CREAM-BEFORE AND AFTER DISRAELI GEARS AS IT TURNS 50
Cream-Before and After Disraeli Gears As It Turns 50.
Twenty five years ago, it was mostly classic albums like Sgt. Peppers Lonely Hearts Club Band, The White Album and Pet Sounds that were reissued by record labels to celebrate a landmark anniversary. In the case of the reissue of The White Album, it was faithfully reproduced right down to the photos that accompanied the original album. While some these albums may have been carefully remastered, they weren’t multi-format releases with bonus tracks. That was still to come.
Nowadays, the reissue market is big business and record labels no longer restrict reissues to classic albums. Now anything goes and there seems to be hundred of reissues each week. However, with a weekly deluge of reissues, sometimes, there’s a lack of quality control, and recently there’s been the release of many third-rate albums from the decade that taste forgot, the eighties. The same can be said for parts of the nineties. However, someone somewhere in a record company thinks that they can make a profit on such a release. They certainly could’ve made a profit on one of the classic albums of the late sixties by a group that are arguable the greatest power trio ever.
Sadly, Cream’s classic sophomore album Disraeli Gears, which was released fifty years ago, hasn’t been remastered and reissued as multi-format release complete with bonus tracks. That is a missed opportunity to celebrate a legendary group whose story began in July 1966.
It was in July 1966, when Britain’s first supergroup, Cream was born. Eric Clapton who was regarded as the greatest British blues guitarist of his generation, was looking beyond life with John Mayall and The Bluesbreakers. That was the group Eric Clapton had joined after his departure from The Yarbirds.
By July 1966, Eric Clapton was in his second spell with John Mayall and The Bluesbreakers. He originally joined in April 1965 and was a Bluesbreaker until August 1965. Three months later, Eric Clapton returned to the fold in November 1965. For the next eight months, Eric Clapton was a Bluesbreaker. During this period, John Mayall and The Bluesbreakers recorded their classic album Blues Breakers With Eric Clapton in April 1966.
Three months later, and Blues Breakers With Eric Clapton was released by Decca on the 22nd July 1966. Critical acclaim accompanied what’s regarded as a British blues classic. It reached number six in the UK charts. This should’ve been a reason to celebrate. However, Eric Clapton was neither happy nor feeling fulfilled musically.
Instead, he felt constrained musically. Eric Clapton was unable to stretch his legs within John Mayall and The Bluesbreakers. There was certainly no room for invention and this was frustrating for Eric Clapton. So much so, that he was even considering forming his own band. However, the Blues Breakers With Eric Clapton had just been released and looked like being the band’s most successful album. Despite that, Eric Clapton’s nascent career was at a crossroads.
To take his mind off his problems, Eric Clapton decided to go and see blues guitarist Buddy Guy in concert. That night, Buddy Guy took to the stage with a trio. When Eric Clapton saw the trio live, he was so impressed that he decided to form a new band. They would also be a trio, Cream.
Having made the decision to leave John Mayall and The Bluesbreakers, Eric Clapton began looking for musicians to join his band. He knew drummer Ginger Baker, who was a member The Graham Bond Organisation. Ginger Baker was tiring of Graham Bond’s drug addiction and bouts of instability. So much so, that he was considering his future.
When Eric Clapton approached Ginger Baker about joining his trio, the answer was yes. However, there was a catch. Eric Clapton had to agree to hire The Graham Bond Organisation’s bassist Jack Bruce.
Eric Clapton already knew Jack Bruce and played alongside him on two occasions. The first came in November 1965 when Jack Bruce sat in with John Mayall and The Bluesbreakers during November 1965. More recently, Eric Clapton and Jack Bruce were part of Steve Winwood’s band Powerhouse, which also featured Paul Jones. During the two sessions, Eric Clapton had been impressed by Jack Bruce proficiency and prowess as a bassist. Jack Bruce who had previously enjoyed working with Eric Clapton, agreed to join the band. However, he was surprised that Ginger Baker had recommended him to Eric Clapton.
During their time with The Graham Bond Organisation, Ginger Baker and Jack Bruce had a volatile relationship. The two members of the rhythm section were known to argue onstage. Sometimes, things got so bad that they traded blows. However, that was the past. Ginger Baker and Jack Bruce agreed to put their differences aside. A musical truce was declared. Suddenly, there was peace in our time. All for the good of the new group.
With the lineup complete, the nascent band set about establishing the ground rules. They envisaged that songs would be collaborations, with each member playing a part in writing the lyrics and music. Next on the agenda was a name for the group. It didn’t take long for them to come up with the name Cream. The music press had been describing the new band as the: “cream of the crop” of British musicians. Cream was essentially the first British supergroup. They were about to make what was their unofficial debut.
This took place on the 29th of July 1966, at the Twisted Wheel nightclub in Manchester. That night, it was hosting the Sixth Annual Windsor Jazz & Blues Festival. Cream was a special guest, and in absence of new material, ran through a set of blues covers. Little did those in the audience realise that they had just witnessed history being made.
Just three months later, in October 1966, Cream took to the stage with another legend of sixties music, Jimi Hendrix. He was a fan of Eric Clapton and was keen to jam with his new band on his arrival of London. Little did anyone realise that by the end of the sixties, both Cream and Jimi Hendrix would’ve become two of the biggest names of the late-sixties music scene.
Later in 1966, Cream was still experimenting musically, and had yet to decide who would be the group’s lead vocalist. Eric Clapton’s shyness meant he was reluctant to take charge of the lead vocals. Instead, Jack Bruce became Cream’s lead vocalist. However, during Cream’s lifetime, Eric Clapton would add harmonies and the lead vocal on a number of tracks.This included a track on Cream’s debut album Fresh Cream.
Fresh Cream.
Almost straight away, work began on Cream’s debut album, which later became Fresh Cream. It featured ten songs. They were a mixture of new songs and cover versions.
The new songs included Jack Bruce’s N.S.U. and Dreaming. He cowrote Sleepy Time Time with his first wife and songwriting partner Janet Godfrey. She cowrote Sweet Wine with Ginger Baker, who wrote the instrumental Toad. Other songs included a cover of song Cat’s Squirrel, which was arranged by Cream and a quartet of blues classics.
This included Willie Dixon’s Spoonful. Cream decided to cover Robert Johnson’s From Four Until Late which Eric Clapton arranged. It was joined by Rollin’ and Tumblin’ which Muddy Waters penned using his real name, McKinley Morganfield. The final blues classic was Skip James’ I’m So Glad. These songs were recorded over a three-month period.
Recording of Fresh Cream took place between July and October 1966 at two separate studios in London. Some sessions took at Rayrik Studios, while others took place at Ryemuse Studios. Drummer Ginger Baker joined bassist Jack Bruce in the rhythm section. He also played harmonica, piano and took charge of seven of the eight lead vocals. Guitarist Eric Clapton added the lead vocal on Four Until Late. Meanwhile, Robert Stigwood ‘produced’ what would later became Fresh Cream. It was completed by October 1966.
The release of Fresh Cream was scheduled for the 9th of December 1966. Before that, Cream released their debut single Wrapping Paper in October 1966 . It was penned by Jack Bruce and Pete Brown, but didn’t feature on Fresh Cream. Wrapping Paper showcased a psychedelic pop sound that Cream returned to. This proved popular and reached thirty-four in the UK charts. Things were looking good for Cream.
Nearer the release of Fresh Cream, critics had their say on the nascent supergroup’s debut album. Nearly every critic lavished praise and plaudits on Fresh Cream. They were won over by an album that ranged from blues rock to psychedelia and a much more hard rocking sound. Cream’s debut was an eclectic and accomplished album. Especially the psychedelic sound of N.S.U, the bluesy Sleepy Time and the Jack Bruce penned ballad Dreaming. Four Until Late shakes off his shyness and makes his debut on lead vocal on the cover Robert Johnson’s Four Till Late. However, one of Cream’s finest moments on Fresh Cream was their reinvention of I’m So Glad. It’s transformed into something that Skip James could never have envisaged. Given the critical reaction to Fresh Cream, it seemed that the future looked bright for Cream.
They prepared to release Fresh Cream on the 9th of December 1966 on Robert Stigwood’s new independent record label, Reaction Records. The same day, Cream released their sophomore single, I Feel Free. Just like their debut single, it didn’t feature on Fresh Cream. Despite that, I Feel Free reached number eleven in the UK and fifty-three in Australia. Meanwhile, Fresh Cream reached number six in the UK, ten in Australia and twenty in France. This resulted in Fresh Cream being certified gold in Britain and France. The success continued when Fresh Cream was released in America.
The American version of Fresh Cream was released by Atco. It featured a slightly different track listing. I Feel Free opened the album, with the British version of Fresh Cream following. This proved popular among American record buyers. Fresh Cream eventually reached thirty-nine in the US Billboard 200 and was certified gold. For Cream, this meant that their debut album Fresh Cream had been certified gold in three different continents. Critics wondered how they could they followup such a successful album? Cream returned with a classic album, Disraeli Gears.
Disraeli Gears.
Following the success of Fresh Cream, Cream headed out on tour. In March they landed in America, to play their first American tour. They were part of a package tour, and were booked to play nine dates at the Brooklyn Fox Theater in New York.
Each day, Cream played three times. However, the early concerts weren’t well received. DJ turned promoter Murray the K wasn’t impressed. He placed Cream at the bottom of the bill. Towards the end of the run, they were reduced to playing just one song during each set. The New York part of their American tour had been a disaster. They wouldn’t forget Murray the K in a hurry.
Having returned home from their American tour, Cream’s thoughts turned to their sophomore album. They had been writing what later became Disraeli Gears for some time.
When Cream was formed, the plan had been for the band to collaborate on songs. Alas, none of the eleven tracks on Disraeli Gears were written by the three members of Cream. They arranged the traditional song, Mother’s Lament. Sometimes, the members of Cream wrote alone. Jack Bruce wrote We’re Going Wrong and Ginger Baker penned We’re Going Wrong. Mostly, the members of Cream wrote alone or formed songwriting partnerships with other musicians and songwriters.
Jack Bruce and Eric Clapton cowrote Sunshine Of Your Love with Pete Brown. It would become one of their known songs. So would Strange Brew, which Eric Clapton wrote with Pete Brown. Meanwhile, Jack Bruce wrote Dance the Night Away, SWLABR and Take It Back with Pete Brown. Eric Clapton and Martin Sharp wrote Tales of Brave Ulysses. These songs were joined by a couple of cover versions.
This included Arthur Reynolds’ Outside Woman Blues which was arranged by Eric Clapton. The other cover versions was World Of Pain, which was penned byFelix Pappalardi and Gail Collins songwriting partnership wrote. Just like the rest of Disraeli Gears, it was recorded in New York, during May 1967.
Recording of Disraeli Gears took place at Atlantic Studios, New York. This time around, Cream was joined by a new producer, with Felix Pappalardi replaced ‘musical impresario’ Robert Stigwood. The twenty-seven year old was a classically trained musician who having turned his back on classical music, became a successful singer, songwriter, bassist and producer. However, Disraeli Gears was one of the biggest projects of his career, and was a much more complex album than Fresh Cream.
Ginger Baker played drums and percussionist and joined his cohort, bassist Jack Bruce in the rhythm section. Jack Bruce also played harmonica, piano and took charge of seven of the eight lead vocals. Eric Clapton switched between lead guitar, rhythm guitar and twelve-string guitar. He also added the lead vocal on Strange Brew, World of Pain and Outside Woman Blues. It seemed that Eric Clapton was well on his way to overcoming his shyness, as Cream changed direction musically.
Critics realised this when they received their promotional copies of Disraeli Gears. It took its name from a malapropism which alluded to the former British Prime Minister Benjamin Disraeli. Eric Clapton had been taking about buying a racing bike during a car journey. Mick Turner who was driving the car responded that it should have: “Disraeli Gears” when he meant derailleur gears. That malapropism gave birth to tittle of the album critics were holding. When they listened to Disraeli Gears, they soon realised that Cream was moving away from the blues’ roots.
That was apart from on the cover of Blind Boy Reynolds’ Outside Woman Blues and Take it Back. It had been inspired by American students burning their draft cards. These were the only bluesy tracks on Disraeli Gears. Mostly, Cream moved towards psychedelia on Disraeli Gears. Tracks like Strange Brew, Sunshine Of Your Love, Dance The Night Away, Tales Of Brave Ulysses and We’re Going Wrong found Cream embracing psychedelia on an album that stood head and shoulders above the competition. Critic acclaim accompanied the release of Disraeli Gears.
On 2nd November 1967, Cream released their sophomore album Disraeli Gears. In Britain, Disraeli Gears reached number six and was certified platinum. Meanwhile, Disraeli Gears reached number two in France and twenty in Norway. Halfway round the world, Disraeli Gears reached number one in Australia and was certified platinum. However, Disraeli Gears was a huge success across North America. It reached number ten in Canada and number four in America. By then, Disraeli Gears had sold over a million copies. This resulted in Cream receiving their first platinum disc in America. However, that wasn’t the end of the success for Cream.
They released Sunshine Of Your Love as a single in January 1968. It reached seventeen in the UK, eighteen in Australia, three in Canada and five in the US Billboard 100. This resulted in Sunshine Of Your Love being certified gold in Britain, Australia and America. After just two albums, Cream was one of the biggest bands in the world. They were keen to build on this success, and began work on their third album, Wheels Of Fire.
Wheels Of Fire.
For their third album Wheels Of Fire, Cream decided to release a double album. This was no ordinary album. The first album was recorded in the studio, while the second disc was entitled Live At The Fillmore. Wheels Of Fire was an ambitious project, even for one of the most successful bands in the world.
By then, some of the tracks that became part of Wheels Of Fire had already been recorded. Some of the nine tracks that were eventually chosen were still to be recorded by Cream.
This included White Room, As You Said, Politician and Deserted Cities of the Heart which were penned by the Jack Bruce and Pete Brown songwriting partnership. Ginger Baker formed a songwriting partnership with Mike Taylor, and cowrote Passing The Time, Pressed Rat and Warthog and Those Were The Days. They were joined by two cover versions, Walter Vinson and Lonnie Chatmon’s Sitting on Top of the World and Booker T. Jones and William Bell’s Born Under A Bad Sign. These nine songs were recorded between July 1967 and June 1968.
The Wheels Of Fire sessions took place at a variety of studios. This included the IBC Studios during July and August 1967. From there, Cream headed Atlantic Studios, New York. They spent January and February of 1968 recording at the famous studios. Later in 1968, Cream returned to Atlantic Studios, New York during June 1968. During the various sessions, Cream used a myriad of instruments.
Each member of Cream had expanded their musical arsenal since the recording of Disraeli Gears. Ginger Baker who previously played drums and percussionist, also added bells, glockenspiel, timpani and add the spoken word part on Pressed Rat and Warthog. Bassist Jack Bruce also played acoustic guitar, Calliope, cello, harmonic and recorder. Jack Bruce took charge of the lead vocals. Meanwhile, Eric Clapton laid of down the lead guitar, rhythm guitar, 12-string guitar parts and added backing vocals on the nine tracks When they were recorded, this left just Live At The Fillmore to be recorded.
Despite being entitled Live At The Fillmore, only Toad was recorded at the Filmore in San Francisco on ‘7th March 1968. However, Toad is transformed and becomes a sixteen minute epic where Cream stretch their legs and improvise. At last, Eric Clapton had the freedom he missed so much during his last spell with John Mayall and The Bluesbreakers. After the show at the Filmore, Cream headed to another venue in San Francisco, Winterland.
Just like at the Filmore, Cream were due to play two shows each night. On first show of ‘8th’ of March 1968, Cream’s set included Traintime a Jack Bruce composition. It made it onto Live At The Fillmore. Two nights later, on the ‘10th’ of March 1968 Cream played two more shows at Winterland. During the first show, Cream covered Robert Johnson’s Crossroad and Willie Dixon’s Spoonful. Eric Clapton’s takes charge of the vocal on Crossroads. Later in the set, Cream cover and transform Willie Dixon’s Spoonful. Cream seemed to relish the opportunity to improvise and take the song in new directions over a sixteen minute period. This was a tantalising taste of Cream live.
Critics agreed when they received their copies of Wheels Of Fire. They were won over by what was an ambitious double album of studio and live recordings. Cream seemed to be maturing as a band and continuing to move from their blues roots toward psychedelia. However, Cream hadn’t forgotten their blues roots, as they became one of the most ambitious and innovative bands of the late-sixties. Especially live, where they enjoyed deconstructing and reconstructing songs. That was the case with Spoonful and Toad, which featured Cream at their best live. It was no surprise when critical acclaim preceded the release of Wheels Of Fire
Wheels Of Fire was released during July 1968, and quickly became Cream’s most successful album. It reached number three in the UK, two in France, fifteen in Germany and sixteen in Norway. In Australia, Canada and America, Wheels Of Fire reached number one. This resulted in Wheels Of Fire being certified platinum in Australia, America and British. For Cream this should’ve been a reason to celebrate.
Sadly, all wasn’t well within Cream. It hadn’t been for some time. Musically, the three members of Cream were no longer on the same page. Eric Clapton was now interested in the music that Bob Dylan was producing, and was casting envious glances at Bob Dylan’s former backing band, The Band. He was interested in their music, and the way that it was heading. Meanwhile, the truce Eric Clapton had been brokered between Jack Bruce and Ginger Baker was over. Their arguing was putting pressure on the very future of Cream. It was almost inevitable that the three members of Cream would decide to call it a day.
What had hastened the demise of Cream was when Eric Clapton read a review of Cream in the contrarian publication, Rolling Stone. The reviewer in what was nothing more than a hatchet job of review, resorted to name calling. Cream the reviewer said were a: “master of the blues cliché.” When Eric Clapton read the review, he decided that it was the end of road for Cream.
They embarked upon a Farewell Tour that began in Oakland on 4th October 1968. The tour ended fifteen days later at the Forum, Los Angeles, on the 19th of October 1969. That show was recorded, and became part of Cream’s final album, Goodbye Cream.
Goodbye.
For their fourth and final album, the three members of Cream returned to London to record three tracks at IBC Studios in London. This included Badge, which Eric Clapton wrote with Beatle George Harrison. Doing That Scrapyard Thing was penned by the Jack Bruce and Pete Brown songwriting partnership which had been a source of successful songs during Cream’s lifetime. Ginger Baker contributed What a Bringdown. This meant that each of the members of Cream had written a new song on their swan-song.
Joining Cream at IBC Studios, was producer Felix Pappalardi. When recording Badge, Doing That Scrapyard Thing and What a Bringdown at IBC Studios, keyboards were used extensively. This was a first for Cream, who were innovating right up to the end. Cream also used a Leslie speaker on Badge and Doing That Scrapyard Thing. This added to the psychedelic sound of both tracks. The three tracks that were recorded at IBC Studios became half of Goodbye.
The rest of Cream consisted of a trio of live tracks. They had been recorded at the Forum, in Los Angeles, on the ‘19th’ of October 1969. Skip James’ I’m So Glad, Jack Bruce and Pete Brown’s Politician and Walter Vinson and Lonnie Chatmon’s Sitting on Top of the World featured Cream at their very best.
So much so, that when critics heard Goodbye, they hailed the live tracks as better as those on Wheels Of Fire. This was a glimpse of what Cream were capable of producing live. Similarly, the three songs recorded at IBC Studios were regarded as groundbreaking, and saw Cream reinventing their music. Badge critics said, was the standout track, and without doubt one Cream’s finest hours. It looked as if Cream were about to bow out at the top.
By the time Goodbye was released in March 1969, Cream had been dissolved. They played a farewell concert at the Royal Albert Hall, in London. Despite this, Goodbye reached number one in the UK, three in France, nine in Germany and seven in Norway. In Australia, Goodbye reached number six. Meanwhile, Goodbye reached number five in Canada and number two in America. This resulted in Goodbye being certified platinum in the UK and gold in America and Australia. Cream bowed out at the top, with their fourth albums in just under three years.
Each of these albums were released to critical acclaim and went on to sell in vast quantities. Cream’s four albums were certified gold and platinum on three continents. Britain’s first supergroup became one of the country’s most successful bands. Cream sold over fifteen million copies of Fresh Cream, Disraeli Gears and Wheels Of Fire and Goodbye. That is why nowadays, Cream are regarded as rock royalty.
They were also the first British supergroup. Soon, others followed in Cream’s wake but never came close to replicating the success that Cream enjoyed. Cream achieved more than most in just under three years, and each of their albums found Cream’s music evolving as they continued to create groundbreaking music. This ranged from blues rock to hard rock and psychedelia. The quartet of albums Cream’s released between December 1966 and March 1969 are a reminder of the first, and many say best British supergroup, Cream whose classic and timeless sophomore album Disraeli Gears has just turned fifty.
Cream-Before and After Disraeli Gears As It Turns 50.
MOTORHEAD-A GLITTERING CAREER: THE CLASSIC 1977 TO 1983.
Motörhead-A Glittering Career: The Classic Years 1977-1983.
In My 1975, Hawkwind’s tour bus arrived in Windsor, Ontario, at the Canadian-American border, but before the band could cross over into America, for the next part of their tour, the band were subjected to a routine drugs search. For Hawkwind bassist Ian “Lemmy” Kilmister, this spelt disaster and resulted in his arrest on drug possession charges. For Lemmy it was the end of the road for him, and he was sacked by Hawkwind. This was the always thought, the excuse the other members of Hawkwind had been waiting for, to sack Lemmy from the band.
On his return home to England, Lemmy started putting together a new band, which he initially called Bastard. This was what he planned to call the new band which featured guitarist Larry Wallis, who previously was a member of The Pink Fairies. Steve Took’s Shagrat and UFO. He was joined by drummer Lucas Fox who joined Lemmy on bass in Bastard’s rhythm section. However, the group’s then manager Doug Smith explained that there was no way a group called Bastard would feature on prime time TV, and suggested the name Motörhead.
Not long after this, Motörhead signed to United Artists, which was also home to Lemmy’s former group Hawkwind. With the ink dry on the recording contract, Motörhead headed to Rockfield Studios in Wales to record their debut album.
During late 1975 and early 1976, Motörhead recorded what was meant to be their debut album. However, when United Artists heard the album, they refused to release it. This was a huge blow to Motörhead.
Just over a year later, and Motörhead’s lineup had changed beyond recognition by the ‘1st’ of April 1977. Drummer Phil “Philthy Animal” Taylor had replaced Lucas Fox who didn’t seem committed to the band. Guitarist “Fast” Eddie Clarke had also joined Motörhead as the second guitarist and would join up with Larry Wallis. However, not long after this, Larry Wallis left Motörhead. This was another blow to the band.
So much so, that Motörhead decided to call time on their short but eventful career. However, they were determined to bow out in style with a farewell gig at London’s Marquee Club later in 1977.
Meanwhile, Ted Carroll was running Chiswick Records, the label he formed not long after Lemmy was fired from Hawkwind. Ted Carroll also owned a record shop, where Lemmy was a regular visitor, buying rare singles. When Ted Carroll heard that United Artists weren’t willing to release Motörhead’s debut album, he decided to ride to the rescue.
Motörhead.
After negotiating Motörhead’s release from their contract with United Artists, Ted Carroll signed the bad to his label Chiswick Records. At first, Motörhead wanted to record their farewell gig at the Marquee Club. However, the owners of the Marquee Club wanted £500 to allow the recording to take place. That was out of the question, so Ted Carroll offered Motörhead the chance to record a single over two days at Escape Studios in Kent, England, with producer John “Speedy” Keen. That was the plan.
Between the ‘27th’ and ‘29th’ April 1977, Motörhead aided by some illicit substances recorded eleven tracks. When Ted Carroll heard the tracks, he paid for further studio time to complete Motörhead which features the classic lineup of drummer, Phil “Philthy Animal” Taylor, bassist Ian “Lemmy” Kilmister and guitarist “Fast” Eddie Clarke. They would write their name into musical history.
When Motörhead was released on the ’21st’ of August 1977, it reached forty-three in Britain and was later certified silver. Somewhat belatedly Motörhead’s recording career was underway.
Iron Fist and The Hordes From Hell At The Roundhouse-What’s Worth Words.
Nearly seven months after the release of Motörhead, Lemmy and Co. arrived at The Roundhouse on the ’18th’ February 1978. Parked outside was the Rolling Stones mobile recording studio. It had been hired by Chiswick Records’ owner Ted Carroll to record The Count Bishops next album. Motörhead’s then manager Tony Secunda asked if the band could use the mobile recording studio to record their set. An agreement was reached and two albums were recorded that night at The Roundhouse, which was Wilko Johnson’s fundraiser to preserve William Wordsworth’s manuscripts. However, strictly speaking Motörhead shouldn’t even be at The Roundhouse.
Contractual problems meant that Motörhead wasn’t allow to play at Wilko Johnson’s fundraiser. They had hatched a cunning plan, and decided to dawn the moniker Iron Fist and The Hordes From Hell. The audience was in for a surprise as they took to the stage later that evening.
As Iron Fist and The Hordes From Hell prepared to take to the stage, producer Duncan Cowell took his place in the Rolling Stones mobile recording studio, and prepared to record what would prove be a landmark concert.
As Motörhead took to the stage, they launched into one of Lemmy’s compositions The Watcher. It gave way to Iron Horse and Born To Lose before Motörhead revisited Larry Wallis’ On Parole, which had been a staple of the band’s early shows. By then, Motörhead’s mixture of high adrenaline heavy metal, hard rock, blues rock and rock ’n’ roll was proving a popular combination. There was no stopping Motörhead as they launched into White Line Fever, which took marked the halfway point.
They followed White Line Fever with Keep Us On The Road which was penned by Motörhead and Mick Farren. It gave way the first of four cover versions, including a cover of Holland, Dozier and Holland’s Leaving Here which was given hard rocking makeover. Motörhead then covered John Mayall’s I’m Your Witchdoctor which was a staple of their live sets. So was Train Kept A-Rollin’ had featured on Motörhead. Bringing this barnstorming performance to a close, was a cover of The Pink Fairies’ City Kids. Mick Farren then joined the band for a cover of Lost Johnny, which never made it onto the subsequent album when it was released by Ted Carroll’s record label Big Beat on the ‘5th’ March1983. By then, Motörhead, were enjoying a glittering career and everything the band touched turned to silver or gold.
Overkill,
Following the success of Motörhead, which is now regarded as a genre classic, Motörhead returned on the ‘24th’ of March 1979 with their sophomore album Overkill. It was released on the Bronze label, and reached twenty-four in Britain. Soon, Overkill which is regarded in heavy metal circles as a minor class, became Motörhead’s second album to be certified silver. Soon, two became three.
Bomber.
Seven months later, Motörhead returned on the ’27th’ October 1979 with their third album Bomber. It was a difficult album to record, with producer struggling with heroin addiction. However, the album was completed and found favour with Motörhead’s legion of fans. This included both heavy metal fans and punks who were won over by Motörhead’s hard rocking sound. They were also won over by Bomber, which reached number twelve in Britain and was again, certified silver.
Ace Of Spades.
Having released two albums within the space of seven months, it was thirteen months before Motörhead returned with their fourth album Ace Of Spades. It was produced by Vic “Chairman” Maile, and featured a fusion of heavy metal, hard rock and speed metal. This found favour with critics, who called Ace Of Spades’ one of Motörhead’s finest albums.
Prior to the release of Ace Of Spades, the title-track was released as a single, on October the ’27th’ 1980 and reached number fifteen in Britain. When the album Ace Of Space was released on the ‘8th’ of November 1980, it reached number four in Britain and was certified gold by March 1981. This was the most successful album of Motörhead’s career, and one that later, would be called a classic.
No Sleep ’til Hammersmith,
The same can be said of Motörhead’s first live album No Sleep ’til Hammersmith, which was released on the ‘27th’ of June 1981. It reached number one in Britain, and charted in everywhere from Germany to Norway and Sweden to New Zealand. No Sleep ’til Hammersmith was also the first Motörhead album to be released in America. Alas. the album failed to trouble the US Billboard 200.
Iron Fist.
Buoyed by the success of No Sleep ’til Hammersmith, Motörhead returned ten months later, with their first studio album in nearly two years, Iron Fist. It was the much-anticipated follow-up to Ace Of Spades which was produced by Vic Maile. He started producing Iron Fist, but didn’t return to project after Motörhead played some gigs in November and December 1981 with Tank. Replacing Vic Maile were Will Reid Dick, Eddie Clarke. They played their part in the success of Iron Fist, which was released on the ’17th’ of April 1982, and reached number six on the British album charts, and was certified gold. Across the Atlantic, Iron First reached 174 in the US Billboard 200. Motörhead were making some inroads into the lucrative American market.
What’s Worth Words.
After the release of Iron Fist, Motörhead began work on their next studio album Another Perfect Day. Before it was released, Motörhead would release their second live album, What’s Worth Words. By 1983, Motörhead were no longer managed by Tony Secunda. After some issues, he and Motörhead parted company and Doug Smith once again, became the band’s manager. He helped negotiate the release of What’s Worth Words on Ted Carroll’s Big Beat Records.
What’s Worth Words featured Motörhead’s barnstorming, speed fuelled performance at The Roundhouse on the ’18th’ February 1978. Unlike most live albums, there was no overdubbing, and What’s Worth Words, which was a warts and all performance from Motörhead.
It’s a snapshot in time, and features the material Motörhead played during the late-seventies and early eighties. After that, these songs hardly ever featured in Motörhead’’s sets. They were in the band’s past, a reminder of which is What’s Worth Words. It features the classic lineup of Motörhead at the peak of their powers.
Many critics agreed, and called What’s Worth Words one of the best live albums ever. It was a warts and all performance from Motörhead that was released on the ‘5th’ of March 1983, and reached seventy-one on the British album charts. This was disappointing considering that it’s one of Motörhead’s best live albums, and regarded as one of best live albums ever released.
Another Perfect Day
After the release of What’s Worth Words, Motörhead released Another Perfect Day three months later, on June the ‘4th’ 1983. It reached just twenty in the British album charts, and was the Motörhead’s first studio album not to be certified silver or gold.
Sadly, none of the albums Motörhead released between Bastard in November 1983 and their twenty-second studio album Bad Magic in August 2015 were certified silver or gold. However, Motörhead enjoyed a glittering career between Motörhead in 1977 and Iron Fist in 1982, when they could do no wrong. It was the most successful period of their recording career.
That recording career lasted five decades and saw Motörhead twenty-two studio albums and thirteen live albums. Motörhead’s final live album was Clean Your Clock which was recorded on the ‘20th’ and ‘21st’ November 20 at Zenith, Munich as part of Motörhead’s European 40th Anniversary tour. These two concerts were last professional recordings of Motörhead. Sadly, just over a month later, then, Ian “Lemmy” Kilmister had passed away on the ‘28th’ of December 2015, just four days after his seventieth birthday.
Highlights of the two concerts in Munich were released as Clean Your Clock was released in June 2016, and was band’s first posthumous. For Motörhead who had been one of the great rock bands of the past forty years it was the end of a line. With Lemmy there was no Motörhead, the group he had founded forty years earlier, after his sacking from Hawkwind. However, Lemmy had the last laugh, and enjoyed much more success than Hawkwind between 1975 and 2015, when Motörhead were one of the hardest living and hardest rocking bands on planet rock. They released several classic albums, especially between 1978 and 1983 which was the most successful period of Motörhead’s hard rocking career.
Motörhead-A Glittering Career: The Classic Years 1977-1983.
IF MUSIC PRESENTS YOU NEED THIS! AN INTRODUCTION TO BLACK SAINT AND SOUL NOTE (1975 TO 1985).
IF Music Presents You Need This! An Introduction To Black Saint and Soul Note (1975 To 1985).
Label: BBE.
Two years ago, in November 2015, when BBE released IF Music presents You Need This A Journey Into Deep Jazz which was compiled by Jean Claude, the owner of London’s IF Music the aim of this lovingly curated compilation was to introduce record collectors to a plethora of hidden gems that most likely, had escaped their attention first time round. Critical acclaim accompanied the compilation’s released, and the question on record buyer’s lips was, will their be a second volume? Thankfully, the answer was yes, and You Need This A Journey Into Deep Jazz Volume 2 was released to plaudits and praise in February 2017.
By then, Jean Claude was hard at work on a new compilation series which allowed him to put his encyclopaedic knowledge of jazz to good use. Eight months later, BBE released the fruit’s of Jean Claude’s labours, IF Music Presents You Need This! An Introduction To Black Saint and Soul Note (1975 To 1985) which is a lovingly compiled triple LP set that looks back at two of Italy’s iconic jazz labels.
The Black Saint label was founded in Lombardy, Italy, 1975, by Giacomo Pelliciotti, who had previously produced Enrico Rava’s classic album Katcharpari, which was released in 1973. Two years later, and Giacomo Pelliciotti was now managing his own label, which would provide a home for talented artists who had been overlooked by other levels. Giacomo Pelliciotti was willing to give these artists the break they needed.
This included Billy Harper who had released his debut album Capra Black on the Strata East label in 1973. He was without a label when Giacomo Pelliciotti signed him, and produced his sophomore album Black Saint in 1975. When Black Saint was released it was a commercial success, and the future looked bright for the nascent label.
After its first release Giacomo Pelliciotti’s Black Saint followed in the footsteps of another Italian label Horo, who recorded American artists during their European tours. Soon, the great and good of free jazz were releasing albums on Black Saint including Archie Shepp, Don Cherry, Hamiet Bluiett, Malachi Favours, Muhal Richard Abrams and Oliver Lake, Muhal Richard Abrams, Malachi Favours. Some of the releases that bore the Black Saint label were European releases of albums recorded by American labels. However, this should’ve been a successful formula for Giacomo Pelliciotti’s new label.
After three years of trading, Black Saint was struggling financially and the writing was on the wall for Giacomo Pelliciotti. It was almost inevitable that Giacomo Pelliciotti would have to sell the label he founded and nurtured for three years. Black Saint was purchased in 1978 by Giovanni Bonandrini, who a year later, launched a second imprint, Soul Note, which just like Black Saint, would release many critically acclaimed and seminal albums.
As the seventies gave way to the eighties, Black Saint and Soul Note hit a rich vein of form, and won the Down Beat Jazz Award from 1984 through to 1989. The same year, Sun Ra and His Arkestra released his epic album Hours After. However, while the labels went from strength-to-strength, owners came and went.
None of the owners seemed to make a go of Black Saint and Soul Note lanes. Their finances seemed to be constantly in a perilous state. With the labels changing hands so often, many thought that it was only a matter of time before Black Saint and Soul Note folded.
That never happened and between 1975 and 2008, Italy’s answer to Blue Note, Black Saint and Soul Note released in excess of 500 albums. This includes the albums that the ten tracks on IF Music Presents You Need This! An Introduction To Black Saint and Soul Note (1975 To 1985) are taken from.
Across six sides of vinyl, there’s remastered cuts from Don Pullen featuring Sam Rivers, Enrico Rava, Hamiet Bluiett, John Stubblefield, Henry Threadgill’s Air, Billy Bang Sextet and M’Boom. There are also contributions from George Adams and Dannie Richmond, Rava String Band and Archie Shepp on IF Music Presents You Need This! An Introduction To Black Saint and Soul Note (1975 To 1985).
Side A
In 1976, the nascent Black Saint label released Capricorn album by American avant-garde pianist and organist Don Pullen which featured free jazz multi-instrumentalist Sam Rivers, who played flute, soprano and tenor saxophone. Capricorn Rising was recorded over two days in October 1975 at Generation Sound Studios, New York, and featured Joycie Girl, one of three Don Pullen compositions. It’s also the quartet’s finest moment on Capricorn Rising, as Sam Rivers unleashes sheets of saxophone while Don Pullen’s Latin-tinged piano is the glue that holds this ambitious six-minute epic together.
Enrico Rava was born in Trieste, Italy in 1939, and by the time Black Saint reissued his 1972 debut album Il Giro Del Giorno in 80 Mondi (Around The World In 80 Days)in 1976, many music critics were forecasting great things for the free jazz trumpeter and composer. Some critics went as far as to say that Enrico Rava had the potential to become Italy’s answer to Don Cherry. That wasn’t no far-fetched as Enrico Rava’s 1973 album Katcharpari was regarded as a classic. However, the album that preceded Katcharpari, Il Giro Del Giorno in 80 Mondi more than hinted at what was to come from Enrico Rava. Especially the title-track, which is seven magnificent and melodic minutes, that veer between dramatic to ruminative and uplifting as Enrico Rava unleashes a musical masterclass.
Side B.
American saxophonist, clarinetist, and composer Hamiet Bluiett was thirty-eight when he released Resolution on Black Saint. By the time he returned with the followup Dangerously Suite in 1981, the Soul Note label had been founded in 1979. Hamiet Bluiett’s second release for the Black Saint label, Dangerously Suite was released in 1981 on Soul Note and featured Oasis. It was Hamiet Bluiett composition that first appeared on his 1977 album Orchestra, Duo and Septet, where it was part of a twenty-minute suite. However, on Dangerously Suite, Hamiet Bluiett and his multitalented band transform the track. Playing a leading role is Hamiet Bluiett’s braying, blazing, growling saxophone on the definitive version of Oasis.
John Stubblefield was forty when the saxophonist, flautist, and oboist released his one and only album Confessin’ on Soul Note in 1985. Confessin’ was the fourth album since John Stubblefield released his debut album Prelude in 1977. Since then, he had flitted from label to label, looking for a home. Soul Note should’ve been the perfect label for the talented multi-instrumentalist. He puts his considerable skills to good use the title-track Confessin’, a nine minute opus where John Stubblefield switches to soprano saxophone and showcases his versatility on what’s one of the highlights of the compilation.
Side C.
Air were a free jazz trio that were together during the seventies and eighties. By 1981, when Air released Air Mail, the lineup had changed, and featured drummer Steve McCall, bassist Fred Hopkins and saxophonist and flautist Henry Threadgill, who won the 2016 Pulitzer Prize For Music for his album In For A Penny, In For A Pound. Thirty-five years earlier the trio who were sometimes billed as Henry Threadgill’s Air, eighth album had just been released by Black Saint and opened with BK. It’s a light, airy, example of free jazz where a Spanish influence emerges as BK meanders along, all the time ebbing and flowing. Henry Threadgill’s flute plays a starring role as the rhythm section propel the arrangement along and sometimes add flamboyant flourishes as befits this truly talented trio of free jazz musicians.
In 1984, the Billy Bang Sextet who were led by thirty-seven year old American free jazz violinist and composer released their eagerly awaited sophomore album The Fire From Within on Soul Note. One of the highlights of the album was The Nagual Julian, which featured a guest appearance by Charles Bobo Shaw who played the cowbell and augments an all-star sextet. It adds a mesmeric backdrop on this African influenced track which features the Billy Bang Sextet at the peak of their powers. Especially guitarist Oscar Sanders and bandleader Billy Bang who produces a performance befitting one of the top violinists in the history of jazz.
Side D.
Max Roach’s percussive project M’Boom released a total of five albums during the ensemble’s lifetime. The fourth album was Collage, which was released by Soul Note in 1984 and features Mr Seven an eleven minute epic. It takes up all of Side D and features a myriad of percussion which play their part in what deserves to be called a percussive masterclass.
Side E.
Multi-instrumentalist George Adams and drummer Dannie Richmond first collaborated on the album Hand To Hand, which was released on Soul Note in 1980. They hadn’t planned to record the album, as they were part of Charles Mingus’ quintet which was touring Europe. However, when the opportunity arose, they grabbed it with both hands and recorded four tracks at Barigozzi Studios, Milan during two days in February 1980. This includes the album closer Joobubie, where Charles Mingus’ take centre-stage and show what they’re capable of. Dannie Richmond drums provide the heartbeat as saxophonist George Adams plays with power, passion and control on what’s not just the highlight of Hand To Hand, but one of the highlights of the compilation.
Side F.
By 1984, trumpeter Enrico Rava was one of Italy’s most experienced jazz musicians, and was still being compared to Don Cherry. The two musicians had met in 1965, and it was after this that Enrico Rava started playing free jazz. Since then, he had been involved in a variety of projects, and in 1984 his latest project Rava released the album String Band on Soul Note. It opens with Verde Que Eu Te Quero Ver which is variously understated, ethereal, and lysergic and almost spiritual, but always enchanting.
Closing IF Music Presents You Need This! An Introduction To Black Saint and Soul Note (1975 To 1985) is Archie Shepp’s Down Home New York, which was the title-track to his 1984 album on Soul Note. It’s an eleven minute toe tapper whose roots are in the blues, as musician and social activist Archie Shepp takes the listener on a journey to Down Home New York, where he spent part of career with The New York Contemporary Five. This ensures that Jean Claude’s latest compilation for BBE ends on a high.
For anyone yet to discover the Black Saint and Soul Note labels, then there’s no better place to start than IF Music Presents You Need This! An Introduction To Black Saint and Soul Note (1975 To 1985). It was recently released by BBE, and features ten remastered tracks from the two labels founded by producer turned musical impresario Giacomo Pelliciotti.
Sadly, financial problems meant that he had to sell the company after three years, and Black Saint and Soul Note had several owners between 1975 and 1985. That is the period that IF Music Presents You Need This! An Introduction To Black Saint and Soul Note (1975 To 1985) covers.
During this period, the great and good of free jazz released albums from the award-winning labels. Some of these free jazz greats feature on IF Music Presents You Need This! An Introduction To Black Saint and Soul Note (1975 To 1985), which also features what will be new names to most people. Sadly, only jazz aficionados will know some of the names on IF Music Presents You Need This! An Introduction To Black Saint and Soul Note (1975 To 1985). However, just like the other artists on the compilation, these artists were talented, inventive and innovative, and their music deserves to reach a much winder audience.
Hopefully, after hearing IF Music Presents You Need This! An Introduction To Black Saint and Soul Note (1975 To 1985 record buyers will embark upon a journey through both label’s back-catalogues, searching for the albums these tracks are taken from. After that, they can search further into Black Saint and Soul Note back-catalogues in search of hidden gems and musical treasure. There’s plenty of both awaiting record buyers after discovering the delights of IF Music Presents You Need This! An Introduction To Black Saint and Soul Note (1975 To 1985 which is compilation that you really need in your record collection.
IF Music Presents You Need This! An Introduction To Black Saint and Soul Note (1975 To 1985.
ASTRID KULJANIC TRANSATLANTIC EXPLORATION COMPANY-RIVA.
Astrid Kuljanic Transatlantic Exploration Company-Riva.
Label: One Trick Dog Records.
It was Astrid Kuljanic’s love of jazz that resulted in her leaving her home on the beautiful island of Cres, which is a natural paradise surrounded by the deep blue Adriatic Sea. However, a new life and the opportunity of a lifetime awaited Astrid Kuljanic in the Big Apple. Somewhat reluctantly, she made the journey to New York, to study at the prestigious Manhattan School of Music, where a new life awaited the composer, arranger and vocalist Astrid Kuljanic who since graduating with a Master of Music in Jazz Performance has established a reputation for her versatility, and ability to create complex yet subtle, elegant and eclectic music.
Eclectic certainly describes the music on the Astrid Kuljanic Transatlantic Exploration Company’s debut album Riva, which will be released by One Trick Dog Records on the ‘10th’ of November 2017. It features jazz standards, Brazilian samba, bossa nova and traditional songs from the Island of Cres. Riva is the next part in Astrid Kuljanic’s journey that began back in Yugoslavia.
Astrid Kuljanic was born and grew up in Rijeka, which was then part of the former Yugoslavia. As a child, she listened to her family sing and play music. At first, Astrid Kuljanic was content to watch and listen to the music, until her older sister encouraged her to sing.
By then, the sisters were immersed in music which ranged from Italian pop to American rock and Yugoslav hits of the day. After some encouragement from her sister, Astrid Kuljanic began to sing and soon, was embracing the music that could be heard throughout the deepwater port of Rijeka.
It was the biggest port in Yugoslavia, and sailors from all over the world stopped off in Rijeka, and some brought with them music from their home country. Similarly, some of the local sailors returned from their travels with music from other parts of the world. This was the case the world over, not just in Rijeka. The influx of new music was welcomed by music lovers, including Astrid Kuljanic, who had already embarked upon a lifelong love affair with music.
Astrid Kuljanic explains: “It’s an exploration. I love exploring my roots and I love learning about other music. You can take inspiration from all sorts of places and over time, it becomes part of you.” That was certainly the case with Astrid Kuljanic, and music played a huge part in her life.
Especially when Astrid Kuljanic became an adult and returned to Cres, the island where her parents were born and brought up. This unsurprisingly holds special place in her heart, and Astrid Kuljanic fondly remembers the time she has spent in Cres. Especially a certain sheltered cove that protects a small pier. That is part of Cres that Astrid Kuljanic considers her own: “I have my spot there, at least, I consider it my spot!” she says jokingly.
It’s no surprise as it’s where both Astrid Kuljanic’s parents were born in Cres, the island where the tides of Croatia and Italy unite. While tourists who stand astounded at the abundance of beauty in this Croatian paradise, Astrid Kuljanic is used to thus beautiful, exotic backdrop and refers to the sound of the waves breaking in the background as: “our music.” However, this isn’t the only music that has been heard on Cres.
Not long after Astrid Kuljanic started speeding time on Cres, she decided that she wanted to give something back to the island. Her idea was Cres’ very first jazz festival, which she hoped would help the islanders come together. This proved to be the case, with musicians, artists and artisans on the island coming together at Cres’ inaugural jazz festival. Ten years later, and the Crescendo Music Festival is still going strong. However, one of the artisans Astrid Kuljanic met was Vesna Jakic, would later design the dress she wears on Riva.
The other event that happened during the jazz festival was a family gathering where Astrid Kuljanic and her portents, aunt and cousin sat round the kitchen table and sang. As Astrid Kuljanic listened, she was amazed at the sheer variety of language, scales and types of music. One of the songs that Astrid Kuljanic heard that night was Oj vi mlade which features on Riva, and was arranged with a reggae sway for the album. However, Astrid Kuljanic can remember the night she heard her relatives singing Oj vi mlade: “this is what we used to sing! This is it, this is ours!’ Yet the songs were all so different and so mixed. Their island identity is strong, but they embrace other influences as their own.”
It wasn’t just Cres that had embraced other influences and taken them as their own. So had Astrid Kuljanic who by then, had already spent time in several countries. She had studied to become a chemical engineer in Zagreb, but on leaving college, decided to embark upon a musical career. Astrid Kuljanic started bands with friends in Zagreb, and soon, was a familiar face on the local music scene. One of the bands, Astrid Kuljanic founded was Mildreds, a folk band who released two albums. Despite getting this far, Astrid Kuljanic felt her lack of formal musical education was holding her back musically.
Eventually, Astrid Kuljanic decided to enrol at the Trieste Conservatory, in Italy, which was the nearest music school that offered courses in jazz. This was the start of Astrid Kuljanic’s musical education, which continued at the Manhattan School of Music.
At the Manhattan School of Music, Astrid Kuljanic enrolled in its Jazz Performance course. Later, she graduated with a Master of Music in Jazz Performance. Before that, Astrid Kuljanic studied Brazilian music and percussion with Professor Rogerio Boccato who is a master percussionist. He made a big impression on Astrid Kuljanic: “I finally worked up the nerve to ask him to play with me for my final recital. We had such a great time, we’ve collaborated ever since.” Later, when Astrid Kuljanic began putting together her new band, she asked Rogerio Boccato to become part of the quartet.
Having graduated from the Manhattan School of Music, and living in New York, Astrid Kuljanic continued to embrace jazz which was one of the foundations for her own music. Astrid Kuljanic explains: “One of the things that brought me into jazz is the freedom, the improvisation. Beyond that, it’s hard for me to figure out what my favourite style of music is. I’ve always loved rock and pop. I fell for folk. I love beautiful ballads and crazy fast pieces. You can hear it on this album, which has different energy from song to song.”
Before Astrid Kuljanic could record Riva, she had to put together her own band. It would become the Astrid Kuljanic Transatlantic Exploration Company, which was her unique take on a jazz trio, which usually would feature a drummer, bassist and pianist. However, Astrid Kuljanic had other ideas and set about bringing some of her closest musical friends in the New York music scene onboard the Astrid Kuljanic Transatlantic Exploration Company.
Astrid Kuljanic first port of call was bassist Mat Muntz, who she has worked with on an Ableton Live powered electronic set that later metamorphosed into an acoustic project for the duo. They’re reunited on the captivating conversation this is Charles Mingus’ Portrait plus the cover of Wild is the Wind and the live version of The Very Thought of You which is a bonus track on Riva.
The second member of the Astrid Kuljanic Transatlantic Exploration Company was master percussionist Professor Rogerio Boccato. He plays a starring role on Edu Lobo’s Upa Neguinho, and then helps power the propulsive groove to Divojčice Rožice along. It’s a song from island of Cres, which Astrid Kuljanic hopes to bring to a wider audience.
Helping Astrid Kuljanic to do that, is the third and final member of the trio. Usually, this would be a pianist, but Astrid Kuljanic had decided to break with tradition and after thinking laterally, replaced the pianist with accordionist Benjamin Rosenblum. He was another of Astrid Kuljanic’s friends and someone she had played alongside on a number of occasions. Benjamin Rosenblum became the final member of the Astrid Kuljanic Transatlantic Exploration Company.
With the lineup of the Astrid Kuljanic Transatlantic Exploration Company finalised, the band started playing together live. Sometimes, its leader shuffled the pack, and it was a different lineup that took to the stage. This kept the band on its toes and ensured that there was an energy, immediacy and spontaneity to its organic sound. There was one thing that Astrid Kuljanic didn’t want; “I didn’t want things too polished. These are song we play all the time,” and she didn’t want to lose the immediacy and spontaneity. It didn’t matter to Astrid Kuljanic that there were a few rough edges, as long as she kept the music retained its organic sound.
When the time came to record Riva, which translates as Pier, the four members of the Astrid Kuljanic Transatlantic Exploration Company headed to the Avidon Audio Labs in New York. In the sweltering heat of the Big Apple, the Astrid Kuljanic Transatlantic Exploration Company entered the studio and were about to follow in the footsteps of countless jazz greats, who recorded an album within a day. This was a huge challenge for the Astrid Kuljanic Transatlantic Exploration Company who had eight eclectic tracks to record.
This included two traditional Croatian songs from Cres, including the ballad heart wrenching Oj VI Mlade which sways along opening Riva. Later, Divojčice Rožice which features a percussion masterclass from Rogerio Boccato as bossa nova and samba meets jazz and Croatian traditional music as the trio rework this song from Cres. Meanwhile, Astrid Kuljanic shows her versatility as once again, she breaths life, meaning and emotion into the lyrics. The addition of the accordion is a masterstroke, not only bringing the songs together but adding authenticity. Astrid Kuljanic wrote Show Me which is the perfect showcase for her vocal, as it soars above the arrangement which is propelled along by the accordion.
Quite different is the cover of Charles Mingus’ Portrait, where the tempo drops and a subtle bass accompanies Astrid Kuljanic’s tender, rueful and ruminative vocal on emotive reading of a jazz classic. Another ballad is Kamo Je Fini Ov Dan which Astrid Kuljanic wrote with Nikola Kraljic. She delivers a vocal that veers between tender to powerful and emotive against a backdrop of accordion, percussion and later, bass. When her vocal drops out, the talented trio showcase their skill and versatility, before Astrid Kuljanic returns and plays a starring role.
It’s a similar case on Edu Lobo’s Upa Neguinho, where the tempo rises percussionist Rogerio Boccato plays a starring role alongside Astrid Kuljanic’s vocal. Again the accordion helps power the arrangement along, while propulsive percussion accompanies Astrid Kuljanic’s vocal as it soars elegantly and joyously above the arrangement, adding to the irresistible sunshine sound.
Astrid Kuljanic is without doubt, a versatile singer and proof of that are the last two tracks on the album. This includes her understated cover of Dimitri Tiomkin and Ned Washington’s standard Wild Is The Wind. Straight away, the tempo drops and a lone bass accompanies Astrid Kuljanic’s soul-baring vocal as she showcases her skill as a jazz vocalist. It’s a similar case as she covers Dizzy Gillespie and Frank Paparelli’s A Night In Tunisia which closes Riva. Astrid Kuljanic improvises and scats, as jazz meets bossa nova as the arrangement meanders along closing the album on a high. Incredibly,the eight tracks that became Riva were recorded within the one day.
Although Riva was complete, a decision was made to include a cover of the Ray Noble’s standard The Very Thought Of You as a bonus track. It was recorded by the Astrid Kuljanic Transatlantic Exploration Company at the Scholes Street Studio during September 2016. The trio provided an understated jazzy backdrop for Astrid Kuljanic’s heartfelt, ethereal vocal. It’s a very welcome addition to the album, and the perfect way for the Astrid Kuljanic Transatlantic Exploration Company to take a bow on Riva.
For Astrid Kuljanic, the hope is that Riva will find an audience and cross the boundaries. That should be the case on an album where jazz, bossa nova and samba all feature. However, Astrid Kuljanic is well aware that on three of the tracks she’s trying to introduce Croatian traditional music to a non-Croatian audience. However, this is fitting and symbolic, and is a reminder of Astrid Kuljanic’s journey that began in Rijeka before heading to Cres, Trieste and finally New York. “Everything about this band and album represents the symbolic path I’ve taken from Croatia to New York, to explore the music of the world while staying connected to the place from which I embarked. I know every stone, tree, and shell in that bay. That the destination of this journey will be Carnegie Hall is something I never dreamed possible when I was leaving Croatia. It’s such an honour to get to share Cres’ treasures, Croatian culture, and the many other sounds I’ve made my own along the way.”
During this journey, Astrid Kuljanic has played alongside world-class musicians, including Theo Bleckman, Gretchen Parlato and Kate McGarry, and regularly tours Europe and America, where she’s played at some of the most prestigious venus. Astrid Kuljanic’s travels have also taken her to China, where she played at the JZ Jazz Club in Hangzhou. Just like every time Astrid Kuljanic takes to the stage, the audience witness a truly talented and versatile composer, arranger and vocalist.
Despite Astrid Kuljanic busy schedule, she still returns home each year to curate the Crescendo Jazz Festival on the island of Cres. It’s now into its tenth year, and has gone from strength-to-strength thanks to its founder Astrid Kuljanic, whose life revolves around music.
So much so, that Astrid Kuljanic’s thirst for musical knowledge has seen her study Brazilian percussion and Indian classical music in the past. Astrid Kuljanic has also experimented with electronic music, and played live with Mat Muntz who is now the bassist in the Astrid Kuljanic Transatlantic Exploration Company and played on its debut album Riva.
In a week’s time, the Astrid Kuljanic Transatlantic Exploration Company will release their debut album Riva, on One Trick Dog Records. Riva is an accomplished debut album from the multitalented Astrid Kuljanic Transatlantic Exploration Company. Their music is full of energy and immediacy as the Astrid Kuljanic Transatlantic Exploration Company play with spontaneity that results in its genre-melting organic sound.
Riva is also a truly eclectic album that features eight tracks where the Astrid Kuljanic Transatlantic Exploration Company flit between jazz standards to Brazilian samba and bossa nova, to traditional Croatian songs from island paradise of Cres. Seamlessly, the versatile and talented Astrid Kuljanic Transatlantic Exploration Company switch between Caribbean and Brazilian beats and also soul-baring ballads and joyous uptempo romps. Regardless of whichever genre of music the Astrid Kuljanic Transatlantic Exploration Company is playing on their debut album Riva, they play with energy, immediacy and spontaneity on album where the music is beautiful, joyous, ruminative and uplifting.
Astrid Kuljanic Transatlantic Exploration Company-Riva.
CHI COLTRANE-CHI COLTRANE, LET IT RIDE AND SILK AND STEEL.
Chi Coltrane-Chi Coltrane, Let It Ride and Silk and Steel.
Label: BGO Records.
The word prodigy is an overused word, but that is the only way to describe Chi Coltrane who could play eight different instruments by the time she was twelve. What makes this all the more remarkable is that Chi Coltrane had absolutely no formal musical training. Instead, her ability to play such a wide variety of instruments was innate. It was her gift. Eventually, Chi Coltrane decided to concentrate on one instrument the piano.
It was at the piano that eighteen year old Chi Coltrane wrote her first song as an eighteen year old. By then, she was a playing bars, clubs and restaurants in Chicago. That was where she was discovered by the manager of the Shubert Theatre, who took Chi Coltrane to the West Coast where she recorded a six song demo which was sent to Columbia Records. Soon, an audition with Clive Davis was arranged, and after singing just one verse Chi Coltrane was offered a contract.
With the contract signed, Chi Coltrane recorded a trio of albums for Columbia Records. These albums, Chi Coltrane, Let It Ride and Silk and Steel have been digitally remastered and reissued by BGO Records as a two CD set. For Chi Coltrane, embarking upon a career as a singer-songwriter was her destiny. It was what she as born to do.
Chi Coltrane was born on November the ’16th’ 1948 in Racine, Wisconsin, and was one of seven children born to a Canadian mother and German father who was a violinist. Soon, it became apparent that Chi Coltrane had inherited his musical talent.
Just like most young girls growing up in the early fifties, Chi Coltrane and her friends played with dolls. One day seven-year old Chi Coltrane took her doll and went to play with her friend next door. When she went into the house, Chi Coltrane discovered the family piano. Suddenly, Chi Coltrane lost interest in her dolls and started to play the piano. This was the start of a new chapter in Chi Coltrane’s young life.
Not long after this, Chi Coltrane’s mother remarried and moved into her stepfather’s house, where she discovered a piano. When Chi Coltrane started to play the piano, her mother was surprised. She had no idea about her daughter’s musical gift. Soon, Chi Coltrane’s mother was receiving notes from the school telling her that her daughter was gifted musically.
That was something of an understatement. By the time Chi Coltrane was twelve, she was able to play eight different musical instruments. She could usually work out how to play an instruments within an hour. This was almost unheard of. However, it wasn’t Chi Coltrane’s only gift.
Another innate gift that Chi Coltrane had, was the ability to empathise and connect with animals. This was an unusual gift something very few people were able to do. However, Chi Coltrane was a very gifted child.
Meanwhile, Chi Coltrane was singing in church, where he voice started to develop. Soon, she was being asked to sing solo, which allowed Chi Coltrane to become used to singing in front of audiences. This would stand her in good stead for the future.
By her late teens, Chi Coltrane was already singing in bars, clubs, restaurants and supper clubs in Chicago. This was where Chi Coltrane would serve her musical apprenticeship over the next few years and mature as a singer and indeed songwriter.
Chi Coltrane had already written her first song as an eighteen year old, and this was the start of a successful songwriting career. However, the patrons at the establishments Chi Coltrane played and sang at, wanted to hear very different songs. So Chi Coltrane made a point of learning the classic songs that her older, wealthier audience would enjoy.
Many of the venues Chi Coltrane played at were frequented by some of Chicago’s local celebrities, politicians and businesspeople, and each night, she tailored her sets to the suit her audience. As she sang and played the piano, the audiences started to take notice of the young singer. Sometimes they spoke to Chi Coltrane, and many members of her appreciative audience left tips in the crystal jar that sat on top of her piano. Before log, Chi Coltrane was a popular draw across the Windy City with people flocking to see the young singer.
This included the manager of the Shubert Theatre, who when he heard Chi Coltrane singing in a restaurant, suddenly lost all interest in his meal. All he wanted to do was listen to the singer next door on the lounge. When he arrived in the lounge and listened to Chi Coltrane, he realised that this was no ordinary singer. By the end of the evening, Chi Coltrane had a new manager who would take the young singer-songwriter to the West Coast.
When Chi Coltrane and her new manager arrived in the West Coast, she recorded a six song demo which was promptly dispatched to Columbia Records. The demo worked its magic, and Chi Coltrane was invited audition in front of Clive Davis. He asked Chi Coltrane to sing, and before she had finished the first verse, was offering the her a contract. The years that Chi Coltrane had spent playing the local circuit in Chicago had paid off. That was her
Chi Coltrane.
With the contract signed, Chi Coltrane was soon working on her debut album for Columbia Records. She was paired with studio drummer turned producer Toxey French. He had played on albums by some well known artists including Judy Henske, The Dillards and Tommy Rae. More recently, Toxey French had produced another Los Angeles based singer-songwriter Patty Dahlstrom. This was most likely why he was paired with Chi Coltrane.
Despite not yet being twenty-four, Chi Coltrane was writing songs that belied her relative youth. She was maturing into a talented and versatile songwriter who had an old head on young shoulders. When it came to choosing the material for her eponymous debut album, the eleven songs that were all Chi Coltrane compositions. They were recorded by a band that featured some of LA’s top session players.
Columbia Records was backing their latest signing by allowing producer Toxey French to put together a band that included some of the finest session musicians LA had to offer. Some of the musicians featured on the entire album, while others featured on one or two tracks. This included a rhythm section that included drummers Jim Gordon and Ron Tutt, bassist Larry Knechtel, Lee Sklar and Steve Lefever and guitarists Dean Parks and Ben Benay. They were augmented by percussionist Victor Feldman, King Errisson on congas, plus strings, woodwinds, horns and The Billy Barnum Chorus. No expense was spared for Chi Coltrane who played piano, organ and added vocals. She also on arranged the eleven songs with producer Toxey French, and was involved in the production process on her eponymous debut album.
With Chi Coltrane completed, the time came to choose a lead single. This was a hugely important decision that could make or break an album. If the wrong song was chosen, an album could sink without trace. That wasn’t the case with Chi Coltrane which was full of possible singles. Eventually, the song that became the lead single, was the song that opened the album, Thunder and Lightning.
Thunder and Lightning was the perfect debut single for Chi Coltrane, who unleashes one of her trademark vocal powerhouse on this soulful single. This was very different to many of the Laurel Canyon singers who didn’t lacked the power, control or soulfulness that Chi Coltrane had. When Thunder And Lightning was released as a single in 1972, it reached seventeen in the US Billboard 100 and entered the top ten in the Cash Box and Record World charts. This was the perfect start to Chi Coltrane’s recording career.
Meanwhile, Chi Coltrane was released to critical acclaim later in 1972, and spent the best part of the three months in the US Billboard 200 and found an audience across mainland Europe. Already, twenty-four years Chi Coltrane was enjoying success on both sides of the Atlantic.
Key to the sound and success of Chi Coltrane were three things. The first was Chi Coltrane’s songwriting skills. Every one of the eleven songs oozed quality and told a story. Then there was Chi Coltrane’s vocal that veered between powerful to tender and emotive. However, what made Chi Coltrane standout from the rest was her piano playing. She was a much more talented and practised pianist than many of her contemporaries. They could only play much basic block chords and arpeggios, while Chi Coltrane was a virtuoso who music flowed through.
That was the case on Chi Coltrane, which featured a number of beautiful and heart wrenching ballads followed the explosive album opener Thunder And Lightning. These ballads included Goodbye John, You Were My Friend, Turn Me Around, The Tree and It’s Really Come To This. They were joined by the spiritual sounding Go Like Elijah and the uplifting Feelin’ Good. I Will Not Dance features an almost defiant vocal from Chi Coltrane. It gives way to the power ballad Time To Come In which has a Laurel Canyon sound. This leaves the ruminative ballad The Wheel Of Life closes Chi Coltrane and showcases her talents as a singer and songwriter with her critically acclaimed and commercially successful debut album.
That wasn’t the end of the success for Chi Coltrane. Go Like Elijah was released as a single later in 1972, and although it failed to triable the charts in America, Go Like Elijah spent a month at number one in the Netherlands. This gave Chi Coltrane her first number one single, and was something to celebrate.
By then, Chi Coltrane was enjoying success across Europe. Just like many American before her, Chi Coltrane was more popular in Europe than in America. The only country she had yet to make a breakthrough was in Britain, where restrictive trade union practises hampered her progress.
This came about when Chi Coltrane’s appearance on Old Grey Whistle Test was cancelled at the last-minute. A musician’s union rule stated that if an American musician appeared on British television, a British musician had to be booked to appear on American television. When that wasn’t about to happen, Chi Coltrane’s television appearance was suddenly cancelled. Despite that disappointment, Chi Coltrane had come a long way since the release of her eponymous debut album.
Let It Ride.
After the success of Chi Coltrane the twenty-four year old singer-songwriter decided to enrol at the Salter School of Music in Los Angeles. She managed to combined the course with her burgeoning musical career.
One of Chi Coltrane’s priorities was writing her eagerly awaited sophomore album Let It Ride. Chi Coltrane wrote nine new songs, which joined Hallelujah which was written by Gary Zekley, Mitch Bottler and Roberta Twain. With the songs written, Chi Coltrane was already thinking about asking if she could produce Let It Ride herself. She had learnt a lot from producer Toxey French, and was ready to put that knowledge to good use.
When Chi Coltrane asked about producing Let It Ride, executives at Columbia Records agreed, pointing out that she was essentially the de facto producer of her eponymous album.
Now that it had been agreed that Chi Coltrane could produce Let It Ride, she set about putting together a band that featured a mixture of old faces and new names. The rhythm section included drummers Jim Gordon, Jim Keltner, Barry De Souza and Steve Parsons, bassists Larry Knechtel, Chris Lawrence, Emory Gordy, Joe Puerta, John Gustafson, Klaus Voorman and Mark Cipola and guitarists Ben Benay, Larry Byron and Lee Ritenour. They were joined by Paul Buckmaster on synths, Alan Estes on tambourine and Bobbye Hall who played congas and tambourine. Completing the lineup were backing vocalists Merry Clayton, Clydie King and Stephanie Spruill plus a horn, string and woodwind section. This was the band that accompanied Chi Coltrane at Mama Jo’s studio in North Hollywood, and Trident Studios in London, during her European tour.
Once Let It Ride was completed, Chi Coltrane’s sophomore album was released later in 1973. By then, Chi Coltrane had established a following within the music press who realised that she was a cut above the majority of singer-songwriters around at that time. Proof of that was Let It Ride.
Let It Ride featured a songwriting masterclass from Chi Coltrane who as a vocalist, was equally comfortable on ballads and uptempo songs. She could breath life, meaning and emotion into the lyrics which often were filmic, while others including Hallelujah and Let It Ride were akin to ‘21st’ Century spirituals.
Short’nin’ Bread, Fly-Away Bluebird and It’s Not Easy showcase a bluesy, soulful sound which shows another side to Chi Coltrane. Feather My Bed is another song whose roots are in the blues, while Who Ever Told You can only be described as explosive and irresistible as Chi Coltrane uses allegories throughout the song. Chi Coltrane then returns to familiar territory on the ballads which are tales of love and love lost, including the soul-baring Different Ways, Myself To You and the album closer Forget Love.
Critics hailed Let It Ride as an even better album than Chi Coltrane. She had reached new heights on an album that marked the musical coming of age of twenty-six year old Chi Coltrane.
When Let It Ride was released in 1973, it was more popular in Europe than in America. Let It Ride was quickly certified gold in several European countries. It was only later that Chi Coltrane would be certified gold in these countries. By then, all wasn’t well at Columbia Records.
Clive Davis left Columbia Records not long after the release of Let It Ride. After some changes within Columbia Records, it became apparent that Chi Coltrane wasn’t high on the label’s priorities. Eventually, Chi Coltrane’s lawyer negotiated her release from the Columbia Records’ contract.
Road To Tomorrow.
Now the search began for a new label for Chi Coltrane. By then, over three years had passed since the release of Let It Ride. Despite this, Chi Coltrane had no problem finding a new label, and signed a two album deal with the TK/Cloud label, a Miami based label which specialised in disco, funk and soul releases.
Given Chi Coltrane’s musical background, the TK/Cloud label seemed the wrong label for the LA based singer-songwriter. Despite the misgivings of many music industry insiders, Chi Coltrane began work on their album Road To Tomorrow.
It featured ten new songs penned by Chi Coltrane, which were recorded by a band that featured some of LA’s top session musicians including drummer Jim Gordon and Jeff Porcaro and percussionist Victor Feldman who also played vibes. Adding backing vocals was none other than Jennifer Warnes. Some members of this multitalented had worked with Chi Coltrane before on her two previous albums. However, Road To Tomorrow was the first album produced by Peter Bernstein.
When Road To Tomorrow was released the album was well received by critics, but failed to find an audience in America. Road To Tomorrow was more popular in America, but failed to replicate the success of Chi Coltrane and Let It Ride. This was disappointing for Chi Coltrane.
Fortunately, fate intervened when Chi Coltrane attended a meeting at the Beverley Hills Hilton, and mistakenly went into a room where a CBS conference was taking place. Straight away, the various executives recognised Chi Coltrane and soon, were trying to sign her to CBS Germany. The only problem was the contract with TK/Cloud.
Eventually, a decision was made that CBS Germany would offer to buy Chi Coltrane out of her contract with TK/Cloud. When CBS Germany approached the Miami-based label, they accepted the offer and Chi Coltrane was free to sign to another major label. She was going up in the world again.
Silk and Steel.
As soon as Chi Coltrane had signed to CBS Germany, she began work on Silk and Steel, her fourth album. Eventually, Chi Coltrane had written eight new songs that would become Silk and Steel. It featured a very different band and producers.
For the recording of Silk and Steel, Larry Brown and Freddie Piro were chosen to produce the album. Wim Kutz and Chi Coltrane assumed the role of associate producers, as she began working with a new band.
Joining Chi Coltrane was a rhythm section of drummers David Kemper and Mark Sanders, bassists Charlie Souza, David Edelstein and Jeff Eyrick and guitarists Daryl Caraco, David Mansfield, Eric Turner, Steve Hunter and Tom Fowle. They were joined by Bernie Leadon on acoustic guitar and Larry Brown who played synths and percussion. As usual, Chi Coltrane played piano, keyboards and now synths while adding lead vocals. Once the album was complete it was ready for release in 1980.
Silk and Steel marked a return to form from Chi Coltrane. Her carefully crafted fourth album received praise and plaudits from critics, who were won over by the longer songs on Silk and Steel that which was a quite personal album for Chi Coltrane.
By then, Chi Coltrane was constantly touring and playing around 300 concerts each year. This was starting to take its toll and she deals with the exhaustion caused by gruelling tours on uptempo rocker Jet Lag. Chi Coltrane unleashes vocal powerhouses on the uptempo rocker Leaving It All Behind and the rocky Goin’ Round deals with the perils, pain and pleasure caused by romance. Don’t Forget The Queen was a pop rock ballad, while Blinded By Love was hurt-filled ballad. Then on Kick Back and Anymore Chi Coltrane and her back kick loose. However, it’s Chi Coltrane’s defiant powerhouse vocals that steal the show on these rock tracks. Closing Silk and Steel was Travel Light a thoughtful sounding ballad with an anti-materialism message. It’s one of the highlights of the album.
Eight years after releasing her debut album, Chi Coltrane released her fourth album Silk and Steel, which showcased a truly versatile vocalist who was maturing with every album. Sadly, still commercial success continued to elude Chi Coltrane at home, and again, Silk and Steel was more popular in Europe than in America. It was a familiar story for Chi Coltrane.
That had been the case since Chi Coltrane released her sophomore album Let It Ride. Since then, her albums sold well in Europe and her concerts sold out. Meanwhile, in America Chi Coltrane was still trying to replicate the success of her 1972 eponymous debut album.
Sadly, Chi Coltrane never came close to replicating the success of her eponymous debut album at home in America. Meanwhile, Chi Coltrane’s career was blossoming in Europe. Eventually, she decided to move to Europe, which became her adopted home.
In Europe, Chi Coltrane’s 1982 album Live, 1983s Ready To Roll and 1986s The Message sold well. Sadly, nearly two decades of constant touring took its toll on Chi Coltrane. She was exhausted and had burnt out.
Chi Coltrane was no longer able to play live and it wasn’t until a holistic doctor treated the illness in 2007, that she was able to make a comeback. Five years later, in 2012, and Chi Coltrane released her second live album The Comeback Concert-Live In Vienna. Fifty-four year old Chi Coltrane was back doing what she did best, making music.
That what she had been doing since releasing her eponymous debut album in 1972. Chi Coltrane, Let It Ride and Silk and Steel were recently digitally remastered and reissued as part of a two CD set by BGO Records. This is a welcome release that is a reminder of the prodigiously tainted Chi Coltrane at the peak of her powers, on Chi Coltrane, Let It Ride and Silk and Steel.
Chi Coltrane-Chi Coltrane, Let It Ride and Silk and Steel.
GILLIAN HILLS-ZOU BISOU BISOU: TOUT EN FRANCAIS THE YE-YE YEARS 1960-1965.
Gillian Hills-Zou Bisou Bisou: Tout En Français-The Yé-Yé Years 1960-1965.
Gillian Hills was born in Cairo, Egypt, on the ‘5th’ of June 1944 and was the daughter of teacher, traveller, author and adventurer Denis Hills and Dunia Leśmianowna, daughter of Polish poet Bolesław Leśmian. Much of Gillian Hills’ early life was spent in France which was where the fourteen year old came to the attention of film director Roger Vadim.
From the moment Roger Vadim met Gillian Hills, he thought that he discovered the British equivalent of Brigitte Bardot. Within a year, Roger Vadim cast Gillian Hills in the lead role of Les Liaisons dangereuse in 1959. So controversial was the film, that Gillian Hills had no option but to leave school.
The following year, 1960, Gillian Hills starred alongside Adam Faith in Beat Girl, which featured John Barry’s first ever film score. Two of the films’ stars, Adam Faith and Shirley Ann Field featured on the soundtrack and when Gillian Hills heard it, this was a eureka moment. She realised there and then that she wanted to become a singer.
Not long after that, Gillian Hills signed a deal with agent Jacques Alain, who brokered a deal with record producer Eddie Barclay who had founded and owned the Paris-based Barclay label.Their latest signing was actress turned singer Gillian Hills, who would spend the next five years signed the Barclay label. That period is celebrated on a new compilation Zou Bisou Bisou: Tout En Français-The Yé-Yé Years 1960-1965 which was recently released by Ace International.
Zou Bisou Bisou: Tout En Français-The Yé-Yé Years 1960-1965 features twenty-two tracks from the fifteen EPs that Gillian Hill released for the Barclay label. During the period the compilation covers, French music was changing and moving away from the chanson traditional that had previously provided the soundtrack to life. Between 1960 and 1965, many singers in France embraced the new pop and rock which had grown in popularity. This included Gillian Hills was in the right place at the right time, and was a beneficiary of the change in musical tastes in France.
Having signed to Barclay, Gillian Hills’ recording career began later in 1960. For her Barclay debut, Eddie Barclay decided to pair Gillian Hills with French comedian and singer Henri Salvador on the EP Allo Brigitte? Ne Coupez Pas! It was released in August 1960, and featured Cha Cha Stop which was regarded as the highlight of an EP, that resulted in Gillian Hills being compared with Brigitte Bardot This was a comparison that Gillian Hills was unable to shake off.
Later in 1960, Près De La Cascade was released as a single, with Cha Cha Stop relegated to the B-Side. However, the next time Gillian Hills released a single, she would take star billing.
Three months later, and Gillian Hills returned with a new EP Si tu veux que je te dise. It was joined by the catchy cover of Jo Ann Campbell’s Le Paradis Pour Toi (A Kookie Little Paradise) and Ma Première Cigarette (Smokin’ My First Cigarette) which became a favourite of Gillian Hills. However, the young singer had no say in which songs that she was recorded. Instead, she had to rely on others to choose the right songs for her.
In February 1961, Gillian Hills returned released the Jean Lou EP. Ballads were the older of the day on Gillian Hills’ latest EP. Eddie Barclay had employed Charles Aznavour to write two songs for Gillian Hills. Both Jean Lou and Ne Crois Surtout Pas were jazz pop ballads and suited Gillian Hills, who was already proving a versatile vocalist. Proof of that was Un Petit Baiser (The Kiss) a string drenched ballad where Gillian Hills delivers a heartfelt vocal. It plays its part of what was the strongest EP of Gillian Hills’ short career.
Just a few months later, Gillian Hills returned with the Zou Bisou Bisou EP. The highlight of the EP was Zou Bisou Bisou where Gillian Hills delivers a playful, kittenish cover of a song originality covered by another actress, Sophia Loren for the soundtrack to The Millionaires. Fifty-one years later, and it was Zou Bisou Bisou that sparked a resurgence of interest in Gillian Hills’ music when the song featured in an episode of Mad Men in 2012. That was all in the future.
After the release of the Zou Bisou Bisou EP, the Barclay label was struggling to work out how to market Gillian Hills. Up until then, her music hadn’t been aimed at the teenage market, which seemed her natural audience. As a result, Gillian Hills’ releases hadn’t enjoyed the commercial success that everyone had hoped. It was time for Eddie Barclay to rethink how he was going to market seventeen year old Gillian Hills in the future.
In the autumn of 1961, Gillian Hills joined Johnny Hallyday when he made his debut at the Olympia Theatre in Paris. It was one of the most prestigious venues in the French capital, and was where Johnny Hallyday showcased his new rockier sound. This was a sound that many other artists would embrace in the future, including Gillian Hills.
As the new year dawned, Gillian Hills Accompagnée Par Jean Bouchéty Et Son Orchestre released the En Dansant Le Twist EP in January 1962. It was aimed squarely at the teenage market, who could relate to Gillian Hills and the songs on the EP. Especially the ballad Mon Coeur Est Prêt (Don’t Treat Me Like A Child), where Gillian Hills spoke for generation of teenagers. Another of the highlights of the EP was the uptempo, filmic sounding Les Jolis Coeurs (Kiss’N’ Run). These two tracks showcased two different sides of Gillian Hill as she began a new chapter in her career.
Gillian Hills next EP featured four songs from her latest movie, Les Parisiennes which also starred Johnny Hallyday and Catherine Deneuve. Les Chaussettes Noires Avec Gillian Hills released the Musique Du Film Les Parisiennes in February 1962 and featured the uptempo song C’est Bien Mieux Comme Ça. When it was released as a single in America, it gave Gillian Hills the second hit of her career as she continued to reinvent her sound.
By the time Gillian Hills released her Avec Toi EP in November 1963, she was writing her own songs. Four of her new songs featured on her Avec Toi EP. This included the irresistible uptempo, horn driven Tu Mens, Avec Toi, Ne T’en Fais Pas and Maintenant Il Téléphone an organ driven song that is one of Gillian Hills’ most memorable compositions. These four new songs showcased a burgeoning songwriter who looked as if she had great future ahead of her. After all, Gillian Hills was able to write distinctive and catchy songs that should’ve struck a chord with record buyers. Sadly, the Avec Toi EP failed to find the audience it deserved. For Gillian Hills this was a disappointing start to her songwriting career.
Barclay must have thought that the Avec Toi EP would’ve been a commercial success as Gillian Hills returned to the studio in November 1963. The Qui a Su EP was released in January 1964, and also featured Oublie, C’est Le Garçon and Je Partirai. Just live the Avec Toi EP, Gillian Hills had written the four songs on the Qui a Su EP. She was already maturing as a songwriter, and had come a long way in a short time. Proof of that were Oublie and C’est Le Garçon which featured a much tougher, contemporary sound that should’ve found favour with record buyers. So should the ballad Je Partirai, where horns and harmonies accompany Gillian Hills. Sadly, once again, commercial success eluded Gillian Hills, and at the end of 1964, she was dropped by Barclay.
For Gillian Hills this was a huge blow. She had spent the last four years trying to forge a career as a singer. However, she had only enjoyed two hit singles. Considering she had released fourteen EPs and a couple of singles, this wasn’t good enough for Eddie Barclay. However, Gillian Hills was determined to have one last roll of the dice.
For her next EP, Gillian Hills signed to the Disc’Az label which was owned by the radio station Europe 1. Gillian Hills entered the studio and recorded four songs including her latest composition Rien N’est Changé. It joined cover versions of
The Zombies’ Leave Me Be which became Rentre Sans Moi, while The Lollipops’ Busy Signal became Tut, Tut, Tut, Tut. These songs became the Rien N’est Changé EP, which released in 1965. For Gillian Hills it was a case of now or never.
By the time the Rien N’est Changé EP was released, Gillian Hills’ profile had never been higher. She was a film star and a familiar face in magazines where she modelled the latest fashions and endorsed or advertised various products. With her profile so high, and a carefully orchestrated marketing campaign, the Disc’Az label had high hopes for the Rien N’est Changé EP. Sadly the EP which featured carefully chosen cover versions and Gillian Hills’ latest composition failed commercially. It was the end of Gillian Hills’ recording career in France.
By the end of 1965, Gillian Hills’ recording career was over, and she returned to acting full-time. She had managed to successfully juggle her acting and musical careers between 1960 and 1965. However, during that five-year period, Gillian Hills had only enjoyed two hit singles. Gillian Hills had failed to replicate the success of the other high-profile Yé-Yé singers. However, many of Gillian Hills’ other EPs didn’t enjoy the success that they deserved.
Many times, Gillian Hills’ EPs slipped under the radar, and it was a case of what might have been for this versatile and talented singer and later, songwriter? Maybe Barclay was the wrong label for Gillian Hills, and she would’ve enjoyed more success if she had signed to a major label? Possibly things would’ve been very different for Gillian Hills, and she would’ve gone on to enjoy a long and successful career? Sadly, that wasn’t to be commercial success eluded Gillian Hills for the majority of her career.
That is a great shame, as Gillian Hills’ music certainly deserved to be heard by a wider audience. Now fifty-two years after Gillian Hills retired from music, Ace International, an imprint of Ace Records have released Zou Bisou Bisou: Tout En Français-The Yé-Yé Years 1960-1965, which is the perfect primer to Gillian Hills the actor turned singer-songwriter whose career lasted just five years and was over by the time she was twenty-one.
Gillian Hills-Zou Bisou Bisou: Tout En Français-The Yé-Yé Years 1960-1965.
HANNE HUKKELBERG-TRUST.
Hanne Hukkelberg-Trust.
Label: Propeller Recordings.
From an early age, children are taught that the best way achieve something is to start at the beginning. That is the gospel according to countless generations of teachers and Julie Andrews in the Sound Of Music, who believed it’s: “a very good place to start.” However, that isn’t always the case.
It certainly wasn’t for Hanne Hukkelberg when she began work on her eagerly awaited fifth album Trust, which will be released by Oslo-based Propeller Recordings on the ‘10th’ of November 2017. The impetus and inspiration for Trust was the release of Hanne Hukkelberg’s critically acclaimed fourth album Featherbrain in 2012. This marked the end of a musical cycle for Hanne Hukkelberg, who by then, had realised that it was time for her to change direction musician.
By then, Hanne Hukkelberg was thirty-three and one of Norway’s leading singer-songwriters. She was also an innovative and influential artist who was inspiring a new generation of musicians. She had come a long way since releasing her Cast Anchor EP in 2003. Nine years later, she had just released her fourth album, but was already thinking about the followup. Hanne Hukkelberg explains:“This album really started with the last…I decided that I wanted to make something more than, and something very different to, ‘Featherbrain’ and was writing with [longstanding band member and collaborator] Mai Elise Solberg.” The result was Trust, which is cerebral and thought-provoking album of melodic music that marks the start of a new chapter in Hanne Hukkelberg’s career.
Hanne Hukkelberg was born on the ’17th’ of April 1979, in Kongsberg, Norway, and by the age of three, she started singing and playing various musical instruments. By the time she was a teenager, Hanne Hukkelberg was already a versatile vocalist and was capable of singing everything from jazz and rock to free jazz. Later, Hanne Hukkelberg Hanne Hukkelberg joined the doom metal band Funeral whilst at high school.
By the time Funeral recorded the demo The Passion Play, Hanne Hukkelberg was studying at the Norwegian Academy of Music. In 2002, Hanne Hukkelberg added the vocals on Funeral’s sophomore album In Fields of Pestilent Grief. It was Funeral’s first album in seven years, and the only one to feature Hanne Hukkelberg who had graduated, and was about to embark upon a solo career.
In 2003, Hanne Hukkelberg’s solo career began when she released her Cast Anchor EP, which was the first release on the nascent Proper Recordings’ label. When critics heard the Cast Anchor EP, comparisons were being drawn to Joni Mitchell, Björk and Nina Simone. Hanne Hukkelberg’s debut album was eagerly awaited.
Nearly two years later, Hanne Hukkelberg returned with her debut album Little Things, which showcased a talented singer-songwriter. Critics believed that Hanne Hukkelberg had a big future ahead of her.
This proved prescient, when Hanne Hukkelberg’s critically acclaimed sophomore album Rykestrasse 68 won a Spellemannsprisen, which is the Norwegian equivalent of a Grammy Award in the Open Class category. By then, Hanne Hukkelberg was already receiving praise and plaudits from critics in Europe, Britain and America.
Three years passed before Hanne Hukkelberg returned with her third album Blood From A Stone in May 2009. It was partly inspired by Hanne Hukkelberg’s time as a member of various rock bands, and the music she had listened to growing up. This ranged from the Cocteau Twins, Pixies, Einstüerzende Neubauten, Siouxsie and The Banshees and PJ Harvey. They influenced and inspired an album where Hanne Hukkelberg married rock music with a variety of field recordings. The result was an ambitious and captivating album that found favour with critics.
Just under three years later, and Hanne Hukkelberg returned with her fourth album Featherbrain. It was, without doubt, the most ambitious album of Hanne Hukkelberg’s career so far. Featherbrain featured carefully crafted, genre-melting soundscapes that showcased Hanne Hukkelberg’s vocal prowess on an album that combined elements pf experimental jazz, avant-garde and ambient music. Critical hailed Featherbrain as the finest album of Hanne Hukkelberg’s career.
While most artists would’ve wanted to bask in the glow of critical acclaim, Hanne Hukkelberg was already thinking about the followup to Featherbrain. She had decided that it was going to be a very different album, work would soon begin working with band member and collaborator Mai Elise Solberg.
The pair decided to head in what were new and untried directions for Hanne Hukkelberg. Her music had neither incorporated elements of nineties rave nor club music. None of Hanne Hukkelberg’s four previous albums had featured the hardcore rhythms and big bass melodies of dubstep and trap. Maybe her fifth album wouldn’t either? That was all in the future.
Over the next few years, Hanne Hukkelberg was involved with a variety of different projects. This included touring extensively with Wilco, Andrew Bird and José González. Then in 2014, Hanne Hukkelberg was invited to join Bryan Ferry when he covered Johnny and Mary for his fifteenth studio album Avonmore. Hanne Hukkelberg also collaborated with some of the leading lights of Norwegian music, including Todd Terje, Jaga Jazzist, Bernhoft and Morton Qvenild. Still, Hanne Hukkelberg found time to write the soundtrack to the film It Was Mine, which was based on a short story by Paul Auster. Hanne Hukkelberg also co-produced Racing Heart’s 2016 album What Comes After with Jenny Hval. However, there was still the small matter of Hanne Hukkelberg’s fifth solo album Trust.
By the summer of 2017, Hanne Hukkelberg and her band had written and recorded the nine new songs that became Trust. It was the most cerebral and thought-provoking album of Hanne Hukkelberg’s career. She looks at everything from the digital age, cyber society, virtual reality and the differences between networks and community.
Hanne Hukkelberg explains that: “the album is a combination of personal experience and a wider observation of society and how I feel people are living their lives. It’s strange to think we are the last generation to have experienced the world without Internet. The question of identity has changed from being something you are born with to a task–you have to create your own community. The difference between a community and a network is that you belong to a community, but a network belongs to you. You can add friends if you wish, you can delete them if you wish. You feel in control.” That is one of things that is apparent on Hanne Hukkelberg’s new album.
There is also a thread that runs through the album…Trust. Hanne Hukkelberg states that: “Trust is something that will never expire, it’s a quality that we’ll retain in both real and virtual life.” It’s omnipresent through Hanne Hukkelberg’s new album which features nine new songs.
The nine new songs were written and recorded when Hanne Hukkelberg working on the other projects that had kept her occupied since the release of Featherbrain. Just like previous albums, Hanne Hukkelberg collaborated with Mai Elise Solberg who He has been a member of her band for some time.
One of the first songs that Hanne Hukkelberg and Mai Elise Solberg wrote was A Machine’s Heartbreak, which initially, commissioned by a US music library. When it was recorded, Hanne Hukkelberg and band pushed musical boundaries to their limits as they unleashed an array of synths and samples that replicate human life in the digital age. This set the tone for the what is the most ambitious, album, cerebral and thought-provoking album of Hanne Hukkelberg’s career…Trust.
Trust opens with Europium Heights which is a dystopian, but hopeful; “letter to the future” which was inspired by writers, scientists and philosophers including George Orwell, Noam Chomsky, Zygmunt Bauman, Naomi Klein, Yuval Noah Harari and Simon Sinek. Straight away, what sounds like an array of industrial sounds join wistful horns and a drum machine as they usher in Hanne Hukkelberg’s vocal. Effects are added to her thoughtful as she begins to deliver her hopeful; “letter to the future.” Later, drums pound and combine with synths as they create an arrangement whose roots are in dance music. Meanwhile, Hanne Hukkelberg’s vocal has grown in power as she delivers a vocal filled with hope for the future, as this melodic and memorable song reaches a crescendo.
On IRL which was one of the singles released from Trust,Hanne Hukkelberg no longer feels in control, and explains how: ‘the Internet and social media have such an impact on my life, and I’m often made aware of how addicted I am to this ‘digital beast’. How can something that is not part of our basic nature be so consuming? I experience hollowness, emptiness and overexposure, which is offset by superficial fun and distraction.”
All this becomes apparent on IRL, where field recordings are deployed as the song unfolds. A crackling sound gives way to the eerie sound of an owl, before keyboards, synths and a vocoded vocal play their part in this carefully crafted fusion of dance music, electronica and pop. The arrangement ebbs and flows but is stripped bare when Hanne Hukkelberg’s vocal enters. It’s a mixture of confusion and despair at the effect the “digital beast” is having on her life. From there, hooks haven’t been spared on a track that is anthemic, dancefloor and full of social comment. It’s also one of the highlights of Trust, and showcases Hanne Hukkelberg’s vocal prowess.
Just like IRL, The Whip was released as a single. It features guest artist Ingrid Helene Håvik of Highasakite. She and Hanne Hukkelberg examine the pursuit of perfection and encourages the listener to trust others. Glistening keyboards add an element of drama before Ingrid Helene Håvik adds a tough, feisty vocal. Meanwhile, synths join with a drum machine in creating a slow, almost moody backdrop. Soon, Hanne Hukkelberg enters as the tempo builds before dropping. From there, the genre-melting arrangement ebbs and flows, before growing in power and drama. At the heart of the drama is the array of synths and drums which provide the perfect backdrop for the emotive vocals. With just under thirty-seconds remaining, the arrangement dissipates leaving just the memory of another carefully crafted fusion of music and social comment.
Embroidery was originally written for one of Norway’s leading singer-songwriters Emilie Nicolas. She makes a guest appearance on Embroidery, which deals with trust. Especially trusting oneself. Straight away, waves of music assail the listener. When they drop out, just drums accompany the tender vocal. Soon, the arrangement builds with keyboards, synths and drums creating an arrangement whose roots are in dance music. Hanne Hukkelberg’s vocal veers between tender and emotive, apart from when effects are added. She brings the lyrics to life as synths growl and glisten while drums pound. While they play their part in the sound and success of this carefully crafted track which is one of the highlights of Trust.
Fall is a song that came to Hanne Hukkelberg as the day dawned. She explains: “this song came to me when I was sleeping. Quite literally, it was the alarm tone on my iPhone,…I was slowly waking up, and had the whole song and lyric in my head, ready to record it. It starts with a kiss from Albert, my youngest son, and the lyric is simply about getting up again and again, and to keep hanging on.”
On Fall, Hanne Hukkelberg delivers a tender, hopeful vocal sung against a slow backdrop of synths, percussion and handclaps. Later, Hanne Hukkelberg’s vocal becomes triumphant sound as she sings: “And I fall, but I’ll rise, I’ll rise again” on this melodic and memorable marriage of electronica and pop.
From the opening bars of Raindrops, what can only be described a hook-laden dancefloor friendly anthem unfolds. It’s an irresistible track that is sure to appeal to both dancers and DJs. Banks of synths and drums provide the backdrop for Hanne Hukkelberg as she’s transformed into a dancefloor diva. It’s a role she embraces and seems to relish, on a dancefloor filler where the hooks haven’t been spared.
Silverhaired is another song about trusting oneself. Hanne Hukkelberg explains how: “I actually started writing and recording this song more than ten years ago, and many of those original elements remain on the final recording today. It’s about being young, and how frustrating and painful that can be. Given the chance, I’d travel back in time and just tell myself everything is going to be OK.”
The sound of bells ringing and clocks chiming are just two of the samples used on Silverhaired, before Hanne Hukkelberg hums and her vocal is panned. It gives way to an ruminative vocal while the arrangement scurries along. Bells ring and combine with ethereal harmonies on Hanne Hukkelberg’s letter to her younger self.
Effects have been added to Hanne Hukkelberg’s vocal which opens Alone Together. Soon, it becomes tender as an organ accompanies her. Then it’s all change as drums crack and synths combine to create a backdrop for the vocal as tempo rises. Just as quickly, the tempo drops and Hanne Hukkelberg’s tender vocal sounds like Suzanne Vega. From there, the arrangement is like a roller coaster, with the tempo rising and falling. Suddenly, the understated arrangement is transformed and heads in the direction of the dancefloor. By then, Hanne Hukkelberg is into anthem territory on a track that shows the different sides to one of Norway’s leading singer-songwriters.
Duper which closes Trust, is a beautiful five-minute acepella where Hanne Hukkelberg’s vocal is full of emotion. The song was inspired by the Norwegian liturgical psalms that were part of life for Hanne Hukkelberg growing up. She explains how she recorded Duper: “this is just me and my Roland VT3 Box, sitting in my studio feeling very emotional. I had a fight with my son, and came to work and just wrote this song instantly. It became more about life cycles, and watching others grow while still growing myself.” It’s a beautiful, poignant song that is the highlight of Trust, which was the thread that ran through Hanne Hukkelberg’s eagerly-awaited fifth album.
On the subject of Trust, Hanne Hukkelberg says that: “we have to be human, and we have to stay human. We can’t just replace everything with technology and be immune to life, and joy, and suffering. We need to value, and fight for, these things that make us real.” That is the case in this ever-changing world where technology plays an increasingly important role in everyday life.
The world is even a very different place to it was when Hanne Hukkelberg embarked upon a solo career in 2003. Despite the importance of technology and networks which seem to be replacing traditional communities, Hanne Hukkelberg realises that: “trust is something that will never expire, it’s a quality that we’ll retain in both real and virtual life.”
That is apparent throughout Hanne Hukkelberg’s impassioned plea for society Trust. It’s the most ambitious, cerebral and thought-provoking album of Hanne Hukkelberg’s five album career. Trust is also a very different album to any of Hanne Hukkelberg’s previous albums.
Much of the basis for Trust is dance music and electronica which Hanne Hukkelberg combines with pop, avant-garde and experimental music. Banks of synths, keyboards, drum machines and a myriad of field recordings from the past twelve years were used during the recording of Trust. Some of these field recordings date back to 2005, and are credited on Trust. This ranges from: “an owlish sound from my son’s animal book” to a “didgeridoo synth,” “Brooklyn bathtub,” Hanne Hukkelberg’s grandmother’s piano and an almighty door-slam that closes IRL.” They all play the part in the sound and success of Trust.
So do co-producers Mai Elise Solberg, Martin Langlie, Eivind Helgerød, Thomas Hukkelberg and Kristoffer Bonsaksen. They all played their part in the reinvention of Hanne Hukkelberg on Trust, which is a truly ambitious, 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.
Hanne Hukkelberg-Trust.
BETTY HARRIS-NEW ORLEANS’ SOUL’S BEST KEPT SECRET.
Betty Harris-New Orleans’ Soul’s Best Kept Secrets.
Not every artist is fortunate enough to enjoy a long and illustrious career where they enjoyed commercial success and critical acclaim. For many artists, it’s quite the opposite and their career is cut short, and is over before it has even began. That was the case with Florida born singer Betty Harris, whose career lasted just eight years.
It began in 1962 with the release of Taking Care of Business, and was over by 1970. By then, Bettye Harris had three minor hit singles to her name, and hadn’t enjoyed the success that her talent warranted. Many music industry insiders were surprised that Betty Harris hadn’t enjoyed more success during the past eight years. However, commercial success continued to elude Betty Harris, who given her talent had underachieved. It was a case of what might have been? Especially when out of the blue, Betty Harris announced that she was calling time on her musical career. The thirty-one year old had decided to retire and raise a family in her native Florida.
That was where the future Betty Harris was born, and where she still called home when she retired from music in 1970. Betty Crews was born in Orlando, Florida, in 1939. Both of her parents, Rufus C. Crews and Winifred Crews, were ministers in the Pentecostal Church. As a result, religion played an important part in the Crews’ home. It was also a house where music played an important part in everyday life.
The Rev. Rufus C. Crews was a multi-instrumentalist and singer, who sported a powerful tenor voice. He was also a part-time booking agent for a variety of gospel groups and artists. This was a role Rev. Rufus C. Crews would continue, when the family moved to Alabama.
When the Crews moved Alabama, Betty was just four. It would be her home for the next thirteen years, and where her father introduced Betty to Rosetta Sharp, Sam Cooke, The Soul Stirrers, Johnny Taylor and The Blind Boys Of Alabama. Soon, young Betty Crews would be following in their footsteps.
By the age of twelve, Betty Crews had already singing lead vocal in a choir which had supported Brother Joe May. Already, people were taking notice of Betty Crews.
Over the next few years, Betty Crews continued to sing gospel, and during that period, she spoke to and learnt from, all the gospel singers who stayed over in the Crews’ household. Despite meeting and learning from some of the biggest names in gospel music, Betty Crews soon came to realise that she didn’t want to make a career out of gospel music.
Realising that there was little money to be made in gospel music, Betty Crews wanted to crossover and sing secular music. She was listening to the music coming out of Nashville, Tennessee. This was when Betty Crews realised there was more to music than gospel. Around her seventeenth birthday, Betty Crews began plotting how she could escape from Alabama.
It was around this time that Betty Crews saw an advert in the local paper, advertising jobs for maids in a New Jersey hotel. Betty Crews packed her bags and headed to New Jersey. Once there, Betty Crews and her future colleagues decided to head out to a local nightclub. That was when Betty Crews made her debut as a singer, and was spotted by producer Zell Sanders.
He recruited Betty Harris to become the lead singer of The Hearts, who released their debut single Like Later Baby later in 1958. It failed commercially, and The Hearts’ recording career came to nothing. Betty Harris’ nascent musical career had hit the buffers.
In 1960, Betty Harris decided to move to New York, and before long, was singing in some of the Big Apple’s smaller clubs. When she was finished her set, Betty Harris would head to venues like the Apollo, where she would study the technique of some of the top singers. One night, when Betty Harris arrived at the Apollo, Mabel Louise Smith. a.k.a. the R&B singer Big Maybelle was about to go on stage. Betty watched and was captivated as Big Maybelle unleashed a vocal powerhouse on Candy. Betty Harris was so impressed that later, she headed backstage to introduce herself to Big Maybelle.
Having introduced herself to Big Maybelle, Betty Harris asked if she could study her technique. Big Maybelle agreed, and took Betty Harris out on the road where she became the young singer’s mentor. It wasn’t just technique and stagecraft that Big Maybelle taught Betty Harris, it was how to conduct herself.
Over the next few weeks, Big Maybelle coached Betty Harris. She also had a powerful vocal, and Big Maybelle helped Betty Harris harness her powerful vocal, and improve her technique. This they continued to do on a two-week tour. It began in Chicago and headed to Tennessee, before ending in Chicago. That was where Betty Harris landed a job, and would record her debut single.
The time Betty Harris had spent with Big Maybelle had been time well spent. Big Maybelle made Betty promise that she would continue to sing each day. It was as if the older woman wanted her protegé to fulfil the potential she saw in her. Even in what was a relatively short space of time, Betty Harris had improved as a vocalist, and was ready to make the next step in her career
This included recording her debut single. Now living in Chicago, Betty Harris got her break when she recorded Taking Care Of Business for Douglas Records. Taking Care Of Business was released in 1962, and failed to make any impression commercially. Betty Harris’ time at Douglas Records was over after just one single.
Fortunately, Betty Harris met Solomon Burke’s manager, Marvin Leonard ‘Babe’ Chivian. He introduced Betty Harris to Bert Berns, who had produced Solomon Burke’s hit single Cry To Me.
Bert Berns was a songwriter and producer, who was housed within the famous Brill Building, and had already written a string of classic songs, including Under The Boardwalk and Piece Of My Heart. Among Bert Berns’ various songwriting partners, were none other than Leiber and Stoller. However, Bert Berns wasn’t just a songwriter; he was also a producer, who would transform Betty Harris’ fortunes.
For Betty Harris’ debut for Jubilee Records, Cry To Me was chosen. It gave Solomon Burke a hit single a year earlier. The man who had produced Solomon Burke hit single was none other than Bert Berns. He took a different approach to Cry To Me this time around. By dropping the tempo, Cry To Me became a heart wrenching ballad, which later, would become a deep soul classic. Before that, Cry To Me was released in 1963 on Jubilee Records.
Cry To Me reached twenty-three in the US Billboard 100 and number ten in the US R&B charts. Considering this was merely Betty Harris’ sophomore single, this was a good start to her nascent recording career. For the followup, His Kiss was released on the 4th of January 1964. Although it was another deep soul ballad, His Kiss stalled at the lower reaches of the charts. This was a disappointment for Betty Harris.
Although His Kiss hadn’t come close to matching the success of Cry To Me, Betty Harris was a popular live draw, and even had topped the bill at Apollo Theatre, in New York. Betty who had shared the bill with Sam Cooke, Aretha Franklin and James Brown seemed to be going up in the world.
For Betty Harris’ next single, the oft-covered Mojo Hannah was chosen and released later in 1964. It became Betty Harris’ third single for Jubilee Records and gave Betty Harris a minor hit single. Mojo Hannah proved to be Betty Harris’ swan-song for Jubilee Records. That was despite Betty Harris being still under contract to Jubilee Records.
After the release of Mojo Hannah, Betty Harris met New Orleans based singer, songwriter, arranger and producer Allen Toussaint. He was about to launch a new record label with his business partner Marshall Sehorn. This new label Sansu Records, was based in New Orleans, and Allen Toussaint wanted to Betty Harris to sign to the Sansu. So did Marshall Sehorn. There was only one problem, what was Betty Harris contractual status?
Later, allegations and counter allegations were made regarding Betty Harris’ contractual status. Jubilee Records believed that Betty Harris was still their artist. Betty Harris later alleged that Allen Toussaint told her that he had bought her out of her Jubilee Records’ contract. If that was the case, Betty Harris was free to sign to Jubilee Records, and record and release her debut single for Sansu Records. However, Betty Harris later stated that Allen Toussaint hadn’t bought her out of her Jubilee Records’ contract when he stated he had.This meant that she was still under contract to Jubilee Records when she recorded her Sansu Records’ debut.
To record her Sansu Records’ debut, Betty Harris flew from her home in Florida to New Orleans, where she spent a month living in the city’s Mason’s motel. Much of the time was spent recording with producer Allen Toussaint. He put together a band that featured some of the Big Easy’s top session musicians. The initial sessions didn’t go well. Betty Harris didn’t like recording the songs live, and preferred working with backing tapes. This was a lesson learnt for future sessions. Backing tracks would be recorded and then Betty Harris would add her vocals. However, during the first recording sessions the tracks were recorded live, including What A Sad Feeling which became Betty Harris’ debut single for Sansu Records.
What A Sad Feeling, a soul-baring ballad would be the first of just ten singles Betty Harris released on Sansu Records. On the B-Side I’m Evil Tonight, which features a vocal powerhouse from Betty Harris. Alas, when What A Sad Feeling was released in 1965, it failed commercially. While the single found an audience within New Orleans, elsewhere it was a different story. . Sansu Records was just a small independent label, with neither the financial muscle nor marketing expertise to give Betty Harris another hit single. This would be a familiar story.
It wasn’t until 1966, that I Don’t Wanna Hear It was released as Betty Harris’ second single for Sansu Records. Tucked away on the B-Side was the ballad Sometime, where Betty Harris’ vocal veers between tender to hurt filled and powerful. Just like What A Sad Feeling, I Don’t Wanna Hear It failed to find an audience outside of the Big Easy. Later, I Don’t Wanna Hear It became a favourite with the UK’s Northern Soul scene.
Later in 1966, Betty Harris returned with the Allen Toussaint penned 12 Red Roses. On the flip side was another Allen Toussaint composition, What’d I Do Wrong. This future deep soul classic, was, without doubt, a much stronger track. and maybe if Sansu Records had released it as a single, it would’ve given Betty Harris that elusive hit single? 12 Red Roses certainly didn’t, and it was now two years since a Betty Harris single had even troubled the lower reaches of the chart. Betty Harris’ career had stalled.
During 1967, Allen Toussaint saw Art Neville and The Neville Sounds playing on Basin Street. Straight away, he realised that here was the band he wanted to play on the Sansu Records’ releases. By then, Sansu Records were recording at Cosimo Matassa’s state of the art eight-track studio. This was where the Neville Sound was born, and soon, Betty Harris would be accompanied by Art Neville and The Neville Sounds.
It wasn’t until later in 1967 that Betty Harris released her fourth single for Sansu Records. The song chosen was the ballad Lonely Hearts, which could only have been recorded in New Orleans. Horns and harmonies accompany Betty, as she delivers an impassioned, heartfelt vocal. On the flip side was Bad Luck, a mid tempo slice of R&B. Just like her previous singles, Lonely Hearts made no impression on the charts. However, Betty Harris’ luck was about to change.
For her second single of 1967, the ballad Nearer To You was chosen. It features an atmospheric, Southern Soul arrangement. It’s one of Betty Harris’ finest moments, is helped no end by Allen Toussaint’s arrangement. On the flip side, I’m Evil Tonight made a reappearance. When Nearer To You was released, it entered the US Billboard 100 but stalled at a lowly eighty-five. Nearer To You deserved to fare better, and was a case of what might have been?
After Nearer To You had given Betty Harris a minor hit single, Sansu Records was keen to build on the relative success of the single. By then, Betty Harris had embarked upon a gruelling tour of America, which lasted much of 1967. The tour it was hoped, would raise Betty Harris’ profile and introduce her to a much wider audience. This Betty Harris and everyone at Sansu Records hoped would translate into an increase in record sales. Sansu Records tested the market by releasing Can’t Last Much Longer as a single, with I’m Gonna Git Ya on the B-Side. When the single was released later in 1967, it never even came close to troubling the US Billboard 100. This was another blow for Betty Harris.
During 1967, Betty Harris had toured with Otis Redding, Carla Thomas and Bettye Swann. They played tour fifty-three dates, before Otis Redding was killed in a plane crash. For Betty Harris this was a tragedy for several reasons.
She had become friendly with many of the artists on the tour, including Otis Redding. He had recently cofounded a new management company with Phil Walden, Redwal Enterprises. The new company was going to manage some of the biggest names in soul, including Percy Sledge, Sam and Dave and Wilson Pickett. Betty Harris who was about to embark upon a European tour with Otis Redding, had also signed a management contract with Redwal Enterprises. After the death of Otis Redding, this came to nothing.
Despite this, Betty Harris’ recording career continued, and she released Love Lots Of Lovin’, a duet with Lee Dorsey in 1968. Just like previous singles, it failed to make any impression on the charts.
Neither did the former B-Side What’d I Do Wrong, which was belatedly released as a single with later in 1968. This time around, the B-Side was Mean Man, another Allen Toussaint composition. Just like his other songs, Betty Harris brought the lyrics to life. The singer and songwriter had formed a formidable partnership. There was only one thing missing…commercial success which continued to elude Betty Harris.
Despite this, Betty Harris released the ballad Hook, Line ’N’ Sinker as a single later in 1969. On the B-Side was the uptempo dancer Show It, which later, found favour with DJs and dancers on the UK Northern Soul scene. However, when Line ’N’ Sinker was released it sunk without trace. This was another disappointment for Betty Harris, whose time at Sansu Records was almost at an end.
In 1969, Betty Harris released Ride Your Pony as a single. It sounded like novelty dance track and wasn’t Betty Harris’ finest hour. Ironically, the B-Side Trouble With My Lover was a slightly stronger track. When Betty Harris release Ride Your Pony it never came close to troubling the charts. Ride Your Pony was the tenth and final single Betty Harris released on Sansu Records.
Only one of the ten singles had charted, and even then, Nearer To You struggled into the lower reaches of the US Billboard 100. The Sansu Records’ years hadn’t been the most successful period of Betty Harris’ career. Maybe Sansu Records’ was the wrong label for Betty Harris, and she might have enjoyed more success if she had signed to a bigger label? Allen Toussaint belatedly came to the same conclusion, after he convinced Betty Harris to record one more single, There’s A Break in The Road.
It was their last roll of the dice for Betty Harris and Allen Toussaint. When it came time to record There’s A Break in The Road, Allen Toussaint brought onboard The Meters. They unleashed their trademark heavy-duty funk which was the perfect backdrop for Betty Harris as she delivered a vocal that was a mixture of power, frustration and sass. When Allen Toussaint listened to the song, he realised that it had the potential to transform Betty Harris’ ailing career.
Originally here’s A Break in The Road meant to be released on Sansu Records, but after some thought, Allen Toussaint decided to license the single to Shelby Singleton’s SSS International label. It was a larger label, and it might result in a change of fortune for Betty Harris.
There’s A Break in The Road was released in 1969. It was without doubt, one of the best singles of Betty Harris’ career. Despite the undoubted quality, and the decision to release There’s A Break in The Road on SSS International, the single failed to find an audience. It was all too familiar a story for Betty Harris, and marked the end of her recording career for thirty-six years.
In 1970, Betty Harris decided to retire from music, and concentrate on bringing up her family. By then, she was thirty-one, had been making music since the late-fifties. Apart from four minor hit singles, Betty Harris’ career had been a case of what might have been?
Through no fault of her own, Betty Harris had underachieved. Sansu Records was just a small independent label, with neither the financial muscle nor marketing expertise to promote Betty Harris singles. While each of the ten singles Betty Harris released for Sansu Records sold reasonably well within New Orleans, they never found an audience further afield. That was the case between 1965 and 1969, when Betty Harris released ten singles on Sansu Records. Only Nearer To You charted, but only reached a lowly eighty-five in the US Billboard 100. This must have been hugely frustrating for Betty Harris.Maybe it was no surprise when Betty Harris decided to turn her back on music in 1970?
That was the last that was heard of this Betty Harris until 2005, when she decided to hit the comeback trail. By then, several of Betty Harris’ singles had found a new audience. I Don’t Want to Hear It and I’m Evil Tonight were favourites within the UK Northern Soul circles, while ballads like What’d I Do Wrong and Can’t Last Much Longer were favourites within the Deep Soul community. Somewhat belatedly, Betty Harris whose a talented and versatile vocalist, and one of New Orleans’ soul music’s best kept secrets, was receiving the recognition her music deserved, and enjoying the success that had eluded her for so long.
Betty Harris-New Orleans’ Soul’s Best Kept Secrets.
ERIC GALE-THE SOLO YEARS 1973-1983.
Eric Gale-The Solo Years 1973-1983
Jazz guitarist Eric Gale was born in Brooklyn, New York on September the ‘20th’ 1938, and by the time he was eleven, had already discovered music. Fittingly, it was guitarist Les Paul that piqued Eric Gale’s interest in music. When he heard Les Paul and his wife Mary Ford on the radio they were on their way to becoming one of the biggest stars of early fifties. Hearing Les Paul inspired Eric Gale to pickup a guitar for the first time.
Initially, Eric Gale had a few guitar lessons, and this was enough for him to learn the basics. Mostly, though, Eric Gale was a self-taught guitarist. However, by the time Eric Gale was twelve, he briefly turned his back on the guitar.
This came after Eric Gale’s father introduced him to Charlie Parker and Dizzie Gillespie. Suddenly, twelve-year-old Eric Gale was captivated by bebop. Especially how quickly Bird and Dizzy Gillespie could play. Suddenly, Eric Gale wanted to try the saxophone.
Eric Gale’s father arranged for his son to start weekly saxophone lessons. However, after a month, Eric Gale decided that the saxophone wasn’t for him. He returned to the guitar, and spent the next few years honing his sound. This would pay off in the long run.
Having graduated high school, Eric Gale headed to Niagara University, where he studied chemistry. It was there that Eric Gale realised he didn’t want to pursue a career in science. So Eric Gale left academia behind, and decided to pursue a career as session musician.
By then, Eric was in his early twenties, and was a novice in terms of session work. Despite this, he caught a break. Bobby Lewis was looking for a guitarist for the session when Tossin’ and Turnin’ was recorded. Eric Gale got the job, and played alongside saxophonist King Curtis. He was so impressed by Eric Gale that he asked the young guitarist to play on his Old Gold album. By then, Bobby Lewis’ Tossin’ and Turnin’ had reached number one on the US R&B charts in 1961. Eric Gale’s career was underway.
After playing on a number one single and King Curtis’ Old Gold album, Eric Gale became a familiar face in New York Studios. He played on sessions by The Drifters, Maxime Brown, Aretha Franklin, Red Holloway, Clark Terry, Jimmy McGriff and Oliver Nelson. By 1967, Eric Gale was accompanying a young Van Morrison, drummer Bernard “Pretty” Purdie, Bobby Timmons and Herbie Mann. Unlike many session musicians, Eric Gale didn’t specialise in one type of music and could pay everything from jazz and soul to rock. That would be the case throughout his career as a session musician.
As the seventies dawned, there was no sating Eric Gale’s insatiable appetite for session work. He would have happily spend day and night in the studio. That had been the case in the sixties, and wasn’t going to change in the early seventies. Eric played on a number of sessions for Creed Taylor’s CTi and Kudu label. This included on albums by Quincy Jones, Johnny Hammond, Stanley Turrnetine, Hank Crawford and Esther Phillips. This gave Creed Taylor the opportunity to see and hear Eric Gale at close quarters. He liked what he heard, and in 1973, Creed Taylor signed Eric Gale to his Kudu imprint.
No longer was Eric Gale “just” a session musician, now he could add solo artist to his already impressive C.V. His debut solo album was Forecast, which was released later in 1973.
Forecast.
Forecast saw Eric Gale joined by some of the Big Apple’s top session players. They stepped up to the plate on an album where cover versions sit side-by-side with Eric Gale compositions. With his all-star band for company, Eric showcased his versatility, veering between jazz, funk, blues and soul-jazz. Prior to its release, reviews of Forecast were positive. Alas, after Forecast only reached twenty-two in the US Jazz charts, it proved to the only album Eric released on Kudu.
Negril.
It was another two years before Eric Gale released his sophomore album, Negril. By then, Eric Gale was living in Jamaica, where he was enjoying a well-earned sabbatical. Despite being on sabbatical, Eric Gale couldn’t stay away from music. and decided to record his sophomore album. He wrote, arranged and produced Negril at Harry J’s Studio in Kingston, in Jamaica. The album was an homage to the beautiful village of Negril and its unspoilt beaches. Once the album was complete, it was released in 1975.
When Negril was released in 1975, listeners discovered an album of laid-back, instrumental reggae. It was a very different album from Forecast, and one that showcased Eric’s versatility. This would be put to good use over the next couple of years.
Stuff
After a three-year sabbatical, Eric Gale returned to New York. When he arrived home, the money had run dry and he was without a job. Fortunately, one of the jazz supergroups were looking for a guitarist, and Eric Gale fitted the bill. Soon, he was member of Stuff.
With a lineup that featured bassist drummers Chris Parker Steve Gadd, bassist Gordon Edwards, guitarist Cornell Dupree and pianist Richard Tee, Stuff was worthy of being called a supergroup. Eric Gale played on Stuff’s 1976 eponymous album, and the 1977 followup More Stuff. Still thought, Eric Gale continued to work as a session musician, divided his time between Stuff and session work.
Still, he was literally happy to work around the clock, recording studios were like a second home to Eric Gale. During 1976, Eric Gale played on albums by Ashford and Simpson, Stanley Turrentine, Blood, Sweat and Tears, Bob James, Grover Washington, Paul Butterfield, Joe Coker, Patti Austin and Randy Crawford.
1977 was just as busy, with Eric Gale accompanying everyone from Ashford and Simpson, to Tom Scott, Bob James, Esther Phillips, Jun Fukamachi, Idris Muhammad, Yuseef Lateef and Kenny Loggins. However, 1977 was also the year Eric Gale was offered a solo deal by Columbia.
Ginseng Woman.
For Eric Gale, signing to Columbia meant he could rekindle his solo career which had been on hold for the past couple of years. Since then, Eric Gale’s music had changed his Columbia debut saw him debut a new sound.
When Ginseng Woman which was released in 1977, Eric Gale’s album of smooth jazz was reasonably well received by critics. Eric Gale was already one of the finest practitioners of the genre, and it was no surprise when Ginseng Woman reached 148 in the US Billboard 200, fifty-six in the US R&B charts and number seven in the US Jazz charts. This was a good start to Eric Gale’s career at Columbia considering disco was at the peak of its popularity.
Multiplication.
Buoyed by the success of Ginseng Woman, Eric Gale returned in 1978 with his second album for Columbia, Multiplication. Unfortunately for Eric Gale, Multiplication wasn’t as well received as Ginseng Woman. However, as usual, record buyers had the final say.
When Multiplication was released, it reached just number six in the US Jazz charts. Multiplication failed to trouble the US Billboard 200 and US R&B charts. For Eric Gale, this was disappointing.
Following the release of Multiplication, Eric Gale continued to juggle his various roles. In 1978, he worked with everyone from Carly Simon, to Billy Joel and Thijs van Leer. Eric Gale also worked on albums by Loleatta Holloway, Ashford and Simpson and his old friend Bob James. Still, Eric Gale found time to play and record with Stuff. Then there was the small matter of his third solo album for Columbia.
Part Of You.
Despite the disappointing performance of Multiplication, Eric Gale returned in 1979 with a new album, Part Of You. Before it was released, this album of smooth jazz garnered positive reviews from critics. Part Of You critics said was a return to form from Eric Gale.
Record buyers agreed, and Part Of You reached 154 in the US Billboard 200 and eleven in the US Jazz charts. Part Of You had almost replicated the success of Ginseng Woman, which was Eric Gale’s Columbia debut. Things were looking up for Eric Gale.
Touch Of Silk.
As a new decade dawned, Eric Gale returned in 1980 with his fourth album for Columbia Touch Of Silk. Despite the commercial success Part Of You enjoyed, Eric decided to change a winning formula on Touch Of Silk. He moved away from the smooth jazz of Part Of You, and Touch Of Silk showcases a sound that veered between funky to dark and bluesy. Eric Gale’s decision to change direction was a risky one, and he must have been hoping that it wouldn’t backfire.
While Touch Of Silk was well received by critics, record buyers turned their back on the album. The only success Touch Of Silk enjoyed was in the US Jazz charts, where it reached number twelve. For Eric Gale, this was the end of the road at Columbia.
Blue Horizon.
With Eric Gale’s time at Columbia at an end, he signed to Elektra/Musician. For Eric Gale this was a new start and he hoped that things were going to be different. He was going to dispense with the big name session players, and bring in an entirely new band. The other change Eric wanted to make, was to produce his albums at Elektra/Musician. First he had to get Bruce Lundvall to agree.
The question arose when Bruce Lundvall,who oversaw Elektra/Musician, asked who Eric Gale wanted to produce Blue Horizon. Immediately, and hopefully, Eric Gale through his name into the hat. To Eric’s delight, Bruce Lundvall agreed. Now Eric could and would explore various different musical genres.
For what became Blue Horizon, Eric Gale wrote Blue Horizon, Mako D’Amour and 97th and Columbus. Wait Until The City Sleeps was penned by Gene Ritchings and Mark Mazur while When Tokyo? was a Clive Phillips and Nasser Nasser composition. Peter Schott of Kid Creole and The Coconuts wrote Clock-A-Pa and cowrote Call Me At The Same Number with Winston Grennan. These seven songs were recorded by Eric’s new, hand-picked band.
Recording of Blue Horizon took place at House Of Music, New Jersey. The new band’s rhythm section featured drummers Freddie Waits and Winston Grennan, bassist Neddy Smith and rhythm guitarist Mark Mazur. They were joined by keyboardist Peter Schott, percussionist Nasser Nasser and Hugh Masakela on flugelhorn. Eric Gale took charge of lead guitar and produced Blue Horizon. Once recording of the album was complete, Blue Horizon was released in 1982.
Before that, critics had their say on Blue Horizon. They were surprised, but welcomed such an eclectic album. It was as if Eric had been reenergised by the move to Elektra/Musician. Despite this, Blue Horizon only reached twenty-nine on the US Jazz charts. This was a disappointment for Eric Gale and everyone involved.
Record buyers had missed out on an album that featured Eric Gale with a new-found musical freedom. He was allowed to explore new musical genres on Blue Horizon, a truly electric album that featured elements of blues, Caribbean, disco, dub, funk, jazz, pop and reggae. Elektra/Musician had afforded Eric Gale the freedom he longed for. With his new band, Eric Gale explored a variety of disparate new musical genres on Blue Horizon. He sounds as if he’s been reinvigorated, and as a result, delivers a series of almost flawless performances. Sadly, very few people heard Blue Horizon, which became one of the hidden gems of Eric Gale’s back-catalogue. However, later in 1982, Eric Gale returned with another solo album.
In The Shade Of A Tree
After releasing Blue Horizon, Eric Gale released In The Shade Of A Tree in Japan later in 1982. Stylistically, the album was similar to Blue Horizon, and was well received in Japan. In The Shade Of A Tree also sold well in Japan, where Eric was a popular artist. It was ironic that Eric Gale’s music was more popular halfway around the world than in his home country. Maybe his next album for Elektra/Musician would see Eric Gale’s fortunes improve in America?
Island Breeze.
Having released In The Shade Of A Tree, Eric Gale was constantly busy with various projects. He was a member of the NY-LA Dream Band, and had toured Japan with them. Then on his return, he had only a few days before he headed out to Montreux to record a live album. On his return, Eric Gale’s thoughts turned to his next album for Elektra/Musician.
For what became Island Breeze, Eric chose four cover versions. This included Bob James’ Boardwalk and Dark Romance. The other covers were Joe Sample’s My Momma Told Me So and Jeff Medina’s Island Breeze. Eric Gale’s new musical director Jimmy Kachulis penned We’ll Make It, Sooner Or Later and I Know That’s Right. These songs were recorded by a new lineup of Eric Gale’s band.
Since the recording of Blue Horizon, the lineup of Eric’s band had changed quite dramatically. The rhythm section now featured drummers Webb Thomas and Joey DeFrancesco bassist Neddy Smith and rhythm guitarists Mark Mazur and Jimmy Kachulis. They were joined by keyboardists Ted Lo and Andy Schwartz. This new lineup headed to Rosebud Recording Studio, New York, where Eric Gale took charge of production and played lead guitar. Once Island Breeze was complete, the album was released in 1983.
Before the release of Island Breeze, critics had their say on the followup to Blue Horizon. The reviews were positive, with critics enjoying an album of music that ranged from beautiful ballads to smooth fusion to reggae, funk, jazz and soul. For many, the uber funky, dancefloor friendly I Know That’s Right which closed Island Breeze was the highlight of the album.
When Island Breeze was released, it reached just thirty-five on the US Jazz charts. This was a huge blow for Eric Gale, especially considering the quality of music on Island Breeze, which brought Eric Gale’s career at Elektra/Musician to an end.
For Eric Gale, Island Breeze marked the end of the most productive period of his solo career. Between 1973 and 1983 Eric Gale, who is regarded as one of the greatest jazz guitarists of his generation, released nine albums. These albums contain the best music of Eric Gale’s solo career, and are the perfect starting place to newcomers to his music. Sadly, many of these albums failed to find the audience that they deserved, and Eric Gale remains one of jazz’s best kept secrets.
Many people will know the name Eric Gale through his work as a session musician. During his career Eric Gale played on over 500 albums, accompanying the great and good of music. From 1967 to 1994 Eric Gale was the go-to guitarist for many musicians. Eric Gale was a truly talented and versatile guitarist who could switch seamlessly between genres, even in mid-song. This he often did on the eleven albums he released during his recording career.
Sadly, Eric Gale’s career was cut tragically short when he passed away on May the ‘25th’ 1994, in Baja California, Mexico, asked just fifty-five. That day, music was robed of one of its most talented sons, Eric Gale, who left behind a rich musical legacy, including the nine albums he released between 1973 and 1983, which was the most prolific and successful period of his solo career.
Eric Gale-The Solo Years 1973-1983.
CAN YOU FEEL THE FORCE? THE JOHN LUONGO DISCO MIXES.
Can You Feel The Force? The John Luongo Disco Mixes.
Label: Groove Line Records.
After graduating from the Northeastern University in Boston, with a degree in Civil Engineering, twenty-four year old John Luongo decided to turn his back on the world of engineering and become a full-time DJ. He had been DJ-ing for five years, and was well on way to becoming Boston’s top DJ.
Just a couple of years after becoming a full-time DJ, John Luongo had firmly established himself as Boston’s top DJ. He was also working as a promoter, had cofounded Nightfall Magazine with Arnie Ward 1975 and founded Boston’s first record pool in 1976. By then, John Luongo’s career as a remixer was well underway, having remixed Leon Collins’ I Just Wanna Say I Love You in 1974.This was just the start of the rise and rise of John Luongo.
By the early eighties, John Luongo had established himself as one of American’s top DJ and remixers. He had been one of the leading lights of the disco movement before its demise in the summer of 1979. Still, though, John Luongo’s remixes continued to fill dancefloors in the early eighties. That is the still the case today, and is no surprise.
John Luongo was one of the most innovative remixers of the disco era, and nowadays, is regarded as one of the greatest remixers ever. There’s twenty-one reasons why on Can You Feel The Force? The John Luongo Disco Mixes, which has just been released by Glasgow based label: Groove Line Records. These remixes were released between October 1978, which was the height of the disco era, right through to July 1982, three years after disco’s demise. Still John Luongo’s remixes were filling dancefloors. This was fourteen years after John Luongo first thought about becoming a DJ.
This was something that had fascinated John Luongo since the night he saw a DJ spinning records at The Townhouse in Boston in 1968. John Luongo was a student at Northeastern University, was intrigued by what the DJ was doing, approached the booth and started taking with him. He watched as the DJ played one record, and then faded out and clumsily brought in another record, leaving dead air. By then, John Luongo had already decided he wanted to try DJ-ing, and as he left the club, handed the DJ a napkin with his phone number on it, and said if he wanted someone to fill in for him, give him a call.
It was more hope than expectation that John Luongo would ever hear from Peter the DJ at The Townhouse again. A week later John Luongo received a phone call from the manager of The Townhouse on the Thursday who told him that the Peter the DJ had quit, and given him his name. The manager offered John Luongo a job as DJ at The Townhouse, starting the next night, Friday.
This didn’t give John Luongo much time to prepare for his DJ-ing debut. However, he had time to head to his local record shop and buy a mixture of new and classic singles. This would be enough for John Luongo as he made his debut behind the wheels of steel that Friday night.
Despite some first night nerves, John Luongo’s first night at The Townhouse was a success, and within a month, it was Boston’s most popular club. It was a meteoric rose for the nineteen year old student
Before long, John Luongo was one of Boston’s leading club DJs playing at Rhinoceros, the largest club in Boston and made guest appearances at Zelda’s, By then, he was known as John ‘TC’ Luongo after the cartoon character Top Cat. This was the moniker John Luongo used for his show on student radio, and later, on a local radio station. That was still to come.
Meanwhile, he continued to combine his DJ-ing with studies. However, it looked unlikely that John Luongo would use the knowledge he had gained over the last few years. Sure enough, when John Luongo graduated with a BSc in Civil Engineering from the Northeastern University in Boston in 1973, he turned his back on engineering and become a full-time DJ.
Over the next couple of years, the rise and rise of John Luongo continued, as he became Boston’s top DJ. Soon, the DJ, promoter and future remixer started to spread his wings when he remixed his first track.
In 1974, Larry Pamcacci had founded his own record label ELF Records. It’s first release was Leon Collins’ I Just Wanna Say I Love You, which Larry Pamcacci played to John Luongo. When he heard the song, John Luongo realised that it wasn’t quite right. With the help of arranger Misha Segal, John Luongo remixed the track adding percussion and a break. When the single was released, it was huge success in New York and was filling dancefloors in the Big Apple. John Luongo was receiving feedback from New York based DJs, who told him how successful his first remix was. This was the start of John Luongo’s career as a remixer.
A year later, in 1975, John Luongo embarked upon a career as a publisher when he cofounded the Nightfall Magazine with Arnie Ward. John Luongo’s next business venture was organising Boston’s first ever record pool. John Luongo also returned with another successful remix.
This was Dancing Free by Hot Ice, which was released on Rage Records in 1976. When it was released and proved a success, this opened doors for John Luongo.
His big break came when Cheryl Machat, a product manager at EPIC Records, asked John Luongo to help with a new release. When he heard the song, he realised straight away that it wasn’t right. To rectify the problem, John Luongo took his two-track recorder and recorded the record on one of the tracks. He then recorded overdubbed himself used a salt shake as a shaker and some spoons as a tambourine. The finished mix was speeded up and sent to Cheryl Machat on cassette. She loved the new version, and soon, John Luongo was hired to remix the song using the ideas he had outlined. For John Luongo this was the break he had been waiting for.
Soon, John Luongo was being asked to remix songs by some of the biggest names in music, including the names that feature on Can You Feel The Force? The John Luongo Disco Mixes. This includes Sly Stone, Santana, The Jacksons, Marlena Shaw, Patti LaBelle, Melba Moore, Gladys Knight and The Pips and Cerrone. There’s also remixes of some of the tracks by Jackie Moore, Sarah Dash, Southern Exposure and Stanley Clarke. In total, there’s twenty-one of John Luongo’s carefully crafted dancefloor fillers. The first of these was released in October 1978.
That was Melba Moore’s You Stepped Into My Life which was released on Epic un October 1978, and reached number five on the US Disco charts. It’s an imaginative and timeless remix with a bubbling bass and disco strings accompany Melba Moore as she dawns the role of disco diva. So does Marilyn McCoo as she joins forces with Billy Davis Jnr on Shine On Silver Moon. This classy dancefloor filler was released on Columbia in December 1978, and reached thirty-two on the US Disco charts. However, one of John Luongo’s finest remixes of 1978 was also released as a promo by Epic in December. His irresistible remix of The Jacksons’ Blame It On The Boogie reached number twenty on the US Disco charts, and was the first of several tracks John Luongo remixed for The Jacksons.
The next came in February 1979 when Epic released John Luongo’s remix of The Jacksons’ Shake Your Body (Down to the Ground). It was reinvented and lit up dancefloors across America, and reached number twenty on the US Disco charts.
March 1979 saw the release of John Luongo’s eight minute remix of Patti LaBelle’s Music Is A Way Of Life reached number ten in the US Disco charts. That was no surprise, as it’s a soulful and sassy slice of disco that sounds just as good thirty-eight years later. So does Melba Moore’s disco classic Pick Me Up, I’ll Dance which was also released by Epic in March 1979 and reached twenty-two in the US Disco charts.
A month later in April 1979, three of John Luongo’s remixes were released. This included The Real Thing Can You Feel The Force?, which found favour with DJs on both sides of Atlantic after John Luongo worked his magic on the track. It’s a similar case with Santana’s One Chain (Don’t Make No Prison). Although they were unlikely disco stars, the track reached fifty-three in the US Disco chart and shows another side of Santana as their trademark sound is given a disco makeover. However, the most successful of the three remixes was The Quick’s Zulu, which was funky, soulful and hinted at the boogie sound that would soon replace disco on American dancefloors. Zulu topped the US Disco charts, and was one of two number one disco hits John Luongo would enjoy during 1979.
In May 1979, John Luongo’s remix of Might Clouds Of Joy’s In These Changing Times was released by Epic/City Lights. It was one of his most innovative remixes and totally transformed the original track into a ten minute dancefloor epic. John Luongo was well on his way to becoming one of the top disco remixers.
Two John Luongo remixes were released during June 1979, including Jackie Moore’s This Time Baby. When it was released by Columbia, this future soulful disco classic reached number one on the US Disco charts. Meanwhile, John Luongo’s hook-laden remix of Sarah Dash’s (Come and Take This) Candy From Your Baby was released by Kirshner but failed to trouble the US Disco charts. For Sarah Dash and John Luongo this was a disappointment given the quality of the song and the remix.
In July 1979, John Luongo’s remix of Johnny Mathis’ Gone, Gone, Gone was released by Columbia. Although the remix showed another side of the former easy listening star, it failed to trouble the US Disco charts. Neither did Southern Exposure’s remix of On Our Way which was released on RCA. With strings and horns being joined by a harmonica and wah wah guitar it was an impressive dancefloor filler from the master of the disco remix John Luongo. Later in July, the disco bubble burst spectacularly on Disco Demolition Night.
July the “12th” 1979 was billed as Disco Demolition Night at Comiskey Park the home of the Chicago White Sox. Everyone who brought a disco record was admitted for ninety-eight cents. Crowds flocked from far and wide to watch the disco records being blown up at half-time during a double-header between the Chicago White Sox and the Detroit Tigers. For many in the crowd, seeing the crate of disco records blown up was the highlight of the evening for many. Pressing the detonator was Steve Dahl the organiser of the Disco Sucks’ movement. After the explosion, many in crowd rushed onto the filed and the pitch was damaged. This resulted in the Chicago White Sox having to forfeit the game. However, that night, was also the day that day disco died.
Suddenly, record companies lost interest in disco and disco artists. They were dropped as record companies began looking for the next big thing. For many DJs, this was boogie where synths and drum machines replaced strings and horns. Still, though, disco had an underground following and John Luongo continued his career as a remixer.
Two months after disco’s demise John Luongo returned with a remix of Marlena Shaw’s Touch Me in the Morning. It had given Diana Ross a hit in 1973. Six years later, it became disco track and Epic tested the waters by releasing a promo of Marlena Shaw’s disco makeover of Touch Me in the Morning in September 1970. Marlena Shaw embraces her newfound role as disco diva and combines a vocal that is a mixture of power and soulfulness.
In October 1979, two of John Luongo’s remixes were released, including Stanley Clarke’s Just A Feeling on Nemperor.It showed that disco wasn’t dead, and instead had moved underground where it was popular amongst DJs and dancers. Epic released John Luongo’s remix of Sly Stone’s Dance To The Music.This anthemic track was transformed and taken it in a new direction as disco, soul, funk and a hint of boogie combine to create a remix that was sure to find favour with dancers and DJs.
When Dan Hartman was recording Vertigo/Relight My Fire he brought onboard Southern Soul singer turned disco diva Loleatta Holloway who unleashes a vocal powerhouse. This disco classic was released by Blue Sky in November and was the third John Luongo remix to reach number one on the US Disco charts during 1979.
The next remix on Can You Feel The Force? The John Luongo Disco Mixes is The Jacksons’ Walk Right Now which was released by Epic in July 1981. By then, the boogie era was in full flight. Despite that, Walk Right Now and John Luongo’s remix was a reminder of the disco era, and reached number five in the US Disco charts. While Gladys Knight and The Pips’ I Will Fight was released in October 1981, and was a soulful slice of disco, it stalled at thirty-five in the US Disco charts. It’s an oft-overlooked dance-floor filler.
French singer, songwriter, musician and producer Cerrone was enjoying a successful career by the time he released on Back Track as a promo on Pavillion. This remix is a reminder of what both John Luongo and Cerrone were capable of during what was the peak of their career. It’s the latest of the twenty-one tracks on Can You Feel The Force? The John Luongo Disco Mixes.
For anyone whose unfamiliar with John Luongo’s career, and his work as a remixer during the disco era, then Can You Feel The Force? The John Luongo Disco Mixes which has just been released by Groove Line Records is the perfect starting point. It’s a reminder of one of the most innovative remixers of the disco era, and indeed, in the history of modern dance music. Proof of that, is the twenty-one tracks on Can You Feel The Force? The John Luongo Disco Mixes which feature a true master at work.
During the four years that Can You Feel The Force? The John Luongo Disco Mixes covers, John Luongo carefully crafts dancefloor fillers which became favourites and of dancers and DJs. That is still the case today. Whenever DJs decide to drop one of the remixes on Can You Feel The Force? The John Luongo Disco Mixes, suddenly the dancefloor fills. That is no surprise as the remixes on Can You Feel The Force? The John Luongo Disco Mixes are guaranteed to get any party started.
Can You Feel The Force? The John Luongo Disco Mixes.
MOTORHEAD-WHAT’S WORTH WORDS VINYL.
Motörhead -What’s Worth Words Vinyl.
Label: Big Beat Records.
When Wilko Johnson of Dr. Feelgood heard of a project to preserve William Wordsworth’s manuscripts, he decided to put on a fundraising concert on the ’18th’ February 1978. Back then, the future Saint Geldof was still part of a third-rate pseudo punk band. They wouldn’t be taking to the stage at the fundraiser at The Roundhouse. Instead, the lineup to the fundraiser featured Wilko Johnson and some of the bands from Chiswick Records’ label which he was signed to. This included The Count Bishop a group going by the name of Iron Fist and The Hordes From Hell. Those in the know, knew that this was actually Motörhead, who because of contractual reasons had to take to the stage using an alias. Some of the crowd at the The Roundhouse were in for a pleasant surprise when Iron Fist and The Hordes From Hell took to the stage.
After all, Motörhead was one of the rising stars of heavy rock. They had released their Motörhead on the ’21st’ of August 1977, which reached forty-three in Britain and was certified silver after selling over 60,000 copies. For founder Ian “Lemmy” Kilmister this was a reason to celebrate.
Just two years after Ian “Lemmy” Kilmister was sacked from Hawkwind after being arrested in Windsor, Ontario, at the Canadian-American border on drug possession charges in May 1975. This was the excuse the other members of Hawkwind had been waiting for, and Lemmy was sacked from the band.
On his return home to England, Lemmy started putting together a new band, which he initially called Bastard. This was what he planned to call the new band which featured guitarist Larry Wallis, who previously was a member of The Pink Fairies. Steve Took’s Shagrat and UFO. He was joined by drummer Lucas Fox who joined Lemmy on bass in Bastard’s rhythm section. However, the group’s then manager Doug Smith explained that there was no way a group called Bastard would feature on prime time TV, and suggested the name Motörhead.
Not long after this, Motörhead signed to United Artists, which was also home to Lemmy’s former group Hawkwind. With the ink dry on the recording contract, Motörhead headed to Rockfield Studios in Wales to record their debut album.
During late 1975 and early 1976, Motörhead recorded what was meant to be their debut album. However, when United Artists heard the album, they refused to release it. This was a huge blow to Motörhead.
Just over a year later, and Motörhead’s lineup had changed beyond recognition by the ‘1st’ of April 1977. Drummer Phil “Philthy Animal” Taylor had replaced Lucas Fox who didn’t seem committed to the band. Guitarist “Fast” Eddie Clarke had also joined Motörhead as the second guitarist and would join up with Larry Wallis. However, not long after this, Larry Wallis left Motörhead. This was another blow to the band.
So much so, that Motörhead decided to call time on their short but eventful career. However, they were determined to bow out in style with a farewell gig at London’s Marquee Club later in 1977.
Meanwhile, Ted Carroll was running Chiswick Records, the label he formed not long after Lemmy was fired from Hawkwind. Ted Carroll also owned a record shop, where Lemmy was a regular visitor, buying rare singles. When Ted Carroll heard that United Artists weren’t willing to release Motörhead’s debut album, he decided to ride to the rescue.
After negotiating Motörhead’s release from their contract with United Artists, Ted Carroll signed the bad to his label Chiswick Records. At first, Motörhead wanted to record their farewell gig at the Marquee Club. However, the owners of the Marquee Club wanted £500 to allow the recording to take place. That was out of the question, so Ted Carroll offered Motörhead the chance to record a single over two days at Escape Studios in Kent, England, with producer John “Speedy” Keen. That was the plan.
Between the ‘27th’ and ‘29th’ April 1977, Motörhead aided by some illicit substances recorded eleven tracks. When Ted Carroll heard the tracks, he paid for further studio time to complete Motörhead which features the classic lineup of drummer, Phil “Philthy Animal” Taylor, bassist Ian “Lemmy” Kilmister and guitarist “Fast” Eddie Clarke. They would write their name into musical history.
When Motörhead was released on the ’21st’ of August 1977, it reached forty-three in Britain and was later certified silver. Somewhat belatedly Motörhead’s recording career was underway.
Nearly seven months after the release of Motörhead, Lemmy and Co. arrived at The Roundhouse on the ’18th’ February 1978. Parked outside was the Rolling Stones mobile recording studio. It had been hired by Chiswick Records’ owner Ted Carroll to record The Count Bishops next album. Motörhead’s then manager Tony Secunda asked if the band could use the mobile recording studio to record their set. An agreement was reached and two albums were recorded that night at The Roundhouse, which was Wilko Johnson’s fundraiser to preserve William Wordsworth’s manuscripts. However, strictly speaking Motörhead shouldn’t even he at The Roundhouse.
Contractual problems meant that Motörhead wasn’t allow to play at Wilko Johnson’s fundraiser. They had hatched a cunning plan, and decided to dawn the moniker Iron Fist and The Hordes From Hell. The audience was in for a surprise as they took to the stage later that evening.
As Iron Fist and The Hordes From Hell prepared to take to the stage, producer Duncan Cowell took his place in the Rolling Stones mobile recording studio, and prepared to record what would prove be a landmark concert.
As Motörhead took to the stage, they launched into one of Lemmy’s compositions The Watcher. It gave way to Iron Horse and Born To Lose before Motörhead revisited Larry Wallis’ On Parole, which had been a staple of the band’s early shows. By then, Motörhead’s mixture of high adrenaline heavy metal, hard rock, blues rock and rock ’n’ roll was proving a popular combination. There was no stopping Motörhead as they launched into White Line Fever, which took marked the halfway point.
They followed White Line Fever with Keep Us On The Road which was penned by Motörhead and Mick Farren. It gave way the first of four cover versions, including a cover of Holland, Dozier and Holland’s Leaving Here which was given hard rocking makeover. Motörhead then covered John Mayall’s I’m Your Witchdoctor which was a staple of their live sets. So was Train Kept A-Rollin’ had featured on Motörhead. Bringing this barnstorming performance to a close, was a cover of The Pink Fairies’ City Kids. Mick Farren then joined the band for a cover of Lost Johnny, which never made it onto the subsequent album.
That album was What’s Worth Words, which was released by Ted Carroll’s record label Big Beat on the ‘5th’ March1983. Thirty-four years later, and Big Beat have reissued What’s Worth Words on lobster red vinyl. What’s Worth Words is reminder of the classic lineup of Motörhead in full flight. Unlike most albums, there’s no overdubbing, and What’s Worth Words is a warts and all performance from Motörhead, who by 1983, were enjoying a glittering career. Everything the band turned to silver or gold. Little did any of the members of Motörhead realise that it was the most successful period of their recording career.
Following the success of Motörhead, which is now regarded as a genre classic, Motörhead returned on the ‘24th’ of March 1979 with their sophomore album Overkill. It was released on the Bronze label, and reached twenty-four in Britain. Soon, Overkill which is regarded in heavy metal circles as a minor class, became Motörhead’s second album to be certified silver. Soon, two became three.
Seven months later, Motörhead returned on the ’27th’ October 1979 with their third album Bomber. It was a difficult album to record, with producer struggling with heroin addiction. However, the album was completed and found favour with Motörhead’s legion of fans. This included both heavy metal fans and punks who were won over by Motörhead’s hard rocking sound. They were also won over by Bomber, which reached number twelve in Britain and was again, certified silver.
Having released two albums within the space of seven months, it was thirteen months before Motörhead returned with their fourth album Ace Of Spades. It was produced by Vic “Chairman” Maile, and featured a fusion of heavy metal, hard rock and speed metal. This found favour with critics, who called Ace Of Spades’ one of Motörhead’s finest albums.
Prior to the release of Ace Of Spades, the title-track was released as a single, on October the ’27th’ 1980 and reached number fifteen in Britain. When the album Ace Of Space was released on the ‘8th’ of November 1980, it reached number four in Britain and was certified gold by March 1981. This was the most successful album of Motörhead’s career, and one that later, would be called a classic.
The same can be said of Motörhead’s first live album No Sleep ’til Hammersmith, which was released on the ‘27th’ of June 1981. It reached number one in Britain, and charted in everywhere from Germany to Norway and Sweden to New Zealand. No Sleep ’til Hammersmith was also the first Motörhead album to be released in America. Alas. the album failed to trouble the US Billboard 200.
Buoyed by the success of No Sleep ’til Hammersmith, Motörhead returned ten months later, with their first studio album in nearly two years, Iron Fist. It was the much-anticipated follow-up to Ace Of Spades which was produced by Vic Maile. He started producing Iron Fist, but didn’t return to project after Motörhead played some gigs in November and December 1981 with Tank. Replacing Vic Maile were Will Reid Dick, Eddie Clarke. They played their part in the success of Iron Fist, which was released on the ’17th’ of April 1982, and reached number six on the British album charts, and was certified gold. Across the Atlantic, Iron First reached 174 in the US Billboard 200. Motörhead were making some inroads into the lucrative American market.
After the release of Iron Fist, Motörhead began work on their next studio album Another Perfect Day. Before it was released, Motörhead would release their second live album, What’s Worth Words. By 1983, Motörhead were no longer managed by Tony Secunda. After some issues, he and Motörhead parted company and Doug Smith once again, became the band’s manager. He helped negotiate the release of What’s Worth Words on Ted Carroll’s Big Beat Records.
What’s Worth Words featured Motörhead’s barnstorming, speed fuelled performance at The Roundhouse on the ’18th’ February 1978. It’s a snapshot in time, and features the material Motörhead played during the late-seventies and early eighties. After that, these songs hardly ever featured in Motörhead’’s sets. They were in the band’s past, a reminder of which is What’s Worth Words. It features the classic lineup of Motörhead at the peak of their powers.
Many critics agreed, and called What’s Worth Words one of the best live albums ever. It was a warts and all performance from Motörhead that was released on the ‘5th’ of March 1983, and reached seventy-one on the British album charts. This was disappointing considering that it’s one of Motörhead’s best live albums, and regarded as one of best live albums ever released.
After the release of What’s Worth Words, Motörhead released Another Perfect Day three months later, on June the ‘4th’ 1983. It reached just twenty in the British album charts, and was the Motörhead’s first studio album not to be certified silver or gold.
Sadly, none of the albums Motörhead released between Bastard in November 1983 and their twenty-second studio album Bad Magic in August 2015 were certified silver or gold. However, Motörhead enjoyed a glittering career between Motörhead in 1977 and Iron Fist in 1982, when they could do no wrong. This included the night they recorded What’s Worth Words at The Roundhouse on the ’18th’ February 1978. That night, the classic lineup of Motörhead reached new heights during a barnstorming performance where they worked their way through the nine tracks on What’s Worth Words which was recently reissued by Big Beat, an imprint of Ace Records.
Motörhead -What’s Worth Words Vinyl.
CHUCK JACKSON-BIG NEW YORK CITY SOUL: WAND RECORDS 1961-1966.
Chuck Jackson-Big New York Soul: Wand Records 1961-1966.
Label: Kent Soul.
Although, Pittsburg-based Chuck Jackson was just twenty-four when he signed to Wand Records in 1961,he was already an experienced singer. His career began in 1957, when he joined the second lineup of The Del-Vikings. Later, that year, Chuck Jackson sung the lead vocal on their 1957 single Willette. This was one of a number of singles that The Del-Vikings singles released between 1957 and 1959. Alas, none of these singles charted despite The Del-Vikings being a popular local draw. Eventually in 1959, Chuck Jackson parted company with The Del-Vikings, and embarked upon a solo career.
Before long, Chuck Jackson had signed to the Petite label, and released Willette as single in 1959. When the single failed to find an audience, Chuck Jackson was on the move.
Next stop was Clock label, where Chuck Jackson would release a trio of singles. His clock debut was Come On and Love Me, which was released later in 1959. By the time, Chuck Jackson released the followup, he had been ‘discovered.’
This came about when Chuck Jackson was opening for Jackie Wilson at the Apollo Theatre in Harlem. In the audience that night, was Luther Dixon, who spotted the potential in Chuck Jackson. It was the break the twenty-two year old soul man had been waiting for.
After being discovered by Luther Dixon, Chuck Jackson released two more singles for Clock. This included I’m Yours in April 1960, which stalled at ninety-one on the US Billboard 100. This was followed by This Is It later in 1960. Still commercial success eluded Chuck Jackson.
After his contract at Clock expired Chuck Jackson released a Peeping Tom for Belltone using the moniker Chuck Flamingo. Just like previous solo singles, it sunk without trace. It was a similar case when Chuck Jackson released Mr. Pride as a single for Belltone in 1961. However, soon, Chuck Jackson’s luck was about to change.
Later in 1961 Chuck Jackson signed to Wand Records, which was an imprint of the New York label Scepter Records. Little did Chuck Jackson know that this would be his home for the next six years. During that period, Chuck Jackson released thirty singles and ten albums. Some of these singles and albums were duets with Maxine Brown. Of these thirty singles, Chuck Jackson enjoyed seventeen hit singles in the US R&B charts and nineteen in the US Billboard 100. This was the most successful period of Chuck Jackson’s long career, and it’s been diligently documented and celebrated by Kent Soul over the past three decades.
This included the best of Chuck Jackson’s Wand recordings on the Good Things compilation in 1990. After that, Kent reissued Chuck Jackson’s eight Wand albums on four CDs. However, during a recent look through the vaults, Kent Soul discovered enough material for one final compilation Big New York Soul: Wand Records 1961-1966..This included eight previously unreleased tracks, a number of rarities, B-Sides and some of Chuck Jackson’s classic track.
Six of Chuck Jackson’s classic tracks feature on Big New York Soul: Wand Records 1961-1966. These six tracks are in mono, which will appeal to purists, and those who remember the tracks first time around.
The earliest is The Same Old Story which was the B-side to the single (It Never Happens) In Real Life. It was released in March 1961 and gave Chuck Jackson a hit single. The Same Old Story features a hurt-filled, needy vocal and featured on the first of thirty singles Chuck Jackson released for Wand Records.
In January 1962, Chuck Jackson released What You Gonna’ Say Tomorrow as a single, but it failed to chart. That was despite features a vocal that is a mixture of power, emotion and regret. Nine months later, the ballad Getting Ready For The Heartbreak was released in October 1962 as single, and reached eighty-eight in the US R&B charts. It’s a tale of betrayal where Chuck Jackson’s vocal is full of regret at the hurt he’s caused.
When Chuck Jackson released Beg Me in May 1964, it added to his impressive toll of hit singles. Hidden away on the B-side was rueful ballad This Broken Heart (That You Gave Me) which was written by Van McCoy. Chuck Jackson brought the lyrics to life, and made it his own.
Fourteen months later, and the ballad If I Didn’t Love You gave Chuck Jackson another hit single when it was released in July 1965. It reached forty-six in the US Billboard 100 and eighteen in the US R&B charts. Chuck Jackson it seemed could do no wrong.
He returned in October 1966 with I’ve Got To Be Strong. Despite the quality of this dancer, it failed to trouble the charts. What nobody realised was that Chuck Jackson had enjoyed the most successful period of his career at Wand Records.
There’s also a number of other B-Sides on Big New York Soul: Wand Records 1961-1966. This includes the Chuck Jackson and Florence Green composition For All Time, a ballad which was the B-Side of Beg Me in 1964. Two years later, and Chuck Jackson released All In My Mind in April 1966, and tucked away on the B-Side the sensuous ballad And That’s Saying A Lot, which was penned by Chuck Jackson and Walter Godfrey. Both these ballads are a reminder of the quality of music that soul man Chuck Jackson was releasing during his Wand Records’ days. Even his B-Sides oozed quality.
That is the also case with much of the music on Big New York Soul: Wand Records 1961-1966, including the unreleased tracks. This includes the lively album opener Things Just Ain’t Right. There’s also a breathtaking cover of Curtis Mayfield composition Need To Belong, which was originally covered by Jerry Butler and Anymore Chuck Jackson’s duet with Dionne Warwick. There’s emotive readings Why Some People Don’t Like Me and Through The Tears, Meet Me Half Way. Then on the uptempo All About You, Chuck Jackson delivers an impassioned vocal. However, Chuck Jackson reaches new heights on the James W. Alexander composition Why, Why, Why which features a soul-baring vocal. No wonder it was chosen to close the compilation.
Two of the unreleased tracks are alternate takes. The first is Hand It Over recorded in 1964, and features a vocal powerhouse where Chuck Jackson’s vocal is full of emotion. A year later in 1965, Chuck Jackson recorded version to of the string drenched ballad Forget About Me. It’s a welcome addition to Big New York Soul: Wand Records 1961-1966.
The same can be said of the various rarities that feature on the compilation. This includes Chuck Jackson’s version of the uptempo dancer Little By Little, which was produced by Stan Green. It made its debut thirty years ago on the 1987 Kent LP A Powerful Soul, which nowadays, is a real rarity. Another rarity is The Silencer, which made its debut on a compilations in 1992, and sounds as if it belongs on the soundtrack to a film about spies and espionage. A welcome addition is the demo of In Between Tears, which made its debut many on a Kent LP The Magic Touch in 1986. Thirty-one years later, In Between Tears returns for an encore.
Another track making a welcome return is Big New York, which was released as a single in September 1963. It was penned and produced by Ed Townsend. It opens with who sweeping, swirling string, timpani and brassy, stentorian horns that give way to a female chose and traffic noise. From there, Chuck Jackson combines soul with vocal jazz on a song that gave him a minor hilt single.
The other two songs on Big New York Soul: Wand Records 1961-1966 are taken from Chuck Jackson’s fourth album Encore! King Of The Mountain features a vocal powerhouse from Chuck Jackson, while he delivers a hopeful vocal Another Day. After Encore!, Chuck Jackson released another six albums, taking his tally to ten during his six-year stay at Wand Records.
Chuck Jackson’s time at Wand Records ended in 1967. The first five years were the most successful, and that is the period that Big New York Soul: Wand Records 1961-1966 covers. It was recently released by Kent Soul, which is an imprint of Ace Records. It’s Kent Soul’s final compilation of Chuck Jackson’s music from the Wand Records’ vaults.
For newcomers to Chuck Jackson’s spell at Wand Records, then Big New York Soul: Wand Records 1961-1966 is the perfect place to start. After that, there’s plenty more to discover, including the eight albums that Chuck Jackson released for Wand Records. They’ve been released on four albums by Kent Soul, and document the most successful period of Chuck Jackson’s career. During this period, Chuck Jackson enjoyed seventeen hit singles in the US R&B charts and nineteen in the US Billboard 100. He was one of the most successful soul singers signed to Wand Records, and had a huge following on both sides of the Atlantic.
That is still the case today, and Chuck Jackson’s legion of fans will enjoy the hits, B-Side, rarities and unreleased tracks on Big New York Soul: Wand Records 1961-1966 which celebrates the career of a veteran soul man. Earlier this year, Chuck Jackson celebrated his eightieth birthday, and Big New York Soul: Wand Records 1961-1966 is a reminder and celebration of the most successful period of Chuck Jackson’s long and illustrious career.
Chuck Jackson-Big New York Soul: Wand Records 1961-1966.
ORCHESTRE LES MANGELEPA-LAST BAND STANDING.
Orchestre Les Mangelepa-Last Band Standing.
Label: Strut.
It was a search for a better quality of musical instruments that brought the Congolese band Orchestre Baba National to Kenya in 1975. By then, the band was dominated by older musicians, who had the biggest say in the running of the Orchestre Baba National. This was frustrating for a group of young, talented musicians who were among the newest members of the band. Eventually, this group of young musicians led by Bwamy Walumona left the Orchestre Baba National. and formed the Orchestre Les Mangelepa on the ‘1st’ of July 1976.
One of the reasons for forming the Orchestre Les Mangelepa was to showcase a much more youthful sound that would have a much wider appeal. That has been the case throughout their career, with the Orchestre Les Mangelepa establishing a reputation for consistently recording and releasing albums of timeless music. Sadly, these albums weren’t released internationally, and apart from a lucky few who came across copies of Orchestre Les Mangelepa’s albums on their crate-digging travels very few people outside of Kenya have heard the Orchestre Les Mangelepa, who nowadays, are regarded as one of the greatest ever African big bands.
Now forty-one years after the Orchestre Les Mangelepa was founded, they’re about to release Last Band Standing, their first ever international release on Strut on the ‘30th’ of October 2017. It’s an opportunity to hear the Orchestre Les Mangelepa.
After the Orchestre Les Mangelepa was founded on the ‘1st’ of July 1976, the Congolese musicians decided to settle in Kenya. Straight away, the Orchestre Les Mangelepa became a popular draw in the Kenyan capital Nairobi.
That was where Israeli restaurateur Jack Gerchun first saw the Orchestre Les Mangelepa. He was so impressed by their music and onstage antics that he invited the Orchestre Les Mangelepa to play at his restaurant In The Park, where they regularly played. This was one many venues in Nairobi that the Orchestre Les Mangelepa played in.
Soon, though, the Orchestre Les Mangelepa took to the stage at the Garden Square and Alliance Club, which were both popular venues. After a while, the Orchestre Les Mangelepa embarked upon their first tour of Kenya.
There would be many more over the next forty-one years. However, the Orchestre Les Mangelepa were reluctant to devote all their energies to touring, and decided to divide their time between practising, recording and touring.
Later in 1976, the Orchestre Les Mangelepa released their first album The Riot Continues (Mangelepa Kamili-Chapter One) on EMI. Led by Bwamy Walumona and Kabila Kabanze, the Orchestre Les Mangelepa showcase their considerable skills on their debut album. It was a tantalising taste of what was to come from the Orchestre Les Mangelepa.
Two years later, in 1978, the Orchestre Les Mangelepa released two new albums on ASL. The first was Embakasi-1st Anniversary Album, which was then followed by Orchestre Les Mangelepa. By then, the Orchestre Les Mangelepa was touring far and wide. They had toured Zambia and Zimbabwe where they took to the stage alongside Oliver Mtukudzi. The Orchestre Les Mangelepa also played in Malawi, and in 1979, they released the live album Amua, Chafua Chafua, Shituka Shituka. It was a reminder of the Orchestre Les Mangelepa’s Malawian tour when this hugely popular and indeed influential group continued on their way to becoming one of the most popular African big bands enjoying hits with Maindusa and Embakasi.
Back home, the Orchestre Les Mangelepa had been a catalyst for the evolution of African rhumba, which many believe is one of the greatest musical artforms in Africa. Meanwhile, the Orchestre Les Mangelepa was playing to huge crowds.
By then, the Orchestre Les Mangelepa had a regular residency at the Park Inn, in Nairobi’s Uhuru Park, where they drew huge crowds from different ethnic backgrounds. They had one thing in common, a love of the Orchestre Les Mangelepa’s music. Their popularity was rising because of the success of their early albums. As a result crowds flocked to hear the Orchestre Les Mangelepa from far and wide at the Park Inn, in Nairobi’s Uhuru Park.
When the Orchestre Les Mangelepa took to the stage, they always out on spectacular stage-show. The Orchestre Les Mangelepa featured a breathtaking horn section that accompanied tight vocals which delivered rueful, poetic and thought-provoking lyrics. The lyrics were sung in Swahili which united Kenyans from various ethnic backgrounds. This was the power of the Orchestre Les Mangelepa’s music, which began to evolve towards the end of the seventies.
This was no surprise, as different types of music were popular in different parts of Kenya. Benga was popular on the shores of Lake Victoria, while Chakacha was popular on the coast. Both genres influenced the Orchestre Les Mangelepa, who incorporated it into their music. In doing so, they ensured that their music remained relevant.
The style of music the Orchestre Les Mangelepa was playing was called Shindano ya Moto which features a distinct beat that has been influenced by Congolese Rhumba. There’s also elements if Cuban Salsa and Chakacha from Coastal Kenya in the Orchestre Les Mangelepa’s sound, which was proving popular across Africa.
In 1979, the Orchestre Les Mangelepa were invited to play at Lugogo Stadium, in Uganda. Idi Amin’s eight year reign of terror had ended on the ’11th of April 1979. During that period, the former cook in the King’s African Rifles ruled Uganda with an iron fist. Idi Amin’s reign was blighted by human right’s abuses, ethnic persecution extrajudicial killings and gross economic mismanagement. With his reign at end, the Orchestre Les Mangelepa agreed to play in Uganda, where it was hoped they would bring about peace and a sense of hope. Sadly, there was problems within the crowd, and soon chaos reigned. This resulted in many people losing their lives. For the members of the Orchestre Les Mangelepa, this was hugely upsetting.
The following year, the Orchestre Les Mangelepa released their first album of the eighties, The Golden Disc Award Winners, A.k.a. Lisapo in 1980. This was followed by two albums in 1982, Shindano Ya Moto (Golden Hits Of Orchestre Les Mangelepa) and the Orchestra Les Mangelepa released 7th Anniversary: Push Pousser Sukuma. They had come a long way in such a short time.
With the Orchestra Les Mangelepa enjoying the most successful period of their career, they embarked on another torturous journey in 1982, Their final destination was Zimbabwe, however, the Orchestra Les Mangelepa journeyed via Tanzania and Zambia. This must have taken its toll on the Orchestra Les Mangelepa, and the band split in two.
One faction was the Safari Ya Mangelepa, who released the critically album Safari Ya Mangelepa on ASL in 1983. Two years later, and the Orchestre Les Mangelepa released their ninth album Madina in 1985. It was the last album the Orchestre Les Mangelepa would release for ASL
Seven years after the Orchestre Les Mangelepa split in two, Mangelepa released their new album Presents Kwasa-Kwasa Dance. It was released in 1989, on the Zambian R.T.P. label.
Two years later, and the Mangelepa Kings, an offshoot of the Orchestre Les Mangelepa released Scud Missile Rumba on R.T.P. in 1991. Sadly, Scud Missile Rumba was the last album the Orchestre Les Mangelepa family would release for sixteen long years.
The Orchestre Les Mangelepa returned in 2007 with their first album of the CD age, Golden Voices. It was a double album that was released by Sound Africa and featured the latest lineup of the Orchestre Les Mangelepa. They were celebrating their thirty-first anniversary, and were being hailed as one of finest African big band.
That is still the case nine years later when the Orchestre Les Mangelepa made their first journey to Europe, forty years after the band was founded. Their destination was the Afrika Festival in Hertme, Netherlands. That was where the latest lineup of the Orchestre Les Mangelepa made a belated and barnstorming European debut. The Orchestre Les Mangelepa won over the enthusiastic audience with some of their best known and best-loved music. Still, though, the Orchestre Les Mangelepa had to release an album outside of Africa.
That was soon about to change, and using the current lineup of their Nairobi Vibro residency, the Orchestre Les Mangelepa rerecorded and reinvented some of their most famous songs. These songs were given a makeover, and brought up to date on Last Band Standing, which is the Orchestre Les Mangelepa’s first ever worldwide release.
Opening Last Band Standing is Kanemo, where stabs of horns soar above the arrangement before the rhythm section, keyboards combine with a guitar and percussion. They lock into a groove and create a backdrop for the joyous vocals. Soon, a jazz-tinged solo takes centre-stage before horns blaze. As they drop out, the vocals return, before another fleet fingered guitar solo is unleashed. When the vocal returns, it’s sung in a call and response style, as the rhythm section power the arrangement along and provide the heartbeat Later, another spellbinding shimmering guitar solo is added, before braying replace them. Together, with the vocals they create an irresistible, melodic song with an uplifting, feel-good sound.
Just a lone guitar plays as Malawi Zikomo unfolds. Soon, guitars are joined by and the rhythm section and tight heartfelt harmonies. The lead vocal and harmonies carry the melody and are sung with power and passion. Soon, a braying saxophone soars above the lead vocal which is a soliloquy. They’re replaced by the jangling guitar that is found on many Afrobeat and Highlife releases. As it meanders across the arrangement, it responds to the lead vocal’s call while the rest of the band lock down the groove. Drums crack while the effects-laden guitar continues to respond to the call. Later, the vocals briefly returns, before the guitar enjoys its moment in the sun. It’s replaced by stabs of urgent horns, before the band reunite as this ten minute inventive epic reaches a crescendo.
A jangling, shimmering guitar opens Mbungu before it’s joined by rhythm section and joyous vocals. Meanwhile, the bass, like the guitar plays a prominent role in the arrangement. So do the harmonies, and later, the impassioned lead vocal as it gives thanks. By then, drums crack and percussion joins the chirping, chiming guitar as the vocal continues to give thanks on this joyful, celebratory song.
Just like other songs on Last Band Standing it’s the guitar that opens Maindusa. It’s joined by the rhythm section and percussion that provide the backdrop for the tight harmonies and lead vocal. Soon, they’re joined by bursts of horns. When they drop out, it’s melodic harmonies that take centre-stage. They’re accompanied by another glistening guitar solo which then accompanies the lead vocal and harmonies. Later, stabs of horns and drum rolls add to the uplifting sound. Meanwhile, the lead vocal drifts in and out, while the guitar is omnipresent. It’s joined by the Orchestre Les Mangelepa trademark tight harmonies which have been winning friends and influencing people for forty-one years. They continue to do on Maindusa which is akin to an irresistible call to dance.
Gradually, Nyako Konya starts to reveal its secrets with guitars, rhythm section and harmonies combining on what’s a much slower, but beautiful heartfelt track. The band take care not to overpower the tight, heartfelt harmonies as guitars chirp and chime. Bursts of horns punctuate the arrangement at the midway point, before a lone horn and then guitar take centre-stage. Both showcase their skills, before the lead vocal returns. Still, the guitar chirps and chimes as the rhythm section and percussion provide the heartbeat to the vampish vocal. As it drops out, the guitar annoys its moment in the sun and plays a leading role in the sound and success of the track.
After a guitar makes a brief appearance on Suzanna, horns blaze and combine with the rhythm section. Everything drops out leaving a heartfelt vocal. It’s soon joined by the rhythm section and percussion, while horns punctuate the arrangement. After they drop out, harmonies enter, while the trademark chirping guitars join crisp drums. They accompany the emotive vocal on this heartfelt ballad. When it drops out, horns soar above the arrangement and drums propel the arrangement along. Again, the guitars are at the heart of the mesmeric arrangement, as tight, powerful harmonies give way to the vocal on one of the highlights of Last Band Standing.
Horns are to the fore on Mimba, but when they drop out, the rhythm section and glistening guitar accompany another impassioned vocal. Again, the bass plays a prominent role, and joins the guitar in providing an accompaniment for the vocal. Later, blazing horns interject, and are replaced by the tight, soulful harmonies. They take centre-stage on this beautiful, memorable and melodic song that features the Last Band Standing at their best.
Ma Lilly a nine minute ballad closes Last Band Standing. A soul-baring vocal is accompanied by a guitar, bass and percussion. They provide an understated backdrop as the vocal combines power and passion. Later, an organ is added and the drums mark time. Just like the rest of the band, they play with the utmost care ensuring they don’t overpower the vocal on this beautiful soul-baring ballad. It’s another of the highlights of Last Band Standing.
Ten years after the Orchestre Les Mangelepa released their last album Golden Voices, Africa’s top big band make a welcome return with Last Band Standing, which will be released by Strut on the ‘20th’ of October 2017. Last Band Standing is the Orchestre Les Mangelepa first album in their forty-one year history to receive an international released. Somewhat belatedly the rest of the world have the opportunity to discover the delights of the Orchestre Les Mangelepa’s music on Last Band Standing.
The Orchestre Les Mangelepa were a pioneering band, who have enjoyed an unrivalled longevity in African music. Their original trademark sound was called Shindano ya Moto and featured a unique beat that had been influenced by Congolese Rhumba. To this, the Orchestre Les Mangelepa added elements of Cuban Salsa and Chakacha from Coastal Kenya. However, on Last Band Standing, the Orchestre Les Mangelepa reinvent eight of their best known and best-loved songs. These eight lengthy songs also incorporate elements of Afrobeat, funk, Highlife and jazz. Especially the guitars which often have a jazz-tinged sound. There’s also a soulfulness to the vocals on Last Band Stand Standing. They veer between soul-baring and heartfelt ballads to joyous and uplifting uptempo tracks that are guaranteed to get any party started.
Last Band Standing also features one of what was one of African music’s best kept secrets, the Orchestre Les Mangelepa whose albums have never before been available outside of Africa. That is about to change with the release of Last Band Standing, which features a tantalising taste of the Orchestre Les Mangelepa who are, without doubt, the greatest ever African big band.
Orchestre Les Mangelepa-Last Band Standing.
PAA KOW-COOKPOT.
Paa Kow-Cookpot.
Label-Self-Released.
Recently, Colorado-based drummer Paa Kow released his third album Cookpot, which features his trademark Afro-fusion sound. This is something the Ghanaian drummer has been honing since he arrived at the University of Colorado as a guest artist and teacher in 2007. Not long after that, Paa Kow formed his own band. That was ten years ago, and since then, he’s come a long way.
It’s been a remarkable journey for Paa Kow who was born in the Enyan Denkyira near Cape Coast in Ghana, West Africa. Growing up, there was no electricity in the village until Paa Kow was thirteen. Despite the lack of electricity, Paa Kow and the other children in the village were still able to entertain themselves, and found ways to do this.
Some of the children in the village would sing and make music. The children had no musical instruments, and had to be resourceful. Paa Kow would often make drums out of metal cans, wire, and a fertiliser bag, which he would fashion into makeshift drums. These drums he would play for hours on end. Day in, day out, Paa Kow practised on his makeshift drum kit. Later, he wanted a drum pedal, and made his own using a door hinge, some string, and an old sandal. Remarkably, this worked, and added a new dimension to Paa Kow’s playing. By then, his musical career was well underway.
Paa Kow’s mother was a professional singer who was part of a touring concert band. So was Paa Kow’s uncle, who was also the director of the concert band. It had been sent instruments and a generator from Germany, which allowed the concert band to play in the evenings in nearby villages. One day as the concert band rehearsed, Paa Kow, who was nearly seven, joined in on the cowbell. He wanted to connect to his elders through the music. Straight away, they could hear and feel a very strong connection as the rhythm came over Paa Kow. His mother who was watching knew that day, that her son would forge a career as a musician.
From that day on, Paa Kow’s mother encouraged her son as he practised on his makeshift drum kit. She knew that Paa Kow had the talent to one day, embark upon a musical career. This happened sooner than she thought.
Within a year, Paa Kow was playing both the drums and congas with the concert band. The only problem was that when Paa Kow sat at the drum kit, his feet couldn’t reach the pedals. As a result, Paa Kow had to stand and play the drums. He played with such vigour and enthusiasm that he was drenched in sweat. As dancers left the floor, some came up to the young drummer and stuck paper money to his Paa Kow’s forehead. Even today, Paa Kow remembers that day with fondness: “being a musician in Ghana is exciting because it brings everyone closer to you. After the show they gave me gifts to show their appreciation. Right away, I thought that this was perfect and it was then that I knew being a musician was my path in life.”
Having made his musical debut, Paa Kow and his reputation grew, and he became a local celebrity in the region who was known as the: “small-boy drummer.” Soon, Paa Kow was playing truant so he could practise or travel to a nearby village to play a concert. His parents weren’t happy about this, and certainly weren’t happy when Paa Kow hid in bass drum that was being packed into a van as the band embarked upon a tour. Only when they arrived at the first venue did Paa Kow come out from his hiding place. He was welcomed by his bandmates and that night when they took to the stage there was joyousness as the band played. The only downside was that Paa Kow missed school on the following Monday. He has no regrets: “music was everything, I wanted and I followed my dreams.”
Aged fourteen, Paa Kow had outgrown Enyan Denkyira and decided to head out into the world and follow his dream of making a living as a drummer. Soon, he was touring with some of the top bands in the area. Before long, Paa Kow joined the government-owned dance band New Creation. This was the break he was looking for, and he headed to Accra with New Creation.
In Accra, Paa Kow was discovered by Ghanaian pop star Amakye Dede. He couldn’t believe how talented the young drummer was. Amakye Dede was so impressed by Paa Kow’s drumming skills, and wanted him to stay in Accra. However, first he had to convince Paa Kow’s parents, so Amakye Dede travelled to Enyan Denkyira speak with the young drummer’s parents. When they met, Amakye Dede offered Paa Kow’s parents money if they allowed their son to stay in Accra.
Later that night, Paa Kow was packaging his belongings, as he prepared to journey to country’s capital. This he knew was the opportunity of a lifetime, as he was going to be playing alongside Ghana’s best musicians.
Having made a new home Accra, Paa Kow’s skills were soon coming to the attention of some of the biggest names in Ghanaian music. Soon, Paa Kow was playing alongside George Darko, Kojo Antwi and Nat Brew, in Ghana and when they played in Belgium, Holland, Scotland and Switzerland, and also in Egypt, Ivory Coast, Liberia, Nigeria and Togo. Soon, though, Paa Kow would off on his travels again.
Whilst Paa Kow was living in Accra, he came across Peyton Shuffield, an American student from Boulder, Colorado, who was looking for a highlife drummer to study with. Peyton Shuffield didn’t want any highlife drummer, he wanted the best Accra had to offer. After speaking with many local musicians, Peyton Shuffield came to the conclusion that the best local musician was Paa Kow. That was how Peyton Shuffield and Paa Kow met one day in Accra.
Straight away, the Paa Kow and Peyton Shuffield hit it off, the pair became firm friends. Peyton Shuffield had found the drummer he had been looking for. Before long, Peyton Shuffield realised that Paa Kow was special talented and wanted to help the Ghanaian drummer share his talent with the rest of the world.
With the support and help of Dr. Kwasi Ampenea, a professor at the University of Colorado, Peyton Shuffield’s dream of bringing Paa Kow to America soon, became reality. Paa Kow was invited to the University of Colorado as a guest artist and teacher. This was the start of a new chapter in Paa Kow’s career and musical journey.
Paa Kow’s musical and cultural exchange with American musicians resulted in the drummer’s new, Afro-fusion sound. This came about after Paa Kow formed a new group in America, and they started to combine elements of West African pop with jazz. The new sound would feature on Hand Go Hand Come, Paa Kow’s debut album.
When Paa Kow was writing and recording Hand Go Hand Come, he soon realised that had too much music for just one CD. Try as he may, Paa Kow found it impossible to whittle the songs down to just his favourites. That was when he decided that his debut album would be a double album, which he named Hand Go Hand Come, after a Ghanaian proverb which essentially embodies the idea of give-and-take. A reminder of this was found inside the CD booklet to Hand Go Hand Come, which said: “the right hand washes the left and the left washes the right.”
On April the ‘11th’ 2012, Paa Kow released his debut album Hand Go Hand Come. This was a reason to celebrate, as the former “small-boy drummer” from Enyan Denkyira was now a professional musician, as his mother had forecast all these years ago.
To coincide with the release of Hand Go Hand Come, Paa Kow embarked upon a gruelling tour that crisscrossed America. In towns and cities, Paa Kow introduced audiences to the Afro-fusion sound on his debut album Hand Go Hand Come. During the tour, Paa Kow’s music found a wider audience and his career was underway.
Just over two years later, and Paa Kow who was an internationally renowned artist, composer and producer, returned in August 2014 with his eagerly awaited sophomore album Ask. It featured enchanting, dance-floor friendly music that features lyrics written in Paa Kow’s native language, Fante, and also in English. Ask also features Paa Kow’s trademark deep groove and showcases a truly talented drummer at the peak of his powers. His drums speak to listeners as they take part in intense and emotive spiritual conversation that is powerful and poignant. For Paa Kow, Ask was an important album, and one that resulted in him travelling far and wide.
Following the release of Ask, Paa Kow and his Afro-Fusion orchestra have toured America and Africa, and are a popular draw. Paa Kow has also shared the stage with some of the biggest names in music over the last few years, including a number of the legends of African music, including Hugh Masekela, and Vusi Mahlasela, plus many top American musicians Victor Wooten, Brad Goode, John Gunther and Michael Kang. It’s a far cry from when Paa Kow had to build a makeshift drum kit back home in Enyan Denkyira.
Paa Kow has a come a long way since these days, and recently, has been working on his third album Cookpot which was released in October 2017. It’s the latest offering from Denver-based drummer, who claims that he speaks a dozen musical languages.
This ranges from the deep rhythmic traditions of his native Ghana to the patois honed and perfected by the two Georges, Clinton and Benson. All this has influenced Paa Kow’s music. He explains: “My music isn’t traditional, but it has deep roots. I want to invent my own style. The highlife music is there, but when you listen, it’s kind of jazz, too. It’s funk. It’s the way the music comes to me.”
This genre-melting style is truly irresistible. Paa Kow is a mixture of a compelling groove and a complexity that musicians everywhere will appreciate. Especially as the bass line shifts and seamlessly lock in the groove with Paa Kow’s drums. They provide the heartbeat for the rest of Paa Kow’s Afro-fusion as they seamlessly switch between and sometimes combine disparate musical genres.
For Paa Kow, these musical genres are just like ingredients for a recipe, that the bandleader puts these in his ‘pot:’ “I feel like music is all about the ingredients. You have different backgrounds, someone from the US, from Europe, from Ghana. Then the pot part, that’s the container, the way the groove set. It’s like something’s boiling on the fire. The whole album brings together all these different energies and inspirations together.” However, this wouldn’t be possible without a top class band and the right equipment.
Two years ago, Paa Kow was needing a new drum kit, but be couldn’t find this type of drum in America. Instead, he had to make the journey home to rural Ghana, where he started his search for his traditional journey. All he had to do, was find a drum maker capable of making this bespoke drum kit.
Eventually, he found drum maker who was capable of making a drum kit to Paa Kow’s exact specifications. “We had talk a lot about it. It was hard to find a bass drum that big. The makers told me ‘We don’t think we can get this for you.’ One day, I woke up and they told me they had found a tree. The bass drum is made from a single tree. It gives me a really nice sound that I love. It’s the same drum kit I used on the album.”
With the new drum kit complete, Paa Kow left his former home on rural Ghana behind, and journeyed to his adopted home city of Denver. This was where Cookpot was recorded, and where Paa Kow’s Afro-fusion orchestra is based. “I had lived in Ghana my whole life. I’d played with successful bands and toured Europe. But I trusted this was what I wanted to do. I wanted to spread my music. I love Colorado, and there’s lots of opportunity if you want to take advantage of it. I’ve played with a lot of different musicians, and some of them come and go. But I write my own songs, and gradually it’s leading me where I want to be.”
In Colorado, Paa Kow has found many like-minded musicians who have joined him on a journey that began in his home town of Enyan Denkyira, just before his seventh birthday. Just like Paa Kow, these like-minded musicians are linguists and speak the same language as their bandleader. “I believe that music is a language. But it’s not universal, you have to learn it. You learn, oh, you don’t say that in our language. It’s a conversation. You don’t have to be from Ghana, say to learn my language. When the musical skills are there, I have been able to get American musicians to speak the same language I speak. They love what I do, and what they do. It makes it a lot easier.”
Just like Paa Kow, the musicians in his Afro-fusion orchestra love music. They’ve also dedicated their lives to music. This dedication to music Paa Kow says: “is like breathing,” it comes natural to him and this is the case with the rest of the orchestra. He also adds: I didn’t go to music school to start playing. The more I learn, the more it comes to me. I love every minute of it.” This includes writing and recording his third album Cookpot.
Just like his two previous albums, Cookpot which features thirteen new songs penned by Paa Kow, showcases a tight, talented and versatile band, who have been honing their trademark Afro-fusion style for ten years. They come of age on Cookpot, where they incorporate elements of funk, Highlife, jazz and jazz funk. There’s also several smoking jazz jams as Paa Kow showcase their musical skills. The result is potent and heady musical brew. Especially as Paa Kow seamlessly switch between different genres on the one track. On other tracks, Paa Kow and his Afro-fusion orchestra combine disparate genres, which became part of the his genre-melting sound on Cookpot.
Paa Kow’s Afro-fusion orchestra lock into a groove on The Way I Feel, which is a slow, sometimes dramatic, jazz funk jam. The bursts of drama come courtesy of horns and Paa Kow’s drums. With the rest of this talented band, they play their part in the sound and success of a cinematic and dramatic track that sets the bar high for the rest of Cookpot.
Very different are Meetu Ehum and Pete Pete which have a much more traditional sound. They’re a reminder of the music that influenced Paa Kow as he grew up in Ghana. There’s a joyousness to Meetu Ehum where Highlife is combined with elements of jazz and funk. The tempo drops on Pete Pete, with Paa Kow playing drums, congas, bells and adding vocals. He plays a leading role, as horns and briefly a jazz guitar accompany on what’s an irresistible track. Then on Forced Landing, Paa Kow and his Afro-fusion orchestra switch seamlessly between funk to highlife, before returning to the earlier funky sound on this genre-melting track.
Straight away, Paa Kow and his Afro-fusion orchestra lock down the groove on Cookpot. It’s is a genre-melting jam where the unmistakable sound of steel pans play a part in the sound and success of the track. It finds Paa Kow and his Afro-fusion orchestra combining funk, jazz, Highlife and jazz funk.
Lonely is a powerful and emotive marriage of Highlife and jazz, while Details features a virtuoso performance from Paa Kow during this breathtaking solo performance. I Made A Mistake finds Paa Kow and his Afro-fusion orchestra playing this complex piece with speed and fluidity. It bursts into life with stabs of urgent horns joining Pa Kow’s drums, a Fender Rhodes and a guitar that is played with speed and precision. Meanwhile, Paa Caw and his orchestra fuse elements of jazz, funk, Highlife and even it seems, drum ’n’ bass, before the track reaches a memorable crescendo. It’s followed by African Lady a joyous, celebratory track.
Jeff Jenkins’ swirling Hammond organ opens the smoky, jazz-funk jam How Sweet. Later, Paa Kow delivers a heartfelt vocal before Dave Corbus’ derivers a masterclass on guitar. This triumvirate play their part in the sound and success of How Sweet, which is on of Cookpot’s highlights. The tempo drops on Sacrifice, a genre-melting track which floats dreamily along. Paa Kow’s drums play a leading role, and combine with braying horns and chiming guitar. Later, just before the song reaches a crescendo, he sings: “Sacrifice for your brother.”
Go With It the races along with the Paa Kow’s drums matching the piano every step of the way. When horns are added still the drums and piano race along playing with speed, precision and fluidity. The spiritual sound of Praise The Lord closes Cookpot. Against a traditional Highlife backdrop, Paa Kow asks for forgiveness and gives thanks for everything he’s got. This includes the musical talent he’s put to good use on Cookpot.
Three years after the release of his sophomore album Ask, Paa Kow returns with his third album Cookpot, which is a career-defining album from the Colorado-based drummer. Backed by his Afro-fusion orchestra, he reaches new heights on the thirteen genre-melting tracks on Cookpot.
This includes highlife, funk, jazz, jazz-funk and even a hint of drum ’n’ bass on I Made A Mistake. It’s a complex piece of music which is played with speed, fluidity and precision by Paa Kow and his Afro-fusion orchestra. That is the case on several tracks on Cookpot, where Paa Kow and his tight, talented and versatile band can seamlessly switch between and combine musical genres. Whether it’s on the slow or uptempo tracks, they provide the perfect backdrop to Paa Kow whose a drummer’s drummer.
Just like the rest of his Afro-fusion orchestra, Paa Kow can seamlessly flit between musical styles, and is equally comfortable playing Highlife or jazz-funk. He’s equally at home playing complex and intricate pieces of music, as he is with a steady 4/4 beat. Paa Kow is also a talented composer and bandleader, who brings out the best in musicians on Cookpot, which is by far, the best album of his career. Cookpot features a series of musical masterclasses from Paa Kow and Afro-fusion orchestra, who reach new heights on Cookpot, which is a genre-hopping album from the drummer’s drummer.
Paa Kow-Cookpot.
FIREFALL’S GLORY YEARS…AND BEYOND.
Firefall’s Glory Years and,,,Beyond.
When Gram Parsons and The Fallen Angeles headed out on tour in 1973, little did anyone realise that this tour would be God’s Own Singer’s swan-song. By then, twenty-six year old Gram Parson had embraced the rock ’n’ roll lifestyle and had an insatiable appetite for drink and drugs. Sadly, this would result in Gram Parson’s death on September 19th 1973.
A post-mortem found that the cause of Gram Parsons’ death was an overdose of morphine and alcohol. Sadly, the rock ’n’ roll lifestyle that Gram Parsons had embraced, had resulted in his death, aged just twenty-six. Gram Parsons’ friends, family and band struggled to come to terms with his death. This included Rick Roberts.
He had known Gram Parsons since they had been members of The Flying Burrito Brothers. Gram Parsons had been one of the founding members in 1968, and Rick Roberts had joined in 1970. Then when Gram Parsons embarked upon a solo career, Rick Roberts left The Flying Burrito Brothers and became a member of The Fallen Angels, Gram’s backing band. That was until that fateful night in September 1973.
Eventually, after Gram Parson death, Rick Roberts began to think of the future. By then, Rick Roberts was back home in Colorado. So too was Jock Bartley, who had replaced Tommy Bolin in Zephyr. They had first met when Gram Parsons and The Fallen Angels were playing two nights in the same venue in New York. Since then, they had kept in touch.
Now back home in Colorado, Rick Roberts and Jock Bartley were reunited. One day, Rick Roberts arrived as Jock Bartley was playing his guitar. Rick Roberts watched as Jock Bartley unleashed a virtuoso performance. This lead to Rick Roberts suggesting they practise together.
Soon, Rick Roberts and Jock Bartley were practising together regularly. Before long, they began to think about forming a band together. So they began to think of possible additions. The first name on their list was Mark Andes, a bassist and singer.
Mark Andes had previously been a member of Spirit and Jo Jo Gunne. That was until he decided to retire, albeit temporarily, and went to live in the rocky mountains outside of Boulder, Colorado. Rick Roberts and Jock Bartley were hoping to tempt Mark Andes out of retirement. They succeeded, and bassist Mark Andes joined the nascent band. This left just three possible names on the list.
The first was Larry Burnett, a singer, songwriter and guitarist, who Rick Roberts had met Larry on his travels. When Rick Roberts was putting a new band together, he decided the Larry Burnett fitted the bill.
So did keyboardist and guitarist Mark Hallman, who knew Mark Andes from the band Navarro. However, when Mark Hallman was asked to join Firefall, he rejected the opportunity, and eventually joined Carole King’s backing band. While this was a disappointment, the search for a drummer went on.
Various local drummers were auditioned, but failed to make the grade. Eventually, Rick Roberts decided to phone an old friend…Chris Hillman. He had an impressive C.V, and previously had been a member of The Byrds and The Flying Burrito Brothers. That was where he met Rick Roberts. However, since leaving The Flying Burrito Brothers, Chris Hillman had lived first in Hawaii and then in Washington. When Rick phoned Chris Hillman, he agreed to head to Colorado and joined Firefall.
For their first year together, Firefall played in the pubs and clubs around Colorado. Quickly, Firefall became a popular draw in Boulder and Aspen, where the nascent band honed and tightened their sound. After just over a year of playing live, Firefall decided to record a demo.
The three song demo Firefall recorded was produced by Chris Hillman, and shopped to the major labels. When it failed to find a taker, things weren’t looking good for Firefall.
So much so, that in 1975, Rick Roberts, Jock Bartley and Mark Andes were drafted in to Chris Hillman’s band for several performances. This included a gig at The Other End in New York, during June 1975. Not long after the band arrived in New York, Chris Hillman became ill, and couldn’t continue the tour. So Larry Burnett and The Byrds’ drummer were drafted in to play at The Other End and finish the tour.
In the audience that night at The Other End, was Atlantic Records’ A&R executive. He listened to Firefall’s demo tape, and then made his way to the front of the stage. After Firefall’s set, the Atlantic Records’ A&R executive headed backstage and signed Firefall on a multi-album contract. At last, Firefall were signed to a major label.
There was a problem though. Rick Roberts had agreed to head out on tour with Stephen Stills during the summer of 1975. This meant the recording of Firefall’s eponymous debut album had to be postponed until Rick’s return. It wasn’t until late 1975 that work on Firefall could begin.
Firefall.
After Rick Roberts returned from touring with Stephen Stills, a decision was made that David Muse should also join Firefall in the studio. He was a talented multi-instrumentalist, who could seamlessly switch between saxophone, flute, keyboards and harmonica. David Muse would add a new dimension to Firefall’s sound. So would Jim Mason, who had been chosen to produce Firefall’s debut album.
For Firefall’s eponymous debut album, Rick Roberts penned the album opener It Doesn’t Matter with Stephen Stills and Chris Hillman. He was no longer a member of Firefall, and had been replaced by Michael Clark. Rick Roberts also wrote Livin’ Ain’t Livin’, Dolphin’s Lullaby,You Are The Woman and Mexico. Larry Burnett wrote Love Isn’t All, No Way Out, Cinderella, Sad Ol’ Love Song and Do What You Want. These songs were recorded at Criteria Studios, in Miami.
When Firefall arrived at Criteria Studios, the lineup featured a rhythm section of drummer Michael Clark; bassist Mark Andes; and Larry Burnett on electric and acoustic rhythm guitar. Jock Bartley added lead, slide and pedal guitar; while Rick Roberts added acoustic guitar. New recruit David Muse played piano, clavinet, synths, flute, tenor sax and harmonica. Guest artist Joe Lala was drafted in to add a myriad of percussion. The man tasked with producing Firefall was Jim Mason. Once the album was recorded and mastered, the release of Firefall was scheduled for May 1976.
Before that, critics had their say on Firefall. They were won over by a polished and accomplished album where soft rock rub shoulders with folk rock, country and Americana. It Doesn’t Matter opened the album, and was a slice of Californian soft rock, which whetted the listener’s appetite for the rest of Firefall. This included songs like No Way Out and the ballads Dolphin’s Lullaby, Love Isn’t All and Sad Ol’ Love Song, which lead to comparisons with The Eagles. However, for many critics, one song stood head and shoulders above the rest, the soft rock classic You Are the Woman. It oozed quality, and had single written all over it. So did Livin’ Ain’t Livin’ and the wistful country rock ballad Cinderella. These songs showcased a tight, talented and versatile band who put all their years of experience to good use on Firefall. It was released to critical acclaim in May 1976.
When Firefall was released, it reached number twenty-eight on the US Billboard 200, and sold in excess of 500,00o0 copies. This resulted in Firefall being certified gold. By then, Firefall were being compared to The Eagles and Poco. This was a lot to live up to. However, more success had come Firefall’s way and they had just enjoyed their first hit single.
You Are The Woman had been released as a single, and reached number nine on the US Billboard 100 and number six on the US Billboard Adult Contemporary Charts. Livin’ Ain’t Livin’ then reached forty-two in the US Billboard 100, while Cinderella reached just thirty-four in the US Billboard 100.This wasn’t a true reflection on the song. The problem was that radio stations were unwilling to play the single, because of its controversial lyrics. Despite the lack of radio play, it gave Firefall a minor hit single. With three hit singles and an album that had just been certified gold, Firefall were one of music’s rising stars. They embarked on their first lengthy tour.
Over the next two years, Firefall were constantly touring. They shared the bill with everyone from Leon Russell to The Doobie Brothers and Tom Waits to Lynyrd Skynyrd, Roy Buchanan, the Electric Light Orchestra and The Band. However, Firefall had to fit in the recording of their sophomore album Luna Sea.
Luna Sea.
Originally, the working title for Firefall’s sophomore album was Tropical Nights. Just like their eponymous debut album, it was scheduled to be recorded at Criteria Studios, in Miami where David Muse would make his debut as a full-time member of Firefall. However, percussionist Joe Lala, who returned for the recording of Luna Sea, was still a guest artist.
So were The Memphis Horns, who join Firefall at Criteria Studios when recording of their sophomore album got underway. Firefall were also joined by Poco’s Timothy B. Schmidt and a trio of female backing vocals. They joined percussionist Joe Lala, and the newly expanded lineup of Firefall. Again, Jim Mason had been drafted in to produce the album. Everything seemed to go to plan, and within a month, Firefall’s sophomore album was completed. However, there was a problem.
Once the album was completed, it was sent to Atlantic Records. They decided after hearing the final mix, that the album would have to be recorded.
This time, Fireball headed to Los Angeles, where some of the songs on Luna Sea were rerecorded. Other songs were discarded, and replaced by new songs. By the time Luna Sea was complete, Rick Roberts had written four songs, and Larry Burnett three songs. They also cowrote Even Steven, while Just Think and Piece Of Paper were credited to Firefall. This was the first time the band had written songs together. Both made their way onto Luna Sea, which was released in 1977.
Prior to the release of Luna Sea, critics received advance copies of the album. Just like Firefall, Luna Sea was a slick, polished and accomplished album that attracted critical acclaim from critics. Again, soft rock rubbed shoulders with folk rock, country and Americana. So Long the album opener, was a guitar driven slice of soft rock. It gives way to one of Luna Sea’s highlights, Just Remember I Love You. Just like Someday Soon and Only A Fool, it’s a beautiful country-tinged ballad, that’s reminiscent of The Eagles. These ballads offer ample opportunity for Firefall to showcase their trademark close harmonies. However, other tracks find Firefall showcasing their versatility.
Someday Soon is a fusion of blues and country; while Just Think finds Firefall heading in the direction of blues rock. Getaway features The Memphis Horns, who add stabs of horns on a track that wouldn’t sound out-of-place on an Eagles album. Head On Home, a mid tempo country rocker, where the trio of female backing vocalists add the finishing touches. Very different is Piece Of Paper, which is a melancholy ballad. It features Firefall at their best. This leaves just Even Steven, another catchy country rock track, which bookends Luna Sea perfectly.
When Luna Sea was released in 1977, it reached twenty-seven in the US Billboard 200. The lead single, Just Remember I Love You reached number eleven in the US Billboard 100, and number one in the US Billboard Adult Contemporary Charts. However, the followup So Long, stalled at just forty-eight in the US Billboard 100. Despite this, Luna Sea had built on the success of Firefall. The future it seemed looked bright for Firefall
Elan.
Behind the scenes, it was a different story. All was not well within Firefall. The band had spent nearly two years touring nearly nonstop. That had been the case since the release of Firefall in May 1976, right through to 1978 when the band’s thoughts turned to recording their third album Elan. By then, Firefall had toured with the great and good of music. This included opening for Fleetwood Mac on their Rumours’ tour. For Firefall, this should’ve introduced their music to a wider audience. Instead, it almost tore Firefall apart.
During the two years of nonstop touring, some of the members of Firefall had acquired expensive habits. Rick Roberts, Larry Burnett and Michael Clarke all began to drink heavily and began to experiment with drugs. Soon, things had escalated, and drink and drugs became a problem within Firefall, as Rick Roberts, Larry Burnett and Michael Clarke all became heavy drug users. This started to affect the group dynamics. To further complicate matters, Firefall were having problems with their management. For a group who were at the peak of their popularity, and about to record their third album, this didn’t bode well.
For their third album, Firefall decided to bring a new producer onboard. This was a huge risk, as Jim Mason had played an important part in the rise and rise of Firefall. However, their minds were made up, and Tom Dowd was brought onboard to produce Elan.
By 1978, Tom Dowd had an enviable track record. His career began in 1947, and over the last thirty-one years he had produced everyone from Charlie Mingus and Cream to Dusty Springfield and Eric Clapton, to Aretha Franklin, Otis Redding, The Allman Brothers, Chicago and Lynyrd Skynyrd. Now Tom Dowd was tasked with uniting a band divided.
For Elan, ten new songs had been penned. Just like Firefall’s two previous albums, they came from the pen of Larry Burnett and Rick Roberts. This time around, Larry Burnett wrote three songs, while Rick Roberts wrote five new songs. Rick also wrote Sweet and Sour with Jock Bartley; and Anymore with Mark Andes. These tracks were recorded at Criteria Sound with Tom Dowd.
When recording began at Criteria Studios, Miami, Firefall were joined by drummer Jim Keltner, vocalist Laura Taylor and percussionist Steve Forman. They would augment Firefall as they recorded ten new tracks. However, the Firefall and Tom Dowd partnership proved not to be the dream team everyone had hoped.
While the members of Firefall got on well with Tom Dowd, the problem was he had a different ‘vision’ for the band. They were content to stick with the formula that had served them well for two albums. Rather than trying to sort out their differences, Firefall continued to record Elan. Eventually, Firefall’s new management company decided to intervene. By then, Elan was recorded, and a large amount of money had been spent. This was money wasted, in light of what happened next.
Firefall’s management company approached Mick Fleetwood, who the band had recently befriended. He was part of one of the most successful bands in the world, and listened as Firefall told him that they weren’t happy with their third album. Eventually, he agreed to speak to executives at Atlantic Records, in the hope that they would allow Firefall to rerecord Elan.
When Mick Fleetwood got in touch with Atlantic Records, they agreed to let Firefall rerecord Elan. There was a catch though, Firefall would have pay for the rerecording of their third album. While this put the band into debt, they were willing to do so.
For the rerecording of Elan, Atlantic Records brought onboard Howard and Ron Albert to coproduce the album. The sessions took place at Criteria Sound in Miami, and the Record Plant in Los Angeles. By the time the sessions were complete, Elan was transformed and was a very different album. Firefall’s decision to rerecord Elan paid off.
Before the release of Elan, critics had their say on Firefall’s third album. They hailed the album Firefall’s finest hour. That was not surprising given the quality of songs on Elan. It features the heart wrenching ballad Strange Way. It’s one of several beautiful ballads, including Baby, Goodbye, I Love You and Sweet Ann. They’re joined by the mid-tempo country rocker Sweet And Sour; the blues rock of Wrong Side Of Town; the country rock ballad Count Your Blessings and Get You Back which features Firefall at their rockiest. Coming a close second was the country rock of Anymore. Closing Elan was the bluesy rocker Winds Of Change. While Elan was different from their two previous albums, critics agreed it had one thing in common…quality.
When Elan was released in 1978, it reached number twenty-seven in the US Billboard 200, and was certified platinum. The lead single Strange Way reached number eleven in the US Billboard 100, while Goodbye, I Love You stalled at number forty-three. Despite this, Firefall had just enjoyed the most successful album of their career. It should’ve been a time to celebrate.
Sadly, it wasn’t. The three years Firefall had spent constantly touring and recording, had caught up on the band. Firefall were almost burnt out. Michael Clarke was drinking heavily, and sometimes, missed shows. Other times, Michael was ‘unfit’ to play. It got that German drummer Dan Holsten was on standby, and was ready to replace Michael Clarke. However, before long, Firefall realised there was another problem.
After three successful albums, which had sold over 1.5 million copies in America alone, the members of Firefall must have thought there was a nice nest egg awaiting them. Alas, that proved not to be the case.
Firefall’s finances weren’t in the best of health. That wasn’t surprising as they had rerecorded two of their three albums, and embraced the rock ’n’ roll lifestyle. All this was expensive, and was something that Firefall would regret in the future.
The band had just enjoyed the most successful period of they career between 1976 and 1978. They had sold nearly two million albums in America alone and resulted in seven hit singles. It looked as if Firefall was going to become one of the biggest American bands of the late-seventies. Sadly, it turned that Firefall’s glory days were behind them.
Following Elan, Firefall released Undertow in 1979 and Clouds Across The Sun in 1980. Neither album replicated the success of Firefall’s first three albums, and it looked as if Firefall’s career was on the slide. Especially when Atlantic Records dropped Firefall just a couple of years after they Elan was certified platinum. It was a case of how the mighty had fallen. For Firefall, it looked as if this was the end of the road for Firefall.
Then in early 1982, Jock Bartley began putting together a new lineup of Firefall. With the new lineup complete, Firefall signed to Atlantic Records, and released Break Of Dawn in 1982. This was followed by and a year Mirror Of The World in 1983. Commercial success eluded both albums, which never came close to replicating the the success of Firefall’s first three albums. Soon, history repeated itself again when Firefall were dropped again by Atlantic Records. It would be another eleven years before they released another studio album.
By the time Firefall released Messenger in 1994, they were a very different band. However, this didn’t stop Jim Mason returning to the produce Messenger. It featured Firefall’s usual mixture of ballads and rockier songs. When Messenger was complete, it was released on Redstone Records, and regarded as a return to form from Firefall. Some critics went as far as compare Messenger to their early albums. While this was stretching things somewhat, Firefall’s fans welcomed the release of Messenger. It was just the latest chapter in the Firefall story. Surely, another album would follow be released and build on Messenger?
It was another thirteen years before Firefall returned with Colorado to Liverpool–A Tribute To The Beatles in 2007. Two years later in 2009, Firefall Reunion Live was released some forty-three years after Firefall released their eponymous debut album. Firefall were still making music, and still continue to do so.
Seven years later, and Firefall continue to play live. The only original members of the band that remain are Jock Bartley, Mark Andes and David Muse, who featured on Firefall, but only became a permanent member on Luna Sea. They’ve not lost their appetite for music, and continue to play live and bring back memories of Firefall’s glory days.
Firefall’s glory days were between 1976 and 1978, when they released a triumvirate of critically acclaimed albums that sold the best part of two million copies in America alone. This started with Firefall in 1976, with Luna Sea following in 1977 and Elan a year later in 1978. It marked the end of Firefall’s glory years, which should’ve lasted much longer.
Three years of constant touring and recording took their toll on Firefall. So did the lifestyle problems and problems with their new management company. After three critically acclaimed albums, Firefall’s career went into decline and they never fully recovered. Sadly, Firefall would never come close to reaching the heights of Firefall, Luna Sea and Elan, which feature Firefall at their very best during their glory years, when anything seemed possible for the Colorado based band.
Firefall’s Glory Years and…Beyond.
SANDY DENNY-FROM FOTHERINGAY TO THE SOLO YEARS.
Sandy Denny-From Fotheringay To The Solo Years.
In December 1969, an announcement was made that Sandy Denny had left Britain’s leading folk band, Fairport Convention. This came as a shock to many as Fairport Convention, who were Britain’s first electric folk band, popularity been rising over the past two years. Playing her part in the rise and rise of Fairport Convention was Sandy Denny who had previously been a member of The Strawbs. Sandy Denny joined Fairport Convention in 1968 when she replaced Judy Dyble.
What We Did On Our Holidays.
Sandy Denny made her Fairport Convention debut on the band’s sophomore album What We Did On Our Holidays, which was recorded at Kingsway and Olympic Studio No. 1 between June and October 1968. When What We Did On Our Holidays was released in January 1968, the album marked a moved towards folk rock. Playing an important part in the sound and success of What We Did On Our Holidays were Sandy Denny’s haunting ethereal, vocals. They would play their part in the rise and rise of Fairport Convention.
Unhalfbricking.
Just six months later, Fairport Convention returned with their third album Unhalfbricking in July 1969. It had been recorded between January and April 1969 at Sound Techniques and Olympic Studios in London. During these sessions, Fairport Convention moved away from the American folk influence to a much more traditional English folk sound on Unhalfbricking. When it was released, it was hailed as the finest album of Fairport Convention’s three album career. Just like on What We Did On Our Holiday, Sandy Denny beautiful, elegiac and emotive vocals played an important part in the albums sound and indeed success. Even after just two albums with Fairport Convention, Sandy Denny was playing an important part in the band she had joined just a year earlier.
Liege and Lief.
Five months later, in December 1969, Fairport Convention returned with their fourth album Liege and Lief, which was their third album of the year. The majority of Liege and Lief was recorded on the ‘16th,’ ‘19th,’ ‘22nd’ and ‘29th’ of October 1969. Two days later, the final session taking place on the ‘1st’ of November 1969. Just over a month later, Liege and Lief was released in December 1969,
Liege and Lief was an album of songs that had been adapted from traditional British and Celtic folk, and this future folk classic found favour with critics and fans. The album reached seventeen in the British charts. However, by then, Sandy Denny had announced her departure from Fairport Convention in later December 1969. The reason Sandy Denny gave for her departure from Fairport Convention was that she wanted to hone her songwriting skills. That was the plan.
Fotheringay.
Not long after her departure from Fairport Convention, Sandy Denny decided to form a new band, Fotheringay. So in early 1970, Sandy Denny started looking for musicians to join hew new band. One of the first musicians she brought onboard was Trevor Lucas, an Australian guitarist.
Trevor Lucas was now based in Britain, where he was a familiar face in the British folk scene. Previously, Trevor Lucas was a member of another folk-rock group Eclection. That was when Trevor Lucas first met Sandy Denny. The pair started dating in May 1969, and eventually, married in 1973. However, Trevor Lucas’s career began back in Australia, in the early sixties.
Back then, Trevor Lucas was still a solo artist. He released his debut solo album See That My Grave Is Kept Clean in 1964. Then on New Year’s Eve Trevor Lucas boarded a ship and made the journey from Australia to Britain. That was when he became a member of Eclection, and met drummer Gerry Conway.
Eclection were a folk-rock band, who were formed in 1967, and broke up two years later in 1969. However, by then, Trevor Lucas and Gerry Conway were firm friends. They renewed their musical partnership in Fotheringay.
Gradually, Sandy Denny’s new band Fotheringay was starting to take shape. The final pieces in the musical jigsaw were two former members of The Poet and The One Man Band. Guitarist Jerry Donahue had moved from Manhattan to Britain, where he quickly became stalwart of the folk scene. This wasn’t surprising as Jerry Donahue came from a musical family. His father was a Sam Donahue, the well known big band saxophonist. However, Jerry Donahue wasn’t inspired by the music his father played, and preferred, Gerry McGee, Earl Scruggs, Chet Atkins and Duane Eddy. They all inspired Jerry Donahue who joined Fotheringay in 1970 with Edinburgh born bassist Pat Donaldson.
By 1970, Pat Donaldson was a familiar face in the London music scene. He had moved to London in the early sixties, and since then, had had been a member of Bob Xavier and the Jury, Zoot Money’s Big Roll Band and the reformed Dantalian’s Chariot. Fotheringay was just the latest group the twenty-seven year old would bassist work with.
With the lineup of her new band finalised, all Sandy Denny needed was a name for the band. She decided on Fotheringay, after Fotheringay Castle where Mary Queen Of Scots was imprisoned. With its lineup complete and a name in place, Sandy Denny’s new band could begin work on their debut album.
Fotheringay.
Sandy Denny didn’t waste any time recording Fotheringay’s debut album. She wrote four tracks and cowrote Peace in the End with Trevor Lucas. He also penned The Ballad of Ned Kelly. Other tracks included covers of Gordon Lightfoot’s The Way I Feel, Bob Dylan’s Too Much Of Nothing and Banks of the Nile. These ten tracks were recorded between February and April, 1970 at Sound Techniques, in London with Joe Boyd producing what became Fotheringay.
Once Fotheringay was completed, the album was released in June 1970. It was one of the most eagerly awaited albums of the year. Critics and record buyers eagerly anticipated the release of Fotheringay.
They weren’t disappointed. Critics hailed the album a masterful debut. Sandy Denny was back, and better than ever. Her enchanting, ethereal vocal was complimented by a tight, talented band. Fotheringay won over critics and was released to critical acclaim.
Fotheringay sold well upon its release in June 1970, and reached number eighteen in Britain. Good as this was, it wasn’t good enough for Island Records. Their expectations and Fotheringay’s differed. Island Records had hoped the album would be one of the label’s biggest selling albums of 1970. That wasn’t the case, and soon, executives at Island Records’ stared pressurizing Sandy Denny to embark upon a solo career.
Sandy Denny was determined to try to make a go of her new band, and dug her heels in. She felt that Island Records expectations were unrealistic, and that would take a couple of albums before Fotheringhay’s music found a wider audience. Soon, work began on what was meant to be Fotheringay’s sophomore album.
Fotheringay 2.
A total of eleven tracks were meant to feature on Fotheringay’s sophomore album. This time, Sandy Denny only wrote two songs. Trevor Lucas and Pete Roach penned Knights of the Road and Restless. Among the other tracks were traditional songs, a cover of Bob Dylan’s I Don’t Believe You and the Dave Cousins’ composition Two Weeks Last Summer. These eleven tracks were recorded by an expanded lineup of Fotheringay.
Joining the usual lineup of Fotheringay was Linda Thompson, who was going to add backing vocals when the sessions began in November 1970. The sessions continued into December 1970. Everyone thought that things were going to plan. Sadly, that wasn’t the case.
In January 1971, it was announced that Fotheringay were no more. The band split-up and what would eventually become Fotheringay 2 was shelved. It wasn’t released until 2008. With Fotheringay now consigned to musical history, Sandy Denny embarked upon a solo career.
The Solo Years.
Sandy Denny signed to Island records, and soon, began to work on to release her debut solo album, The North Star Grassman and The Ravens. For Sandy Denny, this was the start of a new and exciting chapter in her career.
The North Star Grassman and The Ravens.
After Fotheringay split-up, Island Records were keen for the latest signing to enter the studio. Sandy Denny, Island Records believed, could become one of the company’s biggest selling artists. When Sandy Danny entered the studios in March 1971, it was with the weight of expectation on her shoulders.
By then, Sandy Denny was maturing as a songwriter. This was what she had planned to hone her songwriting skills after she left Fairport Convention in December 1969. By March 1971 she was an accomplished songwriter and had written eight of the eleven songs on The North Star Grassman and The Ravens. This included Late November and John The Gun which had been recorded for the Fotheringay 2 sessions. Among Sandy’s other compositions, were The Sea Captain, The Optimist, Next Time Around, Wretched Wilbur, The North Star Grassman and The Ravens and Crazy Lady Blues. They joined a rework of the traditional song Blackwaterside; Bob Dylan’s Down In The Flood and Charles Robins’ Let’s Jump The Broomstick. These songs were recorded over a three-month period with some familiar faces.
The recording sessions began in March 1971, at Sound Techniques, with Sandy Denny, John Wood and Fairport Convention’s Richard Thompson tanking charge of production. Just two songs were recorded there, Blackwaterside and Let’s Jump The Broomstick. Then things were moved in-house and the rest of the sessions took place at Island Studios, in London.
At Island Studios, Sandy was accompanied on some of the tracks, by the rest of Fotheringay. Other musicians were drafted in when needed. This included Buddy Emmons on pedal steel guitar; drummer Roger Powell; bassist Tony Reeves; violinist Barry Dransfield and Ian Whiteman on piano and flute organ. Royston Wood and Robin Dransfield added backing vocals on John The Gun. Richard Thompson played accordion, bass, electric and acoustic guitar. His vocal featured on Down In The Flood. Harry Robertson arranged the strings on Next Time Around and Wretched Wilbur. By May 1971, The North Star Grassman and The Ravens was complete. It would be released four months later.
Before the release of The North Star Grassman and The Ravens, critics had their say on Sandy Denny’s debut solo album. With its mixture of Sandy Denny compositions, and cover versions, it was a truly captivating album. Sandy’s vocals were compelling, as she breathed meaning and emotion into lyrics. Among the highlights were John The Gun, Late November, the wonderfully wistful Next Time Around and The North Star Grassman and The Ravens. That’s not forgetting Down In The Flood, where the interplay between Richard Thompson’s guitar and Sandy’s vocal is masterful. The only song some critics felt let the album down slightly, was Let’s Jump The Broomstick and Down In The Flood. Still, though, The North Star Grassman and The Ravens was a hailed a musical masterpiece and minor folk rock classic. Sandy Denny it seemed, could do no wrong.
When The North Star Grassman and The Ravens was released in September 1971, the album didn’t sell in the huge quantities that Island Records had hoped. They seemed to envisage Sandy Denny enjoying the commercial success that Joni Mitchell was enjoying. That wasn’t to be. However, Sandy Denny was enjoying the same critical acclaim that her American counterpart was enjoying.
Sandy.
There was no rest for Sandy Denny after she returned from a tour to promote the release of her debut album, The North Star Grassman and The Ravens. Two weeks later, in November 1971, Sandy Denny began recording his sophomore album Sandy at Sound Techniques and Island Studios.
By then, Sandy Denny had been busy, and had written eight new songs. This included It’ll Take a Long Time, Sweet Rosemary, For Nobody to Hear, Listen, Listen, The Lady, Bushes and Briars, It Suits Me Well and The Music Weaver. These songs joined covers of Bob Dylan’s Tomorrow Is A Long Time, and the traditional song The Quiet Joys Of Brotherhood, which Richard Fariña had written lyrics for. These songs were recorded by a band that featured familiar faces and new names.
The first change was that Trevor Lucas had been hired to produce Sandy. John Wood who had played such an important part in the sound and success of The North Star Grassman and The Ravens was relegated to engineer. Similarly, Richard Thompson’s only part in Sandy was playing on five songs. However, one thing hadn’t changed, where the studios that were used.
Just like with Sandy Denny’s debut album, recording took place at Sound Techniques and Island Studios. When the first sessions took place in November 1971, Sandy was joined by British folk royalty, including Fotheringay bassist Pat Donaldson. He was joined by four members of Fairport Convention, Richard Thompson on mandolin, acoustic and electric guitar, vocalist Linda Thomson, violinist Dave Swarbrick and Trevor Lucas on acoustic guitar. They were joined by some new names.
This included The Flying Burrito Brothers’ pedal steel player Sneaky Pete Kleinow. He was joined by organist and pianist John Bundrick. Both men played on It’ll Take A Long Time and Tomorrow Is A Long Time. The final member of Sandy Denny’s band was John Kirkpatrick who played concertina on It Suits Me Well. Now the recording could get underway.
With an all-star band for company, Sandy Denny recorded the ten songs over five sessions held during November 1971 and then in April and May 1972. Once the ten songs were recorded, the strings and horns were added.
Harry Robertson was brought in to arrange the strings on Listen, Listen, The Lady and The Music Weave. Allen Toussaint was drafted in to arrange the horns on For Nobody to Hear. Rather than travel to Britain, Allen Toussaint recorded the horn section at the Deep South Studio in Baton Rouge, Louisiana. Once the strings and horns were added, and Sandy was mixed and mastered, the album was ready for release.
Before that, critics received their advance copy of Sandy. The promotion of Trevor Lucas to the position of producer had paid off. He managed to combine the two sides of Sandy Denny’s music. This was the traditional folk sound, and the more modern folk rock sound. Part of this was in the choice of instruments. Traditional instruments like a mandolin and acoustic guitar harked back to folk music’s past; while the pedal steel and Hammond organ were its future. However, key to the success of Sandy were Sandy Denny’s skills as a singer and songwriter.
Some of Sandy’s finest moments were on Listen, Listen, where strings and a mandolin accompany her vocals, and on The Lady, where Sandy delivers a heartfelt vocal. Then on Quiet Joys Of Brotherhood, the lushest of strings provide the perfect backdrop for Sandy. It was a similar case with the horns on For Nobody to Hear. Bob Dylan’s oft-covered Tomorrow Is A Long Time takes on new meaning thanks on Sandy. Critics were calling Sandy a minor classic. Surely the album would bring commercial success Sandy Denny’s way?
Sadly, it wasn’t to be. When Sandy was released in September 1972, history repeated itself and Sandy was the commercial success that Island Records was hoping for. This was a huge disappointment for Sandy Denny, and it would nearly two years before she returned with her third album Like An Old Fashioned Waltz.
Like An Old Fashioned Waltz.
After returning from a tour where she was promoting her sophomore album Sandy, Island Records wanted Sandy Denny to head back into the studio. The recording then touring schedule was relentless. However, the tour gave Sandy time to think.
She decided that she wanted to make her impression musically. Sandy Denny had been rubbing shoulders with two Britain’s biggest musical exports, Led Zeppelin and The Who. She had performed with both bands, and saw how the other half lived. By the end of the tour, Sandy Denny had decided that she wanted to enjoy a taste of the commercial success both bands were enjoying. This was music to executives at Island Records’ ears. However, Sandy Denny was still disappointed by the commercial failure of her first two albums. It seemed folk rock wasn’t going to make Sandy Denny rich. That was when she realised that she would have broaden her appeal if she wanted to enjoy the commercial success she wanted.
In her heart of hearts, Sandy Denny knew her music had to change if it was to appeal to a much wider audience. So for her third album Like An Old Fashioned Waltz, Sandy decided to make some changes. Elements of pop and jazz would join her usual folk rock sound on her next album, Like An Old Fashioned Waltz. Despite deciding to change direction musically, Sandy decided to stick with Trevor Lucas who had produced Sandy.
It would’ve been awkward if Sandy Denny decided to change producer, as Trevor Lucas and Sandy Denny were married during 1973. The only change Sandy Denny made, was to bring John Wood back as co-producer. They would co-produce Like An Old Fashioned Waltz in London and Los Angeles.
For Like An Old Fashioned Waltz, Sandy Denny had written eight new sings. The only cover versions were Doris and Fred Fisher’s Whispering Grass and Sammy Cahn, Saul Chaplin and L.E. Freeman’s Until The Real Thing Comes Along. Sandy Denny remembered the two songs from her father’s record collection, and gave them a jazzy makeover. These songs were recorded in Sound Techniques and A&M Studios, Los Angeles, between May and August 1973.
Again, the great and good of folk music were present for the recording of Like An Old Fashioned Waltz. Sandy Denny was joined by former Fotheringay bassist Pat Donaldson, and six members of her former group Fairport Convention. This included Richard Thompson on mandolin, acoustic and electric guitar, guitarist Jerry Donahue, bassist Dave Pegg, drummer Dave Mattacks, violinist Dave Swarbrick and Trevor Lucas on acoustic guitar. They were joined by some old faces and new names.
The old face was John Bundrick, who played on Sandy. This time around, he played organ, piano and clavinet. New names included bassist Danny Thompson, who had previously worked with Nick Drake and John Martyn. Joining Danny Thompson was drummer Gerry Conway and saxophonist Alan Skidmore. Sandy Denny’s band was shaping up nicely. Other new names included Diz Disley on acoustic guitar; organist Jean Roussel and pianist Ian Armit. They were part of a band that spent three months recording Like An Old Fashioned Waltz in L.A. and London. The album was completed in August 1973. This meant that Like An Old Fashioned Waltz would be released in late 1973. Or it should have been.
That was if Sandy Denny hadn’t dropped a bombshell. She announced that she was rejoining Fairport Convention, and embarked upon a tour that lasted from Autumn 1973 to June 1974. Suddenly, Island Records’ plans were in disarray. Eventually, Island Records scheduled the release of An Old Fashioned Waltz for June 1974.
When critics heard An Old Fashioned Waltz, they were struck by how personal album it was. Many of the songs on An Old Fashioned Waltz dealt with things that preoccupied and worried Sandy Denny. This included everything from loss and loneliness, the changing of the season, a fear of the dark and ironically, the passing of time. An Old Fashioned Waltz was also a very different album from her two previous album with its jazz and pop stylings. On a number of tracks the lushest of strings joined a subtle piano in creating a ruminative and wistful album. Highlights included the album opener Solo, Friends, Dark The Night, At the End Of The Day and No End, which gave some insight into who Sandy Denny was as a person. However, Like An Old Fashioned Waltz divided the opinion of critics.
While some reviews were positive, the usual suspects like self-styled Dean of American Rock Critics wasn’t impressed. In his Village Voice review he called Like An Old Fashioned Waltz a “slugging album.” Other critics took a more favourable view of Like An Old Fashioned Waltz. Some felt this was the album was destined to change Sandy Denny’s fortunes.
Sadly, it wasn’t to be. When Like An Old Fashioned Waltz was released in June 1974, commercial success eluded the album. Whispering Grass was chosen as the lead single, and was released in 1973. This was a strange choice, as it wasn’t one of the stronger songs on the album. Unsurprisingly, it failed to catch the attention of record buyers. Worse was to come when the release of Like an Old Fashioned Waltz as a single was cancelled. For Sandy Denny, her dreams of becoming one of the biggest names in music had come to nothing. With her dreams in tatters, Sandy Denny rejoined Fairport Convention for the third and final time.
Sandy embarked upon a world tour with Fairport Convention. Trevor Lucas, Sandy’s husband had also rejoined Fairport Convention. For the time being, her solo career was on hold. Then as 1975 drew to a close, Sandy’s thoughts turned to her solo career, and her fourth album Rendezvous.
Rendezvous.
As 1975 gave way to 1976, Sandy Denny began writing Rendezvous. She penned Gold Dust, Take Me Away, One Way Donkey Ride, I’m A Dreamer, All Our Days and No More Sad Refrains. The other three songs on Rendezvous were cover versions. This included Richard Thompson’s I Wish I Was a Fool For You (For Shame of Doing Wrong); Elton John and Bernie Taupin’s Candle In The Wind and Jack Rhodes and Dick Reynolds’ Silver Threads and Golden Needles. Recording of these songs began in April 1976.
By then, Sandy Denny and Trevor Lucas had decided to try one more time, to move Sandy Denny’s music towards the mainstream. They had tried this on Like An Old Fashioned Waltz, which featured jazz and pop stylings. For the latest reinvention of Sandy Denny’s music, her music took on a contemporary rock sound on Rendezvous. This was very different from Sandy Denny’s previous albums.
Rendezvous was recorded between April and June 1976 at Island Studios Basing Street and Hammersmith; CBS Studios in London; Strawberry Studios in Stockport and Sound Techniques in Chelsea, London. Accompanying Sandy was a band the featured over thirty musicians and backing vocalists.
This included Sandy Denny’s former colleagues in Fairport Convention, guitarist Jerry Donahue and Richard Thompson, bassist Dave Pegg, drummer Dave Mattacks and Trevor Lucas on acoustic guitar. They were joined reggae guitarist Junior Murvin, John Bundrick on synths and piano; Steve Winwood on organ, piano and clarinet and former Fotheringay bassist Pat Donaldson. Adding backing vocals were Benny Gallagher and Graham Lyle; Kay Garner and Clare Torry, plus Sue Glover and Sunny Leslie. Even The Silver Band made a guest appearance on Silver Threads and Golden Needles. Much of Rendezvous had been recorded between 23rd of April and 7th of June 1976 at Basing Street and Island Studios.
When everyone arrived at the studio, Harry Robertson had arranged the strings on Candle In The Wind, I’m a Dreamer and All Our Days. Steve Gregory had arranged the horns on Take Me Away. Even The Silver Band’s appearance on Silver Threads and Golden Needles required the Robert Kirby to be brought onboard. John Wood again, returned to the role of engineer as Trevor Lucas produced Rendezvous. Now the sessions began. Straight away, there was a problem.
During these sessions, Sandy Denny’s voice neither the same purity nor ethereal quality. During the Fairport Convention tour, she had been drinking and smoking heavily. Sadly, this had taken its toll on Sandy Denny’s voice. Still Sandy Denny was able to unleash a powerful vocal, and was always in control. On other tracks, Sandy Denny continued to breathe life, meaning and emotion into lyrics. Sandy Denny was still a one of the most talented singer, songwriter and storyteller’s of her generation. However, once Sandy Denny had recorded her vocal parts, she left the studio. Little did anyone who was present that day realise that Sandy Denny would never, ever, enter a studio again.
Despite Sandy Denny having recorded her vocals, Rendezvous was still not complete. Another session took place between the 9th and 18th of June 1976. By then, Trevor Lucas was at the overdubbing stage. He added layers of string, and also overdubbed layer after layer of backing vocals and instruments. This would prove controversial.
With the album completed in July 1976, the original album title was Gold Dust. The release date was originally scheduled for October 1976. However, the release date kept being postponed, and six months later, when the album was eventually released in May 1977, it was entitled Rendezvous. It was an album that didn’t win over critics.
Many critics felt Rendezvous had been overproduced. This was the result of Trevor Lucas’ constant overdubbing of layers of strings, backing vocals and instruments. There were too many strings, backing vocalist and the lead guitars and they threatened to overpower Sandy Denny’s vocals. That was a great shame, given the quality of Sandy’s songwriting, and vocals. If Trevor Lucas had taken a less is more approach, Rendezvous would’ve been a much better album. However, it was not without some fine moments.
Among them, where Gold Dust took on a Caribbean influence. Take Me Away and I’m A Dreamer became soulful torch songs. All Our Days was a seven minute pastoral epic, which seemed to draw inspiration from Vaughan Williams. I’m A Dreamer, All Our Days and No More Sad Refrains all showcased Sandy Denny’s talents as a singer and songwriter. However, when Rendezvous was released in May 1977, it was to mixed reviews.
When Rendezvous was belatedly released, the album passed record buyers by. It became Sandy Denny’s least successful album. The dream was almost over.
Gold Dust.
Not long after the release of Rendezvous, Island Records quietly dropped Sandy Denny. Despite being without a record label, she went ahead with plans to record a live album, Gold Dust.
After the release of Rendezvous, Sandy Denny headed out on tour to promote the album. The last date on the tour was at the Royalty Theatre in London on 27th November 1977. That night the tapes rolled.
Sandy Denny accompanied by her band, worked their way through the seventeen songs. Closing the set was a spine-tingling version of one of Sandy’s best songs Who Knows Where the Time Goes? That proved to a poignant way to end what was Sandy’s last public performance was on Gold Dust, which was released somewhat belatedly in 1998.
After Rendezvous failed commercially, Island Records dropped Sandy. She was already drinking heavily, smoking and snorting cocaine. Soon, her behaviour became erratic. By then, Sandy Denny’s daughter Georgia was born prematurely. Despite having just become mother, Sandy Denny’s life was becoming increasingly chaotic. Richard Thompson remembers Sandy Denny: “was crashing the car and leaving the baby in the pub and all sorts of stuff.” This was a worrying time for Sandy Denny’s friends and family.
In late 1978, Sandy Denny journeyed to Cornwall, with her young daughter Georgia and her parents. During the holiday, Sandy Denny fell down a flight of stairs and hit her head on concrete. After the accident, Sandy Denny started to suffer from severe headaches. When Sandy Denny consulted a doctor, they prescribed her a strong painkiller Dextropropoxyphene which wasn’t to be taken with alcohol. Despite this warning, Sandy Denny continued to drink. This was a recipe for disaster.
Just a few weeks later, tragedy struck on the ‘17th’ of April 1978. That night, Sandy Denny was admitted to the Atkinson Morley Hospital in Wimbledon. She fell into a coma, and four days later, on the ‘21st’ of April 1978, Sandy Denny died. A post-mortem found that the cause of Sandy Denny’s death was a brain haemorrhage and blunt force trauma. It’s likely that when Sandy Denny fell, this played a contributory factor in her death. Tragically, Sandy Denny was only thirty-one when she died.
That day, the career of one of the finest British folk singers of her generation was cut tragically short. Music was in mourning at the loss of Sandy Denny who had achieved so much in a short space of time. This included a brief spell with The Strawbs, before becoming the lead singer of Fairport Convention. After her departure from Fairport Convention in December 1969, Sandy Denny founded Fotheringay and then embarked upon a solo career, releasing a quartet of albums between 1971 and 1977. Just a year later, and Sandy Denny was dead, aged just thirty-one.
Music lost a hugely talented singer and songwriter. There is no doubt about that. Sandy Denny stood head and shoulders above many of her contemporaries, including some she had shared a stage with during her short career. The loss of Sandy Denny like Nick Drake five years earlier was a tragedy, and a case of what might have been?
Despite her relatively youth, Sandy Denny played a huge part in the British folk scene. She had played a huge part in the success of Fairport Convention, and founded Fotheringay. Their music has only recently received the recognition it deserved. So to some extent have Sandy Denny’s solo albums. It’s only recently that they’ve been reevaluated and started to finds a wider audience. They are a reminder of British folk music’s greatest ever folk singer, Sandy Denny, who passed away thirty-nine years ago. As Sandy Denny sang in her finest song Who Knows Where Time Goes?
Sandy Denny-From Fotheringay To The Solo Years.
DJ VADIM AND BLACKSTONE-DOUBLE SIDED
DJ Vadim and Blackstone–Double Sided.
Label: BBE.
The first time that Californian singer-songwriter Katrina Blackstone collaborated with Barcelona-based hip hop producer DJ Vadim, was on his 2014 album Dubcatcher. Katrina Blackstone was part of what was an all-star cast of vocalists and MCs that featured on the album. She joined YT on Give It Up and Serocee on Magnetic. These two songs were among the highlights of Dubcatcher, and showcased a truly talented singer who had a big future ahead of her. DJ Vadim realised that too.
Not long after the release of Dubcatcher, DJ Vadim embarked upon another lengthy tour, and invited Katrina Blackstone to join the tour. Since then, DJ Vadim and Katrina Blackstone have toured the world and when time permitted recorded a number of tracks. Eventually, the pair had recorded enough tracks for their first full-length album Double Sided which has just been released on BBE and marks the debut DJ Vadim and Blackstone. However, Double Sided is no ordinary hip hop album.
Indeed, Double Sided is a hip hop album with a difference. While many hip hop albums featured a myriad of samples, DJ Vadim and Katrina Blackstone have taken a very different approach. They’ve used an array of guitars, synths and drum machines to record Double Sided. They provide to a backdrop to Katrina Blackstone’s vocals on this album where the hooks certainly haven’t been spared. There’s everything from dubby down-tempo grooves to upbeat Afro-boogie on Double Sided, which is the first much-anticipated debut album DJ Vadim and Blackstone.
For those unfamiliar with Katrina Blackstone, she was born in Tennessee, and after graduating from high school, enrolled at the prestigious New School University in New York where she studied vocal performance and jazz. Having graduated, Katrina Blackstone headed to the San Francisco, where her musical career began.
Since then, she’s been a familiar face on the indie-electronic scene, and had worked with, and alongside, a variety of artists and producers. This included collaborating with Bluetech on his 2010 album Love Songs To The Source, where Katrina Blackstone also collaborated with Dr Israel. Katrina Blackstone also worked with Killah Priest on the Legba’s Light project was created by Ron Carter, Brian Jackson and Mike Clark. Sadly, the project was never released. More recently, Katrina Blackstone has been working with veteran hip hop producer DJ Vadim.
The future DJ Vadim was born Vadim Peare in St. Petersburg, Russia. At the age of three, he and his family moved to London, which became a home from for Vadim Peare. It was also where later, Vadim Peare beam DJ Vadim.
By 1994, the future hardest working man in hip hop had just founded his own record company Jazz Fudge. Just a year later, in 1995, DJ Vadim released his debut album Headz Ain’t Ready on his nascent Jazz Fudge label. However, later in 1995, DJ Vadim signed to the Ninja Tunes label, and released four albums between 1996 and 2002.
Nowadays, these albums are referred to as the U.S.S.R. Quartet. The first of the U.S.S.R. Quartet was U.S.S.R. Repertoire (The Theory Of Verticality), which was released in 1996 to critical acclaim. It was a similar case when U.S.S.R. Reconstruction (Theories Explained followed in 1997 and U.S.S.R. Life From The Other Side in 1999. Completing this important and innovative quartet was U.S.S.R. The Art Of Listening in September 2002. Just the like the rest of the U.S.S.R. Quartet, it featured DJ Vadim pushing musical boundaries to their limits, and sometimes beyond. In dong so, this launched DJ Vadim’s career.
Five long years passed before DJ Vadim returned with a new album. During that five-year period, During that period, DJ Vadim was busier than ever, producing, DJ-ing and collaborating with numerous artists, including The Herbaliser, Fat Freddy’s Drop and The Super Furry Artists. After working with so many other artists, the time came for DJ Vadim was ready to make his comeback.
Having decided to make a comeback, DJ Vadim signed to one of Britain’s leading independent labels BBE. It would become home for DJ Vadim for the next ten years. His career began in April 2007 with the release of The Soundcatcher, with The Soundcatcher Extras following in November 2007. Both albums marked the welcome return of a pioneering producer who had been away too long.
Sadly, just when everything seemed to be going well for DJ Vadim, tragedy struck during 2007, when he was diagnosed with a rare form of eye cancer, Ocular Melanoma. Thankfully, DJ Vadim recovered from Ocular Melanoma, and within two years was ready to return with a new alum.
DJ Vadim returned with his eighth album U Can’t Lurn Imaginashun in April 2009. It was a glimpse of what hip hop had been missing for the past two years. The release of Can’t Lurn Imaginashun marked the welcome return DJ Vadim, who would spend the next collaborating with a number of artists and crisscrossing the globe DJ-ing.
Over the next two years, DJ Vadim was one of the hardest working men in hip hop. He divided his time between DJ-ing, collaborations and recording his eagerly awaited ninth album, DJ Vadim Presents The Electric’s Life Is Moving. When it was released in March 2011, DJ Vadim’s four album for BBE was hailed as a fitting followup to U Can’t Lurn Imaginashun. Critics and hip hoppers everywhere loved the album, which was an album of vintage hip hop from a hip hop veteran.
Just over a year-and-a-half later, DJ Vadim made a welcome return with his new album Don’t Be Scared in October 2012. Again, critical acclaim accompanied Don’t Be Scared which was the tenth album DJ Vadim had released since releasing his debut album Headz Ain’t Ready in 1995. This was pretty good going, considering DJ Vadim hadn’t released an album between September 2002 and April 20007. DJ Vadim had essentially released ten albums in eleven years. It was no surprise that many within the hip hop community were calling DJ Vadim the hardest working man in
When DJ Vadim returned with the followup to Don’t Be Scared in June 2014, hip hoppers everywhere were confused as Dubcatcher wasn’t a hip hop album. Instead it was an album of dancehall reggae. That was only part of the story. Dubcatcher encompassed everything from bass culture, boogie, boom bap rap, roots music, soul and UK 2 step soul. Essentially, Dubcatcher is a genre-melting album that featured an extensive cast guest artists. This included Katrina Blackstone who joined YT on Give It Up and Serocee on Magnetic. Katrina Blackstone was one of the stars of Dubcatcher, and would work with DJ Vadim over the next few years.
When DJ Vadim headed out on tour, he was often joined by the Californian singer-songwriter Katrina Blackstone. The pair forged a successful partnership, and when time permitted, they recorded a number of tracks together. Some of these would eventually find their way onto DJ Vadim and Blackstone’s album Double Sided. Before that, DJ Vadim would release two more albums.
The first of these albums was Grow Slow, which was a collaboration between DJ Vadim and Sena. It was released in June 2015, and by then, the pair had known each other for ten years. DJ Vadim and Sena had first met at a festival in Budapest in 2005, and soon, the pair were working together. This cumulated in the release of Grow Slow, where the hardest working man in hip hop and Ghana’s musical First Lady collaborated on an album that was guaranteed to get any party started.
Just eight months later, DJ Vadim returned with the sequel to Dubcatcher, Dubcatcher II-Wicked Ma Yout. It was released in February 2016 and found favour with critics. Since then, DJ Vadim’s many fans have awaited his next album.
Some of his fans were expecting another collaboration with Sena, given the reviews of Grow Slow. However, the smart money was on a collaboration with Katrina Blackstone who had played a starring role on Dubcatcher. It was obvious to some within the music industry that she had a big future ahead of her.
When the time came for DJ Vadim to record his fourteenth album, he chose Katrina Blackstone to costar on his next album Double Sided. This was no surprise, as Katrina Blackstone, whose a versatile vocalist who can breathe life and meaning into lyrics. Seamlessly, she moves between crystalline and tender to powerful, soul and sassy. Katrina Blackstone puts her vocal prowess to good use on Double Sided, a hip hop album with a difference.
Unlike many hip hop producers who rely mostly on samples when they’re recording a new album, DJ Vadim decided to take a different approach on Double Sided. He eschewed samples and brought to the studio an array of guitars, synths and drum machines to record Double Sided. They provide the backdrop to Katrina Blackstone’s vocals. She’s joined by a number of guest artists, including Aima The Dreamer on Choose and That’s Not Me; Tiggy Tafari on No No; Parly B on Stand Up; Dakini Star on Magnetic and Pugs Atomz on the album closer Shoop Shoop. It’s the last of fourteen tracks on Double Sided, which is the fourteenth album from DJ Vadim. However, Double Sided is the first album where DJ Vadim and Blackstone takes equal billing. Hopefully, it’s not the last.
Opening Double Sided is Burning Love where buzzing synths, handclaps and harmonies prove the perfect foil for Blackstone’s sassy, soulful vocal. It returns on Double Sided, which features squelchy, buzzing and beeping synths, handclaps and percussion. They provide the backdrop for Blackstone as she struts her way through the track delivering another sassy vocal.
The tempo drops on Luv 2 Luv, as chirping, chiming guitars, crisp beats and synths accompany Blackstone. As she delivers an impassioned, soulful vocal, cooing harmonies accompany her as Nu-Soul meets hip hop.
MC Alma The Dreamer makes the first of two appearances on Choose, adding a breathy, sensuous vocal as Blackstone unleashes a powerhouse of a vocal against washes and stabs of synths. Later, MC Alma The Dreamer adds one of her trademark vocal which is the perfect foil for Blackstone. It becomes impassioned as Alma The Dreamer also adds a soulfulness to the track. Alma The Dreamer returns on the hook-laden That’s Not Me, which is a melodic and memorable track that will strike a note with many women.
Another of guest artist Tiggy Tafari features on No No No which was penned by Willie Cobbs and Dawn Penn. It was the title-track of her 1994 debut album, and twenty-three years later it’s given a makeover by Blackstone and Tiggy Tafari. They take this familiar song where dancehall, soul and hip hop are combined by DJ Vadim and Blackstone.
Re Run sees the tempo drop again, as DJ Vadim and Blackstone combine hip hop, soul and later, even a hint of dub. Keyboards, crisp beats and effects accompany one of Blackstone’s most soulful vocals. Later, DJ Vadim unleashes effects and Blackstone’s soulful vocal briefly becomes dubby. Still, though, it’s one of the highlights of Double Sided. The same can be said of Been Waiting All Night, where drums and a bass synth play leading roles in the arrangement as Blackstone delivers a vocal that is full of frustration on Been Waiting All Night. Especially as she sings: “I’ve Been Waiting All Night for you to call, waiting all night to phone, I need to know the truth.” As she does, Blackstone brings the lyrics to life and it’s as she’s lived them as Nu Soul meets electronica and hip hop.
Doncaster based Parly B has been involved in various collaborations over the last couple of years. They range from reggae, dubstep and Jungle. He joins Blackstone on Stand Up which is fusion of hip hop, soul, reggae, dub and drama, as two of music’s rising stars unite to create a slice of musical ear candy. The the tempo drops on Ride Slow, where drums and synths combine before effects are added to the arrangement. They create the perfect backdrop for Blackstone as she delivers a sassy, sultry vocal.
Magnetic features another guest artist, Dakini Star from Oakland, California. She’s a versatile artist and has worked on various projects over the past few years. The soulful MC joins Blackstone on a genre-melting track where dancehall, electronica, hip hop and Nu Soul melts into one. Another genre-defying track is How Long, where elements of dancehall, dub, electronica, hip hop and Blackstone’s unique Nu Soul sound combine. It’s a heady brew. It’s a similar case on Shoop Shoop where Chicago based Pugs Atomz MC joins Blackstone on Pugs Atomz. They play their part in an unforgettable hook-laden track. Rewind which closes Double Sided, and features one of Blackstone’s best vocals. It’s heartfelt, needy and deeply soulful and one of her finest moments on Double Sided, which ends on a high.
Three years after Blackstone made her debut on DJ Vadim’s Dubcatcher album, the pair have equal billing on Double Sided. This is reminder of why Blackstone is regarded as one of music’s rising stars. She has a big future ahead of her, and proof if any was needed are the fourteen tracks on Double Sided.
DJ Vadim unleashes an array of drum machines, synths and guitars, which are augmented by five guest artists. This includes familiar faces like Alma The Dreamer and new names Parly B. They all play their part in the sound and success of Double Sided. Playing a starring role is Blackstone, who breaths life, meaning and emotion into this genre-melting album Double Sided.
For most of the time, Blackstone’s vocal is soulful, and veers between traditional soul and Nu Soul. This is combined with DJ Vadim’s trademark hip hop sound and a few secret ingredients. Among them, are Afro-boogie, dancehall, downtempo, dub, electronica, reggae and sometimes, even a hint of funk. Just like most of DJ Vadim’s thirteen previous albums, Double Sided, is much more than a hip hop album.
There’s a soulfulness on Double Sided that is missing on many new hip hop albums. This soulfulness comes courtesy of Katrina Blackstone who costars with DJ Vadim on Double Sided. DJ Vadim and Blackstone are joined by a stellar cast of guest artists on their genre-melting collaboration Double Sided, which is a deeply soulful album thanks to the addition of Katrina Blackstone.
Singer-songwriter Katrina Blackstone has a big future ahead of her. Hopefully, Katrina Blackstone will return with her debut solo album sooner rather than later. She’s a talented singer-songwriter, who studied vocal performance and jazz at the prestigious New School University in New York. With a background in jazz, maybe she should return to her roots and showcase a much more organic sound on her debut album? This would give Katrina Blackstone the chance to showcase her skills as a singer and songwriter. Especially with a band that features some of top session players. They would provide a much more organic backdrop for Katrina Blackstone, rather than the myriad of synths and drum machines that feature on Double Sided. This would certainly show another to Oakland based diva—in-waiting Katrina Blackstone
Having said that, the synths and drum machines play their part in the sound and success of Double Sided which is without doubt one of the best albums he’s released on BBE. There’s a reason for this, the addition of Katrina Blackstone. She steps out of the shadows and takes centre-stage where she plays a starring role on Double Sided, which is the much-anticipated collaboration between DJ Vadim and Blackstone.
DJ Vadim and Blackstone–Double Sided.
ANDINA: HUAYNO, CARNAVAL AND CUMBIA-THE SOUND OF THE PERUVIAN ANDES 1968-1978.
Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978.
Label: Tiger’s Milk Records/Strut.
Five years ago in 2012, award-winning Peruvian chef, DJ, restaurateur and art collector Martin Morales cofounded Tiger’s Milk Records with former Soundway Records label manager and PR guru Duncan Ballantyne. The nascent Tiger’s Milk Records’ raison d’être was to release Peruvian music. This was something that Martin Morales had always been passionate about.
Martin Morales was born in Peru, and lived in the coastal city of Lima until he was a teenager. After leaving Peru, Martin Morales spent some time traveling before he eventually settled in London, where he started a new life.
Soon, Martin Morales was introducing Londonders to the delights of Peruvian food. This was something that Londoners embraced, and nowadays Martin Morales is the proud owner of four award-winning London restaurants which are part of his company Ceviche. It also owns an art gallery and Tiger’s Milk Records. Martin Morales has come a long way since he first set foot in the Britain, and earlier in 2017 won a GQ Food & Drinks 2017 Innovator of the Year award. However, he’s not turned his back on his native Peru
Still, Martin Morales regularly journeys between London and Peru in search of new recipes and inspiration for future projects. The other thing that Martin Morales searches during these journeys to his homeland is the Peruvian music he’s so passionate about. A favourite destination for Martin Morales is the Andes.
This is an area that dubstep producer and DJ Mala is familiar with, and featured on his 2016 album Mirrors. It was released by Giles Peterson’s Brownswood Recordings. This was a coincidence as it was Giles Peterson who had introduced Martin Morales to DJ Mala two years previously.
The pair struck up a friendship, and DJ Mala became Martin Morales’ musical guide when the pair journeyed to Peru in search of new and exciting music. During this journey, DJ Mala told Martin Morales about Peru’s illustrious musical history, and introduced him to all manner of hidden musical treasure. Since then, Martin Morales has made many more journeys to the Andes where he’s spend some of his time searching for the music he’s some passionate about. This music Martin Morales wants to introduce to a new and wider audience.
His vehicle for doing this, is the label he cofounded with Tiger’s Milk Records Duncan Ballantyne. It’s released a number of critically acclaimed albums and compilations, including Peru Maravilloso: Vintage Latin Tropical and Cumbia, Peru Bravo: Funk, Soul and Psych From Peru’s Radical Decade, Peru Boom (Bass, Bleeps and Bumps from Peru’s Electronic Underground) and Kanaku Y El Tigre’s 2015 debut album Quema Quema Quema. However, Tiger’s Milk Records latest releases Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978 allows Martin Morales to combine his passion for Peruvian music and food.
Tiger’s Milk Records latest compilation is Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978, which was compiled by Martin Morales, Duncan Ballantyne and Peruvian crate digger Andres Tapia del Rio. Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978 will be co-released by Tiger’s Milk Records and Strut on the ‘20th’ of October 2017. This is perfect timing.
Earlier this month, on the ‘5th’ of October 2017, Martin Morales has just released a new cookbook Andina: The Heart of Peruvian Food: Recipes and Stories From The Andes. The music on Andina: Huayno, Carnaval and Cumbia-The Sound of the Peruvian Andes 1968-1978 is the perfect musical accompaniment when trying one of Martin Morales’ recipes. Food just like music, is one the award-winning chef’s passions.
Martin Morales has strong connection to the Andes, and remembers his visits with affection. “Growing up in the coastal city of Lima, it was my grandmother who kept our family’s connection to the mountains alive. Our visits to her home high up in the Andes in the province of La Libertad and the fascinating eighteen hour trips we made to reach her passing through villages and towns, sounds and flavours, imparted in me a strong sense of the Andes’ traditions, creativity and rich artistic textures.” There’s also the various types of music that provided a soundtrack to life in the Andes, including a variety of hybrids which seemed to be in a state of constant flux.
That was the case between 1968 and 1978, which Tiger’s Milk Records’ latest compilation covers. Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978 features seventeen tracks that made their debut on Peruvian labels like Iempsa, Sono Radio and El Virrey. They’re part of what’s a tantalising taste of the music that provided the soundtrack to life in the Andes between 1968 and 1978. This the compilers are keen to point out, isn’t a definitive overview of Andean music. That would be impossible. However, it’s the perfect introduction to Andean music…and more.
There’s also contributions from several artists who were based in the coastal city of Lima. This is fitting, as it was where one of the compilers Martin Morales grew up, and spent the formative years of his life. Maybe some of the songs on Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978, which is eclectic compilation will be a reminder of the music that provided the soundtrack to his youth?
The seventeen songs on Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978 showcase the various different genres and musical hybrids that were around during this ten-year period. That is the case from throughout the compilation.
Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978 opens with a track from Los Demonios Del Mantaro who were from the Mantaro Valley in Junin. Their debut album La Chichera Y Otros Exitos featured La Chichera. It finds Los Demonios Del Mantaro seamlessly fuse Peruvian cumbia and huayno sounds. It’s a similar case with Los Compadres Del Ande’s Todos Vuelven, Los Bárbaros del Centro’s La Celosa and Los Walker’s De Huánuco’s Todos Vuelven. It was originally recorded by César Miró in 1943, but Los Walker’s De Huánuco reinvent this musica criolla song, and take in a new direction as they combine cumbia and huayno. In doing so, they create another track that sets the bar high for the rest of the compilation.
Many songs on Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978 feature Peruvian cumbia where groups add a tropical, Colombian style with Andean huayno rhythms and rocky electric guitars. This includes Los Bilbao’s Zelenita del Año 2000 where a shimmering guitar sets the scene for what’s without doubt one of the highlights of the compilation. There’s a hesitancy to the electric guitar on Descarga Huanuqueña’s Los Jewelees as it teases the listener. Soon, the guitar wah wahs as percussion, bass and later drums provide the perfect accompaniment to this piece of musical treasure. There’s plenty more hidden gems and musical treason on Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978.
Among the hidden gems is Peruanita’s Recuerda Corazón where percussion accompanies an accordion and impassioned vocal. It gives way to Los Bárbaros Del Centro’s Loca Loquita where a braying, blazing horn plays a leading role in this captivating fusion of disparate styles. This is followed by Los Compadres Del Ande’s cumbia single El Lorcho, where percussion and violins create an filmic backdrop on this irresistible reminder of from the Ande’s musical past. Manolo Avalos’ Rio de Paria is also a charming reminder on an earlier musical age, and a welcome addition to the compilation.
The same can be said of Lucho Neves Y Su Orquesta’s Caymeñita, where the bandleader’s pounding piano combines with percussion and stabs of brassy horns. They create a soulful call to dance that made its debut on the Lucho Neves Y Su Orquesta’s album Lima De Noche, which was released the Sono Radio label, which was based in Lima. Just like in the Andes, music was constantly evolving between 1968 and 1978.
Many of the bands that feature on Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978 were playing their part in reinventing traditional Peruvian music. An example is Los Sabios del Ritmo’s Cholita, which was originally recorded in the criollo style. When Los Sabios del Ritmo covered the song, they decided modernise it by adding an Andean rhythm. In doing so, this totally transformed this traditional song. To do this, Los Sabios del Ritmo saw the song with fresh eyes, and the Afro-Peruvian original took on a Quechua-styled, Afro-Colombian sound. It’s one of many examples of how new generation of Peruvian artists and bands were combining traditional Latin American and African influences.
Other songs take Peruvian music in very different directions. This includes Alicia Maguiña Con Mario Cavagnaro Y Su Sonora Sensación’s Perla Andina. It’s a cumbia which features a magnificent big band arrangement on what’s essentially an homage to the Andes.
Another genre of music that was popular in Peru between 1968 and 1978 was folk music. A reminder of this is Huiro Y Su Conjunto’s Cumbia en los Andes. However, there’s also another type of folk music that popular in Peru during this period. It can be recognised by atmospheric sounds that come courtesy of wind instruments and plucked harps, as artists marry huayno and carnaval. That is what Conjunto Kori Cinta de Huancavelica does on Toyascha. There’s a sadness is her voice as she delivers the lyrics in Quechua, while a harp accompaniment. This beautiful, ruminative sounding song brings Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978 and ensures it ends on a high.
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 the seventeen eclectic 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 songs are from. Others are from Lima, where Martin Morales was born and spent his formative years. Now, though, he’s based in London which is also home to Tiger’s Milk Records.
It was founded five years ago, and on the ‘20th’ October 2017, Tiger’s Milk Records and Strut will co-release Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978. It’s the first in a series of compilations of releases that Tiger’s Milk Records plan to release. Future compilations will focus on music from the Amazon and the coast of Peru. That is something to look forward to. Especially if these compilations are the quality of Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978.
It’s no exaggeration to say that Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978 is one of the finest releases from Tiger’s Milk Records. This is the perfect way for Tiger’s Milk Records to celebrate their fifth anniversary. Many record labels often don’t last five years. However, Tiger’s Milk Records consistently release quality compilations and artists albums. The emphasis seems to be on quality rather than quantity. This is a philosophy that has served Tiger’s Milk Records well, and is sure to do so in the future
Tiger’s Milk Records is also part of Martin Morales London-based company Ceviche, which owns four award-winning restaurants and an art gallery. Recently, Martin Morales has added another string to his bow, when he published a new cookery book Andina: The Heart of Peruvian Food: Recipes and Stories From The Andes earlier this month. This is the perfect opportunity for those outside of London to try some of the Martin Morales’ award-winning recipes. The perfect soundtrack to such culinary adventures is Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978, which features a myriad of musical treasures and hidden gems.
Andina: Huayno, Carnaval and Cumbia-The Sound Of The Peruvian Andes 1968-1978.
BOBBY BYRD-HELP FOR MY BROTHER: THE PRE-FUNK SINGLES 1963-1968.
Bobby Byrd-Help For My Brother: The Pre-Funk Singles 1963-1968.
Label: BGP.
During a long and successful career Bobby Byrd was a musician, producer, songwriter and talent scout. He was also one of the founding fathers of funk, and the man who discovered the future hardest working man in show business, James Brown in 1953. This was the start of a twenty year association with James Brown that ended in 1973. By then, Bobby Byrd was a enjoying a successful solo career that began a decade earlier in 1963.
Twenty-eight year old Bobby Byrd had released his debut solo single I Found Out on Federal in April 1963. This was the start of a successful solo career that lasted twenty years and spanned three decades. Recently, BGP released a new compilation Help For My Brother: The Pre-Funk Singles 1963-1968 that documents the first five years of Bobby Byrd’s solo career. His career began eleven years earlier in 1952.
That was when Bobby Byrd founded a new gospel group, The Gospel Starlighters. This came as no surprise to those that knew eighteen year old Bobby Byrd, who was born in Toccoa, Georgia, on August the ’15th’ 1934. His parents were deeply religious and were active members of their local church. Growing up, the young Bobby Byrd was an active member of his local church choir and had been a member of the gospel group, The Zioneers. However, by 1952, Bobby Byrd was ready to found his own gospel group, which he named The Gospel Starlighters.
Joining Bobby Byrd in The Gospel Starlighters was his sister Sarah. Before long, The Gospel Starlighters were a popular draw when they sang locally. However, it wasn’t long Bobby Byrd was expanding his repertoire, and started to sing secular music. Bobby Byrd knew that the elders had his local church disapproved of secular music so crossed the county line to sing R&B.
Bobby Byrd joined a South Carolina based group The Avons, whose lineup featured Nafloyd Scott, Fred Pulliam and Doyle Oglesby. The final piece of the jigsaw was Bobby Byrd who sang lead vocals and played piano and organ. For Bobby Byrd, this was his introduction to secular music and R&B.
In 1953, Bobby Byrd decided to attend a local baseball game. His decision to head to the ball game changed the course of his career. At the game, Bobby Byrd met convicted felon James Brown, who was an inmate at Alto Reform School. He had been sentenced as a sixteen year old in 1948. Despite that, Bobby Byrd wanted to help James Brown.
This resulted in the Byrd family overseeing Brown’s parole when he was released from Alto Reform School. By then, Bobby Byrd was still leading his own group who sung mostly cover versions. They were known locally as the Bobby Byrd Group. However, in 1954, the group became The Famous Flames, which was the group that James Brown asked to join.
By then, The Famous Flames were a popular draw, and were never short of bookings. They were managed by Barry Tremier who got them bookings in Georgia and South Carolina. Despite enjoying a degree of success some changes were made to The Famous Flames’ lineup and James Brown became the group’s new drummer.
Before long, James Brown wanted to become the group’s lead singer. Eventually, Bobby Byrd who was the lead singer relented and James Brown became The Famous Flames’ new frontman. By then, they were managed by Little Richard’s manager Clint Brantley.
When Little Richard made a breakthrough, The Famous Flames’ manager suddenly was spending all his time managing the rock ’n’ roller. Things changed when Little Richard signed to Speciality. Suddenly, Clint Brantley turned his attention to his other group, The Famous Flames, whose line was about to change.
Two of the original members of the group, Fred Pulliam and Doyle Oglesby, were replaced by Nashpendle Knox and Johnny Terry another alumni of the Alto Reform School. This new lineup of The Famous Flames recorded a demo of Please Please Me in late 1955.
Please Please Me was a song that The Famous Flames had been part of their stage show for some time. Gradually, the song took shape, and eventually, they felt the song was ready to record. When Ralph Bass at King heard the demo, he decided to offer The Famous Flames a recording contract.
Ralph Bass was head of King’s Federal imprint, which would sign Bobby Byrd in 1963. That was still to come. Meanwhile, Please Please Me was recorded and released as a single on Federal later in 1955. That was when the problems started.
Please Please Me should’ve been credited to The Famous Flames. Instead, it was credited to James Brown and The Famous Flames. This was because Federal saw James Brown as the star of the group. That wasn’t only problem with Please Please Me. It should’ve been credited The Flames, who Bobby Byrd believed cowrote the song. However, Please Please Me was credited to James Brown and Johnny Terry, the Alto Reform School graduates. This must have been galling for Bobby Byrd as he watched the single The Flames cowrote reach number six in the US R&B charts. Bobby Byrd had been betrayed.
This resulted in a feeling of mistrust within The Flames. Rather than remove James Brown and Johnny Terry from The Flames straight away, the group limped on until April 1957. Somewhat belatedly, James Brown was asked to leave the group.
Despite being asked to leave The Flames, James Brown continued to use The Flames’ name. Despite that, his career stalled, and Syd Nathan the owner of King was starting to lose patience with James Brown.
Meanwhile, the rest of The Flames were now calling themselves Byrd’s Drops Of Joy. Just like James Brown, commercial success continued to elude Byrd’s Drops Of Joy. Eventually Bobby Byrd decided return to work with James Brown. Given what had happened a few years earlier, this was a surprising decision.
Not long after the pair were reunited James Brown released Try Me in late 1958, which gave him the first sixteen US R&B number ones. This was just in time, as King label owner Syd Nathan was beginning to think Please Please Me was a one-off hit.
After the success of Try Me, James Brown and The Famous Flames made their debut at the Harlem Apollo. This was the biggest show of their career. It was the first of many appearances James Brown would make at the Harlem Apollo.
After making his debut at the Harlem Apollo, James Brown and his revue headed out on the road. They were constantly in demand and crisscrossed America playing live. That was despite just one hit in 1959, I Want You So Bad which reached twenty in the US R&B charts. Apart from that, the hits dried up for James Brown during 1959.
Things improved during 1960, with James Brown four top twenty hits with I’ll Go Crazy, Think, You’ve Got The Power and This Old Heart. Much of 1960 was spent playing live, and his revue was taking shape. James Brown was a hard taskmaster and set high standards for members of the revue. This included the singers, who since 1959, had started to release singles.
The first to do so was bandleader James Davis, who released Doodlebug, which was credited to Nat Kendricks and The Swans in 1959. It reached the top ten in the US R&B charts. Then in 1960, Baby Lloyd became the first vocalist to front a James Brown
Production, when I Need Love was released on Atco. It was the first of many James Brown Productions released over the years. This included the James Brown Productions on the Bobby Byrd compilation Help For My Brother: The Pre-Funk Singles 1963-1968.
Between 1960 and 1963, seven of James Brown singles reached the top ten in US R&B singles charts. Another six reached the top twenty in the US R&B singles charts. For James Brown, this was the most successful period of his career. It gave him an advantage when he entered negotiations with Syd Nathan the owner of King. As a result, a number of James Brown Productions were released between 1961 and 1963. One of the artists who was produced by James Brown was Bobby Byrd, who signed to Federal in early 1963.
Bobby Byrd’s first single for was I Found Out which he penned with James Brown and Johnny Terry. On the B-Side was They Are Sayin’ a Bobby Byrd and James Brown composition. The funky, soulful mid-tempo I Found Out was released on Federal in April 1963, and featured a heartfelt vocal from Bobby Byrd. However, the single failed to find the audience it deserved and Bobby Byrd didn’t release another single for Federal between 1963 and 1968.
For the remainder of 1963, Bobby Byrd’s solo career was put on hold. James Brown was in the midst of negotiations with King, and at the end of 1963, signed a deal with Mercury. Part of the deal was that Mercury would release all James Brown Productions on their Smash and Blue Rock imprints.
I’m Just A Nobody Parts 1 and 2 was Bobby Byrd’s debut for Smash. This was another Bobby Byrd and James Brown composition, and it was released in early 1964. It featured Bobby Byrd at his most soulful, as he delivers a needy, hopeful vocal against an arrangement that features an accordion. Sometimes, Bobby Byrd sounds like James Brown on Please Please Me on what’s one of the finest singles he released on Smash. However, Bobby Byrd had no way of knowing how well his singles were performing, as Billboard had stopped compiling the US R&B charts between 1963 and 1965.
For his next single, Bobby Byrd joined forces with Anna King on Baby Baby Baby. It’s a James Brown and Jimmy Crawford song that was arranged by Sammy Lowe. They two members of the James Brown revue were responsible for a barnstorming version of Baby Baby Baby. They trade vocals and prove a potent partnership. Alas, when the single was released in April 1964, it was only a minor hit in Britain and America. However, it’s stood the test of time.
James Brown and Ted Wright wrote I Love You So which became Bobby Byrd’s next single. On the B-Side was the Howard Biggs’ composition Write Me A Letter. When I Love You So was released in May 1964, it featured a heart-wrenching, emotive vocal from Bobby Byrd. The flip-side Write Me A Letter is very different from anything Bobby Byrd had recorded as he drops his vocal and unleashes rough, gruff vocal on this dance track. It shows Bobby Byrd’s versatility. However, still Bobby Byrd’s breakthrough single continued elude him.
Having recorded songs penned by other people on his last two singles, Bobby Byrd wrote the ballad I’ve Got A Girl with Ted Wright. It features another heartfelt vocal where Bobby Byrd combines emotion and power. On the B-Side was the uptempo dancer I’m Lonely which Bobby Byrd and Sylvester Keels penned. I’ve Got A Girl was released in September 1964, but again, failed to find an audience. This was frustrating for Bobby Byrd who continued to release singles that oozed quality.
That was the case with We Are In Love a Bobby Byrd and Bobby Jones composition. They wrote the B-Side No One Like My Baby with Walter Foster. When We Are In Love was released in January 1965, it features a swinging, uptempo arrangement and stab of blazing horns. They played their part in the success of We Are In Love which reached number fourteen in the newly reinstated US R&B charts. After five attempts Bobby Byrd had his first hit single.
Buoyed by the success of We Are In Love, Bobby Byrd and Ted Wright wrote Time Will Make A Change and the The Way I Feel. When the two songs were recorded, Time Will Make A Change which sounds as if it was based on I Found Out, was chosen as the single. It was released in May 1965, and features a soul-baring vocal, cooing harmonies and bursts of horns. This was a potent combination, but not enough to give Bobby Byrd another hit single.
The Bobby Byrd and Ted Wright songwriting partnership reconvened and wrote the heart-wrenching bluesy ballad Let Me Know and the understated soul of You’re Gonna Need My Lovin’. It was Let Me Know that was released by Smash in September 1965. Despite being one of Bobby Byrd’s finest singles for Smash, history repeated itself and the single failed to find the audience it deserved.
Meanwhile, James Brown had returned to King in the summer of 1965, and would enjoy a top five single with I Got You (I Feel Good) towards the end of the year. The self-styled Godfather of Funk was enjoying much more success than the man who discovered him Bobby Byrd.
He returned in January 1966 with a cover of Oh, What A Night. In Bobby Byrd’s hands the song becomes a beautiful, tender ballad with a horn chart that harked back to a different era. On the B-Side was the Nat Jones and James Brown composition Lost In The Mood Of Changes. However, when the single was released, it failed commercially. It may have been Oh, What A Night was at odds with musical tastes in 1966? By then, the psychedelic era was in full swing, and musical tastes were changing, and changing fast.
Another eight months before Bobby Byrd returned with a new single. Meanwhile, James Brown was working with his latest signing Vicki Anderson. She would release Wide Awake In A Dream on De Luxe in June 1966.
Three months later, Bobby Byrd returned with a cover a cover of Nat Jones’ Ain’t No Use in September 1966. Brash horns and harmonies accompany Bobby Byrd as he unleashes a vocal that is a mixture of power and emotion. Tucked away on the B-Side was Let Me Know a heartfelt ballad penned by Bobby Byrd and Ted Wright. Both sides showcased a truly talented vocalists who should’ve been enjoying a successful career. Sadly, when Ain’t No Use was released, it failed commercially. For Bobby Byrd this was the last single he released on Smash.
In 1967, Bobby Byrd signed to King and released I’ll Keep Pressing On. It was a string drenched ballad where Bobby Byrd lays bare his soul. Despite the quality of I’ll Keep Pressing On, the single never troubled the charts. This was an inauspicious start to Bobby Byrd’s career at King.
For his second single for King, Bobby Byrd recorded Funky Soul a two-part dancer written by James Brown, Bud Hobgood and James Crawford. Funky Soul #1 Part 1 was released in September 1967, with Funky Soul #1 Part 2 on the B-Side. It found Bobby Byrd delivering his vocal over a trademark James Brown groove. While this was different to his last couple of singles, still commercial success eluded Bobby Byrd.
Nothing more was heard of Bobby Byrd until February 1968, when he released a duet with James Brown, You’ve Got To Change Your Mind. Despite the presence of James Brown, the single wasn’t the success that many had forecast. Hidden away on the B-Side was the Bobby Byrd, James Brown and Bud Hobgood composition I’ll Lose My Mind. Stabs of horns punctuate the arrangement as cooing harmonies accompany Bobby Byrd. His vocal veers between tender to powerful and emotive, and occasionally, he resorts to James Brown inspired yelps on this hidden gem.
The final single on Help For My Brother: The Pre-Funk Singles 1963-1968, was a cover of My Concerto. On the B-Side was You Gave Me Hope, which Bobby Byrd wrote with James Brown and Bud Hobgood. However, when the rueful ballad My Concerto was released on King later in 1968, it failed to chart. For Bobby Byrd this marked the end of his spell at King.
The two years Bobby Byrd had spent at King had been an unsuccessful, and none of the singles came close to troubling the charts. When Bobby Byrd looked back at the five years period that is documented on Help For My Brother: The Pre-Funk Singles 1963-1968 he must have felt that he had underachieved.
He was a talented singer and songwriter, but only enjoyed just one US R&B hit single with We Are In Love in 1965. Many of the other singles he released for Federal, Smash and King should’ve fared better. However, by then, soul was no longer as popular as it once had been.
Musical tastes were changing, and many saw soul as yesterday’s music. Pop, psychedelia and rock were now the musical flavours of the month. It looked as if soul was about to follow in the footsteps of blues and jazz, which was no longer as popular as they had once been. Just like soul, they had to evolve or risk irrelevance.
Out of necessity, fusion and psychedelic soul were born in the late sixties. This ensured that jazz and soul remained relevant, and lived to fight another day.
Despite music continuing to evolve, Bobby Byrd’s music stood still. He continued to record ballads, blues, dancers and the occasional funk track. While many of the these tracks oozed quality, they failed to find an audience. Maybe James Brown as the wrong producer for Bobby Byrd, and he needed someone who would’ve tried to take his music in a different direction?
Maybe Federal, Smash and King were the wrong labels for Bobby Byrd? At these labels, Bobby Byrd was always in James Brown’s shadow. Sometimes, it seemed James Brown was trying to work with too many artists at the one time, and other times, he was working with his latest signing or next big hope. Meanwhile, singers like Bobby Byrd had wait their turn until the ‘great man’ would grant him an audience with him.
As a result, it was no surprise that after the release of My Concerto in 1968, Bobby Byrd parted company with James Brown. So had Vicki Anderson, who Bobby Byrd would later marry. The pair released a single Here Is My Everything on ABC.
Just over a year later in 1969, James Brown and Vicki Anderson returned to the James Brown revue in 1969. This time round, Bobby Byrd was James Brown’s right hand man. A year later in 1970, Bobby Byrd played an important role in the sound and success of James Brown biggest hit single Get Up (I Feel Like Being A) Sex Machine.
In August 1970, Bobby Byrd returned to the charts with I Need Help (I Can’t Do It Alone) Pt.1. This was his first hit in five years. Soon, two became three when I Know You Got Soul was released in May 1971, and gave Bobby Byrd his third hit single.
Two years later, and Bobby Byrd parter company with James Brown for the last time. Their partnership had lasted for the best part of twenty years. During that period, James Brown enjoyed a string of hit singles and successful albums. Sadly, Bobby Byrd didn’t enjoy anywhere like the same success.
Many of Bobby Byrd’s singles failed to find the audience they deserved, and slipped under the musical radar. This included many of the singles on Bobby Byrd-Help For My Brother: The Pre-Funk Singles 1963-1968, which was released by BGP, an imprint of Ace Records. These singles and the B-Sides are a reminder of one of the most underrated soul men of early sixties, Bobby Byrd who could’ve and should’ve reached greater heights, if things had been different.
Bobby Byrd-Help For My Brother: The Pre-Funk Singles 1963-1968.
ELIANA CUEVAS-GOLPES Y FLORES.
Eliana Cuevas-Golpes y Flores.
Label: Alma Records.
It was twenty years ago in 1997, when Venezuelan singer, songwriter and bandleader Eliana Cuevas arrived in Toronto, Canada, which she now calls home. Since then, Eliana Cuevas’ career has flourished, and the award-winning singer-songwriter is now one of the most successful Latin American singers of her generations. She regularly tours Europe, Asia and Japan, where she plays songs from her five albums. This includes Golpes y Flores which was recently released by Alma Records. Golpes y Flores is essentially a love letter to her homeland of Venezuela where Eliana Cuevas was born and brought up. However, Golpes y Flores was recorded in Canada, which has been home to Eliana Cuevas for twenty years.
By the time that Eliana Cuevas arrived in Toronto, she was immersed in music, and had been since an early age. Eliana Cuevas was born into a musical family in Venezuela, and grew up listening to a soundtrack of Brazilian music, joropo, pop and salsa. Before long, Eliana Cuevas wasn’t content just to listen to music, and by the age of nine, had written her first song. Little did anyone realise that this was how she would make a living later in life.
Eliana Cuevas career as a musician began when first moved to Toronto. This was where she planned to embark upon a musical career. There was a problem though, Eliana Cuevas was too young to play in Toronto’s top jazz clubs. This wasn’t going to stop Eliana Cuevas, and with the help of a fake ID, she gained entry to Toronto’s top jazz clubs. Soon, she was singing with various Brazilian, flamenco and jazz groups, which proved good experience for Eliana Cuevas.
In 2001, Eliana Cuevas released her eclectic debut EP Cohesión, which showcased a versatile and talented singer-songwriter. Two years later, and became an award-winning artist when she won the Latin American Achievement Award as Vocal Artist of the Year. This was the first of several awards Eliana Cuevas would win over the next thirteen years.
Three years after releasing her Cohesión, EP in 2001, and Eliana Cuevas returned with her debut album Ventura in 2004. It was a captivating album, and one where Eliana Cuevas tackled a variety of different subjects. This prompted those with the Toronto music scene to take notice of this up-and-coming singer-songwriter.
In 2006, The Eliana Cuevas Quintet embarked upon her first tour of Germany. She was well received and since then, has toured mainland Europe many times. Eliana Cuevas has always been a popular live draw, and her albums have been well received.
Three years after the release of her debut album Ventura, Eliana Cuevas returned with her much-anticipated sophomore album Vidas in 2007. It was well received by critics, who started referring to Eliana Cuevas hailed as Canada’s Latin Music Queen.
Later in 2007, Eliana Cuevas won the Toronto Independent Music Award for Best World Music Artist. Meanwhile, Eliana Cuevas’ popularity was growing.
Not long after the release of Vidas, Eliana Cuevas’ music started to find an audience much further afield. From Venezuela to Germany, Canada’s Latin Music Queen started to reach a wider audience. By then, Eliana Cuevas’ star was in the ascendancy.
So much so, that in 2009, Luna Liena an anthology of Eliana Cuevas’ music was released and introduced Canada’s Latin Music Queen to a new and wider audience. By then, Eliana Cuevas was regularly touring Australia, Asia and Europe and working with artists of the calibre of Alex Cuba, Jesse Cook and Jane Bunnett. Somehow Eliana Cuevas found time to front the Caribbean Jazz powerhouse CaneFire, the Jorge Miguel Flamenco Ensemble, and work with composer Darren Sigesmund. Still Eliana Cuevas found time to record her a new studio album.
By the time Espejo was released in 2013, Eliana Cuevas had been working with some top artists, and become a mother for the first time. Four years after the release of the Luna Liena anthology, Eliana Cuevas returned with Espejo in 2013. It was her first album of new songs since Ventura in 2007. Espejo which was released to critical acclaim, marked a turning point in Eliana Cuevas’ career.
Eliana Cuevas explains: “I’d reached a point in my life and career where I wanted to take a few more chances. I decided to explore more of my range as a vocalist and a composer. I wanted to experience something new, even in the recording process itself. If you don’t challenge yourself, art can get stale. On my previous albums, the sound was very much focused on being able to reproduce the songs and arrangements live. On this one, I wanted to do something unique for each piece, but we have still been able to adapt them live.” This was the case with songs on Espejo, which became Eliana Cuevas’ most successful album.
Part of the success of the albums was down to the successful musical partnership Eliana Cuevas had forged with her husband Jeremy Ledbetter, who produced Espejo. “He knows me so well. If I need an extra push, he knows I don’t need sugar-coating. I can take it! If you are not really close with someone, you may not feel comfortable pushing like that.” With Jeremy Ledbetter producing Espejo and writing El Tucusito, the result was another award-winning album.
In 2014, Eliana Cuevas’ third studio album Espejo won the Independent Music Award for Best Latin Album. Eliana Cuevas’ also won Toronto Independent Music Award for Best World Music Artist in 2014.
Three years passed before Eliana Cuevas returned with her fourth studio album Golpes y Flores. It was the album that Eliana Cuevas’ legion of fans had been waited three long years for. They knew that Golpes y Flores would be well worth the wait.,
Golpes y Flores was also an album that was a love letter to her homeland of Venezuela. Eliana Cuevas explains: “Venezuelan music is very rich and I wanted to showcase some of what my country has to offer musically speaking. I was keen to feature traditional Afro-Venezuelan rhythms and mix those in with what I do here in Canada.” To do this, Eliana Cuevas worked with some top musicians.
This included some of the best and most accomplished Venezuelan percussionists, including Adolfo Herrera and Yonathan “Morocho” Gavidi. They were joined by Eliana Cuevas’ usual band, which features some of Canada’s top musicians including drummer Mark Kelso and bassist George Koller and percussionist Daniel Stone. They’re joined by a stellar cast of guest artists which included violinist Aleksandar Gajic, saxophonist Luis Deniz drummer Marito Marques and cellists Peter Cosbey and Jonathan Tortolano. These musicians were part of the tight, talented and versatile band that provide a sympathetic and empathic backdrop for Eliana Cuevas’ vocals on Golpes y Flores which was arranged and produced in Toronto by Jeremy Ledbetter.
He also cowrote three of the songs on Golpes y Flores with Eliana Cuevas. These songs, include the album opener Alegria which features an impassioned vocal from Eliana Cuevas. Jeremy Ledbetter and Eliana Cuevas also wrote No Se Puede,and Mi Linda Maíta. These three songs were joined by another seven penned by Eliana Cuevas, who seems to mature as a songwriter on every album. She draws inspiration from both personal experience and the world around her.
This is evident on A Tear On The Ground, which was inspired by Eliana Cuevas’ family visiting India. She remembers: “It was a very spiritual experience, I spent a few days doing yoga at an ashram that was right by a lake that had a sign warning people to be careful of the crocodiles. It was a beautiful quiet place where I could go to meditate and it inspired me to write.” The songs it inspired A Tear On The Ground, features one of Eliana Cuevas’ best vocals. It has a purity and soulfulness, as her all-star band match her every step of the way on what’s one Golpes y Flores’ highlights.
One of the most moving songs on Golpes y Flores is Mi Linda Maita, which is dedicated to Eliana Cuevas’ grandmother. “She passed away a couple of years ago, and I wanted to honour her.” This she does on a moving and poignant song.
Another song that Eliana Cuevas was inspired to write was Poderosa. It: “is about the strength women have and their ability to make life. I wrote it as I was pregnant with my second daughter.” During this celebration of life, there’s a joyousness to Eliana Cuevas’ vocal as keyboards, horns and percussion accompany her. Fittingly, Golpes y Flores is dedicated to Eliana Cuevas’ two daughters.
Golpes y Flores is essentially Eliana Cuevas’ love letter to her home country, Venezuela. Sadly, all is not well in Venezuela currently. Eliana Cuevas says: “it is not a secret there are problems there right now, but not enough people know how rich Venezuelan music truly is and I’d like to show the world some of the beauty my country still has to offer despite all of the problems it is currently facing.” The music on Golpes y Flores is the perfect introduction to the delights of Venezuelan music.
An important part of Venezuelan music is the rhythms, which Eliana Cuevas references in the album’s cryptic title. Eliana Cuevas explains. “’Golpes’ means hit, often referring to rhythms, while ‘flores’ means flowers. To me, the title suggests a combination of the sophistication, beauty and gentleness of flowers and the strength and force of the Afro-Venezuelan rhythms.” These rhythm play an important part in the sound and success of Golpes y Flores.
Playing an important part in the rhythms on Golpes y Flores are various percussionists that feature on the album. They provide an accompaniment to Eliana Cuevas as she breathes life and meaning into the lyrics on Golpes y Flores.
That is the case on the beautiful, heart-wrenching ballad Te Encontraré, and on El Manantial which features a heartfelt, soulful vocal from Eliana Cuevas. It’s another of her finest vocals and showcases a truly talented and versatile vocal.
Proof of this Seré Libre, where the tempo rises and Eliana Cuevas delivers an emotive vocal. Her vocal veers between tender to emotive and powerful while percussion helps powers the arrangement along, and keyboards adds an atmospheric backdrop. Despierta finds Eliana Cuevas combining Afro-Venezuelan rhythm and jazz as she delivers another heartfelt and emotive vocal. Straight away, here’s a degree of drama on Nunca Jamás where strings and percussion play leading roles in the arrangement. Meanwhile, Eliana Cuevas’ vocal is full of drama as she lives the lyrics and brings them to life. Closing Golpes y Flores is No Se Puede where Canada’s Latin Music Queen unleashes a vocal masterclass as this beautiful song reveals its secrets over the course of five magical minutes. In doing so, Eliana Cuevas closes Golpes y Flores on a high.
After ten songs lasting sixty-four minutes, Golpes y Flores which is Eliana Cuevas’ fourth studio album and fifth overall is over. It’s a career defining album from the Toronto-based Venezuelan singer, songwriter and bandleader Eliana Cuevas. She reaches new heights on Golpes y Flores, which is a love letter to essentially a love letter to her homeland of Venezuela.
During this carefully crafted love letter to her homeland Eliana Cuevas puts to good use twenty years worth of experience. Backed by an all-star band that features musicians from her native Venezuela and Canada which has been home to Eliana Cuevas since 1997. Despite that, the foundation for Golpes y Flores are Afro-Venezuelan rhythms which come courtesy of some of Venezuela’s top percussionists. With the rest of the band, the combine elements of folk, jazz, pop, soul and of course, Eliana Cuevas’ poetic songwriting. This is a potent combination, with the band providing a backdrop as Eliana Cuevas works her way beautiful ballads and uptempo tracks produced by Jeremy Ledbetter.
He’s also Eliana Cuevas’ husband, and the pair have been collaborating for many years. The couple wrote three of the songs on Golpes y Flores, and have forged a successful partnership. Their finest hour is Golpes y Flores which was recently released by Alma Records, and finds Canada’s Latin Music Queen Eliana Cuevas reaching new musical heights.
Eliana Cuevas-Golpes y Flores.
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