IAN GILLAN-FROM THE GILLAN BAND TO GILLAN.
Ian Gillan-From The Gillan Band To Gillan.
From the late sixties, right through to the seventies, fusion was one of the most popular musical genres on both sides of the Atlantic. However, by the late seventies record buyers were tiring of the fusion of jazz and rock. So were some musicians. This included former Deep Purple frontman Ian Gillan.
In July 1978, Ian Gillan called time on The Ian Gillan Band, which he had formed three years earlier in 1975. Since then, The Ian Gillan Band had released a trio of albums. Their debut was 1976s Child in Time. However, The Ian Gillan Band story began two years earlier, in 1973.
That’s when vocalist Ian Gillan left Deep Purple. He played his part in the recording of Deep Purple’s 1974 album Who Do We Think We Are? It was released in America in January 1973, and a month later, in February 1973, in Britain. By then, Ian Gillan was exhausted. He and the band were desperately in need of a rest. That however, wasn’t going to happen.
Deep Purple, one of the unholy trinity of British hard rock, were about to go out on tour. However, Deep Purple desperately needed a rest. Their management wanted Deep Purple to tour Who Do We Think We Are? Reluctantly, they agreed. So they headed out on tour. Before long, tensions arose within Deep Purple.
By the summer of 1973, Deep Purple were in Japan. This was their second Japanese tour. Unlike their first tour, all wasn’t well within the band. Arguments arose between members of the band. Lead vocalist Ian Gillan and Bob Glover clashed with guitarist Richie Blackmore. Whatever had happened or been said, there was no going back. Ian Gillan and Bob Glover quit Deep Purple in June 1973.
On his return home, Ian Gillan announced he had retired from the music business. He wanted to focus on other business ventures, including a business building motorcycle engines, a country hotel ands the Kingsway Recording studio. However, Ian didn’t stay retired for long.
By April 1974, Ian was using the Kingsway Recording studio to begin work on his first solo tracks. He debuted them at Roger Glover’s Butterfly Ball at the Albert Hall, on 16th October 1975. This whet Ian’s appetite. Before long, he was putting a new band together. It eventually became The Ian Gillan Band.
The Ian Gillan Band.
Child in Time.
Originally, Ian called his new band Shand Grenade. This was a combination of Shangri-la and Grenade. The name didn’t go down well with his management. They managed to persuade Ian to change the name to The Ian Gillan Band, which was an Anglo-American band.
The first lineup featured the rhythm section of drummer and percussionist Mark Nauseef, a native of New York. The rest of the band, including bassist John Gustafson and guitarist Ray Fenwick were British. So were keyboardist Mike Moran and Ian, who added vocals and harmonica. They headed to the Musicland Studios in Munich, which was then, one of the most famous European studios.
That’s where The Ian Gillan Band recorded their debut album Child in Time. Recording took place between December 1975 and January 1976. Seven songs were recorded, including six which were penned by members of The Ian Gillan Band. Then once Child in Time was completed, the album was mixed at Mountain Studio, Montreux, February 1976. Five months later, Child in Time which was produced by Roger Glover, was ready for release.
Child in Time was well received by critics. That’s despite the change in style. Ian Gillan was no longer the hard rocking musician of his Deep Purple days. The Ian Gillan Band had turned their back on rock, in favour of fusion and even, funk. This shocked fans of Deep Purple.
Especially when Deep Purple fans realised that Child In Time, a Deep Purple classic, was given a funky makeover. This was perceived as an act of sacrilege. It certainly didn’t help sales of Child Of Mine, which was released on Island.
When Child in Time was released in July 1976, it reached number fifty-five in Britain. Elsewhere, Child in Time reached number thirty-six in Sweden. Little did Ian Gillan and rest of The Ian Gillan Band realise, that that was as good as it got for them.
Clear Air Turbulence.
After the release of Child In Time, The Ian Gillan band returned to the studio in July 1976. Right through to September 1976, they recorded the six tracks that became Clear Air Turbulence which doesn’t feature in The Album Collection. Once the album was completed, The Ian Gillan Band were set to head out on tour.
That never happened. While the concerts were scheduled, and the tour promoted, it was eventually cancelled. Things weren’t going well for The Ian Gillan Band. It was just about to get worse.
Ian Gillan wasn’t happy with Clear Air Turbulence’s sound. So much so, that the album’s release was postponed. This allowed Clear Air Turbulence to be remixed. Once the remixing was completed, the release of Clear Air Turbulence was schedule for April 1977.
On the release of Clear Air Turbulence, reviews were mixed. The Ian Gillan Band experimented on Clear Air Turbulence. Hard rock, prog rock and fusion sat side-by-side. Some critics felt this didn’t work. However, on tracks like Money Lender and the jazz-fusion of Over The Hill and Goodhand Liza, The Ian Gillan Band find form. However, this was too little too late.
When Clear Air Turbulence was released on 15th April 1977, it wasn’t a commercial success. For Ian Gillan this was a huge disappointment. All his efforts had been in vain.
Scarabus.
Sadly, Scarabus proved to be The Gillan Band’s swan-song. The ten tracks had been recorded at Kingsway Recorders, London, between July 1977 and August 1977. Three months later, in November 1977, Scarabus was released.
When the critics heard Scarabus, they were disappointed by what they heard. Ian Gillan seemed ill at ease by Scarabus’ somewhat contrived jazzy sound. Critics longed for Ian to kick loose. He never does. Even when Scarabus heads in the direction of rock, it’s more like faux rock. So, it’s no surprise that Scarabus was the weakest and least successful album by The Ian Gillan Band.
On its release in November 1977, Scarabus wasn’t a commercial success. It didn’t trouble the charts. For The Ian Gillan Band it was a disappointing end to their career. However, before long, Ian Gillan was back to his hard rocking best with a new band, Gillan
Gillan.
Gillan (The Japanese Album).
With The Ian Gillan Band history, Ian Gillan began the next chapter in his musical career, Gillan. It saw Ian return to a much harder, rocky sounding style of music. For Ian Gillian, this was what he did best. His new band Gillan featured a familiar face and some new names.
The only member of The Ian Gillan Band that joined Gillan was Colin Towns. He was joined by guitarist Steve Bryd, bassist John McCoy and drummer Pete Barnacle. However, although Pete featured on Gillan’s eponymous debut album, he was soon replaced by Liam Genockey. This was just one of several changes in Gillan’s lineup over the next four years.
With his new band in tow, Ian headed to what were familiar settings, Kingsway Recorders, in London. That’s where the ten tracks that became Gillan, were recorded between July 1978 and August 1978. Gillan would be released in September 1978.
Straight away, there was a problem. Gillan didn’t have a record deal in Britain. However, Gillan had a record deal for Japan, Australia and New Zealand. So, Gillan was only released in these three countries.
On the release of Gillan it sold well in Japan, Australia and New Zealand. That wasn’t surprising. The reviews of Gillan were positive. So were the reviews in the British music press. However, with Gillan unavailable in Britain, it had to be imported from Japan. This lead to Gillan being referred to as The Japanese Album. When copies of the album arrived, it quickly became apparent that Gillan marked a return to form from Ian Gillan and his hard rocking band. They weren’t going to be long without a recording deal in Britain.
Mr. Universe.
That proved to the case. By the time Gillan returned to Kingsway Recorders in April 1979, Gillan had signed to Acrobat. For the next two months, the classic lineup of Gillan recorded the ten tracks that became Mr. Universe.
By the time of the Mr. Universe sessions, Gillan were already onto their third drummer. Mick Underwood was Gillan’s drummer, having replaced Liam Genockey. Mick was joined in the rhythm section by bassist John McCoy and guitarist Berne Tormé. Colin Towns played keyboards and flute and Ian Gillan played harmonica and added vocals. This is regarded as the classic lineup of Gillan.
The new lineup of Gillan worked hard for the next two months. Eventually, by June 1979, Mr. Universe was completed. Gillan were ready to release what was their first British album.
Prior to the release of Mr. Universe, critics were sent a copy of Gillan’s sophomore album. For Ian, this was a worrying time. Latterly, during his days with The Ian Gullan Band, the critics hadn’t been kind to him. That wasn’t the case with Mr. Universe. The critics were won over by Gillan’s hard rocking sound. They were pleased to hear Ian Gillan back what he did best.
Equally happy were the record buying public. When Mr. Universe was released in October 1979, it reached number eleven in the British charts. Ian Gillan had just announced his return. He wasn’t going anywhere.
Glory Road.
After the success of Mr. Universe, Ian Gillan was keen to strike while the iron was hot. So, having toured Mr. Universe, work began on Gillan’s third album, Glory Road.
Recording of Glory Road began in April 1980. For two months, Gillan were locked away at the studio Ian built, Kingsway Recorders. That’s where he had recorded all The Ian Gillan Band and Gillan albums. It’s where Gillan recorded the ten tracks that became Glory Road, the album they hoped would give them their first transatlantic hit.
After the success of Mr. Universe in Britain, Gillan were determined to crack the lucrative American market. Ian knew, that was where the big money was to be made. His time with Deep Purple showed him the riches that were capable of being made in America. However, in hoping to break America, this presented a problem.
Many bands didn’t release the same version of their album in America. That was the case with Glory Road. The running order was different, and Your Mother Was Right replaced Sleeping on the Job. The release date was scheduled as October 1980.
Before the release of Glory Road, the critics had their say. For any band, this can be a nervous time. A bad review can prove costly. Fortunately, most of the reviews of Glory Road were positive. Granted, there were a few dissenting voices. Mostly, though, Gillan looked as if they were heading down the Glory Road.
When Glory Road was released, in October 1980, Gillan fans made a beeline for the limited edition double album. It contained the free album For Gillan Fans Only. Most fans had to settle for ordinary version of Glory Road.
Plenty did. Glory Road became Gillan’s biggest selling album. Not only did it reach number three in Britain, but was certified solver. This made Glory Road Gillan’s biggest selling album. However, that wasn’t the end of Glory Road’s success.
In America, Glory Road crept into the US Billboard 200, reaching 183. This was the first time a Gillan album had charted in America. Were Gillan about to crack the lucrative American market?
Future Shock.
Buoyed by the success of Glory Road in both Britain and America, Gillan set about recording the followup. The last few months had been among the busiest in Gillan’s career. What with promoting Glory Road in Britain and America, plus a gruelling touring schedule, Gillan had hardly any time to think about their fourth album, until now.
Just like previous albums, Gillan headed to Ian’s studio, Kingsway Recorders, in London, UK. The recording began in December 1980. After breaking for Christmas and New Year, Gillan returned to Kingsway Recorders in January 1981. They finished their fourth album later that month.
Much of what became Future Shock was penned by Ian, John McCoy and Bernie Tormé. This included the title-track. It was was inspired by Alvin Toffler’s book Future Shock. As for Future Shock’s distinctive artwork, it was created by Alan Daniels for Young Artists. With its eye-catching, futuristic image, Future Shock was guaranteed to grab record buyers attention. So was the music.
Before Future Shock was released in March 1981, the critics had their say. They were one over by Future Shock. So much so, that they called Future Shock one of the greatest hard rock albums. This bode well for the release of Future Shock.
When Future Shock hit the shops, it became Gillan’s biggest selling album in Britain. Future Shock reached number two, and was certified silver. However, across the Atlantic, Future Shock failed to chart. This was a disappointment. After all, America was the most lucrative market. Especially, for hard rock. Sadly, it looked like Gillan were never going to be as successful in America, as they were in Britain.
Double Trouble.
Just seven months after the release of Future Shock, Gillan were back with their fifth album Double Trouble. Unlike previous albums, it was a double album. However, this was a double album with a difference.
For their fifth album, Gillan had decided to release a double album. The first album contained studio recordings, while the second album featured Gillan live. Double Trouble had been recorded during 1981, just as Gillan’s lineup was changing.
Gillan had returned to the studio in August 1981. This was the first time since Bernie Tormé had been sacked. Gillan had been asked to play on British pop show Top Of The Pops. Their single No Laughing in Heaven had charted. However, Bernie didn’t want to play on Top Of The Pops. So he was sacked.
Bernie’s replacement was Janick Gers. he featured on the eight tracks recorded at Kingsway Recorders. However, Bernie featured on If You Believe Me, which was recorded at the Rainbow Theatre, London on 4th March 1981. The remainder of the live tracks were recorded at the Reading Festival, on 29th August 1981. These live tracks showcased what Gillan in concert sounded like.
For Gillan, Double Trouble was akin to their calling card. It featured studio recordings and live tracks. This was the perfect introduction to Gillan. However, it was always risky releasing a hybrid album like Double Trouble.
Other groups had tried this. For some groups, it worked, and worked well. However, for other groups it backfired on them. They were accused of throwing together an album. So, were Gillan risking their reputation with Double Trouble?
That proved to be the case. The critics weren’t impressed with Double Trouble. Reviews were mixed. It seemed Gillan’s decision to combine studio recording and live tracks on Double Trouble seemed to have backfired.
When Double Trouble was released in October 1981, it reached number twelve in Britain. After the mixed reviews, the members of Gillan breathed a collective sigh of relief. The Gillan success story continued apace.
Magic.
Nine months after releasing Double Trouble, Gillan returned to the studio in July 1982. At Kingsway Recorders, in London, Gillan began recording what would become Magic. A total of eighteen tracks were recorded between July and August 1982. However, only ten made the cut. They became Magic.
With Magic completed, Gillan’s sixth album was scheduled for release later in 1982. However, before that, the critics had their say.
Just like Double Trouble, Magic failed to excite the critics. They weren’t won over by Magic. The reviews were mixed. This didn’t bode well for Magic.
On its release, Magic reached just number seventeen in Britain. This was Gillan’s least successful album in Britain. It was also their last.
The end was neigh for Gillan. Not long after the release of Magic, Black Sabbath were looking for a new lead singer. This was a huge opportunity for someone. Black Sabbath knew who they wanted. The chosen one, was Ian Gillan.
It was an offer Ian Gillan couldn’t refuse. Still, Black Sabbath were one of the biggest names in rock. So, he disbanded Gillan became the new lead singer of Black Sabbath. Ironically, his new job didn’t last long.
Ian Gillan’s time with Black Sabbath lasted just one album and one tour. Then Ian Gillan returned home. He rejoined Deep Purple, the group where he started his career. Gillan was now history.
Gillan had lasted just four years. During that period, they had managed to release six albums. Five of these albums were released in Britain, and reached the top twenty in the album charts. The two most successful albums were 1980s Glory Road and 1981s Future Shock. Both albums were certified silver. Along with Gillan’s 1978 eponymous debut album and 1979s Mr. Universe, these albums feature Gillan at their hard rocking best. Quite simply, it’s a joy to behold. That describes Gillan on Mr. Universe, Glory Road and Future Shock. They don’t hold back. In full flow, they’re torchbearers for British rock. As rock goes, it doesn’t get much harder or heavier than Gillan. They were one of the last great British rock bands, and were responsible for rebuilding Ian Gillan’s career.
After the disappointment of The Ian Gillan Band’s last two albums, Ian Gillan’s career was at a crossroads. His reputation had taken a bruising, and he had to prove himself all over again. This he did with Gillan. Four years later, a rejuvanted Ian Gillan had reinvented himself, and was the lead singer of another of the unholy trinity of British hard rock, Black Sabbath. While his time with Black Sabbath was sadly short-lived, Ian Gillan was back at the top of the musical tree. His jazz-fusion years were long gone, for four years, Ian Gillan was back to his hard rocking best with Gillan.
Ian Gillan-From The Gillan Band To Gillan.
WEATHER REPORT-THEIR COLUMBIA YEARS 1971-1975.
Weather Report-Their Columbia Records Years 1971-1975.
By the late-sixties, jazz was no longer as popular as it had once been and the genre’s popularity had plummeted over the last few years. Many jazz clubs were closing, or being converted into venues that put on rock bands and album sales had fallen. Critics and cultural commentators were drawing comparisons with blues music in the late sixties.
Although there had been a brief resurgence in the blues popularity earlier in the sixties, many of its biggest names were struggling to eek out a living. They played wherever they could get a gig. Some had even turned their back on the blues. For many it was a worrying time. Part of the problem was, the blues hadn’t really evolved. While the same couldn’t be said of jazz, its popularity was declining, and declining rapidly. Something had to change.
Jazz albums were no longer selling in the same quantities as a decade earlier. Some established labels struggled financially. So did the newer labels, who promised a brave new world in jazz. That didn’t happen. Across America, jazz’s decline was noticeable. Many jazz clubs were now putting on pop and rock groups. Jazz was, yesterday’s music. It was a dying genre. However, had jazz’s demise been overstated?
That proved to be the case. Riding to the rescue, like jazz’s very own caped crusader, came fusion. A mixture of jazz, funk and rock, fusion proved to be jazz’s savour. Maybe just, jazz had a future?
That proved to be the case, with many of the biggest names in jazz embracing jazz. This included one of the most innovative and influential supergroups of the jazz-fusion era, Weather Report. The most successful period of their career was between 1971 and 1975, when the signed to Columbia. During this period, Weather Report’s lineup and music were both evolving musically.
The Weather Report story began in New York 1970. That was when Weather Report was founded by Austrian keyboardist and composer Joe Zawinul and saxophonist and composer Wayne Shorter. They were friends and previously, had been members of Miles Davis’ band. Now that they had founded their own group Weather Report, which decided they would lead together. However, before they could lead Weather Report, the needed to complete the lineup.
So Joe Zawinul and Wayne Shorter went in search of a rhythm section. The first musician they brought onboard was Czech bassist Miroslav Vitouš. To complete Weather Report’s lineup, drummer and percussionist Alphonse Mouzon. This quartet were hugely experienced musicians.
Previously, Joe Zawinul had worked with Cannonball Adderley and then Miles Davis, where he met Wayne Shorter. They’d previously been members of Maynard Ferguson’s Big Band. Then Wayne Shorter had worked with Art Blakey. It was after Wayne Shorter and Joe Zawinhul played on Miles Davis’ two fusion albums, 1969s In A Silent Way and 1970s Bitches Brew that they came up with the idea of their own band. Little did they realize that this new band, Weather Report, would go on to record fourteen studio albums and two live albums during their sixteen years together. During Weather Report’s lifetime, the lineup was fluid. However, despite the changes in lineup, Weather Report’s music was always innovative, inventive and influential. That was case from their 1971 debut album Weather Report.
Weather Report.
Start as your mean to go on could and should’ve been Weather Report’s motto. From their 1971 debut album Weather Report, they were innovators, breaking new ground musically. The quartet of keyboardist Joe Zawinhul, saxophonist Wayne Shorter, bassist Miroslav Vitous and drummer and percussionist Alphonse Mouzon were joined by percussionists Don Alias, Barbara Burton and Airto Moreira. Recording took place between 16-22 February and then on 17th March. Eight tracks were recorded, which became Weather Report. This was very different to anything that had gone before.
Abstract, avant garde, abstract and experimental are all words that were used to describe Weather Report. Influenced by Miles Davis’ two fusion albums In A Silent Way and Bitches Brew, Weather Report is variously explosive, intricate, subtle and always, compelling, captivating and innovative. Having said that, Weather Report wasn’t a hugely successful album.
Jazz critics lauded the inventiveness and innovation of Weather Report. Critically acclaimed it was, commercially successful it wasn’t. Weather Report only reached number 191 in the US Billboard 200, but reached number seven in the US Jazz Charts. Often, however, great works of art and music, aren’t recognized straight away. Given how ahead of their time Weather Report were, this was the case here. Their second album I Sing The Body Electric would see a change in fortune for Weather Report.
I Sing The Body Electric.
I Sing The Body Electric, Weather Report’s 1972 sophomore album, saw two new members join the group. They were percussionist Dom Um Romao and drummer Eric Gravatt, who replaced Alphonse Mouzon. Recording took place during sessions in November and December of 1971. I Sing The Body Electric completed in January 1972, when Medley: Vertical Invader, Surucucu and Directions were record live in Tokyo. For the audience attending these concerts, they were able to glimpse the direction Weather Report’s music was heading.
When Weather Report’s sophomore album I Sing The Body Electric was released in 1972, critics and fans heard another side to their music. Weather Report with its new lineup had reinvented themselves and their music. I Sing The Body Electric proved much more popular that their debut album, reaching number 147 in the US Billboard 200. The music appealed to a wider audience, incorporating jazz, rock and electronica.
With five tracks were recorded in the studio, three live and the music was much more complex, eclectic and ethnically diverse. I Sing The Body Electric drew inspiration and influence from a wider range of influences. Music from four corners of the globe, plus electronic instruments and guest artists aplenty, all player their part in I Sing The Body Electric commercial success and critical acclaim. Guest artists included guitarist Ralph Towner and flautist Hubert Law. They played their part in I Sing The Body Electric’s rich tapestry. Intricate, complex, grandiose, forward-thinking, experimental, it was all these things and much more. With two studio albums behind them, Weather Report decided that the next step was the release of the first of two live albums, Live In Tokyo.
Live In Tokyo,
Fans of Weather Report had enjoyed a taster of the group’s live sound on I Sing The Body Electric. The last three tracks on I Sing The Body Electric were recorded in Tokyo. Now, fans had the opportunity to hear what Weather Report live sounded like, when a double-album entitled Live In Tokyo, was released later in 1972. For critics and fans alike, they were at last able to hear a four tantalizing sides of a group featuring some of the most talented, inventive and innovative musicians feeding off each other.
Live In Tokyo allowed Weather Report to showcase their inventiveness and innovativeness. There was everything from free form jazz and fusion, which gave way to explosive, then intricate, complex passages of music. Veering into experimental and avant garde, before taking detours into multicultural music and rock, always, the music returns to jazz. The interplay between the members of Weather Report is stunning. It’s as if each member intuitively knows what the other is about to do. They read and anticipate this, responding to what’s gone before with something equally compelling and captivating. Whether the tempo increases or another layer of music is added to the rich, multi-textured tapestry, second guessing Weather Report ins’t easy. Indeed, over two discs of Live In Tokyo, Weather Report demonstrate and reinforce just why, they were such an important, influential and innovative band, who each time they released an album, would reinvent themselves and their music. This would be the case with their third studio album Streeetnighter.
Streetnighter.
Streetnighter was to prove the final album where bassist Miroslav Vitous would be Weather Report’s sole bassist. On Streetnighter, which was recorded during a five-day period in February 1973, Miroslav shares bass-playing duties with Andrew White. Similarly, Herschel Dwellingham plays drums on four of the six tracks. Like previous albums, Streetnighter found Weather Report’s lineup in a state of constant evolution. Changing too, was their music on Weather Report’s third studio album Streetnighter.
When Streetnighter was released in April 1973, critics and fans hailed the album’s groove oriented sound. As a result, Streetnighter reached number eighty-five in the US Billboard 200, number forty-one in the US R&B Charts and number seven in the US Jazz albums. This was Weather Report’s most successful album. It also marked another change in direction musically for Weather Report.
Andrew White’s electric bass played a much more prominent role on Streetnighter. Miroslav Vitous featured on just two tracks. As usual, for Joe Zawinhul, the groove was key to Streetnighter’s success. So, Andrew White played a huge part. From the opening bars of the thirteen-minute epic Boogie Woogie Waltz, played in 3/4 time and with a glorious Latin sound, Weather Report are in the tightest of grooves, right through to the closing notes of Non-Stop Home. For Joe Zawinhul, Streetnighter was a voyage of discover. He realized he could use his wah-wah pedal with his Fender Rhodes and introduced his ARP synth to add a melodic twist. The other change was in Wayne Shorter’s playing. He’s reined in, his playing much more restrained. It seemed, Streetnighter marked the start of a new era for Weather Report. With another new lineup and having reinvented themselves yet again, what would the future hold for Weather Report on their fourth studio album Mysterious Traveller.
Mysterious Traveller.
While Streetnighter saw Miroslav Vitous share bass duties with Andrew White, on Mysterious Traveller he played on only one track American Tango. The other six tracks marked the Weather Report debut of Philly bassist Alphonso Johnson. Like the bass, two drummers played on Mysterious Traveller. Skip Hadden played on two tracks and Ishmael Wilburn the other five tracks. Along with guest artists and vocalists, Mysterious Traveller saw the birth of what many people regard as Weather Report’s signature sound. Funk, fusion, R&B and rock. Gone was the improvisational nature of Weather Report’s first three studio albums. How would this change in style be received by critics and fans?
When Mysterious Traveller was released in 1974, critics lauded the album as Weather Report’s best album so far. Fans too, loved the new sound. Mysterious Traveller reached number forty-six in the US Billboard 200, number thirty-one in the US R&B Charts and number two in the US Jazz Charts. It was an album that appealed to a much more broader section of listeners. Whether it was fans of funk, jazz, R&B or rock, there was something for them all on Mysterious Traveller. The best way to describe Mysterious Traveller is as fluid, but funky and containing a pulsating heartbeat. Although Wayne Shorter plays a lesser role on Mysterious Traveller, his contribution was crucial. So too was Weather Report’s new member, Alphonso Johnson. For Miroslav Vitous, Mysterious Traveller was his Weather Report swan-song. At least Miroslav had played his part in making Mysterious Traveller Weather Report’s most successful album. What would the future hold for Weather Report next?
Tale Spinnin’
With Miroslav Vitous having left Weather Report, the lineup on Tale Spinnin’ was now Joe Zawinhul, Wayne Shorter and the newest member, bassist Alphonso Johnson. Another new face would feature on Tale Spinnin.’ However, this would just be a walk-on part. It could’ve been much more long term though.
Joe Zawinhul had heard Leon “Ndugu” Chancier playing with Carlos Santana’s band. He’d been hugely impressed with this multitalented drummer and percussionist. Leon was part of Carlos Santana’s band, and was recording in the studio next to Weather Report. He was asked to join Weather Report for a session. This session lasted a week. It resulted in Leon being asked to become a member of Weather Report. He declined the offer, preferring to stay with Carlos Santana. Recording of Tale Spinnin’ took place at Wally Helder Studios in Los Angeles. The sessions started in February 1975 and ended in April 1975. Six tracks were recorded during this two month period, and became Weather Report’s fifth studio album Tale Spinnin.’
Ever since Weather Report released their debut album Weather Report, each of their studio albums had surpassed the success of the previous one. This was the case with Tale Spinnin.’ It proved their most successful album, reaching number thirty-one in the US Billboard 200, number twelve in the US R&B Charts and number three in the US Jazz Charts. Critics and fans alike, took to with Tale Spinnin’s heavier, funkier sound. Key to Tale Spinnin’s success were two new addition’s to Weather report’s lineup.
While Leon filled the drummer’s seat, percussionist Alyrio Lima added an African influence. This replaced the Latin influence of Mysterious Traveller. So, funk, fusion, R&B and rock were joined by African influences. Just like their four previous studio albums, Weather Report continued to reinvent and innovate. Unlike other group’s, Weather Report weren’t content to stand still. Granted, the trademark sound had started to take shape on Mysterious Traveller, but on Tale Spinnin’ evolved. The result was six groundbreaking, innovative and inventive tracks, which became Tale Spinnin,’ Weather Report’s most successful album of their six album career. This was just the start in the Weather Report story, which would see them release another nine studio albums and one more live album.
Between 1971 and 1975, Weather Report’s music continued to evolve. From their debut album Weather Report through I Sing The Body Electric and Streetnighter, Weather Report’s trademark sound evolved. With a constantly evolving lineup, the change constantly evolved as Weather Report reinvented themselves and their music. By Mysterious Traveller, Weather Report’s signature sound had taken shape. Tale Spinnin’ saw this signature sound begin to evolve. Weather Report weren’t the type of group to discover their signature sound then churn out album after album of similar music. Instead, Weather Report continued to innovate and reinvent themselves and their music. This resulted in Weather Report becoming one of the most influential jazz fusion groups.
With Wayne Shorter and Joe Zawinhul at Weather Report’s helm, they fused musical genres and influences, resulting in some of the most groundbreaking, inventive and influential music of the seventies and eighties. Weather Report were together between 1970 and 1986, and released fourteen studio albums and two live albums.However, some of the most innovative, inventive and influential music Weather Report recorded and released was between 1971 and 1975, when the Columbia Years were just beginning.
Weather Report-Their Columbia Records Years 1971-1975.
RICK WAKEMAN-1973-1977: HIS GLORY YEARS.
Rick Wakeman-1973-1977: His Glory Years.
In January 1973, Rick Wakeman released his sophomore album The Six Wives Of Henry VIII, which was a groundbreaking album, one that would forever change prog rock. The Six Wives Of Henry VIII was the album that legitimised synths in prog rock. This was a game-changer.
Following the success of The Six Wives Of Henry VIII, synths became commonplace in prog rock. However, without Rick Wakeman and The Six Wives Of Henry VIII, maybe, the history of prog rock would’ve been very different? However, Rick Wakeman found inspiration for The Six Wives Of Henry VIII when touring with Yes.
The Six Wives Of Henry VIII.
In early 1972, Yes were touring America to promote their fourth studio album Fragile. On a stopover in Richmond, Virginia, Rick Wakeman, joined Yes in August 1971, and made his debut on Fragile, was perusing the airport bookshop. Eventually, Rick bought four books, including Nancy Brysson Morrison’s The Private Life Of Henry VIII.
On the subsequent flight from Richmond to Chicago, Rick began reading Private Life Of Henry VIII. As he began reading about Anne Boleyn, Rick remembered a recording he had made in 1971. Since then, Rick had done nothing with that piece of music. After recording the music, Rick had been struggling to come up with lyrics to accompany it. This being the age of the concept album, what Rick was looking for, was a theme that could run through the recording. Not any more.
Suddenly, everything came together. The notes Rick made about Anne Boleyn on the flight to Chicago were just the start. Over the next few weeks and months, whether at home or on tour, Rick focused on each of Henry VII’s six wives. At his piano, he continued to make notes. Eventually, Rick’s notes became the thread that ran through his sophomore album, The Six Wives Of Henry VIII. It transformed Rick Wakeman’s solo career.
Prior to the release of The Six Wives Of Henry VIII in January 1973, Rick Wakeman had only released one solo album, 1971s Piano Vibrations. However, controversy surrounds Piano Vibrations. Rick doesn’t even consider Piano Vibrations as part of his discography. Rick’s involvement was minimal. He neither wrote, nor chose the material on Piano Vibrations. Eight of the ten tracks were cover versions of popular songs, and the two other tracks were cowritten by producer, John Schroeder. All Rick who was working as a session musician, had to do, was turn up and play piano. The result was what is best described as a cheesy sounding album, that failed to chart. This was the polar opposite to Rick’s sophomore album The Six Wives Of Henry VIII.
Having joined Yes in August 1971, Rick played on their fourth album, Fragile. It was released on 29th November 1971 in Britain, reaching number seven. This resulted in Fragile being certified silver. Across the Atlantic, Fragile was released on 4th January 1972, and reached number four in the US Billboard 200. Fragile was certified double platinum, and became the most successful album of Yes’ career. This would also be the case with Rick’s sophomore album, The Six Wives Of Henry VIII.
Recording of The Six Wives Of Henry VIII took place between February and October 1972. A&M Records gave Rick an advance of £4,000 to help with recording of The Six Wives Of Henry VIII. That wasn’t going to go far. Luckily, Rick was a multi-instrumentalist, who could rely upon members of Yes, and his former band The Strawbs.
On The Six Wives Of Henry VIII, Rick played Minimoog and ARP synths, Mellotron, Hammond organ, church organ, electric piano, grand piano and harpsichord. Accompanying Rick, who produced The Six Wives Of Henry VIII, were some of the top musicians of the early seventies.
Among Rick’s band were what can only described as prog rock royalty. This included Yes’ rhythm section of drummers Bill Bruford and Alan White, bassist Chris Squire and guitarist Steve Howe. They were joined by The Strawbs bassist Chris Cronk and Dave Cousins, who played electric banjo. These were just a few of the musicians who played on The Six Wives Of Henry VIII.
Other musicians who played a part in the making of The Six Wives Of Henry VIII were drummer Barry de Souza, bassists Dave Winter and Les Hurdle and guitarist Mike Egan. They were joined by percussionists Ray Cooper and Frank Ricotti and vocalists Laura Lee, Sylvia McNeill, Judy Powell, Barry St. John and Liza Strike. Once the six tracks were recorded, the cost of The Six Wives Of Henry VIII had risen to £25,000. A&M Records’ advance hadn’t come close to covering the cost of The Six Wives Of Henry VIII. Rick needed The Six Wives Of Henry VIII to be a huge success.
Prior to the release of The Six Wives Of Henry VIII, Rick was booked to appear on BBC TV’s The Old Grey Whistle Test, where he would play excerpts of The Six Wives Of Henry VIII. That should’ve given The Six Wives Of Henry VIII a huge boost. However, back then, there were only three television channels. On one of the other channels, ITV a documentary about Andy Warhol was scheduled to be released. The documentary was much anticipated, and as many as ten million viewers were expected to view it. Luckily, at the last minute, it was banned. With ten million people looking for something to watch, many turned to BBC 2, and The Old Grey Whistle Test. That night, excepts from Rick Wakeman’s sophomore album, The Six Wives Of Henry VIII were heard by a huge audience. This was just what he needed.
Reviews of The Six Wives Of Henry VIII hadn’t been good. Only Time magazine and Rolling Stone seemed to appreciate The Six Wives Of Henry VIII. They published glowing reviews. However, they were the only ones. Other critics weren’t won over by The Six Wives Of Henry VIII. Neither were many people at A&M Records. Behind the scenes, staff at A&M Records referred to The Six Wives Of Henry VIII as “unsellable.” They reckoned that an instrumental prog rock album was unlikely to sell well. So, only 12,500 copies of The Six Wives Of Henry VIII were pressed prior to release. How wrong executives at A&M Records were.
On the release of The Six Wives Of Henry VIII on 23rd January 1973, it topped the charts in four countries. The Six Wives Of Henry VIII reached number seven in Britain, and number thirty in the US Billboard 200 charts. This resulted in The Six Wives Of Henry VIII being certified gold in America. However, things would get even better for Rick Wakeman.
By July 1973, The Six Wives Of Henry VIII was certified platinum, having sold two million albums. Eventually, The Six Wives Of Henry VIII sold over fifteen million copies. As 1973 drew to a close, Time magazine named The Six Wives Of Henry VIII as the best album of 1973. Since then, it’s attained classic status. What was described as an “unsellable,” instrumental prog rock album is now regarded as one of the genre’s best examples,
Journey To The Centre Of The Earth.
Following the success of The Six Wives Of Henry VIII, Rick Wakeman began work on his third album, Journey To The Centre Of The Earth. This was another concept album. It was based on Jules Vernes’ science fiction novel Journey To The Centre Of The Earth, which was published in 1864. It inspired Rick to write and record another prog rock opus.
Journey To The Centre Of The Earth featured two lengthy tracks written by Rick Wakeman. The Journey/Recollection, which lasted twenty-one minutes, would fill side one of Journey To The Centre Of The Earth. Side two featured The Battle/The Forest, which lasted nearly nineteen minutes. However, these two tracks weren’t recorded in a studio.
No. Journey To The Centre Of The Earth was recorded at the Festival Hall, London. On 18th January 1974, Rick Wakeman, accompanied by the London Symphony Orchestra, the English Chamber Choir and a select group of musicians who Rick named The English Rock Ensemble. With such an ambitious project, Rick wasn’t taking chances. Two concerts were scheduled and both were recorded. The second concert would feature on the completed version of Journey To The Centre Of The Earth, which was released on 9th May 1974.
Before the release of Journey To The Centre Of The Earth, critics had their say. To say reviews were mixed is an understatement. Among the less favourable reviews, words like a “classical pastiche” “genuinely appalling” and “brutal synthesiser overkill” peppered reviews. For Rick this was hugely disappointing. It had been a hugely ambitious project, one which took a lot out of him. However, other critics, especially the rock critics, were much more open minded. They gave Journey To The Centre Of The Earth glowing reviews. Maybe, Rick’s hard work was about to pay off?
When Journey To The Centre Of The Earth was released on 9th May 1974, Rick Wakeman had the last laugh. Journey To The Centre Of The Earth reached number one in Britain and number three in the US Billboard 200 charts. This resulted in Journey To The Centre Of The Earth being certified gold in America, Britain and Brazil. Rick Wakeman had been vindicated. Especially when Journey To The Centre Of The Earth won an Uvor Novello Award and was nominated for Grammy Award. However, his world was about to be turned upside down.
The Myths and Legends Of King Arthur and The Knights Of The Round Table.
Following the release of Journey To The Centre Of The Earth, Rick Wakeman was getting ready to begin work on his fourth album. Then disaster struck. Rick had the first of three minor heart attacks. He was taken to Wexham Park Hospital, near Slough, in Berkshire. That’s where Rick recuperated and began writing The Myths and Legends Of King Arthur and The Knights Of The Round Table.
When Rick was admitted to the Wrexham Park Hospital, the prognosis wasn’t good. Far from it. The doctor advised Rick to stop playing and touring. If he retired, his health might improve. Rick wasn’t amenable to this suggestion. So, that night, he penned The Last Battle, the track which would eventually, close The Myths and Legends Of King Arthur and The Knights Of The Round Table. This was the start of Rick Wakeman’s recovery.
The suggestion that Rick Wakeman retired seemed to inspire him. So, whilst recovering from the heart attack, Rick wrote most of The Myths and Legends Of King Arthur and The Knights Of The Round Table at Wrexham Park Hospital. Before long, his health had improved and he was ready to record The Myths and Legends Of King Arthur and The Knights Of The Round Table.
Recording of The Myths and Legends Of King Arthur and The Knights Of The Round Table began at Morgan Studios, London, on 16th October 1974. Right through to the 10th January 1975, Rick and his band recorded the seven tracks that became The Myths and Legends Of King Arthur and The Knights Of The Round Table. Rick’s band included the rhythm section of drummer Barney James, bassist Roger Newell and Geoff Crampton on lead and acoustic guitar. They were joined by percussionist John Hodgson and The English Chamber Choir. Taking charge of the lead vocalis were Gary Pickford-Hopkins and Geoff Crampton. Rick who produced The Myths and Legends Of King Arthur and The Knights Of The Round Table, played synths, keyboards and grand piano. Once recording was completed on 10th January 1975, The Myths and Legends Of King Arthur and The Knights Of The Round Table was released in April 1975.
Before that, the critics had to have their say about The Myths and Legends Of King Arthur and The Knights Of The Round Table. This time, generally, reviews were more favourable. Gone were the scathing, jaundiced reviews that preceded Journey To The Centre Of The Earth. Things were looking good for Rick Wakeman.
On the release of The Myths and Legends Of King Arthur and The Knights Of The Round Table, in April 1975, it reached number two in Britain and number twenty-one on the US Billboard 200 charts. This resulted in Rick’s third consecutive gold disc in America. The Myths and Legends Of King Arthur and The Knights Of The Round Table also was certified gold in Japan, Australia and Brazil. Things were indeed, looking up for Rick Wakeman. However, according to the musical rumour mill, there was a problem.
Rick had decided to tour The Myths and Legends Of King Arthur and The Knights Of The Round Table, to support the album. This included three nights at Wembley, which was billed as King Arthur On Ice. Although these nights sold out, rumours persisted that Rick Wakeman had taken a large financial hit. Some rumour mongers went as far as to suggest that Rick had been declared bankrupt. That was far from the truth.
Later, it became apparent that Rick never lost money on the tour that accompanied The Myths and Legends Of King Arthur and The Knights Of The Round Table. Indeed, the tour and album had been a profitable venture, selling over twelve million copies worldwide. Not bad for an album Rick Wakeman wrote in his hospital bed, and released forty years ago, when progressive rock, like Arthur was King?
Lisztomania.
After three hugely successful albums, Rick Wakeman’s profile had never been higher. Rick was commissioned to write and record the soundtrack to Ken Russell’s film Lisztomania, which was a biography of classical composer Franz Liszt.
Ken Russell gave Rick Wakeman free reign when it came to the soundtrack. So Rick Wakeman brought onboard Who frontman Roger Daltrey. He wrote some of the lyrics and added the vocals. Joining Roger Daltrey, were vocalists Linda Lewis and Paul Nicholas. They featured on the Lisztomania soundtrack which was released in November 1975.
There was a problem with Lisztomania. Rick Wakeman wasn’t happy with the soundtrack. So much so, that album was reworked and rereleased as The Real Lisztomania. Rick’s concerns about Lisztomania proved to be correct. The reviews were mixed. This didn’t bode well for the release of Lisztomania.
When Lisztomania was released in November 1975, the album failed to chart in Britain. Across the Atlantic, Lisztomania stalled at 145 in the US Billboard 200. For someone who was used to gold and platinum discs, this was a low point of Rick Wakeman’s career. However, redemption wasn’t far away.
No Earthly Connection.
Once the festive period was over, Rick Wakeman and his band returned to the studio in January 1975. That would be their home for the next three months.
Like many rock stars during the seventies, Rick Wakeman decamped to France to record albums and sometimes, to live. Many musicians who were unwilling to pay the high rates of income tax in Britain, became tax exiles. Others, just enjoyed the more exotic location of Château d’Hérouville, in Hérouville. This was where Rick decided to record the three tracks that became No Earthly Connection a creation myth which was based on music.
Rick had written No Earthly Connection. The centrepiece of the album, was an ambitious, five part suite Music Reincarnate. It was a twenty-eight minute epic. For No Earthly Connection, Rick had written The Prisoner and The Lost Cycle. These three tracks featured Rick’s band.
The rhythm section featured drummer Tony Fernandez, bassist Roger Newell and John Dunsterville on guitars and mandolin. They were augmented by a horn section Martyn Shields on trumpet, flugelhorn and French horn, and Reg Brooks on trombone and bass trombone. Adding vocals was Ashley Holt. Rick played all manner of pianos, keyboards and organs, and produced No Earthly Connection. It was completed in March 1976, and would be released in May 1976
Before that critics had their say on No Earthly Connection. Most of the reviews were positive. There was the occasional dissenting voice. Overall, No Earthly Connection was regarded as a return to form from Rick Wakeman, and a vast improvement on Lisztomania. This bode well for No Earthly Connection, which came with a couple of surprises.
On the release of No Earthly Connection in May 1976, it began to climb the charts. Eventually, it reached number nine in Britain. Across the Atlantic, No Earthly Connection stalled at number sixty-seven in the US Billboard 200. This time around, there were neither gold nor platinum discs for Rick Wakeman. However, his career was back on track. Lisztomania had been a blip, and redemption came in the shape of No Earthly Connection. While it didn’t match the quality and success of The Six Wives of Henry VIII, Journey to the Centre of the Earth and The Myths and Legends of King Arthur and the Knights of the Round Table, No Earthly Connection was a reminder that Rick Wakeman was one of the most ambitious and innovative British musician of the seventies.
White Rock.
Despite his disappointment with how the soundtrack to Lisztomania had turned out, Rick Wakeman agreed to record White Rock, a documentary film about the 1976 Winter Olympics, in Innsbruck, Austria. Rick approached the White Rock soundtrack differently.
Instead of using a band for the White Rock soundtrack, Rick Wakeman took his banks of trusty keyboards and synths to CBS Studios. Rick’s banks of keyboards and synths were able to produce the majority of the sounds on White Rock. However, augmenting Rick was drummer and percussionist Tony Fernandez, plus St Paul’s Cathedral Choir. They began work on White Rock in January 1976.
By then, Rick Wakeman had written seven tracks. That was all very well. However, he was meant to have written eight. When Rick entered the studio one day, he realised he forgotten to record what became After the Ball. Rather than admit to his mistake, Rick Wakeman proceeded to improvise his way through After the Ball. With the track recorded, Rick listened to the playback and realised that it was a flawless take. There was no need for a further take. For the track that closed the White Rock soundtrack, Rick pioneered the use of sampling.
Ice Run was the track that closed the soundtrack. As Rick worked on the track, he realised that a two parts of one of his old tracks would be perfect for Ice Run. So Rick sampled two parts Anne Of Cleves, from Rick’s album The Six Wives Of Henry VII. By using two samples from Anne Of Cleves this completed the song. However, White Rock wasn’t complete until September 1976.
With White Rock complete, A&M Records scheduled the release for 1977. This meant Rick Wakeman had to wait before hearing how his second venture into the world of soundtracks would be greeted? Deep down, Rick must have been hoping that lightning wouldn’t strike twice. Sadly it did.
By 1977, the musical landscape had changed. Punk had arrived in Britain, kicking and screaming. Hanging on their every word, were a new breed of gunslinger critics. They were happy to fly the flag for this anti-music, and acted as the punks mouthpiece. If a puff piece was needed, the gunslinger critics wrote it. They were happy to be their master’s voice. The gunslinger critics slavishly agreed with their musical masters, saying progressive rock was yesterday’s music. Progressive rockers were dinosaurs the script went. That’s despite the gunslinger critics once championing progressive rock. It seemed they had recently undergone a Damascene conversion. These ‘critics’ savaged White Rock, calling it the worst album of Rick Wakeman’s career. Other critics wrote much more unbiased reviews, concluding that White Rock was a good, but not great album. The curse of the soundtrack had struck again.
Or had it? When White Rock was released in 1977, it reached number fourteen in Britain. This resulted in a silver disc for Rick Wakeman. He had the last laugh, Meanwhile, in America White Rock stalled at 128 in the US Billboard 200. While this was disappointing, it was an improvement on Rick’s last venture into the world of soundtracks. Still, Rick was a popular artist on both sides of the Atlantic.
That had been the case since The Six Wives Of Henry VIII, which was the first album in the 5 Classic Albums box set. This commercial success continued from Journey To The Centre Of The Earth, through The Myths and Legends Of King Arthur and The Knights Of The Round Table, No Earthly Connection and White Rock. These albums feature one of the pioneers of British progressive rock, Rick Wakeman. He was a musical pioneer who wrote and recorded several classic albums.
This included The Six Wives Of Henry VIII, Journey To The Centre Of The Earth and The Myths and Legends Of King Arthur and The Knights Of The Round Table. These albums deserve to be called classic albums. No Earthly Connection was a return to form from Rick Wakeman, and featured some innovative music. Especially the five part, twenty-eight minute epic Music Reincarnate. However, No Earthly Connection stops short of reaching classic status, but is still one of the highlights of Rick’s career. White Rock by comparison, is a disappointing album that’s best described as good, but not great. Despite this, the album Rick Wakeman released between 1973 and 1977 are a reminder of the most successful period of Rick Wakeman’s carer. Throughout this period, he constantly strove for perfection.
That was what Rick Wakeman spent much of the seventies searching for. For most musicians, that’s unattainable. However, Rick Wakeman wasn’t most musicians.
Just like so many musicians of the progressive rock era, he was a musical pioneer, who created cerebral, groundbreaking and innovative music. To do this, Rick Wakeman pushed musical boundaries, and came closest on The Six Wives Of Henry VIII, Journey To The Centre Of The Earth and The Myths and Legends Of King Arthur and The Knights Of The Round Table. These albums deserve to be called classics, and are a reminder of Rick Wakeman during what was his relentless pursuit of perfection. Between 1973 and 1977 Rick Wakeman reached his creative zenith, and created some of the best, and ambitious music of his long and illustrious career.
Rick Wakeman-1973-1977: His Glory Years.
TRIGAL’S FIVE YEAR MUSICAL ODYSSEY.
Trigal’s Five Year Musical Odyssey.
When Trigal signed to Belter Records in 1975, this was the start of a musical adventure that would last five years and see the band release two albums and four singles. They featured Trigal’s unique and inimitable fusion of gypsy rumba-funk and flamenco pop, which found favour with audiences the length and breadth of Spain. Especially between 1976 and 1977, which was Trigal’s “classic period.” Sadly, though, nothing lasts forever, and by 1980,Trigal decided to call time on their career, as their popularity was declining. The Trigal story was over but the trio had made their mark on Spanish music.
Although Trigal signed to Belter Records in 1975, the bands roots can be traced to 1961. That was when seventeen year old Antonio ‘Tony’ Carmona Martínez started work as a technician for Radio de Nacional Espana, in Malaga. When he wasn’t working at the radio station, Antonio ‘Tony’ Carmona Martínez became involved with various local bands. For the teenager, he was doing what he loved.
Antonio ‘Tony’ Carmona Martínez had learnt to play the guitar when he was eight, and since then, had been passionate about music. Even then, there was an inevitability that Antonio ‘Tony’ Carmona Martínez would embark upon a career as a musician.
When he did, it was with Los Tres Del Sur, a trio that featured Maria Victoria ‘Vicky’ Cabrera and Rafael Romero. Los Tres Del Sur were influenced by Los Guacamayos, Los Panhcos and Los 3 Sudamericanos, and their set list usually featured a variety of Latin classics. This proved popular when Los Tres Del Sur took to the stage at venues on the Costa Del Sol during the summer holidays. This was where Los Tres Del Sur spent the first few years of their career, gaining experience and honing their sound. By the late-sixties, Los Tres Del Sur decided to leave the Costa Del Sol behind.
They were one of a number of acts who were hired to play on US military airbases. For the next three years, Los Tres Del Sur travelled the length and breadth of America, and played wherever American troops were stationed. This resulted in Los Tres Del Sur performing in Cuba and Jamaica. For Los Tres Del Sur this was valuable experience and they became a better band.
In 1972, Los Tres Del Sur returned home having completed their three-year contact. When they returned to Malaga, Antonio ‘Tony’ Carmona Martínez and Maria Victoria ‘Vicky’ Cabrera who were by then a couple, decided to marry. Not long after this, Rafael Romero left Los Tres Del Sur.
This could’ve been a potential disaster for Los Tres Del Sur, who were by then an experienced band. Fortunately, Los Tres Del Sur found a more than suitable and experienced replacement for Rafael Romero. Guitarist Manuel Gallego Carretero Carter was only twenty-four, but had a wealth of musical experience in the Spanish music scene. He was also regarded as a virtuoso guitarist and would add a new dimension to Los Tres Del Sur.
Los Tres Del Sur’s new lineup now featured Antonio ‘Tony’ Carmona Martínez, Maria Victoria ‘Vicky’ Cabrera and Manuel Gallego Carretero Carter. They spent the next three years playing live and building their fan-base. This paid off, and in 1975 Juan Barcons ‘Jaobim’ the founder of Belter Records offered the trio a recording contract. There was one caveat though, and that was that the group change their name. The three members of Los Tres Del Sur agreed, and Trigal was born in 1975.
Having signed to Belter Records, Trigal were now rubbing shoulders with some of the biggest names in Spanish music. This included Rhumba Tres, and would later, cover some of their songs. That was still to come.
Before long, Trigal was introduced to the man who would play an important part in their sound and success, Ramon Farran. He was thirty-six and vastly experienced, having spent twenty years working in the Spanish music industry.
Ramon Farran’s career began at an early age when he played drums in his father’s big band. Since then, Ramon Farran had worked as a session musician, arranger, producer and was a successful and experienced composer. That was why Belter Records’ Juan Barcons ‘Jaobim’ entrusted Ramon Farran to modernise Trigal’s music.
To do this, Ramon Farran would introduce fashionable, moderne arrangements, and braying, blazing, jazzy horns that more than hinted at his love of Miles Davis and Sonny Rollins. Ramon Farran also incorporated elements of hook-laden rumba pop. This was something that Ramon Farran was familiar with, as he had previously written and produced a number of rumba pop singles. He knew that the secret of a hit single was a catchy chorus. However, there was also an experimental side to Trigal’s music, which would emerge over the next five years.
Trigal.
Having signed to Belter Records and been introduced to their new producer Ramon Farran, Trigal began work on their eponymous debut album. Eventually, Trigal settled on ten tracks which featured on Trigal’s eponymous debut album. This included a number of songs that were written by the three members of Trigal.
The album opener Gol was penned by C.A. Diaz and Antonio ‘Tony’ Carmona Martínez, who wrote Tamara with J.L. Carretero. Meanwhile, Antonio ‘Tony’ Carmona Martínez had formed a successful songwriting partnership with Manuel Gallego Carretero Carter, who had been a member of Trigal for three years. They wroteToma Que Dale, Recuerdos and Por Culpita De Mi Mal Peens. These songs would become part of Trigal which was recorded with Maria Victoria ‘Vicky’ Cabrera in Barcelona, which was home to Belter Records.
Later, in 1976,Trigal released their eponymous debut album. Trigal was released on Belter Records and was an ambitious genre-melting album. Trigal married a variety of different musical genres and influences including flamenco pop and gypsy rumba-funk which were combined with jazz, rock and soul. There’s even a nod towards the Blaxploitation movies that had a cult following during the first half of the seventies.
Trigal unleashed thunderous drums which joined forces with the bass in the rhythm section. They were joined by searing guitars, a myriad of percussion and dancing strings. Meanwhile, stabs and bursts of blazing, braying horns which flit between jazz and funk and are and sometimes joined by wah wah guitars. The final piece of the jigsaw were the gypsy female vocal which veered between heartfelt and hopeful, to sassy and soulful. From the opening bars of Gol to the closing notes of Si Te Quiero, Trigal’s debut album was an irresistible combination of musical genres and influences.
Soon, Belter Records’ Juan Barcons ‘Jaobim’ decision to sign Trigal was vindicated as they became a popular band. Trigal’s debut single Gol was released in 1976, and featured Por Culpita De Mi Mal Pensá on the B-Side. The followup was Toma Que Dale was incredibly catchy and had a radio friendly sound. Tucked away on the B-Side was the hidden gem Recuerdos which fused funk, pop and stabs of brassy horns. Recuerdos was too good to languish on the B-Side of a single. Toma Que Dale was released by Belter Records later in 1976 and saw the Trigal success story continue.
Baila La Rumba.
After the success of their debut album, Trigal began work on what became their sophomore album Baila La Rumba. It featured another ten new songs, including Baila La Rumba, El Gitano Andrés,Temporal, Déjame, Sacromonte, Vente Conmigo and Si Te Quiero. They were all penned by the songwriting team of Antonio ‘Tony’ Carmona Martínez and Manuel Gallego Carretero Carter.
The ten tracks that became Baila La Rumba were recorded in Barcelona with the third member of Trigal, Maria Victoria ‘Vicky’ Cabrera. When Baila La Rumba was completed, it was scheduled for release in 1977.
Just like Trigal, Baila La Rumba was released to praise and plaudits. Baila La Rumba was another musical potpourri, where musical genres and influences are combined by Trigal. This included flamenco pop, funk, and gypsy rumba-funk, jazz, rock and soul. There were elements of Blaxploitation and disco on Baila La Rumba which was Trigal’s most eclectic album.
Baila La Rumba was also another album of irresistible music where the hooks hadn’t been spared. The majority of the tracks were uptempo and dance-floor friendly. Some featured disco strings, while others featured a funkier sound. Occasionally, a rocky sound emerged from the carefully crafted arrangements. Other times, including on Vente Conmigo, Maria Victoria ‘Vicky’ Cabrera delivers an impassioned, soulful vocal. The role she played in Trigal’s can’t be underestimated.
After the release of Baila La Rumba, Trigal’s popularity continued to grow. They released Baila La Rumba as a single later in 1977, with Vente Conmigo on the B-Side. However, Baila La Rumba was the last single that Trigal released during what was their classic period.
Between 1976 and 1977, Trigal enjoyed the most successful period of their five-year career. By 1978, Maria Victoria ‘Vicky’ Cabrera was expecting her first child. Little Tony was born later in 1978.
In 1979, Manuel Gallego Carretero Carter announced that he was leaving Trigal. His replacement was Enrique García González who had been a member of Fresa y Nata and Group 69. This was the third and final lineup of Trigal. They entered the studio with arranger and producer Joan Barcons ‘Jobim,’ and recorded
Trigal’s fourth single A Los Mundiales, which featured Toca Las Palmas on the B-Side. Alas, the single failed to replicate the success Trigal’s previous releases. Little did the three members of Trigal know that this would their final single.
With Trigal’s popularity declining, it was no surprise that in 1980 the band decided to call time on their career. Making the announcement was Antonio ‘Tony’ Carmona Martínez. He and his wife had been with Trigal since the sixties, when they were still called Los Tres Del Sur. They had been about to enter their third decade as a group.
Antonio ‘Tony’ Carmona Martínez had another announcement to make that day in 1980. He had decided to retire, and would never again take to stage.
Instead, he spent the next nine years selling sound equipment. However, in 1989 Antonio ‘Tony’ Carmona Martínez decided to open his own recording studio ACM Records in Malaga. This was the start of Antonio ‘Tony’ Carmona Martínez’s long career as a producer.Later he began to write songs with his old songwriting partner Manuel Gallego Carretero Carter. They picked up where they left off in 1979.
Antonio ‘Tony’ Carmona Martínez and Manuel Gallego Carretero Carter played their part in the sound and success of Trigal’s two albums. They also collaborated on another project Los Percheleros, who released a trio of albums. This began with 1974s Las Mejores Rumbas Del Año, 1976s Nuevos Aires De Rumba and the band’s swan-song Los Percheleros in 1977.
Many people will remember Antonio ‘Tony’ Carmona Martínez, Manuel Gallego Carretero Carter and Maria Victoria ‘Vicky’ Cabrera for the two albums they released as Trigal between 1976 and 1977. These two albums, Trigal and Baila Mi Rumba feature Trigal’s unique and inimitable fusion of flamenco pop, funk, and gypsy rumba-funk, jazz, rock and soul, which sometimes incorporates Blaxploitation and disco. This musical potpourri found favour with audiences the length and breadth of Spain, and transformed the career of Antonio ‘Tony’ Carmona Martínez and Maria Victoria ‘Vicky’ Cabrera.
By the time they signed to Belter Records, they had spent the best part of a decade playing in holiday resorts and army camps as part of Los Tres Del Sur. The addition of Manuel Gallego Carretero Carter in 1972 was the final piece of the jigsaw. When Trigal signed to Belter Records in 1975, they were ready to make the next step, and between 1976 and 1977, their music was part of the soundtrack to daily life in Spain
Trigal’s Five Year Musical Odyssey.
RANDY MEISNER-THE EPIC YEARS
Randy Meisner-The Epic Years.
Musical history was made in September 1971, when Don Henley, Glenn Frey, Bernie Leadon and twenty-five year old Randy Meisner formed The Eagles and signed with David Geffen’s new label Asylum Records. Little did David Geffen realise that he had signed one of the biggest bands of the seventies, and The Eagles would transform the fortunes of new label.
Over the next six years, Randy Meisner was the bassist and adding backing vocals on The Eagles’ first five albums which sold twenty-five million copies in America alone. The most successful album The Eagles released was Hotel California in December 1976 which sold sixteen million copies, was certified diamond and won two Grammy Awards. The success of the album was beyond The Eagles’ wildest dreams, but despite that, all wasn’t well behind the scenes.
In September 1977, Randy Meisner announced he was leaving The Eagles, citing exhaustion, which was no surprise given the band’s gruelling recording and touring schedule over the past six years. However, part of the reason behind Randy Meisner’s departure was the constant arguments among the group. While the departure of Randy Meisner marked the end of an era for The Eagles, but the start of a new chapter for thirty-one year old singer, songwriter and bassist.
Randy Meisner.
Randy Meisner had decided to embark upon a career as a solo artist, and signed to Asylum Records in 1978. Later that year, the thirty-two year old released his debut album Randy Meisner in June 1978. While this album of country rock, AOR and rock was well received by the majority of critics, it wasn’t the success that Randy Meisner had hoped and the album failed to trouble the charts. For Randy Meisner who wasn’t used to failure, this was a huge disappointment, and to make maters worse, he was dropped by the label. This made him doubly determined that his sophomore album would be a success.
Two years later, and Randy Meisner returned in 1982 with One More Song which was released on Epic and was the start of a new chapter for the singer-songwriter.
One More Song.
Following the commercial failure of Randy Meisner, the former Eagle eventually began work on his sophomore album which later, became One More Song. It was a quite different album from Randy Meisner, which was essentially an album of cover versions. The only Randy Meisner composition on the album had been a reworking of Take It To The Limit which he cowrote with Don Henley and Glen Frey. This was proof, if any was needed, that Randy Meisner was a talented songwriter. All he needed was the right songwriting partner.
Fortunately, Randy Meisner discovered singer-songwriter Eric Kaz, and the pair cowrote Hearts On Fire and Deep Inside My Heart. They the joined forces with Wendy Waldman and penned Gotta Get Away, Come on Back to Me, I Need You Bad and Trouble Ahead. Jack Tempchin who wrote The Eagles classic Peaceful Easy Feeling contributed One More Song and White Shoes. To close One More Song, Randy Meisner decided to cover Richie Furay’s Anyway Bye Bye.
The recording of One More Song began on May the ’26th’ 1980 and continued to August the ’20th’ 1980. Joining Randy Meisner who took charge of lead vocals and played guitar was a rhythm section of drummer Craig Krampf, bassist Bryan Garofalo and guitarist Craig Hull who also played steel guitar and pedal steel. The other members of the band included keyboardist Sterling Smith and percussionist and backing vocalist Don Francisco. Other musicians were brought onboard to record one or two songs.
This included Kim Carnes who added background vocals on Deep Inside My Heart. When it came time to record One More Song, Eagles Glen Frey added backing vocals and Bill Cuomo played synths and returned when it came to record I Need You Bad, which featured saxophonist Michael Jacobs. Wendy Waldman joined the band during the recording of Come On Back To Me, and played acoustic guitar, backing vocals and guitar. Meanwhile, Val Garay took charge of production on One More Song which was hoped would kickstart Randy Meisner’s solo career.
With One More Song completed in late August 1980, the album was scheduled for release by Epic in October 1980. This was a quick turnaround and only left two months to promote what was now the most important album of Randy Meisner’s solo career.
When critics heard One More Song, they were won over by a carefully crafted album of country rock, AOR and rock that was a much better album than his 1978 eponymous debut album. Partly, that was because of the songs that featured One More Song, and especially the songs he wrote with his new songwriting partners.
There was also an honesty and innocence to a number of the songs while others had a rootsy sound that were perfectly suited to Randy Meisner. However, among the highlights of the album was the heartfelt paean I Need You, and beautiful ballads about love and love lost like Gotta Get Away, One More Song and Trouble Ahead. They’re a showcased Randy Meisner’s skills as a singer and songwriter. Meanwhile, the songs that had been earmarked as singles Hearts On Fire and Deep Inside My Heart were languid AOR tracks were radio friendly. Very different was the lively and exuberant Anyway Bye Bye, which closed the album on a memorable high.
When Deep Inside My Heart was released the lead single from One More Song, it reached twenty-two in the US Billboard 100. This augured well for the release of One More Song in October 1980, which released fifty in the US Billboard 200 and forty-four in Canada. Hearts On Fire was released as a single in 1981, and reached nineteen in the US Billboard 100 and fourteen in the Mainstream Rock charts. One More Song which had charted and featured two hit singles and had transformed Randy Meisner’s fortunes and he was keen to build on this success.
Randy Meisner.
Buoyed by the success of One More Song, Randy Meisner began work on his third album later in 1981. He had received plaudits and praise for the songs he cowrote for One More Song, including the love songs. Many critics thought that Randy Meisner would renew his songwriting partnership with Eric Kaz and Wendy Waldman. However, that wasn’t the case.
Instead, Randy Meisner only wrote four new songs for his third album, with new songwriting partners. Randy Meisner wrote Layin’ In The Deep End and Nothing Is Said (‘Til the Artist Is Dead with Dixon House, then joined forces with Howard Leese to write Still Runnin’. Then Randy Meisner, Dixon House and Howard Leese wrote Jealousy together. These four songs were augmented by five cover versions.
This included Craig Bickhardt’s Never Been In Love, David Palmer’s Darkness Of The Heart, Bryan Adams and Jim Vallance’s Tonight. They were joined by Elton John and Gary Osborne’s Strangers and John Corey’s Doin’ It For Delila which would close Randy Meisner.
Recording of Randy Meisner began on December the ’18th’ 1981 and continued right though to February the ’22nd’ 1982. This time around, Mike Flicker and Randy Meisner who played bass, guitar and added vocals, co-produced the album. They were joined by an expanded band that featured a rhythm section of drummer Denny Carmassi, bassist and guitarists Brian Smith and
John Corey who played piano and added backing vocals. They were augmented by backing vocalists Ann Wilson, Nancy Wilson and Marcy Levy, saxophonist Phil Kenzie, synth player Mitchell Froom, Tower Of Power who added horns and Sterling Smith who played organ, synths and piano. This all-star band was joined by Randy Meisner’s two songwriting partners, with Dixon House playing organ, piano, background vocals and Howard Leese played acoustic and electric guitar, synths and added backing vocals. After three months, Randy Meisner was completed and ready for release.
This time around, Epic decided to release Randy Meisner in August 1982, which allowed more to promote the album. They were hoping to build on the success of One More Song, which featured two hit singles.
Critics on hearing Randy Meisner, realised that it was a beautiful, melodic album of country rock, AOR and rock that sometimes packed a punch. During this latest carefully crafted album, Randy Meisner incorporated hooks aplenty, soaring melodies, Tower Of Power’s horns, backing vocals from Nancy Wilson, clever lyrics and sometimes, raw power. Randy Meisner was another carefully crafted album from a talented singer, songwriter, musician and now producer.
It opened with the hook-laden rocker Never Been In Love, and continued to rock on Darkness Of The Heart that sounds not unlike Meat Loaf. Jealousy was a melodic and memorable track that featured raw power, while Tonight features soaring harmony and Playin’ In The Deep End was an anthem-in-waiting. Strangers was a beautiful, elegiac duet with Heart’s Ann Wilson duets while Still Runnin’ was a hook-laden, anthem that featured one of Randy Meisner’s best vocals. Nothing Is Said (‘Til the Artist Is Dead) was a slice of good time country rock before Randy Meisner closed the album on a high with the radio friendly Doin’ It for Delilah.
Buoyed by reviews which hailed Randy Meisner as a fitting followup to One More Song, executives at Epic and Randy Meisner must have been feeling positive about the album’s release in August 1982. Sadly, Randy Meisner stalled at a lowly ninety-four in the US Billboard 200. The only small crumb of comfort was that Never Been In Love reached twenty-eight in the US Billboard 100 and thirty in Canada. However, Randy Meisner was an album that deserved to fare much better than it did.
After the release of Randy Meisner, its author left Epic and never again released a solo album that featured new original songs. That was a great shame as Randy Meisner was a talented songwriter who could breathe life, meaning and emotion into the songs that he wrote. That was the case on One More Song and Randy Meisner. These two albums feature Randy Meisner at the peak of his powers during the early years of what should’ve been a long and successful solo career.
Sadly, Randy Meisner never reached the heights that he should’ve during his solo career, and nowadays is remembered as a member of Poco, but mostly as The Eagles bassist and backing vocalist. That was where he enjoyed the most successful period of his career. However, like many musicians who become part of a hugely successful band, Randy Meisner struggled with his newfound fame.
Throughout his career, Randy Meisner has bravely battled his demons and has struggled with alcohol dependency. That was the case during the six years he was a member of The Eagles, and during his solo career. Maybe his battle with alcohol dependency stopped Randy Meisner fulfilling his potential as a solo artist?
Despite a turbulent life marred by addiction, health problems and tragedy, Randy Meisner has been a member of two successful bands Poco and The Eagles who sold twenty-five million albums while he was a member. After that, Randy Meisner embarked upon a solo career, and in 1980 and 1982 recorded his two finest solo albums One More Song and Randy Meisner which are a reminder of a truly talented singer-songwriter.
Randy Meisner-The Epic Years.
COLD WAR COUNTDOWN: COUNTRY MUSIC GOES TO WAR (1952-1972).
Cold War Countdown: Country Music Goes To War (1952-1972).
Label: Omni Record Corpration
On the ’25th’ June 1950, North Korea invaded South Korea, and the Korean War lasted three years, one month and two days. The US Army arrived in early July 1950 and were involved right up until the end of the Korean War on the ’27th’ July 1953. Americans hoped that was the last war their troops would be involved in.
Sadly, that wasn’t the case and on the ‘1st’ November 1955, the Vietnam War began. This time around, America were on the side of South Vietnam in a bloody and brutal war would last nineteen years, five months, four weeks and one day, and ended on the ’30th’ April 1975.
By the end of the Vietnam War, the US Army had been at war for nearly twenty-three of the past twenty-five years. The two wars America had been involved in divided the nation, with those in favour of military intervention seeing themselves as patriots, while those in the peace corps were often labeled “pinkos,” “commies” and “traitors” by their critics. Often, families were divided, with generations disagreeing on America’s involvement in the two wars, especially during late-sixties when the peace movement was thriving.
The peace movement’s numbers grew as the casualties in Vietnam increased, and young American soldiers died fighting for their country in what was a brutal war, that deep down, many officers within the US knew that they couldn’t win. So did many back home, who joined the peace corps on a daily basis. They regularly clashed with those who were pro war, and the two sides provided inspiration for authors, poets, songwriters and musicians during the fifties, sixties and seventies.
So many songs were written about war, that there’s been several compilations released, including Cold War Countdown: Country Music Goes To War (1952-1972) by the Omni Record Corporation for Record Store Day 2019. Cold War Countdown: Country Music Goes To War features sixteen tracks and there’s eight on side one which is entitled War, while side two is entitled Peace and also features eight tracks. These tracks to some extent, document the views of the American nation during a twenty year period.
Opening side one, War, is Moore and Napier’s God Please Protect America, which gives way to Grandpa Jones’ defiant rendition of I’m No Communist. It’s joined by Art and Glenda Davis’ anti-Castro song The Bearded Bandit Of Cuba and American country and rockabilly musician Autry Inman’s Ballad Of Two Brothers. Closing side one is Red Castle’s Fall Out, which brings this War to a close.
Wanda Jackson and The Party Timers open side two Peace, with Little Boy Soldier, which is followed by Stringbean and His 5 String Banjo 1966 single Crazy Viet Nam War. It’s full of disbelief and even despair at what was happening in Vietnam. A familiar song is Ruby, Don’t Take Your Son to Town sung by Mel Tillis. Arlene Harden’s released Congratulations (You Sure Made A Man Out Of Him) in 1971, while Marie Roberson’s The Patriot makes its debut on Cold War Countdown: Country Music Goes To War (1952-1972). Both tracks are anti-war, and so are the Jefferson County Bluegrass Boys’ The Craziest War Of The Universe and The Wilburn Brothers’ album closer The War Keeps Draggin’ They’re full of social comment and sung with passion, despair and sadness and are a thought-provoking way to end Cold War Countdown: Country Music Goes To War (1952-1972).
For anyone who is a fan of country music, then Cold War Countdown: Country Music Goes To War (1952-1972) will be of interest to them. This lovingly curated compilation was released for Record Store Day 2019, and is a limited edition of 500. There’s 250 pressed on black vinyl, and the other 250 were pressed on yellow vinyl. However, there’s not many copies still available. That is no surprise.
Cold War Countdown: Country Music Goes To War (1952-1972) eschews the familiar and finds the compilers digging deeper for hidden gems that have passed previous crate diggers and curators by. Having said that, there’s still songs by familiar faces and tracks that many country music fans will know. However, Cold War Countdown: Country Music Goes To War (1952-1972) which is a mixture of the new, familiar and hidden gems, and is a compilation that will appeal to more than fans of country music, as it documents an important period in American history that divided a nation.
Cold War Countdown: Country Music Goes To War (1952-1972).
THE LIFE AND CAREER OF BOO HEWERDINE.
The Life and Career Of Boo Hewerdine
There aren’t many people who have spent the past four decades doing something they love. Nowadays, they’re in the minority, and are the lucky ones. Award winning singer-songwriter Boo Hewerdine is one of the lucky ones, and has been fortunate enough to spend the last four decades fulfilling what was once a dream.
This dream began as a seven year old, when Boo Hewerdine was given a handful of singles and a Dansette record player. He remembers: “I would study the labels. The title, the singer, the numbers, Columbia, HMV, the stuff about rights written around the edge and most intriguing–the names in the brackets. It turned out that these people had “written” these songs. Songs could be made up. Conjured out of thin air. I decided then, at the age of seven, that’s what I would do. I couldn’t sing or play an instrument but I had an internal jukebox going on the whole time.” This Boo Hewerdine would put to good use in the future.
By the time Boo Hewerdine left school a decade later, he had mastered the guitar and was an aspiring singer-songwriter. Despite his ambition and aspirations, Boo Hewerdine ended up working in the warehouse of Andy Records’ in Bury. St. Edmunds. However, Boo Hewerdine always had ambition beyond working in a record shop.
This first materialised when he formed his first band with a friend. Placebo Thing may have been a short-lived band, but it gave Boo a tantalising taste of life as a musician. Suddenly, he wanted to be making records rather than selling them.
Boo Hewerdine made his recording debut thirty-five years ago with The Great Divide. Four decades later, and Boo Hewerdine is regarded as one Britain’s leading singer-songwriters. He will release his much anticipated solo album Swimming In Mercury, on Reveal Records on ‘28th’ 2017. It’s a very personal, insightful and autobiographical album, with Boo Hewerdine reflecting on the past on Swimming In Mercury. There’s been much for Boo Hewerdine to reflect on during a career that’s spanned four decades.
The Great Divide.
Fortunately, he didn’t have long wait. Boo Hewerdine joined The Great Divide in the early eighties. They were another local band, but one that looked as if they were going places.
By 1982, The Great Divide had signed to a local Cambridge label, Wimp Records. Twenty-one year old Boo Hewerdine made his debut on the single Who Broke the Love Bank. Not long after this, The Great Divide caught a break, when Mike Scott of The Waterboys heard the band.
He thought that The Great Divide had potential, so recommended them Ensign Records. Executives at Ensign Records agreed, and signed The Great Divide. They went on to release a trio of singles on Ensign Records. Alas, commercial success eluded these singles. By 1985, Boo Hewerdine was back where it all started for him.
With The Great Divide consigned to musical history, Boo Hewerdine was back working in a record shop in 1985. This time, Boo Hewerdine was behind the counter of the Beat Goes On record shop in Cambridge. While this allowed Boo to be around music, he hadn’t given up on his dream of making a living as a musician. So when Boo met jazz drummer Tony Shepherd, it looked like his time behind the counter could be coming to an end.
The Bible.
Originally, Tony Shepherd was a jazz drummer when he met Boo Hewerdine. While Tony sat in with other bands, he was like Boo, between bands. So the pair decided to form a new band, and The Bible were born. They drafted in Kevin Flanagan another former member of The Great Divide. Before long, The Bible began to make an impression locally.
Soon, The Bible were a popular band locally. They had quickly acquired a cult following. Word began to spread further afield about this new band from Cambridge. This was through word-of-mouth. So it was no surprise that a record company decided to sign The Bible.
The label that signed The Bible was Black Records, a Norwich based independent label. They released The Great Divide’s 1986 debut album Walking The Ghost Back Home. It reached number ten in the UK Indie Charts, and featured two hit singles. Graceland reached number eighty-seven in UK charts, before Mahalia reached number fifteen in the UK Indie Charts. Given the success of Walking The Ghost Back Home, it was no surprise that bigger record labels started to take an interest The Bible.
Eventually, The Bible decided to sign to Chrysalis. They began work on their sophomore album Eureka. The Great Divide had decided to produce the album with Pete Smith and Owen Morris. However, the initial sessions proved unsatisfactory for the band. It was then that their management suggested bringing country rocker Steve Earle onboard to produce Eureka. This worked, and the album was scheduled for release in 1988.
Prior to the release, the reviews of Eureka were positive. Despite this, the album stalled at just seven-one in the UK. For everyone involved, this was disappointing, considering how popular The Bible were. Surely this was a blip?
Just a year later, The Bible enjoyed the most successful single of their career. A rerecorded version of Graceland reached fifty-one in the UK. It looked like things were improving for them. Then Honey Be Good reached fifty-four in the UK. However, when The Bible released their third album Dodo, it failed to chart. Things were set to get even worse.
A year later, and The Bible split-up in 1990. After five years together, and a lineup that’s best described as fluid, it looked like the end of the road for The Bible. It wasn’t.
Since then, The Bible have reformed twice. The first time came in 1994, and the second in 2011. However, then Boo Hewerdine was a successful solo artist.
Boo Hewerdine and Darden Smith-Evidence.
Once The Bible split-up, Boo Hewerdine decided to concentrate on his solo career. He knew the direction his career was heading. A meeting a year earlier had influenced the direction his music was about to head in.
This meeting took place in 1989, while The Bible were still together. That was when an A&R executive introduced him to New Country singer Darden Smith. The two realising they had much in common, decided to write and record an album together. Time was short though.
Somehow, Darden Smith and Boo Hewerdine managed to write and record an album in just nine days. This album became Evidence, which was released to critical acclaim in 1989. This was the first, but not the last time Boo would collaborate with other artists. By then, he would be a solo.
The Solo Years.
Now that The Bible had split-up, Boo Hewerdine embarked upon a solo career. This solo career began in 1990. Since then, Boo has released a string of E.P.s. and will soon release his ninth album Swimming In Mercury.
Two years after the demise of The Bible, Boo Hewerdine released his debut album Ignorance in 1992. Critical acclaim accompanied the release Ignorance. It was a much anticipated and highly accomplished album of carefully crafted songs. However, three years would pass before the followup was released.
The reason for the delay, was that by then, Boo Hewerdine was writing for other artists. This included writing for Eddi Reader and Clive Gregson’s 1993 album Wonderful Lie. Since then, Boo has written songs for many successful artists, including KD Lang, Kris Drever, David McAlmont, Natalie Imbruglia and Alex Parks. However, this sometimes curtailed his ability to release albums quickly.
It wasn’t until 1995 that Boo Hewerdine returned with his sophomore album Worlds End. Just like Ignorance, praise and plaudits accompanied the release of World’s End. Buoyed by the response and success of World’s End, Boo released Baptist Hospital in 1996. Some critics felt that was the best album of Boo’s career. With album he seemed to be maturing and growing as a singer and songwriter. Like a fine wine, Boo was maturing with age.
So when Nick Hornby was looking for someone to write the soundtrack to the film adaptation of his book Fever Pitch, Boo got the call. The film was released in 1997, the same year that the film Twenty Four Seven was released. Boo and Neil MacColl had written the soundtrack. The other soundtrack that Boo penned for the television film Our Boy. For Boo, writing for film and television was a whole new world, and one he would return to later. Before that, Boo released a new solo album.
Three years had passed since Boo Hewerdine had released Baptist Hospital in 1996. He returned in 1999 with his fourth album Thanksgiving. It featured a guest appearance by Martha Wainwright. By then, Boo’s music was reaching a wider audience. That wasn’t surprising given the quality of songs on Thanksgiving. The Birds Are Leaving, Hope Is A Name, Our Boy, Homesick Son and A Long Winter showcased a talented singer, songwriter and storyteller. However, in 2002, Boo added another string to his bow.
This came about when Boo Hewerdine was asked to co-produce Eddie Reader’s album Angels and Electricity. Boo had written a number of songs for Eddi, but was now co-producing her albums. Soon, Boo was producing The Corrs, Heidi Talbot and Chris Difford. Along with his work as a songwriter, Boo was constantly busy. Sometimes, his solo career seemed to take a backseat. However, in 2001, Boo’s contribution to music was recognised.
In 2001, Boo Hewerdine was named as the Performing Rights Society’s songwriter in residence at The Song’s The Thing concert series in London. Boo had come a long way from when he was working in a record shop warehouse and about to form his first band. Now he was regarded as one of Britain’s top songwriters. He took to the stage during one of The Song’s The Thing concerts, and got the opportunity to showcase his skills as a singer and a songwriter. However, another opportunity for Boo to showcase his songwriting skills arose during 2001.
This came when Boo returned to the world of soundtracks. One of his songs featured in Christine Lahti‘s My First Mister. For Boo, this meant a whole new audience would hear his music. This couldn’t have happened at a better time, as Boo would released a new album in 2002.
Anon, which was released in 2002, was Boo Hewerdine’s first album of the new millennia. By then, Boo’s star was in the ascendancy. It seemed that every album he released was welcomed with open arms by admiring critics. His new album Anon was no different. Boo was consistently releasing albums of carefully crafted, thought provoking songs. That continued to be the case.
When Eddi Reader entered the studio to record her critically acclaimed album Sings The Songs Of Robert Burns, Boo Hewerdine was drafted in to co-produce the album. The result was one of the most successful albums of Eddi Reader’s career. It found favour with Burns aficionados across the world. Buoyed by the success of Sings The Songs Of Robert Burns. 2003 had been a good year for Boo.
It got even better when Boo’s song Different God was chosen to feature on the soundtrack to the film Intermission. After such a successful year, Boo’s thoughts began to turn to his solo career.
Two years later, and Boo Hewerdine returned with a new album in 2005. This was his sixth album, Harmonograph. Boo it seemed had the Midas touch, and critics heaped praise on Harmonograph. However, Boo it seemed, was in no rush to release a followup.
That wasn’t surprising. Boo Hewerdine now spending more time writing songs for other artists. He was also in demand as a producer. He also recorded a comeback album with The Bible. Money and Time was released in 2007. However, Boo hadn’t turned his back on his solo career.
Still, though, he found time to play live, and when he had the time, headed into the studio. The fruits of his most recent sessions were his seventh album God Bless The Pretty Things. It was released in 2009, and just like the albums the had preceded it, was well received by the critics. They lavished praise on God Bless the Pretty Things, which was a welcome, and some felt overdue addition to Boo’s back-catalogue.
Little did they realise it would be six years before Boo Hewerdine released another album. During that period featured on State Of The Union’s two albums. He wrote much of their eponymous debut album and shared the lead vocals with Brook Williams. This was the case when State Of The Union released their 2012 sophomore album Snake Oil. These albums weren’t the only albums Boo worked on.
When Kris Drever was recording his solo album Last Man Standing, Boo featured on the album. Last Man Standing was released in 2015, the same year that Boo released his long-awaited comeback album.
Open was released in 2015, and found Boo Hewerdine crowned the comeback King. He may have been six years since his last solo album, but the fifty-three year old’s comeback album had been well worth the wait. Critical acclaim accompanied the release of Open. However, Boo’s fans wondered when they would hear from Boo again?
Born E.P.
Little did they realise it would be so soon. Just a year later, in 2016, Boo Hewerdine returned with The Born E.P. This the first E.P. that Boo has released since Toy Box No. 2 in 2008. However, the Born E.P. was a very personal collection of songs. It was a collaboration between Boo Hewerdine and his son Ben. They penned five songs, including The Year I Was Born and Swimming In Mercury. They were a tantalising taste of what was in store on Boo Hewerdine’s ninth album Swimming In Mercury.
Swimming In Mercury.
Boo Hewerdine made his recording debut thirty-five years ago with The Great Divide. Four decades later, and Boo Hewerdine is regarded as one Britain’s leading singer-songwriters. He released Swimming In Mercury, a very personal, insightful and autobiographical album in July 2017 and it finds Boo Hewerdine reflecting on the past. There’s been much for Boo Hewerdine to reflect on during the past four decades.
While The Born E.P. was a akin to a musical amuse bouche, Swimming In Mercury was the entree. It featured twelve new songs. Most of these songs were penned by Boo Hewerdine. That is apart from Swimming in Mercury which Boo and Ben Hewerdine cowrote. These twelve songs would eventually become Swimming in Mercury, which was recorded at Chris Pepper’s studio in Cambridge.
Given Swimming in Mercury was an album of autobiographical music and memories, Boo Hewerdine decided to record the album in a very different way to recent albums. He recalls: “the new album was recorded in the spirit of the first four track recording I ever did… but instead of a chunky cassette deck we were able to use Chris Pepper’s Cambridge studio. It was an incredibly enjoyable and creative way to work. Often I would write a song in the morning and by the end of the day we would have another track done”. This was a very different approach to how most albums are recorded nowadays. Still Boo was able to get his message across on Swimming in Mercury as he reflects on this past on what’s a very personal and autobiographical album.
Two years after the release of his last album Open, one of Britain’s finest troubadours Boo Hewerdine, made a welcome return with the ninth album of his career Swimming In Mercury. It’s a crafted autobiographical album that was without doubt the finest albums of Boo Hewerdine’s long and illustrious career and shows why many regard him as one of Britain’s greatest singer-songwriter.
Boo Hewerdine is a musical master-craftsman and one of the most talented songsmiths of his his generation. Sadly, Boo Hewerdine’s music hasn’t found the wider audience that it deserves and he’s still one of music’s best kept secrets. That is a great shame, as Boo Hewerdine’s music deserves to find a wider audience, as he’s a hugely talented and articulate singer-songwriter, who has a burgeoning back-catalogue that is well worth investigating,
The Life and Career Of Boo Hewerdine.
THE REMARKABLE STORY OF THE SOULJAZZ ORCHESTRA.
The Remarkable Story Of The Souljazz Orchestra.
When The Souljazz Orchestra was founded in Ottawa, Canada, in 2002 none of its members had any idea where they would or what they would be doing in fifteen years time. They didn’t even know if The Souljazz Orchestra would still be together? The Souljazz Orchestra could’ve been consigned to musical history by 2019.
Fast forward fifteen years, and The Souljazz Orchestra are still together and are one of the leading lights of the Canadian music scene. They’ve been nominated for three Juno Awards in their native Canada, released seven albums and have just embarked on their 2017 Autumn Tour.
Music fans in Britain, Belgium, Denmark, France, Germany, Greece, Sweden, Switzerland and later Canada will witness The Souljazz Orchestra taking to the stage, and unleashing their inimitable sound. It comes courtesy of blazing horns, vintage keyboards, a myriad of percussion and a pulsating rhythm section that provides The Souljazz Orchestra’s heartbeat. In full flow, The Souljazz Orchestra is an irresistible and impressive sound that has won over music fans across the globe. That has been the case since 2002.
That was when The Souljazz Orchestra was founded in Ottawa, Canada. They spent the next three years honing their and playing live. Then in 2005, The Souljazz Orchestra released their debut album Uprooted on Funk Manchu Records. It featured nine tracks that showcased The Souljazz Orchestra unique potpourri of musical genres and influences.
By 2007, The Souljazz Orchestra had been together five years and were a familiar face on the live scene. They had started playing locally in and around Ottawa, but gradually spread their wings and were playing venues further afield. Soon, The Souljazz Orchestra’s popularity was growing. This was perfect timing, as The Souljazz Orchestra returned with their sophomore album Freedom Must Die in 2007. It was the first of two albums The Souljazz Orchestra would release the Toronto based indie record label Do Right! Music. Freedom Must Die was well received by critics.
So was their genre-melting third album Manifesto, which was released by Do Right! Music in 2008. Manifesto was captivating and powerful album full of social comment. Critics called Manifesto the finest album of The Souljazz Orchestra’s career. It was also their swan-song for Do Right! Music.
When The Souljazz Orchestra returned with their fourth album Rising Sun in 2010, they had signed to Strut Records, which has been their home ever since.
Rising Sun featured a different side of The Souljazz Orchestra. It was an acoustic album, which was something of a stylistic departure for The Souljazz Orchestra. Despite that, Rising Sun found favour with critics who were won over by The Souljazz Orchestra’s new sound. So were the judges of Canada’s most prestigious musical award…the Juno’s. The Souljazz Orchestra were nominated for Instrumental Album of the Year. Alas, it was a case of so close yet so far.
Two years later, The Souljazz Orchestra returned with their fifth album Solidarity in 2012. It marked another change of direction from The Souljazz Orchestra. Gone was the acoustic style of Rising Sun. Replacing it, was an electric, vocal driven style. Joining The Souljazz Orchestra were a number of guest artists. They played their part in what was The Souljazz Orchestra’s most eclectic album. Solidarity was a journey through African, Caribbean and Latin music with detours via jazz and soul. The result was an album that had raw lo-fi, analogue sound. It was released to widespread critical acclaim and was a perfect way for The Souljazz Orchestra to celebrate their tenth anniversary.
There were further celebrations when Solidarity was nominated for a Juno Award for the World Music Album of the Year. This was the second time The Souljazz Orchestra had been nominated for a Juno. Sadly, it was another disappointment for the Ottawa based musical collective.
Despite the disappointment of failing to win their first Juno Award, The Souljazz Orchestra continued their musical voyage of discovery. Some of the members of The Souljazz Orchestra went away and worked with some of the most talented musicians in Cuba, Haiti, Nigeria and Rwanda. These master musicians would influence The Souljazz Orchestra’s sixth album Inner Fire.
When Inner Fire was released in 2014, it was a compelling fusion of musical influences and genres. Inner Fire had been clearly influenced by the master musicians the members of The Souljazz Orchestra worked with. They absorbed musical influences like a sponge, and they played their part in what was a musical melting pot. It was given a stir by The Souljazz Orchestra, and the result was a tantalising and tasty dish that was one of the finest the Ottawa based collective had cooked.
Although The Souljazz Orchestra had just released one of the finest albums in 2014, they were determined not to make the same album twice. Instead, the members of The Souljazz Orchestra were determined to introduce new musical genres and influences as work began on Resistance, Pierre Chrétien explained: “we approached this album with a fresh ear. We were keen to build on the band’s sound and message, so I brought in some of the French Caribbean and Francophone West African influences that I’ve loved since my youth.”
To do this, Pierre and the rest of The Souljazz Orchestra fused elements Coupé-Décalé, Zouk, and Ndombolo to their usual mixture of Afro-beat, funk, jazz and soul. The result was Resistance, which one minute was full of social comment, the next dance-floor friendly and joyous as The Souljazz Orchestra showcase their impressive and irresistible sound. When Resistance was released in 2015, it was to widespread critical acclaim. Critics hailed Resistance as The Souljazz Orchestra’s finest hour.
When the nominations for the Juno Awards were released in 2016, The Souljazz Orchestra had been nominated for the World Music Album of the Year. Surely, this was The Souljazz Orchestra’s year, as they had released what was regarded as their finest album? Sadly, it was a case of close but no cigar for The Souljazz Orchestra.
Just over a year after The Souljazz Orchestra lost out on their first ever Juno Award, the Ottawa based collective is back with the much-anticipated seventh album of their fifteen year career, Under Burning Skies. It finds The Souljazz Orchestra continuing to reinvent their sound.
On Under Burning Skies, The Souljazz Orchestra introduce some tropical influences to their music. There’s also the introduction of soul and jazz on Under Burning Skies, as The Souljazz Orchestra continue to push musical boundaries.
To do this, The Souljazz Orchestra unleash their unique and inimitable musical arsenal. As usual, this features braying blazing horns. To this, The Souljazz Orchestra add vintage synths and early eighties drum machines. They add lo-fi disco, boogie and electro influences to Under Burning Skies which has an organic analogue sound. Just like previous album The Souljazz Orchestra’s lyrics are full of social comment. They seem to come into their own and shine during turbulent times. The Souljazz Orchestra’s lyrics on Under Burning Skies certainly pack a lyrical punch. That has been the case throughout their career, and is the case throughout Under Burning Skies.
The Souljazz Orchestra is like a fine wine and improves with age. They celebrated their fifteenth anniversary with the release of their seventh album Under Burning Skies on Strut Records, It’s without doubt the finest album of The Souljazz Orchestra’s career. This is something that has been said before. However, with every album the Ottawa based musical collective reach new heights.
What makes the rise and rise of The Souljazz Orchestra even more remarkable is their decision to eschew the latest musical equipment, and instead, use an eclectic selection of instruments. Many of these are instruments are long-lost, sometimes unloved junk shop finds. This doesn’t matter, as The Souljazz Orchestra is capable of creating incredible music with these instruments. That is the case on Under Burning Skies and has been the case for fifteen years as The Souljazz Orchestra continue to create a potent, heady and irresistible music brew. Long may that continue.
The Remarkable Story Of The Souljazz Orchestra.
VAN HALEN-THE DAVID LEE ROTH ERA AND BEYOND.
Van Halen-The David Lee Roth Era and Beyond
For any successful band, losing their lead singer can prove disastrous. Suddenly, the very future of the band is at risk.The band has two options, to and find a replacement or call it quits. However, this isn’t really an option for a band whose first six albums had sold thirty-four million copies in America alone,..Van Halen. So Van Halen went in search for a David Lee Roth. This wasn’t going to be easy. David Lee Roth had played an important part in the rise and rise of Van Halen .
The Van Halen story began in the early seventies, when brothers, Eddie and Alex Van Halen had formed a band. Like many bands, they found it difficult to settle on a name. Initially, they were called The Broken Combs, then changed the name to The Trojan Rubber Co. By then, The Trojan Rubber Co. had a settled lineup.
Their lineup featured Alex on drums and Eddie on guitar. They were joined by bassist Mark Stone and vocalist David Lee Roth, who they had hired a sound system from. Eddie had initially failed the audition. However, Eddie and Alex were realists. Money was tight, so if they brought David onboard, they would save having to hire a sound system. They also thought that David might improve as a vocalist. However, in 1974, The Trojan Rubber Co. changed its name and its lineup.
1974 was a pivotal year for The Trojan Rubber Co. By then, bassist Mark Stone had been replaced by bassist Michael Anthony. His audition was unorthodox. Only after Michael took part in an all night jam session, was he hired. So, Michael left local band Snake and joined The Trojan Rubber Co. Soon, The Trojan Rubber Co. changed its name to Mammoth, and then Van Halen. For the next three years, Van Halen spent honing their sound.
Van Halen played wherever they could. Backyard parties, clubs and dive bars, they weren’t proud. Far from it. They certainly were loud. Too loud some thought.
When Van Halen went to audition at Gazzarri’s, a bar on Sunset Strip, that was down on its luck, the owner Bill Gazzarri, told them they were “too loud, and refused to hire them.” However, Van Halen’s new managers stepped in.
Mark Algorri and Mario Miranda had just been installed as Van Halen’s managers. They had also just taken over the booking at Gazzarri’s. So, Van Halen were installed as the house band. Not long after this, Van Halen entered the studio for the first time.
The four members of Van Halen headed to Cherokee Studios, which had recently housed Steely Dan. At Cherokee Studios, Van Halen recorded their demo tape. It would become their calling card, and see them play some of L.A.’s top clubs, including the famous Whisky-A-Go-Go.
Soon, Van Halen were a permanent fixture in L.A.’s top clubs. That’s where they continued to hone their sound. It’s also where they came to the attention of Kiss’ Gene Simmons.
Gene Simmons had heard good things about Van Halen. So, he went to check out Van Halen. According to what he had heard, they were one of the rising stars of L.A.’s music scene. When Gene Simmons arrived at the Gazzarri club in the summer of 1976, he was won over by Van Halen. He knew they were going places.
So, Gene Simmons took Van Halen to Village Recorders in L.A. to produce a new demo tape. Overdubs then took place at Electric Ladyland in New York. Things were looking good for Van Halen. The only thing Van Halen baulked at, was Gene’s suggestion to change the band’s name to Daddy Longlegs. That was a step too far. The next step was for Gene to take the newly recorded demo tape to Kiss’ management.
When Kiss’ management heard the demo, they were pretty disparaging about Van Halen. According to Kiss’ managers, Van Halen “had no chance of making it.” These words would come back to haunt them, after Van Halen sold over 50.5 million albums in America alone. However, with Kiss’ management not interested in signing Van Halen, Gene Simmons bowed out of the story. He would be replaced a year later by Mo Ostin and Ted Templeman.
Down but not out, Van Halen returned to the club circuit. For the next year, they continued to hone their sound on the club circuit. One night, in the middle of 1977, Van Halen were playing at the Starwood in Hollywood. There wasn’t much of an audience. However, little did Van Halen know, that two very special guests were in the audience, Mo Ostin and Ted Templeman of Warner Bros. Records. The pair liked what they heard and less than a week later, Van Halen had signed to Warner Bros. Records. Mo Ostin dispatched Van Halen to Sunset Sound Records with producer Ted Templeman, where recording of Van Halen I began.
Van Halen.
Like many bands recording their debut album, Van Halen were fearless. They had no apprehension. Mind you, this wasn’t exactly a new experience. Van Halen had been in studios before, recording two different demo tapes. However, this was for real. The band had written nine tracks. The other two were covers of The Kinks’ You Really Got Me and John Brim’s Ice Cream Man. These eleven tracks would eventually become Van Halen’s debut album, Van Halen.
Recording of Van Halen began in the middle of September 1977. Van Halen’s rhythm section of drummer Alex Van Halen and bassist Michael Anthony set about proving the album’s pulsating heartbeat. A week was spent recording Eddie’s guitar parts. Another two weeks were spent recording David’s vocals and the backing vocals. By early October 1977, recording of Van Halen was all but complete. The decision was made not to do much in the way of over-dubbing. This meant Van Halen was much more like hearing Van Halen live. How would critics respond to this?
Before the release of Van Halen, critics had their say. For everyone at Warner Bros. Records, they held their breath. Back in 1978, critics could be venomous. It was hardly rock critic’s finest hour. They were in the throes of a love affair with punk. Many critics took great pleasure in trashing rock albums. The critics didn’t hold back when it came to Van Halen. Most of the reviews were negative. One of the worst reviews came from the so called doyen of critics, the contrarian Robert Christgau. The equally contrarian Rolling Stone were not fans of Van Halen. At least they admitted that Van Halen were going places. Mostly, the reviews panned Van Halen. However, soon, critics would be eating their words.
When Van Halen was released on 18th February 1978, it began climbing the charts. Eventually, it reached number nineteen in the US Billboard 200 charts. Since then, Van Halen has sold over ten million copies and has been certified diamond. Back in 1978, rhis was just the start of the rise and rise of Van Halen, who critics had changed their mind about.
Gradually, critics changed their minds about Van Halen. Suddenly, they began to regard Van Halen as one of the best debut albums in the history of rock ’n’ roll. That’s the case today, with critics hailing Van Halen as a classic, and one of the greatest debut albums ever released. From that album, a trio singles were chosen.
Three singles were released from Van Halen. A cover of The Kinks’ You Really Got Me reached number thirty-six in the US Billboard 100. Runnin’ With The Devil Stalled at number eighty-four in the US Billboard 100. The final single released from Van Halen was Ain’t Talkin’ ’bout Love. It failed to chart. While the singles failed to replicate the success of Van Halen, it showcased the band at their hard rocking best.
Literally, Van Halen strut and swagger through the eleven tracks on their debut album Van Halen. It’s no surprise that rock and heavy metal fans were won over by Van Halen. It’s a track full of some of Van Halen’s biggest songs, including Runnin’ With The Devil, Eruption, You Really Got Me, Ain’t Talkin’ ‘Bout Love, Jamie’s Cryin’ and Ice Cream Man. Van Halen’s rhythm section of Alex and Michael provide the backdrop to Eddie’s blistering guitars and David’s lived-in vocal. From the opening bars of Runnin’ With The Devil, right through On Fire, Van Halen win friends and influence people. The band who just a year ago, were being hailed L.A.’s best bar band, were on their way to becoming a one of the biggest bands on planet rock.
Van Halen II.
When Van Halen entered Sunset Sound Recorders, in Hollywood, on 11th December 1978, the the four members of the band must have wondered what had happened in the last ten months? They had gone from bar room band, to a million selling rock band. All of a sudden, they were one of the biggest bands in the America. They were being touted as the saviour of American rock. This was hard to comprehend. It also meant that Van Halen were under pressure to record a fitting followup to Van Halen.
Recording of what became Van Halen II began on 11th December 1978. Nine of the ten tracks were penned by Van Halen. Many of the tracks weren’t new songs. Instead, they featured on the Gene Simmons’ sessions. However, given Van Halen were under pressure to record their sophomore album, it’s no surprise that they chose to dust off these songs. The other track chosen for Van Halen II was Clint Ballard Jr.’s You’re No Good. These ten track were produced by Ted Templeman. By January 1979, Van Halen II was complete, and ready for release.
Given the negative reviews of their debut album, the four members of Van Halen must have awaited the reviews of Van Halen II with bated breath. Mostly, reviews of Van Halen II were positive. That’s apart from the “usual suspects,” who still, failed to be won over by Van Halen. They were in the minority. The majority of critics were impressed by Van Halen II’s upbeat, feel good sound. Especially tracks like Dance The Night Away and Beautiful Girls, which some critics referred to Van Halen II as perfect party music. One track however, was very different to the rest.
This was the instrumental, Spanish Fly. It was perceived as the followup to Eruption on Van Halen. Spanish Fly however, is only a minute long, and featured Eddie Van Halen on an acoustic guitar. Rather than fingerpick, he uses a plectrum. This makes things doubly hard. Despite this, he delivers a guitar masterclass. Eddie deploys a variety of techniques, including finger tapping and tremolo picking. Those who had marvelled at Eruption, would be spellbound by Eddie’s performance on Spanish Fly.
That would be the case with Van Halen’s performance on Van Halen II. When Van Halen II was released on March 23rd 1979, copies of Van Halen II sold quickly. It was one of 1979s must have rock albums. Soon, Van Halen two reached number six in the US Billboard 200. Eventually, it sold five million copies in America, and was certified platinum five times over. Across the border, Van Halen II was certified double platinum in Canada. Meanwhile, in France Van Halen II was certified gold. It seemed Van Halen could do no wrong.
While that was the case with Van Halen’s first two albums, their singles were selling as well. While Dance The Night Away reached number fourteen in the US Billboard 100, Beautiful Girls stalled at number eighty-four. Just like many other rock bands before them, Van Halen looked like being an album’s band. Maybe that would change with their third album?
Women and Children First.
Just a year after Van Halen began recording their sophomore album, the band began work on their third album, Women and Children First. It marked the beginning of a new chapter in the Van Halen story.
On Van Halen’s first two albums, Van Halen had added cover versions. This included a cover of The Kinks’ You Really Got Me and John Brim’s Ice Cream Man on Van Halen. Then on Van Halen II, Van Halen covered Clint Ballard Jr.’s You’re No Good. However, when recording of Women and Children First began in December 1979, cover versions were a thing of the past.
Women and Children First, Van Halen’s third album was their first album featuring just songs written by the four members of the band. Maybe Van Halen had realised that putting cover versions on albums was costing the band royalties? There was certainly no need to resort to cover versions? The four members of Van Halen were talented songwriters, capable of writing their own material. So when Van Halen entered the studio to record Women and Children First, they came with ten new songs they had penned. This however, wasn’t the only change that became apparent.
As recording of Women and Children First began, onlookers in the studio realised that Van Halen’s music was becoming heavier. This wasn’t just a stylistic change, and to some extent, a thematic one. Some of Van Halen’s later songs had a degree of darkness. Mostly, though, Van Halen were still the same hard rocking, good time band. However, what became apparent was that their way of recording was changing.
Unlike Van Halen and Van Halen II, Women and Children First saw Van Halen rely more upon overdubs. Backing vocals weren’t used as extensively. They were on Could This Be Magic?, and Nicolette Larson was drafted in to sing the choruses and backing vocal. This was the one and only time a female backing vocalist featured on a Van Halen album. Another first was the keyboard driven And the Cradle Will Rock. Although it sounds like a guitar, it’s a Wurlitzer electric piano with a phase shifter used to transform the sound. It seemed that Van Halen had the confidence to experiment more on Women and Children First. Given that Van Halen were working with such an experienced producer as Ted Templeman, this was the perfect opportunity to try new things. He could show Van Halen how to make their ideas work.
Despite the stylistic change and change in their way of recording, producer Ted Templeman didn’t try to reign in Van Halen. He must have known that Van Halen wanted to broaden their horizons musically. They had always been a hard rocking band, and weren’t willing to sacrifice what many felt was their true sound. Maybe Van Halen had sacrificed some of their true sound on their first two albums. Now that they had their foot in Warner Bros’ door, they could show their true colours. This may not have pleased everyone.
Van Halen finished recording Women and Children First in February 1980. At last, those within Warner Bros. could hear Women and Children First. Some were aware of Van Halen’s music changing stylistically. This didn’t please everyone. Van Halen were one of Warner Bros.’ biggest success stories. By changing their style, this could alienate their audience. Not everyone who had bought Van Halen, and Van Halen II, would be receptive to a heavier Van Halen. Would this be the case within Warner Bros?
Once the executives at Warner Bros. heard Women and Children First, they were able to form an opinion. Most of those whose opinion mattered liked Van Halen’s new sound. They realised that Van Halen wanted to evolve as a band. They couldn’t keep rehashing Van Halen, and Van Halen II. Instead, they had to move forward. However, it was a big risk. Van Halen, and Van Halen II were million selling albums. There was a lot at stake. If Women and Children First flopped it would prove costly.
Van Halen had two hurdles to overcome before they would know if Women and Children First had been a success. The first was the critics.
As the critics their say, everyone at Warner Bros. and the four members of Van Halen awaited the verdict. Eventually, the reviews were published. Many critics remarked upon Van Halen’s heavier sound. They also noted that the four members of Van Halen had written the ten tracks on Women and Children First. Although Women and Children First was quite different from Van Halen II, it was well received by critics. They felt Van Halen were maturing as a band and songwriters. Proof of this were tracks like Could This Be Magic? and Everybody Wants Some!!, which reinforced Van Halen’s reputation and credentials as a good time party band. Having cleared the first hurdle, now record buyers had the final say.
Only if Women and Children First sold in similar quantities to Van Halen and Van Halen II could the album be declared a success. Women and Children First was released on March 6th 1980. Straight away, Women and Children First was selling well. Soon, Women and Children First reached number six in the US Billboard 200. Eventually, it sold three million copies in America, and was certified triple-platinum. Elsewhere, Women and Children First was certified double platinum in Canada and gold in France. As Van Halen and everyone at Warner Bros. breathed a sigh of relief, still Van Halen weren’t selling singles in vast quantities.
The only single released from Women and Children First, was And The Cradle Will Rock. It stalled at number fifty-five in the US Billboard 100. Van Halen it seemed, were never going to be a singles band. However, what really mattered was that Women and Children First had sold well. That was certainly the case. Worldwide, Women and Children First sold over three million copies. Van Halen’s decision to change direction had paid off.
Fair Warning.
By the time that Van Halen began recording their fourth album, Fair Warning, Van Halen were a divided band. The band’s two main men were at loggerheads. David Lee Roth wanted Van Halen to return to the sound of the first two album. He wasn’t in favour of the heavier sound, which he felt didn’t appeal to as many people. The proof of this was the sales of Women and Children First.
Eventually, Women and Children First sold over three million coupes. Van Halen eventually sold ten million copies and Van Halen II five million copies. David felt it Van Halen continued with the heavier sound, they risked alienating record buyers. Van Halen co-founder didn’t agree.
Eddie wanted Van Halen to continue their heavier sound. Women and Children First was the first time they showcased this sound. He felt that the way forward was longer songs with much more complicated song structures. This would allow Van Halen to shine as musicians, especially Eddie, who was seen one of the best guitarists of the late-seventies and early eighties. Given Eddie was one of the best guitarists of his generation, he felt his guitar playing should take centre-stage. David Lee Roth disagreed, and disagreed with Eddie’s other proposal.
The other change Eddie proposed was a continuation of the darker themes that Van Halen began exploring on Women and Children First. For David Lee Roth, this wasn’t what Van Halen were about. They were, in many people’s eyes, a good time rock ’n’ roll band. However, that wasn’t the direction Eddie wanted Van Halen to take. Instead, it looked as if Eddie wanted Van Halen to become the Led Zeppelin of the eighties. With David and Eddie at loggerheads, work began on Van Halen’s fourth album Fair Warning.
Just like Women and Children First, Van Halen penned the ten tracks on Fair Warning. Recording of these ten tracks began in late 1980. Quickly, it became apparent that Eddie’s ideas had prevailed. The music was fast, rocky and sometimes dark. This allowed Van Halen’s rhythm section to showcase their skills Fair Warning. Especially Eddie, who unleaded a series of fierce, blistering solos on tracks like Mean Street, Hear About It Later, Unchained and So This Is Love? David who seemed to have pst the argument, added his trademark vocals. Producer Ted Templman had the job of bringing Fair Warning together. The result was the hardest rocking album of Van Halen’s career, Fair Warning.
Before Fair Warning was released on April 29th 1981, the critics had their say on Van Halen’s hardest rocking album. Reviews of Fair Warning were mixed. Most of the critics embraced Fair Warning. They were impressed by Eddie’s virtuoso skills. Aided and abetted by his box of sound effects, Eddie unleashes a series of blistering solos. Along with the other two members of the rhythm section, he was key to Van Halen’s new, hard rocking style. Together, they provided the backdrop for David’s vocals. He brought to life the lyrics, as Van Halen continued to evolve musically.
It seemed Fair Warning had won over most of the critics. However, while most of the reviews of Fair Warning praised Van Halen’s fourth album, there were still some doubters. They felt that Van Halen were heading down the wrong road. On Women and Children First and Fair Warning, Van Halen’s music had become much harder. This had cost Van Halen precious sales on Women and Children First. Would this be the case with Fair Warning?
On the release of Fair Warning on 29th March 1981, sales were slow. Fair Warning was the slowest selling Van Halen album of their four album career. Eventually, it reached number six in the US Billboard 200. While this was the same as Van Halen II and Women and Children First, sales were way down. Fair Warning sold “just” two million copies. This was a million less than Women and Children First, and three million less than Van Halen II. To make matters worse, none of the singles charted.
Four singles were released from Fair Warning during 1981. The first was So This Is Love. It failed to chart. So did Mean Street, Push Comes To Shove and Unchained. This wasn’t unexpected, as Van Halen weren’t a singles band. However, it further reinforced David Lee Roth’s argument.
Given that Fair Warning was Van Halen’s slowest selling and least successful album, many onlookers wondered whether Van Halen would rethink their sound. It seemed record buyers weren’t embracing Van Halen heavier sound. Maybe it was time to come round to David Lee Roth’s way of thinking?
Diver Down.
After the release of Fair Warning, Van Halen headed out on tour. They spent months promoting Fair Warning. Still, Fair Warning sold slowly, and failed to match the sales of previous albums. Once the tour was over, Warner Bros. started pressurising Van Halen into recording their fifth album.
That wasn’t what Van Halen wanted to hear. They wanted to take some time out, and then spend time writing and recording their fifth album. That wasn’t to be though.
Not long after the Fair Warning tour ended, David Lee Roth came up with an idea. He wanted Van Halen to record a single and release it just after the New Year. He had the very song in mind, Roy Orbison’s Oh, Pretty Woman. While this wasn’t the most obvious choice for a single, the rest of Van Halen agreed.
So the four members headed to Sunset Sound and recorded their cover of Oh, Pretty Woman. After working out an arrangement with producer Ted Templeman, Van Halen recorded Oh, Pretty Woman. Once it was finished, Oh, Pretty Woman was released early in the New Year.
Just after New Year 1981, Van Halen’s version of Oh, Pretty Woman was released. Van Halen weren’t known as a singles band. However, Oh, Pretty Woman succeeded where better Van Halen songs failed, and reached number twelve in the US Billboard 100 and number one on the US Mainstream Rock charts. Ironically, this became the most successful single of Van Halen’s career. However, the success of Oh, Pretty Woman backfired on Van Halen.
Having just enjoyed the biggest selling single of their career, Warner Bros. started pressurising Van Halen into recording their fifth album. Van Halen didn’t get the time to write and record their fifth album.
Eventually, Van Halen relented. That’s despite having been on tour for months. For the last four years, Van Halen had been recording and touring albums. It was like a merry-go-round, one that Van Halen needed to get off. Especially since the last year hadn’t been easy.
Eddie and David were still at loggerheads. Although Eddie had won the day, David had been vindicated. Sales of Fair Warning were way down. It sold a million less than Women and Children First. This was costing Van Halen and Warner Bros. money. So, Van Halen could hardly refuse Warner Bros.’ request to begin recording their fifth album. However, that wasn’t Warner Bros.’ only request.
Given Fair Warning hadn’t been as successful as previous Van Halen albums, someone at Warner Bros hit on the idea that Van Halen should include some covers on what became Diver Down. The reasoning for this was, that if people recognised some of the songs on the album, they would be more likely to by it. Especially if these songs had been hits before. So, Van Halen went in search of covers.
Having already recorded and released Oh, Pretty Woman, Van Halen got to work on their fifth album, Diver Down. In addition to Oh, Pretty Woman, Van Halen had chosen four other cover versions. This included The Kinks, Where Have all the Good Times Gone and Martha and The Vandellas’ Dancing In The Streets. They were augmented by Milton Ager and Jack Yellen’s Big Bad Bill (Is Sweet William Now) and Dale Evans’ Happy Trails. Apart from the five cover versions, Van Halen had seven new songs. Three of the songs weren’t so new.
Hang ‘Em High started life as Last Night, a track from Van Halen’s 1977 demo. Happy Trails was another song from the 1977 demos, which had been included as a joke. Now the joke was on Warner Bros. The other song was Cathedral, a song Van Halen had been playing for a couple of years. During that period, the song had continued to evolve. These three songs would become part of Diver Down, which was recorded in two studios in Los Angeles.
Recording of Diver Down began in January 1982. Two studios were used by Van Halen. The first was Sunset Sound, where Van Halen had recorded previously. Other sessions took place at Warner Bros. Recording Studios, which before the corporate rebinding, was known as Amigo Studios. At these two studios, Van Halen and Ted Templeman got to work. Things weren’t going to plan as Van Halen began recording eleven of Diver Down’s twelve songs.
During the recording of Van Halen’s previous album, Diver Down, released in 1982, David, Eddie and producer Rod Templeman had clashed. The problem was, Eddie wanted to make keyboards a prominent part of the Van Halen sound. David and Rod disagreed. Thinking that Van Halen was a democracy, the two men thought the matter was settled. They were wrong.
Despite this, Eddie went ahead and recorded much of Diver Down at his home studio. When the band heard it, it was keyboard heavy rock rubbed shoulders with Van Halen’s trademark sound. Presented with what seemed like a fait accompli, David began to reconsider his position. He was far from happy with Eddie’s sudden discovery and love of synths. For a rock ’n’ roller like David, this was sacrilege. Despite this, David and Eddie managed to work together.
Over the next three months, Van Halen worked their way through the twelve tracks. Some were easier to record than others. Sometimes, things didn’t go to plan. Some of the covers were difficult to adapt, so that they took on Van Halen’s sound. One of the most problematic was Dancing In The Streets. The problem was Eddie couldn’t work out a guitar riff. Eventually though, Van Halen figured out an their take on Dancing In The Streets. Gradually, Diver Down began to take shape. By March 1982, Diver Down was completed. It would be released on April 14th 1982.
This meant there wasn’t long before Van Halen completed Diver Down and its release on April 14th 1982. By then, some of the members of Van Halen were beginning to realise that Diver Down wasn’t their finest moment. Eddie Van Halen would later say: “I’d rather have a bomb with one of my own songs than a hit with someone else’s.” However, Van Halen had folded too quickly for a band who had already sold over fifteen million albums. They had been cajoled into recording cover versions. For the hard rocking Van Halen, this almost subservient attitude was surprising. Or was it?
When critics were sent advance copies of Diver Down, they were struck by the album cover. It portrayed the diver down flag, which is used to indicate that a scuba diver is diving within that area. If ever it was a case of “a picture paints a thousand words.” David Lee Roth explained that “there was something going on that’s not apparent to your eyes…it’s not immediately apparent to your eyes what is going on underneath the surface.” That could easily be replaced by the press and record buyers weren’t aware what was going on behind the scenes. They never knew that Van Halen were pressurised to record Diver Down. Would the pressure Warner Bros. under, could come back to bite them?
Having received advance copies of Diver Down, critics were determined to have their say. Most were impressed by Diver Down. Some weren’t enamoured with the cover versions. This was quite unlike Van Halen. However, mostly, the reviews of Diver Down were positive. Things were looking up for Van Halen.
On its release on 29th April 1982, Diver Down reached number three in the US Billboard 100. This was the highest chart position of Van Halen’s first five album. Eventually, Diver Down sold four million copies, which was double the amount of Fair Warning. This was pretty good for album that included cover versions and a trio of tracks from Van Halen’s past. However, the success didn’t stop there.
Dancing In The Street was the second single to be released from Diver Down. It stalled at number thirty-eight in the US Billboard 100. The other four singles, Secrets, Little Guitars, The Full Bug and Where Have All the Good Times Gone failed to reach the US Billboard 100. At least they reached the US Mainstream Rock charts. However, times had changed, with Van Halen having enjoyed two hit singles from Diver Down. For a band who hadn’t been known as a singles band, this was changed times for Van Halen, in more ways than one.
Previously, Van Halen would’ve held their ground, and not acquiesced to Warner Bros.’ request to record an album before they were ready. However, it was only later than the members of Van Halen realised that they had folded too easily. They shouldn’t have given in to Warner Bros., as they were an experienced and successful band. If they had taken the time to write and record the album they wanted, they may have reached the scaled the same heights as their next album.
Two years later, in 1984, and Van Halen’s first five albums were well on their way to selling twenty-four million copies. However, their sixth album, 1984 was a game-changer, in more ways than one.
1984.
During the six years since Van Halen released their eponymous debut album, Van Halen were without doubt, the biggest bands in planet rock. Van Halen were certainly the highest paid band in rock music. No wonder. Each album reached a higher chart placing than its predecessor. So, it’s no surprise that Van Halen
had sold fourteen million albums in America alone. 1984, however, was a game-changer, in more ways than one.
Behind the scenes, all wasn’t well within Van Halen. David Lee Roth, Van Halen’s charismatic frontman would quit after 1984. In some ways, the writing had been on the wall.
During the recording of Van Halen’s previous album, Diver Down, released in 1982, David, Eddie and producer Rod Templeman had clashed. The problem was, Eddie wanted to make keyboards a prominent part of the Van Halen sound. David and Rod disagreed. Thinking that Van Halen was a democracy, the two men thought the matter was settled. They were wrong.
Despite this, Eddie went ahead and recorded much of Diver Down at his home studio. When the band heard it, it was keyboard heavy rock rubbed shoulders with Van Halen’s trademark sound. Presented with what seemed like a fait accompli, David began to reconsider his position. He was far from happy with Eddie’s sudden discovery and love of synths. For a rock ’n’ roller like David, this was sacrilege. However, David decided to continue with Van Halen…meantime.
Recording of 1984 took place during 1983 at 5150 Studios, in Studio City, California. Van Halen cowrote all of 1984s songs. Michael McDonald however, received a credit for I’ll Wait. Van Halen’s rhythm section of drummer Alex Van Halen and Michael Anthony’s thunderous bass set about providing the 1984’s heartbeat. Eddie Van Halen played guitar and keyboards. For the last time, David Lee Roth added vocals. Once 1984 was completed, it was that time again, time for critics to have their say on Van Halen’s sixth album.
When reviews of 1984 were published, mostly, they were positive. As usual, there was the odd dissenting voice. One Napoleonic critic described 1984 as a one sided album. For him, the second side received the consolation prize. What he failed to see, was that side one set the bar high.
From the instrumental 1984, through the the Van Halen classics Jump and Panama, Van Halen could do wrong. They were well on their way to hitting a home run. Top Jimmy and Drop Dead Legs rounded off side one, and left you wanting more of Van Halen’s heaving rocking music. Everything just dropped into place. Even the synths had their place, and played their part in a classic album. The fun didn’t stop there.
Hot For Teacher was the perfect way to start side one. An anthemic track, it gave way to I’ll Wait, one of the singles from 1984. Girl Gone Bad was another fist pumping anthem, that showcased what Van Halen were capable. By the time House Of Pain closed 1984 it was apparent that Van Halen had released the second classic album of their career.
1984s fusion of keyboard heavy rock, combined Van Halen’s trademark hard rocking sound proved a winning combination. These two sides of Van Halen resulted in a classic album that would become the biggest selling album of Van Halen’s career.
On its release on January 9th 1984, 1984 started climbing the charts. Eventually, it reached number two in the US Billboard 200. This was the highest chart placing of Van Halen’s six album career. It also became the biggest selling album of Van Halen’s career. Eventually, 1984 sold twelve million copies. 1984 became Van Halen’s second album to be certified diamond. Elsewhere, 1984 was a huge seller.
In Canada, 1984 was certified five times platinum. Over the Atlantic, 1984 was certified gold in Britain and France. Meanwhile, 1984 was certified platinum in Germany. That wasn’t the end of the commercial success.
Four singles were released from 1984. Jump reached number one in the US Billboard 100. I’ll Wait then reached number thirteen in the US Billboard 100. Panama became the third single to be released from 1984. It reached number two in the US Billboard 200. The final single released from 1984, was Hot For Teacher, which stalled at number fifty-six in the US Billboard 200. By then, 1984 had become Van Halen’s most successful album of their career, and their second classic album. However, it was the end of an era.
Following the release of 1984, David Lee Roth left Van Halen. The disagreements with Eddie Van Halen had taken their toll. Relations had been strained since the recording of Diver Down. Eddie was pro synths, David a died in the wool rock ’n’ roller, wasn’t in favour of this stylistic departure. When the pair couldn’t resolve their disagreements, David called time on his career with Van Halen.
David had had a good run. Especially since he was originally seen as a stopgap singer. He had failed the original audition. However, David lasted six albums. They sold thirty-six million copies. Not bad for what one critic referred to as a bar band. It would be another twenty-two years before David Lee Roth rejoined Van Halen.
This came during Van Halen’s 2006. This was the second Van Halen reunion during Van Halen’s long and turbulent career. However, when David Lee Roth left Van Halen after the release of 1984, the group’s future was in doubt.
Looking back, there was no way that Van Halen were going to call time on their career. They were one of the biggest bands in the world. However, replacing David Lee Roth wasn’t going to be easy.
That proved to be the case. The three remaining members of Van Halen were struggling to find the right frontman. Names were considered, and eventually, disregarded. At one point, Van Halen even considered using temporary lead vocalists, including Eric Martin, Jimmy Barnes and Patty Smyth of Scandal were considered as temporary replacements. When Patty Smyth was asked, she declined the opportunity to replace David Lee Roth. She knew his were big shoes to fill. Meanwhile, Warner Bros. were worried.
So much so, that Warner Bros. advised the remaining members of Van Halen to discontinue using the Van Halen name. This request was refused, and the search went on. It came to an end in July 1985, when Eddie Van Halen was talking to a mechanic who was working on his Ferrari. The mechanic recommended Sammy Hagar, the former Montrose frontman. That day, Van Halen found their new lead singer.
Eddie Van Halen contacted Sammy Hagar, and the pair met. They hit it off, and soon, Sammy Hagar was working with Van Halen. This didn’t please everyone.
Even critics who had never been a fan of David Lee Roth were less than impressed with the addition of Sammy Hagar. They didn’t believe the former Montrose frontman was the answer to Van Halen’s problem in the long term. This proved to be the case.
5150.
Van Halen had began recording 5150 in November 1985, and finished the albumin at 5150 studios in February 1986. The band were facing the biggest challenge of their career, following up their second classic album, 1984. However, the new lineup came up short in this challenge.
5150 was released in March 1986, and was the first album of the Sammy Hagar era. It showcased a much more experimental sound than 1984. Critics weren’t impressed by 5150. This included some critics who hadn’t been a fan of David Lee Roth.
These critics weren’t afraid to shoot from the hip. Their reviews ranged from disappointing to favourable. That is despite Eddie Van Halen playing a starring role. His performance was described as a mixture of brilliance and banality. Robert Christgau was less than impressed by Sammy Hagar, saying: “no musician with something to say could stomach responding to Sammy Hagar’s call.” Given the disappointing reviews of 5150, Van Halen and Warner Bros. must have been wondered how the album would sell?
On the release of 5150, it reached number one on the US Billboard 200. 5150 was certified six times platinum in America; three times platinum in Canada; silver in the UK and gold in Germany. 5150 had sold four million fewer copies than 1984. However, 5150 was the start of a new era. maybe there was life after David Lee Roth?
OU812.
When Van Halen returned with OU812 in May 1988, it had been a close run thing. Reording began in September 1987, but was only finished at 5150 Studios in April 1988. With only weeks to spare, OU812 was ready for release.
It was a familiar story. Critics were less than impressed with OU812. Although the whole band came in for criticism, vocalists Sammy Hagar was singled out. He critics felt, was costing Van Halen their shot at becoming the greatest rock band of the eighties. However, Eddie Van Halen seemed to have lost some of his magic, and the usually reliable rhythm section weren’t immune from criticism. With OU812 receiving decidedly mixed reviews, things weren’t looking good for the release of OU812.
When OU812 was released in April 1988, the album reached number one on the US Billboard 200. OU812 was certified four times platinum in America and silver in the UK. Although OU812 topped the American charts, it had sold two million fewer copies than 5150. Elsewhere the album hadn’t sold in the same quantities. This was a worrying time for Van Halen.
For Unlawful Carnal Knowledge.
Following the release of OU812, over three years passed before For Unlawful Carnal Knowledge was released in June 1991.Van Halen had been locked away in 5150 Studios between March 1990 and April 1991. After thirteen months, they returned with their ninth studio album, and the third of the Sammy Hagar era.
When For Unlawful Carnal Knowledge was released, it wasn’t to critical acclaim. Instead, the reviews of the album were mixed. Here was a rock band that had forgotten their raison d’être, and somehow, seemed to have forgotten how to rock. Van Halen were a pale shadow of the band they had been during the David Lee Roth years.
Despite this, For Unlawful Carnal Knowledge reached number one on the US Billboard 200, and was certified three times platinum. Elsewhere, was certified platinum in Canada and silver in the UK. Van Halen’s fans were still religiously buying the band’s albums, albeit in greatly reduced numbers. For Unlawful Carnal Knowledge had sold a million fewer copies in America OU812. Van Halen were no longer as popular as they had once been.
Balance.
Nearly four years passed before Van Halen returned with Balance in January 1995. It had been a turbulent time for the band. Van Halen’s longtime manager and friend Ed Leffler, had passed away in October 16th 1993. He was replaced by Alex’s brother-in-law, Ray Danniels. Balance proved to be a baptism of fire for Ray Danniels.
Balance had been recorded over a three year period. Strung Out was the first song that was recorded. It was recorded in 1993. After this, Van Halen didn’t return to the studio until May 25th 1994. Over the next few months, Van Halen spent time at Studio City, Los Angeles and Little Mountain Sound Studios in Vancouver. That was where five of the lead vocals were recorded by Sammy Hagar. The rest of the album was recorded in L.A. Gradually, Balance begin to take shape, with Van Halen working eight hour days. Eventually, Balance was completed on September 2nd 1994, and was released in early 1995.
Balance, Van Halen’s tenth album was released on 25th January 1995. By then, all was not well within the band. Van Halen were a band divided. In one corner, were Eddie and Alex Van Halen, while a lonely Sammy Hagar sat in the other corner. There was only going to be one winner. However, before the knockout blow was delivered, Balance was released.
If Eddie and Alex Van Halen hadn’t decided what to do next, the reviews of Balance must have made their mind up. Just like the three previous albums featuring Sammy Hagar, the reviews were mixed. Critics weren’t impressed by the album, which had taken over a year to record. It was hard to believe that it was the same group that had released classic albums Van Halen and 1984.
Despite this, when Balance was released, it reached number one on the US Billboard 200. This resulted in Balance being certified triple-platinum in America and Canada. In Brazil, Balance was certified gold. This was a long way from the six million selling 5150, which had been Sammy Hagar’s debut. Balance proved to be Sammy Hagar’s final album with Van Halen. However, that wasn’t the end of the Sammy Hagar era.
After the release of Balance, Van Halen set off on tour. The tour wasn’t the easiest for the band. Tensions within the band were high. Especially between the Van Halen brothers, and lead vocalist Sammy Hagar. This had been the case for some time.
Eddie Van Halen was able to trace back to when he quit drinking on October 2nd 1994. Sadly, during the Balance tour, things got so bad, that Eddie fell off the wagon and began drinking. That wasn’t all that happened.
Two members of Van Halen succumbed to injuries during the Balance tour. Eddie Van Halen was struggling with a hip injury, while brother Alex ended up having to wear a neck brace. However, the major casualty was Sammy Hagar. He departed Van Halen Mk II on Father’s Day 1997, when the band were recording songs for the soundtrack to Twister. The Sammy Hagar era was over, after just four albums.
Van Halen III.
Van Halen should’ve called time on the band after the departure of Sammy Hagar. The band was on its last legs. Bassist Michael Anthony’s contribution to Van Halen III was minimal. However, the benefit of hindsight is a wonderful thing. Instead, Van Halen decoded to continue and brought onboard Extreme lead vocalist Gary Cherone. He made his debut on Van Halen III.
Recording of Van Halen III took place at 5150 Studios, between March and December 1998. Most of the album was recorded by the Van Halen brothers, with Gary Cherone adding vocals. Michael Anthony who had with Van Halen through the highs and lows played only a small part in the album. He featured on Without You, One I Want and Fire In The Hole. The rest of the bass parts were recorded by Eddie Van Halen. It looked like it was the end of an era.
Before the release of Van Halen III, critics had their say on the album. They were less than impressed, and savaged the album. The reviews were among some of the worst any Van Halen received. That wasn’t surprising, as Van Halen III was a low-point in the band’s career in more than one way.
When Van Halen III was released on March 17th 1998, it reached number four on the US Billboard 200. Having sold over 500,000 copies, this was enough for the album to be certified gold. It was a far cry from Van Halen’s glory days, in terms of quality and units sold. However, Van Halen’s glory days were a long gone.
After Van Halen toured Van Halen III, a decision was made to put the band on hold in 1999. This decision was made somewhat belatedly. Van Halen had come close to tarnishing their reputation. By 1999, Van Halen were one of the biggest bands on planet rock. Their 1977 debut album Van Halen and 1984 which were both classic albums, had been certified diamond after selling over ten million copies. This was something very few albums have done. Both albums feature the vocals of David Lee Roth. However, after David Lee Roth left 1984, Van Halen never scaled the same heights.
David Lee Roth proved to be irreplaceable. Neither Sammy Hagar nor Gary Cherone ever came close to replacing David Lee Roth. The four albums Van Halen recorded with Sammy Hagar sold 16 million in America alone; while Van Halen III the only album to feature Gary Cherone, sold just 500,000 copies in America. By comparison, the six albums featuring David Lee Roth sold over thirty-four million copies in America. These albums feature Van Halen at the peak of their power, when they were one of the biggest and most successful bands in musical history. Sadly, after the departure of David Lee Roth, Van Halen were never the same band.
What was ironic was that David Lee Roth left Van Halen after their second classic album, 1984. Who knows what heights the band could’ve reached if they could’ve reconciled their differences. The original lineup of Van Halen’s was a classic, and executives at Warner Bros. believed should’ve been their swan-song.
With David Lee Roth having left the band, executives at Warner Bros. advised Van Halen not to continue using the name. Maybe executives at Warner Bros. were correct, and that the Van Halen name shouldn’t have been used after the departure of David Lee Roth? Every album the new lineup of Van Halen released, was compared to the albums they released during the David Lee Roth. These albums didn’t compare favourably.
Van Halen Mk II and III were a pale shadow of their former self. While they continued to sell records by the million, the sales fell with each of the five albums. Even Van Halen loyalists realised that the band’s best years were behind them.
While Van Halen survived the loss of David Lee Roth, the band didn’t prosper. It was a case of what might have been, if the original lineup had stayed together. Sadly, the original lineup never recorded another album. The nearest they came was in 2012, when Van Halen Mk IV released A Different Kind Of Truth.
A Different Kind Of Truth.
Six years earlier, David Lee Roth was reunited with Van Halen, and they toured together. By then, the Wolfgang Van Halen was the permanent bassist. Van Halen was now, a family affair.
Recording of A Different Kind Of Truth took place between November 2010 and August 2011 at the old A&M Studios. They were now called Henson Recording Studio. That was where Van Halen spent the best part of nine months recording. Six of the songs were new songs. Seven of the thirteen songs on A Different Kind Of Truth were old songs, that Van Halen had written and demoed in the late seventies and early eighties. These songs were rewritten and rearranged. This took time.
Van Halen returned to the studio in early January 2012 to complete A Different Kind Of Truth. It was released on February 7th 2012.
Before the release of A Different Kind Of Truth, the album received something that no Van Halen studio album had received since 1984…critical acclaim. It seemed the return of David Lee Roth had signalled a change in fortune for Van Halen.
On the release of A Different Kind Of Truth, it reached number two in the US Billboard 200. No longer did groups need to sell millions of albums to reach number two. Instead, A Different Kind Of Truth sold 188,000 copies in the first week, and 411,000 copies during 2012. Although this wasn’t enough for a gold disc, A Different Kind Of Truth was the sixth biggest selling album of 2012. Elsewhere, A Different Kind Of Truth was certified gold in Canada. By 2012s standards, Van Halen’s comeback had been a success. It was a reminder of the most successful period of their career, the David Lee Roth years.
A Different Kind Of Truth was a brief and tantalising reminder of Van Halen’s classic years, between 1977 and 1984. During that period, David Lee Roth, Michael Anthony, Eddie and Alex Van Halen were members of members of one of the best and most successful bands. For seven years, Van Halen Mk I rocked hard and lived hard.
They were also a notoriously hard living band. Van Halen burnt the candle at both ends, replicating the excesses of Led Zeppelin, Black Sabbath and Deep Purple. Just like Icarus, members of Van Halen sailed to close to the sun. However, Van Halen lived to tell the tale, and in the process, released some of the best rock music of the late seventies and early eighties. Sadly, all too soon, the David Lee Roth years were over, and Van Halen never scaled the same heights again. It had been good while it lasted. Two reminders of this period, are the classic albums Van Halen and 1984, which feature the hard rocking Van Halen at the peak of their musical powers.
Van Halen-The David Lee Roth Era and Beyond.
HENRY GROSS-HIS SEVENTIES SOLO YEARS.
Henry Gross-His Seventies Solo Years.
When Henry Gross took to the stage with Sha Na Na at ‘7.30pm’ on Sunday, August the ‘17th’ 1969, the eighteen year old made history, he became the the youngest person to perform at the Woodstock Music and Arts Fair. Despite his relative youth, Henry Gross took playing in front of 400,000 people in his stride during Sha Na Na’s thirty-minute set that preceded the arrival of Jimi Hendrix. This was no surprise, as Henry Gross was already an experienced musician.
Henry Gross was born on the ’1st’ of April 1951, in Brooklyn, New York. His mother was a music lover who encouraged Henry Gross’ love of music and later, nascent career.
By the time Henry Gross was thirteen, he had already played at the World’s Fair with his first band. Within a year, fourteen year old Henry Gross was a familiar face in the clubs of New York. This was a tough musical apprenticeship.
One of the clubs Henry Gross’ band played was owned by a major New York gangster who encouraged Henry to pursue his musical career. Playing the tough, rough and ready clubs of New York meant Henry Gross was ready for anything. However, when the summer came, Henry played to a very different audience.
When the school term ended, Henry Gross headed to the Catskill Mountains where he played at the resort hotels. This was other part of Henry Gross’ musical apprenticeship.
By the time Henry Gross graduated from high school in 1969, his music apprenticeship was complete and he headed to Brooklyn College. That was where Henry Gross founded Sha Na Na.
Sha Na Na.
When Sha Na Na were founded, there was one word that many critics used to describe the nascent band…unique. They realised the importance of standing out from the crowd, so Sha Na Na billed themselves as a group: “from the streets of New York.” They wore leather jackets and gold lame. Their hair styles ranged from a pompadour to slicked back ducktails. Similarly unique were their shows.
When Sha Na Na walked on stage they proceeded to combine song and dance, and the music they played was a mixture of fifties rock ’n’ roll and doo w0p. Sha Na Na managed to simultaneously revived and sent up rock ’n’ roll. This proved a popular draw, and before long, Sha Na Na were opening for some of the biggest names in music including Dr. John, Grateful Dead, B.B. King, Canned Heat, Santana, Taj Mahal and The Kinks. That was how highly Sha Na Na’s peers thought of them. For Sha Na Na, this was just the start of their rise and rise.
Later in 1969, Sha Na Na released their debut album Rock ’N’ Roll Is Here To Stay. Although it only reached number 183 in the US Billboard 200, word spread about Sha Na Na. This lead to Sha Na Na being asked to play at the 1969 Woodstock Music and Arts Fair.
The Woodstock Music and Arts Fair took place between the 15th and 17th August 1969, and was advertised as “three days of peace and music.” For Sha Na Na this would launch their career.
When the day came, Sha Na Na headed to the main stage where they played a thirty-minute set that began on ‘7.30pm’ on Sunday, August the ‘17th’ 1969. For a relatively new band, this was the opportunity of a lifetime, and was like hitting a home run in the World Series. However, Henry Gross didn’t see it like this.
Standing at the side of the stage, Henry Gross watched some of the biggest names in music play. Then as Jimi Hendrix brought the Woodstock Music and Arts Fair to a close, Henry realised Sha Na Na wasn’t what he wanted to be doing.
He thought about Sha Na Na, which featured twelve men and women dressed as if they’d stepped out of the fifties. However, psychedelia was King, and the fifties was another country. Musically, Henry Gross knew that the fifties was music’s past. Henry Gross also looked at the other members of Sha Na Na.
They were happy doing what they were doing, and Henry Gross knew They were good people. However, they weren’t taking things seriously. Henry Gross was different, and wanted to make a living out of music. He knew had was a talented singer and songwriter, so, in 1970, Henry Gross left Sha Na Na.
The Solo Years.
Having left Sha Ne Na in 1970, Henry Gross signed to ABC-Dunhill Records in 1971, and soon, was working on his eponymous debut album. When he wasn’t working on his debut album, Henry Gross did some session work. One of the albums he played on was Jim Groce’s I Got A Name. It was released in 1973, and reached number two in the US Billboard 200. By then, Henry Gross had left ABC-Dunhill Records.
Henry Gross.
Having written and recorded his eponymous debut album, Henry Gross released by ABC-Dunhill Records in 1972. Henry Gross was reasonably well received by critics with tracks like My Sunshine and Loving You-Loving Me showing what Henry Gross was capable of. However, some critics felt that Henry Gross was a couple of tracks short of being a fine album. Prayer To All and You’ll Be Mine disappointed critics.While these tracks may not have been the strongest on the album, Henry Gross certainly showed how much potential the young singer-songwriter had.
When Henry Gross was released in 1972, record buyers failed to spot that potential and Henry Gross failed to chart. As a result, Henry was dropped by ABC-Dunhill Records. He wasn’t without a record contract long and signed to A&M in 1973.
Henry Gross.
ABC-Dunhill Records seemed to have been hasty releasing Henry Gross, and he was snapped up by A&M. Henry Gross hadn’t been allowed to develop and mature as an artist by ABC-Dunhill, which takes time. Sometimes, an artist doesn’t hit his stride until his second or in some cases, third album.
Now signed to A&M, Henry Gross began work on his sophomore album, which when it was completed, somewhat confusingly, was also entitled Henry Gross. It found favour amongst record critics.
On the release of Henry Gross in 1973, it was apparent that Henry was maturing as a singer and songwriter. Accompanied by a tight, talented band, Henry Gross worked his way through ten tracks. One of the highlights was Meet Me On The Corner, which gave Lindisfarne the biggest hit of their career. Other highlights included Simone, The Ever Lovin’ Days and Lay Your Love Song Down, which all showcased Henry Gross as he evolved as a singer and songwriter. It was no surprise when Henry Gross was released, to widespread critical acclaim. Sadly, commercial success eluded Henry.
Despite the undoubted quality of Henry Gross, the album failed to chart. For Henry Gross, this must have proved frustrating. After all, singer-songwriters were in vogue, and James Taylor, Jackson Browne, Tim Buckley, Joni Mitchell and Carole King were enjoying critical acclaim and commercial success. Soon, so would Henry Gross.
Plug Me Into Something.
Although the commercial failure of Henry Gross’ sophomore album was disappointing, it made him even more determined to succeed. Henry Gross went away and began work on his third solo album, Plug Me Into Something.
When Plug Me Into Something was released in 1975, it proved to be a coming of age for Henry Gross musically. Plug Me Into Something was hailed a career defining album for Henry Gross, and saw him continue to mature as a singer and songwriter. Proof of this were songs of the quality of One More Tomorrow, I’ll Love Her, All My Love and Tomorrow’s Memory Lane, which showed how far the twenty-four year old Henry Gross had come.
When twenty-four year old Henry Gross he released Plug Me Into Something in 1975, he was still only twenty-four, and had grown and matured as a singer, songwriter and storyteller since leaving ABC three years earlier. His critically acclaimed third album Plug Me Into Something reached number twenty-six in the US Billboard 200 chart, which made it the most successful album of his career.
Over at ABC-Dunhill Records, someone had some explaining to do. They had cut Henry Gross loose too early in his career. Adding to their embarrassment was that he was about to enjoy the most fruitful period of his career, starting with Release, which featured the biggest hit single of Henry’s career, Shannon.
Release.
By the time Henry began work on his fourth album Release, he was in-demand as a session guitarist. Henry Gross had also left A&M Records, and signed to Terry Cashman and Tommy West’s Lifesong Records.
Signing to Lifesong Records must have been a culture shock for Henry Gross, who had previously been signed to large labels, ABC-Dunhill Records and A&M Records. At Lifesong Records, the roster was smaller and meant each artist was treated as individual.Artists were no longer part of the corporate machine, and the label’s two co-owners Terry Cashman and Tommy West would produce Release, Henry’s Lifesong Records’ debut.
For Release, Henry Gross penned a total of ten tracks, which included a song he wrote about the death of Carl Wilson’s red setter dog, Shannon. To onlookers, this seemed a strange subject for a song. Little did anyone know the effect Shannon would have. However, before Shannon was released as a single, it had to be recorded.
Recording of Release took place at The Record Plant, New York, between September and November 1975. Henry Gross was joined by a band that featured some session players. Once they had played their part, a horn and string section adding the finishing touches to Release, which was released in 1976.
When critics heard Release, they were won over by Henry’s fourth album. Release received widespread critical acclaim. Henry Gross’ blend of pop, soft rock and A&M pop found favour with critics. Dissenting voices were very much in the minority. Everything was looking good for the release of Release.
That proved to be the case when Shannon was released as a single, it reached number six in the US Billboard 100, number one in Canada and number thirty-two in the UK. Eventually, Shannon was certified gold in America alone. The sophomore album Springtime Mama, then reached number thirty-seven in the US Billboard 100. Then when Release, which was Henry Gross’ most eclectic album was was released in 1976, it reached number sixty-four in the US Billboard 200.
The only disappointment was that Release hadn’t reached the same heights as Plug Me Into Something. However, Release featured Shannon which had just been certified gold and was regarded as most eclectic and finest album. Everything in Henry Gross’ career had been building up to Release, and critics thought that this was the start of a lengthy period when critical acclaim and commercial success would come Henry Gross’ way.
Show Me To The Stage.
After the commercial success and critical acclaim of Release, Henry started work on his fifth album. He wrote the ten tracks that became Show Me To The Stage, which was recorded at The Record Plant, New York.
Recording took place between October 1976 and January 1977, at The Record Plant. Some of the musicians who played on Release returned for Show Me To The Stage. Once again, Tommy West and Terry Cashman took charge of production, and once recording of Show Me To The Stage was completed, in was released in 1977.
Five years after releasing his eponymous debut album in 1972, Henry Gross released Show Me To The Stage. Critics regarded Show Me To The Stage as an album of two sides. Side one was something of a slow burner, cumulating in an intriguing cover of The Beatles’ Help. It showcases the not just the production skills of Cashman and West, but their harmonies. Then on side two of Show Me To The Stage Henry can do no wrong. Hooks are in plentiful supply as side two has an uplifting and joyous with a feel-good, summery vibe. Critics forecast great things for Show Me To The Stage.
Sadly, that wasn’t to be. Show Me To The Stage stalled at just number 176 in the US Billboard 200. For Henry, his career had stalled. Worse still, he was back to where he was after his sophomore album. For Henry Gross this was a huge disappointment.
Show Me To The Stage was one that got away for Henry Gross, and is an album deserved to far much better than it did. It’s without doubt the most underrated album of Henry Gross’ career. However, for Henry Gross the most worrying thing was that he was back to where he was after his eponymous sophomore album. His next album was the most important of his career.
Love Is The Stuff.
Fortunately, Henry Gross still owed Lifesong Records one album, and this offered him the chance to redeem himself. If his next album was successful, there was every possibility his contract would be extended and he could continue to rebuild his career.
Meanwhile, Tommy West and Terry Cashman had decided that Henry Gross’ next album would be a live album, This was much cheaper to record than a studio album like Show Me To The Stage. Maybe, the pair had realised that Henry Gross’ career was already on the slide, and that if they poured money into recording a studio album, it was money they were unlikely to recover. However, with Henry Gross was booked to play twice at New York’s Bottom Line for the King Biscuit Flower Hour this was the perfect opportunity to record a live album.
Tommy West and Terry Cashman arranged for both of Henry Gross’ performances to be recorded, and one of these would become Show Me To The Stage. Eventually, it was the second of Henry Gross’ two appearances at New York’s Bottom Line for the King Biscuit Flower Hour was chosen by Tommy West and Terry Cashman. chose the second, where Henry Gross plays a selection of his best known and best-loved songs. The late shows saw Henry Gross playing nine songs, including Rock ‘N’ Roll I Love You, Come Along, Juke Box Song, Southern Band and his biggest hit single Shannon. This live set of some of his finest songs, Henry Gross hoped would rejuvenate his career upon its release in 1978.
Before Lifesong Records released Love Is The Stuff, critics had their say on an album which found Henry Gross switching between pop, rock and rock ’n’ roll. While most of the critics were won over by the album, some critics weren’t convinced by Love Is The Stuff.
When Love Is The Stuff was released in 1978, the album failed to even trouble the lower reaches of the US Billboard 200. This was a huge disappointment for Henry Gross, considering it was his swan-song for Lifesong Records.
Not long after Love Is The Stuff was released, Henry Gross was signed by CBS Records, who had given a distribution deal to Cashman and West’s label. Now signed to a major, who had the budget to promote his albums, this should’ve been the start of the rise and rise of Henry Gross. Sadly, Henry Gross’ only release for CBS was What’s In A Name, which was released by Capitol Records in 1981 and failed to chart. This was the end of Henry Gross’ time at CBS.
When Henry Gross returned six years later, with his new album I Keep On Rockin’ in 1987, he was signed to the Scandinavian label Sonet Records. Just like his previous album, commercial success eluded I Keep On Rockin’. It was a similar case when Sonet Records released She’s My Baby in 1989. After that, Henry Gross left Sonet Records and in the early nineties, formed his own label Zelda Records.
By then, the success of the album Plug Me Into Something and his the single Shannon must have seemed a long time ago, However, it was only 1975, that critics were forecasting a great future for Henry Gross, who had been heralded as having the potential to become one of the great singer-singers of the seventies.
Especially after the release of Plug Me Into Something in 1975, which featured his biggest hit single Shannon. However, it was all downhill after Plug Me Into Something, with Henry Gross never reaching the same nights. When Henry Gross released his fifth Show Me To The Stage in 1977, it was his last album to chart.The rise and then demise of Henry Gross had been equally rapid.
That was a great shame, as Henry Gross had released the best music of his career during the seventies. Plug Me Into Something and Release were Henry Gross’ finest albums, while Show Me To The Stage and Love Is The Stuff are both hidden gems.. They’re a reminder of Henry Gross, whose star briefly shawn brightly during the mid-seventies, when it looked looked this truly talented troubadour was going to become one of great singer-songwriters of his generation.
Henry Gross-His Seventies Solo Years.
THE LIFE AND TIMES OF HUGO FATTUOSO
The Life and Times Of Hugo Fattoruso.
Composer, arranger and multi-instrumentalist Hugo Fattoruso, was born in the Uruguayan capital of Montevideo on the ‘29th’ June 1943, and formed his first band Trío Fattoruso in 1952 aged nine. Sixty-seven years later and Hugo Fattoruso is still involved in music. He has dedicated his life to music, and released an eclectic selection of albums, and today, is one of the biggest names in Uruguayan music. His story began in 1952,
Hugo Fattoruso joined the family group Trío Fattoruso as a nine-year old in 1952, and what was his first ever band, was together for six years. However, in 1958 it looked as if it was the end of the road for Trío Fattoruso. Nothing more was heard of the group until the dawn of the new millennia, when Hugo Fattoruso would reformed Trío Fattoruso in 2000. By then, his musical career had six decades and he was a veteran of many groups.
This included The Hot Blowers who were formed in 1959, when Hugo Fattoruso was sixteen. They were together for four years, until the band went their separate ways in 1963.
Los Shakers
Another year passed before Hugo Fattoruso and his brother Osvaldo formed the four piece band Los Shakers. This came after they saw the film A Hard Day’s Night which starred The Beatles. They would heavily influence Los Shakers musically, and the band even copied the way the Fab Four dressed.
Just a year after Los Shakers was founded, the band signed to Odeon imprint of EMI in Argentina in 1965 and became part of the Uruguayan Invasion of South America. When Los Shakers released their debut single Break it All later in 1965, the group was briefly billed as The Shakers. However, when they returned with their eponymous debut album in 1965 they were now called
Los Shakers.
In January 1966, Los Shakers made their one and only attempt to break into the lucrative American market when they released Break It All. However, the album failed to make any impact in America, Los Shakers decided to concentrate on Latin America and especially the Argentinian market.
Ten months later, in November 1966, Los Shakers released Break It All, which was their breakthrough album. By the, Los Shakers were being referred to in the press as “The South American Beatles.” This was what Hugo and Fattoruso had been working towards. They may have achieved their goal, but some critics believed that they were merely copying The Beatles, and their music lacked originality.
These comments were ironic, because when Los Shakers released their third album La Conferencia Secreta del Toto’s Bar in 1968, it was hailed as the Latin American equivalent of Sgt. Pepper’s Lonely Hearts Club Band. However, Los Shakers’ record label neither liked nor approved of the new sound, and failed to promote the album. For Los Shakers this was the end of the road.
Opa.
In 1969, Hugo Fattoruso left Uruguay behind, and moved to New York where he founded Opa. They fused Candombe which is the traditional rhythm of Uruguay with rock, jazz, funk and various other Latin American rhythms to create an irresistible and inimitable Afro-Uruguayan sound. This would influence and inspired many artists over the next few years and beyond.
Before that, Hugo Fattoruso worked with Airto Moreira and played on Fingers, which was released in 1973 and became one of the percussionist’s most successful albums. Three years later, in 1976, played on Flora Purim’s groundbreaking album. However, the same year, Opa released their much-anticipated debut album.
Seven years after Opa was founded, they released their critically acclaimed debut album Goldenwings in 1976. Buoyed by its reception Opa returned with their sophomore album Magic Time following in 1977. It was released to plaudits and praise and it wasn’t until 1981 that Opa realised A Los Shakers four years later in 1981. Five years later, Hugo Fattoruso released his solo album Hugo Fattoruso with Opa’s fourth album En Vivo following in 1988. By then, Hugo Fattoruso was living in Brazil and had begun a new chapter in his career.
As the nineties dawned, Hugo Fattoruso released his solo album Oriental in, but after that, much of his time was spent working with various Brazilian artists. That was until Opa decided to record a new album, Back Home which was released in 1996. This was Opa’s first album in eight years and was their swan-song.
In 1997 Hugo Fattoruso returned with his first new album in seven years, Homework. However, the highlight of 1997 for Hugo Fattoruso was arranging and working on Milton Nascimento’s 1997 World Grammy Award winning album Nascimento.
Three years later, in 2000, Hugo Fattoruso reformed Trío Fattoruso, and they played together for the first time in forty-two years. Still though, Hugo Fattoruso found time to work on a variety of other projects.
This included his solo album Ciencia Fictiona, which was released in 2004. After that, Hugo Fattoruso spent much of the next five years working with other artists and collaborating on albums with Tomohiro Yahiro, Ray Tambor and Aska Strings. However, in 2011 Hugo Fattoruso returned with Acorde On and followed this up with Fatto In Casa in 2014. Despite turning seventy-one, Hugo Fattoruso was as busy as ever.
Hugo Fattoruso then jailed forces with Leo Maslíah recorded Montevideo Ambiguo, which was released in 2015. That was Hugo Fattoruso’s last release for the best part of three years.
The next album that Hugo Fattoruso released was Y Barrio Opa, which was released in 2018, and take as a starting point for the album, Opa’s original sound. To that they add Afro-Uruguayan rhythms, a healthy dose of funk, fusion, jazz harmonies, jazz-funk and Candombe drumming which comes courtesy of the De Silva brothers. They play their part in the success of Y Barrio Opa which is a captivating, genre-melting album from Hugo Fattoruso.
Y Barrio Opa was one of the finest solo albums of Hugo Fattoruso’s career, and without doubt, his finest post-millennium solo album. It’s a reminder of a versatile and innovative music who is one of the legends of Uruguayan music. Sadly, many music lovers are still unaware of composer, arranger and multi-instrumentalist Hugo Fattoruso, which is a great shame, as he’s a truly talented musician who creates groundbreaking and genre-melting music which was always ahead of its time. Maybe that will change before long, and Hugo Fattoruso will no longer be one of music’s best kept secrets?
The Life and Times Of Hugo Fattoruso.
JEANETTE-SPAIN’S SILKY VOICED SONGSTRESS 1967-1983.
Jeanette-Spain’s Silky-Voiced Songstress 1967-1983.
Label: Ace Records.
During the sixties, seventies and eighties, Jeanette’s quiet, tender and languorous vocal was something of an anomaly in Spain, and was the polar opposite of many singers including Rocío Dúrcal, Massiel, Encarnita Polo, Marisol and Karina who had deep, raw, blazing, and powerhouse vocals. Jeanette’s unique style proved popular, as the versatile singer-songwriter started singing folk pop in the mid-sixties with her band Pic-Nic, before delivering heart-achingly beautiful ballads during a career that spanned three decades.
During this period, Jeanette worked with some of the most talented producers, arrangers and songwriters from Spain, Argentina and France, They provided the songs that made Jeanette a star not just in the Spanish speaking world, but as far afield as Japan.
Now, Jeanette’s music is starting to find an even wider audience, and the release by Ace Records of Spain’s Silky-Voiced Songstress 1967-1983, is sure to introduce the singer to a wider audience. Jeanette’s story is a fascinating one, and began in London in 1951.
Although Jeanette made a name as a singer in Spain, she was born Janette Anne Dimech on the ‘10th’ October 1951, in London, to a father of Maltese descent who lived in the Belgian Congo and a Spanish mother. Jeanette’s grandparents owned an import-export business, which was why she spent her early years in Chicago, Los Angeles and La Habra, California. However, when she was twelve her parents split-up and Jeanette, moved to Barcelona, in Spain.
Having lived all her life in America, Jeanette was enrolled in an American school and spoke no Spanish. This changed when she befriended some Spanish children, who taught her Spanish. This would prove useful when she embarked upon a musical career.
In the sixties, Jeanette learned to play the guitar and started writing her own songs. She modelled herself on the new wave of American folk musicians, including Bob Dylan and The Byrds, and Scottish singer-songwriter Donovan. These were just some of Jeanette’s favourite artists and bands, and who she wanted to emulate.
The opportunity arose when Jeanette joined the student band Pic-Nic as a singer, and in 1967 they had a measure of success with a folk version of the Spanish children’s song Cállate Niña which she cowrote and features on Spain’s Silky-Voiced Songstress 1967-1983. So does two more of their best know and best loved songs, Amanecer and No Digas Nada which showcase a talented singer.
While the success of these songs resulted in Pic-Nic becoming a popular group, all wasn’t well behind the scenes. There always seemed to be disagreements between band members, and one of the mute points was should they record English versions of their songs? This would’ve introduced their music to a much wider audience, but this didn’t happen as the constant arguments resulted in the band splitting up. The Pic-Nic was over.
After the demise of Pic-Nic, Jeanette returned to her studies, but before long, received a call from her former record label Hispavox. This had been home to Pic-Nic, and an executive at the label had a proposal.
Hispavox were working on a project that required a female vocalists, and Jeanette fitted the bill. After some thought, she returned to Barcelona in 1971, where she embarked upon a solo career. Her debut single Soy Rebelde (I Am A Rebel) saw the singer’s name which was Janette, misspelt as Jeanette. It would be expensive to repress the single, so Jeanette was born and Soy Rebelde which features on Spain’s Silky-Voiced Songstress 1967-1983, gave her a hit in many Spanish speaking countries and proved popular, This was just the start for the newly christened Jeanette.
The ballad Estoy Trist, which featured No Digas Nada on the B-Side was released in 1972 and gave Jeanette another hit. Both songs feature on Spain’s Silky-Voiced Songstress 1967-1983. So does her 1973 release Palabras, Promesas which features Debajo Del Platanero (Underneath The Mango Tree) on the flip side and 1974s Porque Te Vas which gave her an international hit and features the B-Side Seguiré Amando. Many of these songs were ballads and featured Jeanette’s tender, languid vocal.
After Porque Te Vas, which was also the title of her 1976 album, Jeanette continued to release singles on a regular basis. This included Todo Es Nuevo which lent its name to her 1977 album, and featured Pequeña Preciosa on the B-Side. Both sides are welcome additions to Spain’s Silky-Voiced Songstress 1967-1983. So is No Digas Buenas Noches which was released in 1978.However, by then, Jeanette’s career had stalled.
In 1981, thirty year old Jeanette released Corazón De Poeta as single, but it failed commercially. That was a great shame as it was taken from a carefully crafted and lavishly produced album.
A year later in 1982, Toda La Noche Oliendo A Ti was released as a single, and it failed commercially. By 1983, the hits had dried up for Jeanette who had enjoyed a three decade career.
Jeanette’s career is celebrated on Spain’s Silky-Voiced Songstress 1967-1983, which features songs from her time with Pic-Nic and her solo career. This includes many of trademark beautiful ballads which she was famous for. They’re among the twenty-three tracks on Spain’s Silky-Voiced Songstress 1967-1983, including a beautiful version of a 10CC’s I’m Not In Love (Te Esperaré). It’s one of the highlights of Spain’s Silky-Voiced Songstress 1967-1983, which features some of Jeanette’s finest songs, and is the perfect introduction to a singer whose largely unknown outside of Spain.
Jeanette-Spain’s Silky-Voiced Songstress 1967-1983.
OSC MEETS BMC-FREAK OUT IN THE FJORD
OSC Meets BMC-Freak Out In The Fjord.
Label: Space Rock Productions.
Some seven years ago, brothers Øyvin and Vemund Engan founded the psychedelic space rock band Black Moon Circle, and since then, this talented band from Trondheim, in Norway, have released six albums. Six became seven when Black Moon Circle and Øresund Space Collective released their first collaboration Freak Out In The Fjord on CD, LP and digital on Space Rock Productions. After that Black Moon Circle and Øresund Space Collective will hit the road together, starting up in Copenhagen on May 23rd on a tour that takes in venues in Denmark, Germany, Poland, Latvia, Lithuania, Finland and Sweden. This is the latest chapter in the Blc
The Black Moon Circle story began in the city of Trondheim, in Norway, in 2012, when brothers Øyvin and Vemund Engan decided to form their own band. It was a case of needs must, after the demise of their previous band, the Trondheim-based punk rock group The Reilly Express, where the Engan brothers served their musical apprenticeship. With The Reilly Express now consigned to musical history, the Engan brothers decided to form a new band, which would allow them to head in a new direction musically.
In The Beginning.
Having made the decision to form a new group, which the Engan brothers named it Black Moon Circle, which was going to play psychedelic space rock. Øyvin would play bass, guitar and take charge of vocals, while his brother Vemund would also play guitar. All that the nascent Black Moon Circle needed was a drummer, and this would be the start of a new and exciting chapter in the Engan brothers musical career.
Before long, Black Moon Circle’s lineup was complete when drummer Per Andreas Gulbrandsen joined the band. He was the final piece of the musical jigsaw, and now Black Moon Circle could begin to hone their sound.
After spending time honing their sound, gradually, Black Moon Circle’s trademark sound started to evolve. Initially, it was a combination of lengthy jams, searing guitar riffs and a myriad of effects added to the bass and guitar. This was Black Moon Circle’s now unique brand of described as psychedelic space rock, which soon found an appreciative audience.
Now that they had honed and tightened their sound, Black Moon Circle made their first tentative steps onto the local live scene. While they were the newest addition to Norway’s thriving and vibrant and thriving psychedelic space rock scene, their music soon started to find a receptive and appreciative audience. That came as no surprise.
It wasn’t just that that Black Moon Circle was a talented band whose popularity was growing, but by then, space rock’s popularity was growing all over Europe. Flying the flag for Norwegian space rock was Black Moon Circle, whose music was about to find a wider audience in 2013.
Black Moon Circle.
Although Black Moon Circle had been together less than a year, they had already decided to record a mini album at Nautilus Studios. Black Moon Circle recorded three tracks Plains, American Eagle and Enigmatic Superbandit, which would mark the debut of the Trondheim-based psychedelic space rockers.
The mini album Black Moon Circle was released as a limited edition of 300 in February 2014 by Space Rock Productions, the label run by the Øresund Space Collective from Copenhagen, Denmark. Black Moon Circle introduced the band’s music to a new and wider audience, and launched their career.
After the release of their mini-album, Black Moon Circle were already making plans for the future, and this included recording their much-anticipated debut album. Black Moon Circle weren’t the type of band to let the grass grow under their feet, and the recording began in the spring of 2014.
Andromeda.
When Psychedelic space rockers Black Moon Circle returned to the studio in April 2014, they had been together the best part of two years, and were already a tight band who were capable of seamlessly creating genre-melting music. Black Moon Circle worked quickly and efficiently, recording the five songs on Andromeda in just one day. Six months later, and Andromeda was ready to be released.
Black Moon Circle’s debut album, Andromeda which showcased their psychedelic space rock sound was released to plaudits and praise by Crispin Clover Records in October 2014. Critics forecast a great future for the Trondheim-based trio, who were already hatching a plan that sounded like something from the seventies, the golden age of rock.
The Studio Jams Volume I: Yellow Nebula in the Sky.
Black Moon Circle had decided to release a trilogy of albums featuring studio jams, which was something that harked back to the seventies, when rock was King. It seemed that this was Black Moon Circle’s way of paying homage to the golden age of rock which had influenced their music. In mid-2015, Black Circle announced their intention to release a trilogy of studio jams, which was by far, the most ambitious project of their career.
The first of the trilogy was The Studio Jams Volume I: Yellow Nebula in the Sky, where Black Moon Circle were joined in the studio by Scott Heller a.k.a. Dr. Space who played synths on the album. It was released in August 2015, and was the start of a new era for Black Moon Circle.
Critics hailed The Studio Jams Volume I: Yellow Nebula in the Sky as Black Moon Circle’s as finest hour as they fused psychedelic space rock with elements of electronica, experimental music and free jazz. Seamlessly, these disparate musical genres and influences merge into something new and innovative that was cinematic, dramatic, futuristic, moody, rocky and as Øyvin Engan says: “intense.” However, for their third album, Sea Of Clouds, Black Moon Circle added two new ingredients to their successful musical formula.
Sea Of Clouds.
With The Studio Jams Volume I: Yellow Nebula In The Sky recorded, but not yet released, Black Moon Circle’s thoughts turned to their next album, which wasn’t going to be another instalment in the Studio Jams’ series. Instead, Black Moon Circle changed direction slightly on Sea Of Clouds.
When Black Moon Circle recorded Sea Of Clouds in June 2015, they were again joined by Scott Heller who played synths, while new guest artist Magnus Kofoed played keyboards. During the course of just one day, Black Moon Circle recorded the four lengthy jams that became Sea Of Clouds.
When Sea Of Clouds was released, critics were won over by another album of hard rocking, psychedelic space rock that was futuristic, moody, otherworldly and featured Black Moon Circle’s trademark intensity. Sea Of Clouds was a carefully crafted fusion of avant-garde, free jazz, heavy metal, Krautrock and post rock which had been inspired by Black Sabbath, Can, Deep Purple, Emerson, Lake and Palmer, Hawkwind, Iron Maiden, Led Zeppelin, Hawkwind, Moster, Motorpsycho, Radiohead and Yes. All these bands had influenced Sea Of Clouds, which was another ambitious and innovative offering from the expanded lineup of Black Moon Circle, who were about to record the most accessible album of their career.
The Studio Jams Volume 2.
Seven months after the release of Sea Of Clouds, Black Moon Circle returned with their eagerly awaited fourth album, The Studio Jams Volume 2. It had been recorded in June 2015 by Black Moon Circle who were joined by Scott Heller a.k.a. Dr. Space on synths
Just like previous albums, critical acclaim accompanied the release of The Studio Jams Volume 2, which found Black Moon Circle fusing the classic rock of the sixties and seventies with psychedelia and space rock. To this, Black Moon Circle add elements of avant-garde, electronica, experimental music, free jazz, Krautrock and post rock. Seamlessly, these disparate musical genres and influences merge into one on another album of ambitious, exciting and innovative music. It’s also cinematic, dramatic, futuristic, moody, rocky and features Black Moon Circle’s trademark intensity. However, The Studio Jams Volume 2 was also Black Moon Circle’s most accessible album, and was the perfect introduction to the Trondheim based musical pioneers, who were about to square the circle.
The Studio Jams Volume III: Flowing Into The 3rd Dimension.
This came when the four members of Black Moon Circle entered the studio early in 2017, to record the last instalment in their trilogy of Studio Jams, which featured two epic jams. When the time came to record the album closer Waves, Black Moon Circle were joined by Hans Magnus Ryan a.k.a Motorpsycho’s guitarist Snah.
With Snah onboard, the expanded lineup of Black Moon Circle ensured that the Studio Jams’ trilogy ended on a high with a genre-melting opus. Black Moon Circle took psychedelic space rock as a starting point, and added elements of avant-garde, Berlin School, blues rock, classic rock, electronica and experimental music, improv, Krautrock, post rock and progressive rock to the two epic jams on The Studio Jams Volume III: Flowing Into The 3rd Dimension. Black Moon Circle had saved the best until last instalment until last on their Studio Jams’ trilogy
Psychedelic Spacelord.
By the time Black Moon Circle released The Studio Jams Volume III: Flowing Into The 3rd Dimension, the band had already recorded their next album Psychedelic Spacelord. It had been recorded during what Øyvin Engan described as “a spaced out session in March 2017” by an expanded lineup of Black Moon Circle.
Joining the core lineup of Black Moon Circle was keyboardist Magnus Kofoed, who had previously featured on Sea Of Clouds. Magnus Kofoed returned and played Fender Rhodes, Mellotron, Hammond organ on Psychedelic Spacelord. Øresund Space Collective violinist Jonathan Segel was the other guest artist who joined Black Moon Circle when they were recording their sixth full-length album. Later, vocals were overdubbed onto Psychedelic Spacelord, and added what was finishing touch to this much-anticipated album.
Psychedelic Spacelord is a much-anticipated album, with critics and record buyers wondering what the future holds for Black Moon Circle in the post Studio Jams era? However, what nobody expected was for Black Moon Circle to return with an album that features one epic track that lasts forty-six magical minutes, and is spread over two sides of vinyl and the CD that accompanies the LP. Quite simply, Psychedelic Spacelord is the most ambitious album of Black Moon Circle’s career and is the perfect way to begin the post Studio Jams era.
Psychedelic Spacelord was the first album of the post Studio Jams era. It finds the expanded lineup of Black Moon Circle sounding better than they’ve ever sound, and rocking harder than ever on Psychedelic Spacelord which is a very different album to everything that has gone before.
There’s only one track on Psychedelic Spacelord, albeit last forty-six incredible minutes where psychedelic space rockers take the listeners on a magical mystery tour as this genre-melting track reveals its secrets. Although psychedelic space rock is the basis for Black Moon Circle’s music, they also combine elements of avant-garde, blues rock, classic rock, electronica, experimental music, heavy metal, improv, Krautrock and post rock on Psychedelic Spacelord, which is a musical roller coaster. During the forty-six minutes the music veers between dark and dramatic, to atmospheric, cinematic and futuristic as sci-fi sounds assail the listener before the music becomes anthemic and uplifting and other times, lysergic, trippy and for much of the time hard rocking. Indeed, Psychedelic Spacelord features Black Moon Circle at their hard rocking best.
Freak Out In The Fjord.
Nearly a year after releasing Psychedelic Spacelord, Black Moon Circle return with Freak Out In The Fjord their collaboration with Øresund Space Collective. The story begins on Friday the 17th November 2017, when Black Moon Circle and Øresund Space Collective were booked to play a show in Trondheim, Norway billed as Freakout in the Fjord, where they were joined on the bill by the local band, Red Mountains. This was the perfect workout for Black Moon Circle and Øresund Space Collective who left the show to a standing ovation and were perfectly prepared for the recording session that was about to take place the next day.
On Saturday 18th November 2017, Black Moon Circle and Øresund Space Collective were booked into one of Trondheim’s top studio where they were about to record a jam session. The two bands made their way to the Øra studio, where they began setting up their equipment, which took time. There was the small matter of three drum kits, two basses and two guitars in the rhythm section alone. Drums, basses and guitars were positioned right and left, just like the recording for the recording of Miles Davis’ Bitches Brew. The rhythm section was augmented by a modular synth, Fender Rhodes and Oberheim synth. When the equipment was setup. Black Moon Circle and Øresund Space Collective worked their way through four tracks lasting two incredible hours.
The four genre-melting jams were recorded by recording engineer Magnus Koefod, who watched on as Black Moon Circle and Øresund Space Collective open the album with the futuristic, rocky, psychedelic and dubby Rendezvous In The Nebula where heavy riffs are the order of the day. It gives way to the Miles Davis inspired Afterglow In The Sea Of Sirens to Dinner With Greg A and Jerry G which pays homage to the Grateful Dead. Closing this two hour genre-jumping and melting journey is Freak Out In The Fjord which is a tour de force of heavy space rock. With that, Black Moon Circle and Øresund Space Collective take a well deserved bow on their first, and hopefully not their last collaboration.
Just a year after their career defining opus Psychedelic Spacelord, which was a reminder of the golden age of rock, when hard rocking groups like Black Sabbath, Deep Purple and Led Zeppelin were among the most successful bands in the world, Black Moon Circle make a welcome return.
They’re joined by Øresund Space Collective on Freak Out In The Fjord, where they drive each other to even greater heights across a 3LP or 2 CD set. It finds Black Moon Circle and Øresund Space Collective combining disparate musical genres including classic rock, fusion, jazz, Krautrock, psychedelic rock and space rock on the genre-melting collaboration Freak Out In The Fjord. Billed as OSC Meets BMC, the two pioneering groups unleash their own brands of innovative and inventive music on Freak Out In The Fjord, which draws inspiration and pays homage to some of the legends of music. These influences can be heard throughout Freak Out In The Fjord.
For Black Moon Circle, Frae represents a new chapter in their story which began seven years ago, and has seen Trondheim’s finest win friends and influence music lovers across Europe. Black Moon Circle’s music will continue to find a wider audience by releasing albums of the quality of Freak Out In The Fjord, which features Øresund Space Collective who they’re about to tour Europe with from May 23rd and showcase the music on this genre-melting musical journey.
OSC Meets BMC-Freak Out In The Fjord.
KABASA-AFRICAN SUNSET.
Kabasa-African Sunset.
Label: BBE Music.
Kabasa was formed in Soweto by vocalist and bassist Tata “TNT” Sibeko and percussionist Oupa Segwa and guitarist Robert “Doc” Mthalane who previously had been members of the iconic Afro-rock band Harari, who the first ever local black pop band to appear on South African television. Despite Harari being regarded as one of the best Afro-rock bands of the seventies, Oupa Segwa and guitarist Robert “Doc” Mthalane decided to call time on their career with the band.
They joined forces with bassist Tata “TNT” Sibeko to form Kabasa. This was a new start for percussionist Oupa Segwa and guitarist Robert “Doc” Mthalane, who was regarded as South Africa’s answer to Jimi Hendrix. A confident and technically gifted guitarist he could switch seamlessly between genres and combine them in one genre-melting track. The new group Kabasa, offered a showcase for Robert “Doc” Mthalane and the other two members of the band to showcase their considerable skills.
In 1980, Kabasa released their eponymous debut album, which was released to plaudits and praise. This launched Kabasa’s career who many critics had a bright future in front of them.
Just a year later, in 1981, Kabasa returned with their sophomore album Searching. It featured everything from jazz, funk, rock and soul to fusion and showcased a tight and talented band. Founder and bass wizard Tata Sibeko found virtuoso guitarist and flamboyant showman Robert “Doc” Mthalane the perfect foil. The final piece of the jigsaw was percussionist Oupa Segwa whose contribution resulted in a very different and unique sound on Searching. Kabasa were going from strength to strength, and their third album looked like being a game-changer.
Before Kabasa recorded their third album African Sunset, which will be rereleased by BBE Music on the ’24th’ May 2019, percussionist Oupa Segwa left the group. His replacement was Mabote “Kelly” Petlane who was a percussionist and flautist. His addition changed Kabasa’s sound.
When work began on what later became African Sunset, the songwriting and production duties were shared between the three members of the band. The songs the members of Kabasa wrote for African Sunset, touched on the political problems facing South Africa. However, they had to be careful as to avoid detection from government censors at the South African Broadcasting Corporation.
Despite this, radio copies of one of the tracks, Mefeteng, fell foul of the censors. Mefeteng is a town in Lesotho, which at the time, was associated with political exiles and the censors deliberately scratched out and the track rendering the song unplayable. Other tracks on African Sunset are best described as progressive rather than being an album of music that was trying to bring about a revolution in South Africa. Proof of this is the album opener Rainbow Children which champions South Africa’s multi-racial dissidents with the lyrics; “we are the rainbow children-we run and hide.”
When African Sunset was released in 1982, on the short-lived Lyncell Records imprint, it was a carefully crafted, genre-melting album featuring musicianship of the highest quality and lyrics that featured political and social comment, but not enough to raise the hackles of the censors. African Sunset found Kabasa combining elements of psychedelic rock, jazz, funk and traditional African music. Sadly, African Sunset wasn’t the success that Kabasa had hoped, and very few copies were sold.
Nowadays, original copies of African Sunset are rarities, although the album is quite rightly recognised as being a timeless, cult classic that showcases that talented trio Kabasa, at the peak of their powers.
After the release of African Sunset, the members of Kabasa went their separate ways. Their legacy is a triumvirate of albums including African Sunset, their finest hour and undoubtably a timeless, cult classic which sadly, was also Kabasa’s genre-melting swan-song.
Kabasa-African Sunset.
THE LIFE AND TIMES OF VICTOR ASSIS BRASIL
The Life and Times Of Victor Assis Brasil.
Victor Assis Brasil was born into a middle class family in Rio de Janeiro, on the ‘28th’ of August 1945, and from an early age, expressed an interest in music. Seeing their son’s interest in music, Victor Assis Brasil’s parents decided to foster an environment that was conducive to his musical education. There was always the finest music playing in the house, as Victor Assis Brasil and his twin João Carlos Assis Brazil were growing up,
They were exposed to an eclectic selection of music. Sometimes, classical music was played, while other days, the young Victor Assis Brasil listened intently as jazz played. All the music that Victor Assis Brasil heard would influence and inspire him later, when he embarked upon a career as a professional musician.
Having heard such a wide range of music in his formative years, it was jazz that Victor Assis Brasil was drawn to and which he preferred to listen to. However, already Victor Assis Brasil wanted to go from listening to music to playing music.
This began when he was given a harmonica, and Victor Assis Brasil started playing along to the songs that he heard. While he played all sorts of music, Victor Assis Brasil always returned to jazz which was his already his favourite genre. The only problem was a harmonica wasn’t best suited to playing jazz. Fortunately, fate intervened when Victor Assis Brasil was fourteen.
That was when Victor Assis Brasil’s aunt arrived at the family home with an alto saxophone that she had won. This she presented to Victor Assis Brasil, and this opened up a new world for the young musician.
Victor Assis Brasil was a natural when it came to playing the alto saxophone, but still he practised for hours on end, day after day. Within just four years, Victor Assis Brasil was a truly talented saxophonist who was already playing in public. Whether it was nightclubs, parties or in schools Victor Assis Brasil took to the stage and showcased his considerable skills.
By then, people were starting to take notice of Victor Assis Brasil, and in 1963 made his first recording at a friend’s house. Little did anyone know that history had just been made.
A year later in 1964, nineteen year old Victor Assis Brasil had graduated to sitting in on jam sessions that took place in nightclubs in the South zone. Most of the musicians were older, and much more experienced, but Victor Assis Brasil didn’t look out-of-place, and sometimes upstaged the veterans he shared the stage this. This didn’t bother them, as they knew that Victor Assis Brasil was a special talent.
They were right, and in 1966 Victor Assis Brasil entered the studio to record his debut album Desenhos. During the sessions, torrential rain fell and it was so bad that the studio ceiling started leaking. Despite that, the sessions continued, and Victor Assis Brasil and his band were reluctant to leave the studio and ended up recording far more songs than was needed for an album. Many of these songs documented a prodigious talent in the early stages of his recording career and would’ve featured on Drawings.
Sadly, the leak in the studio damaged the tapes, and some of the songs were lost for good. Despite that, when Desenhos was released in 1966 it showcased a truly talented twenty-one year old saxophonist and was hailed as the first major jazz album recorded in Brazil. Many critics though Victor Assis Brasil had a long and illustrious career in front of him.
After the release of Desenhos, Victor Assis Brasil studied with saxophonist and conductor Paulo Moura in an attempt to improve his knowledge of music theory and improve his technique. Later that year, Victor Assis Brasil started touring further afield, and played in Europe. This included Austria where he took part in the International Jazz Contest in Vienna, and was third place in the saxophonists section. The same year, won the award for the best soloist at the Berlin Jazz Festival. By then, Victor Assis Brasil was one of jazz’s rising stars.
Victor Assis Brasil returned home to Brazil, and continued to play live, leading quartets and quintets. Soon, the time came for Victor Assis Brasil to record his sophomore album Trajeto where he combined Bossa Nova and Latin jazz. When Trajeto was released in 1967, it was to widespread critical acclaim. However, it was the last album Victor Assis Brasil would release in Brazil for three years.
In 1969, Victor Assis Brasil applied and was granted a place to study at the prestigious Berklee College of Music, where he played alongside of Dizzy Gillespie, Chick Corea, Ron Carter and Clark Terry. This was all part of Victor Assis Brasil’s musical education, and was good experience when resumed his recording career.
During the summer of 1970, Victor Assis Brasil where he planed to record his third album Toca Antonio Carlos Jobim, which featured four tracks that the legendary Brazilian composer, arranger, singer, pianist, and guitarist made famous. This included Tinha De Ser Com Você, Wave, Bonita and Dindi which were recorded by Victor Assis Brasil and became his homage to Antonio Carlos Jobim.
Joining Victor Assis Brasil in the studio was a band that featured drummer Edison Machado, bassist Edison Lôbo guitarist Hélio Delmiro and pianist Salvador. Meanwhile Victor Assis Brasil played alto saxophone and Roberto Quartin took charge of production. Just like during the recording of his debut album, Victor Assis Brasil ended up recording more music than they needed.
Victor Assis Brasil and his band also recorded Jimmy Heath’s ‘Ginger Bread Boy and three of his own compositions Marilia, Quarenta Graus À Sombra and Ao Amigo Quartin. These four tracks would later become Esperanto and by the end of the session Victor Assis Brasil had recorded two albums that were released during 1970 including Toca Antonio Carlos Jobim.
Critics on hearing Toca Antonio Carlos Jobim realised that it was game-changer of an album. Gone was the smooth, easy on the ear sound of the Bossa Nova, which was the sound of Brazil’s past.Certainly now that Brazil was no longer a democracy, and after a military coup, was being ruled by an iron fist by a military dictatorship.
Brazil was country under attack from the enemy within, Many within the country lived in fear, and daren’t speak out in case they were dragged kicked and screaming away by army. Despite the fear that pervaded the country, jazz was still important in the lives of many.
When Toca Antonio Carlos Jobim was released on Quartin in 1970, jazz fans were won over by Victor Assis Brasil’s groundbreaking new album. Antonio Carlos Jobim’s relaxing, soothing originals were transformed into the rawest of deep jazz cuts where Latin jazz and post bop melt into one. Toca Antonio Carlos Jobim was a powerful, potent and popular album that showed the way Brazilian jazz was heading.
Many critics believed that Victor Assis Brasil was well on his way to becoming one of the biggest names in Brazilian jazz. Especially ager the release of Esperanto later in 1970, which was another landmark album where Victor Assis Brasil and his band seamlessly fused Latin jazz, Música Oopular Brasileira and post bop.
After Victor Assis Brasil released Esperanto and Toca Antonio Carlos Jobim, critics believed that these two groundbreaking and genre-melting landmark albums were just another chapter in the story of twenty-nine year old Victor Assis Brasil.
In 1979 the Victor Assis Brazil Quintet released their eponymous album. However, in 1980 Victor Assis Brasil released his new album, Pedrinho which was also his swan-song.
Just a year later, on the ‘14th’ of April 1981, Victor Assis Brasil passed away aged just thirty-five. Brazilian music was in mourning at the loss of one of its most talented and innovate musicals who is just a fifteen year period had released six albums. These albums featured music that was ambitious, innovative and inspirational including Victor Assis Brasil’s much loved cult classics Esperanto and Toca Antonio Carlos Jobim.
The Life and Times Of Victor Assis Brasil.
ORNETTE COLEMAN’S ATLANTIC YEARS.
Ornette Coleman’s Atlantic Years.
Just under four years ago, on June 11th 2015, that Ornette Coleman passed away, aged eighty-five. Music had lost a true legend, whose album Free Jazz: A Collective Improvisation lent its name to a musical genre, free jazz. It’s the genre that Ornette Coleman became synonymous with. However, two years earlier, this nascent genre had no name.
Ornette Coleman released his Atlantic Records’ debut in 1959. The Shape of Jazz to Come hinted that jazz was changing. However, it wasn’t until the release of Ornette Coleman’s fourth album for Atlantic Records, Free Jazz: A Collective Improvisation that the genre was christened. Suddenly, free jazz was born. It was being hailed the most exciting development in jazz, and Ornette Coleman was one of its most innovating practitioners. His story began in 1930.
It was on March 9th, 1930, that Ornette Coleman was born Randolph Dernard Ornette. He was born and brought up in Forth Worth, Texas, where his musical skills were apparent from an early age. A true multi-instrumentalist, Ornette played saxophone, violin and trumpet and composed music. His trademark sound is blues-based, with a crying, keening timbre. Growing up, Ornette played in his high school band, but was thrown-out, for jamming during a rendition of Washington Post.
As a teenager, Ornette formed a band, with fellow students Prince Lasha and Charles Moffett. Then in 1949, he started playing with Silas Green, in his R&B show. It was during a show in Baton Rouge, that Ornette was assaulted and his saxophone destroyed. This resulted in Ornette changing to alto-saxophone. After the Baton Rouge assault, Ornette decided to leave Silas Green’s band.
After leaving Silas Green’s band, Ornette joined Pee Wee Crayton’s band. When he wasn’t making music, Ornette worked a variety of jobs, including lift operator. Still, he was determined to make a living playing music. Other musicians, however, didn’t understand Ornette’s style of music.
From his high school days, Ornette had a unique musical style. Schooled in R&B and bebop, Ornette’s approach to chord progression and harmony was very different. It was much more fluid. He played what heard in his head, which coupled with his blues’ influence, may have resulted in the rawness in Ornette’s playing. For some musicians, they thought Ornette was out-of-tune. That wasn’t the case. Unlike them, Ornette was a visionary, an innovator, a musician who’d become one of the giants of free jazz.
Even though many musicians didn’t understand Ornette Coleman, he was gradually building up a group of influential supporters. This included pianist Paul Bley, who later collaborated with Ornette. Paul however, didn’t feature on Ornette’s 1958 debut album Something Else. Released on Contemporary Records, Something Else featured Don Cherry on trumpet and Walter Norris on piano, as be bop combined with free jazz. Ornette released his sophomore album in 1959s. Tomorrow Is The Question was also released on Contemporary Records. All of sudden, people were taking notice of Ornette Coleman. They were “getting” Ornette’s unique sound and approach to jazz.
So it was no surprise that in 1959, Ornette Coleman signed to what was then, one of the biggest record labels, Atlantic Records. They had a huge roster, and released an eclectic selection of music. This included everything from blues, R&B, soul and of course, jazz. Ornette Coleman was their latest signing.
Atlantic Records was home to Ornette Coleman between 1959 and 1962. During that time, he entered the studio ten times. The first time came on 22nd May 1959, when Ornette Coleman made his way to Radio Recorders in Hollywood, California. With his quartet, Ornette Coleman recorded eight tracks. This included the six tracks that became The Shape Of Jazz That To Come. It was released in October 1959, and was the first of six albums released by Ornette Coleman between 1959 and 1962.
During the ten sessions Ornette Coleman recorded between 1959 and 1962, a total of fifty-eight tracks were recorded. Atlantic Records, just like all jazz labels, would get their money’s worth.
Following the release of Ornette On Tenor in December 1962, Ornette Coleman left Atlantic Records. However, there were still thirty-six tracks unreleased. This proved enough for another three albums. These nine albums include some of the best and most innovative music of Ornette Coleman’s career. He was one of the founding fathers of free jazz, who came of age at Atlantic Records.
The Shape Of Jazz To Come.
Having served his musical apprenticeship, Ornette Coleman was more than ready to sign to a major label. On his first two albums, Ornette Coleman pioneered this new musical genre. Some likened it do avant garde. Others thought that what Ornette Coleman and his band were playing had an experimental sound. However, after his first session with ‘producer’ Nesuhi Ertegun, he had the answer to this conundrum.
On 22nd May 1959, Ornette Coleman made his way to Radio Recorders in Hollywood, California. Joining him, were the other three members of his quartet, drummer Billy Higgins, bassist Charlie Haden and Don Cherry on cornet. They recorded eight tracks with Ornette Coleman recorded eight tracks. These tracks followed a different format to what most musicians were used to.
Each of the eight compositions Ornette Coleman’s quartet record a brief thematic statement. After that, there were several of minutes of free improvisation. Then they revisit the main theme. While this may sound similar to bebop, there’s a big difference. Advocates of free jazz abandoned the use of chord structures. Having listened to Ornette Coleman’s quartet pioneer this nascent genre, Nesuhi Ertegun had an idea for the album title.
After thinking about the session he had just ‘produced,’ Nesuhi Ertegun realised that it was important that the album title gave record buyers: ”an idea about the uniqueness of the LP.” It Nesuhi Ertegun realised, was a game-changer. This new sound was about to change jazz
Ornette Coleman’s Atlantic Records’ debut was The Shape Of Jazz To Come. It was released in October 1959, and initially, divided the opinion of critics.
Some critics and cultural commentators hailed the music on The Shape Of Jazz To Come as innovative and inventive. Lonely Woman, the album’s opener was seen as a future classic. That proved prescient. Nowadays, Lonely Woman is a jazz standard. These critics that forecast this, and realised the importance of The Shape Of Jazz To Come knew that something important was happening.
So did some of Ornette Coleman’s peers and contemporaries. They realised that potentially, this new musical movement could be the biggest innovation since bebop. Especially when Ornette Coleman began a two week residency at the Five Spirit on November 17th 1959. It became the hottest ticket in town. Ornette Coleman’s residency was extended, and eventually, last two-and-a-half months. It seemed Ornette Coleman was well on his way to becoming one of the major players in jazz. Not everyone agreed.
The lack of chordal structure proved controversial. Up until then, a pianist and guitarist gave compositions chordal structure. Not on The Shape Of Jazz To Come. That was jazz’s past. Another criticism was the harsh timber of Ornette Coleman’s saxophone. However, this wasn’t surprising. He eschewed the finest saxophone, instead, preferring a plastic Grafton saxophone. This he believed gave his music, a “harmolodic” sound, which was a fusion of harmony, movement, and melody. There was a reason for this.
Harmonic accompaniment, Ornette Coleman believed, wasn’t important. Instead, he focused merely on improvising melodies and variations on themes and motifs. Proof of this could be found on The Shape Of Jazz To Come, which in 1959, was recognised as an important, innovative and inventive album. It was also an album that changed jazz. At the forefront of this new musical movement was Ornette Coleman.
Change Of The Century.
By the time that The Shape Of Jazz To Come was released, Ornette Coleman had been back in the studio twice. On the 8th October 1959, Ornette Coleman and the his band recorded four tracks. That day, Don Cherry switched from cornet to pocket trumpet. Then the following day, 9th October 1959 another five tracks were recored. Seven of these tracks became Change Of The Century.
When Change Of The Century was released in June 1960, it was to widespread critical acclaim as The Shape Of Jazz To Come. There were no dissenting voices. Ornette Coleman critics realised, was a trailblazer, and with his fellow travellers, was the future of jazz.
This Is Our Music.
Having just recorded eight tracks on the 8th and 9th July 1960, Ornette Coleman returned to the studio later that month. On 19th July 1960, his band recorded nine new tracks. That day, there was a new face in the studio
Drummer Ed Blackwell had replaced Billy Higgins. Seamlessly, he slotted into the rhythm section alongside bassist Charlie Haden. Once the nine tracks were recorded, the band took a break for a week.
Ornette Coleman and his band returned on the 26th August 1960. That day, they recorded eleven songs. This was enough for two albums at least. It seemed that Atlantic Records were stockpiling recordings. This was nothing new. Record companies had been doing this since the musician’s strike two decades ago. Never again, would they be short of material to release.
Music was a record company’s lifeblood. Nesuhi Ertegun realised this. So on August 2nd 1960, Ornette Coleman and his band returned to Atlantic Recoding Studio, New York. That day, they recorded three of the tracks that featured on Ornette Coleman’s next album, This Is Our Music. Not content with recording Ornette Coleman’s next album, Nesuhi Ertegu decided that the band began work on the next album, Free Jazz: A Collective Improvisation.
Just as 1960 was drawing to a close, Ornette Coleman’s band found themselves A&R Studios, New York between 19th and 21st December. The first two days were spent recording two tracks for a new project, John Lewis Presents Contemporary Music Jazz Abstractions. It featured music composed by Gunther Schuller and Jim Hall. This new project allowed Ornette Coleman to work with different musicians.
So on Monday 19th December, six days before Christmas, Ornette Coleman was due to record the Gunther Schuller and Jim Hall composition, Abstraction. It featured an expanded lineup of Ornette Coleman’s band.
The rhythm section featured drummer Sticks Evans; bassists Scott LeFaro and Alvin Brehm; and guitarists Jim Hall. Augmenting this new lineup, was The Contemporary String Section. Once Abstraction was recorded, it was all change again,
On Tuesday 20th December 1960, Ornette Coleman and another expanded lineup of his band were due to record Variants On A Theme Of Thelonious Monk. The lineup read like a who’s who of jazz.
In the rhythm section alongside drummer Sticks Evans; were bassists Scott LeFaro and George Duvivier; and guitarists Jim Hall. Pianist Bill Evans joined Eddie DeCosta on vibes and flautist Robert DiDomenica and Eric Dolphy on alto saxophone, flute and clarinet. Adding the finishing touch, were The Contemporary String Section. This all-star lineup recorded one of the most complex suites Ornette Coleman’s band had recorded. When Variants On A Theme Of Thelonious Monk was completed, it would find its way onto the the 1961 album John Lewis Presents Contemporary Music Jazz Abstractions. However, on the final day of the session, Ornette Coleman recorded two tracks for his own career.
Wednesday 21st December 1960, Ornette Coleman’s band recorded two tracks, including Free Jazz, which was destined for Free Jazz: A Collective Improvisation. It featured a double quartet.
This was unheard of. Ornette Coleman decided that a different quartet feature on the right and left channel. On the left channel, was Ornette Coleman on alto saxophone, Don Cherry’s pocket trumpet and a rhythm section of drummer Billy Higgins and bassist Scott LeFaro. The right channel featured a rhythm section of drummer Ed Blackwell and bassist Charlie Haden. They were joined by trumpeter Freddie Hubbard and Eric Dolphy on bass clarinet. With this expanded lineup, Ornette Coleman was making the music of the future. It was an exciting time, and one that could change music. Before that, however, This Is Our Music was released.
Having recorded twenty-three tracks during the last three sessions, there was plenty of music to choose from. Eventually, seven tracks were chosen. This included a cover of George and Ira Gershwin’s Embraceable You. It was the first time Ornette Coleman’s had covered a jazz standard. However, never had Embraceable You been covered the way Ornette Coleman did on This Is Our Music.
The release of This Is Our Music in February 1961, was Ornette Coleman’s third release for Atlantic Records, and his fifth album overall. This Is Our Music marked the first release from the new lineup. However, what didn’t change, was the critics response to This Is Our Music. Described as inventive and innovative, Ornette Coleman was one of the pioneers of this new and exciting musical movement. It still didn’t have a name. That would soon change.
Free Jazz: A Collective Improvisation.
Just over a month after their last recording session, Ornette Coleman’s band returned to Atlantic Recording Studios, New York. There was a new member of the band. Scott LaFaro had replaced Charlie Haden. Over the last six months, a new rhythm section had joined Ornette Coleman’s band. This latest lineup was all set to make their debut on 31st January 1961.
The tapes started rolling at 3pm on 31st January 1961. By 7.30pm, another seven tracks were in the can. By now, Atlantic records still had twenty-three unreleased tracks. At this rate, they had enough for at least three albums. Despite this, less than two months later, Ornette Coleman’s band would return to the same studio.
Wednesday March 21st 1961 found another new lineup of Ornette Coleman’s band at Atlantic Recording Studios, New York. Jimmy Garrison was the new bassist, and replaced Scott LaFaro. This new lineup only recorded one track, EOS, which found its way onto Ornette On Tenor. Recording of that album was completed on Monday, March 27th 1961.
That was the last time Ornette Coleman’s band returned to Atlantic Recording Studios, New York. Never again, would Ornette Coleman record for Atlantic Records. However, that day proved productive. Ornette Coleman’s band recorded five tracks for Ornette On Tenor, and Harlem’s Manhattan for Art Of The Improvisers. This session marked the end of era for Ornette Coleman. Not for Atlantic Records.
It was ironic that Ornette Coleman’s contract with Atlantic Records was over. When Free Jazz: A Collective Improvisation was released in September 1961, it was a game-changer.
Critics listened intently to Free Jazz: A Collective Improvisation. Each side featured one lengthy track. Free Jazz (Part One) filled side one, and lasted nearly twenty minutes. On side two, Free Jazz (Part Two) lasted just over sixteen minutes. On both tracks, the two rhythm sections played as one. Then came the solos, where the soloists were allowed the freedom and opportunity to improvise on the two tracks. No longer were musicians constrained, they were allowed the opportunity to take the music wherever they wanted. This was revolutionary music. So it was fitting that the album cover featured Jackson Pollock’s painting The White Light.
Just like so many landmark albums, Free Jazz: A Collective Improvisation divided opinion. Critics either loved or loathed the album. There was no middle ground. Most reviews were filled with praise and plaudits. Some critics saw no merit in Free Jazz: A Collective Improvisation. To them, it was forty minutes of their life they would never see again. However, since then, Free Jazz: A Collective Improvisation is regarded as one of the most innovative and influential free jazz albums. For Ornette Coleman, who had left Atlantic Records, it must have been a bittersweet moment.
His latest album would lend its name to a genre, free jazz. Free Jazz: A Collective Improvisation was also being hailed one of the most innovative and influential albums in the nascent free jazz genre. To add to the irony, Atlantic Records had plenty more music to release.
Ornette!
Just five months after the release of the groundbreaking Free Jazz: A Collective Improvisation, Atlantic Records released Ornette! in February 1962. It was the first album to feature Scott LaFaro on bass.
He played his part in an album where elements of free jazz and avant garde combined on the four tracks on Ornette! These four tracks, W.R., U, T and T, C and D, R.P.D.D. were an acronym of Sigmund Freud’s Wit and Its Relation To The Unconscious, Totem and Taboo. Civilization and Its Discontents, and the essay Relation of the Poet to Day Dreaming. This was a first. Never before had a jazz musician been inspired founding father of psychoanalysis. Ornette! was released to widespread critical acclaim.
While Ornette! was released to critical acclaim, it didn’t match the quality of Free Jazz: A Collective Improvisation. That was Ornette Coleman’s Magnus Opus. However, Ornette! didn’t divide opinion in the same way as Free Jazz: A Collective Improvisation. It seemed that Ornette Coleman could do no wrong. That however, was about to change.
Ornette On Tenor.
Twenty-one months after Ornette Coleman’s last recording session for Atlantic Records, Ornette On Tenor was released in December 1962. It was Ornette Coleman’s eight album, and sixth for Atlantic Records.
Ornette On Tenor featured further changes to the lineup of Ornette Coleman’s band. Jimmy Garrison replaced Scott DeFaro on bass. The other change was Ornette Coleman switched from alto to tenor saxophone. This wasn’t the success he hd hoped.
When Ornette On Tenor was released in December 1962, critical opinion was, once again divided. Some critics called the album a classic. They thought that the Ornette Coleman Quartet were continuing to revolutionise jazz. Others disagreed.
They thought Ornette On Tenor was the weakest by the Ornette Coleman Quartet. The album, in their opinion, wasn’t regarded as as innovative or groundbreaking as its predecessors. Once again, Ornette Coleman had divided opinion, with what was meant to be his Atlantic Records’ swan-song.
After that, Ornette Coleman became something of a musical nomad. He flitted between labels, never spending long at any label. Briefly, Columbia and Impulse were home to Ornette Coleman. The exception was Blue Note, where he released three albums.
Ornette Coleman’s Blue Note years began with 1966s The Empty Foxhole. Two years later, in 1968, Ornette Coleman released New York Is Now. Later in 1968, Ornette Coleman’s Blue Note years were at an end, when Love Call was released. After this, Ornette Coleman’s signed to Impulse Records.
At Impulse Records, Ornette Coleman released just two albums. The first was Ornette At 12, which was released in late 1968. It was another album that divided the opinion of critics and record buyers. Things improved in 1969, when Ornette Coleman released the live album Crisis, which critics felt marked a return to form from Ornette Coleman. However, after the release of Crisis, Ornette Coleman found himself without a record label.
While labels recognised Ornette Coleman’s undoubtable skill, they seemed reluctant to sign him. However, Bob Thiele took a chance on Ornette Coleman, and signed him on a one album deal. The result was Friends And Neighbors-Ornette Live At Prince Street.
Ornette Coleman’s second live album in two years found the founding father of free jazz back to his inventive best. Along with his Friends And Neighbors-Ornette Live At Prince Street showed that Ornette Coleman still a pioneer, who had much to offer music. Maybe that what’s made Atlantic Records release The Art Of The Improvisers.
The Art Of The Improvisers.
When The Art Of The Improvisers was released in 1971, many record buyers presumed that Ornette Coleman was back at Atlantic Records. They were wrong, very wrong.
The Art Of The Improvisers had been recorded between May 22nd 1959 and 31st January 1961. This meant the music was between ten and twelve years old.
Despite a moderne album cover, the music on The Art Of The Improvisers sounded as if it had been recorded a decade ago. There was a big difference to what Ornette Coleman had been releasing recently. However, some critics and record buyers welcomed this return to the past. This was when Ornette Coleman released the best music of his career. While this was all very revisiting the vaults once, if Atlantic Records did this too often, there would be the sound of the barrel being scrapped.
Twins.
1971 saw Atlantic Records return to the well for the five tracks that became Twins. It was released on October 4th 1971. Just like The Art Of The Improvisers, Twins wasn’t a new album of material.
The five tracks that became Twins, were recorded between 8th October 1959 and 2nd August 1960. This meant that Little Symphony had been recorded two decades ago. However, it wasn’t just Atlantic Records who were doing this.
Many jazz labels were releasing tracks that had been recorded many years previously. Some of the tracks had been initially regarded as outtakes. However, if an artist’s career was enjoying an Indian summer, their old record companies would sometimes release an album of unreleased tracks. They knew that those who had purchased their previous albums. Often they were in for a surprise.
When critics heard Twins, they realised that just like The Art Of The Improvisers, it was an album from Ornette Coleman’s classic era. Some critics realising that Twins didn’t feature new material overlooked the album. They missed a hidden gem of an album.
Twins features some masterful performances from Ornette Coleman. Aided and abetted by his usual, tight, talented band, apart from on Little Symphony and Joy Of A Toy, Ornette Coleman turns back the clock. The music is variously uptempo, soulful, bluesy and features masterful interplay between Ornette Coleman and Don Cherry. They’re like two master craftsmen as they weave their way across Twins, reminding listeners what Ornette Coleman in his prime, sounded like. That looked like it was the last Ornette Coleman album Atlantic Records would release. However, it wasn’t.
To Whom Who Keeps A Record.
Late 1975, which was over four years since the release of Twins, Warner Japan released To Whom Who Keeps A Record. The album was released only in Japan.
That’s despite Ornette Coleman having a worldwide fan-base. They missed out on an album of uncompromising, fiery and provocative free jazz. It was well received in Japan, forty years ago, and is a welcome addition to Ornette Coleman’s discography.
Despite over fifty albums bearing Ornette Coleman’s name being released, the albums he released at Atlantic Records included some of the best music. Ornette Coleman released a total of nine albums for Atlantic Records between 1959 and 1975. These albums find one of the founding fathers of free jazz at his most inventive and innovative.
Freed from the constraints of bebop, Ornette Coleman and his band embark upon what was akin to a series of musical adventures. During these adventures, they push musical boundaries to their limits, and sometimes way beyond. They challenge what was conventional thinking, and create music that’s ambitious, groundbreaking and innovative. This new genre of music free jazz, was the future of music. It was far removed from the blandness of the Cool School, and the constraints of bebop. Ornette Coleman was at the vanguard of this new musical movement.
That’s not surprising. Ornette Coleman was one of jazz’s most innovative and inventive musicians and composers in the history of jazz. Bold, and unafraid to produce cutting-edge music, Ornette Coleman produced music that was challenging music, music that challenged musical norms. Realising musical rules were there to be broken, Ornette Coleman set about breaking these rules. However, Ornette Coleman knew when to break the rules.
By breaking these rules, Ornette Coleman created some of the most inventive, influential and innovative music in the history of jazz. This was music that fused various musical genres and influences. Bebop, free-jazz, blues, avant-garde and experimental music all influenced Ornette Coleman’s music. These genres and influences were thrown into the melting pot of one of the most creative and inventive musicians of the twentieth century. Sadly, Ornette Coleman died on June 11th 2015, that Ornette Coleman passed away, aged eighty-five. Music had lost a true legend, whose album Free Jazz: A Collective Improvisation lent its name to a musical genre, free jazz.
Free Jazz: A Collective Improvisation was Ornette Coleman’s Magnus Opus, and was recorded during what was the most productive and fertile period of his career. That was the three years he spent at Atlantic Records. During the Atlantic Records’ years, Ornette Coleman recorded enough music for nine albums. This included some of the best music of Ornette Coleman’s his long and illustrious career.
Ornette Coleman’s Atlantic Years.
LITTLE FEAT’S GLORY YEAR’S: THE LOWELL GEORGE YEARS.
Little Feat’s Glory Years: The Lowell George Years.
Before founding Little Feat in 1969, Lowell George was a member of Frank Zappa’s Mothers Of Invention. Then in 1969, Lowell met Bill Payne who previously, had auditioned for The Mothers Of Invention. Bill however, never joined The Mothers Of Invention. No. In 1969 pianist Bill Payne and guitarist Lowell George formed Little Feat. They were joined by former Mothers Of Invention bassist Roy Estrada, and drummer Richie Hayward. Previously, Richie had been a member of The Factory, Lowell’s previous band, and later, The Fraternity of Man, who found fame with Don’t Bogart Me, a track from the Easy Rider Soundtrack. With Little Feat’s lineup complete, they would become one of the most influential and successful bands of the seventies.
Having formed Little Feat in 1969, they signed to Warner Bros. in 1970. It was Frank Zappa that recommended Warner Bros. sign Little Feat. That was somewhat ironic. One rumour had it, that Frank Zappa had fired Lowell George from The Mothers Of Invention. Another rumour was that Lowell had written a song about drugs, Willin.’ A more plausible rumour is that Frank Zappa, realising just how talented Lowell George was, advised him to form his own band. He then recommended Little Feat to Warner Bros.
It was at Warner Bros. that Little Feat released the best music of their career. They released a total of eleven albums between 1970s Little Feat, and 1990s Representing The Gumbo. However, Little Feat’s story begins in 1970, when they released their eponymous debut album.
Little Feat.
Recording of Little Feat took place during August and September 1970. During that period, Little Feat recorded eleven tracks. Ten of these songs were written by members of Little Feat. Lowell George cowrote four with Bill Payne, one with Roy Estrada and wrote three more. This included Willin’ the song that supposedly, resulted in Lowell leaving The Mothers Of Invention. Willin’ features a slide guitar part. Usually, Lowell would play this. However, there was a problem. Lowell had hurt his hand in an accident.
Ry Cooder, who back in 1970, was a session guitarist, was drafted in to play on Little Feat. He laid down the slide guitar part on Willin,’ and Sneaky Pete Kleinow played pedal steel. Producer Russ Titelman added percussion and piano on I’ve Been the One. Once Little Feat was completed, it was released in January 1971.
On its release, Little Feat, which can be described as a fusion of blues, garage rock, roadhouse blues, Southern Rock and swamp rock was released to overwhelming critical acclaim. Little Feat looked like they were music’s next big thing. However, record buyers didn’t agree and Little Feat failed to chart. For Little Feat, it was a case of back to the drawing board.
Sailin’ Shoes.
For Sailin’ Shoes, Little Feat’s sophomore album, Lowell George had written seven of the ten tracks. He also cowrote Easy to Slip with guitarist Martin Kibbe, who was making his Little Feat debut on Sailin’ Shoes. Previously, Martin was a member of The Factory, Lowell’s previous band. However, on Sailin’ Shoes Martin was billed as Fred Martin. Just like on Little Feat, Bill Payne contributed two tracks which were recorded in Los Angeles.
A new producer, Ted Templeman, was brought onboard for Sailin’ Shoes. Previously, he had worked with The Doobie Brothers on their first two albums. They had been a huge commercial success. Obviously, Warner Bros. were hoping Ted’s Midas touch would work with Little Feat.
When Sailin’ Shoes was completed, Little Feat’s sophomore album, marked a change in style for the group. They had refined their raw style on Sailin’ Shoes. This was a step towards the sound on their classic album Dixie Feat.
Just like their eponymous debut album, 1972s Sailin’ Shoes was released to widespread critical acclaim. It was Little Feat’s first album to feature Neon Park’s striking artwork. This would become a feature of their albums. However, what won critics over were songs like Easy to Slip, A Apolitical Blues and Sailin’ Shoes. They were among Sailin’ Shoes’ highlights and would become Little Feat favourites. Despite the rave reviews, still commercial success eluded Little Feat. After Sailin’ Shoes, bassist Roy Estrada quit Little Feat. That wasn’t his best decision.
Dixie Chicken.
Roy Estrada had jumped ship too early. Little Feat’s third album, 1973s Dixie Chicken, saw the band make their commercial breakthrough. Ironically, it was with a new lineup that this commercial breakthrough came.
With Roy Estrada gone, bassist Kenny Gradney replaced him. Other new members were guitarist Paul Barrere and conga player Sam Clayton. They would play their part in what is Little Feat’s finest hour.
For Dixie Chicken, Lowell penned five tracks and cowrote Dixie Chicken with Fred Martin. His other contribution was Lafayette Railroad, which he cowrote with Bill Payne. Bill also cowrote Walkin’ All Night with new recruit Paul Barrere. These tracks became part of Little Feat’s classic album, which was produced by Lowell George.
Dixie Chicken was the album the defined Little Feat’s sound. Until then, their sound was difficult to describe. However, Dixie Chicken, with its laid-back, funky, quirky, seductive New Orleans’ influenced sound, was a classic. There was no doubt about it, Little Feat had landed, and Dixie Chicken was a coming of age for Lowell George and his band. What’s more, Dixie Chicken saw Little Feat make their commercial breakthrough. Little Feat Mk.II were on their way.
Feats Don’t Fail Me Now.
Having made their commercial breakthrough with Dixie Chicken in 1973, Little Feat returned with Feats Don’t Fail Me Now in 1974. It was recorded during early 1974 at Blue Seas Recording Studio in Hunt Valley, Maryland. Just like Dixie Chicken, Lowell George’s name was written large all over the album. He wrote Down the Road and Spanish Moon and cowrote four other tracks. He also cowrote seven of the eight tracks at Blue Seas Recording Studio.
For the recording of Feats Don’t Fail Me Now, Bonnie Riatt returned to adding backing vocals. So did Emmylou Harris. Tower Of Power were drafted in to add horns. Van Dyke Parks was brought in to produce Spanish Moon. Once Feats Don’t Fail Me Now was completed, it was released in August 1974.
While Dixie Chicken is perceived as Little Feat’s finest hour, Feats Don’t Fail Me Now comes a close second. On Dixie Chicken, Lowell George played a huge part in the album’s success. However, on Feats Don’t Fail Me Now it’s much more of a band effort. It won over critics and music lovers. Critical acclaim and commercial success accompanied Feats Don’t Fail Me Now. Little Feat, it seemed could do no wrong.
The Last Record Album.
1975 saw Little Feat release their fifth album, The Last Record Album. It was another landmark album for Little Feat. Having climbed the mountain and discovered fame and critical acclaim, Little Feat were at a crossroads.
On The Last Record Album, Lowell only wrote Long Distance Love and Down Below The Borderline. He however, cowrote the classic Mercenary Territory, one of The Last Record Album’s highlights. By then, Bill Payne was playing a bigger part in the songwriting process. Bill wrote Somebody’s Leavin’ and cowrote four other tracks. Among the highlights were All That You Dream, one of Bill’s best compositions. These tracks became The Last Record Album, which was released in November 1975.
This wasn’t a good time for Little Feat. Bill Hayward had been involved in a serious motorcycle accident. Bill wasn’t insured and the medical bills were ruinous. So much so, that Bill moved back to Canada. By then, the cracks were beginning to show in Little Feat.
When The Last Record Album was released, critics wondered if Little Feat had hit the wall. They had released five albums in five years. This could be beginning to take its toll, they wondered. After all, The Last Record Album wasn’t as consistent an album. Neither was it as cohesive an album. There were however, a number of highlight. among them, were All That You Dream, Mercenary Territory and Long Distance Love. The problem was, there weren’t enough highlights. Little Feat realised that. When the lyrics featured on the back of the album cover, the words “maybe next time” from Hi Roller were highlighted.
Time Loves A Hero.
For Time Loves A Hero, Lowell George didn’t contribute any songs. He left the rest of Little Feat to write Time Loves a Hero. There was a reason for this. Lowell didn’t approve of the direction Little Feat’s music was heading. Little Feat was his baby, and they weren’t a fusion band. That however, was the direction Little Feat were heading. As a result, Lowell became disillusioned.
Recording of Time Loves a Hero took place at four recording studios in Los Angeles. The lengthy sessions took place during 1976 and 1977. Eventually, Time Loves a Hero was completed, and the album was released in May 1977.
On its release, critics remarked that Time Loves a Hero was a departure in sound from Little Feat. It’s a genre-melting album. Elements of jazz, fusion, Latin, psychedelia and Southern Rock melt into one. Little Feat’s past and present make their presence felt on the Ted Templeman produced Time Loves a Hero. It divided the opinion of critics. Some welcomed the new sound, others mourned for the Little Feat of Dixie Chicken and Feats Don’t Fail Me Now. Mostly, critics wondered what the future held for Little Feat?
Waiting for Columbus.
During 1978, Little Feat didn’t release a studio album. Instead, they released a live album, Waiting for Columbus. It had been recorded during seven concerts in 1977. Four were recorded in London and three in Washington. From the tapes, seventeen songs were chosen.
The seventeen songs on Waiting for Columbus, showcased just how good a live band Little Feat were. They reinvented familiar tracks, while other songs became lengthy jams. On others, a horn section augmented Little Feat’s lineup. These songs showed another side to Little Feat. For anyone who had just heard Little Feat’s studio albums, this was an eyeopener.
On its release February 10th 1978, Waiting for Columbus was well received by critics. Many of the critics were familiar with Little Feat live’s sound, and welcomed the release of Waiting for Columbus. After all, it was much more representative of Little Feat. They seemed to enjoy the opportunity to stretch their legs, jamming and improvising. Sadly, this was a false dawn.
Down On The Farm.
Ever since Time Loves a Hero, it had been apparent that Lowell George’s interest in Little Feat was waning. What many people didn’t realise was that Lowell’s health was failing. This soon became apparent.
Lowell began work on what would eventually become Down On The Farm. Before long, Lowell called time on Down On The Farm and Little Feat. He wasn’t a well man and died on 29th June 1979, aged just thirty-four.
Two weeks after Lowell’s death, Little Feat announced they had split-up. Down On The Farm, which was released in November 1979, would be the last Little Feat album for nine years. Ironically, Lowell George would play a big part in Down On The Farm.
Ironically, Down On The Farm featured many of Lowell’s songs. He contributed Kokomo and cowrote five of the other eight tracks. Lowell’s vocals also featured on Down On The Farm, his Little Feat swan-song.
As swan-songs go, Down On The Farm isn’t the finest. Critics called Down On The Farm, a mixed bag of songs. While there’s a hint of Little Feat’s earlier greatness, some of the songs don’t match the quality of their first four albums. It seemed Little Feat’s farewell was something of a damp squib. Down On The Farm was a rather disappointing end for Little Feat.
Hoy-Hoy!
Two years after the death of of Lowell George, and the announcement that Little Feat had split up, Warner Bros. released the compilation Hoy-Hoy! in 1981. It was a double album of rarities, demos, alternate tracks and live tracks. Hoy Hoy was the first album bearing Little Feat’s name since Down On The Farm.
For Little Feat completists, Hoy-Hoy! had plenty to offer. There were demos of Teenage Nervous Breakdown and an acoustic demo of Rocket in My Pocket. Live tracks include Skin It Back, Red Streamliner, The Fan, Teenage Nervous Breakdown, Two Train and Feats Don’t Fail Me Now. There’s a version of All That You Dream, from the Lowell George tribute concert, which features Linda Ronstadt. Fittingly, a version of Feats Don’t Fail Me Now closes Hoy-Hoy!
Hoy-Hoy! was essential listening for Little Feat fans. It featured previously unheard and unreleased tracks. However, for newcomers to Little Feat, this wasn’t the case. Dixie Chicken and Feats Don’t Fail Me Now were the place to start. Both albums features Little Feat and their charismatic frontman at their very best, on albums that are Southern Rock classics. Despite this, it wasn’t Little Feat’s biggest selling album.
That came in 1988. Although Lowell George had died on 29h June 1979, and Little Feat had announced that they had split-up many two weeks later, 1988 saw the band reform. While many of the original members remained, Little Feat without Lowell George weren’t the same band.
Let It Roll.
Nine years after Little Feat had split-up, they reformed. Craig Fuller, the founder member of Pure Prairie League, joined Little Feat. He would take charge of many of the lead vocals and cowrote nine of the ten tracks. For Little Feat, their eighth album Let It Roll, was the start of a new era.
Producing Let It Roll were Bill Payne and George Massenburg. Craig Fuller had big shoes to fill. After all, Lowell George was Little Feat’s founder and driving force. It was natural that comparisons would be made between the pair. The new look Little Feat answered their critics with a gold disc.
Let It Roll was released in July 1988. Mostly, the reviews of Let It Roll were positive. Some critics, weren’t won over by the new look Little Feat. Despite this, Let It Roll was certified gold on St. Valentine’s Day 1989. Ironically, Let It Roll was Little Feat’s biggest selling album. Their ninth album, Representing the Mambo was their Warner Bros. farewell.
Representing The Mambo.
March 29th 1990, was the date that Little Feat entered the MTV age. That day, Little Feat released Representing The Mambo. Lowell George must have been spinning in his grave. Little Feat, it seemed, had sold their soul. The lead single, Texas Twister, aided and abetted by a populist video, was a staple of MTV. This wasn’t the only change.
Although Let It Roll saw Little Feat stay true to their past. Representing The Mambo saw Little Feat’s sound change. It was given a glossy makeover, with the dreaded sound of synths playing an important part of the tacky Texas Twister and other tracks. For many critics and fans, this was the end of an era.
Some critics were scathing of Representing The Mambo, while some loyal fans turned their back on Little Feat. It was the end of an era. So was the fact that Representing The Mambo was Little Feat’s final album for Warner Bros. They had had the best of Little Feat.
Representing The Mambo, marked the end of the Warner Bros. Years years. During that period, Little Feat recorded nine studio albums. However, not all Little Feats were created equal.
Especially Little Feat’s first four albums. From Little Feat, through Sailin’ Shoes, Dixie Chicken and Feats Don’t Fail Me Now, Little Feat, with Lowell George at the helm, could do no wrong. Only when Little Feat released The Last Record Album did the cracks start to show.
The Last Record Album was halfway to being a Little Feat classic. However, after The Last Record Album, Little Feat decided to change direction. Time Loves A Hero saw Little Feat in the direction of fusion. Despite that, Time Loves A Hero isn’t a bad album. It has its moments. Sadly, Down On The Farm, released five months after Lowell George’s death, was a mixed bag of songs. It wasn’t exactly a fitting farewell to Little Feat. That was the last that was heard of Little Feat until 1979.
As is often the case, replacing a legend isn’t easy. Lowell George was Little Feat’s founder, vocalist, guitarist, driving force and shining light. Nine months after Little Feat split-up after Lowell George’s death they returned with a new lineup. Craig Fuller was supposedly Lowell’s replacement. However, he was neither in Lowell George’s league as a frontman nor a songwriter. Despite that, success came Little Feat Mk. II’s way.
When Let It Roll was released in 1988, mostly, Little Feat Mk. II had stayed true to their past. Ironically, this resulted in a gold disc and was Little Feat’s most successful album. The irony was that none of of Little Feat’s first four albums had been certified gold. That’s despite Little Feat, Sailin’ Shoes, Dixie Chicken and Feats Don’t Fail Me Now being the best albums of Little Feat’s career. They were also far superior albums to Let It Roll. However, having released the most successful album of their career, Little Feat followed this up with the worst record of their career, Representing The Mambo.
On Representing The Mambo, Little Feat’s music takes on a polished sheen and enters the MTV age. For many loyal fans, that was a step too far. The new lineup of Little Feat had tarnished the Little Feat name. They turned their back on a once great group, after what was their Warner Bros. swan-song.
Representing The Mambo was a sad way to end Little Feat’s Warner Bros. Years. Despite a disappointing end to the Warner Bros. Years, Little Feat are still remembered as the most influential and greatest bands of the seventies. That was Little Feat’s decade.
The seventies were also the Lowell George years. This was the greatest period of Little Feat’s career. Thet were a pale shadow of their former self during the Craig Fuller year, When Lowell died on June 29th 1979. Little Feat died too. The two post Lowell George albums may be Little Feat in name, but not in spirit.
Little Feat are synonymous with Lowell George, one of music’s mavericks and legendary figures. Lowell George was Little Feat’s founder and driving force. He was also a musical pioneer, and one of the founding father’s of Southern Rock. Sadly, Lowell George died thirty-seven years ago, on 29th June 1979, aged just thirty-four. Although his life was cut tragically short, Lowell George packed a lot of living into thirty-four years. This included recording a quartet of classic albums with Little Feat. Little Feat, Sailin’ Shoes, Dixie Chicken and Feats Don’t Fail Me Now are a reminder of the Lowell George years, which were by far, the greatest period of Little Feat’s career.
Little Feat’s Glory Years: The Lowell George Years.
GEORGE HARRISON’S APPLE YEARS.
George Harrison’s Apple Years.
On the 10th April 1970, Paul McCartney announced his departure from The Beatles. A week later, he released his debut album McCartney. Meanwhile, The Beatles were in the process of releasing their swan-song, Let It Be.
Just a month later, the Phil Spector produced Let It Be, and the single The Long and Winding Road were released on the 8th May 1970. Let It Be was a disappointing swan-song from The Beatles. It was the only Beatles album not to be accompanied by glowing, critically acclaimed reviews. Worse was to come, later in May 1970, the documentary that accompanied Let It Be was released. Critics weren’t impressed by the documentary. Despite this, Let It Be won the 1970 Academy Award for Best Original Song Score. By then, the four former Beatles were concentrating on their solo careers.
After the breakup of The Beatles in 1970, John, Paul and Ringo embarked upon solo careers. Most of the attention was centred around John and Paul. This suited George Harrison fine.
George Harrison’s solo career began in November 1968, nearly two before the breakup of The Beatles. That’s when George Harrison released the soundtrack to Wonderwall. It became George Harrison’s debut album, and one of the most of the most innovative, yet underrated music released by a former Beatle. This starts with George Harrison’s debut album, Wonderwall.
Wonderwall.
Wonderwall was the soundtrack to Joe Massot’s film. The soundtrack was a fusion of two musical cultures. Indian classical music and rock sat side-by-side on Wonderwall. This isn’t surprising. George Harrison had been interested in Indian music since 1966. Now George had the opportunity experiment with his new musical love.
Recording of Wonderwall took place between November 1967 and February 1968. On Wonderwall, George Harrison collaborated with renowned classical pianist and orchestral arranger John Barham. He played an important part in Wonderwall. So did a number of Indian musicians, including of the other Mahapurush Misra, Shivkumar Sharma and Aashish Khan. However, it wasn’t just classical musicians that featured on Wonderwall.
Eric Clapton, Ringo Starr and Peter Tork featured on Wonderwall. So did Tony Ashton and his band The Remo Four. Once recording of Wonderwall was complete, it was released on The Beatles’ new record label Apple.
Before Wonderwall was released, it failed to catch the attention of critics. Many didn’t even bother to review Wonderwall. They perceived it as just a soundtrack. However, since then, critics have reevaluated Wonderwall. It’s now perceived as a compelling and innovative album. Indeed, Wonderwall is now one of the most underrated solo albums by a former Beatle. Not many people would’ve realised this in 1968.
Wonderwall was released in Britain on 1st November 1968, it failed to chart. A day later, Wonderwall was released on 2nd November 1968. It peaked at number forty-nine in the US Billboard 200. This vindicated George Harrison’s decision to release such a groundbreaking album. The followup to Wonderwall saw George’s music head in a much more avant garde direction.
Electronic Sound.
Just over a year later, George Harrison released his sophomore album, Electronic Sound. It was an album of avant garde music. Electronic Sound was released on The Beatles’ short lived Zapple label in May 1969.
Zapple was an imprint of Apple. Its raison d’être was to release of avant garde music. However, Zapple didn’t last long. When Allen Klein started managing The Beatles, he closed the label down. This was one of his cost cutting measures. One of the few albums it released was Electronic Sound.
Electronic Sound was recorded during November 1968 and February 1969. The album featured just two lengthy pieces played on the Moog snyth. Under the Mersey Wall lasted nearly nineteen minutes and No Time or Space was a twenty-five minute epic. These two songs became Electronic Sound, which was released in May 1969.
Just like Wonderwall, critics weren’t interested in Electronic Sound. Reviews were few and far between. That’s not surprising. Here was an album that ahead of its time. Very few people understood what George was trying to achieve. Later, when critics revisited Electronic Sound, it was deemed as an album for completists only or those interested in pioneering electronic albums. Electronic Sound hadn’t stood the test of time. Neither was it a commercial success.
Electronic Sound was released in Britain on 9th May 1969, and failed to chart. Just over two weeks later, Electronic Sound was released in America on 25th May 1969. History repeated itself and Electronic Sound failed to chart. However, George’s luck was about to change. His third album All Things Must Pass, which was recently released by Commercial Marketing as a double album, would transform George Harrison’s career.
All Things Must Pass.
While his first two album had been adventurous and groundbreaking, George Harrison’s third album All Things Must Pass is much more traditional. All Things Must Pass showcases George’s talent as a songwriter.
For All Things Must Pass headed to the studio with eighteen tracks. Many of the songs were new songs. Some of the tracks on All Things Must Pass were written while George was a member of The Beatles. They turned down tracks like All Things Must Pass and Isn’t It A Pity. So George kept them for his solo career. Now was the time to showcase these songs on All Things Must Pass.
Sixteen of these tracks were written by George. The exceptions were I’d Have You Anytime, which George and Bob Dylan cowrote. If Not For You was the other track on All Things Must Pass. It was a cover of a Bob Dylan song. These eighteen songs were part of what became a triple album. It was recorded in three top studios and featured an all-star cast.
Recording of All Things Must Pass began on 26th May 1970 and finished in late October 1970. Three studios were used. This included Abbey Road Studios, Trident Studios and Apple Studios. During that five month period, the great and good of music played a walk on part on All Things Must Pass.
During the recording sessions for All Things Must Pass, Derek and The Dominos featured. Jim Gordon played drums, Carl Radle bass and Eric Clapton acoustic and electric guitars. Ex-Beatle Ringo Starr played drums. Billy Preston who played with both The Beatles and Rolling Stones played piano and organ. Another Beatles’ confident, Klaus Voormann, played guitar and bass. Ginger Baker of Blind Faith played drums. Dave Mason of Traffic played electric and acoustic guitars and Phil Collins of Genesis percussion. Alan White of Yes added drums. These big names were joined by some top session players.
This included Bobby Whitlock. He was formerly a member of Delaney and Bonnie, and in 1970, session musician to the stars. Bobby played piano, organ, tubular bells and harmonium. Horns came courtesy of saxophonist Bobby Keys and trumpeter and trombonist Jim Price and pedal steel Pete Drake. Playing acoustic guitar were Pete Ham, Tom Evans and Joey Molland. Pianists included Tony Ashton and Gary Brooker. Joining this crack band of session players was Beatles’ roadie Mal Evans, who played percussion. He played a small part in what would become the most successful album of George Harrison’s career, All Things Must Pass.
With All Things Must Pass completed, it was scheduled to be released on 27th October 1970. Before then, the music critics passed judgment on All Things Must Pass. There was not one dissenting voice. Critics hailed All Things Must Pass as a classic. Critical acclaim accompanied All Things Must Pass. It was, without doubt, the greatest album of George’s three album solo career. It was a coming of age for George Harrison.
It was as if George Harrison had been freed from the shackles that were The Beatles. He was being held back by the Lennon-McCartney axis. They dictated what songs featured on albums. George’s songs were rejected out of hand. He was about to have the last laugh though.
The cover of All Things Must Pass saw George Harrison surrounded by four comedic looking gnomes. They were meant to represent The Beatles. Beatles watchers saw this as George commenting on his removal from The Beatles. No longer was he a Beatle. After all these years as a Beatle, George was had his own identity back. Even better, he was about to release a classic album All Things Must Pass.
27th October 1970 was D-Day for George Harrison. That was the day All Things Must Pass was released as a triple album. The first four sides featured the main part of All Things Must Pass. It was produced by George and Phil Spector. On sides five and six, was Apple Jam. It featured five jams. The lavish triple album that was All Things Must Pass, was about to become one of the most successful solo albums by a former Beatle.
The lead single released from All Things Must Pass during 1970 was a double A-Side. This was My Sweet Lord/Isn’t It A Pity. It reached number one in America, Australia, Britain, Canada, Germany, Holland, Norway, Sweden and Switzerland. Having sold one million copies in America, My Sweet Lord was certified gold. It was then nominated for a Grammy Award. There was a problem though.
Anyone familiar with Ronnie Mack’s He’s So Fine, will immediately spot similarities between the two songs. So did Bright Tunes Music. They filed a write against George’s Harrisongs Music on 10th February 1971. Nearly five years later, on 23rd February 1976, the case was settled. It was held that George Harrison “subconsciously copied” He’s So Fine. Damages totalled $1,599,987, which was deemed 75% of the North American royalties. For George, the case caused him huge problems. He became so paranoid about subconsciously copying some else’s work, that he could hardly write. However, back in 1970, that wasn’t the case.
On the release of All Things Must Pass on 27th October 1970, it reached number one in America, Australia, Britain, Canada, Holland, Norway and Sweden. All Things Must Pass also reached number four in Japan and number ten in Germany. Given how successful All Things Must Pass was, it’s no surprise it was certified gold in Britain and Canada. In America, All Things Must Pass was certified platinum six times over. That equates to sales of six million copies of All Things Must Pass. Never again, would George Harrison reach these heights. After all, All Things Must Pass is a stonewall classic.
After the release of All Things Must Pass, no longer was George perceived as a junior partner in The Beatles. That was far from the case. He was a talented and prolific songwriter. The sixteen songs he wrote for were just the tip of a musical iceberg. For years, George had been quietly writing songs. By 1970, he had accumulated a vast body of work. Now was the time to let the record buying public hear what he was capable of on All Things Must Pass.
All Things Must Pass was George’s Magnus Opus. It’s an epic album. Lavish, epic arrangements are the perfect foil for George’s vocal. The music is both melodic and mystical. Especially when George draws inspiration from Indian music. This is part of All Things Must Pass’ spiritual sound.
During All Things Must Pass spirituality and religion play an important part. This is apparent on My Sweet Lord. Just like other tracks on All Things Must Pass, My Sweet Lord is a mixture of rock ’n’ religion. It’s an anthemic modern day hymnal. However, there’s other influences on All Things Must Pass.
This includes The Band, Bob Dylan and of course Phil Spector. His arrangements are part of the albums lavish, grandiose sound. Phil Spector co-produced All Things Must Pass. He was yin to George’s yang. Now that George was freed from the constraints of Lennon and McCartney, Phil helped the genie escape from the bottle.
In doing so, Phil Spector helped George Harrison record an album he’d never better, All Things Must Pass. Cerebral and spiritual, beautiful, thoughtful and spiritual, the music is sometimes wistful and melancholy. Always, you’re compelled during six sides of music. For George Harrison, many thought that following up All Things Must Pass was almost impossible.
Living In The Material World.
After the release of All Things Must Pass, George Harrison put his career on hold. Instead, he spent much of 1971 and 1972 raising money for the refugees in the newly independent Bangladesh. One of George’s biggest, and most ambitious, fundraising projects was The Concert for Bangladesh on the 1st August 1971.
Two concerts took place on the 1st August 1971. At 2.30pm and 8pm, George Harrison and Friends took to the stage. These “friends” included Bob Dylan, Eric Clapton, Ringo Starr, Billy Preston, Ravi Shankar, Leon Russell and Badfinger. These concerts were recorded and released as a triple album.
When The Concert For Bangladesh album and film were released in America on 20th December 1971 and on 10th January 1972 in Britain, it proved to be a huge success. The album topped the charts around the world, and won a Grammy for Album of the Year. Eventually, George’s fundraising efforts raised twelve million dollars, which was sent to Bangladesh. Only after the fundraising was over, would George’s career resume.
For his fourth album, and first since 1970, George penned the eleven new tracks that became Living In The Material World. It was a highly personal album. The songs dealt with George continued struggle for spiritual enlightenment. This wasn’t easy. Especially with George being viewed as a musical “superstar.” Living in the physical world, with all its temptations made it difficult for George to reach his spiritual goals. George a deeply spiritual man, it seemed, was struggling with Living In The Material World.
Recording of Living In The Material World began at George’s Oxfordshire home, Friar Park. In Friar Park’s guest room, George had a recording studio installed. It centred around sixteen-track tape machine. The sessions began during October 1972 and continued through to March 1973. Other sessions took place at the Apple Studios and Abbey Road Studios. This was where George’s band got to work.
When the recording of Living In The Material World, began, George had decided to use a smaller band. This included Gary Wright, Jim Keltner, John Barham, Klaus Voormann, Nicky Hopkins, Zakir Hussain and ex-Beatle Ringo Starr. They recorded the eleven tracks that became Living In The Material World. Later, in February and March 1973, overdubbing took place. Once Living In The Material World was recorded,it was scheduled for release in May and June of 1973.
Before the release of Living In The Material World, it was one of the most highly anticipated albums of 1972. No wonder. George Harrison hadn’t released an album since 1970. A taste of Living In The Material World was the single Give Me Love (Give Me Peace on Earth). On its release it reached number four in Britain and number one in the US Billboard 100. This augured well for Living In The Material World.
When critics heard Living In The Material World, they hailed the album a pop classic. Words like cerebral, profound and spiritual were used to describe the deeply personal Living In The Material World. This critically acclaimed classic was an insight into life as an ex-Beatle. What was obvious, was that George Harrison was obviously finding it difficult reconciling his spiritual needs, with life as a music legend. His legendary status was about to grow.
Living In The Material World was released in America on 30th May 1973, and reached number one in the US Billboard 200 charts. This resulted in a gold disc for George. When Living In The Material World was released in Britain on 22nd June 1973 it reached number two. Elsewhere, Living In The Material World reached number one in Australia and Canada, and reached the top ten in Holland, Japan, Norway and Sweden. George Harrison’s star was still in the ascendancy, having released his second classic album. What next for George Harrison though?
Dark Horse.
The aptly titled Dark Horse was George’s fifth album. After all, George had released the most successful solo album by a former Beatle, All Things Must Pass. He’d followed this up by his second solo album Living In The Material World. So by December 1975, critics and music lovers eagerly awaited the release of Dark Horse. However, the Dark Horse album will forever by mired in controversy, due to the accompanying tour. The story begins in November 1973.
For Dark Horse, George wrote seven of the nine tracks. He also cowrote two other tracks, including Far East Man, which George and Ron Wood wrote. George also cowrote Bye Bye Love with Felice and Boudleaux Bryant. These tracks, like much of of the music on Dark Horse is extremely honest and personal.
This begins with Simply Shady, which opens Dark Horse. A guilt ridden George, examines his pursuit of earthly pleasures, rather than spiritual fulfilment. So Sad addresses the failure of George’s first marriage. It’s a soul-baring, autobiographical song. Maya Love is a song about illusory nature of love. George’s solo success lead to him being called the Dark Horse. After all, most people thought that John or Paul would enjoy the most successful solo career. These people had underestimated George. It Is ‘He’ (Jai Sri Krishna) was penned by George after he visited Vrindavan, in northern India, with his friend Ravi Shankar, who later, would play an important role in the Dark Horse story.
Before that, recording of Dark Horse began in November 1973. Recording began at George’s home studio at Friar Park, Oxfordshire. After a break the sessions resumed in April 1974. Then between August and October 1974, Dark Horse was completed. Some of the sessions took place in Los Angeles, at A&M Studios. Accompanying George was an all-star band.
For the recording of Dark Horse, some of the musicians that played on Living In The Material World returned. Among them, were Gary Wright, Jim Keltner, Klaus Voormann, Nicky Hopkins and Beatle Ringo Starr. They were joined by Ron Wood, saxophonist Tom Scott, Roger Kellaway and Alvin Lee. Just like previous albums, Dark Horse which was released in December 1974, was produced by George.
On the 9th December 1974, Dark Horse was released in America. This coincided with George’s Dark Horse tour of North America. This was a controversial tour for two reasons. The first was, that Ravi Shankar was named as co-headliner. Given that this was the first North American tour by an ex-Beatle since 1966, this didn’t go down well.
Audiences wanted to see George, not what many audience members regarded as a “little known” Indian musician. This was far from the truth. Ravi Shankar was a well known, and highly regarded and respected musician. He was also a good friend of George, who sadly, was struggling with laryngitis during the tour.
Due to the laryngitis, George couldn’t feature as heavily as he wanted. However, he thought this was the perfect opportunity to let audiences hear more of Ravi Shankar. This backfired on George.
Critics, including some of the most influential music critics and cultural commentators rounded on George and his decision to allow Ravi Shankar to feature so heavily. Some of the concert reviews were scathing and the George Harrison-Ravi Shankar tour called a failure. This affected sales of Dark Horse.
Rather than judge Dark Horse on its merits, it was a case of guilt by association. What was a groundbreaking album, showcasing George’s new sound was trashed by some axe grinding, influential critics. Their view of Dark Horse was taken as gospel. Looking back, Dark Horse was an ambitious and innovative album, one that should’ve been a bigger commercial success.
Prior to the release of Dark Horse, the title-track was released as a single in America on 18th November 1974, and reached number fifteen in the US Billboard 100 charts. The second single was Ding Dong, Ding Dong, was released on the 6th of December 1974. It reached number thirty-eight in Britain and thirty-six in the US Billboard 100 charts. However, the album, Dark Horse fared better commercially.
Dark Horse was released on 9th December 1974. It reached number four on the US Billboard 200 charts. This resulted in another gold disc for George. However, in Britain, Dark Horse failed to chart. However, it was later certified silver, having sold over 50,000 copies. After Dark Horse, critics were left wondering if George’s star was no longer in the ascendancy?
Extra Texture (Read All About It).
The criticism of the Dark Horse tour and album had affected George badly. Returning to Friar Park, George became melancholy and wistful. Some went as far as to say he was slightly depressed. This was reflected in some of the ten songs that George wrote for Extra Texture (Read All About It). They find a melancholy George in a reflective state. Unlike other albums, Extra Texture (Read All About It) has no spiritual message. It’s quite different from George’s five previous albums, right down to where it was recorded.
Whilst George had recorded previous albums in Britain, he decided to forsake his home country for Los Angeles. This made sense. After all, most of George’s band were Americans.
While most of Dark Horse was recorded in A&M Studios, Los Angeles, some recording took place at George’s home studio, in his Friar Park mansion. Abbey Road Studios were also used. However, for much of the time A&M Studios, Los Angeles was a home from home for George as he recorded Extra Texture (Read All About It).
LA was where many of George’s band, including Gary Wright, Jim Keltner, Klaus Voormann, Nicky Hopkins and Beatle Ringo Starr lived. They were joined in the studio by Ron Wood, saxophonist Tom Scott, Billy Preston, Ronnie Spector and George’s wife Dhanni Harrison. They recorded Extra Texture (Read All About It), which was George Harrison’s Apple Records’ swan-song.
Ever since George was working on Dark Horse, he’d been working on founding his own record label, Dark Horse. It would release his future albums, and albums by artists George discovered or believed in. Getting a record label up and running, was taking time. However, at least this allowed him the opportunity to fulfil his obligations to Apple Records. Would however, George leave Apple Records on a high with Extra Texture (Read All About It),?
Critics didn’t think so. On its release, Extra Texture (Read All About It) was panned my critics. They called the album a series of sermons from George Harrison. These sermons they called aimless and pointless. Sometimes, there was air of pomposity about Extra Texture (Read All About It). Only Tired Of Midnight Blue and Can’t Stop Thinking About You were up to George’ usual high standards. This resulted in the critics turning on George. Rolling Stone savaged the album. Other critics followed suit. For George, Extra Texture (Read All About It) didn’t look like being the swan-song he’d hoped for.
Extra Texture (Read All About It)’s lead single was You, which was released on 12th September 1975. You reached number thirty-eight in Britain and number twenty in the US Billboard 200. Then when This Guitar (Can’t Keep from Crying) was released in America on 8th December 1975, it failed to chart. Two months later, history repeated itself, when This Guitar (Can’t Keep from Crying) was released in Britain. On its release on 6th February 1976, This Guitar (Can’t Keep from Crying) failed to chart. Had George lost his Midas touch?
Despite the scathing reviews, Extra Texture (Read All About It) was still a commercial success. It reached number sixteen in Britain and number eight in the US Billboard 200 charts. This resulted in another gold disc for George. While Extra Texture (Read All About It) wasn’t his most critically acclaimed album, it was a commercial success. This allowed George Harrison to leave Apple Records with his head held high.
After Extra Texture (Read All About It), a new era began for George Harrison. He released his future albums on his own Dark Horse label. It was distributed by A&M Records. For George, owning his own label made commercial sense, and just as importantly, for a musical innovator, gave him much more artistic freedom.
At Apple Records, George was one of four partners in the label. In the early days of Apple Records, George was allowed the freedom to experiment. This allowed him to record Wonderwall, a groundbreaking album, that for far too long, was underrated by critics. Then when Allen Klein became The Beatles’ manager, he wasn’t keen to release Electronic Sound, George’s sophomore album. It was far too experimental, for Allen Klein’s liking.
He had been brought in to sort out The Beatles and Apple Records’ finances. Allen Klein realised that albums like Electronic Sound, important and innovative they may be, weren’t going to be million sellers. However, Electronic Sound was released and for his third album, George Harrison released the most successful album by a former Beatle, All Things Must Pass.
Of all the albums George Harrison recorded, All Things Must Pass is his Magnus Opus. Featuring his classic single My Sweet Lord, All Things Must Pass was a career defining album. George was on a roll. He followed All Things Must Pass with Living In The Material World.
This was George’s second classic album. Living In The Material World showed, that, the man referred to as the Dark Horse had hidden depths. That was obvious from George’s Beatles’ days.
He had already written If I Needed Someone, Taxman, Within You Without You, While My Guitar Gently Weeps, Something, Here Comes The Sun and I Me Mine. It was obvious to most people that George was a talented songwriter. Except it seemed two of his friends and bandmates.
The only people who it seemed, couldn’t see that George Harrison was indeed a talented songwriter, were Lennon and McCartney. Time after time, they rejected George’s songs. This must have been disheartening. Especially as he watched some of Lennon and McCartney’s worst songs, including Dig A Pony, Sun King, Polythene Pam, Revolution 9, Everybody’s Got Something To Hide Except Me And My Monkey and Don’t Bother Me make their way onto Beatles’ albums. Eventually, George Harrison tired of having his songs rejected by Lennon and McCartney. So he decided to stockpile these songs for his solo career.
By 1974, George was about to release Dark Horse. This was a controversial album. After two albums where seemingly, George could do no wrong, the critics turned on George. Partly, the scathing reviews were down to give Ravi Shankar equal billing. When George was struck down with laryngitis, Ravi Shankar played a bigger role in the tour. This didn’t please some high profile critics. They turned on George, giving both the Dark Horse tour and album scathing reviews. This affected sales of Dark Horse.
Although, Dark Horse was a success in America, back in Britain, the album flopped. No longer was the Dark Horse enjoying the same commercial success as he had. To make matters worse, his sixth album Extra Texture (Read All About It) was also panned by critics. However, the difference was, it was a bigger success in Britain and America. For George Harrison, this was a successful, if not critically acclaimed end to The Apple Years.
After six albums for Apple Records it was the end of an era for George Harrison. The Dark Horse had founded his own label, and was about to embark upon a new chapter in his career. However, the music he had released during the Apple Years, was some of the best, most successful and innovative to be released by a former Beatle.
George Harrison’s career began with his two mist overlooked albums, Wonderwall and Electronic Sound. Both albums are truly groundbreaking, and feature music that was way ahead of its time. They’re two of the reasons why George Harrison was, and will always be remembered as a musical pioneer. However, there’s more to The Apple Years than two albums.
During The Apple Years released George Harrison’s two classic album All Things Must Pass and Living In The Material World. Bothwere career defining albums, that set the bar high for the remainder of George Harrison’s Apple Years.
After this, George Harrison released just two further albums for Apple Records, Dark Horse and Extra Texture (Read All About It). It brought to an end George Harrison’s Apple Years. Now, forty-one years after George Harrison left Apple Records, the six solo albums he released are a reminder of the early part of George Harrison’s illustrious solo career. For many, the six albums George Harrison released for Apple Records represent the former Beatle at his creative zenith.
During that period, George Harrison released some of the most innovative, critically acclaimed and commercially successful solo albums by any of the former Beatles. Alas, after the Apple Years, never again, would George Harrison reach the same heights.
At least George Harrison enjoyed the satisfaction that during much of Apple Years, that he managed to outshine the rest of the Fab Four in terms of innovation, critical acclaim and commercial success. The man the rest of The Beatles called the Dark Horse, had the last laugh during the Apple Years.
George Harrison’s Apple Years.
FOTHERINGAY-SANDY DENNY’S SOMETIMES FORGOTTEN AND SHORT-LIVED GROUP.
Fotheringay-Sandy Denny’s Sometimes Forgotten and Short-Lived Group.
When Sandy Denny left Fairport Convention in December 1969, the reason she gave, was that the wanted to hone her skills as a songwriter. However, less than a year after her departure from Fairport Convention, Sandy Denny formed a new group, Fotheringay. Although Fotheringay were a short lived band, they certainly made a lasting impression on British folk music.
The Fotheringay story began in 1970, not long after Sandy Denny’s departure from Fairport Convention. Sandy decided to put together a new band. One of the first musicians she brought onboard was guitarist Trevor Lucas.
He had been born in Australia, but was now based in Britain. Trevor was now a familiar face in the British folk scene. Previously, Trevor was a member of Eclection. That’s when Trevor met Sandy Denny. The pair started dating in May 1969, and eventually, married in 1973. However, Trevor’s career began back in Australia, in the early sixties.
Back then, Trevor Lucas was a solo artist. He released his debut solo album See That My Grave Is Kept Clean in 1964. Then on New Year’s Eve Trevor boarded a ship and made the journey from Australia to Britain. That’s when he became a member of Eclection, and met drummer Gerry Conway.
Eclection were a folk-rock band, who were formed in 1967, and broke up two years later in 1969. However, by then, Trevor Lucas and Gerry Conway were firm friends. They renewed their musical partnership in Fotheringay.
Gradually, Sandy’s new band was taking shape. The final pieces in the musical jigsaw were two former members of the Poet and the One Man Band. Guitarist Jerry Donahue had moved from Manhattan to Britain, where he quickly became stalwart of the folk scene. This wasn’t surprising. Jerry’s father was big band saxophonist Sam Donohue. However, Jerry wasn’t inspired by his father. Instead, Gerry McGee, Earl Scruggs, Chet Atkins and Duane Eddy inspired Jerry, who in 1970, joined Fotheringay with Edinburgh born bassist Pat Donaldson.
By 1970, Pat Donaldson was a familiar face in the London music scene. He had moved to London in the early sixties. Since then, he had been a member of Bob Xavier and the Jury, Zoot Money’s Big Roll Band and the reformed Dantalian’s Chariot. Fotheringay was just the latest group the twenty-seven year old bassist work with.
With the lineup of her new band finalised, all Sandy Denny needed was a name for the band. She decided on Fotheringay, after Fotheringay Castle where Mary Queen Of Scots was imprisoned. With its lineup complete and a name in place, Sandy Denny’s new band could begin work on their debut album.
Fotheringay.
Sandy Denny didn’t waste any time recording Fotheringay’s debut album. She wrote four tracks and cowrote Peace in the End with Trevor Lucas. He also penned The Ballad of Ned Kelly. Other tracks included covers of Gordon Lightfoot’s The Way I Feel, Bob Dylan’s Too Much Of Nothing and Banks of the Nile. These ten tracks were recorded between February and April, 1970 at Sound Techniques, in London with Joe Boyd producing what became Fotheringay.
Once Fotheringay was completed, the album was released in June 1970. It was one of the most eagerly awaited albums of the year. Both critics and record buyers awaited with interest the release of Fotheringay’s eponymous debut album with interest and anticipation. Here was a group that had the potential, to be one of the biggest and most successful folk group.
On the release of Fotheringay, critics weren’t disappointed. Quite the opposite. Critics hailed the album a masterful debut. Sandy Denny was back, and better than ever. Her enchanting, ethereal vocal was complimented by a tight, talented band. They won not just the critics, but record buyers.
Fotheringay sold well upon its release in June 1970, and reached number eighteen in Britain. Good as this was, it wasn’t good enough for Island Records. Their expectations and Fotheringay’s differed. Island Records hoped the album would be one of the label’s biggest selling albums. That wasn’t the case. This resulted in Island Records’ pressurising Sandy to embark upon a solo career.
Sandy Denny dug her heels in. She was determined to continue with Fotheringay. So work began on what was meant to be Fotheringay’s sophomore album.
Fotheringay 2.
A total of eleven tracks were meant to feature on Fotheringay’s sophomore album. This time, Sandy Denny only wrote two songs. Trevor Lucas and Pete Roach penned Knights of the Road and Restless.Among the other tracks were traditional songs, a cover of Bob Dylan’s I Don’t Believe You and the Dave Cousins’ composition Two Weeks Last Summer. These eleven tracks were recorded by an expanded lineup of Fotheringay.
Joining the usual lineup of Fotheringay was Linda Thompson. She was going to add backing vocals when the sessions began in November 1970. The sessions continued into December 1970. Everyone thought that things were going to plan. Sadly, that wasn’t the case.
In January 1971, it was announced that Fotheringay were no more. The band broke up and what would eventually become Fotheringay 2 was shelved. The songs were in various states of completion. Fotheringay 2 wasn’t an album in the true sense of the word. There was a lot to do before Fotheringay 2 could be released. However, back in 1971, it seemed unlikely that Fotheringay 2 would be released. This would change in 2008.
Although Fotheringay 2 wasn’t complete, and to some extent, was work-in-progress, a decision was made to release the album in 2008. Using editing and modern recording techniques, the album was completed by Jerry Donohue and the other surviving band members. By then, several of the tracks had been released.
The two Trevor Lucas and Pete Roach compositions found their way onto two Fairport Convention albums. Knights of the Road featured on the 1973 album Rosie; while Restless found its way onto the 1975 album Rising For The Moon album. Fairport Convention even decided to record the Bob Dylan song I Don’t Believe You for their album Nine. Despite recording I Don’t Believe You, it never made it onto Nime when it was released in 1973. By then, Sandy Denny had recorded several Fotheringay songs for her solo albums.
When Sandy Denny was choosing material for her debut album The North Star Grassman And The Ravens, the decided to cover a trio of tracks that had been recorded for Fotheringay 2. Late November, John The Gun and The North Star Grassman And The Ravens all found their way onto Sandy Denny’s 1971 debut album. Then for Sandy’s 1974 album Rendezvous, she decided to record Silver Threads and Golden Needles. Belatedly, the song made its debut. So would Fotheringay 2 in 2008.
When Fotheringay 2 was released, the long lost album was well received. It was a reminder of Fotheringay’s potential. If they had stayed together, they could’ve become one of the great British folk bands. That critics said, was apparent by listening to Fotheringay 2. However, critics wondered what Fotheringay 2 would’ve sounded like if more time had been spent on the album? Would Fotheringay 2 have become one of the great British folk albums? Sadly, that wasn’t to be and it was a case of what might have been.
If Fotheringay hadn’t split-up in January 1971, would they have become a serious rival to Fairport Convention for the title of Britain’s premier folk-rock band. While that might seem unlikely, Fotheringay had something Fairport Convention didn’t…Sandy Denny. Her enchanting, ethereal vocal was at the heart of the sound and success of Fotheringay. So was her songwriting skills.
That’s why Sandy Denny left Fairport Convention. She wanted to improve as a songwriter. While she formed Fotheringay not long after leaving Fairport Convention, Sandy Denny was already a talented songwriter. She got the chance to shine on Fotheringay’s 1970 eponymous debut album. Not only did Sandy pen four tracks, but she wrote Peace in the End with Trevor Lucas. It seemed away from Fairport Convention, Sandy Denny was maturing as a singer and songwriter. Maybe, it was because was Fotheringay was her band? No longer was she surrounded by strong personalities who maybe, overshadowed Sandy. Given time, Sandy Denny’s new group could’ve rivalled Fairport Convention.
Sadly, that wasn’t to be. When Fotheringay reached a respectable number eighteen in 1970, this wasn’t good enough for Island Records. They started whispering in Sandy Denny’s ear, encouraging her to embark upon a solo career. While this wasn’t what Sandy Denny wanted, it would be financially advantageous to Island Records. However, Sandy Denny wanted to continue with Fotheringay. Sadly, Fotheringay was short-lived.
In January 1971, the announcement came, that Fotheringay had split-up. Island Records got their wish. Sandy Denny embarked upon a solo career.
The Solo Years.
Her debut album was The North Star Grassman and the Ravens. It was released in September 1971, and featured Late November, John The Gun and The North Star Grassman And The Ravens, which were meant to feature on Fotheringay 2. Critical acclaim accompanied the release of The North Star Grassman and the Ravens. Sandy Denny it seemed, could do no wrong.
A year later, Sandy Denny released her sophomore album Sandy in September 1974. It was released to the same critical acclaim as The North Star Grassman and the Ravens. However, Sandy surpassed the quality of The North Star Grassman and the Ravens. Indeed, it would prove to be the best album of her solo career.
It wasn’t until 1974, that Sandy Denny released Like an Old Fashioned Waltz followed in June 1974. The album saw a philosophical Sandy consider themes like loneliness, fear of the dark, the passing of time and even the changing seasons. Essentially, Sandy was fixating on growing old and death. That would prove ironic
When Like an Old Fashioned Waltz was released, critics noticed Sandy’s stylistic departure. Pop and folk featured heavily. It seemed Island Records were trying to turn Sandy Denny into something she wasn’t. Maybe that’s why Sandy returned to Fairport Convention.
A Return To Fairport Convention.
Sandy rejoined Fairport Convention in 1974. By then, Sandy’s husband Trevor Lucas was also a member. They joined for the Fairport Convention’s world tour. It was captured on the 1974 live album Fairport Live Convention. Sadly, Sandy and Trevor left Fairport Convention in 1975. Their swan-song was Rising For The Moon.
The Solo Years Take 2.
Following her second departure from Fairport Convention, Sandy returned to her solo career. Soon, she began work on what before her fourth solo album Rendezvous. One of the songs Sandy recorded was Silver Threads And Golden Needles. It had been recorded during the Fotheringay 2 sessions. However, Sandy decided to review the song for her fourth solo album Rendezvous.
She released Rendezvous in May 1977. Rendezvous saw Sandy embrace a contemporary rock sound. This was very different from previous albums. Still, Rendezvous was reasonably well received by critics. However, they noted that Rendezvous didn’t match the quality of The North Star Grassman And The Ravens and Sandy. Not long after the reviews were published, Rendezvous was released. Now record buyers could have the final say on Rendezvous.
Despite touring Britain promoting Rendezvous, the album didn’t sell well. The final night of the tour took place on 27th November 1977, at the Royalty Theatre, in London. It was recorded and was meant to be released as a live album, Gold Dust. Problems with the guitars meant this didn’t happen until 1998, when Gerry Donhue rerecorded the guitars. Ironically, that ill-fated concert was Sandy Denny’s swan-song.
When Rendezvous failed commercially, Island Records dropped Sandy. She was already drinking heavily, smoking and snorting cocaine. Her behaviour became erratic. Sandy was also suffering from severe headaches. So a doctor prescribed a distalgesic. However, Sandy continued to drink. Whether this played a part in a fall she had in late March 1978 is unknown. What we know, is that tragedy struck on 17th April 1978.
That night, Sandy Denny was admitted to the Atkinson Morley Hospital in Wimbledon. She fell into a coma, and four days later, on 21st April 1978, Sandy Denny died. The cause of Sandy’s death was a brain haemorrhage and blunt force trauma. It’s likely that when Sandy Denny fell, this played a contributory factor in her death. Tragically, Sandy Denny was only thirty-one. That day, British folk music lost one of finest voices.
While Sandy Denny is remembered for her two spells with Fairport Convention and four solo albums, often her time with Fortheringay is often overlooked. That’s a great shame, as Sandy Denny’s short-lived other group features Sandy Denny at the peak of her powers. With Sandy Denny at the helm, Fotheringay could’ve gone on to rival Fairport Convention. Sadly, they never got the opportunity to do so, and the Fotheringay story was over before it had began. It’s Sandy Denny’s “other,” sometimes forgotten and short-lived group
Fotheringay-Sandy Denny’s Sometimes Forgotten and Short-Lived Group.
THE LIFE AND TIMES OF MOGWAI.
The Life and Times Of Mogwai.
The Mogwai story which began in 1991, when Stuart Braithwaite and Dominic Aitchison met in Scotland’s musical capital, Glasgow. Four years later, they met drummer Martin Bulloch and formed Mogwai, which film buffs will remember, is a character from the movie Gremlins. Mogwai was always meant as a temporary name, until they came up with something better.
Later in 1995, three become four when guitarist John Cummings joined Mogwai. Since then, John Cummings’ role in Mogwai has changed, and he’s now described as playing “guitar and laptop,” and is regarded as the maestro when it comes to all things technical. However, not long after John Cummings joined Mogwai in 1995, the nascent band started honing their sound and making plans for the future.
In 1996, Mogwai founded their own record label Rock Action Records. It would play an important part in the rise and rise of Mogwai over the next twenty-one years. So would Mogwai’s Castle Of Doom Studios, which was cofounded by Mogwai and Tony Doogan in 2005. It’s situated in the West End of Glasgow, and is a home from home for Mogwai, when they record a new album. That was still to come.
Before that, Mogwai released their debut single Tuner on their newly founded label Rock Action Records. Tuner was released to critical acclaim and the NME awarded it their single of the week award. Later in 1996, Mogwai released two further singles. Angels v. Aliens and Summer. By then, Mogwai were well on their way to becoming one of the hottest bands of the late nineties.
Mogwai’s career continued apace in 1997, when they released two more singles.The first of these, was New Paths To Helicon Pt. 1, which showed Mogwai growing and maturing as a band. NME agreed, and just like their debut single Tuner, New Paths To Helicon Pt. 1 won NME’s single of the week award. The followup Club Beatroot was also well received by critics. This was the perfect time for Mogwai to record their debut album, Mogwai Young Team.
Mogwai Young Team.
For Mogwai Young Team, Mogwai brought onboard Brendan O’Hare the Teenage Fanclub’s drummer. Another guest artist was Aidan Moffat of Falkirk based band Arab Strap. He added the vocal to R U Still In 2 It, while the rest of Mogwai Young Team consisted of instrumentals. Mogwai Young Team was recorded at Chem 19 studios and produced by two of Scotland’s top producers, ex-Delgado Paul Savage and Andy Miller. Once Mogwai Young Team was completed, it was then released on Scotland’s biggest record label, Chemikal Underground Records.
Before its release, Mogwai Young Team was a hailed as a groundbreaking album of post-rock by critics. They were won over by Mogwai Young Team, and Mogwai were hailed as a band with a big future.
That proved to be a perceptive forecast. When Mogwai Young Team was released on 21st October 1997, sold over 30,000 copies and reached number seventy-five in the UK. The Mogwai Young Team were on their way. However, a few changes were about to take place.
Come On Die Young.
A year later, Mogwai were back in the studio recording their sophomore album Come On Die Young. Much had changed. A new member had joined the band, Barry Buns a flautist and sometimes pianist, who had already played a few gigs with the band. He was invited to become the fifth member of Mogwai. Not long after this, violinist Luke Sutherland joined Mogwai, but not on a full-time basis. This wasn’t the only change.
Recording of what became Come On Die Young was split between New York and Glasgow. This time, they’d forsaken Chem 19 in Blantyre and recorded parts of the album in Rarbox Road Studios, New York. Some sessions took place in Glasgow’s Cava Studios. Producing Come On Die Young was Dave Fridman. For some critics, his addition changed Mogwai’s sound.
Some critics felt his production style resulted in a much more orthodox sounding album. However, others felt that Come On Die You was part of Mogwai discovering their “sound” and direction. Come On Die Young is a much more understated, but also ambient, experimental, multi-textured and melodic. There’s a fusion of ambient, grunge and post rock on Come On Die Young, which was released in 29th March 1999.
On its release, Come On Die Young reached number twenty-nine in the UK. Mogwai it seemed were now on their way to finding their sound and fulfilling the potential that was evident on their debut album. This was apparent with tracks of the quality of CODY and Hugh Dallas s. However, like all innovative bands, Mogwai continued to reinvent their music.
This proved to the case on their eponymous E.P, which includes Stanley Kubrick, which was recorded in the exotic surroundings of Cowdenbeath in Fife. Burn Girl Prom Queen was recorded at Cava Studios, in Mogwai’s hometown of Glasgow. These two tracks were part of E.P., which further enhanced Mogwai’s reputation as post rock pioneers. So did their third album Rock Action.
Rock Action.
Mogwai’s music continued to evolve on their third album 2001s Rock Action. More use was made of electronics on Rock Action. This was part of a process that would continue over the next few albums. There were even more layers and textures on Rock Action, as Mogwai continued to expand their sonic palette. Seven of the songs were instrumentals, while Dial Revenge featured Gruff Rhys of Super Furry Animals. Again, Rock Action was produced by Dave Fridman, while recording took place in New York and at Glasgow’s Cava Studios. Once Rock Action was completed, it became Mogwai’s first album to be released on Play It Again Sam.
Rock Action was released in April 2001, and proved to be Mogwai’s most successful album. It reached number twenty-three in the UK. Critics remarked upon how Rock Action wasn’t as dark an album as its predecessors. That didn’t mean that Mogwai’s view of the world had changed. They were still worldweary which would become a Mogwai trademark.
Six months after the release of Rock Action, Mogwai returned with another single, The My Father My King. It was released in October 2001, and was described “as the companion piece to Rock Action.” A sticker on the cover bore Mogwai’s description of the single as: “two parts serenity and one part death metal.” That was about to change. Soon, they’d be happy people writing happy songs and making a breakthrough into the American market.
Happy Songs For Happy People.
Happy Songs For Happy People was released in 2003, and Mogwai’s evolution continued. Their music continued further down the electronic road. While Mogwai still deployed electric guitars and a drummer, synths were playing a more important role in Mogwai’s music. So were the addition of strings and a piano. They played their part in what was a much more understated album. Part of this change in style was a change of producer.
Tony Doogan was brought onboard as producer, and replaced Dave Fridman. Gone were transatlantic recording sessions. Happy Songs For Happy People was recorded at Cava Sound Studios, Glasgow. On its release in June 2003, Happy Songs For Happy People was well received by critics. Critics drew attention to I Know You Are But What Am I? and Hunted By A Freak, two of the album’s highlights. The critics also welcomed Mogwai’s latest change in style. So did record buyers.
While Happy Songs For Happy People only reached number forty-seven in the UK, it spent a week in the American charts, reaching number 182 in the US Billboard 200. After four albums, Mogwai had broken into the American market. Happy Songs For Happy People it seemed, was a landmark album.
Having made inroads into the lucrative American market, Mogwai didn’t rush their fifth album. It was released three years after Happy Songs For Happy People. There’s a reason for this. They were working on tree separate projects.
The first was their fifth album Mr. Beast. Then there was the first soundtrack they’d written and recorded. This was for the 2006 movie Zidane: A 21st Century Soundtrack. Mogwai also collaborated with Clint Mansell on the soundtrack to The Fountain. Although soundtracks were a nice sideline for Mogwai, their fifth album Mr. Beast was of huge importance. Especially, if it was a commercial success in America.
Mr. Beast.
Recording of Mr. Beast took place at Mogwai’s new studio, Castle Of Doom Studios in Glasgow. Co-producing Mr.Beast with Mogwai, was Tony Doogan. Between April and October 2005, Mogwai honed their fifth album, and after six months, Mr. Beast was complete. It was Mogwai’s most important album.
Everyone realised the importance of Mr. Beast. Mogwai were on a verge of breaking into the American market. Happy Songs for Happy People had got Mogwai’s foot in the door of the American market. Now was the time for the Mogwai Young Team to kick the door of its hinged, and make their presence felt. That was what Mogwai intended to do with tracks like Travel Is Dangerous, Friend Of The Night and We’re No Here. They featured Mogwai at their innovative and creative best. This trio of tracks were part of an album that would please critics, Mr. Beast.
On its release, it was mostly, to critical acclaim. Critics were fascinated at how Mogwai’s music continued to evolve. For Mogwai, standing still was going backwards. Record buyers agreed and expected Mogwai to continually release groundbreaking and innovative. That was what Mogwai delivered.
When Mr. Beast was released on 5th March 2006, record buyers found an album of groundbreaking and innovative music. It climbed thirty-one in the UK. Across the Atlantic, Mr. Beast reached number 128 in the US Billboard 200. Mogwai were now one of Scotland’s most successful musical exports. They were certainly well on their way to becoming Scotland’s most innovative band. This was a title they weren’t going to give up without a fight.
Zidane: A 21st Century Portrait.
Following the release of Mr. Beast, the other two projects that Mogwai had been working on, were released. The first was Zidane: A 21st Century Portrait. This was project that came about in late 2005, when artist Douglas Gordon asked Mogwai to write and record a soundtrack to a film he was making about footballer Zinedine Zidane. This was Zidane: A 21st Century Portrait. Having heard the details of the project, it didn’t take Mogwai long agree to provide the soundtrack to Zidane: A 21st Century Portrait, which gave them their entry into the world of soundtracks.
Mogwai grasped this opportunity, and recorded Zidane: A 21st Century Portrait at their Castle Of Doom Studios. During the sessions, Mogwai recorded ten tracks, which were produced by Tony Doogan. However, when the soundtrack was released, it came baring a secret.
This was the hidden track Untitled, which was a twenty-three minute epic, that featured Mogwai at their most inventive. That was the case throughout Zidane: A 21st Century Portrait. Most critics realised this. However, a few didn’t seem to ‘get’ Zidane: A 21st Century Portrait. Despite the slings and arrows of the critics that didn’t get Mogwai’s introduction into the world of soundtracks, the critics that mattered gave Mogwai the recognition they deserved when Zidane: A 21st Century Portrait was released on 30th October 2006. Then less than a month later, the soundtrack to The Fountain was released on 27th November 2006.
The Fountain.
The Fountain was a collaboration between contemporary classic composer Clint Mansell, string quartet the Kronos Quartet and Mogwai. To some onlookers, it looked like an unlikely collaboration. That wasn’t the case though.
Mogwai had spent December 2005 locked away in their Castle Of Doom Studios with producer Tony Doogan. Other parts of The Fountain project were recorded in New York and Los Angeles. Then once the project was complete, The Fountain was released on 27th November 2006.
When The Fountain soundtrack was released, the reviews were positive. Mogwai’s contribution to the soundtrack had proved vital, while the Kronos Quartet proved a perfect foil the Mogwai Young Team. Mogwai’s lasted soundtrack had enhanced their reputation as the go-to guys for a soundtrack. That would their sideline in the future. However, before they released another soundtrack, Mogwai would release another two albums.
The Hawk Is Howling.
The first of these was The Hawk Is Howling. To ensure they kept their title of Scotland’s most innovative bands, Mogwai returned to the studio where it all began, Chem 19 in Blantyre.
Andy Miller who had co-produced Mogwai Young Team, Mogwai’s debut album was chosen to produce what became The Hawk Is Howling. This was Mogwai’s sixth album and marked a first. It was Mogwai’s first album to consist of just instrumentals. Among them were I’m Jim Morrison, I’m Dead, The Sun Smells Too Loud, Batcat and Scotland’s Shame. They feature the post rock pioneers pushing musical boundaries to their limits, and sometimes, beyond. Once The Hawk Is Howling was recorded, Garth Jones mixed the album at Castle Of Doom Studios in Glasgow. After that, The Hawk Is Howling was ready for release.
The Hawk Is Howling was released on 22nd September 2008. Critics were won over by The Hawk Is Howling. There were no dissenting voices. This was one of Mogwai’s best albums, and it was no surprise it sold well in the UK and America.
On its release, The Hawk Is Howling reached number thirty-five in the UK and number ninety-seven in the US Billboard 200. It seemed with each album, Mogwai’s music evolved and matured. This resulted in even more success coming their way. Would this continue with Hardcore Will Never Die?
Hardcore Will Never Die, But You Will.
For their seventh album, Mogwai returned to Chem 19 Studios in Blantyre, where they hooked up with ex-Delgado Paul Savage. Since he had produced Mogwai’s debut album, Mogwai Young Team Paul had established a reputation as one of Scotland’s best producers.
By then, Paul Savage had worked with everyone from Franz Ferdinand to R.M. Hubbert. However, it was a very different Mogwai Paul encountered. They were very different to the band who recorded Mogwai Young Team Paul. Their music had evolved and was continuing to do so. They’d matured as musicians and embraced the new technology. Hardcore Will Never Die, But You Will was proof of this.
Here was an album of groundbreaking, genre-melting post-rock with attitude. Hardcore Will Never Die, But You Will was also an album not short on humour. Poppy soulster Lionel Ritchie provided the inspiration for You’re Lionel Ritchine. There was also a celebratory sound to Hardcore Will Never Die, But You Will.
The death of Scotland’s nemesis, Margaret Thatcher sparked celebration in Glasgow’s George Square. Hardcore Will Never Die, But You Will, celebrated provided the soundtrack to the celebrations. It was just one track on an album of pioneering, post rock music crammed full of hooks, humour and attitude. Others highlights Mexican Grand Prix, Rano Pano and How To Be A Werewolf . With music of this quality, surely Hardcore Will Never Die, But You Will couldn’t fail?
Before the release of Hardcore Will Never Die, But You Will, Rano Pano was released as a single. On the flip side was Hasenheide, which didn’t feature on Hardcore Will Never Die. . Things it seemed were looking good for Mogwai.
Yet again, Mogwai won over the majority of critics with Hardcore Will Never Die, But You Will. A couple of contrarian critics proved to be mere dissenting voices in the wilderness. Most critics realised that Hardcore Will Never Die, But You Will was one of Mogwai’s finest hours. Record buyers would agree.
Hardcore Will Never Die, But You Will reached number thirty-five in the UK and number ninety-seven in the US Billboard 200. For Mogwai, they were now into their third decade as band and had just enjoyed their biggest album to date. The question was, what would Mogwai do next?
Les Revenants.
The answer to that was Les Revenants, a soundtrack to a French television series. Les Revenants or The Returned, is essentially a television program about zombies, albeit with a twist. Just like similar films, Les Revenants, finds the “undead” returning to the town they lived in. However, the zombies in Les Revenants weren’t how most films portray zombies. Another difference was the way Mogwai were commissioned.
Usually, someone writing a soundtrack can watch the film they’re writing music to. Not Mogwai. They were just shown a few scripts, which gave them an overview of what the series was about. From there, Mogwai wrote thirteen of the fourteen tracks including Wizard Motor and Hungry Face. They’re two of the album’s highlights. The other track on Les Revenants was What Are They Doing In Heaven Today, which was written by Charles Elbert Tilney. These fourteen tracks were recorded by Mogwai, who produced Les Revenants with Neil MacMenamin. Once Les Revenants was finished, it was released in February 2013.
Before Les Revenants was released an E.P. was released. It featured four tracks. That was a tantalising taster of what was to come. After all, Mogwai would approach a soundtrack like Les Revenants in a different manner. They wouldn’t do anything predictable. Les Revenants was a case of expect the unexpected. Critics loved Les Revenants and hailed the album as one of the best albums Mogwai had released. However, Mogwai had other ideas.
Rave Tapes.
Rave Tapes features ten tracks which were written by Mogwai. These tracks were recorded at Mogwai’s Castle Of Doom Studios, in Glasgow. Producing Rave Tapes was ex-Delgado Paul Savage, who had produced previous Mogwai albums and knew how the band worked. This was important, given Mogwai were at last, enjoying the critical acclaim and commercial success their music deserved. Work began on Rave Tapes on the 28th August 2013.
This was like the first day back at school for Mogwai, as they began recording what was their eighth studio album. The lineup of Mogwai has been settled for a few years. This included a rhythm section of bassist and guitarist Dominic Aitchison, drummer Martin Bulloch and guitarists Stuart Braithwaite and John Cummings who also played piano. Barry Burns plays organ, piano and guitar. at Castle Of Doom Studios, Glasgow, Mogwai recorded the ten tracks that became Rave Tapes, which was released on 20th January 2014.
Rave Tapes was one of the most anticipated albums of 2014. The big question was, what direction Mogwai’s music would head? After all, Mogwai’s music never stands still. It’s in a constant state of evolution. That’s no bad thing. Standing still is akin to going backwards in Mogwai’s book. On Rave Tapes, Mogwai’s music continues to evolve. Musical genres and influences melt into one on tracks like Remurdered, The Lord Is Out Of Control and Tell Everyone I Love Them. However, one of the most prominent influences on Rave was Krautrock. Add to this ambient, avant-garde, electronica, experimental, indie rock and rock. We hear different sides to Mogwai on Rave Tapes. Whether it’s fuzzy soundscapes or kicking out the jams, Mogwai didn’t disappoint with Rave Tapes.
Critics agreed. Rave Tapes was released to widespread critical acclaim. Superlatives were exhausted in search of a fitting description of what many felt was Mogwai’s finest hour. Some critics wondered aloud whether Mogwai’s music was mellowing. Others felt that Mogwai were improving with age. Record buyers agreed.
When Rave Tapes was released on 14th January 2014, the album reached number ten in Britain and fifty-five in the US Billboard 200 charts. Rave Tapes became Mogwai’s most successful album in Britain and America. Elsewhere, Rave Tapes sold well across Europe. Mogwai were enjoying the most album of their three decade career. However, it would be two years before Mogwai released a new album. Before that, Mogwai decided to celebrate their twentieth anniversary in style.
Central Belters.
In 2015, Mogwai were celebrating their twentieth anniversary. By then Mogwai were Scottish music’s elder statesmen, A lot had happened to them during the first twenty years of their career. Mogwai have released eight studio albums and three soundtracks. That’s not forgetting there’s countless singles, E.P.s and two remix albums. It was official, Mogwai had been one of the hardest working bands in music between 1995 and 2015. They were also one of the most innovative.
It was no surprise that critical acclaim and commercial success accompanied the release of each Mogwai album. Suddenly, the Glasgow-based were enjoying success not just in Britain, but in Europe and in America. Now was the perfect time for Mogwai to release Central Belters, a three disc career retrospective box set. Central Belters tells the story of the first twenty years of Mogwai.
With Mogwai not planning to release a studio album or soundtrack during 2015, Central Belters was a perfect stopgap. It was released on 23rd October 2015, and reached number forty in Britain, Central Belters sold reasonably well across the Europe, and was a perfect primer to the first twenty years of Mogwai’s career. The next chapter of Mogwai’s career began with a soundtrack album, Atomic.
Atomic.
Having enjoyed celebrating their twentieth anniversary during 2015, Mogwai got back down to business on 1st April 2016. That was when they released Atomic, their first new album in over two years. Atomic was Mogwai’s fourth soundtrack album,
During the summer of 2015, Mogwai had provided the soundtrack Mark Cousins documentary Atomic: Living In Dread and Promise. It was aired on BBC Four, and was a very personal memoir of growing up in the nuclear age. Using archive film, Mark Cousins constructed an impressionistic cinematic memoir of what was a harrowing time.
Post rock pioneers Mogwai were commissioned to write the soundtrack to Atomic: Living In Dread and Promise. It was hailed as the perfect backdrop to Atomic: Living In Dread and Promise, which was a personal and poignant cinematic memoir. However, after the documentary was aired in the summer of 2015, Mogwai decided to re-record Atomic.
At their Castle Of Doom Studios in Glasgow, Mogwai were joined be an old friend, occasional band member Luke Sutherland. Mogwai were also joined by Sophie, Robin Proper-Sheppard formerly of The God Machine and Glasgow composer Robert Newth. Together, they got to work on Atomic, which was Mogwai’s twelfth album since they formed back in 1995.
Once Atomic was completed, it was scheduled for release on 1st April 2016. Before that, Atomic was hailed as Mogwai’s finest soundtrack album, and a welcome addition to their discography.
On Atomic, Mogwai combine disparate and eclectic musical genres. Elements of avant-garde, Berlin School, electronica and experimental music are combined with indie-rock, Krautrock, post-rock and psychedelia. This results in a genre-melting, cinematic album. Atomic captivates and compels, and takes the listener on a musical journey. It veers between dramatic and dreamy, to surreal and lysergic, to beautiful, pensive and understated to melancholy and melodic. Other times the music is dramatic, moody and broody. One thing the music never is, is boring. That is one thing that can never be levelled against Mogwai. Instead, it was another case of always expect the unexpected.
That’s been the case since Mogwai were formed in 1995, and released their debut album Mogwai Young Team. Since then, it’s always been a case of expect the unexpected from the Mogwai, who continue to release albums of ambitious and innovative music. There was no way that Mogwai would contemplate recording the same album twice. Instead, they leave that to lesser bands who specialise in albums of twee or pseudo-intellectual music. That isn’t Mogwai’s bag. They’re constantly moving forward musically and making music that pushes boundaries to their limits, and sometimes, way beyond. Proof of that is Every Country’s Sun, which is their ninth studio album and thirteenth overall.
Every Country’s Sun.
Every Country’s Sun is Mogwai’s first studio album since they released Rave Tapes in January 2014. However, Mogwai haven’t been resting on their laurels and enjoying the fruits of the rock star lifestyle. That isn’t Mogwai’s style. Since the release of the Rave Tapes, Mogwai have released the three CD best compilation Central Belters in October 2015, and the soundtrack album Atomic in April 2016. There’s also the small matter of running their own record label Rock Action Records and their Castle Of Doom studio in Glasgow’s West End. Still, the four members of Mogwai found the time to return to the studio and record their ninth studio album Every Country’s Sun, which showcases their new sound.
When the time came for Mogwai to record Every Country’s Sun, they didn’t renew their successful partnership with Tony Doogan, who had produced their most recent album Atomic. Tony Doogan had also produced Mr. Beast and Zidane-A 21st Century Portrait, and is part of Mogwai’s inner circle. He knows Mogwai better than most, and knows that they often work with different producers. That was the case on Every Country’s Sun, where Mogwai renewed their partnership with experienced American producer Dave Fridmann.
The last time Mogwai had worked with Dave Fridmann was on Come On Die Young, which was released in 1999. Since then, much had happened for Mogwai and Dave Fridmann. Mogwai have released twelve albums and Dave Fridmann now has over 200 production credits to his name. He’s worked with some of the biggest names in indie music, including Flaming Lips, Mercury Rev, Jane’s Addiction, The Delgados, MGMT and The Vaccines. Dave Fridmann had beefed up his CV since the last time he worked with Mogwai.
Having made the decision to work with Dave Fridmann, Mogwai decided to record Every Country’s Sun at their own Castle Of Doom Studios in Glasgow. The alternative was for Mogwai to travel to New York to work with Dave Fridmann at Tarbox Road Studios in New York. That was unnecessary expense, considering that Mogwai had their own studio. They could always send the tracks over to Dave Fridmann in New York. This was very different to when Mogwai recorded their debut album Mogwai Young Team in 1996,
Each day, drummer Martin Bulloch, bassist Dominic Aitchison, guitarist and vocalist Stuart Braithwaite plus multi-instrumentalist Barry Burns entered Castle Of Doom Studios and began laying down the eleven tracks. These tracks were sent to Dave Fridmann in New York, who took charge of production. Gradually, Every Country’s Sun started to take shape and Mogwai were well on their way to completing what would be their first studio album in over three years. Eventually, Mogwai completed recording Every Country and Dave Fridmann mixed the album at Tarbox Road Studios. All that remained was for the album to be mastered by Frank Arkwright at Abbey Road Studios, in London. Now Mogwai were ready to embark upon a new chapter in a career that began twenty-two years ago in 1995.
Since then, post rock pioneers Mogwai have enjoyed an unrivalled longevity, and are now one of the most successful Scottish bands of their generation. Remarkably, the three original members of the band, Stuart Braithwaite, Dominic Aitchison and Martin Bulloch still remain are still part of Mogwai’s and played their part in latest album ambitious and innovative album, Every Country’s Sun.
There was an air of excitement when Mogwai announced the arrival of Every Country’s Sun earlier in 2017. The big question among critics and cultural commentators was what direction would Mogwai’s music head in? Most agreed that Every Country’s Sun would mark another stylistic departure for Mogwai.
The music on Every Country’s Su is sometimes, elegiac and ethereal, other times, the music is dark, dramatic, eerie, moody, ominous and otherworldly. Often, there’s a cinematic sound to Mogwai’s music, as they switched seamlessly between and combine musical genres and influences.
Mogwai combine elements of numerous disparate musical genres, ranging from classic rock, grunge, pop, post rock, psychedelia and space rock, to ambient, avant-garde, the Berlin School, electronica, experimental music and Krautrock. These are all part of the rich and vibrant musical tapestry that is Mogwai’s ninth studio album Every Country’s Sun, which was recently released by their own Rock Action Records. Every Country’s Sun and is Mogwai’s finest hour. The big question was what was next from Mogwai.
Kin.
Following the success of Every Country’s Sun, Mogwai were asked by film directors Jonathan and Josh Baker to write the soundtrack to the American sci-fi film Kin, which was written Daniel Casey. This was something that Mogwai had wanted to do since they began working on soundtracks for documentaries and films.
While Mogwai had written the score to three documentaries and contributed to tracks to 2006s The Fountain and Before The Flood in 2016 writing the soundtrack to a film was a challenge that they welcomed.
Not long after this, Stuart Braithwaite, Dominic Aitchison and Barry Burns began writing soundtrack to Kin. Eventually, they had written the nine tracks, including Eli’s Theme, Scrap, Flee, Funeral Pyre, Donuts, Miscreants, Guns Down, Kin and We’re Not Done (End Title). These tracks became Kin, which was recorded in familiar surroundings.
This was Mogwai’s own Castle Of Doom Studios, which is situated in Glasgow, Scotland. While Kin was recorded and produced by Mogwai, Paul Savage took charge of engineering duties. He watched on has Mogwai deployed an array of synths, traditional instruments and effects as Kin started to take shape. Eventually, Mogwai’s first post rock soundtrack was ready for Tony Doogan to mix.
Once Kin was mixed, the album was mastered at Abbey Road Studios, in London, by Frank Arkwright. Now Kin was ready to released on Mogwai’s Rock Action Records.
The release of Kin was scheduled for the ‘31st’ of August 2018. Before that, critics had their say on Kin which was the first soundtrack Mogwai written and recorded.
Straight away, Kin brings back memories of another of Mogwai’s soundtrack albums Les Revenants. Both albums feature the minor key piano where reverb is deployed to give Mogwai’s trademark sound. This has become a feature of many Mogwai albums, and Kin is no different.
The grand old men of Scottish music put their twenty-three years of experience to good use on their latest carefully crafted album Kin. It’s the first film soundtrack that Mogwai have released. Kin showcases a cinematic sound which features drama, tension, sci-fi sound and poppy hooks on a melodic and memorable soundtrack album. It also finds Mogwai fusing disparate musical genres on Kin.
Mogwai were inspired by ambient, avant-garde, Berlin School, electronica, experimental music, indie rock, Krautrock, pop, post rock, psychedelia and space rock on Kin. Sometimes, these genres can be heard only briefly on Kin. It’s Mogwai’s first ever film soundtrack and marks a new chapter in a story that is into its third decade.
Twenty-three years after Mogwai were founded in 1995, the post rock pioneers return with their cinematic epic Kin, which is which is their first ever film soundtrack and a reminder why they’re still one of Scotland’s too bands
Hopefully, it won’t be long before Mogwai begin thinking about their next musical adventure. This isn’t the type of adventure Enid Blyton’s Famous Five once enjoyed. Far from it. There’s no picnics, lemonade and bicycle trips. Instead, it’s Mogwai’s musical adventures are a bit more edgy and gritty. That has been the case throughout Mogwai’s career, where the post rock pioneers i have continued to created groundbreaking and innovative music.
The Life and Times Of Mogwai.
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