THE BEGINNING OF THE END: THE EXISTENTIAL PSYCHODRAMA IN COUNTRY MUSIC (1956-1972).
The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1972)
Label: The Iron Mountain Analogue Research.
Across the world, staff at record label had been working hard for many months on nearly 500 reissues and lovingly curated compilations, which were due to be released on the ‘21st’ of April 2018 which was For Records Store Day. For many record buyers, this is one of the highlights of the year, and some are willing to camp outside their favourite record shop in the hope that they can secure their lengthy wish-list of reissues and compilations. This has become something of a tradition in recent years, and there’s a degree of community spirit as they queue during the wee small hours of the morning. However, as the time comes for record shops to open, suddenly, the atmosphere changes, and it’s a case of every man or woman for themselves.
Suddenly, as the doors open, the once orderly queue lurches forward, and people try gain an advantage over the person next to them, as they attempt to find every reissue and compilation on their wish-list. For many this included the two compilations of country music released by the Australian label, The Iron Mountain Analogue Research Facility, including The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1974). It was billed as” “sixteen tales of existential angst wrought from backwoods outsiders and Nashville Misfits,” and was a compilation many people were keen to add to their collection. There was only one problem, finding a copy, as only 500 albums had been pressed.
Sadly, many people struggled to find a copy of The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1974) and were left disappointed. However, not any more with the recent release of an expanded CD version of The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1972) which features thirty tracks. It seems that those that didn’t find a copy on Record Store Day are having the last laugh, and aren’t faced with buying the same album all over again to enjoy the fourteen extra tracks.
Having said that, it’s well worth buying the CD copy of The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1972) even if you’ve got one of the 500 copies of the vinyl version released for Record Store Day 2018. The newly expanded CD version features songs from the likes of Whitey Gallagher, Bobby Grove, Jimmy Griggs, Ed Bruce, Ray Sanders, Billy Rufus, George Kent, Johnny Dollar, Lonnie Holt, Tex Wayne and Bob Fry. There’s also tracks from David Price, Clay Hart, George Kent, Dave Dudley, Tony Gavin and Rube Gallagher on the CD version of The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1974), which is a reminder of what was a golden age for country music.
Tennessee born Whitey Gallagher opens The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1972) with Searching (I’m Always Looking, which was the B-Side of his 1967 single for Republic, Gotta Roam. Searching (I’m Always Looking) features a jaunty arrangement and a vocal that is a mixture of frustration, sadness and angst. So much so, it’s as if Whitey Gallagher has lived the lyrics he’s singing, during this powerful example of existential psychodrama in country music.
Another is Bobby Grove’s Whistle At The End Of The Gravy Train, which was the B-Side of his single To Protect The Innocent which was released on King in January 1957. Louise Webb penned which Whistle At The End Of The Gravy Train which features a soul-baring vocal that that bristles with emotion from the man from Worley, Kentucky.
When RCA Victor, which was home to many of the biggest names in country music, signed Jim Ed Brown in 1965, they had had high hopes for their newest signing. Three years later, Jim Ed Brown was paired with producer Felton Jarvis when he recorded The Enemy. It was released April 1968, and reached number thirteen in the US Billboard 100. That is no surprise given the quality of the single. It’s a mixture of drama and emotion as Jim Ed Brown paints pictures of The Enemy that taunts and haunts him.
Ed Bruce was born in Keiser, Arkansas, in 1929, and by the time he released Song For Ginny as a single in December 1968, was signed to the Monument label. Tucked away on the B-Side was the Sandy Neese composition Puzzles, which was produced by Fred Foster. When Ed Bruce of his album Shades Of Ed Bruce in 1969, it also featured Puzzles which features an angst ridden vocal
Eight years after releasing his debut single in 1958, Ray Sanders released My World Is Upside Down in May 1966. It was penned by Ron Mason and is a Bettye Jean Production that was released on Tower. It’s a poignant track that features a hurt filled vocal full where the heartbreak seems very real.
Billy Rufus’ 1967 single Low Down Blues which was produced by John Capps and released on K-Ark Records. It’s a hard luck story from the honky-tonk where everything that could go wrong for Billy Rufus does.
Sammi Smith from Oklahoma City, opens side two with the ballad Saunders Ferry Lane, which produced by Jim Malloy and was released as a single on Mega Records in August 1971. Sadly, Saunders Ferry Lane which was taken from Sammi Smith’s 1971 album Help Me Make It Through The Night failed to trouble the charts. Saunders Ferry Lane which is a beautiful poignant ballad was the one that got away for Sammi Smith.
In 1969, Johnny Dollar released a cover Liz Anderson’s Meeting Of The Bored as a single on Chart Records. This was a song from his album Big Rig Rollin’ Man which was also released in 1969. During Johnny Dollar’s almost raucous version of Meeting Of The Bored, it sounds as if he’s enjoyed a drop of something golden to wash away the angst and heartbreak.
Singer-songwriter Curly Putman was born in Princeton, Alabama, and by 1969 was signed to ABC Record and released his sophomore album World Of Country Music. It featured Talking To The Grass where angst is omnipresent as he delivers a vocal that is akin to a confessional.
Lonnie Holt released a cover of Paul Bowman’s Water Under The Bridge as a single on the Tennessee-based Breeze Records in 1970. Sadly, this rueful sounding single was one of a trio of singles Lonnie Holt released.
Tex Wayne was born Guy Costello in Duncan, Oklahoma, 1933, and in February 1960, released I’d Climb The Highest Mountain as a single. Tucked away on the B-Side was Deep Deep Blue, which is a hidden gem that features a ruminative sounding vocal.
When Bob Fry released What A Pity on the Maryland based Rebel label in 1965, I’m Gonna Be Gone was on the B-Side. He’s accompanied by a fiddle and steel guitar, as he warns his partner: “you can’t have your cake and eat it.”Having fired this warning shot, he tells her: “I’m Gonna Be Gone” during what’s one of the highlights of The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1972).
Clay Hart contributes two tracks including the angst ridden version of Wine, The River And You which was released was released as a single on the Hickory label in November 1967. Two years later, Clay Hart released the album Spring on Metromedia Records, which featured an almost hopeful version of Free. These two tracks are a reminder of a vastly underrated country singer and guitarist.
Gene Savage released I Started At The Bottom And Worked My Way On Down as a single on the Vance label in 1965. It features a vocal that is full of despair as he lays bare his soul for all to hear.
When Jimmy Griggs released The Beginning Of The End as a single on the Boot Heel label in 1971, it featured Footprints In The Sands Of Time on the B-Side. It’s a Jerry McBee composition that was produced by Moe Lytle. He’s responsible for a carefully crafted production that is the perfect accompaniment to Jimmy Griggs’ rueful vocal as he reflects on what he once had.
In January 1972, George Kent released It Takes A Drinking Man (To Sing A Drinking Song) as a single. Tucked away on the B-Side was Running With The Wind which was written by Roy Bayum. It features an understated arrangement with a contemporary country sound, where a weeping guitar provides the backdrop for George Kent’s vocal which is akin to a confessional.
Rube Gallagher’s Searching closes the CD version of The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1972). It was written by Marylon Thidor and released on the Ohio-based One-Way label in 1967. The way Rube Gallagher delivers the lyrics to Searching, it’s as if he’s experienced the hurt and heartbreak on this existential psychodrama from Nashville USA.
These eighteen tracks are just part of the story of The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1972), which has just been released on CD by The Iron Mountain Analogue Research, and features thirty tracks. This is fourteen more the limited edition vinyl release of The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1974) that was released for Record Store Day 2018.
Only 500 copies of The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1974) were released by The Iron Mountain Analogue Research and finding a copy of won’t be easy. It was a hugely popular release, with supply exceeding demand. Fortunately, the new CD version is the other way to discover one of the country music compilations released in the last few years. Sadly, though, there’s a but.
The CD version of The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1972) is currently only available as an import and copies are difficult to find. However, if a compilation is worth searching for it’s the new CD version of The Beginning Of The End: The Existential Psychodrama In Country Music (1956-19722) which features thirty tracks. This is fourteen more than on the LP released for Record Store Day 2018, and even those that bought a copy on vinyl will want to add copy of the CD version of The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1972) to their collection.
The fourteen tracks that have been added to the CD version of The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1974) improve what was already one of the best compilations of 2018. The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1972) is a lovingly curated compilation that features a mixture of singles, B-Sides and hidden gems that were recorded by: “backwoods outsiders and Nashville Misfits,” and are a glorious reminder of the golden era of country music.
The Beginning Of The End: The Existential Psychodrama In Country Music (1956-1972).
GORDON JACKSON-THINKING BACK.
Gordon Jackson-Thinking Back.
Label: Sunbeam Records.
Nowadays, Gordon Jackson’s 1969 lost classic Thinking Back, which has just been reissued by Sunbeam Records, 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 play on Thinking Back. As is often the case, there’s more to the story of Thinking Back than meets the eye.
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 has just been reissued by Sunbeam Records and features five bonus tracks, including a demo of My Ship, My Star. This is the perfect way to discover Gordon Jackson’s last classic Thinking Back, which was the album that 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-Thinking Back.
MOGWAI-TEN RAPID (COLLECTED RECORDINGS 1996-1997)-RECORD STORE DAY 2018 EDITION.
Mogwai-Ten Rapid (Collected Recordings 1996–1997) Record Store Day 2018 Edition.
Label: Rock Action Records.
Nowadays, there aren’t many bands that stay together twenty-seven years, and release thirteen studio albums, five soundtracks and two live albums. There’s also the small matter of two remix albums and the four compilations that the Glasgow-based band Mogwai have released. The very first album that Mogwai released was the compilation Ten Rapid (Collected Recordings 1996–1997) which was recently reissued for Record Store Day 2018 on white vinyl.
Ten Rapid (Collected Recordings 1996–1997) features nine tracks and is a reminder of Mogwai during the formative years of their career, and will keep their fans occupied until the release of the Kin soundtrack in late August 2018. Kin will be the next chapter in the Mogwai story which began in 1991.
The Mogwai story began in 1991, when Stuart Braithwaite and Dominic Aitchison first met in Scotland’s musical capital, Glasgow. Four years later, they met drummer Martin Bulloch and formed Mogwai, which film buffs will remember, is a character from the movie Gremlins. Mogwai was always meant as a temporary name, until they came up with something better.
Later in 1995, three become four when guitarist John Cummings joined Mogwai. Since then, John’s role in Mogwai has changed, and he’s now described as playing “guitar and laptop,” and as is regarded as the maestro when it comes to all things technical. However, not long after John Cummings joined Mogwai in 1995, the nascent band started honing their sound and making plans for the future.
In 1996, Mogwai founded their own record label Rock Action Records which would play an important part in the rise and rise of Mogwai over the next twenty-two years. So would another part of Mogwai’s nascent musical empire their Castle Of Doom Studios, which was cofounded by Mogwai and Tony Doogan in 2005. It’s situated in the West End of Glasgow, and has been a home from home for Mogwai, when they recorded new albums. That was all still to come from Mogwai.
Before that, post rock pioneers Mogwai released their much-anticipated debut single on the ‘16th’ of March 1996. This was a double-A-side that featured Tuner and Lower, which was a limited edition of 500 that released on their new label Rock Action Records. Tuner was released to critical acclaim and the NME awarded it their single of the week award. While Tuner would later feature on Ten Rapid (Collected Recordings 1996–1997), Lower was omitted. However, Tuner offered a tantalising taste of Mogwai who critics were calling one of Scotland’s most exciting new bands.
In the summer of 1996, Mogwai released their sophomore single which was a rerecorded version of Angels v Aliens. It had originally been released on a split single that Mogwai and Dweeb released on Ché Trading label. However, the rerecorded version of Angels v Aliens is the definitive version of the song and became Mogwai’s second single which was released to plaudits and praise. It’s a welcome addition to Ten Rapid (Collected Recordings 1996–1997), and is a reminder of Mogwai as they continued to pioneer the post rock sound.
As one of music’s rising stars, Mogwai was invented to play at the Camden Crawl II, which was a free concert that took place in North London, on the ’19th’ September 1996. Members of the audience were given a free compilation CD released by the Love Train label which featured the Mogwai track A Place For Parks. However, the first time the rest of Mogwai’s fans heard A Place For Parks was when it featured on the compilation Ten Rapid (Collected Recordings 1996–1997).
It was a similar case with I Am Not Batman, which was given away free to those who attended the Ten Day Weekend Festival in Glasgow, in October 1996. On the a compilation cassette Hoover Your Head was Ten Day Weekend which in the spring of 1997 featured on the Ten Rapid (Collected Recordings 1996–1997) compilation.
Just a few weeks after playing a starring role at the Ten Day Weekend Festival, in their home city of Glasgow, Mogwai returned on the ‘4th’ of November 1996 with their third single. Summer and Ithica 27ϕ 9 was another limited edition double-A side and only 1,500 copies were pressed by the UK label Love Train. Critics hailed the single which later featured on Ten Rapid (Collected Recordings 1996–1997) as a triumphant return from Mogwai.
Buoyed by the success and critical acclaim that had accompanied their first three singles, Mogwai returned in February 1997 with their fourth single. This was another double-A side New Paths To Helicon (Part 1) which featured New Paths To Helicon (Part 2) on the B-Side. 3,000 copies were released on the Wurlitzer Jukebox label and featured Mogwai at their most inventive and innovative. Both sides feature on Ten Rapid (Collected Recordings 1996–1997) and showcase a groundbreaking band during the early part of their career.
Just two months later, on the ‘17th’ April 1997, Mogwai released the compilation Ten Rapid (Collected Recordings 1996–1997) on Rock Action Records. The track that closed the album was End, which was New Paths To Helicon played backwards. This was another example of Mogwai’s determination to innovate and push musical boundaries.
This is something that Mogwai have been doing ever since, and after thirteen studio albums, five soundtracks and two live albums they’ve been regarded as one of Scotland’s top bands over the past three decades. Twenty-seven years after Mogwai were formed, many critics believe that they’re now Scotland’s top band.
That comes as no surprise, as consistently Mogwai released ambitious and groundbreaking music. Album after album, Mogwai push continue to musical boundaries to their limits, and sometimes way beyond as they continue to release innovative music. This is what post rock pioneers Mogwai have been doing since they released their debut single in 1996.
The following year, Mogwai’s debut single featured on the compilation Ten Rapid (Collected Recordings 1996–1997), which was the first album that the band released on Rock Action Records. Twenty-two years after Ten Rapid (Collected Recordings 1996–1997) was released, it was reissued by Rock Action Records for Record Store Day 2018 and is a tantalising taste of post rock pioneers as the Mogwai Young Team as they embarked upon what has been a long and successful career.
Mogwai-Ten Rapid (Collected Recordings 1996–1997) Record Store Day 2018 Edition.
SOOTHSAYERS-TRADITION.
Soothsayers-Tradition.
Label: Wah Wah 45s
Release Date: ‘29th’ June 2018.
New Album Of The Week.
For nearly two decades, London-based Afro-dub pioneers Soothsayers, have been winning friends and influencing audiences with their unique brand of politically charged music at their now legendary concerts. Soothsayers have also released a number of singles, EPs and six albums since releasing their critically acclaimed debut album Lost City in 2000. Now six will become seven, when Soothsayers release Tradition on Wah Wah 45s on the ‘29th’ June 2018. Tradition is another album of powerful music with an important message from the Soothsayers and the latest instalment in the band’s history.
When the Soothsayers were founded in London nearly twenty years ago, the members of the nascent band were inspired to make music after discovering and embracing everything from Afrobeat, dub, free jazz, jazz, reggae, soul, trip hop and the music of the Two-Tone movement. Buoyed by a love of music so disparate as Marvin Gaye, Massive Attack, Miles Davis, Pharoah Saunders, Stevie Wonder, Sun Ra, The Skalites and The Specials, the Soothsayers as they made their first tentative steps onto London’s vibrant music scene.
By 2000, Soothsayers were signed to Red Earth Records and were just about to release their debut album Lost City. It featured Soothsayers’ unique band of politically charged Afro-dub, which was released to widespread critical acclaim. The success of Lost City had launched Soothsayers’ career, and both critics and record buyers eagerly awaited their sophomore album.
Buoyed by the success of Lost City, Soothsayers continued to play live and wherever they played spread their politically charged message, which over the next few years, started to find favour with a much wider audience. However, in 2004, Soothsayers released the first of string of singles and the occasional EP, before announcing the release of their much-anticipated album in 2008.
Eight long years after Lost City launched Soothsayers career, they returned in June 2008 with The Time Is Now. Just like their debut album, The Time Is Now was released to critical acclaim and great things were forecast for the London-based collective.
Soothsayers returned to the studio, and in 2009, they released two albums including their third album Tangled Roots. It was released to plaudits and praise in April 2009, and later that month, Soothsayers Meet The Red Earth Collective released One More Reason. These two new albums introduced Soothsayers music to a new audience as the band celebrated their first decade together.
After the success of their first collaboration, Soothsayers began work on the followup.This time, it was just the Soothsayers’ horn section that were called into action for the recording session. They played a starring role in Red Earth Dub which was credited to The Red Earth Collective Featuring Soothsayers Horns when it was released in February 2010.
Three years after the Soothsayers released Tangled Roots, they returned with their fourth album Human Nature in September 2012. It was well worth the wait and was another powerful album of music with a message from the London-based collective.
Following the success of Human Nature, the Soothsayers are asked to collaborate with one of the legends of reggae, Cornell Campbell. It was by far, the highest profile collaboration of the Soothsayers’ career, and backing Cornell Campbell would give their career a huge boost. Especially when Nothing Can Stop Us Now was released to widespread critical acclaim in July 2013. The third collaboration of the Soothsayers’ career was the most successful by far.
Since the release of Nothing Can Stop Us Now, the Soothsayers have continued to tour, but didn’t release any new music until they signed to Wah Wah 45s early in 2017. Later that year, Soothsayers released The Blinded Souls EP, and followed this up with the Blued Souls remix project. This saw Titeknots, Simbad and Deoke rework tracks, while Darren Jamtone contributed a dub to the Blued Souls remix project. The two Blinded Souls’ projects were a reminder of what the Soothsayers’ fans had been missing over the past few years.
By then, the members of the Soothsayers had decided that the time was right to record a new studio album, that eventually became Tradition, which is the long-awaited followup to Human Nature which was released in 2012.
Seven of the eleven tracks on Tradition were written by Robin Hopcraft and Idris Rahman, who cowrote Tradition with Kodjovi Kush. Idris Rahman also wrote Watching The Stars with singer, songwriter and multi-instrumentalist Julia Biel. The other songs on Tradition are Sleepwalking (Black Man’s Cry) and a cover of Bob Marley’s Natural Mystic. These songs became Tradition, which was recorded in two London studios.
Recording of Tradition took place at Fishmarket and Roskit studios, where Soothsayers were joined by a few of their friends. This included Cornell Campbell, who adds the vocal on Take Me High and the album closer Natural Mystic. Once the Soothsayers and their friends completed Tradition, it was scheduled for release in June 2018.
After six long years, Soothsayers were back a new album that featured their own unique brand of politically charged Afro-dub. The message in Soothsayers’ music on Tradition is just as relevant and necessary as ever. They examine the force that binds society together, and at the same time, builds the walls that keep people apart. Soothsayers also examine how we relate to, and negotiate tradition which is a challenge to everyone in Britain and elsewhere in 2018. However, the big question is, is tradition a defining factor, or is it akin to comfort blanket, seemingly comforting and protecting, or is it really a threat to the future wellbeing of society? Soothsayers pondered these questions during the recording of Tradition.
Soothsayers’ horn section set the scene on the album opener Tradition, and within a few bars all is well with the world. After all, the sun is shining and Soothsayers are back with a thought-provoking and melodic slice of Afro-dub. It’s a similar case with Good Vibration, which is a paean to positivity that features powerful and poignant lyrics that are delivered by a hopeful and impassioned vocal. Heart Rules Head is a carefully crafted track where lush strings and horns augment a dub infused arrangement which features uber soulful vocals as the London-based collective spread their message. It gives way to the joyous Nothing Can Stop Us which was written by Soothsayers for Cornell Campbell.
Very different and poignant is Goodnight Rico where Soothsayers pay tribute the late Rico Rodriguez, whose best known for his work with The Specials. Sleepwalking (Black Man’s Cry) features a guest appearance by featuring label mate Dele Sosimi on a genre-melting track that is full of social comment. Everything from dub, funk, reggae and soul melt into one this irresistible sounding song. Dis and Dat which is the lead single from Tradition, and question the motives of mainstream media, politics and government during this powerful song that is full of social comment and highlights hypocrisy in Britain during 2018.
It’s all change on the dub-infused Overcome where Soothsayers celebrate the human spirit. Watching The Stars showcases Julia Biel’s beautiful, soulful sounding vocal during a song that is straight out of Kingston. Take Me High is the first of two tracks to feature Cornell Campbell’s inimitable falsetto vocal on a song about the search for spiritual enlightenment. Closing Tradition is the cover of Natural Mystic, where fittingly, reggae Cornell Campbell takes charge of the vocal during an Afro-dub cover of a song that was written by the late, great Bob Marley. By adding flutes and percussion the song is reimagined and closes Soothsayers’ comeback album on a high.
Nearly six years after their last album, Soothsayers are back and better than ever. They seem to have matured as songwriters and musicians during that period, and Tradition is a powerful and sometimes poignant album full of cerebral, thought-provoking and politely charged music. It’s sure to make the listener think about the world in 2018.
Unlike many bands, Soothsayers have a social conscience and are determined to provide a voice for those who have none. They care about the people in their local community in London, and the members of Soothsayers will often put on a concert for those that live in the neighbourhood. Soothsayers aren’t and have never been a band that lock themselves away in their ivory towers, and know exactly what’s going on in the world around them. This inspired Soothsayers when they wrote and recorded Tradition which is the best album of their career.
The lyrics on Tradition are among that best that Soothsayers have ever written during a career that has already spanned the best part of two decades. Tradition is also a carefully crafted and polished album of Afro-dub that is often soulful and sometimes funky, where Soothsayers make a welcome return with a new album of thought-provoking and politely charged music after six-year absence.
Soothsayers-Tradition.
DISQUES DEBS INTERNATIONAL VOLUME 1.
Disques Debs International Volume 1.
Label: Strut.
Release Date: ‘29th’ July 2018.
Compilation Of The Week.
Nowadays, Disques Debs International which was founded by Henri Debs in Guadeloupe, in the late-fifties, is regarded by many connoisseurs as the one of the best, if not greatest of all French Caribbean labels. That is high praise, given the quality of music that was being released by other labels during this period. However, time after time, it was Henri Debs’ Disques Debs International that triumphed, and released music that was the envy of his competitors.
Especially between 1960 and 1972, which is the period that the first instalment in Strut’s new compilation Disques Debs International Volume 1 covers. It will be released on the ‘29th’ July 2018, and features twenty-one tracks from Henri Debs’ label, and is billed Disques Debs International Volume 1 is billed as: “An Island Story: Biguine, Afro Latin and Musique Antillaise 1960-1972.” This twenty-one tracks from this lovingly compiled compilation were released during the first two decades of Disques Debs International’s existence.
The Disques Debs International story began in 1959, when Henri Debs decided to install a small recording studio in the basement of his clothing shop in Pointe-A-Pitre. Soon, he was recording everything from tangos, cha-chas, bolero and biguines, and some these recording were release by his nascent label Disques Debs International. Initially, this was a just a way for Henri Debs to release some of the music he had recorded. However, before long, Henri Debs’ nascent label was expanding.
By 1960, Disques Debs was already recording big band orchestras, home-grown stars and some of the touring bands that visited Guadeloupe. Initially, the recordings took place in the small studio within Henri Debs’ shop, but after a few years, he was so busy that he had to build a new studio.
Meanwhile, Henri Debs’ business empire was expanding and in 1963 1963, he opened a second store on the island. Two became three in 1965 when another store opened in Fort-de-France which was managed by his brother Georges Debs. Later, Henri Debs expanded overseas and opened a new store in Paris. Still, Henri Debs’ recording studio and record label Disques Debs International s were going from strength-to-strength.
Much of Henri Debs’ success was down to his ability to find and sign the crème de la crème of musical talent on the islands of Guadeloupe to Disques Debs International. This wasn’t easy as there were other record labels who were just as keen to sign the same artists and bands. However, many had heard of Henri Debs and knew that he had a successful track record, and saw him as some sort of starmaker. If anyone could coax the best performances out of an artist or band it was Henri Debs.
This he continued to do throughout the sixties, with the help of saxophonist Edouard Benoit who led Les Maxels and arranged for Henri Debs bands. Among the bands who were recorded during the sixties were Henri Debs’ Sextet who played percussive biguines and the big bands Orchestre Esperanza and Orchestre Caribbean Jazz. Henri Debs also brought poet and radio personality Casimir “Caso” Létang and folkloric gwo ka artist Sydney Leremon into his Pointe-A-Pitre studio. However, it wasn’t just local artists Henri Debs recorded at his Pointe-A-Pitre studio.
When recording from overseas arrived to tour Guadeloupe during the early sixties, Henri Debs took many of the artists into his Pointe-A-Pitre studio. This included Haitian trumpeter Raymond Cicault and the Trinidadian bandleader Cyril Diaz. Recording such high profile artists showed how far that Disques Debs had come in a short space of time.
By 1972, which is the end of the period that Disques Debs International Volume 1 covers, Disques Debs was one of the most successful record labels on Guadeloupe. Henri Debs had come a long way from when he installed his first studio in his shop and made his first recording. He was totally open-minded in the music he recorded and everything from biguines and boleros to cha-cha-chas, reggae and zouks. If Henri Debs thought that there was a demand for that type, or he could create a demand he would record that particular genre. Disques Debs International’s output was truly eclectic, and especially between 1960 and 1972 which Disques Debs International Volume 1 covers.
On Disques Debs International Volume 1, there’s twenty-one tracks, including contributions from Daniel Forestal Et Sa Guitare, Casimir Lètang, Henri Debs Quintet, Joseph Lacides, Geno Exile, Orchestre Esperanza Et Jean Leroy, Le Ry-Co Jazz, Remy Mondey, Paul Blamaret Vèlo, Eric Virgal, Les Aiglons and Guy Conquett. They’re just a few of the artist that feature on Disques Debs International Volume 1, which is the first of three compilations that will document the history of the Disques Debs’ label.
Opening Disques Debs International Volume 1 is Ces P’tits Je t’aime which is a track from Guadeloupe born singer, songwriter and guitarist Daniel Forestal. He spent much of his career singed to Disques Debs and released the EP Daniel Forestal Et Sa Guitare on the Disques Debs label. It featured Ces P’tits Je t’aime, which has an understated arrangement where Daniel Forestal and Sa Guitare take centre-stage on this beautiful paean.
Blazing horns open Travail Zènfants! Chantez Après! before Casimir Létang’s vocal enters on what can only be described as an irresistible and joyous sounding song. It featured on Casimir Létang’s 1969 EP Deux Chansons Pour Enfants, where elements of beguine and calypso combine to create a truly memorable song from Casimir Létang who spent much of his career signed to Disques Debs.
One of the orchestra’s that Henri Debs recorded for Disques Debs early in his career was Cyril Diaz and Son Orchestre. They released the Carnival Bachhanal EP as the sixties dawned, and it feature the calypso Feeling Happy. After just one listen, it’s guaranteed to leave the listener Feeling Happy.
Before founding Disques Debs, Henri Debs loved music and was a talented musician, who later led his own sextet and quintet. Having released a couple of singles on the La Maison Des Merengués label, the Henri Debs Quintet released the album Guadeloupe “Île d’Emeraude on Disques Debs in 1963. It features the beautiful biguine Douce Kombass which is one of the highlights of the album, and is a reminder that Henri Debs was also a talented bandleader and musician as well as engineer, producer and musical impresario.
Dolor and Les Diables Du Rythme were signed to the Disques Debs label during the mid to late sixties, when they released the Dolor EP. It opens with Salvana where the arrangement sashays joyously and sometimes urgently along combining elements of Afro-Cuban jazz and beguine. Meanwhile Dolor takes charge of the vocal on this truly memorable song with a feelgood sound.
Haitian trumpeter Raymond Cicault and Son Orchestre Volcan were visiting Guadeloupe when they recorded the L’Impression De Julia EP for Disques Debs. It featured À Mon Ami Lucien Jolibois which is a reminder of one of the great Caribbean trumpeters and bandleaders of his generation.
The Henri Debs Sextet and Paul Blamar joined forces to record the Misic Pou On Ti Blo EP for Disques Debs. This was a successful collaboration with the sextet combining jazz, Latin and blues to create an understated, languid arrangement as vocalist Paul Blamar lays bare his soul.
In April 1971, accordionist Rémy Mondey released Meringue Çe Misic En Moin as a single. He had written this accordion driven meringue which sometimes heads in the direction of beguine and even briefly cumbia. It’s a joyous sounding track that is akin to a call to dance, and one that is impossible to resist.
Nowadays, Henri Guédon is regarded as the founding father of modern music in the French Antilles. During his career, the painter, sculptor ceramist and musician’s career he released two collaborated between Henri Guedon and Les Contesta. This included their eponymous album which was released on Henri Debs’ Disques Debs International. It features many Henri Guedon and Les compositions including genre-melting sunshine sound of Van Van.
Eric Virgal was a talented singer-songwriter who released Stanislas as a single on Disques Debs International in October 1971. Stanislas was penned by Eric Virgal and he was accompanied by Henri Debs and Son Combo on this fusion of beguine and compass. Just like so much of the music on Disques Debs International Volume 1, it’s uplifting and has a feelgood sound.
When Tutus released Echos De La Guyane Volume 2, Nanao Nanao was chosen as the single. It was written by Tutus and recorded by Henri Debs while the band create an arrangement that never threatens to overpower the heartfelt vocals on this melodic track.
Closing Disques Debs International Volume 1 is Guy Conquette’s Assez Fait Cancan which is taken from his Le Roi Du Folklore EP. This beguine was written by Guy Conquette and sometimes, there’s a hint of reggae during Assez Fait Cancan which continues the feelgood sound and closes the compilation on a high.
Disques Debs International Volume 1 is a lovingly curated compilation, which will be released by Strut on the ‘29th’ of July 2018. It’s the first of three compilations that Strut intend to release that will look back at Henri Debs’ label Disques Debs International. These three compilations are the first ever official release from the Disques Debs International archives.
The music on Disques Debs International Volume 1 is truly eclectic, and features everything from big band orchestras and home-grown stars to poets and some of the touring bands that visited Guadeloupe. They offer a reminder of the first two decades of Disques Debs International’s existence. Much of that music is joyous, uplifting and has a feelgood sound, while other songs are akin to a call to dance that is impossible to resist. Not with music as good as that on Disques Debs International Volume 1, which features a tantalising taste of the eclectic music that Henri Debs’ label released between 1960 and 1972.
Disques Debs International Volume 1.
DIALI CISSOKHO AND KAIRA BA-ROUTES.
Diali Cissokho and Kaira Ba-Routes.
Label: Twelve Eight Records.
Release Date: ‘29th’ June 2018.
Just over six years ago, North Carolina-based Senegalese kora master Diali Cissokho and Kaira Ba released their debut album Resonance in April 2012. Resonance featured songs about mythology, migration and justice, while Diali Cissokho and Kaira Ba combined elements of African and Western music. Almost seamlessly, Diali Cissokho and Kaira Ba fused music that could be traced back to the ancient West African griot tradition with Western rock music. This was a new and exciting combination that Diali Cissokho and Kaira Ba revisited on their sophomore album.
This was The Great Peace, which was released to praise and plaudits in March 2014. Just like Resonance, The Great Peace featured songs about mythology, migration and justice. However, it wasn’t just the critics who were won over by the music on The Great Peace, it was the judges for the prestigious Africa Music Awards. Diali Cissokho and Kaira Ba’s sophomore album The Great Peace was nominated for what was the African continent’s premier music award later in 2014.
Considering The Great Peace was only Diali Cissokho and Kaira Ba’s second album, this was seen as a huge achievement. Just four months after The Great Peace was released, the MTV Africa Music Awards took place in Durban, South Africa, on the ‘7th’ of June 2014, but that night, it was a case of so near yet so far for Diali Cissokho and Kaira Ba. However, the had come a long way in a relatively short time.
Six months later, in January 2015, Diali Cissokho and Kaira Ba released a new single The Great Peace Remixed. It featured Direwolf’s remix of Bamba Wotena and Apple Juice Kid’s remix of Mbolo on the B-Side. Little did anyone know it would be nearly three-and-half years before Diali Cissokho and Kaira Ba returned with some new music.
Soon, the wait will be over and Diali Cissokho and Kaira Ba will release their much-anticipated third album Routes, which will be released on Twelve Eight Records, on the ‘29th’ June 2018. It’s the latest chapter in a story that began far from North Carolina.
Although Diali Cissokho was born in M’bour, Senegal into a family of griots, he comes from a long line of Mande musicians and can trace his heritage back to the 16th Century Malian Empire. The Mande musicians were originally trained to encourage exchange and conversation, sooth troubled hearts and rouse the spirits of others. This was regarded as an important role, which the Cissokho family had carried out for 400 years through the medium of music.
Growing up, Diali Cissokho like all griots, was taught to play the kora, sing, and write songs that praised patrons, recalled past events and heal intense conflicts and emotions. This was an important role, and one that was taken seriously by griots like Diali Cissokho. Despite that, Diali Cissokho left his home in Senegal and travelled across the world to North Carolina.
The reason for Diali Cissokho’s journey to North Carolina was that he had fallen in love, and would eventually marry an American student of Senegalese music. Initially, Diali Cissokho felt lost in North Carolina, which was very different to where he had grown up in Senegal. However, it was music that helped Diali Cissokho make friends in his new hometown.
At first, Diali Cissokho attended a lot of concerts, and then started making music with local musicians at jam sessions. This allowed Diali Cissokho to meet a number of local musicians, and eventually, he met drummer Austin McCall who brought the group together. Austin McCall brought the group together. Joining him in the rhythm section was bassist Jonathan Henderson, an ethnomusicologist who came from a jazz background but was also interested in African music. Jazz guitarist John Westmoreland who had graduate from Berklee was joined by percussionist Will Ridenour, who had studied djembe and kora extensively in Senegal and Mali. The new band set about honing their sound
Initially, this wasn’t easy, as two very different musical cultures were being combined to create a new sound. Part of this sound was the way John Westmoreland’s guitar combined with Diali Cissokho’s kora. However, it took time for the band’s sound to take shape. Diali Cissokho remembers: “Our instruments had to talk to each other. They had to follow my key, tune into me. I didn’t know how to explain. But then they heard the melody, and they tuned to me. I started to believe, okay, it’s coming. I didn’t lose my music from back home…it’s always here with me. We spoke a different language. But music, as my dad would say, music talks.”
As the band’s music started to take shape, friendships were forged between the band. Their music was driven along by the explosive rhythm section, and by then, bassist Jonathan Henderson had mastered the rhythms and melodic arcs that were at the heart of Diali Cissokho’s music. This was combined with traditional percussion, trapset drums and snakelike guitar licks as Diali Cissokho delivering impassioned vocals on songs about mythology, migration, justice, and universal love. Many of these themes were centuries old, but were still relevant as Diali Cissokho and Kaira Ba continued to create carefully crafted, multilayered songs which featured funky licks and memorable hooks. Partly, this came about through Diali Cissokho and Kaira Ba jamming, and honing and tightening their sound.
This paid off and in April 2012, Diali Cissokho and Kaira Ba released their debut album Resonance. Just under two years later, they returned with The Great Peace in March 2014. It was nominated for one of the prestigious Africa Music Awards. Diali Cissokho and Kaira Ba had come a long way in a short space of time. However, the followup to The Great Peace, was eroded by Diali Cissokho and Kaira Ba in Senegal and North Carolina.
For some time, Diali Cissokho had wanted to take the members of Kaira Ba back to his hometown of M’bour to record an album. which later became Routes. However, there were a few teething problems before recording got underway.
After getting off the plane, and heading into the port city of M’bour, Diali Cissokho and bassist Jonathan Henderson spend hours looking for somewhere to record Routes. The concrete block buildings they were shown were not suited to recording an album, and by then Jonathan Henderson remembers: “We were wondering if we’d ever find the right space. Then Diali ran into an old friend at the mosque. He owned a hotel and showed us this really beautiful eight-sided, rattan-panelled room on the third story. You could see the ocean. For a week, we set the studio up there, using our engineer Jason Richmond’s mobile rig. And in the courtyard outfront, we recorded the big percussion parts.” During the next week, some of Diali Cissokho friends and family arrived at the makeshift studio and some played a walk-on parts and occasionally added inspirational performances on Routes. However, there was only so much that could be recorded in M’bour, and after a week the musicians headed home.
The remainder of Routes was recorded in North Carolina, with the help of some talented local musicians. This included violinist Jennifer Curtis, mandolin player Tony Williamson, jazz and gospel vocalists Shana Tucker and Tamisha Waden, pedal steel player Eric Heywood, and some local jazz instrumentalists. Meanwhile, gospel vocals were added to Salsa Xalel and lush strings to sweetened the sound of Naamuusoo. Just like Salsa Xalel, Naamuusoo tells the story of the two places that Diali Cissokho has called home. With these tracks complete, Routes was nearing completion and Diali Cissokho and Kaira Ba would soon return with their third album.
Routes proved to be a very different album, and one that had a much more eclectic sound than Resonance and The Great Peace. Diali Cissokho and Kaira Ba were responsible for an album that featured everything from uplifting, dancefloor friendly traces right through to a much more intimate and ruminative sounding songs that encouraged the listener to reflect. Especially as they when they listened to Diali Cissokho’s delivery of the lyrics while Kaira Ba provided a musical backdrop as two cultures combine.
Opening Routes was Alla L’a Ke which is akin to a conversation between Diali Cissokho and Kaira Ba.They provide an atmospheric backdrop before Diali Cissokho’s kora solo is joined by rattling percussion and his heartfelt vocal. Sometimes, he sings call and response before a string quartet augment the band, during this beautiful fusion of Afropop and rock. Badima finds Diali Cissokho paying tribute to his family, as he remembers a day when discord was resolved and harmony restored. Although it’s a song with message, it’s melodic and also showcases Diali Cissokho and Kaira Ba’s talents.
In Senegal, like much of West Africa, salsa has been popular for many years. However, Salsa Xalel is salsa with an American twist. Diali Cissokho and Kaira Ba add a balafon and talking drum to this multilayered mix which is an irresistible example of salsa played by American and Senegalese musicians.
The tempo drops on the poignant ballad Saya, which features a soul-baring vocal from Diali Cissokho, who wrote the song after mother passed away: “Right when we buried her, everyone started to walk back home. I couldn’t. I stayed in the cemetery. I started to turn home and this song came to my heart. I went to my uncle’s room. He used to play kora until he grew older. I asked him if I could borrow it, because I needed to play this song. My uncle and everyone told me no, we had just buried her, but then they listened to what I played and started crying.” No wonder as it’s a beautiful, poignant song that comes complete with weeping pedal steel.
Ma Cherie features another heartfelt, emotive vocal from Diali Cissokho, who sings call and response against an arrangement where two cultures combine. It’s a similar case on Baayi Leen, which initially, has an understated arrangement, which allows Diali Cissokho’s vocal to take centre-stage. Gradually, the arrangement reveals its secrets and it’s soon apparent that hooks haven’t been spared during this melodic and memorable song. The kora opens Ndoli before Diali Cissokho unleashes an expressive and emotive vocal. That is the case on the genre-melting The Story Song, where Diali Cissokho delivers a vampish, but soulful vocal as he sings of equality against an arrangement that marries elements of African music, funk, rock and Southern Soul.The understated arrangement to Xarit meanders along, as Diali Cissokho delivers a tender, emotive vocal.
Very different is the uplifting and joyous celebratory sounding dance track Naamusoo. It’s a call to dance, and resistance is impossible, best just submit to the song’s charms. Closing Routes is the atmospheric Night in M’Bour, which transports the listener to Diali Cissokho’s birthplace and offers an authentic reminder of life in Senegal. This comes courtesy of sabar drumming, while children chant during prayer time. Later, the sound of the distant sound everyday life is replaced by a soulful vocal from Diali Cissokho’s nephew Mamadou that accompanied by a guitar, before Routes draws to a close.
Just over four years after Diali Cissokho and Kaira Ba released their sophomore album The Peace Route, they make a welcome return with their third album Routes, which will be released on Twelve Eight Records, on the ‘29th’ June 2018.
Diali Cissokho and Kaira Ba’s third album Routes, is a carefully crafted, genre-melting album that features eleven new songs that range from ruminative ballads to uplifting and joyous dance tracks. These tracks find Diali Cissokho and Kaira Ba fusing music that could be traced back to the ancient West African griot tradition, with Western rock music. There’s also elements of Afropop, funk, jazz, rock, soul and Southern Soul on Routes, which is Diali Cissokho and Kaira Ba’s most eclectic album.
Routes showcase the considerable talents of singer, storyteller and Senegalese kora master Diali Cissokho and his American backing band Kaira Ba. They reach new heights on Routes, where Diali Cissokho and Kaira Ba fulfil the potential that was apparent on their first two albums. It’s a case of third time lucky for Diali Cissokho and Kaira Ba on their career-defining album Routes, which they began recording in M’Bour, Senegal, and finished in North Carolina, which is now home to kora master Diali Cissokho.
Diali Cissokho and Kaira Ba-Routes.
RAMSEY LEWIS-FUNKY SERENITY, RAMSEY LEWIS’ GOLDEN HITS, SOLAR WIND AND SUN GODDESS.
Ramey Lewis-Funky Serenity, Ramsey Lewis’ Golden Hits, Solar Wind and Sun Goddess.
Label: BGO Records.
Not many recording artists spend sixteen years signed to the same label, but bandleader, composer and pianist Ramsey Lewis had signed to Chess Records in 1956, and his band Ramsey Lewis and The Gentlemen Of Swing their debut album later on the Argo Records imprint later that year. This was the first of nineteen albums that Ramsey Lewis released on Argo Records, before moving to the Chess Records imprint Cadet Records in 1965.
Ramey Lewis went on to release fourteen studio and live albums for Cadet Records between 1965 and 1972, and enjoyed million selling singles with The In Crowd Hang On Sloopy and Wade In The Water. With three gold discs to his name, Ramsey Lewis was one of the most successful jazz pianists, and was also enjoying something that many jazz musicians craved…crossover appeal.
By 1966, Ramey Lewis’ albums were regularly charting high in the US R&B and US Jazz charts as his popularity continued to grow. However, many of Ramsey Lewis’ albums were now charting the US Billboard 200, as his music continued to find a wider audience after the success of The In Crowd, Hang On Sloopy and Wade In The Water. This triumvirate of singles had introduced Ramsey Lewis’ music to a non-jazz audience, and suddenly they were buying his albums. It looked like Ramsey Lewis had hit the musical jackpot.
Over the next few years, Ramsey Lewis’ popularity grew, and by the time he signed to Columbia Records in 1972, the thirty-seven year old pianist was one of the most prolific and successful jazz artists of his generation. Ramsey Lewis had released thirty-three albums for Argo Records and Cadet Records by the time he signed to Columbia was one of the most successful artists on Chess Records’ roster. However, his time at Chess Records was at an end, and a new chapter began at Columbia.
Upendo Ni Pamoja.
Later in 1972, Ramsey Lewis released his Columbia debut Upendo Ni Pamoja which was a trio recording that featured drummer and percussionist Morris Jennings and bassist Cleveland Eaton. They worked their way through eight cover versions and Cleveland Eaton’s Trilogy of Morning, The Nite Before and Eternal Peace. It was part of album that received mixed reviews from critics, who believed that the album was a couple of tracks from being an essential album from Ramsey Lewis. He was hoping that his next album would fare better.
It wasn’t long before Ramsey Lewis began work his next album Funky Serenity which has been remastered and reissued alongside Ramsey Lewis’ Golden Hits, Solar Wind and Sun Goddess by BGO Records. These four albums are a reminder of Ramsey Lewis’ music between 1973 and 1974 as the musical chameleon continued to reinvent himself.
Funky Serenity.
After the mixed reviews of Upendo Ni Pamoja, Ramsey Lewis was determined to make an impression with his next album Funky Serenity. It would eventually feature a mixture of cover versions and songs penned by Ramsey Lewis, Cleveland Eaton and Morris Jennings. This included What It Is!, Serene Funk and Dreams. Violinist and percussionist Eddie Green who was drafted in to play on Funky Serenity contributed Kufanya Mapenzi (Making Love) and My Love For You. They were joined by covers of Homer Banks, Carl Hampton and Raymond Jackson’s (If Loving You Is Wrong) I Don’t Want to Be Right, Justin Hayward’s Nights In White Satin, Thom Bell and Linda Creed’s Betcha by Golly, Wow and Ralph MacDonald and William Salter’s Where Is The Love. These nine tracks were recorded by a quartet which was produced by Ramsey Lewis.
When recording of Funky Serenity began, drummer, percussionist and conga player Morris Jennings was joined by bassist Cleveland Eaton and Ramsey Lewis who played piano, electric piano and harpsichord. Violinist and percussionist Eddie Green was the final member of the quartet that recorded Funky Serenity.
When critics heard Funky Serenity, it was well received by critics who called the album an essential album from Ramsey Lewis. It was regarded as a much stronger album and Ramsey Lewis’ Columbia debut, and finds him combining elements of blues, funk, gospel, pop, soul and even briefly, a hint of avant-garde. However, Funky Serenity was a reminder of why Ramsey Lewis was one of the most successful jazz pianists of his generation.
Kufanya Mapenzi (Making Love) sets the bar high on Funky Serenity before the ballad, If Loving You Is Wrong is given a jazzy makeover. Very different is the gospel-tinged and funky What It Is!, which is a reminder of Ramsey Lewis’ mid-sixties classic sound. My Love For You is a dreamy, mid-tempo ballad that ebbs and flows, before giving way to Nights In White Satin, where Ramsey Lewis drops the tempo and Ed Greene’s violin adds a brief avant-garde influence as they try to reinvent a classic. It’s all change on Serene Funk which is slow, bluesy and funky, as Ramsey Lewis pounds at the electric piano and plays a starring role. Initially, Dreams is atmospheric, eerie and otherworldly before heading in the direction of funk. This leaves just covers of Betcha by Golly, Wow and Where Is The Love which ensures that Funky Serenity closes on a high.
Buoyed by the reviews of Funky Serenity, an edited version of Kufanya Mapenzi (Making Love) was released as a single, but failed to trouble the charts. To make matters worse, when Funky Serenity was released in 1973, it failed to chart in the US Billboard 200 and US R&B charts. However, Funky Serenity reached number seven in the US Jazz charts, which offered a small crumb of comfort to executives at Columbia.
Ramsey Lewis’ Golden Hits.
After Funky Serenity’s failure to crossover, Ramsey Lewis came up with an interesting concept for his third album for Columbia. He wanted to reinvent some of his biggest and best known hits that he released on Argo and Cadet Records. This included his three biggest hits The In Crowd, Hang On Sloopy and Wade In The Water which would featured on Ramsey Lewis’ Newly Recorded All-Time Non-Stop Golden Hits, which later, became known as Ramsey Lewis’ Golden Hits.
Ramsey Lewis chose a total of nine tracks, which also included Blues For The Night Owl, Hi-Heel Sneakers, Carmen, Song Of Delilah, Slipping Into Darkness and Something You Got. They were joined by the three million selling singles The In Crowd, Hang On Sloopy and Wade In The Water, which were recorded later in 1973.
This time around, it was just a trio of drummer and percussionist Morris Jennings was joined by Cleveland Eaton on bass and standup bass and Ramsey Lewis who played piano and electric piano. Taking charge of production as the trio set about reinventing some of his best know songs was Ramsey Lewis.
When critics heard Ramsey Lewis’ Golden Hits, they were keen to hear the new versions of his three million selling singles. They didn’t have long to wait with a joyous, Caribbean influenced version of Hang On Sloopy opening the album. Wade In The Water the rhythm section proving an almost rocky backdrop to Ramey Lewis’ piano as he stayed true to his 1966 soul-jazz version. There’s also a funkified version of Hi-Heel Sneakers and a remake of Ramsey Lewis’ first funk hit Slipping Into Darkness. However, closing the album was a The In Crowd where a rocky rhythm section provides the backdrop for Ramsey Lewis who plays piano and harpsichord and closes the album on a high.
Upon the release of Ramsey Lewis’ Golden Hits later in 1974, the album sneaked into the US Billboard 200 and 198 and reached a disappointing fifty in the US R&B charts. However, at least Ramsey Lewis was back in the charts, and could begin work on a new album.
Solar Wind.
Solar Wind was a much more ambitious album from Ramsey Lewis, as he looked forward, rather than back. To do this, Ramsey Lewis added synths to his musical arsenal, and brought onboard some additional musicians.
The core band featured drummer and percussionist Morris Jennings, Cleveland Eaton on bass and standup bass and Ramsey Lewis who time around, switched between keyboards, ARP and Moog. They were joined by drummers Carl Mars and Ron Capone, guitarist Steve Cropper, percussionist Calvin Barnes and James L. Herson on Moog. One of the new additions to Ramsey Lewis’ band wrote three of the tracks on Solar Wind.
This was Steve Cropper who joined forces with Carl Marsh to write Sweet and Tender You, Solar Wind and Love For A Day. Meanwhile Ramsey Lewis and Cleveland Eaton wrote Jamaican Marketplace, which was joined by five cover versions. This included Jim Seals and Dash Crofts’ Hummingbird and Summer Breeze, Sonny Rollins’ The Everywhere Calypso, Paul Simon’s Loves Me Like A Rock and Elton John and Bernie Taupin’s Come Down in Time. These nine tracks were recorded by the extended band in Chicago and Memphis, and released in early 1974, with Ramsey Lewis, Cleveland Eaton and Steve Cropper all receiving production credits.
Critics on hearing Solar Wind were impressed by Ramsey Lewis’ third outing for Columbia, which found him moving away from the trio sound that served him well during the fifties and sixties. With a little help from his friends who were part of an expanded band, Ramsey Lewis had recorded a carefully crafted album that featured elements of jazz, funk, R&B and soul.
Opening Solar Wind was the uptempo Sweet and Tender You which was recorded in Memphis and was one of three tracks produced by Steve Cropper. Sonically and stylistically the track references Ramsey Lewis’ classic mid-sixties recordings for Chess Records. After this, the understated, but familiar strains of Hummingbird are a welcome addition, before giving way to Solar Wind, which os another slice of R&B that was made in Memphis but features a Motown backbeat. Ramsey Lewis heads to the Caribbean on Jamaican Marketplace and The Everywhere Calypso, before returning to familiar territory with three cover versions. There’s the jazz-funk of Summer Breeze, while gospel and soul-jazz combine on Loves Me Like A Rock and a pop-rock version of Come Down In Time. Closing Solar Wind was the filmic funk of Love For A Day.
After being well received by critics, Ramsey Lewis and executives at Columbia had high hopes for Solar Wind. However, upon its release in 1974 the album sunk without trace and Ramsey Lewis was back to square one.
Sun Goddess.
During his first two years at Columbia, Ramsey Lewis had released four albums, and was back in the studio working on his fifth album Sun Goddess. Although record labels were much more patient and supportive of an artist in the early seventies, deep down, Ramsey Lewis knew that there was a limit to a records label’s patience. Eventually, they would expect him to deliver a successful album, and preferably sooner, rather than later.
When Ramsey Lewis began recording his fifth album for Columbia in Chicago, he had already written Love Song, Jungle Strut, Tambura and Gemini Rising. He had also decided to cover the Stevie Wonder song Living For The City. However, deep down, Ramsey Lewis knew that this wasn’t enough to complete the album.
Despite that, Ramsey Lewis was keen to lay down tracks, and played played acoustic and electric guitar, electric piano, piano, string machine, synths and Wurlitzer. Joining him was his rhythm section of drummer and percussionist Morris Jennings and bassist Cleveland Eaton. During one of the sessions, Ramsey Lewis received a phone call from his old friend Maurice White, who had good news for his old boss.
Maurice White had part of Ramsey Lewis band between 1966 and 1969, and then founded Earth, Wind and Fire. By 1974, Earth, Wind and Fire who were on the cusp of commercial success and critical acclaim. They had just topped the US R&B charts with their fifth album Open Our Eyes, and had recently been opening for Sly and The Family. However, they were no longer the force they once were, and Earth, Wind and Fire had stolen the show. As Maurice White told Ramsey Lewis this, he also mentioned that he and Charles Stepney had written a song that was going to be huge, bigger than The In Crowd, and he wanted him to hear Hot Dawgit.
The next day, Ramsey Lewis and his band were joined by Maurice White and members Earth, Wind and Fire, who were flying from New York to LA, but diverted to Chicago to record Hot Dawgit. Gradually, the song took that Maurice White had such high hopes for started to take shape over the next few hours. However, this wasn’t the only song Maurice White offered to Ramsey Lewis.
Maurice White told Ramsey Lewis about the song which he had written with Jon Lind. However, there were two problems with the nascent song: it didn’t have lyrics for the melody or a title. However, as Maurice White described the mid-tempo song Brazilian R&B song and on the spur of the moment, decided that they would sing: “we-yo.” With that, the song which had a Latin-tinged groove, a stunning tenor saxophone solo from Don Myrick and vocals that came courtesy of Maurice White and Phillip Bailey, whose contribution was elegiac and jazzy. Gradually, the song started to take shape, and by the end of the session Ramsey Lewis and Maurice White had co-produced two tracks.
The remainder of the album was co-produced by Ramsey Lewis and Teo Macero. Together with the help of a few musicians who were drafted in by Ramsey Lewis, the album that eventually became Sun Goddess was completed.
Critics on hearing Sun Goddess realised that this was a game-changer for Ramsey Lewis and could transform his career. Commercially, it had stalled at Columbia, but Sun Goddess which featured everything from funk, jazz, jazz-funk, Latin and soul was an album that oozed quality.
That was the case from the Brazilian R&B of the album opener Sun Goddess, to a stunning cover of Stevie Wonder’s Living For The City where strings and horns are deployed and play their part in the song’s sound and success. The mid-tempo Love Song closed the first side, before Jungle Strut heads in the direction of jazz-funk and Hot Dawgit is a glorious fusion of blues and funk, where chants feature and effects are used to good effect throughout the track. Equally funky is Tambura which sounds as if it belongs on a Blaxploitation album. Gemini Rising closes Sun Goddess and is a much more experimental and progressive track. Initially, it’s stop start, before funk and bebop combine on a track where synths, strings and a walking bass combine to ensure Sun Goddess ends on a high.
Before the release of Sun Goddess, Hot Dawgit was released as the lead single, but stalled at fifty in the US Billboard 100 and sixty-one in the US R&B charts. This didn’t augur well for the release of Sun Goddess, which it was hoped would transform Ramsey Lewis’ fortunes.
When Sun Goddess, was released later in 1974, it featured the iconic album cover that was photographed by Herb Breuer and featured Susan Leigh Scott. The future classic album reached number twelve in the US Billboard 200 and topped the US R&B and US Jazz charts, and after selling in excess of 500,000 copies, Sun Goddess was certified gold. Sun Goddess was a game-changer for Ramsey Lewis.
Buoyed by the success of the chart-topping album, Sun Goddess was chosen as the second single, but only reached forty-four in the US Billboard 100, twenty in the US R&B charts and five in the US Billboard Disco Singles charts. Still, Sun Goddess, which nowadays is considered a genre classic, was Ramsey Lewis’ the most successful of the first five albums he released at Columbia.
Forty-four years after the release of Sun Goddess, BGO Records have has been remastered and reissued Funky Serenity, Ramsey Lewis’ Golden Hits, Solar Wind and Sun Goddess which are available as a two CD set. These four albums are a reminder of Ramsey Lewis’ music between 1973 and 1974 as the musical chameleon continued to reinvent himself and explore new musical ideas.
While Funky Serenity wasn’t a particularly successful album, it’s regarded as one of the finest albums of Ramsey Lewis’ time at Columbia. After that, the musical chameleon reinvented some of his best known and successful songs on Ramsey Lewis’ Golden Hits, before releasing the underrated Solar Wind in 1974. It found Ramsey Lewis using synths for the first time on Solar Wind, which brought a new dimension to his music on this oft-overlooked album. However, it’s the genre classic Sun Goddess that is the highlight of BGO Records’ two CD set, and features Ramsey Lewis at the peak of his powers, during what was the thirty-ninth album of a glittering career, that began in 1956, when the bandleader, composer and pianist released his debut Ramsey Lewis and The Gentlemen Of Swing.
Ramey Lewis-Funky Serenity, Ramsey Lewis’ Golden Hits, Solar Wind and Sun Goddess.
VAN MORRISON-THE ALTERNATIVE MOONDANCE-RECORD STORE DAY 2018 RELEASE.
Van Morrison-The Alternative Moondance-Record Store Day 2018 Release.
Label: Warner Bros Records.
Many critics and record buyers believe that it’s sacrilege to change a classic album in any way, and held their hands up in horror when it was announced that Giles Martin was remixing Sgt. Pepper’s Lonely Hearts Club Band. Steven Wilson must have smiled when he heard this reaction, as he had received the same response when he started remixing parts of the Jethro Tull back-catalogue. The reason for this is that many critics and music fans claim to be “purists,” who “want to hear albums as the band intended.”
These purists even eschew newly remastered versions version of classic albums, and seem suspicious of new technology. Even if the new technology can transform the sound quality of albums that were recorded half a century ago on what’s now regarded as basic equipment. Sadly, these traditionalists aren’t even willing to listen to the newly remixed albums and are missing out on the chance to hear much-loved classic albums in a new way.
If that is the case, they’re never going to embrace and enjoy The Alternative Moondance which was released for Record Store Day 2018 on 180 gram vinyl. It features alternate takes of the songs on Moondance, and shows a new side to Van Morrison’s second classic album.
When Van Morrison began work on his third album Moondance, he had no idea that it would be a career defining Magnus Opus that he would never better. However, he had just released his first classic album Astral Weeks in February 1968, which was a groundbreaking release and a game-changer for Van Morrison.
Astral Weeks.
Having released his 1967 debut album Blowin’ Your Mind, Van Morrison returned in February 1968 with his sophomore album Astral Weeks. It was initially described by some critics as a concept album, but Astral Weeks was more like a song cycle full of symbolism, and was akin to a stream of consciousness that was an exploration of earthy love and heaven. The music was impressionistic, mesmeric and moderne as Van Morrison seamlessly fused jazz, blues, poetry and classical music upon this future classic album.
Although Astral Weeks was released to critical acclaim, the album stalled at fifty-five in Britain and failed to trouble the charts upon its release February 1968. However, much later, Van Morrison’s groundbreaking album Astral Weeks was certified gold in America, and its author was hailed as a part-poet, part-musical visionary. By then, Van Morrison had released his career-defining classic Moondance.
Moondance.
It took Van Morrison the best part of two years to write and record Moondance, which was his first ever album of Caledonian soul. It had taken Van Morrison ten months to write the lyrics to Moondance at his mountaintop home, not far from Woodstock village, in upstate New York. This had been home to Van Morrison and his wife for some time, and he had quickly discovered that it was the perfect place to write his future classic album, Moondance.
Inspired by his surroundings, family and memories, Van Morrison set about writing the lyrics to Moondance that were poetic, evocative, mystical and rich in imagery. Just like an artist used his palette to create pictures, twenty-four year old Van Morrison’s lyrics painted pictures that takes the listener on a series of journeys. Two examples were And It Stoned Me where Van Morrison takes the listener back to the Belfast of his youth, while Caravan conjures up images of living life as a gypsy. These songs and the rest of Moondance were recorded at A&R Studios, in New York.
For the recording of Moondance, Van Morrison recruited his band from musicians based in Woodstock, and they headed along to A&R Studios, in New York. When they got there, they were in for a surprise when they discovered that Van Morrison hadn’t written the music to Moondance. He explained to his band that the music and the arrangements existed in his head. While this could’ve presented a high stumbling block to lesser musicians, somehow, Van Morrison was able to explain to his band what he was hearing in his head as the sessions began in August 1969.
Joining Van Morrison for the Moondance sessions was a rhythm section of drummer, percussionist and vibes player Gary Mallaber, bassist John Kingberg and guitarist John Platania. They were augmented by Jef Labes who played clavinet, organ and piano while Guy Masson played congas. Horns came courtesy of Jack Schroer on alto and soprano saxophone, while Colin Tilton played tenor saxophone and flute. Adding harmonies were The Sweet Inspirations, Doris Troy, Cissy Houston and Jackie Verdell. Van Morrison played acoustic and rhythm guitar, harmonica, tambourine and added the all important vocals on Moondance, which marked his debut as producer. By the time Moondance was completed in September 1969, Van Morrison was on the verge of making history.
When critics and cultural commentators heard Moondance, they hailed it an instant classic, and for once there were no dissenting voices. Moondance was perceived as a coming of age for Van Morrison, who had set the bar high with Astral Weeks, but surpassed it with his much-anticipated followup. Critics called Moondance an ambitious, sprawling, genre-melting epic album where Van Morrison fused elements of blues, country, jazz, rock and soul with were combined with his Celtic roots. The result was a cerebral, challenging and thought-provoking Magnus Opus which showcased the poetic of Van Morrison at the peak of his powers. However, the big question was would Moondance find favour with record buyers?
When Moondance was release, in February 1970, Moondance reached number twenty-nine in the US Billboard 200 and was certified triple-platinum. Across the Atlantic in Britain, Moondance stalled at just thirty-two in the album charts. Already, Van Morrison was more successful in his adopted home country.
Come Running was released as the lead single, but reached just number thirty-nine in the US Billboard 100. Then when Crazy Love was released as a single, it failed to chart. Maybe the problem was, that the singles released from Moondance didn’t work in isolation and were part of something much bigger, which nowadays is regarded as a classic album,…Moondance.
Forty-eight years after the original release Moondance, it was decided that Warner Bros Records would release The Alternative Moondance for Record Store Day 2018. This meant listening to all of all the takes of the ten tracks that were recorded during August and September 1969. In some cases, there in excess of twenty takes of tracks on Moondance and choosing which version to include on The Alternative Moondance wasn’t easy. Eventually, the ten alternate tracks were chosen and became The Alternative Moondance
Side One.
Opening Moondance is the Alternate Mix of And It Stoned Me, which is a song about an experience Van Morrison had as a child. He was on his way fishing, when he asked an old man for a glass of water. Van Morrison was given some water that the old man got from a stream, and when he drank it, he remembers time standing still and heading into another dimension. With its mystical, almost surreal lyrics, Van Morrison paints potent pictures. There’s references to rural Ireland, where there’s county fairs and mountain streams and there’s even references veteran jazzer Jelly Roll Morton. It’s as if when Van’s delivering the lyrics, he’s transported back in time. He’s right there, the scene unfolding before him. Behind him, a jazz-tinged piano, rasping horns and the rhythm section provide the perfect backdrop to this outpouring of surreal memories. Later, Van Morrison adds an acoustic guitar that is the perfect foil for the piano which sets the scene for his impassioned vocal, on this stunning fusion of blues, Celtic soul, country and jazz.
Very few songs are as recognisable as Moondance, however Take 22 that has been used for The Alternative Moondance. There’s still the familiar jaunty arrangement, that skips and swings along. It’s driven along by an electric bass, the jazz-tinged arrangement that is played by a band that use mostly acoustic instruments. A guitar, flute, piano, saxophone and drums combine to create a small jazz band. Over-dubbing the flute was a masterstroke, and transforms the tracks. So does the piano solo, before the blazing saxophone panned left takes centre-stage. Together, the band ensures the song swings, as Van Morrison unleashes a vocal masterclass, where he feeds off the band, as he delivers the lyrics about autumn. Suddenly, Van Morrison the poet is painting pictures as evocative, images of Woodstock village where Van wrote Moondance come to mind. Later, as Van Morrison scats and the song reaches its dramatic crescendo.
Crazy Love (Alternate Mix) shows another side of Van Morrison and is an understated ballad, where Van Morrison’s tender, heartfelt and needy vocal is joined by The Sweet Inspirations. They’re the perfect foil to Van Morrison and their tender harmonies soar high above the arrangement. Meanwhile, the band play thoughtfully, taking care not to overpower Van Morrison’s vocal, and the result is an ethereal and beautiful paean, which shows his romantic side.
Flourishes of piano open Caravan (Take 4), which is a song about gypsy life. Straight away, Van unleashes a vocal powerhouse, and Soon, he’s delivering lyrics which are full of imagery. So much so, you can imagine life on the open road, no worries, just days stretching in front of you. There’s a romanticism in the lyrics, which seems idealistic. There’s a melancholy, romantic sound to the song as the band provide the backdrop for the vocal. One minute Van Morrison’s vocal is wistful, the next minute it’s a scat, as he trills. Later, the guitar and Van’s vocal feed off each other and they’re crucial to the song’s success. Meanwhile, the arrangement veers between understated to dramatic as dramatic, blazing join with the piano to add a jazz-tinged sound to this evocative, Joycean track.
Just an acoustic guitar, then meandering, thoughtful bass open Into The Mystic (Take 14). As Van Morrison’s vocal emerges, it’s pensive and thoughtful, while there’s a mysterious sound, as gradually, the understated arrangement unfolds. It’s as if the band are deferring to Van Morrison’s vocal as piano, bass and acoustic guitars and growling, jazzy horns play an important part in the song. Again, imagery and romanticism are omnipresent as Van Morrison describes the sea, and the foghorn blowing as he makes his way home. Just on cue, a saxophone replicates the foghorn, before his vocal grows in power and passion, as he unleashes another of his trademark vocal powerhouses. Along with his band, the lyrics come to life as Van Morrison paints pictures on another of Moondance’s highlights.
Side Two.
Come Running (Take 2) has a country influence that is apparent from the opening bars. Just the rhythm section, driven along by the bass, and the piano join forces and accompany Van Morrison as he sets the scene with lyrics rich in imagery. So much so, that it’s possible to imagine the train running down the track in the wind in rain carrying Van Morrison’s lover. He’s so sure of that he delivers the line: “you’ll Come Running to me.” There’s a certainty and confidence that almost borders on arrogance, as Van Morrison delivers a feisty vocal and singles of their turbulent relationship that he brings to life during this fusion of blues, country, jazz and rock.
These Dreams Of You (Alternate Mix) is driven along by a bluesy harmonica and the rhythm section, while chiming guitars accompany Van Morrison’s grizzled, heartbroken vocal. There’s a reason for this heartache as he dreamt his idol Ray Charles had been assassinated. Soon the song becomes a mini soap opera as growling horns and Hammond organ are dropped in and ensure the song swings as Van Morrison lays bare his soul and dreams for all to hear.
Brand New Day (Take 3) has a melancholy sound as piano and country guitars combine, while Van Morrison’s vocal is slow and full of hope, hope for the future. He wrote the song when he was having problems spiritually, and what follows is a cathartic outpouring of doubt. Cleansed of this doubt, it’s as if he’s been spiritually reborn as his life begins again. His masterstroke on Brand New Day was having The Sweet Inspirations add gospel-tinged harmonies, which are dramatic and spiritual, and the perfect accompaniment to Van Morrison during this song about his spiritual awakening.
Replacing Everyone on The Alternative Moondance is I Shall Sing (Take 7). Many fans of Van Morrison’s music will see this as a controversial omission as the track is part of this classic album. Having said that, Everyone was always regarded as very different from the rest of Moondance and it could be argued that the uptempo and celebratory I Shall Sing which features Van Morrison and his band in full flight may be a better fit. Personally, I would’ve preferred to see alternate take of Everyone which would’ve made the album The Alternative Moondance.
Closing The Alternative Moondance is the Alternate Version of Glad Tidings. Inspiration from the song came from a letter Van Morrison received that said: “Glad Tidings” from London. With its R&B and soul influence, it’s as if Van Morrison’s been inspired by labels like Fame and Stax as a joyous, celebratory sounding track unfolds. Later, Van Morrison’s vocal becomes a scat and vamp, as horns blaze, growl and rasp, punctuating the arrangement while the rhythm section provide the heartbeat and a Hammond organ adds its atmospheric sound. Meanwhile, Van Morrison seems determined to close Moondance on a high and encourages his band, he vamps his way through this joyful, celebratory track which is a fitting way to end what’s a alternative version of a classic album.
For fans of Van Morrison’s music The Alternative Moondance is an album that shows another side to his second classic album. It’s an interesting take on what was a groundbreaking, career-defining album that Van Morrison would never surpass. Meanwhile, The Alternative Moondance is best described as a companion to Moondance and certainly isn’t meant as a replacement for this classic album.
The Alternative Moondance is just the latest reissue of Van Morrison’s classic album, and these tracks have been released before on a five CD deluxe edition of Moondance. However, nobody has tried to program The Alternative Moondance until Record Store Day 2018 when Warner Bros Records released as a limited edition of 10,000.
Just like similar types of albums, where alternative versions of classic albums are released, The Alternative Moondance is sure to provoke debate amongst Van Morrison’s fans. Some will enjoy hearing this different version of Moondance, while purists will dismiss it out of hand as a gimmick. Others will regard The Alternative Moondance as a controversial album given the omission of Everyone. That was a brave call and one that may well result in criticism from those who would rather have heard the alternative version of Moondance featuring the same songs as the original album. Despite that, The Alternative Moondance is an interesting concept and is a new way to discover Van Morrison’s finest album.
Following up Astral Weeks was never going to be easy for Van Morrison, despite the fact that he had only released two albums. However, just his sophomore album Astral Weeks, Moondance was a classic album that showcased one of the most talented singer-songwriters of his generation.
Van Morrison’s lyrics are on Moondance are poetic, evocative, mystical and are full of imagery, Pictures unfold before the listener’s eyes as he takes them on a series of journeys. Some of these songs were inspired by everyday life, while other introduce the listener to a cast of characters and variety of scenarios. Other tracks feature lyrics that are almost mystical and surreal, while Crazy Love and Come Running find Van Morrison singing about love, and love gone wrong. Brand New Day is powerful and poignant track about Van Morrison’s spiritual awakening. However, the best known song on Moondance is the classic title-track, Moondance, which since 1970, has been a staple of radio stations everywhere. It’s one of the best known songs Van Morrison wrote, while Moondance is perceived as Van Morrison’s finest album.
Incredibly, Van Morrison began writing Moondance when he was twenty-three, and completed the album and the tracks that feature on The Alternative Moondance before he was twenty-five. Forty-eight years and thirty-six albums later and Van Morrison has yet to surpass his career-defining classic Moondance, which belongs in every record collection. Many Van Morrison fans will also be keen to add The Alternative Moondance to their collection and compare and contrast the two albums.
While The Alternative Moondance is a welcome release and is one of the best ‘alternative’ albums that has been released over the last couple of years, the original version of Moondance was Van Morrison’s Magnus Opus, and is the definitive version of this classic album.
Van Morrison-The Alternative Moondance-Record Store Day 2018 Release.
SPIRITUAL JAZZ VOLUME 2: EUROPE (ESOTERIC MODAL AND DEEP EUROPEAN JAZZ 1960-1978.
Spiritual Jazz Volume 2: Europe (Esoteric Modal and Deep European Jazz 1960-1978).
Label: Jazzman Records.
Twenty years ago, in 1998, Jazzman Gerald was one of a number of people who noticed that the demand for old jazz, funk and soul albums and singles was outstripping the supply, which meant that many record buyers were being priced out of the market. That was unless they were willing to purchase a bootleg copy of the album. However, many record buyers weren’t willing to buy bootlegs as the artist didn’t receive any royalties, and often the sound quality was extremely poor. Jazzman Gerald realising all this, knew that there had to be another way, and one day, decided to found his own record label, Jazzman Records.
Jazzman Gerald’s plan was to reissue his favourite rarities legally on vinyl and whenever possible, involve the artist in the reissue, by having them tell their story of the album. Over the next ten years, Jazzman Records released many lovingly curated releases which allowed a new audience to discover jazz, funk and soul rarities. This continued in 2008 as Jazzman Records prepared to release the first instalment in a new compilation series Spiritual Jazz.
This was Spiritual Jazz-Esoteric, Modal And Deep Jazz From The Underground 1968-77 which was released to critical acclaim in 2008. Little did anyone realise, and maybe not even Jazzman Gerald that this was the start of successful series that would still be going strong a decade later.
Four years after the first instalment in the series, Spiritual Jazz Volume II-Europe (Esoteric Modal and Deep European Jazz 1960-1978) was released in 2012 and features tracks by the Erich Kleinschuster Sextett, Michael Garrick Sextet, Raphael, Barney Wilen, Nicolai Gromin, Wroblewski Jazz Quintet, Pedro Iturralde and Hans Dulfer and Ritmo-Natural. Unsurprisingly, critical acclaim accompanied this lovingly curated compilation which was released on vinyl and CD.
Six years later, and original copies of Spiritual Jazz Volume II-Europe (Esoteric Modal and Deep European Jazz 1960-1978) are extremely desirable and nowadays, are regarded as collector’s items. Fortunately, Jazzman has just repressed the two LP set of Spiritual Jazz Volume II-Europe (Esoteric Modal and Deep European Jazz 1960-1978), which will please many jazz fans.
Side One.
Erich Kleinschuster Sextett’s Communion opens side one of Spiritual Jazz Volume II-Europe (Esoteric Modal and Deep European Jazz 1960-1978). It’s taken from the 1970 album Oberwarter Messe, which was released in Austria by Columbia. It’s soulful, spiritual, cinematic and sometimes is ruminative encouraging the listener to reflect during this musical Communion.
In 1963, the Albert Mangelsdorff Quintet released their debut album Tension on CBS. One of the highlights of the album was Varié, which was an eight minutes of rueful, dramatic music that married elements of avant-garde with post bop to create a timeless track.
Nearly seven years after his death on the ‘11th’ of November 2011, pianist, band leader, and composer Michael Garrick is regarded as one of the legends of British jazz. When he led the Michael Garrick Sextet, which released four albums between 1965 and 1970, the lineup featured the great and good of British jazz, including Don Rendell and Ian Carr. The Michael Garrick Sextet had recorded a fifth album at the BBC Maida Vale Studios 1968, with Don Rendell and Ian Carr. This was Prelude To Heart Is A Lotus, which lay unreleased for forty-five years. The first many jazz fans heard of the album was when Temple Dance featured on Spiritual Jazz Volume 2: Europe (Esoteric Modal and Deep European Jazz 1960-1978). However, a year later Temple Dancer featured on Prelude To Heart Is A Lotus which released by Gearbox Records and credited to Michael Garrick Sextet With Don Rendell and Ian Carr. One of the highlights of this hidden gem was Temple Dancer which features a flawless piano solo by Michael Garrick during an evocative track that is rich in imagery.
Side 2.
Phil Raphael only ever released the one album as Raphael, which was Stop, Look, Listen, which was released by Selection Records who were a library music label. Archangelo which featured on Stop, Look, Listen features an ethereal vocal which plays a starring role in the sound and success of this filmic track.
Barney Wilen was born in Nice, France and played alongside many giants of jazz, and at one time was a member of Art Blakey and The Jazz Messengers, The Miles Davis Quintet and Roy Haynes Sextet. However, Barney Wilen was also a bandleader and solo artist and in 1972, released the album Moshi on the French label Saravah. It featured Africa Freakout, which is a much more experimental sounding track as Barney Wilen plays with freedom and an inventiveness during this fine example of free jazz.
Side Three.
One of the obscurities on the compilation come courtesy of Russian Jazz guitarist Nicolai Gromin, who recorded Corrida for 1965 Young Moscow Jazz Ensembles LP. Nicolai Gromin was joined by drummer Valery Bulanov, bassist Andrey Yegorov and alto saxophonist Georgy Garanyan who plays an important role in this beautiful, but melancholy, mournful emotive example of Soviet jazz.
Heikki Sarmanto manages to pay homage to two legends of jazz on Duke and Trane, which is taken from his 1979 album New Hope Jazz Mass. It was recorded during a concert that took place on September the ‘7th’ 1978, at the Temppeliaukio Church, in Helsinki. Joining Heikki Sarmanto was the Long Island Symphonic Choral Association who add a soulfulness that borders on the spiritual during this ten minute fusion of modal and free jazz.
In 1960, the Wroblewski Jazz Quintet released their Moods Jazz Jamboree 1960 Nr 3 EP on the Polskie Nagrania Muza label. Languishing on the B-Side was Nana Imbroro, which breezes along, thanks to Jerzy Milian’s vibes and Jan Ptaszyn Wróblewski’s tenor saxophone. This hidden gem in another welcome addition to Spiritual Jazz Volume 2: Europe (Esoteric Modal and Deep European Jazz 1960-1978).
Side Four.
Trumpeter and flugelhorn player Dusko Goykovic was born in Jajce, Yugoslavia, which later became Bosnia, in 1931. By the time he released It’s About Blues Time, on the Spanish label Ensayo, in 1972, he was an experienced and versatile musician. Proof of that was Bosna Calling, which was one of the highlights of It’s About Blues Time which is an underrated album of European modal jazz.
In 1967, Spanish saxophonist Pedro Iturralde released his debut album Jazz Flamenco! It was released on the Hispavox label, and featured Las Morillas De Jaen where Pedro Iturralde seamlessly marries modal jazz and flamenco.
Closing Spiritual Jazz Volume 2: Europe (Esoteric Modal and Deep European Jazz 1960-1978) is Hans Dulfer and Ritmo-Natural’s Candy Clouds (Part 2) which is taken from their 1970 genre-melting album Candy Clouds. It was released on the Catfish label, and Candy Clouds (Part 2) which is an example of a freer style of fusion on this melodic and memorable track. It’s the perfect way to close any compilation of European jazz.
Especially one as good as Spiritual Jazz Volume 2: Europe (Esoteric Modal and Deep European Jazz 1960-1978), which was originally released by Jazzman Records in 2012 on CD and as a two LP set. Recently, Jazzman Records decided to repress the vinyl version of Spiritual Jazz Volume 2: Europe (Esoteric Modal and Deep European Jazz 1960-1978), which is one of the finest instalments in this long-running series.
Six years after Spiritual Jazz Volume 2: Europe (Esoteric Modal and Deep European Jazz 1960-1978) was released, Jazzman released Spiritual Jazz Volume 8 Japan: Parts I and II, is another of the highlights of this lovingly curated compilation series which focuses on the spiritual side of jazz. It’s been neglected for too long, but over the past few years, labels like BGP and BBE have joined Jazzman Records in turning the spotlight on spiritual jazz from the four corners of the world.
For anyone yet to discover the delights of spiritual jazz, then there’s the eight vocals of Jazzman’s long-running and carefully curated compilation series. Two of the highlights of the series are Spiritual Jazz Volume 8 Japan: Parts I and II and Spiritual Jazz Volume 2: Europe (Esoteric Modal and Deep European Jazz 1960-1978), which both feature contributions from familiar faces and hidden gems a plenty that are a tantalising taste of the oft-overlooked world of spiritual jazz. However, the recently repressed copies Spiritual Jazz Volume 2: Europe (Esoteric Modal and Deep European Jazz 1960-1978) are sure to sell out quickly, so it’s a case of get the compilation while you can, and discover the delights of some deeply esoteric modal and deep European jazz from what is regarded as a golden era for this underrated genre.
Spiritual Jazz Volume 2: Europe (Esoteric Modal and Deep European Jazz 1960-1978).
GRANT GREEN-SLICK! LIVE AT OIL CAN HARRY’S-RECORD STORD DAY 2018 EDITION.
Grant Green-Slick! Live At Oil Can Harry’s-Record Store Day 2018 Edition.
Label: Resonance Records.
Nowadays, guitarist Grant Green is best known for the jazz and soul-jazz albums that he recorded for Blue Note Records during the sixties. However, that was only part of the Grant Green story, and by 1969, he had changed direction and was playing jazz-funk.
This came as a surprise to many of his fans, but Grant Green knew that if he didn’t reinvent his music, he risked becoming musically irrelevant. This was something that Grant Green wasn’t going to risk, and when he resigned to Blue Note Records in 1969 after spending two long years battling heroin addiction, this was the start of his jazz-funk years.
Grant Green spent the remainder of his career playing and recording albums jazz-funk with various bands. This included the quintet that accompanied him on Slick! Live At Oil Can Harry’s, which was released by Resonance Records for Record Store Day 2018 as a double album. Just like Funk In France From Paris To Antibes 1969-1970 which was also released Record Store Day 2018, Slick! Live At Oil Can Harry’s none of the tracks have been released before and are a reminder of Grant Green later career.
Grant Green was born on the ‘6th’ of July 1931, in St. Louis, Missouri, and the man who would later became one of jazz’s unsung heroes and most underrated guitarists became a professional musician when he was still a teenager. For the early part of his career, Grant Green was content to play in his home town of St Louis and around East St Louis. Initially, he had no inclination to move to New York until Lionel Hampton persuaded him to make the move in 1959.
A year later, in 1960, Grant Green was introduced to Alfred Lion the cofounder of Blue Note Records, who signed the twenty-nine tear old guitarist to one of jazz’s premier labels.
The Blue Note Records Years.
Between 1960 and 1965, Grant Green recorded a total of twenty-two albums for Blue Note Records as bandleader leading trios, quartets, quintets and sextets. Fourteen of these albums were released between 1960 and 1965, with the remainder released by Blue Note Records during the seventies and eighties. However, by 1965 Grant Green was already one of jazz music’s rising stars and had come a long way in five years.
Although Grant Green was a prolific recording artist between 1960 and 1965, he also found time to work with many of the other artists signed to Blue Note Records. This was akin to the great and good of jazz, and before long, Grant Green was the go-to-guitarist for many artists signed to Blue Note Records. However, within the space of two years Grant Green’s life had been transformed.
Detox In Detroit.
As 1967 dawned, Grant Green was in throes of heroin addiction which was threatening to derail his burgeoning career. Just like so many jazz musicians before him, Grant Green had succumbed to heroin, not knowing how addictive the drug was. By 1967, heroin had sunk its claws into Grant Green and was desperate to free himself from its grasp. That was why in 1967, Grant Green made the decision to move to Detroit where he would turn his back on the local music scene while he tackled his heroin addiction.
Grant Green moved his family to Detroit which became his home for the next two years as he set about beating his addiction to heroin. During 1967 and 1968, Grant Green deliberately avoided the local music scene, where he knew drugs would be freely available. He wasn’t willing to put temptation in his way having come so far, and beaten his addiction to heroin. Now he was ready to return to the Big Apple, and rebuild his career.
The Return To Blue Note Records.
After two years away, Alfred Lion resigned a newly reinvigorated Grant Green to Blue Note Records in 1969. By then, Grant Green was a changed man, and although he looked older, and his hair was starting to thin, he looked much healthier than he had two years previously.
Grant Green had also put together a new band and was moving in a new direction musically. Rather than jazz, Grant Green’s new band were playing a much funkier type of music. This new music was showcased by Grant Green during a European tour.
Having re-signed to Blue Note Records, Grant Green joined Larry Ridley and Don Lamond on a European tour, where each of the three guitarists took to the stage with the band that travelled with them, and played a short set. After the three sets, the three guitarists joined forces, and played together showcasing their considerable skills. Grant Green would return to France in October 1969, but before that, had his comeback album to record.
On the ‘3rd’ of October 1969, Grant Green and his band headed to Van Gelder Studio, Englewood Cliffs, New Jersey, to record his comeback album Carryin’ On. It found Grant Green leading a sextet on an album which marked a stylistic change for the thirty-eight year old guitarist. Carryin’ On was the first album of jazz-funk that Grant Green recorded and was the sound he embraced for the rest of his career.
Having recorded Carryin’ On, which was released in the spring of 1970, Grant Green started preparing to return to Paris, France, later that month. This was something of a surprise for Grant Green.
In the October 1969 edition of Jazz Magazine, an announcement that ORTF’s Guitar Night was due to take place at the headquarters of French National Radio with a ‘dream lineup’ of Barney Kessel, Kenny Burrell and Tal Farlow all featuring on the ‘26th’ of October. As soon as the event was announced, French jazz fans were looking forward to three of their favourite guitarists. That was until one was forced to withdraw from the event.
This was Tal Farlow, who had been suffering from asthma attacks and was unable to make the journey to France. For the organisers this was a disaster, but by the time next edition of Jazz Magazine was published, a replacement had been found…Grant Green.
While Grant Green was one of the biggest names in American jazz, French jazz fans didn’t appreciate the talented St Louis born guitarist. When Jazz Hot ran its reader’s poll, Grant Green ended up in eighth place in the list of guitarists. As a result, the announcement of Grant Green as Tal Farlow’s replacement was greeted with a lack of enthusiasm. It was going to take a lot for Grant Green to win over the French jazz fans.
When Grant Green arrived in Paris to play at the ORTF’s Guitar Night on the ‘26th’ of October 1969, he was joined by a slightly different, and slimmed down lineup of his band. Grant Green was about to lead a trio, which didn’t feature his usual drummer Idris Muhammad, who was unable to make the trip. Instead, drummer Don Lanond, bassist Larry Ridley and Grant Green would take to the stage at Studio 104, La Maison De Le Radio. That night, Grant Green took to the stage first, and initially, the audience weren’t exactly enthusiastic. However, by the time he left the stage, Grant Green had won over the audience, who realised they had underestimated the guitarist. Forty-nine years later, Grant Green’s performance featured on Funk In France From Paris To Antibes 1969-1970.
Buoyed by the reception at Studio 104, La Maison De Le Radio, on the ‘26th’ October 1969, Grant Green headed home, and this new chapter in his career continued apace. This included recording a new album.
Green Is Beautiful was recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey, on January the ’30th’ 1970, and featured a very different lineup of Grant Green’s band. This time around, Grant Green led an octet that featured drummer Idris Muhammad, bassist Jimmy Lewis and conga player Cándido. The expanded lineup of Grant Green’s band worked their way five cover versions as the bandleader continued his journey into jazz-funk.
In the spring of 1970, Carryin’ On was released and showcased Grant Green’s new jazz-funk sound. Carryin’ On was well received, although some of Grant Green’s older fans weren’t won over by the album. They preferred his earlier albums, although a new audience embraced Grant Green’s newly updated sound. Later, Carryin’ On proved popular amongst collectors of acid jazz and rare groove.
By July 1970, Green Is Beautiful was released and found Grant Green growing into his new sound on an album that featured a tougher, funkier, brand of R&B. This new sound Grant Green was about to showcase at the Festival Mondial du Jazz Antibes, in 1970.
Grant Green’s appearance at the Festival Mondial du Jazz Antibes is also documented in Funk In France From Paris To Antibes 1969-1970, and documents his transition from jazz to jazz-funk. This became Grant Green’s trademark sound for the rest of his career.
Following his return from the Festival Mondial du Jazz Antibes, his new album Visions was released by Blue Note Records in late summer of 1971 and was reasonably well received. It wasn’t regarded as a Grant Green classic, and nor was Shades Of Green, which was released by Blue Note Records to mixed reviews in late 1971. Not every critic was convinced by Grant Green’s decision to reinvent himself and move in the direction of jazz funk.
The following year, 1972, Grant Green made history when he released The Final Comedown on Blue Note Records. It was the first soundtrack album the label had released, and what was Grant Green’s first venture into the world of soundtracks was well received by critics and later, and a cult following amongst fans of Blaxploitation soundtracks.
On April the ’21st’ 1972, Grant Green arrived at the Lighthouse Café, Hermosa Beach, California, to record another live album. This became Live At The Lighthouse, which was released later in 1972 and features one of his best performances of the jazz-funk era. He rolls back the years on Live At The Lighthouse which features some virtuoso performances by the bandleader and some peerless interplay. This was fitting as Live At The Lighthouse was the last album Grant Green recorded for Blue Note Records.
When Grant Green left Blue Note Records in 1974, it marked the end of an era, as he had spent his entire career signed to the label. He had signed to the label in 1960 and left for the first time in 1967. After spending two years detoxing in Detroit, Grant Green re-signed to Blue Note Records in 1969. That was the start of his jazz-funk years, which would continue even after Grant Green left Blue Note Records.
By 1975, Grant Green’s career had stalled and he found himself at a crossroads. He was living in Detroit and found himself without a record label for the first time in his career, and record labels weren’t exactly fighting for his signature. That wasn’t a surprise, as the albums he had released for Blue Note Records during the seventies varied in quality. His albums lacked the consistency that he had enjoyed earlier in his career. This meant that some record companies may have been reluctant to sign the forty-year old guitarist. However, Grant Green was determined to get his career back on track.
The problem was that Grant Green’s music wasn’t finding a younger audience. Mostly, his music was popular amongst older jazz fans who had discovered his music during his first spell with Blue Note Records. However, even some of his long-term fans had turned their back on Grant Green during his jazz-funk years, and the audience for his music was becoming smaller. Grant Green knew that he needed to do was attract a younger audience.
This was easier said than done, and Grant Green vowed to make himself fan friendly. He wanted to be seen as approachable and connect with his fans when he played live. The last thing he wanted to do was alienate his fans, and he vowed to take care not to be seen as aloof, and was always approachable when he arrived at a venue to play live. Now that he had no record contract, playing live was putting food on the table. This included the gig that Grant Green pencilled into his diary on September the ‘5th’ at Oil Can Harry’s, in Vancouver, Canada.
Slick! Live At Oil Can Harry’s.
By the time Grant Green was booked to play the gig at Oil Can Harry’s, the forty-year old bandleader and guitarist in the middle of his pop-funk period, and at home, was listening to what can only be described as an eclectic selection of music. This included everything from The Beatles, and Bobby Womack right through to the self-styled godfather of funk James Brown, Stanley Clarke, Stevie Wonder, The Ohio Players and The O’Jays. These artists and bands would influence and inspire Grant Green when he led his band on September the ‘5th’ at Oil Can Harry’s, which was being recorded for posterity.
By the time the gig at Oil Can Harry’s arrived, Grant Green’s band featured a number of familiar faces who had worked with him when he was signed to Blue Note Records in the early seventies. The rhythm section featured drummer Greg Williams and bassist Ronnie Ware while Emmanuel Riggins on Fender Rhodes and percussionist Gerald Izzard joined guitar Grant Green.
When Grant Green took to the stage at Oil Can Harry’s, he was introduced by Vancouver based DJ Garry Barclay, who explains that the show was going to be played live a week later on CHQM-FM radio station. As soon as the applause died down, Grant Green’s jazz-tinged guitar rings out, and he plays the first few notes of a brisk cover Charlie Parker’s Now’s The Time. It had a been a favourite of Grant Green when he played live during the early seventies. He’s accompanied by a walking bass, the soulful chitchat of the drums and congas while the Fender Rhodes fills out the arrangement and adds a warmth. Meanwhile, Grant Green rolls back the years playing with speed and fluidly as the track is extended to nine majestic and almost flawless minutes. However, just a couple of times, Grant Green fluffs a line, during what’s a glorious example of bop blues.
Very different is the cover of Antonio Carlos Jobim’s How Insensitive (Insensatez), which seems an unlikely track for Grant Green to cover. Unlike many other jazz guitarists, Grant Green hadn’t embraced samba, but with the help of his band delivers a sympathetic cover of this familiar track which allows the guitarist and bandleader to showcase his talent and versatility during this twenty-eight minute epic.
Slick! Live At Oil Can Harry’s closes with a medley that opens with Stanley Clarke’s Vulcan Princess which is initially haunting and otherworldly before veering between funk and fusion, while the Ohio Players’ Skin Tight is sensual and funky. After that, a brief burst of Marvin Gaye’s Trouble segues into soul man Bobby Womack’s Woman’s Gotta Have It. Here, Grant Green rolls back the years during a musical masterclass on this uber funky track where a bluesy bridge brings in a verse of the sunshine funk of Stevie Wonder’s Boogie On Reggae Woman. Closing the medley is a The O’Jays’ Philly Soul favourite For The Love of Money, which is reinvented and becomes funky and soulful as this thirty-two minute, five song medley draws to a close. It’s no ordinary medley and this genre-melting opus is spread across sides three and four of Slick! Live At Oil Can Harry’s. During this genre-melting medley that takes a series of twists and turns, as Grant Green and his band seamlessly switch between musical genres and showcase their talent and versatility, before taking a well deserved bow.
Sadly, after concert that recently became Slick! Live At Oil Can Harry’s, which was recorded on September the ‘5th’ 1975, very few of Grant Green’s concerts were recorded. At the time, Grant Green and his band most likely thought that there was plenty of time to record live albums in the future. Sadly, that wasn’t to be.
In 1976, Grant Green recorded The Main Attraction for Creed Taylor’s Kudu imprint, and when this album of funky soul-jazz was released critics weren’t impressed. After that, Grant Green left Kudu and didn’t record another album until 1978.
This was Easy, which was recorded between the ‘17th’ and ‘20th’ April 1978, for the Versatile label. However, when the album which is also known as Last Session was released later in 1978, tragedy had struck.
Grant Green’s health had deteriorated during 1978, and he was forced to spend much of that year in hospital. During this period, Grant Green wasn’t earning money, and before long the guitarist’s finances were in a perilous state.
Against doctor’s advice, Grant Green headed back out on the road to try to make some much-needed money. His final gig was at his fiend George Benson’s Breezin’ Lounge in New York, but sadly, Grant Green collapsed in his car of a heart attack and died on January the ’31st’ 1979 aged just forty-three. That day, jazz music lost one of its great guitarists.
His recording career belatedly began in 1960 when twenty-nine year old Grant Green signed to Blue Note Records for the first time. This was the label that Grant Green called home for the majority of his career, and where he recorded the best music of his career. This included the start of Grant Green’s jazz-funk years, which continued after he left Blue Note Records.
By the time he left Blue Note Records in 1974, Grant Green’s best years were behind him, and neither The Main Attraction nor Easy matched the quality of albums he had released during the Blue Note Records’ years. Despite that, Grant Green and his band gave an almost flawless performance when they took to the stage at Oil Can Harry’s on the ‘5th’ of September 1975 and flitted between blues bop, funk, fusion, jazz and jazz-funk. Fortunately, the CHQM-FM radio station had the tapes running at Oil Can Harry’s, but sadly, they weren’t unearthed by Resonance Record until 2017.
These tapes became Live At Oil Can Harry’s which Resonance Record released as a double album for Record Store Day 2018. Live At Oil Can Harry’s which is a hidden gem, is a welcome release, and a reminder of one of jazz’s unsung heroes and most underrated guitarists, as he rolled back the years one final time, during what sadly, proved to be the twilight of his career
Live At Oil Can Harry’s Record Store Day 2018 Edition.
SPIDER-JAZZ.
Spider-Jazz.
Label: Trunk Records.
Anyone who grew up in the late-sixties will have fond memories of the original series of Spiderman cartoon series, which was created by Grantray-Lawrence Animation, and made its television debut on ABC-TV in 1967, just five years after the crime fighting superhero made his debut in Marvel Comics. Spiderman was created by Stan Lee and Steve Ditko, who watched as their web-spinning superhero became a favourite of a generation of American then Canadian children.
Sadly, it was a few years later, before Spiderman made his debut on British televisions, and quickly became a favourite of children and adults, who were brought reading this classic comic book during the early sixties. By the late-seventies, Spiderman was a familiar face on weekend television, but by then, many older children who had grown up watching the original series, saw it with new eyes.
The original version of Spiderman had been made on a low-budget, and there were numerous errors, and many background, sequences and scenes had been re-used, often within the same episode. Many teenagers took great delight in pointing out mistakes, including in one episode where the spider logo on Spiderman’s costume initially had six legs, then eight legs and back to six later in the show. Cue howls of laughter from teenagers across Britain.
Despite the errors in the original series of Spiderman, many people of a certain age still have fond memories of this memorable cartoon series. Especially the music, which by the series one featured a new theme tune, where session singers sung the praises of Spiderman and background music penned by composers Bob Harris and Ray Ellis. Sadly, it’s believed that the master-tapes to the music no longer exist.
Following series one of Spiderman, Grantray-Lawrence Animation became insolvent and later, were declared bankrupt. This was the start of a new chapter for Spiderman, and producer Steve Krantz decided to bring in new personnel to work on the next series, including animation director Ralph Bakshi. The only problem was that Steve Krantz decided to cut the budget to Spiderman, and what was already a low-budget production became an extremely low-budget production. However, Steve Krantz’s other idea was something of a masterstroke, when he decided to use one of the many library companies that were providing the music for commercials, film, radio and television.
The library company that Steve Krantz chose was KPM, which by then, was one of the top providers of library music. It had a vast library of music that had been recorded on spec, but also had access to the talented and versatile songwriters, arrangers, producers and musicians who were capable of writing and recording music to match themes or moods for a film or television show. This was just what Steve Krantz needed as KPM had already established a reputation for producing modern dramatic music that was miles ahead of the library music produced by the nascent American companies. Proof of this is the music on Spider-Jazz which has just been released on vinyl by Trunk Records and is a reminder of what was a golden era for KPM Music, which was one of the elder statesman of British library music.
While American library music companies were relatively new, the origins of KPM Music can be traced back over two centuries.
KPM Music.
Robert Keith founded a comp[any in 1780, to make of musical instruments, and fifty years later, in 1830, entered into a partnership with William Prowse, a music publisher. The newly formed partnership was named Keith Prowse Music (KPM), and over the next hundred years, the company grew and expanded into other areas,
By the early twentieth century, Keith Prowse Music was selling sheet music and concert tickets, but it was the invention of the gramophone proved to be a game-changer. Demand for sheet music and concert tickets grew, and in 1955, Keith Prowse Music was decided to diversify, into one of the most profitable areas of music, music publishing.
One of the reasons behind the decision to diversify into music publishing, was to feed the demand for soundtracks for radio, television and film. Previously, music libraries supplied classical music, which was what was required. By the mid-fifties, and the birth of television, the world and music were changing, and changing fast.
Four years later, in 1959, Associated Rediffusion bought another music publisher Peter Maurice and merged it with Keith Prowse Music. The newly merged company became Keith Prowse Maurice, which became known as KPM Music. The newly named KPM Music was a much bigger player in the world music publishing. However, in the mid-sixties, a new name took the helm at KPM Music, and transformed the company into one of the biggest names in library music.
When Robin Phillips joined KPM Music in the mid-sixties, he proved to be an astute and visionary businessman. Two decisions Robin Phillips made demonstrate why. His first decision was that KPM Music should switch from the old 78 records to the LP, which made sense, as LPs were what people were buying. They were less prone to breakage, which meant less returns and more profit. LPs could contain more music, and could be released in limited editions of 1,000. The other decision he made was to hire the best young British composers and arrangers.
Among the composers Robin Phillips hired were Keith Mansfield and Johnny Pearson, whose talent and potential as composers he recognised. Robin Phillips managed to hired them before they’ had established a reputation, although they were known within music publishing circles.
Later, Robin Phillips managed to hire some of jazz musicians of the calibre of John Cameron, Syd Clark, Alan Hawkshaw and Alan Parker. Their remit was to provide him with new music, which was referred to as production music. Many of their remits was to write music which matched themes or moods, which initially, wasn’t isn’t easy, but soon, the composers were able to do so. Almost seamlessly, the composers created themes for many well known television shows and films.
For the composers and musicians involved in writing and recording library music, they were part of what was one of the most lucrative areas of music. When EMI realised that KPM Music had one of the best and most profitable music libraries and decided to buy the company. Executives at EMI had spotted the profitability of library music and the consistency, quality and depth of KPM Music’s back catalogue. However, not everyone within the music industry approved of library music.
Other songwriters looked down on writers of library music, and the British Musician’s Union wasn’t fan of library music. They banned their members from working on recording sessions of library music. Somewhat shortsightedly, the Musician’s Union thought that eventually, there would come a time when there was no need for any further recordings. Their fear was that the sheer quantity of back-catalogue would mean no new recordings would be made, and their members would be without work. Fortunately, KPM Records thought of a way to subvert the ban.
KPM Records would fly out composers, arrangers and musicians to Holland and Belgium, where local musicians would join them for recording sessions. This meant that often, the same musicians would play on tracks that were penned by several composers. For the musicians involved, this proved lucrative and some were reluctant to turn their back on session work for companies like KPM Records.
Still the Musician’s Union’s ban continued, and it wasn’t until the late seventies that the Musician’s Union lifted their ban on new recordings of library music. By then, the Musician’s Union realised that they were fighting a losing battle and had no option but to concede defeat.
Meanwhile, the music that was being recorded in Europe and once the ban was lifted in Britain, found its way onto albums of library music released by KPM Music. Again, KPM Music were innovators, and released limited editions of library music. Sometimes, only 1,000 albums were released, and they were sent out to film studios, television and radio stations and advertising agencies. However, by then, interest in library music had grown.
Although the albums of library music were never meant to be commercially available, a coterie of musical connoisseurs had discovered KPM Music’s albums of library music and were determined to add each release to their collection. They weren’t alone.
Later, DJs and sample hungry hip hop and house producers discovered the world of library music. This was a boon for many of these producers who were musically illiterate, and certainly couldn’t play an instrument. However, with some practise they were eventually able to sample albums of library music for their latest production, and occasionally, this resulted in a hit single for the musical pirates. Meanwhile, the original superhero was just as popular as ever.
The Return Of Spiderman.
Way after KPM Music provided the soundtrack Steve Krantz’s second series of Spiderman, the web-spinning superhero was still a favourite of another generation of children in North America, Europe and Britain. They watched reruns of the show in the early to mid eighties, and later, the series found its way first onto video, and later DVD.
By then, many of those who grew up watching the first and second series of Spiderman, had fond memories of the eclectic music that provided a backdrop to the first two series’. Especially in series two, where Spiderman was a groovy, hep cat who spun his web to a soundtrack the veered between jazz-tinged to funky, lysergic and often dramatic. It was just a pity that nobody had compiled a compilation of the music from series two.
Spider-Jazz.
That changed when Trunk Records recently released Spider-Jazz which features eighteen traces from series two of Spiderman. It features music penned by the best composers who worked for KPM Music. This includes Syd Dale, Johnny Hawksworth, David Lindup, Johnny Pearson, Keith Mansfield and Alan Hawkshaw. There’s also four tracks from the successful songwriting team of Bill Martin and Phil Coulter. They all played their part in the success of Spiderman and the Spider-Jazz compilation.
It’s a compilation that many people of a certain age will want to add to their record collection, especially collectors of library music. Sadly, because of legal reasons Trunk Records are unable to mention the star of the compilation…Spider Man. Nor were they allowed to include a picture of the web spinning superhero, which is why on the words “Spider-Jazz: KPM Cues Used In The Amazing Animated Series That We Are Not Allowed To Mention For Legal Reasons” It feature on the album. Despite that, Spider-Jazz is guaranteed to bring memories flooding back and get the listener’s spidey senses tingling.
Side One.
Syd Dale’s The Hell Raisers from his 1966 album The Sounds Of Syd Dale opens Spider-Jazz, and is an irresistible slice of cinematic Latin jazz. Thankfully, it’s only the first visit to this compilation.
Johnny Hawksworth’s groovy sounding The Eyelash is taken from the 1966 compilation The Mood Modern, and is a reminder of swinging London in the sixties that is also perfect for a web spinning superhero.
There’s a return to The Sounds Of Syd Dale for the dramatic, futuristic and lysergic Walk In A Nightmare. It gives way to Johnny Hawksworth’s Hammond organ driven Beat Street which featured on The Mood Modern. It’s the perfect backdrop for a sixties superhero fighting evil on the streets of New York. Syd Dale’s Walk and Talk which is an almost Gallic slice of cinematic jazz, and is another track taken from The Sounds Of Syd Dale.
The four tracks from Bill Martin and Phil Coulter are all taken from the 1967 compilation The Sound Of Pop. This includes Big Bass Guitar which was tailor-made for a Spiderman cartoon. There’s even some jazz guitar which reinforces Spiderman’s credentials as a hep cat, before the Hammond organ takes the track in the direction of soul-jazz. By contrast, Mr. Chestertons Dog sounds as if it was penned for a sixties comedy, and has an almost ironic sound. However, one can imagine Spiderman slinking along in these early animated cartoons to do battle with his latest nemesis. Mods and Rockers is a rocky, jazzy and dramatic and is another track that is perfect for the crime fighting superhero. He nearly meets his maker on the lysergic LSD which closes side one.
Side Two.
The David Lindup composition Stand By which is slinky, cinematic and jazz-tinged opens side two, and is taken from The European Sound Stage Orchestra’s 1967 album Impact and Action. It’s the first of several tracks from this compilation.
Take A Goosie Gander is another track from the 1966 album The Sounds Of Syd Dale. It’s slow, moody and full of tension as elements of classical and jazz are combined to create this cinematic track.
Juggernaut was penned by David Lindup and is taken from The European Sound Stage Orchestra’s 1967 album Impact and Action. It’s a track that sounds as if it was tailor-made for the Spiderman cartoon. Johnny Pearson’s Grand Prix which has a dramatic filmic sound is also taken from Impact and Action and is a reminder if any was needed of the golden age of library music.
The European Sound Stage Orchestra also released the album Tension And Suspense in 1967, and it featured David Lindup’s composition Veiled Threat which was perfect soundtrack to either Spiderman or a sixties police drama or thriller. Sixth Sense is another David Lindup composition and builds up the tension and drama beautifully.
Keith Mansfield’s Funky Flight featured on several KPM Music compilations during the late-sixties and seventies. However, originally this fusion of funk and soul-jazz featured on Beat Incidental which was an album that featured music Alan Hawkshaw and Keith Mansfield’s music.
The dramatic, cinematic jazz of Alan Hawkshaw’s Raver made its debut on the 1967 compilation The Sound Of Pop, which features compositions by the great and good of British library music.
Syd Dale’s The Washington Affair closes Spider-Jazz, and is another track from The European Sound Stage Orchestra’s 1967 album Impact and Action. It features a wonderful big band arrangement that closes the album on a high and gets the spidey senses tingling.
For fans of web spinning superhero Spiderman, and anyone whose yet to discover the delights of British library music, Trunk Records’ new compilation Spider-Jazz, which has just been released on vinyl is the perfect place to start. It’s just the latest lovingly curated compilation of library music from what was the genre’s golden age.
During that golden age, KPM Music was one of the leading lights of library music, and produced some of the most memorable music of the mid to late-sixties. It was written by Syd Dale, Johnny Hawksworth, David Lindup, Johnny Pearson, Keith Mansfield, Alan Hawkshaw and the songwriting team of Bill Martin and Phil Coulter who were all working for KPM Music. They often arranged and produced their compositions, which were played by some of the best up-and-coming musicians of the time. Sometimes, they were joined by experienced musicians who realised that library music was a lucrative business, and offered a steady income. That was the case from the sixties right through the seventies and into the eighties, which was the golden age of library music. This was when the music on Spider-Jazz was recorded.
During the second half of the sixties, the eighteen tracks on Spider-Jazz were recorded for KPM Music, and provided the soundtrack to the second series of the Spiderman cartoon. Nearly fifty years later, and some of the music that featured on that second series of Spiderman features on Spider-Jazz. The music on Spider-Jazz is groovy, jazz-tinged, funky, dramatic and cinematic, and is also guaranteed to set the spidey senses tingling and of course, bring back memories of a classic cartoon.
Spider-Jazz.
DUENDE LIBRE-DRIFT.
Duende Libre-Drift.
Label: Self-Released.
In May 2017, Seattle-based Duende Libre who are led by bandleader, composer and keyboardist Alex Chadsey, self-released their genre-melting eponymous debut album. Buoyed by the response and reception to Duende Libre, the trio began work on the followup, Drift, which has just been self-released, and is the latest chapter in the story of Duende Libre.
Duende Libre was founded by keyboardist Alex Chadsey, who graduated from the University of Michigan with a degree in Jazz Studies in 2003. Like many new graduates, Alex Chadsey found himself wondering what the future held for him? He was a talented and versatile musician who was fluent in jazz and classical music, and was one of the beneficiaries and success stories of the conservatory-style music education. This was meant to stand graduates in good stead as they embarked upon his music career. That was the theory. The only problem was Alex Chadsey was still undecided about his future. Eventually, he decided to move to Seattle, the birthplace of Jimi Hendrix, Ray Charles and grunge,
After arriving in Seattle, Alex Chadsey’s career took an expected twist when he turned his back on jazz and classical music, and joined a salsa band. Before long, he was a familiar face within Seattle’s salsa scene, playing in various bands. It was through playing in the salsa bands that Alex Chadsey saw firsthand how music creates a sense of community. By then, Alex Chadsey had been accepted into Seattle’s vibrant Latin music community, and his love of Latin music blossomed.
Salsa was merely a starting point for Alex Chadsey, ands soon, he was digging deeper and deeper into the various sub-genres of Latin music. This was a turning point for Alex Chadsey who now had a sense of purpose musically.
He had arrived in Seattle looking for musical direction, and found it within the Latin music community.That was also where he met two likeminded musicians, Farko Dosumov and Jeff Busch, who both shared Alex’s love of Afro-Caribbean music. This was the start of a friendship and musical partnership.
Over the next few years, the three friends would often play and collaborate together.When Alex Chadsey founded Duende Libre, he brought Farko Dosumov and Jeff Busch onboard. Before that, his career took an unexpected twist when got involved in the Seattle Fandango Project.
It was originally founded by members of the Chicano rock band Quetzal, who are regarded as one of the most innovative bands of all the Chicano bands. Through his work with the Seattle Fandango Project, Alex Chadsey got to know the members of Quetzal, who invited him to share a stage with them. This lead to him contributing to Quetzal’s 2012 album Imaginaries which won the Grammy Award for the Best Latin Rock, Urban or Alternative Album in 2013. For Alex Chadsey, the opportunity to work with Quetzal was in important part in his musical development.
Up until he played with Quetzal, Alex Chadsey had relied upon his formal musical education. Soon, this began to change and his approach to music making moved away from his formal musical training, towards tradition, community and collective expression. This would influence Alex Chadsey’s musical future and especially, his latest project Duende Libre.
Alex Chadsey founded Duende Libre when he decided that he wanted to play more of his own compositions. Some of these compositions had been inspired and influenced by the Afro-Cuban and Latin music that he had studied and had grown to love over the last few years. All these traditional types of music would play their part in the musical tapestry that he would weave with Duende Libre over the next few weeks and month
Joining Alex, who would play piano and keyboards in Duende Libre, were two of two of his closest friends from the Seattle music scene, bassist and vocalist Farko Dosumov and drummer and percussionist Jeff Busch. Initially, the new band took a different approach to music making, using a digital audio workstation and loops. This allowed the three musicians to create the framework for the songs that they were composing. Gradually, these songs started to take shape and Duende Libre began to demo them.
Eventually, the time had come for Duende Libre to record their eponymous debut album debut album, which was completed on schedule in May 2016. Another year passed before Duende Libre self-released the genre-melting debut Duende Libre in May 2017. The album was well received by critics, and to promote the album, Duende Libre embarked upon a lengthy tour.
After leaving their hometown of Seattle, the three members of Duende Libre crisscrossed America, and got as far as Alaska on the tour. Many bands have struggled to survive such a gruelling tour, it brought the three members of Duende Libre closer, as they spent time with each other, which meant they became a tighter band. Alex Chadsey remembers: “It’s osmosis.You’re just hanging out together more than you’re actually playing. You’re sitting in the bus, hanging out with the people you meet. Time spent together on the road impacts the music in interesting and surprising ways.”
When Duende Libre returned home to Seattle from the tour, they were keen to build on the momentum created by the tour and began work on their sophomore album Drift.
On Drift, Duende Libre takes the listener back in time to when there were no continents to divide this huge mass of land which was assembled from earlier continental units 335 million years ago. Instead, there was one supercontinent Pangaea, that existed during the late Paleozoic and early Mesozoic eras. Duende Libre set out explore this concept, while charting and imagining the music of the supercontinent Pangaea.
To do this, Duende Libre tale elements of the music of The Puget Sound the Bosphorus, Cuba and Jamaica and combine this jazz and pop pleasures on Drift. Alex Chadsey explains:“We draw influences from many different cultures and countries and parts of the world, and the album’s title is a tribute and invocation of these influences. We explored using different rhythmic feels and styles as a way to meld those sensibilities. That’s what I was going for: a musical pangea where borders become less rigid, and where surprising new sounds emerge in the grey areas between traditions.”
Alex Chadsey decision to combine music from different parts of the world comes as no surprise to those that know him. Growing up, he was always interested in music from different parts of the world. However, his first love was Western classical and jazz music, and a favourite piece was Chick Corea’s Spain which is covered on Drift. It’s one of many things that influence Alex Chadsey musically.
This includes his musical education, lifelong love of jazz and music from all over the world and his experience playing with Quetzal and roots reggae musician Clinton Fearon’s Boogie Brown Band. All this has been part of Alex Chadsey’s wider musical education, which would help him when he came to write and record Drift.
For Duende Libre’s sophomore album Drift, Alex Chadsey wrote six of the seven tracks and decided that his band should cover Chick Corea’s Spain. This meant a new addition to Duende Libre when the recording of Drift began.
Just like on Duende Libre, the core lineup of the band was keyboardist Alex Chadsey, who was joined by drummer Jeff “Bongo” Busch and bassist Farko Dosumov. The new addition to Duende Libre’s lineup for the Drift sessions was singer and songwriter Chava Mirel who Alex Chadsey knew from Clinton Fearon’s Boogie Brown Band. Chava Mirel featured on several tracks including the cover of Spain and the elegiac Zephyr. They’re just two of the seven tracks that Duende Libre recorded and made their way onto Drift.
The poignant piano led Zephyr opens Drift and initially,is a showcase for the talents of Alex Chadsey as the rhythm section play a supporting role as the arrangement ebbs and flows. Later, Chava Mirel’s ethereal, elegiac vocal enters and plays a starring role in the sound and success of the album opener.
Drummer Jeff “Bongo” Busch and keyboardist Alex Chadsey play leading roles from the opening bars of Drift, which it soon become apparent is a carefully crafted and complex instrumental. Later, bassist Farko Dosumov enjoys his moment in the sun, and after that, the three members of Duende Libre raise their game and reach new heights. Especially Alex Chadsey as he unleashes a flawless, fleet-fingered keyboard solo before the group jam, and as this genre-melting, progressive and percussive track reaches a crescendo.
The problems with covering such a well known track as Chick Corea’s Spain, is that the cover will always be compared to the original which is the definitive version. With the help of Chava Mirel’s soulful vocal, and an arrangement that fuses elements of jazz, fusion, funk and Latin percussion, to create joyous, melodic sounding track that paints pictures of summer nights as the sun sets in Spain.
Very different is Subway which has a tough and gritty sound as Duende Libre combine funk, fusion and jazz to create a memorable what’s initially a cinematic track, but later is transformed into a soulful slice of slinky jazz as Chava Mirel adds her trademark vocal. Later, the tempo increases as Duende Libre enjoy the opportunity to showcase their skills, before returning to the earlier, tough and funky sound, which briefly becomes percussive, before becoming dramatic as the trio jam for the remainder of this eventful journey on the Subway.
Choro, which is a fusion of jazz and Brazilian music, finds Duende Libre paying tribute to composer and pianist Jovino Santos Neto, whose work inspired Alex Chadsey. Fittingly, his piano plays a starring for much of the track.
Duende Libre lock into a groove on Kiki and tip their hat to the son of Cuban cuatro musician Kiki Valera Alarcon and his family’s band La Familia Valera Miranda during the track. It’s a fusion of Afro-Cuban and jazz and finds Duende Libre playing with a freedom and fluidity.
Closing Drift is Bosphorus, which starts off slowly, with just the piano taking centre-stage before Jeff “Bongo” Busch enters and together, the pair play their part in a track that sometimes is ruminative, tinged with sadness and tugs at the heartstrings. This changes, and later, the music becomes hopeful and is full of imagery, as it conjures up pictures of the narrow continental boundary that has separated Europe and Asia after the demise of Pangaea. Later, bassist and vocalist Farko Dosumov plays a leading role as the music is transformed, and there’s a sense of expectation and an anticipation of something new in Bosphorus.
Just seven months after Duende Libre completed Drift in December 2017, the Seattle-based trio self-released their sophomore album Drift, which is the followup to their eponymous debut album. Drift is another album where Duende Libre combine elements of different musical genres, including African, Afro-Cuban, funk, fusion, jazz, Latin and soul.
The soulfulness comes courtesy of vocalist Chava Mirel’s trademark style who joins Duende Libre on several tracks. Her vocals are a welcome addition, and add the finishing touches to several tracks. They wouldn’t have worked without the addition of a vocal.
Other tracks work well as instrumentals, and showcase a talented and versatile trio who are capable of switching between and fusing musical genres. This they do seamlessly on Drift as they recreate the classic jazz trio. However, it’s given a modern-day makeover with an electric bass and keyboards featuring on some tracks. Maybe deep down, Alex Chadsey and Co. are traditionalists and jazz purists?
That would certainly explain the lack of a guitar in Duende Libre. On a couple of occasions, the addition of an electric guitar would totally transform what is already carefully a crafted track. Given that Duende Libre brought Chava Mirel onboard for a several tracks on Drift, maybe guitar parts could be written for some of the tracks on the band’s third album? That would be an interesting addition to a group who are open to experimenting
The members of Duende Libre experimented musically on their eponymous debut album, and continued to do that on Drift. Unlike many groups, Duende Libre realise their music has to evolve in an attempt to stay relevant. Drift finds Duende Libre’s music evolving and heading in new directions, partly thanks to the addition of vocalist Chava Mirel, and features Alex Chadsey, Jeff “Bongo” Busch and Farko Dosumov as they continue to push musical boundaries on an ambitious and genre-melting album which certainly isn’t lacking in hooks.
Duende Libre-Drift.
MIMAN-ULME.
Miman-Ulme.
Label: Motvind Records.
Over the last few years, Norway’s eclectic music scene has been thriving, as familiar faces and new bands release albums of ambitious, exciting and innovative music. This includes the improv trio Miman, who recently released their much-anticipated debut album Ulme, on Motvind Records.
Having released Ulme, Miman embarked upon a European tour, and spent a month playing in ten countries where audiences embraced the trio’s distinctive genre-melting sound. By the time Miman returned home from their latest tour, the rising stars of the Scandinavian jazz and improv scene had won many new friends. For Miman, this brought to an end the latest chapter in a story that began a few years ago.
That was when fiddler Hans Kjorstad, guitarist and clarinetist Andreas Røysum and bassist and synth player Egil Kalman decided to form a group together, which they decided to call Miman. This was seen as an exciting development, as the three members of Miman were already active members of the vibrant Scandinavian jazz and improv scene, and many critics and commentators thought that they had a big future ahead of them. Especially when the three young musicians joined forces, and embarked upon a career together as Miman.
As the nascent band began honing its sound, it soon became apparent that three members of Miman came from very different backgrounds, and had been shaped by disparate musical influences. This worked in their favour, as they each brought something new to the table, including Norwegian, English and Indian folk which the members of Miman fused with free jazz and modern music. However, at the centre of Miman’s new and exciting genre-melting sound was improvisation.
Improvisation has always been hugely important in music, and in a way, separates the great musicians from those that are merely good. There are many talented musicians who are capable of reading music and playing what’s expected of them. However, ask them to improvise and they’re unable to do so. It seems that they’re unable to think on their feet, and take the music in a new direction. This seems to be beyond many good musicians, but for many top blues, folk and jazz musicians, this is something they’re able to do with ease. It’s something that has come naturally to many musicians, including the three members of Miman.
That has been the case since Miman took their first tentative steps onto the live scene. Since then, the three members of Miman’s distinctive voices have combined to create an organic sound where the textural and tonal combines with the acoustic and electric, as disparate musical genres melt seamlessly into one. This found favour initially with local audiences, but before long, further afield.
Soon, Miman were touring Europe, and their unique brand of improv was being embraced by a much wider and appreciative audience. By then, Miman were already regarded as one of the rising stars of the Scandinavian improv scene. However, there was one thing missing from their CV…their debut album.
The three members of Miman realised this, and decided that having spent several years playing live, they were more than ready to record their debut album. Miman planned to record their debut album Ulme in a cabin in the woods to the north of Oslo over a three-day period in the spring of 2017.
On Thursday the ‘9th’ of March 2017, the members of Miman were in the log cabin in Farmasihytta, where they would spend the next three days recording their debut album Ulme with recordist Magnus Skavhaug Nergaard. Violinist Hans P. Kjorstad was joined by guitarist and clarinetist Andreas Røysum and double bassist Egil Kalman who also played synths on two tracks. Miman succeeded in recording their debut album in just three days, and by Saturday the ‘11th’ of March 2017, they had recorded Ulme. This just left Ulme to be mixed and mastered.
Ulme was mixed at Flerbruket by recordist Magnus Skavhaug Nergaard, and then mastered at Strype Audio by Audun Strype. This meant that Ulme was almost ready for release. All that was required was an album cover.
Fortunately, Miman had the perfect idea for the cover of Ulme. They wanted to use Morten Juvet’s distinctive painting Reverus, which was guaranteed to make Ulme standout from the crowd. Having received permission to use Reverus for the cover of Ulme, now Miman could prepare to release their much-anticipated debut album.
To promote Ulme, Miman organised a pan European tour that would see them play venues in Denmark, Sweden, Norway, Russia, Poland, Germany, Slovakia, Austria, Italy and finally Norway. Each night, of their European Tour, a new audience embraced Miman’s distinctive genre-melting sound which features on Ulme.
Opening Ulme is Omkring Ilden, which straight away, has a joyous, melodic sound before a scratchy, scrubbed violin is added. Soon, the guitar becomes louder and is played with conviction and confidence. By then, the flourishes of guitar provide a contrast to the heart-wrenching sound of the violin which could be a feature of many a Nordic or Celtic folk album. Meanwhile, the rest of the arrangement unfolds in waves, as the double bass augments the guitar and violin which play leading roles in this beautiful, poignant, genre-melting track.
Andreas Røysum switches from guitar to clarinet which adds a rueful and ruminative sound on Vagen Ut, and is accompanied by a firmly plucked double bass and violin. It’s played in an inventive pizzicato style, as Hans P. Kjorstad plucks and picks the strings. Later, Andreas Røysum seems to overblow which is a technique free jazz musicians have been using since the late-fifties. This is effective, especially when the rasping, wailing clarinet is accompanied by the double bass which provides the heartbeat as Hans continues to improvise and transform the violin into a very different instrument that adds an array of disparate sounds to this captivating, dark, ruminative, improvised soundscape.
As the arrangement to Det Vises Club scampers along, the guitar and violin play leading roles. Meanwhile, an assortment of squeaks, wails and leftfield sounds escape from the arrangement as Miman improvise and play as if their very life depends upon it. The guitar and violin are scratched and scrubbed urgently, and plink plonk, seesaw and wailing sounds join sci-fi synths as Miman play with an inventiveness. Occasionally a stray melodic crystalline guitar or melancholy violin escapes from the arrangement, but mostly, this is improv Miman style as they fuse elements of avant-garde, drone, electronica and folk. Especially during the last four minutes of this twelve-minute epic where the music is transformed and becomes melodic as avant-garde, drone and Nordic folk combine and bring to a close this ambitious musical roller coaster.
On Torre, a slow and deliberate plucked violin combines with a wailing, bubbling, whistling, banshee-like clarinet that is played with urgency. Soon, the standup bass enters, and falls in line with the bass. At first they seem to have no intention of trying to keep up with the runaway clarinet. Soon, they decide to try to catchup with the clarinet, soon realise it would be impossible and return to playing at their own pedestrian pace. After that, the violin veers between haunting to melodic and latterly and otherworldly and latterly urgent, during what sounds like Miman’s modern day improvised adaptation of The Tortoise and The Hare.
Skarvor opens with a sweeping, scratchy violin, before a guitar is plucked and an array of leftfield sounds are added and gallop along. By then, the violin is played with an urgency and an inventiveness, and sometimes it’s scratched and scraped, while a chirping, crystalline guitar adds a contrast. So do the galloping leftfield sounds and occasional sci-fi synths that are added to the soundscape. It features rising of stars of improv Miman, at their innovative best as they continue to push musical boundaries to their limits, and sometimes, beyond on Skarvor.
Melodic, dramatic and hypnotic describes the introduction to Walden. The crystalline chiming guitar is melodic, while the violin adds a degree of drama and the bass adds a hypnotic backdrop. However, the guitar plays a starring role adding musical sunshine, before the scratchy, filmic violin adds a contrast as Hans improvises. Soon, the guitar returns and the two combine and the contrasting sounds combine successfully to create the most accessible and melodic track on Ulme.
Cinematic describes the first few bars of Kartan Som Konstverk, where it sounds as if Miman are trying to replicate the sound of steam train. They then proceed to create the alternative soundtrack to the golden age of steam. Pizzicato strings combine with a firmly plucked and deliberate standup bass is played almost hesitantly. So too is the acoustic guitar, although the pizzicato string fill the void. Soon, the chirping guitar and bass combine and meander along before almost grinding to halt. After this happens again, the bass plays a starring role, and is joined by the violin for the remainder of this cinematic track that is full of imagery.
Plaums Draum closes Ulme, and opens with a guitar that conjures up Spanish beaches as the sun sets. Meanwhile, the bass plays and soon, the plaintive cry of the violin enters and plays a heart-wrenching lambent. Suddenly, beaches and sunsets are far from the listener’s mind as once again Miman tug at the heartstrings, which seems fitting as this was how they opened their debut album Ulme.
For anyone with even a passing interest in improv, Miman’s debut album Ulme is definitely an album to add to their collection. It’s the perfect opportunity to hear one of the rising stars of the Scandinavian free jazz and improv scene as they embark upon what’s hopefully a long and successful recording career.
Miman is a group with a bright future ahead of them, and Ulme which has just been released on the newly established Motvind Records is proof of that. It features eight genre-melting tracks from Miman. They combine elements of avant-garde, electronica, experimental, folk, free jazz and musique concrète during Ulme, which features ambitious and innovative music from a pioneering group. Miman push musical boundaries to their limit, and sometimes, way beyond on Ulme, which is a tantalising taste of what this talented trio are capable of.
Miman-Ulme.
SPLASHGIRL-SIXTH SENSE.
Splashgirl-Sixth Sense.
Label: Hubro Music.
When Splashgirl released their fifth album Hibernation, in February 2016, their star was already in the ascendancy and the Norwegian doom jazz trio had already released a quartet of ambitious and innovative albums. Four became five when Hibernation was released to critical acclaim, and was hailed as Splashgirl’s finest hour and as the musical alchemists continued to combine and experiment with traditional instruments and technology. The big question was, what was next for Splashgirl when they returned with their much-anticipated sixth album?
Just over two years later, and Splashgirl recently returned with their sixth album Sixth Sense which was released by Hubro Music. It’s the latest chapter in the Splashgirl story which began fifteen years ago in 2003.
The Splashgirl story began in Oslo, Norway in 2003, when Andreas Lønmo Knudsrød, Jo Berger Myhre and Andreas Stensland Løwe decided to form a new group together. This group they called Splashgirl, which was a doom jazz group who took a new approach to music combining traditional instruments and technology to make new, exciting and innovative music.
During the first few years, the three members of Splashgirl spent much of their time experimenting in practice rooms and recording studios with their arsenal of musical instruments and technology. Sometimes, the recording studio resembled a laboratory as the musical alchemists deployed drum machines, synths and a tone generator which they combined with traditional instruments to create new, ambitious and innovative music. Eventually, Splashgirl decided to step out of the practice rooms and recording studios that had been their home for so long, and made their live debut.
Having their live debut in Oslo,Splashgirl was a popular live draw and were familiar faces on the local live scene. By then, Splashgirl had just completed their debut album Doors. Keys.
Doors. Keys.
It featured nine new compositions by Splashgirl which were recorded at Bugge Wesseltoft’s studio Bugge’s Room, in Oslo. Splashgirl had also decided to produce their debut album, and enlisted the help of their musical friends to record what became Doors. Keys. This included bass clarinetist Lars Holmen Kurverud, tenor saxophonist Joel Wästberg and violinist Sebastian Gruchot who all played their part in the sound and success of Doors. Keys.
When Doors. Keys. was released in March 2007, Splashgirl’s debut album was well received by critics, who forecast a bright future for one of the newest names in Norwegian jazz.
Arbor.
For their sophomore album Arbor, Splashgirl penned nine new tracks which were recorded at Biermannsgården, Oslo, between the ‘1st’ and ‘4th’ of May 2008. Joining Splashgirl who took charge of production were multi-instrumentalist Lasse Passage and Anders Hofstad Sørås on pedal steel. The two guest artists augmented Splashgirl’s considerable skills on this sonic adventure on Arbor, which was released eighteen months later on a new label Hubro Music.
When Arbor was released by Hubro Music in November 2009, the album caught the imagination of critics and marked the coming of age for Splashgirl. They had released an album of ambitious, groundbreaking and innovative music which was the perfect way to launch a new label. However, little did anyone know this was the start of the rise and rise of Splashgirl and Hubro Music.
Pressure.
Buoyed by the success of Arbor, Splashgirl headed to Pressure at Malabar Studios, Oslo, in September 2010. Joining Splashgirl were some of the leading lights of the Norwegian music scene including Lasse Passage, who would experiment with tape and field recordings, guitarist Juhani Silvola, tubaist Martin Taxt, trombonist Erik Johannessen and vocalist Mari Kvien Brunvoll. Together, they helped Splashgirl create what was the best album of their career, Pressure.
When Pressure was released on Hubro Music in August 2011, Splashgirl’s third album was a much more experimental album, and was released to widespread critical acclaim. Critics called Pressure the most ambitious, inventive and innovative album of Splashgirl’s three album and eight year career. Pressure was also their finest hour, and the album that saw Splashgirl and Hubro Music move into the limelight.
Soon, Splashgirl was touring Europe, where their music was embraced by a much wider audience. Meanwhile, Hubro Music were now regarded as a record label that was synonymous with groundbreaking music. Everyone it seemed was a winner, and that would continue to be the case.
Field Day Rituals.
When it came time to record their fourth album Field Day Rituals, Splashgirl crossed the Atlantic and made their way to the Avast!Recording Co, in Seattle. Between the ‘13th’ and ’26th’ of August 2012 Splashgirl recorded nine new compositions with producer Randall Dunn. He had an impressive CV, having previously worked with Earth, Sunn O))), Marissa Nadler, Black Mountain and The Cave Singers. However, Randall Dunn wasn’t the only new recruit for the Field Day Rituals’ sessions.
Joining Splashgirl were Timothy Mason on synths and violist Eyvind Kang. They augmented Splashgirl as they recorded their fourth album Field Day Rituals, which was the eagerly awaited followup to the their finest album Pressure. After thirteen days recording with Randall Dunn, the three members Splashgirl returned home and began planning to release Field Day Rituals as the band celebrated its tenth anniversary.
Field Day Rituals was released to critical acclaim in February 2013, with the album being called Splashgirl’s finest hour. This wasn’t the first time critics had said this about one of Splashgirl’s album, but it was something that band would never tire of. Critical acclaim was sweet music to their ears.
Critics described Field Day Rituals as an album that featured Splashgirl at their most adventurous and ambitious, where they continued to push musical boundaries to their limits, and sometimes, it seemed way beyond. It was no surprise that Splashgirl were now regarded as one of leading lights of the Norwegian jazz scene. The rise and rise of Splashgirl, had mimicked that of Hubro Music.
No longer was Hubro Music the small label it had been in 2009, and by 2013, it was one of the most respected and forward thinking European labels. It released an eclectic selection of groundbreaking music. That wasn’t surprising. Hubro Music’s roster was like a who’s who of Norwegian music. One of the “crown jewels” were doom jazz trio Splashgirl.
Hibernation.
After the release of Field Day Rituals, Splashgirl began what was one of the busiest periods of their career and toured Europe, America and Japan. This didn’t leave much time to record an album, but somehow, Splashgirl found time to record their fifth album Hibernation with producer Randall Dunn.
Hibernation was recorded at the HIjóðriti Studio in Iceland between January the ‘5th’ and the ‘11th’ 2015. Splashgirl brought with them, their ever-expanding musical arsenal and Seattle-based saxophonist Eric Walton a.k.a. Skerik. His tenor and baritone saxophones were the missing pieces of this musical jigsaw as Splashgirl reinvented their music.
When Hibernation was released in February 2016, critics realised that musical mavericks Splashgirl had changed direction sonically. Synths, electronics and processing was used much more than on previous albums, and this transformed Splashgirl’s music on their fifth album Hibernation. It was hailed as an ambitious and groundbreaking release from the doom jazz pioneers Splashgirl who had succeeded in reinventing their music on a cinematic Magnus Opus.
Sixth Sense.
After the success of Hibernation, Splashgirl began work on their with album Sixth Sense. It would eventually feature seven tracks, including six written by the three members of Splashgirl. The other track Monsoon, was written by Jo Berger Myhre. The seven tracks that later became Sixth Sense were recorded in two studios.
Splashgirl had recorded their previous album Hibernation at Hljoðriti, Hafnarfjörður, in Iceland, in January 2015, and also recorded part of Sixth Sense. However, the majority of the music on Sixth Sense was recorded at the Kennel Collective, Oslo, during January 2017 and this time, was produced by Splashgirl.
At the Kennel Collective, in Oslo, the three members of Splashgirl began setting up their ever-expanding musical arsenal, which they would put to good use on Sixth Sense. Drummer and percussionist Andreas Lønmo Knudsrød brought with him various drum machines, while Jo Berger Myhre unpacked a double bass, electric bass, electric guitar and Grendel Drone Commander synth. Meanwhile, Andreas Stensland Løwe prepared to play a Clavinet, grand piano, Wurlitzer 200A electric piano and Arp Solina, Korg Delta and Prophet 5 synths on Sixth Sense.
When the recording of Sixth Sense was complete, it was mixed by Johnny Skalleberg at Amper Tone, Oslo, March 2017. Seven months later, Espen Høydalsvik mastered Sixth Sense at Tinnitus Mastering, Oslo, in October 2017. Now Splashgirl’s much-anticipated sixth album Sixth Sense was ready for release by Hubro Music in early summer of 2018.
Critics were in for a surprise when they heard Sixth Sense, which marked a change of direction from Splashgirl. They took a different approach to composition and recording during the Sixth Sense sessions and played with a freedom and invention as they honed, sculpted and manipulated the new and exciting music on this carefully crafted album. It saw Splashgirl attempt to record an album that had something that many modern albums lack…a wide dynamic range.
Splashgirl wanted the widest possible dynamic range as possible on Sixth Sense, so that listeners could hear the extremes of the audio spectrum. This Splashgirl succeeded in doing, and thanks to talented a mixer and mastering engineer Sixth Sense is a stunning sounding album that documents the next chapter in their story.
A piano probes and is played slowly and deliberately on Carrier creating a moody, dramatic and cinematic backdrop. Soon, it’s joined by a standup bass which proves to be the perfect addition. It’s augmented by bursts of drama before the drums enter and are played with urgency as ethereal synths appear, only to disappear and be replaced by the type of synths that were a feature of many Berlin School albums. They sit atop the driving rhythm section as the drama and tension builds, and briefly, the bass joins forces with the synth and plays a leading role. Later, when the arrangement is later stripped bare, the moody, ruminative piano takes centre-stage and is augmented by percussion and leftfield sounds as this carefully sculpted, genre-melting cinematic track reaches a crescendo.
As a standup bass and piano combine and play slowly on Broken as drums click in the background. This isn’t a traditional jazz trio. Instead, this is post jazz and Splashgirl are keen to experiment as they combine jazz’s past and present to make the music of the future. Meanwhile, the piano is played hesitantly and tugs at the heartstrings, as the standup bass is played with the utmost care and compliments its sound. Sometimes, a synth reverberates and buzzing sound is introduced. Later, the piano is played with an urgency as what gusts of wind blow and a bass synth provides the heartbeat. This adds to the drama which continues to build as sound sculptors Splashgirl continue to paint pictures with their music which is rich in imagery.
Sixth Sense opens with siren call of a synth, that sounds as if it’s replicating a foghorn warning ships of impending danger. Meanwhile, drums are played slowly and subtly, but soon, are played firmly and more of the kit is used. Then at 1.16 it’s all change, and it’s as if Splashgirl have been asked to write the score to a blockbuster movie as the arrangement scampers along. Retro synths join forces with the rhythm section who drive and power the arrangement along. Midway through the track the arrangement becomes understated and just flourishes of piano, synths strings, a drone and later drums are added. Still the music has a cinematic sound and later, the music become melancholy and ruminative as the arrangement dissipates leaving just a memory of Splashgirl at the peak of their powers.
The introduction to Monsoon is big and bold, with a dramatic, filmic sound that is omnipresent throughout a track that lasts 4.24. It’s without doubt one of the highlights of Sixth Sense and is further proof that Splashgirl could forge a career writing soundtracks.
Plink plonk keyboards opens Half Self before it’s joined by a buzzing droning synth and drums that add a degree of drama. This time though, there’s more of lo-fi sound, but this proves just as effective as Splashgirl draw inspiration from avant-garde, electronica, experimental and library music and combine this was Nordic Wave and post rock. Synths are used heavily throughout this carefully honed track, and are augmented by processed drums and a guitar.
Sometimes, it sounds as if the guitar has been played with a bow and this produces a dark, eerie sound. Other times, effects are added to the guitar and it reverberates and glistens. Later, the effects-laden arrangement shimmers as musical alchemists and sonic sculptors Splashgirl continue to reinvent their music.
Washes of droning Berlin School era synths open the filmic sounding Taal Caldera as explosions punctuate the arrangement. Meanwhile, synths add a ruminative backdrop as if reflecting on the folly of war. Soon, shimmering synths seem to offer hope, while the bass probes and is joined by percussion, a thoughtful sounding piano and sci-fi sounds. Later, the arrangement becomes understated and just the ruminative piano is joined by a synth which provides a contrast as this thought-provoking filmic soundscape draws to a close.
Just a lone piano opens Sedna which closes Sixth Sense. It’s played slowly and deliberately with space being left which adds a degree of drama. Soon, buzzing and siren synths join with the drums and splashy cymbals as the arrangement builds. Still, the piano is played slowly as the arrangement chugs along and eerie ‘strings’ add a degree of darkness. Not for the first time, the piano sounds as if it’s been inspired by Kraftwerk. When it drops out an acoustic guitar is played tenderly as synth strings sweep and after the darkness and drama a beautiful, understated soundscape takes shape. It closes Sixth Sense on a high and is a reminder of Splashgirl’s talent, versatility and ability to innovate and reinvent their music.
It was never going to be easy for Splashgirl to followup Hibernation, which is regarded as the finest album of their career. However, after a recording sessions in Iceland and in their home city of Oslo, Splashgirl had completed their sixth album Sixth Sense. It’s a stunning sounding album with wide dynamic range that is lacking in many modern albums. However, Sixth Sense is best described as a genre-melting, cinematic album from one pf the leading lights of Norwegian music…Splashgirl.
During Sixth Sense, Splashgirl combine elements of ambient, avant-garde, Berlin School, electronica, experimental, improv, jazz, Krautrock, musique concrete and post-rock, while drawing inspiration from the Kraftwerk, Tangerine Dream’s synth driven music and Weather Report circa Black Market. There’s even a nod to the soundtrack to Ridley Scott’s classic film Bladerunner on Sixth Sense which is a cinematic album that is rich in imagery.
To create a cinematic album like Sixth Sense, Splashgirl deploy combine acoustic, and electric instruments with technology and deploy a variety of effects. However, unlike some groups who have turned their back on acoustic instruments, Splashgirl continue to use them throughout Sixth Sense. Especially on Sixth Sense’s opening track Carrier, which is the start of the start of Splashgirl’s captivating and innovative adventure in sound. It continues over the next four soundscapes with the music veering between understated and minimalistic to dramatic, multilayered and full of sonic surprises before Sedna which bookends Sixth Sense.
It’s a carefully crafted cinematic album, which features musical alchemists Splashgirl at the peak of their powers, as they continue their mission to reinvent their music on Sixth Sense, which is a career-defining epic that is thought-provoking and rich in imagery
Splashgirl-Sixth Sense.
RANDY MEISNER-ONE MORE SONG AND RANDY MEISNER.
Randy Meisner-One More Song and Randy Meisner.
Label: BGO Records.
Musical history was made in September 1971, when Don Henley, Glenn Frey, Bernie Leadon and twenty-five year old Randy Meisner formed The Eagles and signed with David Geffen’s new label Asylum Records. Little did David Geffen realise that he had signed one of the biggest bands of the seventies, and The Eagles would transform the fortunes of new label.
Over the next six years, Randy Meisner was the bassist and adding backing vocals on The Eagles’ first five albums which sold twenty-five million copies in America alone. The most successful album The Eagles released was Hotel California in December 1976 which sold sixteen million copies, was certified diamond and won two Grammy Awards. The success of the album was beyond The Eagles’ wildest dreams, but despite that, all wasn’t well behind the scenes.
In September 1977, Randy Meisner announced he was leaving The Eagles, citing exhaustion, which was no surprise given the band’s gruelling recording and touring schedule over the past six years. However, part of the reason behind Randy Meisner’s departure was the constant arguments among the group. While the departure of Randy Meisner marked the end of an era for The Eagles, but the start of a new chapter for thirty-one year old singer, songwriter and bassist.
Randy Meisner.
Randy Meisner had decided to embark upon a career as a solo artist, and signed to Asylum Records in 1978. Later that year, the thirty-two year old released his debut album Randy Meisner in June 1978. While this album of country rock, AOR and rock was well received by the majority of critics, it wasn’t the success that Randy Meisner had hoped and the album failed to trouble the charts. For Randy Meisner who wasn’t used to failure, this was a huge disappointment, and to make maters worse, he was dropped by the label. This made him doubly determined that his sophomore album would be a success.
Two years later, and Randy Meisner returned in 1982 with One More Song which was released on Epic and was the start of a new chapter for the singer-songwriter. One More Song which has been paired with his third album Randy Meisner, and released by BGO Records, is a reminder of his Epic years.
One More Song.
Following the commercial failure of Randy Meisner, the former Eagle eventually began work on his sophomore album which later, became One More Song. It was a quite different album from Randy Meisner, which was essentially an album of cover versions. The only Randy Meisner composition on the album had been a reworking of Take It To The Limit which he cowrote with Don Henley and Glen Frey. This was proof, if any was needed, that Randy Meisner was a talented songwriter. All he needed was the right songwriting partner.
Fortunately, Randy Meisner discovered singer-songwriter Eric Kaz, and the pair cowrote Hearts On Fire and Deep Inside My Heart. They the joined forces with Wendy Waldman and penned Gotta Get Away, Come on Back to Me, I Need You Bad and Trouble Ahead. Jack Tempchin who wrote The Eagles classic Peaceful Easy Feeling contributed One More Song and White Shoes. To close One More Song, Randy Meisner decided to cover Richie Furay’s Anyway Bye Bye.
The recording of One More Song began on May the ’26th’ 1980 and continued to August the ’20th’ 1980. Joining Randy Meisner who took charge of lead vocals and played guitar was a rhythm section of drummer Craig Krampf, bassist Bryan Garofalo and guitarist Craig Hull who also played steel guitar and pedal steel. The other members of the band included keyboardist Sterling Smith and percussionist and backing vocalist Don Francisco. Other musicians were brought onboard to record one or two songs.
This included Kim Carnes who added background vocals on Deep Inside My Heart. When it came time to record One More Song, Eagles Glen Frey added backing vocals and Bill Cuomo played synths and returned when it came to record I Need You Bad, which featured saxophonist Michael Jacobs. Wendy Waldman joined the band during the recording of Come On Back To Me, and played acoustic guitar, backing vocals and guitar. Meanwhile, Val Garay took charge of production on One More Song which was hoped would kickstart Randy Meisner’s solo career.
With One More Song completed in late August 1980, the album was scheduled for release by Epic in October 1980. This was a quick turnaround and only left two months to promote what was now the most important album of Randy Meisner’s solo career.
When critics heard One More Song, they were won over by a carefully crafted album of country rock, AOR and rock that was a much better album than his 1978 eponymous debut album. Partly, that was because of the songs that featured One More Song, and especially the songs he wrote with his new songwriting partners.
There was also an honesty and innocence to a number of the songs while others had a rootsy sound that were perfectly suited to Randy Meisner. However, among the highlights of the album was the heartfelt paean I Need You, and beautiful ballads about love and love lost like Gotta Get Away, One More Song and Trouble Ahead. They’re a showcased Randy Meisner’s skills as a singer and songwriter. Meanwhile, the songs that had been earmarked as singles Hearts On Fire and Deep Inside My Heart were languid AOR tracks were radio friendly. Very different was the lively and exuberant Anyway Bye Bye, which closed the album on a memorable high.
When Deep Inside My Heart was released the lead single from One More Song, it reached twenty-two in the US Billboard 100. This augured well for the release of One More Song in October 1980, which released fifty in the US Billboard 200 and forty-four in Canada. Hearts On Fire was released as a single in 1981, and reached nineteen in the US Billboard 100 and fourteen in the Mainstream Rock charts. One More Song which had charted and featured two hit singles and had transformed Randy Meisner’s fortunes and he was keen to build on this success.
Randy Meisner.
Buoyed by the success of One More Song, Randy Meisner began work on his third album later in 1981. He had received plaudits and praise for the songs he cowrote for One More Song, including the love songs. Many critics thought that Randy Meisner would renew his songwriting partnership with Eric Kaz and Wendy Waldman. However, that wasn’t the case.
Instead, Randy Meisner only wrote four new songs for his third album, with new songwriting partners. Randy Meisner wrote Layin’ In The Deep End and Nothing Is Said (‘Til the Artist Is Dead with Dixon House, then joined forces with Howard Leese to write Still Runnin’. Then Randy Meisner, Dixon House and Howard Leese wrote Jealousy together. These four songs were augmented by five cover versions.
This included Craig Bickhardt’s Never Been In Love, David Palmer’s Darkness Of The Heart, Bryan Adams and Jim Vallance’s Tonight. They were joined by Elton John and Gary Osborne’s Strangers and John Corey’s Doin’ It For Delila which would close Randy Meisner.
Recording of Randy Meisner began on December the ’18th’ 1981 and continued right though to February the ’22nd’ 1982. This time Mike Flicker and Randy Meisner who played bass, guitar and added vocals, co-produced the album.
They were joined by an expanded band that featured a rhythm section of drummer Denny Carmassi, bassist and guitarists Brian Smith and John Corey who played piano and added backing vocals. They were augmented by backing vocalists Ann Wilson, Nancy Wilson and Marcy Levy, saxophonist Phil Kenzie, synth player Mitchell Froom, Tower Of Power who added horns and Sterling Smith who played organ, synths and piano. This all-star band was joined by Randy Meisner’s two songwriting partners, with Dixon House playing organ, piano, background vocals and Howard Leese played acoustic and electric guitar, synths and added backing vocals. After three months, Randy Meisner was completed and ready for release.
This time around, Epic decided to release Randy Meisner in August 1982, which allowed more to promote the album. They were hoping to build on the success of One More Song, which featured two hit singles.
Critics on hearing Randy Meisner, realised that it was a beautiful, melodic album of country rock, AOR and rock that sometimes packed a punch. During this latest carefully crafted album, Randy Meisner incorporated hooks aplenty, soaring melodies, Tower Of Power’s horns, backing vocals from Nancy Wilson, clever lyrics and sometimes, raw power. Randy Meisner was another carefully crafted album from a talented singer, songwriter, musician and now producer.
It opened with the hook-laden rocker Never Been In Love, and continued to rock on Darkness Of The Heart that sounds not unlike Meat Loaf. Jealousy was a melodic and memorable track that featured raw power, while Tonight features soaring harmony and Playin’ In The Deep End was an anthem-in-waiting. Strangers was a beautiful, elegiac duet with Heart’s Ann Wilson duets while Still Runnin’ was a hook-laden, anthem that featured one of Randy Meisner’s best vocals. Nothing Is Said (‘Til the Artist Is Dead) was a slice of good time country rock before Randy Meisner closed the album on a high with the radio friendly Doin’ It for Delilah.
Buoyed by reviews which hailed Randy Meisner as a fitting followup to One More Song, executives at Epic and Randy Meisner must have been feeling positive about the album’s release in August 1982. Sadly, Randy Meisner stalled at a lowly ninety-four in the US Billboard 200. The only small crumb of comfort was that Never Been In Love reached twenty-eight in the US Billboard 100 and thirty in Canada. However, Randy Meisner was an album that deserved to fare much better than it did.
After the release of Randy Meisner, its author left Epic and never again released a solo album that featured new original songs. That was a great shame as Randy Meisner was a talented songwriter who could breathe life, meaning and emotion into the songs that he wrote. That was the case on One More Song and Randy Meisner which have been remastered and recently reissued by BGO Records. These two albums feature Randy Meisner at the peak of his powers during the early years of what should’ve been a long and successful solo career.
Sadly, Randy Meisner never reached the heights that he should’ve during his solo career, and nowadays is remembered as a member of Poco, but mostly as The Eagles bassist and backing vocalist. That was where he enjoyed the most successful period of his career. However, like many musicians who become part of a hugely successful band, Randy Meisner struggled with his newfound fame.
Throughout his career, Randy Meisner has bravely battled his demons and has struggled with alcohol dependency. That was the case during the six years he was a member of The Eagles, and during his solo career. Maybe his battle with alcohol dependency stopped Randy Meisner fulfilling his potential as a solo artist?
Despite a turbulent life marred by addiction, health problems and tragedy, Randy Meisner has been a member of two successful bands Poco and The Eagles who sold twenty-five million albums while he was a member of the band. After that, Randy Meisner embarked upon a solo career, and in 1980 and 1982 recorded his two finest solo albums One More Song and Randy Meisner.
Randy Meisner-One More Song and Randy Meisner.
TOM WAITS-HEARTATTACK AND VINE.
Tom Waits-Heartattack and Vine.
Label: Anti.
In June 1980, thirty year old Tom Waits began work on his sixth studio album, Heartattack and Vine, which was the last album he released on David Geffen’s Asylum Records. The Asylum Records’ years had been frustrating for Tom Waits, who had released his debut album Closing Time in September 1973 and followed this up with The Heart of Saturday Night in October 1974. Although both albums were future classics, they never came close to troubling the American charts. However, across the Atlantic, where Tom Waits had a cult following, both album were eventually certified gold.
Nighthawks At The Diner.
After releasing two studio albums, Tom Waits returned in October 1975 with Nighthawks At The Diner, which had been recorded in front of an invited audience. This genre-melting live album was released to critical acclaim and reached 164 in the US Billboard 200. Nighthawks At The Diner was Tom Waits first album to chart in America, and in Britain, was certified sliver. By then, Tom Waits’ popularity was growing in Britain.
Small Change.
Just under years later, Tom Waits returned with his much-anticipated third studio album, Small Change, in September 1976, which was produced by Bones Howe. By then, Tom Waits had been worn down by his gruelling touring schedule, which was taking its toll on his health and to make matters worse, he was now drinking heavily. It was a tough time for Tom Waits, but he managed to write and record another powerful album, albeit one that was quite different to its predecessors.
His new album Small Change featured a much more cynical Tom Waits and a pessimistic mood pervaded the album. That was no surprise, because before writing the album, he had headed to Skid Row, in LA, where he hung around whilst looking for inspiration. This worked and he wrote The Piano Has Been Drinking and Bad Liver and A Broken Heart which were accurate portrayals of alcoholism. These two songs were part of an album that was released to critical acclaim, but failed commercially in America. Meanwhile, Small Change sold well in Britain and was certified silver, while the album was certified gold in Australia. Buoyed by the success of Small Change Tom Waits began working on the followup.
Foreign Affairs.
Just a year later, Tom Waits released Foreign Affairs in September 1977, which featured his duet with Bette Middler I Never Talk to Strangers. It was part of an album that Tom Waits wanted to sound like a film-noir soundtrack, and even the photo George Hurrell shot album cover had to fit the filmic image. Critics on hearing the cinematic sounding Foreign Affairs were won over by Tom Waits’ fourth studio album. However, just like his previous albums, Foreign Affairs passed American record buyers by. It was a similar case in Britain and Australia where Tom Waits was a popular draw. This was a huge disappointment for the thirty-two year old singer-songwriter.
Blue Valentine.
Despite the failure of Small Change, Tam Waits soon began writing his fifth album Blue Valentine, which was recorded over six sessions that took place between July and August 1978.
Just a month later in September 1978, Blue Valentine was released and was well received by the majority of critics. Blue Valentine featured Tom Waits’ trademark lived-in, worldweary vocal and saw him combine blues and jazz. Straight away, he bowled a curveball by opening the album with a cover of Somewhere from West Side Story. After that, Tom Waits documented the dark underbelly of life on the wrong side of town on Christmas Card from A Hooker In Minneapolis, Romeo Is Bleeding, Wrong Side Of The Road, Whistlin’ Past the Graveyard and A Sweet Little Bullet From A Pretty Blue Gun. Blue Valentine was a compelling album and although it made no impression on the American charts, was certified gold in Britain. This was a relief for Tam Waits, who only had one album left on his contract with Asylum Records.
Heartattack and Vine.
With his contract with Asylum Records about to expire, Tom Waits realised that his next album Heartattack and Vine, which was recently released by Anti, was one of the most important of his career. If Heartattack and Vine was a success, David Geffen might renew his contract, or another record label would offer him a recording a contract. With that in mind, Tam Waits began work on Heartattack and Vine.
Over the next few weeks and months, thirty-four year old Tom Waits wrote eight new songs and the instrumental In Shades. These nine tracks he planned to record with engineer and producer Bones Howe who had produced most of his previous albums.
The recording sessions began on June the ’16th’ and continued until July the ’15th 1980 at Filmways/Heider Studio B, Hollywood, California, with Bones Howe taking charge of engineering and production, while Jerry Yester returned to look after some of the orchestral arrangements. Bob Alcivar was responsible for the rest of the orchestral arrangements as well as the string arrangements on Heartattack and Vine.
Meanwhile, Tom Waits played piano, electric guitar and added vocals on what was his sixth album Heartattack and Vine. During the sessions, different musicians were used for different tracks which meant drummer Big John Thomassie was joined by bassists Greg Cohen, Jim Hughart and Larry Taylor and Roland Bautista who played guitar and 12-string guitar. They were augmented by pianists Michael Lang and Ronnie Barron who also played Hammond organ. Completing the band was percussionist Victor Feldman and Plas Johnson who played baritone and tenor saxophonist. After a nearly a month, Tom Waits and his band had recorded his all important sixth studio album Heartattack and Vine.
Asylum Records scheduled the release of Heartattack and Vine for September 1980. It found Tom Waits turning his back on the jazzier style that was a feature of previous albums for bluesy vampish vocals. Meanwhile, some of the lush, orchestrated arrangements hinted at fifties soundtracks and are very much a reminder of another era. The same can be said of Tom Waits, who is part poet, part lyricist and social commentator as he continues to dig deep into the dark underbelly of American society. In doing so, he documents the life of dreamers, schemers, chancers and romancers who live their life on the wrong side of the railroad tracks.
Just like previous albums, Heartattack and Vine is rich in imagery as Tom Waits paints pictures of America that many of citizens or tourist don’t or won’t want to see. Meanwhile, hipster hobo deploys rhythms during the album that are best described as off kilter, while sometimes, the guitars often have a nastier, gnarled sound. Similarly, Tom Waits vocals are quite different from his first couple of albums maybe his carousing and nocturnal, hard-living lifestyle was affecting his delivery? Sometimes it sounds as gargles with kerosene in the morning before existing on a daily diet Marlboro and Jack Daniels. Gravelly, lived-in and worldweary describes Tom Waits’ vocal by the time Heartattack and Vine was recorded. It was an album that looked like it marked the end of an era, because maybe, Tom Waits was about to leave Asylum Records. However, would he leave on a high?
The title-track opens Heartattack and Vine with bursts of gnarled, searing guitars, rhythm section, percussion and saxophone accompany Tom Waits as he delivers a menacing vocal. Very different is the instrumental In Shades, which is a slow blues. There’s then a sense of melancholy as Tom Waits lays bare his soul and delivers a worldweary vocal during the tear jerker Saving All My Love For You. Washes of Hammond organ open Downtown, which is a rich in imagery as Tom Waits delivers a vocal powerhouse whilst painting pictures as his band fuse blues and jazz. Jersey Girl is a wistful sounding, orchestrated ballad that has a confessional quality and finds Tom Waits paying tribute to The Drifters. However, Jersey Girl sounds as if it’s been inspired by Bruce Springsteen, who played the song in his sets during the early eighties.
Tom Waits drivers a gnarled vocal on ‘Til The Money Runs Out which finds hipster hobo at his poetic best. He then delivers a boastful vocal full of machismo and bravado on Mr. Siegal against a jangling tack piano. It’s all change on Ruby’s Arms which closes Heartattack and Vine, with horns then strings providing a backdrop for a pessimistic Tom Waits, who delivers a lived-in vocal that is full sadness and despair. It seems that he’s saved the best until last on Heartattack and Vine.
Before the release of Heartattack and Vine, critics had their say on Tom Waits sixth album, and the majority were won over by an album that quite rightly received plaudits and praise. This augured well for the release of Heartattack and Vine in early September 1980.
Upon the release of Heartattack and Vine on the ‘6th’ of September 1980, the album spent three months on the US Billboard 200 and peaked at ninety-six. Meanwhile, Heartattack and Vine broke into the top forty in Australia, and reached thirty in the album charts. In Britain where Tom Waits was popular, Heartattack and Vine failed to trouble the charts and was the one that got away.
After the release of Heartattack and Vine, Tom Waits decided to leave Asylum Records and signed to Chris Blackwell’s Island Records. This was a new chapter in his career and began with the release of Swordfishtrombones in 1983. This was followed by 1985s Rain Dogs, 1987s Frank’s Wild Years, the live album Big Time and 1992s Bone Machine which won Tom Waits a Grammy Award for the Best Alternative Album. The following year, Tom Waits released The Black Rider in 1993, which was his swan-song for Island Records.
Next stop was Anti, where Tom Waits released the million selling album Mule Variations in 1999. After a gap of three years, Tom Waits returned with two albums in May 2002 Blood Money and Alice. Two years later, Tom Waits returned in 2004 with Real Gone, and after a five-year wait released Glitter and Doom Live in 2009. However, it wasn’t until 2011 that Tom Waits returned with his sixteenth studio album Bad As Me. Sadly, that was the last that was heard of Tom Waits.
That was until he started remastering and reissuing the six albums he released for Asylum Records, including Heartattack and Vine, which marked the end of an era. Just Closing Time and The Heart Of Saturday Night, Heartattack and Vine is one of the best albums that Tom Waits released for David Geffen’s Asylum Records. During the seven-year period between 1973 and 1980, Tom Waits released six studio albums and the live album Nighthawks At The Diner. These albums include some of the best music that Tom Waits has released during a five decade career.
On Heartattack and Vine which closes the Asylum Records’ years, Tom Waits continues to document the dark underbelly of American life, and the dreamers, schemers, chancers and romancers who live on wrong side of the railroad tracks, as only he can do.
Tom Waits-Heartattack and Vine.
CZECH UP! VOLUME 2: WE’D BE HAPPY.
Czech Up! Volume 2: We’d Be Happy.
Label: Vampi Soul.
Nowadays, competition within the compilation market is fierce, and each week hundreds of compilations are released by record companies across the world and are competing for the compilation pound, dollar or Euro. However, not all compilations are equal, and some of these compilations are more equal than others. There’s a perfectly good reason for this and that is some record companies take great care when compiling a new compilation and when they release a lovingly curated compilation it sells well and receives critical acclaim. Sadly, not all record companies act in this way.
Other record companies only have dollar signs in front of their eyes, and are only interested in making some quick money. As a result, very little time is take compiling the compilation, and instead they recycle the same tired and predictable the same tracks. A favourite for this type of label is disco and Northern Soul, and usually, they release compilations like Disco Floorfillers Volume 22 and Twenty Norther Soul Stompers That Were Heard At The Wheel. They’re the type of compilation to avoid at all costs, and instead take some time looking for a lovingly curated compilation.
The Spanish label Vampi Soul have just released the lovingly curated compilation Czech Up! Volume 2: We’d Be Happy., which is the eagerly awaited followup to Czech Up! Volume 1: Chain of Fools. It features twenty-two tracks, including contributions from Olympic, Mahagon, Famous Five, Apollobeat, Beatings, The Blue Effect, SHQ, Metronom, Jazz Q, Vulkan, Flamengo, The Soulmen, Hana Zagorova and Karel Cernoch that were released between in communist Czechoslovakia between 1968 and 1979. Czech Up Happy Volume 2: We’d Be Happy is an eclectic compilation that features everything form baroque pop to progressive funk to party soul and psych-jazz. Eclectic doesn’t even come close to describing Czech Up Happy Volume 2: We’d Be Happy.
Opening Czech Up! Volume 2: We’d Be Happy. is Olympic’s Blaznivej Kiki. This is fitting as Olympic, who were formed in 1963, and in 1968 made history in 1968 when they released their debut album Želva. This meant Olympic was the first Czech rock band to release an album. Three years later they released Jedeme Jedeme 3 which featured the melodic driving rocker Blaznivej Kiki which tells the story of a guitar playing tramp.
Mahagon were formed in Prague in 1973, and during their career, their music veered between fusion and jazz funk. By the time they released their third album Slunečnice Pro Vincenta Van Gogha on Supraphon in 1980, Mahagon’s music uber funky. Proof of that is Prameny Poznani which is a stunning jazz-funk instrumental that showcases a truly talented group.
Hold On, I’m Coming is an oft-covered song, and in 1968 the Framus Five featuring Michal Prokop released a barnstorming and soulful version on Supraphon that features a vocal powerhouse. A year later in 1968, Hold On, I’m Coming featured on the Framus Five’s eponymous debut album of R&B and soul was released complete with overdubbed audience applause. Given the quality of the cover of Hold On, I’m Coming, that applause was richly deserved.
When Apollobeat released Nikdo Netuší (Lovers Concerto) as a single on Supraphon in 1968, tucked away on the B-Side was Nocni Modlitba. It features a vocal from Yvonne Prenosilov who plays a huge part in the sound and success of this haunting psychedelic paean. It’s a hidden gem and a very welcome addition to Czech Up! Volume 2: We’d Be Happy.
Czech pop-rock group Beatings were formed in 1968 and during their career, were sometimes regarded as a hard rocking band. Proof of this is the urgent psychedelic rock of We’d Be Happy which featured on their 1970 EP Silence Is Golden, which was released on the Panton label. Sadly, Beatings never got round to releasing an album and only recorded singles and EPs between 1968 and 1976, when the band called time on their career.
In 1975, singer and actress Valerie Cizmarov released her eponymous debut album on the Supraphon label. One of the highlights of the album was Byls Ma Boj which features an impressive orchestrated arrangement that incorporates elements of pop and funk. However, it’s Valerie Cizmarov’s vocal which veers between tender to powerful and always is full of emotion that steals the show.
Czech jazz group SHQ was founded in 1961 and by the time they released the classic jazz album The Jazz Nebyeki (Jazz Non-Fables) in 1973 on Panton. By then, SHQ’s music was evolving and V Obore finds the combo fusing elements of jazz-funk, modal jazz and soul-jazz on this funky cinematic instrumental. It’s one of the highlights of Czech Up! Volume 2: We’d Be Happy..
Synkopy 61 was a rock group from Brno, that was formed in December 1960 by songwriter, guitarist and vocalist Petr Směja. Twelve years after Synkopy 61 was founded, the group released its debut album Festival on the Panton label in 1972. It featured one of the highlights of Festival, Bytost Podivna, which features elements of garage rock and psychedelia, whilst hinting at progressive rock. That was the direction that Synkopy 61 took on their next two albums.
Between 1969 and 1971, George and Beatovens recorded and released three albums with popular vocalist Petr Novak. The third and final album was Modlitba Za Lásku which was released on the Panton label. One of the singles released from the album was Jarní Den. However, hidden away on the B-Side was Zahrada Za Domem which is a hidden gem with heavy guitar riffs, harmonies and Petr Novak’s soulful vocal proving a potent combination on this genre-melting story about love.
When vocalist and actress Eva Pilarová released Vlny as a single on Supraphon in 1970, she decided to cover a song that was instantly recognisable for the B-Side. After just a couple of bars of Eva Pilarová’s cover of Padni Na Kolena, Piece Of My Heart is instantly recognisable. The song start off slowly and the orchestrated arrangement builds as Eva Pilarová vocal veers between tender and heartfelt to powerful and full of emotion. This results in a truly memorable cover of Padni Na Kolena.
Flamingo was formed in Ostrava in 1968, and led by Richard Kovalčík until his death in 1975. During that seven-year period, Flamingo’s continued to evolve and by the time they recorded 75 with vocalist Marie Rottrova their music was a mixture of funk, fusion, jazz-funk and rock. Proof of that is Tvuj Pritel Vitr where all these genres combine and Marie Rottrova delivers a vocal powerhouse on what’s one of highlights of ’75.
Barnodaj was founded in Brno and in 1978, released their debut album Mauglí on the Supraphon label. It featured Dzungle which is a carefully crafted fusion of art rock, Eastern and sci-fi sounds, symphonic rock and progressive rock. Quite simply, Dzungle is one of the highlights of Czech Up! Volume 2: We’d Be Happy.
Hana Zagorova’s musical career began in 1968 and in 1969 she released Bludička Julie as a single on the Supraphon label. On the B-Side was Rokle a baroque psych pop track that was one of Hana Zagorova’s finest songs.
Closing Czech Up! Volume 2: We’d Be Happy.is Karel Cernoch’s Trznice Sveta which featured on his 1975 album Letiště which was released on Panton. It’s a genre-melting track which starts off as a ballad before the arrangement builds and the vocal becomes urgent and impassioned as a Latin groove accompanies Karel Cernoch and closes the compilation on a high.
Buoyed by the success of followup to Czech Up! Volume 1: Chain of Fools which was released in February 2016, Vampi Soul began work on the followup, and just over two years later return with the lovingly curated compilation Czech Up! Volume 2: We’d Be Happy. It’s even better than its predecessor and brings a new meaning to the word eclectic with a compilation that features everything baroque pop, funk, fusion, garage rock, jazz-funk, party soul, progressive funk, progressive rock, psych-jazz and rock. Eclectic doesn’t even come close to describing Czech Up! Volume 2: We’d Be Happy which is an extraordinary compilation.
There’s songs about dreams, eccentric characters, faunal fables, love and love lost, otherworldly beings and preternatural gardens on Czech Up! Volume 2: We’d Be Happy. Meanwhile, other songs are variously anthemic, beautiful, eerie, joyous, melancholy and uplifting. They were recorded by truly talent artists and bands who sadly, very few people outside of Czechoslovakia were aware of. That is a great shame, as many of these artists and bands could’ve enjoyed successful careers in Western Europe and North America. However, that wasn’t possible between 1968 and 1979 when the music on Czech Up! Happy Volume 2: We’d Be Happy was released.
It’s only recently and somewhat belatedly that compilations like Czech Up! Happy Volume 2: We’d Be Happy are introducing Western music lovers to the music that Olympic, Mahagon, Apollobeat, Beatings, The Blue Effect, SHQ, Metronom, Jazz Q, Vulkan, Flamengo, Hana Zagorova and Karel Cernoch recorded between 1968 and 1979. That was a golden period for Czech music, which was truly eclectic during this period which is documented on the lovingly curated compilationCzech Up! Volume 2: We’d Be Happy.
Czech Up! Volume 2: We’d Be Happy.
FRODE HALTLI-AVANT FOLK.
Frode Haltli-Avant Folk.
Label: Hubro Music.
Release Date: ‘15th’ June 2018.
Album Of The Week.
Frode Haltli was born in Levanger, in the municipality of Trøndelag, on the ’15th’ of May 1975, and by the time he was seven, had already started to play the accordion. The young Frode Haltli proved to be a prodigious talent, and within a few years, was entering and winning talent competitions. This included Norwegian television’s Talentiaden 1991 which brought sixteen year old Frode Haltli to the attention of a wider audience. By then, the young accordionist seemed destined to make a career out of music, and twenty-seven years later, Frode Haltli has just released his new album Avant Folk on Hubro Music which is the latest chapter in Frode Haltli’s career.
Back in 1994, nineteen year old Frode Haltli travelled to Copenhagen, where he enrolled at the prestigious Royal Danish Academy of Music. This was where he completed his musical education and in 2000, returned to his alma mater to play a concert. By then, great things were being forecast of Frode Haltli.
In 2001, Frode Haltli was awarded the Young Soloist of the Year prize by the Norwegian Concert Institute and was runner-up in the Gaudeamus Interpreters Competition in the Netherlands. Buoyed by this success, it wasn’t long before Frode Haltli signed his first recording contract with ECM.
The following year, 2002, Frode Haltli released his debut album Looking On Darkness with the Vertavo String Quartet. It was released to critical acclaim and won a Spellemannprisen, which is the Norwegian equivalent of a Grammy Award for the best contemporary music album. In France in 2004, Looking On Darkness won the prestigious Prix Gus Viseur award. By then, Frode Haltli had recorded two more albums with two different bands.
This included Rusk, who were a traditional Norwegian folk trio that featured Frode Haltli, singer Unni Løvlid and fiddler Vegar Vårdal. Rusk released their eponymous debut album in 2002, which was well received by critics. However, it was four more years before Rusk returned with the followup. By then, Frode Haltli’s other was busy with his other band, Poing.
Frode Haltli had cofounded Poing in 1999 with double bassist Håkon Thelin and saxophonist Rolf Erik Nystrøm, and initially, played music by young Norwegian composers in clubs and at festivals. Four years later, in 2003, Poing released its debut album Giants Of Jazz to plaudits and praise. Two years later, in 2005, Poing returned with their much-anticipated sophomore album Giants Of Poing which was lauded by critics. Poing and Frode Haltli’s career was going for strength-to-strength.
In 2006, Frode Haltli’s folk trio Rusk returned with their sophomore album Rusk II. Although the album was well received by critics, Rusk II was the last album that Rusk released.
After the release of Rusk II, Frode Haltli turned his attention to his much-anticipated sophomore album, Passing Images which would be the followup to the critically acclaimed and award-winning debut album Looking On Darkness. Passing Images which featured Frode Haltli’s interpretations of Norwegian folk music had a lot to live up to, but when it was released in 2007, it was to widespread critical acclaim.
The following year 2008, was a busy year for Frode Haltli, with Poing contributed a track to Maja S. K. Ratkje’s album River Mouth Echoes. Frode Haltli also played on Norwegian jazz saxophonist’s Trygve Seim’s album Yeraz which was released on ECM in 2008. By then, Frode Haltli’s star was in the ascendancy, although it was only six years since he had released his debut album Looking On Darkness. He had come a long way short time.
During the next couple of years, Frode Haltli worked with a variety of artists , but also found time to record Poing’s new album, Wach Auf! This time, it was a collaboration between Poing and Maja S. K. Ratkje. The genre-melting Wach Auf!, which was released in 2011, was an ambitious album, and was Poing’s first release in six years.
After a five-year wait, Frode Haltli returned with a new solo album Arne Nordheim Complete Accordion Works in 2012, and two years later in 2014 released the critically acclaimed Vagabonde Blu on Hubro Music. Vagabonde Blu was one of the finest albums of the Frode Haltli’s career.
Over the next two years, Frode Haltli found himself working on several albums, and was asked to play on Trygve Seim’s 2016 album Rumi Songs. He also recorded two albums with Poing, including Sur Poing and Kapital and Moral were released in 2016. So was StaiStua which was a critically acclaimed collaboration between Andreas Ulvo, Sigurd Hole and Frode Haltli. However, Frode Haltli released one more album during 2016.
This was Frode Haltli’s eagerly awaited solo album Air, which featured The Trondheim Soloists and The Arditti Quartet. When Air was released in 2016, it was hailed as a fitting followup to Vagabonde Blu and a welcome addition to Frode Haltli’s discography. The big question was what was next for Frode Haltli?
Avant Folk.
Buoyed by the commercial success and critically acclaimed Air, Frode Haltli was keen to begin work on the followup album Avant Folk, which would eventually feature five compositions. Frode Haltli composed two new compositions Hug and Neid. Of the other three compositions, Trio was based upon two traditional Norwegian songs; King was based upon a traditional Faroese Kingo hymn; and Gråtar’n was a traditional waltz from Finnskogen. The five compositions that later became Avant Folk were recorded in Oslo, Norway, in February 2017 by an all-star band.
Frode Haltli had decided to record Avant Folk at the Riksscenen studio, in Oslo, where he would co-produce the album with his friend Maja S.K.Ratkje. Joining accordionist Frode Haltli was a rhythm section that featured Trondheim Jazz Orchestra’s drummer and vocalist Siv Øyunn Kjenstad, Moskus and Skadedyr double bassist Fredrik Luhr Dietrichson and Moksha’s guitarist and vocalist Oddrun Lilja Jonsdottir. They were joined by The Island Band’s guitarist and electronic guru Juhani Silvola; Supersilent and Motorpsycho keyboardist Stale Storlokken who plays harmonium and synths; Hardanger fiddle players Erlend Apneseth; violinist Hans P. Kjorstad; saxophonist Rolf-Erik Nystrøm and Hildegunn Øiseth who played trumpet, bukkehorn (goat horn) and adds vocal. This talented and versatile band spent part of February 2017 recording Avant Folk with recordist Fridtjof A. Lindeman, and over the days and weeks, the album started to shape.
Once the recording was complete, Maja S.K.Ratkje edited and mixed Avant Folk, before the album was mastered at Audiovirus Lab by Helge Sten a.k.a. Deathprod. With the album mastered, Avant Folk was ready for release and on ‘15th’ June 2018 Frode Haltli’s much-anticipated album was released.
Hug which opens Avant Folk, is best described as a dreamlike fusion of contemporary experimental folk, jazz and chamber-music. The galloping, off-kilter rhythm adds a cinematic quality as the unmistakable sound of Frode Haltli’s wheezing accordion is augmented by a violin, Hardanger fiddle and samples, as an array of sounds assail the listener. Later, this includes a guitar, horns and standup bass as the arrangement floats and meanders dreamily along, sometimes growing in power and drama, before latterly becoming understated. Briefly, the galumphing cartoon rhythm returns before the arrangement dissipates after seven magical minutes.
Pizzicato strings open Trio and create an understated backdrop, and eventually grows in power before the arrangement becomes wistful as the Hardanger fiddle and violin combine and tug at the listener’s heartstrings. Meanwhile, beauty is omnipresent throughout this melodic example of Nordic folk music.
Initially, Kingo features mesmeric drums that sounds as if they’ve been inspired by traditional African music that combine with an accordion and later, a melancholy fiddle. By then, it sounds as if the accordion is playing fragments of sea shanty as the drums never miss a beat and add an element of drama. Soon, the tempo increases and ethereal harmonies and handclaps and searing guitar are added and transform the arrangement. Later, the accordion takes centre-stage as drums pound and instruments flit in and out of the carefully crafted arrangement. This includes the harmonium before Hildegunn Øiseth adds an improvised trumpet solo and scratchy strings played with freedom add a degree of urgency to this genre-melting track. It features elements of African music, avant-garde, folk, free jazz and rock. However, it’s a gypsy violin, accordion, drums, harmonies and handclaps that join forces latterly with a free jazz horn during this eleven minute epic.
A myriad of disparate sound combine before Gråtar’n reveals its secrets. This includes pizzicato strings, an eerie rasping horn and haunting strings that sound as if they belong in a horror film. Even the wheezing accordion has an eerie, otherworldly sound that is matched by the violin. Later, the Hardanger fiddle plays what sounds like a lament as the arrangement becomes dark, dramatic and haunting. Always, though, it’s rich in imagery and guaranteed to paint pictures.
Neid closes Avant Folk, and initially, Frode Haltli’s wheezing accordion plays its part in a haunting, otherworldly arrangement. Soon, this changes, although there’s still a sense of melancholy as the accordion takes centre-stage. It’s joined by the Hardanger fiddle as the arrangement starts to waltz along against a shuffling beat. Meanwhile, the standup bass accompanies the accordion and gradually, other instruments are introduced including a chiming guitar which combines with the double bass and later accordion as Frode Haltli and his band paint pictures. At 7.42 the tempo increases and music becomes dramatic as the violin and horns are introduced and improvise playing with an urgency and sometimes with a freedom. Later, Frode Haltli and his band drop the tempo and return to earlier sound as the arrangement takes on a beautiful, cinematic sound and this fourteen minute opus closes Avant Folk on a high.
Avant Folk is a truly groundbreaking album that doesn’t fall neatly within any of the existing musical genres, and instead, is a genre-melting album that features elements of avant-garde, classical music, experimental, folk, free jazz, improv, jazz, rock and traditional African music. This is a potent and heady brew that results in a truly ambitious and captivating album that is best described as Avant Folk, and it looks like forty-three year old Frode Haltli is going to be one a small number of musicians who has invented a new musical genre.
Doubtless many other musicians will be keen to follow in the footsteps of Frode Haltli whose the founding father of Avant Folk and record a similar type of album. However, very few of these musicians will be able to record an album as good as Avant Folk which surpasses the quality of Frode Haltli’s previous album Air.
That is no surprise as Avant Folk features music that veers between beautiful, dreamy and ethereal, to cinematic and rich in imagery, to dramatic, eerie, haunting and otherworldly, to melancholy and wistful. Sometimes the music is hypnotic and mesmeric, while much of the music on Avant Folk has a timeless quality. Other times, Frode Haltli throws a curveball and the multilayered, genre-melting music on Avant Folk heads in a totally unexpected direction as a myriad of disparate sounds assail the listener. They come courtesy of Frode Haltli’s all-star band and an array instruments, electronics and samples. They play their in the musical tapestry that is Avant Folk, which is without doubt, one of the finest albums of Frode Haltli’s sixteen year recording career, and is the album that looks like launching, and lending its name to a new musical genre.
Frode Haltli-Avant Folk.
UNDER THE INFLUENCE VOLUME 6: A COLLECTION OF RARE SOUL AND DISCO COMPILED BY FAZE ACTION.
Under The Influence Volume 6: A Collection Of Rare Soul and Disco Compiled By Faze Action.
Label: Z Records.
Every time an independent record label releases a new compilation there’s always the hope that this will be the first instalment in a long running and successful series. Sadly, that hardly ever happens, and the majority compilations that are release prove to be one-offs. That is no surprise as the compilation market is hugely competitive, with many record companies vying for a slice of the lucrative compilation pie. This isn’t easy though.
It takes a compiler with impeccable musical taste whose able to choose a mixture of familiar tracks and hidden gems that will appeal to the widest possible audience. Other record labels will pay a DJ or tastemaker to compile the compilation hoping this will give it some much-needed kudos. Both of these approaches have worked in the past, but only if the record label ponies up for a marketing budget.
This is something that even some of the larger independent labels are reluctant to do, and they seem unaware of the maxim speculate to accumulate. Some labels think that spending £500 to £1,500 promoting a compilation is guaranteed to bring success their way. Alas, they’re mistaken, as competition within the compilation market is fierce, and a failure to promote a compilation can have disastrous consequences, that affect the label’s bottom line.
Some record labels release a critically acclaimed compilation that proves to be bang on trend, and it’s a commercial success. This brings much-needed revenue to the label, who are keen to begin work on a second instalment in the series.
If the second instalment in a compilation series proves successful, this can be a game-changer for an independent record label who now have an additional revenue stream. That is as long as they continue to release compilations of the same quality as the first two instalments.
Many record labels have managed to do this, and soon, are releasing their third, fourth and in some cases, the fifth instalment in their new compilation series. The extra revenue a commercially successful compilation series can bring can transform the fortunes of a previously struggling independent record label. It’s akin to a lottery win that allows them to payoff debt and subsidise worthy, but loss making releases. Not every release is profitable and a successful compilation series is a godsend for many a record label.
That has been the case for many record labels who have released long-running, critically acclaimed and commercially successful compilation series. This includes Z Records who released the first instalment in the Under The Influence compilation series in October 2011, and have just released Under The Influence Volume 6: A Collection Of Rare Soul and Disco Compiled By Faze Action. Nearly seven years later, and Under The Influence is one of the most successful compilation series, despite bringing a new curator onboard for each instalment.
This time around, it’s British brothers Simon and Robin Lee a.k.a. Faze Action, who have dug deep into their record collections for the twenty tracks that feature on Under The Influence Volume 6: A Collection Of Rare Soul and Disco Compiled By Faze Action. These tracks are a mixture boogie, disco, funk and soul from Carol Dionne, Stylus, Midway, Delight and Disco Circus. That isn’t forgetting Galaxy, Mikki, Oscar Perry, Space, Spats and Banzai who are responsible for a veritable feast of floorfillers. Choosing the highlights isn’t going to be easy.
Disc One.
Opening disc one of Under The Influence Volume 6: A Collection Of Rare Soul and Disco Compiled By Faze Action is Carol Dionne’s I’m In Love With You which was released on St Louis based Gateway Records in 1981. It’s a funky, soulful and sensual dancefloor filler that sets the bar high for the rest of the compilation.
After leaving Ultimate who were signed to Casablanca, Barbara Hernandez embarked upon a solo career. The onetime Eurodisco diva released All Nite Tonight on the Barbados based Bah Bah Records. It was produced by Leston Paul and Meekaaeel Muhammad who deploy percussion, blazing horns and harmonies as elements of disco, funk and soul are combined as Barbara Hernandez delivers a vocal powerhouse.
Cameroon born Bébé Manga became one of the most popular makossa singers of the eighties. Her debut album Ami-Oyomiya was released on the French label SIIS and featured Lokognolo. It’s a glorious fusion of Afrobeat, disco and funk which marked the debut of future makossa Queen Bébé Manga.
Australian funk and soul group Stylus were formed in Melbourne in 1975, and a year later, released their sophomore album For The Love Of Music on Atlantic Records. It featured the smooth and soulful dancefloor filler We All Need One Another which was one of the highlights of For The Love Of Music. Later, Stylus became the first Australian group to be released by Motown Records, and went on to tour with George Benson, the Average White Band and Little River Band.
After disco there was boogie, and in 1984 Midway released Set It Out as their debut single. It epitomises the boogie sound circa 1984 as a drum machine and synths accompany the vocal. This is the antithesis to disco where lush strings and horns were often part of orchestrated arrangements. However, that was all in the past by 1984 as dance music continued to reinvent itself. Thirty-four years later, and Faze Action reinvent Set It Out by editing this reminder of the boogie sound.
In 1978, German disco group Disco Circus released their eponymous debut album on Lollipop Records. The album was produced by Jürgen S. Korduletsch and features Dig It which is a catchy combination of disco, Eurodisco, funk, pop and soul.
Disc Two.
Opening disc two is Galaxy’s Let Love Begin which is a track from their eponymous debut album. It was recorded in England, but later released on the Nigerian label Tabansi label in the early eighties. One of the highlights of this disco boogie album was Let Love Begin which was written and multi-instrumentalist Jake Sollo who produced Galaxy. He plays an important part in the sound and success of Galaxy, which was this short-lived group’s only release.
PFO Pilgrim Fathers Orchestra was an Italian studio band who released Touch Me Don’t Stop on their own label Pilgrim Fathers Records in 1981. This was two years after the supposed demise of disco. However, there’s still a strong disco influence which is combined with boogie on funk on this slick, soulful and dancefloor filler that later, hints at piano house.
Blues and soul singer Oscar Perry was born in Texas in 1943, but by 1979 was signed to Gamma Records and had just released Body Movements. It was written, arranged and produced by Oscar Perry who had reinvented himself as a disco singer. The highlight of the album was the title-track Body Movements which was a soulful slice of disco that has stood the test of time.
In Italy, in 1979, the Ariston label released Ruba Ruba which marked the comeback of Italian-American-born dancer, choreographer, TV present and singer Don Lurio. Ruba Ruba was Don Lurio’s first single in over a decade and was a lavishly orchestrated disco single. Strings, horns, harmonies and a funky rhythm section accompanied Don Lurio’s vocal, which ironically although full of enthusiasm, was the weakest part of the single.
Spats released their eponymous debut album on the American label Good Sounds in 1978. One of the highlights of the album was Hot Summer Madness where Spats combine elements of disco and funk, with a soulful vocal the final piece of the jigsaw. Sadly, Spats never released another album, but Hot Summer Madness forty years later, Hot Summer Madness returns for a well deserved encore.
Closing Under The Influence Volume 6: A Collection Of Rare Soul and Disco Compiled By Faze Action is Banzai’s Runaway, which featured on their eponymous album, when it was released by EMI in Spain, in 1980. Runaway features elements of boogie, electronic music, jazz and Latin, and is a reminder of where music was at in 1980. Music had changed since the demise of disco and this was a new chapter in the history of dance music.
The music on Under The Influence Volume 6: A Collection Of Rare Soul and Disco Compiled By Faze Action was released during the seventies and eighties, when disco and boogie provided the soundtrack to clubs on both sides of the Atlantic. Many DJs spun tracks from Under The Influence Volume 6: A Collection Of Rare Soul and Disco Compiled By Faze Action which enticed and encouraged even the most reluctant dancers onto the dancefloor and they enjoyed music that was released not just in America but also in Africa, Barbados and Europe.
Over thirty years later, that music features on Under The Influence Volume 6: A Collection Of Rare Soul and Disco Compiled By Faze Action is a cosmopolitan and eclectic selection of music where mostly, the emphasis is on quality music. Having said that, there’s the very occasional track that doesn’t quite work. Mostly, though the music on Under The Influence Volume 6: A Collection Of Rare Soul and Disco Compiled By Faze Action is quality we’ve come to expect from this long-running and successful compilation series.
Z Records who released the Under The Influence series, have always taken great care choosing a curator for the annual compilation. This year, it’s Simon and Robin Lee a.k.a. Faze Action, who have dug deep into their collections, and chose a mixture of a familiar dancefloor fillers and oft-overlooked hidden gems that feature on Under The Influence Volume 6: A Collection Of Rare Soul and Disco Compiled By Faze Action which is the latest instalment in this long-running and successful compilation series that seems to go from strength-to-strength.
Under The Influence Volume 6: A Collection Of Rare Soul and Disco Compiled By Faze Action.
CHUCK JACKSON-THE BEST OF THE WAND YEARS (VINYL).
Chuck Jackson-The Best Of The Wand Years (Vinyl).
Label: Kent Soul.
By the time Pittsburg-born Chuck Jackson signed to Wand Records in 1961, he was just twenty-four, and was already an experienced singer, who many within the music industry thought had a great future ahead of him. Chuck Jackson’s career began four years earlier in 1957, when he joined the second lineup of The Del-Vikings.
Later in 1957, Chuck Jackson sung the lead vocal on The Del-Vikings’ 1957 single Willette, which when it was released, failed to trouble the charts. Sadly, commercial success continued to elude the singles
The Del-Vikings released between 1957 and 1959. By then, Chuck Jackson had come to the conclusion that although The Del-Vikings were a popular draw locally, they were never going to enjoy chart success and decided to embark upon a solo career.
Before long, Chuck Jackson had signed to the Petite label, and released Willette as single in 1959. However, when the single failed to find an audience, Chuck Jackson was on the move.
Next stop was the Clock label, where Chuck Jackson would release a trio of singles. His clock debut was Come On and Love Me, which was released later in 1959, but failed to find an audience. However, by then time, Chuck Jackson had been ‘discovered.’
This came about when Chuck Jackson was opening for Jackie Wilson at the Apollo Theatre in Harlem, and i the audience that night, was Luther Dixon. He immediately spotted the potential in Chuck Jackson, which was the break the twenty-two year old soul man had been waiting for.
After being discovered by Luther Dixon, Chuck Jackson released two more singles for Clock, including I’m Yours in April 1960, which stalled at ninety-one on the US Billboard 100. This was the first of Chuck Jackson’s singles that had charted, and although it was only a minor hit, he hoped that his luck was changing. Sadly, when This Is It was released later in 1960, it failed to trouble the charts and Chuck Jackson was back to square one.
Once his contract with Clock expired, Chuck Jackson released a Peeping Tom for Belltone using the moniker Chuck Flamingo. Just like previous solo singles, it sunk without trace. History repeated itself when Chuck Jackson released Mr. Pride as a single for Belltone in March 1961. Two years after embarking upon a solo career, and Chuck Jackson was struggling to make a breakthrough. Fortunately, his luck was about to change.
Later in 1961 Chuck Jackson signed to Wand Records, which was an imprint of the New York label Scepter Records. Little did Chuck Jackson know that this would be his home for the next six years. Between 1961 and 1966 Chuck Jackson enjoyed a successful solo career and formed a partnership with Maxine Brown at Wand. This was the most prolific and successful period of Chuck Jackson’s long career.
Chuck Jackson released a total of ten albums and thirty singles between 1961 and 1966, and enjoyed seventeen hit singles in the US R&B charts and nineteen in the US Billboard 100. This was the most successful period of Chuck Jackson’s long career, and it’s been documented and celebrated by Kent Soul, an imprint of Ace Records over the past three decades, including on the newly released The Best Of The Wand Years which was released on vinyl by Kent Soul.
There’s a total of fourteen tracks on The Best Of The Wand Years, including eleven that were released between 1961 and 1966. The other three tracks were released by Kent between 1987 and 1990 and return for an encore on The Best Of The Wand Years.
The earliest track from Chuck Jackson’s tracks on The Best Of The Wand Years is the hurt filled I Don’t Want To Cry which was released as a single in 1961. It reached thirty-six in the US Billboard 100 and five in the US R&B charts, but failed to trouble the UK charts. I Don’t Want To Cry which later lent its name to Chuck Jackson’s debut album was a tantalising taste of what was to come from the Pittsburg-born soul man
In April 1962, Chuck Jackson released a cover of Any Day Now which reached twenty-three in the US Billboard 100 and five in the US R&B charts. Any Day Now finds Chuck Jackson’s voice is full of dread at the thought of losing the woman he loved. This was one of the finest recordings of Chuck Jackson’s career and became the title of Chuck Jackson’s sophomore album.
Two months later in June 1962, Chuck Jackson released I Keep Forgetting as a single which also features on the album Any Day Now. It featured an unusual percussive arrangement that was very different to much of the music being released, while Chuck Jackson released a vocal powerhouse. Sadly, I Keep Forgetting stalled at just fifty-five in the US Billboard 100, but became a favourite of British mods .
January 1963 saw Chuck Jackson release Tell Him I’m Not Home which featured on the album 1963 Encore! Chuck Jackson lives the lyrics as he delivers a soul-baring vocal, that is full of hurt and betrayal. Despite oozing quality, the single only reached forty-two in the US Billboard 100 and twelve in the US R&B charts.
Two Stupid Feet was another track from Chuck Jackson’s 1963 album Encore! It was penned by Cara Browne and Luther Dixon and had been originally released as a single by The Tabs. The same backing track was used for Chuck Jackson’s version, as he breathes life, meaning and emotion into the lyrics and makes the song his own.
In May 1964, Chuck Jackson covered Rudy Clark’s Beg Me, where he testifies, while singing call and responses with the backing vocalists. They play their part in a truly irresistible dancefloor filler that reached forty-five in the US Billboard 100 and five in the US R&B charts.
Although Chuck Jackson was a successful artist, executives at Wand had already decided to update his sound in later 1964. However, they decided to use the B-Side to experiment with the new sound. As a single it was decided that Chuck Jackson should release a cover Jeffrey David Hooven and Hal Winn’s Since I Don’t Have You October 1964. Chuck Jackson’s beautiful heartfelt cover reached forty-seven in the US Billboard 100 and five in the US R&B charts. On the B-Side was, a cover of Robert Mosley’s Hand It Over where Chuck Jackson’s experimented with the “discotheque sound“ and shows a new side to his music.
Five months later, Chuck Jackson released the ballad I Need You in March 1965, which features a rueful vocal full sadness and regret. I Need You stalled at seventy-five in the US Billboard 100 , but reached a respectable twenty-two in the US R&B charts.
In October 1965, Chuck Jackson released Good Things Come to Those Who Wait as a single, but it failed to trouble the charts. However, this dancer became a favourite on the British Northern Soul scene, especially at the Twisted Wheel in Manchester.
When Chuck Jackson released These Chains of Love (Are Breaking Me Down) as a single in July 1966, it became his latest single that failed to trouble the charts. However, later, Chuck Jackson’s soul stomper These Chains of Love (Are Breaking Me Down) was discovered by DJs on the British Northern Soul scene and was heard by a new audience. Sadly, that was too late for Chuck Jackson who had left Wand by then.
In 1987, Kent Records released A Powerful Soul which was a new compilation of Chuck Jackson songs that included (I’d Be A) Millionaire and Van McCoy’s I Can’t Stand to See You Cry. Both songs seemed to tailor-made for Chuck Jackson who brought the lyrics to life on these two hidden gems.
Three years later in 1990, Kent Records released another new Chuck Jackson compilation Good Things. It featured What’s With This Loneliness which was penned by Chuck Jackson and made its welcome debut on Good Things. Twenty-eight years later it returns for an encore on The Best Of The Wand Years which was recently released on vinyl by Kent Soul, an imprint of Ace Records.
For newcomers to career Chuck Jackson’s at Wand Records who want to experience his music on vinyl, then The Best Of The Wand Years is the perfect place to start. It features fourteen tracks from Chuck Jackson’s Wand Years which was the most prolific and successful part of what was a long career. However, The Best Of The Wand is just an amuse bouche and there’s much more to enjoy.
After discovering the delights of The Best Of The Wand Years, there’s the eight albums that Chuck Jackson released for Wand Records. They’ve been released on four albums by Kent Soul, and document the most successful period of Chuck Jackson’s career. During this period, Chuck Jackson enjoyed seventeen hit singles in the US R&B charts and nineteen in the US Billboard 100. He was one of the most successful soul singers signed to Wand Records, and had a huge following on both sides of the Atlantic.
That is still the case today, and Chuck Jackson’s legion of loyal fans will enjoy the hits, B-Side, rarities and unreleased tracks on The Best Of The Wand Years, which celebrates the career of a veteran soul man.
Chuck Jackson-The Best Of The Wand Years (Vinyl).
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