joplin compositions
John James had been given piano rolls featuring some Scott Joplin’s music by Reg Turner. He suggested that John James transpose some of the Scott Joplin compositions for the guitar, as he had the necessary talent. This wasn’t going to be easy, but if anyone could, it was John James.
He managed to transpose the songs for guitar, and when he came to record John James, they were among the eleven songs he recorded with producer John Whitehead at Sound Techniques and Livingston Studios, in London. The only other person present while the recording was taking place was Jo James, who was then married to John James. Soon, the album started to take shape and before long, was completed.
After nearly two years away, the Welsh troubadour returned with his sophomore album John James. Just like Morning Brings The Light, John James received praise and plaudits upon its release. It was another album of acoustic folk, blues and ragtime. John James decision to transpose the trio of Scott Joplin songs proved to be a masterstroke, and they took on new life when played on the guitar. The album showcased one of finest purveyors of the fingerstyle guitar technique on the British folk scene, and one of its rising stars.
Later in 1972, Transatlantic Records released John James, which although it didn’t sell in huge quantities, proved popular within the folk community. Sadly, John James didn’t find an audience within the wider musical community. By 1972, music was changing, with progressive rock, hard rock and glam rock growing in popularity. Albums of acoustic folk and ragtime weren’t going to reach the British charts. As a result, John James was one of music’s best kept secrets as far as the wider record buying public were concerned.
Sky In My Pie.
That was a great shame, given how talented John James was. He was one of the finest guitarists on the British folk scene. So was Pete Berryman, who was another familiar face on the British folk scene. The two virtuoso guitarists, who had been attempting to popularise the ragtime guitar style, and the music found a small, appreciative audience. However, it was still to be heard by the wider record buying public. John James and Pete Berryman wanted to change this, and hit on the idea of collaborating on an album together, which became Sky In My Pie.
For Sky In My Pie, fifteen songs were chosen, with John James writing And Sam Came Too, Kicking Up The Dust and Be Mine Or Run. John James also wrote Sailor’s Farewell, Easy Street and Blap Bam Boom with Pete Berryman, who contributed Sky In My Pie, Conquistador, Quiet Days and Turn Your Face. Other songs included Mammy O’Mine and the traditional song Out On The Rolling Sea which Pete Berryman arranged. They were joined by Alec Templeton’s Bach Goes To Town, Felix Arndt’s Nola and Scot Joplin’s Weeping Willow. These fifteen tracks became John James’ third album Sky In My Pie.
Recording of Sky In My Pie took place at Sound Techniques, London, with Stefan Grossman taking charge of production. He was a friend of John James, and the two men had much in much in common.
Stefan Grossman was a Brooklyn born, acoustic fingerstyle guitarist and singer, who had moved from New York to London in 1967. This was the same time that John James had arrived in London. Not long after this, the two men met and became friends. By 1972, Stefan Grossman had already released eight albums, and had embarked upon a career as a producer. Sky In My Pie was his latest production, and he proved the perfect person to record an album featuring two guitarists.
Sky In My Pie was released later in 1972 and received praise and plaudits within the folk community. The album featured a masterclass from two of the finest exponents acoustic fingerstyle guitar playing. They showcase their considerable skills from the opening bars of And Sam Came Too, and proceed to work their way through fifteen songs where they flit between folk, blues and ragtime on one of the hidden gems in the history of British acoustic folk.
Sadly, it was a familiar story when Sky In My Pie was released. While Sky In My Pie was popular within the folk community, it failed to find an audience further afield. This was disappointing as John James, Pete Berryman and producer Stefan Grossman had hoped that it would introduce the music to the wider record buying public. Alas, it wasn’t to be as Sky In My Pie slipped under the musical radar.
Head In The Clouds.
Nearly three years passed before John James began work on his fourth album for Transatlantic Records, Head In The Clouds, in 1975. Just like his previous album Sky In My Pie, John James was joined on Head In The Clouds by a very special guest artist, John Renbourn.
By 1975, John Renbourn was one of the leading lights of the British folk scene, John Renbourn. He was another English fingerstyle guitarist, singer and songwriter, and had been a member of Pentangle. However, John Renbourn had just left Pentangle and moved to Devon to form a new band. That was where John James and John Renbourn met, when they became neighbours. When John James’ thoughts turned his fourth album, Head In The Clouds, John Renbourn agreed to collaborate on the album.
Before recording began John James penned Georgemas Junction, Head In The Clouds, Stranger In The World, Secrets In The Sky and Stretching Of A Young Girl’s Heart. They were joined by covers of George Botsford’s Black And White Rag, Rev. Gary Davis’ Slow Drag, John Renbourn’s Wormwood Tangle, Charlie Byrd’s Blues For Felix, Scott Joplin’s Heliotrope Bouquet and the Griffiths’ composition Rags To Riches. These eleven tracks which became Head In The Clouds, were recorded at two studios.
This included Sound Techniques, in London, which was where John James first met Ritchie Gold who had just embarked upon a career as a producer. Neither John James nor John Renbourn had ever met Ritchie Gold, which made him a strange choice for producer. However, he produced the sessions for Head In The Clouds at Sound Techniques, and at Chipping Norton Recording Studios, in Chipping Norton, Oxfordshire.
That was where one of British acoustic folk’s finest fingerstyle guitarists recorded made his return on Head In The Clouds. As an added bonus, John James was joined by guitarist John Renbourn on Georgemas Junction, Wormwood Tangle and Stranger In The World. These three tracks on Head In The Clouds marked a meeting of great musical minds. When Head In The Clouds was complete, it was scheduled for release later in 1975.
After nearly three years away, John James returned with Head In The Clouds. Just like his previous albums, critics within the folk community lavished praise on Head In The Clouds. Other critics were won over by Head In The Clouds, and realised that they had heard a musical masterclass where John James switched between folk, ragtime and blues.
For John James, Head In The Clouds was a familiar story. The album found a niche within the folk community, but never found a wider audience. It was particularly disappointing, as Head In The Clouds was his best solo album.
Head In The Clouds was the last album John James released for Transatlantic Records. When he returned with Descriptive Guitar Instrumentals in 1976, John James had signed to Kicking Mule Records, which Stefan Grossman cofounded. This was a new chapter in John James’ career, which began at Transatlantic Records. They’re the perfect introduction to the first two chapters in the John James story.
He started out as a singer-singer songwriter on Morning Brings The Light and John James, before he decided to concentrate on his guitar playing on Sky In My Pie and Head In The Clouds. However, each of this quartet of albums feature John James, who between 1970 and 1975, was without doubt, one of British acoustic folk’s finest fingerstyle guitarists. However, talent doesn’t necessary equate to commercial success.
While John James’ quartet of albums proved popular within folk circles, they never found the wider audience they deserved. That only came much later. It wasn’t until the internet age when a new generation of music fans discovered John James’ music. By then, he was one of the elder statesmen of British folk. However, the four albums that started off his long and illustrious career, Morning Brings The Light, John James, Sky In My Pie and Head In The Clouds are a reminder of one of British acoustic folk’s finest fingerstyle guitarists at the peak of his powers.
John James-The Transatlantic Records Years.
JIMMY HOLIDAY-THE ACCIDENTAL SINGER-SONGWRITER AND ONE OF MUSIC’S BEST KPET SECRETS.
Jimmy Holiday-The Accidental Singer-Songwriter and One Of Music’s Best Kept Secrets.
Jimmy Holiday never set out to make a career out of music, and instead, he wanted to be a boxer. He got as far as fighting in the annual Golden Gloves competition, and then Jimmy started to get beat. That wasn’t in his plans. Realising he was never going to be more than a contender, Jimmy Holiday hung up his gloves aged thirteen. That presented a problem. What was he going to do with his life?
Eleven years later, in 1958, Jimmy Holiday, who born on 24th July 1934, in Durant, Mississippi, was about to embark upon a career as a singer-songwriter. Jim Holiday and The Futuretones released their debut single Voice Of The Drums, on the Hollywood based Four Star label. Voice Of The Drums sunk without trace, and this proved an inauspicious start to Jimmy Holiday’s recording career. It would be another five years before Jimmy Holiday released his sophomore single.
It wasn’t until 1962, that Jimmy Holiday returned with How Can I Forget, which was the first of two singles he released on Everest Records. How Can I Forget, penned by Ed Townsend, proved to be one of Everest Records’ most successful singles of 1963. At last, it looked as if Jimmy Holiday’s career was going places.
With How Can I Forget proving a regional hit single, Jerry Wexler at Atlantic Records decided he wanted to license the single. Everest Records declined Jerry Wexler’s overtures. So, Jerry Wexler had Ben E. King cover How Can I Forget. This backfired on Atlantic Records.
The Ben E. King cover of How Can I Forget stayed in the US R&B charts for one week. Meanwhile, Jimmy’s version reached number fifty-seven in the US Billboard 100 and number eight in the US R&B charts. This looked like being the start of the rise and rise of Jimmy Holiday at Everest Records.
That proved not to be the case. None of the other singles Jimmy Holiday released on Everest Records failed to chart. So, Jimmy moved on, next stop K.T. Records.
At K.T. Records, one of many short lived labels, Jimmy Holiday released just one single, Shield All Round. History repeated itself when Shield All Round failed commercially. This resulted in Jimmy moving on.
Next stop for Jimmy Holiday was Tip Records, another indie label. He released just the one single, A Friend Of Mine. Still, commercial success eluded Jimmy. Like a musical nomad, he moved on again.
This time, Jimmy called Diplomacy Records home for some time. Jimmy released just two singles, 1965s The New Breed and 1966s I Can’t Stand It. Both tracks proved popular locally. So much so, that Joe Biharis’ Kent Records’ licensed The New Breed and I Can’t Stand It, releasing them in 1967. By then, Jimmy Holiday was signed to the label where he enjoyed the best music of his career, Minit Records.
Between 1966 and 1970, Jimmy Holiday was signed to Minit Records. It had been bought by Liberty Records in 1963, when they bought Imperial Records. A few months later, Minit closed its doors. Then in 1966, Minit arose, like a phoenix from the ashes, and became a dedicated soul label. Calvin Carter, formerly head of A&R at Vee Jay was brought in to take charge of A&R at Minit. His first signing was Jimmy Holiday in May 1966.
At Minit, Jimmy Holiday would go on to release a string of singles and two albums. . His time career at Minit began in 1966, when Jimmy Holiday released his minute debut Baby I Love You.
Accompanied by the studio band that Calvin Carter worked with at Vee Jay, Jimmy Holiday entered the studio to record Baby I Love You and the B-Side, You Won’t Go Away. Baby I Love You, a soul-baring ballad struck a nerve. On its release, it climbed up the US R&B charts, reaching number twenty-one. By then, Baby I Love You was a favourite of radio DJs. Following the success of Baby I Love You, the signing of Jimmy Holiday seemed like a masterstroke.
Especially when Jimmy’s second single for Minit, The Turning Point, proved to be a minor soul classic. Even nearly fifty years later, The Turning Point, penned by Jimmy, is still guaranteed to tug at the heartstrings. Tucked away on the B-Side, was I’m Gonna Move To The City. It’s a mid tempo, hidden gem, that might well have been autobiographical. Despite the quality of The Turning Point and I’m Gonna Move To The City, the single failed to chart. For Jimmy this was disappointing. However, after the success of Baby I Love You, surely this was merely a blip?
Still, Minit went ahead with the release of Jimmy’s debut album, Turning Point. Complete with a testimonial from Ray Charles, Turning Point hit the shops. However, Turning Point didn’t enjoy the same success as its namesake. For Jimmy this was a huge disappointment. Despite this, Jimmy’s thought turned to his third single.
The song that was chosen, was In The Eyes Of My Girl, a beautiful, needy, heartfelt ballad. It was scheduled to be released as Jimmy’s third single of 1966, with Give Me Your Love on the flip side. What should’ve been Jimmy’s third single, oozed quality. It could’ve relaunched Jimmy’s faltering career, and showcased the two sides of Jimmy Holiday. Sadly, at the last minute, the release of In The Eyes Of My Girl was cancelled. For Jimmy, this was a crushing blow.
As 1966 became 1967, Jimmy Holiday returned with his long awaited third single, which was the ballad Everybody Needs Help. The B-Side was Give Me Your Love, which originally, was destined to be the flip side of In The Eyes Of My Girl. On its release, Give Me Your Love stalled at number thirty-six in the US R&B charts. Although this was disappointing, at least the single had charted. A small crumb of comfort was Jimmy’s popularity was increasing in Britain.
On both sides of the Atlantic, Jimmy’s next single was a duet with Clydie King, Ready Willing And Able, an uptempo dancer. The flip side was We Got A Good Thing Goin’ a track from Jimmy’s debut album Turning Point. This mid tempo ballad, sees Jimmy and Clydie feed off each other, and transform the track. Sadly, Ready Willing And Able wasn’t a commercial success. However, Jimmy would write Clydie’s single I’ll Never Stop Loving You. Before that, Jimmy would’ve released his next single.
This was I Wanna Help Hurry My Brothers Home. It’s another ballad, full of social comment. With the Vietnam War raging, Jimmy with anger, emotion and sadness filling his voice, sings “ I Wanna Help Hurry My Brothers Home.” It’s an impassioned plea. On the B-Side is the rueful ballad We Forgot About Love. It featured on Jimmy’s debut album Turning Point. Sadly, I Wanna Help Hurry My Brothers Home wasn’t a Turning Point in Jimmy’s career. The single disappeared without trace. For Jimmy, his career seemed to be at a crossroads.
With 1967 drawing to a close, Jimmy recorded The Beauty Of A Girl In Love. It’s an impassioned, string driven ballad. Jimmy accompanied by backing vocalists combines emotion and power. However, despite the quality of The Beauty Of A Girl In Love, it failed to chart. Minit desperate for a hit single, decided something had to change.
So, Jimmy was sent South, to work with Buddy Killen. They recorded the funky, soulful Spread Love at Chips Moman’s American Studios, in Memphis. This was very different from what people expected from Jimmy Holiday. The B-Side, however, was business as usual. It featured the ballad, We Got A Good Thing Goin’ from Jimmy’s debut album Turning Point. However, on the release of Spread Love, the decision to bring Buddy Killen onboard was vindicated. Spread Love reached number thirty-five in the US R&B charts. This looked like being the boost Jimmy’s career needed.
Sadly, that wasn’t the case. Having just finished a concert in June 1968, Jimmy left the stage and collapsed. He was rushed to hospital, where it was discovered he required open heart surgery. Following the operation, Jimmy was told to rest. Stuck at home, Jimmy continued to write songs. This meant, when Jimmy’s health improved, he could head back down South and work with Buddy Killen again.
That’s what Jimmy did. Having recovered from the open heart surgery, Minit sent Jimmy South again. With Buddy Killen, Jimmy recorded the string drenched, ballad I’m Gonna Use What I Got (To Get What I Need). For the flip side, Minit chose another track from Turning Point. This time, it was the ballad I Don’t Want to Hear It. These two tracks became Jimmy’s comeback single, I’m Gonna Use What I Got (To Get What I Need). Although it was a far better song than Spread Love, Jimmy’s comeback single flopped. Despite this setback, two other tracks recorded at American Studios, Memphis became Jimmy’s next single.
For Jimmy’s next single, Baby Boy’s In Love was chosen. It’s an uptempo, driving slice of soul. Jimmy accompanied by a crack band of musicians and backing vocalists kicks loose. Here, we hear a very different side of Jimmy. The same can be said of the B-Side, a cover of If You’ve Got The Money, I’ve Got The Time. Originally recorded by Larry Frizzel, this hillbilly song heads in the direction of country soul and funk. There’s even a few yodels thrown in for good measure. This is Jimmy Holiday as he’s never been heard. However, still the commercial success that accompanied The Turning Point eluded Jimmy.
For Jimmy, this was hugely frustrating. He certainly wasn’t lacking in talent. Jimmy Holiday was, after all, a talented singer-songwriter. However, for whatever reason, he wasn’t a consistent hit maker. So, he spent much of 1969 writing with Jackie DeShannon and her brother Randy Myers. One of their compositions, Yesterday Died became Jimmy’s next single for Minit. It sees Jimmy head in another direction. Nobody Died sees elements of soul, gospel and rock unite. It’s a welcome stylistic departure. The flip side Would You Like To Love Me, had been recorded a couple of years before, but never release. It’s another ballad, where Jimmy’s vocal veers between wistful to hopeful. These two very different sides to Jimmy Holiday became his next single. Yet again, however, commercial success eluded Jimmy. This proved to the beginning of end for Jimmy at Minit.
With commercial succes proving elusive for Jimmy Holiday, it was only a matter of time before his career at Minit drew to a close. His swan-song was A Man Ain’t Nothin’ Without A Woman.It features an understated, gospel-tinged arrangement. A despairing Jimmy, accompanied by testifying backing vocalists ensures Jimmy’s time at Minit ends on a high. Especially, with I’m In Love With You on the B-Side. This should’ve been a recipe for success. Sadly, it wasn’t to be.
Worse was to come. Minit closed its doors for the second time. Its final release was Jimmy’s swan-song A Man Ain’t Nothin’ Without A Woman. This was the end of the line for a once great label.
Jimmy Holiday’s career at Minit spanned four years and two albums. He was Calvin Carter’s first signing when Minit reopened its doors in 1966. Having signed in May 1966, Jimmy Holiday released a string of singles and two albums. Sadly, success eluded him. Apart from a few minor hit singles, Jimmy’s time at Minit is a case of what might have been?
That’s a great shame. Jimmy Holiday deserved better. After all, he was a talented singer-songwriter. In some quarters, Jimmy Holiday is regarded as an equal of Marvin Gaye, Otis Redding and Stevie Wonder. Sadly, Jimmy Holiday never enjoyed the same success as a singer. However, he forged a successful career as a songwriter.
As a songwriter, Jimmy Holiday penned songs from everyone from Bobby Womack, Ray Charles, Ry Cooder, Jimmy Lewis, Jackie DeShannon, James Brown, Doris Duke, Z.Z. Hill and Little Milton. That’s not forgetting Al Perkins, Willie Hobbs, Jerry Lee Lewis and Velma Perkins. However, one of Jimmy Holiday’s best known songs is Put A Little Love In Your Heart.
Originally recorded by Jackie DeShannon, Put A Little Love In Your Heart was then recorded by everyone from Al Green, Ella Fitzgerald, Dolly Parton and David Ruffin. Put A Little Love In Your Heart became Jimmy Holiday’s most successful song and changed his life.
During the seventies, Jimmy enjoyed a successful career as a songwriter. His recording career took second place to songwriting. Then in the eighties, very little was heard of Jimmy Holiday.
Ill health had taken its toll, and during the eighies, Jimmy Holiday decided now was the time to take things easy. Sadly, on 15th February 1987, Jimmy Holiday died of heart failure. He was only fifty three. That day, soul music lost one of its most talented singer-songwriters.
Sadly, during the four years Jimmy Holiday spent at Minit, he never enjoyed the commercial success and critical acclaim his music deserved. Jimmy Holiday could’ve and should’ve become one of the biggest names in soul music. That wasn’t to be. Instead, Jimmy Holiday established a reputation as a talented songwriter. This sometimes, leads to Jimmy Holiday’s career as a singer being overlooked. Recently though, there’s been a resurgence in interest in Jimmy Holiday’s music, and belatedly the accidental singer-songwriter and one of music’s best kept secrets who belatedly, us being discovered by a new audience.
Jimmy Holiday-The Accidental Singer-Songwriter and One Of Music’s Best Kept Secrets.
OZARK MOUNTAIN DAREDEVILS-THEIR MAJOR LABEL YEARS.
Ozark Mountain Daredevils-Their Major Label Years.
Ozark Mountain Daredevils roots can be traced back to 1971, when a group of friends in Springfield, Missouri began playing as Family Tree. By 1972, the band had changed its name to Ozark Mountain Daredevils and were being managed by folk rock duo Brewer and Shipley.
This came about after Ozark Mountain Daredevils sent Brewer and Shipley a copy of their second demo tape. They listened to the tape, and liked it so much they agreed to manage the band. Brewer and Shipley began formulating a plan for Ozark Mountain Daredevils’ future.
Part of this plan involved Ozark Mountain Daredevils heading out to play on the live circuit. One of Ozark Mountain Daredevils earliest concerts was at the Cowtown Ballroom in Kansas City on February 8th 1973. Over the few months, Ozark Mountain Daredevils became familiar faces on the live circuit. Soon, Ozark Mountain Daredevils were a popular draw on the local live circuit. Throughout the rest of 1972 and into 1973, Ozark Mountain Daredevils’ popularity grew. Then fate intervened.
A copt of Ozark Mountain Daredevils demo found its way to A&M Records staff producer David Anderle. He liked what he heard, and was in the market for a country rock band similar to The Eagles. So David Anderle and Glyn Johns flew to Missouri to see the Ozark Mountain Daredevils play at the at Cowtown Ballroom on March 10th 1973. However, when Ozark Mountain Daredevils heard that the two men from A&M would be in audience, they became nervous and didn’t give their best performance. Fortunately, Paul Peterson rescued the situation.
He invited David Anderle and Glyn Johns to his house, where Ozark Mountain Daredevils gave unplugged performance by candlelight. It may have been an unorthodox audition but it worked, and Ozark Mountain Daredevils signed A&M Records on May 1st 1973.
Ozark Mountain Daredevils.
Straight away, A&M Records sent Ozark Mountain Daredevils to England, where they recorded their eponymous debut album with David Anderle and Glyn Johns. During June and July 1973, Ozark Mountain Daredevils recorded ten tracks where they fused country rock and Southern rock. Ozark Mountain Daredevils’ unique brand of Southern fried country rock proved popular.
When Ozark Mountain Daredevils was released in December 1973, it was well received by critics and reached twenty-six in the US Billboard 200. The lead single If You Wanna Get To Heaven the reached twenty-five in the US Billboard 100, and twenty-three in Canada. Ozark Mountain Daredevils were on their way.
It’ll Shine When It Shines.
Buoyed by the success of their debut album, Ozark Mountain Daredevils began work on their sophomore album It’ll Shine When It Shines in early 1974. This time, Ozark Mountain Daredevils had managed to convince A&M Records to record the album locally.
So David Anderle and Glyn Johns made the journey to Missouri where Ozark Mountain Daredevils were rehearsing in a pre-American Civil War farmhouse. That was where the album would be recorded by a mobile recording studio. Ozark Mountain Daredevils seemed to relax in their home environment, and the two producers managed to capture some of the best songs of their band’s career. This would include the swamp rocker E.E. Lawson and Jackie Blue, which was released as a single later in 1974.
It’ll Shine When It Shines was released to widespread critical acclaim in October 1974. When the album was released, it reached number nineteen in the US Billboard 200. Jackie Blue which was sung by drummer Larry Lee, was chosen as the lead single. On its release, it reached number three in the US Billboard 200 and number two in Canada. Elsewhere, Jackie Blue was a hit in Australia, New Zealand and South Africa. The success of Jackie Blue had transformed the fortunes of Ozark Mountain Daredevils. Now they had to build on this success.
The Car Over The Lake Album.
Having just enjoyed the most successful album of their career, A&M Records were keen that Ozark Mountain Daredevils should enter the studio as soon as possible. This time though, there were several changes.
The first was that David Anderle took charge of production. Glyn Johns who had co-produced Ozark Mountain Daredevils’ first two albums, was nowhere to be seen. Another change was that Bill Jones who rejoined Ozark Mountain Daredevils. He would also arranged the songs on The Car Over The Lake Album. It was recorded in the country music capital Nashville. This was a bone of contention,
A&M Records’ executive wanted Ozark Mountain Daredevils to move to Southern California, where much of then music industry was based. However, Ozark Mountain Daredevils weren’t willing to move. This was just one sticking point. A&M Records wanted Ozark Mountain Daredevils to tour more. The band weren’t willing to embark on the lengthy tours like other bands. Nor were Ozark Mountain Daredevils willing to try and replicate Jackie Blue on The Car Over The Lake Album. All this didn’t please executives at A&M Records. Ozark Mountain Daredevils weren’t exactly winning friends and influencing people.
When The Car Over The Lake Album was completed, the album was released in September 1975 to praise and plaudits. However, the album stalled at fifty-seven in the US Billboard 200. This was disappointing after the success of It’ll Shine When It Shines. Then when If I Only Knew was released as a single, it reached just seventy-four in the US Billboard 100 and sixty-five in Canada. Already, executives at A&M were beginning to lose interest in Ozark Mountain Daredevils.
Men From Earth.
Following the release of The Car Over The Lake Album, Ozark Mountain Daredevils headed out on a European tour during April and May 1976. By then, the band was exhausted with the schedule of recording and touring.
Tension was high during a concert in Copenhagen. The engineer was struggling with the mix, and a frustrated Randle Chowning decided to turn his amplifier up to eleven. This resulted in him getting involved in a slanging match with other band members. When Ozark Mountain Daredevils returned home, Randle Chowning decided to embark upon a solo career. This was the start of personnel changes within Ozark Mountain Daredevils.
Replacing Randle Chowning in Ozark Mountain Daredevils was Rune Walle, who the band met on tour. He lead his own band, The Flying Norwegians. Now he was about to become a member of Ozark Mountain Daredevils and would make his debut on Men From Earth
Recording of Men From Earth began before the European tour. Now it was a matter of completing the album. Just like The Car Over The Lake Album, it was produced by David Anderle. Men Form Earth was recorded in Quadrofonic Sound Studios, in Nashville, American Artist Studio, in Springfield, Missouri and at Caribou Ranch, in Colorado. Once Men From Earth was complete, it was released in autumn of 1976.
Men From Earth marked the end of an era. It was founder member Randle Chowning’s swan-song. However, when the album was released in September 1976, he was no longer listed as a member of the band. Instead, he was named as one of the “Sidemen From Earth.” They played their part in an album that won over critics. Especially two of the songs penned by Larry Lee, You Know Like I Know and the Homemade Wine. Given the critics response to Men From Earth, maybe Ozark Mountain Daredevils’ luck was changing?
Despite winning favour with critics, Men From Earth reached just seventy-four in the US Billboard 200. Then when You Know Like I Know was released, it reached seventy-four in the US Billboard 100 and sixty-two in Canada. For Ozark Mountain Daredevils, Men From Earth was the least successful album of their career. It was a worrying time for the band.
Don’t Look Down.
For their fifth album Don’t Look Down, it was all change for Ozark Mountain Daredevils. There had been another departure from the band. Buddy Brayfield was next to leave. He had decided to head to medical school. This was a big loss.
Ozark Mountain Daredevils decided to add three new musicians. This included their longtime friend, singer and guitarist Steve Canaday. He was joined by mandolin player Jerry Mills, and keyboardist and vocalist Ruell Chappell. The new additions made their debut on Don’t Look Down, where Ozark Mountain Daredevils were joined by a new producer.
David Kershenbaum was chosen to produce Ozark Mountain Daredevils’ fifth album Don’t Look Down. Part of his remit was to transform Ozark Mountain Daredevils’ along fortunes. Ever since the release of It’ll Shine When It Shines in 1974, Ozark Mountain Daredevils’ albums had failed to sell in the same quantities. When Men From Earth reached seventy-four in the US Billboard 200, this was the lowest chart placing of any Ozark Mountain Daredevils’ album. Surely, the only way was up?
Recording of Don’t Look Down took place at Caribou Ranch, Colorado. A mobile studio was brought in to record the album. Still it seemed that Ozark Mountain Daredevils were determined to do things their way. They recorded eleven new songs which they hoped would transform the fortunes of Ozark Mountain Daredevils.
Once Don’t Look Down was completed, the album was scheduled for release in October 1977. Don’t Look Down which featured the latest lineup of Ozark Mountain Daredevils was well received by critics. However, when Don’t Look Down was released, it stalled at a lowly 130 in the US Billboard 200. This was the lowest chart placing of any of the Ozark Mountain Daredevils’ albums.
There were several explanations for this. Country rock and Southern rock had been hugely popular when Ozark Mountain Daredevils released their first two albums. Alas, that was no longer the case. Now there was a disco boom, which was affecting all types of musicians. From soul to country rock and Southern rock, the disco boom was impacting on record sales. The slick, formulaic sound of disco seemed to filled the American charts. That was what American record buyers wanted to hear. So many artists from other genres sold their soul to the disco devil, and did what many thought was unthinkable, and released a disco record. Not Ozark Mountain Daredevils though; they had other plans.
I’m Alive.
Back in the seventies, most rock bands released a live album. That was something Ozark Mountain Daredevils had still to do. So they decided to record a live album in April 1978.
To record I’m Alive, Ozark Mountain Daredevils decided to tape concerts that they were due to play in Missouri and Kansas during April 1978. This would allow Ozark Mountain Daredevils to cherry pick the best recordings for their forthcoming double live album.
So Ozark Mountain Daredevils hired a mobile recording studio for the live dates in April 1978. Ozark Mountain Daredevils had picked the perfect concerts to record. They were playing in front of their hometown crowd. Joining them each night Buddy Brayfield who made a guest appearance. Each night, Ozark Mountain Daredevils seemed to lift their game each night. There was plenty of material to choose for the forthcoming live album.
Eventually, Ozark Mountain Daredevils who produced I’m Alive, chose sixteen tracks. This included singles and some of their most popular album tracks. They featured on the double live album I’m Alive, which was due to be released in the autumn of 1978. It was a hugely important album for Ozark Mountain Daredevils.
So much so, that I’m Alive was the most important album Ozark Mountain Daredevils had released in many a year. Ozark Mountain Daredevils only owed A&M Records one more album. After I’m Alive, Ozark Mountain Daredevils’ contract was up. However, A&M Records held an option to give Ozark Mountain Daredevils a new contract. They seemed to be undecided about Ozark Mountain Daredevils’ future. If I’m Alive sold well, then this might result in A&M Records taking up the option.
I’m Alive was well received by critics. It found Ozark Mountain Daredevils rolling back the years. The critical response to the album bode well for the release of I’m Alive in September 1978. However, when I’m Alive was released, it reached a lowly 178 in the US Billboard 200. Suddenly, Ozark Mountain Daredevils’ future at A&M Records’ looked in doubt.
That was apart from those who had witnessed Ozark Mountain Daredevils’ performance on The Midnight Special. They had been booked as the special guest, and were to play a set. This was the perfect showcase for Ozark Mountain Daredevils, and could help rejuvenate their career.
The disco years hadn’t been kind to country rock bands like the Ozark Mountain Daredevils. Their record sales had fallen between 1976 and 1978. The last album Ozark Mountain Daredevils released was It’s Alive in 1978, which stalled at 176 in the US Billboard 200.
This couldn’t have come at worse time, as the band’s contract with A&M was coming to an end. At least A&M still held an option to give Ozark Mountain Daredevils a new contract. A good performance on The Midnight Show would maybe convince A&M to renew Ozark Mountain Daredevils’ contract?
Fortunately, Ozark Mountain Daredevils caught a break. The band were invited to appear on a forthcoming appearance on The Midnight Show later in September 1978.
Ozark Mountain Daredevils’ managers contacted executives at A&M know about the band’s forthcoming appearance on The Midnight Show. A&M were still undecided about picking up the option on Ozark Mountain Daredevils’ contract. So it was decided that Jerry Moss would head to Los Angeles to see Ozark Mountain Daredevils play live on The Midnight Show.
The Ozark Mountain Daredevils had flown to Los Angeles to play on The Midnight Show. This was a prestigious television show, and had the potential to introduce Ozark Mountain Daredevils’ music to a new and much wider audience. All Ozark Mountain Daredevils had to do was play a short set. There was a problem though.
Before going onstage, some members of Ozark Mountain Daredevils had been alleged that the band had been some enjoying backstage hospitality. As they took to the stage, it was obvious that some of the band were under the inebriated. They flew through their set and then took their leave. A&M Records’ Jerry Moss who was watching on, wasn’t amused.
Jerry Moss had the final say on Ozark Mountain Daredevils’ future. He decided not to pickup the option on their contract. Ozark Mountain Daredevils were dropped by A&M Records in 1979.
After six years at A&M Records, Ozark Mountain Daredevils were without a recording contract. The band faced an uncertain future. Things had changed quickly for the band. Less than a year earlier, they were opening for Fleetwood Mac. Now they were without a recording contract. That was until Columbia Records approached Ozark Mountain Daredevils.
Ozark Mountain Daredevils.
They signed to Columbia Records in 1979. For Ozark Mountain Daredevils, it was a new start for one of the finest purveyors of Southern fried country rock. Being dropped by A&M Records had been a wakeup call. Now Ozark Mountain Daredevils were ready to begin work on their seventh studio album, which became Ozark Mountain Daredevils.
It was a very different lineup of the Ozark Mountain Daredevils that began work on what was their second eponymous album. Only four members of the band remained. Steve Cash, John Dillon, Michael Granda and Larry Lee had been with Ozark Mountain Daredevils since the group was formed. They were the last men standing in Ozark Mountain Daredevils. The rest of the band had left to pursue other projects.
The four members of Ozark Mountain Daredevils that remained, went away and began writing their next album. John Dillon, Larry Lee and Steve Cash penned Take You Tonight, Jump At The Chance, Empty Cup, Rosalie, Runnin’ Out and Fool’s Gold. John Dillon and Steve Cash wrote Tuff Luck and cowrote two other songs. He cowrote Sailin’ Around The World with Steve Cash, and then penned Lovin’ You with former Flying Norwegian frontman Rune Walle. Larry Lee contributed Oh, Darlin’ to Ozark Mountain Daredevils. It was recorded in Los Angeles.
Given Ozark Mountain Daredevils had newly signed to Columbia Records, them weren’t really in a position to call the shots about where the album was recorded. So Ozark Mountain Daredevils made the journey to Los Angeles, where two of the city’s top studios were used. Recording sessions took place at Westlake Studios and The Record Plant with producer John Boylan. Harmonica player and vocalist Steve Cash joined guitarist and vocalist John Dillon; bassist Michael Granda and Larry Lee Michael who played keyboards, guitar, percussion and added vocals. Augmenting Ozark Mountain Daredevils were backing vocalists and some top session players.
Over the next weeks and months, Ozark Mountain Daredevils’ seventh studio album began to take shape. Eventually, the four members of the band Ozark Mountain Daredevils guided by producer John Boylan completed what was a very different album from their last couple of albums.
After Ozark Mountain Daredevils’ last two studio album failed commercially, the band decided to change tack. This was a big decision, and one they didn’t take lightly. The last thing they wanted to do was alienate their existing fans. However, if Ozark Mountain Daredevils didn’t reinvent their music, the future looked bleak. They couldn’t continue to release albums that reached the lower reaches of the US Billboard 200. So Ozark Mountain Daredevils marked the start of a brave new world.
Ozark Mountain Daredevils had recorded an album which featured everything from AOR, country rock, FM rock, pop, rock, Southern rock and the West Coast sound. Stylistically, it sounded as if Ozark Mountain Daredevils were following in the footsteps of The Eagles and the Little River Band by recording an album of carefully crafted, melodic and radio friendly songs. They were bang on trend, and should attract the attention of radio programers. If that was the case, then Ozark Mountain Daredevils would be the comeback Kings.
All Ozark Mountain Daredevils had to do was convince critics and record buyers. Ozark Mountain Daredevils were halfway their when critics hailed their eponymous album their finest album of recent years. That was no surprise, given the quality of songs on Ozark Mountain Daredevils.
Sadly, it wasn’t to be. When Ozark Mountain Daredevils was released, the album reached just 170 in the US Billboard 200. This was slightly better than I’m Alive. However, it wasn’t good enough for Columbia Records, and for the second time in two years they were dropped by a record label. For Ozark Mountain Daredevils it was the last album they released on a major label.
That wasn’t the end of The Ozark Mountain Daredevils’ story. They continued to play live over the next three decades. Alas, they no longer were as popular as they once were. It was changed days for The Ozark Mountain Daredevils.
What was also very different was The Ozark Mountain Daredevils’ lineup. It was very different from the band’s glory days. During this period, the band’s lineup was fluid, with members of the band leaving, being replaced and sometimes, returning. However, what the different lineups of The Ozark Mountain Daredevils didn’t do, was release another studio album until 1997.
Seventeen years after the release of The Ozark Mountain Daredevils, they released 13, which failed to trouble the charts. That proved to be The Ozark Mountain Daredevils’ swan-song. Never again would they release another studio album. After seven studio albums, The Ozark Mountain Daredevils recording career was over.
While The Ozark Mountain Daredevils continued to play live, they never ever returned to the studio. After releasing seven albums between 1973 and 1997, was the end of era for The Ozark Mountain Daredevils. They’re regarded as one of the finest purveyors of Southern fried country rock, and a group who left behind a rich musical legacy, especially the music The Ozark Mountain Daredevils released during their Major Label Years.
Ozark Mountain Daredevils-Their Major Label Years.
SACRED SOUNDS-DAVE HAMILTON’S RAW GOSPEL.
Sacred Sounds-Dave Hamilton’s Raw Detroit Gospel.
Label: Kent Soul.
Guitarist, songwriter, producer and record label owner Dave Hamilton was a familiar face on Detroit’s vibrant music scene for over fifty years. His career began in the mid-forties, and he was still working in the nineties. Not many people had enjoyed a career that spanned six decades, never mind working with some of the biggest names in the Detroit music scene. Part of the reason for his longevity was his versatility.
Dave Hamilton didn’t just work on one type of music, he recorded different genres of music, from the soul the he was famous for, right through to the gospel music. This includes the twenty-four tracks that feature on Sacred Sounds-Dave Hamilton’s Raw Detroit Gospel, a new compilation released by Kent Soul, which is an imprint of Ace Records. These tracks are a reminder that Dave Hamilton produced much more than soul.
Despite not being a particularly religious man, Dave Hamilton, who lived opposite Reverend C.L. Franklin’s New Bethel Baptist Church, spent part of his career recording gospel music in Detroit. This included for a number of Detroit based labels, especially Sacred Sounds.These tracks were recorded between 1969 and 1976, but a number make their debut on Sacred Sounds-Dave Hamilton’s Raw Detroit Gospel.
Opening Sacred Sounds-Dave Hamilton’s Raw Detroit Gospel is Jesus Is With Me Pt 1 – Little Stevie & The Reynolds Singers, which was released in 1969. It sets the bar high and is a tantalising taste of what’s still to come. This includes I’m Not Ready To Die which The Scott Singers released in 1971. It’s also delivered with emotion and passion. These two tracks were released on the Sacred Sounds label, while the hidden gem Pressing On by The Silver Harps was released on the Silver Harp label in 1974. However, after this comes the first of the unreleased tracks.
This includes Rev Simon Barbe’s (This Is) My Plea which was originally recorded in 1974, while Mr Bo’s Savior On The Throne was recorded in 1976, but was never released until now. Both tracks are welcome additions. So are the extended version of The Scott Singers’ When The Saints Go Marching In and another of their unreleased tracks I Thank You Jesus For One More Day. However, If I Had My Way by OC Tolbert and Clara White Houston is a real fine and is one of the best of the unreleased tracks.
Another track released by Sacred Sounds in 1969 was I Heard A Voice Pt 1 by the Sensational Angelettes, which oozes quality like Grown Old And Feeble by The Soul Inspirers from 1973. Both tracks were released on Sacred Sounds which released so much of Detroit’s best gospel music. This also included He’s All I Need by The Sensational Sunset Paraders from 1972 and The Fantastic Voices Of Joy’s 1969 track The Little Light. That isn’t forgetting Down Here Praying released in 1970 by The Detroit Silver-tones. Closing Sacred Sounds-Dave Hamilton’s Raw Detroit Gospel is another from unreleased track from The Scott Singers, My God Is Calling Me. It’s another track from the Sacred Sounds vaults which is where some of the best gospel recorded in Detroit currently resides.
For many music fans, the name Dave Hamilton is synonymous with soul music. However, he produced many different genres of music during a six decade career. This includes gospel music, and the twenty-four tracks on Sacred Sounds-Dave Hamilton’s Raw Detroit Gospel, which was released by Kent Soul, and is an imprint of Ace Records. Sacred Sounds-Dave Hamilton’s Raw Detroit Gospel features twenty-four sacred sounds that are sung with emotion, passion and sincerity.
Sacred Sounds-Dave Hamilton’s Raw Detroit Gospel.
HORN ROCK AND FUNKY GUITAR GROOVES 1968-1974.
Horn Rock and Funky Guitar Grooves 1968-1974.
Label: BGP.
Nowadays, music historians regard 1968 as the year that American rock returned to its soulful roots. The man responsible, was one of the true legends of music, Bob Dylan, who joined forces with The Band, and they went in search of a chimerical America, and what they believed was its musical sound. The result was the classic album Big Pink.
Meanwhile, other bands went in search of a quintessentially American sound which fused elements of jazz, R&B and soul. For many of these bands, they were going back to basics and the music that inspired them to become musicians in the first place.
This was the case form New Jersey to San Francisco, and way on down to Memphis and New Orleans, as rock evolved and was reinvented by the bands on Horn Rock and Funky Guitar Grooves 1968-1974, which has just been released by BGP, an imprint of Ace Records. The singles they released and even some albums were played by DJs in clubs and enticed even the most reluctant dancer on the floor.
This music was very different from the lysergic sound of psychedelia which was still growing in popularity amongst the counter culture on both sides of the Atlantic. Despite its popularly, the new and emerging sound found a following amongst DJs who
eschewed psychedelia and started spinning these danceable rock tracks. For the first time in years, it was possible to dance to rock music.
Between 1968 and 1974, this new sound was championed by Blood, Sweat and Tears, Al Kooper, The Sons, The Electric Flag, Tower Of Power, Cold Blood, Donnie Brooks, Paul Butterfield Blues Band, Chase, Hammer and Black Magic. They all feature on Horn Rock and Funky Guitar Grooves 1968-1974. It features seventeen tracks that are a reminder of a sometimes oft-overlooked period in American music.
That was apart from hip hop artists, who unable to play an instrument and believing a key opened a door, looked to singles and albums released during this period for “inspiration.” Many of these tracks were oft-sampled by these musical robber barons who were lacking original thought. The only good thing was that on hearing the samples, many record buyers went in search of the original track.
Sadly, up until now, nobody has thought to curate a compilation from the period when American rock returned to its soulful roots. That has all changed with the recent release of Horn Rock and Funky Guitar Grooves 1968-1974.
Horn Rock and Funky Guitar Grooves 1968-1974 opens with Buddy’s Advice from Paul Butterfield Blues Band’s 1969 album Keep On Movin’, which was released by Elektra. The album was unlike anything the Paul Butterfield Blues Band had released before and wrong footed critics. They weren’t expected what was a carefully crafted fusion of blues, rock and soul.
The same year, 1969, Al Kooper released the album I Stand Alone, which fettered Isaac Hayes and David Porter’s Toe Hold. It epitomises the horn rock sound, which essentially refers to the jazz style of big band arranged rock which is associated with bands like Blood, Sweat and Tears which Al Kooper founded. Funky with a soulful vocal and stabs of horns punctuating the arrangement, it’s a captivating and truly memorable cover of Toe Hold.
Delaney and Bonnie’s It’s Been A Long Time Coming from their 1968 debut album Delaney and Bonnie and Friends which was released on Stax. This soulful and heartfelt rendition of this anthemic track features Booker T and The MGs, The Memphis Horns, Leon Russell and William Bell and could only have been recorded in Memphis and released on Stax and epitomises everything that is good about horn rock.
The LP verse of Lighthouse’s One Fine Morning, which is the title-track from their 1971 album is a welcome addition. Not content to fuse jazz and soul, they incorporated elements of classical music in a track that reached the top thirty in the US Billboard 100 and number two in Canada which was home to Lighthouse, who made their breakthrough with their fourth album One Fine Morning.
By he time Blood, Sweat and Tears rebased their 1973 album, which featured horn rock classic Roller Coaster, the band’s lineup was unrecognisable. Only Bobby Colomby remained from the group that was formed six years earlier in 1967. Despite the changes, Roller Coaster is without doubt, one of Blood, Sweat and Tears’ finest hours.
Of all the horn rock groups, Tower Of Power is one of the best know. Their contribution is Clever Girl from their 1973 album Tower Of Power. It’s a languid, jazz-tinged track with Lenny Williams vocal playing a starring role on one of the highlights of Tower Of Power’s breakthrough album.
Tuane by New York-based Hammer is a track from their 1970 eponymous album. However, despite eschewing horns, Hammer were able to produce a memorable funk rock track.
Tobias Wood Henderson 1971 album Blue Stone was recorded in New Orleans and featured some of the Big Easy’s top musicians, including the late, great Dr John. One of the highlights Of Blue Stone was Gypsy Boy II, which a glorious fusion of blues, rock and soul as horns help power the track along.
The Electric Flag became the vehicle for Mike Bloomfield after he departed the Paul Butterfield Blues Band. He was joined by a talented group of musicians who showcase their talents on the 1974 album The Band Kept Playing. It features Make Your Move where everything from big band, blues to gospel and the Memphis soul of Stax. The result is a delicious musical stew. Aunt Marie – American Sound Ltd
Closing Horn Rock and Funky Guitar Grooves 1968-1974 is Aunt Marie by American Sound Ltd which was released in 1968. Sadly, this funk rock rarity wasn’t a commercial success, but nowadays, is prized by funk collectors.
For anyone who loves the sound of horns in a rock record, then Horn Rock and Funky Guitar Grooves 1968-1974 is a must have. The seventeen tracks features a mixture of familiar faces and well known names on a collection that oozes quality. Horn Rock and Funky Guitar Grooves 1968-1974 features tracks are danceable and memorable and are a reminder of a period when American rock music was reinventing itself as it returned to its soulful roots.
Horn Rock and Funky Guitar Grooves 1968-1974.
BEVERLEY MARTYN-A CASE OF WHAT MIGHT HAVE BEEN
Beverley Martyn-A Case Of What Might Have Been.
It was fifty-four years ago, when Beverley Martyn made her recording debut as a member of The Levee Breakers, a jug band that also featured Mac McGann and Johnny Joyce. They released their debut single Babe, I’m Leaving You on Parlophone in 1965, when Beverley was just sixteen. Despite that, The Levee Breakers were already a regular fixture on the folk circuit. It looked like Beverley Martyn was destined for a great things. However, since 1965, Beverley has only released two solo albums.
Beverley Martyn somewhat belatedly released her debut album No Frills in 1998. It was sixteen years later, before Beverley Martyn returned with The Phoenix and The Turtle in 2014. Since then, folk’s reluctant star hasn’t returned with the followup to The Phoenix and The Turtle. However, back in the mid-sixties, it looked as if Beverley Martyn was destined for commercial success and critical acclaim.
The Solo Years.
A year after The Levee Breakers released their debut single, Beverley Martyn’s solo career began in 1966, when she signed to the newly formed Deram Records. This was a new imprint of Decca Records. It’s raison d’être was to showcase stereo. The pop and rock music Deram were about to release would feature more space. This would allow record buyers to hear the difference between mono and stereo. So executives at Deram began the search for the what would be Deram’s first single. It had to fit the vision they had for their new label. The single chosen was Beverley Martyn’s debut single Happy New Year. It featured Beverley and what would later be regarded as an all-star band,
Accompanying Beverley were future members of Led Zeppelin John Paul Jones and Jimmy Page. Then there was Nicky Hopkins who had collaborate with The Beatles and Rolling Stones. Drummer Andy White was best known as having played the drums on The Beatles’ Love Me Do. He went on to forge a career as one of the top session musicians. Each of these musicians featured on Beverley Martyn’s debut single.
Released as Beverley, Happy New Year wasn’t the commercial success many people envisaged. Worst was to come. Picking Up The Sunshine, Beverley’s sophomore album was recorded, but not released. However, Beverley’s luck was changing.
It was during this period, Beverley met Bert Jansch. He taught Beverley how to play guitar and encouraged Beverley to write her own songs. Meanwhile, Beverley was relying on other people to write songs for her. Donavon wrote her third single Museum. Denny Cordell who would produce Joe Cocker, The Move, Procul Harum and The Moody Blues was drafted in to produce Museum. Sadly, Museum wasn’t a commercial success. So, Beverley moved to New York with another stalwart of the folk scene Paul Simon.
Paul Simon was a regular on the British folk scene. He’d arrived a few years earlier. Back then, he was an up-and-coming folk singer. Now with Art Garfunkel, he was about to record Bookends. This was Simon and Garfunkel’s fourth album. Recorded in New York, Beverley wrote Fakin’ It. She also sings a line in the song. Things were looking up for Beverley. Especially when she appeared at the 1967 Monterey International Pop Music Festival. However, two years later, Beverley would meet the man she recorded two critically acclaimed albums with, John Martyn.
John Martyn and Beverley Martyn.
He who was already an established name of the British folk circuit. H had already released two solo albums, 1967s London Conversation and 1968s The Tumbler. Beverley and John would release two albums in 1970.
Stormbringer was released in February 1970, with Beverley penning four tracks and John six. Recording of Stormbringer took place in Woodstock, with Joe Boyd producing Stormbringer. Upon its release, Stormbringer wasn’t the success Island Records had hoped for, but nowadays is regarded as a British folk classic. Despite the failure of Stormbringer, John and Beverley entered the studio again.
This time it was in London. That’s where The Road To Ruin, the followup to Stormbringer, was recorded. It was released in November 1970, and it features one of Beverley’s finest songs, Primrose Hill. It’s a song about what Beverely calls the “joys of domesticity.” Apart from Primrose Hill, Beverley cowrote three songs with John for The Road To Ruin They had just written and recorded another British folk classic. Sadly, on the release of The Road To Ruin, the album failed commercially. This proved to be the end of John and Beverley’s collaboration.
Island Records decided that with John and Beverley’s two albums failing commercially, it would be best to market John as a solo artist. Right through until John Martyn was recording Grace and Danger in 1980, Beverley divided her time between spending time with her family and working on John’s solo albums.That came to an end in 1980.
John and Beverley Martyn were divorced whilst John was recording Grace and Danger. It proved to be a highly personal album, which featured a cathartic outpouring of emotion from John. After their divorce in 1980, Beverley took a break from music, concentrating on her family.
The Comeback.
By the nineties, Beverley’s family had grownup, and she decided the time was right to make a comeback. This began with Beverley supporting Loudon Wainwright III. Then in 1998, Beverley released her long awaited debut album No Frills. It was released to widespread critical acclaim. Beverly Martyn was back.
Over the next few years, Beverley worked with some of the biggest names in music. This includes Jimmy Page of Led Zeppelin, Levon Helm of The Band, Richard Thompson, Dave Pegg and Sandy Denny of Fairport Convention and British folk guitarist Davy Graham. Then in 2004, a new generation were introduced to Beverley Martin’s music.
Fatboy Slim sampled Primrose Hill from John and Beverley Martin’s 1970 album Stormbringer. It featured on North West Three, a track from his Palookaville album. This introduced Beverley to another generation of music. For many musicians, they’d have rushed out a new album. Not Beverley. That isn’t her style. It wasn’t until 2014 that Beverley releasedThe Phoenix and the Turtle.
At the time of its release, Beverley described The Phoenix and the Turtle “as a very personal album.” It featured songs that she had written throughout her fifty year career. This includes the first song she wrote, Sweet Joy. Reckless Jane was a song Beverley and Nick Drakes started to write. Sadly, they never finished it. Belatedly, Beverley finished the song. When The Levee Breaks and Going To Germany were songs Beverley used to sing with her first group The Levee Breakers. Women And Malt Whiskey was a song based on Beverley’s late husband John Martyn. Along with Potter’s Blues, Nighttime, Mountain Top and Jesse James, these nine tracks became The Phoenix and The Turtle, Beverley Martyn’s sophomore album, which was recorded in Wales and California.
When The Phoenix and The Turtle was released in 2014, it was to the same critical acclaim that accompanied No Frills in 1998. The nine songs were variously beautiful, poignant and wistful. Heartbreak and hurt sits side-by-side pathos and melancholia. Beverley’s lyrics have a cinematic quality and each of the songs to life. As a result, The Phoenix and The Turtle is like a series of musical journeys, where Beverley takes on the role of narrator on a captivating album that was the finest album of Beverley Martyn’s solo career.
Nearly five years have since Beverley Martyn released The Phoenix and The Turtle. Theres no sign of her returning with her third solo album. That is a great pity, as Beverley Martyn is a hugely talented singer-songwrter. Just like a fine wine, Beverley Martin has improved with age. She’s now seventy-two, and it’s fifty-four years since Beverley Martyn made her recording debut. That was the start of her career that promised much.
Sadly, Beverley Martyn’s discography amounts to just four albums. However, it’s a case of quality rather than quantity.
Nowadays, the two albums Beverley and John Martyn released, Stormbringer and The Road To Ruin are both regarded as British folk classics. Nearly a generation later, Beverley Martyn released two solo albums No Frills and The Phoenix and the Turtle. They were a reminder of a truly talented singer-songwriter who had the potential to one of the finest British folk singers of her generation. Sadly, that never came to pass, and nowadays, the Beverly Martyn story is one of what might have been.
Beverley Martyn-A Case Of What Might Have Been.
GEOFF MULDAUR-FROM THE JIM KWESKIN AND THE JUG BAND TO THE WARNER BROS YEARS.
Geoff Muldaur-From The Jim Kweskin and The Jug Band To The Warner Bros. Years.
Guitarist, singer and songwriter Geoff Muldaur was born in Pelham, New York, on August 12th 1943. Growing up, he developed a love music, which led to Geoff learning to play the guitar. Soon, he developed into a talented blues guitarist. Little did he realise that this would be how he would make a living.
Jim Kweskin and The Jug Band.
Geoff Muldaur’s musical career began in the early sixties, while he was living in Boston. That was where he first met Jim Kweskin, who founded Jim Kweskin and The Jug Band. It would eventually become a nine piece band, that nowadays, is regarded is the original Americana band.
To create this new sound, Jim Kweskin and The Jug Band incorporated a variety of different musical genres into their music. Elements of blues, country, folk were combined with the influence of the jug bands of the thirties and even ragtime and rock ’n’ roll.This unique fusion of musical genres and influences made Jim Kweskin and The Jug Band stand out from the crowd.
During the early sixties, Boston’s music scene was thriving. A number of jug bands played in the pubs and clubs of Boston. However, Jim Kweskin and The Jug Band were a cut above the competition. They were a tight and talented band who were young, enthusiastic and energetic. It was only a matter of time before a record company signed them up.
That proved to be the case. In 1963, Jim Kweskin and The Jug Band signed to Vanguard. Later in 1963, Jim Kweskin and The Jug Band released their eponymous debut album. Its mixture of blues, country, folk and ragtime was well received by critics, and found favour within the folk community. The only downside was that the album hadn’t reached a wider audience. However, when Jim Kweskin and The Jug Band returned to the studio, their number would have risen from five to seven.
In 1964, Jim Kweskin and The Jug Band recruited a new vocalist and violinist, Maria D’Amato. Soon, Geoff Muldaur began a relationship with Maria D’Amato, and later in 1964, the pair married. By then, Geoff had released his debut solo album Sleepy Man Blues on Prestige Folklore.
The Solo Years Begin-Sleepy Man Blues.
Given Geoff Muldaur’s love of blues music, it was no surprise that he decided to record a blues album for Prestige Folkways. For the twenty-one year old blues guitarist and vocalist, this could be the perfect showcase for his considerable skills. Especially if he chose the right songs.
For his debut album Sleepy Man Blues, Geoff Muldaur decided to record twelve blues songs by some giants of the Delta Blues. This included Lonnie Johnson’s Jelly Roll Baker; Blind Willie Johnson’s The Rain Don’ Fall On Me; Bukka White’s Sleepy Man Blues, Good Gin Blues and Aberdeen, Mississippi Blues; Jim Jackson’s This Morning She Was Gone and I Have Had My Fun. They were joined by Robert Hick’s Motherless Chile Blues; Peg Leg Powell’s Georgia Skin Game and Sleepy John Estes’ Everbody Ought To Make A Change and Drop Down Mama. These songs were recorded with bassist Fritz Richmond and Eric Von Schmidt on mandolin and harmonica. Once the twelve songs were recorded, they became Sleepy Man Blues.
Upon its release later in 1964, Geoff Muldaur’s debut album Sleepy Man Blues was well received by the critics. The album found a following within the blues and folk community. However, it failed to make much of an impression with the wider record buying public. So Geoff returned to Jim Kweskin and The Jug Band.
Jim Kweskin and The Jug Band.
A year later in 1965, the Jim Kweskin and The Jug Band returned to the studio to record their sophomore album. It featured the debut of vocalist and violinist Maria Muldaur. When the album was completed, it became Jug Band Music.
Later in 1965, Vanguard released Jug Band Music. It was a similar to story to Jim Kweskin and The Jug Band, with the album being well received by critics. Especially the cover of Memphis, where the song is rem imagined by Jim Kweskin and The Jug Band. Despite a resurgence in interest in folk music, Jug Band failed to find a wider audience. Despite this Jim Kweskin and The Jug Band were influencing a number of band, including members of the Grateful Dead.
After the release of Jug Band Music, Jim Kweskin decided to launch his solo career during 1966. The recorded and released his debut album Relax Your Mind in 1966. Then in 1967, work began on Jim Kweskin and The Jug Band’s third album See Reverse Side For Title.
By then, Jim Kweskin and The Jug Band had signed to Elektra, which home to many of music’s rising stars. Executives at Elektra hoped that Jim Kweskin and The Jug Band would become the label’s latest rising stars. However, music was changing, and changing fast. Folk rock and psychedelia had overtaken folk in popularity. This didn’t bode well for the release of See Reverse Side For Title in 1967.
Jim Kweskin and The Jug Band decided not to change their trademark sound. However, they decided to use a heavier production style. This they hoped would make the album relevant and appeal to a new audience. However, the results were somewhat mixed. When See Reverse Side For Title was released, the album wasn’t the commercial success Jim Kweskin and The Jug Band had hoped.
It was the end of the line for Jim Kweskin and The Jug Band. They split-up after the release of See Reverse Side For Title. Meanwhile, Maria and Geoff Muldaur signed to Reprise.
Maria and Geoff Muldaur.
Maria and Geoff Muldaur could’ve and should’ve enjoyed much more critical acclaim and commercial success than they did. Geoff was a talented and versatile guitarist. Although blues was his first love musically, he could seamlessly flit between genres. So could Maria as she breathed life and meaning into lyrics. She did this on the two albums Maria and Geoff Muldaur recorded and release two albums for Reprise.
The first of these was Pottery Pie in 1970. When it was released in 1970, commercial success eluded Pottery Pie. However, the couple weren’t lacking in talent, and surely, a success couldn’t be far away?
Two years later, and the followup Sweet Potatoes was released. While reviews of Sweet Potatoes were mostly positive, history repeated itself. Again, commercial success passed Sweet Potatoes by. However, by then Maria and Geoff’s relationship was at end. They would divorce later in 1972. By then, a new chapter in Geoff’s career had begun.
Paul Butterfield’s Better Days.
Next stop for Geoff Muldaur was the Paul Butterfield’s Better Days. This was the group Paul Butterfield formed after the break-up of the Paul Butterfield Blues Band. For Geoff, Paul Butterfield’s Better Days would be his musical home for the next few years.
Joining Paul and Geoff in the lineup of Paul Butterfield’s Better Days were Amos Garrett, Bill Rich, Chris Parker and Ronnie Barron. With its stellar, multi-talented lineup, Paul Butterfield’s Better Days were the band that should’ve become one of the biggest bands of the seventies.
Sadly, the story of Paul Butterfield’s Better Days is one of what might have been. They released just two studio albums during 1973. The first was Better Days, with It All Comes Back following later in 1973. Of the two albums, Better Days is considered one of the great lost albums. It showcases the considerable talents of what was more than a blues rock band.
Paul Butterfield’s Better Days’ combined various sub-genres of
blues, including boogie-woogie, cosmopolitan, New Orleans and rural with country, R&B and even, soul. Their unique sound, meant that Paul Butterfield’s Better Days became a popular live draw. However, by 1975 Geoff time with Paul Butterfield’s Better Days was over. Geoff Muldaur decided to resume his solo career
The Solo Years-Part Two.
Later in 1975, Geoff Muldaur signed to Warner Bros. Never before had he been signed to a major label. This was unknown territory. However, Warner Bros had the financial and marketing muscle to bring Geoff’s music to the attention of the wider record buying public. So he began work on the followup to his 1964 debut album Sleepy Hollow Blues.
Is Having A Wonderful Time.
For his sophomore album Is Having A Wonderful Time, Geoff Muldaur wrote Why Should I Love You? The other eight songs were cover versions. They were an eclectic selection of songs, including some that would be familiar to many record buyers.
None more so than Carl Smith, Gary Jackson and Raynard Miner’s Higher and Higher, which gave Jackie Wilson a hit single. It was joined by Al Lewis and Al Sherman’s Livin’ In The Sunlight (Lovin’ In The Moonlight); Andy Razaf and Don Redman’s Gee Baby Ain’t I Good To You; Dorothy Love Coates’ 99 1/2 and Robert Denham and Miklós Rózsa’s I Want To Be A Sailor. The other songs Geoff chose were Pam Carrier and Merl Saunders’ Wondering Why, Walter Vinson’s Jailbird Love Song; Huey “Piano” Smith and John Vincent’s High Blood Pressure and Bobby Charles’ Tennessee Blues. These nine songs were recorded A&R Studios, New York.
To produce what became Is Having A Wonderful Time, Geoff Muldaur was joined by producer Joe Boyd and engineer John Wood. Both were vastly experienced and successful. This was the perfect partnership to kickstart Geoff’s career. Joining him, was a huge all-star band.
At least sixty musicians and backing vocalists would eventually work on Is Having A Wonderful Time. The band’s lineup changed from track to track. However, on every track Geoff Muldaur was working with top musicians. This ranged from musicians Geoff had played with previously, a few of his friends and many of New York’s top session players. It was an impressive and enviable array of musical talent.
Once Is Having A Wonderful Time completed, now the might of Warner Bros’ marketing machine could get behind the album. It was due to be released later in 1975 on Warner Bros’ Reprise Records’ imprint. Before that, critics had their say on Is Having A Wonderful Time.
Given the quality and variety of music on Is Having A Wonderful Time, it was no surprise that the album received critical acclaim from the critics. This was half the battle. However, how would record buying public react?
Is Having A Wonderful Time was released later in 1975. Alas, the album wasn’t a success and failed to even trouble the charts. Geoff Muldaur’s genre-melting album Is Having A Wonderful Time, slipped under the musical radar. For Geoff, this was a huge disappointment.
Motion.
Despite the disappointing sales of Is Having A Wonderful Time, Geoff Muldaur began work on the followup album, Motion. He chose another nine songs. This included a couple of familiar songs, Southern Nights and I Don’t Want To Talk About It. These tracks had given Glen Campbell and Rod Stewart hit singles. Now was the time for Geoff to rework them. Among the other tracks he decided to record on Motion, were Let It Out, Since I’ve Been With You Babe, What Do You Want The Girl To Do? Motion, When You Touch Me This You, Why Don’t We Live Together and Hooray For Hollywood. These songs were recorded with a different producer, Trevor Lawrence.
He replaced producer Joe Boyd, who had produced Is Having A Wonderful Time. Another change was that the huge, all-star band had been scaled back. Maybe Warner Bros. were having second thoughts about Geoff Muldaur and were scaling back the budget?
Still though, Geoff Muldaur was accompanied by a tight, talented band. Their lineup changed throughout the album. However, what had changed was the quality of musicians in Geoff’s band. It included drummers Jim Keltner and Ed Greene; bassists James Jamerson and Klaus Voormann plus guitarists Dean Parks, Dennis Coffey and Jesse Ed Davis. They were joined by saxophonist Bobby Keys, keyboardist Dr John and Bonnie Raitt who featured on two songs, Since I’ve Been With You Babe and Motion. Geoff and his new band and producer got to work. Eventually, nine songs were recorded and became Motion.
Reprise Records scheduled the release of Motion later in 1976. Before that, critics received copies of Motion. They had given Geoff’s previous album their seal of approval. Geoff and executives at Warner Bros held their breath while they awaiting the reviews. Bad reviews had the potential to kill an album.
Critics were won over by Motion, which continued to showcase Geoff Muldaur’s versatility. He was equally at home on the uptempo tracks as he was on the ballads. Motion was a slick, polished album that was commercial and radio friendly. More so than its predecessor, Is Having A Wonderful Time. Surely, the much more commercial, radio friendly Motion would transform the fortunes of Geoff Muldaur?
Sadly, it wasn’t to be. History reposted itself and Motion failed to chart. It was the wrong album at the wrong time. Again, music was changing, and changing fast. Rock was still King, but disco was growing in popularity by 1976. Punk had just reared its ugly head and the repercussions were already being felt. Sadly, it was a similar case for Geoff Muldaur.
Following the commercial failure of Motion, Geoff Muldaur was dropped by Warner Bros. He been with the label since 1975, and released two hugely underrated albums, Is Having A Wonderful Time and Motion.
After just two albums, Is Having A Wonderful Time and Motion, Geoff Muldaur left Warner Bros. It was a case of what might have been for Geoff Muldaur? He was and still is a hugely talented and versatile vocalist. That’s apparent from his much anticipated sophomore album Is Having A Wonderful Time, and the followup Motion. They showcase the different sides to Geoff Muldaur on two hidden musical gems, Is Having A Wonderful Time, and the followup Motion which brought ri an end the Warner Bros. Years, just twelve years after he made his recording debut with Jim Kweskin and The Jug Band.
Geoff Muldaur-From The Jim Kweskin and The Jug Band To The Warner Bros. Years.
THE LIFE AND CAREER OF ANE BRUN.
The Life and Career Of Ane Brun.
In her native Norway, forty-one year old Ane Brun is one of the most successful singer-songwriters of her generation. Her career began in May 2003, when she released her debut album Spending Time With Morgan. This was the start of a glittering career for Ane Brun, who recently released her eighth studio album Leave Me Breathless. This is the latest chapter in the Ane Brun’s career.
The future Ane Brun was born Ane Brunvoll on the ’10th’ of March 1976, in Molde, Norway, and grew up in a musical household. Ane’s mother was jazz singer, and as her two daughters grew up, they followed in their mother’s footsteps.
Both Ane and her younger sister Marie Kvien Brunvoll caught the music bug, and growing up, immersed themselves in music. It was almost inevitable that the Brunvoll sisters would embark upon musical careers.
Before that, nineteen year old Ane left Molde left in 1995, and spent her time moving between Bergen, Oslo and Barcelona. It was whilst living and studying in Bergen that Ane began writing her own songs. This she continued to do whilst studying and working part-time in record shops and bars. Ane continued to juggle her studies, work and songwriting for the next few years.
By 1999, Ane had played a few small shows and was ready to make the next step in her career, by recording her first demo in Bergen. After this, she moved to Sweden, living first in Uppsala and then the Swedish capital Stockholm in 2001.
When Ane arrived in Stockholm in 2001, she started to take her career seriously, as she now knew that she wanted to make a career out of music. By 2002, she was recording her debut album Spending Time With Morgan, whose title paid homage to Ane’s guitar. With the album completed Ane cofounded DetErMine Records with Canadian singer Wendy Mc Neil and Ellekari Larsson of The Tiny. The new label would release Ane Brun’s debut album Spending Time With Morgan in 2003.
In May 2003, Spending Time With Morgan was released DetErMine Records, and found favour with Norwegian critics. Spending Time With Morgan also caught the imagination of record buyers and the album reached number nineteen in the Norwegian charts.
Ane Brun was determined to build on the success of Spending Time With Morgan, and embarked upon a gruelling European tour. Before long, Ane Brun returned home exhausted and suffering from burn out. She had been working not stop for two years, and needed a break.
After a six month break, Ane Brun was ready to return to touring, and when she returned home, entered the studio to record her sophomore album A Temporary Dive. It was released to critical acclaim on the ‘7th’ of February 2005, and reached number twelve in the Swedish charts, and topped the Norwegian charts. This resulted in Ane Brin receiving her first platinum disc. The twenty-nine year old singer-songwriter had come a long way, and was regarded by many critics as one of the rising stars of Norwegian music.
Just nine months after the release of A Temporary Dive, Ane Brun returned on the ‘21st’ of November with her third album Duets. She was joined on Duets by ten guest artists and bands, including Madrugada, Syd Matters, Teitur, Lars Bygdén, Wendy McNeill and Ron Sexsmith. The result was another critically acclaimed album, which reached forty in the Swedish charts and number two on the Norwegian charts. This resulted in Duets being certified double platinum. Ane Brun’s career had been transformed during 2005.
To add icing to the cake, Ane Brun was nominated for a number of musical awards, including Norwegian music’s most prestigious award, a Spellemannprisen, which is the equivalent of a Grammy Award. At the glittering award ceremony, Ane Brun won a Spellemannprisen for the best female singer, and in the process, beaten off fierce competition. It was the perfect way to end 2005.
After the success of A Temporary Dive and Duets, Ane Brun spent much of the next couple of years touring the world. Sometimes, she was accompanied by her core band, and other times a string section. Some nights, Ane Brun was accompanied by with just a lone cello and backing vocalist, as she gave a spellbinding performance. That was the case night after night, regardless of the band that accompanied Ane Brun. She was winning friends and influencing people wherever she played live.
In 2007, Ane Brun released her first live album Live In Scandinavia. It showcased her unique brand of folk and folk rock which she had none over the last few years. Live In Scandinavia reached number eleven in Norway, and twelve in Sweden. This kept Ane Brun’s fans happy until she returned with a new album.
On the ‘12th’ of March 2008, Ane Brun released Changing Of The Seasons, which was her first solo album on three. The album would be released the first to be released in Britain and America. That would come later. Before that, Changing Of The Seasons found favour with the majority of Scandinavian critics and reached number one in Norway and two in Sweden. This resulted in Ane Brun’s first gold disc.
Elsewhere, Changing Of The Seasons was released in America on the ‘14th’ of October 2008, and in Britain on the ‘2nd’ of February 2009. The album showcased Ane Brun’s unique brand of contemporary folk, which was starting to find an audience outside of Scandinavia, including in the Netherlands, where the album reached forty-eight. Changing Of The Seasons had introduced Ane Brun’s music to a whole new audience.
Later in 2008, Ane Brun returned with her fifth studio album Sketches, which was a much more low-key release. Still it reached fifteen in the Norwegian charts, and Ane Brun’s popularity continued to grow.
A year later, in 2009, Ane Brun released her second live album Live At Stockholm Concert Hall. It reached number seven in Norway, and five in Sweden. Ane Brun remained one of Scandinavian music’s most successful artists, and this was set to continue.
Despite her increasing popularity, Ane Brun didn’t return with her sixth album It All Starts With One which was released in Scandinavia on the ‘9th’ of September 2011. The album was released in other parts of Europe later in September 2011, and in America on the ‘1st’ of November 2011. Most critics hailed It All Starts With One as one of Ane Brun’s finest albums, and it was no surprise when it topped the charts in Norway in Sweden. Elsewhere, It All Starts With One charted in Belgium, Denmark, France and the Netherlands. Ane Brun’s popularity was growing, and proof of this was the platinum disc she received for album sales in Norway. It All Starts With One had outsold her lats two albums, Changing Of The Seasons and Sketches.
In October 2011, Ane Brun featured on Peter Gabriel’s ninth studio album New Blood. The ex-Genesis frontman invited Ane Brun to join him when he rerecorded Don’t Give Up. So good was Ane Brun and Peter Gabriel’s version of Don’t Give Up that many critics and musical fans preferred their beautiful version new version to the original. Featuring on such a high-profile album as New Blood was another boost to Ane Brun’s career and introduced her to a new and wider audience. However, there was more good news at the end of 2011.
When the nominations for the 2011 Spellemannprisen awards were announced, Ane Brun was nominated for the Best Female Singer. When she arrived at another glittering award ceremony, Ane Brun was one of favourites to win her second Spellemannprisen. That night, she won her second Spellemannprisen in the best female singer category, and in the process, cemented her reputation as one of Norwegian music’s top singer-songwriters.
Two years later, on the ’29th of May 2013, Ane Brun returned with the first of two compilations she would release during 2013. Songs 2003-2013 celebrated the first ten years of Ane Brun’s career, and twenty-eight old songs, including her only number one single Lift Me which had been released in 2005. As an added bonus, four new songs featured on Songs 2003-2013 which reached number two in Norway and six in Sweden.
Ane Brun’s second compilation of 2013, Rarities was released on the ‘4th’ of October 2013 and featured twenty cover versions and outtakes. Rarities was released without any promotion, but still proved popular with Ane Brun’s loyal fans, and reached twenty-one on the Norwegian charts.
It was another two years before Ane Brun returned with When I’m Free on the ‘4th’ of September 2015. Just like her previous album, When I’m Free found favour with critics and reached number four in Norway and three in Sweden. When I’m Free also charted on Belgium and the Netherlands, and the Ane Brun success story continued apace.
After another two-year gap, Ane Brun recently returned with her much-anticipated eighth album Leave Me Breathless. It was an album of fourteen cover versions, where Ane Brun reinvented familiar songs and old favourites. These were combined with some hidden gems that Ane Brun had decided to rework and introduce to her fans.
When Leave Me Breathless was released to critical acclaim it climbed the Norwegian charts and reached number three. Meanwhile, it reached five in the Swedish charts, and charted in Belgium and the Netherlands, where Ane Brun is a popular draw. However, there’s every chance that an album of the quality of Leave Me Breathless will climb higher up the charts, as it’s one the best albums Ane Brun has released in recent years.
This is what that critics and record buyers have come to expect from one of Norway’s finest singer-songwriters, Ane Brun Ever since she released her debut album Spending Time With Morgan 2003. Since then, Ane Brun has been breathing life, meaning and emotion into the lyrics. Sometimes, her vocals are rueful, hopeful needy and full of regret. Other times, Ane Brun’s vocals are ethereal, beautiful and sometimes, soul-baring. This is what critics and record buyers have come to expect from one of Norway’s finest singer-songwriters, Ane Brun who is not only one of Norway’s most talented singer-songwriters but the best in Europe.
The Life and Career Of Ane Brun.
THE LIFE AND TIMES OF SUSANA ESTRADA.
The Life and Times of Susana Estrada.
Ever since 1939, the brutal Francoist regime had ruled Spain with an iron fist. This came to an end with the death of dictator Francisco Franco on ’20th’ November 1975. After Franco’s death, control of Spain passed to King Juan Carlos. By then, Spain was in a state of paralysis. It had been, during the last few months of Franco’s reign. The Spanish people hoped that things were about to change.
They hoped that after the death of Franco, that Spain’s transition to a liberal democratic state could begin. The transition began on ’20th’ November 1975 with the passing of Franco, and took nearly seven years until the electoral victory of the socialist PSOE party on the ‘28th’ October 1982. That seven-year period is nowadays remembered in Spain as the ‘transition’, and marked a new beginning for the Spanish people.
The transition to democracy saw a liberalisation of values and social mores. Suddenly, the Spanish people were enjoying their newfound freedom. This was something that hadn’t previously existed under the Francoist regime. Life, the Spanish people were realising, was for living. This coincided with a sexual revolution that began during the transition.
During the transition and sexual revolution, singer, model and actress and Susana Estrada represented the new Spain. She was independent and modern women, who lived her life on her terms. Susana Estrada wanted to bring about change, and was an advocate for women’s rights, sexual liberation and freedom. One of the ways she sought to bring about change was through her music. Susana Estrada was much more than a singer, and was at the vanguard of change that took place during the transition in Spain.
Susana Estrada was born in the city of Gijón, in 1949. By then, Franco had ruled Spain since 1936. Growing up, Susana Estrada she watched as the Francoist regime crushed their opponents mercilessly. Many of Franco’s opponents were imprisoned, others disappeared in mysterious circumstances and some were murdered. For anyone who grew up in Spain the forties and fifties, life was tough. It certainly was for Susana Estrada.
By the time she was twenty-one, Susana Estrada had been married, had two children and was now divorced. She was left to bring up two children on her own. This she managed to do on the salary she received working as a librarian. However, Susana Estrada had dreams beyond working in a library. What she really wanted to do, was work as a fashion model.
Eventually, Susana Estrada left her job as a librarian, to embark upon a career as a fashion model. Initially, she worked for small, local companies, but within a year had been accepted into Madrid’s official model school. It looked like Susana Estrada’s dream was about to come true. However, it turned out that Susana Estrada wasn’t tall enough. Even when she took to wearing fifteen centimetre heels, she wasn’t tall enough. For Susana Estrada, it looked as if her career as a model was over before it began.
It looked unlikely that Susana Estrada would ever model for magazines like Vogue or luxury clothing brands, she found her own niche within the fashion world. Susana Estrada modelled the ready-made, pret-à-porter fashion lines. Sometimes, though, she was recruited by overseas model agencies, and occasionally found herself featuring on album cover. By 1971, Susana Estrada had gone up in the world.
She made her acting debut in El Zorro de Monterrey in 1971, which was the start of Susana Estrada’s acting career. During the second half of the seventies, Susana Estrada began to feature in a new genre of film, Destape which were erotic comedies. However, before long, Susana Estrada realised that to make a career in the movie industry “you had to pay a high price and do some things I didn’t want to do.” However, by then, Susana Estrada had embarked on a new chapter in her career.
This began in 1976, when she started acting in erotic musicals. Her debut came in 1976, in Historias del Strip-Tease which was roundly panned by critics. Despite the terrible reviews, it was a huge commercial success and turned Susana Estrada into a star. However, this came at a cost: “in the beginning, women hated me. They thought that I was lacking decorum, that I was shameless, lecherous, rude…Not all of them but the vast majority. People were not ready for this.”
After featuring in several erotic musicals, Susana Estrada became a sex counsellor in the magazine Play-Lady. At one point, she was receiving 7,000 letters a week. By then, Susana Estrada’s new role was attracting the attention of Franco’s regime. She was accused of public scandal, fined, had her passport cancelled and banned from voting for ten years. This was just the latest controversy for Susana Estrada, who was skating on thin ice. Any further controversy could see her receive further sanctions from the Franco regime. Most people would’ve kept a low profile.
Susana Estrada wasn’t most people, and was about to embark on a career as a singer. Her debut single Ya Me Voy De Tu Vida was released on Odeon in 1978. It was written by Alejandro Jaén, who co-produced the single with Marion Bronley. They were responsible for a single that had been heavily influenced by both classic disco, and the Munich Sound, which was pioneered by Giorgio Moroder. The release of Ya Me Voy De Tu Vida marked the start of a new chapter in Susana Estrada’s career. However, she continued her career in musicals.
Between 1978 and 1980, the musicals that Susana Estrada appeared in grew in popularity. However, they became increasingly explicit. By then, Spain was undergoing a period of transition, and Susana Estrada was campaigning for women’s rights, sexual liberation and freedom. Still, though, some women didn’t approve of what she was doing, and felt it was demeaning. However, Susana Estrada remembers: “I fought very hard for women’s rights. I knew that through sexual liberation you obtain total freedom. This was something which men knew at first and women discovered it late.” Susana Estrada was determined to bring about change, and didn’t seem to care if she caused controversy. Her sophomore single would certainly prove controversial.
Two years after releasing her debut single, Susana Estrada returned in 1980 with her sophomore single Acaríciame, which was released on the Barcelona based Belter label. Acaríciam was written by Carlos Moncada, Félix Lapardi and Óscar Rubio, with Josep Llobell Oliver taking charge of the production. On the B-Side was Machos, which was penned by Pepe Luis Soto and produced Ramón Rodó Sellés. When Acaríciam which was a sensual sounding disco track was success, this resulted in Susana Estrada releasing her debut album, Machos.
Unlike most albums released in 1980, Machos was released by Belter, but only on cassette. It featured songs from the musical Susana Estrada was appearing in, Machos. Nowadays, the cassette album Machos is a collector’s item, and changes hands for up to £100. However, nowadays, Susana Estrada’s official debut album is regarded as Amor Y Libertad.
When Susana Estrada came to record Amor Y Libertad, it featured ten songs penned by Carlos De Las Heras. They were recorded at the Belter Studio, in Barcelona, with producer by Josep Llobell Oliver. To accompany Susana Estrada, he had brought onboard Atlanta a talented and experienced funk group who were familiar faces on the local music scene. The combination of Susana Estrada, Atlanta and Josep Llobell Oliver resulted in what would eventually be regarded as a Euro Disco and cosmic disc classic, Amor Y Libertad.
Initially, Amor Y Libertad was underrated and didn’t receive the recognition many thought it deserved. Critics didn’t seem to ‘get’ Amor Y Libertad, despite its innovative fusion of boogie, cosmic disco, funk, Italo Disco, modern soul and the Munich Sound. Maybe critics were shocked by what many regarded as provocative lyrics and sensual vocals? If that was the case, then songs about sexual liberation and freedom were definitely going to get critics hot under the collar. The reception that Amor Y Libertad received was hugely disappointing for everyone involved in the project.
It was only later that Amor Y Libertad began to receive the recognition it deserved. Nowadays, though, Amor Y Libertad is regarded as a Euro Disco and cosmic disco classic, That comes as no surprise, given the quality of music on the album which is somewhat belatedly receiving the recognition it deserved.
Playing an important part in the sound and success of the album was Atlanta, who were produced a genre-melting, dance-floor friendly backdrop for Susana Estrada. Meanwhile Josep Llobell Oliver produced Amor Y Libertad, and took a less is more approach to production. This worked well and resulted in what eventually became a Euro Disco and cosmic disco cult classic.
After the release of Amor Y Libertad, Susana Estrada released Mi Chico Favorito as a single later in 1981. This was Susana Estrada’s penultimate release during the eighties.
Susana Estrada’s eighties swan-song was the cassette mini album Historias Inconfesables. It was released by Star Grabaciones Originals later in 1981 and was billed as “porno-cassette.” The album featured just four songs, including two versions of Mi Chico Favorito and ¡Que Calor! (Canción). This includes X-rated versions of Mi Chico Favorito and ¡Que Calor! Nowadays, Historias Inconfesables is a real rarity which is almost impossible to find.
It’s a similar case with Tócame, which was recorded in 2007, and is best described as Hi-Energy meets Euro Disco. This was a long time after Susana Estrada was perceived as one of the most controversial figures in Spanish music.
She was the one time model who went on to enjoy a career as an actress, agony aunt and singer. Susana Estrada also fought for women’s rights, sexual liberation and freedom. Sadly, her campaigning is often overshadowed by parts of her career that caused controversy. This may not have been the case in America, Britain or other parts of Europe. However, Spain which was a conservative catholic country, which was in a period of transition from a dictatorship to democracy. Many people were unprepared for Susana Estrada, her campaigning and indeed, some of the music Susana Estrada released during her career. That was somewhat ironic.
What Susana Estrada was campaigning for was women’s rights, sexual liberation and freedom, which were things that many women in other parts of Europe, Britain and America took for granted. Alas, in the newly democratic Spain, Susana Estrada’s campaigns caused controversy in the corridors of power. Maybe Spain’s patriarchy were scared or intimated by a strong and independent woman, who was willing to make a stand for what she believed in? Despite being fined, having her passport cancelled and losing her vote for ten years, Susana Estrada wasn’t going to be silenced. She continued to speak for all the Spanish women who had no way of making their views heard. One way Susana Estrada was able to make her voice heard was through her music during a career. Nowadays, Susana Estrada is regarded as one of Spain’s Euro Disco divas, and also as a woman who was determined to make a difference for her Spanish women through her relentless campaigning for women’s rights, sexual liberation and freedom.
The Life and Times of Susana Estrada.
VAN MORRISON-MOONDANCE-VINYL EDITION.
Van Morrison-Moondance Vinyl Edition.
Label: Rhino.
When Van Morrison released his third album, Moondance, in February 1970, little did he know he’d just released not only a classic album, but an album he’d never surpass. This wasn’t unexpected because two years earlier, in February 1968, Van Morrison has released Astral Weeks, an album which was a game-changer.
Astral Weeks.
Having released his 1967 debut album Blowin’ Your Mind, Van Morrison returned in February 1968 with his sophomore album Astral Weeks. It was initially described by some critics as a concept album, but Astral Weeks was more like a song cycle full of symbolism, and was akin to a stream of consciousness that was an exploration of earthy love and heaven. The music was impressionistic, mesmeric and moderne as Van Morrison seamlessly fused jazz, blues, poetry and classical music upon this future classic album.
Although Astral Weeks was released to critical acclaim, the album stalled at fifty-five in Britain and failed to trouble the charts upon its release February 1968. However, much later, Van Morrison’s groundbreaking album Astral Weeks was certified gold in America, and its author was hailed as a part-poet, part-musical visionary. By then, Van Morrison had released his career-defining classic Moondance.
Moondance.
Van Morrison was only twenty-five when he released his third album, Moondance in February 1970. Moondance had been two years in the making and was an introduction to Van’s Caledonian soul. It had taken Van ten months to write the lyrics to Moondance. The lyrics were written at Van’s mountaintop home, not far from Woodstock village, in upstate New York. For some time, Van had been living in Woodstock, which was now home for him and his wife. This was the perfect place to write a classic album, Moondance.
Inspired by his surroundings, family and memories, Van set about writing the lyrics to Moondance. They are poetic, evocative and mystical. Like an artist used his palette to create pictures, Van used words. He takes you on a series of journeys. On And It Stoned Me, Van takes you back to the Belfast of his youth, while Caravan conjurs up images of living life as a gypsy. You can imagine the pictures unfolding before your eyes. These were the lyrics that Van took into A&R Studios, in New York.
For the recording of Moondance, Van recruited his band from musicians based in Woodstock. They headed along to A&R Studios, in New York. When they got there, they discovered that Van hadn’t written the music to Moondance. No. The music and the arrangements existed in his head along. Somehow, Van had managed to make his band understated what he was hearing in his head. That’s no surprise. Van had recruited a crack band of musicians.
The musicians who played on Moondance included a rhythm section of bassist John Kingberg, guitarist John Platania and Gary Mallaber on drums and vibes. Jef Labes played clavinet, organ and piano and Guy Masson played congas. Horns came courtesy of Jack Schroer on alto and soprano saxophone, while Colin Tilton played tenor saxophone and flute. Adding harmonies were The Sweet Inspirations, Doris Troy, Cissy Houston and Jackie Verdell. As for Van, he played acoustic and rhythm guitar, plus harmonica and tambourine. Moondance marked Van’s debut as producer. Producing a critically acclaimed and commercially successful classic, was quite a start to Van’s production career.
When critics heard Moondance, they hailed it an instant classic. There were no dissenting voices. Moondance was perceived as a coming of age for Van Morrison. He’d set the bar high with Astral Weeks, but surpassed it. Moondance was no ordinary album. Far from it. Genres melted into one. Blues, country, jazz, rock and soul combined with Van’s Celtic roots. The result was a cerebral, challenging and genre-melting of poetic genius, which showcased Van Morrison at the height of his powers. Just like the critics, music lovers loved Moondance.
On its release, in February 1970, Moondance reached number twenty-nine in the US Billboard 200 and was certified triple-platinum. In the UK, Moondance reached just number thirty-two. Come Running was released as a single, but reached just number thirty-nine in the US Billboard 100. Then when Crazy Love was released as a single, it failed to chart. Maybe the problem was, that the singles released from Moondance didn’t work in isolation. Instead, they were part of something bigger, a classic album, Moondance, which I’ll tell you about.
Opening Moondance is And It Stoned Me, is a song about an experience Van had as a child. He was on his way fishing, when he asked an old man for a glass of water. Van was given some water the old man got from a stream. When Van drunk it, he remembers time standing still and heading into another dimension. With its mystical, almost surreal lyrics, Van paints potent pictures. There’s references to rural Ireland, where there’s county fairs and mountain streams. Van even references veteran jazzer Jelly Roll Morton. It’s as if when Van’s delivering the lyrics, he’s transported back in time. He’s right there, the scene unfolding before him. Behind him, a jazz-tinged piano, rasping horns and the rhythm section provide the perfect backdrop to this outpouring of surreal memories. Later, Van adds an acoustic guitar that’s a perfect foil for the piano. It sets the scene for his impassioned vocal, on this fusion of blues, jazz, country and Celtic soul.
Very few songs are as recognizable as Moondance. With its familiar jaunty arrangement, it skips and swings along. Driven along by an electric bass, the jazz-tinged arrangement is mostly acoustic. A guitar, flute, piano, saxophone and drums combine to create a small jazz band. Over-dubbing the flute was a masterstroke. It transforms the tracks. So does the piano solo, before the blazing saxophone panned left takes centre-stage. Together, the band ensure the song swings, as Van unleashes a vocal masterclass. Feeding off the band, he delivers the lyrics about autumn. You close your eyes and Van the poet, paints pictures. Evocative, images of Woodstock village where Van wrote Moondance come to mind. Later, as Van scats and the song reaches its dramatic crescendo, there’s only one word to describe this track “classic.”
Crazy Love shows another side of Van Morrison. An understated ballad, Van’s tender, heartfelt and needy vocal is joined by The Sweet Inspirations. They’re the perfect foil to Van. Bursts of their tender harmonies soar above the arrangement. Meanwhile, the band play thoughtfully, taking care not to overpower Van’s vocal. The result is an ethereal and beautiful paean, which shows Van’s romantic side.
Flourishes of piano open Caravan, a song about gypsy life. Straight away, Van unleashes a vocal powerhouse. Soon, he’s delivering lyrics which are full of imagery. So much so, you can imagine life on the open road, no worries, just days stretching in front of you. There’s a romanticism in the lyrics, which seems idealistic. There’s a melancholy, romantic sound. Van’s band provide the backdrop for his vocal. One minute his vocal is wistful, the next minute it’s a scat, as he trills. The guitar and Van’s vocal feed off each other. They’re crucial to the song’s success. As for the arrangement, it veers between understated to dramatic. Horns blaze adding drama, and with the piano add a jazz-tinged sound to this evocative, Joycean track.
Just an acoustic guitar, then meandering, thoughtful bass open Into The Mystic. As Van’s vocal emerges, it’s pensive and thoughtful. There’s a mysterious sound, as gradually, the arrangement unfolds. The band play gently, as if deferring to Van’s vocal. Piano, bass and acoustic guitars play an important part in the song. So do bursts of growling, jazzy horns. Again, imagery and romanticism are omnipresent. Van describes the sea, and the foghorn blowing as he makes his way home. Just on cue, a saxophone replicates the foghorn. Then his vocal grows in power and passion, as he unleashes another of his trademark vocal powerhouses. Along with his band, the lyrics come to life as Van poet and painter, create one of Moondance’s highlights.
Come Running has a country influence that’s obvious from the opening bars. Just the rhythm section, driven along by the bass, and the piano join forces to accompany Van. He sets the scene with even more imagery. You can imagine the train running down the track in the wind in rain. In the train, is Van lover. He’s sure of that. So sure, he delivers the line: “you’ll Come Running to me.” There’s a certainty that almost borders on arrogance. No wonder. This seems to be a game they play, given Van’s confident, feisty vocal. Their relationship is a turbulent one, one that’s brought to life in this fusion of blues, country, jazz and rock.
These Dreams Of You are driven along by a bluesy harmonica and the rhythm section. Chiming guitars accompany Van’s grizzled, heartbroken vocal. There’s a reason for this heartache. Van dreamt his idol Ray Charles had been assassinated. Soon the song becomes a mini soap opera. Soon, growling horns and Hammond organ are dropped in. They ensure the song swings and add the finishing touch as Van lays bare his soul and dreams for all to hear.
Brand New Day has a melancholy sound as piano and country guitars combine. Van’s vocal is slow and full of hope, hope for the future. He wrote the song when he was having problems spiritually. What follows is a cathartic outpouring of doubt. Cleansed of this doubt, it’s as if spiritually, his life begins again. His masterstroke on Brand New Day was having The Sweet Inspirations add gospel-tinged harmonies. Dramatic and spiritual, they’re the perfect accompaniment to Van on this spiritual awakening.
A clavinet opens Everyone, as the song explodes into life. It’s played powerfully and confidently. That describes Van’s impassioned vocal. It’s a mixture of power and passion, while the rhythm section provide a pounding, driving 12/8 beat. Later, a flute is overdubbed. It carries the melody, while acoustic guitar and occasional drums play supporting roles. With the 12/8 beat and choice of instruments, this track is very different from the rest of Moondance. Having said that, it showcases Van and his band’s versatility and undoubtable talent.
Closing Moondance is Glad Tidings. Inspiration from the song came from a letter Van received, marked that said “Glad Tidings” from London. With its R&B and soul influence, it’s as if Van’s been inspired by labels like Fame and Stax. That’s no bad thing. There’s a joyous, celebratory sound to the track, as Van’s vocal becomes a scat and vamp. Horns blaze, growl and rasp, punctuating the arrangement while the rhythm section provide the heartbeat and a Hammond organ adds its atmospheric sound. Van seems determined to close Moondance on a high. Encouraging his band, he vamps his way through this joyful, celebratory track. This seems a fitting way to end what’s a classic album.
Following up an album as critically acclaimed and commercially successful as Astral Weeks wasn’t going to be easy for Van Morrison. However, he wasn’t like other artists. Although he’d only released two albums, he was already establishing a reputation as one of the most talented singer-songwriters of his generation. Van was part-poet, part-musical visionary. Proof of that are the ten tracks on Moondance.
Van Morrison’s lyrics are on Moondance are poetic, evocative and mystical. Van’s songs takes you on a series of journeys. Full of imagery, he conjurs up images. These pictures unfold vividly before your eyes. Using inspiration from his life and everyday life, you’re introduced to a cast of characters and scenarios. Other tracks feature lyrics that are almost mystical and surreal. Then there’s songs about love, and love gone wrong. This includes Crazy Love and Come Running. Brand New Day is Van’s spiritual awakening. Of course, there’s the classic title-track, Moondance, which since 1970, has been a staple of radio stations everywhere. It’s one of the best known songs Van Morrison wrote, while Moondance is perceived as Van’s finest album.
Think of that. Van Morrison wrote Moondance, the best album of his career when he was just twenty-five. Moondance was just Van’s third album. After that, he’d go on to release another twenty-nine albums. While many of them were critically acclaimed and commercially successful, they never quite matched the quality of Moondance. Following Moondance, Van was constantly trying to replicate such a groundbreaking, critically acclaimed and commercially successful album. That must have been hugely frustrating. There were times when we heard tantalising glimpses of the quality of music on Moondance, which has just been rereleased by Rhino.
On Moondance the music assails you and surrounds you. There’s a depth to the music. Layer upon layer of music reveal themselves. You can’t help but let the music wash over you and revel in is ethereal, emotive and spiritual beauty. As the music washes over you, Van Morrison’s unique brand of Caledonian Soul comes alive on Moondance.
Genres melted into one on Moondance. Blues, country, jazz, R&B, rock and soul combined with Van’s Celtic roots. The result was Moondance, a cerebral, challenging and genre-melting album which showcased Van’s Morrison’s poetic genius. Moondance, like its predecessor Astral Weeks, featured Van Morrison at the height of his powers. That’s why Moondance is worthy of being referred to as a classic, which belongs in the record collection of anyone remotely interested in music.
Van Morrison-Moondance Vinyl Edition.
GRIFTER KID AND THE MIDNIGHT RAIDERS-THE RECEIPTS OF TIME.
Grifter Kid and The Midnight Raiders-The Receipts Of Time.
Label: Grifter Kid and The Midnight Raiders.
Nowadays, it seems, many bands and musicians have identity crises. Maybe that always was always the case, and third rate bar bands managed by Marge Simpson soundalikes who look as if they should be playing Duelling Banjos for the duration of their sets, always believed they were about to become the next Led Zeppelin and Black Sabbath? Alas, that is never going to happen to these deluded fools or their low rent entourage. However, they’re not alone as there are many other musicians want to be something or someone else.
There’s plenty of musicians whose dream was to make a living as a pro soccer player, and would gladly swap their gold and platinum dics for a game with their favourite teams. Whisper it, there’s even some musicians who dream of becoming professional golfers and sinking a three footer on the seventy-second hole of The Open Championship to lift the Claret Jug.
Then there’s the musicians who dream of becoming actors, while there’s actors who dream of becoming musicians. That was the case with Suffolk-born Karl Theobald who has featured on television in Green Wing, Plebs and Skins, Green Wing as well as the new Danny Boyle new film Yesterday. However, Karl Theobald also founded and is the frontman with Grifter Kid and The Midnight Raiders who recently self-released their fourth album The Receipts Of Time.
Grifter Kid and The Midnight Raiders released their debut album Please Girl, five years ago in June 2014. It’s best described as an album that veers between lounge and swing and jazz that lead vocalist and guitarist Karl Theobald and his band recorded to tape at East Londons Soup Studio. Joining Karl was double bassist and vocalist Rowan Lambourne–Gibbs and Nigel Woolston on saxophone and clarinet. They released an album that was released to plaudits and praise.
So was the followup Them That Are Bruises, released in October 2016. Here was an album that was full of social comment and tackled issues such as social injustice, money problems, grief as well as the breakup of the family unit. These delivery of these tracks was heartfelt and there’s a sense of reality to these well crafted songs. Grifter Kid and The Midnight Raiders had matured on their sophomore album Them That Are Bruises.
This continued on Kith and Kin released in December 2017. It was album that features jazz, folk and country, and a British interpretation of Americana. Often this doesn’t work, but Grifter Kid and The Midnight Raiders, but on Kith and Kin it does and in some ways, is reminiscent of Basher himself, Nick Lowe. One can’t help but wonder if he was part of the inspiration for Kith and Kin?
Nineteen months later, Grifter Kid and The Midnight Raiders return with their fourth album The Receipts Of Time, which finds an expanded lineup of the group. Lead vocalist and guitarist Karl Theobald is joined by drummer Dan Hale, double bassist and vocalist Rowan Lambourne–Gibbs, pianist Russell Marsh and Nigel Woolston on saxophone and clarinet. They’re joined by guitarist Sam Beer, bassist Gerardo Marrone and flautist Keiron Phelan on what’s best described as a nostalgic look back to the UK in the seventies and eighties.
Back then, there were three television channels, and wrestling, snooker and darts were what passed for entertainment in the UK. This is now regarded by many as glory days, a much simpler time before the internet and iPhone. However, the seventies was also a time of the three day week, strikes called by superannuated, militant trade union barons who thought nothing of bringing Great Britain to its knees. They certainly didn’t dine on the fish and chips that Grifter Kid and The Midnight Raiders refers to on The Receipts Of Time. There’s also references to things like pellet guns and the shopping malls that were a feature of towns and cites across the UK life during the seventies and eighties. These things will bring back good memories for those of a certain age. Others who prefer to live in the now and then will think nostalgia is overrated. That isn’t the case with The Receipts Of Time, Grifter Kid and The Midnight Raiders’ new album.
It’s an eclectic offering where everything from blues, folk, jazz, pop, swing and ye-ye are joined by elements of Ethiopian music. The highlights include the organ driven blues rock of Gardening In My Suit which opens The Receipts Of Time. It’s followed by Courageous Restraint (War Hero) which is a fusion of disparate genres ranging from jazz-tinged blues to reggae. My Heart and I is a homage to sixties pop and Murder At The Mall is a fifties influenced rock ’n’ ballad. Later, Dial For A Doppleganger breezes along at a fair old clip as jazz and Ethiopian music combine with mysterious lyrics on a cinematic track. October Lullaby showcases Grifter Kid and The Midnight’s Raiders’ skills on The Receipts Of Time, while Wrestling, Darts, Snooker closes the album. It’s another carefully crafted song that seems to be a homage to what’s perceived as a golden age Grifter Kid and The Midnight’s Raiders.
For their fourth album, The Receipts Of Time, Grifter Kid and The Midnight’s Raiders return with what’s carefully crafted, cerebral and literate songs on what’s an eclectic offering. It features a talented band, who are joined by some guest artists and with their help, create The Receipts Of Time, which is the best album of Grifter Kid and The Midnight’s Raiders career to date.
Grifter Kid and The Midnight Raiders-The Receipts Of Time.
THE NEU! STORY.
The Neu! Story.
During the early seventies, the German music scene was thriving, and was one of the most vibrant in Europe. Some of the most influential and innovative music was being recorded and released by German bands. This included the holy trinity of Can, Kraftwerk and Neu!. Along with Amon Düül II, Ashra, Cluster, Popol Vuh and Tangerine Dream, these groups were at the forefront of a new musical movement.
In Germany, this new musical movement was called Kosmische musik. Its roots can be traced to the late-sixties, and in a way, were a reaction against the rigidity and rules of traditional music. No longer were musicians willing to be constrained by the rules of modern music. They wanted to free themselves from the shackles of rules and rigidity, and in the process, create new and groundbreaking music.
To do this, musicians fused a disparate and eclectic selection of musical genres, including everything from avant-garde, electronica, experimental rock, free jazz and progressive rock. All this influenced and inspired Kosmische musik. This included the holy trinity of Can, Kraftwerk and Neu!.
The Birth Of Neu!
By then, Michael and Klaus realised that: “we had a similar musical vision.”The nascent band were formed later in 1971, and was based in Düsseldorf. After the disagreements and frustration of Kraftwerk towards the end, the new band was a breath of fresh air. It was sure to revitalise the two musicians. The only thing they couldn’t agree on, was the band’s name
Michael though the band should have an organic name. Klaus however, had hit on the name Neu! This made sense, as they were a new band, who were part of the new musical Kosmische musik movement.
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!’s thoughts turned to recording their debut album. There was a problem though.
Neu!
Michael explains “we were poor musicians,’ All we could afford were four nights at Windrose-Dumont-Time Studios in December 1971. The reason we chose to record at nights, is it was cheaper. However; “it was a close shave, I get the shivers thinking about it. However, with the help of the genius Conny Plank, we got our message across.”
Over the four days, Neu! recorded a total of six tracks. They were written by Michael and Klaus. The two members of Neu! laid down all the parts onto an eight-track recorder. Michael played guitars and bass, while Klaus played drums and a Koto. “At first the recording was slow, then we found the positive energy to move forward. The songs were stripped down to the bare essentials, they had to be we only had eight tracks to record onto.” Five of the six songs Neu! recorded were lengthy tracks. This included Hallogallo and Negativland.
Both feature Klaus’ innovative and mesmeric Motorik beat. He played a 4/4 constantly, with only an occasional interruptions. Its hypnotic sound would soon become famous.
As Klaus and Michael listened to the playback of Hallogallo and Negativland, they had no idea that this drumbeat would become synonymous with Kosmische musik. Even once Conny Plank had mixed Neu! at Star Musik Studio, in Hamburg, the two members of Neu! had no idea how influential the album would become.
“Once the album was mixed, Conny Plank gave me a copy of the cassette to listen to. I was proud, and played it to my girlfriend, family and friends. I’d no idea the effect the album would have. I was just pleased to have recorded my album. It had been a close shave.” Michael had no inclination that he had recorded a classic album.
Neu! was scheduled for release in early 1972. At the time, critic’s opinions were divided. Some critics realised Neu! was a truly groundbreaking album, and appreciated what was a genre-melting album. Elements of ambient, electronica, experimental, free jazz, industrial, music concrete and rock can be heard. These critics identified the album as a Kosmische classic. Other critics didn’t seem to understated Neu!, or Kosmische musik, which by then, had been renamed.
In London, a critic at Melody Maker had coined the term Krautrock. This came after Amon Düül released their 1969 album Psychedelic Underground. It featured a track titled Mama Düül und Ihre Sauerkrautband Spielt Auf, which in English, translates as Mama Düül and her Sauerkrautband Strike Up. At first, many people were reticent about using the name of this new genre.
By the time Neu! was released in 1972, that was no longer the case. Other critics and record buyers were using Krautrock rather than Kosmische musik. This was how they described the music of Can and Kraftwerk, and then Neu!, who had just released their eponymous debut album.
When Neu! was released on Brain in 1972, the album sold 30,000 copies in Germany. For an underground album, that was seen as a success. However, outside of Germany, Neu! didn’t sell in vast quantities. Despite only selling well in Germany, Neu! began work on their sophomore album, Neu! 2.
Neu! 2.
In January 1973, Neu! found themselves back in the studio with producer Conny Plank. “We weren’t signed to a record label, so Klaus, Conny and I had saved our money, and when we went to the studio, handed over enough to record for ten days.”
With Conny Plank producing what became Neu! 2, Michael and Klaus began work. “This time, we had sixteen tracks to work with, so could layer instruments. I played my guitar, it was played backwards, the tempo was sped up and effects were added.” Neu! it seemed, had taken experimenting to a new level, and were pushing musical boundaries to their limits, and sometimes way beyond. Everything seemed to be going so well. Then a problem arose.
“By then we had spent a week exploring, adding layers. I stacked five six guitars, added effects like distortion. This had taken a week, and we only had half an album recorded. We panicked. Then we thought of a solution. We had released recently Neuschnee and Super as a single. For some reason, the record company hadn’t promoted it. They seemed not to value singles. So we began to experiment.”
This Michael explains was: “a result of desperation. Side two of Neu! 2 is made different versions of Neuschnee and Super. We did all sorts of things. I played the single on a turntable, and Klaus kicked it as it played. We than played the songs in a cassette player, slowing and speeding up the sound, and mangling the sound in the process.” Just like their debut album, Neu! 2 was completed just in time. It was another: “close shave.”
With Neu! 2 complete, it was scheduled for release later in 1973. When the album was released, critics heard than Neu! had refined their trademark sound, and taken it even further. “Für immer an eleven minute epic was the best example.” It features Klaus and Michael becoming one. As Klaus’ drums propel the arrangement along, Michael delivers a virtuoso performance. Critics were won over by “Für immer, which was regarded as the highlight of Neu! 2. However, side two proved controversial.
Many critics weren’t impressed by side two of Neu! 2. They saw the music as gimmicky, and accused Neu! trying to fool and rip off record buyers. As indignant critics took the moral high-ground, again, it was a case that they didn’t understated music.
“What we had done, was take ready-made music and deconstruct it. Then we could either reconstruct or manipulate the deconstructed music.” Critics either couldn’t or didn’t want to understand this. Neither did record buyers.
Just like critics, those who bought Neu! 2 were won over by side one. Für immer was Neu! 2 masterpiece, and most people realised this. However, when record buyers turned over to side two, they quickly became alienated. “They felt that we were trying to rip them off. That was not the case. Side two was Neu! at their most experimental, deconstructing only to reconstruct or manipulate. People didn’t understand this. It’s only recently that the music on side two has began to find favour with people. That wasn’t the case in 1973.”
On its release, Neu! 2 didn’t sell well. Even in Germany, Neu! 2 failed commercially. Brian who released Neu! 2, had expected the band to tour the album. However, there was very little interest in Neu!
Klaus Dinger and his brother Thomas even headed to London, to see if he could organise a Neu! tour of Britain. There, he met DJ John Peel, and Karen Townsend, the wife of The Who’s guitarist Pete. Although John Peel played tracks from Neu! 2 on his radio show, and tried to champion the band, there was no appetite for a Neu! tour of Britain. When Klaus returned home, he and Michael put Neu! on hold.
Both Klaus and Michael were keen to make it clear that this wasn’t the end of Neu! They merely, wanted to take some time out, to pursue other interests and projects. Klaus’ new project was La Düsseldorf. Meanwhile, Michael decided to embark on a journey to the Forst Commune.
The Birth Of Harmonia.
That was where he would meet Dieter Moebius and Hans-Joachim Roedelius of Cluster. Michael had heard Im Süden, a track from Cluster’s sophomore album Cluster II. The track struck a nerve with Michael, who wondered if Dieter Moebius and Hans-Joachim Roedelius would be interested in joining an extended lineup of Neu!? Then Michael began to consider a German supergroup consisting of Neu! and Cluster.
That proved to be the case. At the Forst Commune, Michael jammed with Dieter Moebius and Hans-Joachim Roedelius. That initial jam later became Ohrwurm, a track from Harmonia’s 1974 debut album Musik von Harmonia. Following their initial jam session, Michael stayed at the Forst Commune to prepare for the recording of Harmonia’s debut album Musik von Harmonia.
Meanwhile, Klaus and Thomas Dinger had returned from London. They came, they thought, baring gifts. One of the gifts was studio engineer Hans Lampe, who for much of 1972, had been Conny Plank’s engineer. The other was Klaus’ brother Thomas. They Klaus proposed, would join an extended lineup of Neu! In preparation, they played a series of concerts as La Düsseldorf. Michael however, was busy with Harmonia. Not only were they planning to record their debut album, but build a recording studio where Michael worked on future projects with Neu! and later, recorded his solo albums. That was still to come. Before that, Harmonia began to record their debut album Musik von Harmonia.
When Musik Von Harmonia was released in January 1974, many critics realised the importance of what’s a groundbreaking classic. It saw this nascent supergroup seamlessly embrace and incorporate disparate musical genres. In the process, Harmonia set the bar high for future ambient rock albums. Despite the critical acclaim that accompanied Musik von Harmonia, the album wasn’t a commercial success.
Michael Rother remember ruefully: “the seventies weren’t a good time for Harmonia. Our music was ignored, it was tough to survive during this period. So towards the end of 1974, Michael and Klaus reunited for Neu!’s third album.
The Return Of Neu!-Neu! ’75.
For Neu!! ’75, Michael Rother and Klaus Dinger reunited in December 1974 at Conny Plank’s studio. By then, Conny’s Studio was the go-to recording studio for German groups. They wanted: “the genius” to sprinkle his magic on their albums. This would be the case for Neu! ’75.
The two members of Neu! had changed. Klaus was heavily into rock music, while Michael’s interest in ambient music was growing. As Michael explains: “After two years apart, we were different people. To complicate matters, Klaus wanted to move from behind the drum kit. He felt he was hidden away. I can understand this. But it was what Klaus did so well. However, he wanted to become an entertainer, playing the guitar and singing. He wanted to bring in two new musicians to replace him.” This included Klaus’ brother Thomas and Conny Plank’s former engineer Hans Lampe. These new musicians would allow Neu! to make a very different album.
Michael realised this was problematic. “By then Klaus could be difficult to work with. I realised we had to compromise, so ended making an album with two very different sides. Side one was old Neu! and side two was new Neu!” On side two Klaus come out from behind his drum kit and played guitar and sang. He became the entertainer on what proved to be an album of two sides. It was completed in January 1975, and released later that year.
When critics were sent copies of Neu! ’75, they were struck by side one’s subtle, ambient, melodic sound. Michael remembers: “we used keyboards and phasing a lot on both sides. While Michael Rother’s name was written large all over side one; side two was very different, and quite unconventional. Reviews were mixed, partly because of side two. Some critics felt that if Neu! ’75 had the same sound throughout, it would’ve been hailed a classic. However, later Neu! ’75 and Neu!’s earlier albums would be reevaluated. Before that Neu! ’75 was released.
Just like Neu! 2, Neu! ’75 didn’t sell well. The problem was, many people didn’t understand what was essentially parts of two disparate albums joined together. The proto-punk of side two was so different from the ambient sound of side one. Record buyers were confused, and didn’t understand what Neu! stood for? It seemed that Neu! were just the latest groundbreaking group whose music was misunderstood and overlooked.
Michael looking back at Neu! ’75 reflects: “It was a time. Klaus wasn’t the easiest person to work with. He was involved with different people, and being pulled in different ways. We were also very different musically. Then there were the new drummers on side two. They weren’t particularly good. Certainly neither were as good as Klaus,” a rueful Michael remembers. “It was a difficult project. By then Klaus was different to the man I’d met a few years earlier.” Michael wouldn’t work with Klaus for another decade. By then, Neu!’s music had inspired a new musical movement, punk.
Things started to change in 1976. Michael explains: “many punks claim that Neu! ’75 inspired them. Especially, side two.” That wasn’t the only Neu! album that inspired the punk ideal. Side two of Neu! 2 was a favourite of punks. It was: “a result of desperation,” which struck a nerve with the nascent punk movement, and its D.I.Y. approach. That’s when the revaluation of Neu! began. However, “it was a long time before our music was accepted and recognised, and began to sell in the quantities it does now”. That is also the case with Harmonia, who began recording their sophomore album in June 1975.
Neu! Reunite Again.
Ten years later, by 1985, much had happened to Michael Rother. His star was in the ascendancy.
This began when Harmonia had released their sophomore allium Deluxe in 1975. Harmonia and Brian Eno spent eleven summer days recording what was meant to be their third album. The working title was Harmonia ’76. However, by then, “Michael Rother was wanting to concentrate on his solo career. Once the album was completed, it became apparent Harmonia had run its course. It was evolution.” So, Harmonia ’76 was never released until 1997 after the master tapes mysteriously vanished.
Between 1976 and 1985, Michael Rother concentrated on his solo career. Then in 198, Klaus Dinger got in touch wanting to Neu! to reunite.
Neu! Reunite Again.
Little did Michael Rother realise what he was letting himself in for. When Michael met Klaus; “I realised that Klaus wasn’t in a good place. He had surrounded himself with people who were pulling him in all directions. Klaus was also needing money, and recording a new Neu! album offered him the opportunity to make some money. So we entered a small studio in Düsseldorf. It wasn’t like the professional studio we had worked in before. Instead, it was more like a semi-professional studio.” That was where recording of Neu!’s most controversial album began.
Recording began in October 1985. The members of Neu! then moved between Grundfunk Studio and Dinerland-Lilienthal Studio. The sessions were problematic. A decade had passed since the pair had worked together. Michael remembers: “Klaus seemed different. He was argumentative, and there was no longer the same chemistry between us. It wasn’t an easy time. Despite that, we managed to record tracks which I took to my own studio in Forst.”
The group’s sound was very different. Synths were added to Neu!’s old sound. It was Neu! with a new wave twist. However, this didn’t work. By then, Klaus and Michael were very different as musicians. Michael had moved towards the electronics and technology. Klaus it seemed, hadn’t moved at the same pace.
By April 1986, work on the album stopped, and the project was cancelled. “Klaus and I met in Düsseldorf and agreed to abandon the project. We even went as far as sealing the tapes. This seal wasn’t to be broken without the other’s permission. The album was certainly not going to be released. That was why we sealed the master tapes. I never thought the would be released. Certainly not in the way that was released in late 1995.” By then, Michael Rother was concentrating on his solo career.
Neu! 4.
By the time Michael founded Random Records, Neu!’s first three albums had been released on CD by Germanofon Records, a Luxembourg based label. However, there was a problem.
Michael explains: “the deal to release Neu!’s first three albums was entered into, without his permission. These bootlegs were available in every record shop I entered into.” There’s frustration and anger in his voice. It’s not about money though. Instead; “I was frustrated that people were buying an inferior product. It wasn’t of the quality I expected.” If Michael was frustrated about the release of Neu!’s first three albums, he was in for a shock on the morning of 17th October 1995.
“That day, I was sitting at home, when I received a fax from Klaus congratulating on the release of Neu! 4. I was shocked, as I hadn’t given my permission or consent to release the album. Soon, the picture became clear.
“By then, Klaus was really frustrated and angry about the bootleg releases of our first three albums. They were selling well, and neither of us were making anything from them. To make matters worse, Klaus was short of money, and desperate, so entered into a deal with the Japanese label Captain Trip Records. The owner was a huge fan of Neu! and was impressed by Klaus. He gave Klaus cash which he was meant to share with me. In the sleeve-notes to what was billed as Neu! 4, Klaus railed against the bootleggers.” Ironically, this was something that both Michael Rother and Klaus agreed about. However, the release of Neu! 4 drove a wedge between the two old friends.
With the benefit of hindsight, Michael reflects: “looking back, I wish I’d jumped on the train to Düsseldorf and punched Klaus on the nose. I’m not that kind of person though. But I might have felt better. Then we could’ve moved on. However, we never did.”
After the release of Neu! 4, Klaus and Michael were continually at loggerheads. This was ironic. “By then, Neu! were at last, a popular band. People wanted to buy our albums. All that was available were the bootlegs, and Neu! 4 which to me, wasn’t a legally released or genuine album.”
Eventually, though, Michael and Klaus reached an agreement in 2000, and Astralwerks in America and Grönland Records in Europe released Neu!’s first three albums. They also recalled copies of Neu! 4, which has been out of print ever since. Michael however, stresses: “I’ve no p
Neu! The Comeback-Neu! ’86.
As the years passed by, Neu! 4 was still a sore point for Michael Rother. It had driven a wedge between Michael and Klaus. “Sadly, Klaus died in 2008. I was deeply saddened. We had been great friends once.” Kosmische musik had lost one of its pioneers.
Two years later, Michael got the opportunity to right a wrong. He explains: “in early 2010, I came to an agreement with Klaus’ widow. It allowed me work on what had been Neu! 4. Using the master tapes, I remixed the whole album.” That wasn’t the only change.
The running order changed. Some of the tracks were given new names. Only twelve of the fourteen tracks on Neu! 86 found their way onto Neu! 86. A new song, “Drive (Grundfunken) was added to what became Neu! 86 which was released as part of the Neu! box set on May 10th 2010. Then on August 16th 2010, a CD version of Neu! 86 was released.
Mostly, reviews of Neu! 86 were positive. The only criticism was that the album was overproduced. Michael disagrees but agree: “it’s all matter of taste and opinion. I feel I did the best I could with what I had. Now Neu! 86 is much nearer to the album we had tried to make in 1985.” A quarter of a century later, and Michael Rother was happy at with release of Neu! 86 in 2010.
By 2010, Michael Rother has been part of three of the biggest bands in the history of Kosmische musik; Kraftwerk, Neu! and Harmonia. He was still a sucessful solo artist and had released two soundtrack albums and was still touring the world.
Nine years later, nandMichael Rother’s music till continues to find a new audience. This includes his solo albums and the albums the three pioneering groups Michael Rother was a member of, Kraftwerk, Neu! and Harmonia. Especially Neu! who were a truly innovative group who, went on to play an important part in the history of Kosmische musik, and even today, continues to influence and inspire a new generations of musicians.
The Neu! Story.
BELLE AND SEBASTIAN-1996-2016: THE FIRST TWENTY YEARS.
Belle and Sebastian-1996-2016: The First Twenty Years.
Over the last fifty years, many bands have been formed at university or college. Many of these bands went on to hone their sound on college and university circuit. However, only one of theses bands went on to release their debut single and album on their college’s record label. This might sound fat fetched, but it’s not. Stow College in Glasgow has its own record label, and it’s where Belle and Sebastian first came to prominence twenty years ago.
It was back in 1996, at Stow College, in Glasgow that Belle and Sebastian were formed. The band was formed by two students, Stuart Murdoch and Stuart David, and was named after Cecile Aubry’s 1965 book Belle et Sebastien. Since then, many members have joined and left the group, one of the most influential being, Isobel Campbell, who joined in 1996 and left the group in 2002, singing vocals and playing cello. Other members include Chris Geddes and Sarah Martin.
Whilst at college, in 1996, Belle and Sebastian recorded some demo tracks with the college’s music professor Alan Rankin. Yes. That Alan Rankin, formerly the keyboardist and guitarist in The Associates alongside the late Billy Mackenzie. The demos came to the notice of the college’s business studies department, who each year, released a single on the college’s record label. Belle and Sebastian, by then, had recorded a number of songs, enough to fill an album. Having been so impressed by Belle and Sebastian’s music, that year, the label decided to release an album, called Tigermilk.
Tigermilk.
Tiigermilk, which was produced by Alan Rankin, was recorded in just three days. Only 1,000 vinyl copies were pressed, and the album was released in June 1996. Tigermilk was well received and the album sold out quickly.
Nowadays, the original copies of Tigermilk are collector’s items, and prized possessions amongst Belle and Sebastian fans. Little did the members of Belle and Sebastian realise who prized copies of Tigermilk would become, However, following the success of Tigermilk, Belle and Sebastian decided to make a career out of music.
Stuart Murdoch and Stuart David decided that Belle and Sebastian would become a full-time band. Soon, further members joined the band. Isobel Campbell joined on vocals and cello, Stevie Jackson on guitar and vocals, Richard Coburn on drums and Chris Geddes on keyboards.
If You’re Feeling Sinister
After Tigermilk’s success, the group signed to Jeepster Records .in August 1996. Just four months later, Belle and Sebastian were preparing to released their sophomore album If You’re Feeling Sinister. It had been produced by Tony Doogan, who would play an important part in the Belle and Sebastian story.
On 18th November 1996,If You’re Feeling Sinister was released and went on to reached 191 in the UK. Since then, the album has been certified gold. That’s not surprising, Many people believe that this is Belle and Sebastian’s finest album. Indeed, American magazine Spin, liked the album so much, that they put it at number seventy-six in their top one-hundred albums released in the twenty year period between 1985-2005. Rolling Stone magazine put the album in its list of essential albums of the 1990s.
After the release of If You’re Feeling Sinister, the group released series of E.P.s during 1997. The E.P.s were Dog On Wheels, Lazy Line Painter Jane and 3, 6, 9 Seconds of Light. Dog On Wheels featured four songs that were recorded before the formation of Belle and Sebastian. It reached number fifty-nine in the UK charts. Lazy Line Painter then reached number forty-one in the UK charts, before 3, 6, 9 Seconds of Light became the group’s first top forty single, reaching number thirty-two in the UK charts. That was the start of the rise and rise of Belle and Sebastian.
The Boy With The Arab Strap.
September 1998, saw Belle and Sebastian release their third album, the Tony Doogan produced The Boy With The Arab Strap. It reached number twelve in the UK charts and was certified gold. Unlike previous Belle and Sebastian albums, Stuart Murdoch doesn’t feature on vocals. Instead, they’re shared amongst Isobel Campbell, Stevie Jackson and Stuart David. The album received mixed views from the music press. Long time supporter of Belle and Sebastian, Rolling Stone and The Village Voice praised The Boy With The Arab Strap, while others weren’t as impressed. However, since its release, many people, myself included, believe The Boy With The Arab Strap to be Belle and Sebastian’s finest hour. Despite the success of The Boy With The Arab Strap, Belle and Sebastian changed direction musically. However, before that, Tigermlk was released.
Tigermilk.
Three years after Tigermilk was first released, Belle and Sebastian’s debut album was rereleased by Jeepster in 1999. This made sense. Belle and Sebastian’s fans wanted a copy of the band’s debut. However, when Tigermilk was originally released, only a 1,000 copies were pressed. They were now collectors’s items. So a decision was made to reissue Tigermilk. It reached number thirteen in the UK, and was certified gold. With a new millennia fast approaching, Belle and Sebastian were one of the rising stars of British music.
Fold Your Hands Child, You Walk Like A Peasant.
Two years after the release of The Boy With The Arab Strap, Belle and Sebastian returned with Fold Your Hands Child, You Walk Like A Peasant. It was the second album to be produced by Tony Doogan, would become Belle and Sebastian’s music successful album.
Released to critical acclaim in June 2000, Fold Your Hands Child, You Walk Like A Peasant reached number ten in the UK and was certified silver. Across the Atlantic, Fold Your Hands Child, You Walk Like A Peasant became Belle and Sebastian’s first album to chart. It reached eighty in the US Billboard 200. This was as a result of a change in direction from Belle and Sebastian.
Their music is best described as chamber pop. Fold Your Hands Child, You Walk Like A Present has a much more laid-back, mellow sound. The tempo is slower, while vocals are shared amongst band members. Then there’s the strings. They’re used more extensively. Sadly, this was the last album to feature founder member Stuart David. For their next album, Belle and Sebastian would try their hand at writing a film score.
Storytelling.
Although Storytelling was both Belle and Sebastian’s fifth album, it was their first film score. Released in June 2002, the album reached just twenty-six in the UK and15o in the US Billboard 200. This was hugely disappointing, although not as disappointing as what happened next.
Only six minutes of the thirty-five minutes of music recorded by Belle and Sebastian made it into Todd Solondz’s movie. It sounds as if the experience was somewhat frustrating for the band. They had problems communicating with Todd Solondz. Worse was to come.
Belle and Sebastian were about to lose one of their most important members… Isobel Campbell. Having released and toured Storytelling, Isobel Campbell left Belle and Sebastian. She decided to pursue a solo career. Many critics wondered what effect this would’ve on Belle and Sebastian? They came back, but briefly, were different band
Dear Catastrophe Waitress.
Much of the summer of 2003 saw Belle and Sebastian recording their sixth album. Losing Isobel Campbell wasn’t the only that had changed since the release of Belle and Sebastian previous album. No.They had left Jeepster, and signed to Rough Trade. Tony Doogan was also replaced as producer. His replacement was Trevor Horn. This seemed a somewhat strange decision.
Previously, ex-Buggle Trevor Horn had been an award winning producer and songwriter. Recently, though, he had been working with Charlotte Church and Lee Ann Rimes. Considering Belle and Sebastian were one of the hottest indie bands, they seemed strange and awkward bedfellows. It seemed Trevor Horn had been brought in to polish of the band’s rough edges. Rough Trade, a supposed indie label, were polishing away part of the group’s charms. Many onlookers were horrified, afraid of the direction Trevor Horn would take Belle and Sebastian.
In some ways, those fears were justified. Gone was the folksie, melancholy, chamber pop of Belle and Sebastian’s roots. These fears were justified. Dear Catastrophe Waitress was the polar opposite of previous albums. Replacing Belle and Sebastian’s trademark sound was the slick, poppy charms of the Trevor Horn produced Dear Catastrophe Waitress. It was an album that divide the opinion of fans and critics.
Before the release of Dear Catastrophe Waitress, critics gave the album favourable reviews. Critics on both sides of the Atlantic were won over by the new sound Belle and Sebastian showcased on Dear Catastrophe Waitress, but stalled at just twenty-one in the UK and eighty-four in the US Billboard 200. Despite this Dear Catastrophe Waitress was certified gold, and was was nominated for an Ivor Novello award. However, despite the positive reviews Dear Catastrophe Waitress received, thankfully, Belle and Sebastian and Trevor Horn never renewed their acquaintance when they released their next album, three years later.
Between the release of Dear Catastrophe Waitress and 2006s The Life Pursuit, Belle and Sebastian kept busy. In 2005, they released a twenty-five track compilation entitled Push Barman To Open Old Wounds. Featuring a series of E.P.s Belle and Sebastian had released, critics adored the album. Hailed as vintage Belle and Sebastian, they were crowned the best indie band. Very different from Dear Catastrophe Waitress, Push Barman To Open Old Wounds was the Belle and Sebastian their fans knew and loved. Push Barman To Open Old Wounds wasn’t Belle and Sebastian’s only release during 2005.
No. Belle and Sebastian released their first live album, If You’re Feeling Sinister: Live At The Barbican. Released in December 2005, this allowed Belle and Sebastian to revisit their 1996 album If You’re Feeling Sinister and rectify what the band believed to be the mistakes of the original album. That night in September 2005, Belle and Sebastian took the Barbican by storm, playing an encore lasting over an hour. This encore would prove to be somewhat prophetic.
The Life Pursuit.
When Belle and Sebastian released The Life Pursuit in February 2006, it proved to be their most successful album. The Life Pursuit was produced by Tony Hoffer, who previously, produced Air, Turin and Beck. He was a much better fit than Trevor Horn. On its release, critical acclaim accompanied The Life Pursuit, which reached number eight in the UK and number sixty-five in the US Billboard 200. This resulted in another gold disc for Belle and Sebastian. Funny Little Frog then gave Belle and Sebastian the biggest hit single of their ten year career. Despite that, it would be four years until Belle and Sebastian released their next studio album.
Following the release of The Life Pursuit, Belle and Sebastian headed out on tour. They were now well versed in the album, tour, album, tour routine. To ensure their fans didn’t forget them, Belle and Sebastian released The BBC Sessions in November 2008. A double-album, the first disc featured many songs that featured Isobel Campbell. These songs had never been heard before. So for fans of Belle and Sebastian this was a real must have. As for the second disc, it features Belle and Sebastian live in Belfast, which sees the group cover Thin Lizzy’s The Boys Are Back In Town. While The BBC Sessions kept Belle and Sebastian’s fans occupied, the group recorded their most successful album to date.
Belle and Sebastian Write About Love.
October 2010, saw Belle and Sebastian released their eighth studio album. Entitled Belle and Sebastian Write About Love, it was the second Belle and Sebastian album produced by Tony Hoffer. Recorded in Los Angeles, rather than Glasgow this surprised some people. Tony’s decision to take Belle and Sebastian out their comfort zone worked. He was proving to be the perfect foil for Belle and Sebastian’s foibles. Featuring contributions from Norah Jones, Sarah Martin and Carey Mulligan, Belle and Sebastian and friends struck musical gold.
Reaching number eight in the UK, Belle and Sebastian Write About Love reached number fifteen in the US Billboard 200. Critically acclaimed and a hit worldwide, this was a long way from recording Tigermilk in three days as part of a college project. Belle and Sebastian were indie Queens and Kings. Despite this, the continued to things their way.
While many bands would’ve headed straight back into the studio and had a followup to Belle and Sebastian Write About Love release A.S.A.P, this isn’t the Belle and Sebastian way. No. Not only do Belle and Sebastian do things their way, but they care about their fans. So, whilst taking their time recording a followup to Belle and Sebastian Write About Love, they’ve released a nineteen track retrospective, The Third Eye Centre.
This nineteen track retrospective, The Third Eye Centre, features rarities, remixes, B-SIdes, non-album tracks and tracks from E.P.s. The music spans Belle and Sebastian’s career. There’s tracks from albums produced by Tony Doogan, Trevor Horn and Tony Hoffer. Bonus tracks sit side by side with remixes, while B-Sides and charity singles. In some ways, The Third Eye Centre allows the listener to hear another side to Belle and Sebastian. The Third Eye Centre was the perfect amuse bouche until Belle and Sebastian released their ninth studio album.
Girls In Peacetime Want To Dance,
Work began on Belle and Sebastian’s ninth album back in 2014. By then, the members of Belle and Sebastian had written twelve tracks. These tracks would become Girls In Peacetime Want To Dance, which somewhat surprisingly, was produced by Ben H. Allen III.
This was a strange, and somewhat controversial decision. Many people thought Tony Hoffer, who produced Belle and Sebastian’s previous album, Belle and Sebastian Write About Love would return.Belle and Sebastian Write About Love was the second Belle and Sebastian album produced by Tony Hoffer. The first was The Life Pursuit. Tony seemed to bring out the best Belle and Sebastian. However, this being Belle and Sebastian, it’s always a case of expect the unexpected. After all, previously, Belle and Sebastian hired Trevor Horn, who gave their music a slick, polished sheen. So maybe, bring in Ben H. Allen III to produce Girls In Peacetime Want To Dance would work?
Some sceptics had their doubts. After all, Ben H. Allen III’s C.V. showed that previously, he had produced Animal Collective and Washed Out. This was very different to Belle and Sebastian. However, maybe, Belle and Sebastian and Ben H. Allen III would prove a potent partnership.
For their ninth studio album, Girls In Peacetime Want To Dance, Belle and Sebastian penned twelve tracks. Much of the recording took place in Atlanta, Georgia with producer by Ben H. Allen III, .Additional recording took place at other studios in Minneapolis, Minnesota and at Glasgow’s Castle Of Doom Studios with Tony Doogan. He’s previously, has produced four Belle and Sebastian albums. However, they were very different to Girls In Peacetime Want To Dance.
When Girls In Peacetime Want To Dance was released on 19 thJanuary 2015, mostly, the reviews were favourable. Critics noted that Belle and Sebastian were still, among the most talented modern day songwriters. However, critics noted the Belle and Sebastian’s music had been given a makeover, They headed for the dance -floor on several tracks, before returning to their more traditional sound, that took shape over their first four albums. After that, Belle and Sebastian became musical chameleons.
Belle and Sebastian have their own unique sound. It took shape on the quartet of albums produced by Tony Doogan. From 1996s If You’re Feeling Sinister, through 1998s The Boy With The Arab Strap, Fold Your Hands Child, 2000s You Walk Like a Peasant and 2002s Storytelling, Belle and Sebastian’s trademark sound gradually take shape. Then came the Trevor Horn Dear Catastrophe Waitress. That was a one-off.
Tony Hoffer then produced 2006s Belle and Sebastian Write About Love and 2010s The Life Pursuit. However, Tony Hoffer didn’t return for Girls In Peacetime Want To Dance. Instead, Ben H. Allen III took his place on what’s a quite different album from Belle and Sebastian.
Before the release of Girls In Peacetime Want To Dance, it was hard to imagine Belle and Sebastian ever making a dance album. However, with Belle and Sebastian, never rule anything out. They’re a contrarian band, always determined to do things their way. This includes making a dance album. It’s interspersed with Belle and Sebastian’s more traditional sound.
This means the sound that took shape between Tigermilk and Storytelling. The music on these albums showcase the literary and musical talents of Belle and Sebastian. They’re wordsmiths extraordinaire. Each song features lyrics that are cerebral, eloquent, emotive, joyous, melancholy and poignant. Beauty is feature of many of the lyrics. However, others are full of pathos and sadness, and relentlessly tug at your heartstrings. Especially when delivered by Stuart Murdoch, Sarah Martin and Stevie Jackson. However, Belle and Sebastian are no one trick pony.
Far from it. They’ve been making music for twenty years, and that music has evolved since 1997. Belle and Sebastian are musical chameleons, who constantly reinvent their music. This ensures their music stays relevant. It also seem that Belle and Sebastian enjoy being taken out of their comfort zone. Maybe that’s why they’ve worked with so different producers, some of which have seemed a strange fit for Belle and Sebastian. However, those who have followed the band’s career aren’t surprised.
Belle and Sebastian have always had a contrarian streak. They’ve alway been determined to do things their way, and can never be described as a corporate band. Far from it. Belle and Sebastian do things their way, or not at all. if they want to change producer or direction musically, so be it. Similarly, if Belle and Sebastian decide to take four or five years to release an album, so be it. There’s a reason for this. The members of Belle and Sebastian realise that there’s more to life than music.
They’re one of the few bands whose members put the band on hold on hold to spend time with their family. Only Belle and Sebastian could do this. That’s why they’re a one off, and so many people hold them and their music dear. That’s been the case since Belle and Sebastian released Tigermilk in 1996. Twenty years later, and Belle and Sebastian are still going strong. They’ve released nine studio albums, three live albums and two compilations since 1996. These albums feature the inimitable and chameleon-like Belle and Sebastian, as they constantly reinvent their unique brand of enchanting music in their search for musical perfection.
Belle and Sebastian-1996-2016: The First Twenty Years.
THE RED SQUARE STORY.
The Red Square Story.
Far too often, innovative music falls to find the audience it deserves. Instead, it’s enjoyed by a small, discerning and appreciative audience. These musical connoisseurs recognise the importance of music that could, and should, influence another generation of musicians. Sadly, all too often this doesn’t happen. To rub salt into the wound, musical pioneers have to watch as bland, anodyne generic music sells by the millions.
Sadly, that has been the case since the birth of modern music. This was the case in sixties, when Motown’s bland brand of poppy soul sold by the million. Hits rolled off the assembly line, as Motown became the acceptable sound of soul. Ironically, far better music, including soul failed to find an audience. For many artists, it was a frustrating time. Alas, the seventies were no different.
By 1974, many Krautrock, Berlin School and progressive rock bands released albums that failed to find the audience they deserved. Amon Düül II, Brainticket Can, Cluster, Embryo, Neu! and Xhol Caravan all released albums that disappeared with trace. Meanwhile in Philly, another generic brand of soul was selling by the million.
Again, hits rolled off the assembly line. The process started with teams songwriters providing songs for producers. They allotted them to the various groups they worked with. When the bands went into the studio, the same session musicians and backing vocalists accompanied each band. Along with the producer, they crafted the Philly Soul sound. Its homogenous sound proved to be one of the musical success stories of the early seventies. By 1974 Philly Soul was selling by the millions. Meanwhile, musical pioneers on both sides of the Atlantic were struggling to get their music heard.
This included avant- rockers Red Square, who had been formed in 1974, in Southend-On-Sea, Essex. Red Square were founded by guitarist Ian Staples; drummer Roger Telford; and saxophonist Jon Seagroatt, who also played clarinet. The three men were experienced musicians, whose different backgrounds proved to be a potent combination.
Before forming Red Square, guitarist Ian Staples had been playing with Ginger Johnson and His African Messengers. They had played at London’s famous Middle Earth club. There, Ian Staples had been fortunate to shared the stage with Pink Floyd and Marc Bolan. Having witnessed some of the biggest names in British music at close quarters. Ian began to experiment with multi-tracking, as he combined disparate musical genres. Elements of psychedelia, noise and avant-garde were combined by Ian, in Southend-On-Sea. That’s where he met Jon Seagroatt.
This was around 1972, and way before the Red Square story began to unfold. Back then, Jon Seagroatt was playing bass-clarinet and saxophone. His musical tastes had changed over the years, and are best described as eclectic. He was listening to everything from Albert Ayler and Evan Parker to John Coltrane and Weather Report, plus Can, Faust, Soft Machine and The Art Ensemble Of Chicago. This melting pot of influences would later influence Red Square. Before that, Ian and Jon began to experiment.
Their approach to music was very different to many other musicians. To make music, they combined everything from traditional instruments, like a violin, guitar and percussion to vocals and even toys that were used as part of the music making process. So was extensive multi-tracking. Sometimes, Ian and Jon used instruments that they had no idea to how to play. This became part of their approach to music. They were following in the footsteps of Karlheinz Stockhausen, Can and Faust. Already, the pair were in good company. Eventually, though, Ian and Jon decided they wanted to collaborate with another musician, and Red Square was born in 1974.
Joining Ian Staples and Jon Seagroatt in the new band, was free jazz drummer Roger Telford. He was the final piece of this musical jigsaw. This new band they called Red Square, after the aarly Soviets Constructivists. With a name, and a sense of purpose, Red Square could set about honing their unique sound.
As Red Square began practising and honing their sound, it quickly became apparent that here was a group that were determined to make innovative music. Red Square were leaders, not followers. They weren’t content to follow in the footsteps of others. Instead, they were determined to make music that would influence other musicians. The music Red Square made, was an innovative fusion of disparate musical genres.
To do that, Red Square fused avant-rock with free-improv and jazz. There’s even a nod towards avant-jazz, noise and psychedelic rock. One of the most important component parts of Red Square’s music was Ian Staples’ searing, scorching atonal guitar riffs. They’re best described as raw power, as he seems to be channel the ghost of Jimi Hendrix, and combines this with elements of Captain Beefheart and avant-garde guitarist Derek Bailey. He was one of the leading light in the British improv scene by 1974, and proved an inspiration for Ian and the rest of Red Square. These disparate influences created a guitar sound that although rocky and atonal, sometimes headed in the direction of lysergic. However, Ian’s guitar playing was more avant-rock than heavy metal. Providing the backdrop for Ian’s guitar were Roger Telford and Jon Seagroatt.
Just like Ian, they drew inspiration from one of the great musical visionaries of the twentieth century, Karlheinz Stockhausen. Not only did he pioneer electronic music, but eschewed traditional forms of music. Red Square became the latest disciple of Karlheinz Stockhausen. Their atonal soundscapes were compelling fusion of musical genres and influences.
Very few groups would’ve thought of combining elements of avant-rock, free-improv and jazz with avant-jazz, noise and psychedelic rock. To that, they added the influence of Jimi Hendrix, Captain Beefheart, Derek Bailiey and Karlheinz Stockhausen. The result was the unmistakable and unique sound of Red Square, which bridged the gap between music’s past and future.
The earliest purveyors of free-noise were AMM and the Nihilist Spasm Band, who were formed in the mid-sixties. AMM were based in Britain; while Nihilist Spasm Band were based in Ontario, Canada. Both bands however, were making free-noise, where practitioners eschewed traditional instruments for handmade or alternative instruments, including kazoos. If they used traditional instruments, they were modified, and transformed into something very different. By 1967, German musician Peter Brotzmann had joined the free-noise revolution, but by 1974 had embraced improv. By then, Red Square had picked the baton up, and were running with it.
Between 1974 and 1978, avant-rockers Red Square became known as musical pioneers, who were determined to push musical boundaries to their very limits. Their genre-melting music was a captivating aural assault on the senses that demanded the listener’s attention. Red Square’s music was loud, and they were proud of it. If demanded the listener’s attention, and once they had it, didn’t let go.
That was the case every time Red Square played live. They shared the bill with everyone from David Toop to Lox Coxhill and National Health. However, one of the biggest names on the scene were Henry Cow, who were signed to Virgin between 1973 and 1975. However, record companies shied away from Red Square.
There were several reasons for this. Some record companies thought Red Square’s music was too extreme and wasn’t commercial. The record company bean counters were worried that Red Square’s music wouldn’t appeal to the majority of record buyers. However, Virgin had taken a chance on Henry Cow in 1973, and they released four albums for Richard Branson’s label. Maybe, there was another reason record companies were reluctant to sign Red Square.
Some groups are regarded within the music industry as being difficult or having an “attitude.” In Red Square’s case, they’re remembered by some as a group who had an attitude. This in an ideal world, shouldn’t have put record companies off. However, it did. So did Red Square’s political beliefs and activities.
The members of Red Square were actively involved with the Music For Socialism movement. This may have been another reason why record companies shied away from signing Red Square. Looking back, this is incredible. Red Square were around in Britain in the mid-seventies, not America during the McCarthy era. Red Square it seemed, were too radical for a conservative British music industry. Sadly, this meant that their music never found a wider audience
Red Square’s only releases were two self-released cassettes. The first Paramusic, was released in 1975 by Red Square. Copies were sold locally, or after Red Square’s gigs. Then in 1976, Red Square released another cassette, Circuitry. Only a small quantity of the cassettes were released, and nowadays, are incredibly rare. This is why new compilation Rare and Lost 70s Recordings is such a welcome reissue. It takes the listener back to Red Square’s glory days. Sadly, they ended in 1978.
By then, Neil Young had still to write Hey Hey, My My (Into the Black), which contained the immortal words “better to burn out, than fade away.” Red Square certainly weren’t going to fade away. Instead, they imploded in 1978, and the Red Square story seemed over.
It would be thirty years before Red Square decided to reform in 2008. Not only did they take to the stage again, but they returned to the recording studio. By then, Red Square had influence several generations of musicians.
The first generation of musicians influenced by Red Square, included free-improv jazz pioneers Borbetomagu. They were formed in the mid-seventies, when Red Square were in their prime. By 1978, when Fushitsusha an experimental rock band who were formed in Tokyo the Red Square story was over. Still they continued to influence bands far and wide.
In the early eighties, the Sonic Youth story was about to begin. Two band who influenced them, were Red Square and The Blue Humans. They had been around since the late-seventies, and had been inspired by Red Square. However, Red Square’s music continued to influence new groups; including The Dead C, who were formed in Dunedin, New Zealand in 1986. Red Square’s music had influenced groups on four continents. For a band who hadn’t even released an album, this was incredible.
As the decades passed, still Red Square continued to inspire and influence new artists. Swedish noise pioneer Mattias Gustafsson’s various projects have obviously been influenced by the late, lamented Red Square. Nearly thirty years since Red Square had imploded, their music was continuing to influence another generation of artists. Most of these artists were too young to remember Red Square. So when Red Square decided to reform, musicians and record buyers got the opportunity to rediscover Red Square.
Red Square reformed in 2008, and soon were playing live. By December 2008, Red Square were ready to release their long-awaited and much-anticipated debut album Thirty Three. It featured music that Red Square made between 1974 and 1978. For fans of a certain age, Thirty Three was a walk down memory lane with a truly pioneering band. What’s more, Thirty Three featured ambitious, inventive and innovative genre-melting music. This proved to the just the first of several releases from Red Square.
Their next release came in 2009, when Red Square released Shuttle Bag. It featured four tracks where avant-garde, free-improv and free jazz melt into one. Then on 22nd November 2010, Red Square released a live album UnReason: Red Square Live At The Vortex. the album had been recorded at the Klub Kakofanney, in Oxford in 2009. By then, Red Square were incorporating electronics into their music as they played at clubs and festivals across Britain. The electronics came courtesy of Jon Seagroatt. Red Square music was continuing to evolve.
This continued when Red Square released a new studio album, Bird Haus on 31st January 2012. It was as if Red Square were making up for lost time. Just like previous releases, Bird Haus was well received by critics, and hailed as an innovative album. However, since the release of Bird Haus, Red Square haven’t released another album.
Still though, Red Square continue to play live. That is despite the three members of Red Square approaching veteran status. Ian Staples, Roger Telford and Jon Seagroatt it seems have lost none of their appetite for music. The only blot on the horizon was the lack of a new album from the alt-rock pioneers, who have influenced several generation of musicians.
Even today, bands cite Red Square as one of the bands who influenced them. Rare and Lost 70s Recordings will allow many of these bands to hear Red Square at the peak of their powers in 1976 and 1978. During that period, Red Square were one of leading lights of the avant-rock and free-improv scenes. Red Square created groundbreaking music that could’ve, and should’ve, reached a much wider audience. Sadly, record companies were reluctant to sign Red Square. The band were regarded as having an “attitude.”while their music was deemed to extreme to be commercial. It seemed none of the British record companies were willing to take a chance on Red Square during the seventies.
As a result, Red Square’s music failed to find the audience it deserves. Instead, it was enjoyed by a small, discerning and appreciative audience. These musical connoisseurs recognised the importance of music that went on to influence several generation of musicians. Nowadays, Red Square are belatedly receiving the recognition, plaudits and critical acclaim their music deserve and their music is reaching the wider audience that it so richly deserves.
The Red Square Story.
CATFISH-WHAT MIGHT HAVE BEEN.
Catfish-What Might Have Been.
The story of Detroit-based blues rockers Catfish is a case of what might have been. This talented five piece band was formed in the late-sixties, and over the next few years opened for Black Sabbath, Bob Seger, Black Sabbath and Ted Nugent, and played at the prestigious Fillmore East. It was no surprise when Epic signed Catfish, who were regarded as a band with the potential and talent to become one of the top blues rock bands of the early seventies.
This was evident when Catfish released their debut studio album Get Down on Epic in 1970. Despite receiving plaudits and praise, commercial success eluded Get Down. Despite that, Live Catfish was released later in 1970 and featured a tantalising taste of Catfish’s live sound. Sadly, history repeated itself and Live Catfish failed to find an audience. That was the last album that Catfish released, during a recording career that lasted less than one year. Catfish’s two albums are a reminder of one of the great lost blues rock bands of the early seventies. Their story began just a few years earlier.
That was when singer, songwriter and guitarist Catfish Hodge founded Catfish in his hometown of Detroit. This was something that Catfish Hodge had dreamt about since he was a boy.
Bobby Allen Hodge was born in Detroit in 1944, and growing up, his parents who were originally from Kentucky, introduced their son to blues, country and gospel. This was his introduction to music, which soon became his passion.
Each day, Bob Hodge listened to the various local radio stations. Then at night, when Bob Hodge was meant to be sleeping, he listened to radio stations from as far failed as Chicago and Memphis. That was how the young Bob Hodge first heard Rufus Thomas and bluesmen John Lee Hooker, Muddy Waters and BB King. Bob Hodge absorbed all this new music and then on a Friday, he was able to choose one record which his mother would buy at a local record shop. For the young Bob Hodge this was the highlight of his week and was what he listened to during the weekend.
By the time he was in high school, Bob Hodge’s life was already revolving around music. Much of his spare time was spent listening to the music. However, when he wasn’t listening to music, Bob Hodge was making music.
This came after Terry Kelly one of Bob Hodge’s friends from high him how to play the guitar. This was eureka moment for Bob Hodge, who suddenly, realised that he could follow in the footsteps of John Lee Hooker, Muddy Waters, BB King and Lonnie Mack.
Terry Kelly also introduced Bob Hodge to a variety of new artists, including Lonnie Mack. His music made a big impression on Bob Hodge, and when he founded his first band in high school, a number of Lonnie Mack’s songs found their way onto the band’s setlist. However, Terry Mack wasn’t Bob Hodge’s only musical influence
By the late-sixties, Bob Hodge was absorbing the sounds of Detroit, and was a regular visitor to the Motown soul factory. Along with his friends, Bob Hodge sat in his car listening to the music emanating from the studios. Sometimes, Bob Hodge and his friends managed to sneak past the security guards and were able to watch the recording sessions. Some nights, they saw artists like
Smokey Robinson recording their latest singles or album. Before long, Bob Hodge and his friends were usually discovered by an embarrassed guard and thrown out,…until the next time. This was a regular cat and mouse game for Bob Hodge and his friends. However, having watched the recording seasons at Motown, Bob Hodge became more determined to become a professional musician.
Despite that, when Bob Hodge left high school he started work at a finance company. One of the job’s he was given was collecting money from customers who had missed a payment. This included a forgetful member of the Four Tops. Whenever he was on tour, he forgot to pay his bills and Bob Hodge had to collect the payments.
This would result in Bob Hodge having to take the forgetful Four Top or his wife to Motown, where they picked up some money to pay the bill. Naturally, seeing what was another world close up, made Bob Hodge’s mind up, now was the time to make music his career.
Bob Hodge’s first job in the music industry was as a songwriter and producer. He penned and produced Capreez’s Over You, which was released on the Detroit label Sound. That was Bob’s introduction to the music industry.
Soon, Bob Hodge was working with three up-and-coming local Detroit bands. Having hired an office, Bob Hodge started looking trying to get his clients a recording contract. One label that showed an interest in his client was Vanguard, so Bob Hodge caught the redeye to the Big Apple, and headed to see Maynard Solomon at Vanguard. Bob Hodge played him the tapes and although Maynard Solomon like what he heard, he reckoned that Vanguard weren’t quite ready for rock ’n’ roll. While this a disappointment, Bob Hodge decided to head into Greenwich Village after his meeting.
That night, Bob Hodge saw a still unsigned Jimi Hendrix playing in a Greenwich Village coffee bar. After that, Bob Hodge headed to Bleecker, and as he passed by a club that was closed, he heard music. Curiosity got the better of Bob Hodge who looked into the club, where he saw Van Morrison rehearsing. For Bob Hodge this was a eureka moment, and at last, he knew what he wanted to do with the rest of his life.
Back home in Detroit, Bob Hodge formed a new band Wicked Religion, which eventually evolved into the blues rock band Catfish. It was founded and led by Bob Hodge who was now known as Catfish Hodge who sang and played guitar. He was joined in Catfish by drummer Jimmy Optner, bassist Ron Cooke, guitarist Mark Manko and organist Harry Phillips. With the lineup of band complete, the rise and rise of Catfish began.
Before long, Catfish had established a reputation as one of Detroit’s top live groups and were soon rubbing shoulders with the MC5 and The Stooges. Catfish’s raw blues rock sound was winning friends not just in Detroit, but much further afield. This included in the offices of Epic.
Kenny Hodges who was an executive at Epic, had heard good things about Catfish on the musical grapevine. The word in Detroit was that Catfish were one of the top bands in the city’s live music scene. Their brand of raw, but soulful blues rock was proving popular and music industry insiders in Detroit believed that Catfish had the potential and talent to become one of top blues rock bands of the early seventies. With this in mind, Epic swooped and signed Catfish. They weren’t going to risk anyone beating them to Catfish’s signature. The only problem would be, replicating Catfish’s famous live sound?
Get Down.
By the time Catfish signed to Epic, they were regarded as one of the top live bands in Detroit. They had already started to spread their wings and were famous for their impressive live sound. The problem was going to be harnessing and replicating Catfish’s live sound in the studio. That was why Epic brought onboard Kenny Cooper to produce Catfish’s debut album which became Get Down.
For Get Down, Catfish Hodge had dawned the role of Catfish’s songwriter-in-chief, and penned The Hawk, 300 Pound Fat Mama, Love Lights and Coffee Song. Catfish Hodge and Mark Manko teamed up to write No Place To Hide, Tradition, and Get High, Get Naked, Get Down. The pair also added lyrics to T. Carson’s Catfish which bookended this eclectic album.
When Catfish arrived at the studio, little did anyone know that this was the only time the band would record together. That day, Catfish Hodge took charge of the vocals and played guitar. He was joined by a rhythm section of drummer Jimmy Optner, bassist Ron Cooke and guitarist Mark Manko, who were augmented by organist Harry Phillips. Producing this tight and talented band was Kenny Cooper, who had been brought onboard to help Catfish replicate their live sound. However, Catfish had their own ideas about how Get Down should sound.
The members of Catfish were responsible for the arrangements on the nine tracks on Get Down. It was hard to believe that Catfish had never set foot in a studio, and as Kenny Cooper pressed record, they seamlessly flitted between and sometimes combine elements of blues, country, folk, gospel, hard rock and good time rock ’n’ roll. In doing so, Catfish showed their talent and versatility on their debut album Get Down.
That was no surprise as each member of Catfish was a talented musician who had enjoyed the opportunity to showcase their considerable talents on Get Down. Catfish boogied their way through Get Down with a smile on their face. Unlike many similar bands, Catfish didn’t take themselves to seriously on their genre-melting debut album Get Down.
Critics on hearing Get Down, were won over by the album and believed that Catfish had a big future ahead of them. However, when Get Down was released it failed to trouble the charts. This was a huge disappointment for Catfish and Epic who had backed the band.
Despite the disappointing sales of Get Down in America, Epic decided to release the album in Europe. While it wasn’t a hugely successful album, Get Down found an audience in parts of Europe. Meanwhile, Catfish’s popularity was growing in popularity in Detroit. That was where Epic decided that Catfish should record their sophomore album Live Catfish.
Live Catfish.
Hot on the heels of the release of Get Down, Catfish returned to Detroit, where they recorded what became Live Catfish at the Eastown Theatre. The decisions to record a live album made perfect sense.
The problem that executives at Epic had been faced when they signed Catfish was getting the band to replicate their live sound in the studio. Catfish and producer Kenny Cooper had done their best to replicate Catfish’s live sound on Get Down. Catfish did their best to replicate the rawness, energy and spontaneity of one of one of their live performances and came very close. However, after the release of Get Down, a decision was made that the best way to replicate the rawness, energy and spontaneity of Catfish in concert was on a live album.
It was also a much cheaper than recording a studio album, and if the album flopped, the losses would be significantly less. However, executives at Epic were hoping that Live Catfish would prove a successful album. After all, Catfish’s popularity was on the rise.
By the time Catfish arrived at the Eastown Theatre in Detroit, they had already opened for Black Sabbath, Bob Seger, Edgar Winter’s Band, Mountain and Ted Nugent. This showed just how far Catfish had come in a relatively short space of time. One of their biggest gigs was when they opened for Santana at the Fillmore East, and some say that they upstaged the headliners that night.
That is no surprise, as Catfish were winning over audiences across America with their live show. Especially when they returned home to Detroit.
When Catfish took to the stage Eastown Theatre in Detroit, the lineup of the band was very different to the one that featured on Get Down. A new rhythm section that featured drummer Jimmy Demers, bassist Dennis Cranner and guitarist Dallas Hodge, who were augmented by the original organist Harry Phillips, who was the only original member of the band apart from Catfish Hodge.
An adoring hometown crowd welcome Catfish who launched into an explosive set. It began with Catfish reinventing Holland, Dozier and Holland’s Nowhere To Run, which sets the bar high for the rest of this six song set. Catfish then unleash a raw, but sometimes soulful and high-octane cover of Money (That’s What I Want). This gives way to the blues rock of 300 Pound Fat Mama which was penned by Catfish Hodge. The tempo rises on Mississippi River, which is a blistering slice of blues rock which features Catfish at their best. There’s no stopping Catfish now, as they unleash Letter To Nixon.It’s a mixture of social comment and blues rock that features a vampish vocal from showman and bandleader Catfish Hodge. He then encourages his band to greater heights on a barnstorming cover of Whole Lotta Shakin’ Goin’ On before exiting the stage left.
After recording Live Catfish, executives at Epic realised that they had captured Catfish at their very best. Live Catfish featured a rawness, energy, spontaneity and soulfulness that were the all trademarks of Catfish’s explosive and high-octane performance. This was the album that Epic had been hoping for, and that they hoped would transform the band’s career.
When critics heard Live Catfish they too, were won over by Catfish in full flight during what was a captivating performance. It epitomised everything that was good about Catfish live. Surely, this Live Catfish was the album that transformed Catfish’s career.
Sadly, when Live Catfish was released later in 1980, the album failed commercially. History had repeated itself, when Live Catfish failed to even trouble the lower reaches of the American charts. The only small crumb of comfort was that when Live Catfish was released in Europe, it was embraced by a small but enthusiastic audience who took Catfish to their hearts. That was as good as it for Catfish.
After the release of Live Catfish, several members of Catfish joined forces with Mitch Ryder when he was forming his new band Detroit. They featured on Detroit With Mitch Ryder which was released in 1971.
By then, Catfish Hodge had embarked upon a solo career, and two years later in 1973 he moved to Washington DC. However, Catfish Hodge never forgot the years he spent leading Catfish as they became a successful live band. Sadly, the two albums Catfish released for Epic during 1970, Get Down and Live Catfish, failed to find the audience they deserved.
Nowadays, the genre melting Get Down and the explosive and high-octane Live Catfish are a reminder Catfish at the peak of their powers. Sadly, Catfish who are one of the great lost blues rock bands of the early seventies, never enjoyed the success they deserved and their story is a case of what might have been?
Catfish-What Might Have Been.
HIROSHIMA’S FIRST FIVE ALBUMS
Hiroshima’s First Five Albums.
Dan Kuramoto’s interest in music began when he became the inaugural chairman of the Asian-American studies program at California State University in Long Beach in the sixties. This was an honour for Dan Kuramoto who had just graduated from California State University with a degree in Fine Arts. The chance to return to his old alma mater and, shape the new course, was too good an opportunity to turn down for the young Los Angelino.
While Dan Kuramoto who was born and raised in LA, his family were originally from Japan. Dan Kuramoto was proud of his roots, and passionate about his new role at California State University. Dan Kuramoto threw himself into his new role, and was determined to make a success of the Asian-American studies program.
Although Dan Kuramoto was determined to make a success of his new role, in his spare time he began to learn to play the flute. This helped Dan Kuramoto relax as the sixties was proving to a turbulent and tumultuous decade. Parts of America were divided by race, and the country in the midst of racial, political and social change.
America wasn’t the only thing that was changing. When Dan Kuramoto decided to attend a fund-raising community picnic in LA, he had no idea that this would transform his life. That day, he met his future wife and musical partner June, who was born in Tokyo, but had been brought up in the Crenshaw district of LA.
June had much in common with Dan Kuramoto, including a love of music. She had started to play the koto, which is an ancient Japanese stringed instrument, at the age of six, and by the time she met Dan Kuramoto was a virtuoso musician.
Soon June and Dan Kuramoto, realised that they had much in common, and before long, had embarked upon a relationship. This was the start of a love affair, and by 1974, the pair were married. By then, Dan Kuramoto had started thinking about putting together a band that reflected both American and Japanese cultures.
When the band became reality, it was an Asian Pacific American garage band, which Dan Kuramoto decided to call Hiroshima. This was his way of paying tribute to the people of Hiroshima, and also reclaiming the name so that it came to mean hope, peace, rebirth and renewal.
Joining Dan and June Kuramoto in the initial lineup of Hiroshima were guitarist Peter Hata, keyboardist Dave Iwatak, taiko drummer Johnny Mori and multi-instrumentalist Danny Yamamoto. The first lineup of Hiroshima began playing locally, and soon, their innovative genre-melting sound was a popular draw within LA’s Asian-American community. This however, was just the start of the rise and rise of Hiroshima.
In 1976, Hiroshima received the big break that they had been looking for, when they featured in Duane Kubo’s Star Trek documentary Cruisin’ J-Town. This introduced Hiroshima’s music to a much wider audience, but a year later, the band’s lineup changed.
Keyboardist Dave Iwatak left Hiroshima in 1977, and was replaced by John Shipley. Two other new additions were vocalists Teri Kusumoto and Jess Acuna. However, none of Hiroshima’s new additions would last longer than five years, and the band’s lineup was fluid during that time.
The first of the new additions to leave was keyboardist John Shipley, who left Hiroshima in 1978. Another year passed before the new keyboardist and composer Richard Matthews Hiroshima in 1979. This was perfect timing as Hiroshima had just been signed to Arista by Larkin Arnold, who was one of the company’s rising stars. He decided to take a chance on Hiroshima, and paired them with Wayne Henderson of The Crusaders, who would produce the band’s eponymous debut album.
Hiroshima.
After five years and three changes in lineup, Dan Kuramoto’s dream was about to become reality when the band that he had founded recorded their debut album Hiroshima with producer Wayne Henderson.
At Ocean Way Recording Studios, Hollywood, Hiroshima were augmented by some session musician and backing vocalists when they recorded the eight tracks that became their eponymous debut album. The majority of the album were written by Dan Kuramoto who contributed Lion Dance, Roomful Of Mirrors and Taiko Song, and wrote Long Time Love, Da-Da and Never, Ever with Peter Hata. Dan Kuramoto also wrote Holidays with Jesse Acuna. It was joined by Dave Iwataki’s Kokoro on Hiroshima. When the album was complete, it was scheduled for release later in 1979.
The resulting album Hiroshima, was an ambitious genre-melting album where two cultures musical cultures melted into one. Pentatonic koto line were fused with elements of disco and funk on Hiroshima. This found favour with critics who were won over by Hiroshima.
When Hiroshima was released in 1979, it sold over 100,000 copies in the first three months, and eventually peaked at fifty-one on the US Billboard 200. Buoyed by the success of Hiroshima, the irresistible Room Full Of Mirrors was released as a single and reached eighty in the US R&B charts. However, by then, Room Full Of Mirrors was a favourite within the easy listening community and introduced Hiroshima’s music to a new and wider audience.
Odori.
Following the success of their eponymous debut album, Hiroshima returned to Ocean Way Recording Studios, in Hollywood to record their sophomore album Odori. Executives at Arista were keen to build on the success of Hiroshima.
For Odori, Dan Kuramoto played his part in each of the eight tracks on the album, writing Shinto, All I Want and Fortune Teller, and penning Echoes with Peter Hata. The pair also wrote Warriors with keyboardist Richard Mathews. He and Dan Kuramoto also wrote Winds Of Change with bassist Dane Matsumura. Cruisin’ J-Town was penned by Dan and June Kuramoto with Peter Hata and Teri Kusumoto. They also wrote Odori with Jesse Acuna, Johnny Mori and Tsukamoto. These tracks became Odori, which was produced by Wayne Henderson.
Just like Hiroshima, the band were augmented by session playing and backing vocalists at Ocean Way Recording Studios. Odori was a different album from Hiroshima, combined their elements of Japanese music and soul with jazz-funk. Although this was different to their eponymous debut album, it proved popular
Critics were impressed by Hiroshima’s sophomore album Odori, and the album sold well upon its release in 1980. Odori reached seventy-eight on the US Billboard 200 during an eighteen week stay on the charts. The lead single from Odori was Warriors, which gave Hiroshima a minor hit single when it charted at seventy-nine in the US R&B charts. This was the last hit single Hiroshima enjoyed at Arista.
After the release of Odori, Larkin Arnold who had signed Hiroshima moved to Columbia’s imprint Epic. This was a huge blow for the band, as Hiroshima was Larkin Arnold’s signing, and his replacement might not place the same importance on the band? Hiroshima found themselves in limbo.
Fortunately, Larkin Arnold hadn’t forgotten about Hiroshima, and by 1983, they were about to release their debut album on Epic. This was Third Generation.
Third Generation.
Three years had passed since Hiroshima released Odori, and much had changed within the music industry. This included how music was made, and many artists and bands were making greater use of technology, including drum machines and synths. Hiroshima were the latest convert to technology when they began recording their Epic debut, Third Generation.
Just like their two previous albums, Dan Kuramoto wrote the majority of the ten trackless on Third Generation. He penned Heavenly Angel, We Are, Ren, Do What You Can, Long Walks and Fifths. Dan Kuramoto teamed up with Dean Cortez to write San Say. Meanwhile, June Kuramoto contributed Distant Thoughts, Peter Hata wrote From The Heart and Johnny Mori composed Sukoshi Bit. These tracks were recorded at five different studios.
Some of the recording of Third Generation took place at Ocean Way Recording Studios, while other sessions took place at Monterey Sound Studios, Conway Studios, Sunset Sound Factory and Fiddler Studio. This time, there was no sign of Wayne Henderson, with Dan Kuramoto taking charge of production.
This wasn’t the only change. In the three years since the release of Hiroshima’s sophomore album Odori, there had been several changes to the lineup. Bassist Dane Matsumura, keyboardist Richard Matthews and vocalists Teri Kusumoto and Jess Acuna had all left Hiroshima. The addition of session players and backing vocalists augmented the slimed down lineup of Hiroshima as recorded their long-awaited third album Third Generation.
When critics heard Third Generation they struggled to describe Hiroshima’s new genre-melting sound. It was also the first Hiroshima album to feature technology. However, Dan Kuramoto making his production debut, decided to use the technology sparingly, taking a less is more approach on Hiroshima’s most eclectic album where techno-funk, Japanese reggae, funk, rock, soul and various Japanese influences are fused by Hiroshima.
When Hiroshima’s first album for three years was released in 1983, Third Generation only reached 142 in the US Billboard 200 and fifty in the US R&B charts. This was a disappointment for Hiroshima and executives at Epic. However, when San Say was released as the lead single, it reached sixty-eight in the US R&B charts and became Hiroshima’s biggest hit single. For Hiroshima this was a small crumb of comfort, as their thoughts turned to their fourth album Another Place.
Another Place.
Much would happened to Hiroshima before they released their fourth album Another Place in 1985. Indeed, much had happened to Hiroshima before they even got round to recording Another Place. This included a number of changes in the band’s lineup.
Departures included keyboardist Dave Iwataki who was replaced by Kimo Cormwell. The most surprising change was the departure of guitarist Peter Hata, who was replaced by session players David Taylor and TJ Parker. They were among the session players who joined Hiroshima when recording began.
This time around, Sunset Sound, Sunset Sound Factory and Sound City Studios were used to record the nine tracks that became Another Place. Dan Kuramoto only wrote four tracks, One Wish, Save Yourself For Me, I Do Remember and Stay Away. He wrote Another Place with Joe Wolfe; Touch And Go with Michael Sasaki and Undercover with June Kuramoto and Danny Yamamot. Keithen Carter and Pat Leonard wrote The Game and What’s It To Ya. These tracks were produced by Dan Kuramoto and became Another Place.
Critics on receiving their copies of Another Place discovered a very different album to Hiroshima’s three previous outings. Hiroshima had reinvented their sound on Another Place. This was a huge gamble, but Hiroshima decided to roll the dice on Another Place.
It opened with the Oriental smooth jazz of One Wish, which gave way to the beautiful ballad Save Yourself For Me and the instrumental Another Place. Its got a much tougher sound that is very different from the album opener. I Do Remember could only have been recorded during the eighties, and finds Hiroshima marrying technology with saxophones. In doing so, they create a track that epitomises the sound of the eighties.
Hiroshima’s decision to reinvent their sound on Another Place proved a gamble worth taking, when the album was released in 1985 and reached seventy-nine on the US R&B charts, where it spent forty-five weeks. The only disappointment was that Another Place failed to chart in the US R&B charts. However, Hiroshima soon got over this, when Another Place was certified gold having sold over 500,000 copies. This was what Hiroshima had been working towards since Dan Kuramoto founded the group in 1974.
Go.
Having enjoyed the most successful album of their career, Hiroshima set about to replicate the success of Another Place. This wasn’t going to be easy, but Dan Kuramoto and the rest Hiroshima were determined to build on Another Place.
Just like previous albums, Dan Kuramoto wrote the majority of the eight tracks on Go. He wrote Go, Obon, Even Then and Why Can’t I Love You, and cowrote the other four tracks. This included Hawaiian Electric with June; No. 9 with Chick Corea; I’ve Been Here Before with keyboardist Derek Nakamoto wrote I’ve Been Here Before and 311 with Dianne Quander. These eight songs became Go.
Hiroshima would use three studios to record Go, including Ocean Way Recording Studios, Sunset Sound Factory and Sunset Sound Recording. The same core lineup of Hiroshima were augmented by session players and backing vocalists. Dan Kuramoto produced five of the eight tracks on Go, while George Duke took charge of production on No. 9, Even Then and Why Can’t I Love You?
By 1987, when Go was recorded, George Duke was a hugely successful composer, musician and producer. However, Hiroshima had just enjoyed the most successful album of their career, and to some industry insiders, the decision to bring George Duke onboard seemed strange? These industry insiders wondered had Epic, Hiroshima or Dan Kuramoto brought George Duke onboard? If it was Epic, would the addition of George Duke undermine Dan Kuramoto’s role as producer?
The decision to bring George Duke was vindicated when critics hailed the album as one of Hiroshima’s finest albums, and a fitting followup to Another Place. Go which means five in Japanese, was released in autumn 1987, and was the fifth album Hiroshima released. It was also their most successful, when Go reached seventy-five in the US Billboard 200 and fifty-four in the US R&B charts. This was enough for the second gold disc of Hiroshima’s career.
After the success of Go, Epic’s decision to take a chance on Hiroshima was vindicated, and executives at Arista must have been regretting the day they let Dan Kuramoto’s band leave the label.
Having been reunited with Larkin Arnold, Hiroshima released Third Generation, Another Place and Go between 1983 and 1987. These albums are a reminder of musical chameleons Hiroshima at the peak of their powers, as they constantly reinvented their music.
To do this, Hiroshima combined traditional Western and Asian instruments with the latest in musical technology. The result was Hiroshima’s pioneering, genre-melting sound that incorporated everything from funk, fusion, jazz-funk, pop, R&B and rock to electronic and tech-funk through to elements of Asian and Japanese music. There’s also everything from tender ballad to uptempo dance tracks on Third Generation, Another Place and Go, which showcase the considerable talents and versatility of Hiroshima, who were led by teacher turned bandleader, composer and producer Dan Kuramoto.
Hiroshima’s First Five Albums.
THE LIFE AND CAREER OF MUSICAL PIONEER EMILIO APARICIO.
The Life and Career Of Musical Pioneer Emilio Aparicio.
Nowadays, the words pioneer and innovator tend to be overused, and musicians who create truly groundbreaking music seem to be sadly, few and far between. While there are some pioneering musicians whose music continues to push musical boundaries, there are no longer as many as there once were. Especially in the sixties and seventies, which was a golden period for music that saw creativity and innovation blossom.
The sixties and seventies was also when Emilio Aparicio, an electronic experimental musician from Guatemala, pioneered the use of the Moog synth in Latin America. Between 1969-1971 he used his newly acquired Moog synth to record the music on Expansión Galáctica which was recently released by Mental Experience, an imprint of Guerssen Records, and showcases the a musical pioneer, Emilio Aparicio.
Just two years before Emilio Aparicio started to record the music on Expansión Galáctica, he was a student at the National Music School, in Guatemala City. That was where he first came across fellow student and member of Abularach dynasty, Roberto Abularach. Twenty-one year Roberto Abularach came from a very different background to Emilio Aparicio, but their paths would cross after they had completed their respective studies.
After leaving the National Music School, the friendship between Emilio Aparicio and Roberto Abularach continued. By then, Roberto Abularach was managing the La Estrella warehouse in the Zona 1. It was where musical instruments were imported into Guatemala and sold. However, before long the warehouse was a favourite place for local musicians and bands.
Soon members of Apple Pie, Modulo 5 and Cuerpo y Alma and were hanging out at the La Estrella warehouse. So were local musicians who weren’t part of bands. Some of these musicians went on to form bands, including Les Prince. Many of the bands and musicians were supported by Roberto Abularach, who became their patron. There was no ulterior motive to this, as Roberto Abularach was a kind, generous and wealthy young man.
Not only did Roberto Abularach’s generosity include helping musicians buy their instruments, he sometimes gave instruments to musicians embarking upon musical careers. One of the musicians who made their way to the La Estrella warehouse was Emilio Aparicio.
A graduate of the National Music School, Emilio Aparicio had two passions in life, music and electronics. When he entered the La Estrella warehouse he remembered Roberto Abularach from the National Music School. Soon, they started talking and realised that they had much in common. This was the start of a close friendship.
Emilio Aparicio and Roberto Abularach enjoyed long conversations on music and electronics. By then, Roberto Abularach had spotted Emilio Aparicio’s potential, and was keen to help his friend.
The opportunity arose when Emilio Aparicio decided to buy purchase what was his very first piano. However, the piano was expensive, so Roberto Abularach helped his friend buy the piano. This Emilio Aparicio put to good use, and his talent blossomed.
Over the next year, Emilio Aparicio interest in electronic and experimental music grew. This was something he discussed at length with his friend Roberto Abularach, who in 1969 was about to journey to New York.
During Roberto Abularach’s visit to New York, he visited the Modern Art Museum. That was where Roberto Abularach saw the very first Moog synth, which had been presented to the Modern Art Museum by its founder Robert Moog. Having seen the Moog synth, Roberto Abularach decided to purchase one directly from its inventor, Robert Moog and take it home to Guatemala.
When Roberto Abularach met Robert Moog, he bought a 3P modular synth which bore the serial number 00003. This was only the third Moog modular synth that Robert Moog had made, and Roberto Abularach was taking it home to Guatemala, where it would go to a good home.
Given his interest in electronic and experimental music, it seemed fitting that Roberto Abularach gave the Moog 3P modular synth to his friend Emilio Aparicio. His passion for music and electronics, and interest in both electronic and experimental music meant he would put the Moog to good use.
Having gifted the Moog 3P modular synth to Emilio Aparicio, Roberto Abularach had it installed in his friend’s home in late 1969. Roberto Abularach told Emilio Aparicio that the Moog was his, and he had complete freedom to use the synth in whatever way he wished. While Emilio Aparicio had gained a synth, he had also gained a patron and the man who would support and champion his music.
From late-1969 until 1971, Emilio Aparicio transformed a room in Roberto Abularach country mansion in Zona 12 into a makeshift studio. This was the perfect location for a recording studio, as the country house was empty for much of the year, which allowed Emilio Aparicio to concentrate all his efforts on writing and recording new and innovative music.
In his new studio, was Emilio Aparicio’s newly acquired Moog 3P modular synth and some of the early drum machines. Compared to the drum machine available nowadays, the drum machines were almost primitive. Meanwhile, it took time and patience to work with the Moog 3P modular synth.
It was a relatively instrument which its inventor Robert Moog had demonstrated in early 1967. Even two years later, only a relatively small number of people knew how to setup and use the Moog synth. Through patience and persistence this now included Emilio Aparicio, who had even worked out how to deal with a couple of common problems.
One of the problems that Moog users encountered were that the its oscillators were somewhat unstable. However, soon, Emilio Aparicio realised that if he switched the machine on way before the session began, this allowed them to warm up. Occasionally, the Moog failed to stay in frequency and the tuning was out. Emilio Aparicio knew to expect teething problems with such a complex and groundbreaking piece of equipment. Having got to grips with the Moog 3P modular synth, Emilio Aparicio started making music.
Sometimes, the seclusion that Emilio Aparicio enjoyed was interrupted when Roberto Abularach arrived at his country house. Sometimes, he was joined by various musicians and poets, and the assembled company experimented with hallucinogenic drugs including LSD and Floripondio. This helped Emilio Aparicio open the doors of perception, as he created experimental, innovative and ambitious music.
Not only did the Moog 3P modular synth transform now Emilio Aparicio made music, but also what type of music he made. It was unlike most of the music being made within Guatemala, especially what the pop and rock bands were making. Instead, the music that Emilio Aparicio was making had more in common with the electronic and experimental music being made in Europe and America.
As the sixties gave way to the seventies, Emilio Aparicio continued to spend long periods of time in the studio he had built in Roberto Abularach’s country home. Little did anyone who visited the studio or even heard the music realised that Emilio Aparicio was making the music of tomorrow, today.
After two years locked away in his studio, Emilio Aparicio had completed the ten tracks that feature on Expansión Galáctica. There was only one problem, though, Emilio Aparicio had no idea what to do with the music?
Emilio Aparicio wasn’t chasing the rock star dream, and had no interest in fane and fortune. His interest was making music. Fortunately, his friend and patron, Roberto Abularach, who continued to champion Emilio Aparicio’s pioneering music had come up with a plan to introduce his friend’s music to a wider audience.
To do this, Roberto Abularach planned to use one of one of the Abularach dynasty’s businesses, Salvavidas Rojas. It was a popular drink within Guatemala, and Roberto Abularach had come up with a plan that if customers sent four corks from Salvavidas Rojas’ bottles and three quetzal coins they would receive the five volumes of 45 singles featuring the music that Emilio Aparicio had recorded between late-1969 and 1971. This must have seemed a good idea at the time.
Sadly, very few people took the time to collect the corks and return them to Salvavidas Rojas. Those that sent away for Emilio Aparicio’s five singles, didn’t understand the music. It was unlike anything they had heard on the radio or bought in local record shops. What didn’t help was that Emilio Aparicio didn’t play live and wasn’t part of a band. Instead, he was a relative unknown, who was part scientist, sonic explorer and musician, whose natural habitat was the recording studio. That was where he had spent the best part of two years recording the singles.
It was frustrating that people who sent away for the records often threw them away, or that they were recycled with the other discarded vinyl. Meanwhile, in the Salvavidas Rojas factory piles of unclaimed vinyl sat in the store rooms. They too, were destined for the recycling plant. This was something that many people would later regret.
Following the failure of his first release, Emilio Aparicio dusted himself down and created his next project, La Banda Plastica. Just like his previous project, La Banda Plastica was an experimental and non-commercial project. It was signed to Guatemala’s biggest record label Dideca. They gave Emilio Aparicio total freedom to record whatever he wanted.
This was unusual for Dideca, who usually told bands and artists what type of sound they expected from them. Dideca frowned upon music that wasn’t commercial or had an aggressive sound. That was a no-no. The exception to this was Emilio Aparicio and his new La Banda Plastica project. However, deep down, executives at Dideca and Emilio Aparicio knew that a single from La Banda Plastica had no commercial appeal. La Banda Plastica released just a couple of singles, including Libertad Viene, Libertad Va. Neither single sold well, and the majority of the singles were given away to DJs at radio stations during the Christmas period. This brought to an end what was a somewhat surreal period for Emilio Aparicio.
Sadly, after the commercial failure of La Banda Plastica, Emilio Aparicio became a much more reclusive figure, who recorded purely for his own interest. The music Emilio Aparicio made he had no intention of releasing. That was his hobby, while the jingles and videos he made for television and technical companies paid the bills.
Later, Emilio Aparicio changed direction and started working with computers. He went on to build the first ever computer to be used by the National Bank of Guatemala. Emilio Aparicio had come a long way from when he started working with his Moog synth.
By the early eighties, Emilio Aparicio was one of the leading lights in electronics and technology in Guatemala. He was also working on a new piece of musical technology which he hoped would be used by musicians and bands across the world. This was a guitar synth, and he presented the prototype at Audio Engineering Society’s conference when it took place in Anaheim, California, in 1982. While Audio Research bought patent for the guitar synth, developing it proved problematic. Emilio Aparicio’s invention never made the same impression as Robert Moog’s Moog 3P modular synth.
Still, Emilio Aparicio never lost his love of music, and he continued to record at the home he shared with his wife. Now Emilio Aparicio was recording onto cassettes, which were cheaper and allowed him to record much more music. These recordings were only heard by the person who was closest to him…his wife. She was his musical confidante. It was as if Emilio Aparicio feared that his music would be rejected for a third time. As a result, the music he recorded has never been released.
While music was Emilio Aparicio’s first love, he gradually started to concentrate his efforts on video art in his spare time. By day, Emilio Aparicio was a professor at the Galileo University, which was founded on October ’31st’ 2000 in Guatemala City. Emilio Aparicio taught a new generation of computer scientists, who knew nothing about his former career in music.
Sadly, Emilio Aparicio fell victim to prostate cancer and passed away in 2012. By then, Ruffy Tnt had rediscovered the five volumes of music that Emilio Aparicio had recorded between late-1969 and 1971.
Ruffy Tnt was on a crate-digging expedition in Quetzaltenango in Guatemala, and found himself in a dusty basement that had once been the warehouse of Iximché, who had once distributed the rock-o-la machines. With dust and detritus on the floor, Ruffy Tnt was wary as he hunted through the warehouse. The last thing he wanted was to be bitten by one of the rats that had obviously been present. However, his patience, persistence and bravery was rewarded when he spotted two rooms crammed full of old singles. In amongst some incredibly rare records were two of the five privately pressed volumes of Emilio Aparicio’s music released by Salvavidas Rojas.
The two volumes of Emilio Aparicio’s music that Ruffy Tnt left the warehouse with were Brujería (Witchcraft) and Transmutación del iniciado (Transmutation Of The initiated). However, this was just the start of a seven-year treasure hunt.
Over the next seven years, Ruffy Tnt searched far and wide for the remainder of Emilio Aparicio’s recordings. By 2017, Ruffy Tnt had found the eight singles released baring Emilio Aparicio’s name. This includes the five volumes that were released by Salvavidas Rojas as part of special offer, which Roberto Abularach hoped would introduce Emilio Aparicio’s music to a much wider record buying public.
Sadly, that wasn’t the case, and very few Guatemalan record buyers were won over by the music on the five singles that recently featured on Expansión Galáctica. They’re a reminder of Emilio Aparicio, who throughout his career, was a musical pioneer, who pushed musical boundaries to their limits, and sometimes, way beyond. Proof of that are the ten genre-melting Emilio Aparicio recorded.
The genre-melting tracks that Emilio Aparicio made between late-1969 and 1971, were way ahead of their time and incorporated elements of disparate musical genres. This included everything from electronic and experimental music, to abstract and avant-garde, through to Latin and psychedelia. There’s also occasional elements of dub, jazz, musique concrète pop and rock on Expansión Galáctica, which was lysergic and mind-expanding magical mystery tour where a true musical pioneer combines the music of the past and present to make the music of the future.
Apart from a few aficionados of electronic and experimental music, sadly, very few people will have heard of the late Emilio Aparicio Moog. This little known musical pioneer, who created ambitious, innovative and imaginative music during what was a short, but unsuccessful recording career.
Emilio Aparicio Moog only released eight singles, which sadly, failed to find the audience they so richly deserved. Especially the five singles he released as part of an offer in conduction with the popular drinks’ company Salvavidas Rojas. Very few people took up the offer, and those that did, failed to understand the music. Many of the singles were thrown away or recycled and nowadays, the five singles are extremely rare. Fortunately, Ruffy Tnt rediscovered these singles, which are a a welcome reminder of Emilio Aparicio Moog, who was a groundbreaking musician whose music was way ahead of its time.
That was why people failed to understand Emilio Aparicio Moog’s music, which is ambitious, innovative, imaginative and even today, has the potential to inspire a new generation of electronic musicians.
Emilio Aparicio Moog spent two years recording the music on Expansión Galáctica, where he pushed musical boundaries to their limit, and sometimes, way beyond. In doing so, musical pioneer Emilio Aparicio Moog created the truly timeless, genre-melting music which hopefully, will somewhat belatedly find the audience that it deserves.
The Life and Career Of Musical Pioneer Emilio Aparicio.
THE MORENA Y CLARA STORY.
The Morena Y Clara Story.
As 1973 dawned, a new Spanish flamenco-pop duo Morena y Clara, were about to make their debut at the now legendary tablao restaurant Caripen in Madrid. This was where just Los Grecas had been discovered just a few months previously by producer José Luis de Carlos and were signed to CBS by the time Morena Y Clara took to the stage at Caripen. Little did the two members of Morena y Clara realise that they and Los Grecas would go on to enjoy a friendly rivalry as they became two of the most successful Spanish female duos between 1974 and 1978.
The story started when two sisters from Madrid, in Spain, Ana María Muñoz Hernández and Carmen Muñoz Hernández decided to form a new vocal duo together. Ana María Muñoz Hernández dawned the moniker Morena, which translates as brunette, while Carmen Muñoz Hernández became Clara, which translates as blond. With that Morena y Clara was born, and not long after that, they made their debut at the tablao restaurant Caripen in Madrid.
Later in 1973, Morena y Clara made their recording debut, when they were invited by their cousin Juan Antonio Jiménez to add backing vocals on Los Chicos debut single Ni Más Ni Menos. Juan Antonio Jiménez was in the process of establishing himself as a songwriter, and Ni Más Ni Menos which was released by Philips later in 1973 his latest song. However, over next few years, Juan Antonio Jiménez would become one of Spain’s most successful songwriters, and would help play his part in the rise and rise of a number of artists and groups. This included Morena y Clara.
Their career began in earnest in 1974, partly due to the success of Los Grecas, and the rise in popularity of the new “gipsy rock” sound, which fused female flamenco with funk and progressive rock. Playing a part in the success of the new “gipsy rock” sound, were composer, arranger and pianist Felipe Campuzano, songwriter Juan Antonio Jiménez and Portuguese guitarist and producer Johnny Galvao, who nowadays, are regarded as three of the architects of this new sound. Its popularity was growing, and after Los Grecas single Te Estoy Amando Locamente sold over 500,000 copies in 1973, record companies were keen to cash-in on the success of “gipsy rock.” This was good news for Morena y Clara.
The other record labels knew that CBS had the most successful “gipsy rock” band, Los Grecas on their roster, and started looking for bands that could replicate their success. A&R executives were looking for up-and-coming “gipsy rock band.” However, it was television presenter and manager Lauren Postigo, that discovered Morena y Clara who were performing one night at the Caripen restaurant.
Lauren Postigo was married to Carmen Salazar La Camboria, a flamenco dancer who was now working as a producer. She and her husband would play their part on the success of Morena y Clara. Before that, Lauren Postigo secured a contract for Morena y Clara who were performing one night at the Barcelona based record company Discophon. This was home to Morena y Clara between 1974 and 1978.
Now signed to Discophon, Morena y Clara, began recording the two songs that became their debut single. This was No Llores Más, with Dejé De Quererte destined for the B-Side. Both songs were penned by Juan Antonio Jiménez and Spanish guitarist Carlos Villa, with Lauren Postigo taking charge of production. The result was two songs where flamenco vocals and emotive lyrics were combined with arrangement that bore a close resemblance to progressive rock. That wasn’t only similarity.
When Discophon released No Llores Más, with Dejé De Quererte on the B-Side. in 1974, critics noticed similarities with songs that had been released by CBS and Phillips. However, many of the songs released by groups like Morena y Clara and Los Chicos shared much in common sonically. This didn’t matter to Morena y Clara when No Llores Más gave No Llores Más their first hit single. Both songs also feature No Llores Más compilation.
A year after the release of their debut single Morena y Clara returned with their sophomore single Morena y Clara No Me Quieres, No, which featured Serás Mi Luz on the B-Side. Both sides were penned and produced by Lauren Postigo, because Morena y Clara’s cousin Juan Antonio Jiménez was now focusing on writing songs for Los Chicos. While his songs were a loss to Morena y Clara, Lauren Postigo was a talented songwriter and producer.
Proof of this was Morena y Clara’s sophomore single No Me Quieres. Although it had a similar sound to the nonaino loveless songs which had pioneered by Juan Antonio Jiménez, Morena y Clara with the help of producer gave this sound a twist. They combined it with an orchestral arrangement and Morena y Clara’s progressive funk rock sound. The result was a melodic and memorable mixture of drama and emotion that introduced Morena y Clara’s music to a new audience.
Later in 1975, Morena y Clara were introduced to Ricardo Jiménez Barrull, who was the nephew of the Galician singing brothers El Luis. Ricardo Jiménez Barrull was in the process of forging a successful musical career, and later, would supply Morena y Clara with songs.
When the time came for Spain to choose their entry into the 1976 Eurovision Song Contest, Morena y Clara made it onto the shortlist with u Mal Comportamiento. However, Braulio who was a popular singer secured the most votes from the television audience, and headed to The Hague where he sang Sobran las palabras. However, he ended up a disappointing twelfth out of eighteen contestants.
Despite not making it all the way to The Hague, Morena y Clara returned Tu Mal Comportamiento as their third single later in 1976. Just like the B-Side El Chico Que Yo Mas Quiero it was written and produced by Lauren Postigo. Tu Mal Comportamiento was one of his finest productions for Morena y Clara, and featured dancing strings and dramatic drums while Morena y Clara delivered a soulful vocal powerhouse. It was one of their finest songs, and showed just what Morena y Clara was capable of, as their popularity continued to grow.
Later in 1976, Discophon released Morena y Clara’s long-awaited eponymous debut was released, with some critics comparing it to Las Grecas’ Gipsy Rock album. Morena y Clara featured ten tracks including four new songs. This included Sé Que Tú Me Querías and Buscando Alegría which were penned by Lauren Postigo. They were joined by Volveré A Soñar which was written by Isidro Muñoz and José Miguel. These were joined by Morena y Clara’s first three singles and their respective B-Sides. This meant that Llores Más and the B-Side Dejé De Quererte were joined by Morena y Clara’s sophomore single No Me Quieres, No, and the B-Side Serás Mi Luz on the B-Side. They were joined by Morena y Clara’s third single Tu Mal Comportamiento and its B-Side El Chico Que Yo Mas Quiero. These nine tracks feature the No Llores Más compilation, and are a reminder of the early years of the Lauren Postigo and Morena y Clara partnership which was proving a successful one. Morena y Clara’s star was in the ascendancy.
By the time Morena y Clara released their eponymous sophomore album, Ricardo Jiménez Barrull was now supplying the duo with songs. Ten of his compositions featured on Morena y Clara, which were produced by Lauren Postigo. This includes Todo Pasó and Quiero Que Tú Me Beses which feature on the No Llores Más compilation. However, neither of these songs were released as singles.
Morena y Clara’s fourth single was Hoy Yo Me Encuentro Sola, with Todo Pasó relegated to the B-Side. When the single was released in 1977, it failed to replicate the sales of Morena y Clara’s previous singles. Neither did the followup single El Camino Del Amor, which featured Quiero Que Tú Me Beses on the B-Side. It was released later in 1977 and confirmed that Morena y Clara’s was on the decline. This was a worrying time for Morena y Clara who up until then, had been a popular act. However, music was changing, and sadly, Morena y Clara were no long as popular.
The following year, 1978, Morena Y Clara returned with their third eponymous album. It was produced by Lauren Postigo while Ricardo Jiménez Barrull wrote nine of the ten tracks. This included Aquellos Años, Eres Fiel A Tus Caprichos and Ya No Te Guardo Rencor, which feature on the recent compilation No Llores Más. Despite Morena y Clara maturing and blossoming as artists, their third album of genre-melting music failed commercially. Morena Y Clara was the least successful album of the duo’s career, and sadly, that was the end of the road for them.
Morena y Clara planned to record and release a fourth album for Discophon, but that never materialised. Discophon must have decided to cut their losses, and Morena y Clara were left without a label in 1978.
By 1979, producer Jose Luiz de Carlos somewhat belatedly started paying attention to Morena y Clara. They sent demos to CBS which were well received, but ultimately, CBS decided not to offer Morena y Clara a recording contract. There would be no fourth album from Morena y Clara.
Even after CBS declined to offer Morena y Clara a recording contract, Morena y Clara didn’t give up hope and continued to look for a label. When they failed to secure a recording contract, Morena y Clara realised their time was up after a triumvirate of carefully crafted albums.
These three albums, which were released between 1976 and 1978 were all entitled Morena y Clara, featured a groundbreaking fusion of flamenco and rock that provided the backdrop for sassy, sensual lyrics. The vocals were delivered with power, passion and were full of emotion and showcased two talented sisters who could’ve and should’ve enjoyed a longer and more successful career.
Sadly, by the time Morena y Clara released their sophomore album in 1977, music was changing. Disco was at the peak of its popularity, and other genres were suffering. As a result, many albums slipped under the musical radar. That was the case with Morena y Clara in 1977 and Morena y Clara in 1978. These albums are hugely underrated and best described as hidden gems, with their pioneering fusion of funk, Latin, pop, progressive rock, rhumba and rock and are ia reminder of Morena y Clara at the peak of their powers between 1974 and 1978 when they were signed to the Barcelona based Discophon label.
The Morena Y Clara Story.
THE SHORT-LIVED STORY OF VOIGT/465
The Short-Lived Story Voigt/465.
The story of Voigt/465 is a case of what might have been. They were formed in Sydney, Australia in 1976, and spent the next three years trying to make a breakthrough. By May 1979, things were looking up for Voigt/465 and they looked on the verge of a breakthrough. Their single State was being played on radio in London and Sydney. Not long after this, Voigt/465 secured a residency in Sydney, and even embarked upon a short tour of Melbourne. Voigt/465 were playing better than ever before, and had built up a loyal following. Surely, nothing could go wrong?
Unfortunately it did. What started off as a discussions about the future direction of Voigt/465 resulted in bassist Lindsay O’Meara leaving the band. Given how important a part he was in Voigt/465’s sound, the rest of the band knew that they couldn’t continue without out him. Voigt/465 called time on their career, after being tantalizingly close to making a breakthrough.
Although it looked like had been consigned to musical history, discussions were taking place between the band members to reunite one last time. They wanted to document the life and times of Voigt/465. After much cajoling, the five band members agreed to record what became an album at Axtent Studios, in suburban Kogarah. That album was Slights Unspoken which was released on the Unanimous Weld Enunciations in 1979. Sadly, Slights Unspoken marked the end of the road for Voigt/465.
In The Beginning.
Things had looked very different, three years earlier in 1976, the year that punk arrived in Australia, and across the country new bands were being formed. Many were short-lived, and never came close to playing live, never mind recording a single. A few, including Voigt/465 went on to make their on the Australian music scene.
Voigt/465 was formed by a group of friends in Sydney in 1976. The original lineup of the band included bassist Lindsay O’Meara, guitarist Rod Pobestek, keyboardist and vocalist Phil Turnbull plus vocalist Rae Bryom. They had been inspired by the music of Can, Faust, Henry Cow, Pere Ubu, Slapp Happy, Syd Barrett, The Stooges and early Roxy Music five friends decided to form a band. These influences would play their part in one of the first wave of post-punk bands in Australia.
The newly formed Voigt/465 set about honing their sound, and over the next few weeks and months, gradually the nascent’s band started to emerge. It a raw, abrasive and genre-melting sound that over the next couple of years, would incorporate elements of art rock, avant-garage, DIY, electronica, improv,industrial, Krautrock, noise, post-punk and psychedelia. This new sound would gradually find favour with Sydney’s post-punk scene.
By 1978, Voigt/465 were one of the leading light of Sydney’s thriving and vibrant post-punk scene. They had spent the last two years creating their own scene. In the early days when Voigt/465 couldn’t find somewhere to play live, they found makeshift venues. This included a free open air gig at Bigge Park, in Liverpool, a suburb of Western Sydney. Later they graduated to playing pubs and clubs on the local circuit. This was akin to their musical apprenticeship, and allowed the band’s sound to evolve. The next step was to record their debut single.
Unlike many post-punk bands, Voigt/465 hadn’t rushed into recording their debut single. Instead, they waited until the group had matured, and its sound had evolved. By then, Voigt/465 had also matured as songwriters. They had penned State, which they planned to record as their debut single, with A Secret West on the B-Side. Voigt/465 booked a local studio to record their debut single.
This was Axent Studios, which was based in Kogarah, a suburb of Sydney. Joining Voigt/465 was a local musician Ross McGregor, who would co-produce State and A Secret West. State was raw and rocky, but was melodic and showcased a truly talented post punk band. The B-Side, A Secret West, was a much more experimental sounding track, that showed the pop psych side of Voigt/465. These two tracks were recorded during one session, and would showcase the different sides Voigt/465.
When State was pressed, it was as a limited edition of just 547. As a result, copies of State are now incredibly rare, and have changed hands for Aus$325. When State was released, it was on a local label Unanimous Weld Enunciations. Singles were sold locally and at gigs. A few were sent to DJs, and would later spread the word about Voigt/465.
Buoyed by having released their debut single State, Voigt/465 were full of energy and enthusiasm. They played several gigs and in August 1978, managed to convince the owners of French’s Wine Bar to allow them to play live. For the show, Voigt/465 took along a slide projector, which would show a lysergic light show. This was all very Pink Floyd circa 1967, and something that Voigt/465 thought would appeal to the patrons.
As Voigt/465 took to the stage the venue was just about full. When started to play, it looked like they had won over the audience. Then came the lysergic light show, which proved to be their undoing. Suddenly, the audience turned on Voigt/465 and someone through a glass tankard at the band. Ross Turnbull remembers the shouts of: “you bunch of hippies.” For a group with impeccable post punk credentials that one hurt. Especially when Voigt/465 realised that the hecklers were fans of Voigt/465. The only small crumb of comfort was that the band got paid. However, the fallout continued the next day.
To make matters worse, the events at French’s Wine Bar resulted in drummer Bruce Saddler leaving Voigt/465 the next day. What should’ve been a successful show had cost the band their second drummer. Now the search began for a replacement.
Eventually, Voigt/465 settled on Mark Boswell, who was chosen as Bruce Stadler’s replacement. He soon had settled into life as Voigt/465’s drummer, and was ready to make his debut.
Mark Boswell made his Voigt/465 debut at Garibaldi’s, an Italian community centre in East Sydney that had seen better days. That didn’t matter to Voigt/465, who were one of the bands supporting The Thought Criminals. When Voigt/465 started to play, they soon, had won over the audience. So much so, by the time that Voigt/465 left the stage, it was a to a standing ovation. That night, Voigt/465’s music was discovered by a whole new audience.
That came as no surprise. After the events at French’s Wine Bar, Voigt/465 went in search of like-minded people. Suddenly, they were preaching to the converted and playing in front of audiences who were part of Sydney’s post-punk scene. This made a huge difference, and soon, Voigt/465’s star in the ascendancy.
Suddenly, things started to fall into place for Voigt/465. The group moved into a new rehearsal room in October 1978 in Darlinghurst. At last, they could practise anytime they wanted. This was very different to the two previous years, where they were constantly hunting for places to practice and work on new songs. Not any more, now that Voigt/465 had their own practise area. They also hoped to interest a record company in their music.
Although there were a number of record companies in Sydney, Voigt/465’s bassist Lindsay O’Meara was about to embark upon a journey overseas, where he hoped to interest record companies in their single State b/w A Secret West. The five members of Voigt/465 had high hopes for the single, and hoped that when Lindsay O’Meara returned, it would be with several offers of recording deals.
Before Lindsay O’Meara headed off on his journey, Voigt/465 decided to play one more gig. Just like many of gigs that Voigt/465 had played, it would be financed by the band. The venue they choses wasn’t in one of Sydney’s many pubs or clubs. Instead, in the spirit of ’76, it was at the Western Distributor construction site in Pyrmont.
This was somewhere that was off-limits for the public. That was no surprise, given huge electricity pylons crisscrossed the makeshift venue. However, someone managed to secure entry into the site, and the band started setting up their equipment. Soon, Voigt/465 were ready to play. That was when things started to go awry.
As the band took to makeshift stage, most of the band weren’t feeling well. They had caught a flu bug from Ross Turnbull, but didn’t want to disappoint their fans by cancelling. The show had to go on. To make matters worse, the band were experiencing problems with their PA. After a lengthy delay, eventually, Voigt/465 took to the makeshift stage, and when they looked down, the crowd numbered no more than fifteen, including a couple of curious kids. Not long after Voigt/465 started to play, site security turned up the gig was over before it began. However, Voigt/465 managed to squeeze in I Wanna Be Your Dog as an encore. For Voigt/465 it had been a night to forger. Especially when they realised that they had lost Aus$64.
While the Pyrmont gig was a disappointment, soon, Lindsay O’Meara returned from his travels, and had some good news. Although he hadn’t received any offers of recording contracts, it turned out that DJ John Peel had been playing State on BBC Radio One show, and the song was being on the Australian radio station 2JJ. Buoyed by this news Voigt/465 decided to concentrate their efforts, and see if they could make a breakthrough. It certainly seemed tantalizingly close.
Over the next month, things started to fall into place for Voigt/465. They secured a residency at the Sussex Hotel in May 1979, and proved a popular draw. Those who paid the Aus$1 entry fee, saw Voigt/465 at the peak of their powers. The band had never played as well. It was as if everything had been leading to this. Later, in May 1979, Voigt/465 embarked upon a short, but successful tour of Melbourne. Just like their performances at the Sussex Hotel, the gigs they played in Melbourne are regarded as some of the band’s finest performances. It seemed that Voigt/465 were on the verge of a breakthrough.
Sadly, that wasn’t the case. After having enjoyed a hugely successful time during May 1979, Voigt/465 started discussing their future musical direction. There had already been disagreements about the band’s future direction. Some of Voigt/465 wanted to play rock, while others in the band wanted to focus solely on improv. This was something that Voigt/465 had already explored and incorporated as part of their genre-melting sound. However, what had started off as a discussions about the future direction of Voigt/465 resulted in bassist Lindsay O’Meara leaving the band.
Given how important a part Lindsay O’Meara played in Voigt/465’s sound, the rest of the band knew that they couldn’t continue without out him. Voigt/465 called time on their career, despite being tantalisingly close to making a breakthrough.
After making the decision to split-up, the band started to regret that they had never documented the life and times of Voigt/465. Now it was too late. Or was it?
Eventually, the five members of Voigt/465 started to talk about reuniting for the sole purpose of documenting their musical lives together. It took much cajoling and convincing, but the members of Voigt/465 agreed to put their differences to once side to record an album together.
To record the album, Voigt/465 returned to Axtent Studios, in suburban Kogarah. That was where the session for the album Slights Unspoken was recorded. The album was recorded quickly, with Voigt/465 drawing inspiration from a variety of bands, whilst fusing elements of art rock, avant-rock, electronica, improv, industrial, Krautrock, noise, post-punk, psychedelia and punk. Over the course of the session, an emboldened Voigt/465 strut their way through the ten songs that would eventually become Slights Unspoken.
Voigt/465 play with power and intensity, and sometimes with freedom and fluidity. Other times, their playing is inventive and innovative as they throw curveballs and take the music is a very different direction. Sometimes, they experiment and improvise as they take the listener on a voyage of discovery. For what was their swan-song, up the ante and play as if their very lives depended upon it during that final session at Axtent Studios, where they documented three years of making music.
These ten songs that were recorded at Axtent Studios would eventually become Slights Unspoken which was Voigt/465’s debut album. Slights Unspoken was released in September 1979, and was released by Unanimous Weld Enunciations. Two different pressings of the album were released. The first features a white picture sleeve cover, while the second version has an orange coloured album cover with different artwork. Nowadays, both are incredibly rare and highly collectible. So much so, that original copies of Slights Unspoken are beyond the budget of most record buyers. Sadly, Sights Unspoken wasn’t a commercial success. However, Voigt/465 were regarded as a band who had the potential to enjoy a successful career.
Despite that, Voigt/465 went their separate ways after the release of Slights Unspoken. There were no last-gasp attempts to rescue the group. By then, the damage had been done, and some members of Voigt/465 had moved on. It was the end of era, for the five members of Voigt/465, who if things had been different, could’ve gone on to greater things. Alas, it wasn’t to be.
Instead, Voigt/465’s musical legacy was Slights Unspoken, which features a band at the peak of their powers. It features Voigt/465 the day they reunited to record what wasn’t just their debut album, but was also their swan-song, Slights Unspoken, which album that documents their place in Sydney’s musical history.
The Short-Lived Story Voigt/465.
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