BEST NEW ALBUMS OF 2017-PART 10.
Best New Albums Of 2017-Part 10.
The Souljazz Orchestra-Under Burning Skies.
Label: Strut Records.
Fifteen years after The Souljazz Orchestra was founded in Ottawa, Canada, in 2002, they returned with their seventh album Under Burning Skies. It’s without doubt, the finest album of their career, which has been said before. However, with every album they reach new heights using an eclectic selection of instruments. Many of these are instruments are long-lost, sometimes unloved junk shop finds. This doesn’t matter, as The Souljazz Orchestra is capable of creating incredible music with these instruments. That is the case on Under Burning Skies where the hooks haven’t been spared as the music veers between beautiful, joyous and uplifting to ruminative and thoughtful right through to funky, soulful and dance-floor friendly.
Tim Berne’s Snakeoil-Incidentals.
Label: ECM Records.
Although Tim Berne’s Snakeoil’s fourth album Incidentals was released in 2017, this live set had been recorded at The Clubhouse, in New York, during December 2014. Three years later, and Incidentals was released and found the expanded lineup of Skakeoil continuing to move further away from their original acoustic chamber-jazz sound. They play with an unbridled freedom fusing howling, searing avant-rock guitars, squelchy acidic synths and thunderous timpani with horns that soar above the arrangement and intermingle. For much of Incidentals, Snakeoil’s playing veers between direct to loose and spontaneous, but always inventive and innovative during this roller coaster journey where the music is vibrant and sometimes visceral, but always exciting.
Trio Mediaeval and Arve Henriksen-Rimur.
Label: ECM Records.
The roots of Trio Mediaeval and Arve Henriksen’s album Rimur can be traced to Dalsfjorden on the Norwegian west coast. Over several summers, the idea for Rimur took shape. Trio Mediaeval and Arve Henriksen were captivated and inspired by Icelandic sagas, beautiful chants, folk songs, religious hymns and fiddle tunes, and decided to record an album together. The quartet recorded an album where improv, mediaeval and traditional music from Iceland, Norway and Sweden combines with the music of the present on Rimur. It’s an enchanting and timeless album whose beauty is breathtaking.
Ulan Bator-Stereolith.
Label: Bureau B.
On Stereolith, veteran musical shape shifters and avant rock survivorsUlan Bator seamlessly switching between genres as they continue to captivate and create music that is way ahead of the musical curve. Sometimes, Ulan Baton a curveballs and take the listener on the equivalent of a magical musical mystery tour where it’s a case expect the unexpected on this ambitious genre-melting album. The result is Stereolith which is without doubt, one the best albums of Ulan Bator’s twenty-four year career. It finds Ulan Bator continuing to reinvent their music to ensure that it remains relevant. Music chameleons Ulan Bator succeed in doing so, on their much-anticipated twelfth album, Stereolith.
Ulver-Riverhead (Original Motion Picture Soundtrack).
Label: House Of Mythology.
As 2017 dawned, Norwegian experimental collective Ulver released the soundtrack album to Riverhead. It finds Ulver fusing electronica and ambient with elements of Celtic and Nordic folk music to create a series of hushed, airy and atmospheric cinematic soundscapes. Some of these soundscapes are minimalist, but like all the pieces on Riverhead paint pictures in the mind’s eye and take the listener on a musical journey.
Vijay Iyer Sextet-Far From Over.
Label: ECM Records.
When the Vijay Iyer Sextet released Far From Over in the summer of 2017, the common consensus was that was their finest album yet. It found the Vijay Iyer Sextet reaching new heights on album where some top improvisers push musical boundaries and combine musical genres in search of that elusive sonic perfection. They don’t disappoint on an album that veered between explosive to elegiac, but was always enthralling and entrancing. Especially when the Vijay Iyer Sextet play a freedom and enthusiasm on Far From Over as the music becomes funky rhythmic, melodic and not short of hooks.
Wild Honey-Torres Blancas.
Label: Lovemonk Records.
When Wild Honey released Torres Blancas in 2017, it was by far the greatest album of their three album career. It surpasses the quality of Wild Honey’s two previous albums, Epic Handshakes and A Bear Hug and Big Flash. They were merely the musical equivalent of an amuse-bouche. By comparison, Torres Blancas is a musical feast that comprises only the very finest of ingredients. When they’re combined, the result is Torres Blancas, a carefully crafted album of melodic and memorable perfect pop from Wild Honey, which is a career-defining mini-masterpiece.
AKSAK MABOUL-UN PEU L’AME DES BANDITS-VINYL REISSUE.
Aksak Maboul-Un Peu de L’âme Des Bandits-Vinyl Reissue.
Label: Crammed Discs.
Nearly three years after releasing their seminal avant pop album, Onze Danses Pour Combattre la Migraine in the summer of 1977, Aksak Maboul returned with their much-anticipated 1980 sophomore album Un Peu de L’âme Des Bandits. It was the first album Aksak Maboul released on Marc Hollander’s Crammed Discs, who recently reissued Un Peu de L’âme Des Bandits on vinyl.
This is the first ever reissue of this classic album, and is best described as a lovingly curated release. Un Peu de L’âme Des Bandits is pressed on heavyweight vinyl and comes with a booklet that features a variety of documents that will be of interest to all fans of Aksak Maboul. So too will the previously unreleased tracks that are entitled Before and After Bandits, and can be accessed via a download code that is included in each copy of Un Peu de L’âme Des Bandits. It was the second chapter in a story that began three years earlier in 1977.
In early 1977, Marc Hollander and Vincent Kenis decided to turn what had been a dream into reality, when they founded a new band together, Aksak Maboul. By April 1977, Aksak Maboul had entered the studio and began work on their debut album.
Onze Danses Pour Combattre la Migraine.
Over the next two months, Aksak Maboul recorded what was a groundbreaking genre classic, Onze Danses Pour Combattre la Migraine. Marc Hollander and Vincent Kenis who were both talented multi-instrumentalists had decided to take charge of production of their debut album. This was a brave decision considering they planned on recording a truly ambitions album.
Onlookers watched incredulously as the three members of Aksak Maboul fused disparate and unlikely musical genres and influences. Everything from avant-garde to African music was rubbing shoulders with Balkan, electronica and experimental, to free jazz, rock and proto-techno. There was even elements of American minimalist, jazz and early twentieth century classical music on album where Aksak Maboul had cast their net far and wide for inspiration.
It was as if the three members of Aksak Maboul were delving into the furthest corners of their respective record collections. This included the influence of minimalist composer and pianist Erik Satie; avant-garde composers like Tony Conrad, Jon Gibson, Frans Geysen and Terry Riley, plus Brian Eno who had popularised ambient music in the seventies. However, it was free jazz pioneers like Sun Ra, Charles Mingus and Ornette Coleman who seem to have been a starting point for Aksak Maboul. Free jazz, which was referred to as energy music in the sixties seemed to have inspired Aksak Maboul as embarked upon what’s akin to a journey without a map. This brave and adventurous approach worked for Aksak Maboul, as they continue to combine musical genres and influences.
Rock pioneers Frank Zappa and the Velvet Underground seem to have influenced Aksak Maboul as the three musical magpies drew inspiration from countless disparate sources, combined it into something totally different. Often, though, this wasn’t the end of this ambitious musical experiment, and this musical mosaic was then deconstructed, and incredibly, seamlessly became something totally different and innovative. Astonished onlookers watched as the three musical alchemists worked their magic on their debut album. It was finished in May 1977 and became Onze Danses Pour Combattre La Migraine.
By then, onlookers realised that Aksak Maboul were no ordinary band. It was obvious even to the casual observer that Aksak Maboul were musical pioneers who dared to go where other bands feared to tread. Aksak Maboul it seemed, were determined to challenge musical norms and push boundaries to their limits. Onlookers speculated how this would turn out?
Music industry insiders and critics knew that one of two things would happen when Aksak Maboul released Onze Danses Pour Combattre La Migraine in the summer of 1977? Aksak Maboul would either crash and burn, or their debut album Onze Danses Pour Combattre La Migraine would be hailed as a groundbreaking, genre-melting classic? The three members of Aksak Maboul held their breath as critics and cultural commentators had their say on Onze Danses Pour Combattre La Migraine.
Critics on hearing Onze Danses Pour Combattre La Migraine which translates to Eleven Dances For Fighting Migraines, hailed the album as ambitious, imaginative and innovative. Some critics went even further, describing Onze Danses Pour Combattre la Migraine as a groundbreaking masterpiece from a band who had a huge future ahead of them. For Aksak Maboul this was encouraging as they released their avant-pop classic, Onze Danses Pour Combattre la Migraine.
Later in the summer of 1977, Onze Danses Pour Combattre la Migraine was released on the Belgian independent label Kamikaze Records. However, Aksak Maboul’s debut wasn’t solely credited to the band. Instead, the album was credited to Marc Hollander/Aksak Maboul. There was a reason for this.
Much of the music on Onze Danses Pour Combattre la Migraine was the work of Marc Hollander, and it was only fair that he received much of the credit for what’s now regarded as a seminal album, Onze Danses Pour Combattre la Migraine. However, when Onze Danses Pour Combattre la Migraine was released by Kamikaze Records, which was only a small independent label, the album wasn’t a commercial success. The problem was Kamikaze Records was only a small independent label, that had neither had the budget to promote the album, nor it into the major record shops. However, Onze Danses Pour Combattre la Migraine became a cult album, and set the bar high for future avant-pop albums which are always compared to Marc Hollander/Aksak Maboul’s genre classic.
The commercial failure of Onze Danses Pour Combattre la Migraine was a hugely frustrating and disappointing for the two members of Aksak Maboul. Especially after receiving critically acclaimed reviews and being hailed an avant pop classic. It was a case of what might have been, as a new chapter began in the autumn of 1977.
By then, Aksak Maboul who were still a duo had never played live. This was about change when two became four. Percussionist Chris Joris and keyboardist Marc Moulin had joined Aksak Maboul. They were meant to be the final piece of the musical jigsaw, when the band when played live. However, Chris Joris was soon replaced by Frank Wuyts and they would become the classic lineup of Aksak Maboul.
Although Aksak Maboul was now playing live as a quartet, they were often augmented by guest musicians who took to the stage when they played live or recorded albums. That was the case when Aksak Maboul recorded their much-anticipated sophomore album Un Peu de L’âme Des Bandits in 1979.
Un Peu de L’âme Des Bandits.
It would be expanded lineup of who recorded the six tracks that became Un Peu de L’âme Des Bandits. The core quartet of Marc Hollander, Vincent Kenis, percussionist Frank Wuyts and keyboardist Marc Moulin were joined by two English musicians, Fred Frith a bassist, guitarist, violinist and drummer and percussionist Chris Cutler. The two new additions would play their part in the songwriting process on an album of two parts.
Founder member Marc Hollander contributed A Modern Lesson, and wrote Palmiers En Pots with Frank Wuyts, which featured André Verchuren’s Trio. Frank Wuyt and cellist Denis Van Hecke wrote Inoculating Rabies while new recruit Fred Frith penned Geistige Nacht. The other track on side one was the traditional song I Viaggi Formano La Gioventù. On the second side was the most ambitious piece of music of Aksak Maboul’s three year career.
This was Cinema a near twenty-three epic that featured four movements. Catherine Jauniaux who had agreed to add the vocal to Cinema, wrote Ce Qu’On Peut Voir Avec Un Bon Microscope with Chris Cutler, Denis Van Hecke, Fred Frith and Belgian bassoonist Michel Berckmans. Meanwhile, Alluvions and Azinou Crapules was written by Marc Hollander and Frank Wuyts. Closing this four piece suite was Age Route Brra! (Radio Sofia) which was credited to “All The Players.”
When it came time for Aksak Maboul to record Un Peu de L’âme Des Bandits, All The Players made their way to Sunrise Studios in Kirchberg, Switzerland in February 1979. Sunrise Studios was still relatively new, and had only been founded by Swiss composer, musician and producer Etienne Conod in 1975. This was just two years before Aksak Maboul recorded their seminal avant rock classic Onze Danses Pour Combattre la Migraine. It had set the bar high for Aksak Maboul’s sophomore album, but Marc Hollander, Vincent Kenis and the rest of the band were up for a challenge, and began recording what later became Un Peu de L’âme Des Bandits.
Joining Aksak Maboul were the two English musicians Fred Frith and Chris Cutler, who were joined by Belgian vocalist Catherine Jauniaux, cellist Denis Van Hecke plus bassoonist and oboist Michel Berckmans, cellist Denis Van Hecke. This extended lineup of Aksak Maboul spent the next month recording the group’s sophomore album. However, after a month, Un Peu de L’âme Des Bandits wasn’t finished, and Aksak Maboul returned home to Belgium.
Aksak Maboul made the return journey to Sunrise Studios in August 1979, where they would complete recording of Un Peu de L’âme Des Bandits. However, it would be 1980 before Aksak Maboul’s much-anticipated sophomore album Un Peu de L’âme Des Bandits was released by Marc Hollander’s new label Crammed Discs.
Rather than release Un Peu de L’âme Des Bandits on another record label, a decision was made to release the album on Crammed Discs, which was a relatively new label. It had only been founded earlier in 1980, and releasing Un Peu de L’âme Des Bandits on such a new label wasn’t without a degree of risk.
Would Crammed Discs have the financial muscle and expertise to promote Un Peu de L’âme Des Bandits, and get the album into the larger record shops? This was where Kamikaze Records had failed, and had cost Aksak Maboul dearly. However, Crammed Discs was a very different label to Kamikaze Records, and after releasing Aksak Maboul’s sophomore album Un Peu de L’âme Des Bandits, Marc Hollander’s label has released over 250 albums. That was still to come.
Prior to the release of Un Peu de L’âme Des Bandits, critics and cultural commentators had their say on Aksak Maboul’s long-awaited and much-anticipated sophomore album. The first time round, Marc Hollander and Vincent Kenis who back then, were the only members of Aksak Maboul had held their breath as critics and cultural commentators passed judgment. However, by 1980 Aksak Maboul were flavour of the month among the critics and so was Un Peu de L’âme Des Bandits.
When Aksak Maboul returned with Un Peu de L’âme Des Bandits, critics discovered another ambitious and groundbreaking album, from the new lineup of the band. Along with some of their musical friends they had recorded a much more experimental album than its predecessor Onze Danses Pour Combattre la Migraine. There was also an intensity to this powerful, carefully crafted, genre-melting album. It showcased two very different sides to Aksak Maboul, who had written parts of what were incredibly complex, intricate horn charts and used Eastern scales in the multilayered arrangements. Other parts of the songs had been improvised by Aksak Maboul, including the hardcore ambient pieces. They had put their extensive musical arsenal to good use, as they combined a disparate and eclectic selection of musical genres.
This included mixture of traditional instruments including an oboe, bassoon, saxophones, guitars, bass and piano which joined the latest in musical technology, a drum machine. Aksak Maboul also used sampling despite 1979 being the pre-sampler era. Instead, they taped short pieces of sound including the flipper from a pinball machine, excerpts from the vocals of delta blues and added gibberish vocals. Aksak Maboul also took excerpts of popular tangos which were sliced and diced and then randomly reassembled to create a “new” piece of music, Tango. To the rich musical tapestry that was Un Peu de L’âme Des Bandits, Aksak Maboul added Bulgarian, crypto-punk, Polynesian, Pygmy and pseudo-Varese music on Un Peu de L’âme Des Bandits. Add to this the influence of baroque music, the Canterbury scene, French café music and everyone from Frank Zappa to Henry Cow and Stravinsky and the result was bold and ambitious album of innovative experimental avant-rock. It epitomised the type of music that bands within the Rock In Opposition, including Aksak Maboul were recording in 1979. Once again, critics were astounded at the sheer variety of musical genres and influences that had inspired Aksak Maboul.
Un Peu de L’âme Des Bandits was no ordinary album, with Side A featuring five dissipate dance tracks. Modern Lesson set the scene as a “twisted blues” track unfolds and gibberish vocals are joined by a guitar, cello and later saxophone, which play with a freedom and invention before the horn chart becomes intricate. Despite that, it’s a captivating track that is variously rhythmic, mesmeric and melodic.
Very different is Palmiers en Pots which comprises two short tracks. Trio from Nuits D’Argentine is a beautiful piece of wistful music that was originally written for a string trio. It gives way to Aksak Maboul’s slice and dice Tango, which is an irresistible dance track that is a reminder of how innovative a group Aksak Maboul were in 1979.
Geistige Nacht shows the two sides of Aksak Maboul. Initially, they’re a tight band, as the rhythm section powers the arrangement along as the saxophone and piano play leading roles. Later, and seamlessly, the band play with freedom, invention and the same urgency as before on what’s one of the oft-overlooked tracks on the album.
I Viaggi is a Turkish folk song where Aksak Maboul use a Middle Eastern scale, while the dumbeg and cello play traditional scales. However, the cello and vocal also double the melody line. In doing so, they play their part in a track that is initially haunting, hypnotic, ethereal and cinematic. Always though, the Turkish influence shines through even when the music takes on a more experimental sound, before becoming urgent as it reaches a rocky crescendo.
Inoculating Rabies is totally different from what’s gone before, and finds a bassoon and bass clarinet playing against backdrop of driving, anthemic rock and punk. It’s best described as bassoon punk where Aksak Maboul unleash angst, anger and frustration.
Flipping over to B-Side and critics and record buyers discovered Cinema, the four piece suite that made Aksak Maboul the toast of progressive rock fans. They were won over by a quite remarkable suite, which features four separate solos, including a six-string bass, acoustic cello, electric cello, and synths. Add to the equation woodwind passages that are deliberately become almost discordant and dissonant but are certainly moody and atmospheric. Later, the members of Aksak Maboul are sometimes transformed into psychedelic rockers, before showcasing their talent and versatility during short pieces of Middle Eastern music. However, on the final piece of the suite, Age Route Brra! (Radio Sofia) Aksak Maboul improvise and replicate what was a well known Bulgarian talk radio show. This brought to an end what was Aksak Maboul’s Magnus Opus on Un Peu de L’âme Des Bandits.
It was one of inner reasons why Aksak Maboul’s sophomore album Un Peu de L’âme Des Bandits was released to widespread critical in 1980, and hailed an avant rock classic. Some critics went as far as to say that Un Peu de L’âme Des Bandits was possibly the finest album released by a group from the Rock In Opposition movement. This was quite an accolade, given how much groundbreaking music was being released during this period.
Thirty-eight years later, and Aksak Maboul’s sophomore album Un Peu de L’âme Des Bandits is still regarded as an avant rock classic and has just been reissued by Marc Hollander’s Crammed Discs’ label. As an added bonus, there’s also ten previously unreleased tracks that are entitled Before and After Bandits, that that can be accessed via a download code that is included in each copy of Un Peu de L’âme Des Bandits.
Before and After Bandits.
Nine of the previously unreleased tracks were recorded between April 1977 and April 1980 in the studio and live. The tracks that were recorded in the studio were the moody, futuristic and experimental Vapona Au Tour De France and another version of the twenty-three minute epic Cinema (Knokke). They’re joined by two inventive and innovative examples of improv, Venise Improv Mastoul Alakefak (Milano Improv), where Aksak Maboul push musical boundaries to their limits, and sometimes, beyond. On A.T.A./Horreurs Aksak Maboul play with freedom and invention as the sonic explorers unleash a stunning performance. Alluvions/Truc Turc features much more restrained, rhythmic and melodic performance that shows another side to Aksak Maboul. Then on Before J, Aksak Maboul again play with urgency and invention on a captivating and cinematic track.
There’s also a triumvirate of live tracks, including Onze Dents/Son Of L’Idiot where Aksak Maboul show that they’re much more than a studio band, and capable and comfortable playing in front of an audience. Here, they create an eerie, haunting and dramatic cinematic track and play. Closing Before and After Bandits is Paysage Vole (Live) which has a contemporary sound, where Aksak Maboul have been inspired by modern dance music on a track which also fuses elements of electronica, experimental and fusion. In doing so, Aksak Maboul prove that they’re just as relevant some thirty-eight years after Marc Hollander and Vincent Kenis decided to found a new band together.
For fans of Aksak Maboul, Crammed Discs recent reissue of Un Peu de L’âme Des Bandits on vinyl, is the first official release of the band’s second classic album. As an added bonus, the download code that comes with Un Peu de L’âme Des Bandits gives them access to Before and After Bandits. It includes another ten reasons to discover or rediscover the delights of Un Peu de L’âme Des Bandits which was Aksak Maboul’s second avant pop classic.
Many record buyers won’t remember when Aksak Maboul released their debut album Onze Danses Pour Combattre la Migraine in the summer of 1977, and the followup Un Peu de L’âme Des Bandits three years later in 1980. Both albums are avant pop classic and feature musical pioneers Aksak Maboul creating ambitious, imaginative, inventive and innovative music that was inspired by disparate musical genres and influences. They play their part in Un Peu de L’âme Des Bandits, which is a carefully crafted musical tapestry and timeless avant rock classic that featured the classic lineup of Aksak Maboul as the created musical history for the second time in just three years.
Aksak Maboul-Un Peu de L’âme Des Bandits-Vinyl Reissue.
FIRE!-THE HANDS.
Fire!-The Hands.
Label: Rune Grammofon.
When the Swedish power trio Fire! was founded ten years ago in 2008, saxophonist Mats Gustafsson, bassist Johan Berthling and drummer and percussionist Andreas Werliin were determined to bring a new approach to improvised music which they were all passionate about. They also knew that their new band Fire! would allow them to rekindle and sharpen their instrumental skills, and take them out of what they saw as their respective comfort zones. To some extent, the three members of Fire! were also looking for a new musical challenge, and something that provided an alternative to the various projects that they were involved with in 2008. Little did the members of Fire! realise just how successful their new project would be over next ten years.
Fast forward ten years, and Fire! which started as a side project for Mats Gustafsson, Johan Berthling and Andreas Werliin has snowballed, and there’s now two bands under the Fire! banner. This includes the twenty-seven piece Fire! Orchestra who released their debut album Enter in January 2014. Just over two years later, in May 2016, the Fire! Orchestra released their critically acclaimed fourth album She Sleeps, She Sleeps. However, they’re still two albums behind the band that started the ball rolling, Fire!.
Recently Fire! released their much-anticipated sixth album The Hands on the Rune Grammofon label. The Hands is another ambitious and innovative album, from one of Scandinavia’s top power trios, who continue on a mission that began in 2008.
For far too long, jazz and especially free jazz has been perceived by many record buyers and even some critics as “difficult” music. It’s regarded as beyond the comprehension of the ordinary record buyer who has grown up listening to pop and rock. That however, is far from the case, and Fire! and Fire! Orchestra have made it their mission to prove those that jazz and especially free jazz, isn’t beyond the comprehension of record buyers.
After all, jazz has been an important part of Fire!’s genre-melting sound for the past ten years. Fire! are now regarded as one of Swedish music’s success stories, is a musical democracy which features three equally talented players, who each play an important part in the trio’s tight genre-melting sound. This includes elements of free jazz, jazz, noise, psychedelia and rock. However, Fire! has also been inspired by power trios like Cream and The Jimi Hendrix Experience as well as the hypnotic quality of Black Sabbath’s eponymous debut album. All this, has obviously influenced Fire! when they came to record the seven tracks that became The Hands. It’s a captivating and mostly an uncompromising album where the music is dark, heavy and has a ferocity and intensity. Fire! also show exactly what a power trio can do, as they continue in their mission to introduce jazz and free jazz to a wider audience, and bring a new and fresh approach to improvised music.
The latest chapter in the Fire! story began on the ‘10th’ of May 2017 when Fire! arrived at Bruket, Sickla, which was where they would spend the next week recording the seven tracks on The Hands. Mats Gustafsson brought with him his bass and tenor saxophones and the electronics that were part of Fire!’s musical arsenal. Meanwhile, Johan Berthling unpacked his double and electric basses, while Andreas Werliin setup his drum kit and an array of percussion. He would also be responsible for supplying the feedback on The Hands. When work began, Fire! wasted no time, and just like on their three previous albums recorded the album quickly. By the ‘17th’ of May 2017 The Hands, which was produced by Andreas Werliin and Fire! was complete.
Withe the album complete, the next step was for Andreas Werliin mix The Hands in Putarna, Tossene. This left just the mastering, and Lupo mastered the album at Calyx Mastering, in Berlin, mastered The Hands. Only then was Fire!’s sixth album ready for release
Eight months after Fire! completed recording their much-anticipated sixth album The Hands, it was released in January 2018 by Rune Grammofon. The Hands was the latest album of ambitious, innovative and genre-melting music from one of Scandinavia’s top power trios Fire!
The Hands opens with the title-track where industrial sounds give way to the thunderous, roaring rhythm section. Johan Berthling’s bass adds a dark menacing sound that seems to draw inspiration from early Black Sabbath. By then, industrial sounds have been added before a wailing, soul-baring free jazz saxophone is unleashed. Meanwhile, the rhythm section lock into a tight groove, and became one as they create a dark, menacing and mesmeric backdrop. Never does drummer Andreas Werliin miss a beat, as the snarling dragon that is Fire!’s rhythm section drive the anthemic arrangement along. Latterly, the industrial sounds return before feedback is unleashed and Andreas Werliin tames the tiger, as it becomes part of this genre-melting soundscape.
As Andreas Werliin pounds his drums slowly, distant dialogue can be heard before the dark menacing bass prowls across the arrangement. Soon, a braying saxophone soars high above the rhythm section which have been pulled back in the mix. Mats Gustafsson’s saxophone growls, brays and snarls as it takes centre-stage, and plays with power, passion and an inventiveness. Still, the rhythm section create a dark, dramatic and menacing backdrop. Later, just the quivering saxophone remains before dissipating, leaving just the memory of Fire! at their inventive and innovative best on they create a dramatic and cinematic soundscape.
The tenor saxophone growls and drones on Touches Me With The Tips Of Wonder as cymbals hiss and crash and Johan Berthling lays down a fleet-fingered but subtle backdrop. This allows Mats Gustafsson’s ruminative saxophone to create a late-night smokey sound. It’s as if Fire! have been asked to play late night in a Stockholm jazz club, and are channeling the spirit of John Coltrane. However, later Fire! throw a curveball as dialogue replaces the saxophone and the three musical mavericks continue in the mission to reinvent improvised music.
Andreas Werliin plays his drums with power and speed on Washing Your Heart In Filth before Johan Berthling adds another fleet-fingered baseline before Mats Gustafsson’s braying, screeching saxophone enters. It’s played with power and passion before reaching crescendo. All the time, drums and percussion join the bass in powering the arrangement along. By then, the saxophone is played with a tenderness and becomes melodic and thoughtful. This shows another side of Fire! Still, the rhythm power the arrangement until the track reaches a memorable ending,
A dark rhythm bass join with urgent drums as Up and Down unfolds, and Fire! draw inspiration from the classic power trios and hard rock bands of the late-sixties and early seventies. Soon, Mats Gustafsson steps forward and unleashes an impassioned solo that veers between soulful to powerful and urgent. This is similar to drummer Andreas Werliin’s performance as he pounds his drums while Johan Berthling’s bass adds a dark, dramatic and ominous backdrop. With thirty-seconds left, drama and dialogue are combined as Fire! as the track reaches a crescendo.
Slowly and deliberately Johan Berthling’s dark bass broody plays and is joined by drums that are played with care and precision on To Shave The Leaves. In Red. In Black. In doing so, Andreas Werliin adds to the drama, as Mats Gustafsson unleashes one of his best solos. It’s played with power and control, as the growling, braying and rasping saxophone soars high above the rhythm section. They’re encouraging Mats Gustafsson every step of the way, as he an almost flawless performance unfolds. Still the bass is dark and menacing and joins with the drums to create a moody backdrop for Mats Gustafsson’s saxophone. Later, the rhythm section enjoy their moment in the sun, while eerie, haunting dialogue swirls in the distance. It disappears when the saxophone returns, as this near ten-minute broody, moody and dramatic Magnus Opus draws to a close.
The Hands closes with I Guard Her To Rest. Declaring Silence. It’s a very different sounding track with Mats Gustafsson’s wistful ruminative saxophone being accompanied by a standup bass and subtle drums. Fire! seem to have been transformed into a vintage jazz trio,and embrace the role. That is until bubbling sounds are added to the arrangement. Still, a beautiful, ruminative track that encourages reflection unfolds and closes the album on a high.
Less than a year after the release of their critically acclaimed fifth album She Sleeps, She Sleeps, hard rocking power trio Fire! return with their much-anticipated genre-melting sixth album The Hands. It finds Fire! continuing to combine elements of free jazz, jazz, noise, psychedelia and rock. To this, they add avant-garde, electronica, experimental and industrial music, while drawing inspiration from classic power trios like Cream and The Jimi Hendrix Experience, as well as the hypnotic quality of Black Sabbath’s eponymous debut album. This results in music that is dark, heavy and has a ferocity, intensity and sometimes, takes on a menacing sound. Other times, the music becomes ruminative and allows for reflection as Fire! show another side to their music.
As power trios go, Fire! is a hugely talented and versatile band who continue in their mission to introduce jazz and free jazz to a wider audience. That is only part of what Fire! have been trying to achieve for the past ten years. Fire! continue in their mission to bring a new and fresh approach to improvised music on The Hands, which was recently released by Rune Grammofon, and is without doubt, the finest album of their career. The Hands is also one the most accessible and eclectic albums of Fire!’s career, with anthems rubbing shoulders to reflective, memorable and melodic music and even a musical Magnus Opus for the Swedish mavericks who nowadays, are one of Scandinavia’s finest power trios.
Fire!-The Hands.
THE REAL SOUND OF MARK GRUSANE.
The Real Sound Of Mark Grusane.
Label: BBE.
Eight years ago, on the ’26th’ of January 2010, Mark Grusane made his BBE debut, when he co-compiled The Real Sound Of Chicago with Mike Cole, his partner in Mr. Peabody Records. It was then one of Chicago’s premier record shops, and was the first port of call for many DJs and producers when they visited the Windy City. That was no surprise, as Mr. Peabody Records was home to 15,000 records including many of the tracks that eventually found their way onto The Real Sound Of Chicago, which was Mark Grusane and Mike Cole’s first compilation of underground disco. However, this was no ordinary album of underground disco. Instead, The Real Sound Of Chicago featured hidden gems that had slipped under the musical radar. These hidden gems incorporated elements of funk, gospel and R&B, while other tracks on The Real Sound Of Chicago moved towards the post disco sound of boogie. This eclectic compilation of hidden gems was released to plaudits and praise, and soon, Mark Grusane and Mike Cole were working on a followup compilation for BBE.
Just over year-and-a-half later, and Mark Grusane and Mike Cole returned on the ‘15th’ of August 2011 with followup to The Real Sound Of Chicago, The Real Sound Of Chicago and Beyond. This time around, the pair had widened the scope of compilation which was billed as “underground disco and boogie,” but also featured dance music from different parts of the world. Still, though, the majority of the tracks on this lovingly curated compilation were hidden gems and rarities which Mark Grusane and Mike Cole were introducing to the wider record buying public. These rarities played their part in what was an eclectic compilation from Mark Grusane and Mike Cole
Sadly, their was no followup to The Real Sound Of Chicago and Beyond, and that was the end of this short-lived compilation series. Since, the release of The Real Sound Of Chicago and Beyond, Mr. Peabody Records shut its doors for the final time. Although one of Chicago’s legendary record shops was no more, this allowed Mark Grusane and Mike Cole to start new chapters in their career.
Since then, Mark Grusane continues to live in the Windy City, where he’s still buying and selling records. Mark Grusane continues to DJ across the world, releases new productions on various record label and continues to work on new edits. This has become one of Mark Grusane’s specialists, and would prove useful when he decided to compile a new compilation.
After seven years away from the world of compilations, Mark Grusane recently made a welcome return when The Real Sound Of Mark Grusane was released by BBE on the ‘26th’ of January 2018, which by sheer coincidence was eight years to the day since The Real Sound Of Chicago was released.
For The Real Sound Of Mark Grusane, the man himself chose eleven slices of boogie, disco and modern soul. This includes contributions from Africano, Sémaj, Frank Pellica, Brief Encounter, Choker Campbell, Shabadoo, Daniele Patucchi, Yan Tregger, Jim Spencer, Macho and The Island Music Makers. Nine of the tracks were then edited by Mark Grusane, which is something he’s been since he was twenty-one. Using a lifetime’s experience, Mark Grusane then edited and usually extended these tracks, which featured on The Real Sound Of Mark Grusane, which is a carefully curated compilation of boogie, disco and modern soul.
The horn led Open Your Hearts by Africano opens The Real Sound Of Mark Grusane. It’s a track anyone familiar with Hi Records’ illustrious back-catalogue will be familiar with. Africano was signed to Hi Records in 1973 and released their debut single Satisfactorize Your Mind in October 1973. Eight months later, in June 1974 came Africano’s finest hour, Open Your Hearts (Part 1). It was written by Africano and produced by Arthur Cole, who plays his part in what’s a joyous, funky, soulful and memorable floor-filler. Thirty years later, and Mark Grusane edited Open Your Hearts in 2004, and it’s that limited edit that opens the compilation, and sets the bar high for what follows.
This includes Semaj’s All Should Be In All which is sure to find favour with fans of boogie and modern soul. It was produced by J.E. Mansell and released by Zaraster Records in 1987. On the A-Side of the single was the vocal mix, while the instrumental featured on the flip-side. Mark Grusane has skilfully combined the two for an eight-minute edit that is soulful and dancefloor friendly.
Many Chicagoans will have heard Frank Pellico play live but not be aware of this. He played the stadium organs for both the Cubs at Wrigley also the Blackhawks at the United Center. Many of the patrons at both venues that were probably unaware that Frank Pellico was also a recording artist who released ten studio albums. This included This Moment In Time ’79 which was released in 1979 and featured covers of familiar songs, including Copa Cabana. Mark Grusane takes the original song which lasted 3.39 and extends in so that it lasts just over six-minutes. In doing so, he takes the listener back to 1979 when disco was king and artists on both sides of the Atlantic were jumping onboard the bandwagon. Frank Pellico’s cover is much better than many tracks recorded during this period, as he unleashes a fleet-fingered solo on a track that marries elements of soul-jazz, funk, disco and Latin music.
Brief Encounter who were originally called Sounds Of Soul, hailed from North Wilkesboro, in the foothills of the North Carolina’s Blue Ridge Mountain. They released two albums and six singles between 1973 and 1981. This included What About Love, which was written by Brief Encounter who produced the single with John Richbourg. It was released on Capitol Records in 1976, and thirty-two years later, this modern soul classic was edited by Mark Grusane.
Although saxophonist, songwriter, producer, band leader, and label owner christened Walter Luzar Campbell, he was known to many within the music industry as Choker Campbell. This sounds more like a mob boss, than a gifted musician who enjoyed a long and successful career. Initially, he was part of Motown’s house band the Funk Brothers, until he was replaced by Earl Van Dyke. However, Choker Campbell then led the house band at Detroit’s Graystone Ballroom, and later, founded Tri-City Recording Co. and its various sub-labels. In 1977, Choker Campbell released Carioca as a single on the Candy Apple label. Carioca is a track from Choker Campbell’s debut album Street Scene which was also released in 1977. It’s funky and soulful, but also cinematic and dramatic as its part of a soundtrack to a seventies film or TV show.
American actor, dancer, choreographer and director Adolfo Quiñones Shabadoo when he released Do It on Dore in 1976 as a twenty-one year old. Do It has a tough, funky sound that briefly becomes futuristic before becoming soulful and taking on a slick disco sound.
Italian composer, conductor, bassist and producer Daniele Patucchi covered the John Barry composition Sacrifice on the B-Side of his 1977 single for the Italian label CAM, Maybe My Luck Has Changed. For those who flipped over to the B-Side, their luck definitely changed when they discovered a genre-melting mid-tempo hidden gem. It’s a glorious, mesmeric and urgent workout where disco, funk, fusion, jazz and even a hint of psychedelia is combined by Daniele Patucchi. Unlike many of the tracks on the compilation, copies of the original single can be found for reasonable prices. However, it would to best buy now to avoid disappointment.
The tempo drops on Yan Tregger’s slow, soulful and sultry Spend The Night. It’s taken from an album of library music entitled Catchy, which showcases the talents of Yan Tregger, Phil Davies and Christopher Ried. Catchy was released in 1978 by the Musical Touch Sound label, and nowadays, can change hands for over £380. This puts that album beyond the budget of most record buyers, and Mark Grusane’ Spend The Night Edit is the nearest they’ll come to discovering the delights of catchy.
By 1979, Jim Spencer from Milwaukee, Wisconsin, was an experienced musician who had already released two solo albums. His 1973 debut Landscapes was followed by 2nd Look in 1974, which was the last solo album Jim Spencer released. Five years later, in 1979, Jim Spencer had reinvented himself when he released the Yacht Rock favourite Wrap Myself Up In Your Love on Armada Records as a single. Tucked away on the B-Side was a cover of Glenn Miller and Michael Parish’s Moonlight Serenade which later, became a favourite in the Modern Soul scene. Sadly, by then, Jim Spencer had died aged thirty-nine after suffering a stroke.
Macho’s Mucho Macho was released by Event Records in 1977. It was written by Bill Curtis and Richard Cromwell was produced by Traise Productions. They’re responsible for a sensual sounding fusion of soul, funk and disco where the vocal follows in the footsteps of Donna Summer’s Love To Love. However, unlike Love To Love, Mucho Macho failed to find an audience upon its release. In 2004, Mucho Macho found its way onto the B-Side of his edit of Africano’s Open Your. Since then, it’s become a prized track amongst collectors and DJs.
The Island Music Makers’ Calypso Medley closes The Real Sound Of Mark Grusane. It’s one of two tracks not to be edited by Mark Grusane. Instead, the original version of Calypso Medley which featured on Steel Pan Express in 1980 can be heard in all its glory. It is best described as a funky slice of calypso disco from The Island Music Makers who were the Carnival Cruise Lines’ steel band.
After seven-years away from the BBE fold, Mark Grusane makes a welcome return his new compilation of boogie, disco and modern soul, The Real Sound Of Mark Grusane. It features the music that Mark Grusane loves and plays when he DJs around the world. During his sets, he will play many the edits he has made over the years. Nine of his edits feature on The Real Sound Of Mark Grusane. Only Daniele Patucchi’s Sacrifice and The Island Music Makers’ Calypso Medley haven’t been edited by Mark Grusane. Instead, it’s the original versions feature on the compilation.
The Real Sound Of Mark Grusane which was released by BBE on the ’26th’ of January 2018, is sure to appeal to fans of boogie, disco and modern soul. However, it’s also a compilation that will appeal to anyone who likes music funky, soulful and dancefloor friendly, and who likes to discover music that for a multitude of reasons, passed record buyers first time around. It’s changed days nowadays, with many of the tracks on The Real Sound Of Mark Grusane are favourites of DJs, dancers and record collectors.
Given how few copies of the original albums or singles were originally sold, many of the tracks are now extremely rare, and change hands for large sums of money. This means that these tracks are beyond the budget of many record buyers. The nearest they’ll come to owning these tracks is when they buy a copy of The Real Sound Of Mark Grusane, which features a mixture of hidden gems and genre classics.
The Real Sound Of Mark Grusane.
THE BEST REISSUES OF 2017-PART 1.
The Best Reissues Of 2017-Part 1.
Airto Fogo-Airto Fogo.
Label: Pharaway Sounds
Three years after releasing the spiritual jazz classic Israel Suite/Dominante En Blue in 1973, Paris born drummer and percussionist Sylvain Krief returned with a new band Airto Fogo in 1976. They released their eponymous debut album on Decca later in 1976. Sadly, Airto Fogo wasn’t a commercial success, but went onto to become a cult classic. Nowadays, Airto Fogo is regarded as one of the greatest instrumental jazz-funk and rare groove albums committed to vinyl in Europe. Airto Fogo is also a timeless cult classic transports the listener back to Paris, in 1976.
Bert Myrick-Live ’N Well.
Label: BBE.
Although Strata Records released jazz drummer Bert Myrick’s album Live ’N Well in 1974, the album has been recorded nine years earlier on the ‘4th’ of April 1965, at the University Of Michigan Student Union. However, Bert Myrick never meant to record the concert, until someone standing beside the stage pressed record on a tape machine. It caught Bert Myrick leading a truly talented quintet that featured bassist Will Austin, pianist Kenny Cox, trombonist George Bohanon and Ronnie Field on tenor saxophone. They unleash breathtaking performances on Live ’N Well, which was Bert Myrick’s accidental live album. It caught Bert Myrick’s quintet at the peak of their powers on what would become a cult classic that received a welcome reissue during 2017.
Chi Coltrane-Chi Coltrane, Let It Ride and Silk and Steel.
Label: BGO Records.
In 1972, singer-songwriter and multi-instrumentalist Chi Coltrane released her critically acclaimed eponymous debut album on Columbia Records. Buoyed by success of the single Thunder and Lightning which reached seventeen in the US Billboard 100, Chi Coltrane spent three months in the US Billboard 200. When Let It Ride was released in 1973, it marked the musical coming of age of Chi Coltrane. Alas, it was more popular in Europe than America and Chi Coltrane was dropped by Columbia Records. By 1976, she had signed to CBS Germany, and released her fourth album Silk and Steel, which showcased a truly talented vocalist who was maturing with every album. These three albums are the perfect introduction to Chi Coltrane.
Chicago-Chicago II (Steven Wilson Remix).
Label: Rhino.
When Chicago-Chicago II was released in 197o, it was ambitious and captivating combination of lengthy jams, progressive pop and what was described as challenging pop rock tracks. This was the latest offering from the four virtuosos musicians who called themselves Chicago. They were augmented by a three-piece horn section on what was the finest album of Chicago’s career, Chicago II. It was released to critical acclaim and reached six in the UK and four in the US Billboard 200. Chicago received what was the first of many gold discs. Nowadays, though, Chicago II is regarded as a classic, and in 2017, was remixed by Steven Wilson.
Claude Lombard-Chante.
Label: Sommor Records,
When Claude Lombard released Chante in 1969, the album was released Jacques Canetti, which was the first ever French independent record label. Disques Jacques Canetti was willing to take a chance on what was an ambitious and innovative album. Sadly, Chante failed to find the audience it so richly deserved, which was a great shame. After all, Chante was a beautiful, groundbreaking and influential album of chanson psychedelia that sometimes, headed in the direction of avant-garde and sci-fi pop. Sadly, Chante was way ahead of its time and record buyers neither understood nor grasped the importance of this future cult classic. However, recently, a new generation of discovered Chante and have embraced this cult classic.
Cocteau Twins-Four Calendar Cafe.
Label: Mercury/UMC
For many record buyers, one of the highlights of Record Store Day 2017 was the reissue of two Cocteau Twins’ albums, including Four Calendar Cafe. It was released in October 1993, and was the seventh album from the Cocteau Twins. Four Calendar Cafe marked a move way from the ambient sound of previous albums, towards a more poppy sound. Despite that, Liz Fraser’s inimitable, dreamy vocals were even more intelligible and added a degree of mystery to an album that also incorporated elements of ambient, avant-garde and dream pop. With its haunting sound and ethereal beauty Four Calendar Cafe, is one of the highlights of the Cocteau Twin’ eight album career.
Cocteau Twins-Milk and Kisses.
Label: Mercury/UMC
Five years after the release of Four Calendar Cafe, the Cocteau Twins returned in March 1998 with the album that was their swan-sing, Milk and Kisses. It was an album where the Cocteau Twins fused elements of ambient, avant-garde, dream pop and even rock to create music that was beautiful, dreamy, ethereal, lush and lysergic where the world suddenly seemed a better place. Sadly, Milk and Kisses was their swan-song, and brought to an end the Cocteau Twins story. However, even today their music influences and inspires a new generation of musicians.
Cozmic Corridors-Cozmic Corridors.
Label: Mental Experience.
Between 1972 and 1973, the Cozmic Corridors began work on their debut album which they believed would be released by Robin Page’s Cologne-based Pyramid Records. In the studio, he Cozmic Corridors combined elements of avant-garde, Berlin School, electronica, experimental, Krautrock, modern classical and rock. They also seem to have drawn inspiration from a number of artists, including Terry Riley, Kluster and the early albums of Peter Michael Hamel and Klaus Schulze. Mostly, though, the Cozmic Corridors plough their own furrow and sculpt captivating cinematic soundscapes that were way ahead of the musical curve. Sadly, Cozmic Corridors wasn’t released by Pyramid Records. Belatedly Cozmic Corridors was released in 1996, and quickly became a rarity. The reissue of Cozmic Corridors is another chance to discover this groundbreaking and innovative album.
Cream Disraeli Gears
Label: Reaction.
After the success of their debut album Fresh Cream in 1968, power trio Cream returned with their career-defining sophomore album Disraeli Gears. It was released to critical acclaim in November 1969 and certified platinum in the UK and America. That was no surprise given the quality of tracks like Strange Brew, Sunshine Of Your Love, Dance The Night Away, Tales Of Brave Ulysses and We’re Going Wrong which found Cream embracing psychedelia. These tracks played their part in Disraeli Gears being hailed a classic album.
THE BEST REISSUES OF 2017-PART 2.
The Best Reissues Of 2017-Part 2.
Cromwell-At The Gallop.
Label: Got Kinda Lost Records.
By 1975, Ireland had a vibrant music scene, and one of its rising stars Cromwell, was about to release its debut album, At The Gallop. It was an album guaranteed to get any party started, and feared an irresistible fusion of musical genres and influences. Everything from swaggering, strutting, good time, seventies rock ’n’ roll rubs shoulders with blues, country rock and beautiful ballads on At The Gallop. Similarly, Cromwell were inspired by everyone from early seventies Rolling Stones’ albums to Thin Lizzy Mott The Hoople, The Faces and the Flamin’ Groovies’ 1971 album Flamingo. This potpourri of musical genres and influences should’ve transformed the fortunes of Cromwell. Sadly, the album failed commercially and it’s only recently that his hidden gem has found the audience it deserves.
David Bowie Hunky Dory.
Label: Parlophone.
In December 1971, David Bowie fourth album Hunky Dory, was released to widespread critical acclaim. Hunk Dory was one of the most eclectic, ambitious and innovative albums of David Bowie’s career. It reached number three in the UK, but didn’t replicate the same success in America. That was surprising given the quality of an album that opened with Changes and featuring Oh You Pretty Thing, Life On Mars and closing with the Velvet Underground inspired Queen Bitch. David Bowie’s latest musical reinvention had resulted in one of the finest albums of his long and illustrious career, Hunky Dory which is a stonewall classic.
David Bowie-The Rise and Fall Of Ziggy Stardust and The Spiders From Mars.
Label: Parlophone.
When The Rise and Fall of Ziggy Stardust and the Spiders from Mars was released in June 1972, it was loosely described as a concept album about a fictional androgynous bisexual rock star, Ziggy Stardust, who acts as a messenger for extraterrestrial beings. The album was influenced by glam rock and the album explored themes of sexual exploration and social commentary, as well as the ambiguity surrounding David Bowie’s sexuality. After being released to critical acclaim, The Rise and Fall Of Ziggy Stardust and The Spiders From Mars sold 7.5 million copies and became David Bowie’s second consecutive classic album.
Dieter Moebius-Ding.
Label: Bureau B.
On his fifth album Ding, released in 2011, Dieter Moebius embraced the latest technology including a random loop generator. This he put to good use during the making of Ding. The loops it generated, were combined with bifurcate rhythms, impalpable and ghostly voices and a myriad of assorted audio matter which became part of the eleven soundscapes on Ding. This resulted in a very different album from Kram, by fusing elements of avant-garde,Berlin School, electronica, experimental, industrial, Krautrock and Musique Concrète. Add to this an array of hypnotic, industrial mechanical and robotic sounds and it’s one of the most ambitious and experimental albums of Dieter Moebius’ solo career.
Dieter Moebius-Kram.
Label: Bureau B.
When Kram was released in 2009, the music veered between understated, ruminative and elegiac to playful, joyous and tinged with humour, to charming and moderne. Other times, the music is mesmeric and hypnotic, before becoming dark and dramatic. Sometimes, the music becomes experimental and ambitious, while other times, Dieter Moebius unleashes a myriad of futuristic and sci-fi sounds. They join found and throwaway sounds, samples and Dieter Moebius’ trusty synths which he uses to create another genre-melting album which is sometimes cinematic, but captivates. The result is an album that features Dieter Moebius at most ambitious and innovative.
Dieter Moebius-Musik für Metropolis.
Label: Bureau B.
After Dieter Moebius was invited to perform music to accompany a screening of Fritz Lang’s legendary silent film Metropolis, he decided to record a full-length album featuring the music from the Metropolis project. Recording began in 2012, but wasn’t completed by the time of Dieter Moebius’ death in 2015. That wasn’t the end of the project, and three of Dieter Moebius’ friends completed Musik für Metropolis. They played their part in soundscapes that were atmospheric, dramatic, futuristic, melodic, menacing, mesmeric, poignant and full of tension. Always the filmic music on Musik für Metropolis captivates and compels as Dieter Moebius paints pictures with music.
El Turronero-New Hondo.
Label: Pharaway Sounds
When El Turronero released New Hondo on Belter Records in 1980, it was the seventh and the most ambitious album of the thirty-three year old flamenco singer’s career. By then, El Turronero was an experienced cantaor singer with a legion of fans across Spain. They attended his concert and bought his albums. That was until he released New Hondo, a groundbreaking and genre-melting album where he set about reinventing flamenco. He fused different styles of flamenco with boogie, disco, funk, Philly Soul, psychedelia, rock and social comment. This was meant to mark the reinvention of El Turronero and flamenco. Sadly, it wasn’t to be and it was El Turronero’s least successful album. Nowadays, New Hondo is receiving the critical recognition it so richly deserves, and is regarded as a landmark album that had the potential to transform the future of flamenco music.
Emilio Aparicio Moog Expansión Galáctica.
Label: Mental Experience.
Between 1969-1971 Emilio Aparicio, an electronic experimental musician from Guatemala, pioneered the use of the Moog synth in Latin America. Emilio Aparicio used his newly acquired Moog synth to record the music on Expansión Galáctica which showcases the a musical pioneer. The music he recorded was ambitious, innovative, imaginative and timeless as genres melt into one. Sadly, Emilio Aparicio didn’t enjoy the commercial success his music deserved, and hopefully, somewhat belatedly this musical maverick’s music will find the audience that it deserves.
Erasmo Carlos-Erasmo Carlos E Os Tremendoes.
Label: Light In The Attic Records.
As 1970 dawned, a new era began for former teen idol Erasmo Carlos, who was about to embark upon a three-year period where he released a triumvirate of albums that nowadays, are regarded as cult classics. The first of these albums was Erasmo Carlos E Os Tremendoes, saw Erasmo Carlos embrace the artistic freedom that many of his contemporaries and peers enjoyed. Suddenly, the singer-songwriter flourished and his music became sophisticated and eclectic as he combined disparate musical genres and influences. Bossa Nova, folk, funk, psychedelia, rock ‘n’ roll, samba-rock and souls were all combined on Erasmo Carlos E Os Tremendoes, which was the first of a trio of albums that marked the coming of age of musical pioneer. Despite featuring something for all musical tastes, record buyers failed to understand Erasmo Carlos E Os Tremendoes, and it was only a generation later that this groundbreaking album found an appreciative audience within a coterie of musical connoisseurs.
Erasmo Carlos-Erasmo Carlos
Label: Light In The Attic Records.
By the time Erasmo Carlos released his eponymous albums in 1971, he was in the middle of one of the most creative periods of his long career. Long gone were his days as a teen idol, as he enjoyed artistic freedom to create an album that had been influenced by counterculture that had swept the globe. The result was another album that incorporated Bossa Nova, folk, funk, psychedelia, rock ‘n’ roll, samba-rock and soul. This irresistible potpourri should’ve brought commercial success Erasmo Carlos’ way. Sadly, commercial success eluded the album, it was only later that Erasmo Carlos received the recognition and found the audience in deserved.
THE BEST REISSUES OF 2017-PART 3.
The Best Reissues Of 2017-Part 3.
Erasmo Carlos-Sonhos E Memórias 1941-1972
Label: Light In The Attic Records.
When Sonhos E Memórias 1941-1972 was released in 1972, this was the last instalment in a trio of albums that featured Erasmo Carlos at his creative zenith. His bubblegum beginnings seemed a long time ago, and he was a much more sophisticated artist than back then. He had reinvented his music, but neither 1970s nor Erasmo Carlos E Os Tremendoes 1971s Erasmo Carlos had found an audience despite their electricity. It seemed Erasmo Carlos was trying to appeal to the widest possible audience, by incorporating Bossa Nova, folk, funk, psychedelia, rock ‘n’ roll, samba-rock and soul. This was the case on Sonhos E Memórias 1941-1972, where lightning struck again as the album failed commercially. Erasmo Carlos was left shaking his head as he knew that he had released a carefully crafted groundbreaking album. Sadly, it took thirty years before record buyers realised this and the trio of albums Erasmo Carlos released between 1970 and 1972 found the appreciative audience that they deserved.
Erol Büyükburç-Hop Dedik.
Label: Pharaway Sounds,
By the time Erol Büyükburç’s third album Hop Dedik was released to critical acclaim in October 1976, he was one of the biggest names in Turkish music. He was also a flamboyant showman, who looked like, dressed like and conducted himself like a star. Erol Büyükburç wore lame suits and was greeted by a legion of loyal fans every time he took the stage. Alas, they weren’t won over by Hop Dedik, a truly eclectic album which incorporates elements of traditional Turkish music, disco, funk, pop, psychedelia, rock and soul. There’s also Anatolian pop and rock influences throughout Hop Dedik where the music of two continents melt into one. They’re part of a career-defining cult classic that features flamboyant showman Erol Büyükburç at the peak of his powers.
Eric Clapton-Slowhand-Vinyl.
Label: Polydor.
When November 1977, Eric Clapton released his much-anticipated fifth album Slowhand, the reviews were mostly positive. Critics were won over by an album where Slowhand’s playing was much more subtle and understated on an album where he sometimes laid bare his soul. Slowhand featured future favourites Cocaine, Wonderful Tonight and Lay Down Sally, and was certified gold in the UK and triple platinum in America. Nowadays, Slowhand is regarded as a classic album and one of Eric Clapton’s finest albums.
Fleetwood Mac-Tango In The Night.
Label: Rhino/Warner Bros.
Tango In The Night, which was released in April 1987, was the fourteenth album by Anglo-American rock band Fleetwood Mac. It had started life as a Lyndsey Buckingham side project but became one of Fleetwood Mac’s most successful albums. Not only did Tango In The Night sell fifteen million fifteen million copies, but featured the hits Big Love, Seven Wonders, Everywhere, and Little Lies. Fleetwood Mac’s radio friendly fusion of pop rock and soft rock continued to be a popular around the world.
Galactic Explorers-Epitaph For Venus.
Label: Mental Experience.
Although Robin Page’s Pyramid Records only released fifteen albums during its lifetime, several other albums had been recorded, but lay unreleased. This included the Galactic Explorers Epitaph For Venus, which is a cinematic opus that was variously dark, dramatic, eerie, futuristic, hypnotic, melodic and mesmeric. Other times, sci-fi and otherworldly sounds are added as the Galactic Explorers take the listener on a captivating and genre-melting journey. Although there’s a Krautrock influence on Epitaph For Venus, it’s not as apparent as other albums that bore the Pyramid Records’ name. Instead, Epitaph For Venus showcases a much purer Kominische avant-garde sound that shows a very different sound to the Pyramid Records’ sound.
Gandalf-Journey To An Imaginary Land.
Label: Esoteric.
Having heard Gandalf’s 1980 debut album Journey To An Imaginary Land, it was hailed by critics as an innovative and progressive album. It was a fusion of eclectic musical instruments, influences and genres. When they’re combined by Gandalf, the result is a groundbreaking and genre-melting album where listeners embark upon a captivating, mythical and symphonic musical Journey To An Imaginary Land. During the journey, the music is variously atmospheric, dramatic, elegiac, ethereal, futuristic, moody and otherworldly. Alway, there’s a cinematic sound, to this ambitious and accomplished album, as sonic explorer and innovator Gandalf continues on his first Journey To An Imaginary Land.
Harry Nilsson-Nilsson Schmilsson.
Label: RCA Legacy.
When Harry Nilsson released Nilsson Schmilsson in November 1971, it featured the number one single that became synonymous with him, Without You. Jump Into The Fire and Coconut were also hits and Nilsson Schmilsson reached number three in the US Billboard 200 and was certified gold. This carefully crafted album of pop and rock is now regarded as a classic album, and Harry Nilsson’s finest hour.
Heat Exchange-Reminiscence.
Label: Out-Sider Music.
Canadian band Heat Exchange originally recorded Reminiscence in 1972, but the album was never officially released. As a result, nobody got to hear this genre-melting album. Heat Exchange took as their starting point hard rock, and added to the musical melting pot folk rock, funk, fusion, jazz and progressive rock. Heat Exchange switched between and fused these disparate genres on Reminiscence. It showcases truly talented band who recorded an almost flawless album of hard rocking, catchy, complex, melodic and memorable music. Reminiscence is a reminder of one of Canada’s great lost groups in the early seventies, looked destined for greatness, Heat Exchange.
Henry Cow-Leg End.
Label: Virgin.
Leg End was released in August 1973, and marked the debut of English avant-rock band Henry Cow. Critical acclaim accompanied what was an ambitious and innovative album. It found Henry Cow combining eclectic selection of influences, including avant-garde jazz, experimental rock and progressive rock on this captivating musical fusion. This was the start of Henry Cow honing their unique and inimitable sound on five albums released between 1973 and 1979. However, for many critics Leg End was Henry Cow’s finest album.
Ian Matthews-Valley Hi and Some Days You Eat The Bear… Some Days The Bear Eats You.
Label: BGO Records.
Having fulfilled his contractual obligations, Ian Matthews left Vertigo and signed to Elektra Records. Before long, he began work on Valley Hi which was released in the summer of 1973 and was hailed by many critics as a country rock classic. For the followup Days You Eat The Bear…Some Days The Bear Eats You, Ian Matthews switched between the LA country sound, the West Coast Sound and soft rock. The music was slick, polished, radio friendly and bang on trend. Despite this, the album failed to trouble the charts, and Ian Matthews time at Elektra Records was at end. He left behind two albums that ooze quality and showcase a truly talented singer, songwriter and musician.
THE BEST REISSUES OF 2017-PART 4.
The Best Reissues Of 2017-Part 4.
Iggy Pop-The Idiot.
Label: UMC.
When Iggy Pop released his debut solo The Idiot in March 1977, it was a stylistic departure from the former leader of The Stooges. The Idiot seemed to have been influenced by Kraftwerk, James Brown and David Bowie’s Berlin trilogy. As for the title, it had been inspired by Fyodor Dostoyevsky’s novel The Idiot. Critics were impressed by The Idiot, which nowadays is regarded as one of his finest albums. It’s also an album that inspired many post punk, gothic and industrial artists and bands. However, with its fusion of art rock and industrial rock, The Idiot wasn’t representative of Iggy Pop’s music and he never made another album like his critically acclaimed debut.
Judy Henske-The Elektra Albums.
Label: Ace Records.
In 1962, Judy Henske the Queen of the Beatniks was living in Los Angeles, when she first came to the attention of Elektra Records’ founder Jac Holzman. He secured the signature of Judy Henske for $2,000, which was double his initial offer. Soon, Judy Henske was recording her eponymous debut album which was released on Elektra Records in 1962. Critics were appreciative of a very special and versatile singer, who could seamlessly switch between folk and blues, and was just as comfortable singing tender, heartfelt ballads as unleashing a vocal powerhouse on her critically acclaimed debut. This was followed by High Flying Bird which was released in 1963 and saw Judy Henske flitting between blues, folk and jazz on an album that received praise and plaudits. Sadly, High Flying Bird like Judy Henske, failed commercially and the Queen of the Beatniks left Elektra Records after two accomplished and memorable albums.
Jodi-Pops De Vanguardia
Label: Out-Sider Music
The story of Jodi’s album Pops De Vanguardia is a familiar one, with this groundbreaking album failing commercially upon its release in 1971. The problem was it was too far ahead of the musical curve. Critics and record buyers failed to understand a groundbreaking album where Jodi fused blues, garage rock, indie rock, proto-punk, psychedelia and rock. There’s even elements of avant-garde and experimental musical on Pops de Vanguardia, which was an ambitious album that deserved to find a much wider audience. Sadly, that wasn’t the case. Since then, Jodi’s opus Pops de Vanguardia is regarded by a coterie of discerning musical connoisseurs as a lost genre classic. Nowadays, Pops de Vanguardia which is a oft-overlooked hidden gem, had been discovered fans who appreciate and understand Jodi’s music.
Junie-The Complete Westbound Recordings 1973-1976.
Label: Westbound Records.
In September 1973, nineteen year old Walter “Junie” Morrison Jr parted company with the Ohio Players after playing on their 1972 breakthrough album Pain, and Pleasure which was released in 1973. However, as one door closed, another opened and Junie embarked upon a solo career at Westbound Records. He released his 1975 debut album When We Do in 1975. It was slick, soulful, funky and dancefloor friendly, but unsuccessful. Freeze followed later in 1975 combined elements of his debut album with a tougher, funkier and lysergic sound. Sadly, commercial success eluded Freeze and Suzie Super Groupie was released in 1976. Slick, smooth and soulful, it headed in the direction of boogie, funk and jazz. However, it also failed commercially and Junie’s career at Westbound Records was over after three innovative albums from one of music’s best kept secrets.
Klaus Schulze-Ballet 1 and 2.
Label: MIG Music.
When Klaus Schulze released his Contemporary Works box set in October 2000, the four volumes of Ballet were regarded as among its highlights. They were recorded after the death of his mother in 1998 who had been a ballet dancer. Using banks of synths, Klaus Schulze sculpted and honed the genre-melting soundscapes that became Ballet 1 and 2. They’re a fusion of ambient, Berlin and classical music on Ballet 1, with elements of avant-garde and Musique concrète emerging on Ballet 2. The result was two albums of beautiful, ethereal, melodic and memorable that is among the best music Klaus Schulze released during the nineties.
Klaus Schulze-Ballet 3 and 4.
Label: MIG Music.
Unlike the two previous instalments in the Ballet quartet, Ballet 3 featured just one seventy-six minute track, My Ty She. This was one of the most ambitious tracks that Klaus Schulze had created. It’s a beautiful, emotive, haunting and moving opus that was also ethereal, elegiac and sometimes, melancholy and ruminative. Other times, the music is elegant, graceful and fittingly, balletic. By comparison, Ballet 4 veered between wistful and ruminative to urgent to emotive and full of beauty. It was lovingly created album that was a fitting homage to Klaus Schulze’s late mother.
L.A. Express-L.A. Express and Shadow Play
Label: BGO Records.
Once L.A. Express had signed to Caribou Records, they began work on their eponymous debut album, and later, decided to take charge of production. They recorded an album where fusion meets jazz funk. There’s even bluesy licks, rocky and funky elements to L.A. Express which was released to critical acclaim in 1976. Despite that it failed to trouble the charts, and L.A. Express hoped for a change of fortune on Shadow Play. It was well received by critics, who noticed that L.A. Express had moved from fusion towards a rockier sound on Shadow Play. Sadly, despite guest appearances by Joni Mitchell and Victor Feldman the album failed commercially. That was the end of the road for L.A. Express, whose musical legacy was two oft-overlooked hidden gems.
Laraaji-Celestial Vibration.
Label: Soul Jazz Records.
Although the story goes that Brian Eno “discovered” legendary zither player Laraaji busking in Washington Square Park, in New York, Laraaji’s recording career was well underway by then. He had already released two albums by the time Brian Eno entered his life. This included his 1978 debut album Celestial Vibration which features a beautiful, meditative and hypnotic sound. This was the first of many albums that Laraaji who is now seventy-five released during a five decade career.
Lee Hazelwood-13.
Label: Light In The Attic.
When 13 was recorded in 1970, it was Larry Marks who added the vocals to nine songs on this alum-in-waiting. However, after Lee Hazelwood’s label LHI suffered financial problems, the project was shelved. By the time Lee Hazelwood was living in Sweden, he decided to revisit the 13 project, and replaced Larry Marks with his own. The result was an album that is very much of its period, but is an enjoyable and rewarding listen with highlights including She Comes Running and Ten Or 11 Towns Again.
Lighthouse-Lighthouse, Suite Feeling and Peacing It All Together.
Label: BGO Records.
Between 1969 and 1970, Lighthouse recorded a trio of albums which they hoped would build on the success of their eponymous debut album. This began with Lighthouse in 1969, which received plaudits and praise from critics for its Lighthouse’s innovative genre-melting sound. Despite being designed to grab the listener’s attention, Lighthouse failed to find an audience. Neither did Suite Feeling, a carefully crafted and eclectic album which was relaxed in late-1969. When Peacing It All Together was released to critical acclaim in 1970, this latest eclectic album charted and reached 133 in the US Billboard 200. Peacing It All Together was the finest album of Lighthouse’s career, and the one that launched their successful career.
THE BEST REISSUES OF 2017-PART 5.
The Best Reissues Of 2017-Part 5.
Melissa Manchester-Home To Myself, Bright Eyes, Melissa and Help Is On The Way.
Label: BGO Records.
Success didn’t come overnight for Melissa Manchester. She released her debut album Home To Myself in 1973, which was well received by critics, but reached just 156 in the US Billboard 200. In 1974, Melissa Manchester’s carefully crafted sophomore album Bright Eyes which featured beautiful ballads and uptempo tracks stalled at 159 in the US Billboard 200. However, Melissa Manchester made a breakthrough with Melissa in 1975. It featured slick, polished and lush arrangement and was certified gold, and launched the career of Melissa Manchester. Two years later Melissa Manchester’s fifth album Help Is On The Way which reached just sixty in the US Billboard 200. Despite that, these four albums are the perfect introduction to Melissa Manchester.
Mick Clarke Ramdango, Crazy Blues and Shake It Up!
Label: BGO Records.
Mick Clarke’s life changed when he was fifteen, heard Eric Clapton for the first time. This was the start of a journey that saw Mick Clarke follow in Slowhand’s footsteps, and become one of the greatest British blues men of his generation. Proof of that, are his first three albums, 2013s Ramdango, 2014s Crazy Blues and 2015s Shake It Up! which are the perfect starting introduction to Mick Clarke.
Moğollar-Moğollar.
Label: Pharaway Sounds.
In 1976, Moğollar released their eponymous album which was just the third of their career. It’sa captivating fusion of ancient Anatolian melodies and instruments which is combined with elements of classical music, progressive rock and psychedelia. Add to that, Eastern sounds and bursts of fuzzy guitar. The result is a heady brew that comprises Turkish folk songs; Azerbaijani folk song, classical pieces and B-Sides. Sadly, Moğollar wasn’t a commercial success, and failed to follow in the footsteps of Hittit Sun. That was the last straw for Moğollar, who called time on their career after eight years together.
Motörhead-Motörhead.
Label: Chiswick Records.
Two years after Ian “Lemmy” Kilmister founded Motörhead in 1975, the classic lineup of his band entered the studio in April 1977 to record their classic debut album, Motörhead. It was released in August 1977, reached forty-three in the UK charts and was certified silver. Motörhead showcased the band’s unique and inimitable style that had taken shape since they made their debut in 1975. By 1977, Motörhead were fusing hard rock and rock ’n’ roll with a hint of blues rock, which all played a part in their barnstorming, speed-fuelled performance on Motörhead. Forty years later, Motörhead has stood the test of time, and quite rightly is regarded as a classic album.
Mulatu Astatke-Mulatu Of Ethiopia.
Label: Strut.
For Mulatu Astatke, Mulatu Of Ethiopia was a game-changer of an album. At last, after years of searching for his own sound, Mulatu Astatke had discovered his own unique sound. This Mulatu Astatke called Ethio-jazz. It was a genre that influenced a generation of Ethiopian musicians when they heard this groundbreaking album.While other artists would release Ethio-jazz classics, Mulatu Astatke had set the bar high for those that followed in his footsteps. Their albums were compared to Mulatu Of Ethiopia, which isn’t just as Ethio-jazz classic, but a jazz classic. Mulatu Of Ethiopia was a career defining album for Mulatu Astatke, the founding father of Ethio-jazz. who influence several generations of musicians.
Non Band-Non Band.
Label: TAL.
Although Non Band were primarily a punk group, their eponymous debut album was much more than a punk album. There were elements of the post punk and new wave sounds, and occasional diversions into funk, free jazz, traditional Japanese music and even some poppy hooks. Very occasionally, Non Band took on a jazz and experimental sounds and headed in the direction of avant-garde. Mostly, Non Band evokes the spirit of ’78, when the punk arrived in Japan. However, music had changed by late 1981 when Non Band was recorded, and this explains why it’s such a genre-melting album, that launched the career of punk pioneers Non Group.
Olafur Arnalds-Eulogy For Evolution.
Label: Erased Tapes Records.
By 2017, composer, multi-instrumentalist and BAFTA award-winning producer Ólafur Arnalds was a successful soundtrack composer, who had already released three critically acclaimed solo albums. This included his ambitious and cerebral debut album Eulogy For Evolution, which documents the journey of life from birth to death. It was written while Ólafur Arnalds was still a teenager, and released to plaudits and praise in 2007 as Ólafur Arnalds approached his twenty-first birthday. Critics were astounded than someone so young could record such a profound album. Ten years later, and that is still the case when Eulogy For Evolution was reissued.
Oregon-Out Of The Woods and Roots In The Sky.
Label: BGO Records.
Having released seven albums for Vanguard between 1972 and 1978, Oregon signed to Elektra Records. For Oregon this was the opportunity of a lifetime as Elektra Records was one of the biggest record labels in the world, and had the marketing expertise and financial muscle to promote and distribute Oregon’s music worldwide. This proved to be the case when Oregon released Out Of The Woods to critical acclaim and commercial success in 1978. With its fusion of jazz, folk melodies and world music, Oregon were on their way. Roots In The Sky was released to plaudits and praise in 1979, and found Oregon fusing jazz, classical and world music. Sadly, Roots In The Sky failed to find an audience and Oregon’s success was short-lived. However, Oregon’s two albums for Elektra Records are among the best and most innovative in their back-catalogue.
Ozark Mountain Daredevils-Ozark Mountain Daredevils.
Label: BGO Records.
After releasing six albums of Southern fried country rock for A&M, Ozark Mountain Daredevils signed to Columbia Records in 1979, and released their eponymous album in 1980. It showcased the Ozark Mountain Daredevils’ new sound. Stylistically, it sounded as if Ozark Mountain Daredevils were following in the footsteps of The Eagles and the Little River Band by recording an album of carefully crafted, melodic and radio friendly songs. They were bang on trend, and should’ve attract the attention of radio programmers. Critics were in agreement, but when the album stalled at 170 in the US Billboard 200 Ozark Mountain Daredevils were dropped by Columbia Records. However, Ozark Mountain Daredevils is an oft-overlooked hidden gem that shows another side to one of the most successful Southern rock bands of the seventies.
Quintessence-Move Into The Light: The Complete Island Recordings 1969-1971.
Label: Esoteric.
Quintessence was founded in Notting Hill, London in 1969, and over the next three years, forged their own unique sound where jazz, psychedelia and progressive rock was combined with Indian influences. This is apparent on their first three albums 1969s In Blissful Company, Quintessence and Dive Deep which were released by Island Records. These three albums feature on Quintessence-Move Into The Light: The Complete Island Recordings 1969-1971, and are a reminder of a pioneering band at the peak of their powers.
THE BEST REISSUES OF 2017-PART 6.
The Best Reissues Of 2017-Part 6.
Radiohead-OK Computer OKNOTOK 1997 – 2017.
Label: XL Recordings.
In June 1997, post rock pioneers Radiohead released the album that transformed their career, and catapulted them to music’s premier league. OK Computer with its abstract lyrics, densely layered sound and eclectic range of disparate influences was very different to the bubblegum Britpop sound that was popular at the time. Radiohead had released an ambitious and innovative classic album that would lay the groundwork their later, more experimental albums.
Requiem-For A World After.
Label: Mental Experience.
For six months, George A. Speckert and Massimo Grandi laboured long and hard in Sparky Studios to record Requiem’s debut album For A World After. Eventually, the two men had completed what was an ambitious and innovative concept album, For A World After. It had been written by George A. Speckert and “tells the story of world annihilation through nuclear war.” Requiem had recorded a powerful and poignant musical statement which was released as private press in 1981. Sadly, it failed to find an audience until recently. Now this genre-melting, cult classic which fuses elements of ambient, Berlin School, Krautrock and psychedelia is receiving the recognition it deserves.
Ronnie Milsap-Out Where The Bright Lights Are Glowing, There’s No Gettin’ Over Me, Keyed Up and One More Try For Love.
Label: BGO Records.
Right up until the release of Keyed Up, Ronnie Milsap was one of the biggest names in country music. Proof of this a trio of critically acclaimed albums Out Where The Bright Lights Are Glowing, There’s No Gettin’ Over Me and Keyed Up, which are a reminder of a giant of country music at the peak of his powers. However, in 1984, Ronnie Milsap changed direction on One More Try For Love which featured AOR, country, electronica, pop, and rock. While the music was slick, carefully crafted, melodic and memorable, the album reached a lowly 180 in the US Billboard 200. Ronnie Milsap’s eighties makeover backfired, and brought to an end the most successful period of his career.
Roy Buchanan-Loading Zone and You’re Not Alone.
Label: BGO Records.
For his second album for Atlantic Records, Loading Zone, Roy Buchanan was paired with producer Stanley Clarke. The pair bonded whilst recording the genre-melting Loading Zone, which featured an all-star cast. When it was released in May 1977 and certified gold, it became Roy Buchanan’s most successful album. Raymond Silva produced the followup You’re Not Alone, which was a much more ambitious, complex and sophisticated album from Roy Buchanan. and received the same critical acclaim as Loading Zone. Sadly, upon its release in late 1977, You’re Not Alone failed to trouble the charts, and was the one that got away for Roy Buchanan. However, Loading Zone and You’re Not Alone are the perfect introduction to the late, great Roy Buchanan.
Rupture-Israel Suite/Dominante En Bleu.
Label: Sommor Records.
In 1973, Rupture released an Israel Suite/Dominante En Bleu, which was an ambitious concept album that set out to document the history of the Israel. Very few copies of this private press were released, which nowadays, is a spiritual jazz classic. It’s also one of the rarest European jazz records of the past fifty years. Copies hardly ever come up for sale, and when they do, they’re beyond the budget of most record buyers. However, the reissue of Israel Suite/Dominante En Bleu means that this spiritual jazz classic is within the budget of everyone, and they can enjoy one of the most ambitious concept albums of the seventies.
Sea Level-Ball Room.
Label: BGO Records.
After Capricorn Records filed for bankruptcy, a new lineup of Sea Level signed to Arista, and began work on Ball Room. It was one of the most eclectic albums Sea Level’s career and features anthems, rockers and ballads. Critics were won over by Ball Room, which it was thought would transform Sea Level’s career. Sadly, it wasn’t to be and Ball Room failed to chart, resulting in Sea Level calling time on their career. However, their’s swan-song Ball Room is an underrated hidden gem in Sea Level back-catalogue.
Skid Row-Skid and 34 Hours.
Label: BGO Records.
On Skid and 34 Hours, Skid Row, who were lead by guitar virtuoso Gary Moore rewrite the rules for future power trios. They created music that was cerebral, complex, hard rocking, innovative and progressive. Skid Row also fused and flitted between disparate and unlikely musical genres during Skid and 34 Hours, which are a reminder of one Ireland’s greatest musical exports during their sadly short, but memorable musical career.
Sly and the Family Stone-Small Talk, High On You and Heard Ya Missed Me, Well I’m Back.
Label: BGO Records.
Between 1969 and 1974, Sly and The Family Stone could do no wrong musically. They released Stand in 1969 with their first Greatest Hits album fowling in 1970. Then came Sly Stone’s Magnus OpusThere’s A Riot Goin’ On in 1971 which ensured the commercial success and critical acclaim continued. That was the case with 1973 Fresh and 1974s Small Talk which brought this golden period to a close. However, 1975s High On You which was Sly Stone’s debut solo album, and 1976s Heard Ya Missed Me, Well I’m Back are oft-overlooked and underrated genre-melting albums from one music’s pioneers and innovators.
Split Decision Band-Split Decision Band.
Label: Now Again Records.
Ever since its released the Split Decision Band’s eponymous debut album has been much prized amongst record collectors. However, it’s an incredibly rare album and copies change hands for large sums of money. This meant that many people were unable to discover the delights of this mysterious band from Des Moines, Iowa. Sadly, Split Decision Band was their one and only album. It features carefully crafted and polished boogie and disco penned by lead vocalist Gordon Starr Flipping. It’s irresistible funky, soulful and dancefloor friendly and even today, will get a party started.
Stoneground-Family Album.
Label: BGO Records.
Prior to the release of Stoneground’s sophomore album Family Album, Warner Bros, began promoting what believed would be their breakthrough album. Family Album featured cover versions and original songs, and was captivating fusion of blues pock, pop, psychedelia, rock and soul. Stoneground was a tight, talented band who played with a fluidity that would be the envy of many bands. Their potential shawn though on what was an accomplished and eclectic album. It lived up to Warner Bros heavy marketing campaign. Sadly, Family Album wasn’t a commercial success and is a hidden gem in Stoneground’s back-catalogue.
THE BEST REISSUES OF 2017-PART 7.
The Best Reissues Of 2017-Part 7.
Stoneground-Stoneground and Stoneground 3.
Label: BGO Records.
When Stoneground released their eponymous debut in early 1970, critics were won over by a fusion of blues, folk, pop, psychedelia, rock and soul. Seamlessly, Stoneground switch between and fuse musical genres and influences. To do this they deployed seven separate vocalists on genre-melting album where Stoneground showcase their considerable skills. Despite the quality of music and glowing reviews, Stoneground failed commercially. By late-1972, Stoneground was still trying to make a breakthrough and released Stoneground 3, which featured much more radio friendly songs. Sadly, commercial success eluded the album and Stoneground split-up in 1973 leaving a triumvirate of albums of free wheeling eclectic music.
Sun Ra and His Arkestra-Pictures Of Infinity.
Label: Grey Scale.
By 1971, Sun Ra and His Arkestra had signed to Black Lion Records and had just released Pictures Of Infinity. Critics hailed the album another groundbreaking release that featured new compositions and old favourites that are reinvented during a spellbinding performance where Sun Ra and His Arkestra play with speed, power, and fluidity Always though, the Arkestra display their usual inventiveness as they improvise and take tracks in new and unexpected directions. Sometimes, the playing is intricate, before becoming sombre and ruminative on an album which features the Arkestra at the peak of their powers on this innovative and memorable album of space-age free jazz.
Sun Ra And His Astro Intergalactic Infinity Arkestra-Discipline 27-||-Vinyl.
Label: Strut.
On Record Store Day 2017, Sun Ra And His Astro Intergalactic Infinity Arkestra’s 1973 album Discipline 27-II received its first official reissue since its released in 1973. Discipline 27-II was a mixture of music and drama, where Sun Ra And His Astro Intergalactic Infinity Arkestra married elements of avant-garde and free jazz. To do this, Sun Ra’s array of synths and keyboards were augmented by the horns and rhythm sections and a quartet of “space ethnic voices”. They were joined by Sun Ra, who added “vocal dramatising.” All this was part of an album that was variously melodic, ambitious, innovative and which also swung.
Sun Ra and His Astra Infinity Arkestra-My Brother The Wind Volume 1
Label: Cosmic Myth Records.
When My Brother The Wind Vol. 1 was released in 1970, it was one of most free performances by Sun Ra and His Astro Infinity Arkestra. On the title-track drum accompany Sun Ra’s two Mini Moogs unleash a myriad of otherworldly sounds. Then on Intergalaxtic II it sounds as if Sun Ra and the Arkestra had dropped acid during this lysergic freakout. The album closer The Code Of Interdependence finds Sun Ra showing what’s possible with just two Mini Moogs. This left other musicians shaking their heads, and wondering how they could come close to replicating this synth masterclass, on an album where musical boundaries are pushed to their limits and beyond.
Sun Ra and His Myth Science Arkestra-Fate In A Pleasant Mood.
Label:Grey Scale.
Despite its relative brevity, Fate In A Pleasant Mood which was recorded in 1960 and released in 1965, still sound ahead of its time and innovative. Sun Ra And His Myth Science Arkestra were among the finest purveyors of free jazz, and tracks like The Others In Their World, Space Mates and Lights On A Satellite were proof of this. They’re part of Fate In A Pleasant Mood, which is an album that somehow, not only manages to be accessible and innovative, but has stood the test of time.
Sun Ra and His Myth Science Orchestra-When Angles Speak Of Love.
Label: Grey Scale.
Some critics upon hearing When Angles Speak Of Love called it: “a bizarre record.” Little did these critics know that they had “dissed” a truly groundbreaking album that moves free jazz in a new direction. To do this, they used increasingly shrill notes, layered rhythms and effects including echo reverb. During Next Stop Mars, which is the centrepiece and highlight of the album, a space chant sets the scene for Marshall Allen and John Gilmore braying, growling and shrill horns as they push them to the limits. Meanwhile, Sun Ra’s keyboards underpin the arrangement, during Next Stop Mars, which was part of genre-melting album of groundbreaking album.
Tapiman-Hard Drive
Label: Mental Experience.
Nowadays, copies of Tapiman’s 1971 debut album Hard Drive change hands for over £800. That is no surprise it was their finest hour. Hard Drive features the original lineup of Tapiman at their hard rocking best. Seamlessly, they switch between, and combine, hard rock, proto-metal and even a hint of psychedelia and the Canterbury sound on Hard Drive. The result is a cult classic that rock fans everywhere will appreciate and enjoy.
The Association-Insight Out-Vinyl.
Label: Rhino.
In June 1967, The Association released their third album Insight Out, which featured the number one hit Windy and Never My Love which reached number two on the US Billboard 100. Buoyed the success of the singles Insight Out with is mixture sunshine pop and psychedelia, reached number eight in the US Billboard 200. Nowadays, Insight Out is regarded as a classic album which was The Association’s finest hour.
The Beatles-Sgt. Pepper’s Lonely Hearts Club Band.
Label: EMI.
When The Beatles released Sgt. Pepper’s Lonely Hearts Club Band in 1967, critics and cultural commentators immediately realised the importance of this groundbreaking psychedelic concept album. Here was an album that managed to bridge the previous gaping gap between popular music and art. It was also an album that was representative of the underlying counterculture, and immediately became a classic album that won four Grammy Awards. Sgt. Pepper’s Lonely Hearts Club Band is also an album that belongs in every record collection.
The Beau Brummels-Triangle-Vinyl.
Label: Rhino.
When The Beau Brummels released their fourth album Triangle in July 1967, it marked the debut of vocalist Sal Valentino and guitarist Ron Elliott. Critics were won over by Ron Elliott songs and even went as far as to compare Sal Valentino’s vocals to Bob Dylan’s. Despite these comparisons, Triangle stalled at 167 in the US Billboard 200, but nowadays, is regarded as a psychedelic cult classic thanks to songs like Magic Hollow.
The Orchestra Soledad-Vamonos/Let’s Go!-Vinyl.
Label: BBE.
When The Orchestra Soledad released their debut album Vamonos/Let’s Go! in late-1970, they were a popular band who played to packed houses that featured not just the Latino community in Brooklyn, but the wider community. Despite their popularity locally, The Orchestra Soledad’s album Vamonos/Let’s Go! failed to find an audience. After that, Vamonos/Let’s Go! became just another musical curio that sometimes, crate diggers in New York stumbled across in record shops and local flea markets. Eventually, it became a sought after rarity that changed hands for upwards of $600. No wonder, given the irresistible, joyous, dance-floor friendly, beautiful and soulful of the Brooklyn based salsa band.
The Zodiac-Cosmic Sounds-Vinyl.
Label: Rhino.
When The Zodiac’s Cosmic Sounds was released in January 1967, very few people realised the importance of this groundbreaking concept album which featured twelve tracks that were described as psychedelic mood music. It featured a myriad of exotic and electronic instruments and spoken prose that came courtesy of Cyrus Faryar. Sadly, it failed to find an audience and it was only later that record buyers and critics realised that Cosmic Sounds was a psychedelic cult classic. However, it’s a psychedelic cult classic, that: “must be played in the dark.”
Thos. Rapp and Pearls Before Swine-City Of Gold and…Beautiful Lies That You Could Live In.
Label: BGO Records.
When City Of Gold was released in April 1971, it was the first album to be credited to Tom Rapp and Pearls Before Swine. That was only fair as he was the only original member of Pearls Before Swine left. By then, Tom Rapp had come of age as a singer-songwriter, and blossomed on City Of Gold. Despite delivering series of breathtaking performances on City Of Gold, it failed commercially. Seven months later, Pearls Before Swine released their sixth album Beautiful Lies That You Could Live which was their finest hour. Despite that, the album failed commercially and Tom Rapp embarked upon a solo career, while Pearls Before Swine remained one of music’s best kept secrets.
Vanilla Fudge-Vanilla Fudge-Vinyl.
Label: Rhino
When Vanilla Fudge released their eponymous debut album at the height of the Summer Of Love in 1967, it reached number six in the US Billboard 200. This was no surprise as Vanilla Fudge was a groundbreaking album. Vanilla Fudge fused psychedelia, rock and blues rock on an album that features half-speed covers and three short original instrumental compositions. Nowadays, Vanilla Fudge s considered a classic album and one of the most innovative albums released during 1967.
Voigt/465-Slights Still Unspoken.
Label: Mental Experience.
By the time Voigt/465 released their debut album Slights Still Unspoken in September 1979, things hadn’t been easy for the band. Still, they managed to record an album where they drew inspiration from a variety of bands, whilst fusing elements of art rock, avant-rock, electronica, improv, industrial, Krautrock, noise, post-punk, psychedelia and punk. Voigt/465 play with power, intensity and inventiveness, and sometimes with freedom and fluidity. Sometimes, they experiment and improvise as they take the listener on a voyage of discovery. Other times, they play as if their very lives depended upon it, during what was Voigt/465’s only album. However, what an album it was.
THE BEST COMPILATIONS OF 2017 PART 1.
The Best Compilations Of 2017 Part 1.
Every week of the year, dozens of compilations are released by independent and major record labels which makes choosing just a few of the highlights of 2017 no easy task. However, after much consideration I’ve managed to choose The Best Compilations Of 2017.
Acetone-1999-2001
Label: Light In The Attic Records.
Between 1993 and 2001 Acetone released four albums and EP, and were chosen to open for Oasis, Mazy Star, The Verve, and Spiritualized. That was despite Acetone’s music being very different to the post-Nirvana grunge and indie rock that was proving popular. However, Acetone was content to do their own thing, and recorded countless genre-melting song. This includes those on 1993 and 2001 where Acetone fuse psychedelia, surf, and country to create a quintessentially Southern Californian sound. Sadly, many of these songs lay unreleased until 2017 when they were belatedly released. It was a case of better late than never.
Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978.
Label: Tiger’s Milk
Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978 is a lovingly curated compilation that was compiled by a triumvirate of Peruvian musical aficionados, Martin Morales, Duncan Ballantyne and Peruvian crate digger Andres Tapia del Rio. They carefully selected an eclectic section tracks that were released between 1968 and 1978, when music in Peru was constantly evolving. That was the case in the Andes, where the majority of the tracks are from, while others are from Lima. These tracks became Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978, which features a myriad of musical treasures and hidden gems, that is one of Tiger’s Milk Records’ finest releases.
Avant Garde Is Happening.
Label: Dirter Promotions.
To celebrate the return of the Avant Garde Festival in 2017, which offered “three days of utopia,” a new limited edition CD was released Avant Garde Is Happening. However, only 500 copies of the compilation were available, and it was a case of get them while you can. Those who bought the CD discovered groundbreaking tracks from Qluster, Asmus Tietchens, Nurse With Wound, Octopus Ride, Faust and Friederike Jäger. This impressive array of talent which features on Avant Garde Is Happening, is also the perfect primer to the vibrant avant-garde scene.
Back On The Street Again (Australian Funk, Soul And Psych (Mostly) From The Festival Vaults).
Label: Festival.
DJ Kinetic dug deep to discover the tracks on Back On The Street Again (Australian Funk, Soul And Psych (Mostly) From The Festival Vaults). They’re not by the biggest names in Australian music, and are artists who were popular locally. This includes Renée Geyer, John Sangster, Ray White Revival, McPhee, Kahvas Jute, Al Styne and Hot Source who never enjoyed commercial success their music deserved nationally. Many of these artists and bands released just the one album or single, before disappearing into obscurity. However, they return for an encore on lovingly curated compilation that is chock full of hidden gems.
Belgian Nuggets 90s-00s Vol. 1.
Label: Mayway Records.
One of most intriguing compilations of 2017 was Belgian Nuggets 90s-00s, which included long-forgotten singles, B-Sides, album tracks and even the occasional demo. There’s also anthems, hidden gems and hook-laden perfect pop. Sadly, most people, even many Belgian music lovers won’t have heard of the tracks on Belgian Nuggets 90s-00s Vol. 1, as they weren’t played by VRT, the Belgian public service broadcaster during the nineties and noughties. Fortunately, these tracks make a welcome return on Belgian Nuggets 90s-00s, which is the perfect opportunity to discover some musical treasure that slipped under the musical radar first around.
Bettye Swann-The Money Masters.
Label: Kent Soul.
Bettye Swann had the talent and potential to become one of the greatest soul singers of her generation. A remainder why can be found on The Money Masters which covers Bettye Swann’s time at Money Records, and includes singles, B-Sides and alternate tracks. The Dance Is Over a track written when Bettye Swann was still Betty Jean Champion makes a welcome return eleven years after making its debut on The Soul Of Money Records Volume 2. Just like the rest of songs on The Money Masters, they’re a reminder of Bettye Swann at the peak of her musical powers and why she should’ve become a soul great.
Bluesin’ By The Bayou-Ain’t Broke, Ain’t Hungry.
Label: Ace Records.
When Ian Saddler compiled Bluesin’ By The Bayou-Ain’t Broke, Ain’t Hungry he headed to South Louisiana for another helping of the blues. He’s chose twenty-eight tracks from familiar faces, old friends and a few new names. There also eight previously unreleased tracks on a compilation that features Leroy Washington, Ramblin’ Hi Harris, Slim Harpo, Lightnin’ Slim, Polka Dot Slim, Lazy Lester, Al Smith, Barbara Lynn, Boozoo Chavis, Ramblin Hi Harris, Big Walter and Jake Jackson. They’re just some of the names on Bluesin’ By The Bayou-Ain’t Broke, Ain’t Hungry which was the much-anticipated and critically acclaimed eighteenth volume in the Bayou series.
Bob Stanley and Pete Wiggs Present English Weather.
Label: Ace Records.
One of the most eclectic compilations of 2017 was Bob Stanley and Pete Wiggs Present English Weather, which featured music from the Canterbury Scene, folk, library music, pop, progressive rock and rock. This comes courtesy of Caravan, The Roger Webb Sound, Orange Bicycle, T2, Van Der Graaf Generator, John Cale, Camel, Daevid Allen, Matching Mole and Prelude. These tracks are a tantalising taste of what is a captivating compilation that is guaranteed to transport the listener back to the seventies and a golden musical age.
Can-The Singles.
Label: Mute.
After releasing eleven albums in eleven years, Can called time on their career in 1979. By then, Can were rightly regarded by critics as one of the most important, influential and innovative bands of the Krautrock era. However, like many of the Krautrock bands, Can hadn’t enjoyed the commercial success that their music had deserved. Eventually, though, things changed and nowadays, Can are receiving the recognition they deserve. However, for anyone looking for an introduction to this pioneer band, The Singles compilation is the perfect starting place. It features twenty-three tracks from their back-catalogue, is sure to be the start of a voyage of discovery for newcomers to their music.
Can You Feel The Force? The John Luongo Disco Mixes.
Label: Groove Line Records.
One of the greatest remixers of the disco era was John Luongo, whose career was celebrated on Can You Feel The Force? The John Luongo Disco Mixes. It’s a reminder of one of the most innovative remixers of the disco era, and indeed, in the history of modern dance music. The tracks on Can You Feel The Force? The John Luongo Disco Mixes were remixed over a four-year period, and feature a true master at work. These carefully crafted dancefloor fillers became favourites and of dancers and DJs, and that is still the case today. When a DJ drops one of the remixes on Can You Feel The Force? The John Luongo Disco Mixes, suddenly the dancefloor fills.
Come To The Sunshine: Soft Pop Nuggets From The WEA Vaults.
Label: Rhino.
Thirteen years after its initial release, and Come To The Sunshine: Soft Pop Nuggets From The WEA Vaults is still a compilation that oozes quality. It features old friends, familiar faces, new names and hidden gems. Come To The Sunshine: Soft Pop Nuggets From The WEA Vaults was a welcome release for Record Store Day 2017 and is crammed full of quality sunshine pop and psychedelia. It was one of the best reissues released on Record Store Day 2017. However, anyone wanting a copy should get one sooner than later. Come To The Sunshine: Soft Pop Nuggets From The WEA Vaults is a limited edition, with ‘only’ 5.500 copies available. Once they’re gone, they’re gone for good.
THE BEST COMPILATIONS OF 2017 PART 2.
The Best Compilations Of 2017 Part 2.
Conrad Schnitzler-Filmmusik 2.
Label: Bureau B.
Filmmuzik 2, just like Filmmuzik 1, is the perfect starting place for newcomers to the music of Conrad Schnitzler. Both albums are a gateway to the rest of Conrad Schnitzler’s back-catalogue. These compilations will be the first step on a voyage of discovery through the discography of one of the important and influential figures in German music, Conrad Schnitzler. His is no ordinary back-catalogue. Conrad Schnitzler’s back-catalogue is vast as he was a truly prolific solo artist and collaborator whose personal archive contains hundreds of recordings. This was where the tapes that contained the unreleased soundscapes that became Filmmusik 1 and Filmmusik 2 were discovered. Filmmusik 1 and Filmmusik 2 are the newest additions to Conrad Schnitzler’s illustrious discography, and are a reminder of a true musical pioneer at his creative zenith.
Deutsche Elektronische Musik: Experimental German Rock And Electronic Music 1971-83.
Label: Soul Jazz Records.
In the late-sixties, a group of musicians set out to rewrite musical history in West Germany and create new, exciting and innovative music. These talented, innovative and influential bands and musicians succeeded in doing so, and were part of a musical revolution that resulted in Krautrock and the Berlin and Düsseldorf Schools of Electronic Music. Some of the leading lights of these genres feature on Deutsche Elektronische Musik: Experimental German Rock And Electronic Music 1971-83 which is a reminder of a golden age for German modern music, where some of the most important, innovative and influential German artists and bands rewrote musical history.
DJ Andy Smith Presents Reach Up Disco Wonderland
Label: BBE.
Andy Smith is known for his eclectic DJ sets which can feature disparate genres and tracks from all over the world. His latest compilation DJ Andy Smith Presents Reach Up Disco Wonderland is equally eclectic and features tracks from America, Britain, Italy, South Africa and Trinidad and Tobago.l They were released between 1976 and 1986, and ranged from disco, boogie or a hybrid of the two genres. Other tracks incorporate elements of funk, soul, jazz and R&B, while many of the tracks on are best described as funky, soulful, dancefloor friendly and truly timeless. They’re also guaranteed to get any party started.
Function Underground: The Black and Brown American Rock Sound 1969-1974.
Label: Now Again Records.
It’s fair to say that Function Underground: The Black and Brown American Rock Sound 1969-1974 isn’t a rock compilation in the traditional sense of the word. It finds fourteen bands combined with funk, jazz and soul compilation on rarities from bands like The Revolution, The Black Conspirators, the Ebony Rhythm Band and LA Carnival. They contribute singles, B-Sides and even an unreleased track to this lovingly curated compilation. Function Underground: The Black and Brown American Rock Sound 1969-1974 also features several hidden gems and tracks that will definitely be of interest to sample hungry hip hop producers.
Gil Scott-Heron-The Revolution Will Not Be Televised.
Label: BGP.
In 1974, Flying Dutchman, released a compilation of Gil Scott-Heron’s songs The Revolution Will Not Be Televised. The tracks were from his first three albums 1970s Small Talk At ‘125th’ and Lenox, 1971s Pieces of a Man and 1972s Free Will and become The Revolution Will Not Be Televised. It’s a reminder of Gil Scott-Heron was well on his way to becoming America’s social conscience. His lyrics were cerebral, witty, scathing and most importantly, honest as Gil Scott-Heron spoke up for the poor, downtrodden and disenfranchised. Fearlessly, Gil Scott-Heron highlighted the social and political problems that blighted America in the early seventies using his unique proto-rap style on The Revolution Will Not Be Televised. It features some of the most important, powerful, cerebral music of Gil Scott-Heron’s career, and forty years later, is still relevant today.
Gotta Get Up: The Songs Of Harry Nilsson 1965-1972.
Label: Ace Records.
Although Harry Nilsson enjoyed a successful recording career, he’s also a talented songwriter, which meant that many artists covered his songs, including those on Gotta Get Up: The Songs Of Harry Nilsson 1965-1972. It showcases this truly talented songwriter during what was the most accessible and successful period of his career. By then, Harry Nilsson had the Midas touch and was already regarded as one of the gifted singer-songwriters of the sixties and seventies. He had Nilsson won the respect of critics, cultural commentators and his contemporaries. Now forty years later, and Harry Nilsson is regarded as one the greatest songwriters Proof of that are the songs on Gotta Get Up: The Songs Of Harry Nilsson 1965-1972, which features a tantalising taste of the songwriting skills of the mercurial and enigmatic Harry Nilsson at the peak of his powers.
Habibi Funk: An Eclectic Selection Of Music From The Arab World.
Label:Habibi Funk Germany.
Although many compilations are released each week, there’s been a dearth of compilations of music from the Arab countries. That changed with the release of Habibi Funk: An Eclectic Selection Of Music From The Arab World. It features sixteen tracks from Algeria, Egypt, Lebanon, Morocco, Sudan and Tunisia. Four of these tracks have never been released before and make their debut on Habibi Funk: An Eclectic Selection Of Music From The Arab World, which offers a fascinating insight into what will be hitherto unknown world for many music fans, that of Habibi Funk.
I Want You, I Need You!: Garage-Beat Nuggets From The Festival Vaults.
Label: Playback Records.
Treasure trove. That describes the singles on I Want You, I Need You!: Garage-Beat Nuggets From The Festival Vaults. It features everything from uptempo rocker, to thoughtful ballads. Some are cover versions and other new songs written by talented songwriters that were carefully crafted by some of Festival Records’ top producers, They were recorded by The 5, Toni McCann, The Black Diamonds and The Pogs and range from raw, raucous garage rock to folk rock, power pop and psychedelia. However, they all have the one thing in common…quality. These timeless tracks which were recorded between 1965 and 1967, which was the start of a golden period for music. A reminder of that period is I Want You, I Need You!: Garage-Beat Nuggets From The Festival Vaults, which features long-lost, hidden gems aplenty.
IF Music Presents You Need This–A Journey Into Deep Jazz Vol. 2.
Label: BBE.
For the best part of four decades, Jean-Claude Thompson has been one of the leading lights of London’s vibrant music scene. He also hosts a radio show, runs a record shop and last year, complied IF Music Presents You Need This–A Journey Into Deep Jazz Vol. 2, which features eight tracks that are spread across a triple album. It features a tantalising taste of inventive and innovative deep jazz from yesteryear that will appeal to DJs and dancers, as well as newcomers and veterans of jazz compilations. They’re sure to appreciate what is a lovingly curated compilation.
IF Music Presents You Need This! An Introduction To Black Saint and Soul Note (1975 To 1985).
Label: BBE.
Two of the great European jazz labels were Black Saint and Soul Note which were founded by producer turned musical impresario Giacomo Pelliciotti who ran the labels until 1975. Over the next ten years, the labels changed hands several times. Still, both labels continued to release a groundbreaking albums from the great and good of free jazz. Proof of this is IF Music Presents You Need This! An Introduction To Black Saint and Soul Note (1975 To 1985). This 3-LP set features talented, inventive and innovative musician at the peak of their powers, as they push musical boundaries to their limits and beyond, on whats the best free jazz compilation released during 2017.
THE BEST COMPILATIONS OF 2017 PART 3.
The Best Compilations Of 2017 Part 3.
Innerpeace-Rare and Spiritual Funk and Jazz Gems: The Supreme Sound Of Producer Bob Shad.
Label: Wewantsounds.
Nowadays, the music Mainstream Records released between 1964 and 1978 is more popular than ever. It seems that with every passing year more people discover the delights of Mainstream Records’ illustrious back-catalogue. This ranges from DJs and sample-hungry hip hop producers to a new generation of music fans. They all welcomed the release Innerpeace-Rare and Spiritual Funk and Jazz Gems: The Supreme Sound Of Producer Bob Shad. It’s the perfect introduction to the ambitious, innovative and timeless music that Mainstream Records released after its relaunch in 1970. They’re also a reminder and celebration of a legendary music man Bob Shad, and what’s regarded as his greatest and most enduring label,..Mainstream Records.
Insane Times-21 British Psychedelic Artyfacts From The EMI Vaults.
Label: Parlophone.
One of the limited edition releases for Record Store Day 2017 was Insane Times-21 British Psychedelic Artyfacts From The EMI Vaults which feature contributions from old friends, familiar faces and new names. This includes Kevin Ayers, July, The Idle Race, Orange Bicycle, Bonzo Dog Doo-Dah Band, The Hollies, The Lemon Tree, The Parking Lot, The Koobas and The Yarbirds. There’s also more than a few hidden gems on 21 British Psychedelic Artyfacts From The EMI Vaults. It’s guaranteed to bring back memories for connoisseurs of psychedelia.
James Carr-The Best Of James Carr.
Label: Kent Soul.
For anyone yet to discover James Carr’s music, The Best Of James Carr is the perfect starting place. It features some of the best music James Carr released for Goldwax Records, plus a few songs from later in his career. However, it was also at Goldwax Records that James Carr enjoyed the most successful period of his career. Sadly, James Carr’s Goldwax Records’ years lasted just five years between 1964 and 1969, and saw him enjoy nine hit singles. His most successful single was the timeless Southern Soul classic Dark Side Of The Street, which redefined Southern Soul and is part of James Carr’s rich musical legacy, which is celebrated and documented on The Best Of James Carr.
Jeanette Jones-Dreams All Come True.
Label: Playback Records.
The best way to describe Jeanette Jones is the greatest soul singer you’ve never heard. She struggled for four years, but failed to make a breakthrough, and during that period recorded the songs Dreams All Come True. It’s the most comprehensive reissue of Jeanette Jones’ career, even features some songs from her gospel career. They play their in what’s one of the best soul compilations released during 2017, Dreams All Come True. It showcases a singer who was equally comfortable singing gospel and soul, and who could breathe life and meaning into a song, Sadly, commercial success and critical acclaim passed Jeanette Jones by, who is proof that not All Dreams All Come True.
John Armstrong Presents Afrobeat Brasil.
Label: BBE.
Anyone with even a passing interest in Afrobeat or Brazilian music will definitely enjoy John Armstrong Presents Afrobeat Brasil. It’ll also be of interest to anyone who enjoys and appreciates good music, as John Armstrong Presents Afrobeat Brasil is a case of all killer, and no filler. John Armstrong Presents Afrobeat Brasil features music from old friends who rub shoulders with musical veterans, new names and several hidden gens. The result is a tantalising taste of Afrobeat inspired Brazilian music which provided the perfect showcase for a new generation of talented Brazilian musicians, and introduce their music to a much wider audience
Jon Savage’s 1967-The Year Pop Divided.
Label: Ace Records.
For many who weren’t around to witness Flower Power and the Summer Of Love then Jon Savage’s 1967 The Year Pop Divided is the perfect introduction to what was a landmark year for music. Hardly a week went by without the release of a groundbreaking or classic album from artists and bands old and new. This included many members of musical royalty, who along with many of the artists on Jon Savage’s 1967-The Year Pop Divided, played their part in transforming the musical landscape. Never again would music be the same, after 1967, which marked a changing of the guard musically, as music evolved and pop divided during what will always be remembered as a landmark year for music.
Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters.
Label: BBE.
For anyone wanting an introduction to garage, then Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters is the perfect starting place. It features a mixture of familiar faces, obscurities, rarities and hidden gems chosen by Keb Darge and Cut Chemist who chose fifteen songs each. They’re the perfect introduction to sixties garage music, and could prove to be the first step on a fascinating voyage of discovery. This is a tantalising taste of what Keb Darge describes as the: “beauty, power, and excitement of the sixties garage sound” that features on Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters.
Kev Beadle Presents Private Collection Volume 3.
Label: BBE.
When it came time to compile Kev Beadle Presents Private Collection Volume 3, veteran DJ Kev Beadle began digging through his collection. Eventually, he settled on twelve tracks which are regarded by regulars on London’s jazz dance scene as classics. Despite that, many people won’t be familiar with these tracks. However, after a couple of listens, they’ll sound like old friends. This includes the energetic, syncopated musical workouts that have previously tested the stamina of dancers in clubs the length of breadth of Britain. They’re joined by some of the smoothest Latin grooves. The result is a delicious musical potpourri that is Kev Beadle Presents Private Collection Volume 3 which is the best instalment in the series.
Listen People: The Graham Gouldman Songbook 1964-2005.
Ace Records.
Mention the name Graham Gouldman and most people immediately think of the group 10CC. However, that is only part of the Graham Gouldman story which is now into its sixth decade. Graham Gouldman is also a truly talented songwriter whose songs have been covered by everyone from relatively unknown and up-and-coming artists and bands to the great and good of music. A reminder of this is Listen People: The Graham Gouldman Songbook 1964-2005 which celebrates the career of one of the great British songwriters of his generation.
Mad Mats Digging Beyond The Crates Volume 1.
Label: BBE.
It’s fair to say that Digging Beyond The Crates Volume 1 is reminiscent of one of Mad Mats’ DJ sets. It’s equally eclectic and finds Mad Mats switching seamlessly between disparate genres during this musical journey. Seamlessly, Mad Mats switches between boogie, disco, electronica, funk, gospel, house, jazz funk and techno. There’s a diversions via Balearic, experimental, industrial, proto-boogie and tech house as the journey unfolds. Meanwhile, Mad Mats introduces the listener to a variety of artists, bands and producers. Some of these will be familiar faces, while others will be new names to many music fans. They’re in for a pleasant surprise as they discover the delights of Mad Mats’ Digging Beyond The Crates Volume 1.
THE BEST COMPILATIONS OF 2017 PART 4.
The Best Compilations Of 2017 Part 4.
Magnetband-Experimenteller Elektronik-Underground DDR 1984-1989.
Label: Bureau B.
For anyone with even a passing interest in Eastern European music, then Magnetband-Experimenteller Elektronik-Underground DDR 1984-1989 is essential listening. It documents the five-year period before the reunification of Germany. During this period, artists, musicians, performers and poets became part of the burgeoning D. I. Y. scene in East Germany.Using whatever instruments and technology they could lay their hands on, these musical pioneers recorded ambitious, inventive, captivating and genre-melting music on Magnetband-Experimenteller Elektronik-Underground DDR 1984-1989.
Manhattan Soul Volume 3,
Label: Kent Soul.
Just over three years had passed when Manhattan Soul Volume 3 was released in early 2017 and was compiled by Ady Croasdell. He dug deep into the vaults of Scepter, Wand and Musicor, and even dipped into the vaults of Bunky and Dynamo for Manhattan Soul Volume 3. The result was Manhattan Soul Volume 3, a quality compilation of soulful music where old friends and new name contribute ballads and uptempo dancers from the golden age of soul.
More From The Other Side Of The Trax: Volt 45rpm Rarities 1960-1964.
Label-Kent Soul.
Any self-respecting record collector or DJ knows that there’s always the chance that a killer track could be lurking on the B-Side of a single. That was certainly the case with singles released by Stax and Volt during the sixties. Twenty-four B-Sides feature on More From The Other Side Of The Trax: Volt 45rpm Rarities 1960-1964. This includes Stax royalty William Bell, Carla Thomas, Rufus Thomas, Eddie Floyd and The Mar-Keys, plus contributions from The Premiers and Barbara Stephens. They’re a reminder of what was a golden period for Stax and Volt, which nowadays, are regarded two of soul music’s greatest labels.
Lovin’ Mighty Fire: Nippon Funk, Soul, Disco 1973-1983.
Label: BGP.
For anyone looking to for an introduction to Japanese soul, funk and disco then Lovin’ Mighty Fire: Nippon Funk, Soul Disco 1973-1983 is the perfect starting place. It features Lily, Rie Nakahara, Yasuko Agawa, Pink Lady, Junko Ohash, Masayoshi Takanaka, Mari Natsuki, Miyako Chaki and Masaaki Hirao who were some of the biggest names in Japanese music between 1973 and 1983. Sadly, some of the other artists didn’t enjoy the commercial success that their music deserved. It’s only relatively recently that compilations like Lovin’ Mighty Fire: Nippon Funk, Soul, Disco 1973-1983 has started to introduce these hidden gems to a new and appreciative audience who will embrace and enjoy their music.
On Broadway: The Songs Of Barry Mann And Cynthia Weil.
Label: Playback Records.
To celebrate a legendary songwriting partnerships, On Broadway: The Songs Of Barry Mann And Cynthia Weil was released during 2017. It features a mixture of classic songs and oft-overlooked hidden gems which were covered by familiar faces, old friends and new names. Sometimes, the most obvious version of the song is eschewed, and a lesser known cover is chosen, and the compiler strikes musical gold. Some artists stay true to the original song, while other times, a familiar song is reinvented and heads in a new and totally unexpected direction. Suddenly, a familiar song takes on new life and meaning. This happens several times during On Broadway: The Songs Of Barry Mann And Cynthia Weil, which is without doubt, the best compilation of Barry Mann And Cynthia Weil’s music released in recent years.
Oté Maloya-The Birth Of Electric Maloya On Reunion Island 1975-1985.
Label: Strut.
Oté Maloya-The Birth Of Electric Malaya On Réunion Island 1975-1985 celebrates the Réunion Island’s maloya-fusion scene between 1975 and 1985. This scene transformed the Réunion Island music scene, and was part of a cultural revolution. Much of the music released during this cultural revolution features lyrics full social comment, and document what life had been like in the Reunion Island, Sometimes, a bleak picture is painted, while other times, the talk of generosity, solidarity and sharing seems idealistic. However, those songs were written during what was a period of change, and people were looking towards the future and a new beginning. Part of this new beginning was electric maloya or maloya-fusion which was a radical departure from the Reunion Island’s musical past, and was the start of a brave new world and this golden period lasted until 1992, when music began to change.
Phil Seymour-Prince Of Power Pop-His Very Best and 11 More.
Label: Big Beat Records.
Phil Seymour had the potential and talent to become one of the biggest artists of the eighties. Sadly, Phil Seymour’s star shawn briefly and this talented singer, songwriter and musician released just two albums and half-a-dozen carefully crafted singles between 1980 and 1982. Eleven years later, on August the ’17th’ 1993, forty-one year old Phil Seymour succumbed to lymphoma, a disease he had bravely battled for eight years. The Prince Of Power Pop’s death left his friends, family and fans distraught at the loss of one so young, and indeed talented. A reminder of that talent can be found on Prince Of Power Pop-His Very Best, a loving curated compilation that includes eleven previously unreleased tracks. They’re a reminder of Prince Of Power Pop in his musical prime
Red Hot Boppers.
Label: Sun.
Anyone whose familiar with the Sun Rockabilly Legends’ Series will want to discover the delights of Red Hot Boppers which was released a limited edition of 1,000, and features ten tracks including contributions from Billy Lee Riley, Carl Perkins, Jerry Lee Lewis, Ray Smith and Sonny Burgess. Red Hot Boppers was pressed on 10” red vinyl, and released by Sun, as part of HMV’s Exclusive Vinyl series, is the perfect rockabilly primer as it features some of the giants of rockabilly, and several stonewall genre classics.
Rhythm ‘N’ Bluesin’ By The Bayou-Livin’, Lovin’ and Lyin’.
Ace Records.
For the latest instalment in the long-running and critically acclaimed By The Bayou compilation series, compiler Ian Saddler returned to South Louisiana and East Texas where he compiled Rhythm ‘N’ Bluesin’ By The Bayou-Livin’, Lovin’ and Lyin’, which is the sixth volume of downhome R&B. It features another twenty-eight tracks from labels like Ron, Feature, Excello, Goldband, Hollywood, Rocko and Flip. These tracks ooze quality and Rhythm ‘N’ Bluesin’ By The Bayou-Livin’, Lovin’ and Lyin’ is, without doubt, the best of the six volumes of blues and R&B from South Louisiana and East Texas.
Sammlung-Elektronische Kassettenmusik, Düsseldorf 1982-1989.
Label: Bureau B.
Throughout the eighties, Düsseldorf had a vibrant underground music scene with artists releasing ambitious, innovative and genre-melting music. This includes the artists that feature on Sammlung-Elektronische Kassettenmusik, Düsseldorf 1982-1989. They fused elements of ambient, avant-garde, Berlin School, dub, electronica, experimental, industrial and Krautrock to create a potent musical mixture, that veers between broody and moody, to dark and dramatic to melodic and memorable. Other times, it’s haunting and otherworldly. However, much of the music is cinematic, which perfectly describes these soundscapes that have withstood the ravages of time. This is testament to the artists who recorded them, and who were among the leading lights of Düsseldorf’s electronic underground scene. They made a welcome return on Sammlung-Elektronische Kassettenmusik, Düsseldorf 1982-1989 which looks back to when cassettes were king.
THE BEST COMPILATIONS OF 2017 PART 5.
The Best Compilations Of 2017 Part 5
Screamin’ Jay Hawkins-The Planet Sessions.
Label: Ace Records.
Inimitable and unique describe the late Screamin’ Jay Hawkins. He was one of the great musical showmen, whose performances were designed to leaving a lasting impression. They always succeeded in doing so. So did his music including the songs on The Planet Sessions. F or both newcomers to Screamin’ Jay Hawkins, and his long-standing fans, The Planet Sessions will be a welcome addition to their collection. Especially for those who saw Screamin’ Jay Hawkins on his ill-fated 1965 tour. They were the lucky ones, who saw one of music’s flamboyant musical showmen who was still at the peak of his powers in 1965.
Seafaring Strangers: Private Rock.
Label: Numero Group.
During 2017, several compilations of Yacht Rock were released including Seafaring Strangers: Private Rock. It’s a Yacht Rock album with a difference and focuses on private presses. These are albums released by small local labels or by the artist themselves. Sadly, very few of these albums found a wider audience. That was the case with albums released by Jim Spencer, Ned Doheny, Jeff Harrington, Paul Skyland, Calvin Johnson, Salty Miller, Canyon, Gary Marks, Country Comfort, Chuck Senrick and Rudy Norman. Many of these tracks fall into the category of hidden gems, and are why Seafaring Strangers: Private Rock ls one of the best albums of Yacht Rock money can buy.
Sing It High, Sing It Low: Tumbleweed Records 1971-1973.
Label: Light In The Attic Records.
Tumbleweed Records was an ambitious label, but one that only lasted two years. During that period, they released nine albums which were beautifully packaged and presented. Larry Ray and Bill Szymczyk both knew the important of packaging, presentation and production values. All of Tumbleweed Records looked and sounded great. They should’ve stood out in record shops across America. Especially given the quality of music that features on most of the albums. This includes the tracks from the talented, up-and-coming musicians that feature on Sing It High, Sing It Low: Tumbleweed Records 1971-1973. It’s a reminder that founding and running a record label has always been a risky business, and certainly isn’t and never has been, a licence to print money.
Soul Of A Nation-(Afro-Centric Visions In The Age of Black Power: Underground Jazz, Street Funk and The Roots Of Rap 1968-79).
Label: Soul Jazz Records.
During the period that Soul Of A Nation (Afro-Centric Visions In The Age of Black Power: Underground Jazz, Street Funk and The Roots Of Rap 1968-79) covers, the Civil Rights movement was working towards the day when America would be fully integrated. That was the day that they had long dreamt about. As they worked towards that day, the artists on this lovingly curated compilation of jazz, funk and soul provided the soundtrack. It’s a mixture of familiar tracks, a few leftfield choices and hidden gems. These tracks on Soul Of A Nation (Afro-Centric Visions In The Age of Black Power: Underground Jazz, Street Funk and The Roots Of Rap 1968-79) are a reminder of what was hugely important and in some cases, turbulent, frustrating and eventually fruitful period in African-American history.
Space, Energy and Light-Experimental Electronic and Acoustic Soundscapes 1961-88.
Label: Soul Jazz Records.
One of the best compilations released during 2017 was Space, Energy and Light-Experimental Electronic and Acoustic Soundscapes 1961-88. It features groundbreaking music that was way ahead of its time. Sadly, some of that music was too far ahead of its time, and a record buying public weaned pop music failed to grasp its importance. It’s only much later that this music is being discovered, and is starting to find the audience it deserves. Especially now that compilations like Space, Energy and Light-Experimental Electronic and Acoustic Soundscapes 1961-88 are being released and showcase a tantalising taste of this groundbreaking music from true musical pioneers.
Swamp Pop By The Bayou-Let’s Get Together Tonight.
Label: Ace Records.
When Swamp Pop By The Bayou-Let’s Get Together Tonight’s was released last year, this was third compilation Ian Sadler had compiled for the By The Bayou series. This is without doubt, the finest compilation of swamp pop so far. Hopefully, there will be further instalments of swamp pop released in the long running and successful By The Bayou compilation series. Especially if they match the quality of Swamp Pop By The Bayou-Let’s Get Together Tonight, which is one of the best compilations in the By The Bayou series. It’s the perfect introduction to swamp pop and the music of South West Louisiana and South East Texas.
Take What You Need: UK Covers Of Bob Dylan Songs 1964-69.
Label: Ace Records.
One of the most-anticipated compilations of 2017 was Take What You Need: UK Covers Of Bob Dylan Songs 1964-69. It features familiar faces, including some of the biggest names in British music. They’re joined by artists that many people won’t have heard of as they cover songs by Bob Dylan. Some artists stay true to the original, while other reinvent familiar songs and take then in new and unexpected directions. That happens several times on this lovingly curated homage to Bob Dylan which features a mixture of best known songs and some leftfield choices. The majority of these songs were penned by Bob Dylan and are a reminder, if any was needed, of how good a songwriter he was between 1964-69.
The Original Sound Of Burkina Faso.
Label: Mr. Bongo Records.
Nowadays, the seventies are regarded as a golden age for music in Burkina Faso. This period was documented on The Original Sound Of Burkina Faso which was released in 2017. It’s a lovingly curated compilation which feature the great and good of the Burkina Faso music scene including Abdoulaye Cisse, Amadou Balaké, Bozambo, Pierre Sandwidi, Tidiani Coulibaly, Star and Youssouf Diarra. They were part of Burkina Faso’s thriving and vibrant music scene where during the seventies, and recorded an eclectic selection of music including Afrobeat blues, disco, folk, funk, highlife, psychedelia, rock and soul. Sadly, this proved to be a golden age, which is celebrated on The Original Sound Of Burkina Faso.
The Original Sound Of Mali.
Label: Mr. Bongo Records.
While record companies have released compilation of music from many African countries, for too long, they’ve overlooked the Malian music scene. That was rectified with the release of The Original Sound Of Mali. There’s contributions from some of the biggest names in Malian music including Les Ambassadeurs, Salif Keita and Super Djata Band De Bamako. They’re joined by some new names and even a couple of hidden gems from the Rail Band and Super Tentemba Jazz. These artists and bands feature on The Original Sounds Of Mali, which is an almost flawless compilation of music from a the golden age of Malian music.
The Library Archive-From The Vaults Of Cavendish Music.
Label: BBE.
In 2014, compilers and DJs Mr Thing and Chris Read were among the chosen few who have been invited into the inner sanctum that is Cavendish Music’s vast London vaults. That was when they discovered the music that three years later, featured on The Library Archive-From The Vaults Of Cavendish Music. It features a myriad of hidden gems and musical gold that makes The Library Archive-From The Vaults Of Cavendish Music the best album of library music that has been released during the last few years.
THE BEST COMPILATIONS OF 2017 PART 6.
The Best Compilations Of 2017 Part 6.
The Monkees-Summer Of Love.
Label: Rhino.
Even today, The Monkees divides the opinion of many critics and record buyers. Partly that is because of the perception that The Monkees were a manufactured band that was the brainchild of television executives. Despite that, The Monkees went on to enjoy a long successful career. They also released a number of psychedelic songs that feature on Summer Of Love. It features some of the finest moments of The Monkees’ dalliance with psychedelia. Sadly, The Monkees’ psychedelic side of The Monkees is oft-overlooked and makes a welcome appearance on Summer Of Love which shows another side of America’s very own fab four.
The Sexadelic Disco-Funk Sound of…Susana Estrada.
Label: Espacial Discos
After Franco’s death, Spain began the transition to a liberal democratic state. Meanwhile, a sexual revolution was taking place, and Susana Estrada a singer, model and actress and Susana Estrada represented the new Spain. She was independent and modern women, who lived her life on her terms and wanted to bring about change. She was an advocate for women’s rights, sexual liberation and freedom. One of the ways she sought to bring about change was through the music on The Sexadelic Disco-Funk Sound of…Susana Estrada. It feathers singles, B-Sides and the unreleased track Tócame. Quite simply, The Sexadelic Disco-Funk Sound of…Susana Estrada is a truly comprehensive overview of Susana Estrada’s musical career, and is the perfect introduction to one of Spain’s Euro Disco divas.
Too Slow To Disco Volume 3.
Label: How Do You Are?
No longer is Yacht Rock a guilty pleasure enjoyed by discerning record buyers. Instead, record buyers everywhere are jumping onboard the yacht and enjoying the party. However, the music on Too Slow To Disco Volume 3 aren’t dance tracks. They’re Too Slow To Disco, and are best described as mood music. It’s what the beautiful people listened to in the seventies. That comes as no surprise, as much of the music oozes quality. It’s mellow and laid back with the lush harmonies, swathes of strings and clever chord progressions part of well written and carefully crafted songs. They play their part in the West Coast sound’s slick, hook-laden and timeless sound. A reminder of this can be found on Too Slow To Disco Volume 3, which like previous instalments in the series, epitomises everything that’s good about the Yacht Rock.
Transparent Days: West Coasts Nuggets.
Rhino.
To celebrate the fiftieth anniversary of the Summer Of Love, a two-LP set Transparent Days: West Coasts Nuggets which was compiled by Alec Palao was released. It features thirty songs, including contributions from The West Coast Pop Art Experimental Band, The West Coast Branch, Gerry Pond, The Tikis, Art Guy, The Mojo Men, The Association, The Truth, The Bonniwell Music Machine, The Electric Prunes and Love. These are just a few of the bands that feature on Transparent Days: West Coasts Nuggets that provided the soundtrack to the Summer Of Love. These songs on Transparent Days: West Coasts Nuggets ooze quality and are sure to bring memories come flooding back for music fans of a certain vintage.
Trigal-Baila Mi Rumba.
Label: Pharaway Sounds.
When Trigal signed to Belter Records in 1975, this was the start of a musical adventure that would last five years and see the band release two albums and four singles. They featured Trigal’s unique and inimitable fusion of gypsy rumba-funk and flamenco pop, which found favour with audiences the length and breadth of Spain. Especially between 1976 and 1977, which was Trigal’s “classic period.” Sadly, though, nothing lasts forever. By 980,Trigal decided to call time on their career, as their popularity was declining. The Trigal story may have been over but the trio had made their mark on Spanish music.
Uzelli Psychedelic Anadolu.
Label: Uzelli.
Although Uzelli Psychedelic Anadolu features music from the seventies, which was a turbulent time in Turkey’s history, this provided inspiration for many of the musicians that feature on this compilation of Turkish psychedelia. This included Zor Beyler, Erkin Koray, Kerem Güney, Aşık Emrah and Elvan Sevi who pioneered Anatolian psychedelia. It was born when Turkish musicians plugged in their traditional instruments. In an instant, a musical revolution began, which is documented on Uzelli Psychedelic Anadolu, which is a perfect introduction to Turkish psychedelia.
Warfaring Strangers: Acid Nightmares.
Label: Numero Group.
One of the psychedelic compilations of 2017 was Warfaring Strangers: Acid Nightmares, which documents an oft-overlooked and intriguing part of the psychedelic era. This came after the optimism of the hippie movement came to a sudden end. Gone was the hopeful, positive and sunshine psychedelia. In its place, was a darker and much more abrasive and lysergic style of music. Sometimes, there was a paranoia to the music, as if the hippie dream was now a nightmare. That was the case for some musicians who were ill-suited to L.S.D. and other hallucinogenic drugs. Just like Icarus, they had flown to close to the sun, and never recovered from their ill-judged dalliance with hallucinogenic drugs.
Yasuaki Shimizu-Music For Commercials: Made To Measure Volume 12.
Label: Crammed Discs.
In 1987, Crammed Discs released an album that went on become one of their most sought after releases, Yasuaki Shimizu’s Music For Commercials, which featured twenty-four tracks. Twenty-three was short pieces of music which were originally meant to provide the soundtrack to commercials on Japanese television. They showcased Yasuaki Shimizu’s versatility as a composer and saxophonist as he flitted between musical genres on tracks that featured titles like Seiko 1, Boutique Joy, Sharp 1, Honda and Bridgestone 4. These tracks lasted less than two-minutes. The exception was Ka-Cho-Fu-Getsu which was the soundtrack to a computer-animated short film. Just like the rest of Music For Commercials it’s a captivating introduction to Yasuaki Shimizu, whose a truly talented, versatile, and innovative composer and musician.
THE BEST BOX SETS OF 2017.
The Best Box Sets Of 2017.
Each and every year, hundreds, if not thousands of box sets are released by independent and major record companies, and usually there’s something for every budget. That is also the case on list of the Best Box Sets of 2017, which features box sets that cost £10 right up to £100. There’s something for every budget on The Best Box Sets of 2017.
Bob Marley and The Wailers-Exodus 40.
Label: Commercial Marketing.
To celebrate the fortieth anniversary of the release of Bob Marley and The Wailers’ classic album, Exodus, a triple CD box set Exodus 40 was released in the summer of 2017. Disc one featured the original version of Exodus which was released in 1977, while disc two features Exodus 40: The Movement Continues album. The third disc features Bob Marley and The Wailers’ recorded live at London’s Rainbow Theatre in June 1977. This concert has never been released before and features eight previously released tracks. This is an added bonus and one of three reasons to add Exodus 40 to your collection.
Bread-The Elektra Years: Complete Albums Box.
Label: Elektra Records.
Bread’s entire career was spent at Elektra Records, where they recorded six carefully crafted album of soft rock between 1969 and 1977. This began with the release of their debut album Bread in 1969. After that, Bread could do no wrong. Their 1970 sophomore album On The Water was certified gold, and so was 1971s Manna, 1972s Baby I’m-a Want You and Guitar Man and Bread’s swan-song Lost Without Your Love in 1977. By then, Bread had been crowned Kings of soft rock and The Elektra Years: Complete Albums Box is a reminder why.
The Brain Box – Cerebral Sounds Of Brain Records 1972-1979
Label: Brain.
In late 1971, Bruno Wendel and Günter Körber founded Brian Records, which would become one of the most important record labels in the history of German music. Brain Records would release some of the important, influential and innovative Krautrock, Berlin School and progressive rock albums during the seventies. It was home to everyone from Cluster, Guru Guru, Harmonia, Jane, Novalis and Tangerine Dream, who all featured on The Brain Box-Cerebral Sounds Of Brain Records 1972-1979. It’s a limited edition eight CD box that features eighty-three tracks and is the perfect introduction to a legendary label, Brain Records.
Dr. John-The Atco Albums Collection.
Label: Atco.
The Atco Albums Collection features the seven albums that Dr. John released for Atco between 1968 and 1974. He released his debut album Gris-Gris in 1968, which was followed by 1969s Babylon, 1970s Remedies, The Sun, 1971s Moon and Herbs, 1972s Dr. John’s Gumbo, 1973s In The Right Place and 1974s Desitively Bonnaroo. By then, Dr. John had released some of the best music of long and illustrious career. These albums find Dr. John’s fusing blues, boogie woogie, jazz and rock ’n’ roll to create his unique sound that can be heard on the seven albums within The Atco Albums Collection. It’s the perfect introduction to a musical legend, Dr. John.
Focus-Hocus Pocus Box.
Label: Red Bullet
One of the giants of continental progressive rock was Focus, whose career is celebrated on the Hocus Pocus Box. It features thirteen CDs, including every album the band released between 1967 and 1973. This includes In and Out Of Focus, Focus II-Moving Waves, Focus III, Hamburger Concerto and the live album At The Rainbow. There’s also Jan Akkerman and Thijs van Leer’s 1985 album Focus and albums featuring Focus led by Thijs van Leer. By then, Jan Akkerman was no longer a member of Focus, and the newly reinvigorated band were receiving rave reviews. These albums, plus the albums released between 1967 and 1973, make the Hocus Pocus Box the perfect introduction to Focus.
Jethro Tull-Τhe Country Set: Songs From The Wood 40th Anniversary Edition.
Label: PLG UK Catalog.
By 1977, Jethro Tull’s music began to change direction on Songs From The Wood, which was their first album to celebrate British pagan folklore and life in the countryside. It was released to critical acclaim and was certified gold in America and Canada.
Forty years later in 2017, Jethro Tull released Τhe Country Set: Songs From The Wood 40th Anniversary Edition as a 3CD and 2DVD box set. Disc one features the original album and previously unreleased material, while discs two and three feature Jethro Tull Live In Concert 1977. Then on disc four and five there’s various mixes of Songs From The Wood and Live In Concert 1977. This is an outstanding reissue and is an example of how to reissue an album properly.
John Morales Presents The M&M Mixes Volume IV.
Label: BBE.
John Morales Presents The M&M Mixes Volume IV is the most ambitious album of the veteran DJ and remixer’s career, and finds him remixing twenty-seven tracks across four CDs. This ranges from disco and boogie to soul and funk. The result is one of the best albums of remixes released during 2017, and is another reason why John Morales should be considered as the rightful heir to Tom Moulton, and assume his title as The Master of the remix.
Marillion-Misplaced Childhood.
Label: Rhino.
When there was a resurgence of interest in progressive rock during the eighties, one of the leading lights of the Nu Prog scene was Marillion who released their classic album Misplaced Childhood in 1985. It was reissued during 2017 as a 4CD and DVD set. Disc One features a remastered version of Misplaced Childhood, while discs two and three feature Live At Utrecht 1985. There’s also singles, B-Sides and demos on disc four, while the DVD, disc five features the Steven Wilson Remixes and promo mixes. For anyone yet to discover Marillion’s Nu Prog classic Misplaced Childhood, then this box set offers the perfect opportunity.
Michael Cosmic-Peace In The World and Phill Musra Group-Creator Spaces.
Label: Now Again Records.
All to often, private presses released during the seventies passed record buyer by. That was the case with Phill Musra Group’s Creator Spaces in 1974 and Michael Cosmic’s Peace In The World in 1975. Both albums had the potential to transform and launch their careers. Sadly, that wasn’t to be and it wasn’t until 2017 that the two albums were released as part of 3CD set. They’re joined by World’s Experience Orchestra’s debut album The Beginning Of A New Birth which was recorded in 1975 and features Phill Musra and Michael Cosmic. These three groundbreaking and genre-melting albums feature ambitious and innovative music that hopefully, will find the audience it so richly deserves.
Suzanne Vega-5 Classic Albums.
Label: Spectrum Audio.
One of the greatest singer-songwriters of the past thirty-five years is Suzanne Vega, whose most successful period was between 1985 and 1996. During this eleven-year period, she enjoyed commercial success and critical acclaim with her unique fusion of pop, rock and folk. This began with her debut Suzanne Vega in 1985, which was followed with 1987s Solitude Standing, 1990s Days Of Open Hand, 1992s 99.9F° and Nine Objects Of Desire in 1996. These albums were released as a box set as part of the 5 Classic Albums’ series during 2017, and is the perfect opportunity to discover or rediscover Suzanne Vega at the peak of her powers.
Tim Buckley-The Complete Album Collection.
Label: Rhino.
Although Tim Buckley was just twenty-seven when he passed away in 1975, he had already released nine albums for Elektra Records. These albums feature in The Complete Album Collection, and begin with his 1966 debut album Tim Buckley. This was followed by 1967s Goodbye and Hello, 1969s Happy Sad and Blue Afternoon, 1970s Lorca and Starsailor, 1972s Greetings from L.A, 1973s Sefronia and his 1974 swan-song Look At The Fool. By then, Tim Buckley had reinvented himself several times, moving from folk rock in the early days, to avant-garde rock in his middle period and latterly, his sex-funk period. These different periods of Tim Buckley’s career showcase a hugely talented and chameleonlike singer who should’ve reached greater heights during his lifetime.
The Stylistics-5 Classic Albums.
Spectrum Audio.
After signing to Avco, producer Thom Bell and his songwriting partner Linda Creed transformed the career of The Stylistics, a Philly based vocal group lead by Russell Thompkins Jr. Their first three albums 1971s The Stylistics, 1972s Round 2 and 1973 Rockin’ Roll Baby sold over a million copies and resulted in eight consecutive ten top US R&B singles. Despite this success the production team Hugo and Luigi took over for 1974s Let’s Put It All Together and Heavy. By then, The Stylistics were no longer as popular and their best days were behind them. However, 5 Classic Albums is worth buying for the trio of albums produced by Thom Bell, which features many a Philly Soul classic.
Welcome To Zamrock! Volume 1 (How Zambia’s Liberation Led To A Rock Revolution 1972-1977).
Label: Now Again Records.
When Welcome To Zamrock! Volume 1 was released it came with a 103 page hard cover book that documents life in the Republic of Zambia after the end of colonial rule. Led by its first president Kenneth Kaunda, conflict, poverty and isolation were problems for the newly independent country. However, between 1972 and 1977, a rock revolution was taking place and Zamrock flourished. Fuzz guitars, driving rhythms, James Brown’s funk as Jimi Hendrix’s rock influenced Ngozi Family, Witch, Crossbones and Machine Gunner during this revolution. They all feature on Welcome To Zamrock! Volume 1 which is the perfect introduction to what was golden period for Zambian music.
Welcome To Zamrock! Volume 2 (How Zambia’s Liberation Led To A Rock Revolution 1972-1977).
Label: Now Again Records.
Just like the first volume, in Welcome To Zamrock! Volume 2 is accompanied by a 103 page hardcover book. It documents the history of the Republic Of Zambia leading up to, and during the Zamrock revolution. Groups like Crossbones, Witch, The Five Revolutions, Tinkles, Salty Dog, Peace and Fireballs were among the leading lights of the Zamrock revolution and can be heard on Welcome To Zamrock! Volume 2. It’s another essential buy for anyone with even a passing interest in Zamrock or African music.
Wells Fargo-Watch Out!
Label: Now Again Records.
During the mid-seventies, heavy rock was at the peak of its popularity in Rhodesia, which nowadays, is known as Zimbabwe. One group of the pioneers of Zimbabwean heavy rock was Wells Fargo. They emerged as a rock ’n’ roll counterculture that was based upon hippie ideals and the sounds of Jimi Hendrix and Deep Purple took shape in Zimbabwe. Over the next few years, heavy rock and groups like Wells Fargo united young people from different social and racial backgrounds. In doing so, Wells Fargo defied the laws on segregation and risked arrest by the secret police as they made a stand for democratic change. One of their most popular track Watch Out, which lends its name to the box set, became a counterculture anthem, and is a tantalising taste of Wells Fargo in their prime.
THE BEST NORDIC WAVE RELEASES OF 2017-PART 1.
The Best Nordic Wave Albums Of 2017-Part 1.
At this time of year, the lists of the best albums of the previous year are published. This year, a list of the best new albums, best reissues, best compilations and best box sets will be published. However, the first list covers the Nordic Wave albums released during 2017. It proves that the music scene in Norway and the rest of Scandinavia is just as vibrant as in previous years.
1982-Chromola.
Label: Hubro Music.
Norwegian power trio 1982 celebrated their tenth anniversary with the release of their fifth album Chromola. It’s an almost flawless album that is a genre-melting roller coaster that sometimes, takes on a liturgical sound. That is no surprise as Chromola was recorded in a church. The result was a captivating, ambitious and innovative album of multilayered, cinematic soundscapes that are full of textures, nuances and subtleties whew 1982 they continue to rewrite the musical rulebook in their quest to create groundbreaking music. This succeed in doing do on Chromola, which is a career-defining album from 1982.
A Projection-Framework.
Label: Tapete Records.
Framework was formed in 2013 and in 2015, released their critically acclaimed debut Exit. Two years later and Stockholm based A Projection returned in 2017 with Framework their much-anticipated sophomore album Framework. It’s a fusion of eighties electronica, indie rock and post punk that has been influenced Depeche Mode, New Order, Siouxsie and The Banshees, The Cult and The Cure. These influences play their part in the sound and success of Framework hook-laden where anthems sit side-by-side with beautiful ballads and eighties inspired tracks.
Anneli Drecker-Revelation For Personal Use.
Label: Rune Grammofon.
Thirty-years after coming to prominence as the lead singer of the Norwegian band Bel Canto, Anneli Drecker released her fourth solo album Revelation For Personal Use. It’s a career defining album from Anneli Drecker that surpasses the quality of 2015s Rocks and Straws. That was never going to be easy as Rocks and Straws had set the bar high for future albums. However, the Queen of Arctic Electronica, Anneli Drecker, rose to challenge and returned with her musical Magnus Opus, Revelation For Personal Use, which features music that ranges from memorable and melodic, to anthemic to heartbreakingly beautiful.
Arve Henriksen-Towards Language.
Label: Rune Grammofon.
Pioneering Norwegian jazz trumpeter Arve Henriksen returned in 2017 with his ninth solo album Towards Language, which was described by some critics as a jazz album. However, Towards Language is much more than a jazz album, and is a genre-melting epic. Arve Henriksen and his band combined elements of ambient, avant-garde, with electronic, experimental, improv industrial music and even modern classical and free jazz. The result is a truly groundbreaking and thoroughly modern album where electronics instruments, samples and found sounds accompany Arve Henriksen’s trumpet and allow it to shine as he continues to make tomorrow’s music, today.
Ane Brun-Leave Me Breathless.
Label: Balloon Ranger Recordings.
Ane Brun’s solo career began in 2003, and fifteen years later, she’s one of the most successful Norwegian singer-songwriters. Last year,Ane Brun, released her eighth studio album Leave Me Breathless which was an album of cover versions where she reinvents songs by Bob Dylan, Tom Petty, Nick Cave, Joni Mitchell, Lucinda Williams and songs made famous by Foreigner, The Righteous Brothers and Radiohead. These songs are transformed and take on new life and meaning as Ane Brun redefines these familiar songs Leave Me Breathless which is the best album of cover versions released during 2017.
Bjorn Mayer-Provenance
Label: ECM Records.
Ever since Manfred Eicher founded ECM Records, his label had released many solo bass albums. However, until the release of Bjorn Mayer’s Provenance, ECM Records had never released an album where the electric bass takes centre-stage. The Swedish bassist, whose now based in Switzerland, recorded Provenance at the Auditorio Stello Molo RSI in Lugano. This was the perfect place to record a Provenance, as Bjorn Mayer knew the importance of the “room.” It proved extremely responsive space and helps bring out the subtleties and nuances in Bjorn Mayer’s landmark album Provenance which proves that sometimes, less is more.
Black Moon Circle-Flowing Into The 3rd Dimension
Label: Crispin Glover Records.
In mid-2015 Trondheim-based Black Moon Circle announced their intention to release three albums of Studio Jamms. Just over two years later, they returned with the final instalment in this critically acclaimed series, Flowing Into The 3rd Dimension. It’s another ambitious, genre-melting adventure into sound with Black Moon Circle, and is their hardest rocking and the finest album of their five-year career. Flowing Into The 3rd Dimension is a reminder that the future of rock is in safe hands, thanks to groups like Black Moon Circle, with their pioneering and hard rocking brand of psychedelic space rock.
Brutter-Reveal And Rise.
Label: Hubro Music.
Brothers Christian Wallumrød and Fredrik Wallumrød have both forged successful music careers since graduating from the Jazz Program at Trondheim Musikkonservatorium. Much of their time is spent working with other musicians. However, the brothers reunited to record Brutter’s sophomore album Reveal And Rise. Brutter manipulates an array of sounds whilst using sonic trickery and sleight of hands as they pose a series of questions and challenge musical norms? Brutter also let imagination run riot on Reveal and Rise, an album of anti-techno that is ambitious, cerebral, innovative, playful, witty and engaging.
Cakewalk-Ishihara.
Label: Hubro Music.
Three years after the release of Cakewalk’s critically acclaimed sophomore album Transfixed, the Norwegian supergroup returned in 2017 with their much-anticipated, third album, Ishihara. It finds musical mavericks Cakewalk at their innovative best, on what’s without doubt, their most ambitious album of carefully sculpted soundscapes. To create them, Cakewalk deploy traditional instruments, synths, plus a myriad of special effects and samples. They become part of Cakewalk’s carefully crafted musical tapestry, Ishihara. It’s a genre-sprawling, vibrant, cinematic epic from sonic explorers Cakewalk, who reach new heights on their much-anticipated third album Ishihara.
Carbon Based Lifeforms-Derelicts.
Label: Blood Music.
After a five-year wait, Göteborg-based ambient psychedelia pioneers Carbon Based Lifeforms returned with Derelicts, their carefully crafted comeback album. It featured soundscapes that veer between cerebral and ruminative while others are futuristic and otherworldly and dreamy, elegiac and ethereal. Some are dramatic and urgent, others edgy and trippy, but like the rest of are captivating cinematic. Sometimes, Carbon Based Lifeforms throw a curveball, and soundscapes head in unexpected directions, before normality is restored as they continue to take the listener on a lysergic magical mystery tour which features surprises aplenty for the unsuspecting listener.
THE BEST NORDIC WAVE RELEASES OF 2017-PART 2.
The Best Nordic Wave Releases Of 2017-Part 2.
Danish String Quartet-Last Leaf.
Label: ECM Records.
Nowadays, the Danish String Quartet is regarded by many critics as the most exciting young string quartets in Europe, if not the world. They’ve been breathing new life and meaning into contemporary compositions and the classical repertoire. However, when the Danish String Quartet released their debut album Wood Works in 2014 it was a foray into Nordic folk music. So too, is the Danish String Quartet’s much-anticipated sophomore album Last Leaf. It’s another captivating and near flawless foray into the world of Nordic folk music from the Danish String Quartet who further enhanced their reputation on Last Leaf.
Eivind Opsvik-Overseas V.
Label: Loyal Label.
When Eivind Opsvik returned with Overseas V last year, it was an ambitious, inventive, innovative and genre-melting music. He was accompanied by his band Overseas as they fused disparate musical genres including everything from avant-garde and art rock to free jazz funk and fusion and even, post punk and progressive jazz. The result was a captivating musical journey where the soundscapes are concise and immediate. They’re also atmospheric, edgy, challenging, melodic, hook-laden and rhythmic. While rhythm is more important than melody and atmosphere on Overseas V, the music is still cinematic on what’s Eivind Opsvik’s finest hour.
Erik Honoré-Unrest.
Label: Hubro Music.
Although Erik Honoré’s career has spanned four decades, he only released his debut album Heliographs in 2014. Three-years later, and Erik Honoré returns with his eagerly awaited sophomore album Unrest. It’s another ambitious album of imaginative, innovative and influential music as befits one of the leading lights of the Norwegian music scene. However, Erik Honoré reaches new heights on Unrest, which is a captivating album which feature a mixture of intensity, darkness, drama, emotion and ethereal beauty, that sometimes, features a ruminative sound that invites reflection as one of Norwegian music’s pioneers, paints pictures with his cinematic soundscapes.
Erlend Apneseth-Nattsongar.
Label: Heilo.
Back in 2016, Erlend Apneseth who is one of Norway’s top Hardanger fiddle players, was commissioned to write the music that became Nattsongar, for the Førde Festival. When it came time for Erlend Apneseth to record his sophomore album, he decided to take the music on Nattsongar much further. The result was an ambitious and eclectic album where Erlend Apneseth and a band of top musicians, drew inspiration from folk music from all over the globe. In dong so, Erlend Apneseth concentrates on the commonality, rather than the differences between music on Nattsongar which is enchanting and engaging album.
Erland Dahlen-Clocks.
Label: Hubro Music.
When Erland Dahlen recorded his third solo album Clocks, he followed in the footsteps of American composer, music theorist and creator of bespoke musical instruments Harry Partch. He successfully transformed everyday items into musical instruments and inspired Erland Dahlen when he came to record Clocks. It’s a genre-meting album that veers between dark and dramatic, to elegiac and ethereal, to eerie, futuristic, haunting and otherworldly. Other times, the music is evocative, before becoming emotive and uplifting and sometimes, ruminative and thought-provoking. Quite simply, Clocks is a breathtaking album of atmospheric cinematic soundscapes from sonic pioneer, Erland Dahlen
Erlend Apneseth Trio-Åra.
Label: Hubro Music.
Just a year after the Erlend Apneseth Trio released their critically acclaimed debut album Det Andre Rommet, they returned with their sophomore album Åra. It’s another album of original music that is an almost perfect improvised update of the post modern string trio. This is no surprise, as the Erlend Apneseth Trio feature master musicians who have dedicated their lives to the pursuit of musical perfection. They come tantalizingly close on Åra, which is another groundbreaking album of inventive, and imaginative music from a pioneering group of like-minded musicians that sets the bar high for future albums.
Gonimoblast-Gonimoblast Live.
Label: Stoney Lane Records.
When London and Midlands five-piece electronica band Gonimoblast released their Gonimoblast Live in the summer of 2017, it featured two special guests Norwegian musical pioneers Arve Henriksen and Maja S.K Ratkje. They play their part in the sound and success of Gonimoblast Live, where electronica, jazz and improv are combined by seven multitalented musicians. They create Gonimoblast Live, which is captivating live album where the music is ambitious, adventurous and sometimes, mysterious, as subtleties and surprises are revealed on this truly groundbreaking album.
Gjermund Larsen Trio-Salmeklang.
Label: Heilo.
To mark the tenth anniversary of the Gjermund Larsen Trio, they return with their fourth album Salmeklang. Just like previous albums, bandleader Gjermund Larsen writes most of the music on Salmeklang. The result is an album where the music is atmospheric, melodic album and benefits from an intimacy and sensitivity. It’s as if Gjermund Larsen knows exactly what the listener wants to hear and sets out to deliver it. This he succeeds on doing so on Salmeklang, which is the highpoint of the Gjermund Larsen Trio’s career so far.
Goran Kajfeš Subtropic Arkestra-The Reason Why Volume 3.
Label: Headspin Recordings.
It was back in 2013 when the Goran Kajfeš Subtropic Arkestra released the first instalment in The Reason Why trilogy. Four years later came The Reason Why Volume 3 which was the most ambitious and eclectic volume in the series. It found the Goran Kajfeš Subtropic Arkestra fusing free jazz, fusion, jazz and rock with avant-garde, experimental and African music on this eclectic, genre-melting album of cover versions. Goran Kajfeš Subtropic Arkestra had kept the best until last and reached heights on The Reason Why Volume 3 which is a triumphant ending to this memorable trilogy.
Hanne Hukkelberg-Trust.
Label: Propeller Recordings.
Hanne Hukkelberg’s fifth album Trust is without doubt the most cerebral and thought-provoking album of her career. It’s also an album that is based on the Norwegian singer-songwriter’s own personal experience and observations. They played their part in the reinvention of Hanne Hukkelberg on Trust, which is a cerebral and thought-provoking album that features melodic, memorable, anthemic and hook-laden music. Trust is also a very personal album from Hanne Hukkelberg that features beautiful, poignant music from the one of Norway’s most innovative and influential singer-songwriters who constantly seeks to reinvent her music.
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dereksmusicblog 