JOHN ARMSTRONG PRESENTS AFROBEAT BRASIL.
John Armstrong Presents Afrobeat Brasil.
Label: BBE.
Not many independent labels are still going strong after twenty-one years. Especially considering how different the musical landscape is. The music industry has been transformed during the last twenty-one years. As a result, there have been a few casualties along the way, and some familiar faces are no more. However, the labels that have adapted to how music is delivered and consumed have survived and thrived.
These labels have realise that streaming and downloads are two new ways that people listen to music. However, they also realise that people still want to buy physical product, including CDs and LPs. Especially LPs, since the start of the vinyl boom. Labels that recognise the different ways that music is consumed, and deliver a quality product are sure to survive and prosper.
That has certainly been the case with the British independent label BBE. They’re still going strong after nearly twenty-one years, and continue to release innovative new music, reissue albums that are long-lost hidden gems and release critically acclaimed compilations. BBE’s most recent compilation is John Armstrong Presents Afrobeat Brasil which is available on CD and as a two LP set. It’s the most recent compilation from one of the hardest working men in music.
John Armstrong has been an integral part of the London music scene since the mid-seventies. The story starts when John Armstrong traveled to the New Orleans Jazz and Heritage Festivals. During his visit, he managed to secure interviews with some of the stars of the New Orleans Jazz and Heritage Festival. He interviewed everyone from producer, singer and songwriter Allen Toussaint to Betty Carter. This was journalistic gold.
When John Armstrong returned home clutching these exclusive interviews, many of them were published in the Jazz and Blues Review which sadly, is now defunct. This was the break that John Armstrong had been looking for. Now his career started to take shape.
By the late-seventies, John Armstrong was ready to make his debut behind the wheels of steel. Soon, he was a familiar face DJ-ing in London’s clubs and pubs. However, DJ-ing was just one of many strings to John Armstrong’s bow.
Another was compiling compilations. It’s nearly thirty years since John Armstrong first dipped his toe into the world of compilations. Having compiled his first compilation, John Armstrong had no idea that this was the first of 200 compilation that he would go on to compile. They’ve ranged from Afrobeat, Cajun, flamenco and Latin, to rockabilly, rock ’n’ roll and zydeco. His most recent compilation is John Armstrong Presents Afrobeat Brasil, which was a labour of love.
John Armstrong has long been a fan of Latin music, and in 2008, devised and wrote Viva Latino, a fourteen part radio series for BBC Radio 2. This was the first music show dedicated to Latin music, and it proved a huge success. The worldwide listening figures reached nine million at one point. For John Armstrong, the success of Viva Latino added yet another string to his bow.
Over the last thirty years, he’s divided his time between journalism, DJ-ing, writing liner notes and compiling 20o compilations for various record labels. This included John Armstrong Presents Afrobeat Brasil,for BBE. It features fourteen scorching tracks released between 2011 and 2017. Although these tracks sound as if they’ve been recorded in various African countries, including Ethiopia, Mali and Nigeria that isn’t the case. All of the tracks were recorded in Brazil.
What the tracks on John Armstrong Presents Afrobeat Brasil reinforce is how importance the African beat has been to Brazilian music. That was the case in the past, and is still case today. Nowadays, musicians, singers and rappers continue to draw inspiration from the great and great of African music, to create samba swing, bossa tempo and nordestino nous. This new music is showcased on John Armstrong Presents Afrobeat Brasil.
Never before has an Afrobeat inspired compilation been released outside of Brazil. John Armstrong and BBE are breaking new ground with the release of John Armstrong Presents Afrobeat Brasil. It features musicians from Rio De Janeiro, São Paulo, Salvador, Porto Alegre and even an expat Brazilian musician residing in Paris, France. These musicians draw inspiration from various types of African music, and use it as a building block to take Brazilian music in new and exciting directions. That becomes apparent on John Armstrong Presents Afrobeat Brasil.
The best way to describe André Abujamra is multitalented. He’s a singer, songwriter, guitarist and is an award-winning film score composer. André Abujamra is also an actor and comedian. He was born in Sao Paulo in 1965, but some of his family are from the Lebanon. His background shines through in his music, including Origem which opens John Armstrong Presents Afrobeat Brasil. It’s a genre-melting track where Afrobeat horns and percussion combine with elements of Brazilian carnival batucada music and even elements of Irish and Middle Eastern music. This result is irresistible and joyous, and is sure to stop the listener in their tracks.
One of the pioneers and leading lights of the Brazilian hip hop scene during the nineties was BNegão. Over the next few years, he collaborated with a variety of artists. In February 2004, BNegão and Os Seletores De Frequência released their first album Enxugando Gelo. Nine years passed before the followup Sintoniza Lá was released to plaudits and praise in 2013. One of the highlights is Os Seletores De Frequência where BNegão and Os Seletores De Frequência seamlessly fuse elements of Afrobeat, dub, funk, hardcore and rap with social comment to create a truly memorable and uplifting track.
Although Camarão Orkestra is based in Paris, France, and comprises French musicians they’re still able to faithfully replicate Brazilian music in an Afrobeat style. Proof of this is Afoxe, which is a Homeric musical Odyssey where Camarão Orkestra flit seamlessly between, and combine, disparate musical genres. Initially, the Camarão Orkestra replicate the Filhos de Gandhi marching beat that can be heard during the Carnival in Salvador da Bahia. This gives way to a Nigerian dance beat that is a feature of seventies Afrobeat albums. To this, Camarão Orkestra add elements of jazz funk which plays its part in ambitious, eight minute Joycean epic.
Straight away, one can hear the influence of Fela Kuti during Bixiga 70’s 5 Esquinas. This is a track from sophomore album Ocupai, which was released in 2013. One of the album’s highlights is 5 Esquinas, which is played in 6/8 time. It finds the São Paulo based ten piece band at their most inventive and innovative, as they fuse Afrobeat and Brazilian music with funk and jazz. In doing so, this tight and talented band take Afrobeat to places it has never been before.
Straight away, one can hear the influence of Fela Kuti during Bixiga 70’s 5 Esquinas. This is a track from sophomore album Ocupai, which was released in 2013. One of the album’s highlights is 5 Esquinas, which is played in 6/8 time. It finds the São Paulo based ten piece band at their most inventive and innovative, as they fuse Afrobeat and Brazilian music with funk and jazz. In doing so, this tight and talented band take Afrobeat to places it has never been before.
Arranger, composer and saxophonist Thiago França was born in Belo Horizonte, in 1980. He’s already released a trio of albums between 2009 and 2014. These albums showcase a truly talented composer and saxophonist. Alas, these albums are becoming quite rare. However, Etiópia doesn’t feature on any of Thiago França’s three albums, and is the perfect introduction to one of Brazil’s top saxophonists of his generation. Stylistically and sonically, Thiago França seems to have been influenced by the late, great John Coltrane. His playing is inventive and powerful as he unleashes a scorching, sinewy solo. By the end of Etiópia, it’s apparent that Thiago França is a musician that we’ll be hearing much more about.
Twenty-four year old Tássia Reis is one of the rising stars of Brazilian hip hop. The São Paulo born rapper came to the attention of music fans in 2013, when she contributed Meu Rapp Jazz to a women only hip hop mixtape. Since then, Tássia Reis’ star has been in the ascendancy. Her contribution to John Armstrong Presents Afrobeat Brasil is Desapegada, which finds Tássia Reis’ delivering an impassioned rap and soulful vocal against a quite beautiful jazz-tinged backdrop. Tássia Reis is another artist with a big future ahead of her.
From the opening bars of Wababa finds singer, songwriter and guitarist André Sampaiao and fellow guitarist Os Afromandinga Wababa transport the listener to Mali. They’ve almost managed to replicate the music of Malian guitarist and master musicians Djelimady Tounkara to Brazil. He’s one of the top African guitarists of his generation. However, André Sampaiao whose a member of reggae band Ponto De Equilibrio is no slouch. Neither is Os Afromandinga Wababa. Together, they create an authentic and evocative homage to Djelimady Tounkara.
Trabalhos Espaciais Manuais is a ten piece band that is based in Porto Alegre. They first came to prominence in 2013, and since then have been playing in bars, concert halls and at festivals. Their music is a fusion of Afrobeat, jazz, rock, maracatu and samba. It’s heady, patent and irresistible brew as Farofa De Banana proves.
Lucas Santtana is singer, composer and producer who was born in Salvador, Brazil in 1970. He’s released five studio albums between 1999 and 2014, plus a remix album and collaboration with Seleção Natural. Músico featured on his 2012 album O Deus Que Devasta Mas Também Cura. It’s a genre-melting track where strings and electronics combine with indie pop and Música Popular Brasileira to create a four-minute post modernist mini masterpiece.
Several artists and bands from the Salvador region feature on John Armstrong Presents Afrobeat Brasil. This includes Ifá, who are named after the religion and belief system of the Yoruba people. Their roots can be traced back to the ‘16th’ century, in what was then Benin Republic. Nowadays, Ifá is a nine piece band whose music is a blistering fusion of Afrobeat and funk. Ifá’s contribution is Salva Dor, six minutes of magical music. Key to its sound and success are braying, blazing horns, searing, scorching guitars and electronics, including a vocoder. They play their part in whats without doubt, one of the highlights of the compilation.
When São Paulo based Otto Nasca released his debut album Supersimetria in 2016, it was a musical journey through disparate musical genres. Otto Nasca had fused elements of Afrobeat, funk, jazz, maracatu and samba on Supersimetria. It was an irresistible musical brew. Proof of this is Democracia, which is a heartfelt ballad, where Otto Nasca draws attention to the political problems that are causing chaos within Brazil.
A remix of Ellen Oléria’s Afrofuturo closes John Armstrong Presents Afrobeat Brasil. Ellen Oléria is another rising stars of the Brazilian music scene, and released her 2013 eponymous debut on Universal Music. Three years later, and Ellen Oléria released her sophomore album Afrofuturista, which opens with Afrofuturo. It’s remixed and heads in the direction of dubwise, and in the process, introduces Ellen Oléria’s music to a new audience.
That is the story of John Armstrong Presents Afrobeat Brasil, which was recently released by BBE. It’s the first ever compilation of Afrobeat inspired Brazilian music to be released outside of Brazil. John Armstrong and BBE are breaking new ground with the release of John Armstrong Presents Afrobeat Brasil.
On John Armstrong Presents Afrobeat Brasil, musicians from Rio De Janeiro, São Paulo, Salvador, Porto Alegre and Paris, drawing inspiration from various types of African music, and use it as a building block to take Brazilian music in new and unheralded directions. The result is ambitious and inventive music. Some of the music on John Armstrong Presents Afrobeat Brasil is genre-melting, and is the result of disparate musical genres being fused to create new and innovative music. It seems that across Brazil, a new generation of musicians across Brazil are determined to use the music from Africa and Brazil’s past to create the music of the future. They succeed in doing so, and John Armstrong Presents Afrobeat Brasil.
For anyone with even a passing interest in Afrobeat or Brazilian music, then John Armstrong Presents Afrobeat Brasil will definitely be of interest to them. It will also be of interest to anyone who enjoys and appreciates good music, as John Armstrong Presents Afrobeat Brasil is one of the best compilations of recent months. It’s a case of all killer, and no filler. John Armstrong Presents Afrobeat Brasil features some old friends who rub shoulders with musical veterans, new names and several hidden gens. The result is a tantalising taste of Afrobeat inspired Brazilian music. Hopefully, there will be further volumes in the series. After all, compilations like John Armstrong Presents Afrobeat Brasil provide the perfect showcase for a new generation of talented Brazilian musicians, and introduce their music to a much wider audience.
John Armstrong Presents Afrobeat Brasil.
SEAFARING STRANGERS: PRIVATE ROCK.
Seafaring Strangers: Private Rock.
Label: Numero.
As the sixties drew to a close, the Rolling Stones were one of the most successful bands of the decade. They were preparing to release their Let It Bleed, on the ‘5th’ of December 1969. It was the Rolling Stones eighth album in Britain, but their tenth album in America. That was where the Rolling Stones were most popular, and where they were enjoying a glittering career.
Already, the Rolling Stones had sold in excess of six million albums in America since 1964. Six of the Rolling Stones’ albums were certified gold and three platinum, including their previous album Beggars Banquet. Let It Bleed was the followup, and was released to critical acclaim on the ‘5th’ of December 1969. The following day, the Rolling Stones had agreed to put on a free concert at Altamont Speedway, in Northern California
The concert at Altamont Speedway on the ‘6th’ of December 1969, was meant to feature an all-star cast, including some of the great and good of psychedelia. Jefferson Airplane, The Grateful Dead and Santana were joined by The Rolling Stones, The Flying Burrito Brothers and Crosby, Stills, Nash and Young. They were all booked o play in what was meant to be a landmark event in psychedelic’s musics history, and a hopefully, a good news story. Alas, it wasn’t.
As the Rolling Stones took to the stage, accompanied by Hells Angels who were providing security, the concert descended into chaos. Some of the Hell’s Angels fought with the audience, and Meredith Hunter, a black teenager, was allegedly stabbed by a member of the Hells’s Angels. This resulted in the cancellation of Altamont. One of the headliners, The Grateful Dead, never even took to the stage. Altamont was an unmitigated disaster.
There were three accidental deaths, many were injured, property was destroyed and cars stolen and destroyed. As the sixties drew to a close, the events at Altamont played its part in the decline of psychedelia and a backlash against the hippie movement.
It was no wonder that when the clock struck midnight on the ’31st’ of December 1969, many within the music industry breathed a sigh of relief. While the sixties had been the most important and influential decade in musical history, it ended with chaos and controversy, and a barrage of negative publicity. The dawn of a new decade, was also a new start for music.
With psychedelia no longer as popular, critics and cultural commentators, wondered where was heading? There were several possibilities. The heavy rock pioneered by Led Zeppelin was already popular, and so was the nascent progressive rock movement. Then there was soul and fusion? Critics and cultural commentators all speculated at what the future held for music.
As the seventies took shape, many musical movements proved popular. This included heavy rock, progressive, fusion, Philly Soul and later, disco and punk. There was also soft rock which later became known West Coast sound.
Back in the seventies, the West Coast sound was the perfect soundtrack to the lives of the Baby Boomers, who had grownup and were now parents. They were enjoying the West Coast sound, which incorporated elements of pop, rock, jazz, funk and soul. The music had a slick sound and was full of hooks. This came courtesy of clever chord progressions, lush harmonies and often, swathes of strings. They played their part in the sound and success of the West Coast sound, which forty years later, is enjoying a resurgence in popularity. Nowadays, though, the West Coast sound is known as Vanilla Funk or Yacht Rock.
Recently, several compilations of Yacht Rock have been released. The most recent was Seafaring Strangers: Private Rock, which was released by the Numero label on the ‘7th’ of July 2017. It features twenty tracks from artists like Jim Spencer, Ned Doheny, Jeff Harrington, Paul Skyland, Calvin Johnson, Salty Miller, Canyon, Gary Marks, Country Comfort, Chuck Senrick and Rudy Norman. Many of these tracks fall into the category of hidden gems. They’ve been taken from privately pressed albums which were released on small labels.
Often, these albums were self-released by the artist, who had a 1,000 albums pressed and sold them at concerts or through a network of local record shops. Nowadays, many of these albums have a cult following, and are extremely rare. Sadly, some of these albums slipped under the radar, and it was only much later that they were discovered by intrepid crate-diggers. Tracks from these albums, make a welcome appearance on Seafaring Strangers: Private Rock.
Opening Seafaring Strangers: Private Rock is Jim Spencer’s Wrap Myself Up in Your Love which was released on Armada Records in 1979. By then, Jim Spencer was thirty-five and had already released two solo folk albums, 1973s Landscapes and 1974s 2nd Look. Five years later, and Jim Spencer was ready to reinvent himself. He had written Wrap Myself Up in Your Love with Ed Tossing, and they produced the single with Andy Watermann. It saw Jim Spencer embrace disco, on a track that seamlessly fuses elements of funk, proto-boogie, jazz and soul. The result is a beautiful, slow devotional that sets the bar high for the rest of the compilation.
In 1980, Chicago-based singer, songwriter and multi-instrumentalist Michael Miglio released Everytime It Rains as a single on Michael Records. Hidden away on the B-Side was Never Gonna Let You Go, which was the stronger of the two tracks. It’s a beautiful, heartfelt paean that meanders along, all the time winning friends and influencing people. If it had been chosen as the single, maybe things would’ve been very different for Michael Miglio? Instead, his recording career amounts to just one single, which features the hidden gem Never Gonna Let You Go on the B-Side.
Ned Doheny’s career began at David Geffen’s nascent Asylum Records in 1973, when he released his eponymous debut album. By then, Ned Doheny was as familiar face on the Californian music scene, and was a contemporary of Jackson Browne, The Eagles and Joni Mitchell. However, Ned Doheny didn’t enjoy the same commercial success, and by 1991 was signed to the Japanese label Polystar. He released a trio of albums on Polystar, including Love Like Ours in 1991. It featured Before I Thrill Again, where a funky bass and backing vocalists accompany Ned Doheny’s hurt-filled vocal on a song that epitomises everything that is good about Yacht Rock. It’s also a reminder of a truly talented singer, songwriter and musician whose music should’ve found a wider audience.
When Carter Minor returned to Chapel Hill, in North Carolina, he formed Steps, a five piece band with four new graduated of the local University. Soon, Steps began playing on the local live scene, and in 1982 released their debut EP Sugar on Dolphin Records. It was produced by Steve Gronback and Tim Hildebrandt, featured the Carter Minor composition Your Burning Love. Steps had saved the best until last. It was the last song on the B-Side, and found five members of Steps came into their own. While Carter Minor takes charge of the lead vocal, the rest of Steps add cascading vocals on this dance-floor friendly track that draws inspiration from the blue-eyed soul of The Doobie Brothers and Earth, Wind and Fire. Sadly, there was no followup to the Sugar EP, and Steps had split-up within a year. Your Burning Love is reminder of Steps, who could’ve gone on to reach greater heights.
Paul Skyland’s Give Me Your Love is one of the real finds on Seafaring Strangers: Private Rock. It’s a track from Paul Skyland’s self-released 1982 album Songchild. It was recorded at Suma Recorders in Cleveland, where Paul Skyland spent time carefully crafting his debut album. He believed that Give Me Your Love was his strongest song, and hoped that it would generate interest from record companies. Sadly, that wasn’t the case and Paul Skyland’s debut album remains one of music’s best kept secrets. A tantalising taste of Songchild, is Give Me Your Love a beautiful and carefully crafted song from one of music’s master craftsmen.
From the opening bar’s of Salty Miller One More Time, it’s obvious that this is a very special song. That proves to be case as this beautiful ballad from Salty Miller’s debut album Album #1 takes shape. It’s atmospheric and cinematic, with the sound of waves breaking on a deserted beach as birds fly overhead. Fittingly, Album #1 was released on Beach Music Records Of The Carolinas in 1982. So was the single One More Time, which is a beautiful, tender, heartfelt ballad that showcases the considerable talents of Salty Miller.
Canyon Country were a bar band in Fargo, North Dakota, when Overland Stage’s drummer Dave Hanson asked the band to record his new composition, Lovin’. This was Canyon Country’s shot at the title. They rose to the challenge, and recorded an understated and mellow ballad, that is melodic and memorable. It’s a welcome addition to Seafaring Strangers: Private Yacht.
Having put together his band, Gary Marks headed to Vitra Sonic Recording Studios in New York. where he recorded his 1974 debut album Gathering. It was the first of five albums that Gary Marks released on his own label Arewea. The album that started it all off was Gathering, which features an understated, dreamy and ruminative ballad that captivates.
Madness rose from the ashes of Brass Unlimited in 1974. The now defunct band’s rhythm section became Madness. Three years later, they were joined by singer-songwriter Tommy Bruner. His addition saw Madness release their debut single Let’s Hear It For The Man in 1979. In late 1979, Tommy Bruner wrote Madam Operator which became part of the band’s setlist. That was how it came to feature on the K101 radio station’s sampler of music by local bands First Annual Iowa Album in 1980. By then, the answering machine message had been rewritten, to include “Iowa“. This was perfect for an album showcasing Iowa’s up-and-coming bands, of which Madness were one. Sadly, they never made a commercial breakthrough, and their recording career amounts to one single and Madam Operator, which featured on First Annual Iowa Album.
Chuck Senrick’s love of music began as a child, when he was growing up in Minnesota. He learnt to play the piano as a child, and by the time he was fifteen, had joined John Zimmer and The CR4. The band played cover versions on the local live scene. By the time Chuck Senrick graduated from high school, he was already a talented composer and had written the songs that would feature on his 1976 album Dreamin’. Opening the album was the title-track, an understated and impassioned ballad where keyboards and drums are part of a spartan arrangement and allow Chuck Senrick’s impassioned vocal to take centre-stage. It’s a tantalising taste of a truly talented singer, songwriter and multi-instrumentalist, Chuck Senrick.
Closing Seafaring Strangers: Private Yacht is Rudy Norman’s Back To The Streets. It was the B-Side to Rudy Norman’s 1980 single Harmony. This cover a cover of Elton John Song, and marked the return of Rudy Norman, who after falling out of love with music, had called time on his musical career. By 1980 Rudy Norman was ready to make a comeback and recorded Harmony as a single. On the B-Side was Back To The Streets, a mid-tempo tale of the allure of life in the fast lane. Initially, 500 copies of the single were pressed, and released on New Day Records later in 1980. Sadly, that was the only single Rudy Norman released. However, Back To The Streets was the perfect way to celebrate the comeback of Rudy Norman.
He’s one of twenty artists that feature on Seafaring Strangers: Private Yacht, which was recently released by Numero. It’s the latest compilation of what’s now called Vanilla Funk or Yacht Rock. Previously, it was known as AOR, Soft Rock or the West Coast Sound. That was before the genre underwent a makeover or rebranding.
Now Yacht Rock is growing in popularity, and no longer is the type of music that is found on compilations like Too Slow To Disco Volume 3 and Seafaring Strangers: Private Yacht a guilty pleasure. Instead, Yacht Rock has been growing in popularity over the three years. With Yacht Rock bang on trend, there will be more and more Yacht Rock compilations released over the next few months.
Already, two Yacht Rock compilations have been released over the last couple of weeks. However, Seafaring Strangers: Private Yacht is the best Yacht Rock compilation of 2017. The twenty songs have been taken from privately pressed singles and albums that were either self-released, or released in small quantities by regional labels. Sometimes, as little as 500 copies of a single or album were pressed, and many of these albums are incredibly rare. So much so, that finding an original copy is almost impossible. That is a great shame, as many of the songs on Seafaring Strangers: Private Yacht will whet the listener’s appetite, and they’ll want to hear more from twenty talented artists and groups.
None of the artists and groups on Seafaring Strangers: Private Yacht were lacking in talent, but for whatever reason, never enjoyed the commercial success that their music deserved. That the case with two of the best known artists on Seafaring Strangers: Private Yacht, Ned Doheny and Gary Marks, who released a string of albums. Sadly, these album never found the audience they deserved. They weren’t alone.
Many of the artists on Seafaring Strangers: Private Yacht only released one single or album, and never returned to the recording studio. When their albums failed to find an audience, some became disheartened, and a few turned their back on music, deciding to return to the tedium of the 9 to 5 grind. Other artists didn’t return to the recording studio, but continued to play live, which was much more profitable. In the case of a group like Steps, they split-up up, and never got the chance to fulfil their potential. Sadly, that is a familiar story with some of the artists on Seafaring Strangers: Private Yacht.
For many of the artists on Seafaring Strangers: Private Yacht, it’s often a case of unfulfilled potential and what might have been? They were able to write slick sounding songs full of hooks. These songs featured clever chord progressions, lush harmonies and often, swathes of the lushest strings. It’s an irresistible combination, and one that should’ve brought many of the artists on Seafaring Strangers: Private Yacht to the wider record buying public.
These private presses should’ve acted as a calling card to the artists and bands on Seafaring Strangers: Private Yacht, and should’ve opened the doors to major record labels. They had the expertise and financial muscle to promote the artists on Seafaring Strangers: Private Yacht, and ensure their music found the audience it so richly deserved. Sadly, that wasn’t the case and instead, some of the albums ended up in Dollar bins and thrift stores.
That was where they remained, until relatively recently, when intrepid crate diggers took a chance on these albums. Somewhat belatedly, some of music released by the artists on Seafaring Strangers: Private Yacht started to find an audience. This has been helped by the resurgence in interest in private presses and indeed Yacht Rock. However, hopefully, the recent release of Seafaring Strangers: Private Yacht, which is a flawless compilation of Yacht Rock, will lead to a resurgence in interest in all the artists that feature on the compilation, and somewhat belatedly, their music will find the wider audience that it deserves.
Seafaring Strangers: Private Rock.
THE LIFE AND TIME OF MICK CLARK, BLUESMAN EXTRAORDINAIRE.
The Life and Time Of Mick Clarke, Bluesman Extraordinaire.
Mick Clarke can remember the day that his life was changed was forevermore. He was fifteen years old, and living in London, England. That was when he heard Eric Clapton for the first time. It was a life changing experience for Mick Clarke. Since that day, he has dedicated himself to the blues, and nowadays, Mick Clarke is, without doubt, one of Britain’s top blues guitarists. His career began back in the late sixties.
Killing Floor.
That was when Mick Clarke first came to prominence as part of the British blues explosion. Mick Clarke was a member of the blues rock band, Killing Floor, who were formed in 1968. Before long, the band were a familiar face on the London music scene.
So much so, that by 1969, Killing Floor had released their eponymous debut album. It was well received by the music press. By then, Killing Floor were rubbing shoulders with some of the great and good of the blues.
This included blues guitarists Freddie King, Howlin’ Wolf and piano player Otis Spann. Although they were no longer as popular as they had once been in their home country, they were still popular draws in Britain. So opening for these artists was a prized booking. Killing Floor were chosen to open for Freddie King, Howlin’ Wolf and Otis Spann when they toured Britain. This boosted their profile as the British blues explosion continued.
In 1970, Killing Floor returned with their sophomore album Out Of Uranus. It proved to the last album Killing Floor released for thirty-four years. The band split-up in the early seventies.
2004 marked the return of Killing Floor with a new album Zero Tolerance. Then in 2012, the four original members of the band get back together and released a new album Rock’n’Roll Gone Mad. Killing Floor also returned to playing live when they played at the Sweden Rock Festival 2012. However, much had happened to Mick Clarke in the intervening years.
Salt.
By the mid-seventies, Mick Clarke had cofounded a new band, Salt. Just like Killing Floor, Salt was an impressive and powerful blues rock band. They quickly became popular on the London music scene. Soon, Salt were familiar faces at some of the city’s top venues. This included the Marquee, where some of the biggest bands of seventies took to stage. Salt looked like they were one of the rising stars of the London music scene.
Especially when Salt played at the Reading Festival. They also opened for Muddy Waters when the veteran bluesman played at two major London concerts. Sadly, Salt never got round to recording an album, and by the late-seventies went their separate ways.
Since then, Salt there’s been several reunions, with the band heading out on tour. To celebrate their reunion in 2011, Salt released The Cobra’s Melody And Other Refrains as a limited edition CD. Sadly, that was the only album Salt released. However, it wasn’t long until the Mick Clark Band was born.
Mick Clarke Band.
His career continued apace in the early eighties, when Mick Clark decided to form a new band. This time, he was would lend his name to the band that he would lead, the Mick Clarke Band. It featured Mick Clarke, Ian Ellis and Ron Berg. Soon, the blues rockers were ready to release their debut album.
This was Looking For Trouble, which was released in 1984. It was well received by critics and marked the start of a new chapter in Mick Clarke’s career.
A year later, the Mick Clarke Band returned with their sophomore album Rock Me in 1985. Mick Clarke seemed to be enjoying the new trio. They were a popular live draw and transferred their live sound onto their first two albums. This continued with All These Blues in 1987, a blistering album of electric blues that received praise and plaudits. It seemed that the Mick Clarke Band could do no wrong. The Mick Clarke Band were on a roll.
This continued with the release of Steel And Fire in 1989. Twenty years after Mick Clarke made recording debut on Killing Floor’s eponymous debut album, he was one of the elder statesman of the British blues. He was still playing the music that changed his life as a nine-year old. That would never change. It was Mick Clarke’s raison d’être.
Two years later, the Mick Clarke Band returned with their fifth album Tell The Truth in 1991. Connoisseurs of British blues considered Tell The Truth one of the Mick Clarke Band’s finest hours. The band was maturing like a fine wine.
Another two years passed and the Mick Clarke Band returned with No Compromise in 1993. By now, the Mick Clarke Band were regarded as one of the finest purveyors of blues rock. The Mick Clarke Band’s albums sold well and they were still a popular draw on the live circuit. Life was good for the members of The Mick Clarke Band.
In 1997, the Mick Clarke Band returned with their seventh album Roll Again. Despite winning over critics and music fans, the Mick Clarke Band didn’t Roll Again. The album proved to be their swan-song.
Mick Clarke and Lou Martin.
Later in 1997, Mick Clarke and Lou Martin released an album they had been collaborating on, Happy Home. The two musicians were lifelong friends, and first played together in Killing Floor. After the demise of Killing Floor, Lou Martin hooked up with legendary Irish guitarist Rory Gallagher.
Through the seventies, eighties and into the early nineties, Lou Martin was part of Rory Gallagher’s band. He played on some of Rory Gallagher’s greatest album including Tattoo, Blue Print and Calling Card. However, when the Mick Clarke Band were looking for a pianist, Lou Martin was the go-to-guy. If his schedule permitted, he joined his old friend in the studio. Lou Martin played on Looking For Trouble, Rock Me, Tell The Truth and Roll Again. However, the two friends had never recorded an album as a duo.
That was until Mick Clarke and Lou Martin recorded Happy Hours. It was released in 1997 and saw the two friends showcase their considerable skills on twelve tracks. Alas, it was a one-off collaboration. However, the two men would later be reunited when Killing Floor returned to the studio in 2004.
Killing Floor released a new album Zero Tolerance in 2004. Then in 2012, the four original members of the band got back together and released a new album Rock’n’Roll Gone Mad. Sadly, Lou Martin passed away on 17th of August 2012 in Bournemouth, England. Mick Clarke had known Lou Martin over forty years. He lost an old and dear friend, while music lost a truly talented musician.
Mick Clarke-The Solo Years.
By the time of Lou Martin’s death in 2012, Mick Clarke was also enjoying a solo career. He had recorded Solid Ground at The Moat, in London during 2007. During the sessions, Mick Clarke lead a tight, talented quartet as they recorded an album of blistering blues rock. It was released later in 2007 as Solid Ground. Six years later, Mick Clarke returned with Ramdango.
Ramdango.
Unlike Solid Ground, Mick Clarke wasn’t accompanied by a band on Ramdango. Having written the thirteen songs on Ramdango, Mick Clarke headed into his Fabulous Rockford Studio, deep in the leafy Surrey countryside.
As he walked through the door to the Fabulous Rockford Studio, Mick Clarke was transformed. It was akin to Clark Kent becoming Superman. In the studio, Mick Clarke revealed his hidden talents. He wasn’t just one of Britain’s top blues’ guitarists. Instead, Mick Clarke was a talented multi-instrumentalist, who was about to engineer and produce Ramdango.
Mick Clark was determined to use real instruments. He wasn’t going to resort to programming drum parts. Nor was he willing to use pre-recorded sounds. Instead, Mick Clarke became a one man rhythm section, playing bass and drums, plus guitars, keyboards and percussion. Gradually, the album began to take shape. Eventually, had succeeded in his mission to record Ramdango using real instruments. Only very occasionally did Mick Clarke have to trigger a snare drum or cymbal crash. It was a remarkable achievement.
Mind you, Mick Clarke was a vastly experienced musician. He made his recording debut in 1969, so had forty-four years experience behind him. This critics said he had put to good use on Ramdango, which is a Scottish word for a party. Mick Clarke’s soundtrack to Ramdango was released to critical acclaim.
Mick Clarke set the bar high on Ramdango with the hard rocking instrumental Baked Potatoes. What followed was an album where blues rock, boogie and rock rubbed shoulders. There were highlights aplenty on the album. This included Who’s Educating Who, which was a favourite of XM Satellite Radio. However, there’s much more on Ramdango. Especially, the bluesy sounding Helping Hand, Curry Night, Behave Christine Behave, False Information, The Snarl, Talk and the wistful What I, which closes Ramdango. It found Mick Clarke rolling back the years on an album one critics called: “the album of the year.”
Crazy Blues.
A year later, and Mick Clarke was back with the followup to Ramdango, Crazy Blues. Just like his previous album, it was all his own work. Mick Clarke had written ten of the twelve tracks, and recorded Crazy Blues at his Fabulous Rockfold Studio, in Surrey, England.
Carrying his newly purchased Epiphone 335 guitar, Mick Clarke returned to his Fabulous Rockfold Studio. That was where the twelve tracks that became Crazy Blues were recorded. Despite the credits showing the album as being recorded by Mick Clarke and the Rockfold Rhythm Section, that isn’t the case. Again, Mick Clarke plays all the instruments on the album. The only other musician who played on Crazy Blues was Linda Cooper, who played maracas. Apart from that, Crazy Blues was the work of just Mick Clarke.
Again, critical acclaim accompanied the release of Crazy Blues. It was another album of blues rock where Mick Clarke makes presence felt from the get-go on what’s a memorable album of blues rock. Just like on Ramdango, one Britain’s greatest bluesman Mick Clarke, he continues to roll back the years.
Crazy Blues was the second critically acclaimed album Mick Clarke had released in two years. Both won over critics and blues aficionados. However, for the third album in this trilogy of Mick Clarke’s recent self-produced solo albums, he decides to stray from the road marked blues rock.
Shake It Up!
Just like his two previous albums, Mick Clarke wrote the thirteen songs on Shake It Up! He would take charge of engineering and production when he returned to his Fabulous Rockfold Studio.
Multi-instrumentalist Mick Clarke played all the instruments on Shake It Up! Essentially, the album picked up where left off on Crazy Blues. However, Mick Clarke decided to change direction on a couple of tracks, and even paid homage to two veteran American bluesmen. Shake It Up! was Mick Clarke’s most eclectic album.
That was apparent throughout Shake It Up! When it was released in 2015, critics hailed the album as one of the best albums Mick Clarke had recorded in recent years. It was also critics agreed, Mick’s most eclectic album. He heads in the direction of funk rock and draws inspiration from Robert Cray and Albert King as he seeks to reinvent his music. However, for much of Shake It Up! it’s akin to listening to a musical master craftsman at work. Mick Clarke, whose one of the best British blues guitarist of his generation, puts all of his years of experience to good use on Shake It Up! In doing so, he creates his own inimitable brand of blues rock which Mick Clarke has spent a lifetime perfecting.
After six decades, Mick Clarke was the musical equivalent of a master craftsman. He had dedicated himself to the blues. This had paid off, and by the time Shake It Up! was released in 2015, Mick Clarke was without doubt, one of the greatest blues guitarists of his generation. He’s also a talented multi-instrumentalist, who engineered and produced Ramdango, Crazy Blues and Shake It Up! This trilogy of albums is the perfect introduction to Mick Clarke’s solo years, and showcases one of the most talented British bluesmen of his generation. However, Mick Clarke is also one of the most underrated British bluesmen.
Sadly, Mick Clarke has never enjoyed the high-profile that many of his contemporaries. He and his music have gone under the radar of many music fans. Just like JJ Cale was, Mick Clarke is a musician’s musician. That is why may high-profile artists, including Doris Troy, Jeff Beck, Deep Purple’s Jon Lord and Jon Entwistle have brought Mick Clarke onboard to work on projects. However, it’s not just musicians who appreciate Mick Clarke’s music.
Mick Clarke has also a loyal fan-base in Britain, Europe and America. His albums sell well and he’s a popular live draw wherever he’s played. Recently, Mick Clarke had played live in India and Bosnia where a new audience discovered the British bluesman’s music.
Still, though, there many people who haven’t discovered Mick Clarke’s music. He’s still one of British blues’ best kept secret but maybe for not longer if he continues to release albums of the quality Ramdango, Crazy Blues, Shake It Up! and his latest album Diggin’ Down.
The Life and Time Of Mick Clarke, Bluesman Extraordinaire.
MARYLEBONE BEAT GIRLS 1964-1967.
Marylebone Beat Girls 1964-1967.
Label: Ace Records.
During the sixties, many singers and groups made the journey to EMI House, in Marylebone, in the heart of London’s West End. The meeting that they were about to have, they know, had the potential to transform their lives. At stake, was that all-important recording contract.
While it was tantalizingly close for some, securing a recording contract was as likely as finding gold at the end of the rainbow. They didn’t have the necessary star quality. As a result, the dream was over. All their hard work had been vain. The weeks, months and years they had spent travelling the country, and singing and in pubs and clubs had been for nothing. With their dream in tatters, reality was about to hit home, and they were faced with finding a job outside of music. The tedium of the 9 to 5 grind beckoned. They were the unlucky ones.
The lucky ones travelled in hope to EMI House, and carried themselves with an air of expectancy. They realised that this was their time, and that they knew were going to leave EMI House having secured that all-important recording contract. These singers and groups were the lucky ones. This includes those that feature on Marylebone Beat Girls 1964-1967, which was recently released by Ace Records.
Marylebone Beat Girls 1964-1967 is the third in Ace Records Beat Girl series. The series began in March 2016, when Love Hit Me! Decca Beat Girls 1962-1970 was released. Just a month later, Scratch My Back! Pye Beat Girls 1963-1968 was released in April 2016. Now fifteen months later, Marylebone Beat Girls 1964-1967 has been released on CD and LP. The LP features twelve tracks and the CD twenty-five tracks. These tracks were released on the Parlophone, Columbia and HMV labels, whose headquarters were in Marylebone, in London’s West End. Each of the artists that feature on Marylebone Beat Girls 1964-1967 made the journey to EMI House.
Many of the artists and groups that journeyed to EMI House were young, and just embarking upon a musical career. Most of them, were just teenagers, and had never been near a recording studio. Some of them, had never been to Swinging London, which between 1964 and 1967 was very different to the provincial towns many of the artists came from. This must have been a shock to their system.
Other artists on Marylebone Beat Girls 1964-1967 took everything in their stride. This included watching as the British Invasion bands arrived in America, and transformed music stateside. They also watched as flower power and the psychedelic revolution arrived in London. Suddenly, happenings were the order of the day, where groups like Pink Floyd provided the psychedelic soundtrack. By then, some of the artists on Marylebone Beat Girls 1964-1967, including Julie Driscoll, Alma Coogan, Cilla Black and Barbara Ruskin’s careers were well underway. They had already released a couple singles, and enjoyed a degree of success. Some of these artists, would go on to enjoy long and successful careers. However, others weren’t so successful, and there was no gold at the end of the musical rainbow.
For the twenty-three artists and groups that provide the twenty-five songs on Marylebone Beat Girls 1964-1967, their fortunes varied. Some became familiar faces, and even became household names between 1964 and 1967. Others didn’t enjoy the same success, and only recorded a couple of singles. These will be new names to many people, and join some familiar faces on Marylebone Beat Girls 1964-1967. It features twenty-five tracks from Alma Coogan, Helen Shapiro, Julie Driscoll, Barbara Ruskin and Cilla Black. They’re joined by Andee Silver, Beryl Marsden. Cindy Cole, Judi Johnson, Toni Daly and Valerie Avon, plus groups like The Chantelles, The McKinleys, The Three Bells, The Three Quarters. These are just a few of the artists on Marylebone Beat Girls 1964-1967, which transports the listener back to the sixties.
Liza Strike was a Lond based session singer before she recorded Dancing Yet with Liza and The Jet Set. This Windsor King composition opens Marylebone Beat Girls 1964-1967 in style. It sounds as if it would be a floor filler in the smartest discotheque’s in London’s West End. After the release of Dancing Yet, Liza and The Jet Set became The Soulmates. However, Lisa Strike’s best known as one of the backing vocalists on Pink Floyd’s Magnus Opus Dark Side Of tHe Moon.
Having served their apprenticeship singing in working men’s clubs, the Edinburgh-based duo The McKinleys signed to Parlophone in 1964. One of a trio of singles they released during 1964 was a cover of Sweet and Tender Romance. It features a young Jimmy Page on guitar, during his days a session musician. He unleashes a blistering solo between 1.12 and 1.27, that’s the cherry on the top of this delicious musical cake.
Julie Driscoll is one of two singers that feature twice on the compilation. Her first contribution is Don’t Do It No More, which as released as a single on Parlophone. It features a vocal, that is a mixture of emotion and insecurity at the thought of the almost inevitable betrayal The second contribution from Julie Driscoll is I Know You Love Me Not, which was penned by Brian Godding of the Blossom Toes, and released as a single in 1967. Giorgio Gomelsky’s dramatic production style is the perfect accompaniment to Julie Driscoll’s soul-baring vocal.
Helen Shapiro’s recording career began when she release hits with Don’t Treat Me Like a Child in February 1961. She then enjoyed number one singles with You Don’t Know and Walking Back To Happiness. By the time Helen Shapiro released Forget About The Bad Things, he had eleven hit singles to her name. However, that was the past. Two years had passed since her last single, and she would never enjoy another hit single. That was despite the quality of Forget About The Bad Things, which features an impassioned, powerhouse of a vocal. A year later, Helen Shapiro released She Needs Company, which also failed to find an audience. However, hidden away on the B-Side was Stop And You Will Become Aware, which is something of a hidden gem, and sounds as if it would go down well on the Northern Soul scene.
Marie Antoinette Daly was only fourteen when she released Jenny Let Him Go as Antoinette. This was the first of six singles that Antoinette released. By 1966, Marie Antoinette Daly was sixteen and had reinvented herself as Toni Daly. Her debut single as Toni Daly was The Big Man Said in 1966. It was released on Columbia, and features a powerful and expressive vocal that delivers the eddy lyrics against a dramatic arrangement. Sadly, the single failed commercially and Toni Daly never released a followup. Incredibly, her recording career was over by the time she was sixteen.
The Liverpool-based trio The Three Bells’ recording career began in 1960 at Pye, where they released two singles. By 1964, The Three Bells had signed to Columbia in 1964, and they set about promoting the trio. They made appearances on various British television shows, promoting the two singles they released on Columbia. This included He Doesn’t Want You, an incredibly catchy and memorable single that brings back memories of early sixties British pop.
She Trinity were a girl-group from South Shields in the North East of England. They covered Sonny Curtis’ I Fought The Law which became He Fought The Law which was produced by Micky Most. His production is very different to other covers, and the song takes on a much more melodic sound thanks to She Trinity’s vocals. It’s the polar opposite to The Clash’s snarling cover, which was inspired by She Trinity’s version.
For her third single, Katherine Farthing a.k.a. Peanut covered The Beach Boys’ I’m Waiting For The Day which featured on their career defining album Pet Sounds. I’m Waiting For The Day was arranged and produced by Mark Wirtz, and released on Columbia in 1966. Peanut’s vocal is full of emotion and understanding, during this beautiful cover of I’m Waiting For The Day.
In the summer of 1966, Cindy Cole released her sophomore single Lonely City Blue Boy. It was released on the Parlophone label, but never made any impression on the charts. That is a great shame, as it’s a memorable and melodic slice of sixties pop.
Two years after releasing her debut single, Barbara Ruskin released Euston Station as a single. It was written by Barbara Ruskin and produced by Doug Watson. The cinematic Euston Station was released on Parlophone in 1967, and features a rueful vocal from Barbara Ruskin.
In 1967, singer, songwriter and producer Valerie Avon covered the Goffin and King composition He Knows I Love Him Too Much as a single. By then, Valerie Avon had been in the music business for the best part of a decade. She was one of The Avon Sisters, whose one and only singer Jerri-Lee (I Love Him So) was certified gold in 1958. Nine years later, and He Knows I Love Him Too Much became Valerie Avon’s only single. It features an impassioned, expressive vocal on this beautiful, angst-ridden ballad.
Talents shows are nothing new, and were around way back in the sixties. Judi Johnson was one of the finalists on Search For A Star, in September 1964 and won her a recording contract with HMV. Judi Johnson’s debut single was My Baby’s Face, which featured Make The Most Of It on the B-Side. It features a hurt-filled vocal, that is tinged with sadness and regret. This poignant and thoughtful reading of Make The Most Of It closes Marylebone Beat Girls 1964-1967.
It’s a reminder of the quality of music that was being recorded at EMI House between 1964 and 1967. EMI’s various imprints had an enviable roster of artists, which included some of the top British female pop singers. This included Alma Coogan, Barbara Ruskin and Cilla Black and Helen Shapiro. A year earlier, it would’ve included Helen Shapiro, who between 1961 and 1963, could do no wrong. She had enjoyed eleven hit singles during that period. However, that success was in the past. Never again would she enjoy another hit single. Commercial success can prove illusory, even for some of the most talented singles signed to EMI.
Talented female singers certainly weren’t in short supply at EMI. Andee Silver, Beryl Marsden. Cindy Cole, Judi Johnson, Toni Daly and Valerie Avon, plus groups like The Chantelles, The McKinleys, The Three Bells, The Three Quarters were all signed to the Parlophone, Columbia, HMV labels which were based in EMI House, in Marylebone, in London’s West End. Sadly, not all these artists and groups enjoyed the commercial success their talent deserved.
While a lucky few artists enjoyed a successful career, commercial success was fleeting for other singers and groups. Other times, commercial success eluded artists. This led to many a career that was all too brief, and promise that went unfulfilled. Some artists and groups only released one or two singles, before calling time on a career that promised much. It was a case of what might have been. A reminder of this is Marylebone Beat Girls 1964-1967, which is the latest instalment in Ace Records’ Beat Girls’ series.
Marylebone Beat Girls 1964-1967 is a mixture of hits, hidden gems, near misses and B-Sides. Each of these songs have one thing in common…quality. Even Judi Johnson’s B-Side Make The Most Of It showcases a talented singer. The remainder of the hits, hidden gems and near misses on Marylebone Beat Girls 1964-1967 literally ooze quality, and are a reminder of what was a golden era for British pop, when the Beat Girls ruled the airwaves.
Marylebone Beat Girls 1964-1967.
MODERNISTS: MODERNISM’S SHARPEST CUTS.
Modernists: Modernism’s Sharpest Cuts.
Label: Kent Dance.
Ever since the birth of rock ’n’ roll, youth cults have come and gone. Some have proven to be nothing more than passing fads, and nowadays, are mere footnotes in cultural history. Some youth cults have endured, and played an important part in British culture. However, none of the youth cults of the past sixty years have enjoyed the same longevity as the modernists.
The modernists came to prominence in the late fifties, and their name came about because of their love of modern jazz. However, by the early sixties, things were starting to change and the modernists had become the mods.
Musically, mods had eclectic taste in music and embraced American R&B and soul music. Especially singles that were released on Stax, Atlantic Records and Tamla Motown.This lead to the mods investigating some of the smaller American labels during their frequent trips to local record shops.That was where the mods ordered imports, and discovered new musical genres.
This soon included ska and reggae, which they discovered whilst looking through the racks of new arrivals and imports. While the mods enjoyed soul, R&B, reggae and ska, they didn’t turn their back on British music. The mods also enjoyed pop and rock music, and especially groups like The Rolling Stones, The Who, Small Faces and The Kinks, who were perceived as “mod” groups. That is still the case even today. However, music was only part of the mod movement.
Image was everything for the mods. They carefully tried to cultivate an air of coolness. The suits they wore were often tailor-made. Sometimes, their suits were made out of cashmere, with narrow lapels. They also sported button-down collar shirts, thin ties and wool or cashmere jumpers. All this was de rigueur for a mod around town. So too, were fishtail parkas, desert boots, Chelsea boots and bowling shoes. A few mods even took to wearing makeup. In sixties Britain, this didn’t go unnoticed. However, the mods were unlike no other youth subculture, and even had their own mode of transport.
The Lambretta or Vespa scooters were the mods’ choice of transport. They drove them around town, where they visited dance-halls, coffee bars, and cinemas. At cinemas, mods took to watching French and Italian films. This was all part of a sense of continental coolness they were attempting to cultivate. After all, image was everything to the mod. So was music and the two go hand-in-hand.
Every time there has been a mod revival in the last fifty years, at the heart of the revival has been the music. Whether it was in the late-seventies or mid-nineties, music and fashion was at the heart of these mod revivals. The music being made during the mod revivals during the late-seventies and mid-nineties, was inspired by the music of the sixties. For mods of all vintage, this was a golden era for music. It still is.
That is why Kent’s two mod compilations have proven to be so successful. The first was Modernists-A Decade Of Rhythm and Soul which was released on CD in February 2015. Fifteen months later, and Kent Dance released Modernism on CD in May 2016. Now just over a year later, and Kent Dance have released Modernists: Modernism’s Sharpest Cuts on vinyl. It features fourteen of the finest tracks from Modernists: A Decade Of Rhythm and Soul and Modernism plus a some songs from the Mod Jazz series. For mods of all ages, Modernists: Modernism’s Sharpest Cuts is sure to bring back many happy memories of their younger days.
Side One.
The Merced Blue Notes who open Modernists: Modernism’s Sharpest Cuts with Sundown,were formed in high school in Merced, California, in January 1957. This was the start of a career that spanned the best part of fifteen years. Despite enjoying a degree of longevity,The Merced Blue Notes didn’t enjoy a prolific recording career. Their back-catalogue amounts to a handful of singles and one album, Music With A Beat That Won’t Stop. It was released in 1984, and featured fourteen previously unreleased songs recorded between 1960 and 1963. These songs were from the private collection of The Merced Blue Notes’ manager George Coolures. He had the album pressed as a limited edition on blue vinyl. It’s an incredibly rare album that features Sundown, which was written George Coolures and Ken Craig. When Sundown was played by DJs in the early sixties, this hidden R&B gem was guaranteed to fill a dance-floor. Even after one play, you’ll realise why.
Troy Dodds’ recording career began at the California-based Penthouse label in 1962, when he released Rise Up And Walk. Four years later, and Troy Dodds was still looking for her first hit single. She signed to the El Camino label in 1966, and recorded a song she had written with Richard Appling, The Real Thing. When it was released later in 1966,commercial success eluded The Real Thing despite its soulful and dance-floor friendly sound. Nowadays, original copies of the single are incredibly rare, and the B-Side Try My Love is a firm favourite on the Northern Soul scene.
Saxophonist Chuck Higgins is best known for his 1952 hit single Pachuko Hop. This was the start of a long musical career, for Chuck Higgins. By 1968, he was signed to Money, and covered Titus Turner’s All Around The World. However, the song wasn’t released until forty years later. Somewhat belatedly, All Around The World made its debut on Further Adventures Of Mod Jazz in 2008. It makes a welcome return on Modernists: Modernism’s Sharpest Cuts, and is a reminder of one of Frank Zappa’s finest saxophonists in his prime.
Leroy Harris only ever released the one single, Crow Baby Crow. It was released on the Swan label in 1966. Hidden away on the B-Side was I’m Gonna Get You. It was written by Leroy Harris and Ellis Taylor, who produced the two sides. They feature Leroy Harris and his band The Teardrop Review. They’re the perfect foil for Leroy Harris’ vocal, and create a jaunty, dance-floor friendly arrangement that sounds as if it’s been inspired by an o James Brown track. The result is a real hidden gem. Alas, this was Leroy Harris’ only single. He returned to Kansas, where he was a regular fixture on the club circuit.
In January 1964, Bessie Banks’ made her debut as a solo artist when she released Go Now, which later gave The Moody Blues a number one single. Nine months later, in October 1964, Bessie Banks released Do It Now on the Spokane label. Tucked away on the B-Side was (You Should Have Been A) Doctor which was penned and produced by Larry Banks and Tony May. It’s an irresistible slice of club soul that has filled many a dance-floor.
Bob and Earl released (Send For Me) I’ll Be There a single on Crestview Records, in 1969. Hidden away on the B-Side was the Charlotte Cronander composition Dancing Everywhere, which also featured on the album Bob and Earl. It was arranged by Gene Page and produced by Fred Smith They help to bring out the best in Bob and Earl on Dancing Everywhere, who roll back the years on this timeless soulful dancer.
During his career, Chet Ivey released around twenty singles. This includes Chet “Poison” Ivey and His Fabulous Avengers’ 1969 single The Poo Poo Man. It was released on Al Sears’ Bee and Cee label, but failed to find an audience. How different things might have been if the B-Side Soul Is My Game had been released as a single? This Chet Ivey composition is stomping slice of dance-floor friendly boogaloo.
Side Two
Little Johnny Hamilton and The Creators only released a trio of singles during the mid-sixties. This includes Oh How I Love You, which was meant to be released on Dore in the summer of 1965 with Burn on the B-Side. However, the Watts’ race riots in August 1965 put paid to this. The single was withdrawn, and reissued in 1966. By then, Burn had been renamed as Go. Alas, the single didn’t sell well, and commercial success eluded Little Johnny Hamilton and The Creators. Since then, Go has become a favourite amongst mods, while Oh How I Love You has become popular on the Northern Soul scene.
In 1969, Teddy Reynolds’ released his composition Ain’t That Soul as a single on Speciality Records in. By then Teddy Reynolds’ career had spanned two decades. It began in 1950, and for the next twenty years he continues to release singles. This included Ain’t That Soul in 1969. However, the version on Modernists: Modernism’s Sharpest Cuts was recorded at an earlier date. Despite that, it’s funky, soulful and guaranteed to get the mods on the dance-floor.
After signing to Al Sears’ Arock Records, The Corvairs went in search of a hit singles. One of the songs they covered in 1965, was Ron Miller and Lee Porter’s A Feeling Deep Inside. However, after the recording session, the song was never released. That was until 2002, when it made its debut on Kent Soul’s The Arock and Sylvia Records Story. Back then, this hidden gem something of a mystery. The original artist was unknown, and the song was billed as Deep Down Inside. This has been rectified and The Corvairs are receiving the recognition they deserve for A Feeling Deep Inside.
The soulful delights of Floyd White’s Another Child Lost opens Mod Jazz and Then Some! in 2014. It’s a Floyd White composition that was recorded in 1964. However, the song was never released, and lay in Invader’s vaults until 2014. That was when the made its debut on Mod Jazz and Then Some! It returns for a well deserved encore Modernists: Modernism’s Sharpest Cuts.
Clarence Daniels and Obie Jessie penned Hard Working Girl, which was released as a single on Affiliated in 1966. It’s a mellow, laid back slice of jazz. Since 2014, it lay unloved in Affiliated’s vaults. That was when it made a welcome return on Kent Dance’s Mod Jazz, and Then Some! Three years later, and Hard Working Girl also returns for an encore on Modernists: Modernism’s Sharpest Cuts.
Closing Modernists: Modernism’s Sharpest Cuts is Hank Jacobs’ instrumental East Side. It was written and arranged by Arthur Wright, and was released as a single on Call Me Records, in June 1967. East Side is lovely laid-back, slice of funky, mod jazz, that is sure to have been the last song in many a club. This is the perfect way to close Modernists: Modernism’s Sharpest Cuts.
For many an ageing mod, the music on Modernists: Modernism’s Sharpest Cuts is sure to bring back many a happy memory. Some of the original mods will be well into their seventies. It’s a long time since they were a mod about town in the early sixties. Back then, they would dawn their cashmere suits, complete with narrow lapels. Completing the look were button-down collar shirts, thin ties and a wool or cashmere jumpers and Chelsea boots. This was all part of their carefully cultivated image that they wore about town.
To get into town, the original mods would head out to their Vespa or Lambretta. Many of the most fastidious of mods would even dawn a fishtail park. This wasn’t so much a fashion statement, as a means of protecting their precious tailor-made suit. The mods would head climb abroad their Vespa or Lambretta and head into town. Usually, many mods would travel together, their reasoning being, safety in numbers. Often, there would be clashes with their arch enemies, the rockers. Mostly though, the mod about town would arrive at their local coffee bar, pub and club. That was when the music would start to play.
This was just like the fourteen tracks on Modernists: Modernism’s Sharpest Cuts. For the original mods, the music on Modernists: Modernism’s Sharpest Cuts is sure to bring back memories of their glory days. It’s a similar case for those who were part of the mod revival in the seventies. Many of them are over fifty, but remember the days of the mod revival. So do those that were part of the second mod revival in the nineties. What they remember is the fashion and of course, the music.
Much of that music is timeless. Proof of that is Modernists: Modernism’s Sharpest Cuts, which features tracks from Modernists: A Decade Of Rhythm and Soul, Modernism and the critically acclaimed Mod Jazz series. They make their debut on vinyl on Modernists: Modernism’s Sharpest Cuts which was recently released by Kent Dance, an imprint of Ace Records. It’s a tantalising reminder of a time when mohair suits, button down shirts, fishtail parkas and a Vespa was de rigueur for the mod about town.
Modernists: Modernism’s Sharpest Cuts is also a reminder of one of the most important British youth cults, who have enjoyed an unrivalled longevity. Nearly sixty years since the birth of modernism, the music is just as popular as ever. Who knows, maybe compilations like Modernists: A Decade Of Rhythm and Soul, Modernism the Mod Jazz series and Modernists: Modernism’s Sharpest Cuts will spark a third mod revival. Let’s hope so, and once again, mohair suits and fishtail parkas will be de rigueur again?
Modernists: Modernism’s Sharpest Cuts.
SCHNEIDER KACIREK-RADIUS WALK.
Schneider Kacirek-Radius Walk.
Label: Bureau B.
As 2015 dawned, a new musical partnership prepared to release their debut album. This new partnership featured two experienced, talented and pioneering musicians, who were, and still are, among the leading lights of Germany’s thriving music scene.
Stefan Schneider was based in Düsseldorf, while Sven Kacirek called Hamburg home. While both of these cities have vibrant music scenes, the inspiration for their debut album came after Stefan Schneider and Sven Kacirek made several journeys to Kenya. After they returned home for the final time, the pair started discussing collaborating on a new musical project that drew on their experiences in Kenya. That day, the Schneider Kacirek partnership was born.
Drawing on their experiences in Kenya, Schneider Kacirek decided to record an album were they interpreted Kenyan music using just drums, percussion and analogue synths. The pair agreed that no samples would be used during the project. With the ground rules in place, Schneider Kacirek began work on what was ambitious, but fascinating project.
Eventually, after a lot of hard work, Schneider Kacirek had completed what became their debut album, Shadow Documents. It was released to widespread critical acclaim by Bureau B on the ‘1st’ of January 2015. Shadow Documents was hailed as an evocative, emotive and authentic interpretation of Kenyan music. All of the Schneider Kacirek partnership’s hard work had paid off. Especially after the album found favour with critics and music lovers. They wondered when Schneider Kacirek would return with a followup? However, they’ve had to be patient.
Since the release of Shadow Documents in January 2015, Stefan Schneider and Sven Kacirek have been involved in a variety of projects. One of them came to fruition on November 2015. This was Sven Kacirek’s solo album, Songs From Okinawa, which received plaudits and praise upon its release. Meanwhile, Stefan Schneider was involved with a variety of projects, including running his own label, TAL. It had already released seven albums, including Stefan’s collaboration with pioneering visual artist Katharina Grosse. Their eponymous debut album, Katharina Grosse and Stefan Schneider was released to critical acclaim earlier in 2017. By then, the Schneider Kacirek partnership had been reunited.
Stefan Schneider and Sven Kacirek hadn’t reunited to record an album though. That was still to come. Before that, Stefan Schneider and Sven Kacirek headed out on tour, and played live with a variety of different musicians. This included John McEntire of Tortoise and The Sea and Cake. For Stefan Schneider and Sven Kacirek the chance to play live was part of what is a never-ending learning process for most musicians. By playing together live, this shaped and influenced how Stefan Schneider and Sven Kacirek interacted as musicians. This was something that would shape their sophomore album Radius Walk, which will be released by the Hamburg-based Bureau B label on the ‘7th’ of May 2017.
Recording of Radius Walk took place at Sven Kacirek’s studio in Hamburg. Stefan played vibes and took charge of the all important electronics. Meanwhile, Sven played shakers, marimba and drums, which would play an important part on Radius Walk.
So much so, that Sven’s studio was setup in such a way that it captured the energy of the drums as they combine with a variety of traditional instruments and vintage analogue synths. They feature on all the tracks. However, award-winning Swedish singer Sofia Jernberg features on just three tracks, Dust, i Atlanten and Smiling.
The addition of Sofia Jernberg is something of a coup, as her vocal talents are much in demand. She’s an experimental singer who studied at the Gotland School of Music Composition. By 2007, Sofia Jernberg was leading then chamber jazz group Paavo with pianist Cecilia Persson. Paavo released their eponymous debut album in 2007, and a year later, in 2008, Sonia received the Royal Swedish Academy of Music award. Sofia Jernberg’s star was already on the ascendancy.
Since then, Sonia’s worked as a vocalist and composer on a variety of projects ranging from the contemporary classical music scene to jazz and experimental music. Sonia collaborated on the album Crochet with Lene Grenage in 2009, and has featured on the Fire! Orchestra’s albums Exit in 2013 and Enter in 2014. However, one of Sonia’s most recent projects is Radius Walk, which marks the welcome return of Schneider Kacirek after two-and-a-half years.
As Dust opens Radius Walk is Dust, Sofia’s ethereal, cooing vocal sits atop the arrangement. At first it’s understated, before growing in power, drama and intensity. Hypnotic drums crack, while synths scamper, beep and squeak, combining with shakers as Sofia delivers a tender, breathy vocal. Sometimes she improvises, and her voice becomes an additional instrument. Meanwhile, a myriad of otherworldly, sci-fi and futuristic sounds flit in and out, playing an important part in the soundscape, Later, mesmeric drums still crack and pound, while shakers provide a contrast. So does Sonia’s tender and emotive vocal. It’s part of a captivating, multilayered soundscape that gradually reveals a mixture of drama, beauty and intensity.
A squelchy, pulsating bass synths opens Duett while drums, pans and electronics are added. Soon, the pans reverberate, as crackling sounds join the pulsating bass synth that dominates the soundscape. Gradually, it decides to reveals its secrets, as a melodic, lo-fi, retro synth solo winds its way across the soundscape as hi-hats hiss. By then, the soundscape has taken on a robotic sound and there’s a Kraftwerk influence. Later, the new additions join the pulsating, growling bass synth, and latterly, shimmering vibes. This proves a potent and heady brew that is truly memorable. This is a result of Schneider Kacirek combining elements of music’s past and present, to create the music of the future.
i Atlanten has an understated sound as washes of synths ebb and flow, like waves breaking on a deserved beach. Meanwhile, a mesmeric sound provides the soundscape’s heartbeat. As it pulsates, hi-hats hiss, Sonia add another tender, thoughtful vocal. When her vocal drops out, the gap is filled by Schneider Kacirek who add a myriad of disparate sounds. This ranges from cracks and crackling electronic sounds to drones, drums and strings being plucked. This alternative orchestra provides the perfect accompaniment to Sonia when she returns. Her vocal is emotive, and sometimes, she follows in Schneider Kacirek’s footsteps by improvising. In doing so, she plays her part in a beautiful, mesmeric and innovative genre-melting soundscape, that combines elements of avant-garde, Berlin School, electronica, experimental, folk and improv.
Traditional and technology are combined effectively on Arbeit 16. A synth briefly oscillates, as a marimba and vibes combine. Soon, synths interject and drone, before adding sci-fi sounds. This provides a contrast to the marimba and vibes. They’re joined by a pulsating bass synth and a drone, as the man machine makes his presence felt. This is a synths that in what sounds as if it’s speaking in an otherworldly language. It’s replicated by the vibes, while the ominous sound of the drone and bass synth prowl across the soundscape. Meanwhile, a myriad of sounds, including beeps, speaks and cracks join strings that are plucked. Still the dark, moody sound of the drone and bass synth remain, while shimmering vibes and drums adds a contrast. They play their part in a hypnotic, haunting, cinematic soundscape that is one of Schneider Kacirek finest moments on Radius Walk.
There’s also a cinematic sound on Back, as what sounds like a small aircraft soar high into the sky. This is the start of a cinematic journey, as this minimalist and mesmeric soundscape starts to reveals it secrets. It features layers of synths, that drone, crackle and pulsate. They’re joined by drums, cymbals, shakers and plucked strings. These are all parts of Schneider Kacirek’s musical pallet. They use it wisely to create an epic cinematic musical journey that gradually reveals its secrets. Back veers between minimalist and mesmeric, to blissful, dramatic and futuristic as it continually captivates and thought-provoking.
Lumpur has an understated sound before it reveals its secrets. Crackling, bristling and futuristic sounds join beeps and squeaks, before drums and vibes join this alternative orchestra creates. By then, elements of avant-garde, electronica, experimental and post rock are being combined by Schneider Kacirek. Soon, drums rolls joined the eerie vibes and otherworldly sound that flit in and out. Later, drums crack and add a degree of urgency, before the arrangement ebbs and flows before dissipating. All that remains is the memory of another innovative soundscape from the musical pioneers, Schneider Kacirek.
Given the title Drums Drums, most people would expect drums play an important part in the soundscape. They do, to some extent. However, so do a variety of synths. This ranges from sci-fi synth that weave across the soundscape to shrill synth strings. They’re soon joined by a snarling bass synth that joins with the synth strings. Meanwhile, drums crack, while layers of synths wind their way across the soundscape. Some oscillate, while others rise and fall and with the drums create a futuristic soundscape that features Schneider Kacirek at their innovative best.
Smiling closes Radius Walk, and features the return of vocalist Sonia Jernberg. Before that, washes of droning and probing synths join with drums in providing a backdrop for Sonia’s improvised vocal. There’s an element of drama and theatre, as his her vocal weaves in and out, as she instructs Schneider Kacirek. When her vocal drops out, just drums and oscillating synths sit atop the drone. Then when Sonia returns, he vocal is much higher, as it become a de facto instrument. Meanwhile, a myriad of futuristic sound and drums that crack accompany Sonia. All too soon, Sonia’s vocal drops out, and another inventive and captivating soundscape dissipates. This brings to an end Radius Walk.
After a two-and-a-half year wait, Schneider Kacirek make a very welcome return with their sophomore album Radius Walk. It’s another album of groundbreaking and genre-melting soundscapes from two of the leading lights of the German music scene.
To create Radius Walk, they entered Sven Kacirek’s Hamburg studio, and combined elements of ambient, avant-garde, electronica, experimental, folk, improv, Krautrock and post rock. The influence of both the Berlin and Düsseldorf Schools of Electronic music can also be heard throughout Radius Walk. It’s an ambitious and innovative album, which finds Schneider Kacirek pushing musical boundaries to their limits, and sometimes, way beyond on Radius Walk, which is a fitting followup to their 2015 debut album Shadow Documents.
The two musical pioneers were joined by Sonia Jernberg on three of the eight soundscapes on Shadow Documents. Sonia Jernberg’s addition was something of a masterstroke, as she’s a truly talented singer who has honed her own inimitable style. It’s showcased on a trio of soundscapes on Radius Walk. Sometimes her vocals are tender, ethereal and heartfelt, while other times, Sonia improvises, and her vocal is transformed into a de facto instrument as it weaves in and out of the soundscape. It plays its part on the sound and success of Radius Walk, along with Schneider Kacirek’s fusion of traditional instruments and technology. They’re all part of Schneider Kacirek’s extensive musical palette that painted the eight soundscapes that became Radius Walk, which will be released by Bureau B on ‘7th’ July 2017.
Radius Walk is no ordinary album, and features inventive and captivating soundscapes. They veer between cerebral, thoughtful, thought-provoking and ruminative soundscapes to dark and dramatic, to minimalist and understated, right through to beautiful and blissful, to haunting, hypnotic and mesmeric. Other times, they’re understated and subtle, with Schneider Kacirek taking a less is more approach. So does when the soundscapes feature a myriad of futuristic, sci-fi and otherworldly sounds. They’re part of Radius Walk’s captivating and compelling cinematic sound, that is guaranteed to set the imagination racing during what’s akin to musical voyage of discovery, which is full of twists and turns, and subtleties and surprises aplenty.
Schneider Kacirek-Radius Walk.
PLAYBACK RECORDS-THE STORY SO FAR.
Playback Records-The Story So Far.
Many record buyers dream of leaving the 9 to 5 grind behind, and founding their own record company. In their dream, their new record company would reissue some of their favourite hard to find albums. These hidden gems are the albums that slipped under the radar first time around, and failed to find an audience. However, as the years has passed by, interest in these albums is growing. Despite this, no record company has decided to reissue the album. This is where the newly founded record company comes in.
In other cases, the new record company would concentrate on releasing compilations. This would allow them to put to good use the knowledge they’ve accumulated about soul, psychedelia or space rock. After all, they’ve spent a lifetime immersed themselves in this music, which has been their passion. This is the speech they’ve rehearsed to themselves prior to discussing the matter with their better half. Sadly, this speech never takes place.
Usually, reality strikes and the future musical impresario starts to think of what’s at stake. Usually this is the security of a job that in reality, they hate. However, it comes with a pension at 67 and six weeks annual paid leave. That is enough for them to give up on their dream, and continue with the soul-destroying 9 to 5 grind.
Thankfully, not everyone gives up on their dream of founding their own record company, and is willing to take the plunge. This includes Nathan, who a couple of years ago, founded Playback Records in Geelong, Victoria in Australia. Since 2016, Playback Records have been busy, and has already released seven reissues. This seemed the perfect time to discuss with Nathan his experience of founding a new record company. For anyone currently thinking of forming their own record company, Nathan shares his experiences about founding and running a record label.
The most obvious question was what inspired Nathan to found Playback Records? Was it purely to release music that wasn’t being released by other labels? “For the most part, yes. There are lots of great artists and recordings out there that deserve to be reissued, to be discovered by a new audience, to just be available to buy (for people who are already aware of them). And for whatever reason, they aren’t being released by other labels. I thought we could fill the gap, so to speak.”
Originally, though, Nathan had planned to set up more than one label. He explains: “Originally, I had hoped to have two or three imprints, with each imprint’s releases geared more to a genre or area….it didn’t end up panning out that way. It would be the ideal way to operate, but it’s difficult enough to establish some kind of profile for one label, let alone two or three, and we’re not releasing a prolific enough quantity of titles to warrant multiple imprints.”
Having realised that he would only be founding and running the one label, Nathan started thinking of a name for his nascent label. “I can’t really recall the origins of the name to be honest….There were a couple of other names that were considered, but Playback Records just fitted the best.”
Now that Nathan had come up with the name Playback Records for his nascent record company, soon, there was a problem. Another company was using the same name. Nathan explains what happened. “There are two other similarly named labels that I know of; one being a Nashville label, which appears to have been inactive for a few years before our label started.The other is the name an American outfit (purporting to be from Poland). It’s releasing bootleg soul compilations and reissues. They started using the name well after we were already active, so I can only assume they knew about us (a quick Google search on the name would have told them). They clearly don’t care about the artists and songwriters whose work they are illegally making money from, so it doesn’t surprise me that they would have no qualms about stealing a name.” For Nathan, this was just one of the problems he encountered as he got his label up and running.
With the label up and running, it hasn’t been plain sailing. Nathan confirms this: “being a new label, you also inevitably end up on the bottom of everyone’s priority list, even if paying the same amount of money for things as larger/established labels do. Being a new label also makes it much harder to get reviews or coverage in the media; even though many of these indifferent outlets would be salivating to review the exact same titles if they’d been released by Ace or a Cherry Red label. It’s like anything else, really, you just need to persevere, and keep taking steps to move closer toward where you need to be.”
In a way, founding and running a new label is learning process. Unfortunately, sometimes it’s a case of learning from one’s mistakes. Most people who have founded a record company would do certain things differently. Nathan is no different, and would do: “quite a few things differently, including cementing a distribution deal in writing prior to our first release, so it didn’t fall through after a change in personnel at the distributor. Smarter negotiating with a nonagenarian label owner who wanted a goldmine in return for reissuing recordings that had been sitting in his shed for over fifty years. Deciding not to deal with a Melbourne Record store who was provided with thousands of dollars worth of stock to sell on consignment, and is refusing to provide sales figures or to pay anything, and who I’ll be pursuing legal action against.” All this has all been part of the learning process for Nathan.
With Playback Records up and running, Nathan’s thoughts turned to the nascent label’s first release. This is one of the most important releases in a label’s history. If the wrong release is chosen, it can affect the longterm future of the label. However, Nathan knew exactly what he wanted to release.
Playback Records’ first release, which featured the catalogue number PBCD-001, was the compilation I Want, I Need Love You! Garage-Beat Nuggets From The Festival Vaults. “It was an album that I personally really wanted to do, combined with (I thought), a healthy resurgence in interest our local music history. Warner’s Downunder Nuggets compilation had done quite well locally. I could see that no one was ever going to release a CD compiling all the recordings from these fantastic artists, that unfortunately, only got to release a couple of singles each, and saw a gap that I thought we could fill.” This gap was filled by I Want, Need, Love You:Garage Beat Nuggets from the Festival Vaults, which was released to critical acclaim in. The Playback Records story was well underway.
It was fitting that Nathan had dipped into the Festival vaults for Playback Records’ first release. After all, Festival Records is one of Australia’s greatest record labels. It’s a musical treasure trove, and I Want, Need, Love You:Garage Beat Nuggets from the Festival Vaults was a tantalising taste of its delights. Would there be further releases from the Festival vaults? Nathan was hopeful: “I certainly hope so! It’s in Warner’s hands” who are the current owners of the Festival back-catalogue. It’s a case of watch this space. However, Nathan acknowledges that: “there was so much great material released on Festival, you could spend years just working on deserving Festival-related titles.” That is certainly the case, and hopefully, in the future Nathan will be digging deep into Festival’s vaults.
Nathan has certainly been busy digging in various record company vaults over the past couple of years and has released seven albums. When asked which release he was most proud of, he said: “I’m genuinely proud of every title we’ve released so far, I can’t really pick a favourite.” That comes as no surprise, as the Playback Records releases are lovingly curated, quality products.
The Playback Records releases are also helping to introduce music to a new, and wider audience. This is something that Nathan agrees with. “I think, in some ways, all our titles could be seen as an attempt to introduce the music to a wider audience-though getting to the level of high-profile labels (such as Ace or Bear Family) that do have loyal fan-bases eager to be introduced to new music is a long way off!”
One artist that Playback Records have been trying to introduce to a wider audience is Jeanette Jones. This is an artist that this blog has championed for some time. Nathan is also a fan of her music. “I was a fan of Jeanette after coming across some of her tracks on compilations, and thought there must have been enough recordings for her own CD. I’d actually enquired with Ace (who own the masters) about this prior to them releasing their vinyl LP compilation, but a second enquiry – after Ace had already issued the vinyl, and it was clear there would be no CD counterpart-we applied for licensing and had it approved.” The resulting CD Dreams All Come True is the definitive Jeanette Jones compilation, and is the perfect introduction to one of the greatest soul singers you’ve never heard.
Jeanette Jones’ Dreams All Come True is without doubt, one of Playback Records’ best releases. While they don’t release as many releases as other record companies, the emphasis is on quality. Nathan explains that Playback Records release: “as many as possible, without compromising on quality. (both in terms of presentation and the quality of the musical content-I don’t want to be releasing something that’s not worthwhile just for the sake of releasing a title). It’s just a very long process. Repertoire owners generally don’t like to have too many requests pending or approved-but-not-yet-released titles sitting with you at the one time. Producing a CD after getting the licensing cleared can take a long time if you want to do it properly; and these two factors work together to make it difficult to release titles with the frequency we’d like.” For anyone looking to found a new record label, they should follow Playback Records’ lead and go for quality rather than quantity.
Another good tip from Nathan is about the type of music a new label should release. While he admits that: “the initial selection of titles is more reflective of my own taste, which is quite eclectic.” However; “ being a fledgling label, I thought it was probably wise to try releases in a few different genres, and see which areas worked the best commercially, so we’d know what direction to steer the label in for the future.”
Talking of the future, the recent vinyl boom is something that has divided the opinion of many record companies. Some have embraced the resurgence in interest in vinyl, and have started releasing their releases on vinyl. Other labels seem to regard vinyl as a passing fad and a bubble that will soon burst. Nathan disagrees: “I don’t think it’s a bubble that will burst anytime soon. I think when it drops off it will happen gradually rather than suddenly – but I don’t believe it will be anytime soon. Lots of younger fans of older music are buying vinyl, which I think will keep the demand steady for a while.”
Despite that, Playback Records have“no fixed plans as yet to release vinyl versions of albums, but never say never. Of the titles we’ve released already, the best bets for vinyl release would be the Festival Nuggets LP (which would need to be a double LP, and therefore extremely expensive to produce) or Sue Barker (which the guys from Hot Casa in France have already reissued on vinyl earlier this year).”
Nathan also thinks that: “there’s always going to be a market for music in a physical form, it’s just happened to shrink significantly over the past few years (and isn’t as good a source of income for record labels as it once was). Although vinyl’s not my preferred format, I’m happy that people who do purchase it are opting for physical product rather than download.”
Another thing that has been a subject of debate within record companies worldwide, is streaming. Just now, it seems the cards are stacked in favour of the streaming companies. It’s a similar case with You Tube. As a result, the way that artists and labels are remunerated by streaming companies and You Tube has to be rethought. Artists and record companies realise this. Nathan has certainly spent time thinking about this. “I can see why labels are concerned, though-using streaming services has become the “normal” way for people to consume music (instead of purchasing on CD, or even buying an MP3 file). This isn’t great news for the record companies, due to the very low financial return. I’m not really sure what the answer is for them. I don’t have a problem with certain tracks being up on You Tube etc, as I think it’s a great way to discover new music. However, I have to say I’m not as pleased with sites offering downloads featuring the complete contents of still-in-print CDs.” It seems that those illegally downloading the music think that it’s a victimless crime. It’s not, and there’s no such thing. What the illegal down-loaders fail to realise is that many artists are struggling to make ends meet. No longer is profitable as it once was for artists. Music has been changing over the last twenty years, and continues to change.
Another controversial change in music is how albums are mastered. Sadly, the Loudness Wars continue, and still, many albums are the victim of brick wall mastering. However, there are still many labels, especially reissue labels, that take care with mastering. Nathan confirms that: “good mastering is essential-it doesn’t make sense to take time and spending money producing a reissue, and having it sound lousy. So far, we’ve selected mastering engineers whose “styles” matched the titles we’ve had them work on – including Gil Matthews (Aztec Records), Nick Robbins (Ace Records) and Warren Barnett (Raven Records)- and I think they’ve turned out pretty well.”
It’s people who buy new releases that experience brick wall mastering. Nathan agrees: “I think the “brick wall” mastering mentality is much more prevalent with new releases, because the record companies want the songs loud to immediately hit you when you hear them… and to keep up with the other loud, overly compressed music filling the airwaves… without realising it doesn’t make for a good listen over the course of an full-length album.” Sadly, many an album has been ruined by brick wall mastering. It’s very different in the world of reissues.
Nathan confirms this: ” I think reissue fans are much more discerning, and the labels are aware and generally order their mastering accordingly – though of course there is the occasional overly compressed reissue that comes out. We had to get new tape transfers from Sony for Skeeter Davis’s Let Me Get Close To You reissue, because the digital transfers they had on hand were taken from an earlier Japan-only reissue, which had, in my opinion, sucked the life out of the songs with too much compression.” The new tape transfers from Sony were worth every cent, and resulted in a lovingly curated reissue that is the perfect way to discover or rediscover Skeeter Davis’ Let Me Get Close To You.
There will be many more reissue following in the footsteps of releases by Jeanette Jones, Skeeter Davis, Steve and The Board, Sue Barker, Judy Jacques plus I Want, Need, Love You:Garage Beat Nuggets from the Festival Vaults and On Broadway: The Songs of Barry Mann and Cynthia Weill. Understandably, Nathan is unable to discuss these releases as contractual negotiations are underway. However, it’s safe to say that he’s working hard on a variety of possible releases from Playback Records, who are very much part of the reissue market it Australia.
Unlike in Britain and Europe, where there’s a huge appetite for compilations and reissues each month, the reissue market is very different. Nathan confirms this: in Australia, the market for reissues is definitely smaller, but still present despite being largely ignored by our limited music press.” That is a great shame given some of the reissues being released by Australian labels.
It seems that in Australia that the music press aren’t as supportive of the reissue labels as in Britain. Nathan confirms this: “sadly our press prefer to cover uninspiring overhyped American indie and alternative artists that no-one here actually likes or cares about….apparently regurgitating opinions from American hipster music blogs on the latest fad bands makes these outlets cutting-edge. Unfortunately this has a flow-on effect of making labels and distributors think that the entirety of the market here is interested in these kinds of artists.” This kind of flawed thinking means that the music consumer don’t get the music that they deserve.
Especially when it comes to reissues. Nathan says: “very few reissues are released by the majors. The local branch or Warner Music also releases a couple of reissues or archival compilations each year under the old Festival logo. Strangely enough, most various artist sets that seem to be geared more to a European market than an Australian one. Sony has released a very successful series of decade-specific various artist two CD sets featuring rare Australian hits, and has done a couple of single-artist “The Essential…” sets by Australian acts, styled like the international Sony Essential releases.” However, that is about all the majors release each year in Australia.
Given the majors are only releasing a few releases annually, one would think that independent reissue labels would pick up the slack. However, there aren’t many Australian reissue labels left. Nathan says there’s: “just a few most of which are no longer around. Raven Records were active for many years, and put out some great CDs (featuring both Australian and International artists) but are apparently winding down now.” That is a great shame, given the quality of albums they consistently released. Sadly, other Australian reissue labels seem to be struggling. Nathan reels off what happened to the various reissue labels: “Sandman Records came and went pretty quickly, unfortunately. Canteoad records, who reissued a lot of Australian Recordings, has been inactive for a couple of years now. The Ascension label, which released some no-frills reissues from Festival and New Zealand’s Zodiac label; have morphed into “Blank Records” who are concentrating on the Vinyl market now.” There is some good news. “There’s Votary Disk/The Roundtable/Dual Planet Records, who more focussed on vinyl The Omni Recording Corporation are pretty active, and mostly focus on US Country Music. Aztec Records is run by Gil Matthews, who is probably best known for his tenure in Billy Thorpe and The Aztecs.” Gil has also mastered a couple of title for Playback Records, and has sterling done work. Hopefully, there will be plenty more of this in the future.
The future is something that looms large in the thoughts of many record companies. Nathan has certainly spent time thinking about what the future holds for Playback Records. “It’s really hard to predict; but we’re working toward growing and strengthening our distribution; and connecting with more media (including music review sites like Dereksmusicblog!)… which, long term, will hopefully allow us to survive and stay active. Ultimately, I’d like to be at a stage where we’re able to release whatever we want, as frequently as we want, and not have to worry about and scrutinise each title’s sales potential.” Hopefully, that day will arrive sooner, rather than later, and that Playback Records will enjoy the freedom to release music it’s passionate about and believes in. That must be the ultimate endgame.
Nathan is unsure whether Playback Records will follow in the footsteps of other reissue labels, and release new albums. “At this point in time, I couldn’t see it being on the cards, but never say never. We’d need to be a lot bigger and have some kind of profile in the press, as breaking a new artist or promoting a brand new release by an established artist is very different from releasing archival recordings.” That is certainly the case, and with Playback Records already well on their way to establishing a niche within the Australian reissue market, it makes sense to stick to what they know.
That is releasing lovingly curated reissues. Playback Records has been doing that for the last couple of years. Like most record label owners, Nathan has his own wish list of albums he would like to reissue. The five albums that he would like to release if it was possible were:
1) “I’d love to release a compilation of recordings by Australian pop singer Lynne Randell. (“Ciao Baby” was her big hit here, but Brits probably know her – if at all – from the song’s flip, the Northern Soul “hit” Stranger In My Arms). Her very early records did have a bit of the “recorded in a tin can” sound, but her sessions with the noted Australian composer Sven Libaek and her later US Recordings are great.” That is the certainly case, and her later, American recordings features Lynne Randell at the peak of her powers.
2)”Maxine Brown’s We’ll Cry Together LP is definitely deserving of a reissue. If only anyone knew who the current owner of the label/masters was!” Sadly, this isn’t the only album where tracing the owner of the label and masters has proved problematic. It’s a problem many record companies have struggled with, and as a result, many projects have had to be shelved.
3)”A collection of solo recordings by the various members of The Sweet Inspirations would be a licensing nightmare, but would make for a wonderful listen.” It certainly would, as there’s no better sound than The Sweet Inspirations in full flow.
4) “A Debbie Taylor collection would be fantastic, she’s one of those singers you hear and can’t work out why they didn’t become big (other than perhaps a big, obvious smash single to establish a profile – a la Linda Jones’ Hypnotized”. Maybe one day Nathan will be able to release a Debbie Taylor compilation, and introduced music lovers to a singer who sadly, is still one of music’s best kept secrets.
5)”Although it’s from a much, much more recent vintage than our other titles, I would dearly love to be able to issue the unreleased first album by Australian Neo-Soul singer Daniel Merriweather (who I’m sure UK fans will know from his solo hit “Red” and his being the featured vocalist on Mark Ronson’s version of “Stop Me”). The two released singles and the buzz tracks were great, and word was that the album was going to change the Australian music scene – but it sadly never came out. To be able to give the album a belated release would be a fan dream come true!” It certainly would, as Daniel Merriweather is one of the leading lights of the Nu Soul scene.
6) Nathan gave an “honourable mention to the Australian band Country Radio (Festival Records again!). The late Greg Quill had requested that Aztec Records reissue the bands recordings, and I know Gil has plans to do it at some point… otherwise, I’d be all over this one! (despite it not being my usual genre).” Regardless of who eventually reissues the recordings, it’ll be a reissue to watch out for.
So will the future reissues from Playback Records. Although Playback Records have only released seven releases so far, the future looks bright for Playback Records. They’re definitely one of the rising stars of the Australian reissue market. Nathan the founder of Playback Records has obviously done his homework, and has learnt from other reissue labels. One of the most important thing he’s learnt is to concentrate on quality, rather than quantity.
Quality is extremely important in the fiercely competitive reissue market. However, that is something that many reissue labels never realise. Instead, they churn out countless third-rate reissues each month. It’s no wonder many of these labels eventually fall by the wayside. They could do with taking a leaf out of Playback Records’ book, and instead release just a few lovingly curated, quality releases. From these small acorns, Playback Records has the potential to grow and become one of the leading lights of the Australian reissue market. However, that is just the start for Playback Records.
Like many labels, Playback Records have started to release their albums in Britain and Europe. While the reissue market is fiercely competitive, it can also be extremely profitable. After all, there are still many music fans who want to buy CDs and vinyl, and are willing to play a premium for quality releases. This means well mastered releases, with detailed and informative sleeve-notes. Playback Records’ releases tick all the boxes, and are sure to find a wider audience as the weeks and months pass by amongst discerning music lovers. This includes reissues by Jeanette Jones, Skeeter Davis, Sue Barker, Judy Jacques and Steve and The Board, plus the compilations I Want, Need, Love You: Garage Beat Nuggets from the Festival Vaults and On Broadway: The Songs of Barry Mann and Cynthia Weill. These are just the first seven releases from Playback Records, but many more will follow in their footsteps and are sure to be carefully curated, quality releases.
Playback Records-The Story So Far.
OTE MALOYA-THE BIRTH OF ELECTRIC MALOYA ON REUNION ISLAND 1975-1985.
Oté Maloya-The Birth Of Electric Maloya On Reunion Island 1975-1985.
Label: Strut.
Nothing ever stays the same. That is certainly the case in music. It has been since the birth of rock ’n’ roll just over sixty years ago. Since then, every musical genre has continued to evolve and reinvent itself, in an attempt to stay relevant. No musical genre has been exempt from change. This includes traditional maloya music in the Réunion Island. However, even traditional maloya music succumbed to change.
Things started to change in the Reunion Island in 1975, when traditional maloya music was transformed by the introduction of Western instrumentation. They were combined with the Malagasy, African and Indian acoustic instruments that up until then, had been making traditional maloya music. This was a game changer musically.
Having combined traditional instruments with Western instruments like the bass, drums, guitar and synths with traditional instruments, local musicians in the Reunion Islands decided to take this one step further. They started to fuse traditional maloya music with an eclectic selection of disparate musical genres. Suddenly, the local musicians were fusing elements of the blues, jazz, funk, fusion, pop, progressive rock, psychedelia, reggae and rock. This sparked a new era of creativity, and over the next ten years, maloya music in the Réunion Island was totally transformed. This period was recently documented by Strut on Oté Maloya-The Birth Of Electric Maloya On Reunion Island 1975-1985. It’s the much-anticipated followup to Soul Sok Séga-Sega Sounds From Mauritius 1973-1979 which was released in 2016. Both compilations were released by DJ duo La Basse Tropicale, who are based in the Reunion Island. They’re perfect placed to document a hugely important period in the Reunion Island’s history.
The Reunion Island were totally deserted until four hundred years ago. That was when the first wave of settlers arrived. Some came of their own accord, looking for a new start. Others were forced to leave countries in Africa, China, Europe, India and Madagascar. Thrown together in an island in the Indian Ocean, the first wave of settlers started to build their home within their part of the wider, shared space. Gradually, a new society started to take shape.
Before long, the first wave of settlers had their own language and cuisine. However, many of early the settlers retained their own belief systems, rites and influences. Soon, though, the Reunion Island soon, had its own unique cuisine and culture. Playing an important part the culture was dance, music and songs. This includes séga music, songs, music and dances of the slaves.
Some of the early settlers that arrived in the Reunion Island were from Malagasy and Africa. They brought with them their own belief system and rites. This was an important part of their culture. So were the ceremonies where they paid tribute to their ancestors during ceremonies which featured songs, music and dance. Often these ceremonies were clandestine affairs and took place at night.
There was no other option. Some of the settlers in the ‘17th’ Century found themselves forced into slavery, and were even forced to adopt the name of the plantation owner. They forced the slaves to work long hours, and watched their every move. It was only late at night, when they could celebrate the life of their ancestors.
This is part of servis kabaré or servis Malagasy, which is a ritual mediation between the living and the dead. Playing an important part in this ritual is music, which was played by the slaves using a variety of traditional instruments. This included piker, kayamb and bobre. At the heart of the music was a large rouler drum, which was made by stretching an animal skin over a barrel.
The rouler drum provides a three-part rhythm, a soloist and choir take part in a type of musical dialogue. This is essentially, the equivalent call and response. Meanwhile, the assembled crowd form encircle around the musicians and dancers and this is known as rond maloya. Within the rond maloya, animals are sacrificed and gifts are offered to their ancestors on the altar. Its decorated with representations of the deceased. Sometimes, alcohol was sprinkled on the ground and onto the bare feet of the dancers. They twisted and turned until they were in a trance. Later, resin was burnt before the sun rises, and this marked the end of this clandestine celebration…until the next time.
On May ‘18th’ 1819, Pierre Bernard Milius, the governor of the Reunion Island, decided to ban the Bal des Noirs, which was referred to as the occult ritual of black peoples’ dance. Up until then, the ritual had been tolerated, and some of the plantation owners had even provided meat and wine. This wasn’t an act of benevolence though. Instead, it was a type of social control, and resulted in what was regarded by slave owners as the “docile slave”. They were unlikely to rise up, and rebel.
As a result, the slaves remained chattels of the slave owner, and very occasionally enjoyed a tantalising taste of freedom. Charles-Hubert Lavollée witnessed an example of this freedom in 1843, when he witnessed the bamboula. While the bamboula is a drum, it’s also the dances and music of African slaves. After witnessing the bamboula, Charles-Hubert Lavollée called this: “the orgy of freedom, the only hours that do not belong to slavery.” However, five years later, freedom beckoned for the slaves.
Slavery was abolished in the Reunion Island in 1848. Despite the abolition of slavery, music, dancing and song remained an important part of the Reunion Island’s culture. The séga maloya was an important reminder of the Reunion Island’s past. It was also something that visitors witnessed, and responded to differently over the next century.
From the 1930s onwards, cultural commentators, critics and writers started to visit the Reunion Island, and wrote about its culture. A few of the articles were contemptuous and even borderline racist. However, most commentators and critics embraced the Reunion Island’s cultural past are were keen to tell their readers and listeners about the music, song and dance.
In 1938, the Parisian literary newspaper Marianne, reviewed a show at the Théâtre des Tropiques. It praised the: “melodious songs, its quadrille dance from Bourbon, and its séga maloya. Réunion shows us all the Créole charm marked by the profound influence of ‘18th’ Century France.” Later that year, Radio Paris played a séga from the Reunion Island, during one of its evening shows which featured music from all around the world. This introduced the séga to a new and wider audience.
That was the case right through to the early sixties, when various articles were published about the Reunion Island’s cultural heritage. It was described as variously the: “dance of the Cafre people… the erotic dance of black African workers.” The Reunion Island’s cultural heritage was viewed in a much more positive light. However, little did these commentators realise that within a decade, the Reunion Island’s music about to change. That was still to come.
The Réunion Island’s musical heritage cane be traced back to the ‘17th’ Century. Back then, the séga was a dance, similar to the fandango. However, the slaves first sang, played and danced the séga original or séga primitive at the Bal des Noirs. The séga is a predecessor of the contemporary maloya. However, in the early days in the Réunion Island plantations, many cultures influenced the early music.
This includes the songs, music, dances and trances of the Malagasy and African slaves; the rituals of the people of South India and influences of the plantation owners who arrived from Europe. All these influences were thrown into the melting pot and given a stir. The result was the séga, which through time, took on a different meaning. By the ‘18th’ Century, séga no longer referred to a dance. Instead, séga referred to a singing, music and dance ensemble. That is how the word is used today.
As music started to change, the word Séga was replaced by the word maloya. Historians are unclear about its genealogy, and when the word was first used. It’s estimated that maloya was used around the start of the ‘19th’ Century. It was used in 1834 by diarist Jean-Baptiste Reyonal de Lescouble, who writes of “singing maloya verses as usual.” However, how long the word had been in usage prior to 1834 is unknown.
Nowadays, maloya is described by UNESCO’s Intangible Cultural Heritage of Humanity as a type of: “world music.” It’s still sung in the Réunion Inland, with some verses sung in French, including in the traditional maloya Valet, Valet made popular by the legendary maloyeur Firmin Viry. Some parts of songs are sung in English, including by Ti Fock. Maloya has a fascinating and rich history that stretches back over 300 years.
Even today, the séga and maloya coexist today in the Réunion Island. The music which is based around music and ancestral traditions, continues to maintain maintained closed links as the music thrives. Previously, albums of séga have been released which can be adapted to maloya, depending on the type of audience the music is being played to. This is fitting, given the maloya is a direct descendant of the original séga.
Nowadays, the three elements of song, music and dance traditionally practised at the sacred Bal des Noirs on Réunion Island can be split over time into two parts. There’s the family and intimate branch of the sacred maloya and the public branch of the profane maloya. During both parts of these ritual ceremonies, the maloya is about paying tribute to ancestors via song, music and dance. Even today, it’s still regarded as an important part of life in the Réunion Island. However, for a time the song, music and dance trio was used for a different purpose.
During the sixties and eighties, the song, music and dance trio was hijacked and used as a culture of resistance, protest and identity. Among the leading lights of this movement were the so-called cultural maloya or the maloya combat. This included Firmin Viry, the Resistance Troupe, the Rene Viry Troupe, the Gaston Hoareau Troupe, Ziskakan, Danyel Waro, Ti Fock, Ravan and Lansor. They were later followed by Baster, Ousanousava and Nathalie Natiembe. Maloya and the Reunion Island were changing.
Following this political and social awakening, a number of important groups, including Caméléon, Carrousel and Kabar were formed and took part in a two-part cultural explosion. It began in the seventies, and then continued in the nineties. Gone was the maloya’s militant stance of the sixties, and eighties. The depoliticising of the maloya had been hugely important. If it remained a political weapon, it would’ve lost its cultural meaning or even became irrelevant. The cultural magazine Bardzour No. 2 had warned this in 1976. By then, it was the era of the electric maloya which is documented on Oté Maloya-The Birth Of Electric Maloya On Reunion Islands 1975-1985.
Many of the maloya bands had plugged in and started to fuse Western instrumentation with the traditional Malagasy, African and Indian acoustic instruments. As a result, bass, drums, guitar and synths were combined with, the piker, kayamb, bobre and rouler drum. This was a game-changer for Caméléon, Cormoran Group, Daniel Sandié, Gaby Et Les Soul Men, Ti Fock, Vivi and Carrousel, who all feature on Oté Maloya-The Birth Of Electric Maloya On Réunion Islands 1975-1985. Suddenly, maloya music was transformed.
The new musical movement was variously referred to as electric maloya, maloya fusion or just maloya. It became a symbol of a newfound freedom that the people of the Réunion Island were enjoying and experiencing.
A symbol of the newfound freedom was Caméléon’s 1977 single La Rosée Si Feuilles Songes, which was released on the Diffusion Royale label and opens Oté Maloya-The Birth Of Electric Maloya On Réunion Islands 1975-1985. This is a cover of an Alan Peters song, and is a landmark maloya recording. It’s an understated recording where Caméléon denounce individuality and celebrate sharing and solidarity.
Jean-Claude Viadère was one of the leading lights in the avant-garde scene, and became one of the pioneers of electric maloya movement. He wrote the ballad Moin La Pas Fait Tout Sel, and when he came to record the song, was accompanied by Carrousel in Studio Issa. The song is built around the rhythm section, piano and tablas, and has a message that: “gossip is toxic,” Moin La Pas Fait Tout Sel was released on the Disques Issa label in 1978, and showcases a truly talented singer and songwriter.
When the Cormoran Group released as Oté as a single on Piros label, tucked away on the B-Side was a hidden gem, P’Tit Femme Mon Gâté. It deals with subjects like loneliness, homesickness and being separated from loved ones. This is something that many Reunion Island exiles could relate to. They could also relate to the moderne sound, with its proto-boogie synths. This showed just much music in the Reunion Island had changed since 1975.
Françoise Guimbert means different things to different people in the Reunion Island. To some, she’s a theatre actress, while others remember her as a singer and songwriter. In 1978, Françoise Guimbert released her single Tantine Zaza on the Disques Royal label. It’s a slow, nostalgic maloya that is tinged with melancholia that is built around a keyboard chart. The song meanders along until backing vocalists enthusiastically interject, and call out to dancers: “Sa mèm! Allez! Oté!.” Meanwhile, Françoise Guimbert reaches new heights on this quite beautiful, emotive song.
Vivi is one of two artists who feature twice on the compilation. Both of the songs are B-Sides, which were released between 1977 and 1978. Mi Bord’ A Toé was the B-Side of single Jamais, which was released by Disques Issa in 1977. It’s a song that paints a bleak and miserable picture of life for women in postcolonial Créole society. That is no surprise as it was a very judgemental society, with women subjected to uncompromising moral standards, which were very different to those men were subjected to. Despite this, Mi Bord’ A Toé epitomises everything that is good about the new electric maloya style, as Western instrumentation and traditional instruments are fused to create one of the highlights of the compilation.
Hervé Imare also feature twice on the compilation. Their first contribution is Mele-Mele Pas Toué P’Tit Pierre, which was the B-Side to their 1977 single on Diffusion Royale. Mele-Mele Pas Toué P’Tit Pierre tells the story of little Pierre who gets involved in things that don’t concern him. This he does against a backdrop of a blistering electric guitar that weaves its way across the arrangement to this electric maloya hidden gem.
Groupe Dago released Réveil Créole as a single on Disques Royal in 1978. The song was penned by Dera Rakotomavo, and is brought to life by Groupe Dago. They create a genre-melting opus that is a mixture of maloya, fusion, psychedelia and pop. With its lysergic, hook-laden lyrics, this edgy, mesmeric and cinematic epic gradually unfolds and reveals its secrets.
Ti Fock was one of the pioneers of the maloya-fusion scene. He was also a musician who wasn’t afraid to take risks and was willing to push musical boundaries to their limits, and sometimes, way beyond. This included fusing African tribal rhythms with a variety of electric instruments. The music was ambitious and innovative, including Sé Pi Bodié a track from his 1986 album Aniel which was released on the Celluloïd label. It features Ti Fock at his most ambitious and inventive.
The other contribution from Vivi is Toé Même Maloya which featured on the B-Side of her 1978 single for Disques Issa, Vraiment L’amour Existe. It’s a beautiful wistful ballad where Vivi makes good use of her expressive vocal. Meanwhile, she’s accompanied by sinuous, sensuous rhythms that come courtesy of Les Soul Men. Together they prove to be a potent and irresistible combination.
When Maxime Lahope recorded Célia as a single for Disques Jackman, she was accompanied by one of the Reunion Island’s finest orchestras, the Claude Vinh San Et Son Orchestre. They also joined Maxime Lahope on the B-Side, Sous Pied D’Camélias. Although it’s a much slower, traditional sounding maloya, this beautiful, heartfelt ballad still swings and incorporates elements of both the calypso and the new electric maloya sound.
In 1978, Hervé Imare released Mi Donne A Toué Grand Coeur as a single on the Diffusion Royale label. Against a pulsating backdrop, Hervé Imare delivers a tender vocal as he sings of generosity, solidarity and sharing on this beautiful ballad.
Closing Oté Maloya-The Birth Of Electric Malaya On Réunion Islands 1975-1985 is Oté Maloya, a song from Carrousel’s 1982 album La Vie Est Un Mystère. The compilers have kept one of the best until last. It’s a Jean-Claude Viadère composition and became a maloya-fusion anthem. This song also epitomises everything that was good about the maloya-fusion genre, which had come of age by 1982.
Just over a year after releasing Soul Sok Séga-Sega Sounds From Mauritius 1973-1979 on Strut, DJ duo La Basse Tropicale return with Oté Maloya-The Birth Of Electric Malaya On Réunion Island 1975-1985. It’s a nineteen track compilation which celebrates the Réunion Island’s maloya-fusion scene between 1975 and 1985. This scene transformed the Réunion Island music scene, and was part of a cultural revolution.
Much of the music recorded and released during this cultural revolution features lyrics full social comment. They document what life had been like in the Reunion Island, and how it still was. Sometimes, it’s a bleak picture is painted. Other times, the talk of generosity, solidarity and sharing seems idealistic, and even somewhat native. However, those songs were written during what was a period of change, and people were looking towards the future and a new beginning.
Part of this new beginning was electric maloya or maloya-fusion. It was a radical departure from the Reunion Island’s musical past, and was the start of a brave new world. This lasted until 1992.
The electric maloya era was over by 1992, when a new sound started to dominate the Reunion Island’s musical landscape… malogué, or maloggae. It had been inspired by Mauritian seggae, and this marked the start of a new chapter in the Reunion Island’s musical history.
Nowadays, the Reunion Island’s music scene has changed once again. It seems that the Reunion Island’s music scene is revisiting its past. The maloya scene has moved more towards the traditional maloya sound. Meanwhile, séga remains the most popular festive style on the Reunion Island. Especially within the areas populated by the working class. In these areas, séga is much more popular than hip hop and ragga dancehall music. The people of the Reunion Island remain proud of their musical heritage, and this includes the electric maloya that features on Oté Maloya-The Birth Of Electric Malaya On Réunion Island 1975-1985, which provided the soundtrack to a cultural revolution.
Oté Maloya-The Birth Of Electric Maloya On Reunion Islands 1975-1985.
THE LIFE AND TIMES OF SEA LEVEL.
The Life and Times Of Sea Level.
By August 1975, all wasn’t well within The Allman Brothers. It hadn’t been for the last couple of years. That was despite The Allman Brothers being at the peak of their popularity. Their last three albums had sold over a million copies and were certified platinum. Meanwhile, The Allman Brothers were one of the most successful live band. They regularly earned over $100,000 a show during their 1974 tour. This allowed The Allman Brothers to hire Led Zeppelin’s private jet Starship, and fly coast to coast in style. However, the constant touring was part of the problem,
Several of The Allman Brothers’ had developed serious drug problems. Now that the band had more money than ever, their drug problems began to spiral out of control. This wasn’t the only problem though.
Some members of The Allman Brothers were no longer as close as they once had been. It seemed the friendship had gone from the band. Gregg Allman and Dickie Betts had both released successful solo albums during 1974. The following year, three other members of The Allman Brothers decided to form a new band as a side project.
The the band was named We Three by its founding members. They were Jai Johanny Johanson a.k.a. Jaimoe, bassist Lamar Williams and keyboardist, pianist and vocalist Chuck Leavell. When the new band was formed they were keen to stress that We Three would work round The Allman Brothers’ schedule. They were going to be busy between August 1975 and May 1976.
In August 1975, The Allman Brothers release their sixth album Win, Lose Or Draw in August 1975. When it was released, it didn’t receive the same critical acclaim as previous albums. Still, though, Win, Lose Or Draw reached number five in the US Billboard 200 and was certified gold. By then, the Allman Brothers had headed out on the road and were playing forty-one arena shows. Some nights, the shows were disjointed and lacklustre. It was as if The Allman Brothers were merely going through the motions. This was very different to the band that some nights opened for The Allman Brothers, We Three.
Occasionally, the nascent We Three took to the stage. Those that saw the band play, were impressed by We Three. They were the complete opposite of the Allman Brothers, who some nights, looked as if they were on their last legs.That proved to be the case.
For the Allman Brother, their 1975-1976 tour wasn’t their finest hour. Some nights, they didn’t even bother with a soundcheck. They just headed out on stage and seemed to be going through the motions. The band didn’t play well, and were a shadow of their former selves. What didn’t help was the excessive drug use, bad feeling between the band and death threats.
The bad feeling and death threats stemmed from Gregg Allman’s decision to testify in the trial of security man Scooter Herring. This didn’t go down well with the rest of The Allman Brothers. They saw Gregg Allman as a snitch. Following the trial, the rest of the band stopped communicating with Gregg Allman. Meanwhile, he started to receive death threats. For Gregg Allman and the rest of the band, this only made a bad situation worse.
In May 1976, the Allman Brothers returned from their forty-one date tour. By then, the writing was already on the wall. The Allman Brothers split-up. Gregg Allman formed the Gregg Allman Band; Dickie Betts formed Great Southern while Jaimoe, Lamar Williams and Chuck Leavell decided to continue as Sea Level.
No longer were the three friends playing together as We Three. They had decided to changed the band’s name to Sea Level. This was a result of some wordplay surrounding Chuck Leavell’s name. His family always pronounced their surname as level. Chuck took the first initial from his christian name, and Sea Level were born. The newly named band began honing their sound.
By then, three had become four. Guitarist Jimmy Nail joined Sea Level as the band headed out on tour. Over the next few weeks and months, dedicated themselves to honing and tightening their sound. Some nights, Sea Level experimented, by heading in different directions musicians. Mostly, though, they concentrated on refining, tightening and honing their sound. This paid off, and eventually, Sea Level were ready to record an album.
By then, several record companies were chasing Sea Level’s signature. Eventually, the band settled on Capricorn Records, which had been home to the Allman Brothers. Once the contacts were signed, Sea Level began work on their eponymous debut album.
Sea Level.
For Sea Level’s debut album, Chuck Leavell became the band’s songwriter-in-chief. He wrote five of the eight songs. The other three tracks were covers of Edward Hoerner’s Shake A Leg, Neil Larsen’s Grand Larceny and the traditional song Scarborough Fair. These songs were recorded with one of the most successful producers of the seventies, Stewart Levine.
Recording took place at Capricorn Sound Studios, in Macon, Georgia. This was familiar territory for the three members of Sea Level, as the Allman Brothers had recorded at Capricorn Sound Studios. To augment Sea Level, guitarist Jimmy Nails and a horn section were brought onboard. Meanwhile, Sam Whiteside engineered the sessions. They progressed smoothly, with Sea Level combining Southern Rock and jazz-funk. Once Sea Level was complete, it was ready for release on Capricorn Records later in 1976.
Before that, critics had their say on Sea Level’s eponymous debut album. Sea Level was well received by critics, who complimented the nascent band on their debut album. Despite the reviews, Sea Level failed to make an impression on the charts. Despite this, Sea Level decided to expand for their sophomore album, Cats On The Coast.
Cats On The Coast.
Shortly after the release of Sea Level became a sextet. Drummer and percussionist George Weaver joined, which allowed Jaimoe to switch to congas. The other two newcomers were guitarist Davis Causey and keyboardist, saxophonist and vocalist Randall Bramblett joined Sea Level. The newly expanded band began working on their sophomore album, Cats On The Coast.
This time round, Chuck Leavell wrote just two of eights songs, Storm Warning and Song For Amy. Davis Causey wrote Cats On The Coast and cowrote That’s Your Secret with Randall Bramblett. He penned Every Little Thing and also cowrote Had To Fall with Jimmy Nalls and Lamar Williams. The other two songs were cover versions, including Neil Larson’s Midnight Pass and Hurts to Want It So Bad which Charles Feldman, Tim Smith and Steve Smith penned. Just like their debut album, Sea Level returned to Capricorn Sound Studios.
At Capricorn Sound Studios, producer Stewart Levine and engineer Sam Whiteside began work with the newly expanded Sea Level. Other sessions took place in Los Angeles, at Hollywood Sound Recorders. Gradually, Cats On The Coast began to take shape and eventually was completed.
Cats On The Coast was scheduled for released later in 1977. Before that, critics had their say on Sea Level’s sophomore album. It found Sea Level switching between Southern Rock and fusion. While the album found favour with critics, Cats On The Coast passed record buyers by.While the album failed to chart, the lead single That’s Your Secret reached fifty in the US Billboard 100. It was a small crumb of comfort for Sea Level.
They had released two albums, but neither had come close to troubling the charts. It was frustrating for Sea Level. They knew that there was nothing wrong with the music. Instead, it was a case of the wrong albums at the wrong time. Southern Rock was no longer as popular as it had once been. Many Southern Rock bands weren’t enjoy the success they once had. For a new band like Sea Level, trying to make a breakthrough was doubly difficult. So much so, that two members of Sea Level decided to leave the band just before work began on their third album, On The Edge.
On The Edge.
Exiting stage left were Jaimoe and George Weaver. This left Sea Level without a drummer. However, drummer Joe English was recruited and Sea Level continued as a sextet.
Just like Cats On The Coast, several members of Sea Level contributed songs to On The Edge. Chuck Leavell wrote A Lotta Colada and Uptown Downtown, and penned On The Wing with Lamar Williams. Jimmy Nails wrote Fifty-Four while Randall Bramblett contributed This Could Be The Worst and Electron Cold. He wrote King Grand with Davis Causey. The two men also wrote Living In A Dream with Arch Pearson. These eights songs would become On The Edge.
Just like their two previous albums, On The Edge was recorded at Capricorn Sound Studios, with producer Stewart Levine and engineer Sam Whiteside. This was the third lineup of Sea Level they had worked with. However, they were all experienced musicians, and the recording sessions went to plan. Some additional sessions took place at The Hit Factory, in New York. After that, On The Edge was ready for release later in 1978.
Prior to the release, critics received their advance copies of On The Edge. They discovered an album where Sea Level switched between and combined elements of Southern Rock, fusion and jazz-funk. It was a slick, accomplished and well produced band that featured a tight and talented band. Praise and plaudits preceded the release of On The Edge. Despite this, the album failed commercially and didn’t come close to troubling the charts. For Sea Level, it was yet another disappointment.
Long Walk On A Short Pier.
Despite the commercial failure of On The Edge, Sea Level weren’t about to give up. They began work on their fourth album Long Walk On A Short Pier.
Chuck Leavell wrote two new songs for Long Walk On A Short Pier, Tear Down This Wall and Just A Touch. Lamar Williams penned Just A Touch, while Jimmy Nails wrote Twenty Miles From Nowhere and penned A Two ’n’ Two with Davis Causey. He contributed Canine Man and Thirsty, and then wrote Morning Light with Randall Bramblett. The other song was a cover of the Weaver-Walker composition Too Many Broken Hearts. With the material for Long Walk On A Short Pier complete, Sea Level made the journey to Macon, Georgia. They were joined by a new band member percussionist and conga player David Earle Johnson.
When Sea Level arrived at Capricorn Sound Studios, nothing seemed to have changed. The studio looked the same as ever. However, this time, Sea Level were going to co-produce Long Walk On A Short Pier with engineer turned producer Sam Whiteside. He had engineered Sea Level’s three previous albums, so knew how the band worked. Sam Whiteside had served his apprenticeship and was ready to step out of Stewart Levine’s shadow.
Despite his promotion to co-producer, Sam Whiteside still engineered Long Walk On A Short Pier. He brought David Pinkston onboard, to assist him with his engineering duties. They watched on as Sea Level switched between Southern Rock and fusion on Long Walk On A Short Pier. The music seemed to flow through Sea Level. Gradually, Long Walk On A Short Pier began to take shape and the album almost complete.
All that recorded was for a horn section to be overdubbed at Sea Saint Studio, in New Orleans. Then Long Walk On A Short Pier would be ready for release by Capricorn Records.
Little did Sea Level know that all wasn’t well at Capricorn Records. The label was teetering on the verge of insolvency as promotional copies of Long Walk On A Short Pier were sent out. Sea Level were totally unaware of this.
When reviews of Long Walk On A Short Pier were published, critics were impressed by Sea Level’s fourth album. Just like their previous album, Sea Level flitted between Southern Rock and fusion on Long Walk On A Short Pier. It was another accomplished album from Sea Level. Maybe it would’ve been the album that transformed their fortunes?
It wasn’t to be. Just as Long Walk On A Short Pier was released, Capricorn Records went out of business. They were insolvent and had no option but to file for bankruptcy. For Sea Level, this was a disaster. Their fourth album was dead in the water.
Copies of Long Walk On A Short Pier made it as far as distributors. That was as far as they got. Later, it became apparent that a few copies of Long Walk On A Short Pier made it into circulation. However, it wasn’t until 1998 that Long Walk On A Short Pier was heard by the wider record buying public.
After Capricorn Records filed for bankruptcy, the future looked bleak for Sea Level. They had recorded an album that was never released properly. That cost the band time and money. They could’ve been touring, as Sea Level were still a popular draw on the live circuit. All the time, expense and effort that went into recording Long Walk On A Short Pier had been for nothing. Now they were left with no recording contract. Despite this, Sea Level decided to record a new album with producer Sam Whiteside, Ball Room.
Ball Room.
Having made the decision to continue, there was a change in Sea Level’s lineup. Percussionist and conga player David Earle Johnson left the band. He was replaced by percussionist Matt Greeley, who was about to make his recording debut.
Before that, the members of Sea Level began work on writing their fifth album. Chuck Leavell wrote Anxiously Awaiting and Don’t Want To Be Wrong, while Lamar Williams contributed Struttin’. Randall Bramblett penned Wild Side, School Teacher, Comfort Range and Brandstand. He also wrote We Will Wait and You Mean So Much To Me with Davis Causey. These nine songs would become Ball Room, which was recorded at two studios.
For the first time since Sea Level were founded, they weren’t heading to Capricorn Recording Studios to record an album. Instead, Ball Room was recorded at Axis Sound Studio and Web IV Studios. Engineer Sam Whiteside co-produced Ball Room with Sea Level. They put their considerable talents were put to good use on Ball Room. Onlookers witnessed Sea Level in full flight, with Chuck Leavell and Randall Bramblett sharing lead vocals. Once Ball Room was complete, Sea Level started shopping the album to record labels.
Eventually, it was Clive Davis’ Arista Records that expressed an interest in signing Sea Level. Clive Davis was the man with the Midas touch. He had transformed the career of countless artists and groups. Sea Level were hoping he could do the same for them. So they signed on the dotted line, and hoped that Clive Davis would work his magic.
Later in 1980, Ball Room was scheduled for release by Arista. After five albums, they were at last, signed to a label with the financial muscle and expertise to get behind Sea Level’s fifth album Ball Room. Arista Records go to work on promoting Ball Room.
Critics who were sent copies of Ball Room found Sea Level at the top of their game on album that featured bar room rock, jazz, funk, pop and Southern Rock. It featured beautiful ballad, mid tempo tracks and uptempo tracks where Sea Level kick loose. Ball Room was, without, doubt, one of the best albums of Sea Level’s five album career.
When Ball Room was released in 1980, it followed in the footsteps of their previous albums, and failed to chart. For Sea Level this was a disaster. Things got worse when the lead single School Teacher never came close to troubling the charts. Sea Level were at a crossroads.
As 1981 dawned, Sea Level realised that after five years and five albums, they were no further on. Sea Level had nothing to show for fives years of recording and touring. All that hard work had been for nothing. Part of the problem was Sea Level released their albums at the wrong time.
If Sea Level’s five albums had been released earlier in the seventies, when Southern Rock was at the peak of its popularity then things would’ve been very different. Realising that music was changing, Sea Level tried to move away from their Southern Rock roots.
While Southern Rock featured on each of their albums, Sea Level’s first four albums headed in the direction of fusion, jazz-funk and even blues and rock. Then on Ball Room, Sea Level flit between Southern Rock to jazz, funk, pop and rock. They’re even transformed into a bar room band on School Teacher on Ball Room. It was part of what was one of Sea Level’s most eclectic and underrated albums. Sadly, commercial success continued to elude Sea Level on Ball Room, which nowadays is an oft-overlooked hidden gem. Ball Room was Sea Level’s swan-song. They decided to call time on the band. There was only one problem.
Over the last five years, Sea Level had run up some debts. They were in the red and the time came to settle their debuts. Sea Level had to embark on one more tour. When the venues were finalised, it was apparent that Sea Level were going to be playing mostly dive bars. Many of them were situated in low rent shopping centres. Realising this, Sea Level decided to call the tour the Shopping Centre Tour. That was the last laugh Sea Level enjoyed.
The Shopping Centre Tour was a soul-destroying experience for Sea Level. They played dive bars and slept in the cheapest motels they could find. It was a miserable experience. Especially as Sea Level were only receiving expenses. Eventually, the tour was over and the band were free of their debts. That was the last time Sea Level played together as a band.
They had been together seven eventful years, and released five albums that showcase a truly talented band. Sadly, the five albums that Sea Level released between 1977 and 1980 failed to find an audience. Since then, Sea Level’s music has been one of music’s best kept secrets, and has been enjoyed by a small, but discerning audience. This is starting to change and somewhat belatedly, Sea Level’s quintet of albums are starting to find the wider audience that it so richly deserves.
The Life and Times Of Sea Level.
THE STORY OF SEATRAIN-FIVE DRUMMERS, FIVE GUITARISTS AND FOUR ALBUMS.
The Story Of Seatrain-Five Drummers, Five Guitarists and Four Albums.
Although Seatrain were only together for four years and released four albums, there were five separate lineups of the band. Drummers and guitarists proved to be Seatrain’s Achille’s Heel. Seatrain featured five different drummers and guitarists between the release of their 1969 debut album Sea Train, and their 1973 swan-song. By then, Seatrain was a very different band to the one that started out in 1969.
Andy Kulberg was the only original member of Seatrain in the band. He had cofounded the band in 1968, and played on every album that Seatrain released. This included their 1973 swan-song Watch. However, by the time Watch was released by Capitol in 1973, the band’s lineup changed beyond recognition. It was the fifth and final change in Seatrain’s lineup since they were founded in August 1968.
Two of the founding members of Seatrain were drummer Roy Blumenfeld and bassist and flautist Andy Kulberg, who previously, had been members of the Blues Project. They had spilt-in after they played a starring role at the Monterey International Pop Festival in June 1967. The Blues Project went out on a high.
By then, the Blues Project was no longer the band it once had been. Some of the members of the band had left the band before the Monterey International Pop Festival, and it was only a matter of time before the remaining members of the band went their separate ways. After the Monterey International Pop Festival decided the time had come to call time on Blues Project.
With Blues Project consigned to musical history, the members of the band embarked upon new projects. However, it wasn’t until the summer of 1968 that Roy Blumenfeld and Andy Kulberg form a new band, Sea Train.
Having formed Sea Train, Roy Blumenfeld and Andy Kulberg moved to Marin County, California in August 1968. That was where they met the other members of the band. This included former Mystery Trend guitarist John Gregory, ex-Jim Kweskin Jug Band violinist Richard Greene, saxophonist Don Kretmar and lyricist and backing vocalist Jim Roberts. He was the final piece in the jigsaw of what was the newest American roots fusion band, Sea Train.
With the new band’s lineup in place, Sea Train were keen to record their debut album. There was a problem though. Blues Project still owed their former label an album. Planned Obsolescence which was meant to be Sea Train’s debut album, was released on Verve Forecast as a Blues Project album. Once Planned Obsolescence was released in 1968, Blues Project had discharged their contractual obligations to Verve Forecast. Now Seatrain could begin work on their debut album Sea Train.
Sea Train.
By the time Sea Train began work on their eponymous debut album, the band had signed a recording contract. Not long after this, Sea Train got to work on their 1969 eponymous debut album.
For Sea Train’s eponymous debut album, Andy Kulberg and Jim Roberts formed a successful songwriting partnership, penning Sea Train, As I Lay Losing and Out Where The Hills. Meanwhile, Jim Roberts and John Gregory wrote Let the Duchess No, Portrait Of The Lady As A Young Artist and Rondo.Andy Kulberg contributed Pudding Street and Sweet’s Creek’s Suite. These songs would become Sea Train which would showcase the band’s unique brand of American roots fusion.
To create this sound, Sea Train would combine blues, bluegrass, folk and rock in the studio. They were joined by engineer and producer Henry Lewy, whose career was about to blossom. However, Sea Train decided to arrange and produce their eponymous debut album, while Henry Lewy and Robert Di Sousa took charge of engineering duties. That was no surprise, as Sea Train featured some experienced musicians.
Two members of Sea Train’s rhythm section, drummer and percussionist Roy Blumenfeld and bassist and flautist Andy Kulberg were members of Blues Project, while guitarist and vocalist John Gregory had been a member of Mystery Trend.
Violinist Richard Greene was a member of the Jim Kweskin Jug Band. The other two members of Sea Train included, saxophonist Don Kretmar and backing vocalist Jim Roberts. They recorded the eight tracks that would become Sea Train.
Once Sea Train was completed, Columbia began working towards the release of the album later in 1969. Little did they know that all wasn’t well within Sea Train. This would soon become clear.
Before that, Sea Train was released later in 1969. By then, critics had their say on Sea Train, which showcased their own unique take on American roots fusion. This was essentially a combination of blues, bluegrass, country, folk, jazz and rock. Sea Train was well received by critics, who almost inevitably, drew comparisons with The Band and the Grateful Dead. However, when Sea Train was released, the album failed to find an audience. For Sea Train that was the last straw.
Not long after the release of Sea Train, the band split-up. They had been together less than a year, and had only released the one album. It looked like the end of the road for Sea Train.
Sea Train Mk II.
Not long after the Sea Train split-up in 1969, Andy Kulberg and Richard Greene decided to reform the group. They began the search for the second lineup of Sea Train. Soon, drummer Bobby Moses, guitarist Teddy Irwin and vocalist Red Shepherd were added to the lineup. Soon, so was saxophonist and bassist Don Kretmar. This became Sea Train Mk II…for the time being.
This lineup of Sea Train wasn’t together long. Before long, Sea Train were looking for a drummer and guitarist.
Sea Train Mk III.
Later in 1969, the search began for a Sea Train’s new drummer and guitarist. Various musicians were auditioned, and soon, the remaining members of Sea Train settled on new additions.
Replacing drummer Bobby Moses was Billy Williams, while Elliot Randall became Sea Train’s new guitarist. Sea Train Mk III was complete.
Before long, Billy Williams and Elliot Randall left Sea Train. So did saxophonist and bassist Don Kretmar. Now Sea Train began the search all over again for new members.
Sea Train Mk IV.
One of the earliest recruits was guitarist Peter Rowan, who had cofounded Earth Opera in 1967. The next recruits were drummer Larry Atamanuik, and keyboardist and vocalist Lloyd Baskin. A decision was made that Jim Roberts would return to the fold, and continue to contribute lyrics. While this completed the lineup, there was still one more change to be made.
No longer was the group known as Sea Train. Instead, they were known as Seatrain, which was also the title of the group’s next album for Capitol.
Seatrain.
With a new lineup and new name, Seatrain began work on what was their eponymous sophomore album. Just like on Sea Train, the Andy Kulberg and Jim Roberts played an important part in the songwriting process. They penned four of the eight songs, including Song Of Job, Broken Morning, Out Where the Hills and 13 Question. New guitarist and vocalist Peter Rowan chipped in with two songs, Home To You and Waiting for Elijah. Bookending the album was Lowell George’s I’m Willin’ and Ervin Rouse’s Orange Blossom Special which featured Oh My Love, Sally Goodin and Creepin’ Midnight. These songs would eventually become Seatrain.
Before that, the band had to cross the Atlantic, and work with the one of the most successful producers in the history of popular music,..George Music. Home for the man who produced The Beatles, was the prestigious Air Studios. This was where Seatrain was recorded by the second lineup of the band. It featured a rhythm section of drummer Larry Atamanuik; bassist and flautist Andy Kulberg and guitarist and lead vocalist Peter Rowan. He shared the lead vocals duties with Lloyd Baskin, while Richard Greene played violin, viola and keyboards. Meanwhile, George Martin took charge of production, in played his part in what was a quite different album from their debut. Seatrain saw the group’s sound begin to evolve.
Once Seatrain was complete, critics were sent copies of the George Martin produced album. They were won over by a carefully crafted album of East Coast rock and country soul. This was a much more commercial sounding album.
And so it proved to be. When 13 Questions was released as a single in 1970, it reached forty-nine in the US Billboard 100. Despite the success of the single, Seatrain failed to trouble the charts upon its release later in 1970. This was a disappointment, given Seatrain was the best, and most accomplished album of the group’s career.
The Marblehead Messenger.
Despite the commercial failure of Seatrain, Capitol never lost faith in the band. Capitol even hired George Martin to produce Seatrain’s third album, The Marblehead Messenger. It featured ten songs penned by members of Seatrain.
Just like on the two previous albums, the Andy Kulberg and Jim Roberts songwriting partnership wrote many of the songs on the album. This time around, they contributed six songs, Gramercy, The State of Georgia’s Mind, Marblehead Messenger, London Song, Losing All The Years and Despair Tire. Peter Rowan contributed a trio of songs, Protestant Preacher, How Sweet Thy Song and Mississippi Moon. Keyboardist Lloyd Baskin made his songwriting debut with Lonely’s Not the Only Way to Go. These songs were recorded with producer George Martin.
This time around, George Martin joined Seatrain at Seaweed Studios, in Marblehead, Massachusetts. By then, Seatrain were enjoying a settled lineup. They hoped changes in the lineup were a thing of the past, and that from now on in, the same band would feature on albums. This included a rhythm section of drummer Larry Atamanuik; bassist and flautist Andy Kulberg and guitarist and lead vocalist Peter Rowan. He shared the lead vocals duties with Lloyd Baskin, and Richard Greene switched between violin, viola and keyboards. Meanwhile, George Martin took charge of production on what proved to be a career-defining album.
Once The Marblehead Messenger was complete, critics had their say on Seatrain’s third album. It was another carefully crafted and cohesive album where Seatrain came of age musically. They were maturing as musicians, singers and songwriters. Meanwhile, the music on The Marblehead Messenger was melodic and featured poetic lyrics. Critics were in agreement that The Marblehead Messenger was Seatrain’s finest hour.
Buoyed by reviews, executives at Capitol thought that The Marblehead Messenger was the album that would introduce Seatrain to the wider record buying public. They were still one of music’s best kept secrets. Sadly, Seatrain remained one of music’s best kept secrets, and nowadays, The Marblehead Messenger is regarded as a hidden gem of an album.
Despite the commercial failure of The Marblehead Messenger, Seatrain embarked upon their first British Tour. Some of the dates on their British tour found Seatrain supporting Traffic. While Seatrain were well received by British audiences, it would be the first and last time Seatrain toured Britain. The following year, 1972, there would be two departures from Seatrain
Seatrain Mk V.
In 1972, Seatrain founding member Richard Greene and Peter Rowan left join Muleskinner. For Seatrain, this was a huge loss. Richard Greene was a talented multi-instrumentalist and Andy Kulberg’s songwriting partner. Peter Rowan was Seatrain’s guitarist and lead vocalist, and had produced some of his best performances on The Marblehead Messenger. This was another huge loss. So was the loss of drummer Larry Atamanuik, who decided to leave Seatrain after two albums. Suddenly, Seatrain were looking for three new members.
The search began, and various musicians were auditioned. Eventually, Seatrain settled on drummer Julio Coronado, keyboardist Bill Elliott and guitarist and vocalist Peter Walsh. This completed what was the fifth lineup of Seatrain. They would make their recording debut on Watch, which was Seatrain’s fourth album, but their debut for Warner Bros.
Watch.
Watch marked the start of a new chapter for Seatrain, and especially Andy Kulberg. He was the last of remaining founding members of Seatrain, and had been ever-present throughout the band’s career.
Jim Roberts was another founding member of Seatrain, but hadn’t contributed to their third album The Marblehead Messenger. The last time Jim Roberts cowrote songs with Andy Kulberg was on Seatrain. However, with Richard Greene having left Seatrain, Jim Roberts and Andy Kulberg decided to renew their songwriting partnership.
The Jim Roberts and Andy Kulberg songwriting partnership contributed a trio of songs to Watch, including Pack of Fools, Freedom Is The Reason and North Coast. Andy Kulberg penned Scratch, and had written Abbeville Fair with Richard Greene, prior to his departure from Seatrain. Lloyd Baskin contributed Bloodshot Eyes and We Are Your Children Too. They were joined by covers of Bob Dylan’s Watching The River Flow and Al Kooper’s Flute Thing, and became Watch which was produced by Buell Neidlinger.
For Seatrain Mk V, Watch was the first time the band had recorded together. The rhythm section featured drummer and percussionist Julio Coronado; bassist and flautist Andy Kulberg and guitarist and vocalist Peter Walsh. They were joined by keyboardists Lloyd Baskin and Bill Elliot. Augmenting Seatrain were a number of session musicians.
This included a guitarist Paul Prestopino; banjo player Bill Keith; flautist Jill Shires; oboist Allan Vogel; tuba player Bob Stuart and a string section. They were joined by vocalists Wayne Daley, Sandra Lee and Sha Na Na. Producer Buell Neidlinger also played bass on Watch, which gradually took shape. It was a quite different album from The Marblehead Messenger.
Given how different an album Seatrain was, it was an album that surprised the critics, but still found favour with them. They excepted Seatrain to continue further down the road that began on Seatrain, and continued on The Marblehead Messenger. That wasn’t the case. The new lineup of Seatrain set about reinventing their music on Watch.
While critics were impressed with Watch, it failed find an audience amongst record buyers. Just like their three previous albums, Seatrain commercial success eluded Seatrain. It was a familiar story, and one that founding member Andy Kulberg had heard before. He knew that Watch was the end of the line for Seatrain.
Not long after the release of Watch, Seatrain split-up, this time for good. There was no comeback this time. Instead, Andy Kulberg rejoined the Blues Project who had reformed in 1971. After four albums and five lineups, the Seatrain were no more.
Sadly, Seatrain were the latest in a long line of bands who could’ve and should’ve reached greater heights. Despite their talent, commercial success eluded then. However, what didn’t help was that Seatrain went through five different lineups. With a settled lineup, who knows what heights Seatrain lead by Andy Kulberg might have reached?
Instead, Seatrain remained a cult band, whose music was enjoyed and cherished by a small group of discerning record buyers. They remember the quartet of albums that Seatrain released between 1969 and 1973. Each of these albums were quite different.
This ranged from the American roots fusion of Sea Train in 1969; to the two carefully crafted albums that George Martin produced, Seatrain in 1970 and 1971s The Marblehead Messenger. Two years later, in 1973, Seatrain returned with Watch, which was their most eclectic album. It was a fusion of Americana, blues, country, folk, gospel, pop, progressive rock, rock and soul, where Seatrain sought inspiration from American’s musical past and present. Despite the eclecticism of Watch, which was recently remastered and reissued by BGO Records, this couldn’t transform Seatrain’s fortune. Watch which is an underrated and oft-overlooked album, proved to be the swan-song, from one of America’s great lost bands,..Seatrain.
The Story Of Seatrain-Five Drummers, Five Guitarists and Four Albums.
TOO SLOW TO DISCO VOLUME 3.
Too Slow To Disco Volume 3.
Label: How Do You Are?
During the last few years, there has been a resurgence in interest in the West Coast sound which sadly, fell from grace in the late seventies. Before that, the West Coast sound had won over the hearts and minds of record buyers, and provided the soundtrack to much of the seventies. This wasn’t surprising.
The West Coast sound was slick and full of hooks. Trademarks of the West Coast were clever chord progressions and lush harmonies. This proved to be a truly irresistible combination, and why across America, radio station playlists were dominated by the West Coast sound. Sadly, like all good things, the success story that was the West Coast sound had to come to an end. However, over the last couple of years, the West Coast sound has been on the comeback trail.
The comeback began about three years ago, in 2014 when several compilations of the West Coast sound were released. By then, the West Coast sound, like so many things had been rebranded. Now it was being referred to as Yacht Rock or Vanilla Funk. Nothing it seems is sacred. At least though, compilers were rediscovering the West Coast sound. This included the DJ Supermarkt and the good people at the How Do You Are label who have just released Too Slow To Disco Volume 3. This however, is the fourth instalment in Yacht Rock series.
How I can hear you ask? Last year the Too Slow To Disco series took a break, and the first volume of The Ladies Of Too Slow To Disco was released. It was a welcome addition to what’s becoming an annual event. This year, normal service has been resumed and Too Slow To Disco Volume 3 has been released. It features eighteen songs from the likes of Lee Ritenour, Bob Welch, David Gates, Weldon Irvine, Vapour Trails, The Fifth Avenue Band, Dwight Druick, Rob Mehl and Billy Mernit. They’re just a few of the names that board the yacht on the West Coast and take the listener on a journey back in time on Too Slow To Disco Volume 3.
Opening Too Slow To Disco Volume 3 is Lee Ritenour’s 1981 single Is It You, which was released on Elektra in 1981. Is It You also featured on Lee Ritenour’s eighth album Rit, which was released in 1981. Rit was the second album the Los Angeles born guitarist and composer had released on Elektra. Is It You is smooth and soulful and showcases the contemporary jazz sound that Lee Ritenour specialised at that time. This proved successful and resulted in over thirty contemporary jazz hits for the man known as Rit.
Guitarist Bob Welch’s career began in 1964 when he joined The Seven Souls as a nineteen year old. After a spell with Head West, Bob Welch joined Fleetwood Mac in 1971. He was with Fleetwood Mac for three years, and departed in December 1974. After forming the trio Paris, who released two albums, Bob Welch embarked upon a solo career. His debut album French Kiss was released in 1977, and two years later in 1979, Bob Welch released his third album The Other One. Don’t Let Me Fall was released as a single, and almost epitomises the West Coast sound. That is apart from a rogue synth. However, this doesn’t spoil a quite beautiful song, that is a reminder of Bob Welch’ solo years.
Pratt and McClain released their eponymous debut album on Reprise Records in 1974. Two years later, the pair returned with their sophomore album Pratt and McClain Featuring “Happy Days” in 1976. By then, Pratt and McClain were well-known on both sides of the Atlantic for singing the theme to the television show Happy Days. However, Whachersign which was released as a single in 1976, is much more representative of the music that Pratt and McClain were capable of creating. It’s combines elements of jazz, pop and disco on a song that epitomises the type of music that features on the Too Slow To Disco Volume series.
The Cornelius Bumpus Quartet only ever released the one album, Beacon, which was released on cassette by Broadbeach Records in 1983. The highlight of Beacon is Inside You, which was penned by Robert Rosenstein. It’s an understated and soulful slice of jazz funk that is the perfect showcase for this tight and talented band.
In 1980, David Gates released fourth solo album, Falling In Love Again on Elektra. David Gates had written, arranged and produced all the songs on Falling In Love Again. This includes Silky, which was one of the highlights of the album. It’s a slick, carefully crafted track where elements of jazz and funk are combined to create a track defines where the West Coast sound was circa 1980.
By 1976, Weldon Irvine had released five solo albums. However, five became six when the Virginia born singer, songwriter, arranger and producer released Sinbad on RCA. It features the single I Love You, which was penned by Don Blackman and released in 1976. It’s a beautiful, heartfelt ballad, and is a reminder a truly talented artist whose music is sometimes overlooked.
Two years after releasing their eponymous debut album, The Markley Band returned with On The Mark! It was released on the Accord label in 1982, and featured Fallin’ In Love. Sheila Lowe takes change of the lead vocal and delivers a soulful, vocal powerhouse. She’s accompanied by gospel-tinged harmonies as the rest of The Markley Band combine with jazz, jazz-funk and with the soul supplied by Sheila Lowe on this stepper.
Some groups only released the one album, and that includes the Vapour Trails. Warner Bros had high hopes for the Vapour Trails when they released their eponymous debut album in 1979. It was produced by Larry Carlton and featured the genre-melting singe Do The Bossa Nova. It’s a catchy, mid-tempo track where the Vapour Trails combine elements of jazz, funk, pop and soul. Alas, nothing was heard of the Vapour Trails after their eponymous debut album. However, Do The Bossa Nova is something of a favourite among DJs on the Yacht Rock and Vanilla Funk scene.
The earliest track on Too Slow To Disco Volume 3, comes courtesy of The Fifth Avenue Band, who released their eponymous debut album on Reprise Records, in 1969. It features One Way Or The Other which was the B-Side to The Fifth Avenue Band 1969 single Nice Folks. However, One Way Or The Other is a beautiful ballad that shows the West Coast Sound taking shape. Sadly, despite the quality of sings like One Way Or Another, it was another eleven years before they returned with their Really in 1980.
Mark Capanni released I Believe In Miracles as a single on Capitol Records, in 1974. It was the first of two singles just two singles released. That is a great shame as Mark Capanni was a talented singer and songwriter. This is apparent from I Believe In Miracles, a string-drenched ballad that is a long-lost Yacht Rock hidden gem that features the talents of Mark Capanni.
Very few people would think to include The Greatful Dead on a compilation of Yacht Rock or Vanilla Funk. However, Shakedown Street, the title-track to The Greatful Dead’s 1978 album for Arista has been added, and works well. Against a funky arrangement, the harmonies accompanies the vocal and play their part in The Greatful Dead’s adventure into Vanilla Funk.
Canadian singer, songwriter and musician Dwight Druick, is another artist who only released one album. This was Tanger, which was released on WEA in 1980. It featured the jazz-funk of Quand Tu Te Laisse Aller which showcases the talents of Dwight Druick and his band.
Archie James Cavanaugh released his one and only album Black And White Raven, in 1980. Nowadays, original copies of this soulful private press are incredibly rare. However, it’s been reissued several times, including for Record Store Day 2107. One of the highlights of the album is Take It Easy, a joyous and uplifting track with a real feel good sound.
When Rob Mehl released his debut album Taste and See in 1980, it was on the Ministry Resource Center label. Nowadays, original copies of this genre-melting album change hands for upwards of $300. Elements of jazz, funk, gospel, pop rock and soul combine on the album. That is apparent on the title-track, which is one of the highlights of this little-known Yacht Rock album.
Five years after releasing his sophomore album, Larry Carlton returned with his eponymous album in 1978. Larry Carlton’s third album was the first he released for Warner Bros Records. It featured Where Did You Come From, which is a smooth slice of soulful and dreamy jazz. It’s very much atypical of the Yacht Rock genre and is a welcome addition to Too Slow To Disco Volume 3.
Prior to forming The Jeremy Spencer Band, its founder Jeremy Spencer had been a member of several groups, including Fleetwood Mac. However, in 1979, The Jeremy Spencer Band released their debut album Flee, on Atlantic Records, in 1976. When it came to released the debut single, Cool Breeze was chosen. It sounds as if it’s been influenced by Fleetwood Mac, and is a memorable and melodic song that brings back memories of the heyday of the West Coast Sound.
Stars ’N’ Bars were a short-lived band that released just two singles between 1981 and 1982. Their debut was Stars and Bars which was released in 1981 on the Moonshine label. It’s a fusion of jazz-funk and proto-boogie and pop that obviously was made with the dance-floor in mind.
Closing Too Slow To Disco Volume 3 is Billy Mernit’s Special Delivery. This was the title-track to Billy Mernit’s 1973 album on Elektra Special Delivery was also released the lead single from the album. It’s a quite beautiful, heartfelt ballad that showcased a talented singer, songwriter and musician and is a reminder of the West Coast Sound in its prime. What better way to close Too Slow To Disco Volume 3.
After a two-year absence, the Too Slow To Disco series makes a welcome return with Too Slow To Disco Volume 3. It features old friends, new names and a few surprises from music’s past. Classics rub shoulders with hidden gems and rarities sit on what’s without doubt the most eclectic compilation in the Too Slow To Disco series.
While all the tracks showcase the West Coast Sound, the ingredients in each track is different. The eighteen songs contain elements of disparate musical ranging from contemporary to jazz to funk, jazz and jazz-funk through to disco, pop, proto-boogie and rock. However, when they’re combined, they create tracks that transport the listener back to the heyday of the West Coast Sound.
As has often been the case with previous instalments in the Too Slow To Disco series, compiler DJ Supermarkt often eschews the familiar. While there’s a number of singles on Too Slow To Disco Volume 3, there’s also B-Sides and long forgotten album tracks. Sadly, not many people will remember many of these tracks. Instead, they’re remembered by connoisseurs of the West Coast Sound, or as it’s now known Yacht Rock or Vanilla Funk.
It seems that nothing is safe from a rebranding exercise nowadays. While many purists will find this unpalatable, the main thing is that at last, the West Coast Sound is back on the comeback trail. There’s a huge body of music awaiting discovery, and compilations like Too Slow To Disco Volume 3 are the perfect introduction to that music.
For a newcomer, the three volumes in the Too Slow To Disco series, plus The Ladies Of Too Slow To Disco is a perfect starting place. Songs on these compilations are the start of a voyage of discovery through the music of the late-sixties through to the early eighties. That is the case on Too Slow To Disco Volume 3.
On Too Slow To Disco Volume 3 DJ Supermarkt dig deeper than other compiler in the search for rarities and hidden gems. He strikes musical gold on a number of occasions, and they join tracks from familiar faces and new names. These tracks slick, full of clever hooks, melodic and memorable. In a way, it’s no surprise that nearly forty years after the heyday of the West Coast sound, the music is just as popular as ever. It’s just a shame that it’s taken so long for all this wonderful music to fall back into fashion.
No longer is Yacht Rock a guilty pleasure enjoyed by discerning record buyers. Instead, record buyers everywhere are jumping onboard the yacht and enjoying the party. However, the music on Too Slow To Disco Volume 3 aren’t dance tracks. They’re Too Slow To Disco, and are best described as mood music. It’s what the beautiful people listened to in the seventies. That comes as no surprise, as much of the music oozes quality. It’s mellow and laid back with the lush harmonies, swathes of strings and clever chord progressions part of well written and carefully crafted songs. They play their part in the West Coast sound’s slick, hook-laden and timeless sound. A reminder of this can be found on Too Slow To Disco Volume 3, which like previous instalments in the series, epitomises everything that’s good about the Yacht Rock.
Too Slow To Disco Volume 3.
SPACE, ENERGY AND LIGHT-EXPERIMENTAL ELECTRONIC AND ACOUSTIC SOUNDSCAPES 1961-88.
Space, Energy and Light-Experimental Electronic and Acoustic Soundscapes 1961-88.
Label: Soul Jazz Records
One of the most eagerly awaited compilations of recent months is a collection of soundscapes from Soul Jazz Records entitled Space, Energy and Light-Experimental Electronic and Acoustic Soundscapes 1961-88. These fourteen soundscapes were all created by musical pioneers.
The story starts in the early sixties, when a new breed of musicians started creating some of the earliest electronic music. During this period, synths were being used to create music for the first time. These synths were very different to those used today, and were complex and unwieldly machines that often, were extremely difficult to use. However, in the right hands, synths were a game-changer that could create incredible, and groundbreaking music. This became evident as the sixties gave way to the seventies.
Electronic music seemed to come of age in the seventies, while synths became much more affordable. Suddenly, synths were within the budget of musicians in America, Britain and Europe, who started to investigate what they were capable of. Proof of this came in 1973, when Mother Mallard’s Portable Masterpiece Company became the first synth ensemble, when it was created in collaboration with Robert Moog. What had once seemed the stuff of science fiction was now reality. and musicians started to think differently.
Musicians realised that with a selection if synths, sequencers, keyboards, drum machines and a four-track recorder they could record an album. Many musician did just that, including many in Germany who became part of the Berlin and Düsseldorf Schools of Electronic music. Elsewhere, many different types of music were recorded with the new electronic instruments.
During the early seventies, some of the earliest New Age albums were being released. This was nothing new, as Tony Scott had released Music For Zen Meditation in 1961. Mostly, it was popular in California, but as the years passed by, and fashion changed, Music For Zen Meditation found an audience further afield. By then, German musician Deuter had become one of the first artists to incorporate acoustic and electronic sounds on his albums. This included his 1971 debut album D, and the followup album Aum in 1972. Nowadays, both albums are regarded as Krautrock classics and among the earliest New Age albums.
Later, in the seventies, more artists started to create proto New Age music. Among them, were Steven Halpern and Iaxos. Their music was meant to be meditative and have healing properties. As a result, their albums weren’t sold in record shops. Instead, they were found instead in holistic medical centres and health food shops. Already, New Age was starting to find an audience.
By the eighties, the New Age movement was in full flight, and labels like Windham Hill Records were hugely profitable enterprises. It had come a long way since it was founded with $300 seed capital. Many of the New Age artists were using synths and other electronic instruments to create the music that was proving hugely popular. So was a very different type of music.
As the eighties dawned, a new type of artist had emerged. They were also electronic artists but didn’t have their albums pressed on vinyl or CD. Instead, their releases were much more basic, and were a throwback to the age of punk. This new breed of electronic artists D-I-Y approach saw them release their albums on cassette. Despite the basic nature of these releases, the music that Germany’s Stratis and Britain’s Carl Matthews were producing was far from basic. Instead, these artists embraced the latest advancements in music technology, as they created new, ambitious and exciting music. However, this wasn’t new.
Instead, the willingness to embrace the latest advancements in music technology is a thread that runs through Space, Energy and Light-Experimental Electronic and Acoustic Soundscapes 1961-88. Each of the artists on the compilation pioneered and were early adopters of new equipment and technology. They were determined not to be left behind in this brave new musical world.
With this new equipment and technology, artists were able to explore space and look at what the future held. Some took the opportunity to look deep within themselves and at their very soul. They went on to create music that was in harmony with the natural world. It was an exciting time, and for those involved it was a brave new world, where anything was possible.
A reminder of this are the fourteen tracks on Space, Energy and Light-Experimental Electronic and Acoustic Soundscapes 1961-88. It includes a mixture of new names and familiar faces, ranging from J.B. Banfi, Michael Garrison, Iasos, Carl Matthews and Tim Blake to Laurie Spiegel, Michael Stearns, Richard Pinhas, Kevin Braheny and Steven Halpern. They’re just some of the artists that feature on Space, Energy and Light-Experimental Electronic and Acoustic Soundscapes 1961-88.
Opening Space, Energy and Light-Experimental Electronic and Acoustic Soundscapes is J.B. Banfi’s Gang (For the Rock Industry). This is a track from his 1978 debut album Galaxy My Dear, which was released on the Red Record label. For J.B. Banfi this was a new chapter in his career. He had been the keyboardist and synth player with the Italian progressive rock band Biglietto Per L’Inferno until 1975. After that, he embarked upon a solo career, and three years later, released Galaxy My Dear in 1978. It was a fusion of elements of ambient, the Berlin School and experimental music. The highlight of the album was Gang (For the Rock Industry), which is a futuristic and cinematic musical journey.
To The Other Side Of The Sky is the track that opens Michael Garrison’s 1979 debut album, In The Regions Of Sunreturn. It was released on Michael Garrison’s own label, Windspell Records. This was the label that he released all of his albums. They showcase a musical pioneer, who sadly, is still one of electronic music’s best kept secrets. That was despite create thought-provoking and cinematic soundscapes like To The Other Side Of The Sky, which are guaranteed to set the listener’s imagination racing.
When Iasos released Inter-Dimensional Music on Unity Records, in 1975, it marked the debut album of one of the pioneers of New Age music. Inter-Dimensional Music features Lueena Coast a beautiful and blissful ambient soundscape that not only soothes and calms, but has a meditative effect.
Carl Matthews’ As Above, So Below made its debut on the Flowmotion compilation in 1982. It was originally released as a cassette of ambient, minimalist and industrial music by Flowmotion in 1982. Later that year, the Flowmotion compilation was released on vinyl by ICR. The closing track was Carl Matthews’ As Above, So Below, which featured a broody, dramatic sound that meanders along ominously showcasing an otherworldly sound.
Tim Blake started off as a sound engineer with Hawkwind, before joining Gong. However, by 1977 Tim Blake had embarked upon a solo career, and released his debut album Crystal Machine on the Egg label. Opening Crystal Machine was the multilayered soundscape Midnight. The deepest layers have an ambient sound, while atop the soundscape, it sounds as if intergalactic warfare is taking place. As a result, Midnight sounds like part of the soundtrack to a sci-fi movie.
In 1984, Stratis was one of the new breed of artists who were releasing albums on cassette. While this was a cheap way for artists to release their music, the sound quality and reliability of tapes left a lot to be desired. As a result, very few copies of Stratis’ 1984 album Film Musik are still available. It was released on the Creative Tapes label, and is now something of a rarity that changes hands for up to £80. By Water which is a fusion of ambient, Berlin School and even a hint of synth pop, is a reminder of this long-lost album, and one of a new breed of artists who came to the fore during the eighties…Stratis.
Chicago-born Laurie Spiegel grew-up, playing guitar, banjo, and mandolin, and on leaving high school, studied social science. After graduating, Laurie Spiegel headed to London and studied classic guitar and composition with John W. Duarte, and then baroque and renaissance lute at Julliard. This made Laurie Spiegel an unlikely convert to making music with synths. However, she had worked with synths since 1969, and released the captivating and otherworldly Improvisation On a ‘Concerto Generator was released in 1977. It’s a truly timeless soundscape that later, featured on the 2001 album Obsolete Systems which is a mixture of abstract, ambient and avant-garde music.
Mother Mallard’s Portable Masterpiece Company was a synth ensemble formed in 1968 by David Borden, Steve Drews and Linda Fisher in Ithaca, New York, with the help of Robert Moog. Five years later, in 1973, they released their eponymous debut album on their own label, Earthquack Recordings. It featured Ceres Motion a seven minute minimalist soundscape that ebbs and flows, and meanders along as it constantly captivates.
Nowadays, Michael Sterns is regarded as one of the pioneers of Space Music, which was a sub-genre of New Age music. His debut was Ancient Leaves, which was released in 1977. Four years later, in 1981, and Michael Stern released his fourth album Planetary Unfolding on the Continuum Montage label. It opens with In the Beginning an eight minute ambient epic that showcases a true musical pioneer.
Philly born Beverly Glenn-Copeland’s sophomore album Keyboard Fantasies was released on the GRT label in 1986, sixteen years after she released her eponymous debut album in 1970. Keyboard Fantasies is a little-known album, but one that is something of a hidden gem. It opens with the minimalist sound of Ever New where Beverly Glenn-Copeland a talented multi-instrumentalist plays all the instruments and adds the vocal. The result is a quite beautiful track that is very different to most of the track on the compilation.
French guitarist and synth player Richard Pinhas founded the progressive rock band Heldon in 1974, and by 1979, they had released nine albums. Still, Richard Pinhas found time to work as a solo artist, and by 1978, he had just released his sophomore album Chronolyse on the Cobra label. Chronolyse featured Variations VII: Sur Le Thème Des Bene Gesserit, a mesmeric sounding track which incorporated elements of ambient, Berlin School, electronica and Krautrock. This track is the perfect introduction to Richard Pinhas, who is a prolific and pioneering musician.
Tod Dockstader was twenty-nine when he self-released his debut album Eight Electronic Pieces in 1961. It was a groundbreaking and experimental album of Musique concrète. So much so, that Folkways Records reissued the album later in 1961. Fifty-six years later, and Eight Electronic Pieces is still a hugely important and innovative album, that was way ahead of its time. Proof of that, if any is needed, is the album opener, Piece #1.
In 1988, Kevin Braheny released Galaxies (Original Soundtrack Music) on the Hearts Of Space label. It featured Ancient Stars, a beautiful, ethereal, ambient soundscape that is one of the highlights of the compilation.
Picking up where the previous track left off is Steven Halpern’s Starborn Suite (Part 1). This was the opening track to the 1978 album Starborn Suite, which was released as a cassette on the Spectrum Research Institute label. Later in 1978, Starborn Suite was reissued on Steven Halpern’s Halpern Sounds’ label. Starborn Suite (Part 1) is another beautiful, dreamy and ethereal soundscape, and it seems like the compilers have kept one of the best until last on Space, Energy and Light-Experimental Electronic and Acoustic Soundscapes 1961-88.
For anyone yet to discover type of music on Soul Jazz Records’ new compilation Space, Energy and Light-Experimental Electronic and Acoustic Soundscapes 1961-88, then is the start of a musical voyage of discovery. The compilation is the perfect introduction to fourteen musical pioneers, who each played their part in rewriting musical history.
Having heard a tantalising taste of J.B. Banfi, Michael Garrison, Iasos, Carl Matthews, Laurie Spiegel, Michael Stearns, Richard Pinhas, Kevin Braheny and Steven Halpern’s music, the next step is to look back at the music they released during their careers. Some of their albums have been released on CD, and are quite easy to find. Others are more difficult to discover, especially if they were released on cassette. However, some of the albums that were only released on vinyl are relatively easy to find. This includes original copies of albums which can be found in excellent condition for modest sums of money. This can be the start of a long and enjoyable musical journey.
Having discovered one artist, soon, record buyers will be looking for artists who released similar types of music. Some may even work backwards to Tony Scott and his 1961 album Music For Zen Meditation, which is regarded as the first ever New Age album. They’ll investigate similar albums released during the sixties that slipped under the radar.
Other record buys will take as a starting point for this adventure Deuter’s 1971 debut albums D, and the followup Aum. Both are both important New Age albums and Krautrock classics. There’s also many other Krautrock albums which have the same qualities as Dueter’s music, including some by Tangerine Dream, Cluster, Harmonia and Popol Vuh.
There’s also whole labels that specialised in New Age music to investigate. This included Windham Hill, whose releases are easy to find and modestly priced. The same cane be said of all the album Michael Garrison released on his label Windspell Records. This however, is just the tip of what is a huge musical iceberg.
Quite simply, there are countless artists who made music like the fourteen tracks on Space, Energy and Light-Experimental Electronic and Acoustic Soundscapes 1961-88 during the sixties, seventies and eighties. Many of these albums feature groundbreaking music that was way ahead of its time. Sadly, some of that music was too far ahead of its time, and a record buying public weaned pop music failed to grasp its importance. It’s only much later that this music is being discovered, and is starting to find the audience it deserves. Especially when record companies like Soul Jazz Records released compilations like Space, Energy and Light-Experimental Electronic and Acoustic Soundscapes 1961-88 that showcase a tantalising taste of this groundbreaking music from true musical pioneers.
Space, Energy and Light-Experimental Electronic and Acoustic Soundscapes 1961-88.
STEVE AND THE BOARD-THE COMPLETE STEVE AND THE BOARD.
Steve and The Board-The Complete Steve and The Board.
Label: Playback Records.
Although Steve and The Board were formed in Brisbane, Australia, in 1965, the story began 9,000 miles away in 1950. That was when Steve Kipner the founder of Steve and The Board was born in Cincinnati, Ohio. However, Steve Kipner didn’t spend much of his young life in Cincinnati.
His father Nat Kipner, who was a songwriter and producer, who wanted a better life for his family, and started looking for a future beyond Ohio. Eventually, Nat Kipner decided that his family would move to Brisbane, in the state of Queensland. It was situated on Australia’s gold coast, which seemed the perfect place to start a new life, and bring up a young family.
Fifteen years later, in 1965, Steve Kipner found himself studying at Brisbane Art and Technical College. By then, Steve Kipner had caught the music bug from his father who was now a songwriter, producer and promoter. Steve Kipner’s love of music began at an early age, and he had already penned She Used To Be Mine which featured on Normie Rowe’s debut album So Much Love From Normie Rowe. Already it looked as if Steve Kipner had a big future ahead of him after he left Brisbane Art and Technical College. However, it was at that venerable institution that Steve Kipner met two of his future band mates.
This was drummer Colin Petersen and guitarist Carl Groszman. They were both students at Brisbane Art and Technical College and it was purely by chance that the three aspiring musicians met. Soon, the three students had formed a friendship and Carl Groszman was introducing Steve Kipner to new music, including bluesmen like Lightnin’ Hoplkins and Muddy Waters and the R&B of Ike and Tina Turner. All this was new to Steve Kipner, and he enjoyed discovering the new music. The third member of the trio Colin Petersen, had taken to picking Steve Kipner up in Mini Cooper and they would work out the harmonies to Beatles’ songs on the journey to and from college. On one of these journeys, they Steve Kipner and Colin Petersen came up with the idea of forming a band. That band would become Steve and The Board, whose entire career has been documented on The Complete Steve and The Board. It will be released by Playback Records on ‘21st’ July 2017 and is a reminder of one Australia’s best garage rock bands of the sixties.
Having made the decision to form a band, the three members of what later became Steve and The Board, began the search for a bassist. That was how they met Dennis Neville, who previously, had been the drummer for The Tempests. However, since leaving The Tempests, Dennis Neville had started to learn the guitar. When the three members of Steve and The Board met they Dennis Neville they managed to persuade him to learn to play the bass.
Using a borrowed bass and amplifier, Dennis Neville taught himself to play the bass, and before long had mastered it. Dennis Neville became Steve and The Board’s bassist, and when they started to play live, drove the band’s van.
Despite the band lineup still evolving, the nascent began playing the live scene around Brisbane. At first, they drew inspiration from The Beatles and British Invasion groups like The Hollies. Harmonies played an important part in the band’s nascent sound. That was until they met two musicians from Sydney.
Terry Hanagan and Chris Grey, who had previously, been a member of the Missing Links had just arrived in Brisbane from Sydney when they first met Steve and The Board. The two Sydney-based musicians started telling the members of the band about City Blues, which was the urban take on R&B that the Rolling Stones had made their name playing. Having heard about City Blues, the band changed direction musically and even adopted a new name.
By then, the band had still to adopt the name Steve and The Board. However, they weren’t far away, and renamed the band Board Of City Blues. Their set lists featured a mixture of R&B and songs by The Animals, The Yarbirds, the Rolling Stones, Them and The Pretty Things. Sometimes, they dipped into The Kinks, The Who and The Beatles’ back-catalogue during their sets. Board Of City Blues also started to include some of the songs that two members of the band had written.
Despite Steve Kipner’s track record, he wasn’t one of the two songwriters in Board Of City Blues. That would come later. Instead, Colin Petersen and Carl Groszman, who had adopted the stage name Carl Keats, had started writing songs. Some of these songs would feature in Board Of City Blues’ set lists. This included the gigs the Board Of City Blues in a Nat Kipner’s club.
Board Of City Blues were in the fortunate position that Steve Kipner’s father Nat owned a small club. He allowed the band to practise there, and to play live. This was perfect for the group to hone their sound.
Having honed their sound, the Board Of City Blues were ready to make their tentative steps on the Brisbane live scene for the second time. However, this time they were a different band not just in name, but musically. One of the first gigs that the Board Of City Blues played was at a club called the Prim in the Piccadilly Arcade. After that, it looked as if the future was bright for the Board Of City Blues. That was until Nat Kipner sprung a surprise.
He announced that the Kipner family were moving to Sydney, where he felt there were better business opportunities for him. A reluctant Steve Kipner made the move.
With Steve Kipner moving to Sydney, it looked as if this spelt the end for the Board Of City Blues. That was until bassist Dennis Neville received a phone call from Steve Kipner asking him to bring the band to Sydney. Steve Kipner’s father had managed to get the Board Of City Blues some gigs, and there was even talk of a recording contract. This was too good an opportunity to turn down.
The first to arrive in Sydney was Dennis Neville, who had resigned from his job the Monday. Given what he had sacrificed, Steve Kipner’s parents allowed Dennis Neville to move into the family home. Over the next two months, the rest of the Board Of City Blues arrived in Sydney. Carl Keats was last to arrived, and in the interim, a local guitarist had deputized for him. By the time the rest of Board Of City Blues had arrived in Sydney, they began the search for a lead guitarist.
Auditions were held, and several guitarists tried out. This included ‘Long’ Tom Cowburn mentioned his friend Alex Hill. He had arrived with his family from Croatia, and as a child, studied classical violin. Eventually, he turned his back on classical music and the violin, and learnt to play the guitar. That was how Alex Hill found himself auditioning for the Board Of City Blues. It didn’t take long for the rest of the Board Of City Blues to realise that they had found their lead guitarist.
At last, the Board Of City Blues’ lineup was complete, and they went in search of their first gig. The new lineup of the Board Of City Blues took place at a surf club in Wollongong. That night, the Board Of City Blues were well received by the audience, and this proved to be the start of something for the Board Of City Blues.
Suddenly, the Board Of City Blues were playing nearly every night. Soon, the Board Of City Blues had more gigs that they could cope with. They were a hugely popular draw on the local scene. So much so, that some night, the Board Of City Blues played three gigs a night and sometimes, more. The move to Sydney had paid off for the Board Of City Blues.
Especially when Nat Kipner secured the Board Of City Blues an audition with Everybody’s, a Sydney-based record company. Although Nat Kipner had secured the audition, it wasn’t a done deal. Instead,
the Board Of City Blues had to audition with Maggie Makeig, the pop music editor at Everybody’s. Everything went well, but the record label weren’t sure of the band’s name. It was then that the Board Of City Blues became Steve and The Board.
This was a much more acceptable and marketable name for the record label, and having signed on the dotted line, Everybody’s, sent Steve and The Board into the studio to record their debut single. The song that Steve and The Board had chosen, was a cover of The Pretty Things’ Rosalyn, with The Giggle-Eyed Goo! on the B-Side. This was a song that Nat Kipner had already written. However, Carl Keats made a few changes to the lyrics and wrote the music. Little did Steve and The Board know when they recorded The Giggle-Eyed Goo! in mid-1965 that it would launch their career.
Steve and The Board released their debut single Rosalyn in October 1965. It found Steve and The Board stay true to The Pretty Things’ original version. Steve and The Board’s reading of Rosalyn showcased a talented young band. However, it wasn’t Rosalyn that caught the attention of the record buying public, and their children.
Nat Kipner was able to secure Steve and The Board priceless publicity. He was involved with the children’s television show Saturday Date, and ran a competition that had children send in a drawing of what The Giggle-Eyed Goo! looked like. This was invaluable promotion, and propelled The Giggle-Eyed Goo! to number four in the Melbourne charts and thirty-four in the Brisbane charts. While the song gave Steve and The Board their first hit single, it proved to be a double-edged sword.
While Steve and The Board received a lot of publicity due to the success of The Giggle-Eyed Goo!, it was regarded as a novelty song. The problem with novelty songs, was that very few people take them seriously. There was always the risk that promoters and other bands might not take Steve and The Board seriously. However, when Steve and The Board played live in Adelaide, it was like Beatlemania all over again. Having played two songs, Steve and The Board were mobbed by young girls. Nat Kipner’s novelty song had transformed Steve and The Board’s career.
Soon, they were sharing the stage with some of the biggest names in Australian music. They also shared top billing with Herman’s Hermits. By them, Steve and The Board even had their own fan club. They had come a long way in a short time.
Despite the success, Steve and The Board weren’t making any money. This wasn’t helped by a number of disreputable promoters refusing to pay Steve and The Board. As a result, they were left living a hand to mouth existence. Suddenly, the music business wasn’t such a glamorous way to make a living.
By March 1966, plans were in place for Steve and The Board to release their sophomore single Margot, which featured I’ve Just Realised on the B-Side. While the single was given a catalogue number, it was never released.
This changed when Steve and The Board released The Giggle-Eyed Goo! EP, which featured four tracks. They were The Giggle-Eyed Goo!, Rosalyn, Margot and Rosemarie, which were all produced by Nat Kipner. When The Giggle-Eyed Goo! EP was released in 1965, Steve and The Board had been promoted to the main Spin label. With plenty of hype, The Giggle-Eyed Goo! EP was released on the record buying public. However, it never replicated the success of their debut single.
Later, The Giggle-Eyed Goo! EP would featured on Steve and The Board’s debut album The Giggle-Eyed Goo! However, by then, the writing was on the wall for the band. That was still to come.
A month after the aborted release of Margot, Steve and The Board decided to leave Sydney, as things were starting to cool down for the band. They packed their bags and headed to Melbourne, and soon, had secured a residency at the 10th Avenue Discotheque. It was run by Eddie Floyd, who soon, became the band’s manager.
While Eddie Floyd ensured the band didn’t go hungry and secured them plenty of gigs, still Steve and The Board weren’t making much money. Each week, Steve and The Board played over forty-five hours, but only made £16 each. To make matters worse, Melbourne was notorious for promoters failing to pay bands, and Steve and The Board fell victim to this several times. It was a frustrating experience.
Steve and The Board had some good times in Melbourne, and featured on ATV’s music show Go!! several times. This was invaluable publicity for the band. So was appearing on Kommotion, another popular music program that was presented by Ken Sparkes. Appearing on these shows would stand Steve and The Board in good stead when they released their next single.
This was I Call My Woman Hinges (Cause She’s Something To Adore). On the B-Side was I Want. When the singles was released, it reached the top five in the Australian charts. It was a hook-laden, R&B stomper that caught the imagination of the record buying public. On the single, Steve and The Board sound like the Rolling Stones, and the hook sounds as if it has been inspired by It’s All Over Now. I Call My Woman Hinges (Cause She’s Something To Adore) was very different to The Giggle-Eyed Goo!, and showed Steve and The Board in their true colours.
Not long after the release of I Call My Woman Hinges (Cause She’s Something To Adore), Steve and The Board released their sophomore EP in 1966. It was entitled I Call My Woman Hinges (Cause She’s Something To Adore), and also featured Farmer John, Little Miss Rhythm And Blues and Love’s Made A Fool Of You. Producing the new tracks was Nat Kipner, who had produced all of Steve and The Board’s releases. This would soon include their debut album.
By the time executives at Spin started talking about Steve and The Board releasing their debut album, the band had nearly enough material for an album. They were sent into the studio to record three more tracks, including I’m To Blame, Love’s Made A Fool Of You and Lonely Winter which Carl Groszman had written. When these three new songs were added to songs from their two EPs and singles, Steve and The Board had more than enough for their debut album.
Originally, Steve and The Board had considered the Board Meeting for album title. That would’ve been the perfect title for the album, given Steve and The Board were trying to establish a reputation as a serious R&B band. However, instead of common sense prevailing, it was decided to call the album The Giggle-Eyed Goo! It seemed that what had originally been a novelty song for a B-Side was going to haunt the band.
Worse was to come though. After Steve and The Board completed The Giggle-Eyed Goo!, drummer Colin Petersen announced that he was leaving the band. This was a huge blow for the band, as Colin Petersen had been a member from day one and was a talented drummer. Replacing him wasn’t going to be easy.
The loss of Colin Petersen couldn’t have come at a worse time, with Steve and The Board about to release their debut album The Giggle-Eyed Goo! It features on the first twelve tracks on The Complete Steve and The Board, and is a reminder of a talented and versatile band.
Side One.
Opening The Giggle-Eyed Goo! is the title-track, and ironically given its novelty nature, is the song that is synonymous with Steve and The Board. Songs like I’m To Blame, I’ve Just Realised and Rosemarie are reminiscent of The Beatles pre-1966 and British Invasion groups like The Hollies. Rosalyn is a sneering slice of R&B, where Steve and The Board draw inspiration from the Rolling Stones. Margot has a much more rocky, stomping sound, but is still melodic and brings to mind The Who.
Side Two.
I Want is hook-laden, R&B stomper where Steve and The Board sound like the Rolling Stones, while the hook sounds as if it has been inspired by It’s All Over Now. Another hook-laden R&B stomper is I Call My Woman Hinges (Cause She’s Something To Adore). In a similar vane is Little Miss Rhythm And Blues. Farmer John is one of the rockiest tracks on the album. It’s built round a blistering guitar riff and mesmeric drums, while Steve unleashes one of his best vocals. Love’s Made A Fool Of You is a cover of song penned by Buddy Holly, and sounds as if it’s been inspired by Bo Diddley. The album closer, Lonely Winter, sounds like an homage to Carole King’s It Might As Well Rain Until September.
By the time Steve and The Board’s debut album The Giggle-Eyed Goo! was released, the band had a new drummer, Geoff Bridgeford. He gave up a job with an advertising agency to join Steve and The Board. This was a decision he might later rue.
Once Geoff Bridgeford settled into the role of Steve and The Board’s drummer, the band continued their gruelling touring schedule. This found Steve and The Board crisscrossing Australia, as they played in towns and cities. Some nights, the band played four, even five gigs. This was a relentless schedule, and one the band continued day after day, week after week. Somehow, Steve and The Board found some time to record some new songs.
Steve and The Board went into the studio and recorded So Why Pretend, Now I’m Older and Sally Was A Good Old Girl. After recording the new songs, it was back to the live circuit.
Despite the constant touring, Steve and The Board managed to squeeze in a couple of appearances on television. Somehow the members of Steve and The Board were managing to cope with a schedule that even older, more experienced bands would’ve struggled with. By then, Steve and The Board’s popularity was at all-time high. They were mobbed after gigs, and literally, had run to their cars. Sometimes, they were accosted by jealous boyfriends. It got to the stage that Steve and The Board had a police officer living with the group, who were experiencing Beatlemania. The members of Steve and The Board should be wealthy young men.
As Steve and The Board returned to Sydney, the group realised that their finances needed some attention. New recruit Geoff Bridgeford was given the job of looking their finances. For a group who had literally lived on the road, playing four and five gigs each night, Geoff Bridgeford worked out that all Steve and The Board were owed was just $600. This must have come as a huge blow. To make matters worse, collecting what they were owed was easier said than done.
During September 1966, Steve and The Board released their next single, Now I’m Older which featured So Why Pretend on the B-Side. Later that month, Steve and The Board were one of the bands booked to support PJ Proby at Melbourne’s Festival Hall.
On the ‘30th’ September 1966, Steve and The Board took to the stage at the Festival Hall. For a group that had played hundreds of gigs, this was the one that went wrong. They weren’t alone though.
It was a disastrous gig for everyone involved, with technical problems sabotaging Steve and The Board’s performance. Despite this, the press turned on Steve and The Board. Just like many other bands, the press had built them up to knock them down.
Steve and The Board headed out on another tour, which was billed as The Steve and The Board Spectacular. It began on the ‘5th’ October 1966, and concluded six days later on the ‘11th’ October. Despite its brevity, it had been another gruelling tour. There was no rest for the band though.
They had to film a promotion film for their next single, which was the Alex Hill composition Good For Nothing Sue. It’s one of the four bonus tracks on The Complete Steve and The Board. So is the B-Side Sally Was A Good Old Girl. After the film was complete, Steve and The Board headed out on the first of two tours. Then on ‘1st’ December 1966 featured on the Go!! television show for what would be the last time.
In January 1967 Good For Nothing Sue was released by Spin. By then, music was starting to change, and the psychedelic era was in full swing. Steve and The Board was just one of many bands who suddenly were no longer as popular.
By the spring of 1967, gigs were starting to dry up for Steve and The Board. They were only playing two, maybe three nights a week. Steve and The Board continued for a couple of months, and on ‘17th’ May 1967 the band split up. After two years, the dream was over.
Despite all their hard work, and the gruelling tours, Steve and The Board didn’t end up rich men. Just like many other groups before them, much of the money ended up in other people’s pockets. Sadly, that still happens today. For Steve and The Board, there was no gold at the end of the rainbow.
Later, Colin Petersen enjoyed a brief spell as the Bee Gees’ drummer. Later Colin Petersen joined the band Humpy Bong who released the single Don’t You Be Too Long in 1970. However, another former member of Steve and The Board went on to enjoy fame and fortune.
After a brief solo career, Steve Kipner became an award-winning songwriter and producer. He penned songs for everyone from America, Diana Ross, George Benson and Olivia Newton John, to Heart, Joe Cocker, Neil Diamond and Rod Stewart. The songs that Steve Kipner have written have solid by the million, and he has a string of gold and platinum discs to his name. Steve Kipner has also won the prestige Ivor Novello Award. For Steve Kipner, there was life after Steve and The Board, who are still remembered some city years after they split-up.
Although they were only together for two years, they were a whirlwind for the members of Steve and The Board. During that period, they toured relentlessly and recorded only sixteen songs. They feature on The Complete Steve and The Board, which will be released by Playback Records on ‘21st’ July 2017. It’s an opportunity to discover one of Australia’s greatest garage bands.
Sadly, outside of Australia, Steve and The Board are largely unknown. That is a great shame, given they were a talented and versatile band. Within Australia, Steve and The Board are remembered by many people, who remember that two-year period when they enjoyed their own version of Beatlemania. Ironically, many people remember Steve and The Board for their first hit single The Giggle-Eyed Goo! However, the followup single I Call My Woman Hinges (Cause She’s Something To Adore) is much more representative of Steve and The Board’s music which is documented on The Complete Steve and The Board. It’s a lovingly curated compilation that is the most comprehensive overview of Steve and The Board’s two year career.
Steve and The Board-The Complete Steve and The Board.
CHARLEY PRIDE-YOU’RE MY JAMAICA, ROLL ON MISSISSIPPI, EVERYBODY’S CHOICE AND CHARLY PRIDE LIVE.
Charley Pride-You’re My Jamaica Roll On Mississippi, Everybody’s Choice and Charley Pride Live.
Label: BGO Records.
By the time Charley Pride was preparing to release his new album You’re My Jamaica in 1979, he was one of the most successful country singers. He had already enjoyed twenty-one number one singles and eleven number one albums on the US Country charts, while eleven of Charley Pride’s albums had been certified gold. It was a remarkable transformation for the onetime ball player from Sledge, Mississippi, had come a long way since he released his debut album Country in 1966.
In the space of just thirteen years, Charley Pride had become one of RCA Victor’s biggest selling artist. The only artist who outsold Charley Pride was Elvis Presley, who had died two years ago. With Charley Pride now RCA Victor’s biggest selling living artist, the company were relying on him to continue to release successful albums and hit singles. However, there had been a worrying trend over the last three years.
Nearly six years had passed since Charley Pride had enjoyed a number one album with Amazing Love in October 1973. Since then, six of the seven album Charley Pride released had made the top ten in the US Country charts. However, during the same period, Charley Pride had enjoyed eight number one singles in the US Country charts. Charley Pride still had the Midas Touch, and it was only a matter of time until one of his albums returned to the top of the US Country charts. His next album was You’re My Jamaica which is one of four albums on a two CD set released by BGO Records. You’re My Jamaica is joined by Roll On Mississippi, Everybody’s Choice and Charley Pride Live, and covers the period between 1979 and 1982. Charley Pride was hoping he would enjoy his elusive twelfth number one album during this period.
You’re My Jamaica.
For what would be his last album of the seventies, Charley Pride decided to record an album that would find an audience way beyond the country music fans. He had been one of a small number of country artists whose music crossover appeal. Some fans of popular music had been won over by Charley Pride’s music over the past thirteen years. This time around, Charley Pride decided that his latest album should have widespread popular appeal.
For what became You’re My Jamaica, Charley Pride chose ten songs to cover. These songs had one thing in common, they would appeal to fans of country music, and would also have crossover appeal. This included Bob Mc Dill’s What’re We Doing, Doing This Again. Charley Pride decided to cover a trio of songs penned by Kent Robbins, You’re My Jamaica, One More Time and I Want You. They were joined by the Kye Fleming and Dennis Morgan composition Missin’ You. It was a song that Charley Pride had high hopes as he headed into the studio.
Just like previous albums, Charley Pride and Jerry Bradley co-produced You’re My Jamaica. They were joined at Music City Music Hall Studio in Nashville, by some of the city’s top session players, and The Jordanaires. Nine of the ten songs on You’re My Jamaica were recorded in Nashville, The exception was You’re My Jamaica, which was recorded Audio International in London. Now the album was complete, and ready for release.
Critics on hearing You’re My Jamaica, remarked upon an album that should appeal not just to country music fans, but fans of popular music. This hadn’t been easy. Charley Pride was trying to appeal to two different audiences. In doing so, Charley Pride took care not to alienate his loyal fans. They had supported him since he released his debut album Country in 1966. However, on You’re My Jamaica included songs that appealed to both fans of country music and popular music.
There were a number of country ballads on You’re My Jamaica, which was something that Charley Pride excelled at. This included No Relief In Sight, Heartbreak Mountain, To Have And To Hold, Let Me Have A Chance To Love You (One More Time) and I Want You. There were other ballads on the album, including the string-drenched What’re We Doing, Doing This Again and the soul-baring Missin’ You. Both had crossover appeal, and had the potential to introduce Charley Pride to a much wider audience. So had You’re My Jamaica, which was very different to the rest of the album. However, it featured the all important hook. This would prove important when it was released as a single.
You’re My Jamaica was chosen as the lead single, and released later in 1979. Not only did it reach number one in the US Country charts, but the Canadian Country charts. This augured well for the release of the album. When You’re My Jamaica was released, it reached number eleven in the US Country charts and number six Canadian Country charts. While You’re My Jamaica had missed out on the top ten in the US Country charts, which was disappointing, further success wasn’t far away. Missin’ You was then released as a single, and reached number two in the US Country and Canadian Country charts. What proved to be Charley Pride’s last album of the seventies, was seen as a success.
There’s A Little Bit Of Hank In Me.
As a new decade dawned, Charley Pride returned with his first album of the eighties, There’s a Little Bit of Hank In Me. It was released in January 1980, but had been recorded during the second half of 1979.
There’s A Little Bit Of Hank In Me was recorded at Castle Studio, Nashville with producer Fred Rose. Charley Pride was accompanied by some of Nashville’s finest sessions players as Charley Pride paid tribute to country music legend Hank Williams. Charley Pride covered twelve of Hank Williams best known songs. He breathed life, meaning and emotion into songs like Mind Your Own Business, Honky Tonk Blues, I’m So Lonesome I Could Cry, Why Don’t You Love Me and You Win Again. These songs became There’s A Little Bit Of Hank In Me.
When There’s A Little Bit Of Hank In Me was released in January 1980, it was to widespread critical acclaim. The album reached number one in the US Country charts and was certified gold in Canada. Honky Tonk Blues was released as the lead single and reached number one in the US and Canadian Country charts. You Win Again gave Charley Pride another number one single in the US Country charts, but reached just number two in the Canadian Country charts. Charley Pride had started the eighties as he meant to go on.
Roll On Mississippi.
Despite the success of There’s A Little Bit Of Hank In Me, Charley Pride wasn’t in any hurry to release a new album. The rest of 1980 passed without a letter home from Charley Pride. However, in the spring of 1981, Charley Pride returned with his new album Roll On Mississippi.
For his new album, Charley Pride chose another Kye Fleming and Dennis Morgan composition Roll On Mississippi. He hoped that it would follow in the footsteps of Missin’ You. Charley Pride also covered You Almost Slipped My Mind which was penned by Don Goodman and Troy Seals. They joined another eight songs which Charley Pride and producer Jerry Bradley hoped would have crossover appeal.
Just like You’re My Jamaica, Charley Pride and Jerry Bradley co-produced You’re My Jamaica at Music City Music Hall Studio in Nashville. They were joined by some of Nashville’s top session players, while The Jordanaires again, added vocal accompaniment and were joined by The Nashville Edition. Sweetening the sound was The Shelly Kurland Strings. Once the album was complete, RCA Victor scheduled the release for the spring of 1981.
Critics on hearing Roll On Mississippi, were won over by another album that had crossover appeal. This included the ballad Roll On Mississippi, which not only tugged at the heartstrings, but had single written all over. Just like You’re My Jamaica, Roll On Mississippi featured a number of beautiful, emotive and heart wrenching ballads. Among them were I Used To Be That Way, Taking The Easy Way Out, plus She’s As Good As Gone, He Can Be An Angel, Fall Back On Me which were sweetened by lush strings. Make It Special Again was an uptempo song with crossover appeal, while the tempo drops on the hurt-filled country ballad You Beat ‘Em All. Ghost-Written Love Letters has made in Nashville written all over it. Bookending the album was a carefully crafted, ballad You Almost Slipped My Mind, where Charley Pride sounds as if he’s experienced the hurt and loss. Roll On Mississippi was well worth the fourteen month wait.
Before the release of Roll On Mississippi, the title-track was released as a single, reaching number seven in the US Country charts and two in the Canadian Country charts. When Roll On Mississippi was released in March 1981, it stalled at seventeen on the US Country charts. This was Charley Pride’s lowest chart placing since The Pride of Country Music in June 1967. For Charley Pride this was a disappointing, especially considering the quality of the album. However, when You Almost Slipped My Mind was released as a single, it reached number four in the US Country charts and five in the Canadian Country charts. This was another top five hit for Charley Pride. He could only hope that his next album would prove more successful.
Greatest Hits.
Later in 1981, Charley Pride returned with the fifth Greatest Hits album of his career so far. Not all the songs on the album were Greatest Hits. Charley Pride’s cover of Wayland Holyfield and Norro Wilson’s Never Been So Loved (In All My Life) hadn’t been released yet. This would soon change.
In June 1981, Never Been So Loved (In All My Life) was released as a single and reached number one on the US and Canadian Country charts. This helped Charley Pride’s latest Greatest Hits album reached number 185 in the US Billboard 200 and number eight in the US Country charts. It looked like Charley Pride’s luck was changing.
Charley Sings Everybody’s Choice.
For Charley Pride, 1982 was another busy year, that saw him release another two albums. The first of these albums was Charley Sings Everybody’s Choice. It saw Charley Pride dig deep into the songbooks of some of country music’s best songwriters.
This included Kent Robbins who had provided Charley Pride with several hit singles. Charley Pride hoped that I Don’t Think She’s In Love Anymore would give him another hit single. Charley Pride had covered many of Ben Peters’ songs, and this time around, chose two of his songs You’re So Good When You’re Bad and Cup Of Love. They joined John Schweers’ Love Is A Shadow and Harold Dorman’s Mountain Of Love. These were just five of the songs that Charley Pride recorded for Charley Sings Everybody’s Choice.
When recording began, there was no sign of Jerry Bradley, who had produced so many of Charley Pride’s album. Instead, Charley Pride would co-produce Charley Sings Everybody’s Choice with Norro Wilson. With a crack band of Nashville session players, recording got underway in the familiar surroundings of Music City Music Hall Studio. This time, there was no sign of The Jordanaires, although strings were used to sweeten four of the songs. It was the start of a new era for Charley Pride.
Critics had heard that Charley Pride had been working with new producer Norro Wilson, and awaited the results of their first album together. The album opener I Don’t Think She’s In Love Anymore showcased a much more contemporary sound. However, it had hit written all over it. It gives way to the rueful ballad I See The Devil In Your Deep Blue Eyes. You’re So Good When You’re Bad is another song that showcases the new, contemporary sound. It’s also got crossover appeal, and has a much more commercial sound. This commercial sound continues on When She Dances and Mountain Of Love which are both carefully crafted ballads. Oh What A Beautiful Love Song is the perfect description of this string drenched ballad.
By contrast, I Haven’t Loved This Way In Years has a minimalist arrangement that allows Charley Pride’s vocal to take centre-stage. The balladry continues with a cover of Ben Peters’ Cup Of Love and Love Is A Shadow. Closing the album was I Hope (You Never Cry Again), which was one that Charley Pride’s longterm fans would embrace and enjoy. It brought to an end Charley Sings Everybody’s Choice, which oozed quality.
Prior to the release of Charley Sings Everybody’s Choice, I Don’t Think She’s In Love Anymore was released as a single and reached number two in the US Country charts and number one in the Canadian country charts. This augured well for the release of Charley Sings Everybody’s Choice. When it was released, it reached number ten on the US Country charts. For Charley Pride this was an improvement on Roll On Mississippi. Especially when Mountain Of Love reached number one on the US and Canadian Country charts. Then You’re So Good When You’re Bad gave Charley Pride his twenty-seventh US Country number one and reached number two in the Canadian Country charts. Charley Pride’s first album with Norro Wilson had resulted in two more number one singles in America and Canada, and top ten album. Things were looking good for Charley Pride.
Charley Pride Live.
Given the success of Charley Sings Everybody’s Choice, many artists would’ve returned to the studio and recorded another album. Not Charley Pride, who sometimes, seemed almost contrarian. An example was waiting fourteen months to release the followup to You’re My Jamaica. Some critics thought that was a strange decision at the time. However, Charley Pride was his own man, and later in 1982, decided to release his second live album Charley Pride Live.
Charley Pride had released his first live album Charley Pride In Person, thirteen years earlier in 1969. It reached number two, sixty-two in the US Billboard 200 and was certified gold. Charley Pride Live had a lot to live up to.
Charley Pride Live was recorded at the Grand Ole Opry, and featured fifteen songs. Fittingly, he opened the set with A Whole Lotta Things To Sing About, before covering the ballads Kiss An Angel Good Mornin’ and Just To Be With You, before Charley embarks on a cover of My Love Is Deep, My Love Is Wide and then an emotive reading of Is Anybody Goin’ To San Antone. After that, Charley Pride revisited songs like Since You Came Into My Life, Why Baby Why, Tennessee Girl and his 1981 hit single You’re My Jamaica. It gave to a heartfelt renditions of It’s So Good To Be Together and I Discovered You. When he delivers Let Me Live, Charley Pride’s vocal oozes emotion. However, there’s still one more song left When I Stop Leaving (I’ll Be Gone). After that, Charley Pride takes his leave.
When Charley Pride Live was released later in 1982, the album was received by the critics. Alas, Charley Pride Live stalled at a lowly sixty-two in the US Country charts. However, when Why Oh Why was released as a single, it reached number one in the US Country charts and number four in the Canadian Country charts. By now, Charley Pride had amassed twenty-eight number one singles in the US Country charts. While country music was changing, Charley Pride was still one of its biggest names.
That had been the case since 1966, when Charley Pride released his debut album Country. Since then, he had enjoyed sixteen years of uninterrupted commercial success. He had enjoyed twenty-eight number one singles and twelve number one country albums in America by the time he released Charley Pride Live in 1982. This made Charley Pride one of country music’s biggest names. During this period, Charley Pride was in his prime musically.
A reminder of Charley Pride in his prime can be found on BGO Records’ recently released two CD which features You’re My Jamaica, Roll On Mississippi, Everybody’s Choice and Charley Pride Live. These four albums were released between 1979 and 1982, and although they didn’t sell in the same quantities as the albums Charley Pride released between 1966 and 1973, feature a giant of country music at the peak of his powers.
Eleven year after releasing Charley Pride Live in 1982, which was recorded at the Grand Ole Opry, Charley Pride accepted that venerable institution’s longstanding invitation and joined the Grand Ole Opry. He had come a long way since he made his debut as a guest artist at the Grand Ole Opry in 1967. Back then, he was the first African-American to play at the Grand Ole Opry. Fifty years later, and only Charley Pride and Darius Rucker are the only two African-American members of the Grand Ole Opry. That is one of the biggest honours for a country music.
Nowadays, Charley Pride is seventy-nine years old, and is regarded as a legend of country music. He’s sold over seventy-million albums, and is still, RCA Victor’s second biggest selling artist of all time. Only The King, Elvis Presley outsold Charley Pride. Ironically, Charley Pride never dreamt of making a career out of music, and instead, had hoped make a living as a baseball player. While that dream never came true for Charley Pride, the man form Sledge, Mississippi is the living embodiment of the American Dream.
Charley Pride-You’re My Jamaica Roll On Mississippi, Everybody’s Choice and Charley Pride Live.
VOIGT/465-SLIGHTS UNSPOKEN.
Voigt/465-Slights Unspoken.
Label: Mental Experience.
The story of Voigt/465 is a case of what might have been. They were formed in Sydney, Australia in 1976, and spent the next three years trying to make a breakthrough. By May 1979, things were looking up for Voigt/465 and they looked on the verge of a breakthrough. Their single State was being played on radio in London and Sydney. Not long after this, Voigt/465 secured a residency in Sydney, and even embarked upon a short tour of Melbourne. Voigt/465 were playing better than ever before, and had built up a loyal following. Surely, nothing could go wrong?
Unfortunately it did. What started off as a discussions about the future direction of Voigt/465 resulted in bassist Lindsay O’Meara leaving the band. Given how important a part he was in Voigt/465’s sound, the rest of the band knew that they couldn’t continue without out him. Voigt/465 called time on their career, after being tantalizingly close to making a breakthrough.
Although it looked like had been consigned to musical history, discussions were taking place between the band members to reunite one last time. They wanted to document the life and times of Voigt/465. After much cajoling, the five band members agreed to record what became an album at Axtent Studios, in suburban Kogarah. That album was Slights Unspoken which was released on the Unanimous Weld Enunciations in 1979. Thirty-eight years later, and Slights Unspoken was recently reissued by Mental Experience, an imprint of Guerssen Records. Sadly, Slights Unspoken marked the end of the road for Voigt/465.
Things had looked very different, three years earlier in 1976, the year that punk arrived in Australia, and across the country new bands were being formed. Many were short-lived, and never came close to playing live, never mind recording a single. A few, including Voigt/465 went on to make their on the Australian music scene.
Voigt/465 was formed by a group of friends in Sydney in 1976. The original lineup of the band included bassist Lindsay O’Meara, guitarist Rod Pobestek, keyboardist and vocalist Phil Turnbull plus vocalist Rae Bryom. They had been inspired by the music of Can, Faust, Henry Cow, Pere Ubu, Slapp Happy, Syd Barrett, The Stooges and early Roxy Music five friends decided to form a band. These influences would play their part in one of the first wave of post-punk bands in Australia.
The newly formed Voigt/465 set about honing their sound, and over the next few weeks and months, gradually the nascent’s band started to emerge. It a raw, abrasive and genre-melting sound that over the next couple of years, would incorporate elements of art rock, avant-garage, DIY, electronica, improv,industrial, Krautrock, noise, post-punk and psychedelia. This new sound would gradually find favour with Sydney’s post-punk scene.
By 1978, Voigt/465 were one of the leading light of Sydney’s thriving and vibrant post-punk scene. They had spent the last two years creating their own scene. In the early days when Voigt/465 couldn’t find somewhere to play live, they found makeshift venues. This included a free open air gig at Bigge Park, in Liverpool, a suburb of Western Sydney. Later they graduated to playing pubs and clubs on the local circuit. This was akin to their musical apprenticeship, and allowed the band’s sound to evolve. The next step was to record their debut single.
Unlike many post-punk bands, Voigt/465 hadn’t rushed into recording their debut single. Instead, they waited until the group had matured, and its sound had evolved. By then, Voigt/465 had also matured as songwriters. They had penned State, which they planned to record as their debut single, with A Secret West on the B-Side. Voigt/465 booked a local studio to record their debut single.
This was Axent Studios, which was based in Kogarah, a suburb of Sydney. Joining Voigt/465 was a local musician Ross McGregor, who would co-produce State and A Secret West. State was raw and rocky, but was melodic and showcased a truly talented post punk band. The B-Side, A Secret West, was a much more experimental sounding track, that showed the pop psych side of Voigt/465. These two tracks were recorded during one session, and would showcase the different sides Voigt/465.
When State was pressed, it was as a limited edition of just 547. As a result, copies of State are now incredibly rare, and have changed hands for Aus$325. When State was released, it was on a local label Unanimous Weld Enunciations. Singles were sold locally and at gigs. A few were sent to DJs, and would later spread the word about Voigt/465.
Buoyed by having released their debut single State, Voigt/465 were full of energy and enthusiasm. They played several gigs and in August 1978, managed to convince the owners of French’s Wine Bar to allow them to play live. For the show, Voigt/465 took along a slide projector, which would show a lysergic light show. This was all very Pink Floyd circa 1967, and something that Voigt/465 thought would appeal to the patrons.
As Voigt/465 took to the stage the venue was just about full. When started to play, it looked like they had won over the audience. Then came the lysergic light show, which proved to be their undoing. Suddenly, the audience turned on Voigt/465 and someone through a glass tankard at the band. Ross Turnbull remembers the shouts of: “you bunch of hippies.” For a group with impeccable post punk credentials that one hurt. Especially when Voigt/465 realised that the hecklers were fans of Voigt/465. The only small crumb of comfort was that the band got paid. However, the fallout continued the next day.
To make matters worse, the events at French’s Wine Bar resulted in drummer Bruce Saddler leaving Voigt/465 the next day. What should’ve been a successful show had cost the band their second drummer. Now the search began for a replacement.
Eventually, Voigt/465 settled on Mark Boswell, who was chosen as Bruce Stadler’s replacement. He soon had settled into life as Voigt/465’s drummer, and was ready to make his debut.
Mark Boswell made his Voigt/465 debut at Garibaldi’s, an Italian community centre in East Sydney that had seen better days. That didn’t matter to Voigt/465, who were one of the bands supporting The Thought Criminals. When Voigt/465 started to play, they soon, had won over the audience. So much so, by the time that Voigt/465 left the stage, it was a to a standing ovation. That night, Voigt/465’s music was discovered by a whole new audience.
That came as no surprise. After the events at French’s Wine Bar, Voigt/465 went in search of like-minded people. Suddenly, they were preaching to the converted and playing in front of audiences who were part of Sydney’s post-punk scene. This made a huge difference, and soon, Voigt/465’s star in the ascendancy.
Suddenly, things started to fall into place for Voigt/465. The group moved into a new rehearsal room in October 1978 in Darlinghurst. At last, they could practise anytime they wanted. This was very different to the two previous years, where they were constantly hunting for places to practice and work on new songs. Not any more, now that Voigt/465 had their own practise area. They also hoped to interest a record company in their music.
Although there were a number of record companies in Sydney, Voigt/465’s bassist Lindsay O’Meara was about to embark upon a journey overseas, where he hoped to interest record companies in their single State b/w A Secret West. The five members of Voigt/465 had high hopes for the single, and hoped that when Lindsay O’Meara returned, it would be with several offers of recording deals.
Before Lindsay O’Meara headed off on his journey, Voigt/465 decided to play one more gig. Just like many of gigs that Voigt/465 had played, it would be financed by the band. The venue they choses wasn’t in one of Sydney’s many pubs or clubs. Instead, in the spirit of ’76, it was at the Western Distributor construction site in Pyrmont.
This was somewhere that was off-limits for the public. That was no surprise, given huge electricity pylons crisscrossed the makeshift venue. However, someone managed to secure entry into the site, and the band started setting up their equipment. Soon, Voigt/465 were ready to play. That was when things started to go awry.
As the band took to makeshift stage, most of the band weren’t feeling well. They had caught a flu bug from Ross Turnbull, but didn’t want to disappoint their fans by cancelling. The show had to go on. To make matters worse, the band were experiencing problems with their PA. After a lengthy delay, eventually, Voigt/465 took to the makeshift stage, and when they looked down, the crowd numbered no more than fifteen, including a couple of curious kids. Not long after Voigt/465 started to play, site security turned up the gig was over before it began. However, Voigt/465 managed to squeeze in I Wanna Be Your Dog as an encore. For Voigt/465 it had been a night to forger. Especially when they realised that they had lost Aus$64.
While the Pyrmont gig was a disappointment, soon, Lindsay O’Meara returned from his travels, and had some good news. Although he hadn’t received any offers of recording contracts, it turned out that John Peel had been playing State on BBC Radio one show, and the song was being on the Australian radio station 2JJ. Buoyed by this news Voigt/465 decided to concentrate their efforts, and see if they could make a breakthrough. It certainly seemed tantalizingly close.
Over the next month, things started to fall into place for Voigt/465. They secured a residency at the Sussex Hotel in May 1979, and proved a popular draw. Those who paid the Aus$1 entry fee, saw Voigt/465 at the peak of their powers. The band had never played as well. It was as if everything had been leading to this. Later, in May 1979, Voigt/465 embarked upon a short, but successful tour of Melbourne. Just like their performances at the Sussex Hotel, the gigs they played in Melbourne are regarded as some of the band’s finest performances. It seemed that Voigt/465 were on the verge of a breakthrough.
Sadly, that wasn’t the case. After having enjoyed a hugely successful time during May 1979, Voigt/465 started discussing their future musical direction. There had already been disagreements about the band’s future direction. Some of Voigt/465 wanted to play rock, while others in the band wanted to focus solely on improv. This was something that Voigt/465 had already explored and incorporated as part of their genre-melting sound. However, what had started off as a discussions about the future direction of Voigt/465 resulted in bassist Lindsay O’Meara leaving the band.
Given how important a part Lindsay O’Meara played in Voigt/465’s sound, the rest of the band knew that they couldn’t continue without out him. Voigt/465 called time on their career, despite being tantalizingly close to making a breakthrough.
After making the decision to split-up, the band started to regret that they had never documented the life and times of Voigt/465. Now it was too late. Or was it?
Eventually, the five members of Voigt/465 started to talk about reuniting for the sole purpose of documenting their musical lives together. It took much cajoling and convincing, but the members of Voigt/465 agreed to put their differences to once side to record an album together.
To record the album, Voigt/465 returned to Axtent Studios, in suburban Kogarah. That was where the session for the album Slights Unspoken was recorded. The album was recorded quickly, with Voigt/465 drawing inspiration from a variety of bands, whilst fusing elements of art rock, avant-rock, electronica, improv, industrial, Krautrock, noise, post-punk, psychedelia and punk. Over the course of the session, an emboldened Voigt/465 strut their way through the ten songs that would eventually become Slights Unspoken.
Voigt/465 play with power and intensity, and sometimes with freedom and fluidity. Other times, their playing is inventive and innovative as they throw curveballs and take the music is a very different direction. Sometimes, they experiment and improvise as they take the listener on a voyage of discovery. For what was their swan-song, up the ante and play as if their very lives depended upon it during that final session at Axtent Studios, where they documented three years of making music.
They play with power and intensity on the album opener Voices A Drama, where post punk meets art rock in this anthem-in-waiting. This gives way to the genre-melting Red Lock On See Steal, which features Voigt/465 at their most inventive and innovative, as they seamlessly fuse elements of Krautrock, industrial, electronica and psychedelia. In doing so, they reveal the other side of Voigt/465. A Welcome Mystery is reminiscent of Voices A Drama, with art rock and post-punk playing their part in another anthemic track. Imprint is a jittery fusion of post punk and punk, that brings memories of ’76. Many Risk bursts into life, and finds the two sides of Voigt/465 becoming one. It’s not just rocky, melodic, memorable and mesmeric, but showcases the much more experimental side of Voigt/465. Elements of Krautrock, industrial, art-rock and post-punk combined and close side one.
Voigt/465 play with power, intensity and inventiveness on Is New Is, as they use punk and post punk as the building blocks for the track. To this they head briefly in the direction of improv, before lysergic washes of Hendrix-inspired feedback transform the track. Briefly, 4 Hours meanders, before this choppy and punchy post punk gradually begins to reveal it secrets. It’s one of the highlights of the album. At just a minute long, P is the musical equivalent of an amuse-bouche. P’s hypnotic and strangely melodic sound is sure to tantalize. F1 finds Voigt/465 experiment and improvise as they take the listener on a voyage of discovery during this seven minute epic. Closing the album was Winchsoul, where the two sides of Voigt/465 unite. Elements of improv and rock are combined with post punk as Voigt/465 close Slights Unspoken on a high.
These ten songs that were recorded at Axtent Studios would eventually become Slights Unspoken which was Voigt/465’s debut album. Slights Unspoken was released in September 1979, and was released by Unanimous Weld Enunciations. Two different pressings of the album were released. The first features a white picture sleeve cover, while the second version has an orange coloured album cover with different artwork. Nowadays, both are incredibly rare and highly collectible. So much so, that original copies of Slights Unspoken are beyond the budget of most record buyers.
Thankfully, Mental Experience, an imprint of Guerssen Records has recently released Slights Unspoken. It’s available on CD, vinyl and as a digital download. The newly released CD and version of Slights Unspoken on features the ten tracks on the album, plus Voigt/465’s debut single State and the B-Side A Secret West. So does the LP version of Slights Unspoken. However, the LP includes a free digital download coupon, that is akin to a ticket to a magic kingdom.
The download code give the proud owner access to five bonus tracks. Some were recorded live, while others were recorded in the studio. However, three bonus tracks stand head and shoulders above the rest. They’re not just bonus track, but barnstorming cover versions recorded between 1978-1978, which feature Voigt/465 in full flight. These cover versions includes Remake/Remodel, which is a track from Roxy Music’s 1972 eponymous debut album. A Rainy Day Sunshine is a track from Krautrock pioneers Faust’s 1972 sophomore album So Far. The other cover version is Connection, which featured on Can’s album Unlimited Edition. These three tracks are an irresistible reminder of Voigt/465 and their genre-melting sound, and are a reminder of one of the greatest bands to emerge out of Sydney’s post-punk scene.
Despite that, Voigt/465 went their separate ways after the release of Slights Unspoken. There were no last-gasp attempts to rescue the group. By then, the damage had been done, and some members of Voigt/465 had moved on. It was the end of era, for the five members of Voigt/465, who if things had been different, could’ve gone on to greater things. Alas, it wasn’t to be.
Instead, Voigt/465’s musical legacy was Slights Unspoken, which features a band at the peak of their powers. It features Voigt/465 the day they reunited to record what wasn’t just their debut album, but was also their swan-song, Slights Unspoken, which album that documents their place in Sydney’s musical history.
Voigt/465-Slights Unspoken.
INNERPEACE-RARE SPIRITUAL FUNK AND JAZZ GEMS: THE SUPREME SOUND OF PRODUCER BOB SHAD.
Innerpeace-Rare and Spiritual Funk and Jazz Gems: The Supreme Sound Of Producer Bob Shad.
Label: Wewantsounds.
During his long and successful career, Bob Shad always managed to see the big picture musically, and as a result, was always step ahead of the competition. In doing so, this allowed him to survive and thrive for forty years within the fiercely competitive music industry. This included the years he spent running Mainstream Records.
Bob Shad founded Mainstream Records as a jazz label in 1964. By 1965, Bob Shad realised that music was changing, and decided to that Mainstream Records should release a much wider and eclectic selection of music. This would include rock music. For the next five years, Mainstream Records’ new roster proved popular and profitable. That changed in 1970. When the label went into the red, Bob Shad decided to relaunch Mainstream Records.
The newly relaunched Mainstream Records would feature a newly designed label and would release just jazz albums, and even the occasional single. Bob Shad had devised a criteria for the albums he was willing to release. They had to be traditional jazz albums. Bob Shad wasn’t willing to release albums that featured synths and electronics. Soon, he realised this was unrealistic as fusion’s popularity was on the rise. The new policy didn’t last long. Another change was that Mainstream Records began to release soul and jazz.
That came as no surprise. By then,there had been a blurring of the lines between what was soul and jazz. Even critics and record buyers were confused. This blurring of the lines resulted in Mainstream Records’ musical policy changing, and the label releasing a much wider selection of music including the eleven tracks on Innerpeace-Rare and Spiritual Funk and Jazz Gems: The Supreme Sound Of Producer Bob Shad, which was recently released by Wewantsounds. It’s the followup to Feeling Good-Funk Soul and Deep Jazz Gems: The Supreme Sound Of Producer Bob Shad. These two compilations are a reminder of the ambitious, inventive and eclectic music that Bob Shad’s newly relaunched Mainstream Records released post 1971. However, when Bob Shad’s career began, music was very different.
Bob Shad’s career began as a session musician in the forties. For Bob Shad this was just the start of his career. He didn’t plan on spending his life as a session player. He knew that he was destined for greater things. Although he was just a session musicians, Bob Shad made it his business to know everyone within the New York music scene. Soon, he knew everyone that mattered. Whether it was Dizzy Gillespie, Charlie Parker or Coleman Hawkins, Bob Shad knew them. There was a reason for this. Bob Shad was looking to the future.
Bob Shad didn’t want to remain a session player. The role of musical hired gun wasn’t for Bob. He had ambition and saw the bigger picture. Soon, Bob Shad was working as a producer in post-war New York. Mostly, Bob was producing R&B. This was just the next step in Bob’s game-plan.
In 1948, Bob founded his first label Sittin’ In With. He was inspired to do this because of his love of jazz. This resulted in Bob discovering the blues. With his portable tape recorder, Bob Shad headed to the South and taped some of the greatest names in blues music including Lightnin’ Hopkins, Memphis Slim, Big Bill Broonzy and Smokey Hogg. Having recorded one blues player, they would tell Bob about another. He continued to crisscross the South taping some of the legendary blues players. When he had eventually returned to the Big Apple, Bob Shad started to release these singles on his own labels.
Somehow, Bob Shad still found time to freelance. Some of the artists he discovered were released on other labels. This includes Eddie “Cleanhead” Vinson and Savannah Churchill. While these records sold in vast volumes, Bob didn’t make much money. It taught him an important lesson. That was only to release music on his own labels.
Despite founding a series of labels during the early fifties, Bob Shad agreed to work full-time for Mercury Records. Still, Bob Shad founded a series of labels. This included the Castle, Harlem, Jackson, Jade, Jax and Spirituals’ labels. He realised the importance of having separate labels for separate genres of music. Bob Shad realised that when record buyers saw a label, they had to know what type of music it would release. This was the case throughout his career.
By 1958 had tired of being a company man, and decided to focus entirely on his own labels. Bob Shad founded further labels, including Shad, Time and Warner. Then in 1959, Bob founded Brent Records which for eight years, was Bob Shad’s soul label. Between April 1959 and October 1967, Brent released seventy-five singles. However, midway through this, in 1964, Bob Shad released a new label Mainstream Records.
When Bob founded Mainstream Records in 1964, it was originally a jazz label, which mainly released albums and a few singles. However, by 1965, rock was King and Bob Shad decided that Mainstream Records should release a wider range of music. This included rock.
For the next five years, Mainstream Records’ new roster proved popular and profitable. That was until 1970, when Mainstream Records started to lose money. Bob Shad knew he had to take action, and soon, he had hatched a plan to relaunch Mainstream Records.
The newly relaunched Mainstream Records would feature a newly designed label and would release just jazz. Mostly, Bob Shad intended to return to releasing mostly albums, with the occasional single. However, Bob Shad had a criteria for the albums he was willing to release.
He was going to only release what he saw as traditional jazz albums. Bob Shad didn’t want to release albums where synths and electronics featured. This was somewhat unrealistic given that fusion’s popularity was growing. It was no surprise that this new policy didn’t last long. However, that wasn’t the only change in Mainstream Records’ policy. The newly launched label began to release soul and jazz.
This came as no surprise. By then, the there had been a blurring of the lines between what was soul and jazz. Even critics and record buyers were confused. However, this blurring of the lines resulted in Mainstream Records’ musical policy changing, and the label releasing a much wider selection of music.
This included Harold Land,Roy Haynes, Charles Williams, Buddy Terry, Hadley Caliman, Frank Foster and Pete Yellin. That isn’t forgetting Dave Hubbard, Sonny Red, Lamont Johnson and Shelly Manne. Tracks from these eleven artists feature on Innerpeace-Rare and Spiritual Funk and Jazz Gems: The Supreme Sound Of Producer Bob Shad. It’s tantalising taste and reminder of the spiritual sounding music that Mainstream Music were producing from 1971 onwards.
Bob Shad at Mainstream Music wasn’t the only producer making this music. Bob Shiele at Flying Dutchman Productions and Creed Taylor at CTi were both producing style of music. Each producer gave it their own twist. The recipe for this music included the spiritual jazz of the early seventies and modal jazz chords. To this, a myriad of Eastern influences and funky beats were added. Producers like Bob Shiele, Creed Taylor and Bob Shad gave this musical dish a stir, and added a few other ingredients.
That was what Bob Shad started doing in 1971, when he released the first of the MRL 100 jazz series. Little did he realise that he would end up releasing nearly 100 albums. While these albums featured ambitious, inventive and inimitable music, some of it had been inspired by music’s past.
This ranged from the blues which Bob Shad had crisscrossed the South recording much earlier in his career. Other albums in the MRL 100 jazz series seemed to draw inspiration from big band music and jazz. However, much of the music on that Bob Shad recorded for the MRL 100 jazz series was unique and groundbreaking. Some of it was way ahead of its time. Eleven tracks from the MRL 100 jazz series feature on Innerpeace-Rare and Spiritual Funk and Jazz Gems: The Supreme Sound Of Producer Bob Shad.
It opens with Harold Land’s In The Back, In The Corner, On The Dark (aka Blues For Oliver The Tall Pilgrim). It’s a track from the 1972 album Damisi, where Harold Land is accompanied by a stellar selection of top class session players. This includes drummer Leon Ndugu Chancler, bassist Buster Williams and Bill Henderson on electric piano. They accompany tenor saxophonist Harold Land as he incorporates elements of modal and fusion on this memorable example of spiritual funk.
A year after releasing Hip Ensemble on Mainstream Records, drummer Roy Haynes returned with Senyah. It shown a new light on Roy Haynes, as he reinvented his music with the help of producer Bob Shad. One of this critically acclaimed album’s highlights was the title-track, Senyah. Roy Haynes and his multitalented band kick loose and showcase their considerable talents. Especially, tenor saxophonist George Adams, the fluid and understated sound of Roland Prince’s guitar and Carl Schroeder on the electric piano. They play starring roles in this blistering, post bop masterpiece.
In 1972, Charles Williams released Stickball, which was his third album for Mainstream Records which featured Iron Jaws. It was also released as a single in 1972, but failed to make an impression on the charts. That is a great shame. Iron Jaws is a near seven minute, jazz-funk workout, where the Charles Williams and his all-star band enjoy the opportunity to stretch their legs. Gradually, this nuanced, slow burner, starts to reveal its secrets as organist Don Pullen and guitarist Cornell Dupree play leading roles. They play their part in a mesmeric and spiritual sounding epic that isn’t was one of the highlights of Stickball.
Buddy Terry had signed to Mainstream Records in 1971, and released Awareness, which was his third album. The followup Lean On Him was released in 1972, and featured Buddy Terry and a band that featured the crème de la crème of sessions players. They enjoy the chance to shine on what was the highlight of Lean On Him, Inner Peace. It’s a ten minute spiritual funk epic that ebbs and flows, rising and falling and in the process revealing its beauty, secrets and subtleties. Quite simply, Inner Peace is a spiritual funk classic, and that epitomises everything that is good about the genre.
It wasn’t until Hadley Caliman signed to Mainstream Records that he recorded his debut album. Bob Shad spotted the potential in the tenor saxophonist and flautist, and knew that Hadley Caliman was ready to make the step up from sideman to bandleader. He led a sextet on his 1971 eponymous debut album. It opened with Cigar Eddie, which is a story of two a blistering but beautiful and impassioned tenor saxophone solos. When the first drops out, John White Jr lays down a flawless, fluid guitar solo. Hadley Caliman then returns and plays with fluidity, control and emotion on this beautiful and uplifting interpretation of spiritual jazz.
When Frank Foster released The Loud Minority in 1974, the album failed to find the audience it deserved. This only came later, when a new generation of record buyers discovered the track Requiem For Dusty. Suddenly, DJs, sample hungry hip hop producers and jazz fans started looking for copies of The Loud Minority. Before long, the album was a cult classic. That is still the case today, with Requiem For Dusty a favourite of many a DJ. They’ve been won this glorious musical tapestry where Frank Foster weaves the big band sound with funk, fusion and modal jazz. The result is a vivid, joyous and truly irresistible sounding track where Frank Foster and his all-star band kick loose.
Having signed to Mainstream Records, saxophonist Pete Yellin released his debut album Dance Of Allegra in 1972. It featured four lengthy tracks, including Mebakush, a nine minute suite. It’s the perfect showcase for the septet that Pete Yellin leads. They enjoy their moment in the spotlight, and embrace they opportunity to improvise on this soulful, ruminative and spiritual epic that is guaranteed to invite reflection.
When Bob Shad signed saxophonist Dave Hubbard, he too, was still to release his debut album. That would change in 1971 he released his eponymous debut album. It featured BC, which was released as a single in 1972. BC was the perfect showcase not just for Dave Hubbard and his tight and talented band. They all play their part in the sound and success of BC. Especially Albert Dailey’s fleet-fingered, shimmering electric piano solo. It comes close to sealing the show. However, Dave Hubbard’s playing is fast, fluid, as he combines power and passion. Always, though he’s in control as his saxophone breezes alone, playing a leading role in this spiritual jazz hidden gem.
Alto saxophonist and flautist Sonny Red came to prominence during the hard bop era. By 1971, music had changed, and Sonny Red was trying to reinvent himself with the help of Bob Shad. He had signed him to Mainstream Records, and in 1971 he released his eponymous album. It opens with Love Song, which Sonny Red wrote using his real name, Sylvester Kyner. While each member of the band plays their part, the triumvirate of pianist Cedar Walton and Sonny Red on tenor saxophone and flute are at the heart of the action. They carve out a beautiful, captivating, mesmeric and spiritual jazz opus.
LaMont Johnson released his debut album Sun, Moon and Stars on Mainstream Records in 1972. It featured Libra’s Longing, which closed the album. As is often the case, it was a case of keeping the best until last. Libra’s Longing ebbs and flows taking twists and turns as it reveals a myriad of surprises and subtleties. Elements of a much more tradition jazz sound combines with funk and even a hint of jazz-funk as LaMont Johnson and his band play with freedom, fluidity and invention. Libra’s Longing is a reminder of LaMont Johnson’s oft-overlooked album Sun, Moon and Stars.
Closing Innerpeace-Rare and Spiritual Funk and Jazz Gems: The Supreme Sound Of Producer Bob Shad is Shelly Manne’s 1972 album Mannekind has long been a favourite of sample-hungry hip hop producer. However, there’s much more to Mannekind than a source of samples. It’s also one of the best albums of albums released on Mainstream Records in 1972. A reminder of Mannekind is Infinity, forty-four seconds of inimitable percussive sounds that can be found on many hip hop albums.
The eleven tracks on Innerpeace-Rare and Spiritual Funk and Jazz Gems: The Supreme Sound Of Producer Bob Shad are a reminder of the quality of music that Bob Shad’s Mainstream Records consistently and constantly released throughout its fourteen year history of Mainstream Records. It was founded by Bob Shad in 1964, and closed its doors in 1978. During that fourteen year period, Bob Shad ensured that Mainstream Records remained relevant.
During that period, music was constantly changing. Bob Shad saw what this happening, and decided to change direction musically. This was something that many independent labels shied away from. However, Bob Shad embraced changed and knew that the only way Mainstream Records to stay relevant and ergo solvent, was to release different type of music.
By the early seventies, the lines between what was soul and jazz were blurring. Bob Shad decided that Mainstream Records should release a much more eclectic selection of music, including soul, funk and jazz. This included the spiritual funk and jazz that features on Innerpeace-Rare and Spiritual Funk and Jazz Gems: The Supreme Sound Of Producer Bob Shad. It features a mixture of new names like Hadley Caliman, Pete Yellin, Dave Hubbard, plus familiar faces like Shelly Manne and Sonny Red, who with Bob Shad’s help, were in the process of reinventing their music. Whether they were newcomers or veterans, they were all creating ambitious inventive and spiritual funky and jazz.
The recipe for this music included the spiritual jazz of the early seventies, modal jazz chords, funky beats and a myriad of Eastern influences. Given a stir by producer Bob Shad, and this delicious musical stew featured on Mainstream Records MRL 100 jazz series. Eventually, the series numbered nearly 100 albums. This includes the eleven albums that provided the music on Innerpeace-Rare and Spiritual Funk and Jazz Gems: The Supreme Sound Of Producer Bob Shad, which was recently released by Wewantsounds. It’s the second in what hopefully, will be a long-running series that looks back at the music Mainstream Music released during the seventies
After Bob Shad relaunched Mainstream Records in 1971, the success story continued. Meanwhile, some of his competitors were shutting their doors. Meanwhile, Bob Shad continued to rejuvenate the career of artists whose careers had stalled, and launch the career of the new, up-and-coming artists. To do this, Bob Shad didn’t hesitate to employ top quality musicians, arrangers and producers. Especially when he believed in an artist and saw that they had untapped potential.
With Bob Shad’s help and guidance, older artists reinvented themselves, while new and up-and-coming artists released new and innovative music. At last, some of the new artists were fulfilling their potential and enjoying the commercial success and critical acclaim that their music deserved. Sadly, that wasn’t the case.
Sometimes, the commercial success eluded albums, and it wasn’t until later they were discovered by a new generation of record buyers. Sometimes, the problem was that the album was way ahead of the curve, and record buyers failed to understand groundbreaking albums. Another problem was that Mainstream Records was a small fish in a big pond.
Major labels and independent labels funded by majors had much bigger budgets, to promote and distribute their releases. Bob Shad was fighting a losing battle. Still, he continued his search for talented artists that might bring Mainstream Records that elusive hit single, as the label released a much wider and eclectic selection of music. This included music on Innerpeace-Rare and Spiritual Funk and Jazz Gems: The Supreme Bob Shad.
Despite releasing music that was ambitious, inventive, innovative and timeless, Mainstream Records never enjoyed the commercial success that the music so richly deserved. Instead, Mainstream Records was an underground label, whose music was enjoyed by cultured coterie of musical connoisseurs.
Although Mainstream Records never enjoyed the widespread success that its music deserved, the company continued to release albums until 1978. Then after fourteen years, Bob Shad decided the time had come to close Mainstream Records’ doors. That day music lost one of its great labels.
Mainstream Records was relaunched in the early nineties by another member of this musical dynasty,Tamara Shad. Sadly, one man was missing when Mainstream Records reopened its doors…Bob Shad. Sadly, he had passed away on March 13th 1985. Bob Shad was just sixty-five, but had enjoyed a long and successful career. He had founded numerous labels, including Mainstream Records in 1964.
Fifty-three years later, and the music Mainstream Records released between 1964 and 1978 lives on. It’s more popular than ever, and with every year that passes more people discover the delights of Mainstream Records’ illustrious back-catalogue. This ranges from DJs and sample-hungry hip hop producers to a new generation of music fans.
Many of them have discovered Mainstream Records through recent reissues and compilations, including Innerpeace-Rare and Spiritual Funk and Jazz Gems: The Supreme Sound Of Producer Bob Shad. It’s the recently released followup to Feeling Good-Funk Soul and Deep Jazz Gems: The Supreme Sound Of Producer Bob Shad, which was released in late 2016. These two compilations are the perfect introduction to the ambitious, innovative and timeless music that Mainstream Records released after its relaunch in 1970. They’re also a reminder and celebration of a legendary music man Bob Shad, and what’s regarded as his greatest and most enduring label,..Mainstream Records.
Innerpeace-Rare and Spiritual Funk and Jazz Gems: The Supreme Sound Of Producer Bob Shad.
ZEPHYR-ONE OF THE BEST BANDS YOU’VE NEVER HEARD.
Zephyr-One Of The Best Bands You’ve Never Heard.
Like many bands who don’t reach the heights that their music deserves, the story of Zephyr is one of what might have been. They released a trio of albums between 1969 and 1972, which nowadays, have a cult following including Zephyr, Back To Colorado and Sunset Ride. These two albums feature one of the best bands you’ve never heard. Their story began in 1969.
That was when Zephyr formed in Boulder, Colorado by eighteen year old guitarist Tommy Bolin, keyboardist John Faris, drummer Robbie Chamberlin, bassist David Givens and his wife Candy Givens, who became the lead vocalist and harmonica player. They were all talented musicians who shared a love of music. Their talent and love of music shawn through as they began to play live.
By then, the nascent band, had been named Zephyr, purely because the it “sounded ethereal.” Soon, the newly named Zephyr were honing their sound on the Boulder music scene. It was a mixture of blues, jazz and rock. This proved popular, and soon, Zephyr were playing all around Colorado. They had quickly built up loyal following and were already working on their eponymous debut album.
Zephyr.
Zephyr began work on their debut album not long after the band were formed. It was as if the five members of Zephyr were making up for lost time. They were determined that Zephyr should fulfil its potential.
Each member of the band was a talented musician. Although each member of the band came from different musical backgrounds, they had played blues and rock ’n’ roll. That was the commonality that they shared. Some of the members of Zephyr were also budding songwriters.
Especially Tommy Bolin, David Givens and his wife Candy Givens, who wrote six of the nine tracks on Zephyr. Tommy Bolin and Candy Givens wrote Sail On and Huna Buna. David Givens penned Boom-Ba-Boom and wrote Cross The River with his wife Candy Givens. They wrote Somebody Listen with John Faris while Hard Chargin’ Woman was credited the five members of Zephyr. The other two tracks on Zephyr were cover versions. This included Dee Clark’s Raindrops and Joe Primrose a.k.a. Irving Mills’ St. James Infirmary Blues. To record their eponymous debut album, Zephyr headed to Los Angeles.
Their destination Wally Helder Studios, which was one of L.A.’s top recording studios. It was a far cry from the basement of Cindy Givens’ parent’s house, where some of the songs had been arranged. Zephyr were going up in the world. Especially since Bill Halverson was about to produce Zephyr.
This was a big deal for the Zephyr who were still a relatively new band. They had come a long way in a short space of time. However, they were already a tight band. The rhythm section featured drummer Robbie Chamberlin, bassist David Givens and guitarist Tommy Bolin. John Faris switched between organ, piano and flute, while lead vocalist Candy Givens also played harmonica. Producer Bill Halverson was tasked with capturing the energy of Zephyr who were a charismatic and versatile band. It wasn’t going to be easy, but Bill Halverson succeeded in doing so.
Later in 1969, Zephyr was released on the Probe label, which was an imprint of ABC Records. The album received plaudits and praise upon its release. Praise was heaped on lead vocalist Candy Givens and virtuosos guitarist Tommy Bolin. They were regarded as key to the sound and success of Zephyr as they switched between musical genres.
Almost seamlessly, Zephyr switched from blues to rock ’n’ roll and sometimes, became a jam band. Regardless of which style Zephyr played, their energy, enthusiasm and charisma shawn through. It seemed that Zephyr had been influenced by MC5, Ram Jam, Iron Butterly and even Cream, Led Zeppelin, Janis Joplin and John Mayall and The Blues Breakers. All these influences shown through on Zephyr, which should’ve found a much wider audience.
Upon its release later in 1969, Zephyr wasn’t a hugely successful album. It sold reasonably well in Boulder and across Colorado. However, it failed to find an audience further afield. Considering Zephyr had only been together less than a year, and it was only their debut album, they were well ahead of the musical curve.
Back To Colorado.
It wasn’t until late 1970 that Zephyr began work on their sophomore album Back To Colorado. By then, Zephyr had moved from Probe to Warner Bros. Zephyr it seemed, were going up in the world. However, this wasn’t the only thing that had changed.
Zephyr’s lineup had changed. Robbie Chamberlin, Zephyr’s original drummer had left and been replaced by Bobby Berge. This was the first of several changes in Zephyr’s lineup. What hadn’t changed, was that most of the songs on Back To Colorado had been written by members of Zephyr.
This included David and Candy Givens. They wrote Miss Libertine; while David Givens penned Night Fades Softly and The Radio Song and Candy Givens contributed At This Very Moment. She also wrote Going Back To Colorado with John Tesar and Tommy Bolin. The John Tesar and Tommy Bolin songwriting partnership wrote Keep Me and I’ll Be Right There. Tommy Bolin who seemed to be blossoming as a songwriter, also penned and Showbizzy. These ten tracks would become Back To Colorado, which was recorded in late 1970.
For the recording of Zephyr’s Warner Bros debut, Electric Ladyland Studios, in New York was booked. It was one of the Big Apple’s top studios, and where many classic albums had been recorded. Producing Zephyr’s sophomore album Back To Colorado was Edward H. Kramer, who took a hands on approach to recording an album.
When recording of Back To Colorado began, the rhythm section now featured new drummer Bobby Berge, bassist David Givens and Tommy Bolin who played all the guitar parts and vibraphone. Zephyr’s multi-instrumentalist John Faris, played organ, piano, flute, soprano saxophone and sung the lead vocal on Take Me Love. Candy Givens took charge of eight of the nine remaining lead vocals and played harmonica. Augmenting Zephyr were backing vocalists; Buzzy Linhart who added the lead vocal on The Radio Song and Paul Conley who played a Moog synth. Producer Edward H. Kramer played piano, clarinet and percussion on Back To Colorado, where he helped Zephyr reinvent themselves musically. Eventually, Back To Colorado was completed, and was released in 1971.
Before the release of Back To Colorado, critics received a copy of the album. They discovered a quite different album from Zephyr. Back To Colorado had a much more experimental sound, and found Zephyr move away from the blues rock and jams that peppered their eponymous debut album. The only time the blues rock sound featured, was on the title-track and Showbizzy. For the rest of Back To Colorado, Zephyr move towards a Southern Californian sound.
Most of music has a much more mellow and laid back folk-rock sound. Occasionally jazz and psychedelia can be heard Back To Colorado. Mostly, though, there’s a late-sixties influence throughout Back To Colorado. This harks back to the hippy era, when peace, love, understanding and revolution were the order of the day. That is still the case on Back To Colorado, as Zephyr rekindle the spirit of the sixties. Especially on Miss Libertine and See My People Come Together where Tommy Bolin unleashes one of his finest solos. Despite his guitar not featuring as prominently on Back To Colorado, he still plays a starring role throughout Back To Colorado.
So does vocalist Candy Givens, despite some of her vocals attracting criticism back in 1971. Forty-six years later, and some of the criticism seems somewhat unjust. On Back To Colorado, Candy Givens showcases her talent and versatility. Sometimes, she draws inspiration from, and seems determined to channel the spirit of Janis Joplin. Other times, she eschews power and different side of Candy Givens can be heard. Proof of that is Candy’s vocals on Keep Me, I’ll Be Right Here and At This Very Moment. They range from tender, sultry, powerful, soulful, impassioned and earnest. Cindy Givens had the ability to breath left, meaning and emotion into lyrics. This she did a number of times on Back To Colorado, which was released later in 1971.
When Back To Colorado was released in 1971, the reviews were mixed. There was no consensus amongst critics. Some liked Zephyr’s new sound, while others preferred the their eponymous debut album. It was a similar case with record buyers, with some embracing their new sound and others preferring their debut album. As a result, Back To Colorado failed to chart, which was a huge disappointment for Zephyr.
One member of Zephyr decided to call time on his career with Zephyr. Twenty year old Tommy Bolin left Zephyr, leaving the band without a guitarist. David Givens found his replacement in Jock Bartley, who was a member The Children, who often supported Zephyr. He would make his debut Sunset Rise.
Sunset Ride.
When work began on Zephyr’s third album, Sunset Ride, there had further changes to the band’s lineup. Drummer Bobby Berge left after just one album, and was replaced by P.M. Wooten. John Alfonse was brought onboard to play congas. However, the biggest loss was multi-instrumentalist John Faris. He played keyboards, flute and saxophone and had played a part in the songwriting process. Replacing John Faris, was Dan Smyth who played organ and piano. It was a very different lineup of Zephyr that began work on Sunset Ride.
Only Candy and David Givens remained from the original five members of Zephyr. The changes in the lineup left a void when it came to writing Sunset Ride. Especially the departure of Tommy Bolin, who was one of Zephyr’s principal songwriters. For Sunset Ride, Candy and David Givens wrote the most of the album. They wrote I’m Not Surprised and Someone To Chew Together. David Givens penned No Time Lonesome, Moving Too Fast and wrote Sold My Heart with Jock Bartley. Cindy Givens contributed Sierra Cowgirl and Sunset Ride and joined with A. Armstrong and Jock Bartley to write Winter Always Finds Me. New recruit Dan Smyth made his songwriting debut when he wrote Chasing Clouds. The other track on Sunset Ride was a cover of Billy Edd Wheeler’s High Flying Bird. These ten tracks would become Sunset Ride.
When Zephyr began recording Sunset Ride, there was no sign of Edward H. Kramer. Instead, David Givens and Zephyr produced Sunset Ride. It marked the debut on the third lineup of Zephyr. The rhythm section was changed beyond recognition, with drummer P.M. Wooten joined bassist David Givens who played acoustic guitar on Someone To Chew and sung on No Time Lonesome. The third member of the rhythm section was guitarist Jock Bartley, whose vocals feature on Sold My Heart and Winter Always Finds Me. The other two newcomers were organist and pianist Dan Smyth and conga player John Alfonse congas. Candy Givens took charge of the lead vocals, played harmonica and piano on I’m Not Surprised, Sierra Cowgirl and Sunset Ride. Augmenting Zephyr was violinist Bobby Notkoff, who featured on No Time Lonesome. This new lineup of Zephyr decided to combined the old and new on Sunset Ride.
Once Sunset Ride was completed, Warner Bros. sent copies of Zephyr’s third album to music critics. They discovered a very different album Back To Colorado. Zephyr returned to the sound of their eponymous debut album. There were two difference though. The first was that Tommy Bolin’s flashy guitar licks were missing. As a result, Candy Givens wasn’t tempted to compete with them. She reigned in the power and delivers much more restrained vocals than featured on Zephyr. Candy also seems to relish the opportunity to showcase her versatility which began to blossom on Back To Colorado. Sunset Ride was a new start for Zephyr.
They begin with blues rock of I Am Not Surprised where Candy delivers a much more restrained, but just as effective vocal. That is the case on Someone To Chew and High Flying Bird. Boulder born guitarist Jock Bartley eschews the flashy solos of Tommy Bolin, and in doing so, leaves more room for Candy’s vocal. No longer is she competing with the guitar. Soon though, it’s all change.
Time Lonesome showcases a much more mellow, but wistful sound. Moving Too Fast has a rockier sound, while Candy delivers a sultry vocal and plays blues harmonica. Sold My Heart is an understated, acoustic song which shows a totally different side to Zephyr. On Sierra Cowgirl, Candy’s filmic lyrics conjure up pictures of the Wild West. Chasing Clouds is a slow, thoughtful song that feature a tender vocal from Candy. Sunset Ride flows melodically and ethereally along as Candy scats above the cascading arrangement. Winter Always Finds Me which closes Sunset Ride is something of a slow burner. Its experimental, genre-melting sound gradually reveals its secrets, and when it does, it’s well worth the wait. Zephyr were back, with what was a return to form.
So good was Sunset Ride, that some critics felt it rivalled Zephyr’s eponymous debut album. It was also a more eclectic, but cohesive album. Whether it was blues rock, country, folk rock, pop or rock there was something for most tastes. Alas, when Sunset Ride was released in 1972, the album failed to trouble the charts. History had repeated itself for Zephyr. It was the last straw.
Not long after the release of Sunset Ride, Zephyr split-up. They had been together just three years, had three different lineups and released three albums. This includes Zephyr, Back To Colorado and their swan-song Sunset Ride, which sees Zephyr’s music develop over the three-year period they were together.
Back To Colorado was a much more experimental album, that had been influenced by South Californian music and the hippy ideals of the late sixties. It’s an underrated album that marked the swan-song of guitar virtuoso Tommy Bolin. He and lead vocalist Candy Givens were key to the sound and success of Zephyr. The only problem was Tommy Bolin’s guitar sometimes dominated the arrangements, forcing Candy Givens to complete with the guitars. That wasn’t the case on Back To Colorado, where Tommy Bolin’s guitar was reigned in. After Back To Colorado, he left Zephyr and formed the jazz-rock group Energy. Ironically, Candy Givens continued to blossom.
Although many critics remember Candy Givens as someone who unleashed a series of vocal powerhouses, that wasn’t always the case. She was a talented and versatile vocalist, who was capable of switching between different musical genres. She proved this to some extent on Back To Colorado, and blossomed on Sunset Ride. It was the album that could’ve and should’ve transformed the career of Zephyr. Sadly, it wasn’t to be and they spilt-up not long after the release of Sunset Ride. That looked like the end of the road for Zephyr.
Ten years later, and Zephyr hit the comeback trail, and released their fourth album Heartbeat in 1982. Sadly, by then one of the founding members of Zephyr had been dead for nearly six years. Virtuoso guitarist Tommy Bolin has died of a drugs on ‘4th’ December 1976, aged just twenty-five. He had played an important part in the Zephyr story. So had Candy Givens, who passed away in 1984. After the death of Candy Givens, Zephyr called it a day for good.
Zephyr’s legacy was the four albums they released between 1969 and 1982. This includes Back To Colorado and Sunset Ride, which feature one of the best bands you’ve never heard, Zephyr.
Zephyr-One Of The Best Bands You’ve Never Heard.
MIKE CITY-PRESENTS THE FEEL GOOD AGENDA VOLUME 1.
Mike City-Presents The Feel Good Agenda Volume 1.
Label: BBE.
Mike City’s big break came seventeen years ago in 2000, when he wrote and produced Carl Thomas’ number one hit I Wish. This proved to be a game-changer for Mike City. Suddenly, people within the music industry started to take notice of Mike City, who had been forging a career as a songwriter and producer. However, writing and producing a number one gave Mike City’s career a major boost.
Soon, Mike City was being asked to work with some the major names in hip hop, R&B and soul. This included Brandy, Rihanna, Angie Stone and Jamie Foxx. Mike City was going up in the world.
The rise and rise of Mike City continued when he cowrote Heard It All Before for Sunshine Anderson. It gave her a top ten hit on both sides of the Atlantic in 2001. Heard It All Before was one of five song Mike City cowrote for Sunshine Anderson’s 2001 debut album Your Woman. When it was released it sold over 750,000 copies in America and was certified gold. Mike City seemed to have the Midas touch
Philly born singer, songwriter and producer Mike City had also come a long way in a short space of time. He started off as a singer, but later switched to drums and bass, then decided to try keyboards. This was all good experience for when he launched his production career. However, recently, Mike City returned with his long-awaited sophomore album Presents The Feel Good Agenda Volume 1 on BBE. It’s the followup to 1998s City Limits. It must seem like another country to Mike City.
Having written hit singles for Carl Thomas and Sunshine Anderson, suddenly, Mike City was much in-demand, and soon, was writing songs and producing some of the biggest names in hip hop, R&B and soul. This included writing a trio of songs for Lala Hathaway’s fourth album Outrun The Sky in 2004. A year later, Mike City penned Like It Was Yesterday for Brandy’s fourth album Afrodisiac. Then in 2006, wrote Dem Haters for Rihanna’s sophomore album A Girl like Me. Mike City had come a long way since he wrote and produced I Wish for Carl Thomas.
2006 saw Mike City was reunited with Sunshine Anderson. He was one of the co-producers of her sophomore album Sunshine At Midnight, and wrote four tracks. When Sunshine At Midnight was released, the album sold around 175,000 copies. There was no second gold disc for Sunshine Anderson. However, the success continued for Mike City.
He worked on Brandy’s 2008 album Human, and the same year, wrote Say It Ain’t So for Musiq Soulchild. 2009 saw Mike City contribute It Wasn’t Me to Urban Mystic’s album GRIII: Old Skool 2 Nu Skool, and produce a track for rapper Mack 10’s album Soft White. This brought to an end a decade where Mike City had spent working with some of the biggest names in hip hop, R&B and soul. He must have been hoping this success would continue.
The new decade started as the old one ended, with Mike City working with some big names artists during 2011. He cowrote and produced Shut Up for Ledisi’s fifth studio album Pieces Of Me. Mike City also worked on Lalah Hathaway sixth album Where It All Begins; Anthony Hamilton’s fifth Back to Love; Carl Thomas’ fourth album Conquer. 2011 had been a busy year for Mike City.
So was 2012, with Mike City much in demand. By then, he had established a reputation as a versatile songwriter and producer, who was equally at home working with hip hop, Nu Soul, pop, R&B and soul artists. Mike was known for his distinctive vocal arrangements and melodic production style. It was no surprise that he was asked to work with many high-profile artists. He contributed two songs to Dwele’s album Greater Than One, while another two of Mike’s songs found their way onto Angie Stone’s sixth studio album Rich Girl. He also found time to work with Faith Evans and Mashonda. However, the biggest name he worked with during 2012 was Brandy. Mike City cowrote and produced Music which featured on the Deluxe Edition of Two Eleven. As 2012 drew to a close, Mike City had enjoyed another successful year.
The only problem with working on so many albums was that Mike City was never getting the chance to record the followup to City Lights. While this was frustrating, Mike City was a high-profile songwriter and producer. This was something many kids back in the Philly would’ve dreamt of. To them, Mike City was living the dream, and would continue to do so.
In 2013, Mike City got the opportunity to work with Maysa, who was now one of the leading lights of the Nu Soul scene. She had previously been involved in the smooth jazz scene and worked with British R&B and soul band Incognito. However, she was about to record her tenth solo album since debut Maysa in 1995. Mike City wrote This Much for Blue Velvet Soul. It gave Maysa her most successful album since Metamorphosis in 2008. Playing a small part in the album’s success was Mike City.
As 2014 dawned, Mike City began work on two high-profile projects. He penned Give It for Leela James 2014 album Fall For You, and then co-produced two songs on Faith Evans’ album Incomparable. Despite spending much of his time writing and producing for other people, Mike City found the time to collaborate with house producer Mark Francis.
He had been looking for someone to add vocals on his two tracks on his London Girls’ EP, and realised that Mike City fitted the bill. Mike City laid down the vocals on London Girls and It Keeps Things Interesting. These two tracks, became part of the Mike Francis’ London Girls EP, which was released in December 2014. This proved to be the first of three collaborations between the two men.
When Mike Francis was recording his Time Moves On EP, Mike City was drafted in to add vocals on Time Moves On and My Finger. These two songs became part of the Time Moves On EP, which was released in April 2015. However, the Mike Francis and Mike City partnership would return in 2016.
Ten months later, Mike Francis was preparing to release his I Need Your Love EP. Mike’s vocals featured on three of the four tracks, including the two mixes of I Need Your Love and Taking Over. These songs were released in February 2016 as the I Need Your Love EP. Mike’s return behind the microphone must have set him thinking about recording his sophomore album.
Before that, Mike City produced Trouble with Love for Amerie’s Drive EP, which was released in May 2016. By then, his star was in the ascendancy.
Recently, Mike City had been writing, producing and adding vocals to soulful house tracks. He was regarded as one of the top producers in the soulful house scene. However, Mike City was a versatile producer, who was capable of producing quality music across a variety of genres. Previously, he had worked on hip hop, Nu Soul, pop, R&B, rap, soul and now soulful house. Mike City was a versatile producer. Now he decided to put his versatility and experience to good use on his much-anticipated sophomore album, which eventually became Presents The Feel Good Agenda Volume 1.
For the recording of his sophomore album, Mike City was able to call on some of the artists he had worked with over the last sixteen years. Mike City made calls to Maysa, Dwele, Carl Thomas and Crystal Johnson. Among the other names Mike City invited to work on his sophomore album were Teedra Moses, Terri Walker and Junior, who was one of the biggest names on British soul scene. These artists joined Mike City and played their part in recording Presents The Feel Good Agenda Volume 1, which was recently released by BBE.
Presents The Feel Good Agenda Volume 1 opens with I Rock Wit U which features Dwele. It bursts into life with pounding drums, stabs of synths and percussion setting the scene for Dwele’s tender vocal. Mike City seems keen to make an impression, and meanwhile, carefully crafts the arrangement. Drums provide the heartbeat, while synths flit in and out, and are augmented by tough keyboards, percussion and whistles. It’s the perfect backdrop for Dwele’s soulful vocal on this delicious slice of sunshine soul.
Straight away, Everybody Loves A Winner showcases a melodic and memorable sound. Filters are added to the shimmering keyboards and big, bold drums before Mike’s vocal enters. Soon, he’s joined by a funky bass and stabs of horns. Later, strings and harmonies are added as the arrangement ebbs and flows. By then, a melodic, anthem-in-waiting is unfolding.
100 Miles features vocalist Carl Thomas. His vocal is ushered in by a pounding 4/4 beat while glistening, mesmeric keyboards are drizzled across the arrangement. Soon, another layer of keyboards add a contrast, while Carl adds an impassioned, hopeful vocal. As He even answers his own call, and seamlessly the vocals melt into one, and play their part in smooth and memorable slice of Nu Soul.
As drums provide the heartbeat, a funky bass, keyboards and even some sci-fi sounds combine on When I Luv. Soon, Faith Evans is delivering soulful, sultry vocal and is accompanied by Mike City. Their vocals work well, and sit together in the mix. Just like other tracks, the drums make their presence felt. They sound as if they’ve been mixed with the dance-floor in mind. However, they don’t overpower the arrangement. Especially, the holy trinity of the keyboards, harmonies and vocals, which play their part in the sound and success of the track. No wonder, with diva Faith Evans rolling back the years.
There’s almost an eighties sound to the keyboards and drums, before a whoosh signals the arrival of Teedra Moses’ vocal on Been Too Afraid. Reverb has been applied to her vocal, and is used subtly, before she duets with Mike. By then, a squelchy bass synth plays its part in the retro, old school arrangement. However, it’s Teedra Moses’ heartfelt and soulful vocal that steals the show, on a track that shows another side to Mike City’s production style.
Filters have been applied to the synths as hi-hats hiss and are joined by thunderous drums. They’re soon joined by Maysa who duets with Mike, on this dance-floor friendly song. Maysa also rolls back the years, and is one of the stars of the album as she delivers a joyous, soulful vocal. It’s as if Mike is spurred on, and raises his game. They’re joined by harmonies, hypnotic, jagged synths, an electric piano and percussion. Together, they play their part in one of the most memorable and melodic songs on the album.
The tempo increases on the piano led Up To It, where Mike takes charge of the vocal. This time, the drums are mixed further back leaving space for the piano and growling bass synth. It doesn’t overpower the rest of the arrangement, which later includes another synth and a sprinkling of percussion. Still, the piano leads the way, and proves the perfect accompaniment for Mike. Indeed, the song would work just as well, if not better with the piano, drums and even subtle percussion accompanying the vocal. Meanwhile, Mike continues to deliver what are some of the best lyrics on the album, which are like a mini soap opera set melodic and hooky music.
Layers of drums and washes of crystalline and sci-fi synths usher in Crystal Johnson’s vocal on More Of Me. Soon, she’s joined by Mike and their vocals sit well together. Meanwhile, a growling, pulsating bass synth has been added to the multilayered, dance-floor friendly song.
Washes of synths are joined by a melancholy horn as Here Together unfolds. Soon, bass synth is added as drums crack, as Mike delivers the vocal. He’s joined by Terri Walker, and soon, her coquettish vocal is transforming the song. It’s the final piece in the musical jigsaw. Suddenly, a hook-laden, dance-floor friendly slice of bedroom soul has taken shape, where music’s past and present unite.
The name Junior is a blast from music’s past. Back in the eighties, he was one of the stars of the British soul scene. He makes a comeback on Sang and Dance. A growling, buzzing bass synth cuts through the arrangement, before horns soar above the arrangement and drums crack. They’re joined by Junior, whose accompanied by soulful harmonies. Later, horns and pizzicato strings are added and accompany Junior. Latterly, vibes are added and with the pizzicato strings play their part of another slice of dance-floor friendly, soulful music.
Closing Presents The Feel Good Agenda Volume 1 is You’re In Heaven, which features Lalah Hathaway. Keyboards shimmer and join with synths, a funky bass and marching drums. Soon, Mike delivers a heartfelt vocal, before he’s joined by Lalah. Straight away, she ups the ante. That comes as no surprise, as she is one of the most underrated Nu Soul singers. They duet, and later, she enjoys her moment in the spotlight. After that, drums, bass and synths continue to provide the backdrop for the vocals, as they deliver what’s best described as soul with a social conscience.
Nineteen years have passed since Mike City released his debut album Limits in 1998. Much has happened to the Philly born singer, songwriter, musician and producer, including working with some of the biggest names in music. Some of them feature on Presents The Feel Good Agenda Volume 1, which marks the return of Mike City as a solo artist.
With the help of Maysa, Lalah Hathaway Faith Evans, Crystal Johnson and Dwele, Mike City recorded his much-anticipated sophomore album Presents The Feel Good Agenda Volume 1. It finds Mike City and friends combining elements of Nu Soul and R&B with funk, soulful house, hip hop, electronica and sometimes, a much more traditional soul sound on Presents The Feel Good Agenda Volume 1. It’s essentially a mixture of music’s past and present.
Mostly, though, Presents The Feel Good Agenda Volume 1 is a 21st Century album that showcases Mike City’s skills as a songwriter, producer, singer and musician. He wrote, produced, played on, added vocals and mixed Presents The Feel Good Agenda Volume 1. Mike City is a talented 21st Century musician, who has come a long way since he released his debut solo album City Limits. Since then, he’s rubbed shoulders with the great and good of music and has over 200 credits to his name. It’s no wonder that his solo career has taken a back seat. Thankfully, he found the time to write and record the twelve tracks on Presents The Feel Good Agenda Volume 1.
It includes some of the great and good of music that Mike City has worked with over the past two decades. Mike City has written and produced songs for many of these artists. They return the favour on Presents The Feel Good Agenda Volume 1, which marks the return of Mike City. Along with his talented friends, which includes musical A-listers, and the occasional name from music’s distant past, Mike City returns with his carefully crafted, long-awaited and much-anticipated sophomore album Presents The Feel Good Agenda Volume 1 which showcases the multi-talented Philly born singer, songwriter, musician and producer.
Mike City-Presents The Feel Good Agenda Volume 1.
CAN-THE SINGLES.
Can-The Singles.
After releasing eleven albums in eleven years, Can called time on their career in 1979. By then, Can were rightly regarded by critics as one of the most important, influential and innovative bands of the Krautrock era. However, like many of the Krautrock bands, Can hadn’t enjoyed the commercial success that their music had deserved. While their music found an a small, but discerning audience in Britain and France, Can, like many of the other Krautrock bands had failed to find audience in Germany. Eventually, though, things would change.
Thirty-eight years later, there has been a resurgence of interest in Krautrock, and especially some of the genre’s leading lights. This includes Can, who are now regarded Krautrock royalty. At last, groups like Can are receiving the recognition their music deserves. Despite this, many people who are just discovering Can’s music, are often unsure where to start?
Most critics and connoisseurs of Can’s music will have their own opinion with which albums are the perfect introduction. However, some music fans like to start with a compilation, which gives them an overview of a band’s music. Newcomers to Can will see that there are several compilations available, including Opener, the Cannibalism and Anthology-25 Years. While these compilations have their merits, the proliferation of Can compilations leaves newcomers to their music wondering where to start? Maybe the answer is a new compilation released by Spoon Records, The Singles. It’s a twenty-three track overview that covers Can’s entire career which started in 1968.
Can were formed in 1968, by Holger Czukay and Irmin Schmidt. Both had been students of Karlheinz Stockhausen and graduated in 1966. By then, Irmin Schmidt was twenty-nine. He was born in Berlin on ‘29th’ May 1937, and grew up playing piano and organ. Soon, it was apparent that he was a talented musician, and came as no surprise that Irmin headed to the conservatorium in Dortmund, to study music. This was just the start of Irmin’s studies.
From there, Irmin moved to Folkwang University of the Arts in Essen, before moving to Austria, and the Mozarteum University of Salzburg. The final part of Irmin’s musical education took place in Cologne, where Irmin met Holger.
The two future founding members of Can were studying composition under Karlheinz Stockhausen at the Cologne Courses For New Music. Between 1962 and 1966, Irmin and Holger studied composition. However, after they graduated, their lives headed in different directions.
Holger Czukay became a music teacher, and began a career educating a new generation of young Germans. Meanwhile, Irmin headed to New York.
During his time in New York, Irmin spent time with avant-garde musicians like Steve Reich, Terry Riley and La Monte Young. Soon, Irmin Scmidt was aware of Andy Warhol and Velvet Underground. This inspired him to form his own band when he returned home to Cologne.
By the time Irmin Scmidt returned home, Holger Czukay what he described to me “as a life-changing moment…the music of the past and present came together.” At last; “here was music that made the connection between what I’d studied and I was striving towards.” With the innovative use of bursts of radio and the experimental sound and structure, “I went in search of similar music.”
He found Velvet Underground, who made a huge impact on Holger. So much so, that he still remembers hearing Velvet Underground for the first time. “They were different…and really influential. They influenced the music I made.” This would include the music Holger Czukay made with Can.
When Irmin Scmidt returned home, he decided to form a band with his old friend Holger Czukay. So in Cologne in 1968, Can was born.
Pianist and organist Irmin Schmidt formed Can with American avant-garde flautist David C. Johnson and bassist Holger Czukay. Up until then, the trio had exclusively played avant-garde classical music. Now their ambitions lay beyond that. Their influences included garage, rock, psychedelia, soul and funk. So they brought onboard three new members of the group, which started life as Inner Space, and then became The Can. Eventually, they settled on Can, an acronym of communism, anarchy, nihilism
The first two new additions were guitarist Michael Karoli and drummer Jaki Liebezeit. Vocalist and New York-based sculptor Malcolm Mooney joined the band midway through 1968. By then, they were recording material for an album Prepare To Meet Thy Pnoom. Two tracks, Father Cannot Yell and Outside My Door were already recorded. Unfortunately, record companies weren’t interested in Prepare To Meet Thy Pnoom. As a result, it wasn’t released until 1981, when it was released as Delay 1968. Undeterred, Can continued to record what became their debut album, Monster Movie.
Despite not being able to interest a record company in Prepare To Meet Thy Pnoom, Can were confident in their own ability. So Can continued recording what would become their debut album Monster Movies. However, soon, there was a problem.
David C. Johnson left Can at the end of 1968. He was disappointed at the change in musical direction. Little did he realise that he’d lost the chance to be part of one of the most groundbreaking band’s in musical history, Can and one of their most influential albums…Monster Movie.
Monster Movie.
Monster Movie had been recorded in Schloss Nörvenich, which is a 14th Century castle in North Rhine-Westphalia. Can recorded Monster Movie between 1968 and 1969. Gradually, it took shape and eventually, and the album was ready for released.
When Monster Movie was released August 1969, Can were still billed as The Can. This would soon change. So would music with the release of their debut album Monster Movie.
Can’s career started as they meant to go on, when they released what was a groundbreaking, genre-melting opus. Monster Movie was a fusion of blues, free jazz, psychedelia, rock and world music. There was one influence that shown through, the music of the Velvet Underground influence. It’s as if Can have been inspired by Velvet Underground and pushed musical boundaries to their limits.
Throughout Monster Movie, Can improvised, innovated and experimented. Multilayering and editing played an important part in Monster Movie’s avant-garde sound. So did spontaneous composition, which Can pioneered.
Spontaneous composition was hugely important in Can’s success. Holger Czukay remembers: “that the members of Can were always ready to record. They didn’t take time to think. It was spontaneous. The music flowed through them and out of them.” Holger remembers that he was always: “given the job of pressing the record button. This was a big responsibility as the fear was failing to record something we could never recreate.” In some ways, Can were an outlet for this outpouring of creativity, which gave birth to a new musical genre.
This new musical genre was dubbed Krautrock by the British music press. Not only was Monster Movie the album that launched Can’s career, but marked the birth of a new musical genre, Krautrock. The founding father’s of Krautrock was Can.
Soundtracks.
Having released their debut album Monster Movie in August 1969, Can returned with their sophomore album in 1970, Soundtracks. Essentially, Soundtracks was a compilation of tracks Can wrote for the soundtracks to various films. It’s the album that marked the departure of vocalist Malcolm Mooney. Replacing him, was Japanese busker, Kenji Damo Suzuki. He features on five of the tracks, contributing percussion and vocals. The addition of Damo wasn’t the only change Can were making.
Soundtracks was a coming of age for Can. It marked a move away from the psychedelic jams of Monster Movie and a move towards their classic sound. That saw the music becoming much more experimental and avant-garde. The music took an ambient, meditative, mesmeric and thoughtful sound. This had already featured on 1969 Can’s debut single Soul Desert, which featured She Brings The Rain the B-Side. Alas, the single didn’t even trouble the charts, and nowadays, is a prized item among collectors. However, for Can an important period of their career had begun.
The release of Soundtracks marked the beginning of what became known as Can’s classic years, when albums like Tago Mago, Ege Bamyasi and Future Days were released. During this period, Can released the golden quartet and it seemed, could do no wrong.
Tago Mago.
The first instalment in the golden quartet was Tago Mago, which was the first album where Kenji Damo Suzuki was a permanent member of Can. He and the rest of Can spent a year in the castle in Schloss Nörvenich. It was owned by an art collector named Mr. Vohwinkel who allowed Can to stay at Schloss Nörvenich rent free. For what Holger described as: “a poor man’s band,” this was perfect.
Holger remembers Can during this year as: “just jamming and seeing what took shape. Songs started as lengthy jams and improvised pieces.” This Holger says: “how Can always worked” After that, Holger edited the songs which became and the mini masterpieces featured on Tago Mago, which was four months in the making.
For four months between November 1970 and February 1971, Can recorded what would become one of their most innovative and influential albums, Tago Mago.
It was a double album that featured seven groundbreaking tracks. Tago Mago was released in February 1971. and straight away, critics realised the importance of Tago Mago. Here was a game-changer of an album. It has an intensity that other albums released in 1971 lacked. Jazzier with an experimental sound, the music is mysterious, mesmeric and multilayered. It’s innovative, with genres and influences melting into one. Nuances, subtleties and surprises reveal themselves. No wonder, Can were at the peak of their creative powers as they deliver what was regarded as an avant-garde masterclass.
This comes courtesy of jazz-tinged drumming, improvised guitar playing and showboating keyboard solos. Then there was Kenji Damo Suzuki’s unique vocal style. All this, resulted in an album that was critically acclaimed, influential and innovative.
Released to widespread critical acclaim in 1971, Tago Mago was the start of a golden period for Can. Their reputation as one of the most innovative groups of the seventies started to take shape. Can had released one of the most innovative albums, Tago Mago. Holger remembers the reaction to Tago Mago. “I knew Tago Mago was an innovative album, but I never realised just how innovative an album it would become?
On Tago Mago’s release, it was hailed as their best album yet. Although they didn’t regard themselves as a singles band, Can still released singles to promote Tago Mago. In Britain, Spoon was released as a single, with I’m So Green on the B-Side. Meanwhile, in Germany Turtles Have Short Legs a non-album track had been released as a single with Halleluwah on the B-Side. The other single was I’m So Green, which featured Mushroom on the flip-side. While none of the singles made any impact on the charts, Tago Mago had already left its mark on music.
Since then, several generations of musicians have been inspired by Tago Mago, a true Magnus Opus, that belongs in every record collection. So does the followup Ege Bamyasi.
Ege Bamyasi.
Before Can began even began to think of their next album, they enjoyed their first hit single. They had released Spoon as a single in 1972, with Shikaku Maru Ten on the B-Side. It reached number six in Germany, selling over 300,000 copies. That was helped no end, by the single being used as the theme to a German thriller Das Messer. It seemed nothing could go wrong for Can. Can were on a roll.
With the money they had made from Spoon, they started to think about recording their next album. The only problem was they hadn’t anywhere they could record an album. This was a huge problem. While most bands would’ve hired a recording studio, it had taken many months for Can to complete previous albums and hiring a studio for such a lengthy period would prove prohibitively expansive It made more sense to hire a space that could be turned into a makeshift studio. A decision was made to advertise to see if anyone had a suitable space to record Can’s next album. Their luck was in, when Can were offered the opportunity to hired a disused cinema to record their fourth album, which became Ege Bamyasi.
Recording began in the disused cinema, which doubled as a recording studio and living space. The sessions at Inner Space Studio, in Weilerswist, near Cologne didn’t go well. Irmin Schmidt and Kenji Damo Suzuki took to playing marathon chess sessions. As a result, Can hadn’t enough material for an album. This resulted in Can having to work frantically to complete Ege Bamyasi. Despite this, Can were still short of material. It was then that a decision was made to add their hit single Spoon, which meant that Ege Bamyasi was, at last, completed.
Ege Bamyasi was a fusion of musical genres. Everything from jazz, ambient, world music, psychedelia, rock and electronica melted into one. When it was Ege Bamyasi released in November 1972, it was to the same critical acclaim as previous albums. Critics were won over by Can’s fourth album. It was perceived as a more accessible album than its predecessors. Just like Can’s previous albums, the quality of music was consistent.
Critics hailed Can as one of the few bands capable of creating consistent and pioneering albums. They were one of the most exciting bands of the early seventies. Can were continuing to innovate and influence musicians and music lovers alike. Just like its predecessor, Tago Mago, Ege Bamyasi is an essential part of any self-respecting record collection. Having released two consecutive classic albums and their first single, it seemed nothing could go wrong for Can.
Future Days.
Despite Tago Mago and Ege Bamyasi being referred to as two of the most influential albums ever released, Holger Czukay prefers Future Days. This is the album he calls: “my favourite Can album.” It was the third in Can’s golden quartet, and marked a change in direction from Can.
Future Days saw Can’s music head in the direction of ambient music. The music is atmospheric, dreamy, ethereal, melancholy, expansive and full of captivating, mesmeric rhythms. It’s also pioneering and progressive, with elements of avant-garde, experimental, psychedelia and rock melting into one. Rather than songs, soundscapes describes the four tracks. Future Days and Bel Air showcase Can’s new sound. Bel Air was the Future Day’s epic. It lasted just over nineteen minutes, and takes the listeners on an enthralling musical journey. Bell Air was the final part of Future Days, which was another opus from Can.
When Future Days was released in August 1973, it was immediately hailed a classic by music critics. The move towards ambient music may have surprised some Can fans. However, Can, just like Brian Eno were one of the early pioneers ambient music in the seventies. This move towards ambient music must have pleased Holger’s guru Karlheinz Stockhausen. He must have looked on proudly as Can released the third of a quartet of classic albums. Two months the release of Future Days, Moonshake was released as a single in October 1973, with Future Days on the B-Side. Alas, it didn’t replicate the success of Spoon. Despite that, Can would continued to enjoy critical acclaim when they released the final album in the golden quartet, Soon Over Babaluma in 1974.
Soon Over Babaluma.
Soon Over Babaluma marked the end of Can’s golden period. It was the end of a period where they were releasing some of their most innovative and groundbreaking music. There was a change of direction on Soon Over Babaluma. Can were without a vocalist.
Kenji Damo Suzuki had left Can and married his German girlfriend. He then decided to become a Jehovah’s Witness. Despite the lack of a vocalist, Can continued as a quartet, and released Soon Over Babaluma in November 1974.
When Soon Over Babaluma was released in November 1974, the album quite rightly received praise and plaudits from both critics and cultural commentators.With a myriad of beeps, squeaks and sci-fi sounds, Soon Over Babaluma is like musical journey into another, ‘21st’ Century dimension. A musical tapestry where layers of music are intertwined during five tracks on Soon Over Babaluma. A month later, Dizzy Dizzy was released as a single with Come Sta La Luna on the B-Side. This was the final single Can released from the golden quartet.
The golden quartet ended with another album classic album from Can. Soon Over Babaluma followed in the ambient footsteps of Future Days and brought to a close the most fruitful period of Can’s career. Following the “golden quartet,” Can didn’t go into decline. Instead, Can continued to reinvent themselves and their music.
Landed.
Can’s next album, Landed, was released in September 1975. It had been recorded between February and April 1972 at Inner Space Studios. Just like previous albums, Can produced Landed. Holger and Tony Robinson mixed the first four tracks at Studio Dierks, Stommeln. The other two tracks were mixed by Holger at Inner Space Studios. These six tracks marked a change of direction from Can.
As well as a change in direction musically, Landed was the first Can album to be released on Virgin Records. Gone was the ambient sound of Soon Over Babaluma. Only Unfinished on Landed has an ambient influence. Instead, Landed showcased a poppy, sometimes glam influence. This was apparent on the singles Hunters and Collectors, and Silent Night Cascade Waltz which featured Vernal Equinox on the B-Side. Both songs showcased Can’s new sound. With uptempo, shorter songs, Landed was a much more traditional album. How would the critics react?
Critics were divided about Landed. Some critics saw Landed as the next chapter in the Can story, while others praised the album as adventurous, eclectic and innovative. Others thought Can were conforming. Surely not?
Flow Motion.
Just over a year after the release pot Landed, Can returned with Flow Motion, which was their eight album. As usual, it was recorded at Inner Space Studios and was produced by Can, Flow Motion was an album that drew inspiration from everything from funk, reggae, rock and jazz. It was a truly eclectic, genre-melting album. It’s also one of Holger Czukay’s favourite Can albums.
Holger remembers Flow Motion as an: “innovative and eclectic” album. He calls it: “one of Can’s underrated albums.” Flow Motion marked a another change in Can’s way of working.
Released in October 1976, Flow Motion featured lyrics written by Peter Gilmour. This was a first. Never before, had anyone outside the band had written for Can. It worked. Can enjoyed their first UK single I Want More which I Want More which featured…And More on the B-Side. I Want More would later be recorded Fini Tribe and then Italo disco group Galaxis. With what was just their second hit single in seven years, maybe Can were about to make a commercial breakthrough?
Saw Delight.
Sadly, that wasn’t to be. Saw Delight which was released in March 1977, wasn’t the commercial success many people forecast. That was despite the new lineup of Can embracing world music.
Joining Can were bassist Rosko Gee and percussionist and vocalist Rebop Kwaku Baah. They’d previously been members of British rock band Traffic. Rosko Gee replaced Holger on bass. Holger decided to add a percussive element, Holger added a myriad of sound-effects. This was Holger at his groundbreaking best. Experimental sounds including a wave receiver was used. The result was one of the most ambitious albums Can had released.
The new lineup of Can was responsible for a bold, progressive and experimental album. While Saw Delight was well received by critics, it wasn’t a commercial success. The problem was, Saw Delight was way ahead of its time. If it had been released in the eighties, like albums by Paul Simon or Peter Gabriel, it would’ve been a bigger commercial success. Sadly, by then Can would be no more. That was still to come.
Later in 1977, Can released Don’t Say No as a single. It featured Return on the B-Side. Alas, Can didn’t enjoy the third hit single of their career. When Can returned with their next album Out Of Reach, all wasn’t well within the Can camp.
Out Of Reach.
Nine years after Can had released their debut album, Monster Movie, they released their tenth album, Out Of Reach. It was released in July 1978. The title proved to be a prophetic. After all, commercial success always seemed to elude Can. Not only did Out Of Reach fail commercially, but the Out Of Reach proved to be Can’s most controversial album.
So much so, that they disowned Out Of Reach. On Out Of Reach Holger was left to add a myriad of sound-effects. Bassist Rosko Gee and percussionist Rebop Kwaku Baah of Traffic returned. They were part of the problem. Holger confirms this. “During the recording of Out Of Reach, I felt an outsider in my own group. I was on the outside looking in. I was on the margins. All I was doing was add sound-effects.” For Holger, he felt his group had been hijacked by Rosko Gee and Rebop Kwaku Baah. Things got so bad, that Holger quit Can.
Sadly, Rosko Gee and Rebop Kwaku Baah dominated Out Of Reach. Gone was the loose, free-flowing style of previous albums. Even Jaki Liebezeit’s play second fiddle to Baah’s overpowering percussive sounds. The only positive thing was a guitar masterclass from Michael Karoli. Apart from this, things weren’t looking good for Can. It was about to get worse though.
The critics rounded on Out Of Reach. They found very little merit in Out Of Reach. Gee and Baah were rightly blamed for the album’s failure. Even Can disliked Out Of Reach. They later disowned Out Of Reach. Despite this, Rosko Gee and Rebop Kwaku Baah remained members of Can.
Unable to play with the necessary freedom Can were famed for, the two ex-members of Traffic stifled Can. Rebop’s percussion overpowers Jaki’s drums, which have always been part of Can’s trademark sound. At least Michael’s virtuoso guitar solos are a reminder of classic Can. A nod towards Carlos Santana, they showed Can were still capable of moments of genius. Sadly, there wouldn’t be many more of these.
Some time after the release of Out Of Reach, Can decided to release a new single. However, it wasn’t one of the songs from Out Of Reach. Instead, it was reworked version of Jacques Offenbach’s Can Can. This was somewhat surreal, and far removed from the music critics and record buyers expected from Can. They had moved far away from the music that featured on their golden quartet. Can’s loyal fans wondered what the future held for Can. Sadly, Can would breakup after their next album.
Can.
Following the commercial failure of Out Of Reach, the members of Can began recording what became their tenth album, Can. Remarkably, Rosko Gee and Rebop Kwaku Baah were still part of Can. Sadly, Holger was not longer a member of Can. He had left during the making of Out Of Reach. His only involvement was editing Can. This was a travesty.
Allowing Rosko Gee and Rebop Kwaku Baah to remain members of Can while Holger left the band he cofounded was a massive mistake. Faced with the choice or losing Holger or keeping Rosko Gee and Rebop Kwaku Baah in Can, should’ve been a no-brainer. Incredibly, Holger was marginalised further.
Neither Rosko Gee nor Rebop Kwaku Baah were suited to a band like Can. Both came from a very different musical background, and as a result the decision to hire them initially was flawed and questionable. Their playing on Out Of Reach was odds with the way Can played. They had spent their career playing with freedom that resulted in inventive and innovative music. The much more rigid style of Rosko Gee and Rebop Kwaku Baah stifled the other members of Can. To make matters worse, their playing overpowered the rest of Can, and was one of the reason’s for the album’s failure. Yet when recording of Can began, Rosko Gee and Rebop Kwaku Baah remained.
Can, which is sometimes referred to as Inner Space, was released in July 1979. Again, critics weren’t impressed by Can, and the album received mixed reviews. No longer was Can the critic’s darlings.
The music on Can was a fusion of avant-garde, electronica, experimental, psychedelia and rock. Add to that, a myriad of effects including distortion and feedback, and here was an album that divided the opinion of critics. While the critics agreed, it was better than Out Of Reach. They also agreed that Holger was sadly missed.
Even Holger’s renowned editing skills couldn’t save Can. Try as he may, he could only work with what he was given. He did his best with Can, which the eleventh album from the group he co-founded. By the time Can was released, Holger: “had come to a realisation, that it was time to go his own way.” Holger describes this as “necessary.”
Can had split-up after the release of Can. That was their swan-song. However, even before that, Holger: “felt marginalised, this had been the case since Rosko Gee and Rebop Kwaku Baah became part of Can. They had hijacked Can,” and ultimately, this lead to the death of a great and innovative band.
With Can now part of musical history, Irmin Schmidt, Holger Czukay, Michael Karoli and Jaki Liebezeit set about reinventing themselves. Music critics wondered whether they would form new bands or embark upon solo careers? Irmin Schmidt, Holger Czukay and Michael Karoli all embarked upon solo careers. However, Can left behind a rich musical legacy that included the eleven albums they released between 1969 and 1980.
During that period, Can had enjoyed widespread critical acclaim and commercial success. They were musical pioneers, who pushed musical boundaries and continued to release most ambitious and innovative music. This included their golden quartet of classic albums,Tago Mago, Ege Bamyasi, Future Days and Soon Over Babaluma. Each of these albums were regarded by critics as classics, and were a reminder of what Can had been capable of in their prime. Sadly, that was in the past.
Delay 1968.
Just a year after the release of Can, and the death of the group, Delay 1968 was belatedly released. This was the album that Can tried to release in 1968 as Prepare To Meet Thy Pnoom. Despite approaching several record companies, they rejected opportunity to release an album that was way ahead of its time. Sadly, this meant that Prepare To Meet Thy Pnoom languished unreleased in Can’s vaults.
Thirteen years later, and belatedly Prepare To Meet Thy Pnoom was released as Delay 1968. It was a reminder of Can as they prepared to embark upon their career. Delay 1968 was an ambitious and progressive album, where elements of avant-garde, psychedelia, rock, experimental and what became known as Krautrock. At long last, critics and record buyers were able to understand just how Can’s career took shape.
Delay 1968 was the missing piece of the jigsaw, and was the album that should’ve launched Can’s career. It showcased Can as their career began, and was a stepping-stone that lead to Monster Movie. Very few record buyers realised this, and thought that Monster Movie was the first album Can recorded and released.
Obviously that wasn’t the case, because Can had already recorded Prepare To Meet Thy Pnoom, which just like much of Can’s music, was way ahead of the musical curve. This became apparent when Delay 1968 was released in 1981. It was an important album, which may have changed musical history?
Suddenly, there were lots of unanswered questions. The first was if Can hadn’t recorded Prepare To Meet Thy Pnoom, would their career have progressed in the way it had? One can speculate whether Can would’ve gone on to release their golden quartet of classic albums if they hadn’t released Prepare To Meet Thy Pnoom? It was only when Delay 1968 was belatedly released in 1981 that critics realised the importance of the album.However, by then, it seemed that Can’s career was over. Or was it?
Rite Time.
Five years later, in December 1986, Can were reunited, and began work on their comeback album Rite Time in the South of France. Many within the music industry thought that Can would never record another album. However, time seemed to heal the wounds and the five members of Can decided to record their twelfth album.
For the recording sessions, normal service was restored. Can’s lineup featured Jaki Liebezeit, Holger Czukay, Michael Karoli and Irmin Schmidt, who had written eight new songs. They were joined in the studio by the vocalist Malcolm Mooney. However, Rosko Gee and Rebop Kwaku Baah were nowhere to be seen. They were’t part of the reunion that marked the return of Can.
Once the eight songs that would eventually become Rite Time were recorded, three years passed before the album was released. During this period, Can undertook extensive editing of Rite Time. As a result, when the album was eventually released, it was a different album to the one Can had originally envisaged.
Critics on hearing Rite Time, discovered that Can hadn’t tried to replicate their classic sound. That remained firmly in the past. Instead, Can continued to reinvent their music. Especially on songs like Give The Drummer Some, which showcased Can’s funky side, while the single Hoolah Hoolah was tinged with humour. Only the album closer In The Distance Lies The Future, hints at Can’s previous abstract, ambient sound. While Rite Time wasn’t the finest album of Can’s career, critics thought it was an improvement on Can and Out Of Reach.
When Rite Time was eventually released in October 1989, the album sold reasonably well. Despite the resurgence of interest in Can’s music and Krautrock in general, the album wasn’t a huge seller. Nor was the single Hoolah Hoolah, which was the last single that Can would release.
Can would never again return to the studio, and Rite Time in 1989 was their swan-song. It was thirteenth studio album, and was released twenty-one years after Can was formed in 1968. Much happened during the next twenty-one years.
Can went on to release albums ambitious, progressive and innovative music. That is why nowadays, Can is considered Krautrock royalty, and sit proudly at Krautrock’s top table, alongside Neu!, Cluster, Harmonia and Kraftwerk. That is where they belong.
After all, the Krautrock Kings Can’s influence on music can’t be underestimated. They’ve influenced and inspired several generations of musicians, and that is still the case today. Even today, a new generation of musicians regularly cite Can as a major influence on their music. As a result, many music fans are discovering Can’s music for the first time.
The problem newcomers to Can’s music are faced with, is where to start? They’ve released thirteen studio albums and several compilations, including The Singles which was recently released by Spoon Records. Many music fans use albums like The Singles as a gateway to a band they’re unfamiliar with. While The Singles will give them an introduction to Can’s music, it’s a case of caveat emptor. Many of the twenty-three songs on The Singles are edits of the original songs. To include the complete versions of each song would’ve resulted in two, maybe even three discs. However, by using edits, twenty-three of Can’s singles fit onto one CD, but three LPs. However, The Singles is a good overview and introduction to Can’s career.
After The Singles compilation, the next Can albums to buy are golden quartet of classic albums including Tago Mago, Ege Bamyasi, Future Days and Soon Over Babaluma. Then I would suggest Monster Movie and Soundtracks. These are Can’s best albums, and belong in every record collection.
Having discovered the delights of Can through The Singles, this will probably result in the start of a voyage of discovery through their back-catalogue. During this musical voyage of discovery, newcomers to Can’s music will discover albums of groundbreaking music from one of the giants of Krautrock, whose music is important, influential and innovative.
Can-The Singles.
SKEETER DAVIS-LET ME GET CLOSE TO YOU.
Skeeter Davis-Let Me Get Close To You.
Label: Playback Records.
Nowadays, Skeeter Davis is remembered and regarded as one of country music’s pioneers. She was one of the first women in country music to enjoy commercial success as a solo artist. This proved to be a game-changer.
Skeeter Davis paved the way for several generations of female country singers to enjoy a successful career as a solo artist. However, not only was Skeeter Davis a successful singer, but a successful songwriter, but a role model for young, up-and-coming female singer-songwriters. She inspired and influenced some of the biggest names in country music, including Tammy Wynette and Dolly Parton. They’ve both acknowledged the influence that Skeeter Davis had on their careers. Ironically, though, Skeeter Davis was very nearly lost to country music.
If that had been the case, then Skeeter Davis would never have enjoyed thirteen top thirty US Country hits between 1957 and 1963. This included Skeeter Davis’ 1962 million selling single The End Of The World and was certified gold. It was Skeeter’s first crossover single, and was followed by I Can’t Stay Mad At You in 1963. This rounded off a successful year.
As 1963 gave way to 1964, Skeeter Davis wondered how she would surpass what had been one of the most successful years of her career? She returned with one of the finest albums of her career, Let Me Get Close To You, which was recently rereleased by Playback Records. However, by the time Skeeter Davis released Let Me Get Close To You much had happened to the thirty-three year old star.
The Skeeter Davis story began in Dry Ridge, Kentucky on ‘30th’ December 1931, when Mary Frances Penick was born. Growing up, young Mary was an energetic child, prompting her grandfather to nickname her Skeeter. This stuck, and suddenly Mary became Skeeter. This was the name she would use when her solo career began.
Before that, Skeeter met Betty Jack Davis at the Dixie Heights High School, and the two became firm friends. The pair sang together in high school, and at the Decoursey Baptist Church. Later, the formed a duet The Davis Sister, which launched Skeeter’s career.
In 1951, The Davis Sisters were asked to travel to Detroit, to sing on WJR’s program Barnyard Frolics. This was the break that The Davis Sisters were looking for. Things got even better for The Davis Sisters when they were signed to RCA Victor later in 1951.
Although signed to RCA Victor, The Davis Sisters spent time acting as backing singers for The Lonesome Pine Fiddlers. They saw the potential in The Davis Sisters, and in 1953, encouraged them to get in touch with Stephen H. Sholes a producer at RCA Victor.
When Stephen H. Sholes heard The Davis Sisters harmonies, he offered them a recording contract. This they accepted and on May ’23rd’ 1953 The Davis Sisters entered the studio and recorded five songs, including I Forgot More Than You’ll Ever Know. It was released as The Davis Sisters’ first single the summer of 1953, and reached the top twenty in the US Billboard 100 and spent eight weeks number one on the US Country charts. Many industry insiders thought that this was the start of the rise and rise of The Davis Sisters.
Sadly, tragedy struck on August ‘1st’ 1953, when The Davis Sisters were involved in a terrible automobile accident. Betty Jack Davis died in the accident and Skeeter Davis sustained serious injuries.
Despite still recovering from her injuries, Skeeter was had been traumatized by the accident, was told by Betty Jack Davis’ overbearing mother that The Davis Sisters should continue. This was the last thing on Skeeter’s mind. She had lost her best friend, and suffered from serious injuries. However, Mrs Davis wasn’t going to be dissuaded, and told Skeeter that her other daughter Georgia Jack was now her partner in The Davis Sisters. Skeeter felt she was being manipulated, but had nobody to turn to. Both her parents were then drinking heavily, and reluctantly, Skeeter agreed that The Davis Sisters should continue.
The Davis Sisters continued for three more years, and even spent time touring with a young Elvis Presley. However, The Davis Sisters never came close to replicating the success of I Forgot More Than You’ll Ever Know.
By 1956, Skeeter who was then twenty-five, made two announcements. Not only was she getting married, but she had decided to retire from music. It looked like Skeeter’s career was over.
Just over a years later, Skeeter decided to make a comeback, and returned to country music in 1957. This time, it wasn’t as one half of The Davis Sisters, but as a solo artist. Skeeter started off touring with Ernest Tubb, and later in 1957, started working with guitarist and producer Chet Atkins.
In September 1957, Skeeter recorded what would become her debut solo single, Lost to a Geisha Girl. When it was released in December 1957, it reached number fifteen on the US Country charts, and launched Skeeter’s solo career. Little did anyone realise that this was the start of the rise and rise of one of the most successful female country singers.
Just two years after her comeback, Skeeter cowrote Set Him Free, which was released as a single in February 1959. It reached number five in US Country charts, and was later nominated for a Grammy Award. Five months later, in July 1959, Skeeter released Homebreaker as a single, which reached fifteen in the US Country charts. Skeeter then released her debut album I’ll Sing You A Song and Harmonize Too in November 1959. This rounded off one of the most successful years of Skeeter’s career. She enjoyed two singles, released her debut album and joined the Grand Ole Opry. Skeeter’s star was in the ascendancy.
Skeeter’s success continued in 1960, when she enjoyed a trio of hit singles. Her poignant reading of Am I That Easy To Forget reached number eleven in the US Country charts. Then when (I Can’t Help You) I’m Falling Too was released in July 1960, it reached number two in the US Country charts and thirty-nine on the US Billboard 100. This was Skeeter’s first crossover hit and the fourth hit single of her career. Soon, four became five when My Last Date (With You) was released in December 1960, and reached number four in the US Country charts, but twenty-six on the US Billboard 100. This was the perfect way to close the most successful year of Skeeter’s career.
As 1961 dawned, Skeeter released her sophomore album Here’s The Answer in January. It featured cover versions of hit singles by country artists, with Skeeter singing the answer songs. She breathed life, meaning and emotion into the songs, which showcased her ability to interpret a song. So did the two hit singles she released during 1961. When The Hands You’re Holding Now was released in March 1961, it reached number eleven in the US Country charts. The followup was Optimistic, which was released in September 1961, and reached number ten in the US Country charts. Skeeter’s partnership with Chet Atkins was proving fruitful.
The Chet Atkins and Skeeter Davis partnership were responsible for another trio of hits during 1962. Where I Ought To Be was released in January 1962, and reached number nine in the US Country charts. The followup The Little Music Box stalled at just twenty-two, before Skeeter returned with the biggest and most important hit of her solo career.
This was The End Of The World, which would introduce Skeeter Davis to a much wider audience. The End Of The World was a maudlin song that dealt with loss. Many people who weren’t fans of country music normally wouldn’t have listened to a heartbreaking song about loss that was delivered with honesty and emotion. However, the way Chet Atkins and Skeeter recorded the song was a game-changer. They added swathes of lush strings which defused the maudlin nature of the song, and complemented Skeeter’s soul-baring vocal. The result was a country song that would find a much wider audience. It also features on Let Me Get Close To You and is a reminder of one of Skeeter’s classic songs.
The End Of The World was an example of the new countrypolitan sound, which combined country with pop stylings. It introduced Skeeter to a much wider audience. Not only did The End Of The World reach number two in the US Country charts and US Billboard 100, it topped the Adult Contemporary charts and reached number four in the US R&B charts. Skeeter had crossed over and found a new audience within pop and R&B audiences. However, this resulted in cries of sellout from some of her loyal country fans. Despite this, this was it seemed that Skeeter Davis could do wrong.
Buoyed by the success of The End Of The World, Skeeter released her third album in March 1963, Skeeter Davis Sings The End Of The World. It was followed by I’m Saving My Love, which was released in April 1963, and is one of the bonus tracks on Let Me Get Close To You. When it was released I’m Saving My Love was released it reached number nine on the US Country charts and forty-one in the US Billboard 100. This was followed by a cover of Goffin and King’s I Can’t Stay Mad at You, which gave Skeeter a crossover hit when it was released in August 1963. It reached fourteen on the US Country charts, seven on the US Billboard 100 and two in the Adult Contemporary charts. Just two months later, Skeeter released her fourth album Cloudy, With Occasional Tears which reached eleven in the US Country charts. Skeeter Davis’ success continued apace.
In January 1964, Skeeter released a cover of Peter Udell’s wistful country ballad He Says The Same Things To Me. It reached seventeen in the US Country charts and forty-seven in the US Billboard. Tucked away on the B-Side was How Much Can A Lonely Heart Stand which is one of the Gonna Get Along Without You Now. It’s a real hidden gem, marries the countrypolitan sound with the girl group sound that was popular in 1964. This was something that Skeeter would return to.
Two months later, in March 1964, Skeeter released carefree poppy cover of Milton Kellum’s Gonna Get Along Without You Now. It reached number eight on the US Country charts, and surprisingly, given its radio friendly sound reached just forty-eight on the US Billboard 100. On the B-Side was the tender, hurt-filled cover of Now You’re Gone, which is another of the bonus tracks on Let Me Get Close To You.
After the success of Gonna Get Along Without You Now, Skeeter decided to cover Goffin and King’s Let Me Get Close To You for her next single. It was another commercial sounding single with crossover appeal. Hidden away on the B-Side was a hurt-filled version of The Face Of A Clown which is another of the bonus tracks on Let Me Get Close To You. When Let Me Get Close To You was released, many industry insiders thought that it would follow in the footsteps of Gonna Get Along Without You Now. Alas, the single stalled at forty-five on the US Country charts when it was released in July 1964. For Skeeter this was a disappointment.
Despite this disappointment, Skeeter returned with a cover of a rueful and melancholy cover of What Am I Gonna Do With You. An upbeat and breezy cover of Don’t Let Me Stand In Your Way was chosen for the B-Side. Despite the quality of both sides, (which feature on Let Me Get Close To You) What Am I Gonna Do With You reached just thirty-eight in autumn 1964. This was especially disappointing for Skeeter who was about to release her fifth album Let Me Get Close To You in December 1964.
For Let Me Get Close To You, twelve tracks that had been recorded been June 1962 and June 1964 were chosen. Some of these songs were familiar, and already had been releases as singles including Gonna Get Along Without You Now, I Can’t Stay Mad at You, Let Me Get Close to You and He Says The Same Things To Me. They were joined by eight other songs that had been recorded during sessions that took place between June 1962 and June 1964.
Of the eight ‘new’ songs, this included the beautiful, orchestrated, hurt-filled ballad Now I Lay Me Down To Weep which Skeeter wrote with Carolyn Penick. It’s followed by a cover of Dottie and Bill West’s Didn’t I, where Skeeter delivers a melancholy and rueful vocal where sadness and despair shine through. Skeeter’s cover of J O Duncan’s My Sweet Loving Man is upbeat, poppy and irresistibly catchy, and more than hints at the girl group sound that was popular when the song was recorded. Then Borney Bergantine and Better Patterson’s My Happiness sounds as if was tailor-made for Skeeter. Especially with lush strings accompanying her hurt-filled vocal. However, this is just part of the story.
The tempo drops on a cover of Johnny Tillotson and Lucille Cosenza’s Another You. It’s another tale of love lost, where flourishes of strings augment Skeeter’s vocal as elements of the countrypolitan and girl group sound combined successfully to create a beautiful ballad. Skeeter’s cover of Nancie Mantz and Keith Colley’s Ladder Of Success is another song that has been inspired by the girl group sound. Although very different to Skeeter’s early recordings, it shows a different side to a versatile and talented singer. When Skeeter covers Betty Sue Perry’s ballad Ask Me it’s understated and nuanced, with just a Spanish guitar, strings and harmonies accompanying her. Closing the album is another Goffin and King number Easy To Love, So Hard To Get, which has a slick, commercial and radio friendly sound. Skeeter it seemed had kept one of her finest moments until last on Let Me Get Close To You.
Before the release of Let Me Get Close To You, critics had their say on the album. It received plaudits and praise as Skeeter Davis switched between and combined elements of different musical genres on the twelve songs. Elements of country, countrypolitan, the girl group sound and pop can be heard on Let Me Get Close To You, where Skeeter moves seamlessly from ballads to uptempo songs. This augured well for the release of Let Me Get Close To You.
When Let Me Get Close To You was released in December 1964, the album sold reasonably well, and to some extent, introduced Skeeter Davis’ to a new audience. The success that she had been enjoying since her comeback looked as if it was going to continue. Especially after the success of the last five years, which cumulated with the release of Let Me Get Close To You.
Let Me Get Close To You was recently rereleased by the Australian label Playback Records. They’ve included on this lovingly curated album thirteen bonus tracks. Some of the bonus tracks are incredibly rare, including La La La which has never been released before. I Don’t Want To Love You is another song that wasn’t released when it was recorded. Instead, it made its debut on The Pop Hits Volume Two in 2006. It makes a welcome return on Let Me Get Close To You. So are two songs that were released in the mid-sixties.
The first is Sunglasses, which was released as a single in 1965. It’s another tale of love lost that stalled at just thirty on the US Country charts. A year later, in 1966, Skeeter contributed On And On And On to a compilation entitled Country Girls Sing Country Songs. It’s another of the hidden gems on Let Me Get Close To You, which is the perfect introduction to Skeeter Davis.
She was one of the true legends of country music, who released thirty-one studio albums during her long and illustrious career. That isn’t forgetting four tribute albums, five collaborative albums, fifteen compilations and fifty-seven singles. Given the sheer amount of music that Skeeter Davis recorded, a newcomer to her music would have no idea to start. Playback Records’ reissue of Let Me Get Close To You is the place to start.
Not only does it include one of the finest albums Skeeter Davis released during the sixties, it features thirteen bonus tracks. This ranges from singles, B-Sides, tracks from compilations and even an unreleased track. These songs were all recorded during the first half of the sixties, when country music was changing.
By then, the countrypolitan sound was growing in popularity, and Skeeter was one of its finest purveyors. This introduced her music to a much wider audience, and suddenly, her music had been discovered by pop and R&B fans. Right up until late 1964, Skeeter Davis was one of the most successful country singers. She had enjoyed fifteen top thirty US Country singles, fourteen of which reached the top twenty and eight reached the top ten. There was also the small matter of her million selling single The End Of The World. However, nothing lasts forever.
Even by the second half of 1964, Skeeter’s singles were no longer reaching the upper reaches of the charts. Although Skeeter was just thirty-three, her singles would never reach the same heights. However, her recording career continued until the late-eighties. However, her last album to chart was 1973s I Can’t Believe That It’s All Over. Sadly, it was all over for Skeeter Davis as far as chart success was concerned.
She continued to play live right up until her death on September ’19th’ 2004, aged just seventy-three. That day, country music lost not just a legend, but a musical pioneer, who had played her part in changing country music history. Not only did Skeeter Davis pioneering the countrypolitan sound, but paved the way for several generations of female country singers to embark on solo career. They owe a debt of gratitude to the late, great Skeeter Davis whose 1964 critically acclaimed fifth album The End Of The World has been reissued by Playback Records and is a reminder of a country music pioneer at the peak of her powers.
Skeeter Davis-Let Me Get Close To You.
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