CLEAR LIGHT-A CASE OF WHAT MIGHT HAVE BEEN.
Clear Light-A Case Of What Might Have Been.
Elektra records had come a long way by the sixties, and was home to everyone from folk singers Judy Collins and Josh White to Phil Ochs and Tim Buckley, right through to psychedelic pioneers Love and The Doors, to Detroit based rockers like MC5 and The Stooges and Bread who would become one of the label’s most successful bands in the seventies. By then, Elektra had come a long way since it was founded in a college dorm in 1950.
That was where the Elektra Records story began in 1950, when Jac Holman and Paul Rickol were students at the prestigious and exclusive St. John’s College, in Santa Fe. They decided to form a record label, and agreed to invest $300 each into their new business venture. A year later Elektra Records was ready to release its album.
This was New Songs, a classical album featuring Georgianna Bannister and John Gruen, which was released as a limited edition in March 1951. However, when the album sold only a few copies this was an inauspicious start to the Elektra Records story.
Despite this setback, Elektra Records would thrive during the fifties and early sixties, and was at the forefront of the folk revival. They signed Ed McCurdy, Oscar Brand, Judy Collins, Phil Ochs and Tom Paxton. These artists brought commercial success and critical acclaim the way of Elektra Records. However, by 1964, Elektra Records was ready to diversify.
By then, Jac Holman had been analysing the classical music market and spotted a gap that was waiting to be filled. None of the major labels had realised that there was room for a new classical budget label, and before long Jac Holman launched Nonesuch Records. It was a huge success, and before long, other labels launched similar ventures. However, Nonesuch Records was by far the market leader. Buoyed by this success, Elektra Records decided to enter the pop music market.
Elektra Records entered into a joint venture with Survey Music, and founded a new label Bounty Records. However, it wasn’t a particularly successful venture, and ultimately floundered and folded. The only thing Elektra Records gained from Bounty Records was The Paul Butterfield Band, which they fell heir to. This would play an important part in Elektra Records future.
With the psychedelic era unfolding before their eyes, Elektra Records decided to sign some of the genre’s most promising up-and-coming acts. Soon, The Doors a San Francisco based band had signed to Elektra Records. They were soon joined by another new band from Los Angeles, Love. However, they weren’t the only band from L.A. who would soon call Elektra Records home.
By 1967, so would Clear Light, another group from the City Of Angels. They were a relatively new group and had only been together since early 1966.
That was when Los Angeles’ based Michael Ney advertised for a guitarist for a pickup band he was organising. One of the first people to answer the advert was Clyde Edgar “Robbie” Robinson, who was already a stalwart of the local music scene.
In the early sixties, Robbie began performing as Robbie The Werewolf. He even released an album Live At The Whaleback in 1964. Then Robbie and his wife formed a duet, and sung on the local folk circuit. That was until Barbara Robison was asked to join the folk rock group The Ashes, who in 1966 became The Peanut Butter Conspiracy. With his wife now a member of a band, Robbie was looking for a new group.
As he set off for the audition, Robbie wondered if Michael Ney’s new group was where his future lay? When he arrived at the audition, and introduced himself to Michael Ney, and straight away, the two men got on. Everything it seemed was going well. That was until Robbie failed the audition. At least Robbie came away having made a new friend, Michael Ney.
Just like Robbie, Michael Ney wasn’t a newcomer to music. For a while, he had been Tito Puente’s percussionist, and then had played in a series of bands in Hollywood. However, recently he had been looking at forming a new band whilst living alone in L.A.
When Robbie and Barbara Robison heard that Michael was living alone, they insisted that he move into their small, apartment on Manhattan Beach. There wasn’t much room for three adults and the Robison’s young child. However, everyone got on well, and soon, Robbie and Michael Ney were making plans to form a new band.
This time, there were no adverts placed looking for musicians. Instead, Robbie and Michael Ney went in search of the best musicians. The place to find them was the Hollywood and Sunset Strip clubs, and night after night, the two friends went in search of musicians for their new band. That was where Robbie and Michael Ney would eventually meet two musicians from Phoenix, Arizona.
When Robbie and Michael Ney began their search for band members, Bob Seal and Dallas Taylor were still playing in Phoenix. However, Dallas had played in L.A. before, but it had been a messy experience, literally.
Having answered an advert, drummer Dallas Taylor had travelled to L.A. for an audition. He landed the gig, and his new band were scheduled to open for The Mothers Of Invention. By then, Dallas Taylor had just had an appendectomy, and rather than tell his new band mates this, decided to play at the Shrine Auditorium. He played with such energy and enthusiasm, that his stitches burst. Dallas Taylor ended the gig with blood seeping through his burst stitches. Given the pain he was having to endure, Dallas Taylor wasn’t at his best, and was replaced as drummer. That was how he ended up back home in Phoenix. However, Dallas Taylor convinced Bob Seal to head to L.A.
Bob Seal and Dallas Taylor arrived in Los Angeles around September 1966, and straight away, began looking for fellow musical travellers. It was at a Peanut Butter Conspiracy concert, that Bob Seal and Dallas Taylor began talking to the band’s bassist Alan Brackett. Eventually, Bob Seal and Dallas Taylor asked Alan if he knew any musicians looking to form a band? Fortunately, Alan Brackett did, and introduced them to Robbie.
When the three men began talking, Robbie explained that he and Michael Ney were writing songs together, and explained what they were trying to achieve. It looked like Robbie and Michael Ney had found the musicians they were looking for. There was a problem though.
Both Bob Seal and Dallas Taylor were homeless and had no idea where they were going to spend the night after they finished talking to Robbie. He invited them to stay at the small Manhattan Beach apartment.
By then, the hippie era was in full swing, and communal living was becoming the norm. It certainly was at the Robison’s house, and they had been joined by Michael Ley, Bob Seal and Dallas Taylor. This allowed the nascent band to write, practise and jam.
As the musicians jammed over a couple of days, Michael Ney and Dallas Taylor quickly realised that two drummers were better than one. It gave the band a unique sound where power and fluidity reigned. Along with Bob Seal’s guitar, the as yet unnamed band’s sound was being honed. However, they still needed more musicians, and a name.
One thing the band need was a vocalist, and Barbara Robison was everyone’s first choice. She declined, so Wanda Watkins a friend of the Peanut Butter Conspiracy was recruited. All that the group now needed was a name.
This came about when one of the group passed road sign saying Garnerfield Sanitarium. At last, the group had a name. However, still the lineup wasn’t complete.
Despite this, Garnerfield Sanitarium were playing weekend live at various clubs in Manhattan Beach. It was at one of these shows, that a young, aspiring songwriter approached them. He was Wolfgang Dios, who already was already signed to a publishing company. Wolfgang Dios was so impressed with Garnerfield Sanitarium, that he hooked them up with his publishing company.
The publishing company was owned by a former professional boxer and aspiring songwriter, Bud Mathias. He was formerly the Arizona Lightweight Champion between 1951 and 1954. Now he was a musical entrepreneur, who was involved in songwriting, recording and publishing. There was, it seemed, no end to Bud Mathias’ talents.
After his boxing career was over, Bud Mathias was looking four a new career. He decided to get involved in music. That was despite having no experience in the music industry. However, Bud Mathias had written Runnin’ Wild which was recorded by Brenton Wood. Bud Mathias had also formed the publishing company Little Giant Music which published and administered Wolfgang Dios’ songs. When Bud Mathias met Garnerfield Sanitarium, he thought the band had potential.
There was a but though, Garnerfield Sanitarium still needed a decent bassist. As luck should have it, the musical entrepreneur just happened to know a bassist, Doug Lubahn, a former ski instructor.
When Mamma Cass first met Doug Lubahn in Aspen, Colorado, he was a ski instructor during the day, and played in a nightclub band at night. Mamma Cass thought Doug had potential, so encouraged him to move to L.A.
Things hadn’t gone well for Doug Lubahn, and for a while he was homeless, and had no option but to sleep on L.A.’s streets. However, by the time he joined Garnerfield Sanitarium, Doug Lubahn’s luck was changing.
After meeting the band, Doug Lubahn moved into the Robison’s Manhattan Beach apartment. By then, space was at a premium. This was the end for Barbara Robison. For some time the Robison’s marriage has been on shaky ground. She and her baby Scotty Robison, moved into Peanut Butter Conspiracy’s house in Silver Lake. Meanwhile, Manhattan Beach apartment became Garnerfield Sanitarium’s headquarters.
By then, the new lineup of Garnerfield Sanitarium had realised that the band’s name wasn’t right. After some debate, it was thought the name was “too long” and “not cool enough.” It was then that Alan Brackett suggested Brain Drain. This however, wasn’t the only change.
After a band meeting, it was announced that Wanda Watkins was no longer Brian Drain’s vocalist. However, before long, Wanda Watkins was back with a new band. Bud Mathias had recruited Wanda Watkins into Joint Effort. By then, Brain Drain had gone up in the world.
Brian Drain was now playing clubs around Hollywood, and were taking to the stage at Pandora’s Box, The Witch and The Hullabaloo. At these clubs, Brain Drain were a proving a popular draw. Given their newfound success, Brian Drain decided to record a couple of tracks.
For Brain Drain’s first ever recording session, they decided to record just two songs. This included the Wolfgang Dios composition Black Roses, which was joined Me which was
penned by new bassist Doug Lubahn and Brain Drain’s manager Bud Mathias. Once the two songs were recorded, Bud Mathias decided to swing by Elektra Records’ West Coast office with an acetate of Brain Drain’s new recording.
Bud Mathias had timed his run perfectly, as the receptionist at Elektra Records was out having lunch, and had left the door unlocked. As Bud Mathias walked in, A&R man Billy Jones was about to head out for lunch. However, Bud Mathias managed to get Billy Jones to listen to the Brian Drain acetate. He liked the recording and agreed to send it to Jac Holman at Elektra Records’ headquarters.
Over the next couple of days, the members of Brian Drain waited for news from Elektra Records. When it came, it was good news. Jac Holman liked the recording, and wanted Brain Drain to sign to Elektra Records.
In early January 1967, Brain Drain were about to sign to one of the major labels. It was then that Bud Mathias inexperience caught up with. He had never got Brian Drain to sign a management contract with him. Bud Mathias was a worried man.
He had every right to be. At Elektra Records, staff producer Paul Rothchild was talking with Brain Drain. He had just produced The Doors’ recently released eponymous debut album, and had previously, had worked with Love. This gave Paul kudos in the eyes of Brain Drain. Paul Rothchild had a propositions for Brain Drain.
This was that Paul Rothchild become Brain Drain’s new manager. Paul Rothchild pointed out that they needed someone with music industry experience managing Brain Drain. Given his track record with The Doors, and especially Love, Brain Drain soon agreed. Bud Mathias was history, and left ruing his inexperience. He had lost a band that had just signed to a major label by forgetting to get a management agreement signed.
With Paul Rothchild managing Brain Drain, Elektra Records records rented an apartment for the band to live in. Their new home was situated in Franklin Avenue, and was once home to comedian W.C. Fields. Soon, it became known as the Light House.
The name came about, because in March 1967, Brain Drain had changed their name to Clear Light. The newly named band were also well on their way to transforming the faded grandeur of the Light into a rehearsal cum living space. Soon, Clear Light would be joined by The Doors, and the two Elektra Records’ bands would jam into the early hours, as they prepared to record new albums.
In The Doors’ case, they were preparing to record their sophomore album Strange Days. Their eponymous debut album had been released on January the ‘4th’ 1967, and reached number two on the US Billboard 200. The Doors was well on its way to selling four million copies. Would lightning strike twice when Clear Light released their debut album?
Clear Light entered the studio with producer Paul Rothchild for the first time in the spring of 1967. The band recorded several songs, which they hoped would find their way onto their debut album. However, when producer Paul Rothchild listened to the recordings, he wasn’t happy with the results.
The problem Paul Rothchild felt, was that the band needed a vocalist who could make his presence felt. All the successful bands had a distinctive vocalist. That was what producer Paul Rothchild felt Clear Light were lacking. Despite this, the members of Clear Light were about to become movie stars.
Meanwhile, Clear Light were asked to feature in Theodore J. Flicker’s film The President’s Analyst, where the band would play themselves in a nightclub scene. However, when it came time for Clear Light to play She’s Ready To Be Free, vocalist Robbie was unwell, and was replaced by Barry McGuire. While his delivery was perfectly acceptable, it was no match for Robbie’s recent recording.
After the filming of The President’s Analyst, Paul Rothchild began the search a replacement vocalist. Eventually, Paul Rothchild found the vocalist he was looking for…Cliff De Young.
At first, Cliff De Young seemed to be in the wrong movie. While the rest of Clear Light looked like, and adopted the hippie lifestyle, Cliff De Young was preppy looking by comparison. It was an unlikely match, when the aspiring actor, singer and songwriter joined Clear Light as. However, Cliff De Young possessed the distinctive vocal that Clear Light. Paul Rothchild realised this, and so did Robbie Robinson.
He didn’t make things difficult for the rest of Clear Light. Robbie resigned from Clear Light, and Cliff De Young replaced him. Now all Clear Light needed was a new guitarist.
Several guitarists were auditioned, including Doug Hastings of The Daily Flash. He had previously stood in for Neil Young in Buffalo Springfield, but despite his pedigree, Doug Hastings didn’t get the gig. Instead, Ralph Schuckett, who had played in various bands on Hollywood Strip and Topanga Canyon won the day. Soon, the new lineup of Clear Light were heading on a seventeen day residency in New York.
At their first gig in New York, new recruit Ralph Schuckett earned his Clear Light stripes. He wasn’t impressed by the crowd’s response and lack of enthusiasm and started chiding the audience, becoming more and more angry. By then, the venue manager was racing across the stage, and sacked Clear Light on the spot. His parting words were “you’ll never work in this town again.” How wrong he was.
The next day, Steve Paul phoned Clear Light and booked them to play at Scene East, which was a much more prestigious venue. By the time Clear Light took to the stage word of Ralph’s rant had spread like wildfire. Suddenly, everyone wanted to hear Clear Light, and this resulted in Clear Light enjoying a longer stay in the Big Apple. This also allowed Clear Light to hone their sound and songs, and by the time they returned to L.A. they were ready to finish recording their debut album.
For their eponymous debut album, the members of Clear Light had written nine new songs. They would later augment these songs with two cover versions. Clear Light penned Black Roses with Wolfgang Dios; and A Child’s Smile with Michael Ney. Doug Lubahn wrote Sand, Think Again and Night Sounds Loud. Bob Seal penned With All In Mind, They Who Have Nothing and How Many Days Have Passed. Clear Light’s new vocalist Cliff De Young cowrote The Ballad Of Freddie and Larry with keyboardist Ralph Schuckett. These nine songs would be recorded at one of the Hollywood’s top studios.
Before recording of Clear Light began at Sunset Sound Recorders, the newly named band had made their L.A. live debut. This took place at L.A.’s first love-in on Easter Sunday. Clear Light quickly won over what was an appreciative audience. Buoyed by the success of their live debut, Clear Light were ready to record their eponymous debut album.
When Clear Light arrived at Sunset Sound Recorders, they were met by their manager and producer Paul Rothchild. He was now one of the hottest producers in America, having just finished producing The Doors’ Strange Days. Joining Paul Rothchild in the studio was Elektra Records cofounder Jac Holman. He was the recording and production supervisor. As Paul Rothchild and Jac Holman watched on, Clear Light prepared to record their eponymous debut album.
By then, Clear Light’s lineup included a rhythm section of bassist Doug Lubahn, guitarist Bob Seal and drummers Dallas Taylor and Michael Ney who added percussion. They were joined by Ralph Schuckett, who switched between organ, piano and celesta. Cliff De Young add vocals on nine tracks, while Bob Seal takes charge of vocals on Black Roses and his composition All In Mind. With Paul Rothchild producing Clear Light, surely the album would soon be recorded?
With the addition of keyboardist Ralph Schuckett and new vocalist Cliff De Young, Clear Light could concentrate on completing their debut album. However, producer Paul Rothchild decided that songs recorded before Ralph Schuckett and Cliff De Young joined Clear Light, should be rerecorded. This meant the sessions would take longer. There was no other option though. Paul Rothchild saw the early versions as just work in progress. They just weren’t good enough to make the album. This was disappointing for Clear Light. However, the extra work was worthwhile.
When the songs were rerecorded, and keyboards and new vocals added, some of the songs took on new life and meaning. It was a total transformation, and much more representative of the new Clear Light. Gradually, Paul Rothchild was moulding Clear Light, and began to steer them in a new direction.
With nine songs recorded, Paul Rothchild decided that to complete the album, Clear Light should record two songs by members of Elektra Records’ family. The songs he had chosen were Greg Copeland and Steve Noonan’s Street Singer and Tom Paxton’s Mr. Blue. These two songs Paul Rothchild felt, would be ideal for Cliff De Young’s “Hamlet on acid delivery.” This would prove true. However, by then, Clear Light were beginning to resent Paul Rothchild.
Members of Clear Light felt that their manager and producer was becoming too controlling. He was also a perfectionist, which was no bad thing. However, the band tired of Paul Rothchild’s constant changing things. It was as if he was on a search for sonic perfection. Given the success Paul Rothchild had enjoyed with Love, The Doors and The Paul Butterfield Band, most bands would’ve been willing to listen and learn. Not Clear Light who decided to rebel.
Eventually, something snapped in Clear Light and they began to rebel. They felt Paul Rothchild was too controlling of the band. This may have worked with other bands, including Love, The Doors and The Paul Butterfield Band. However, the members of Clear Light had a rebellious streak, and didn’t take kindly to being constantly told what to do. This wasn’t the only thing the drove a wedge between Clear Light and Paul Rothchild.
By then, guitarist Bob Seals the oldest member of Clear Light was questioning the wisdom of having their producer as a manager. When he spoke out, Bob Seals claims he was singled out for criticism by Paul Rothchild. He remembers doing a guitar overdub on a song he had written. Meanwhile, Neil Young and some big name musicians were watching in the control room. By then, Bob Seals was wound up like a spring. When he stumbled over the guitar part, he claims Paul Rothchild said through the intercom: “you know, there are ten thousand guitar players in this town that can do this track if you can’t.” For Bob Seals this was a crushing blow. It was just as well that the album was almost completed.
When Clear Light was completed, the relationship between Clear Light and Paul Rothchild had sunk to a new low. Elektra Records had scheduled the release of Clear Light for October 1967. However, there was another problem.
Elektra Records had hired William S. Harvey to shoot the album cover. By then, Robbie Robinson was still a member of Clear Light. However, Elektra Records got round this by describing the former founder member as the band’s “guru” Robbie wasn’t on the photos in the inner sleeve. They feature the new lineup of Clear Spot, and does the instructions “in order to appreciate the spectacular double drumming of Clear Light, play at high volume.”
Whether critics followed these instruction isn’t known. What’s known, is that the reviews of Clear Light were positive on an album of carefully crafted music that veered between folk rock to heavy psychedelia. Producer Paul Rothchild brought the best out of Clear Light on their eponymous debut album, which later became a psychedelic classic.
Clear Light was an album that showcased the two talented vocalists. Bob Seal who provided the folk rock compositions was Clear Light’s secret weapon when he added the lead vocals on Black Roses and With All In Mind. Maybe if Clear Light had looked closer to home, then Bob Seal would’ve solved their vocalist problem? However, Cliff De Young vocal on Street Singer was dramatic and lysergic and was perfectly described as“Hamlet on acid delivery.” Then on Mr. Blue Cliff Young’s vocal was, dramatic, theatrical and menacing, before becoming manic and unhinged on The Ballad Of Freddie and Larry is manic and unhinged. Cliff Young it seems is taking a trip, as Clear Light waltz their way through the song. Doug Lubahn three contributions see Clear Light disappear further down the psychedelic rabbit hole. Sand, Think Again and Night Sounds Loud are prime cuts of heavy psychedelia and are lysergic and trippy. These tracks on Clear Light are a reminder of the golden age of psychedelia.
Following the release of Clear Light, the band embarked on a second tour of the East Coast in December 1967. Clear Light had just released Black Roses as a single, with She’s Ready To Be Free on the flip side.
When Clear Light arrived in New York, they started auditioning new guitarists. Little did Bob Seal realise that he was about to be replaced. His bandmates had stabbed him in the back. They wanted someone less outspoken, someone who would tow the party line. Eventually, Danny “Kootch” Kortchmar won the day.A heartbroken Bob Seal left, and headed to Sausalito, where he began a new life as a bassist. However, Bob Seal had the last laugh.
The new guitarist needed time to learn the band’s songs, and this meant that Clear Light were unable to play live or record. Some of the members of Clear Light picked up some session work to tide them over. However, by the end of February 1968, the latest lineup of Clear Light opened for Jefferson Airplane. Meanwhile, Night Sounds Loud became Clear Light’s third single in Britain. Things seemed to be going well for Clear Light.
They even got as far as beginning work on their sophomore album. However, the loss of Bob Seal had hit Clear Light hard, and they were no longer the same band. Cliff De Young realised this, and left the band in June 1969. This was perfect timing, as the rest of Clear Light had been looking for a new vocalist.
Dave Palmer who went on to join Steely Dan was first choice. When this didn’t work out, Duane Allman was approached, and talks took place. However, nothing came of it, and by September 1968, Clear Light split-up.
Looking back, the Clear Light story is one of what might have been. If Clear Light had continued to work with Paul Rothchild, what heights might they have reached? Would Clear Light have followed in the footsteps of their label mates and jamming partners The Doors? After all Paul Rothchild,had an enviable track record.
Paul Rothchild produced everyone from Tim Buckley to Love, The Doors, Janis Joplin, Fred Neil and The Paul Butterfield Blues Band. Part of his recipe for success was he was a perfectionist, who was constantly looking to improve the slightest detail. This worked and got results with many bands. However, Clear Light felt stifled, and rebelled.
This was a great shame. Clear Light were a talented band, who could’ve should’ve reached greater heights. However, by the end of the recording of Clear Light, their partnership with Paul Rothchild was all but over. Over the next eleven months, Clear Light seemed to implode. Guitarist Bob Seal, who had played an important part in the sound and success of Clear Light was betrayed, when his band mates started auditioning for a new guitarist. This backfired, and Clear Light were never the same tight unit. Their answer was to replace vocalist Cliff De Young. However, he beat them to it, and left Clear Spot. By then, the game was up for Clear Spot, and by September 1968 this talented and versatile band called time on their career.
Sadly, just over two years after Michael Ney first met Robbie Robinson, the adventure was over for Clear Light. A lot had happened since then. The lineup and name had changed several times, managers had come and gone, and Clear Light had recorded a stonewall psychedelic classic. Sadly, nearly fifty years after Clear Light called time on their career, they’re still one of music’s best kept secrets. However, Clear Light’s music is appreciated by discerning few musical connoisseurs who have discovered this psychedelic classic, which was recording by a group who should’ve gone on to reach heights. Sadly, for Clear Light, theirs is A Story Of What Might Have Been?
Clear Light-A Case Of What Might Have Been.
THE LIFE AND TIMES OF THE DOORS
The Life and Times Of The Doors.
By 1972, The Doors were history after the tragic death of their charismatic frontman Jim Morrison, who had died on the 3rd July 1971. The Lizard King became the latest entrant into the twenty-seven club, where he joined Brian Jones, Janis Joplin, Alan Wilson and Jimi Hendrix. This meant that The Doors’ career ended at the top and their fans memories of them were never tarnished.
The Doors were never going to grow old together and they would forever be the band that featured on their final album L.A. Woman. Never would they age. Nor would they make a series of comebacks or reunions. There would never be any third-rate albums released. No way. The Doors career ended whilst they were at the top with a classic album. What saddened their fans is that The Doors’ career ended in tragic circumstances. However, their many fans still have their musical memories.
These memories included a sextet of critically acclaimed and commercially successful albums. Between 1967s The Doors and 1971s L.A. Woman, The Doors only ever released six albums. Their debut album, The Doors was certified platinum five times over. After that, four of the next five albums were certified platinum and one double platinum. That wasn’t all.
1970 saw The Doors’ release Absolutely Live. It was certified gold. The same year, they released their first compilation, 13. Released in January 1970, it was certified platinum. Then six months of the tragic loss of Jim Morrison, a second Doors’ compilation was released, Weird Scenes From Inside The Gold Mine. It was a fitting tribute to one of rock’s greatest ever groups, The Doors, whose career began in 1965.
It was in 1965, that The Doors were formed in Los Angeles. The Doors had taken their name from Aldous Huxley’s seminal book The Doors Of Perception.They were a quartet lead by the charismatic vocalist Jim Morrison.
Jim Morrison was more than a singer, he was a lyricist and poet. He was a free spirit, charismatic, enigmatic and wildly unpredictable. Life was for living, and Jim Morrison lived a thousand lives in twenty-seven years. However, The Doors weren’t a one man band.
No. The Doors’ success was down to the four members of The Doors. This included drummer John Densmore, guitarist Robby Krieger and keyboardist Ray Manzarek. Together, they were about to enjoy the kind of commercial success and critical acclaim that they’d only dreamed of.
The Doors got their break in 1966. That was when they signed to Elektra Records. It was the first label to spot the potential in psychedelic rock. Before long. Elektra Records started signing up a whole host of psychedelic rock bands. Among the most successful were Love and The Doors, who released their debut album in January 1967.
The Doors.
Recording of what became The Doors, took place between the 24th and 31st August 1966. Six months later, on 4th January 1967, The Doors was released. It would become one of most influential albums The Doors released. So much so, it’s worthy of being referred to as a classic. Gradually, The Doors reached number two in the US Billboard 200 and was certified platinum five times over. Across the world, from Canada through Europe and into the UK, The Doors was critically acclaimed and commercially successful. In the UK it was certified platinum twice, while it was certified platinum five times over in France. This was helped by the commercial success of Light My Fire.
On its release Light My Fire, reached number one on the US Billboard 100 charts. It was the second single released from The Doors. Break On Through (To the Other Side) was the first single, but wasn’t a commercial success. Both singles featured on the 1972 compilation Weird Scenes From Inside The Gold Mine. So did the haunting The End. It would go on to become a Doors’ classic. So would several songs from The Doors’ sophomore album Strange Days.
Strange Days.
Eight months later, The Doors returned with Strange Days, their sophomore album. It was released to the same widespread critical acclaim and commercial success. Released on 25th September 1967, Strange Days was hailed a heavy, psychedelic classic, after it reached number three in the US Billboard 200 charts. This resulted in Strange Days being certified platinum. Eventually, nine million copies of Strange Days were released. No wonder. Look at the psychedelic delights of Strange Days.
Strange Days featured some of the most psychedelic songs The Doors ever released. Among them were Strange Days, Love Me Two Times, When The Music’s Over and the moody, haunting People Are Strange. These tracks would feature on the 1972 compilation Weird Scenes From Inside The Gold Mine. Two of these tracks, People Are Strange and Love Me Two Times were released as singles.
Both People Are Strange and Love Me Two Times reached the top thirty in the US Billboard 100, with People Are Strange proving the most successful, reaching number twelve. This proved that The Doors weren’t a one trick pony. No. The Doors were one of the heaviest, psychedelic rock bands of the sixties, lead by the charismatic Lizard King. Critics wondered what direction The Doors’ music would head?
Waiting For The Sun.
July 1968 saw The Doors release their third album Waiting for the Sun. Just like Strange Days, many of the songs had been written before The Doors signed their first recording deal. The Doors matured early as songwriters, and had enough material for several albums of material. This included Waiting for the Sun.
Waiting for the Sun. became The Doors’ first number one album. This gave the The Doors’ their second platinum album. Just like their two previous albums, Waiting for the Sun was a huge success worldwide. Whether it was Europe, Britain or North America, The Doors were providing the soundtrack to a generation’s life.
This included the two singles which were released from Waiting for the Sun. The first single was The Unknown Soldier, which was Jim Morrison’s reaction to the Vietnam War. A poignant, dramatic anti-war song, The Unknown Soldier gave voice to the frustration and anger a generation felt. Instantly, The Doors became the voice of a generation. This showed another side of The Doors’ music. Very different was the second single from Waiting for the Sun, Hello I Love You. It’s best described as two minutes of perfect pop. A timeless anthem, Hello I Love You gave The Doors a number one single. However, Hello I Love You doesn’t feature on Weird Scenes From Inside The Gold Mine.
Instead, the compilers choose two hidden gems from Weird Scenes From Inside The Gold Mine. They’re Love Street and Five To One. Love Street started life as a poem and became a baroque pop song. Five To One saw Jim Morrison drawing inspiration from the ninth century hymn and bedtime rhyme Now the Day is Over. By eschewing the obvious, when compiling Weird Scenes From Inside The Gold Mine, it became one of the most captivating compilations of The Doors’ music ever released. What tracks from The Doors’ fourth album The Soft Parade.
The Soft Parade.
Never before had a year passed before The Doors’ released an album. That’s until they released The Soft Parade. It was released on 21st July 1969. Gone was the stripped down, understated sound of their first three albums. Instead, The Doors decided to add strings and horns. Some fans and critics didn’t welcome this change of sound. They also had a problem with the lyrics.
For some fans, The Soft Parade’s lyrics were formulaic. They felt that The Doors were following a formula when it came to writing lyrics. Given this was their fourth album, fans and critics felt that The Doors sound had to change. Despite this, The Soft Parade was a commercial success.
Released on 21st July 1969, The Soft Parade reached number six in the US Billboard 200 charts. This was The Doors’ least successful album. However, it still was certified platinum. This success continued with the lead single.
Who Scared You was released in 1968, as a taster of The Soft Parade. It reached number three in the US Billboard 100. The other three singles, Wishful Sinful, All The People and Runnin’ Blue all charted, but failed to crack the top thirty in the US Billboard 10. None of the singles feature Weird Scenes From Inside The Gold Mine.
Instead, Weird Scenes From Inside The Gold Mine features Who Scared You and Shaman’s Blue. Who Scared You was the B-Side to Wishful Sinful, Shaman’s Blues, with its laid-back, lysergic sound, epitomises the late-sixties and is one of the forgotten highlights of The Soft Parade, which marked a change in The Doors’ music. What next for The Doors?
Morrison Hotel.
As a new decade dawned, little did The Doors know that they’d only release two more studio albums. The first of these two albums was Morrison Hotel, which saw The Doors change direction again
For their fourth album The Soft Parade, The Doors changed direction. This didn’t please critics and fans. So, on on Morrison Hotel, The Doors returned to their trademark sound and combined it with a bluesy hue. Recording took place during August 1966, March 1968 and November 1969. The result was a fusion of psychedelia and blues rock. It proved popular with critics and music lovers.
Released on 9th February 1970, Morrison Hotel, which is often referred to as Hard Rock Café, after the title of the first side of the album, reached number four in the Us Billboard 200. This resulted in Morrison Hotel being certified platinum. Over the Atlantic, Morrison Hotel was certified gold. That was a familiar story. Throughout the world, Morrison Hotel was both commercially successful and critically acclaimed. The Doors were back, despite Morrison Hotel not featuring a hit single.
You Make Me Real was the only single released from Morrison Hotel. It stalled at just number fifty in the US Billboard 100. Maybe that’s why You Make Me Real doesn’t feature on Weird Scenes From Inside The Gold Mine. Roadhouse Blues the B-side to You Make Me Real features on Weird Scenes From Inside The Gold Mine. So does The Spy, Maggie McGill and Ship Of Fools. They feature The Doors at the peak of their powers, when they were one of the biggest and best bands of the late-sixties. Absolutely Live The Doors first live album, is proof of this.
Absolutely Live.
Just five months after the release of Morrison Hotel, The Doors released their first live album, Absolutely Live. It was a tantalising taste of The Doors live. This was a double album that had been compiled from The Doors’ tour. Absolutely Live is one of the best live albums you could hope to hear. Featuring The Lizard King at his most charismatic, he struts his way through some of The Door’ best known songs. It’s no surprise that Absolutely Live was a huge commercial success.
Released on 20th July 1970, Absolutely Live reached number eight in the US Billboard 200. It was certified gold. The same year, The Doors released their first compilation, 13 and the commercial success kept on coming.
13.
Released in November 1970, 13 featured some of greatest music The Doors released between 1967 and 1967. So, it’s no surprise that it reached number twenty-five in the US Billboard 200. This resulted in 13 being certified platinum. It seemed The Doors could do no wrong.
L.A. Woman.
L.A. Woman proved to be the last album released during Jim Morrison’s lifetime. It was released on 19th April 1971. Three months after the release of L.A. Woman, The Lizard King was dead. His swan-song was L.A. Woman.
Just like Morrison Hotel, L.A. Woman saw The Doors combine blues rock and psychedelia. There was a difference though. Longtime Doors’ producer Paul Rothschild had been replaced. In his place, Bruce Botnick co-produced L.A. Woman with The Doors, which marked another appearance from Jim Morrison’s alter ego, the blues veteran.
At this point in his life, Jim Morrison was heavily Influenced by legendary blues singers like Howlin’ Wolf, Muddy Waters and John Lee Hooker. This influence began on Morrison Hotel, and continued on L.A. Woman.
Recording of L.A. Woman began at The Doors workshop, in Los Angeles. After that, much of L.A. Woman was recorded live. The recording took just two months. Between December 1970 and January 1971 ten tracks were recorded. Only a few overdubs were added. So essentially, L.A. Woman is a live album. It was also critically acclaimed and commercially successful.
Released on April 19th 1971, L.A. Woman reached number eight in the US Billboard 200. This resulted in L.A. Woman being certified double platinum. Across the world, L.A. Woman sold in vast quantities. Even more so, three months later when The Doors’ charismatic frontman Jim Morrison had died on the 3rd July 1971. Before that, there was still the small matter of two top twenty singles.
They were L.A. Woman and Love Her Madly. L.A. Woman reached number eleven in the US Billboard 100. Riders In The Storm, a true Doors’ classic then reached number fourteen in the US Billboard 100. This marked the end of an era. Never again, would the original lineup of The Doors release another album. So, it’s fitting that four tracks from L.A. Woman feature on Weird Scenes From Inside The Gold Mine.
A quartet of tracks that feature on feature on Weird Scenes From Inside The Gold Mine include the anthemic L.A. Woman, the single Love Her Madly and its B-Side (You Need Meat) Don’t Go No Further). The other track is The Wasp (Texas Radio & The Big Beat). Just like the other tracks, it shows what The Doors were capable of. They were one of the most exciting, innovative and pioneering band of the late-sixties. Their music is timeless and remains some of the finest rock music ever recorded. However, the question we’ll never know the answer to, is what further greatness The Doors might have achieved?
One Voice.
One can only speculate the direction that The Doors’ music might have headed? They did release one further album, One Voice. Released in October 1971, it reached just number thirty-one in the US Billboard 100. Without the charismatic Lizard King’s vocals, The Doors weren’t the same band, the band that features on the second compilation they released Weird Scenes From Inside The Gold Mine, which was originally released in January 1972.
Weird Scenes From Inside The Gold Mine.
On it release in January 1972, Weird Scenes From Inside The Gold Mine reached number fifty-five in the US Billboard 200. It was certified gold and is a captivating compilation of one of the greatest bands in musical history. One of the reasons for this, is the choice of music on Weird Scenes From Inside The Gold Mine, which was a double album.
Rather than just make Weird Scenes From Inside The Gold Mine a greatest hits album, the compiler digs deeper. B-Sides, rarities and album tracks are included. The result is a fascinating overview of one of the most innovative and pioneering bands in musical history. Weird Scenes From Inside The Gold Mine was a fitting tribute to The Lizard King. On its release, Weird Scenes From Inside The Gold Mine was certified gold. This meant that in the space of five years, The Doors had sold over thirteen-million albums.
Over five years, The Doors released six studio albums, one live album and one compilation. They sold over thirteen million copies in America alone. Across the world, The Doors were one of the biggest selling bands of the late-sixties and early seventies. There’s a reason for this. The Doors pushed musical boundaries to their limits, and sometimes, beyond. Their music was ambitious, groundbreaking and genre-melting as well as ambitious and innovative. The Doors are one of he greatest groups of all time and release several classic albums.
This included their debut album The Doors, and their sophomore album Strange Days, plus Waiting for the Sun, Morrison Hotel and L.A. Woman, which tragically, proved to be The Doors’ swan-song. These albums showcase one of the greatest groups of the sixties and early seventies. Sadly, their time at the top was cut tragically shot.
Never again, would the original lineup of The Doors set foot in a recording studio. As a result, The Doors’ career ended at the top. Our memories of them were never tarnished. The Doors never got to grow old together. Instead, they would forever be the band that featured on their final album L.A. Woman. Never would they age. Nor would they make a series of comebacks or reunions. Instead, The Doors will forever remain one of the most important, innovative, influential and successful groups in musical history,
The Life and Times Of The Doors.
MARIANNE FAITHFUL’S DECCA YEARS.
Marianne Faithful’s Decca Years.
By March 1964, it was apparent that pop music wasn’t just a passing fad. The Beatles were a global phenomenon, and the British Invasion of the American charts had just begun. Britain was a musical powerhouse, that the world envied. Despite this, many labels weren’t resting on their laurels.
Record companies in Britain were constantly on the search for ‘the next big thing.’ Surely they reasoned, there was another Fab Four somewhere in Britain. It was all a matter of finding them. Some labels put more effort into this than others.
Decca Records had an enviable network of A&R executives and talent scouts across Britain. Their finger was on the pulse of the local music scene. Night after night, talent scouts headed out to local pubs and clubs, where they listened to new bands and singers. Promising artists were signed to contracts, before other labels even had a chance to hear them. Helping Decca Records add to their already enviable roster, were various producers and music ‘impresarios.’
They were the trusted ears of some record companies. This included the Rolling Stones manager Andrew Loog Oldham. He was by 1964, was managing the second biggest band in the world. The Rolling Stones only rivals were The Beatles. So when Andrew Loog Oldham recommended a new, unknown artist to Decca Records, they took notice.
The artist Andrew Loog Oldham was unlike any he had come across. Even her background was unlike that of any artist he had encountered. The eighteen year old former convent girl, was the daughter of an Austrian aristocrat and a former British Army officer, who was now a professor of psychology and Italian literature at Bedford College of London University. They had met in Vienna, and were living in Hampstead when Marianne Faithful was born on 29th December 1946. However, this would soon change.
The Faithful family had to move to Ormskirk in Lancashire, while her father finished his doctorate at Liverpool University. Later, the Faithful family lived at the commune and institution for social research in Braziers Park, a Grade II listed building at Ipsden, Oxfordshire. This must have seemed an idyllic place to grow up. However, when Marianne was six, her parents divorced.
For Marianne the Reading years weren’t exactly happy ones. She lived with her mother in Milman Road, Reading, which she refers to as the “Reading Gaol.” No wonder. It was a far cry from the early years of her life.
Now, money was tight, and Marianne and her mother were reduced to living in suburbia. To make matters worse, Marianne suffered from tuberculosis; and she had to become a subsidised pupil at St Joseph’s Convent School where she was a weekly boarder. It was at school, that Marianne Faithful first took to the stage.
It wasn’t as a singer though. Instead, she was part of the school’s Progress Theatre group. Little did anyone realise, that when Marianne Faithful left St Joseph’s Convent School, she spend much of her life on the stage. Before that, Marianne Faithful escaped the drudgery and boredom of suburban Reading.
Very different was London’s social scene, which Marianne Faithful threw herself into. It was as if she was making up for the Reading years. London was different from small-town Reading. Marianne enjoyed the constant round of parties, record launches and gallery openings. She even travelled to Cambridge to attend a University ball, where she met her future husband John Dunbar. By then, Marianne was regular in London’s folk circuit.
For some time, Marianne Faithful had been playing coffee shops, including Cafe Au Lait and Shades. Her career was in its infancy, but through John Dunbar, Marianne Faithful met Peter Asher of Peter and Gordon. They were enjoying a successful career. Not as successful as the two men Peter Asher introduced Marianne Faithful to at a party in March 1964.
Marianne Faithful went along to a party with John Dunbar in March 1964. That was where she was introduced to the leaders of the two biggest groups in the world. First Marianne met Paul McCartney, and then she was introduced to Mick Jagger. Little did she realise the effect this meeting would have on her career.
Through Mick Jagger, Marianne Faithful was introduced to Andrew Loog Oldham. Straight away, he signed Marianne Faithful to Decca Records. Soon, work began on Marianne’s debut single.
For Marianne Faithful’s debut single, As Tears Go By, which was penned by Mick Jagger and Keith Richards was chosen. It was produced by Mike Leander, and released in the summer of 1964. As Tears Go By reached number nine in Britain; twenty-two in the US Billboard 100 and thirty-five in Australia. The eighteen year old had enjoyed a hit single on three continents. However, the followup single wasn’t as successful.
Having chosen to cover a Jagger-Richards song for her debut single, Marianne Faithful decided to cover Bob Dylan’s Blowin’ In The Wind for her sophomore single. When it was released later in 1965, it failed to chart on both sides of the Atlantic. Surely Marianne Faithful wasn’t a one hit wonder?
Decca Records didn’t think so, and decided that Marianne Faithful should begin work on not just one album, but two albums.
Come My Way.
It was a case of striking while the iron was hot. Many artists weren’t didn’t enjoy a long shelf life. So as soon as they had a single under their belt, they were sent into the studio to record an album. Decca Records decided that Marianne Faithful should record two quite different albums, Come My Way and Marianne Faithful. Of the two albums, Come My Way would only be released in Britain.
For Come My Way, Marianne Faithful chose fourteen tracks. Many of the tracks were traditional songs. This included Come My Way, Jaberwoc and Spanish Is The Loving Tongue, Fare Thee Well, Down In The Salley Garden, Full Fathom Five and Bells Of Freedom. Other tracks included Lee Hayes’ Lonesome Traveller and Ian Tyson’s Four Strong Winds. These songs were recorded at IBC Studio, London with producer Tony Calder.
On Come My Way, Marianne Faithful concentrated purely on folk music. This was what Marianne had been singing up until then. She sang and played her acoustic guitar against John Mark’s spartan arrangements. This would prove successful when Come My Way was released.
It wasn’t until 15th April 1965 that Marianne Faithful released Come My Way. The album was well received by critics, and reached number twelve in Britain. However, Come My Way wasn’t released in America. Instead, Marianne Faithful’s eponymous sophomore was released on both sides of the Atlantic the same day as Come My Way.
Marianne Faithful.
Marianne Faithful was recorded at the same time as Come My Way, and would be released in America and Britain. However, Marianne Faithful was a very different album to Come My Way. Gone was the folk sound of Marianne’s debut album. It was replaced by pop, chanson and ye-ye. Already, Marianne was showing that she was a versatile singer.
For Marianne Faithful, fourteen pop covers had been chosen. This included Jackie DeShannon’s Come and Stay With Me; Bacharach and David’s If I Never Get to Love You; Tony Hatch’s Downtown; Jagger and Richards’ As Tears Go By; Jackie DeShannon and Jimmy Page’s In My Time of Sorrow; and Lennon and MCartney’s I’m A Loser. Marianne Faithful also made her songwriting debut, cowriting Time Takes Time with Barry Fantoni. These songs were recorded in two London studios.
At Lansdowne Studios and Decca No. 2 Studio, London, Marianne Faithful recorded another fourteen songs with producer Tony Calder. This time, a band accompanied Marianne, as she flitted between musical genres. Then Plaisir D’Amour became one of the first songs that Marianne would record in French. The London born chanteuse was about to become one of the ye-ye girls, while enjoying commercial success on both sides of the Atlantic.
Just like Come My Way, Marianne Faithful was released on 15th April 1965. Reviews of the album were positive, with critics remarking that some of the song’s were perfectly suited to Marianne Faithful. She brought life and meaning to the songs. So it wasn’t a surprise that Marianne Faithful reached fifteen in Britain, and twelve in the US Billboard 200. This wasn’t the end to the success.
Come And Stay With Me was released as a single from Marianne Faithful. It reached number four in Britain, and twenty-six in the US Billboard 100. Then This Little Bird was released later in 1965, and reached number six in Britain, and thirty-two in the US Billboard 100. For Marianne, this was a fairytale. A year after signing to Decca Records, she was a star on both sides of the Atlantic.
Less than a month after the release of Come My Way and Marianne Faithful, Marianne married John Dunbar on the 6th of May 1965, in Cambridge. After the wedding, the pair lived in a flat in Belgravia, in London. What looked like a fairytale continued.
Go Away From My World.
Although newly married, and expecting her first child, Marianne Faithful had to record a new American album. It featured twelve tracks, which were a mixture of traditional songs and cover versions.
Among the traditional songs were Come My Way, Mary Ann, Scarborough Fair and North Country Maid. Cover versions included Lennon and McCartney’s Yesterday and Tom Paxton’s The Last Thing On My Mind. Marianne also decided to cover Francis McPeake’s Wild Mountain Thyme and Cyril Tawney’s Sally Free and Easy. These songs were produced by Mike Leader, and scheduled for release in November 1965.
Reviews of Go Away From My World were mainly positive. However, looking back with the benefit of hindsight, it’s an album that’s appealing to everyone. There’s songs for people who like folk and pop music; while Marianne Faithful had been a much more pop oriented album. Maybe Go Away From My World fell between two stools?
After the success of Marianne Faithful in America, Go Away From My World reached a disappointing eighty-one on the US Billboard 200. The only crumb of comfort was that when Summer Nights was released as a single, it reached number ten in Britain and number twenty-four in the US Billboard 100. Then Marianne’s cover of Yesterday reached number thirty-six in Britain. Her last single from Go Away From My World was the title-track, which reached a lowly eighty-nine in the US Billboard 100. Little did Marianne know, that Go Away From My World would be her last American hit. That would’ve been the least of her worries.
In December 1965, Marianne Faithful left her husband of seventh months, and went to live with the Rolling Stones’ frontman Mick Jagger. Little did Marianne realise this decision would change her life, and people’s perception of her forever more. That was still to come. Before that, Marianne Faithful began work on her next album North Country Maid.
North Country Maid.
As 1966 got underway, Marianne Faithful and Mick Jagger through themselves headfirst into swinging London’s social scene. They epitomised swinging London, and were seen at the smartest parties. However, Marianne had an album to record.
North Country Maid would become Marianne Faithful’s third British album. However, six of the songs had featured on the now ironically titled American album Go Away From My World. This included traditional songs like Scarborough Fair; How Should I Your True Love and North Country Maid. The other tracks included Cyril Tawney’s Sally Free and Easy; Jon Mark’s Lullabye and Francis McPeake’s Wild Mountain Thyme. This left Marianne to record six new songs.
They were a mixture of traditional song and cover versions. The traditional songs included Cockleshells; She Moved Through The Fair and How Should I Your True Love Know. Other tracks included covers of Tom Paxton’s Last Thing On My Mind; Ewan McColl’s The First Time Ever I Saw Your Face and Donavon’s Sunny Goodge Street. These tracks were recorded with producer Mike Leander.
When the recording the six songs began, Marianne Faithful was joined by guitarists Big Jim Sullivan and Jon Marks. He had worked on all of Marianne’s albums, arranging the tracks. Joining them in the studio was an up-and-coming engineer, Gus Dudgeon. Soon, the six songs took shape, and the release of North Country Maid was scheduled for spring 1966.
Before the release of North Country Maid on 1st of April 1966, critics had their say on Marianne Faithful’s third album. The consensus was, that North Country Maid was the finest album of her nascent career. That however, was no surprise.
Great care had gone into choosing the twelve songs that became North Country Maid. These songs seem tailor made for Marianne, as she flits seamlessly between musical genres. Although primarily an album of folk music, blues, country, acid folk and even pop can be heard on North Country Maid. It’s the perfect showcase for Marianne’s versatility as a singer.
Playing an important part in the success of North Country Maid, were Mick Taylor and Jon Mark’s arrangements. Jon Mark and Big Jim Sullivan accompany Marianne on arrangements that although they’re mostly understated and spartan, allow Marianne’s vocal to take centre-stage; She’s equally comfortable singing traditional songs and cover versions on North Country Maid, which was by far, the best album of Marianne Faithful’s career.
Despite that, North Country Maid failed to chart on its release on 1st April 1966. For Marianne Faithful this was a huge blow. Her two previous albums had sold well in Britain, and she had enjoyed several hit singles. However, the warning signs were there when Go Away From My World failed to chart. This made Marianne’s next album a crucial one.
Love In A Mist.
For her fourth British studio album, Love In A Mist Marianne Faithful decided to change tack. It was a case of needs must. Not only had her career stalled, but acoustic folk music was no longer as popular. Even Bob Dylan had plugged in, and gone electric in 1966. So Marianne decided to reinvent herself on Love In A Mist.
She had started to reinvent herself on her American album, Faithful Forever. It was released in September 1966, but failed to chart. Despite this, half of the tracks that featured on Faithful Forever, found their way onto Love In A Mist. Along with the other seven songs, a total of fourteen tracks found their way onto Love In The Mist.
Among the tracks on Love In The Mist were a trio of tracks from Donovan, In the Night Time, Young Girl Blues and Good Guy. Marianne covered Jackie DeShannon’s You Can’t Go Where the Roses Go and With You In Mind. She also covered Tim Hardin’s Don’t Make Promises and Reason To Believe. Other tracks included Lennon and McCartney’s Yesterday; John D. Loudermilk’s; This Little Bird; Bob Lind’s Counting and Bernstein and Sondheim’s I Have A Love. Ne Me Quitte Pas and Coquillages allowed Marianne to show her versatility on a couple chanson songs. Love In The Mist was shaping up to be her most eclectic album.
With seven tracks to record, Marianne entered the studio with a band. This was a first. They played on Love In The Mist, but took care not to overpower Marianne’s vocal. It veers between elegiac and ethereal, to melancholy and wistful. Sometimes it’s hopeful, but often it sounds worldweary. Marianne it seemed, had lived some of the lyrics. On several tracks, there’s a return to the understated sound of previous albums. However, Mike Leander decided to orchestrate parts of Love In The Mist. He even added subtle horns on several tracks. They work well, and should’ve played an important part in the reinvention of Marianne Faithful.
Sadly, by the time Love In The Mist was released, Marianne had been embroiled in scandal. Her decision to befriend the Rolling Stones had backfired on her badly. This could be traced back to 1965, when she left husband John Dunbar in December, and moved in with Mick Jagger not long after this. By 1965, Marianne had befriended another member of the Rolling Stones’ inner circle…Anita Pallenberg.
Marianne and Anita became friends in 1965. Soon, they were smoking marijuana together. Then in 1966, Marianne decided to take her son to stay with Anita and Brian Jones. By then, Marianne was a familiar face with Mick Jagger at swinging London’s smartest and wildest parties. So some time with Anita and Brian Jones would allow to spend some time with friends. The time passed off without incident. If only the same could be said of the events of 12th February 1967.
By then, it was less than a month before Marianne Faithful would release her fourth album. On Sunday 12th February 1967, she was relaxing with members of the Rolling Stones’ inner circle at Redlands, Keith Richards country estate. That night, the Sussex police raided Redlands looking for drugs. The claimed to have been tipped off that a drug were being consumed on the premises When they entered Redlands, they discovered Marianne covered by just a fur rug. This would come back to haunt Marianne.
After a search of Redlands, various tablets and substances, including amphetamine and cannabis were discovered. This lead to the arrest of Mick Jagger and Keith Richards. They were charged, and were facing imprisonment. However, as the story became front page news, so did the details of how the police discovered Marianne. This shocked many little Englanders, who viewed not just Mick Jagger and Keith Richards with distaste, but Marianne Faithful too.
Suddenly, the press were raking over her private life, serving up every salacious piece of petty gossip for the titillation of the little people in their two up, two downs. They stood in judgment of Marianne, who was about to release a new album.
Just over three weeks later, Marianne Faithful released her fourth album, Love In A Mist on the 2nd of March 1967. Despite the quality of the music on Love In A Mist, the album never came close to troubling the charts. Whether the unwanted publicity affected sales of Love In A Mist is a matter of speculation? Following the release of Love In A Mist, Decca Records and Marianne Faithful parted company. Marianne’s Decca Records ‘ swan-song was her most underrated albums.
Love In A Mist is a genre hopping album were Marianne Faithful flits between folk, chanson and pop to country, acid folk and baroque pop. It’s a captivating roller coaster of emotion. However, sadness, melancholy and hurt feature throughout Love In A Mist. Sadly, very few people heard Love In A Mist, which makerked the end of Marianne Faithful’s career at Decca Records. It would be a long time before she reached these heights again.
Indeed, it wasn’t until 1975 that Marianne Faithful released another album Dreamin’ My Dreams. By then, Marianne Faithful had been to hell and was still on the way back. The last eight years had taken their toll.
In 1968, Marianne Faithful suffered a miscarriage. At the time, she was struggling with a cocaine addiction. For Marianne it was a huge blow. However, she was a survivor, and would be back.
In 1970, her relationship with Mick Jagger was over, and she lost custody of her son. This lead to Marianne Faithful trying to commit suicide. Over the next few years, Marianne battled anorexia nervosa and heroin addiction. Things got so bad that for two years, Marianne was homeless in London. Mike Leander found Marianne living in the streets of London in, and tried to revive her career. However, Marianne’s addictions and problems made recording an album impossible.
During the early seventies to mid seventies, Marianne Faithful made just a few public appearances. Many critics thought that Marianne Faithful’s career was over. Some feared the worst. It was a far cry from 1964, when her star was in the ascendancy and she was the brightest star in the London music scene. However, in 1975. Marianne returned with a new album.
Dreamin’ My Dreams was released in 1975, and reached number one in Ireland. It was a start, and a step in the right direction.
When Broken English was released in 1979. the comeback of Marianne Faithful was complete. The album featured her now husky voice. Drink and drugs had taken their toll. This didn’t stop Broken English being released to critical acclaim, and selling over a million copies worldwide. Since then Marianne Faithful, who is now seventy-eight, has rebuilt her life and is one of music’s true survivors whose Decca years are regarded of the highlight of a long and eventful life and career.
Marianne Faithful’s Decca Years.
ALICE COOPER’S WARNER BROS YEARS 1969-1983.
Alice Cooper’s Warner Bros Years 1969-1983.
It was in Detroit, Michigan, on February 4th 1948, Vincent Damon Furnier was born, and he would go on to become one of the biggest names in music, after changing his name to Alice Cooper in 1968. After that, Alice Cooper’s career has spanned five decades and twenty-six studio albums. This includes the fifteen albums released on Warner Bros. between 1969 and 1983. During the first fourteen years of Alice Cooper’s sometimes controversial career, he released some of the best music of his long and eventful career. However, when Vincent Damon Furnier was growing up, very few people could’ve foreseen that he would forge a career as a rock star.
Growing up as Vincent Damon Furnier life was very different. Vincent Damon Furnier grew up in Detroit, Michigan, where his father was a minister in the Church of Jesus Christ. When Vincent was eleven, he was already participating in church life. This was short-lived, and only lasted until Vincent was twelve.
By then, he was attending Nankin Mills Jr. High School, and was suffering from a variety of illnesses. This resulted in the Vincent’s father moving the family to Phoenix, Arizona.
Having moved from Detroit to Phoenix, Vincent attended Cortez High School in North Phoenix. After leaving high school, Vincent attended Glendale Community College, where he graduated with a Bachelor of Fine Arts. By then, Vincent’s musical career was well underway. It began in 1964, when Vincent and the members of the school’s cross-country team, formed a group The Earwigs.
They entered the annual high school talent show. The Earwigs performance saw the mime to various Beatles’ songs. Somehow, this was enough for The Earwigs to win the first prize. This was enough to whet Vincent’s musical appetite. Soon, The Earwigs were renamed as The Spiders. The newly formed group’s lineup featured Vincent on vocals; lead guitarist Glen Buxton, rhythm guitar John Tatum, bassist Dennis Dunaway and drummer John Speer. Mostly, The Spiders played cover versions of songs by British Invasion bands. This included The Beatles, The Who, Rolling Stones and The Kinks. Soon, though, The Spiders’ thoughts turned to recording their debut single.
Why Don’t You Love Me was recorded in 1965, and became The Spiders’ debut single. For the recording of Why Don’t You Love Me, Vincent had to learn the harmonica. On the flip side was a cover of Hitch Hike, which had given Marvin Gaye a hit. The single was then released on Mascot Records, which was owned by local music impresario Jack Curtis. He was a concert promoter, owned the Stage 7 club, where The Spiders had a residency. Things were going well for The Spiders, who were set to graduate high school in 1966. Having all graduated in 1966, change was on the horizon.
Michael Bruce replaced rhythm guitarist John Tatum. The new recruit played on The Spiders’ sophomore single Don’t Blow Your Mind. Although this was one of the first songs The Spiders had penned themselves, it went on to reach number one locally. By 1967, The Spiders’ star was in the ascendancy.
They were travelling as far afield as Los Angeles, to play live. It was around this time that The Spiders changed their name to Nazz, and released Wonder Who’s Lovin’ Her Now? On the B-Side was a song that would reappear later, Lay Down and Die, Goodbye. It would become an Alice Cooper favourite. Before that, drummer John Speer was replaced by Michael Speer, and Nazz relocated.
Like many bands before them, Nazz decided to move to L.A. From he birth of rock ’n’ roll, bands always moved to where the record companies, recording studios and prestigious clubs were. Nazz were no different, and decided moved to L.A. where they hoped they could attract the attention of a record company. However, there was a problem. Word got back to the members of Nazz, that Todd Rundgren had a also a band called Nazz. It had been around longer, so the members of Nazz had to come up with a new name. This was when Alice Cooper was born.
Many myths surround the naming of Alice Cooper. However, the most plausible was, that Alice Cooper was the name of a character in an American television series Mayberry R.F.D. It was shown on CBS, one of the biggest television networks. So in homage to Mayberry R.F.D., Nazz became Alice Cooper. So did Vincent Damon Furnier. The twenty-one year old singer, songwriter and musician saw the potential in adopting a persona. That persona, allowed him to portray various “characters.” This varied from album to album. However, with Vincent’s sense of theatre, drama, flamboyance and showmanship, this would prove crucial not just to the success of the band Alice Cooper, but later, his solo career. Before that, Alice Cooper the band, attracted the attention of Frank Zappa.
Ironically, this came after a particularly disappointing gig. Alice Cooper only played ten minutes at the Cheetah club in Venice, California. That was enough for Alice Cooper to clear the room. That was a disaster. However, for Alice Cooper, every cloud had a silver lining. Shep Gordon, who managed various bands, approached Alice Cooper. He realised that Alice Cooper had potential, and it was just a matter of guiding them, and pointing them in the right direction. This included arranging an audition with Frank Zappa, who had just founded a new record label, Straight Records.
Being a new label, Frank Zappa’s Straight Records were looking to build up a roster of artists. So Shep Gordon arranged for Alice Cooper to audition at Straight Records. The time of the audition was seven o’clock. What the members of Alice Cooper didn’t realise, was that they were meant to arrive at Frank Zappa’s house at 7pm. Instead, they arrived at 7am. This could’ve proved disastrous, but didn’t. After hearing Alice Cooper’s brand of psychedelic rock, Frank Zappa offered the band a three album deal, which they accepted. Now Alice Cooper could begin work on their debut album, Pretties For You.
Pretties For You.
Now signed to Straight Records, the five members of Alice Cooper began recording what became Pretties For You. Producing the album, were producers Ian Underwood and Herb Cohen. They oversaw the recording of thirteen tracks, penned by the five members of Alice Cooper.
This included the rhythm section of drummer Neal Smith, bassist Dennis Dunaway and rhythm guitarist Michael Bruce. They were augmented by lead guitarist Glen Buxton and Alice Cooper on lead vocals. That’s apart from on Sing Low, Sweet Cheerio, which features Michael Bruce on lead vocal. Throughout the album, effects are used extensively. They add to what Alice Cooper saw as an ambitious and innovative album of psychedelia. Guiding Alice Cooper through the musical maze that was their debut album were producers Ian Underwood and Herb Cohen. However, it was more than an psychedelic album.
Pretties For You was an album that had obviously been influenced by Pink Floyd. Especially, The Piper At The Gates Of Dawn. However, psychedelia wasn’t the only influence on Pretties For You. There’s also a jazz influence, on Pretties For You, as Alice Cooper experiment with various time signatures. Avant garde and experimental music influenced Alice Cooper as they worked on their debut album.
These eclectic influences lead to criticism of Pretties For You. For some critics, Pretties For You was just too left-field an album. They didn’t understand the eclectic influences that had shaped the album. Nor did they understand the constant changes in tempo and time signatures. Reviews ranged from unfavourable to mixed. This didn’t augur well for the release of Pretties For You. June 1969 saw the release of Pretties For You. The album stalled at 193 in the US Billboard 200. This was disappointing for Alice Cooper, who were about to receive some unwelcome publicity.
On September 13th 1969, Alice Cooper were playing at the Toronto Rock and Roll Revival. Mid-set, a chicken flew onto the stage. Alice Cooper thinking the chicken could fly, threw it off the stage. What happened next is unclear. Allegations were made that when the chicken was thrown off the stage, it was ripped to pieces. By the next day, newspapers were reporting that Alice Cooper had bitten the head off the chicken.
The next day, Frank Zappa phoned Alice Cooper to establish what exactly happened. Alice Cooper denied the story. Frank Zappa thinking that all publicity is good publicity, told him to admit to biting the head off the chicken and drinking its blood. This was the worst advice he could’ve given Alice Cooper. The story has haunted him, and has harmed his career. For many people, his name is synonymous with that story. Once the controversy had started to die down in 1969, Alice Cooper began work on their sophomore album Easy Action.
Easy Action.
Despite Alice Cooper’s newly acquired hell raising image, he was in fact, a very different person. The title to Alice Cooper’s sophomore album, Easy Action, came from a line in West Side Story. It featured nine new tracks, penned by the five members of Alice Cooper. No longer were all the tracks credited to the five members of the band. Now, it was every man for himself, as work began on Easy Action.
The nine tracks tracks that became Easy Action were recorded between late-1969 and early 1970. Producing Easy Action was David Briggs. The change of producer was meant to bring a change in fortune for Alice Cooper. That wasn’t to be. When critics heard Easy Action, they weren’t impressed. Reviews were far from flattering of what was a commercial type of psychedelia. Later, even members of the band weren’t impressed with Easy Action. Drummer Neal Smith felt it resembled the music was more like a: “TV or radio commercial.” Part of the blame lay at producer David Briggs’ door. Neal Smith remembers “he did not help with song arrangement or positive input in any way.” It’s not surprising that when Easy Action was released, it wasn’t a commercial success.
Easy Action was released in March 1970, and disappeared without trace. Alice Cooper’s sophomore album sunk faster than the Titanic. With just one album left on their contract with Frank Zappa’s Straight Records, Alice Cooper needed a break.
Love It to Death.
Even Frank Zappa seemed to be having his doubts about Alice Cooper. He decided that Alice Cooper released a single before releasing what became Love It to Death. The song chosen, was I’m Eighteen, which showcased Alice Cooper’s new, hard-rocking sound.
This was the third single Alice Cooper had released, but the first to chart. I’m Eighteen reached number twenty-one on the US Billboard 100. Alice Cooper got the green light to record their third album, Love It to Death.
For the recording of Love It To Death, a new production team of Jack Richardson and Bob Erzin were brought onboard. Bob Erzin had earned his stripes producing the hit single I’m Eighteen. Now he and Jack Richardson had to hone Alice Cooper’s new sound. The one-time freak psychedelic band had reinvented themselves as a swaggering, hard-rocking band. Elements of hard rock and heavy metal melted into one, on Love It To Death. Every member of Alice Cooper had played a part in writing the nine songs. Alice Cooper wrote Second Coming, and cowrote I’m Eighteen and Is It My Body with the rest of the band. These tracks, and the rest of the album were recorded at RCA Mid-American Recording Center, Chicago and scheduled for release on March 8th, 1971.
Before that, critics had their say on Love It To Death. They were won over by Alice Coopers, swaggering, aggressive and ballsy hard-rocking sound. They were a group reborn sonically and stylistically. Om Love It To Death’s album cover, Alice Cooper wore dresses and makeup. This would prove controversial in the conservative parts of America. That didn’t seem to affect album sales. When Love It To Death was released, it reached thirty-five in the US Billboard 200. Having sold one million copies, Love It To Death was certified platinum. Elsewhere, Love It To Death proved popular in Canada and Britain. Alice Cooper’s career was well underway.
Killer.
Having released Love It To Death on Straight Records in conjunction with Warner Bros., Alice Cooper’s three album deal with Frank Zappa was up. The members of Alice Cooper knew that to move to the next level, they needed the major label machine behind them. So they signed to Warner Bros. and began work on their fourth album, Killer.
Alice Cooper didn’t waste time before returning to the recording studio. They were keen to build on the success of Love It To Death. So Alice Cooper headed to RCA Studios, in Chicago to record eight new tracks with producer Bob Erzin.
Again, various members of Alice Cooper wrote or cowrote tracks. This included Alice Cooper, who cowrote five tracks. Among them, were ou Drive Me Nervous which Alice cowrote with Michael Bruce and producer Bob Erzin. He cowrote two tracks, and was quickly, becoming an important part of the Alice Cooper success story.
That success, if the critics were correct, would’ve ground to a halt. Many reviews of Killer were far from positive. Killer was seen as licking the cohesion of Love It To Death, and revisited the erratic sound of Alice Cooper’s first two albums. Robert Christgau had some strong words; referring the album as “surreal,” “theatrical,” and let us not forget “transvestite” trappings”. Adding to irony of Robert Christgau’s comments, are his comments about the weakness of Under My Wheels and Be My Love.
When the singles were chosen from Killer, Under My Wheels reached fifty-nine, before Be My Love surpassed this, reaching number forty-nine in the US Billboard 100. While neither single matched the success of I’m Eighteen, it was obvious that Alice Cooper were on the right road. Especially when Killer was released in November 1971, and reached twenty-one on the US Billboard 200. This was enough for Alice Cooper to receive their second platinum album. Could they make it three in a row?
School’s Out.
Alice Cooper arrived at The Record Plant, New York early in 1972. They were about to begin work on their fifth album in three years. By then, Alice Cooper and the rest of the band were just twenty-four. Success had come quickly, and they were living the rock ’n’ roll dream. The Record Plant was one of New York’s premier studios. However, Alice Cooper were well on their way to becoming one of America’s biggest bands. A lot depended on their fifth album, School’s Out.
For School’s Out, Alice Cooper played a bigger part in the songwriting process. He cowrote seven of the nine tracks. This included cowriting the anthemic School’s Out with the rest of the band; and My Stars with Bob Erzin. Again, Bob Erzin cowrote two tracks on what’s loosely described as Alice Cooper’s first concept album.
School’s Out dealt with school, and coming of age. The album opener was the future Alice Cooper classic, School’s Out. It would reach number two in the US Billboard 100, number three in Canada and number one in Britain. Since then, it’s been a staple of Alice Cooper’s live shows. However, when School’s Out was released in June 1972, nobody realised how popular the single and album would become.
When critics heard School’s Out, they realised that it wasn’t just an album hard rocking music. There was a hint of glam rock, like on Killer, and a nod to art rock. Essentially, Alice Cooper were spreading their wings stylistically. That didn’t seem to matter. Reviews of School’s Out ranged from mixed to favourable. Partly, that was because some critics looked down on the theatre, drama and showmanship of Alice Cooper, and their live shows. It was only later that critics would rethink their opinions on Alice Cooper. So with disappointing reviews preceding the release of School’s Out, there was no hint that Alice Cooper were about to release the most successful album of their career.
When School’s Out was released, the record vinyl was wrapped in a pair of paper pants. This must have seemed like a good idea at the time. However, it later transpired that the material the paper pants were made out of, were flammable. By then, School’s Out was racing up the charts.
June 1972 saw the release of School’s Out, which reached number two in the US Billboard 200. This resulted in the third platinum album of Alice Cooper’s career. Elsewhere, from Canada to Australia, Europe and Britain, School’s Out found its way into the top ten. Alice Cooper were now one of the biggest bands on planet rock.
Billion Dollar Babies.
Just two months after the release of School’s Out, Alice Cooper began work on their sixth album, Billion Dollar Babies. By then, Alice Cooper were touring School’s Out. So the album was recorded in studios on both sides of the Atlantic with Bob Erzin.
Three studios were used to record Billion Dollar Babies. Sessions took place at The Galecie Estate, Greenwich and The Record Plant, New York were the two American studios Billion Dollar Babies was recorded at. Other sessions took place at Morgan Studios, London. A total of ten songs were scheduled to be recorded for Billion Dollar Babies. Of these ten tracks, nine were cowritten by Alice Cooper. Again, Bob Erzin collaborated on two tracks and added keyboards as Alice Cooper celebrated their good fortune.
The album title, Billion Dollar Babies, was a result of the money coming Alice Cooper’s way. After four years releasing records, the members of Alice Cooper were very rich young men, and able to buy whatever they wanted. Suddenly, people who previously, wouldn’t have looked their way, wanted to know them. This included women who wanted to date them; and men wanted to befriend them, hoping some of their good fortune would come their way. However, there was also a darkness to Billion Dollar Babies.
During Billion Dollar Babies, Alice Cooper explored the sick perversions that some people have. The album titles hint at the darkness within Raped and Freezin’, No More Mr. Nice Guy, Sick Thing and I Love The Dead. Other themes included fear of dentists, horror and sexual harassment. This was all part and parcel of Alice Cooper’s most controversial album. How would critics respond to Billion Dollar Babies?
Ironically, Billion Dollar Babies received some of the best reviews of any Alice Cooper. Critically acclaimed described the reviews. The only criticism was that Billion Dollar Babies lacked an obvious single. That proved not to be the case.
Four singles were reeled from Billion Dollar Babies. Elected was the lead single in 1972, and reached number twenty-six on the US Billboard 100. Hello Hooray then reached thirty-five on the US Billboard 100 1973. No More Mr. Nice Guy reached number twenty-five on the US Billboard 100. The final single was Billion Dollar Babies, which reached number fifty-seven on the US Billboard 100. That didn’t matter though.
When Billion Dollar Babies was released on February 25th 1973, it reached number one in Britain and America. Billion Dollar Babies was certified platinum in America, and gold in Canada. Elsewhere, Billion Dollar Babies reached the top ten everywhere from Australia to Austria, Germany and Norway. In the Netherlands, Billion Dollar Babies reached number one. Alice Cooper had just enjoyed the most successful album of their career. Now they set about touring Billion Dollar Babies.
Following the release of Billion Dollar Babies, Alice Cooper embarked upon an ambitious tour of America. Alice Cooper were all set to play sixty-four dates in fifty-nine cities in ninety days. This tour was meant to gross over $20 million.
Alice Cooper played each night against a set that would put many Hollywood theatres to shame. Each night, between forty and fifty road crew arranged 26,000 pounds of equipment. The list of equipment ran to page after page. Despite this, the concert which veered towards theatre and horror show, grossed only $4 million. This was disappointing for Alice Cooper. Worse was to come. The followup, Muscle Of Love, would prove to be Alice Cooper’s swan-song.
Muscle Of Love.
Following the success of Billion Dollar Babies, Alice Cooper began work on the followup, Muscle Of Love. It marked a change of style and sound. Gone was the theatre of Billion Dollar Babies, to be replaced by a much more back to basics rock ’n’ roll sound of Muscle Of Love.
Recording of Muscle Of Love took place at Sunset Sound, Hollywood, The Record Plant, New York and The Cooper Mansion, Greenwich. That’s where the nine tracks were recorded. They were all cowritten by Alice Cooper. He was forming a successful songwriting partnership with Michael Bruce. They cowrote four songs, and cowrote another four with various songwriting partners. However,one man was missing, producer Bob Erzin.
For the first time since Easy Action, Bob Erzin was missing. The official line was, that he was recovering from an illness. However, later, Dennis Dunaway alleged that Michael Bruce had an argument with Bob Erzin when the producer refused to change the arrangement of Woman Machine. This argument lead to Bob Erzin splitting with Alice Cooper, and Jack Richardson and Jack Douglas replacing him. The result was a concept album, which was far from Alice Cooper’s finest hour.
Just like School’s Out, Muscle Of Love can be loosely described as a concept album. This time, the subject matter Alice Cooper claimed was ”urban sex habits”. Alice Cooper seemed to like to walk on the wild side, and shock conservative middle America. Critics were also shocked. Not at the subject matter, but the quality of the album.
Critics weren’t impressed by The Jack Richardson and Jack Douglas produced Muscle Of Love. Reviews ranged from the good, bad and indifferent. Only Creem gave Muscle Of Love a positive review. They seemed to see something nobody else did.
Muscle Of Love as a mixed bag was, and still is, one of the worst albums in Alice Cooper’s career. It’s down there with Alice Cooper’s sophomore album Easy Action. Neither Jack Richardson nor Jack Douglas were able to replace Bob Erzin. That became clear when Muscle Of Love was released on November 20th 1973.
On its release Muscle Of Love reached number ten on the US Billboard 200, and was certified gold. Elsewhere, Muscle Of Love reached number four in Canada, and was a minor hit in Australia and Britain. It was a disappointing way for the Alice Cooper story to end.
Members of Alice Cooper decided to put the band on hold. This allowed Alice Cooper to forge a career on television. Meanwhile, Alice Cooper’s Greatest Hits was released in August 1974, and reached number eight on the US Billboard 200. This stopped people forgetting about Alice Cooper. So did the release of the feature film Good To See You Again, Alice Cooper, which featured footage of the band live. However, by then Alice Cooper were history.
Alice Cooper said farewell during a South American tour, which took place during March and April 1974. One of the highlights of the tour was playing un front of 158,000 fans in Sao Paulo, Brazil. This wasn’t the end of the Alice Cooper story. Far from it.
Alice Cooper returned in 1975, having changed his name officially to Alice Cooper. This meant there were no legal problems for him using his former band’s name. He was now touring as a solo artist, using what was now regarded as his real name, Alice Cooper.
Alice Cooper-The Solo Years.
Welcome To My Nightmare.
Having now embarked upon a solo career, Alice Cooper brought back Bob Erzin. He had been badly missed on Muscle Of Love. He wasn’t just a producer, but a songwriter, keyboardist and confident.
On Welcome To My Nightmare, Bob Erzin cowrote six of the ten tracks with Alice Cooper. He worked with various songwriting partners, including singer, songwriter, musician and ‘musical impresario’ Kim Fowley. Another songwriting partner was Dick Wagner, of Lou Reed’s band.
Many members of Lou Reed’s band accompanied Alice Cooper on Welcome To My Nightmare. It was recorded at the Soundstage, Toronto and the Record Plant, Electric Lady and A&R Studios, New York during the second half of 1974 and early 1975. Once Welcome To My Nightmare was complete, Alice Cooper’s debut solo album was scheduled for release in March 1975.
Prior to the release of Welcome To My Nightmare, critics received a copy of Alice Cooper’s debut album. Just like some of Alice Cooper’s previous albums, it was a concept album. This time, it was a musical journey through the nightmares of a child called Steven. Critics however, weren’t over impressed, and reviews were mixed. One mistake was the horns that punctuated what was a fusion of heavy metal, art rock and classic rock. They were in the wrong movie. However, rescuing the album were Devil’s Food, The Black Widow, Department of Youth and Cold Ethyl. Maybe, this quartet of tracks could kick-start Alice Cooper’s solo career.
Only Woman Bleed was chosen as the lead single from Welcome To My Nightmare, and reached number twelve in the US Billboard 100. Then Department of Youth reached a lowly sixty-seven and Welcome to My Nightmare stalled at forty-five in the US Billboard 100. By then, Welcome to My Nightmare had reached number five in the US Billboard 200. This resulted in the album being certified platinum. Across the border, Welcome To My Nightmare was certified double platinum. Meanwhile, Welcome to My Nightmare was certified platinum in Britain. It looked like Alice Cooper was about to enjoy a long and successful solo career.
Alice Cooper Goes To Hell.
For his sophomore album, Alice Cooper returned to the story of Steven, which began on Welcome To My Nightmare. The next part of the story unfolded on Alice Cooper Goes to Hell.
For Alice Cooper Goes To Hell, eleven tracks were penned. Nine were written by Alice Cooper, Bob Erzin and guitarist Dick Wagner. I Never Cry was penned by Alice Cooper and Dick Wagner; while You Chasing Rainbows was a standard penned by Harry Carroll, Joseph McCarthy. These eleven tracks would be recorded in three studios.
Just like Welcome To My Nightmare, some of Alice Cooper Goes To Hell was recorded at Soundstage, Toronto and at Record Plant, New York. Other sessions took place on the West Coast, at RCA Recording Studios, Los Angeles. Accompanied by a tight, talented band of top session players, and Bob Orzin producing, Alice Cooper recorded his second solo album, Alice Cooper Goes To Hell. It was scheduled for release on June 25th 1976, with an ambitious tour following.
All wasn’t well in Alice Cooper’s personal life. He had been enjoying the rock ’n’ roll lifestyle too much. Now, Alice Cooper was a borderline alcoholic. He revealed this on I Never Cry, which was tantamount to a confession via a rock ballad. This was something Alice Cooper had some success with.
Only Women Bleed, the most successful single from his debut solo album, Welcome To My Nightmare, had been a ballad. He was hoping that lightning would strike twice, when I Never Cry was released as a single. Just like Only Women Bleed, it reached number twelve in the US Billboard 100. This augured well for the release of Alice Cooper Goes To Hell.
Much however, would depend on the critical reception to Alice Cooper Goes To Hell. Just like Welcome To My Nightmare, the reviews of Alice Cooper Goes To Hell were mixed. It seemed that Alice Cooper had struggled to release a cohesive album. Only Billion Dollar Babies was seen as a cohesive album from Alice Cooper. That had been when Alice was with the band. Three years had passed since the release of Billion Dollar Babies. The portents were there.
On the release of Alice Cooper Goes To Hell on June 25th 1976, the album stalled at twenty-seven on the US Billboard 200. It was certified gold. However, these were worrying times.
Especially when Alice Cooper was forced to cancel his 1976 Alice Cooper Goes To Hell tour. He was suffering from Anaemia. Was his lifestyle catching up on Alice Cooper?
Lace and Whiskey.
There was more than a hint that this was the case, in the title of Alice Cooper’s third solo album, Lace and Whiskey. It was a concept album with a difference. Gone was the darkness of previous albums. To replace it, Alice Cooper adopted the persona of heavy drinking, hard living, comedic P.I. Maurice Escargot. Alice Cooper even dresses as P.I. Maurice Escargot on the back of Lace and Whiskey’s album cover.
On the back of Lace and Whiskey was the track listing. There were ten tracks, including eight written by Alice Cooper, Dick Wagner and Bob Ezrin. You and Me was penned by Alice Cooper and Dick Wagner; while Charles Underwood wrote Ubangi Stomp. These ten tracks would be recorded in four studios.
Lace and Whiskey was recorded at Soundstage, Toronto, Record Plant, New York and at RCA Recording Studios, Los Angeles. Other sessions took place a the Producer’s Workshop in L.A. With many of the same top session players that played on Alice Cooper Goes To Hell, Bob Orzin got to work producing, Alice Cooper’s third solo album, Lace and Whiskey.
April 29, 1977 was when Lace and Whiskey would be released. However, by then, critics had quite rightly, torn Lace and Whiskey to shreds. Essentially, Lace and Whiskey was a rock album. However, sometimes, Alice Cooper seemed to flit between genres. This included on the easy listening ballad You and Me, and the disco tinged No More) Love at Your Convenience. Neither could be described as Alice Cooper’s finest moment. Indeed, Lace and Whiskey was the worst album of Alice Cooper’s solo career…so far.
The lead single from Lace and Whiskey was You and Me, which somehow, reached number nine in the US Billboard 100. Then Lace and Whiskey reached just forty-two in the US Billboard 200. There neither a platinum nor gold disc this time round. Despite this, Alice Cooper embarked on his King of the Silver Screen tour.
It started off in the summer of 1977, and saw Alice Cooper return to the theatre of previous tours. There were even commercials between some of the songs. So popular was the tour, that it returned in the summer of 1978, when it was renamed the School’s Out For Summer tour. By then, Alice Cooper had climbed into, and out a bottle.
From The Inside.
In 1978, Alice Cooper celebrated his thirtieth birthday. Over the last couple of years, he had been to hell and back. He spent time in a psychiatric hospital, in an attempt to cure his alcoholism. This experience he revisited on what would become his fourth solo album, From The Inside.
For From The Inside, there was a change in songwriting partnership. The lyrics to six songs were penned by Alice Cooper and Bernie Taupin; while Dick Wagner and Alice wrote the music. Alice cowrote the other four tracks with various songwriting partners, including Dick Wagner and David Foster who cowrote the title-track. One name missing, was Bob Erzin.
The man who had been at Alice Cooper’s side for the best years of his career was missing. The last time Bob was absent, had proved disastrous, when 1973s Muscle Of Love proved to be the Alice Cooper band’s swan-song. Bob Erzin’s replacement was David Foster. Could he fill the void left by Bob Erzin?
David Foster and Bernie Taupin weren’t the only new names. Guitarist Davey Johnstone and bassist Dee Murray had previously been members of Elton John’s band. They joined Alice Cooper’s band to record an album that veered between classic rock to heavy rock and a much more poppy sound. Then there was the power ballad How You Gonna See Me Now? It was later chosen would as the lead single, and reached number twelve in the US Billboard 100. Before that, critics had their say on From The Inside.
Reviews of From The Inside ranged from mixed to favourable. This was an improvement on the disastrous Lace and Whiskey. However, still, Alice Cooper hadn’t released an album that was cohesive. From The Inside was still a mixed bag of songs.
This became apparent when From The Inside was released in November 1978. It stalled at number sixty in the US Billboard 200. Then when From The Inside was released as a single, it failed to chart. For Alice Cooper, this was a disaster. Those within the music industry wondered if Alice Cooper’s career was at a crossroads?
Despite the musings of critics and industry insiders, Alice Cooper headed out on the Madhouse Rocks Tour, which followed the release of From The Inside. From February to April 1979, Alice Cooper toured America, hoping that this would improve sales of From The Inside. That wasn’t to be, and Alice Cooper wouldn’t release another album until 1980.
Flush The Fashion.
After the Madhouse Rocks Tour finished in April 1979, Alice Cooper’s thoughts turned to recording his next album. It was a time of change for Alice Cooper.
Not only did Flush The Fashion sees a stylistic change from Alice Cooper. His music veered from classic rock to hard rock and even new wave. This was a first, but showed that Alice Cooper was determined to move with the times. To help him do that, he brought onboard new songwriting partners.
Six of the ten tracks on Flush The Fashion were credited to Alice Cooper, Davey Johnstone and Fred Mandel. Alice Cooper also cowrote Dance Yourself to Death with Frank Crandall. Along with a small, tight band, featuring just four musicians, Alice Cooper recorded his first album of the eighties, Flush The Fashion. It was released on April 28th 1980.
By then, it had been a long time since Alice Cooper had enjoyed a successful album. Gold and platinum discs were a thing of the past. According to critics, that would be the case for the foreseeable future. Flush The Fashion was a decidedly average album, featuring the good, the bad and the mediocre. That became apparent when Flush The Fashion was released.
Before that, Clones (We’re All) was released as the lead single, but reached just forty in the US Billboard 100. Then Talk Talk failed to chart. When Flush The Fashion was released, it stalled at forty-four in the US Billboard 200. This was disappointing. However, a small crumb of comfort came when Flush The Fashion was certified gold in Canada. Maybe Alice Cooper’s luck was changing?
Special Forces.
By the time, Alice Cooper began recording Special Forces, he should’ve been buoyed by Flush The Fashion being certified gold in Canada. However, he was living a lie. Alice was in the throes of cocaine addiction. He was hopelessly addicted. So much so, that he recorded three albums, and can’t remember doing so. The first was Special Forces.
For the recording of Special Forces, Alice Cooper’s band had expanded to five. This included Duane Hitchings, who cowrote four songs with Alice. The pair also cowrote Vicious Rumours with two other members of the band, Erik Scott and Mike Pinera. In total, Alice Cooper cowrote nine of the ten tracks on Special Forces. The other track was a cover of Arthur Lee’s Love classic Seven and Seven Is. This track, and the rest Special Forces was produced by another new producer, Richard Podolor, who previously, had produced Three Dog Night and Stepponwolf. Could he rejuvenate Alice Cooper’s career.
The answer to that was no. Special Forces received mixed reviews. Stylistically, it was similar to Flush The Fashion, flitting between classic rock, hard rock and new wave. Just like Flush The Fashion, Special Forces was another decidedly average album. It was a long time since Alice Cooper had released an album that had critics reaching for superlatives. With each album, he seemed more like yesterday’s man. However, this wasn’t surprising.
Special Forces was the first of a trio of what Alice Cooper refers to as his “blackout albums.” So far in throes of addiction was Alice Cooper, that he can’t remember Special Forces. He probably can’t remember on The Tomorrow Show dressed in military fatigues. Alice Cooper looked gaunt, and a lot older than thirty-three. Viewers worried that this was a story without a happy ending.
When Special Forces was released in September 1981, it reached just 125 in the US Billboard 200. Elsewhere, Special Forces bombed. For Alice Cooper, and executives at Warner Bros., these were worrying times.
Despite that, Alice Cooper toured Special Forces. In Canada, Alice Cooper arrived onstage late. The Canadian audience, who had always been loyal to Alice Cooper, took umbrage. A riot ensued, and the show was cancelled. With sales slow and Alice Cooper’s asthma worsening, the tour finished in February 1982, and Alice Cooper didn’t tour again for four more years.
Zipper Catches Skin.
Following the end of his tour in February 1982, Alice Cooper began to think about what was his fourteenth album since 1969. Incredibly, he was only thirty-four. That was hard to believe. Alice Cooper looked ten years older. His lifestyle was catching up on him. It was also affecting his music. That had been apparent for a while. However, most of the time, Alice Cooper could remember recording an album. Special Forces was the first time that Alice Cooper recorded an album and can’t remember doing so. Zipper Catches Skin was the second in Alice Cooper’s “blackout” trilogy.
Stylistically, Zipper Catches Skin featured several changes in direction. Apart from the classic rock, hard rock and new wave of his last two albums, Alice Cooper added elements of pop punk and post punk. However, Alice Cooper had gotten to the post punk party late.
Other bands had pioneered the post punk sound from 1977 onwards. For Alice Cooper, however, post punk was new. He wanted to avoid the cliches that other post punk artists resorted to, on what would be lean, mean, stripped back songs.
Aiding and abetting Alice Cooper, were Billy Steele, Erik Scott and John Nazzinger. They penned Zorro’s Ascent. The Alice Cooper, John Nitzinger and Erik Scott songwriting team cowrote I Like Girls, Remarkably Insincere and Tag, You’re It. These songs were high on the sarcasm count. Make That Money (Scrooge’s Song and No Baloney Homosapiens was a track from the old songwriting partnership of Alice Cooper and Dick Wagner. They joined with Erik Scott to pen I Better Be Good and I’m Alive (That Was the Day My Dead Pet Returned to Save My Life). Along with a cover of Gary Osborn and Lalo Schifrin’s I Am The Future, these ten tracks became Zipper Catches Skin.
This time around, Alice Cooper’s band had expanded. Joining the rhythm section were four guitarists, a synth player, percussionist and backing vocalists. However, this was no ordinary band. They were tight, talented and determined to rejuvenate Alice Cooper’s career. That however, was easier said than done.
Midway through the recording of Zipper Catches Skin, Dick Wagner had enough. He didn’t like what he saw, and left. Dick described Zipper Catches Skin as an: “off to the races speedy album” and a “drug induced nightmare.” Many thought that he was exaggerating. However, he was later vindicated when the documentary Super Duper Alice Cooper was released and showed Alice Cooper smoking crack cocaine during the Zipper Catches Skin. No wonder Dick Wagner exited stage left. By then, Alice Cooper was coproducer of the second “blackout” album.
Zipper Catches Skin was being produced by Alice Cooper and Erik Scott; with Steve Tyrell producing I Am The Future. Despite this latest change in producer, still Alice Cooper wasn’t able to reach the heights of his debut album. Again, Zipper Catches Skin lacked cohesion, and was another mixed bag of songs. There were some good songs on the album. However, they were in the minority. This became apparent when Zipper Catches Skin released on August 25th 1982.
Despite Alice Cooper appearing on a television commercial for Zipper Catches Skin, it became the first album since Easy Action not to chart. Zipper Catches Skin was a long way from the days of million selling albums. Executives at Warner Bros. and critics wondered if these days were gone for good?
DaDa.
For Alice Cooper’s fifteenth album, Bob Erzin returned to try and reduce his old friend’s career. Six years had passed since the pair had worked together. Since then, Alice Cooper’s career had hit the buffers. Making a bad situation even worse, was that Alice Cooper had started drinking again. After several years sober, Alice Cooper had fallen off the wagon. He was showing no sign of climbing back onboard. This made the recording of DaDa hard work.
Despite seeing things that scared him away from the Zipper Catches Skin sessions, Dick Wagner returned. He collaborated with Alice Cooper and Bob Erzin on Former Lee Warmer, No Man’s Land, Scarlet and Sheba and Fresh Blood. The trio also cowrote Enough’s Enough, Dyslexia and I Love America with Graham Shaw. However, it was Bob Erzin who wrote the title track, which opened DaDa. Fittingly, Alice and Dick Wagner penned Pass The Gun Around, which closed DaDa. It was produced by Bob Erzin, who guided what was an experienced band through the recording of Alice Cooper’s fifteenth album, DaDa.
Just like many previous Alice Cooper album, DaDa is best described as a concept album of sorts. Thematically, DaDa is somewhat weak. It appears that the album’s central character Sonny, suffers from mental illness. This manifests itself in a personality disorder; and various personalities emerge through the album. Dada, which came complete with a Dadaist cover, was critics believed, a marginally better album than the two previous “blackout” albums. That was ironic.
Alice Cooper’s contract with Warner Bros. was almost at an end in 1983, when he released DaDa on September 28th 1983. It flitted between avant garde and experimental to classic rock, new wave and hard rock. However, Warner Bros., who had almost lost patience with Alice Cooper, didn’t seem to spend much promoting DaDa. This showed, when DaDa failed to chart. This was an ignominious end to Alice Cooper’s Warner Bros. years.
After fourteen years and fifteen albums, Alice Cooper’s Warner Bros. years were over. DaDa was the last album Alice Cooper released until 1986. During that three year sabbatical, Alice Cooper made every effort to get clean. This resulted in a brief resurgence in Alice Cooper’s career between 1986 and 1991. However, for many people, the best period of Alice Cooper’s career came between 1971s Love It To Death and 1973s Billion Dollar Babies. During that period, the four albums Alice Cooper released were all certified platinum in America. Even the Alice Cooper band’s swan-song, the rock ’n’ roll inspired Muscle Of Love was certified gold. Then when Alice Cooper embarked upon a solo career, things looked so promising.
1975s Welcome To My Nightmare was certified platinum, and Alice Cooper Goes To Hell was certified gold in America. These two albums were the finest albums of Alice Cooper’s Warner Bros. years. Other albums lack the quality of these albums. They’re mixed bags, ranging from the good, bad and indifferent. Even Alice Cooper’s trilogy of “blackout” albums feature some hidden gems. Even on his worst albums, there’s something worth hearing. It seems even in his darkest hour, Alice Cooper could produce something guaranteed to grab the listener’s attention. However, the best music of Alice Cooper’s career was released between 1971 and 1973 and includes a quartet of albums that includes Love It To Death, Killer, School’s Out and Billion Dollar Babies. They’re without doubt, the best of Alice Cooper’s Warner Bros. Years.
Alice Cooper’s Warner Bros Years 1969-1983.
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.
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