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.
HEAT EXCHANGE AND THEIR LOST DEBUT ALBUM REMINISCENCE.
Heat Exchange and Their Lost Debut Album Reminiscence.
Heat Exchange’s root’s can be traced to a Toronto high school, in the late-sixties. That was when four school friends decided to form a blues band, which they named Cloud. Just a couple of years later, and Cloud were one of the top bands in Toronto.
Several record labels were chasing Cloud’s signature. Major and independent labels vied for Heat Exchange’s signature. At one point, RCA looked like securing the signature of Cloud. Then at the last minute, Yorkville Records trumped RCA’s offer with what saxophonist Craig Carmody called: “a phenomenal offer.” It was too good to turn down, so Cloud signed on the dotted line. That was when Yorkville Records discovered another band called The Clouds. So to avoid any confusion, the record company suggested that Cloud should change their name.
After drawing up a shortlist, Yorkville Records’ favoured the name Heat Exchange. This they felt was the perfect name for the label’s newest latest signing. However, as recording began, the band hadn’t settled on a new name. Eventually, the band adopted the name Heat Exchange. It was meant to feature on their debut album Reminiscence. This should’ve been the start of the rise and rise of Heat Exchange. However, Reminiscence was never released and was just another chapter in the story of Heat Exchange, which began in the late sixtes.
Cloud were formed in a Toronto high school in the late sixties, when four school decided to form a blues band, Cloud. Its initial lineup featured a rhythm section of drummer and vocalist Marty Morin, bassist Ralph Smith and guitarist Neil Chapman. They were joined by keyboardist and harmonica player Gord McKinnon. The nascent band made one of its first performances in the high school cafeteria. Watching Cloud play was a future member of the band.
The new addition was saxophonist and flutist Craig Carmody. He was invited to join Cloud, and although he was a couple of year older than the rest of the band accepted the invitation. Now Cloud began working out how to incorporate the saxophone to their existing song. Soon, Cloud had successfully incorporated the saxophone into their sound. Soon, though, five became six as Cloud expanded their lineup again.
This time, Cloud decided to add a new lead vocalist to the band. Up until then, drummer Marty Morin had been the lead vocalist. It wasn’t easy for him combining the two roles. Eventually, the members of Cloud decided that it would be best if the added a lead vocalist and allowed Marty Morin to concentrate on his duties as drummer. So Cloud began the search for a new vocalist.
Eventually, they had settled on a shortlist of potential vocalists. The next step was auditioning them. However, when Mike Langford began to sing, the rest of Cloud new they had their new vocalist. Cloud were now a sextet.
With Mike Langford now Cloud’s new vocalist, the new lineup of the band began looking for somewhere to rehearse. Finding a rehearsal space wasn’t going to be easy. Fortunately, Cloud met Blaine Pritchett, a familiar face in the Toronto music scene. He owned a local music shop, and allowed Cloud to rehearse in the basement.
In the music shop’s basement, Cloud began to hone their sound and write their own songs. This took time, practice and dedication. Gradually, though, Cloud became a tight band and new sound began to take shape. Now Cloud were ready to make tentative steps onto the Toronto’s live scene.
Cloud were determined to things properly. They wanted to be taken seriously, so registered with the local branch of the Musician’s Union. Next stop, was a booking agency, who Cloud hoped would get them some bookings.
The booking agent came up trumps, and soon, Cloud had several bookings. This included a booking at the three day Rock Hill music festival.
Despite being relatively new on the live scene, Cloud lucked out and found themselves playing on the main stage at the Rock Hill music festival. That day Cloud gave what was a career defining performance.
A couple of days after Cloud returned home from the Rock Hill music festival, Craig Carmody received a phone call from Blaine Pritchett. He had taken on the roll of Cloud’s road manager and sound man since the band made their live debut. Blaine Pritchett explained that he had received a phone call from Roland Paquin, who managed many of the Toronto’s top bands. Roland Paquin had heard Cloud at the Rock Hill music festival and like what he heard. So much so, that he wanted to become Cloud’s manager. Things were looking up for Cloud.
A couple of days later and a meeting was scheduled between Cloud Roland Paquin. After listening to what Roland Paquin had to say, Cloud agreed that he would become their new manager. With an agreement in place Roland Paquin went in search for a record company to sign Cloud.
Over the next weeks and months, Roland Paquin brought record companies to hear Cloud. They would play a selection of songs that Cloud and Roland Paquin had picked earlier. These songs showcased then band’s considerable talents. One of the labels that came to hear Cloud were RCA. Having heard Cloud, were keen to sign the band.
Despite this, Roland Paquin the Canadian label Arc Sound to hear Cloud play. By then, Cloud were leaning towards signing to RCA. Still Cloud agreed to play for Bill Gilliland and Richard Gael and from Arc Sound. After Cloud band had finished playing, Roland Paquin headed out to wine and dine the record company executives. Later that night, Roland Paquin came baring news Craig Carmody.
Roland Paquin told Craig Carmody that Arc Sound’s record company Yorkville Records were interested in signing Cloud. They had spotted Cloud’s potential and really wanted to sign the band. Yorkville Records’ offer was an indication of how keen they were to sign the band. However, the offer came with conditions.
Yorkville Records wanted the band to concentrate all their efforts of recording album. This meant stopping playing live until the album was recorded. In return, the members of Cloud would receive a salary that would allow them to live while they practised and then recorded the album. Then once the album was released. If Cloud agreed, they could use the label’s recording studios and would be assigned a full-time producer. It was an incredible offer and was thought to be the biggest recording contract offered to any Canadian band up until then. So it was no surprise that Cloud were keen to sign. So Cloud put pen to paper, and signed on the dotted line. However, it soon became apparent there was a problem with the band’s name.
It turned out that another band had released an album as The Clouds. This could lead to record buyers confusing the two bands. So a decision was made to rename the band. The members of Cloud drew up a list of names, but when it came to choosing the name, it was Yorkville Records that was calling the shots. They eventually settled on the name Heat Exchange.
By then, Heat Exchange began work on their debut album Reminiscence. Bill Gilliland was named the executive producer while Richard Gael took charge of production. The two executives played a hands on roll, helping choose the material for the album. Eventually, ten tracks for the album were chosen and Heat Exchange were ready to begin work on what became Reminiscence.
Each day, Heat Exchange arrived at the studio, at 10am and rehearsed until 6pm. Some nights, the band used their key to let themselves into the studio, where they continued to work late into the night. Then at the end of the week, Heat Exchange received their salary which didn’t amount to much. However, for six young men still living at home, they were living the dream.
Especially as Heat Exchange moved to Manta Sound, which was then Toronto’s top recording studio. That was where the band met David Green who owned Manta Sound. He was also the in-house engineer David Green, and would by Heat Exchange’s side as began recording ten tracks written by the band. This was just as well, as Heat Exchange were working without a producer. Despite this, the band recorded a rough mix of Reminiscence.
This rough mix of Reminiscence David Green told Heat Exchange had been played to executives at major labels in America. They liked the album, but wanted to know more about the band. Two questions that kept coming up were had Heat Exchange had a hit single and what were they like live? By then, Heat Exchange hadn’t played live for over a year, and hadn’t released a single. So Heat Exchange decided to release a single. This should generate interest in the album when it was released.
Heat Exchange decided to choose the most commercial song on the album in the hope of it beaming a FM hit. Can You Tell Me fitted the bill, and was released with Inferno on the B-Side. It proved popular in some Canadian cities, and is thought to have reached the top ten in at least one city. However, it failed to reach the Canadian charts. The problem was that Yorkville Records didn’t seem willing to promote the single properly. That was worrying.
Having failed to write a FM hit, Heat Exchange were encouraged to write an AM hit. The song they came up was Scorpio Lady, which showcased a more poppy sound. On the B-Side Heat Exchange added Reminiscence. This Heat Exchange hoped would provide them with that elusive single. Especially since Yorkville Records seemed to be reigning in their expenditure.
Originally, the label had been so keen to sign Heat Exchange that they outbid RCA. Now though, everything had changed for Heat Exchange. They were no longer receiving their salary from Yorkville Records and had to return to playing live to make ends meet. Heat Exchange travelled far and wide playing live. Meanwhile, the label wanted the band to come up with a hit single. That was despite commercial success eluding their two previous singles. Despite this, Heat Exchange decided to write and record one more single.
They were hoping it would be third time lucky when She Made Me All Alone was released as a single. On the flip-side was Philosophy. When the single was released, it failed to make any impression on the Canadian charts. For two members of Heat Exchange that was the final straw.
For two members of the band, Heat Exchange’s dream of becoming a successful band was almost over. Saxophonist and flautist Craig Carmody decided to leave Heat Exchange. So did bassist Ralph Smith. This proved to be the beginning of the end for Heat Exchange.
The other four members of Heat Exchange started to get involved with another group Truck. They began to tour with Truck. For Heat Exchange, the dream was over. Their debut album Reminiscence was never released by Yorkville Records. Record buyers never got the opportunity to hear Heat Exchange at their creative zenith on Reminiscence.
Sadly, Heat Exchange never returned to the recording studio together, and Reminiscence was the only album the band recorded. That was a great shame, as Heat Exchange were a hugely talented band who had the potential to go on to become one of the most successful Canadian bands of the early seventies. They might have fulfilled their potential if they had signed to RCA.
Instead, Heat Exchange signed to Yorkville Records and spent the best part of a year recording album. During that period, the band weren’t playing live, and instead, were receiving a salary from Yorkville Records. However, after Heat Exchange failed to delver a hit single, Yorkville Records began to lose interest in the band. Their singles weren’t promoted properly, and eventually, they stopped receiving their weekly salary. This resulted in Heat Exchange heading back out on the road.
As Heat Exchange toured the length and breadth Canada trying to eke out a living, Yorkville Records were still wanting the band to deliver a hit single. By then, Craig Carmody the elder statesmen of the band was looking to future. He was about to get married, and needed a steady income. Craig decided to leave Heat Exchange. So did Ralph Smith. Suddenly, six became four and the writing was on the wall for Heat Exchange.
Meanwhile, the other four members of Heat Exchange started to get involved with another group Truck. They began to tour with Truck. For Heat Exchange, it was the end of the line. Heat Exchange’s debut album Reminiscence was never released by Yorkville Records.
Sadly, Reminiscence lay unreleased for forty-five years and nobody got to hear Heat Exchange’s genre-melting album. Heat Exchange took as their starting point hard rock, and added to the musical melting pot folk rock, funk, fusion, jazz and progressive rock. Heat Exchange switched between and fused these disparate genres over the tracks on Reminiscence. It showcases truly talented band who were who had recorded an almost flawless album of hard rocking, catchy, complex, melodic and memorable music. That album was Reminiscence, which was belatedly released in 2017. At last, Heat Exchange’s long lost classic album Reminiscence eventually saw the light of day, and is a reminder of one of Canada’s great lost groups in the early seventies, looked destined for greatness.
Heat Exchange and Their Lost Debut Album Reminiscence.
CROMWELL-WHAT MIGHT HAVE BEEN?
Cromwell-What Might Have Been?
By 1975, Dublin had an eclectic and vibrant music scene , and there literally was something for all musical tastes. This ranged from the traditional showbands that had long been part of the Irish music scene, right through to traditional Irish music and sentiment-laden pop music. However, this was only part of the story.
At the other end of the musical spectrum was Dublin’s most successful music export, Thin Lizzy. Lead by the inimitable Phil Lynott, Thin Lizzy’s hard rocking sound won them fans the world over. Then there was Horslips, the founding fathers of the Celtic rock sound. They had just released their fourth album and were one of Ireland’s most successful bands. Meanwhile, another Dublin based band Cromwell were about to release their debut album At The Gallop on their now Cromwell label.
The local critics who had heard At The Gallop, forecast a bright future for Cromwell. They had honed their hard rock sound over the last few years. Now that Cromwell had come of age musically, surely it was only a matter of time before they made the journey over the water, where they would sign for one of the London based major labels. Maybe then, Cromwell would follow in the footsteps of Ireland’s most famous sons like Thin Lizzy and Rory Gallagher?
Alas, that wasn’t the case. Cromwell’s debut album wasn’t the success that critics had forecast. Neither did Cromwell make the Journey to London to sign for a major label. Nor did Cromwell release a followup to At The Gallop. After releasing five singles and one album, the Cromwell story was at an end. Sadly, Cromwell’s discography consists of five singles and one album and their story began in Dublin 1970.
As a new decade dawned, a new band was born in Drumcondra, in Dublin in 1970. Originally, Cromwell was a quintet, based around the three Kiely brothers who previously had been members of Julian’s Heirs. Cromwell was a new start for the Kiely brothers. Dave Kiely became Cromwell’s frontman, while Desmond became the bassist and Michael the rhythm guitarist. They were joined drummer Derek Dawson and lead guitarist Patrick Brady. With the lineup complete, Cromwell were soon making their first tentative steps onto the local live circuit.
Cromwell made their live debut at an open air concert, in Swords, just north of Dublin. This was the start of a period where Cromwell were constant features of the local live circuit. They played pubs, clubs and dance halls, which allowed Cromwell to hone their sound. However, by November 1971, Cromwell were reduced from a quintet to a trio when Dave and Demond Kiely Kiely exited stage left. The two brothers had decided to pursue other opportunities.
Now that Cromwell were reduced to a trio, there were some changes. Michael Keily switched from rhythm guitar to bass and Cromwell’s sound became heavier and rockier. This was more in keeping with the sound that was popular on both sides of the Atlantic. For Cromwell, they were one step nearer to finding their true sound.
Meanwhile, when Cromwell played live, their setlist included covers of songs The Who, Rolling Stones and Granny’s Intentions. To this, Cromwell added covers of twelve-bar blues. Gradually, it seemed Cromwell were moving towards what would become their trademark sound. Maybe the addition of a new vocalist would prove to be the finishing touch?
When Cromwell went looking for a new vocalist, their luck was in. They managed to secure the services of Droghedaean born vocalist Mick O’Hagan. He had an impeccable musical pedigree. His father was famous Irish tenor Patrick O’Hagan, and his brother was Johnny Logan who would later, win the Eurovision Song Contest. However, when Mick O’Hagan joined Cromwell, he was regarded as Ireland’s premier blues and rock vocalist. Surely, he was the final piece in the jigsaw?
That should have been the case. The new lineup of Cromwell began playing live. By then, drummer Derek Dawson, bassist Michael Kiely and lead guitarist Patrick Brady were just nineteen. However, they played like seasoned veterans. With Mick O’Hagan as Cromwell’s new frontman, it looked like Cromwell were heading for bigger and better things.
Local hero Rory Gallagher certainly thought so, and booked Sleepy Hollow and Cromwell to open for him on his 1972 Irish tour. This was the opportunity of a lifetime. Cromwell’s music would be heard by a much wider audience, and maybe, A&R men would be in the audience?
If they were, they didn’t see Mick O’Hagan. He quit Cromwell just before the band headed out on tour with Rory Gallagher. Despite this disappointment, Cromwell headed out on tour with lead guitarist Patrick Brady taking charge of lead vocals. This continued when Cromwell returned from touring with Rory Gallagher.
Cromwell continued to play live. By now, Cromwell were heading much further afield. They were now touring the Emerald Isle and were regarded as one of the rising stars of the Irish music scene. So it made sense for Cromwell to record their first demo.
To record the demo, this necessitated a trip to Belfast, in Northern Ireland. This was at the height of the troubles. Three young men, who looked as if they belonged in a rock group were always going to attract the scrutiny of the British Army. When Cromwell crossed the border, their van was stopped. The three members of Cromwell were searched at gunpoint. Meanwhile, their van and the equipment it held was searched. This was the case each and every time Cromwell made the journey from the Republic of Ireland to Northern Ireland. Considering Cromwell were heading to Belfast to record a demo, this wasn’t the best preparation.
Having arrived in Belfast, Cromwell made their way to the recording studio. That was where Cromwell recorded songs penned by the Patrick Brady and Michael Kiely songwriting partnership. It was beginning to blossom, and over the next few years, would be fruitful source of material.
With the demo recorded, Cromwell started trying to attract the attention of British record labels. This was the only option. Ireland didn’t have the successful music industry that it now has. So Irish bands had no other option but to sign to British labels. However, not every band signed to British labels.
After recording the demo, Cromwell tried to attract the attention of British based record labels. It was to no avail. So Cromwell returned to playing live. They travelled far and wide, following in the footsteps of Ireland’s two great bands, Rory Gallagher’s Taste and Thin Lizzy.
Usually, Cromwell weren’t short of gigs. Sometimes, though when gigs were hard to come by, Cromwell went in search of places to play. Cromwell weren’t averse to heading off the beaten track, and into small towns where no rock bands ever played. The three members of Cromwell were welcomed with open arms, by youths starved of music that was relevant to them. It was a heartening site.
The only problem for Cromwell was the 1973 oil crisis. Suddenly, petrol was rationed and the price soared. Fortunately, Cromwell were always able to secure an extra can of petrol which they stored with the equipment in their van, before heading out to gigs. Cromwell’s mission to take rock music to every town and village in Ireland continued.
Later in 1973, Cromwell’s thoughts turned to releasing a single. The three members of Cromwell had come to the conclusion that if a record label wasn’t going to sign them, they would release a single on their own label. That day, Cromwell followed in the footsteps of The Beatles and Rolling Stones and their Cromwell label was born.
Later in 1973, the nascent Cromwell label released its first single, Guinness Rock. This was the first single that Cromwell had released since they were formed three years earlier in 1970. Guinness Rock garnered some radio play locally, while the band were featured on RTE, the Irish national broadcaster. One of the Irish magazines New Spotlight championed Cromwell and their music. This paid off when Cromwell released their sophomore single.
This was Stomp Stomp Stomp which was released in 1974. It sold well and reached number eleven in the Irish single’s charts. For Cromwell, this was something of a coup, and introduced the band’s music to a new and wider audience.
Following the success of Stomp Stomp Stomp, Cromwell released Deal Me In. It failed to replicate the success of Stomp Stomp Stomp. For Cromwell this was a disappointment.
They didn’t release another single until You Got It Made in 1975. It would feature on Cromwell’s debut album At The Gallop, which was released later in 1975.
At The Gallop featured ten hard rocking tracks from the Patrick Brady and Michael Kiely songwriting partnership. They were recorded by drummer Derek Dawson, bassist Michael Kiely and lead guitarist Patrick Brady who took charge of the lead vocals. They were by then a tight and talented trio who many thought had a bright future ahead of them.
So much so, that some local critics thought that Cromwell were about follow in the footsteps of Ireland’s most famous sons like Thin Lizzy and Rory Gallagher. Sadly, that wasn’t the case. Cromwell’s debut album At The Gallop wasn’t the success that critics had forecast. However, At The Gallop is a timeless cult classic that’s won over a new generation of rock fans. That is no surprise.
Cromwell’s debut album At The Gallop was an irresistible fusion of musical genres and influences. Everything from swaggering, strutting, good time, seventies rock ’n’ roll rubs shoulders with blues, country rock and beautiful ballads on At The Gallop. Similarly, Cromwell were inspired by everyone from early seventies Rolling Stones’ albums to Thin Lizzy Mott The Hoople, The Faces and the Flamin’ Groovies’ 1971 album Flamingo. This potpourri of musical genres and influences should’ve transformed the fortunes of Cromwell.
After all, Cromwell were one of the top bands in the Irish music scene. They looked as if they were about to follow in the footsteps of two of Ireland’s most successful recent musical exports, Taste and Thin Lizzy.
Alas, despite the undoubted quality of the music on At The Gallop wasn’t a huge commercial success. There was some interest locally, in Dublin and in other parts of Ireland. This must have been a bitter blow. Especially given Cromwell had spent years touring Ireland, playing towns, cites and even villages. They took rock music to places it had never been before. For the three members of Cromwell, it must have been a huge disappointment. They had spent years working towards releasing their debut album.
What Cromwell were aware of, was that the market for rock music wasn’t as strong as in Britain. Rock music was still frowned upon by the establishment in Ireland, which didn’t even have a fledgling music industry. It would be some time before the Irish music industry took shape. However, in 1975, things were very different in Britain. Maybe Cromwell’s debut album At The Gallop, Cromwell would attract the interest of major labels based in London?
At The Gallop could’ve and should’ve acted as Cromwell’s calling card, and opened the doors to major labels in London. Sadly, it wasn’t to be. None of major labels based in London came calling.
Cromwell only released one further single, First Day. It was released later in 1975 and proved to be Cromwell’s swan-song. They neither released another single, nor album. The Cromwell story was all but over, and before long, the band called time on their career. For Cromwell, the dream was over.
Since then, a new generation of record buyers have discovered At The Gallop. It’s a musical hidden gem that’s a reminder of one Ireland’s great lost groups, Cromwell. Nowadays, their one and only album At The Gallop is regarded as a cult classic. It’s a rarity with original copies changing hands for upwards of €400. That is no surprise as Cromwell were the most underrated and talented Irish bands of the early seventies, and the heir apparent to the legendary Thin Lizzy.
Cromwell-What Might Have Been?
GILLIAN HILLS-THE YE-YE YEARS 1960-1965.
Gillian Hills-The Yé-Yé Years 1960-1965.
Gillian Hills was born in Cairo, Egypt, on the ‘5th’ of June 1944 and was the daughter of teacher, traveller, author and adventurer Denis Hills and Dunia Leśmianowna, daughter of Polish poet Bolesław Leśmian. Much of Gillian Hills’ early life was spent in France which was where the fourteen year old came to the attention of film director Roger Vadim.
From the moment Roger Vadim met Gillian Hills, he thought that he discovered the British equivalent of Brigitte Bardot. Within a year, Roger Vadim cast Gillian Hills in the lead role of Les Liaisons dangereuse in 1959. So controversial was the film, that Gillian Hills had no option but to leave school.
The following year, 1960, Gillian Hills starred alongside Adam Faith in Beat Girl, which featured John Barry’s first ever film score. Two of the films’ stars, Adam Faith and Shirley Ann Field featured on the soundtrack and when Gillian Hills heard it, this was a eureka moment. She realised there and then that she wanted to become a singer.
Not long after that, Gillian Hills signed a deal with agent Jacques Alain, who brokered a deal with record producer Eddie Barclay who had founded and owned the Paris-based Barclay label.Their latest signing was actress turned singer Gillian Hills, who would spend the next five years signed the Barclay label between 1960 and 1965. During the period, French music was changing and moving away from the chanson traditional that had previously provided the soundtrack to life. Between 1960 and 1965, many singers in France embraced the new pop and rock which had grown in popularity. This included Gillian Hills was in the right place at the right time, and was a beneficiary of the change in musical tastes in France.
Having signed to Barclay, Gillian Hills’ recording career began later in 1960. For her Barclay debut, Eddie Barclay decided to pair Gillian Hills with French comedian and singer Henri Salvador on the EP Allo Brigitte? Ne Coupez Pas! It was released in August 1960, and featured Cha Cha Stop which was regarded as the highlight of an EP, that resulted in Gillian Hills being compared with Brigitte Bardot This was a comparison that Gillian Hills was unable to shake off.
Later in 1960, Près De La Cascade was released as a single, with Cha Cha Stop relegated to the B-Side. However, the next time Gillian Hills released a single, she would take star billing.
Three months later, and Gillian Hills returned with a new EP Si tu veux que je te dise. It was joined by the catchy cover of Jo Ann Campbell’s Le Paradis Pour Toi (A Kookie Little Paradise) and Ma Première Cigarette (Smokin’ My First Cigarette) which became a favourite of Gillian Hills. However, the young singer had no say in which songs that she was recorded. Instead, she had to rely on others to choose the right songs for her.
In February 1961, Gillian Hills returned released the Jean Lou EP. Ballads were the older of the day on Gillian Hills’ latest EP. Eddie Barclay had employed Charles Aznavour to write two songs for Gillian Hills. Both Jean Lou and Ne Crois Surtout Pas were jazz pop ballads and suited Gillian Hills, who was already proving a versatile vocalist. Proof of that was Un Petit Baiser (The Kiss) a string drenched ballad where Gillian Hills delivers a heartfelt vocal. It plays its part of what was the strongest EP of Gillian Hills’ short career.
Just a few months later, Gillian Hills returned with the Zou Bisou Bisou EP. The highlight of the EP was Zou Bisou Bisou where Gillian Hills delivers a playful, kittenish cover of a song originality covered by another actress, Sophia Loren for the soundtrack to The Millionaires. Fifty-one years later, and it was Zou Bisou Bisou that sparked a resurgence of interest in Gillian Hills’ music when the song featured in an episode of Mad Men in 2012. That was all in the future.
After the release of the Zou Bisou Bisou EP, the Barclay label was struggling to work out how to market Gillian Hills. Up until then, her music hadn’t been aimed at the teenage market, which seemed her natural audience. As a result, Gillian Hills’ releases hadn’t enjoyed the commercial success that everyone had hoped. It was time for Eddie Barclay to rethink how he was going to market seventeen year old Gillian Hills in the future.
In the autumn of 1961, Gillian Hills joined Johnny Hallyday when he made his debut at the Olympia Theatre in Paris. It was one of the most prestigious venues in the French capital, and was where Johnny Hallyday showcased his new rockier sound. This was a sound that many other artists would embrace in the future, including Gillian Hills.
As the new year dawned, Gillian Hills Accompagnée Par Jean Bouchéty Et Son Orchestre released the En Dansant Le Twist EP in January 1962. It was aimed squarely at the teenage market, who could relate to Gillian Hills and the songs on the EP. Especially the ballad Mon Coeur Est Prêt (Don’t Treat Me Like A Child), where Gillian Hills spoke for generation of teenagers. Another of the highlights of the EP was the uptempo, filmic sounding Les Jolis Coeurs (Kiss’N’ Run). These two tracks showcased two different sides of Gillian Hill as she began a new chapter in her career.
Gillian Hills next EP featured four songs from her latest movie, Les Parisiennes which also starred Johnny Hallyday and Catherine Deneuve. Les Chaussettes Noires Avec Gillian Hills released the Musique Du Film Les Parisiennes in February 1962 and featured the uptempo song C’est Bien Mieux Comme Ça. When it was released as a single in America, it gave Gillian Hills the second hit of her career as she continued to reinvent her sound.
By the time Gillian Hills released her Avec Toi EP in November 1963, she was writing her own songs. Four of her new songs featured on her Avec Toi EP. This included the irresistible uptempo, horn driven Tu Mens, Avec Toi, Ne T’en Fais Pas and Maintenant Il Téléphone an organ driven song that is one of Gillian Hills’ most memorable compositions. These four new songs showcased a burgeoning songwriter who looked as if she had great future ahead of her. After all, Gillian Hills was able to write distinctive and catchy songs that should’ve struck a chord with record buyers. Sadly, the Avec Toi EP failed to find the audience it deserved. For Gillian Hills this was a disappointing start to her songwriting career.
Barclay must have thought that the Avec Toi EP would’ve been a commercial success as Gillian Hills returned to the studio in November 1963. The Qui a Su EP was released in January 1964, and also featured Oublie, C’est Le Garçon and Je Partirai. Just live the Avec Toi EP, Gillian Hills had written the four songs on the Qui a Su EP. She was already maturing as a songwriter, and had come a long way in a short time. Proof of that were Oublie and C’est Le Garçon which featured a much tougher, contemporary sound that should’ve found favour with record buyers. So should the ballad Je Partirai, where horns and harmonies accompany Gillian Hills. Sadly, once again, commercial success eluded Gillian Hills, and at the end of 1964, she was dropped by Barclay.
For Gillian Hills this was a huge blow. She had spent the last four years trying to forge a career as a singer. However, she had only enjoyed two hit singles. Considering she had released fourteen EPs and a couple of singles, this wasn’t good enough for Eddie Barclay. However, Gillian Hills was determined to have one last roll of the dice.
For her next EP, Gillian Hills signed to the Disc’Az label which was owned by the radio station Europe 1. Gillian Hills entered the studio and recorded four songs including her latest composition Rien N’est Changé. It joined cover versions of
The Zombies’ Leave Me Be which became Rentre Sans Moi, while The Lollipops’ Busy Signal became Tut, Tut, Tut, Tut. These songs became the Rien N’est Changé EP, which released in 1965. For Gillian Hills it was a case of now or never.
By the time the Rien N’est Changé EP was released, Gillian Hills’ profile had never been higher. She was a film star and a familiar face in magazines where she modelled the latest fashions and endorsed or advertised various products. With her profile so high, and a carefully orchestrated marketing campaign, the Disc’Az label had high hopes for the Rien N’est Changé EP. Sadly the EP which featured carefully chosen cover versions and Gillian Hills’ latest composition failed commercially. It was the end of Gillian Hills’ recording career in France.
By the end of 1965, Gillian Hills’ recording career was over, and she returned to acting full-time. She had managed to successfully juggle her acting and musical careers between 1960 and 1965. However, during that five-year period, Gillian Hills had only enjoyed two hit singles. Gillian Hills had failed to replicate the success of the other high-profile Yé-Yé singers. However, many of Gillian Hills’ other EPs didn’t enjoy the success that they deserved.
Many times, Gillian Hills’ EPs slipped under the radar, and it was a case of what might have been for this versatile and talented singer and later, songwriter? Maybe Barclay was the wrong label for Gillian Hills, and she would’ve enjoyed more success if she had signed to a major label? Possibly things would’ve been very different for Gillian Hills, and she would’ve gone on to enjoy a long and successful career? Sadly, that wasn’t to be commercial success eluded Gillian Hills for the majority of her career.
That is a great shame, as Gillian Hills’ music certainly deserved to be heard by a wider audience. Instead, she retired from music in 1965, after a career that lasted just five years, and was over by the time she was twenty-one.
Gillian Hills-The Yé-Yé Years 1960-1965.
THE LIFE AND TIMES OF SUSANNE SUNDFOR.
The Life and Times Of Susanne Sundfør,
Although Susanne Sundfør only embarked upon a musical career in 2005, the thirty-three year old is already one of Norway’s most successful singer, songwriter and producers. Her last four studio albums have topped the Norwegian charts, including her fifth album Music For People In Trouble which was released in 2017. Music For People In Trouble sees the rise and rise of Susanne Sundfør continue.
Susanne Aartun Sundfør was born on the ’19th of March 1986, in Haugesund, in Norway. Her grandfather is the academic, theologian and linguist Kjell Aartun. However, it was neither religion nor languages that Susanne Sundfør became interested in growing up. Instead, it was music.
By the age of six, Susanne Sundfør was already taking music lessons.Initially, Susanne Sundfør played the tambourine and sang. This however, piqued her interest and by the age of eight, she started to play the violin. A year later, nine-year old Susanne Sundfør started to take piano lessons. When she was twelve Susanne Sundfør started to take singing lessons. While music was playing an important part in Susanne Sundfør’s life it was still a hobby. She wasn’t spending every waking minute practising.
Things would change when Susanne Sundfør attended a music high school, and the next part of her musical education began. Despite her musical background, when Susanne Sundfør left high school, she didn’t study music at university. Instead, she studied English and Art at the prestigious University of Bergen. However, by 2005, nineteen year old Susanne Sundfør’s musical career began.
English singer-songwriter Tom McRae was about to embark upon a tour of Norway in 2005, and was looking for a support act. Susanne Sundfør was chosen, and each night his Norwegian tour, she opened for Tom McRae. This was the break that Susanne Sundfør had been looking for, and launched her nascent career.
In 2006, Susanne Sundfør headed out on tour with the Norwegian alternative rock band Madrugada. Each night, she joined the band when they sung their 2005 single Lift Me. It started life as a duet with singer Ane Brun, but was transformed with the addition of Susanne Sundfør. The experience she gained touring with Madrugada was vital, as Susanne Sundfør’s thoughts turned to her solo career.
Later in 2005, Susanne Sundfør released her debut single Walls in November. It reached number three in the Norwegian charts and in the process, launched Susanne Sundfør’s solo career.
Susanne Sundfør.
Sixteen months later, and Susanne Sundfør was signed to Warner Norway, and was preparing to release her eponymous debut album. It featured eleven songs penned by Susanne Sundfør. These songs were produced by Geir Luedy, and featured a band that included some top Norwegian musicians including Morten Qvenild, who played synths and autoharp on Susanne Sundfør album of folk pop.
When Susanne Sundfør was released on the ‘19th’ of March 2007 to praise and plaudits. It entered the Norwegian charts and climbed all the way to number three. The album which Susanne Sundfør described as: “folk inspired” alum showcased a truly talented singer-songwriter who had a great future ahead of her.
Take One.
Just under two years later, Susanne Sundfør returned with her first live album Take One on the ‘10th’ of March 2008. Susanne Sundfør hadn’t been planning to release an acoustic album, but her legion of fans wanted to hear the songs on her eponymous debut album in their original form. They remembered Susanne Sundfør playing the songs live, with just a piano for company and wanted a reminder of these days.
Susanne Sundfør decided that seen there was demand for a live album, that she would record and then release an album of acoustic versions from her eponymous debut album. The only change that was made was Morocco was omitted, and replaced by an Interlude which knitted the album together. With just a piano or guitar for company, Susanne Sundfør worked her way through the eleven tracks on Take One.
Take One was produced by Susanne Sundfør and Geir Luedy, and was released by the Bergen based label Your Favorite Music. On the ‘10th’ of March 2008, Take One was released and reached thirty-two in the Norwegian charts. It gave Susanne Sundfør’s fans a reminder of her early days when she was starting out as a singer. By then, she was already thinking about her sophomore album.
The Brothel.
Another two years passed before Susanne Sundfør returned with her much-anticipated sophomore studio album The Brothel on the ‘15th’ of March 2010. It featured ten new songs, with Susanne Sundfør writing nine and writing As I Walked Out One Evening Lars Horntveth. These ten songs became The Brothel, were Susanne Sundfør changed direction musically.
With a band that featured many of Norway’s leading musicians, including Jørgen Træen, Gard Nilssen, Morten Qvenild and Helge Sten whose vocal features on six tracks. He and the rest of this multitalented and versatile band and producer Lars Horntveth help Susanne Sundfør reinvent her music. Gone was the piano driven folk pop, to be replaced by a much ambitious fusion of art-folk and electronic music. This new sound marked the start of new era for Susanne Sundfør.
Critical acclaim accompanied the release of The Brothel, which was hailed as an ambitious and innovative album. When it was released by EMI Norway, it reached number one and was certified platinum. This wasn’t the end of the success for Susanne Sundfør.
Later when the nominations for Spellemannprisen, which are seen as the Norwegian Grammy Awards were announced, Susanne Sundfør had been nominated for two categories. Susanne Sundfør was nominated for the Best Lyrics and Best Composer. When the winners were announced, Susanne Sundfør won a Spellemannprisen for the Best Composer. This was a huge honour, and rounded off the most successful year of Susanne Sundfør’s career.
A Night At Salle Pleyel.
Having enjoyed the most successful year of her career, Susanne Sundfør was kept busy during 2011. She was the guest vocalist on the title-track to Nils Petter Molvær’s 2011 album Baboon Moon. Susanne Sundfør was also commissioned to record a live instrumental album for the twenty-fifth anniversary of the Oslo Jazzfestival.
The remit for what became A Night At Salle Pleyel was that Susanne Sundfør had to write forty-four minutes of music. Apart from that, Susanne Sundfør was free to use whatever instruments she wanted. Initially, she decided to write a piece for a string quartet. However, midway through writing the piece, Susanne Sundfør changed her mind and it became a piece for five synths.
When the commissioned piece was written, it was recorded at Sentrum Scene, in Oslo, Norway on the ‘18th’ August 2008. Joining Susanne Sundfør on stage were four other synth players, including Ådne Meisfjord, Morten Qvenild, Øystein Moen and Christian Wallumrød. They stood behind banks of synths and played six Movements that lasted forty-seven minutes.
Three months later, and A Night At Salle Pleyel was released on EMI Norway on the ‘18th’ November 2008. A Night At Salle Pleyel was Susanne Sundfør’s second live album, and hailed as ambitious fusion of electronic, experimental and classical music. It also showed another side of Susanne Sundfør, who was a versatile and talented musician. However, this side of Susanne Sundfør’s music was one she has decided to keep separate from her solo career which resumed in 2012.
The Silicone Veil.
Two years after the release of her number one, platinum certified and award-winning album The Brothel, Susanne Sundfør returned with The Silicone Veil, which was her third studio album, and fifth album overall. It featured ten songs penned by Susanne Sundfør which showcased her talent and versatility as a singer, songwriter and producer.
When Susanne Sundfør recorded The Silicone Veil at the Pooka Studio and Kikitépe Tearoom Studio, once again, she co-produced the album with Lars Horntveth. It was her most eclectic album that took as a starting point electro-folk and incorporated elements of art pop, baroque, dream pop, Scandinavian electronica, synth pop and even a hint of baroque pop. Given the eclecticism of The Silicone Veil, Susanne Sundfør got the opportunity to showcase her full and impressive vocal range. Whether it was on orchestrated arrangements, or against an electronic backdrop Susanne Sundfør breathed life, meaning and emotion to life the lyrics to her ten compositions. They looked at a wide range of subjects which Susanne Sundfør described as: “apocalypse, death, love and snow.” They found favour with critics when The Silicone Veil was released.
The Silicone Veil was scheduled for release on the ’23rd’ of March 2012. It was Susanne Sundfør’s first album to be released in Britain, where it was hoped her music would find a new and wider audience. Before that, critics had their say on The Silicone Veil. They were won over by The Silicone Veil, which was regarded as her finest hour.
That was no surprise, given the carefully crafted, genre-melting arrangements, and lyrics that approached and challenged such a wide range of subjects. Susanne Sundfør wasn’t afraid to deal with subjects that lesser artists would’ve shied away from. That wasn’t Susanne Sundfør’s style. She was made of sterner stuff and wrote cerebral, engaging and thought-provoking lyrics that she delivered with a mixture of confidence, boldness and emotion. The music on The Silicone Veil veered between melancholy and wistful, but was beautiful, imaginative and playful. Sometimes, Susanne Sundfør sung of romance and intrigue during cinematic songs that painted pictures. Without doubt, The Silicone Veil was one of Susanne Sundfør’s finest albums.
It was no surprise that when The Silicone Veil was released on the ’23rd’ of March 2012 the album reached number one in the Norwegian charts. This was Susanne Sundfør’s second consecutive number one album. She hoped that two would become three when she returned with her third album Ten Love Songs.
Ten Love Songs.
Not long after the release of The Silicone Veil, Susanne Sundfør began writing her fourth studio album which later, became Ten Love Songs. Originally, Susanne Sundfør intended to write an album that dealt with the subject of violence. However, just like when Susanne Sundfør was writing the common A Night At Salle Pleyel, the album became something very different.
After spending some time in New York where she tried to write songs for what became Ten Love Songs, Susanne Sundfør returned home. It hadn’t been a successful trip, and she had little to show for her time spent in the Big Apple.
Now at home in Oslo, Susanne Sundfør began to write the songs that would feature on Ten Love Songs. Before long, she noticed two themes developing…love and relationships. By then, Susanne Sundfør had decided to head in a different direction musically. This was only part of the story as Susanne Sundfør changed direction again.
Ten Love Songs would be a much more pop orientated album. This required Susanne Sundfør to write in a different way. She knew the songs would have to be much more repetitive and have a different and more direct musical and lyrical structure. This was very different to her previous studio albums. This however, wasn’t the only change Susanne Sundfør was about to make.
Having written Ten Love Songs, Susanne Sundfør was determined to involve herself in every aspect of making an album. She wanted to involved not just in the production, but the recording, orchestration, editing and mixing Ten Love Songs. This was a huge amount of work. However, Susanne Sundfør knew this and wanted to know more about how the album was recorded.
Recording of Ten Love Songs took place between 2012 and 2014, and just like previous albums, Susanne Sundfør was joined by some of Norway’s top musicians. Two of the recordists that worked on the album were Jørgen Træen and Morten Qvenild, who were both talented musicians who had worked with Susanne Sundfør on previous albums. Co-producing the album was Susanne Sundfør was Lars Horntveth. However, Susanne Sundfør bought different producers onboard to work on different tracks, including Anthony Gonzalez, Jonathan Bates and Röyksopp. As a result, other sessions took place in America and France. By late 2014, Ten Love Songs was completed and Susanne Sundfør had been involved with every part of the music making process. She was exhausted, but it had been a rewarding learning experience.
With Ten Love Songs completed, Warner Music Norway scheduled the release of the album for the ’16th’ of February 2015. By then, nearly three years had passed since 16 February 2015 Susanne Sundfør had released an album. Her legion of fans eagerly awaited Susanne Sundfør’s fourth solo album Ten Love Songs. So did critics.
Critics were greeted with an album that had two main themes. However, there was more to Ten Love Songs than love and relationships. Instead, the album death with extremes of love and violent hatred. That hadn’t always been Susanne Sundfør’s concept for the album.
Two of the songs, Accelerate and Trust Me had been written before the release of The Silicone Valley in March 2012. These two songs were meant to be the focus of the album, which was meant to revolve around scenarios that included statues, buildings and weaponry. However, when Susanne Sundfør wrote Fade Away that was the turning point.
After that the album’s central themes were said to be love and relationships. This Susanne Sundfør clarified: “the lyrics are never really about the topic of “love” that was “corny” at the time of its release, but rather the extreme topics about sex and violence that was discussed in the media.” Ten Love Songs was in reality an album about extremes of love and violent hatred. As a result, there’s a darkness to the music as Susanne Sundfør deals with loss, grief and even the compulsive nature of love. These were subjects many songwriters were afraid to deal with and many of Susanne Sundfør’s fans had experienced. These lyrics were delivered against another eclectic album.
While Ten Love Songs was described as a pop oriented album, it featured a myriad of different musical genres and influences. Everything from art pop, baroque pop, EDM, electro pop, electronica, Europop, industrial, Italo disco, synth pop and a much more experimental pop sound was incorporated on Ten Love Songs. Given the subject matter of Ten Love Songs, there’s a cold, almost bleak sound to some songs. This works and bring a sense of reality to the cinematic lyrics. On some songs, there’s an eighties influence partly because of the synths and drum machines used. Other songs are irresistibly catchy including the Europop of Kamikaze and the EDM of Silencer. These tracks grab the listener’s attention straight away, and like Fade Away, Delirious and Accelerate were radio friendly. Susanne Sundfør had also written an album that critics received critical acclaim and was called one best albums of 2015. It also found favour with Susanne Sundfør’s many fans.
When Ten Love Songs was released, it topped the Norwegian charts, and was certified gold. Ten Love Songs was Susanne Sundfør’s third consecutive studio album that had reached number one in Norway. In Sweden, Ten Love Songs reached number forty-seven and seventy-eight in Britain. Susanne Sundfør’s music was starting to find a much wider and appreciative audience. They would welcome Susanne Sundfør’s fifth studio album Music For People In Trouble when it was released.
Music For People In Trouble.
Buoyed by three consecutive number one albums in Norway and a gold disc for Ten Love Songs, Susanne Sundfør decided to begin work on her fifth studio album, and seventh album overall, Music For People In Trouble. It marked another stylistic departure for musical chameleon Susanne Sundfør.
By the time work began on Music For People In Trouble, she had recovered from the making of Ten Love Songs. After the album was completed, Susanne Sundfør was exhausted, anxious, suffering from flu and depressed. However, after some rest and recuperation, and some time travelling the world and had experienced life everywhere from North Korea to the Amazon jungle. After her adventures,
Susanne Sundfør was ready to write and record her fifth album Music For People In Trouble. It was going to be a very different album to its predecessor Ten Love Songs.
Music For People In Trouble was a much easier album for Susanne Sundfør to write. She later said it was the easiest album to write since her 2007 eponymous debut album. Inspiration for the album came from Part of the inspiration for Music For People In Trouble
was Susanne Sundfør’s travels and two books she read during the time she spent writing the album. This included Lawrence M. Krauss’ A Universe From Nothing and Robert Bly’s anthology of poetry News Of The Universe, which was food for thought for Susanne Sundfør.
Some of the songs were written as Susanne Sundfør sat in bed, in her home in Dalston, East London. These were what Susanne Sundfør later called “guitar songs.” After this, Susanne Sundfør headed to Los Angeles where she wrote another two more songs, Good Luck Bad Luck and No One Believes In Love Anymore. Just like the songs that she had written in London, the songs came easy to Susanne Sundfør. They seemed to flow through and out of her as she surveyed the world around her. With two new songs written, Susanne Sundfør returned to London, where she penned Mountaineers. However, Susanne Sundfør’s travels weren’t at an end and she headed to Woodstock, in the outskirts of New York where she wrote Bedtime Stories in a log cabin. The final song that Susanne Sundfør wrote for Music For People In Trouble was The Golden Age, which she recorded with the help of her longterm collaborator Jørgen Træen.
They set out to record a very different album to Ten Love Songs. it saw Susanne Sundfør return to her roots, on album that married art pop and folk. Music For People In Trouble featured stripped back, understated and spartan arrangements, that eschewed the synths and technology of previous albums. By then, Susanne Sundfør admitted she was: “tired of technology”: I wanted to feel like I was a musician again. But also, what I wanted to say needed something organic to convey it.” To create that organic sound, a piano, flute, clarinet and acoustic guitar joined a rhythm section that featured a double bass. Susanne Sundfør was going on an odyssey back to her roots.
Recording of Music For People In Trouble, which was co-produced by Susanne Sundfør and Jørgen Træen, took place at a number of studios. This included Duper Studio, Bergen; NRS Recording Studio in Catskill, New York; Tropical Hi-Fi Studio; Bella Union Studios; Amper Tone Studio and Propeller Music Division, in Oslo. Joining Susanne Sundfør were some talented and versatile musicians. They were occasionally augmented by samples, found sounds and electronic textures. Susanne Sundfør said they: ”take the songs into experimental territory,” such as “trickling water sounds, wiry bleeps and animal peeps.” Some of these were inspired by, and reminded Susanne Sundfør of her recent travels. Other sounds ranged from dry and industrial, to innocent and romantic and played their part in what was a personal, poignant and powerful album from Susanne Sundfør.
Susanne Sundfør’s fifth studio album saw her marry art-pop and folk with avant-garde, country, electronica, experimental, folk, industrial, jazz, musique concrète on Music For People In Trouble. It was a very different album from Ten Love Songs, and another album of grownup music. This was what Susanne Sundfør excelled at. She was a storyteller par excellence who neither shied away from uncomfortable subjects nor controversy on her albums of cerebral and thought-provoking music. That was the case with Music For People In Trouble.
When Music For People In Trouble was released, it went straight to number one in Norway. This was Susanne Sundfør’s fourth consecutive number one album. After a few weeks, Music For People In Trouble had reached 124 in Belgium and ninety-three in Britain. However, an album of the quality of Music For People In Trouble was destined to climb the charts.
Just like Susanne Sundfør’s previous albums, Music For People In Trouble was a carefully crafted album of genre-melting music that featured cerebral and thought-provoking music. It asks a series of questions, and deals with a variety of scenarios and subjects. Some of them will ring true with those that buy the album. They’ll have suffered the same hurt and heartbreak, or feel the same way about love or romance. Similarly, The Sound Of War brings home the seriousness of the current situation, where two megalomaniacs could bring about World War III and oblivion for large parts of the world. Elsewhere on Music For People In Trouble, Susanne Sundfør embarks upon musical experiments, as she embraces avant-garde. This is all part of another album of ambitious and innovative genre-melting album from Susanne Sundfør.
Since releasing her critically acclaimed eponymous debut album, Susanne Sundfør has continued to flits between and fuse musical genres and influences. The result are albums that are quite different as the chameleon-like singer-songwriter continues reinvents her music. It’s a case of expect the unexpected from Susanne Sundfør.
Her more recent album Music For People In Trouble was her most accomplished and gave her fourth consecutive number one studio album in her native Norway. Despite that, Susanne Sundfør is still a relative unknown in Britain and America. However, if this truly talented singer-songwriter continues to release albums of ambitious, atmospheric, beautiful, cinematic, emotive, enchanting and genre-melting music, then commercial success will come her way on both sides of the Atlantic. Especially if Susanne Sundfør continues to release diverse albums where piano led ballads sit side-by-side with epics and more experimental songs that showcase one of Norway’s top singer-songwriters who consistently releases albums of personal, poignant and powerful music.
The Life and Times Of Susanne Sundfør,
THE NON BAND STORY
The Non Band Story.
In the summer of 1978, a musical revolution took place in Japan, which changed music forevermore,..punk. The Japanese punk rockers were christened Tokyo Rockers, and initially were disregarded by the mainstream music industry. Record company executives made the mistake of thinking that the Japanese punk movement was just a passing fad, and that before long, it would be replaced by another musical movement. How wrong they were.
Left to their own devices, a vibrant and thriving underground music scene was born. Over the next few years, the Tokyo Rockers headed to underground clubs, which were similar to the ones frequented by British punks just a couple of years earlier. The Tokyo Rockers saw an eclectic selection of bands ranging from the new punk groups through to avant-garde bands and even on occasions, indie rockers. It was a fascinating scene populated by of independent and individualistic musicians who were keen to make an impression on the audiences. Some bands however, stood out from the crowd, including Maria 023, a male-female duo.
Maria 023 were just one of many bands who had caught the imagination of the Tokyo Rockers. Their lineup featured Genet and the bassist Non. She and Genet released the EP, Maria 023, which was released on Gozira Records in 1978, featured Theme and Human Being with Machine Sex and Face To Face on the B-Side. This was their one and only release, because Maria 023 proved to be a short-lived band.
During the short time that Maria 023 were together, they made a lasting impression on the Tokyo Rockers. Especially Maria 023’s bassist Non, who had come close to becoming a cult figure. However, when Maria 023 split-up, nothing was heard of Non until August 1979.
Non made her comeback at a legendary concert, Drive To 80s. Nobody was aware that Non was about to make her comeback that night, until she took to the stage. Accompanied by just her bass, she stood centre-stage, and sung several new songs during an intense, emotive and highly charged performance. When Non left the stage that night, little did she know that this was the start of a new chapter in her career.
Over the next few months, Non played a series of solo gigs. Non would pitch up at the venue with just her bass, and sing her new songs. By then, she was a talisman figure and role model amongst the female Tokyo Rockers. They admired and were inspired by Non, who they saw as a strong, independent young woman. For many female Tokyo Rockers, Non was everything they wanted to be, if they had been able to cast off their inhibitions. As a solo artist, she was already one of the leading lights of the Japanese punk movement. Soon, though, Non would form a band that would write their way into Japanese musical history…Non Band.
It was almost inevitable that Non would make the move from solo artist to founding her own, new band. Just like many new bands, it took several changes in lineup before they arrived at a settled lineup. By then, the Non Band’s lineup featured drummer Mitsuru Tamagak, bassist Non and Kinosuke Yamagishi who switched between clarinet and violin. This was the classic lineup of the Non Band, and the one that found the group at the peak of their musical powers. However, music was changing within Japan.
By then, the Japanese punk and new wave rock scene was evolving, and moving in a new direction. Many new bands were also being formed, including the second generation of bands. This was similar to what had happened in Britain. Just like in Britain, many new independent labels were also being formed and offered bands, old and new, an outlet for their music. This included Telegraph Records, which had been formed by Jibiky Yuichi in 1981. He then started putting together a distribution network for the records he planed to release.
Ever since forming Telegraph Records, Jibiky Yuichi had been watching the progress of Non Band. He was a fan of their music, and deep down, had always hoped that one day, he would be able to release a Non Band album. However, with so many new independent labels being founded, the best bands could have their pick of labels. The Non Band were one of the best bands, and convincing the Non Band to sign to a relatively new label wasn’t going to be easy.
Jibiky Yuichi proved persuasive and the Non Band eventually signed to Telegraph Records. Having signed a recording contract, the next step was for the Non Band to record their debut album.
Recording began at the Mod Studio, in Tokyo, in October 1981. The Non Band’s lineup featured drummer and percussionist Mitsuru Tamagak, Non who played bass, guitar and added vocals, plus Kinosuke Yamagishi who played clarinet, violin and mandolin. They were augmented by Chiko Hige who played mini keyboards plus Kummy and Mitsuwa who added the chorus. Producing the album was the Non Band, who completed their eponymous debut album in November 1981.
Three months later, and the Non Band and Telegraph Records were preparing to released their eponymous debut album in February 1982. This was step into the unknown for Non Band, while Telegraph Records the album was the label’s fifth release. Unlike most albums being released in 1982, a decision had been made to release Non Band as a ten inch album. It featured six songs from the Non Band, which it was hoped would introduce their music to a wider audience.
Jibiky Yuichi who owned Telegraph Records, knew that at best, a release like Non Band would sell around 1,000 copies. If Non Band sold anything like 1,000 copies the album would be deemed a success. When Non Band was released, the album surpassed even Jibiky Yuichi’s expectations. After repressing Non Band several times, the numbers were added up, and Jibiky Yuichi announced that the album had sold 2,000 copies. Non Band had a hit album on their hands. Soon, their popularity soared and Non Band was receiving critically acclaimed reviews. Thirty-five years later, and Non Band is a genre classic.
Although Non Band were primarily a punk group, their eponymous debut album was much more than a punk album. There were elements of the post punk and new wave sounds, and occasional diversions into funk, free jazz, traditional Japanese music and even some poppy hooks. Very occasionally, Non Band took on a jazz and experimental sound and headed in the direction of avant-garde. Mostly, Non Band evokes the spirit of ’78, when the punk arrived in Japan. However, music had changed by late 1981 when Non Band was recorded, and this explains why it’s such a genre-melting album. Non Band was much more than a punk album, that launched the career of punk pioneers Non Group.
Following the success of Non Band, it was a case of hail the conquering heroes when the group took to the stage. By then, Non Band’s lineup had been expanded when two female rockers joined the group. Guitarist Kummy and keyboardist Mitsuwa joined Non Band at what proved to be the peak of their powers.
Everyone within the Tokyo Rockers’ scene expected the Non Band to go on to even greater success. Non Band was surely, the first of many critically acclaimed albums. Sadly, that wasn’t to be. Six months after the release of the Non Band, the Non Band was no more.
When members of the band departed, Non struggled to find suitable replacements. Eventually, she realised that it was an uphill struggle, and the Non Band disbanded. It was the end of the line for a truly innovative band. They went out at the peak of their powers, unlike some of their British counterparts who in similar circumstances, struggled on and became a parody of their former selves. Not the Non Band. They weren’t going to fade away, and went out at the top.
Non drifted away from the Tokyo Rockers’ scene, and returned home to Hirosaki in the south-west Aomori Prefecture, of Japan. This was the start of another new chapter in Non’s life. She settled down and raised two children, and eventually, took over the running of the family business. The former Tokyo Rocker now found herself running an arts supplies business. While she was happy in her new life, it was almost inevitable that Non would one day, contemplate a comeback.
It wasn’t until 1999 that Non started to think about her former life as a musician. She realised that she missed music, and began putting plans in place for the second coming of Non.
Twenty years after her triumphant comeback at Drive To 80s in August 1979, Non went in search of like-minded musicians. She found Keiji Haino and Tatsuya Yoshida, who Non invited to her home in Hirosaki. They began playing live together, and sometimes, Non played solo gigs. The second coming of Non was well underway.
For Non it was a new chapter in a story that started over twenty years earlier. However, it was a story that would run and run.
Non returned to Tokyo, where she had made her name in the late-seventies, but this time as a solo artist. Fans of the Non Band awaited her first appearance in Tokyo in two decades. As Non took to the stage, she was welcomed by fans old and new. It was a triumphant return, and Non’s comeback was almost complete.
The only thing that Non still had to do was release her debut solo album. That came in 2002, when Non released her much-anticipated debut album Ie. It received praise and plaudits, thanks to songs like Vagabond, Love Song and OK Song. Non’s comeback was complete. However, now that Non was back, she was here to stay, she was about to hatch a new plan.
Despite establishing herself as a successful solo artist, Non had unfinished business from twenty years ago. She decided it was time to make two phone calls. However, she didn’t know what response she would receive when she called Mitsuru Tamagak and Kinosuke Yamagishi. They were pleased to hear from Non, and agreed to reform the Non Band.
Just like their final performances in 1982, the original trio was expanded, with accordionist Emi Sasaki joining the Non Band. The newly expanded lineup of the Non Band booked a few comeback gigs, after twenty years away.
When the Non Band played their comeback gigs after twenty years away, it was to a wider fan-base. Since the Non Band had been away, a new generation had discovered their eponymous debut album. It was now a genre classic, that had won over two generations of music fans. These fans flocked to see the Non Band when they hit the comeback trail. They noticed that the Non Band had matured as musicians and as a group. The Non Band played with the same power, passion and intensity, and dazzled fans old and new during their comeback gigs. For the Non Band, their comeback had been a huge success.
After the comeback gigs, the Non Band decided that they were back for good. There was a caveat though. They weren’t going to embark on gruelling tours each year, and instead, would play just a few gigs each years. This was what the Non Band have been doing ever since, and in 2012, a live album Non Band Liven’ 2009-2012 was issued on Jibiky Yuichi’s Telegraph Records which had also made a comeback. The release of Non Band Liven’ 2009-2012 was a reminder of just how good a live band the Non Band were.
While the Non Band continued to play a few gigs each year, Non continued to work as a solo artist, and in 2014, self-released her long-awaited sophomore album Non Solo Song Book. It featured seventeen new songs, including Earth Song, ほいかん and 善でも悪でもない精霊 which featured the All Aomori Survivors, who had all survived the 2011 tsunami. They played their part in the sound and success of the Non’s sophomore album. When Non Solo Song Book was released in 204, it was welcomed by Non’s fans. So would another album three years later.
Nowadays, interest in the Non Band is greater than ever. Especially, their eponymous debut album Non Band which is a groundbreaking timeless genre classic and is the first chapter in the Non Band story which began forty-one years ago in 1978.
The Non Band Story.
CRAIG ARMSTRONG-SUN ON YOU-VINYL.
Craig Armstrong-Sun On You-Vinyl.
Label: Decca.
Over the past twenty years, Glasgow born Craig Armstrong has been one of the hardest working British composers and is the man many top film directors call when they’re looking for a score to their latest movie. This includes fellow Glaswegian Peter Mullan and Baz Luhrmann, who Craig Armstrong collaborated with and created the score to Moulin Rouge and The Great Gatsby. They’re two of the highest profile projects the quietly spoken fifty-nine year old award-winning composer has worked on during a long and illustrious career.
It began in 1981. after Craig Armstrong graduated from the Royal Academy Of Music in Glasgow, and became the music and dance specialist at Strathclyde Regional Council. A year later, Craig Armstrong joined Midge Ure’s band on his Gift World Tour. This was very different to his previous job was good experience for the twenty-six year old musician and composer.
In 1994, Craig Armstrong was commissioned by the Royal Shakespeare Company to write music for two new productions. This included The Broken Heart and The Tempest which were both directed by Michel Boyd. Craig Armstrong’s spell with the Royal Shakespeare Company ended in 2002, but by then his career was blossoming.
By then, Craig Armstrong was award-winning ssoundtrack composer with a BAFTA, Golden Globe, and American Film Institute Award, as well as World Soundtrack Award and a Golden Satellite Award for Moulin Rouge!. Despite being constantly in demand to score soundtracks and compose for television, Craig Armstrong had always wanted to embark upon a solo career.
This dream came true in February 1998 when Craig Armstrong released The Space Between Us to plaudits and praise. Some four years later he returned with his crucially acclaimed sophomore album As If To Nothing in February 2002. Since then, Craig Armstrong has continued to successfully juggle his solo career and soundtrack work.
That was the case until relatively recently, when the fifty-nine year old decided that after twenty years moving from project to project, the time had come to spend more time with his family and more time making solo albums. This included Sun On You which is Craig Armstrong’s debut album for Decca.
Sun On You finds an older and wiser Craig Armstrong revisit the music of his younger self. It’s an album of what Craig Armstrong regards as his own music.
This might sound like a strange thing to say, but it makes sense to Craig Armstrong and those who have followed his career closely. In the early days of his solo career, Craig Armstrong’s music was inimitable and showcased a talented composer and musician, However, after a few albums, Craig Armstrong started to be influenced by other musicians and bands. This was something has happened to many composers and artists over the years, and some are frustrated by this.
They try to detox their system and rid themselves of all the outside influences that might affect their music. This was what Craig Armstrong decided to do when he wrote and recorded Sun On You.
Having written sixteen tracks that are described as music for piano and strings, Craig Armstrong went back to basics. He played piano and produced on Sun On You, which meant that he had to eschew the impressive array of electronics that surrounded him in his recording studio. In their place was strings that came courtesy of the strings of the Scottish Ensemble. They joined Craig Armstrong at Gorbals Sound Studio, Glasgow, and AIR Studio, in London and recorded what became Sun On You.
Only when Sun On You was completed to Craig Armstrong’s satisfaction did he deliver the album to Decca. His new record won over executives at Decca, and Sun On You was released and marked the start of a new chapter for Craig Armstrong.
Sun On You is a carefully crafted and cinematic album of instrumental music from Craig Armstrong, This comes as no surprise given Craig Armstrong has spent three decades as a soundtrack composer.
The music on Sun On You is also emotive and expressive, and has been inspired by various abstract paintings, including those by Rothco. These paintings provided the inspiration for Craig Armstrong to create an album where as classical and cinematic music melt into one.
In doing so, Craig Armstrong and the string section of the Scottish Ensemble create music that is variously beautiful, cinematic, dramatic elegiac, emotive , ethereal and expressive. The music on Sun On You is also filmic.and sometimes haunting and uplifting on where Craig Armstrong hoes back to basics on an album of organic music.
Unlike previous albums, it’s just a piano and strings that featured on Sun On You, where the older Craig Armstrong seeks inspiration from his younger self on a carefully crafted fusion of filmic and cinematic music where one of Scotland’s leading composers and musicians roll back the years.
Craig Armstrong-Sun On You.
SEUN KUTI-HIS FATHER’S SON MAKING HIS OWN WAY IN MUSIC.
Seun Kuti-His Father’s Son Making His Own Way In Music.
Nowadays, one of the most overused word in the English language is legend, which is bandied about all too freely, with faux punks, third-rate Britpop bands and Beatles impersonators being labelled legends by fawning music journalists who hang on their every word. These bands aren’t worthy of being called legends, and in truth, very few bands or artists can truly be referred to as legends. However, one artist who deserves to be called a legend is the late, great Afrobeat pioneer and human rights and political activist Fela Kuti, who passed away in Lagos, Nigeria, on the ‘2nd’ of August 1997, aged just forty-eight. That day, African music lost one of its greats.
By his death in 1977, Fela Kuti was a truly prolific artist, who had recorded over forty albums,and they were part of the rich musical legacy that he left behind. This included many albums of groundbreaking and timeless music, that nowadays, are regarded as Afrobeat classics. Some of these albums were recorded with his band Egypt 80, and after Fela Kuti’s death, many people wondered what would happen to this talented band?
They never expected Fela Kuti’s youngest son, fourteen year old Seun Kuti to takeover from his father, and lead Egypt 80. For some, this was a totally unexpected development, while others had watched Seun Kuti learn from his father over the past five years.
Seun Kuti was born Oluseun Anikulapo Kuti in Lagos, Nigeria, on the ’11th’ of January 1983, and by the age of nine, told his father Fela Kuti, that he wanted to sing with his band. For Fela Kuti, this was the latest member of his family who was about to follow in his footsteps, and embark upon a musical career in 1992.
By then, Femi Kuti who was the eldest child, was thirty, and already was a successful musician. Seun Kuti knew he had a long way to go before he would enjoy the same success as his brother. That was all in the future, and Seun Kuti was happy to serve his musical apprenticeship singing with Fela Kuti and Egypt 80.
Over the next few years, Seun Kuti went to school during the day, and in the evenings and weekends played live with Fela Kuti and Egypt 80. Seun Kuti soon became a valuable member of Egypt 80, but music wasn’t the only thing that he was good at. He was also a talented schoolboy footballer who many thought had the potential and talent to eventually become a professional player. This meant that Seun Kuti had to choose between football and music. However, there was only one winner, and Seun Kuti decided to continue his musical apprentice and learn from his father who by 1997 was regarded as one of the greatest ever African musicians.
Sadly, Fela Kuti passed away on the ‘2nd’ of August 1997, when Seun Kuti was just fourteen. His death came as a huge shock to his family, and left a massive void including in his band Egypt 80. The big question was it too big a void to fill?
Many thought that nobody could replace Fela Kuti, but not long after his death, his youngest son Seun Kuti decided to become the lead singer of Egypt 80. The fourteen year old was now leading a band full of seasoned musicians who were among the best in Nigeria.
Initially, Seun Kuti and Egypt 80 started playing covers of his father’s music, including songs from his many albums. This was welcomed by the audience, as Fela Kuti had never played songs from his albums live, and when Seun Kuti and Egypt 80 played like Shuffering and Shmiling, Colonial Mentality and Army Arrangement live this was a first. Fela Kuti’s old fans and Seun Kuti’s new fans welcomed the opportunity to hear classic songs and old favourites. Gradually, though, Seun Kuti and Egypt 80 started to introduce new songs into their sets, and over the next two years, the young bandleader honed his songs with a view to recording his debut album.
In 2007, Seun Kuti and Africa released the 12” single Think Africa which marked the debut of the twenty-four year old bandleader. A year later, Seun Kuti and Africa returned with their debut album Many Things in 2008, which was produced by Martin Meissonnier, who had previously produced two albums for Fela Kuti. Many Things was released to plaudits and praise and marked the start of a new chapter in the story of the Kuti musical dynasty.
Nearly three years later, Seun Kuti and Africa returned with their sophomore album From Africa With Fury in April 2011. This time, it was recorded in London with Brian Eno, John Reynolds and Seun Kuti. From Africa With Fury was a powerful and politically charged album from Seun Kuti and Africa, it was released to critical acclaim.
Nine months after the release of From Africa With Fury, Seun Kuti became involved with the Occupy Nigeria protest in his native Nigeria in January 2012. Just like his father, Seun Kuti was already heavily involved and interested in politics and human rights, and protested against the fuel subsidy renewal protest by the Nigerian President Goodluck Jonathan. Seun Kuti was following in his father’s footsteps not just musically, but with his political activism.
Three years ager the release of From Africa With Fury, Seun Kuti and Africa returned with their much-anticipated third album A Long Way To The Beginning. Just like their previous album From Africa With Fury, A Long Way To The Beginning found favour with critics who hailed the album another ambitious and powerful album.
Following A Long Way To The Beginning, Seun Kuti and Africa spent much of the next couple of years touring, but found time to record the Struggle Sounds EP which was released in 2016.
Apart from the Struggle EP, nothing more was heard from Seun Kuti and Africa until 2018 when they returned with their fourth album Egypt Times. It was well worth the wait and is undoubtably the most powerful album that Seun Kuti and Egypt 80 have released. The eight tracks were penned by Seun Kuti and find the thirty-five year turn his attention to the problems facing his native Nigeria. Just like his father Fela Kuti, Seun Kuti is determined to provide a voice for the millions of Nigerians who have none. His way of doing this is through the music on Black Times.
Although it’s nearly four years since Seun Kuti and Egypt 80’s previous album, Black Times was well worth the wait. It’s a powerful and politically charged album that features Seun Kuti and Egypt 80 are in full flight combining Afrobeat, funk, soul and sometimes blues, jazz and rock on eight new songs. These are songs that Seun Kuti’s father Fela Kuti would be proud of, as his son speaks to and for his fellow countryman in his native Nigeria
Thirty-six year old Seun Kuti whose spent the last twenty-two years playing live and recording with Egypt 80, and is following in his father’s footsteps by recording and releasing powerful, politically charged cerebral and thought-provoking that provides a voice for those who are disadvantaged and disenfranchised.
Seun Kuti-His Father’s Son Making His Own Way In Music.
IRMIN SCHMIDT-FROM CAN TO THE THE SOLO YEARS.
Irmin Schmidt-From Can To The Solo Years.
After eleven years and eleven studio albums, Can called time on their career in 1979. By then, Can were rightly regarded as one of the most innovative bands of the Krautrock era. They had enjoyed an almost unrivalled longevity.
Can were formed in 1968, by Holger Czukay and Irmin Schmidt. Both had been students of Karlheinz Stockhausen and graduated in 1966. By then, Irmin Schmidt was twenty-nine. He born in Berlin on 29th May 1937, and grew up playing piano and organ. Soon, it was apparent that he was a talented musician. So it came as no surprise that Irmin headed to the conservatorium in Dortmund, to study music. This was just the start of Irmin’s studies.
From there, Irmin moved to Folkwang University of the Arts in Essen, before moving to Austria, and the Mozarteum University of Salzburg. The final part of Irmin’s musical education took place in Cologne, where Irmin met Holger.
The two future founding members of Can were studying composition under Karlheinz Stockhausen at the Cologne Courses For New Music. Between 1962 and 1966, Irmin and Holger studied composition. However, after they graduated, their lives headed in different directions.
Holger Czukay became a music teacher, and began a career educating a new generation of young Germans. Meanwhile, Irmnin Scmidt headed to New York.
During his time in New York, Irmnin Scmidt spent time with avant-garde musicians like Steve Reich, Terry Riley and La Monte Young. Soon, Irmin Scmidt was aware of Andy Warhol and Velvet Underground. This inspired him to form his own band when he returned home to Cologne.
By the time Irmin Scmidt returned home, Holger Czukay what he described to me “as a life-changing moment…the music of the past and present came together.” At last, “here was music that made the connection between what I’d studied and I was striving towards” With the innovative use of bursts of radio and the experimental sound and structure, “I went in search of similar music.”
He found Velvet Underground. Holger remembers Velvet Underground when he first heard them. “They were different…and really influential.” They influenced the music I made. This would include the music Holger Czukay made with Can.
When Irmin Scmidt returned home, he decided to form a band with his old friend Holger Czukay. So in Cologne in 1968, Can was born.
Pianist and organist Irmin Scmidt formed Can with American avant garde flautist David C. Johnson and bassist Holger Czukay. Up until then, the trio had exclusively played avant-garde classical music. Now their ambitions lay beyond that. Their influences included garage, rock, psychedelia, soul and funk. So they brought onboard three new members of the group, which started life as Inner Space, and then became The Can. Eventually, they settled on Can, an acronym of communism, anarchy, nihilism
The first two new additions were guitarist Michael Karoli and drummer Jaki Liebezeit. Vocalist and New York-based sculptor Malcolm Mooney joined the band midway through 1968. By then, they were recording material for an album Prepare To Meet Thy Pnoom. Two tracks, Father Cannot Yell and Outside My Door were already recorded. Unfortunately, record companies weren’t interested in Prepare To Meet Thy Pnoom. As a result, it wasn’t released until 1981, when it was released as Delay 1968. Undeterred, Can continued to record what became their debut album, Monster Movie.
Despite not being able to interest a record company in Prepare To Meet Thy Pnoom, Can were confident in their own ability. So Can continued recording what would become their debut album Monster Movies. However, soon, there was a problem.
David C. Johnson left Can at the end of 1968. He was disappointed at the change in musical direction. Little did he realise that he’d lost the chance to be part of one of the most groundbreaking band’s in musical history, Can.
Monster Movie.
Monster Movie had been recorded in Schloss Nörvenich, a 14th-century castle in North Rhine-Westphalia. Can recorded Monster Movie between 1968-69. It was the released in August 1969. This marked the debut of Can. Their career started as they meant to go on. A groundbreaking, genre-melting fusion of blues, free jazz, psychedelia, rock and world music, Monster Movies has a Velvet Underground influence. It’s as if Can have been inspired by Velvet Underground and pushed musical boundaries to their limits.
Throughout Monster Movie, Can improvised, innovated and experimented. Multilayering and editing played an important part in Monster Movie’s avant garde sound. So did spontaneous composition, which Can pioneered.
Spontaneous composition was hugely important in Can’s success. Holger Czukay remembers “that the members of Can were always ready to record. They didn’t take time to think. It was spontaneous. The music flowed through them and out of them.” Holger remembers that he was always “given the job of pressing the record button. This was a big responsibility as the fear was failing to record something we could never recreate.” In some ways, Can were an outlet for this outpouring of creativity, which gave birth to a new musical genre.
This new musical genre was dubbed Krautrock by the British music press. So not only was Monster Movie the album that launched Can’s career, but saw a new musical genre, Krautrock coined. The founding father’s of Krautrock were Can.
Soundtracks.
Released in 1970, Soundtracks, was Can’s sophomore album. Essentially, Soundtracks is a compilation of tracks Can wrote for the soundtracks to various films. It’s the album that marked the departure of vocalist Malcolm Mooney. Replacing him, was Japanese busker, Kenji Damo Suzuki. He features on five of the tracks, contributing percussion and vocals. The addition of Damo wasn’t the only change Can were making.
Soundtracks was a coming of age for Can. It marked a move away from the psychedelic jams of Monster Movie and a move towards their classic sound. That saw the music becoming much more experimental and avant-garde. The music took an ambient, meditative, mesmeric and thoughtful sound. This marked the beginning of what became known as Can’s classic years, when albums like Tago Mago, Ege Bamyasi and Future Days were released.
Tago Mago.
The first instalment in the golden quartet was Tago Mago. This was the first album where Kenji Damo Suzuki was a permanent member of Can. He and the rest of Can spent a year in the castle in Schloss Nörvenich. It was owned by an art collector named Mr. Vohwinkel. He allowed Can to stay at Schloss Nörvenich rent free. For what Holger described as “a poor man’s band,” this was perfect.
Holger remembers Can during this year as “just jamming and seeing what took shape. Songs started as lengthy jams and improvised pieces.” This Holger says “how Can always worked” After that, Holger edited the songs which became and the mini masterpieces featured on Tago Mago, which was four months in the making.
For four months between November 1970 and February 1971, Can recorded what would become one of their most innovative and influential albums, Tago Mago.
A double album, it featured seven groundbreaking tracks. Tago Mago was released in February 1971. Straight away, critics realised the importance of Tago Mago. Here was a game-changer of an album. It has an intensity that other albums released in 1971 lacked. Jazzier with an experimental sound, the music is mysterious, mesmeric and multilayered. It’s innovative, with genres and influences melting into one. Nuances, subtleties and surprises reveal themselves. No wonder. Can deliver an avant garde masterclass.
This comes courtesy of jazz-tinged drumming, improvised guitar playing and showboating keyboard solos. Then there was Kenji Damo Suzuki’s unique vocal style. All this, resulted in an album that was critically acclaimed, influential and innovative.
Released to widespread critical acclaim in 1971, Tago Mago was the start of a golden period for Can. Their reputation as one of the most innovative groups of the seventies started to take shape. Can had released one of the most innovative albums, Tago Mago. Holger remembers the reaction to Tago Mago. “I knew Tago Mago was an innovative album, but I never realised just how innovative an album it would become?
On Tago Mago’s release, it was hailed as their best album yet. Since then, several generations of musicians have been inspired by Tago Mago, a true Magnus Opus, that belongs in every record collection. So does the followup Ege Bamyasi.
Ege Bamyasi.
Can were on a roll. It seemed they could do no wrong. They released Spoon as a single in 1972. It reached number six in Germany, selling over 300,000 copies. That was helped no end, by the single being used as the theme to a German thriller Das Messer. It seemed nothing could go wrong for Can. The money the made from Spoon, allowed Can to hire disused cinema to record what became Ege Bamyasi.
Can adverted for a space to record their next album, Ege Bamyasi. Recording began in a disused cinema, which doubled as a recording studio and living space. The sessions at Inner Space Studio, in Weilerswist, near Cologne didn’t go well. Irmin Schmidt and Kenji Damo Suzuki took to playing marathon chess sessions. As a result, Can hadn’t enough material for an album. This resulted in Can having to work frantically to complete Ege Bamyasi. Despite this, Can were still short of material. So Spoon was added and Ege Bamyasi was completed.
Ege Bamyasi was a fusion of musical genres. Everything from jazz, ambient, world music, psychedelia, rock and electronica melted into one. When it was Ege Bamyasi released in November 1972, it was to the same critical acclaim as previous albums. Critics were won over by Can’s fourth album. It was perceived as a more accessible album than its predecessors. Just like Can’s previous albums, the quality of music was consistent.
Critics hailed Can as one of the few bands capable of creating consistent and pioneering albums. They were one of the most exciting bands of the early seventies. Can were continuing to innovate and influence musicians and music lovers alike. Just like its predecessor, Tago Mago, Ege Bamyasi is an essential part of any self respecting record collection. Having released two consecutive classic albums and their first single, it seemed nothing could go wrong for Can.
Future Days.
Despite Tago Mago and Ege Bamyasi being referred to as two of the most influential albums ever released, Holger Czukay prefers Future Days. This is the album he calls “my favourite Can album.” It was the third in Can’s golden quartet, and marked a change in direction from Can.
Future Days saw Can’s music head in the direction of ambient music. The music is atmospheric, dreamy, ethereal, melancholy, expansive and full of captivating, mesmeric rhythms. It’s also pioneering and progressive, with elements of avant garde, experimental, psychedelia and rock melting into one. Rather than songs, soundscapes describes the four tracks. Future Days and Bel Air showcase Can’s new sound. Bel Air was the Future Day’s epic. It lasted just over nineteen minutes, and sees can take you on an enthralling musical journey. Just like the rest of Future Days, critics hailed the album a classic.
On its release in August 1973, Future Days was hailed a classic by music critics. The move towards ambient music may have surprised some Can fans. However, Brian Eno was just one artist pioneering ambient music. This move towards ambient music must have pleased Holger’s guru Karlheinz Stockhausen. He must have looked on proudly as Can released the third of a quartet of classic albums. The final album in this quartet, Soon Over Babaluma was released in 1974.
Soon Over Babaluma,
Soon Over Babaluma marked the end of Can’s golden period. It was the end of a period where they were releasing some of their most innovative and groundbreaking music. There was a change of direction on Soon Over Babaluma. Can were without a vocalist. Kenji Damo Suzuki left Can and married his German girlfriend. He then became a Jehovah’s Witness. Despite the lack of a vocalist, Can continued as a quartet. They released Soon Over Babaluma in November 1974.
When Can released Soon Over Babaluma in November 1974, it received praise from critics. With a myriad of beeps, squeaks and sci-fi sounds, Soon Over Babaluma is like musical journey into another, 21st Century dimension. A musical tapestry where layers of music are intertwined during five tracks on Soon Over Babaluma. It followed in the ambient footsteps of Future Days and brought to a close the most fruitful period of Can’s career. Following the “golden quartet,” Can didn’t go into decline. Instead, Can continued to reinvent themselves and their music.
Landed.
Landed was released in September 1975. It had been recorded between February and April 1972 at Inner Space Studios. Just like previous albums, Can produced Landed. Holger and Tony Robinson mixed the first four tracks at Studio Dierks, Stommeln. The other two tracks were mixed by Holger at Inner Space Studios. These six tracks marked a change of direction from Can.
As well as a change in direction musically, Landed was the first Can album to be released on Virgin Records. Gone is the ambient sound of Soon Over Babaluma. Only Unfinished on Landed has an ambient influence. Instead, Landed has a poppy, sometimes glam influence. With uptempo, shorter songs, Landed was a much more traditional album. How would the critics react?
Critics were divided about Landed. Some critics saw Landed as the next chapter in the Can story, while others praised the album as adventurous, eclectic and innovative. Others thought Can were conforming. Surely not?
Flow Motion.
Flow Motion was Can’s eight album. As usual, it was recorded at Inner Space Studios. Produced by Can, Flow Motion was an album that drew inspiration from everything from funk, reggae, rock and jazz. It was an eclectic, genre-melting album. It’s also one of Holger Czukay’s favourite Can albums.
Holger remembers Flow Motion as an “Innovative and eclectic” album. He calls it “one of Can’s underrated albums,” Flow Motion marked a another change in Can’s way of working.
Released in October 1976, Flow Motion featured lyrics written by Peter Gilmour. This was a first. Never before, had anyone outside the band had written for Can. It worked. Can enjoyed their first UK single I Want More. It would later be recorded Fini Tribe and then Italo disco group Galaxis. With what was just their second hit single in seven years, maybe Can were about to make a commercial breakthrough?
Saw Delight.
Sadly, that wasn’t to be. Saw Delight which was released in March 1977, wasn’t the commercial success many people forecast. That’s despite the new lineup of Can embracing world music.
Joining Can were bassist Rosko Gee and percussionist and vocalist Rebop Kwaku Baah. They’d previously been members of British rock band Traffic. Rosko Gee replaced Holger on bass. Holger decided to add a percussive element, Holger added a myriad of sound-effects. This was Holger at his groundbreaking best. Experimental sounds including a wave receiver was used. The result was one of the most ambitious albums can had released.
Despite the all-star lineup and a bold, progressive and experimental album, Saw Delight wasn’t a commercial success. It was well received by critics. The problem was, Saw Delight was way ahead of its time. If it had been released in the eighties, like albums by Paul Simon or Peter Gabriel, it would’ve been a bigger commercial success. Sadly, by then Can would be no more. That was still to come. However, things weren’t well within the Can camp.
Out Of Reach.
Nine years after Can had released their debut album Monster Movie, they released their tenth album, Out Of Reach. It was released in July 1978. The title proved to be a prophetic. After all, commercial success always seemed to elude Can. Not only did Out Of Reach fail commercially, but the Out Of Reach proved to be Can’s most controversial album.
So much so, that they disowned Out Of Reach. On Out Of Reach Holger was left to add myriad of sound-effects. Bassist Rosko Gee and percussionist Rebop Kwaku Baah of Traffic returned. They were part of the problem. Holger confirms this.
When I asked him what he meant by this, he said “During the recording of Out Of Reach, I felt an outsider in my own group. I was on the outside looking in. I was on the margins. All I was doing was add sound-effects.” For Holger, he felt his group had been hijacked by Rosko Gee and and Rebop Kwaku Baah. Things got so bad, that Holger quit Can.
Rosko Gee and Rebop Kwaku Baah dominated Out Of Reach. Gone was the loose, free-flowing style of previous albums. Even Jaki Liebezeit’s play second fiddle to Baah’s overpowering percussive sounds. The only positive thing was a guitar masterclass from Michael Karoli. Apart from this, things weren’t looking good for Can. It was about to get worse though.
The critics rounded on Out Of Reach. They found very little merit in Out Of Reach. Gee and Baah were rightly blamed for the album’s failure. Even Can disliked Out Of Reach. They later disowned Out Of Reach. Despite this, Rosko Gee and and Rebop Kwaku Baah remained members of Can.
Unable to play with the necessary freedom Can were famed for, the two ex-members of Traffic stifled Can. Rebop’s percussion overpowers Jaki’s drums, which have always been part of Can’s trademark sound. At least Michael’s virtuoso guitar solos are a reminder of classic Can. A nod towards Carlos Santana, they showed Can were still capable of moments of genius. There wouldn’t be many more of these. Can would breakup after their next album.
Can.
Following the failure of Out Of Reach, the members of Can began recording what became Can. Remarkably, Rosko Gee and Rebop Kwaku Baah were still part of Can. Sadly, Holger was not longer a member of Can. He’d left during the making of Out Of Reach. His only involvement was editing Can.
Can, which is sometimes referred to as Inner Space, was released in July 1979. Again, critics weren’t impressed by Can. It received mixed reviews. No longer were Can the critic’s darlings. The music on Can was a fusion of avant garde, electronica, experimental, psychedelia and rock. Add to that, a myriad of effects including distortion and feedback, and here was an album that divided the opinion of critics. The critics agreed, it was better than Out Of Reach. They agreed that Holger was sadly missed.
Even Holger’s renowned editing skills couldn’t save Can. Try as he may, he could only work with what he was given. He did his best with Can, which the eleventh album from the group he co-founded. By the time Can was released, Holger “had come to a realisation, that it was time to go his own way.” Holger describes this as “necessary.”
Can had split-up after the release of Can. That was their swan-song. However, even before that, Holger “felt marginalised, this had been the case since Rosko Gee and Rebop Kwaku Baah became part of Can. They’d hijacked Can.” This lead to the death of a great and innovative band.
With Can now part of musical history, Irmin Schmidt, Holger Czukay, Michael Karoli and Jaki Liebezeit set about reinventing themselves. Music critics wondered whether they would form new bands or embark upon solo careers? Irmin Schmidt, Holger Czukay and Michael Karoli all embarked upon solo careers. The most prolific of the trio was Irmin Schmidt.
Since Can disbanded in 1979, Irmin Schmidt has established a reputation as the most prolific former member of Can. Irmin has written the scores for over 100 films and television programs. Some of this music features in the recently released Irmin Schmidt box set Electro Violet. This twelve disc box set, which was recently released by Mute, features not just the five volumes of the Filmmusik Anthology, but a previously unreleased sixth volume. Then there’s Irmin Schmidt’s first four solo albums, 1981s Toy Planet, 1987s Musk At Dusk and 1991s Impossible Holidays. Then there’s Irmin Schmidt’s two collaborations with Kumo, 2001s Master Of Confusion and 2008s Axolotl Eyes. The final disc in the Electro Violet box set is opera Gormenghast, which was released in 2000, and was based on Mervyn Peake’s classic novel. Gormenghast shows the versatility of Irmin Schmidt, the classically trained musician who become part of Can, one of the most successful bands of the twentieth century. Sadly, by 1980, Can was history, and it was a brave new world for Irmin Schmidt.
Filmmusik.
Just a year after Can released their swan-song, Irmin Schmidt released the first volume in his Filmmusik series. This eight track compilation, was an introduction to the music Irmin had been writing for film and television. It would become a popular, and much anticipated series, which introduced many people to Irmin’s solo music. On the first volume of Filmmusik, Irmin was joined by old friends and some new names.
Among the old friends, was Can guitarist Michael Karoli. He featured on the eight minute, cinematic epic Im Herzen Des Hurrican (Verfolgung) and Im Herzen Des Hurrican (No. 5). Michael Karoli played his part in the success of Filmmusik. So did what was a new name to many Can fans was tenor saxophonist Bruno Spoerri.
He had been making electronic music since 1965, and by 1980, the forty-five year old, was running his own studio in Zurich. This was Studio Für Elektronische Musik Spoerri, where some of the Filmmusik sessions took place. Most of the recording of Filmmusik took place at Can’s Inner Space Studio, near Cologne. This had been where Can recorded some of the best music of their career. It would be no different for Irmin Scmidt.
While the cinematic sound of Filmmusik was very different to the music Can had been releasing, it showed just how versatile a composer and musician Irmin was. He had created eight tracks that were evocative, and had the ability to paint picture’s. This was important for anyone composing music for film and television. It looked like Irmin Schmidt had a big future ahead of him. He had stepped out of the shadow of Can and was about to enjoy his moment in the spotlight.
Filmmusik Volume 2.
So much so, that Irmin Schmidt released two albums during 1981. This included Filmmusik Volume 2. By then, Irmin was forging a reputation as the go-to-guy for anyone looking for a soundtrack to a film or television series in Germany. Eventually, Irmin would write over 100 scores. However, in 1981, his career was in its early days.
On Filmmusik Volume 2, it’s akin to Can reunion. Guitarist Michael Karoli and drummer Jaki Liebezeit feature on Endstation Freiheit-Titelmusik, Endstation Freiheit-Loony’s Walk and on Endstation Freiheit-Decision. So does bassist Rosko Gee. He’s replaced by Holger Czukay on Flächenbrand-Lurk and Flächenbrand-Titelmusik. Then on Die Heimsuchung Des Assistenten Jung-Man On Fire, Jaki Liebezeit added percussion. It seemed that the former bandmates were still friendly, and were happy to play on each other’s albums. Maybe, Can weren’t history after all?
That’s what some critics remarked when they saw the credits to Filmmusik Volume 2. With its all-star cast, it was a tantalising prospect. The critics weren’t disappointed when they heard Filmmusik Volume 2. It seemed Irmin Scmit was playing his part in reinventing what a soundtrack should sound like. He was just one of a new breed of composers determined to do so. However, Irmin wasn’t content to just write soundtracks. A solo career beckoned.
Toy Planet.
Irmin Schmidt also wanted to enjoy a solo career. This could run in parallel with his career composing soundtracks. For his debut solo album, Irmin Schmidt decided to collaborate with Bruno Spoerri, on what became Toy Planet.,
Zurich based Bruno Spoerri was two years older than Irmin. Bruno had been a pioneer of electronic music since 1965. Back then, Irmin was still studying under Karlheinz Stockhausen. However, within two years, he would be embracing new, experimental music in New York. That was sixteen years ago. Now Irmin Schmidt was regarded as a musical innovator and pioneer. His debut album would be much anticipated.
Critics and record buyers weren’t disappointed when Toy Story was released in 1981. It’s best described as a genre-melting opus. Everything from ambient, jazz and electronica, combines with rock and classical and psychedelia. There’s even a nod to the Berlin School, progressive rock and Phillip Glass, as a myriad of sounds assail you. Listening intently, instruments and sounds flit in and out. Sometimes, you question what you heard? Were there birds and a variety of animal noises on The Seven Game? Then on the title-track, futuristic and otherworldly describes what can be a haunting track. What follows is a minor musical masterpiece, which sadly, has been overlooked by the majority of music lovers since its release in 1981. Those that bought Toy Planet, eagerly awaited the followup.
Rote Erde.
It was a long time coming. Four years to be precise. To record buyers, it seemed that Irmin Schmidt was in no hurry to release the followup to Toy Planet. That wasn’t the case.
Instead, he was just incredibly busy. Irmin had been commissioned to compose the soundtrack to Rote Erde. It was released in 1983, and featured Michael Karoli and a former member of Can, David Johnson. Rote Erde, a journey through art rock and electronica, would give Irmin Schmidt’s fans something to listen to, while he continued to work on his burgeoning soundtrack career.
Filmmuzik Volumes 3 and 4.
Proof of this, was the release of Filmmuzik Volumes 3 and 4. This double album featured another twelve tracks Irmin Scmidt had written for film and television. On some of the tracks, Irmin was joined by Michael Karoli and Jaki Liebezeit. Only Holger Czukay was missing from what would’ve been a Can reunion.
On the twelve tracks on Filmmuzik Volumes 3 and 4, Irmin Schmidt shows his versatility, as stylistically, the music shifts between disparate genres. This includes everything from classical and experimental, to jazz and rock. With a tight, talented and hugely experienced band for company, Irmin provided the soundtrack German film and television. Again, for many younger viewers, this would be their first exposure with Irmin Schmidt’s music. Given the quality of music on Filmmuzik Volumes 3 and 4, it wouldn’t be their last.
Mostly, the reviews of Filmmuzik Volumes 3 and 4 were positive. That had been the case throughout Irmin Schmidt’s career. He hadn’t released a disappointing album. However, most of Irmin’s albums had either been compilations or soundtracks. They hadn’t sold in vast quantities. It seemed that Irmin Schmidt had a small, but loyal following. However, with every release, Irmin Schmidt’s music seemed to be finding a wider audience. Maybe the release of his sophomore solo album Musk At Dusk would result in Irmin Schmidt’s music reaching a much wider audience?
Musk At Dusk.
That should’ve been the case. Can had reunited in 1986. The first Can reunion had been a success. Now Irmin Scmidt was ready to begin work on his second solo album, Musk At Dusk, some familiar faces were present. This included Michael Karoli and Jaki Liebezeit.
Only Michael Karoli had released a solo album, Deluge, his 1984 collaboration with Polly Eltes. Jaki Liebezeit was content to work as a hired gun, playing on other artist’s albums. This included Holger Czukay and Irmin Schmidt’s albums. They were fortunate to have one of the top German drummers of Krautrock era providing the heartbeat to their albums.
That was the case on Musk At Dusk. It was another stylistically eclectic album. Elements of ambient, electronica, jazz, lounge and even progressive rock shawn through, on what was another ambitious, captivating and innovative solo album from Irmin Schmidt.
Critics agreed when Musk At Dusk was released. Irmin Scmidt seemed determined to reinvent himself on the long-awaited followup to Toy Planet. Six years after the release of Toy Planet, Musk At Dusk was released in 1987.
Sadly, Musk At Dusk wasn’t a huge commercial success. A small crumb of comfort was that gradually, word seemed to be spreading about Irmin Schmidt’s music. Meanwhile, Kraftwerk were enjoying commercial success and critical acclaim. They seemed unable to do no wrong. This must have been frustrating for Irmin, whose music was no nearer to reaching a wider audience. Aged fifty, he was still regarded as an underground artist. So, Irmin Schmidt returned to composing music for film and television.
Filmmuzik Volume 5.
Two years after the release of Musk At Dusk, Irmin Schmidt released Filmmuzik Volume 5. By then, the Filmmusik series was becoming a much anticipated and highly regarded series. It showcased Irmin’s music to many people who had neither seen the films nor television programs it featured in. Back in 1989, satellite television was in its infancy.
Filmmuzik Volume 5 featured another eight eclectic tracks. Again, the Can connection was strong. Drummer Jaki Liebezeit played on Zu Nah Dran. This was the only track to feature drums. Guitarost Michael Karoli featured on Mountain Way, Rita’s Tune, Bohemian Step, Geld and Geister and Zocker. These tracks featured on an album veered between cinematic, electronic and rocky. Just like the previous volumes in the Filmmuzik series, it caught the imagination of critics and record buyers.
It didn’t matter that many of the people buying Filmmuzik Volume 5 had neither seen the films, nor television programs they were taken from. The tracks worked as standalone pieces of music. Critics agreed. They felt Irmin Scmidt was maturing as a composer with each instalment in the Filmmuzik series. Those that bought Filmmuzik Volume 5 agreed, and eagerly awaited the next instalment in this popular series. Little did they know, they would have to wait twenty-six years.
Impossible Holidays.
By 1991, Can were back on the comeback trail. This was their second reunion. Can’s popularity had grown since their last reunion in 1986. Never before, had Can been as popular. They were somewhat belatedly receiving the plaudits they so richly deserved. The Can reunion was part of one of the busiest years of Irmin Schmidt’s recent career.
Still Irmin Schmidt was busy composing music for films and television programs. Four years had passed since Irmin had released a solo album. Critics and record buyers wondered when the followup to 1987s Musk At Dusk would be released?
Little did they realise that in studios in Nice, Paris, Berin and Cologne, Irmin Schmidt had been working on his long-awaited, and much-anticipated third solo album, Impossible Holidays.
For Impossible Holidays, Irmin Schmidt worked with lyricist Duncan Fallowell. Gradually, Irmin’s third solo album Impossible Holidays began to take shape. Once the lyrics and music were written, Impossible Holidays was recorded at various studios in France and Germany.
When work began on Impossible Holidays, two familiar faces were present. Can drummer Jaki Liebezeit and guitarist Michael Karoli. Bassist Franck Ema-Otu, a long term collaborator of Irmin Schmidt was present. He had also played on Michael Karoli’s 1984 debut solo album Deluge. Along with backing vocalists and session players, Irmin and co-producer Gareth Jones recorded Impossible Holidays. This they hoped would be Irmin’s breakthrough solo album.
Impossible Holidays was released in 1991, when Irmin Scmidt was fifty-five. He was approaching veteran status, and was regarded as one of the finest German composers of soundtracks for film and television programs. However, Irmin’s solo career had proved disappointing. He had released a two critically acclaimed solo albums. Sadly, neither Toy Planet nor Musk At Dusk had been sold in vast quantities. Maybe Impossible Holidays would be a game-changer for Irmin Schmidt?
When Impossible Holidays was released, reviews were positive. Irmin Schmidt was regarded as one of the grand old men of Germen music. However, he was still regarded as an innovator, and someone who was capable of releasing ambitious, groundbreaking music. Impossible Holidays was no different.
Elements of avant garde, electronica, Krautrock and rock could be heard on Impossible Holidays. So could something that no previous Irmin Schmidt solo album featured…lyrics. They came courtesy of Irmin, while Claudia Stülpner, Gitte Haenning and Özay Fecht added backing vocals. Despite these stylistic changes, Impossible Holidays didn’t sell in huge quantities. While more people had discovered Impossible Holidays, Irmin Schmidt was still one of music’s best kept secrets.
Masters Of Confusion.
Just a year after the release of Gormenghast, Irmin Schmidt returned with Masters Of Confusion, his first collaboration with Kuno. Irmin had met Kuno when recording Gormenghast.
Kuno was none other that Jono Podmore, who co-produced Gormenghast with Irmin. Just like Irmin, Jono was a musical adventurer. He had released two solo albums, 1997s Kaminari and 2000s 1+1=1. It was an album of drum ’n’ bass, which was released by Mute, the same label that Irmin was signed to. After the release of Gormenghast, Irmin and Kuno decided to collaborate. The result was Masters Of Confusion.
When Masters Of Confusion was released in 2001, critics were aghast. They couldn’t help but admire Irmin Schmidt’s ambition and bravery. Masters Of Confusion was totally unlike anything that Irmin Schmidt had released in a career spanning five decades. He had taken a huge leap of faith, which was rewarded when a new generation of music lovers embraced Masters Of Confusion, a journey through drum ’n’ bass, ambient and experimental music. Suddenly, Irmin Schmidt was the toast of dance-floors in clubs across Europe. So Irmin Schmidt and Kuno returned with the followup Axolotl Eyes. This however, took time.
Axolotl Eyes.
Seven years passed before Irmin Schmidt and Kuno returned with the followup Axolotl Eyes. It was released in 2008, and just like Masters Of Confusion, was an eclectic album.
Irmin Schmidt and Kuno took listeners on a roller coaster journey through avant garde, cinematic, dark ambient, experimental and even Krautrock. This was a return to Irmin’s musical roots, and the glory days of Can. That was fitting
Since the release of Masters Of Confusion in 2001, Can guitarist Michael Karoli was dead. Irmin’s longtime collaborator and friend, had died on 17th November 2001 in Essen, Germany. It seemed fitting that Irmin Schmidt and Kuno revisited Krautrock on Axolotl Eyes.
When Axolotl Eyes was released in 2008, seven years had passed since Masters Of Confusion took dance-floors by storm. Seven years is a long time in dance music. During that period, genres came and went. Luckily, Axolotl Eyes wasn’t a remake of Masters Of Confusion. Far from it.
Axolotl Eyes was hailed an ambitious and groundbreaking album. It was released to critical acclaim. Partly, this was because Irmin Schmidt was never determined to stand still. Constantly, he was looking to reinvent his music. He had never released the same album twice, and wasn’t going to start after five decades.
Filmmusik Volume 6.
Since the release of Axolotl Eyes in 2008, Irmin Schmidt has been busy. He provided the soundtrack to Wim Wenders’ film Palermo Shooting. It as released in 2008. Then in 2009, Irmin collaborated with Inner Space Production on Kamasutra-Vollendung Der Liebe. Since then, Irmin Schmidt has been kept busy.
He continues to write music for film, theatre and television. As of 2015, Irmin Schmidt had written over 100 film and television soundtracks. This meant there was plenty of material for at least another volume in the Filmmusik series.
Twenty-six years had passed since Irmin Schmidt had released Filmmusik Volume 5 in 1989. Since then, nothing. That was until recently, when Mute announced the release of the twelve disc Electro Violet box set. The good news was, that included in this luxurious and lovingly compiled box set was Filmmusik Volume 6. This brought the story of Irmin Schmidt’s soundtrack career up to date. The seventy-eight year old hasn’t lost his magic touch, and is still able to create music that evocative, emotive and most importantly, cinematic. It helps tell the story. However, the music on Filmmusik Volume 6 works as standalone pieces of music. They feature the same quality that one expects from Irmin Schmidt. That’s not surprising.
Throughout a career that’s spanned five decades, Irmin Schmidt has been regarded as a musical innovator. While that’s an oft-overused word, in the case of Irmin Schmidt, innovator describes one of the greatest musicians of his generation.
He returned in 2018 with a new album 5 Klavierstücke (5 Piano Pieces). The new album saw Irmin Schmidt play two grand pianos, one of which is prepared, the other unprepared. This was something that was taught by another pioneer, John Cage. 5 Klavierstücke welcomed the return of musical pioneer with another album of ambitious and innovative music.
Ambitious and innovative music us what Irmin Schmidt’s has been recording from his days with Can, right through to his solo years and the various collaborations he’s been involved with. Much of Irmin Schmidt’s post-Can career has been spent composing soundtracks for film, theatre and television. A tantalising taste of this can be found on the six volumes of Filmmuzik. That’s not forgetting Irmin’s first three solo albums, 1981s Toy Planet, 1987s Musk At Dusk and 1991s Impossible Holidays. Then the opera Gormenghast, which was released in 2000. It lead to Irmin Schmidt’s two collaborations with Kumo, 2001s Master Of Confusion and 2008s Axolotl Eyes which show different sides to a musical chameleon who has a long and illustrious career.
Through his career Irmin Schmidt has released music that’s ambitious, innovative, inspiring and influential, and Irmin Schmidt is a musical visionary, who as a member of Can, and as a solo artist, has released groundbreaking music that was often, way ahead of the curve.
Irmin Schmidt-From Can To The Solo Years.
THE MURMAIDS-A CASE OF WHAT MIGHT HAVE BEEN?
The Murmaids- A Case Of What Might Have Been?
Sadly, musical history is littered with groups that are remembered as one-hit wonders. Their brush with commercial success may have been brief, but at least they enjoyed a tantalising taste of what some established groups take for granted. As a result, after a group has enjoyed one hit single, they want another. This comes as no surprise.
Commercial success and the fame and money it can sometimes bring, are as powerful as any drug. Once experienced, a group can spend the rest of their career trying to reach the same heights. Sadly, often, they never comes close to enjoying the same success.
Part of the problem is that a second hit single always proves to be tantalizingly just out of reach, and the group is destined to be remembered as a one-hit wonder. That was the case with The Murmaids, who had an enviable musical pedigree.
Two of The Murmaids, sisters Carol and Terry Fischer, came from a family that was steeped in music. The two previous generations of their family had been involved in the music industry all their lives. This included their grandmother and her three sisters, who had been part of a vaudeville act, The Locus Sisters. However, Carol and Terry Fischer’s parents were also steeped in music.
Carl Fischer had been a successful songwriter and arranger who had written You’ve Changed, which was recorded by Billie Holliday. Then during a ten-year period where Carl Fischer was Frankie Laine’s musical director, he wrote the jazz standard We’ll Be Together. Sadly, tragedy struck in 1954 when Carl Fischer died suddenly. With two young daughters to support, Terry Fischer Sr. returned to singing with big bands.
That was what Terry Fischer Sr. had been doing when she had first met Carl Fischer. She had sung with various big bands, and became the first female vocalist in Stan Kenton’s Orchestra. Now after the tragic death of her husband, Terry Fischer Sr. was back singing in the big bands. She was a talented vocalist and managed to pickup where she had left off.
Little did Terry Fischer Sr. know that soon, a third generation of her family would be embarking upon a musical career. However, with such a strong musical pedigree, it was almost inevitable that Carol and Terry Fischer would embark upon a career in music. Music was family business.
Terry Fischer Sr. encouraged and supported her daughters, who were proving to be talented singers. They were active in their school’s glee club, and by high school, were music majors. It was around this time, that Carol and Terry met a young songwriter and producer, Mike Postil.
The future Mike Post had just graduated from Los Angeles University High, and had written some songs. Once he had recorded these songs, he would shop them around town. There was a problem though, Mike Post had nobody to sing backing vocals on his demos.
By 1963, Carol Fischer who was fifteen, and Terry Fischer who was seventeen, were living in Los Angeles. For some time, the sisters had been singing with seventeen year old Sally Gordon, who was a friend and neighbour. With Terry Fischer Sr’s help, they were a polished and professional trio. This was what Mike Post was looking for.
When Mike Post met Carol, Terry and Sally, he knew that he had the backing vocalists that he had been looking for. They sang backing vocals on demos for producer Mike Post. Sometimes, Mike Post would bring them in to add backing vocals on some of his productions at Gold Star Studios. That was where Kim Fowley first came across the trio.
By 1963, producer and songwriter Kim Fowley, who was another alumni of Los Angeles University High, was working at Gold Star Studios as an in-house producer. He had already enjoyed hits with Nut Rocker and Alley Oop. However, the twenty-four year old was keen to forge a career as a producer. That was why he had taken the job at Gold Star Studios.
That was also where Kim Fowley first heard the trio sing. Realising that they were talented, he offered to record them. This was the break the trio had been looking for, and they jumped at what could be a once in a lifetime opportunity.
The trio’s first recording session with Kim Fowley was hardly a resounding success. He had them record a version of Alley Oop, but the song didn’t work. Despite that, Kim Fowley wasn’t going to give-up on the trio.
Fortunately, Kim Fowley encountered a talented, but as yet, unknown singer-songwriter, David Gates. The future founder of Bread was driving along one day, when he saw a hitchhiker. Curiosity got the better of David Gates. He stopped and picked up Kim Fowley.
Soon, the two men got talking, and Kim Fowley volunteered that he was a producer. David Gates told him he was a songwriter, and had written a song for a girl group. He reached into the back seat, and produced a guitar, and proceeded to play Kim Fowley Popsicles and Icicles. When Kim Fowley heard the song, he had David Gates send him a demo, as he had someone in mind for the song.
Originally, Kim Fowley felt Popsicles and Icicles would be perfect for Skip Battin, who previously, had been one half of Skip and Flip. However, Skip Battin passed on the song. It was only Kim Fowley remembered the trio he had recorded at Gold Star Studios.
Kim Fowley even had a label lined up for the song. This was Chattahoochee Records, an imprint of Conte Records. It had been formed by Ruth Conte Yardum, with the help of Kim Fowley. Originally, it was to release singles by actor-singer John Conte. However, Conte Records had a pop imprint, Chattahoochee, which Kim Fowley owned a share in. This was the label Kim Fowley planned to release Popsicles and Icicles on. All he had to do was firstly to convince Ruth Conte Yardum about the merits of his masterplan, and then convince Terry Fischer Sr. that this was the right song for her singing trio.
Eventually, Kim Fowley managed to convince Ruth Conte Yardum that Popsicles and Icicles had the potential to be a hit, and that he could record the single for $100 using three high school students. Now Kim Fowley’s only potential obstacle was Terry Fischer Sr. He had to win her over, and her that Popsicles and Icicles had the potential to be a hit. Only then, could Kim Fowley book time at Gold Star Studios. Now he could concentrate on recording the trio’s debut single. However, the trio needed a name.
When the trio arrived at Gold Star Studios, they were now called The Murmaids. Terry Fischer was The Murmaids’ lead singer, and Carol and Sally would add harmonies. The Murmaids were shown the five tracks that Kim Fowley wanted them to record. This included Blue Dress, Bunny Stomp, Comedy and Tragedy and Huntington Flats. However, one track stood head and shoulders above the rest, the David Gates’ penned Popsicles and Icicles.
Given that funds were limited, it was always going to be touch and go whether The Murmaids could record two tracks in the time allotted. They managed to record Popsicles and Icicles but there was no time left to record a B-Side. This didn’t faze Kim Fowley.
Once Kim Fowley tallied up the costs, it came to $108. He hadn’t quite recorded the single for the $100 he had predicted. However, he was convinced he had a hit on his hands. That was despite not having recorded a B-Side. So Popsicles and Icicles was paired with a surf styled instrumental Bunny Stomp and released in late 1963.
When Popsicles and Icicles was released in early November 1963, straight away, The Murmaids’ debut single was being played on the radio. From 119 in the US Billboard 100 on 9th November 1963, Popsicles and Icicles reached sixteen by the 16th November 1963. Eventually, in the charts of 11th December 1963, Popsicles and Icicles peaked at number three on the US Billboard and Cash Box charts. However, in Record World, Popsicles and Icicles reached number one. Little did The Murmaids realise that Popsicles and Icicles would become their only hit single, and they had just joined the ranks of the one-hit wonders.
For their sophomore single, another David Gates’ composition was chosen, Heartbreak Ahead. On the flip side was He’s Good To Me. Kim Fowley wasn’t going to let the record buying public forget The Murmaids, so released Heartbreak Ahead on Chattahoochee Records whilst Popsicles and Icicles was still in the top thirty. This backfired on Kim Fowley, and Heartbreak Ahead stalled at 116 in the US Billboard 100. After two weeks, at 116 in the US Billboard 100 it was a case of Heartbreak Ahead for The Murmaids.
They were on a roller coaster. Their debut single reached number three in the US Billboard 100, but the followup failed commercially. There was nothing wrong with the song. The Murmaids brought the lyrics to life. Much of the blame lay can be laid at aspiring pop impresario, Kim Fowley’s door.
Heartbreak Ahead was released far too soon, and Suddenly The Murmaids had two singles competing for radio play. Three if The Lady Bugs’ cover of How Do You Do It was counted.
Rather than concentrate his efforts on getting The Murmaids career back on track, Kim Fowley had Carol and Terry Fischer record How Do You Do It with Jackie DeShannon. How Do You Do It had given Gerry and The Pacemakers a number one single. The Lady Bugs version was released in February 1964, but failed to make an impression on the charts. This was a worrying trend.
Later in 1964, The Murmaids released their third single, Wild And Wonderful. It came from the pen of the Brill Building songwriting team of Ben Raleigh and Barkan. They had just written Lesley Gore’s She’s A Fool. For the B-Side, Sam Friedman’s Bull Talk. These two tracks were supposed to get The Murmaids’ career back on track.
On its release, Wild And Wonderful never came close to troubling the charts. Wild And Wonderful became The Murmaids’ second single that had failed to chart. Things weren’t looking good for The Murmaids.
After the success of Popsicles and Icicles, major record labels came knocking on The Murmaids’ door and wanting to buy out their contract with Chattahoochee. Terry Fischer Sr. who was managing the group’s career, decided that they should stay to Ruth Conte Yardum and her Chattahoochee Records. That proved to be a huge mistake.
As the summer of 1964 drew to a close, Terry Fischer and Sally Gordon were about to leave home, and head to college. They needed the royalties from Popsicles and Icicles to pay their way through college. However, the royalties weren’t forthcoming.
This lead to Chattahoochee Records having to circulate a memo to other record labels explaining why The Murmaids hadn’t been paid. The memo explained that the funds in a trust for each member of The Murmaids. However, Chattahoochee Records alleged that the agreement hadn’t been honoured by Terry Fischer Sr; and claimed that Sally Gordon had received her funds. The label further claimed that Terry Fischer Sr. had stipulated she had the final say over the other two members participation in the group. However, even fifty-one years later, some of Chattahooche Records claims are disputed.
Recently, Terry Fischer claimed that when The Murmaids received their first royalty statement; “it showed that we were owed nothing at all!” The expenses charged by Chattahoochee Records amounted to $10,000, exactly the sum The Murmaids were owed. Further muddying the waters, was Kim Fowley’s claim that The Murmaids were in breach of contract for recording with The Rip Chords. However, their producer Terry Melcher disputes this claim. What was clear, was that all wasn’t well with The Murmaids and Chattahoochee Records.
Despite this, Chattahoochee Record decided to reissue Bull Talk. The former B-Side was about to enjoy its moment in the sun. There was a reason for this. Shirley Ellis’ single Name Game was riding high in the charts, and just about to reach the top twenty. By then, teenagers were adding the word “bull” to sentences, so that adults wouldn’t be able to understand what they were saying. Ruth Conte Yardum and Kim Fowley thought they could jump on the “bull” bandwagon, and score a novelty hit. That wasn’t the case. Despite this, ‘aspiring pop impresario’ Kim Fowley had another plan up his sleeve.
He decided to repress Popsicles and Icicles. However, he needed a B-Side, so drafted in five new girls who recorded as The Murmaids. They got to sing on the B-Side Comedy and Tragedy, by agreeing to phone a local radio station, and request Popsicles and Icicles. The song that was chosen was played non-stop for a week. However, Comedy and Tragedy wasn’t the only B-Side to the newly reissued Popsicles and Icicles.
When Popsicles and Icicles began garnering more radio play, three other versions of the single were pressed. Each had a different B-Side. Bunny Stomp was followed by Huntington Flats and Blue Dress. As as all this unfolded, the “real” Murmaids were “baffled.” Their group had essentially been hijacked by Kim Fowley and Chattahooche Records. Despite this betrayal, incredibly, Terry Fischer and the rest of the Murmaids returned to the studio.
With Popsicles and Icicles growing in popularity once again, The Murmaids went into the studio and recorded enough music for an album. However, that album was never released until 1980. To make matters worse, The Murmaids were never paid for the session. That wasn’t the end of The Murmaids saga.
Rubbing salt in the real Murmaids’ wound, was that two singles were released baring The Murmaids’ name. Whether any of the original lineup of The Murmaids sung on the two singles is the subject of debate?
The first was Stuffed Animals, which featured Little White Lies on the flip side. On its release, Little White Lies claims to have been: “Produced and Recorded in Britain by Kim Fowley.” Who sung on the single is still disputed. However, when Stuffed Animals was released as a single, it failed commercially. So did the followup.
The Cathy Brasher penned Go Away was chosen as The Murmaids’ next single. On the flip side was Little Boys, which Yvonne Vaughan wrote. When Go Away was released in 1966, the single failed to chart. That was all that was heard of The Murmaids until 1968.
After two years away, The Murmaids returned in 1968 with their swan-song Paper Sun. It was released on Liberty, with Song Through Perception on the B-Side. The only original member of The Murmaids was Sally Gordon. Even she couldn’t revive the group’s flagging fortunes. After five eventful, off and on years, The Murmaids were history.
Fast forward to 1980, and The Murmaids Resurface was belatedly released on the Chattahoochee Records. It featured previously unreleased including Don’t Forget, Alone, Three Little Words, Mr. Sandman, Playmates, So Young and You Cheated. At last, the songs The Murmaids had recorded for the album all these years ago, had been released. It was just a pity nobody bothered to tell Terry Fischer about the release of The Murmaids Resurface.
Terry Fischer only found out about The Murmaids Resurface when a friend discovered a copy at a record fare in the Mid West. They sent Terry Fischer a copy of The Murmaids Resurface. When Terry Fischer looked at the credits to The Murmaids Resurface the producer was Ruth Conte. This was just the latest twist to The Murmaids story. Seventeen years after they first signed to Chattahooche Records, The Murmaids was proving to be the gift that kept on giving.
That wasn’t the case for Terry Fischer and the other two Murmaids. Even today, they’ve no idea of how many records they really sold. That is somewhat ironic.
After the commercial success of Popsicles And Icicles, major labels were knocking on Terry Fischer Sr’s door wanting to buy The Murmaids’ contract out, and sign them to their label. Terry Fischer Sr. decided to stay loyal to the label that gave The Murmaids’ their break. Sadly, that proved to be a huge mistake.
If The Murmaids had signed to a major, they could’ve enjoyed a much more successful career. They wouldn’t be remembered as a one-hit wonder. The Murmaids, a talented trio, deserved much better. Certainly much better than happened next.
Less than a year later after spurning the advances of major labels, The Murmaids never received the royalties they were owed. This couldn’t have come at a worse time, as Terry and Sally Gordon were about to head off to college. By then, The Murmaids’ story was almost at an end. It had lasted around six months.
During that period, The Murmaids had played live a few times, and made a couple of appearances on television. After six months, The Murmaids’ story was all but over. That’s despite singles being released for another four years.
These singles were either songs the original lineup of The Murmaids recorded, or different lineups put together by musical ‘impresario’ Kim Fowley. The only other time Terry Fischer entered a recording studio as a Murmaid, was to record The Murmaids Resurface, which was belatedly issued in 1980. By then, The Murmaids had long joined the one-hit wonder club.
While the one-hit wonder club may not be the most exclusive club in the world, at least The Murmaids enjoyed a brief, but tantalising taste of fame and commercial success. Although it didn’t last long, nor proved particularly profitable, at least The Murmaids enjoyed their moment in the spotlight, and enjoyed what every band dreams of, a hit single.
The Murmaids- A Case Of What Might Have Been?
BOB MARLEY AND THE WAILERS-1973 1978: CATCH A FIRE TO KAYA
Bob Marley and The Wailers-1983-1978: Catch A Fire To Kaya.
Nine month after Bob Marley and The Wailers released their critically acclaimed classic album Exodus in June 1977, they returned on the ‘23rd’ of March 1978 with their much-anticipated tenth album Kaya. It was a very different album to Exodus, and was one of Bob Marley and The Wailers’ most controversial releases.
Kaya had a much more relaxed, laid-back and optimistic sound. Many of the songs were about love, while others were about marijuana. This resulted in the cries of sell-out from critics and fans who accused Bob Marley and The Wailers of being more concerned with commercial success than political problems.These accusations stung, and hurt Bob Marley who was regarded as Jamaica’s social conscience and as someone who spoke on behalf of the oppressed and downtrodden. Bob Marley was known for albums of politically charged music full of social comment until he recorded and release Kaya. Bob Marley’s decision to eschew militant and outspoken music filled with social comment, and include a much more relaxed, laid-back and optimistic sound was a huge risk, but one that paid off. Nowadays, Kaya is regarded as one of Bob Marley and The Wailers finest hours, and was another critically acclaimed album they released during the five year period between 1973 and 1978, when it seemed they could do no wrong. This period began with Catch A Fire.
Catch A Fire.
Ever since Bob Marley and The Wailers had signed to Chris Blackwell’s Island Records, their career had been transformed. Their first release for Island Records was their fifth album Catch A Fire.
Released in April 1973, Catch A Fire proved more popular in Britain than America. It reached number 171 in the US Billboard 200 and number fifty-one in the US R&B Charts. Critically acclaimed upon its release, Catch A Fire was certified silver in the UK and is featured in Rolling Stone magazine’s list of 500 best albums of all times. Six months after the release of Catch A Fire, came the album that broke Bob Marley and The Wailers in the US.
Burnin’.
Burnin’ wasn’t just the album that broke Bob Marley and The Wailers in America, but was also the last album to feature Peter Tosh and Bunny Wailer. After the release of Burnin’ in October 1973, they embarked upon solo careers.
And they did so, with a gold disc. On its release, Burnin’ reached number 151 in the US Billboard 200 and number forty-one in the US R&B Charts. This resulted in a gold disc in America, while it was certified silver in the UK. Featuring classics like Get Up, Stand Up and I Shot The Sheriff, Burnin’ marks the debut of the militant, confrontational Bob Marley. However, If Burnin’ marked the birth of a reggae revolutionary, Bob Marley picked up the baton on Natty Dread.
Natty Dread.
Natty Dread was released a year after Burnin,’ in October 1974. The wait was worthwhile though. Here was an album which featured Bob Marley at his militant and confrontational best.
He was like a reggae revolutionary, protesting against injustice, on an album that’s politically charged and full of social comment. Featuring No Woman, No Cry and Them Belly Full (But We Hungry) Bob Marley rails against poverty, while Rebel Music (3 O’Clock Roadblock) and Revolution are akin to a call to arms).
On it release, Natty Dread was more popular in the UK than US. It was certified gold in the UK, but only reached number ninety-two in the US Billboard 200 and number forty-four in the US R&B Charts.
Following three commercially successful and critically acclaimed albums, it would be another two years before Bob Marley and The Wailers released another studio album.
Live
While Bob Marley and The Wailers didn’t release another studio album until 1976, they released their first live album. Released in December 1975, and simply entitled Live, this gave fans an opportunity to hear what Bob Marley and The Wailers live sounded like.
Recorded on td 18th and 19th July 1975, Live was a tantalising taste of one of the best live groups of the seventies.
Fans and critics agreed, with Live reaching number ninety in the US Billboard 200. This resulted in Live being certified gold in the US and silver in the UK. Although Live and their three previous studio albums had been successful, their next album would surpass everything they’d previously released.
Rastaman Vibration.
When Rastaman Vibration was released in April 1976, it became Bob Marley and The Wailers’ only album to enter the top ten in the US Billboard 200. It also featured their most successful American single the Vincent Ford penned Roots, Rock, Reggae, which reached number fifty-one in the US Billboard 100. Rastaman Vibration reached number eight in the US Billboard 200 and number eleven in the US R&B Charts.
Unlike previous albums, Rastaman Vibration featured synths alongside the Wailers famed rhythm section. This added a contrast to the power of rhythm section, and are part of Rastaman Vibration’s success. Good as Rastaman Vibration was, Bob Marley and The Wailers next album was a stonewall classic…Exodus.
Exodus,
After an attempted assassination on 3rd December 1976 in Jamaica, Bob Marley took up residence in London. Although he’d been shot in the chest, he’d been luck, things could’ve been much worse. So rather than record the remainder of Exodus in Jamaica, parts of it were recorded in London.
When Exodus was released in June 1977, it was the album that transformed Bob Marley into a worldwide star. Exodus was crammed full of quality music including Jamming, Waiting In Vain, Turn Your Lights Down Low, Three Little Birds and One Love/People Get Ready were lined by Natural Mystic, Heathen and Exodus. Critics referred to Exodus as a classic album and it features in Rolling Stone magazine’s list of 500 best albums of all times. Fans loved Exodus. It reached number twenty in the US Billboard 200 and fifteen in the US R&B Charts. This resulted in Exodus being certified gold in the US and UK.
Having released a timeless classic album, Exodus, Bob Marley and The Wailers tried to repeat this feat with Kaya.
Kaya.
Much of Kaya had been recorded at the same time as Exodus. Two of the tracks, Kaya and The Sun Is Shining had featured on Bob Marley and The Wailers 1973 compilation African Herbsman, which was released on Trojan Records.
When Kaya was released in March 1978, it reached number fifty in the US Billboard 200 and US R&B Charts, resulting in Kaya being certified gold in the US. Across the Atlantic, Kaya reached number four in the UK, and was certified gold. Despite the success of Kaya, Bob Marley and The Wailers’ tenth album faced a backlash from critics and fans.
Rather that revolution, Kaya was an album that saw Bob Marley and The Wailers’ music evolve. Bob Marley wrote the ten tracks on Kaya which saw Jamaican and Western music combine. Kaya was a fusion of two musical cultures that Bob Marley embraced. This was similar to previous albums, going back to Burnin.’ Where things differed were with Kaya’s lyrics.
Whereas previous albums were politically charged and filled with searing social comment, Kaya focused on a variety of themes, including love and marijuana. Indeed, the word “Kaya” is synonymous with marijuana in Jamaican culture. When critics heard the songs on Kaya, they accused Bob Marley and The Wailers of selling out. The music on Kaya was much more laid-back and relaxing. Soon, fans joined critics in accusing Bob Marley and The Mailers of selling out. Was that the case though?
Not only did critics accuse Bob Marley and The Wailers of selling out on Kaya, but they accused him of penning a ten track love letter to marijuana. That was unfair, though. While much of Kaya was about love, and there were tracks about marijuana, there was much more to Kaya than that. Other subjects included unity, togetherness, commonality and spirituality. While the music lacked the militancy of previous albums, it had a much more laid-back, understated sound and appealed to a wide range of music fans. Kaya saw Bob Marley and The Wailers music evolving. Kaya was a much more subtle album, both in its content and style of music that nowadays, is regarded as a classic.
Kaya was just the latest classic album Bob Marley and The Wailers released between 1973 and 1978, and deserves to be spoken about in the same breath as Burnin,’ Natty Dread and Exodus. Bob Marley and The Wailers released seven albums between 1973 and 1978, and four are regarded as classics. That shows how rich a vein of form Bob Marley and The Wailers were enjoying. At the helm was the charismatic spokesman for the downtrodden and disenfranchised Bob Marley who was at his creative peak during this period. Burnin,’ Natty Dread, Exodus and Kaya are four of the most power and important albums Bob Marley and The Wailers released. These four albums feature some of Bob Marley and The Wailers’s best music, and is intelligent, thought-provoking, introspective and beautiful. It’s also a reminder of one of one the legends of reggae at the peak of his powers, Bob Marley.
Bob Marley and The Wailers-1983-1978: Catch A Fire To Kaya.
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