ABSTRACT ORCHESTRA-MADVILLAIN VOLUME 1.
Abstract Orchestra-Madvillain Volume 1.
Label: ATA.
On the ‘30th’ of June 2017, the Abstract Orchestra, who are led by saxophonist Rob Mitchell, released their debut album Dilla to plaudits and praise. Buoyed the response to Dilla, the Abstract Orchestra headed out on a lengthy tour of Britain where the all-star hip hop band’s music found a new and wider audience.
Just eight months later in February 2018 the Abstract Orchestra released their new single New Day which featured Illa J. By then, critics, cultural commentators and tastemakers had been won over by one of the hardest working bands on the live scene.
Now, nine months later, the Abstract Orchestra have just released their much-anticipated sophomore album Madvillain Volume 1 on the ATA label. It’s sure to be welcomed by the Abstract Orchestra’s large and loyal fanbase who will embrace Madvillain Volume 1 which builds on their debut album and features some of the top musicians on the north of England’s jazz scene. T
Since the release of Dilla in June 2017, the Abstract Orchestra have been familiar faces in concert halls across Britain where they showcase their unique sound. Abstract Orchestra is based on the classic big band sound, and features some of the top musicians from the north of England’s jazz scene. Their saxophones, trombones and trumpets have accompanied everyone from Jamiroquai, Mark Ronson and Roots Manuva to Amy Winehouse, Corinne Bailey Rae and Martha Reeves right through to John Legend and The Roots. Now though, they play together as the Abstract Orchestra, who have been inspired by various artists.
This includes live performances of The Roots with Jay-Z, Miguel-Atwood Ferguson’s forty piece orchestral arrangements the work of J Dilla. The combination of classic arranging techniques are combined with modern loop-based structures which breathing new life and meaning into familiar tracks on Madvillain Volume 1.
Here, the Abstract Orchestra pickup where they left of on Dilla, and take a similar approach. This is the same approach that MF Doom and Madlib aka Madvillain took when they collaborated on the albums Madvillainy and Madvillain. Part of this approach was sampling.
On Madvillain Volume 1, Abstract Orchestra samples everyone from Sun Ra and Stevie Wonder to Bill Evans, Dr Lonnie Smith, Freddie Hubbard, George Duke and Quincy Jones. These samples are woven into the rich musical tapestry that is Madvillain Volume 1, which has a jazz-tinged sound and ethos. It features eight tracks which were deconstructed and reimagined by the Abstract Orchestra and recorded live in the studio, with hardly any overdubs. That is quite remarkable given the complexity of Madvillain Volume 1 which is a multilayered genre-melting album.
On Madvillain Volume 1 the Abstract Orchestra explore the jazz TV soundtrack and film score aspect of the original work. This they combine with classic big band writing whilst focusing on improvisation. Listen carefully and the influence of Quincy Jones, Lalo Schifrin and David Shire who wrote the soundtrack to The Taking of Pelham 123 can be heard. However, bandleader and saxophonist Rob Mitchell makes sure to create his own unique and inimitable sound that sits somewhere between jazz and hip hop.
The best way to describe the music on Madvillain Volume 1 is somewhere between Madlib’s production and Quincy Jones’ writing. This results in an album that combines the cinematic sound of library music with jazz, hip hop and funk. There’s even a nod to many a seventies cop show soundtrack on Madvillain Volume 1.
It features music which veers between beautiful and lush to broody, moody and menacing and other times angular and dissonant. Always though the music on Madvillain Volume 1 continues to captivate and will appeal to anyone who likes hip hop, jazz, library music or soundtrack albums.
Sometimes during Madvillain Volume 1 the influence of both Quincy Jones and Lalo Schifrin can be heard,and it seems both men have influenced and inspired bandleader and arranger Rob Mitchell on Madvillain Volume 1. He surpasses himself on the Abstract Orchestra’s much anticipated sophomore album Madvillain Volume 1, which is a career defining album from Britain’s all-star hip hop big band whose music deserves to find an even wider audience.
Abstract Orchestra-Madvillain Volume 1.
BLACK ROOTS-TAKE IT.
Black Roots-Take It.
Label: Nubian Records.
Within the British reggae scene, Black Roots are viewed as respected elder statesmen who have been together since 1979. During the last thirty-nine years, Black Roots have been making music that is powerful and full of social comment. That’s the case on their new album Take It, which was recently released on Nubian Records. It features eleven new songs, where Black Roots highlight injustice and speak up for the poor, disenfranchised and dispossessed. This is something that Black Roots have been doing since they were first formed in 1979.
As the Black Roots story began in 1979, change swept across Britain on 3rd May 1979. Margaret Thatcher was elected Prime Minister with a majority of sixty. Britain now had a Conservative government for the first time since 1974. Among the interested onlookers were the members of Black Roots who wondered what the future held for them, and the rest of their generation?
By the early eighties, many people had discovered that Britain wasn’t a particularly pleasant place to live in anymore. Especially the unemployed, disabled, poor or elderly. They were all part of an underclass who it seemed, were despised by the right-wing Thatcherite government. Britain in the words of the politicians was “broken.”
Unemployment was over two million, and Inflation was rising and the future looked bleak. To make matters worse, poverty and racism was rife. It was no surprise that eventually, riots broke out in Liverpool, London, Leeds, Sheffield and Birmingham. Some of the commentators saw this as the disenfranchised fighting back.
Many of those who fought back, thought there was no other way. They had had enough, a and could no longer could they walk the streets without being constantly stopped and searched.
Stop and search was one of the most controversial pieces of legislation the police had been using. The powers to stop and search had been instigated under The Vagrancy Act 1824. The new powers enabled police officers to stop and search anyone based upon “reasonable suspicion” that an offence had been committed. In reality, stop and search was often used a fishing trip by the police. To make matters worse, in many inner cities, a disproportionate amount of young black men were victims of stop and search. They had done nothing wrong, and instead, were British citizens going about their lawful business in a peaceful manner. This wasn’t going to end well.
That was the case in 1981, “the year of the riots.” Across England, communities literally exploded. Often, when the dust settled, heavy-handed policing was to blame. Especially, when it came to the use of stop and search. So on 27th August 1981, the power to stop and search was repealed when the Criminal Attempts Act 1981 received assent. Maybe things were starting to change?
That looked unlikely. In 1980, Margaret Thatcher gave her “the lady’s not for turning” speech. It seemed the Conservatives were not going to be derailed. Those that took to the streets saw a government that seemed unwilling to listen, never mind change. The only alternative was to make the government listen.
The chances of this happening were slim. Those that weren’t poor, unemployed, disabled or elderly weren’t willing to upset the apple cart. They led comfortable lives in middle class, middle England. Safe in the suburbs, they weren’t willing to stand shoulder-to-shoulder with the disenfranchised and dispossessed. So it was left to writers, philosophers, poets and musicians to provide a voice for the disenfranchised and dispossessed. This would include Black Roots.
By 1983, the eight piece Bristol-based band were one of the rising stars of the reggae scene. Black Roots had toured the length and breadth of Britain, and soon, had a large following. Especially, in colleges and universities. Audiences were won over by what Black Roots described as “militant pacifism” roots reggae. It struck a nerve with the bright young minds who were hoping to graduate from colleges and universities across Britain, and enter the workplace. In 1983, this seemed unlikely.
Unemployment was at record levels since the depression. Still the ‘lady’ wasn’t for turning. Things were at breaking point in Britain. Bristol, Black Roots’ home city was no different. Unemployment, poverty, racism, disquiet and unrest were almost omnipresent. However, the disenfranchised and dispossessed didn’t have a voice. The eight members of Black Roots decided they would became their voice.
Later in 1983, Black Roots released their eponymous debut album. It featured Black Roots’ unique brand of militant roots reggae. They highlighted injustice and the way large parts of communities had become alienated by the political reform introduced by the Thatcher government. Britain it seemed, was broken; maybe even beyond repair?
That’s how it looked right up until 1985 when many parts of England were like a powder keg, just waiting to explode. Often it did as the disenfranchised and dispossessed felt they had no option but to take to the streets, and riots broke out. However, as 1985 drew to a close, the riot years were over.
By 1986, a lot had happened to Black Roots. They continued to tour constantly and had also released their sophomore album The Front Line in 1984. This seemed fitting, as in parts of Britain, it was like a war zone, with the disenfranchised and dispossessed taking to The Front Line in an effort to have their voice heard. Black Roots were also The Front Line, but used their music to provide a voice for the disenfranchised and dispossessed. Someone was listening.
Soon, Black Roots were making their way to Broadcasting House to record a series of sessions for Radio 1. These sessions allowed Black Roots’ music to be heard by a much wider audience than they played to in several tours. This was a huge break. So was when highlights of the sessions were released in 1985 as the Black Roots ‘In Session’ cassette. By the end of 1985, things were looking up for Black Roots.
The remainder of the eighties saw Black Roots continue to tour and record. Their third album All Day All Night, was released in 1987, but was their first album for Nubian Records. It would become home to Black Roots for over a decade.
When Ina Different Style was released on Nubian Records in 1988, it marked a stylistic change from Black Roots. This was their first adventure in dub. It wouldn’t be their last. Before that Black Roots would release two more albums.
The first was their first live album, Live Power. Released in 1989, Live Power was a reminder of how good a live band Black Roots were. That was no surprise. Black Roots had spent much of the last ten years touring Britain. They were a familiar face in venues the length and breadth of Britain. Especially in colleges and universities, where their songs about injustice would be welcomed and embraced. Some of the people in the audience could they hoped, in the future, make a difference and make Britain a better place.
As the nineties dawned, Black Roots were now into their third decade making music. However, it had been nearly three years since Black Roots had released a studio album. It was time to rectify this.
Later in 1990, Natural Reaction, another album of roots reggae was released by Black Roots. This was the Bristol-based eight-piece’s fifth studio album. It’s not just social comment than can be found on Natural Reaction. There’s emotion and spiritually on an album that was well received by critics. This didn’t stop Black Roots going for another adventure in dub.
Dub Factor: The Mad Professor Mixes was released in 1991, and was Black Roots’ second dub album. Just like Ina Different Style, this latest adventure in dub was well received. It seemed Black Roots were willing to experiment, so that their music stayed relevant. This included collaborating with some familiar faces within the British reggae scene.
Two years passed before Black Roots returned with With Friends in 1993. It was a collaboration with some of the biggest names in the British reggae scene. This included Dub Judah, Mickey Forbes, Trevor Dixon and B.B. Seaton. They joined Black Roots on ten new tracks. While this was a welcome release, and one that was well received by critics and cultural commentators, some of Black Roots’ fans wondered when they would next release a noter studio album?
When Black Roots announced the release of their next album in 1994, the wait for a studio album went on. Fans weaned on militant roots reggae discovered that the next album was Dub Factor 2-The Dub Judah Mixes. The wait went on in 1995, when Dub Factor 3-“In Captivity” Dub Chronicles-Dub Judah/Mad Professor Mixes was released. Still the wait for a studio album continued.
Two years became three and four. Still there was no sign of another studio album from Black Roots. Was this the end of the group once hailed as “the next great hope for [British] reggae?” It seemed like it when Black Roots decided to call time on their career in the mid-nineties.
Nothing was heard of Black Roots until the next millennia. Then in 2004, a compilation On The Frontline was released. Things went all quiet until 2011, when The Reggae Singles Anthology was released on Bristol Archive Records. Some critics thought that was release meant it was the end of the road for Black Roots. If it was, The Reggae Singles Anthology a limited edition release, seemed a fitting farewell to one of the most eloquent of the British roots reggae groups. Little did anyone realise that Black Roots were about to make a comeback.
This came in April 2012, when six of the original members of Black Roots began to record an album of new material, On The Ground. It was well received upon its release in 2012, some nineteen years after their Black Roots’ previous studio album, With Friends. Belatedly, Black Roots were back, just in time. They were the musical superheroes with a social conscience.
Two years previously, a Conservative-Liberal Democrat coalition came to power in 2010. By 2012, the junior partners were enjoying the once in a lifetime opportunity to be part of the decision making process. Suddenly, principles forgotten about as the heady scent of power hung in the air. With a seat at the Cabinet at stake, the disenfranchised and dispossessed were forgotten about. The worst that could happen to the junior partners was they loose their seats at the next election, and retire with a healthy pension and string of directorships.
That’s what happened in 2015. By then, Black Roots had released another new album Ghetto Feel in 2014. It was released on the Soulbeats’ label. The voice of the disenfranchised and dispossessed were back, and were determined to make a difference. However, in 2015, things took a turn for the worse.
Politically, Britain lurched to the right. Many of the junior partners lost their seats, and retired with their pension pots and directorships. This left the the most right wing government in living history with a mandate to govern. Things were about to get messy, very quickly.
The newly elected government announced their plans for the age of austerity. They were determined to go further than previous Conservative governments had gone. Public spending wasn’t just cut, it was slashed. Especially on the welfare state. Hardest hit were the unemployed, disabled, poor and elderly. Suddenly, they that found themselves choosing between eating or heating their home. However, the Conservatives weren’t finished yet.
With wars raging around the Middle East and North Africa, many refugees were came to Britain seeking political asylum from tyrannical regimes. However, they discovered that there was no room at the inn. This was after all, the age of austerity. For many onlookers and commentators this was just the straw that broke the camel’s back. This included Black Roots.
They returned to the studio in 2015, and recorded eleven new songs. These songs became Son Of Man. Just like on previous albums, Black Roots combine social comment, melodies and hooks on Son Of Man. Accompanied by harmonies and horns, Black Roots deliver lyrics that are uncompromising, and provide a voice for the poor, disenfranchised and dispossessed. Especially the victims of the age of austerity and the refugees fleeing the Middle East and North Africa. These are two of the subjects that feature on Son Of Man which was released to plaudits and praise. The big question was when would the veterans of British reggae return with a new album
As November 2018 dawned, Black Roots made a welcome return with their new album Take It. It’s another album full of searing social and political comment, while Black Roots sing about African emancipation on other tracks on Take It..
Just like their previous albums, Black Roots message on Take It is one of unity and inclusiveness, encompassing everyone, regardless of their race and religion. Black Roots message of unity encourages the listener to seek out and speak about knowledge, become empowered and unite to face and fight against those who enslave and oppress those that are disenfranchised, poor and weak. This is particularly fitting and poignant.
Across the globe, right wing governments have come to power in many countries. In many of these countries the rights of minorities, refuges and those trapped in poverty have been infringed and are constantly and shamefully being diluted. Black Roots document this on Take It, and on Children Of The World believe that children should be protected as they are the future of the world. Sadly, across the world children are starving, displaced and living in poverty, which Black Roots highlight on Take It.
A subject that Black Roots revisit on Take It is Africa. They believe the world won’t be free until Africa is, where poverty shamefully, poverty is still rife in a continent that is sadly, is home to some of the most disadvantaged and disenfranchised people in the world.
Elsewhere on Take It, Black Roots turn their attention to the subject of war which they believe is fuelled by greed. That may be the case in some cases, but not every war has been fuelled by greed as historians will be quick to point out.
Two of the most controversial songs close Take It, including Reincarnation, which is the penultimate song on the album. It finds Black Roots referring to President Trump as the reincarnation of Hitler. Then on Tories which closes Take It
Black Roots turn their attention to the Conservative Party who currently govern Britain. Black Roots have previously railed against the Conservative Party’s austerity policy, but this time refer to the government as false prophets whose present to the nation is oppression and false imprisonment. This is a thought provoking way to end Take It, which marks the return of Black Roots.
On Take It, Black Roots continue to provide a voice for the poor, disenfranchised, dispossessed and disadvantaged. This is what they’ve been doing that since they released their eponymous debut album in 1983. Since then, they’ve doing this eloquently, and do this for the most part Take It.
Black Roots highlight injustice, while speaking for those who can’t speak for themselves. This is the voiceless underclass who can’t fight back in countries around the world. Thirty-nine years after Black Roots continue to provide a voice for those who have none.
This they continue to do with their unique and inimitable brand of melodic roots reggae on Take It. That is the case from the opening bars of Take It through songs like Forgive Them, Be, Common Man, Children Of The World and How Long. These songs find Black Roots rolling back the years on Take It, which is another carefully crafted album from the grand old men of British reggae. Black Roots continue to combine social and political comment with songs about African emancipation on Take It and provide a voice for those who have nome.
Black Roots-Take It.
IF MUSIC PRESENTS: YOU NEED THIS- WORLD JAZZ GROOVES.
If Music Presents: You Need This-World Jazz Grooves.
Label: BBE.
Release Date: ‘23rd’ November 2018.
Compilation Of The Week.
Recently, If Music supremo Jean-Claude has been on something of a roll, compiling a trio of critically acclaimed compilations for BBE. This included two volumes of A Journey into Deep Jazz and an introduction to Black Saint and Soul Note Records. Now Jean-Claude is about to release If Music Presents: You Need This–World Jazz Grooves on BBE on the ‘23rd’ November 2018, which he compiled with record dealer and specialist music expert Victor Kiswell. Together the pair have compiled the perfect compilation to celebrate fifteen years of IF Music.
This is quite a feat considering how difficult the last fifteen years have been for small independent record labels. Still though, Jean-Claude continues to trade from his London record shop IF Music. During the last fifteen years, Jean-Claude has been many DJs and producer’s record dealer of choice. and the man they go to find the rarest of records. He can usually find all sorts of rarities, hidden gems and obscurities for DJs and producers. So can his fellow compiler and record dealer, Victor Kiswell.
While many DJs and producers know Victor Kiswell as a globe-trotting crate digger record dealer, he’s also a specialist music expert and occasional star of television. Victor Kiswell appeared on the Cairo edition of Boiler Edition. That was a one-off, as intrepid explorer Victor Kiswell continued his search for black gold, vinyl.
Just like Jean-Claude, all the time Victor Kiswell had spent crate-digging when they compiled If Music Presents: You Need This–World Jazz Grooves. It features tracks from Europe, the Americas, Africa and Asia, and includes several surprises during this lovingly curated eight track compilation of jazzy grooves.
Opening If Music Presents: You Need This–World Jazz Grooves is Billy Bang’s Illustration a searing slice of social commentary from New York in 1978. It’s a truly powerful track rom the Watts Prophets influenced spoken word vocal which tragically, is just as relevant in 2018 as it was back in 1978.
Michael Sardaby was born in 1935 in Martinique, and learnt to play the piano when he was five years old. Soon, he was a regular fixture in his father’s brasserie in the Fort-de-France. It was almost inevitable that Michael Sardaby forged a career as a musician and in 1972 released his sophomore albums In New York. It features the cinematic Martinica, which paints pictures of long summer nights in Martinique as it breezes along.
In 1990, trumpeter, percussionist and vocalist Edouard Ignoln aka Kafé, released Santiman-Ka (Jili). One of the highlights of this genre-melting albums that fuses folk, funk, jazz and Latin is Fonetik a Velo, and is a welcome addition to IF Music Presents: You Need This–World Jazz Grooves.
So is The Theo Loevendie Consort’s 1969 track Timbuktu from their album Mandela. This Dutch supergroup features some of the country’s top musicians. Another talented group were The Jazz Committee For Latin American Affairs who contribute Ismaa, while Armand Lemal’s Souffle (Part II) showcases the considerable talents of the French drummer and percussionist.
Next stop on this musical journey is Japan which was home to the late Masabumi Kikuch who was one of the country’s greatest jazz musicians. A reminder of this is Pumu #1 from the 1978 album But Not For Me.. Closing If Music Presents: You Need This–World Jazz Grooves is IT Twenty Five by Joe Malinga and Southern African Force which is a reminder of how hard life could be for South Africans in 1989. It’s a powerful and poignant way to close this lovingly curated compilation.
Jean-Claude has released three critically acclaimed albums on BBE, and that number will rise to four after the release of If Music Presents: You Need This–World Jazz Grooves. This eight track compilation was compiled with the help of Victor Kiswell and will be released by BBE on the ‘23rd’ November 2018. The two crate diggers and record dealers have found eight slices of oft-overlooked jazz, ranging from rarities and hidden gems to anomalies and obscurities that are part of If Music Presents: You Need This–World Jazz Grooves, which is a lovingly curated compilation that is the perfect way for IF Music to celebrate its fifteenth anniversary.
If Music Presents: You Need This–World Jazz Grooves.
RUNNING THE VOODOO DOWN 2: PSYCHROCKFUNKSOULJAZZ 1965-77
Running The Voodoo Down Volume 2-Psychrockfunksouljazz 1965-77
Label: TAD.
Release Date: ‘9th’ November 2018.
Just nineteen months after the release of the critically acclaimed Running The Voodoo Down compilation, the much-anticipated follow-up Running The Voodoo Down Volume 2 will be released on the ‘9th’ November 2018 by TAD. Running The Voodoo Down Volume 2 has been complied by Dean Rudland and Tony Harlow, and finds the two curators looking at a decade where African-American music was heading in a variety of different directions thanks pioneering musicians. All this took place against a backdrop of economic, political and social change within America.
Running The Voodoo Down Volume 2 is a lovingly curated complain that features fifteen tracks from some of the biggest names including John Coltrane, The Byrds, Herbie Hancock, The Temptations, Dr John and Isaac Hayes. They’re joined by MC5, Joe Zawinul, Shuggie Otis, Melvin Van Peebles and Bob Thiele who all released groundbreaking music which never found the audience it deserved. It was only later that the tracks which featured Running The Voodoo Down Volume 2 were rediscovered by crate diggers, DJs, discerning record collectors and several generations of artists who the music influenced. However, between 1965 and 1977 these fifteen tracks were part of the soundtrack in America when the times they were a changing.
Especially by the mid-sixties when music started to change, and became darker, and carried a political or social message. This was very different to the twee three chord pop were rhyming couplets of a few year earlier. Now musicians and bands wanted to be agents for change and make a difference in America where racism was rife while poverty and unemployment were rising. To make matters worse, the Vietnam War raged and young Americans died fighting a war that wasn’t their making.
Meanwhile, music was changing including jazz, led by one of its pioneers John Coltrane. He realised that jazz had to evolve and move away from the hard bop and the organ trios that gave kitsch a bad name. John Coltrane and his Quartet recorded his groundbreaking classic album A Love Supreme, which was released in December 1965 and is regarded as one of the most important post war jazz albums. A Love Supreme Pt 1 Acknowledgement opens John Coltrane’s critically acclaimed and influential epic, which fittingly opens Running The Voodoo Down Volume 2. It’s the perfect start to the compilation and sets the bar high.
The Byrds were also musical pioneers, who were inspired by the energy of John Coltrane’s modal classic My Favourite Things, Ravi Shankar, space travel and drug culture on their perfect pop single Eight Miles High. Drug culture obviously influenced Shuggie Otis when he wrote and recorded Aht Uh Mi Head. It’s a reminder of one of the most talented but sadly underrated musicians of his generation, Shuggie Otis.
Very different to Shuggie Otis is the raw energy MC5. They released their debut album Kick Out The Jams in the 1969. It’s a genre-melting cult classic that features the proto-punk of Starship. However, like much of the music on Running The Voodoo Down Volume 2 it only influenced musicians and found an audience at a later date.
Meanwhile, between 1965 and 1977 musicians were being inspired by everything from music to Afrocentric politics which inspired Lou Bond’s To The Establishment. Jazz pioneer Miles Davis, whom had embraced fusion inspired may of his sidemen to form their own bands, including Joe Zawinul who contributes In A Silent Way to Running The Voodoo Down Volume 2. Very different is the innovative free jazz of guitarist Sonny Sharrock’s Black Woman which was the title-track to his 1969 album. Other jazz tracks include Equinox by vocalist Sarah Webster Fabio 1977 eponymous album. Both are welcome inclusions to Running The Voodoo Down Volume 2 and help document how music was changing during that period.
Although music was changing, Jimi Hendrix groundbreaking and genre-melting albums were still influencing many a musician. This included Jimi Macon who pays homage to his hero with Jimi’s Guitar Rap. By the seventies the influence of the late Jimi Hendrix could be heard in many Blaxploitation soundtracks.One of the pioneers of Blaxploitation was Isaac Hayes who contributes Do Your Thing. One of the classic Blaxploitation soundtracks as Melvin Van Peebles’ Sweet Sweetback’s Baadasssss Song (An Opera) which features Sweetback’s Theme. It’s a reminder of a classic Blaxploitation soundtrack.
Genre-melting describes Dr John’s Zu Zu Mamou, while there’s a darkness and drama to the Chairmen Of The Board’s Life and Death In The G&A Suite. Very different is The Temptations’ hopeful sounding Ungena Za Ulimwenga (Unite The World); Closing Running The Voodoo Down Volume 2 is an edited versions of Bob Thiele’s Lament For John Coltrane. It’s thought provoking end to this lovingly curated compilation
Running The Voodoo Down Volume 2 is without doubt one of the best and most eclectic compilations of recent months. It will be released on the ‘9th’ November 2018 by TAD, and features everything from Blaxploitation, free jazz, funk, psychedelia, rock and soul. Curators Dean Rudland and Tony Harlow have compiled a compilation that oozes quality, and Running The Voodoo Down Volume 2 is a truly eclectic collection of groundbreaking music that documents what was an important period in modern American history which saw a country change.
Running The Voodoo Down Volume 2-Psychrockfunksouljazz 1965-77
HUGO FATTUOSO-Y BARRIO OPA-VINYL.
Hugo Fattoruso-Y Barrio Opa-Vinyl.
Label: Far Out Recordings.
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-six years later and Hugo Fattoruso is still involved in music and recently, released a new album Y Barrio Opa on vinyl Far Out Recordings. It’s the latest album from an artist and musician who has dedicated his life to music, and released an eclectic selection of albums. Y Barrio Opa is just the latest release from Hugo Fattoruso 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.
Y Barrio Opa.
The next album that Hugo Fattoruso released was Y Barrio Opa, which was released in 2018, and featured an all-star cast of Uruguayan musicians. This included Hugo Fattoruso’s son Francisco who plays bass on Y Barrio Opa. He’s a talented musician whose followed in his father’s footsteps.
For Y Barrio Opa, Hugo Fattoruso wrote three new compositions and cowrote the other six songs. His new compositions were Botijas, El Romance del Sordo and Llamada Insólita. Hugo Fattoruso wrote Trenes de Tokyo and For You To Be Proud Albana Barrocas and they then penned Candombelek and Candombe Alto with Wellington Silva. Other tracks included the Hugo and Osvaldo Fattoruso composition Antes/Goldenwings which was originally recorded by Opa. It was joined by La del Cheche which Hugo and Christian Fattoruso wrote with Gustavo Etchenique. The other track on Y Barrio Opa was Francisco Fattoruso’s Candombe Beat Funk. These tracks were recorded at the Sondor Studio in Montevideo.
Hugo Fattoruso was joined by Joe Davis the founder of Far Out Recordings, who oversaw production. He watched on as a rhythm section of drummer Tato Bolognini, bassist Francisco Fattoruso and guitarist Nicolás Ibarburu. They were joined by percussionists Guillermo Díaz Silva, Mathías Silva, Wellington Silva and Albana Barrocas who added vocals. Hugo Fattoruso played keyboards, added vocals and took charge of production. With such a talented band accompanying him, it wasn’t long before Y Barrio Opa was completed.
With Y Barrio Opa completed, it was recently released by Far Out Recordings and was Hugo Fattoruso’s first solo album in four years. However, it’s been well worth the wait.
Hugo Fattoruso and his top class band take as a starting point for Y Barrio Opa, 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 what’s a captivating, genre-melting album from Hugo Fattoruso… Y Barrio Opa.
It opens with the slow burner La del Cheche which gradually reveals its secrets as Hugo Fattoruso and his band play with a fluidity, drawing inspiration from Opa as they combine elements of funk, fusion, jazz, and jazz-funk with Afro-Uruguayan rhythms. In doing so, this flawless track whets the listener’s appetite for the rest of this musical feast.
This includes Botijas which breezes along as the piano carries the melody, while Hugo Fattoruso scats and his rhythm section unleashes rolling waves of jazzy rhythms. Soon, the band is in full flight, as they play with freedom, fluidity, speed and accuracy creating washes of melodic, genre-melting music.
The carefully crafted Candombe Beat Funk is built around the Fattorusos. Son Francisco ensures the funky, bubbling and percussive arrangement swings before his father’s keyboards enter. These rhythmic movements play starring roles, but it’s Hugo Fattoruso’s keyboards that take centre-stage as he rolls back the years and steals the show as funk meets jazz.
El Romance del Sordo sees the tempo rise, as the rhythm section lock down the groove. Meanwhile a myriad of percussion is part of the backdrop as Hugo Fattoruso unleashes another spellbinding performance. This inspirers guitarist Nicolás Ibarburu who steps forward and delivers one of his finest solos. After that, Hugo Fattoruso plays a flawless fleet-fingered keyboard solo plays a starring role, and he scats, as if he’s not got a care in the world.
The tempo drops on the cinematic, soulful and sultry sounding Trenes de Tokyo. As it meanders and shuffles along revealing its hip swaying, feelgood sound. Next up is Candombelek, where layers of shuffling percussion combine with exotic vocals that bring to mind exotic faraway places. Meanwhile, Hugo Fattoruso’s electric keyboards sit back in the mix, letting the vocals take centre-stage. When they drop out Hugo Fattoruso’s then take centre-stage against the percussive arrangement. The vocals, percussion and keyboards prove to be a potent and successful combination. Candombe Alto is regarded as the partner piece to Candombelek, but is a much more explosive track with searing guitar, urgent Afro-Cuban rhythms and keyboards combining. Hugo Fattoruso plays with speed and accuracy as his keyboards climb and soar high above the arrangement and reaches new heights.
Sci-fi synths and keyboards combine on Llamada Insólita as the rhythm section drop the tempo and the arrangement meanders almost lazily along. However, it’s the keyboards that are at the heart of the arrangement which features futuristic sounds and synths strings. Still, beauty is omnipresent as this melodic and filmic track reveals its secrets.
Antes is another new track which seamlessly gives way to a remake of Goldenwings, which was the title track of Opa’s 1976 eponymous debut album. The track where Opa combined funk and disco was a favourite of DJs and dancers and became a club hit. However, the remake ‘borrows’ and incorporates the melody to Summertime as the track heads in new and unexpected directions. This includes jazz, Latin and rock during what’s another genre-melting track.
For You To Be Proud closes Y Barrio Opa, and fittingly, Hugo Fattoruso’s keyboards play a leading role in this futuristic and filmic track. It’s quite different to previous tracks but shows Hugo Fattoruso’s versatility and ability to innovate.
Y Barrio Opa which was recently released on vinyl by Far Out Recordings, is Hugo Fattoruso’s first album in four years. It finds one of Uruguay’s finest musicians returning with a carefully crafted genre-melting album Y Barrio Opa.
The building blocks for Y Barrio Opa is the Opa sound, and Hugo Fattoruso add Afro-Uruguayan rhythms, a healthy dose of funk plus fusion, jazz harmonies, jazz-funk, Latin, rock and Candombe drumming. It’s a melodic and potent musical potpourri from one of the legends of music Hugo Fattoruso’s whose new album Y Barrio Opa is without his finest post-millennium solo album.
Hugo Fattoruso-Y Barrio Opa-Vinyl.
ONENESS OF JUJU-AFRICAN RHYTHMS-VINYL.
Oneness of Juju-African Rhythms-Vinyl.
Label: Strut.
After five politically charged years living on the East and West coast of America, bandleader James “Plunky” Branch returned to his home town of Richmond, Virginia, where he formed Oneness of Juju won released their Afro-jazz classic‘African Rhythms’ on the Black Fire label in 1975.
Now some forty-three years later Strut have recently reissued a new edition of African Rhythms as a two LP set. It’s an album that wouldn’t have been made if it wasn’t for James “Plunky” Branch’s experiences during the first half of the seventies.
James “Plunky” Branch’s journey began when he enrolled at Columbia University, in New York, where he soon became politically active. This wasn’t unusual at the time, but Columbia University was different and was home many revolutionary political activists, This soon included James “Plunky” Branch.
Before long he was heavily involved in political activities, and was regularly took over buildings belonging to Columbia University and fought in the streets with officers from the NYC Police Department. This wasn’t a phase James “Plunky” Branch was going through and he spent three years a revolutionary political activist. Suddenly, though the fighting became all too real
When James “Plunky” Branch received his call up papers, he did what many of these ‘brave’ revolutionary political activists did and fled, rather than fight for his country.
James “Plunky” Branch headed ti San Francisco which had a much more liberal political climate. Soon, James “Plunky” Branch was spending time with the Black Panthers, who were sympathetic towards George Jackson and Angela Davis. Meanwhile, James “Plunky” Branch made his debut on the city’s music scene in 1971 and began playing at jam sessions.
That was how James “Plunky” Branch met Ndikho Xaba who asked James “Plunky” Branch to join his band Ndikho and The Natives. Not long after this, the band were asked to provide the musical backdrop to Resurrections Of The Dead, directed by Marvin X. Its concept was a mixture of African ritual and the teachings of the Nation of Islam and found American being resurrected with a new African-American identity struck a chord with James “Plunky” Branch who became Plunky Nkabinde.
James “Plunky” Branch’s new identity was shaped through the band, as began to campaign for freedom and equality in South Africa. This led to James “Plunky” Branch and the rest band painting their faces and playing heavy African rhythms and combine this with avant-garde jazz.
The new sound made its debut on the 1972 album Message From Mozambique, which Ju Ju as the band was now named released on Strata East.
By then, Ju Ju had moved to New York and also spent time in Brooklyn and Harlem, where they were familiar faces on the loft scene. During this period, them met and played alongside Pharaoh Sanders and Ornette Coleman, who invited Ju Ju to stay at his home where they could also record. However, by then money was tight for Ju Ju.
They decided to record their sophomore album Chapter Two which was released by Strata East in 1974. By then, several members of Ju Ju were unhappy by how little they were receiving for their efforts. It was only a matter of time before Ju Ju split-up.
James “Plunky” Branch returned to Richmond, Virginia, where he decided to focus on the mid-Atlantic preference for Southern R&B and gospel: “Juju had always been blues-based and it was a natural progression to add R&B and dance rhythms. It didn’t change our message.”
The first African Rhythms sessions took place in early 1975, and was funded by James “Plunky” Branch. However, this was just the start of the African Rhythms sessions.
Two months later, recording began at BIAS Studios, Virginia, with James “Plunky” Branch continuing to fund the album which was produced by Jimmy Gray of Black Fire Records. During the sessions African Rhythms was recorded:“We wanted a song to dance to with a message–‘you are dancing to African rhythms’” the positive message of ‘Don’t Give Up’ and political commentary on ‘Liberation Dues’.”
A total of eleven songs found their way onto Oneness of Juju’s debut album African Rhythms which was released by Black Fire in 1975. It was a regional hit on the East coast and particularly in the capital Washington DC specifically. Soon, African Rhythms’ popularity grew and it became an underground album elsewhere in America.
Later, African Rhythms influenced the early go-go scene in Washington DC. Towards the end of eighties African Rhythms ‘ popularity grew after it became a favourite in the rare groove scene.
Since then, African Rhythms has become a soul-jazz favourite worldwide. African Rhythms is a gene-melting album Oneness of Juju fuse elements of Afrobeat, blues funk, jazz and R&B. In doing so, Oneness of Juju created what’s now regarded as an Afro-jazz classic, African Rhythms.
Oneness of Juju-African Rhythms-Vinyl.
A NEW LIFE VOLUME II.
A New Life Volume II.
Label: Jazzman Records
Three years ago in 2015, Jazzman Records released A New Life, their critically acclaimed compilation of British jazz. This is no ordinary jazz compilation though. Instead, A New Life featured tracks from private pressings and hidden gems released by independent labels. So successful was A New Life that compilers Francis Gooding and Duncan Brooker began work on a second instalment in this occasional series.
The pair decided to dig deeper than other compilers I’m their search for hidden gems, obscurities and rarities from the seventies and eighties for A New Life Volume II. Eventually, they had settled on twelve tracks which have been overlooked by previous compilers. These tracks are from hugely talented artists who come from all over Britain, and sadly, didn’t enjoy the commercial success and critical acclaim that their considerable talent deserved.
Part of the problem that during the seventies and eighties major labels in Britain had very little interest in jazz music. This meant that the artists that feature on A New Life Volume II were left to release music on small independent labels or as private presses.
Many of these labels were small and run by either jazz enthusiasts or jazz musicians who wanted to release their own music. Independent labels and private presses were the only way for many British jazz musicians and bands to have their music heard, That was the case the length and breach of Britain.
Everyone from established artists who had released several albums right through to experimental groups to up-and-coming local groups to youth bands began to release private pressings. This they realised was the only way to document their music and start to create and build a scene in their local area.
That was the case from London to Leicester to Belfast as familiar faces and new names released albums as private presses or on small independent labels. Proof of that are the thirteen artists and groups on A New Life Volume II.
This includes Belfast born Gerry McClelland’s Come, Listen To Me which sets the standard high with a stunning example of swinging vocal jazz. It’s joined by the theatrical modal jazz of Don Rendell Five’s Unicorn and Billy Jenkins spiritual jazz homage to the jazz great Pharoah Sanders.
Welcome additions are Frank Evans’ Pipe Of Peace and Inner Ear’s Dunkelfunk which are hidden gems that will gladden the heart of all true jazz fans. Another hidden gem is the Midland Youth Jazz Orchestra’s Down In The Hollow very few jazz fans will have heard until now. The same can be said of Big Baffle’s Bikini Atoll and even Pat Crumly Sextet’s Senufo Chant which closes A New Life Volume II.
The thirteen tracks on A New Life Volume II are a reminder of a time when major labels were no longer interested in British jazz, and artists and groups were left to their own devices, Across Britain small independent labels were founded and some artists, groups and orchestras had no option to release their albums as private presses. Sadly, many of these albums are oft-overlooked or long forgotten by even many British jazz fans.
That was until Francis Gooding and Duncan Brooker began work on A New Life Volume II, which has just been released by Jazzman Records. A New Life Volume II is a fitting followup to A New Life and features thirteen hidden gems, obscurities and rarities that are a reminder that there were still many talented jazz artists, bands and orchestras recording and releasing esoteric, groundbreaking and unorthodox music that deserved to find a wider audience and hopefully will, albeit somewhat belatedly.
A New Life Volume II.
MUSICA PER L’IMMAGINE II: LOST ITALIAN LIBRARY MSUIC OF THE 1970s/80s
Musica Per L’Immagine II: Lost Italian Library Music Of The 1970s’/1980s.
Label: Fly By Night Music,
Nowadays, music is no different to fashion with tastes constantly changing as hipsters go in search of what genre is currently fashionable. This includes library music which has enjoyed a resurgence in popularity over the last couple of years. That is why a number of record of British and European independent record labels have released lovingly curated compilations. The latest compilation of library music is Musica Per L’Immagine II: Lost Italian Library Music Of The 1970s’/1980s which has just been released by including the Fly By Night label. It’s sure to be welcomed by a coterie of musical connoisseurs who have a passion for library music. This includes DJs, producers and record collectors who are willing to pay large sums of money to add rare releases to their collections of library music.
Many of the British collectors of library music started off collecting releases by labels like KPM, De Woife, Amphonic, Conroy and Sonoton from the sixties, seventies early eighties, which is regarded by many collectors as a golden age for library music. This is ironic as albums of library music were never meant to fall into the hands of collectors.
Originally, library music was meant to be used by film studios or television and radio stations, and was never meant to be commercially available. The music was recorded on spec by music libraries who often hired young unknown composers, musicians and producers. This ranged from musicians who were known within publishing circles, to up-and-coming musicians who later, went onto greater things, and look back fondly at their time writing, recording and producing library music. This they now regard as part of their musical apprenticeship.
For the musicians hired to record library music, their remit was to music libraries with a steady stream of new music, which was originality referred to as production music. During some sessions, the musicians’ remit was write and record music to match themes or moods. This wasn’t easy, but after a while they were able to this seamlessly. Soon, the musicians were able to enter the studio and write and record a piece of music that matched a theme or mood for a film or television show.
Once the library music was recorded, record libraries sent out demonstration copies of their music to advertising agencies, film studios, production companies, radio stations and television channels. If they liked what they heard, they would license a track or several tracks from the music libraries. That was how it was meant to work.
Sometimes, copies of these albums fell into the hands of record collectors, who realising the quality of music recorded by these unknown musicians, started collecting library music. However, it always wasn’t easy to find copies of the latest albums of library music. That was until the arrival of the CD.
Suddenly, record collectors and companies across Britain were disposing of LPs, and replacing them with CDs. It didn’t matter that the prices of LPs were at all-time low, some record collectors just wanted rid of their collection they were replacing with CDs. With people literally dumping LPs, all sorts of musical treasure was available to record collectors who didn’t believe the hype about CD. This included everything from rare psych and progressive rock right through to albums of library music. These albums were often found in car boot sales, second-hand shops and charity for less than a skinny latte macchiato.
This was the case throughout the period that vinyl fell from grace, and suddenly, it was possible for collectors of British library music to add to their burgeoning collections. Gradually, longtime collectors of library music had huge and enviable collections and were almost running out of new music to collect. Some of them decided that the time had come to see what European library music had to offer.
Now these collectors had a whole continent’s worth of library music to discover. Some collectors were like magpies buying albums from all over Europe, while others decided to concentrate on just one country or company. Although it was more expensive to collect European library music, gradually, enviable new collections started to take shape. However, despite a continent’s worth of library music to collect, some collectors bemoaned the availability of what they regarded as the holy grail of European library music.
This included the Italian library music that had been recorded during the sixties, seventies and eighties which for collectors is the golden age of library music. Many collectors are willing to pay large sums of money for the music on Musica Per L’Immagine II: Lost Italian Library Music Of The 1970s’/1980s which is a two LP set that has just been released by Fly By Night, and is full of rarities, hidden gems and obscurities that will light up the life of connoisseurs of library music.
The first instalment of Musica Per L’Immagine was released in 2017 to plaudits and praise, while collectors were overjoyed to discover a carefully curated album of rarities and obscurities. This resulted in Lorenzo the founder of Fly By Night Music whose a DJ, crate digger and owner of record shop owner in Peckham, London, starting to make plan as for another albums of lush, spacey Italian jazz-funk.
This resulted in Lorenzo heading to his native Italy where he began licensing tracks from publishers in Milan and Rome, which is the capital of the Italian film industry. After R Milan is where much of the Italian televisions programs and and advertising is produced. The final stop for Lorenzo was Genoa where he found long lost hidden gems that have been unavailable for several decades.
Just like the first instalment, Musica Per L’Immagine II: Lost Italian Library Music Of The 1970s’/1980s focuses on cinematic jazz funk which is sometimes lush and spacey. There’s twelve tracks in total including Franco Delfino’s Onusto and King Zerand Orchestra’s Take Eught which are real finds and welcome additions to this compilation of obscure cinematic jazz funk. Mitridate’s Bolle D’Aria and The Astral Dimension’s Eros Stars which both fall into the category of long lost hidden gems of Italian library music.
Guido Manusardi’s wistful Neve and the Orchestra Giampaolo Boneschi’s filmic jazz funk Oltre Il Dosso is a reminder of seventies cop shows. Both are standout tracks on the third side. Fabor’s Orchestra opens side four with Soap Bubbles which is atmospheric, dreamy and lysergic. Closing Musica Per L’Immagine II: Lost Italian Library Music Of The 1970s’/1980s is Orchestra Giampaolo Boneschi’s Rilassamento which is shimmering slice of electronica, funk and fusion. It’s the perfect way to close the compilation.
Although there’s been a number of compilations of library music released over the last few years, Musica Per L’Immagine II: Lost Italian Library Music Of The 1970s’/1980s is one of the best. It’s a lovingly curated compilation which features hidden gems, rarities bd obscurities aplenty recorded and released by Italian music libraries during the seventies and eighties, which was a golden age for library music. Proof of that is Musica Per L’Immagine II: Lost Italian Library Music Of The 1970s’/1980s, which is a welcome addition to any collection of library music.
Musica Per L’Immagine II: Lost Italian Library Music Of The 1970s’/1980s.
MADELEINE PEYTROUX ANTHEM.
Madeleine Petytroux-Anthem.
Label: Decca.
Twenty-two years after singer-songwriter Madeleine Petytroux released her debut album Dreamland in 1996, she recently returned with her eighth album Anthem. It’s the much-anticipated followup to her 2016 album Secular Hymns which was released to plaudits and praise. Just like Secular Hymns, Anthem finds Madeleine Petytroux breathing life, meaning and emotion into twelve new songs. This is nothing new for Madeleine Petytroux during a three decade career.
Madeleine Peyroux was born in Athens, Georgia, on the ‘18th’ of April 1974, but began her musical career as a teenager singing jazz and blues on the streets of Paris. This was Madeleine Peyroux’s musical apprenticeship, and in 1996 the American jazz singer and songwriter released her debut album Dreamland. It was a tantalising taste of what as to come from twenty-two year old Madeleine Peyroux.
Eight long years passed before Madeleine Peyroux returned with her eagerly awaited sophomore album. When Careless Love was released in 2004 Madeleine Peyroux realised the potential that was apparent on Dreamland and sold in excess of 500,000 albums. Careless Love launched Madeleine Peyroux’s career;
Just two years later Madeleine Peyroux returned with Half The Perfect World in 2006, which featured covers of songs by Tom Waits, Fred Neil and Leonard Cohen. Critics were won over by Half The Perfect World, and the followup Bare Bones in 2009. It featured eleven songs which Madeleine Peyroux wrote with various songwriting partners. Madeleine Peyroux was already being hailed as one of the most talented singer-songwriters of her generation.
This was confirmed by the release of Standing On The Rooftop which was Madeleine Peyroux’s 2011 debut for Decca. Madeleine Peyroux had written the majority of songs on Standing On The Rooftop as she pushed musical boundaries and tried to change people’s perception of her music.
Two years later in 2013 Madeleine Peyroux released The Blue Room to widespread critical acclaim. Her followup to Standing On The Rooftop was hailed as one of her finest albums.
The following year, 2014, Keep Me In Your Heart For A While-The Best Of Madeleine Peyroux was released by the Rounder Records. It was the perfect introduction to Madeleine Peyroux who returned in 2016 with her seventh studio album Secular Hymns. It was a vibrant and soulful album that featured everything from funk, blues and jazz as Madeleine Peyroux showcased her talent and versatility. Critical acclaim accompanied Madeleine Peyroux who was celebrating twenty years as a recording artist.
Just two years later Madeleine Peyroux returned with her eight studio album Anthem, which features twelve new songs with strong narratives that are poignant, ironic, full of pathos and social comment. The songs on Anthem found Madeleine Peyroux collaborating with various songwriters and musicians.
This included Patrick Warren who previously has worked with everyone from Bob Dylan, Bruce Springsteen, Bonnie Raitt, JD Souther, Bob Dylan, Bruce Springsteen and The Red Hot Chilli Peppers. Madeleine Peyroux also joined forces with Brian MacLeod who has worked with Leonard Cohen and Tina Turner. David Baerwald who has worked with Joni Mitchell and Sheryl Crow was Madeleine Peyroux’s other songwriting partner and when it came time to record Anthem, her three songwriting partners became her rhythm section. This talented trio provided the perfect foil to Madeleine Peyroux.
Recording of Anthem began during what proved to be the crucial period of the 2016 US elections. Madeleine Peyroux and Larry Klein who cowrote and produced Anthem watched as events unfolded before their very eyes. They knew if they were going to comment on what had happened that didn’t want to come across as preaching to the listener.
Instead, Madeleine Peyroux and her collaborators penned twelve songs which looked at subjects including the then political landscape and the singer’s personal life. Other songs combine what’s going on in the outside world with their personal lives, and this resulted in songs tinged with humour and empathy. The result was Anthem an album that was a sobering, philosophical and poetic assessment of the world today as seen through Madeleine Peyroux’s eyes.
Part of the success of the album was Madeleine Peyroux and fellow songwriters sitting together in one room, as they considered idea for Anthem. This proved to be a masterstroke as each member of the team came up with ideas for Anthem.
This included the sadness felt by David Baerwald’s after the passing of poet John Ashbery. The loss resulted in thoughts of hugely admired figures lost over recent years and resulted in the song All My Heroes which pays tribute to pioneers and innovators who although they: “light fires in the shadows,” have a degree of vulnerability that makes them human.
Opening Anthem is the jazzy and wistful sounding On My Own, which is the strongest track on the album and features Madeleine Peyroux at her best. There’s a poignancy to Down On Me which deals with the financial problems that many people are currently experiencing. The rueful bluesy Ghosts of Tomorrow is a tale of dreams unfulfilled, while The Brand New Deal full of powerful and scornful social commentary. There’s also two cover versions on the album, including a soulful rendition of Anthem penned by Madeleine Peyroux’s hero the late, great Leonard Cohen. Closing Anthem is Paul Eluard’s World War II poem Liberté, which is a sobering and thought-provoking way to close Madeleine Peyroux’s eighth album.
Anthem which is primarily a jazz album which sometimes heads in the direction of blues is without doubt one of the finest albums of forty-four year old Madeleine Peyroux’s twenty-two year recording career. It’s a carefully crafted album, which was honed by a small but talented band and together, they have created the finest album of Madeleine Peyroux’s Decca years.
Quite simply, Anthem is a truly ambitious album and sets the bar for future albums from Madeleine Peyroux. The twelve tracks are variously beautiful, cerebral, sobering and full of social comment while others reflect on loss and love and are thought-provoking and wistful. Anthem features Madeleine Peyroux back to her very best on what’s without the finest album of her Decca years, and quite possibly her finest album since her 2004 breakthrough album Careless Love.
Madeleine Petytroux-Anthem.
TOM WAITS -CLOSING TIME-VINYL.
Tom Waits-Closing Time-Vinyl.
Label: Anti.
It was in the summer of 1971, when Herb Cohen first saw and heard Tom Waits at the Troubadour in Los Angeles, which was one of the city’s top clubs in the city’s music scene and where many an up-and-coming singers and bands had started out before going on to greater things. Even some of the more experienced artists and bands still enjoyed playing at what was by then a legendary venue. Tom Waits who was just a twenty-two year old aspiring singer-songwriter, when he played at the Troubadour, and had already come a long way in a short space of time.
Just three years previously Tom Waits was a rebellious high school student who loved R&B, country music, Bob Dylan, the Beat Generation, The Twilight Zone and The Alfred Hitchcock Hour. However, in 1968, Tom Waits dropped out of high school, and got a job Napoleon’s pizza restaurant in National City, California.
During his shifts in the pizzeria, Tom Waits listened to the patrons and often scribbled down phrases and interesting pieces of dialogue which he later used in his songs. However, when Tom Waits wasn’t working in Napoleon’s, he was part of the city’s folk scene and could often be found playing in local coffee shops. Before long, Tom Waits was playing in San Diego, and as word spread about the up-and-coming local singer he was being asked to support Tim Buckley, Sonny Terry, Brownie McGhee and even one of his friends Jack Tempchin. By then, Tom Waits had come to the conclusion that he could go no further in San Diego, and would have to travel to the Troubadour Los Angeles to progress his career.
That was how Tom Waits was ‘discovered’ by Herb Cohen who at the time, was managing several artists including Frank Zappa, and was a record company executive and music publisher. Despite his track record, Herb Cohen didn’t off Tom Waits the all-important recording contract, and instead, signed him to a publishing contract. Herb Cohen it seemed saw Tom Waits as a songwriter rather than a singer.
Having signed a publishing contract, Tom Waits his job at Napoleon’s and moved to LA where wanted to concentrate on his songwriting career. However, in 1971 Herb Cohen had Tom Waits record the first of two demos in late summer of 1971 with producer Robert Duffey. Nothing came of these demos by the time 1971 gave way to 1972.
By early 1972, Tom Waits had found and moved into a flat in Sliver Springs, which was a working class ares that was home to the Hispanic community and a number of LA’s bohemians. The area would provide Tom Waits with a wealth of material over the next weeks and months.
Despite supposedly concentrating on his songwriting career, Tom Waits continued to play live and was a regular at the Troubadour which was where he first met David Geffen who had already cofounded Asylum Records. When David Geffen heard Tom Waits sing Grapefruit Moon he was “floored” and was so impressed with Tom Waits that, that night he offered the singer-songwriter a recording contract.
After Tom Waits had signed with Asylum Records, David Geffen paired his latest signing with Jerry Yester, who had formerly been a member of the Lovin’ Spoonful until the group split-up in 1968. After that, Jerry Yester had embarked upon a career as a producer and would produce Tom Waits’ debut album at Sunset Sound Recorders. That album would eventually become Closing Time, which was recently remastered and reissued on vinyl by the Anti-label.
With the ink barely dry on the recording contract, work began on Closing Time, with Tom Waits recording a pre-production tape at Jerry Yester’s home. The pair discussed the arrangements and what instruments should be used on the album. Already, Tom Waits had an idea of the type of album he wanted to record, and made it clear that he wanted a standup bass on Closing Time. This fitted with Tom Waits’ vision of recording a jazz-tinged album for his debut.
When the recording of Closing Time began in the spring of 1972, there was only one problem, and that was that Tom Waits and Jerry Yester weren’t going to be able to record late at night and into the early hours of the morning. The only time the studio at Sunset Sound Recorders was free was between 10am to 5pm. While this wasn’t exactly ideal, the pair knew that they had no option but to record during the daytime shift.
By the time work began at Sunset Sound Recorders, twenty-three year old Tom Waits had already written the twelve tracks that became his debut album Closing Time. Just like many singer-songwriters he had amassed a number of songs, and some would feature on Closing Time. However, songwriting wasn’t Tom Waits’ only talent.
Tom Waits who was already a talented multi-instrumentalist who played celeste, guitar, harmonium, harpsichord and piano on Closing Time. He also added his inimitable lived-in, gravelly vocal to eleven of the twelve tracks. Already, it sound as if Tom Waits, the new troubadour in town survived on a daily diet of Jack Daniels and Marlboro. It was a voice that sounded as if it had already lived several lives, and which was accompanied by some seasoned LA musicians.
This included a rhythm section that featured drummer John Seiter, double bassist Bill Plummer and guitarists Shep Cook who added backing vocals and Peter Klimes who played pedal steel on Rosie. They were joined by trumpeter Delbert Bennett Meanwhile, Jerry Yester took charge of production and guided the debutant singer through the maze that is recording a debut album.
For the first couple of days of the session at Sunset Sound Recorders, Tom Waits spent time finding his way around the studio, but after that, his nerves disappeared. So much so, that he was confident enough to voice his concerns at the direction of his debut album.
Producer Jerry Yester was intent on making Closing Time a folk based album, which wasn’t what Tom Waits wanted. He envisaged Closing Time as a jazz-tinged, which was what he wanted to make. Despite this difference of opinion, Tom Waits and Jerry Yester worked well together, and the singer soon grew in confidence and was directing his band. So much so, that when Ol’ 55 was recorded, drummer John Seiter was directed to add backing vocals and added a perfect harmony line before the chorus kicked in. It looked as if the recording going to plan.
Alas, at the end of the first recording session, nine songs had been recorded, but Tom Waits was disappointed with several songs, and Jerry Yester booked another session. This time, it took place at Western Union Recorders in Hollywood.
Joining Tom Waits bands the following Sunday was a trio of guest artists that included bassist Arni Egilsson and trumpeter Tony Terran who featured on the instrumental version of Closing Time, while cellist Jesse Ehrlich played on Martha. That day, only one song was rerecorded, Closing Time, while trumpets and strings were overdubbed. After ten days Tom Waits had recorded his debut album Closing Time.
With Closing Time completed, the album was mixed and mastered at Wally Heider Studios, in San Francisco. Now Tom Waits was ready to release his debut album.
Given David Geffen was keen to send Tom Waits into the studio to record Closing Time in the spring of 1972, the troubadour must have thought that the release of his debut album was imminent. Sadly, that wasn’t the case and it was nearly a year before Closing Time was released by Asylum Records.
Eventually, the release of Closing Time was scheduled for March the ‘6th’ 1972, which was almost a year after the album had been completed. It had been a long wait, and Tom Waits hoped that the critics and then record buyers would enjoy and embrace his debut album Closing Time.
Critics on hearing Closing Time discovered what was an eclectic album, that featured a variety of musical genres. There was everything from jazz, folk and blues to country-rock which was embraced by Rolling Stone magazine and the self-styled dean of rock critics Robert Christgau. Some critics even drew comparisons with Randy Newman which was high praise indeed. However, it was richly deserved.
Closing Time opens with Ol’ 55, a classic-in-waiting about escapism where a jangling piano sets the scene for Tom Waits’ lived-in vocal. His delivery of the cinematic lyrics is emotive on this anthemic track. There’s a wistfulness to I Hope That I Don’t Fall In Love With You which features a contrarian Tom Waits, while Virginia Avenue which is the first of the jazz-tinged tracks. Old Shoes (and Picture Postcards) has a much more understated arrangement with guitar and backing vocals accompanying Tom Waits on this singalong song. It gives way to the jazzy Midnight Lullaby, has a smoky late-night sound, while a piano and strings accompany a vulnerable Tom Waits on the beautiful ballad Martha.
A weeping pedal steel and backing vocals accompany Tom Waits on Rosie, as he delivers a soul-baring vocal on this country-tinged piano led song. Lonely featured a melancholy, emotive vocal before the tempo rises on Ice Cream Man. It’s very different from the rest of album and this uptempo track shows another side of troubadour Tom Waits. The bluesy, jazz-tinged Little Trip To Heaven (On The Wings Of Your Love) is much more representative of Closing Time as a trumpet accompanies Tom Waits and his piano on another beautiful song. It gives way to the jazz-tinged Grapefruit Moon, before the melancholy and evocative instrumental version of Closing Time is rich in imagery and closes this impressive debut album on a high.
Despite the quality of Closing Time, the album failed to trouble the US Billboard 200, but was certified gold in Britain and reached twenty-nine in the Republic of Ireland. However, later, record buyers rediscovered Closing Time, and for many years it’s had a cult following. They’ve been won over by a Tom Waits jazz-tinged, bluesy debut album that occasionally heads in the direction of folk music as LA’s newest troubadour announces his arrival.
Closing Time was a remarkably mature album, as Tom Waits was only twenty-two when he recorded the album with Jerry Yester. However, with his lived-in, worldweary voice he sounds much older, and is if he’s lived several lives, and the lyrics on Closing Time. Despite displaying maturity beyond his years on this carefully crafted album, there’s also a sense of loneliness, melancholy and vulnerability as the lovelorn Tom Waits wears his heart on his sleeve on Closing Time.
It’s also an album that is sardonic and fully of irony as a drawling Tom Waits sometimes resorts to sneering, which comes across a defence mechanism. Other times, Closing Time has a late-night smoky sound. Especially on the jazz-tinged tracks on Closing Time, which are among the album’s highlights. Closing Time is also a melodic album full of emotion and sometimes beauty, as Tom Waits plays a variety of characters and brings their story to life. This he would do throughout his long and illustrious career, but one of the finest albums of Tom Waits’ career was his debut album Closing Time, which is the perfect way to discover this truly talented troubadour.
Tom Waits-Closing Time-Vinyl.
LED ZEPPELIN-THE SONG REMAINS THE SAME.
Led Zeppelin-The Song Remains The Same
Label: Atlantic Records.
By the ‘22nd’ of October 1976, Led Zeppelin were one of the biggest selling bands in the world. Their first seven studio albums had sold seventy-nine million copies in America alone, and worldwide Led Zeppelin’s albums had sold over 100 million copies. This resulted in an impressive array of silver, gold, platinum and even diamond discs adorning the walls of each member of Led Zeppelin. Critics wrote that they had achieved just about everything in music. That wasn’t true, as there was still several things that Led Zeppelin had to do.
They hadn’t released a soundtrack album and they had yet to release a live album. Only then could Robert Plant, Jimmy Page, John Bonham and John Paul Jones say that they had achieved everything possible.
On the ‘22nd’ of October 1976 Led Zeppelin released the live soundtrack album of the film The Song Remains The Same. It reached number one in Britain and number two on the US Billboard 200. The Song Remains The Same sold well across Britain, Europe and North America and it was certified gold in France and Germany, platinum in Britain and four times platinum in America. This was pretty good considering the critical response to The Song Remains The Same.
When critics heard The Song Remains The Same many weren’t impressed with the live double album. Some critics believed that the album was over produced, and others felt it lacked the energy of Led Zeppelin live. However, not for the first time would critics change their mind about a Led Zeppelin
Before that, even members of Led Zeppelin, especially Jimmy Page expressed their reservations of The Song Remains The Same. He felt that the album wasn’t a true representation of Led Zeppelin live and at the peak of their powers.
The Song Remains The Same was recorded and filmed between the ‘27th’ and ’29th’ of July 1973, at Madison Square Garden, in New York. By then, Led Zeppelin were one of the biggest bands in the world and already released five hugely successful albums. These albums would provide the material for the three nights at Madison Square Garden, which would feature on the double album The Song Remains The Same.
Disc One.
Led Zeppelin open disc one with a memorable version of Rock ’N’ Roll, which gives way to Celebration Day, Black Dog and Over The Hills and Far Away. It’s Led Zeppelin in their prime and they power their way through Misty Mountain Hop Since I’ve Been Loving You, No Quarter, The Song Remains The Same and The Rain Song The Rain Song which featured on their fifth and latest album The Same from Houses Of The Holy. By now, the listener is transported back in time to 1973 when Led Zeppelin were one of the greatest bands on planet rock. They show why as they close disc one with The Ocean. That is only half time in soccer parlance.
Disc Two
Disc Two of The Song Remains The Same opens with a near twenty-seven minute version of Dazed and Confused which is a reminder of Led Zeppelin at their most inventive and a group at the peak of their powers. From there Led Zeppelin lock into a groove and work their way through series of classics from Stairway To Heaven, Moby Dick, Heartbreaker and roof-raising version of Whole Lotta Love. With that, Led Zeppelin who were regarded by many as the greatest rock band take their leave to a standing ovation.
Forty-five years after Led Zeppelin played the three nights at Madison Square Gardens, in New York, The Song Remains The Same has just been reissued by Atlantic Records. This is remastered reissue of the 2007 edition and the remastering has been supervised by Jimmy Page. The new 2018 remaster is the perfect way to discover what’s one of Led Zeppelin’s most underrated albums.
When The Song Remains The Same was released in 1976, it wasn’t regarded as Led Zeppelin’s finest hour, and was criticised as being an over produced and lumbering album. However, recording a live album isn’t an exact science and instead is snapshot in time and is a reminder of Led Zeppelin at the peak of their powers. Probably the finest Led Zeppelin live album is How The West Was Won. Coming a close second is The Song Remains The Same which was recorded in 1973 and released in 1976.
By 1973, Led Zeppelin were vying for the title the greatest rock band in the world when they recorded The Song Remains The Same. The new remaster belongs in the collection of every Led Zeppelin fan, and The Song Remains The Same is a reminder of the biggest and some would say the baddest rock ’n’ roll band in the world at the peak of their powers.
Led Zeppelin-The Song Remains The Same.
GOOSEBUMPS 25 YEARS OF MARINA RECORDS-VINYL.
Goosebumps 25 Years Of Marina Records-Vinyl.
Label: Marina Records
Any indie label that has survived for the last twenty-five years is obviously doing something right. Especially given how challenging a market it has been for both major and indie labels during that period. Everything from the supposed death of vinyl to the introduction of illegal torrents, MP3s, Spotify You Tube have made life increasingly difficult for record companies and sadly, there’s been a number of casualties along the way. However, there’s some labels who have gone form strength-to-strength since 1993, including Marina Records.
The Marina Records’ story began in Hamburg in 1993, when Stefan Kassel and Frank Lähnemann decided to form a new label. Soon, the new releases from Marina Records label were finding favour with critics and record buyers. It wasn’t just the quality of music Marina Records was releasing,their support classic songwriter and the eclectic releases.That was just part of the Marina Records story.
Before long, Marina Records distinctive sleeve design was being praised by music journalists, designers and music fans. By then, Marina Records album covers were being praised by the authors of several books about album covers. Marina Records in seemed were doing things their way but doing them right.
Proof of this was Marina Records’ The In-Kraut compilation series which gave birth to a genre of its own. This was just the start for Marina Records.
The Hamburg based introduced a generation of grateful record buyers to a myriad of magical and majestic music.This includes Brent Cash’s pop single Digging The Fault Lin and tracks from Glasgow funk sextet Gazelle, Chris Thomson’s chamber pop combo The Bathers, Starless’ album of lush filmic soundscapes, jazz trumpeter Colin Steele and Marina Records’ veterans The Pearlfishers. They’re one of the jewels in the Marina Records’ crown, and their classic songwriting style has previously led to comparisons to Paul McCartney, Jimmy Webb and Brian Wilson during the Marina Records’ years.
Whilst signed to Marina Records The Pearlfishers have released six albums and recorded a spellbinding cover of The Pale Fountains’ Southbound Excursion, which features on Goosebumps 25 Years Of Marina Records. It’s two CD set that has just been released by Marina Records and features forty tracks that are guaranteed to bring memories flooding back.
This includes Brent Cash’s 2008 pop smash Digging The Fault Line which opens Goosebumps 25 Years Of Marina Record. It’s taken from the album How Will I Know If I’m Awake.
Port Sulphur featuring James Kirk, formerly of Orange Juice released the carefully crafted poo album You Can Make It If You Boogie on 2003. One of its highlights was Orient Express.James Kirk was part Scottish supergroup Port Sulphur on they recorded a covert of the Orange Juice song Felicity, which makes a welcome debut.
The Pearlfishers contribute the previously unreleased The Time Is Right,which was recorded in 2016. Norman Blake if Teenage Fanclub covered Only With You for Caroline Now The Songs Of Brian Wilson.
Another welcome addition comes courtesy of The Pale Fountains and The Norfolk Broads – a track from their Marina anthology Longshot For Your Love. Pale Fountains songwriter Michael Head then joins forces with Dragonfly from the Shack’s 1995 album Waterpistol. It’s regarded by many critics as one of the best British albums ever.
The Colin Steele Quartet is led by the jazz trumpeter, who released the album Diving For Pearls in 2017, One of its highlights is You’ll Never Steal My Spirit.
Way before The Bathers were formed, Chris Thomson was member of supergroup in waiting Friends Again. They released just one album, and in 1981 covered the Velvet Underground’s Sweet Jane. It’s remarkable reminder of an on oft-overlooked band. A more recent Scottish supergroup is Starless who released the Sam Barker Axor Remix on the 2016 EP Starless The Remixes.
There several unreleased tracks on Goosebumps 25 Years Of Marina Records including Die Zimmermänner’s Pampelmusen. They’re followed by two real finds the Marina Unlimited Orchestra’s Breezy (Marina’s In The Air) and The Pale Fishers cover of The Oake Fountain’s Southbound Excursion,
One of the standout tracks on Goosebumps 25 Years Of Marina Records is The Bathers’ If Love Could Last Forever from their 1997 album Kelvingrove Baby. Hipsway frontman assumed the same role in the Jazzateers when they recorded the album I Shot The President in 1997. Up To My Eyes was one of the album’s highlights and makes a welcome return on 25 Years Of Marina Records. So does Meet Me In Milan fro, The Magic Circles’ 2004 album.
In 2001, sunshine pop legends The Free Design reformed and released their comeback album Cosmic PeekabooEccentric Ogie!. It’s a reminder of what music fans had been missing for too long. Big Star’s Alex Chilton contributed a cover of I Wanna Pick You Up for the Caroline Now The Songs Of Brian Wilson compilation.
Paul Quinn and The Independent Group released the album Will I Ever See The Inside Of You in 1994. It featured Have You Have Been Seen, one of the finest moments of their early career. Another well know face in Scottish music is Paul Haig who contributes the unreleased track Listen To Me.
Closing Goosebumps 25 Years Of Marina Records is Goodbye (She Quietly Says) by Cowboy Mouth. This stunning reading of a track from Frank Sinatra’s song cycle Watertown was recently recorded by Grahame Skinners who fittingly sings: “She reaches out across the table, looks at me, and quietly says goodbye.”
Goosebumps 25 Years Of Marina Records is the perfect introduction to, and reminder of the back-catalogue of the Hamburg-based musical institution. Marina Records has been releasing carefully crafted and eclectic albums since 1993. Always the emphasis been on quality and Marina Records have released many albums that are regarded as genre classics. This includes albums from The Bathers, The Pearlfishers, Shack and The Pale Fountains who have all played their part in the rise of Marina Records which is celebrated on Goosebumps 25 Years Of Marina Records.
Goosebumps 25 Years Of Marina Records-Vinyl.
MOUNTAIN-WHAT MIGHT HAVE BEEEN.
Mountain-What Might Have Been.
Mountain were the band who could’ve and should’ve become one of the biggest hard rock band of the seven tie but left the field clear for the unholy trinity of hard rock. Led Zeppelin, Black Sabbath and Deep Purple continued to write their way into musical history while Mountain would only play a walk-on part in the history of hard rock. However, things might have been very different.
The Mountain story began in Long Island in 1969, when former Vagrants guitarist Leslie West, decided to form a new band, which would allow him to further hone his sound. Initially, the new band was called Leslie West Mountain, and featured drummer Ken Janick, keyboardist Norman Landsberg and guitarist Leslie West. Initially, the band played which played blues and R&B around Long Island, and quickly became a popular draw on the local live scene. However, Leslie West who was heavily influenced by Cream, soon, became disillusioned with blues and R&B, and preferred the sound of their classic album Disraeli Gears.
When Leslie West looked at Disraeli Gears, he realised there was a familiar face in the credits, Felix Pappalardi. He had produced Leslie West’s first band The Vagrants, and was now producing Cream. This inspired the members of Leslie West Mountain to go and see Cream in concert at the Filmore East.
When the members Leslie West Mountain arrived at the Filmore East, they took all dropped LSD before the curtain rose. Even in their altered state, the members of Leslie West Mountain realised that compared to Cream, they weren’t in the same ballpark as the legendary British power trio. That night, the members of Leslie West Mountain realised that they needed to practise.
That was what they spent the next weeks and months doing. Meanwhile, the British blues bands like Fleetwood Mac and John Mayall Bluesbreakers plus Jeff Beck and Eric Clapton continued to influence American music. So did the British Invasion bands, including The Kinks, Rolling Stones and The Who. They inspired and influenced Leslie West Mountain, and so did the British blues explosion.
Leslie West Mountain wanted to move away from blues and R&B, towards a much heavier, hard rocking sound. This took time and practise, but the band were getting there. Especially when bassist Felix Pappalardi joined the band and became its vocalist. The lineup was almost complete.
Before that, Mountain was asked to play at The Woodstock Music and Art Fair on Saturday, August the ’16th’ 1969. This was only Mountain’s third gig, but when they took to the stage 9:00 pm and played for hour nobody had any idea that the group was in its infancy. Especially as Mountain left the stage at 10:00 pm, having written their name into music history.
The only thing that let Mountain down was their drummer, who was the weak link. Many within the music industry who had run the rule over the band realised this, and eventually, Corky Laing replaced Ken Janick. Mountain’s classic lineup was complete.
With a lineup of drummer Corky Laing, bassist and vocalist Felix Pappalardi, guitarist Leslie West and keyboardist Steve Knight who had replaced Norman Landsberg, Mountain hit the road. The new lineup of Mountain began honing their sound, and Felix Pappalardi was already looking like an inspired choice for frontman.
It was no surprise when blues Mountain signed their first recording contract in late-1969. What was a surprise was it was a small label like Windfall Records. The would release Mountain’s debut album in 1970.
Climbing!
Mountain spent late 1969 and early 1970 recording nine compositions at the Record Plant Studios. The four members of Mountain combined elements of blues rock, hard rock and psychedelic rock on what later became Climbing! It was produced by Felix Pappalardi and released in March the ‘7th’ 1970.
Before that, Mississippi Queen was released as a single in February 1970, and reached twenty-one on the US Billboard 100. Mississippi Queen is now regarded as a classic rock single, and has been covered by many bands. However, Mountain’s original is regarded as the best, and was just the start. However, this wasn’t the end of the commercial success for Mountain.
Meanwhile, Mountain released Climbing!, to widespread critical acclaim and critics praised songs of the quality of Mississippi Queen and Theme For An Imaginary Western. They were part of what was a hugely successful album.
Climbing! charted on the US Billboard 200, and continued to climb until it reached seventeen on the US Billboard 200 in 1970. This was enough for Climbing! to be certified gold. Little did Mountain realise that they had released a rock classic, Climbing!
Nantucket Sleighride.
Buoyed by the success of their debut album, Mountain began work on their debut album Nantucket Sleighride. Eventually, the members of Mountain had written nine new songs including the title-track dedicated Nantucket Sleighride.
It refers to the experience of being towed along in a boat by a harpooned whale, and the song Nantucket Sleighride is was dedicated to Owen Coffin. He was a teenage sailor who was on the whaler Essex when it was rammed by a sperm whale and sank in 1820. After the sinking, Owen Coffin was shot and eaten by his shipmates.
Nantucket Sleighride was joined eight other songs, including Tired Angels a homage to Jimi Hendrix and Travellin’ In The Dark (To EMP), which was written for Felix Pappalardi’s mother Ella. Felix Pappalardi even wrote Taunta (Sammy’s Tune) for his pet poodle. These songs and the rest of the album were recorded at The Record Plant, New York, and were produced by Felix Pappalardi in late 1970.
In January 1971, Nantucket Sleighride was released to plaudits and praise and hailed a classic as Mountain fused blues rock and hard rock with psychedelic rock. Given the critical response to Nantucket Sleighride, things were looking good for Mountain.
The Animal Trainer and The Toad was chosen as the lead single, but stalled at seventy-six in the US Billboard 100 in early 1971. However, Nantucket Sleighride reached sixteen in the US Billboard 200 and was certified gold. Mountain had just enjoyed their most successful album, and after just two albums had sold over a million units. Now they had to build on this.
Flowers Of Evil.
Having just enjoyed two successful studio albums, many groups would’ve stuck to what looked a winning formula and written a third album. However, Mountain decided that the first side of their third album Flowers Of Evil would be recorded in the studio and the second side feature the band live.
Bassist and vocalist Felix Pappalardi played a huge part in the writing of the first side of Flowers Of Evil. He wrote King’s Chorale and cowrote Flowers Of Evil with David Rea. The other three songs, One Last Cold Kiss, Crossroader and the epic Pride and Passion were penned by Felix Pappalardi and his wife Gail Collins. These songs were recorded at The Record Plant, New York, and produced by Mountain during September 1971. They were joined on side two by two tracks that featured Mountain live.
Mountain had played the Filmore East, on September 1971, where the recorded the twenty-five minute suite ream Sequence. It sounds as it it’s been inspired by Cream, as Mountain improvise their way through what was their live Magnus Opus. A guitar solo from Leslie West gives way to a cover of Roll Over Beethoven, Dreams Of Milk and Honey, Variation and Swan Theme. During the four-part suite, Leslie West unleashes blistering guitar licks and vocalist Felix Pappalardi channels the spirit of Robert Plant. It’s a potent and heady brew, and gets even better as Mountain’s theme tune Mississippi Queen closes the set on a high,
Flowers Of Evil was released in November 1971, and found favour with critics. They were won over by an album where Mountain successfully combined blues rock and hard rock with psychedelic rock in the studio and on the stage. Buoyed by the critical response to Flowers Of Evil, Mountain watched with interest as the album.
When Flowers Of Evil was released the album reached just thirty-one in the US Billboard 200. While this was ordinarily a respectable chart placing, it was a disappointment for Mountain whose first two albums had been certified gold. However, there was always the next time for Mountain.
Mountain Live: The Road Goes Ever On.
After the release of Flowers Of Evil, Mountain headed out on tour, and the latest stop in their schedule was Britain. It was another successful tour for Mountain, who on their return home, were about to spring a surprise.
In February 1972, Mountain was no more after the band announced their intention to split-up. They had been together just three years and released three albums which sold in excess of one million copies in America alone. Mountain, it seemed, were bowing out while they were at the top.
Although Mountain wanted to call time on their career, Windfall Records had other ideas. They scheduled the release of another live album for April 1972.
This was Mountain Live: The Road Goes Ever On, which takes its title from JRR Tolkien’s 1937 novel The Hobbit. Mountain Live: The Road Goes Ever On featured four tracks that were recorded between 1969 and 1972.
Long Red and Waiting To Take You Away which Mountain recorded at The Woodstock Music and Art Fair on Saturday, August the ’16th’ 1969. Although this was only Mountain’s third gig, they sound a much experienced band. These two songs hinted at what was to come from Mountain.
This included Crossroader which featured on their 1971 sophomore album Nantucket Sleighride. Mountain recorded this live version in January 1972. Crossroader features a much tighter and more versatile group than the one that took to the stage at The Woodstock Music and Art Fair.
Mountain kept the best until last on Mountain Live: The Road Goes Ever On, and close the album with an eighteen minute version of Nantucket Sleighride that was recorded at The Academy Of Music, New York, on December the ’14th’ 1971. It’s a genre-melting epic where Mountain improvise and transform what started life as a six-minute song into an eighteen minute epic as Mountain bowed out on a high.
Just like their three previous albums, Mountain Live: The Road Goes Ever On was well received by critics. It was a hard rocking album where Mountain switch between and combine blues rock, hard rock and psychedelic. It was another potent and heady brew from Mountain.
Sadly, when Mountain Live: The Road Goes Ever On was released in April 1972, it reached just sixty-three in the US Billboard 200. This meant that Mountain Live: The Road Goes Ever On was Mountain’s last successful.
Mountain Live: The Road Goes Ever On is also Mountain’s most underrated album and is a hidden gem in their discography. BGO Records’ recent remastered reissue of Flowers Of Evil and Mountain Live: The Road Goes Ever On as a two CD set, is a welcome one, previously, record companies have focused on Mountain’s first two albums. However, there’s more to Mountain than just two albums.
While Climbing! and Nantucket Sleighride are regarded as classic albums, all too often the other two albums released by the classic lineup of Mountain are overlooked.Flowers Of Evil showcases a tight, versatile and hard rocking band in the studio and on the stage. Their swan-song Mountain Live: The Road Goes Ever On, documents Mountains’s three year career in just four songs. Mountain came a long way in just three years since they took to the stage at The Woodstock Music and Art Fair. Sadly, Flowers Of Evil brought the curtain down on Mountain’s career and by February 1972, when they announced that they had split-up.
Just like many groups, Mountain’s couldn’t resist a comeback, and reformed in 1973 band returned with their fifth album Avalanche in November 1974. It featured the debut of guitarist David Perry, who replaced keyboardist Steve Knight. However, Avalanche stalled at a lowly 102 in the US Billboard 200, and bassist and vocal Felix Pappalardi left Mountain for good. After this, this Mountain split for the second time.
That was the last that was heard of Mountain when they reunited in Leslie West and Corky Laing reformed Mountain, with ex-Savoy Brown guitarist Miller Anderson and bassist Keef Hartley). Mountain’s lineup changed in 1984 when Miller Anderson was replaced by Mark Clarke who was a member of Mountain when the group recorded Go For Your Life. It was released in March 1985 and stalled at a lowly 166. This was a long way from Mountain’s first two albums which were certified gold. Not long after the release of Go For Your Life Mountain split-up once more, and nothing was heard of the band for seven years.
Nothing was heard of Mountain until 1992 when Leslie West and Corky Laing decided to reform the band. The pair tried several different lineups before Mark Clarke returned, and in 1996 and Mountain recorded and released Man’s World which failed to chart. This was a first for Mountain, and in 1998 Mountain split-up again until 2001.
After reforming in 2001, Mountain released their comeback album Mystic Fire. Just like Man’s World, Mystic World failed to chart, and it was five years before Mountain returned with a new album in 2007.
That was Masters Of War, an album of Bob Dylan cover versions. Sadly, history repeated itself when Masters Of War failed to chart, and that was the last studio album Mountain released. They continued to play live until 2010, when Mountain played what proved to be their final live show. It was the end of an era.
After forty-one years, fallouts, comebacks and eight studio albums Mountain were no more. The band that could’ve rivalled Led Zeppelin, Black Sabbath and Deep Purple. Sadly, it wasn’t to be. However, Mountain released two classics Climbing! and Nantucket Sleighride which are both underrated albums and a reminder of Mountain’s glory days.
Mountain-What Might Have Been.
VENEZUELA 70 VOLUME 2: COSMIC VISONS OF A LATIN AMERICAN EARTH: VENEZUELAN EXPERIMENTAL ROCK IN THE 1970S AND BEYOND.
Venezuela 70 Volume 2: Cosmic Visions Of A Latin American Earth: Venezuelan Experimental Rock In The 1970s and Beyond.
Label: Soul Jazz Records.
During the seventies, Venezuela was one of the most prosperous countries in South America after oil was discovered in the North West of the country in 1914. Soon, there was the equivalent of gold rush in the Maracaibo basin. However, it was liquid gold prospectors came in search of, oil.
Before long, most of the biggest oil companies were beating a path to the Maracaibo basin and were soon shooting fish in a barrel. There was oil, and plenty of it. As a result, people came from all over the world in search of work and wealth. This was no surprise, as Venezuela was ideally situated.
Venezuela was the gateway to the Caribbean, so people from Cuba, Guyana, Haiti, Jamaica, Puerto Rico and Trinidad and Tobago arrived in Venezuela. So did immigrants from neighbouring South American countries including Bolivia, Brazil and Columbia. However, by then, Venezuelans were used to people settling in their country
That had been the case for over 200 years. People had emigrated fro Germany, Italy and Portugal, and so had Arabs and Africans. Venezuela had always been a multicultural country, and it was no different in 1928.
By 1928, Venezuela was the largest exporter of oil in the world and had become home to many of the world’s biggest oil companies. They came in search of black gold, and found a plentiful supply. This they exported to across the globe. However, by 1943 the Venezuelan government were tired of watching their oil heading out of the country, and decided to take action.
In 1943, the Venezuelan government passed laws that resulted in a 50/50 split in profits between the government and the oil companies. This was a huge blow to oil companies, but the Venezuelan government were resolute. They weren’t going to change their mind. Especially when the money raised from the oil tax transformed Venezuela into one of the most prosperous countries in the world.
That was the case through the remainder of the forties and fifties. By 1960, Venezuela’s new, democratically elected government played a leading role in founding OPEC, whose aim was to ‘support’ the price of oil. Things were changing in Venezuela.
The country continued to prosper in more ways than one during the sixties. By then, Venezuela had a rich cultural capital. The kinetic arts scene was thriving, and so was music. Traditional forms of Venezuelan music continued to prosper in some parts of Venezuela. However, many Venezuelans began to look outside of the country for musical inspiration.
They looked to Cuba, Puerto Rico and Latin America. Some Venezuelans had travelled to New York, and heard the Nu Yorican which was popular within the Latino community. This music soon began to influence Venezuelans. So too did British rock music. However, other types of music from within Venezuela began to influence the music scene.
With so many immigrants settling in Venezuela, they brought with them their own musical influences. These different genres all played an important part in Venezuela’s musical future.
Meanwhile, the prosperity continued, and there was an air of positivity during the sixties. Venezuela was a very different country and was now run by democratically elected government, who looked like they were about to play an important part on the world stage, given their role in OPEC. However, as the sixties gave way to the seventies, Venezuela changed, and the wider world were in for a surprise.
In 1973, Venezuelans voted to nationalize the oil industry. For all the companies who had invested heavily in Venezuela, this was a massive blow. The only small crumb of comfort was that the new law didn’t take force until the 1st of January 1976. After that, Petróleos de Venezuela would take over exploration, production, refining and exporting oil. This meant all the money made out of oil, stayed in Venezuela, and made the country even more prosperous. That was the theory.
The only problem was, that by the seventies corruption was rife within Venezuela. Still the country continued to prosper, pre and post the ‘1st’ of January 1976 and Venezuela remained a wealthy and prosperous country financially and culturally.
Part of Venezuela’s rich cultural capital during the seventies was its music scene. Venezuelan musicians were creating ambitious and innovative music. However, that music has never been heard outside of Venezuela, which is a great shame, given the quality of music produced by Venezuelan musicians during the seventies. However, Soul Jazz Records have just released Venezuela 70 Volume 2: Cosmic Visions Of A Latin American Earth: Venezuelan Experimental Rock In The 1970s and Beyond which is another selection of groundbreaking music.
That music was made by pioneering musicians whose raison d’être to create album of groundbreaking and innovative music. Most of these artists and bands were part of the Venezuelan underground music scene and were relative unknowns. Sadly, that remains the case even today, and it’s only the release of compilations like Venezuela 70 Volume 2: Cosmic Visions Of A Latin American Earth: Venezuelan Experimental Rock In The 1970s and Beyond that may introduce these artists and bands to the wider audience that their music so richly deserves.
Back then, artists and bands fused elements of disparate and sometimes unlikely musical genres with everything from progressive rock and jazz, electronica, experimental music and even disco during the seventies. This was very different from much of the music that was popular in Latin America during the seventies.
This included salsa which filled dancefloors across Latin America. Meanwhile, many Venezuelan rock bands were heavily influenced by British and American bands. However, this changed in the seventies when there was a revolution in Venezuelan music.
Suddenly, a new generation of Venezuelan artists and bands began releasing groundbreaking music from the seventies onwards. Eighteen of these artists feature on Venezuela 70 Volume 2: Cosmic Visions Of A Latin American Earth: Venezuelan Experimental Rock In The 1970s and Beyond. This includes Vytas Brenner who contributes the folk rock of Agua Clara. He returns later with La Sabana and Tragavenado which are a reminder of a truly talented singer and songwriter.
Straight away, Daniel Grau’s cosmic disco experiment Dejando Volar El Pensamiento which in parts brings to mind Giorgio Moroder who has obviously been an influence, Daniel Grau’s other contributions include Delirio En Fa Menor and Voy which are both a remainder of a pioneering musicians.
The driving disco-tinged funk of Orchestra Julian ’s Do It With Class is a real hidden gem. So is the psychedelic rock of Vytas Brenner’s Gavilan with its blistering guitar licks and funky backdrop. Vytas Brenner also contributes Mandingo, La Sabana and Morrocoy which are a reminder of one of one of Venezuelan music’s pioneers who sadly, is one of the country’s best kept musical secrets.
Machu Picchu Dos (El Nino Anciano) is best described as a slice of tropical funk from Un Dos Tres Y Fuera. They only feature once and so does Johnny Lamas whose Noches En Caracas is one of the compilation’s finest moments. Closing Venezuela 70 Volume 2: Cosmic Visions Of A Latin American Earth: Venezuelan Experimental Rock In The 1970s and Beyond is Aldemaro Romero Y Su Onda Nuevo’s joyous sounding Una Por Una with its feel-good sound.
The various artists and bands on Venezuela 70 Volume 2: Cosmic Visions Of A Latin American Earth: Venezuelan Experimental Rock In The 1970s and Beyond were all pioneers determined to push musical boundaries to their limits as they created groundbreaking and innovative music.
To do that, the artists and bands fused elements of electronica, funk, jazz, and Latin rhythms with progressive rock, psychedelia and rock. Some added Venezuelan roots music to the mix which created a new and unique sound which combined elements of the music of the past and present. This music was all part of a new musical era which is celebrated on Venezuela 70 Volume 2: Cosmic Visions Of A Latin American Earth: Venezuelan Experimental Rock In The 1970s and Beyond and is a further reminder of the groundbreaking and innovative music being released in Venezuela during what was a golden age for underground music.
Venezuela 70 Volume 2: Cosmic Visions Of A Latin American Earth: Venezuelan Experimental Rock In The 1970s and Beyond,
THE LIBRARY MUSIC FILM: MUSIC FROM AND INSPIRED BY THE FILM.
The Library Music Film: Music From and Inspired By The Film.
Label: Legere Recordings Germany.
During the last few years, there’s been a resurgence of interest in library music, with British and European independent record labels releasing lovingly curated compilations that are welcomed by a coterie of musical connoisseurs who have a passion for library music. This includes DJs, producers and record collectors who are willing to pay large sums of money to add rare releases to their collections of library music.
Many British collectors of library music started off collecting releases by labels like KPM, De Woife, Amphonic, Conroy and Sonoton from the sixties, seventies early eighties, which is regarded by many collectors as a golden age for library music. This is ironic as albums of library music were never meant to fall into the hands of collectors.
Originally, library music was meant to be used by film studios or television and radio stations, and was never meant to be commercially available. The music was recorded on spec by music libraries who often hired young unknown composers, musicians and producers. This ranged from musicians who were known within publishing circles, to up-and-coming musicians who later, went onto greater things, and look back fondly at their time writing, recording and producing library music. This they now regard as part of their musical apprenticeship.
For the musicians hired to record library music, their remit was to music libraries with a steady stream of new music, which was originality referred to as production music. During some sessions, the musicians’ remit was write and record music to match themes or moods. This wasn’t easy, but after a while they were able to this seamlessly. Soon, the musicians were able to enter the audio and write and record a piece of music that matched a theme or mood for a film or television show.
Once the library music was recorded, record libraries sent out demonstration copies of their music to advertising agencies, film studios, production companies, radio stations and television channels. If they liked what they heard, they would license a track or several tracks from the music libraries. That was how it was meant to work.
Sometimes, copies of these albums fell into the hands of record collectors, who realising the quality of music recorded by these unknown musicians, started collecting library music. However, it always wasn’t easy to find copies of the latest albums of library music. That was until the arrival of the CD.
Suddenly, record collectors and companies across Britain were disposing of LPs, and replacing them with CDs. It didn’t matter that the prices of LPs were at all-time low, some record collectors just wanted rid of their collection they were replacing with CDs. With people literally dumping LPs, all sorts of musical treasure was available to record collectors who didn’t believe the hype about CD. This included everything from rare psych and progressive rock right through to albums of library music. These albums were often found in car boot sales, second hand shops and charity for less than a skinny latte macchiato.
This was the case throughout the period that vinyl fell from grace, and suddenly, it was possible for collectors of British library music to add to their burgeoning collections. Gradually, longtime collectors of library music had huge and enviable collections and were almost running out of new music to collect. Some of them decided that the time had come to see what European library music had to offer.
Now these collectors had a whole continent’s worth of library music to discover. Some collectors were like magpies buying albums from all over Europe, while others decided to concentrate on just one country or company. Although it was more expensive to collect European library music, gradually, enviable new collections started to take shape.
This includes French, German and Italian library music which was recorded during the sixties and seventies, and features on The Library Music Film: Music From and Inspired By The Film which has just been released by Legere Recordings Germany.
The Library Music Film: Music From and Inspired By The Film has just been released as a companion to Shawn Lee’s critically acclaimed documentary on the pioneers of library music. It features seventeen tracks obscure track selected by some of the various DJs and producers who contributed to the movie. They dug deep and chose tracks from KPM, Music De Wolffe, Bosworth and Tele Music of France. These tracks ooze quality and were produced by some of the giants of library music who were pioneers and are welcome additions to The Library Music Film: Music From and Inspired By The Film
Side One.
Opening side one of The Library Music Film: Music From and Inspired By The Film is the jazz-funk of Tonio Rubio’s slow burner Bass In Action No. 1. It’s followed by The Roger Webb Sound’s Grey Sigh which is taken from the 1971 Music De Wolfe album Moonshade. It features a fleet fingered guitar solo and a sultry saxophone that play their part in the sound and success of a track from a library music pioneer. Nick Ingman’s Tense Preparation is a playful Blaxploitation inspired track from his 1976 KPM album Distinctive Themes/Race To Achievement.
The quality continues with Peter Thomas’ Moog heavy space funk Coordinates Meeting from his 1973 album Sound Music Album 5, which was released on Golden Ring Records. One of the most innovative tracks is Brian Bennett and Alan Hawkshaw’s synth-laden, cinematic and timeless Day-Tripper. The same can be said of Bernard Estardy’s Gang Train which featured on his 1974 album Claviers.
Geoff Bastow’s rueful and rocky Change Of Pace featured on his 1976 album Music To Varnish Owls By. It was released by JW Music Library. There’s a Hammond organ to the fore on I Marc 4’s Rayban, which sounds as if it belongs on the soundtrack to a British seventies police drama. Very different is slow, shuffling and exotic strains of Piero Umiliani’s Nel Villaggio which closes side on of The Library Music Film: Music From and Inspired By The Film.
Side Two.
James Asher’s dramatic sounding electronic rock Umbrellas is taken from the 1980 compilation Gyroscope which was released on Bruton Music. Tony Kinsey’s filmic, dramatic and rocky Virgin Land is taken from the 1970 KPM split album Construction In Jazz. Johnny Pearson is another pioneer of library music, and contributes Heavy Action which featured on the 1974 KPM compilation Industrial Panorama and was the theme to the BBC TV program Superstars. William Parrish and Alan Parker’s Main Chance is a slice of cinematic jazz funk that featured on the soundtrack to Hogan, The Hawk And Dirty John Crown. Closing The Library Music Film: Music From and Inspired By The Film is Marcello De Martino Rhythm and Brass Combination’s urgent sounding Speed Fever. It closes the compilation on a memorable high.
While there’s been a number of compilations of library music released over the last few years, The Library Music Film: Music From and Inspired By The Film is one of the best. It’s a lovingly curated compilation which features obscurities aplenty recorded and released by some music libraries in Britain and Europe.
Some of the tracks were recorded by the pioneers of British library music. These composers and musicians made a comfortable living recording library music, and enjoyed working as session musicians. Some of these composers and musicians who began their career writing and recording library music went on to enjoy long and successful careers, others shied alway from the limelight, but recorded music that was heard by millions on British television.
There’s also contributions from their European counterparts on The Library Music Film: Music From and Inspired By The Film, which is the perfect companion to o Shawn Lee’s critically acclaimed documentary on the pioneers of library music.
The Library Music Film: Music From and Inspired By The Film.
MARIANNE FAITHFULL-COME AND STAY WITH ME-THE UK 45s 1964-1969.
Marianne Faithfull-Come And Stay With Me-The UK 45s 1964-1969.
Label: Ace Records.
Release Date: ‘26th’ October 2018.
In March 1964, nearly two years after The Beatles released Love Me Do it was already 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 Faithfull family had to move to Ormskirk in Lancashire, while her father finished his doctorate at Liverpool University. Later, the Faithfull 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 Faithfull 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 Faithfull and her mother were reduced to living in suburbia. To make matters worse, Marianne Faithfull 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 Faithfull 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 Faithfull threw herself into. It was as if she was making up for the Reading years. London was different from small-town Reading. Marianne Faithfull 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 Faithfull had been playing coffee shops, including Cafe Au Lait and Shades. Her career was in its infancy, but through John Dunbar, Marianne Faithfull 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 Faithfull 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 Faithfull 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 Faithfull was introduced to Andrew Loog Oldham. Straight away, he signed Marianne Faithful to Decca Records. Soon, work began on Marianne Faithfull’s debut single.
For Marianne Faithfull’s debut single, As Tears Go By, which was penned by Mick Jagger and Keith Richards was chosen. On the B-Side was Greensleeves and both sides were 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. On the B-Side was House Of The Rising Sun which had given The Animals the biggest hit of their career.
When Blowin’ In The Wind was released later in 1964, 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
This included Come My Way which was released on the ’15th’ April 1965 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 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.
Critics remarked that some of the song’s were perfectly suited to Marianne Faithful in their reviews. When Marianne Faithfull was released 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 in 1965 with What Have I Done Wrong on the B-Side. It reached number four in Britain, and twenty-six in the US Billboard 100. Then This Little Bird was released later in 1965 with Morning Sun on the flip-side. It reached number six in Britain, and thirty-two in the US Billboard 100. For Marianne Faithfull this was a fairytale, as just 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 Faithfull, she married John Dunbar on the 6th of May 1965, in Cambridge. After the wedding, the pair lived in a flat in Belgravia, in London and What looked like a fairytale continued.
Although newly married and expecting her first child, Marianne Faithfull had to record a new American album Go Away From My World. It featured twelve tracks, which were a mixture of traditional songs and cover version. The Reviews of Go Away From My World which featured a mixture of pop and folk were mainly positive. This was quite different to the pop oriented Marianne Faithfull.
In May 1965 released the Go Away From My World EP in Britain which also featured a cover of Donovan’s The Most Of What Is Least, Et Maintenant (What Now My Love? and The Sha La La Song. The EP was followed by the release of the Go Away From My World album.
After the success of Marianne Faithfull in America, Go Away From My World reached a disappointing eighty-one on the US Billboard 200. This was a bitter blow for Marianne Faithfull.
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 which featured Oh Look Around You on the B-Side 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 Faithfull left her husband of seventh months, and went to live with the Rolling Stones’ frontman Mick Jagger. Little did Marianne Faithfull realise this decision would change her life, and people’s perception of her forever more. That was still to come.
Before that Marianne Faithfull released her mew North Country Maid on the ‘1st’ of April 1966 to critical acclaim. It was an eclectic album that featured folk, blues, country, acid folk and even pop. Despite the quality and eclectic nature of North Country Maid failed to chart on its release. For Marianne Faithfull this was another bitter blow. To make matters worse Tomorrow’s Calling which featured That’s Right Baby failed to failed to chart. This made Marianne’s next album and single crucial ones.
Later in 1966, Marianne Faithfull released Counting as a single with I’d Like To Dial Your Number on the B-Side. Just like her previous single, Counting failed to trouble the charts
The next single that Marianne Faithfull released was Is This What I Get For Loving You? in February 1967. It was one of her finest singles but stalled at forty-three in Britain. Sadly, Is This What I Get For Loving You was overshadowed by what happened next.
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 prurient 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 suburban two up, two downs. They stood in judgment of Marianne Faithfull, 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 Faithfull parted company. Marianne’s Decca Records ‘ swan-song was her most underrated albums.
Just over two years later Decca Records released Something Better as a single in 1969, with Sister Morphine on the B-Side. However, not long after the single was released it was withdrawn by Decca Records and brought to an end her five year association with the label. It’s documented on Come And Stay With Me-The UK 45s 1964-1969 which will be released by Ace Records on the ‘26th’ of October 2018.
Come And Stay With Me-The UK 45s 1964-1969 charts the rise and eventual fall of Marianne Faithfull. She made her breakthrough in 1964 as a teenager, but just three short years later in 1967 had her reputation dragged through the mud by those moral arbiters the tabloid press. They relished their role in feeding salacious tittle-tattle to the little judgmental people in their suburban homes.
The reaction of the press and public played its part in the decision that executives at Decca Records made, and twenty-one year old Marianne Faithfull parted company with Decca Records.
By then, Marianne Faithfull had enjoyed commercial success and critical acclaim and was a versatile and talented singer. She had enjoyed seven hit singles which all feature on Come And Stay With Me-The UK 45s 1964-1969 which are a reminder of Marianne Faithfull’s Decca Records years when it looked like she was about to become one of the biggest female singers of the sixties.
Marianne Faithfull-Come And Stay With Me-The UK 45s 1964-1969.
SHE CAME FROM HUNGARY! 1960S BEAT GIRLS FROM THE EASTERN BLOC.
She Came From Hungary! 1960s Beat Girls From The Eastern Bloc.
Label: Ace International.
After releasing compilations of girl pop from France, Italy, Japan, Spain and Sweden, over the last few years, Ace International’s Beat Girls’ series turns heads to Eastern Europe and Hungary for the latest instalment in this long-running and successful compilation series. This new instalment is She Came From Hungary! 1960s Beat Girls From The Eastern Bloc which features twenty-four tracks which were recorded behind the Iron Curtain.
The story begins in the mid-sixties when there was a relaxation in the rule that all music released in Hungary had to adhere to strict socialist values. This no longer made sense in a country where nearly 40% of the population were aged twenty or under, and wanted to listen to popular music. However, not the music being released by Hungarian bands and singers. Instead, young Hungarians were listening to radio stations based in Western Europe and had discovered popular music.
This resulted in many up-and-coming Hungarian bands and singers being influenced by British and American popular music. However, there was still a problem for the new generation of Hungarian bands and singers. The music they released had to abide by the government’s Prohibited, Permitted and Propagated policy.
This draconian edict restricted lyrics and dress codes which bureaucrats believed were permissive or subversive. Adding to the woes of bands and singers was the National Centre for Popular Music. It had to approve each and every that was song recorded or performed live. After approval was granted, bands and singers were permitted to record and were accompanied by the National TV and Radio Orchestra, the Stúdió 11 ensemble. That was the case with the majority of tracks on She Came From Hungary! 1960s Beat Girls From The Eastern Bloc.
Only a very few Hungarian beat groups that were allowed to record on their own during this time. These groups were trusted by the authorities because they towed the party line and released music that was essentially propaganda for the Communist Party.
By then, the KISZ (Hungarian Young Communist League) had realised the growing interest in Western pop music within Hungary and decided to take advantage of this. They decided to promote Hungarian pop culture, and tried to convince young people into performing songs in their national language and using traditional folk instruments. The Hungarian Young Communist League even decided to organise a new competition.
This was the Táncdalfesztivál,which began in 1966, and was televised by the state broadcaster. Various artists and grouse competed live in the competition which proved popular with viewers in Hungary. Meanwhile, in the real world, the sixties were swinging in England the psychedelic era was well underway.
The Táncdalfesztivál proved so popular that it featured on Hungarian television for four years. After that, music in Hungary began to change.
During the four year period between 1966 and 1969 all Hungarian records were released on the state-run Qualiton label. The label was unlike most Western labels and in many cases, a different artist or band featured on either side of a single. However, it was easy to spot the most successful Hungarian artists as their singles were released in picture sleeves.
By the mid-sixties the Qualiton began to sign mainly beat girls including Sarolta Zalatnay, Kati Kovács and Zsuzsa Koncz, They were joined by groups Illés, Omega and Metro, who would become some of the most successfulHungarian music groups over the next few years. All these artists and groups feature on She Came From Hungary! 1960s Beat Girls From The Eastern Bloc.
One of the biggest names in Hungarian music was Sarolta Zalatnay who contributes Fekete Beat, Zold Borostyán and Vén Tükör. Her first hit single resulted in her winning a musical scholarship in London.
There’s highlights aplenty in this twenty-four track compilation ncluding Ha Csak Egy Fokkal Szebb Az Ördögnél’ by Gabi Fenyvesi, ‘Keresek Egy Fiút and Mária Wittek’s Keresek Egy Fiút and Éva Nagy’s freakbeat cult classic Ez Az Utolsó Randevúnk which opens She Came From Hungary! 1960s Beat Girls From The Eastern Bloc.
Add to this songs of the quality of Márta Bencze’s Csak Fiataloknak,Kyri Ambrus’ Júdás Vagy, Clementina Magay’s Zsákutca and Mindig Tanul Az Ember by Beáta Kard. There’s also Marika Késmárky’s Nyílik Még Virág,Kyri Ambrus’ Ez A Szerelem, Kati Kovács’Hazudik A Drág and Teréz Harangozó’s Hétköznapi Szerelem which closes She Came From Hungary! 1960s Beat Girls From The Eastern Bloc.
These songs are a reminder of quality of music that was being recorded and released in Hungary by the Hungarian beat girls. However, these are just some of the highlights on She Came From Hungary! 1960s Beat Girls From The Eastern Bloc, which was recently released by Ace International, an imprint of Ace Records.
She Came From Hungary! 1960s Beat Girls From The Eastern Bloc is a welcome addition to this this long-running and successful compilation series. This new instalment features a tantalising taste of the music which was being recorded behind the Iron Curtain. Sadly, the wider world was unable to hear the music which features on She Came From Hungary! 1960s Beat Girls From The Eastern Bloc.
That was a great shame as there are many talented artists and groups on She Came From Hungary! 1960s Beat Girls From The Eastern Bloc which deserved to be heard by a wider audience. Now some fifty years later, the music on She Came From Hungary! 1960s Beat Girls From The Eastern Bloc somewhat belatedly can be heard by a wider audience during Ace International’s first journey behind the Iron Curtain with the beat girls.
She Came From Hungary! 1960s Beat Girls From The Eastern Bloc.
BOB STANLEY AND PETE WIGGS PRESENT STATE OF THE UNION.
Bob Stanley and Pete Wiggs Present State Of The Union.
Label: Ace Records.
Release Date: ‘26th; October 2018.
By 1968, the times they were a changing in the land of the free, and many Americans watched on as the country they loved and were proud of changed, and sadly not for the better. The Vietnam War was raging, while at home Americans were still struggling to comprehend the assassination of President Kennedy in 1963.
Less than three years later, Dr Martin Luther King, one of the leading lights of the civil rights movement was assassinated on the ‘4th’ of April 1966, in Memphis. This shocked many Americans. So did the assassination of Robert Kennedy on the ‘6th’ of June 1966. Many Americans thought things couldn’t get any worse.
Sadly they did, and over the next two years unemployment and inflation grew and more Americans became victims of poverty. Many were living in substandard housing and frustrated at their lack of prospects for themselves, their children and grandchildren. The American Dream for many was fast becoming a nightmare.
Political commentators found themselves reporting on everything from racism and race riots to pollution in Cleveland and California to the sudden increase in the divorce rate. Many Americans wondered what was happening to their country?
Meanwhile, music was changing in America, and many of the pre-Beatles generation of artists and bands were no longer as popular. Others were reinventing their music, and some were becoming politicised and others releasing music full of social comment.
This included the comeback King Elvis Presley w who released Clean Up Your Own Back Yard in 1968. For an artist who usually kept out of politics, this was a first for Elvis Presley who had just returned to music.
Another artist on the comeback trail was Dion, who who had spent four years battling heroin addiction, before returning with Abraham, Martin and John in 1968. This resulted in a return to American for another of the pre-Beatles generation of musicians.
This included the Chairman Of The Board Frank Sinatra, who tackled the subject of divorce in his 1970 single The Train. Two years previously, The Four Seasons tackled the break-up of the nuclear family in Saturday’s Father.
One of the most powerful and poignant tracks was the Beach Boys’ ‘4th’ Of July lost classic. Another hidden gems is the title-track from Lou Christie’s 1971 album.
The standout track on Eartha Kitt’s 1970 album was Paint Me Black Angels where she tackles the subjects of racism and religion. Another powerful track is Roy Orbison’s 1969 seven-minute single Southbound Jericho. Equally powerful and thought-provoking singles from 1968 were Bobby Darin’s Questions and Paul Anka’s 1968 single This Crazy World. They both may have been part of the pre-Beatles generation of singers but were determined to make music that was relevant.
The Tokens’ Some People Sleep is a track from their 1968 lost album Intercourse. It’s two magical minutes harmony pop that is a welcome addition to Bob Stanley and Pete Wiggs Present State Of The Union. So to is Buddy Greco’s cover of Cardboard California which was arranged and produced by Tony Hatch after the singer moved to Britain. It documents another side to the music industry, that is very different to the world populated by The King and Frank Sinatra.
Two of the most powerful songs on Bob Stanley and Pete Wiggs Present State Of The Union are cover versions, This includes Teresa Brewer’s 1972 cover of Gil Scott-Heron’s Save The Children and The Brothers Four version of Lennon and McCartney’s Revolution which is fitting way to close Bob Stanley and Pete Wiggs Present State Of The Union.
Just like the two previous compilations they’ve compiled for Ace Records, Bob Stanley and Pete Wiggs Present State Of The Union is another lovingly curated collection of songs. It features twenty-four songs from artists and bands from the pre-Beatles generation. Some of these artists and bands are familiar face and among the biggest names in music. They’re joined by some lesser known names on Bob Stanley and Pete Wiggs Present State Of The Union which covers the period between 1967 when the American Dream became a nightmare for many.
Bob Stanley and Pete Wiggs Present State Of The Union.
MULATU ASTATKE AND THE ETHIOPIAN QUINTET-AFRO LATIN SOUL-VINYL
Mulatu Astatke and The Ethiopian Quintet-Afro Latin Soul-Vinyl.
Label: Strut Records.
By 1966, Ethiopian multi-instrumentalist Mulatu Astatke was twenty-three, and had already spent time studying music in London, Boston and New York. This included spells at two prestigious institutions, London’s Trinity College of Music and Boston’s Berklee College of Music. However, having finished his studies, Mulatu Astatke was ready to embark upon a musical career.
In 1966, twenty-three year old Mulatu Astatke led the The Ethiopian Quintet when they recorded Afro-Latin Soul Volume 1 and Volume 2 which have just been rereleased by Strut Records. These two albums marked the debut of the man who would later become the founding father of Ethio-jazz, Mulatu Astatke.
He was born in the city of Jimma, in south-western Ethiopia, on ‘19th’ December 1943, and growing up, Mulatu Astatke developed a love of music. Over the next few years, he learnt to play a variety of instruments, including the vibraphone, conga drums, percussion, keyboards and organ. Mulatu Astatke developed into a talented multi-instrumentalist and it looked as if Mulatu Astatke would embark upon a career in music. Suddenly, though, any dreams Mulatu Astatke had of embarking upon a career in music were dashed.
Towards the end of the fifties, Mulatu Astatke’s family sent him to Wales study engineering. However, Mulatu Astatke had other ideas and enrolled at Lindisfarne College near Wrexham which prepared him for his studies in London, New York and Boston.
After completing his course at Lindisfarne College, Mulatu Astatke enrolled at Trinity College of Music, where he spent the next few years studying towards a degree in music. Having graduated, Mulatu Astatke began collaborating with jazz singer and percussionist Frank Holder. The pair formed a fruitful partnership, and for a while, Mulatu Astatke was part of London’s jazz scene. Eventually though, Mulatu Astatke decided to head stateside, where he would continue his studies and career.
Next stop for Mulatu Astatke was Boston, and the prestigious Berklee College of Music. He became the first African student to enrol and study at Berklee College of Music. For the next few years, Mulatu Astatke studied the vibraphone and percussion and remembers: “ I learnt the technical aspects of jazz and gained a beautiful understanding of many different types of music. That’s where I got my tools. Berklee really shook me up.” His spell at Berklee College of Music proved an important period in Mulatu Astatke’s career. So did a journey to New York
While studying in Boston, Mulatu Astatke would often travel to New York to play gigs, and other times, to watch concerts at venues like The Cheetah, The Palladium and The Village Gate. It was during one of these journeys to the Big Apple that Mulatu Astatke met producer Gil Snapper for the first time. “Gil was a nice and very interesting guy. He produced music and worked with all kinds of musicians.” This would eventually include Mulatu Astatke.
After graduating from Berklee College of Music, which had been a life-changing experience for Mulatu Astatke, he moved to New York and continued his studies. Having settled in New York, began experimenting by fusing Ethiopian music, Afro Latin and jazz.
Mulatu Astatke remembers: “I have always felt a deep connection between Latin and African music…I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-‘60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians – the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena.” Little did anyone know that The Ethiopian Quintet was a about to make history.
With the support of Worthy Records and the help of Gil Snapper who offered to record and produce The Ethiopian Quintet, Mulatu Astatke had to chance to record his new genre-melting music. It was already regarded as ambitious, innovative and culturally important. Here was music that had the potential to take Ethiopian music in a new direction. For a proud Ethiopian like Mulatu Astatke, these were exciting times, as he began recording not one, but two albums for Gil Snapper’s Worthy label.
Afro-Latin Soul Volume 1,
The first album was Afro-Latin Soul Volume 1 which would eventually feature ten tracks. This included I Faram Gami I Faram, Mascaram Setaba, Shagu, One For Buzayhew, Almaz and Mulatu’s Hideaway. Other tracks included Rudy Houston’s Askum, Oscar Garcia’s Playboy Cha Cha and Alone In The Crowd which was penned by Gil Snapper. He also joined forces with Charles Weiss to write A Kiss Before Dawn. These songs recorded by The Ethiopian Quintet and would feature on Afro-Latin Soul Volume 1,
During that initial session, it was obvious that Mulatu Astatke taking African music in a new direction. Gil Snapper describes what was at the heart of this new sound on the sleeve-notes to Afro-Latin Soul Volume 1: “he has taken the ancient five-tone scales of Asia and Africa and woven them into something unique and exciting; a mixture of three cultures, Ethiopian, Puerto Rican and American.”
One of the songs on the album I Faram Gami I Faram, was Mulatu Astatke’s adaptation of a traditional ancient Ethiopian warrior song. Ideally, Mulatu Astatke wanted to use an Ethiopian singer for the recording of the song, which featured Latin lyrics. However, when an Ethiopian singer couldn’t be found, the lyrics were translated to Spanish and Mulatu Astatke who took charge of the lyrics. While this was a departure from the original ancient Ethiopian warrior song, the new version was powerful and the new arrangement and vocal took the song in a new direction.
Meanwhile, Mulatu Astatke was proving to be a talented composer, arranger, bandleader and multi-instrumentalist who could play a variety of instruments. This included the vibraphone, congas, percussion, keyboards and organ. However, Mulatu Astatke didn’t use his entire musical arsenal as he led from the front during what was an ambitious, genre-melting album that mostly featured instrumentals. They were carefully crafted and featured a new and innovative sound which would influence the future direction of Ethiopian music.
Up until Mulatu Astatke released Afro-Latin Soul Volume 1 in 1966, Ethiopian musicians neither used congas nor bongos on when recording popular music. This would change when musicians back home in Ethiopia heard Afro-Latin Soul Volume 1 which featured elements of disparate musical genres.
Mulatu Astatke and The Ethiopian Quintet as Gil Snapper said combined the music of three cultures on Afro Latin Soul. Musical alchemist Mulatu Astatke combined the music of Ethiopia, Puerto Rica and American as he recorded Afro-Latin Soul Volume 1. He combined Ethiopian music, Afro Latin and jazz with Latin soul-jazz and even R&B-tinged boogaloo. The result was a groundbreaking album of genre-melting music.
The highlights of Afro-Latin Soul Volume 1 were Mulatu Astatke’s compositions being the album’s shining lights. Especially tracks of the quality the album opener I Faram Gami I Faram plus Mascaram Setaba, Shagu and Mulatu’s Hideaway. They’re joined by the jazz ballad A Kiss Before Dawn and the Latin jazz of Playboy Cha Cha which closes Afro-Latin Soul Volume 1.
Having released Afro-Latin Soul Volume 1, Mulatu Astatke and The Ethiopian Quintet had no idea that they had just released an important and influential album would influence and inspire musicians back home in Ethiopia. Afro-Latin Soul Volume 1 was also one of the stepping-stones that led Mulatu Astatke to becoming the founding father of Ethio-jazz. The next step was Afro-Latin Soul Volume 2.
Afro-Latin Soul Volume 2.
Buoyed by the reception that Afro-Latin Soul Volume 1 received, Mulatu Astatke keen to record another album. While Afro-Latin Soul Volume 1 hadn’t been a huge commercial success, Worthy Records agreed and Mulatu Astatke and The Ethiopian Quintet entered the studio to record what became Afro-Latin Soul Volume 2.
This time, Mulatu Astatke arranged the traditional song Lover’s Mambo and penned Girl From Addis Ababa. Rudy Houston contributed The Panther (Boogaloo), Soul Power, Love Mood For Two, Jigger and Raina. The remainder of the tracks, Konjit (Pretty) and Karayu were written by Oscar Garcia, and became part Afro-Latin Soul Volume 2, which was Mulatu Astatke and The Ethiopian Quintet’s sophomore album.
Later in 1966, Mulatu Astatke and The Ethiopian Quintet returned with his sophomore album, Afro-Latin Soul Volume 2. Stylistically, it was similar to his genre-melting debut album as Mulatu Astatke and The Ethiopian Quintet fused and switched between Ethiopian music, Afro Latin and jazz with Latin soul-jazz and even R&B-tinged boogaloo. Mostly, though, Mulatu Astatke’s vibes are accompanied by a piano and conga drums that add Latin rhythms. This was regarded as new and innovative back home in Ethiopia.
Mulatu Astatke’s fellow musicians and record buyers were amazed as they listened to such what was another ambitious and eclectic album. It made an impression from the get-go, when The Panther (Boogaloo) opened the album. After that, Mulatu Astatke and The Ethiopian Quintet take the listener on a captivating musical journey with musical influences and genres melting into one. Among the highlights were Mulatu Astatke’s reworking of the traditional song Lover’s Mambo Girl From Addis Ababa, which is the album’s standout track. Along with Soul Power, Lover’s Mambo, Love Mood For Two, Karayu and Raina, Afro-Latin Soul Volume 2 was another ambitious and groundbreaking album of genre-melting music.
Despite this, some critics thought that Mulatu Astatke and The Ethiopian Quintet’s Afro Latin Soul Volume 2 was similar to many other Latin-jazz records released during the mid-sixties. Given the fusion of disparate genres on Afro Latin Soul Volume 2, this must have been a disappointing comment. Latin-jazz was just one part of the genre-melting recipe on Afro Latin Soul Volume 2. It seemed that the critics hadn’t listened closely enough to Afro Latin Soul Volume 2, which was a very different and much more ambitious album to other Latin-jazz albums.
When Afro Latin Soul Volume 2 was released later in 1966, it wasn’t a hugely successful album, but found an audience who embraced and were appreciative of what was an ambitious and innovative album. It was a similar case back home in Ethiopia.
Just like Afro Latin Soul Volume 1, Afro Latin Soul Volume 2 influenced and inspired musicians in Ethiopia who followed in Mulatu Astatke’s footsteps. Up until Mulatu Astatke and The Ethiopian Quintet released Afro-Latin Soul Volume 1 in 1966, Ethiopian musicians neither used congas nor bongos on when recording popular music. This had started to change when Ethiopian heard Afro-Latin Soul Volume 1 and its followup Afro Latin Soul Volume 2. However, while both albums influenced Ethiopian musicians, Mulatu Astatke’s third album was a game-changer.
As the sixties gave way to the seventies, Mulatu Astatke’s music began to change. This was a conscious decision, and one that was necessary. Mulatu Astatke needed and wanted to develop his own sound, and make music that stood out from the crowd.
Mulatu Astatke had decided to develop the sound that had featured on Afro-Latin Soul Volume 1 and 2. To this, Mulatu Astatke decided to add elements of funk and Azmari chik-chikka rhythms to his genre-melting sound. Gradually, this new sound began to take shape. The next step was to return to the studio, and record an album that showcased Mulatu Astatke’s new sound.
Mulatu Of Ethiopia.
By 1972, Mulatu Astatke had gained the necessary skills to fuse the disparate musical genres to create Ethio-jazz. It had taken time and perseverance. Now the twenty-nine year old was ready to return to the studio to record his long-awaited third album, Mulatu Of Ethiopia.
Joining Mulatu Astatke at a studio in downtown Manhattan, were producer Gil Snapper and the band that would record eventually record Mulatu Of Ethiopia. Before that, Mulatu Astatke put his multitalented band through their paces. The band featured some of the Big Apple’s top Latin session musicians and several young, up-and-coming jazz musicians. They would spend the next four weeks rehearsing, and honing Mulatu Astatke’s new sound. He remembers that: “it took them a while to get the right feeling in the music.” Eventually, the band were ready to record what would become a landmark album, Mulatu Of Ethiopia.
The release of Mulatu Of Ethiopia was a turning point in Mulatu Astatke’s career, and after spending several years searching for his own sound, Mulatu Astatke had eventually settled on what would become his trademark sound, Ethio-jazz. It’s the sound that eventually Mulatu Astatke would become famous for.
While Mulatu Astatke released his first album of Ethio-jazz in 1972, Mulatu Of Ethiopia wasn’t a hugely successful album, it influenced a generation of Ethiopian musicians. They adopted the new Ethio-jazz sound, and for the second time in his career, Mulatu Astatke was influencing Ethiopian musicians from afar. At least his fellow countrymen understood the importance of this ambitious and innovative album.
It was until much later that record collectors discovered Mulatu Of Ethiopia, and realised just how important, influential and innovative an album it was. Sadly, by then, Mulatu Of Ethiopia was out of print, and very few original copies of the album were still available. Occasionally, record collectors chance upon a copy of Mulatu Of Ethiopia, and picked it up in the bargain bins. Mostly though, copies of Mulatu Of Ethiopia were changing hands for large sums of money. What had once been a £200 album was changing hands for upwards of £600. This was a reflection of the importance of Mulatu Of Ethiopia, which was the first album of Ethio-jazz, from the genre’s founding father, Mulatu Astatke.
For Mulatu Astatke, Mulatu Of Ethiopia was a game-changer of an album. At last, after years of searching for his own sound, Mulatu Astatke had discovered his own unique sound. This Mulatu Astatke called Ethio-jazz.
The first Ethio-jazz album was Mulatu Of Ethiopia, which influenced and inspired a generation of Ethiopian musicians. Now forty-six Mulatu Of Ethiopia continues to influence a new generation of musicians. However, Mulatu Astatke would never have recorded Mulatu Of Ethiopia if Mulatu Astatke and The Ethiopian Quintet hadn’t recorded the two volumes of Afro Latin Soul.
Afro Latin Soul Volume 1 was the start of a journey for Mulatu Astatke as he began to develop and hone his sound with The Ethiopian Quintet. He continued to do this later in 1966 when Mulatu Astatke and The Ethiopian Quintet released Afro-Latin Soul Volume 2. Both album genre-melting albums found musical pioneer combining the music of three cultures as he combined disparate genres in his quest to modernise Ethiopian music. This Mulatu Astatke and The Ethiopian Quintet succeeded in doing as he started to discover and develop his own unique sound. It can be heard on Afro-Latin Soul Volume 1 and Afro-Latin Soul Volume 2, which have been reissued by Strut Records as Afro Latin Soul.
Strut Records also reissued Mulatu Astatke’s landmark album Mulatu Of Ethiopia in 2017, which was the first ever Ethio-Jazz album. However, Mulatu Astatke would never have become the founding father of Ethio-Jazz if the bandleader hadn’t recorded the two genre-melting albums that feature on Afro Latin Soul. They were stepping-stones for Mulatu Astatke who is regarded as a pioneer of Ethiopian music who changed and helped modernise Ethiopian. Mulatu Astatke also influenced and inspired Ethiopian musicians with the two albums on Afro Latin Soul and his Ethio-Jazz classic Mulatu Of Ethiopia, which belong in the collections of anyone with even a passing interest in African music.
Mulatu Astatke and The Ethiopian Quintet-Afro Latin Soul-Vinyl.
GORDON JACKSON-WHAT MIGHT HAVE BEEN?
Gordon Jackson-What Might Have Been?
Over the past to fifty years, there are many artists in Britain and America who could’ve and should’ve enjoyed long and successful careers. Some of these artists even recorded albums that should’ve launched or kickstarted their solo careers . Sadly, the fickle finger of fate decided otherwise and commercial success eluded them.
That was the case with British singer-songwriter Gordon Jackson. Despite being hugely talented, Gordon Jackson only ever released one album his lost classic Thinking Back, which is often referred to as a: “lost Traffic album.” However, that isn’t strictly true, despite Dave Mason, Jim Capaldi, Chris Wood and Steve Winwood all playing on Thinking Back which should’ve launched Gordon Jackson’s solo career in 1969. By then, he was an experienced musicians.
The Hellions.
The story began in the spa town of Worcester, England, in 1963. That was when drummer and vocalist Jim Capaldi, who previously had been a member of The Sapphires, joined forces with guitarists Gordon Jackson from Unit Five and Dave Mason who had been a member of The Jaguars formed The Hellions. However, the nascent lineup of The Hellions was still looking for a bassist and during the first few months various bassists joined and left the band.
Eventually, The Hellions were introduced to bassist Dave Meredith, who previously, had been a member of The Cherokees. Now a four piece band, The Sapphires were soon a popular draw in the Worcester area and regularly played at the Flamingo Coffee Bar. However, this was just the start for The Hellions.
By August 1964, The Hellions had turned professional, and like The Beatles before them, headed to Star Club in Hamburg, West Germany, where they became the backing band for Tanya Day a singer from Walsall. She had recently appeared on the British television show Thank Your Lucky Stars, and was regarded as something of celebrity in Britain and Germany. The next chapter in career unfolded in Hamburg, with The Hellions
Over the next few months, The Hellions discovered just how gruelling the life of a professional musician was in West Germany. This is something that The Beatles had discovered, and the gruelling schedule helped them to improve as a band. It was a similar case with The Hellions, and another band they met in Hamburg.
This was The Spencer Davis Group, who became friendly with The Hellions. Especially The Spencer Davis Group vocalist Steve Winwood, who quickly discovered that he had much in common with Jim Capaldi and Dave Mason. The friendship that was formed in Hamburg would blossom when the two groups returned home.
After returning home, The Hellions were a much tighter band and were soon backing some of the big names who visited the Midlands, including Adam Faith and Dave Berry. However, by the end of 1964, The Hellions were ready to leave the Midlands after securing a residency at the Whisky-A-Go-Go Club in London.
This brought The Hellions to the attention of the American record producer Kim Fowley and songwriter Jackie De Shannon, who helped the band secure a recording contract with Pye.
In 1964, The Hellions released their debut single Daydreaming Of You on the Pye imprint Piccadilly. It was penned by Jackie De Shannon, and produced by Kim Fowley, but sadly, the single failed to trouble the charts. History repeated itself when The Hellions released Tomorrow Never Comes and A Little Lovin’ in 1965.
Despite their lack of commercial success, The Hellions were asked to open for American vocalist PJ Proby when he toured Britain. This The Hellions hoped would introduce their music to a new and wider audience. However, still The Hellions struggled to make a commercial breakthrough.
Although the band was still to enjoy its first hit single, The Hellions added flautist and vibraphonist John “Poli” Palmer to their lineup. However, he switched to drums, which allowed Jim Capaldi to take charge of the lead vocals.Alas, this change in The Hellions didn’t result in a change in fortune for the group.
By 1966, The Hellions were struggling financially, and the expenses were mounting with each passing week. They had no option but to return to Worcester where they had started out three years earlier. However, the music scene was very different in Worcester by 1966, and things weren’t looking good for The Hellions.
As a last roll of the disc, The Hellions released one more single in 1966. This was Hallelujah, which was credited to The Revolution, but sank without trace. It was the end of the road for one of The Hellions.
Guitarist Dave Mason left The Hellions and played with various local groups, and worked as a roadie for The Spencer Davis Group. Meanwhile, Jim Capaldi brought guitarist Luther Grosvenor who had been a member of The Wavelength onboard and renamed The Hellions as Deep Feeling.
Deep Feeling.
The newly named Deep Feeling started playing in and around Birmingham, and became known for a heavier, psychedelic-tinged type of music. This they wrote themselves, and when they played live, every band member sang. When John “Poli” Palmer switched to flute or vibes, Gordon Jackson played drums. Deep Feeling was a cut above most of the bands on the Birmingham scene, and surely it was just a mater of time before they were discovered?
It was The Yardbirds manager and producer Giorgio Gomelsky that expressed an interest in Deep Feeling after seeing them play live in Cheltenham. Not long after that, Giorgio Gomelsky arranged for Deep Feeling to record their debut album. However, although the band recorded several songs, only the Jim Capaldi, Gordon Jackson and John “Poli” Palmer composition Pretty Colours was released as a single, but only in France.
Meanwhile, Deep Feeling started to travelling to London on a regular basis, and that was where they met The Animals’ manager Chas Chandler. He asked if a young, unknown American guitarist called Jimi Hendrix could join them on stage. Deep Feeling agreed and that night, three became four. Little did anyone realise that Jimi Hendrix who made his debut on a British stage with Deep Feeling would go on to become a legendary musician.
Around this time, the former Hellions guitarist Dave Mason was still drifting between bands and working as road manager for The Spencer Davis Group, who sometimes, played at The Elbow Room in Birmingham. That was there where Jim Capaldi and Dave Mason from Deep Feeling and Steve Winwood from The Spencer Davis Group would sometimes join forces with saxophonist and flautist Chris Wood who previously had been a member of Chicken Shack, and was now a member of Locomotive. However, what started out as a jam session ended up in the formation of a new band.
In early 1967,Steve Winwood announced that he was leaving The Spencer Davis Group and was about to form Traffic with Jim Capaldi, Dave Mason, and Chris Wood. This was a huge shock to the remaining members of Deep Feeling, who after careful consideration, decided to call time on the band and embark upon other musical projects.
The Solo Years.
After the demise of Deep Feeling, Gordon Jackson and John “Poli” Palmer continued to write songs together, and it looked like they had established a successful songwriting partnership. However, this changed when Georgio Gomelsky offered Gordon Jackson a recording contract with his label Marmalade Records.
Georgio Gomelsky had formed Marmalade Records in 1966, and since then, it became home to the many artists that he managed. Marmalade Records which was distributed by Polydor Records, was about to become to Gordon Jackson when he signed his recording contract, and embarked upon a solo career.
Having signed the recording contract, Gordon Jackson was soon working on his debut solo single. He wrote two new songs, Me Am My Zoo which became the single and the B-Side A Day At The Cottage on the B-Side. Both sides were produced by Dave Mason and featured the first lineup complete of Traffic. Sadly, Me Am My Zoo failed to find an audience upon its release in May 1968 and didn’t even come close to troubling the British singles’ charts.
Despite that, Georgio Gomelsky encouraged Gordon Jackson to continue writing his debut album Thinking Back. He eventually had written seven new songs which were recorded in late 1968.
Just like the recording of his debut single,Dave Mason took charge of production on Thinking Back and brought onboard Traffic who became Gordon Jackson’s backing band. They were augmented by some top musicians.
Joining the members of Traffic were Gordon Jackson’s old friend and former songwriting partner, organist and pianist John “Poli” Palmer. He was joined by bassist Rick Grech, soprano saxophonist Jim King, conga player Rocki Dzidzornu and Remic Abacca played tabla, while Chicken Shack’s Rob Blunt switched between acoustic guitar, electric guitar and electric sitar. Adding backing vocalists Julie Driscoll, Spooky Tooth’s Luther Grosvenor and Reg King, Rob Blunt switched between acoustic guitar, electric guitar and electric sitar. Gordon Jackson played acoustic and rhythm guitar and laid down the vocals on Thinking Back. Once the album was complete, Thinking Back was scheduled for release on 1969.
Before the release of Thinking Back, which had the potential to launch Gordon Jackson’s solo career, and could’ve been a profitable release for Georgio Gomelsky’s Marmalade Records the record label failed to promote the album properly. This must have been hugely disappointing for Gordon Jackson given the quality of music on Thinking Back.
When Thinking Back was released by Marmalade Records in July 1969, and was a groundbreaking and melodic fusion of folk, pop, psychedelia, rock, soul, world music and a myriad of Eastern sounds. The supergroup that played the complex music on Thinking Back were tight and versatile, on the seven songs that feature on Thinking Back.
This includes the album opener The Journey which sounds as if belongs on Traffic’s Mr. Fantasy album, until Gordon Jackson delivers his inimitable vocal on this genre-melting track. It’s a memorable and melodic fusion of drama and Eastern sounds which features elements of folk, pop and psychedelia. The tempo drops on My Ship, My Star, which is a slow, beautiful and haunting track with a spartan arrangement where just an acoustic guitar and piano accompany Gordon Jackson’s melancholy vocal. Me and My Dog originally started life as Me Am My Dog when it was released as a single, but by the time Thinking Back was released, this catchy, melodic track had taken on a new lease of life. Despite the lyrics lacking the depth of the other tracks on Thinking Back, the song still leaves a lasting memory. Very different is Song For Freedom along, where the rhythm section drive the arrangement along as horns, percussion and backing vocalists accompany Gordon Jackson on this lost dancefloor friendly sixties anthem.
Sing To Me Woman which was released as a single, but failed to chart is an out-and-out rocker that could’ve given Gordon Jackson that elusive hit single. He’s accompanied by cooing harmonies as he delivers lyrics that are rich in imagery. The seven minute epic When You Are Small is atmospheric and full of Eastern sounds as a jazzy saxophone plays, while Gordon Jackson thinks back to his youth. Closing Thinking Back is Snakes And Ladder which, has a progressive arrangement and as Gordon Jackson’s heartfelt vocal delivers lyrics that are almost surreal on this complex and carefully crafted track. It ensures that Thinking Back which is a lost classic closes on a high.
For Gordon Jackson, his debut album Thinking Back was the one that got away. It featured seven songs that were variously beautiful, haunting, lysergic and ruminative. So much so, that some of the songs on Thinking Back encourage reflection. These songs are part of an album that should’ve launched Gordon Jackson’s solo career.
Sadly, when Thinking Back was released, Marmalade Records were experiencing distribution problems, which wasn’t a good sign for Gordon Jackson. Then after Marmalade Records had pressed around 2,000 copies of Thinking Back, the label collapsed. With Marmalade Records insolvent, this was a huge blow for Gordon Jackson who many critics felt had a big future ahead of him.
While Gordon Jackson continued to play live over the next few years, he never returned to the studio and only ever recorded one single and one album. That album, Thinking Back should’ve been the start of a long and successful career for this talented singer, songwriter and musician. Sadly, Thinking Back was Gordon Jackson’s one and only album, and after the demise of Marmalade Records he spent several years playing live, before turning his back on music and embarking upon a career restoring churches. Music’s loss was liturgical restoration’s gain and Gordon Jackson never released a followup to his lost classic Thinking Back.
Gordon Jackson-What Might Have Been?
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