JANNE SCHAFFER-KATHARSIS, EARMEAL AND PRESENS.
Janne Schaffer-Katharsis, Earmeal and Presens.
BGO Records.
Most people will have heard Swedish guitarist Janne Schaffer play many times, but never have realised it. He is one of Sweden’s premier session musicians, and has played with the great and good of Swedish music. This includes Sweden’s most successful musical export, Abba. Janne Schaffer played on many of Abba’s biggest hit singles during the seventies. However, his work as a session musician, and with Abba, is just part of the Janne Schaffer story.
His is a quite remarkable story. Janne Schaffer was born in the Swedish capital Stockholm, in 1945. Growing up, Janne Schaffer was always interested in music. So much so, that he built his first guitar in the woodwork class at the local high school. This was the first of many guitars that Janne Schaffer would own.
By the early seventies, Janne Schaffer was one of the top session musicians in Sweden. He played on Abba’s debut album Ring Ring which was recorded during 1972 and 1973. This was the start of a working relationship that would last much of the seventies. However, by the time Ring Ring was released on ’26th’ March 1973, Janne Schaffer was already planning to embark upon a solo career.
When Janne Schaffer released his eponymous debut album later in 1973, it topped the Swedish charts and was certified gold. This was a dream start to Janne Schaffer’s solo career.
Despite the success of his eponymous debut album, Janne Schaffer didn’t turn his back on session work. Janne Schaffer continued to work as a session musician throughout his solo career.
In 1974, Janne Schaffer’s eponymous debut album was released on the Vertigo label in Britain as The Chinese. Meanwhile, Janne Schaffer released his sophomore album Andra, back home in Sweden. Unfortunately, the album failed to match the commercial success of his debut album. Worse was to come when the Four Leaf label that Janne Schaffer became insolvent. This left Janne Schaffer without a record label.For Janne Schaffer this was a disaster.
Without a record company, Janne Schaffer returned to session work, and continued working with Abba. Janne Schaffer also enjoyed the opportunity to hone his jazz chops when he played on jazz trumpeter Tony Williams’ 1974 album Sleeping Bee. Janne Schaffer also worked with jazz drummer Tony Williams, on his latest project Pop Workshop, who released Song Of The Pterodactyl in 1974. Session work kept Janne Schaffer busy until he found a new record company.
It wasn’t until late 1975 that Janne Schaffer signed to CBS Records Swedish division. After a year where he was musically homeless, Janne Schaffer was going up in the world. He had signed to a major label. Janne Schaffer would three albums for CBS Records, Katharsis, Earmeal and Presens, which were recently remastered and rereleased as part of a two CD set by BGO Records. The CBS years marked the start of the next chapter in Janne Schaffer’s career.
Katharsis.
Having signed to CBS Records, Janne Schaffer was keen to begin recording his third album, which became Katharsis. More than a year had passed since Janne Schaffer released his sophomore album Andra. It had failed to match the commercial success of his eponymous debut album. Janne Schaffer was keen to begin work on his third album as soon as possible.
He had already written the eight tracks that would become Katharsis. All Janne Schaffer had to do was put a band together, and once rehearsals had taken place, they could begin recording Katharsis. Recording began in December 1975, with Janne Schaffer co-producing Katharsis with Lars Samuelson. They were joined in the studio by some of Sweden’s top musicians, including many close friends of Janne Schaffer.
Recording of Katharsis took place at two studios, Marcus Music and Europa Film. The sessions began in December 1975, and over the next four months eight tracks were recorded. During the recording sessions, the band were joined by a famous face, John “Rabbit” Burdock. He played the electric piano and clavinet on Bromma Struttin. Eventually, after four months, Katharsis was completed in March 1976. Now Janne Schaffer’s solo career could resume.
When Katharsis was released later in 1976, it was to widespread critical acclaim. Critics were won over by what was the most eclectic album of Janne Schaffer’s three album solo career. So was the Swedish record buying public, with Katharsis proving much more popular than its predecessor Andra. No wonder, as Katharsis showcased the considerable talents of Janne Schaffer and his all-star band as seamlessly, they switched between and combined musical genres.
That was case from the genre-melting album opener Bromma Struttin, which is a laid back fusion of funk, rock and even disco. During his first solo Janne Schaffer deploys a Talk Box and an array of effects as he showcases his virtuoso skills. This continues on Stocking Suite, which heads in the direction of progressive rock and then fusion. Janne Schaffer and his band’s playing veers between disciplined to a much freer and fluid style. The tempo then drops on The Blue Gate where funk gives way to fusion as Janne Schaffer and later, lock into a smouldering groove on what’s one of the highlights of Katharsis.
Janne Schaffer and his band continue to throw curveballs on Dimbaa Jullow,where they combined elements of fusion, progressive funk and even folk during this captivating and genre-melting track. Ramsa is a cinematic, folk-tinged track that conjures up images of country living. Janne Schaffer was inspired to write Atlanta Inn 2419 after touring America in 1974, and witnessing terrible weather. It’s a slow burner, that eventually reveals its secrets, and features a guitar masterclass from Janne Schaffer. This inspires his band to even greater heights on this nine minute epic. Uber rocky describes The Red Gate, which features layers of guitar as Janne Schaffer’s band become a power trio. Closing Katharsis is the ruminative sounding Wintergreen, which is an acoustic track that invites reflection. It also shows yet another side of Janne Schaffer.
After the success of Katharis in Sweden, CBS Records decided to release the album in Britain and America. They hoped that Katharis would find an audience in both countries. Katharis was well received by critics in both countries, and received praise and plaudits from Rolling Stone magazine. For Janne Schaffer, the future looked a lot brighter than it had after he released his sophomore album Andra. Now he was signed to a major label, and his career was back on track.
Despite the success of Katharis, Janne Schaffer continued to work as a session musician. This included working with Abba, who were by then, one of the biggest pop groups in Europe. However, out of the blue, Janne Schaffer received an invitation from Columbia to play at one of the most prestigious events on the music calendar, the Montreux Jazz Festival.
At the Montreux Jazz Festival, Janne Schaffer found himself rubbing shoulders with the great and good of jazz. This induced some legendary names from jazz’s past, including Dexter Gordon, Stan Getz and Maynard Ferguson. They were joined by the next generation of fusion musicians, including George Duke, Billy Cobham, Bob James, Eric Gale and Steve Khan. Despite such illustrious company, it was Janne Schaffer that was chosen to play on Andromeda, an twenty-two minute epic that later featured on Montreux Summit Volume 1 when it was released in 1978.
Appearing at the Montreux Jazz Festival did wonders for Janne Schaffer’s career. At last he was receiving the recognition that his music deserved. It wasn’t just critics and record buyers who sat up and took notice of Janne Schaffer. So did his peers, including four members of rock royalty, who would feature on Janne Schaffer’s fourth album Earmeal.
Earmeal.
Buoyed by the success of appearance at the Montreux Jazz Festival, Janne Schaffer was keen to begin work on his fourth album, Earmeal. He had written the nine would feature on Earmeal when the invite came to record the album in Los Angeles.
For the recording, Janne Schaffer decided to take his friend and flautist Björn J:Son Lindh to the recording sessions in LA. When an executive at CBS asked Janne Schaffer who he wanted to play the drums on Earmeal, and he chose future Toto drummer Jeff Porcaro. He was by then, one of the top West Coast session musicians, and had played on albums with Steely Dan, Boz Scaggs and Robert. Having chosen a drummer, CBS assured Janne Schaffer that the rest of the band would be in place when he arrived in LA.
That wasn’t the case. Janne Schaffer arrived to find his band comprised Jeff Porcaro and Björn J:Son. Needing some musicians to play on Earmeal, Janne Schaffer asked Joe Porcaro to recommend a bassist. He suggested his brother Mike Porcaro. Soon, a third Porcaro brother was added to the band, when keyboardist Steven Porcaro agreed to play on Earmeal. So did percussionist Joe Porcaro, the father of Jeff, Mike and Steven. The final member of the band was keyboardist Peter Robinson, Producing this tight, talented band at Larabee Sound, in LA. was Bruce Botnick, a vastly experienced producer. Before long, the majority of the album was complete. Some recording took place in Stockholm, and then Earmeal was ready for release.
When Earmeal was released in 1978, the album received the same praise and plaudits as Katharsis. It was another eclectic album, where Janne Schaffer take the listener on a musical adventure.
This began with the propulsive jazz-funk of Hot Days And Summer Nights which opens Earmeal. It gives way to Happy Feet, which breezes along, revealing a dreamy, summer sound reminiscent of Bob James. To A Beautiful Painter is a beautiful ballad that meanders along, allowing Janne Schaffer’s glistening guitar to take centre-stage. Bromma Express is funky jam that incorporates elements of jazz, fusion and Hispanic influences where Janne Schaffer and his all-star band enjoy the opportunity to stretch their legs musically.
The Shrimp is a mid-tempo track where Janne Schaffer returns to fusion, except during the bridge when the track briefly heads in the direction of disco. Next on the menu, is Shrimp A La Carte, a beautifully orchestrated track that lasts just one minute. It’s Never Too Late is an oft-sampled and uber funky track that later, heads in the direction of fusion. For the rest of the track Janne Schaffer and his band switch between funk and fusion as they showcase their considerable skills. It’s a similar case on Oriental Sign, where the tempo drops on a glorious, laid-back fusion of funk rock and Eastern influences. Closing Earmeal is Frederick’s Place a beautiful, understated and meditative track that leaves a lasting impression.
The same can be said of Earmeal, which was without doubt, one of the best albums of Janne Schaffer’s career. It was certainly the best album of the CBS years. The followup Presens, had a lot to live up to.
Presens.
Following the success of Earmeal, Janne Schaffer continued to divide his time between his solo career and his work as a session player. Eventually, the time came for Janne Schaffer to record his fifth album, and his third album for CBS Records. By then, he had written eight new songs. They would be recorded in Stockholm, not Los Angeles.
While Janne Schaffer had enjoyed recording an album in Hollywood, recording at Europa Film and Polar Sound meant that he was able to work with local musicians. This included some of those who had played on Katharsis, including keyboardist, flautist and arranger Björn J:Son Lindh drummer Malando Gassama, drummer and percussionist Per Lindvall and Stefan Brolund who played bass and double bass. Another musician who made a guest appearance on Presens, was organist John “Rabbit” Bundrick who played on Herr Allansson Pickles. A new name was bassist Christian Veltman, who also wrote Neon Dimma. With a band that featured old friends, familiar faces and new names, work began on Presens, which was produced by Janne Schaffer.
Before the release of Presens, critics had their say on Presens. They discovered a slick album where Janne Schaffer combined elements of disco, funk, fusion, jazz, pop and rock. The music was the most commercial sounding album that Janne Schaffer had released on CBS Records.
Proof of this was the album opener Herr Allansson Pickles. It’s an irresistible, dance-floor friendly, funky rocker where Janne Schaffer unleashes some guitar wizardry above a 4/4 beat. The guitar wizardry continues on The Tongue, an other stomping, rocky track. As it bursts into life, Janne Schaffer takes centre-stage while the rhythm section lock into the groove and power the arrangement along. Very different is a beautiful, ruminative balladry of Neon-moisture. Joyous, urgent and full of energy describes Marsch Från Tornhuven, were Janne Schaffer seamlessly marries rock and folk.
March From Refresher Course finds Janne Schaffer’s guitar plays a leading role in this dramatic, emotive and cinematic power ballad. Hooks haven’t been spared on High Pitch, which is one of the most commercial and memorable tracks on Presens. Evening At Alex is a captivating fusion of Scandinavian folk music and Eastern influences which races along at breakneck speed. Very different is the cinematic sound of Open Eyes where Janne Schaffer combines funk and fusion to create what sounds like the theme to a seventies police drama. Closing Presens is Desire, a beautiful understated and wistful sounding track that invites reflection on what’s gone before.
When Presens was released in 1980, it didn’t replicate the success of previous albums. It was the one that got away. Sadly, Presens was the last album that Janne Schaffer released for CBS Records. He left the label not long after the release of Presens, and began a new chapter in his career.
This was with the Electric Banana Band, which started life as a children’s band. However, it’s a band that united families when they attended Electric Banana Band concerts. It’s still going strong some thirty-seven years later. That was the next chapter in Janne Schaffer’s career.
This was very different to the CBS years, between 1976 and 1980, when Janne Schaffer released a trio of critically acclaimed albums Katharsis, Earmeal and Presens. They showcase one of the most talented and versatile Swedish guitarists as he seamlessly switches between and combines disparate genres. This ranges from disco to funk, fusion, to jazz, pop or rock. Janne Schaffer is equally at home playing each of these genres, or combining elements of several in the space of the one song. That is something that not every musician is capable of. However, Janne Schaffer isn’t just any musician. He’s one of the best European guitarists of his generation.
Sadly, many people outside of Sweden won’t be familiar with Janne Schaffer’s music. However, they’ll have most likely have heard his guitar playing on many of Abba’s songs. Some eagle-eyed music fans may have noticed the Janne Schaffer’s name on the credits of album cover. Now is the opportunity to discover what Janne Schaffer is capable.
Recently, Katharsis, Earmeal and Presens, which were recently remastered and rereleased as part of a two CD set by BGO Records. They’re a reminder of Janne Schaffer at the peak of his powers, and when he was being compared to the likes of the legendary British guitarist, Jeff Beck. Janne Schaffer belongs in such illustrious company, and when he rubbed shoulders with the great and good of music, always more than held his own. Proof of that can be found on Katharsis, Earmeal and Presens, which Janne Schaffer recorded during his CBS years,
Janne Schaffer-Katharsis, Earmeal and Presens.
CLUSTER-KONZERTE 1972-1977.
Cluster-Konzerte 1972-1977.
Bureau B.
Back in the seventies, the life of a musician wasn’t an easy one. Most bands were contracted to release at least one album each calendar year. As a result, many bands would get into habit of entering the studio just after the festive period, and would spend a couple of months recording their new album. It would be released in the spring, and then the band would embark upon an extensive tour to promote the album.
Often, the band was on the road for the remainder of the year, and had a gruelling schedule to contend with. In each city, there was a round of interviews with press, radio and television before heading to the venue to play live. Usually, concerts lasted two to three hours. This was the case night after night, week after week, and month after month. Then when the band returned home, they enjoyed a few weeks rest before the whole process started again. That was the case for many bands during the seventies.
This included Hans-Joachim Roedelius and Dieter Moebius, who were two of the hardest working and most prolific German musicians of the seventies. They were members of Kluster, Cluster and Harmonia and recorded twelve studio albums during the seventies. Seven of these albums bore the name of Cluster, the band that Hans-Joachim Roedelius and Dieter Moebius formed in 1971.
Although Cluster released seven studio albums between 1971 and 1979, they were also a legendary live band, whose marathon concerts usually lasted six hours or more. Sadly, Cluster never released a live album during the seventies. The nearest most people got to hearing Cluster live was when they heard Live In der Fabrik, a fifteen minute epic that featured on Cluster II in 1972. Since then, Cluster have never released an album of material from the seventies. That was until recently, when the Hamburg based Bureau B label released Konzerte 1972-1977, which features recordings from two Cluster concerts. These recordings make their debut on Konzerte 1972-1977 and are a tantalising reminder of what Cluster live in the seventies sounded like. Konzerte 1972-1977 is the musical equivalent of time travel, and transports the listener back to seventies,
Cluster’s concerts in the seventies were akin to the happenings of the sixties, with the band and audience often having partaken in alcohol or illicit substances. This was enough to open the doors of perception, as Cluster took the audience on a musical voyage of discovery.
During this voyage of discovery, Cluster always played with an intuitiveness and spontaneity as they improvised. That was the case night after night. Similarly, the two members of Cluster played with a fluidity and freedom during their marathon concerts. Meanwhile, the audience were captivated by Cluster’s groundbreaking soundscapes. What they heard on albums was merely a starting point, as Cluster sought to reinvent familiar tracks. It was like a live realtime remix. Sometimes, Cluster created a new soundscape live on stage. When this happened, the audience knew that they were watching musical history being made. This was something Cluster continued to do throughout the seventies, and beyond.
Constantly, Cluster sought to reinvent their music as the seventies progressed. In the early days, the music was rough and almost brutal. Later the music evolved and veered between elegiac and ethereal to eerie. Sometimes Cluster made music that pensive and ruminative, and invited reflection. Often though, Cluster made music that was cinematic and sometimes, lysergic. They were musical chameleons whose music never stood still and aways was groundbreaking and innovative. This was quite a feat, as Cluster used what was quite basic equipment.
Unlike other groups, like Kraftwerk, who were using expensive, cutting edge equipment, Cluster used only the most basic equipment. They eschewed expensive synths and sequencers when they took to the stage. Similarly, they didn’t use expensive high-end amplifiers to amplify their music when they played live. There was a reason for this. Cluster was determined they weren’t going to become dependent on machines. They were a means to an end, and part of the music making process. For Cluster, the important thing was the performance and the music, not banks of gleaming, expensive keyboards, synths and sequencers. That wasn’t Cluster’s style.
Sometimes, though, the sound quality suffered because of the equipment that Cluster used. That is the case on Konzerte 1972-1977. The sound quality can’t be described as hi-fidelity. However, Cluster’s performance couldn’t be faulted. As the audience left Fabrik, in Hamburg, in 1972 and at the Festival International de La Science-Fiction, in Metz in 1977, they knew that they had witnessed a groundbreaking group at the peak of their powers. Proof of that can be found on Konzerte 1972-1977.
By the time that Cluster appeared at Fabrik, in Hamburg, in 1972, the band had already released two albums. Cluster ’71 had been released in 1971, with Cluster II following in January 1972. Both were innovative albums that would influence a new generation of musicians in the early seventies. Even today, Cluster and Cluster II continue to influence musicians. That is no surprise, as both albums are regarded as Krautrock classics.
Sci-fi sounds swoop as beeps and squeaks emerge from the soundscape that is Fabrik, Hamburg 1972. So do seemingly random sounds that buzz, beep and grind. Meanwhile the soundscape is lo-fi and shrill, as an array of futuristic sound flit in and out, as Cluster transport the listener on a lysergic voyage of discovery. It’s a case of expect the unexpected as shrill, churning, whining and grinding sounds assail the listener. Sometimes, this doesn’t make for easy listening, while other times it’s strangely melodic. Always, though, the soundscape is engaging and compelling. Especially, as futuristic, industrial, grinding and droning sounds unite and become part of this groundbreaking soundscape. It ebbs and flows, as Cluster throw curveballs, and the listener discovers sonic subtleties and surprises.
Later, the soundscape becomes understated, and it’s as if Cluster are providing the soundtrack to sci-fi movie, as the music becomes futuristic. This brings back memories of Apollo space missions, as a drone grows sails above the arrangement. By then, there’s a degree of drama as the arrangement reverberates. It then becomes understated, otherworldly, haunting and cinematic. When beeps, squeaks and cheeps emerge from the soundscape, it sounds like Cluster have discovered an alien nation during this epic, genre-melting musical adventure. It’s a groundbreaking, captivating and cinematic with Cluster fusing elements of avant-garde, electronica, experimental, industrial, Krautrock and Musique Concrete,
Five years after their appearance at Fabrik, in Hamburg, in 1972, Cluster were invited to appear at the Festival International de La Science-Fiction, in Metz in 1977. Cluster’s music was regarded as the perfect backdrop top a festival dedicated to sci-fi. By then, Cluster’s music had evolved.
That had been the case since Cluster released Zuckerzeit in 1974. It was a haunting and melodic album of electronic pop and Krautrock, co-produced by Michael Rother. He was responsible for the rhythmic sound that was reminiscent of Neu!, and the stronger, more defined melody. Just like their first two album, critics hailed Zuckerzeit as a Krautrock classic.
Despite this, Cluster was put on hold while Hans-Joachim Roedelius and Dieter Moebius collaborate with Michael Rother on a new project, Harmonia. Although it wasn’t a successful project, the band produced two classic albums, 1974s Musik von Harmonia and 1975s Deluxe. Harmonia also collaborated with Brian Eno, who had called them: “the most important band in the world.” Unfortunately, the master tapes to Tracks and Traces were mislaid and the album wasn’t released until 1997.
After Harmonia ran its course, Hans-Joachim Roedelius and Dieter Moebius recorded Cluster’s fourth album Sowiesoso. It was recorded in just two days, and was released in 1976. Sowiesoso was a much more understated and melodic album, and later, would be hailed as a Krautrock classic. However, just like many of the Krautrock bands, Cluster weren’t going to become rich men.
Their first four albums hadn’t sold in vast quantities. Especially in their native Germany, where their music was overlooked and misunderstood. Part of the problem was that Cluster’s music was way ahead of the curve, and many people didn’t understand the music. However, in Britain and France, Cluster’s music found an appreciative audience. It was ironic that Cluster were more popular abroad, than at home.
In June 1977, Cluster released their collaboration with Brian Eno. Entitled Cluster and Eno, it was a fusion of gentle melodic, Brian Eno’s ambient stylings and avant-garde. Cluster and Eno was hailed an instant classic. As Cluster prepared to play at the Festival International de La Science-Fiction, in Metz in 1977 they were regarded as one of the most important, influential and innovative of the Krautrock groups. This becomes apparent on Konzerte 1972-1977.
Straight away, there’s a futuristic sound to Festival International de La Science-Fiction, Metz 1977. Drones quiver and otherworldly sounds ascend and descend. Mostly, the drones are to the fore and add a degree of urgency, before sound flit in and out. Some are subtle and distant, while others much more noticeable. This ranges from ruminative and otherworldly, to a whirring and growling sound that resembles an aircraft. It’s joined by pensive and futuristic sounds that add to the cinematic sound. This is guaranteed to set the listener’s imagination racing. Especially when the sound of an aircraft emerges from the soundscape.
Not long after this, the music becomes melodic, which was one of the trademarks by 1977. Meanwhile, the music drones and quivers, as if soaring high into the night sky. Before long, the music takes on an almost ethereal quality, as the journey continues. By then, it sounds as if it the aircraft is heading for a distant planet. Plink plonk strings and keyboard join with shivering, quivering, otherworldly and futuristic sounds. Gradually, the aircraft nears its destination, and as it does, the drama builds as this cinematic opus reaches a crescendo.
For many fans of Cluster, Konzerte 1972-1977 is the album that they’ve been waiting for. They’ve always wanted to hear live album of music that features Cluster in their seventies pomp. As the years passed by, it looked increasingly like this was never going to happen.
The only reminder of Cluster live in the seventies was Live In der Fabrik, which featured on Cluster II. It was a tantalising taste of Cluster live in the seventies. During this period, Cluster were one at the peak of their powers and one of the leading lights of Krautrock scene. Cluster released one classic album after album after another. This started with Cluster and continued with Cluster II, Zuckerzeit, Sowiesoso and Cluster and Eno. Each of these albums were among the most important and influential released during the Krautrock era. They featured groundbreaking and genre-melting music. However, the only thing missing from Cluster’s seventies back-catalogue was a live album. That was until the recent release of Konzerte 1972-1977, which features musical pioneers Cluster at the peak of their powers, as they show why will forever deserve to dine at Krautrock’s top table.
Cluster-Konzerte 1972-1977.
THE YOUNGBLOODS-ROCK FESTIVAL, RIDE THE WIND AND GOOD AND DUSTY.
The Youngbloods-Rock Festival, Ride The Wind and Good and Dusty.
BGO Records.
As the sixties gave way to the seventies, The Youngbloods had been together since 1965, and had already released three albums since they signed to RCA Victor in 1966. The albums found favour with critics, and were released to widespread critical acclaim. Despite the critical acclaim, the albums didn’t sell in vast quantities. However, when The Youngbloods rereleased their 1967 single Get Together in July 1969, it reached number five in the US Billboard 100. At last, it looked as if The Youngbloods’ luck was changing. Maybe the seventies was the start of a brave new world for The Youngbloods?
For their first album of the seventies, The Youngbloods released their first live album Rock Festival in 1970, which was recently remastered and reissued by BGO Records. It’s one of three album that feature on a two CD set. The other albums are Ride The Wind a second live album released in 1971, with Good and Dusty following later that year. It was The Youngbloods’ fourth studio album since they released their debut album in 1967. However, The Youngbloods began two years earlier, in 1965.
By then, bassist and vocalist Jesse Colin Young was twenty-four, and had already enjoyed a degree of success as a folk singer. He had already released two albums The Soul Of A City Boy in 1964, and Young Blood in 1965. However, Jesse Colin Young’s solo career was in the past.
Things changed when Jesse Colin Young met twenty-two year old guitarist Jerry Corbitt, a former bluegrass musician. The pair decided to form a band, which they named The Youngbloods. Initially, The Youngbloods was a duo, with Jesse Colin Young playing bass and Jerry Corbitt switching between piano, harmonica and lead guitar. This initial lineup of The Youngbloods made their debut on the Canadian circuit. However, before long, Jerry Corbitt introduced Jesse Colin Young to Banana.
This was none other than Lowell Levinger, a bluegrass musicians who was born Lowell Levinger III. However, the nineteen year old multi-instrumentalist was known within the music community Banana. Jerry Corbitt thought that Banana could flesh out The Youngbloods’ sound. Especially since Banana could play banjo, bass, guitar, mandola, mandolin and piano. Once Jesse Colin Young met Banana, he became the third and final member of the band.
After that, things happened quickly for The Youngbloods. Having made their live debut at Gerde’s Folk City, in Greenwich Village, within a matter of The Youngbloods were the house band at the prestigious Cafe au Go Go. By then, The Youngbloods had already signed their first recording contract.
Having signed to RCA Records, The Youngbloods discovered that the record label were unsure how to market the band. At one point, RCA Records tried to market The Youngbloods as a bubblegum pop act. However, in 1966, The Youngbloods released their debut single, Rider, which failed to chart. The followup was Grizzly Bear, which reached fifty-two in the US Billboard 100. Both of these single featured on The Youngbloods’ eponymous debut album.
The Youngbloods.
Work began on The Youngbloods’ eponymous debut at RCA Victor’s Studio B in New York, in late 1966. This was the start of a new chapter in their career. By then, founder member Jesse Colin Young was regarded as the focal point of the band. He was the band’s lead singer, and later, would become the band’s songwriter-in-chief. That was still to come.
For The Youngbloods, Jesse Colin Young only penned two songs, Tears Are Falling and Foolin’ Around (The Waltz). Jerry Corbitt contributed just the one song, All Over The World. The remainder of the songs were covers of old blues and folk songs. This included Blind Willie McTell’s Statesboro Blues, Jimmy Reed’s Ain’t That Lovin’ You, Baby, Mississippi John Hurt’s C.C. Rider, Fred Neil’s The Other Side of This Life and Chet Powers’ Get Together. These songs were recorded at RCA Victor’s Studio B, with producer Felix Pappalardi.
Once the album was recorded, The Youngbloods was scheduled for release in January 1967. When critics heard The Youngbloods, they lavished praise and plaudits on what was primarily an album of folk rock, with excursions into the blues and pop. Ballads and rockers sat cheek by jowl on The Youngbloods, which allowed the band to showcase their talent and versatility. Critics forecasted a bright future for The Youngbloods..
When The Youngbloods was released later in January 1967, the album reached 131 in the US Billboard 200. This wasn’t bad for a band who were only formed in 1965. The Youngbloods showed what the band were capable of. So did one of the singles released later in 1967.
Six months after the release of their eponymous debut album, The Youngbloods released their cover of Chet Powers’ Get Together in July 1967. It was an anthem-in-waiting about universal brotherhood that had the potential to launch The Youngbloods’ career. Mercury Records had high hopes for Get Together, but the single stalled at a sixty-two in the US Billboard 100. This was disappointing. Get Together hadn’t reached the heights that executive at Mercury Records had hoped…yet.
Earth Music.
Having released their debut album earlier in 1967, The Youngbloods began work on their sophomore album Earth Music. Just like their eponymous debut album, Earth Music was a mixture of covers and original songs.
Six of the songs on Earth Music was penned by members of The Youngbloods. Jesse Colin Young wrote All My Dreams Blue, Long and Tall and Wine Song. He also cowrote Sugar Babe. Jerry Corbitt penned Don’t Play Games and cowrote Dreamer’s Dream with Lowell Levinger who also wrote Fool Me. The remainder of the songs on the album were cover versions.
including Robin Remaily’s Euphoria, Chuck Berry’s Too Much Monkey Business and Tim Hardin’s oft-covered classic Reason To Believe. Again, these songs were recorded with producer Felix Pappalardi at RCA Victor’s Studio B in New York, and would become Earth Music.
Later in 1967, Earth Music was released to widespread critical acclaim. It was album that veer between folk rock to country and pop. There was even elements of jazz and psychedelia during an album of carefully crafted songs. Especially the cover of Euphoria, the mellow sounding All My Dreams Blue, Sugar Babe, Wine Song and a captivating cover of Tim Hardin’s Reason To Believe. Critics remarked on how the group were already maturing musically. Already some critics were comparing The Youngbloods to Lovin’ Spoonful. That came as no surprise, as The Youngbloods were about to release an album of carefully crafted and compelling songs that were playful and irresistibly catchy. Surely, an album of the quality of Earth Music would take The Youngbloods to the next level?
When Earth Music was released later in 1967, the album failed to chart. Things got even worse when was a similar case when Fool Me was released as a single and failed to chart. For The Youngbloods this rubbed salt into a very painful wound.
Elephant Mountain.
Nearly two years passed before The Youngbloods returned with their third album. Jesse Colin Young wrote seven of the thirteen songs on Elephant Mountain. He also cowrote Double Sunlight, Turn It Over, Trillium and Black Mountain Breakdown with the other two members of The Youngbloods. Lowell Levinger wrote On Sir Francis Drake, while Rain Song (Don’t Let the Rain Bring You Down) was penned by Jerry Corbitt, producer Felix Pappalardi and Gail Collins. These songs would be recorded on the West Coast at RCA’s Music Center of the World in Hollywood, Los Angeles.
Joining The Youngbloods were Jerry Corbitt plus some guest artists. This included fiddle player David Lindley, vibes player Victor Feldman, trumpeter Joe Clayton and tenor saxophonist Plas Johnson. They played their part in what was another carefully crafted album, Elephant Mountain.
When Elephant Mountain was released, critics again, lavished praise on the album. Given the quality of music, this was no surprise. They ranged from jazz-tinged acoustic ballads like Sunlight and Ride The Wind to captivating and playful songs like Smug and Beautiful and the bluesy, hard rocking Sham. Two songs were very different to anything The Youngbloods had written. Darkness, Darkness dealt with subject of depression, while Quicksand was a song about suicide. However, Rain Song (Don’t Let the Rain Bring You Down) was a return to the jug band songs like Euphoria and The Wine Song. It was part of what many critics regarded as The Youngbloods’ finest album.
When Elephant Mountain was released in 1969, the album reached 118 in the US Billboard 200. This meant that Elephant Mountain was The Youngbloods’ most successful album. Despite this, the lead single Darkness, Darkness and the followup Sunlight failed to chart. However, a song from the past would transform The Youngbloods’ fortunes.
In July 1969, The Youngbloods rereleased their 1967 Get Together. It had featured on radio and television commercials by the National Conference for Christians and Jews. These adverts were a call for brotherhood. They also paved the way for The Youngbloods first million selling single. Get Together entered the chart and started climbing all the way to number five in the US Billboard 100. This was by far, the biggest hit single of The Youngbloods’ career. Despite the success of Get Together, The Youngbloods seemed to be in no hurry to release their fourth studio album.
Rock Festival.
Instead, The Youngbloods embarked upon a lengthy American tour in the spring of 1970, which lasted well into the summer months. The plan was to record several dates on the tour, and release them as The Youngbloods’ first live album, Rock Festival
Between March and July 1970, the tapes were running during five concerts. The first was on March ’29th’ 1970 at The Family Dog, in San Francisco. Three weeks later, the concert at The Barn in Marshall, California on ‘16th’ April 1970 was recorded. Two nights later, on ‘18th’ April 1970, the tapes were running at the Santa Clara University. Then when The Youngbloods played at Provo Park in Berkeley, California on ‘19th’ May 1970. There was one final recording session on July ’21st’ 1970, at Pacific High Recording in San Francisco. At last, The Youngbloods’ fourth album was ready for release.
When The Youngbloods released Rock Festival later in 1967, it was to the same critical acclaim as previous albums. Rock Festival was another eclectic album, where The Youngbloods showcased their versatility. However, it’s a quite different album from their three studio albums. Rather than play to the audience, and win them over with some of their best known songs, The Youngbloods head in new directions.
Before that, they open the set with Jesse Colin Young’s It’s a Lovely Day, which gives way to Faster All The Time and Prelude. It’s followed by the instrumental On Beautiful Lake Spenard, where The Youngbloods stretch their legs musically. Fiddler A Dram finds The Youngbloods rework a traditional song. It gives way to the noodling Sea Cow Boogie, before Jesse Colin Young delivers a thoughtful cover on Tim Hardin’s Misty Roses. After Interlood, The Youngbloods unleahes the bluesy Peepin’ and Hidin’, before closing the set with Ice Bag, a free jazz workout. This eclectic set proved popular not just with critics, but record buyers too.
When Rock Festival was released in 1970, it reached number eighty in the US Billboard 200. This made Rock Festival The Youngbloods’ most successful album. So much so, that a year later, The Youngbloods decided to release a second live album, Ride The Wind.
Ride The Wind.
Most bands wouldn’t have released two consecutive live albums. However, it was a case of need’s must. The Youngbloods still hadn’t completed work on their fourth studio. They had even released The Best Of The Youngbloods as a stopgap. However, this had backfired when The Best Of The Youngbloods reached just 144 in the US Billboard 200. Given the success of Rock Festival earlier in 1970, a decision was made to release a second live album, Ride The Wind as a stopgap. That would keep their fans happy while The Youngbloods completed their new studio album.
Fortunately, The Youngbloods had recorded a number of shows over the years. This included three shows that took place in New York over three nights in November 1969. The first concert took place on ‘26th’ November, with the other concerts taking place on ’28th’ and ’29th’ November 1969. Six songs from these concerts were chosen for Ride The Wind. This included Jesse Colin Young’s Ride The Wind, Sugar Babe, Sunlight and Beautiful. They joined covers of Chester Powers’ Get Together and Fred Neil’s Dolphin on Ride The Wind.
Critics on hearing Ride The Wind, lavished praise and plaudits on The Youngbloods’ second live album. It was a very different album, and found The Youngbloods improvising and taking songs in a new direction. So much so, that some, bore very little resemblance to the original version. Ride The Wind becomes a ten minute epic, and gives way to a jaunty, playful version of Sugar Babe. Sunlight soon takes on a pastoral sound, before The Youngbloods reinvent Fred Neil’s The Dolphin, which becomes a near flawless eight minute jam. The Youngbloods stay true to the original version of their million selling anthem Get Together, before Jesse Colin Young’s vocal plays a starring role in Beautiful, which becomes a funky workout. It closes Ride The Wind, which was released later in 1970.
Despite the undoubted quality of Ride The Wind, the album stalled at 157 upon its release in 1970. This was a disappointment for The Youngbloods. However, they had just completed recording their fourth album Good and Dusty, which they hoped would get their career back on track.
Good and Dusty.
When The Youngbloods returned with Good and Dusty, it featured a new, expanded lineup of the band. Harmonica player Richard Earthquake Anderson had joined the band and made his debut on Good and Dusty.
It was an album that featured cover versions of familiar songs including Johnny Otis’ Willie and The Hand Jive, Sonny Boy Williamson II’s Pontiac Blues, When Will The Circle Be Unbroken and Lieber and Stoller’s I’m A Hog For You Baby. This time round, Jesse Colin Young had only penned two songs Drifting and Drifting and Light Shine. Recording of these songs began at Raccoon Studios B on June ‘9th’ 1971. It took just over a month for The Youngbloods to record the thirteen songs on Good and Dusty, which was completed on July ’15th’ 1971. Good and Dusty was released later in 1971.
Just like The Youngbloods’ previous albums, Good and Dusty won over critics. They were impressed by an album that looked back at America’s musical past. Covers of old blues songs and song from the fifties feature on Good and Dusty.
This includes the feel-good sound of Stagger Lee, which opens Good and Dusty, and gives way to a soul-baring cover of Roosevelt Jamieson’s That’s How Strong My Love Is. A playful cover of Willie And The Hand Jive is followed by the beautiful ballad Circus Face. It’s one of the highlights of Good and Dusty, while Hippie From Olema No. 5 is a country-tinged song penned by Lowell Levinger. Good and Dusty is a mini jazz jam, and a tantalising taste of what the song might have become if it had been developed further. Let The Good Times Roll, is reworked, before The Youngbloods head in the direction of the blues on Drifting And Drifting and Pontiac Blues. Moonshine Is The Sunshine continues the down home sound, before a country-tinged version of Will The Circle Be Unbroken unfolds. I’m A Hog For You Baby features The Youngbloods seamlessly fusing elements of country and blues, on this underrated song. This leaves just Light Shine, a beautiful, heartfelt ballad that’s another of the highlights of Good and Dusty.
When The Youngbloods released Good and Dusty in 1971, the album stalled at a lowly 160 in the US Billboard 200. This was a huge disappointment. Things didn’t get any better when Light Shine was released as a single. Despite being one of The Youngbloods’ best ballads, it didn’t even trouble the charts. This rubbed salt into the wound.
After the release of Good and Dusty, The Youngbloods released only one further album High On A Ridge Top. When it was released in 1972, it well received by critics, but reached just 185 in the US Billboard 200. For The Youngbloods it was a disappointing end to their career.
Not long after the release of High On A Ridge Top, The Youngbloods split-up, with each band member embarking upon a solo career. This was just three years after The Youngbloods released their million selling single Get Together.
Most bands would’ve been keen to have built upon the momentum created by Get Together, and began work on a new studio album. However, it took The Youngbloods two years to release Good and Dusty which was the followup to Elephant Mountain.
By then, The Youngbloods had released two live albums Rock Festival and Ride The Wind. These weren’t the stopgap albums that many bands release between studio albums. Both Rock Festival and Ride The Wind showcase just how good a live band The Youngbloods were. Especially on Ride The Wind, where The Youngbloods improvise and reinvent six songs and take them in a new and sometimes unexpected directions. They become part of what’s one of what’s an oft-overlooked and hugely underrated live album.
It’s a similar case with Good and Dusty, which was The Youngbloods’ long-awaited fourth studio album. It features songs like That’s How Strong My Love Is, Circus Face, Good and Dusty and Light Shine which are hidden gems within The Youngbloods’ back-catalogue. These songs are a reminder of The Youngbloods who are an oft-overlooked group.
Most people know The Youngbloods’ million selling single Get Together. However, that’s just one chapter in the story of a band that released five studio albums and two live albums. Recently, BGO Records remastered and reissued The Youngbloods’ two live albums Rock Festival and Ride The Wind plus their fourth studio album Good and Dusty as a two CD set. This is the perfect opportunity to discover the delights of The Youngbloods, whose albums were released to widespread critical acclaim between 1967 and 1972, but sadly, never enjoyed the commercial success they so richly deserved. It’s only relatively recently that The Youngbloods’ music has started to find a wider, and much more appreciative audience. For The Youngbloods it’s a case of better late than never.
The Youngbloods-Rock Festival, Ride The Wind and Good and Dusty.
FUNCTION UNDERGROUND-THE BLACK AND AMERICAN ROCK SOUND 1969-1974.
Function Underground: The Black and Brown American Rock Sound 1969-1974.
Now Again Records.
Just over a month ago, Function Underground: The Black and Brown American Rock Sound 1969-1974 was released by Now Again Records on vinyl as part of Record Store Day as a limited edition of 2,000. As a result, many people who wanted a copy of Function Underground: The Black and Brown American Rock Sound 1969-1974 were left empty handed and disappointed.
Fast forward five weeks, and Function Underground: The Black and Brown American Rock Sound 1969-1974 has been released on CD by Now Again Records. Those who were left empty handed and disappointed on Record Store Day, now have a big smile on their face. Especially since a CD copy of Function Underground: The Black and Brown American Rock Sound 1969-1974 is less than half the price of the vinyl edition. This leaves more money to be spent on vinyl or CDs. More importantly though, they’ve got a copy of Function Underground: The Black and Brown American Rock Sound 1969-1974 which features many oft-overlooked and hard to find tracks.
This includes 1984’s There’s A Wrinkle In Our Time, Purple Snow’s Down By The River, Jimi Macon’s Jimi’s Guitar Raps With The Bass, Blacklites’ BL Movement, LA Carnival’s Blind Man Revolution The Siesta Is Over and Black Maffia’s I Want To Take You Higher. They’re just a few of the fourteen tracks on Function Underground: The Black and Brown American Rock Sound 1969-1974. It according to the hype that accompanies the release: “an overlooked and important portion (sic) of rock n’ roll’s history.
During the period that compilation covers, 1969-1974, rock music was by far, the most popular musical genre. That had been the case since for some time. However, by the period between 1969 and 1974, there were a number of different sub-genres of rock, ranging from psychedelic rock, folk rock and garage rock to progressive rock, heavy rocky and symphonic rock. Bands from each of these sub-genres were enjoying successful careers, and releasing critically acclaimed classic albums. Many young people looked on enviously.
Especially, many young musicians who were either considering forming a band, or had just formed a band, these bands were living the dream. They wanted to follow in their footsteps and enjoy a tantalising taste of fame. This was the case on both sides of the Atlantic, with members of new bands dreaming that their band would become next Led Zeppelin, Deep Purple, Black Sabbath, Pink Floyd or Yes. That was no surprise, and was nothing new.
Music had long been a career that offered an escape from the grinding poverty that blighted many countries. That was why many young people were buying a guitar, bass or drum kit on hire purchase, in the hope that one day, they would be a member of one of the lucky bands plucked from obscurity.
These bands started off practising in basements and garages, before graduating onto the local live scene. That was where groups hoped that they would come to the attention of local A&R reps for the major record labels. For bands in Britain and America, this was the start of a journey that ultimately, they hoped, would end in fame and fortune, and of course all the trappings that the rock star life brought.
This was something that members of new bands in Britain had been dreaming of since The Beatles changed musical history with Love Me Do in 1962. Two years later, the British Invasion groups arrived on the American shores, and proceeded to change musical history.
After that, pop and rock began to dominate the US charts, while R&B became known as soul. It was no longer as popular as R&B had once been. While some soul artists enjoyed success, it was more sporadic. The exception was the music being made by the Motown soul factory in Detroit. Motown’s releases were very different to many other soul labels. This was soul with the rough edges smoothed away, that designed to appeal to all Americans. Purists saw Motown’s music as a sanitised and formulaic version of soul. However, Motown found an audience across the racial divide.
That was the case with many other types of music, and had been in America since the British Invasion in 1964. Young Americans bonded over their shared love of music. Music was something that brought together young people from different races and backgrounds, In a country divided by race, pop and rock music was something that brought the American youth together.
This would continue to be the case. By the late-sixties, there were many multiracial bands. Among the most successful were the Jimi Hendrix Experience and Love which was fronted by enigmatic Arthur Lee. Both bands would create important, innovative and influential music. So too would multiracial bands like Santana, Sly and The Family Stone and War, who incorporated rock into their genre-melting sound. Rock music had crossed there racial divide.
Not everyone believed or believes this. In the liner notes, the author recalls that: “rock n’ roll became perceived as something for the Caucasian kids.” However, perception and reality are two very different things. From the late-sixties onwards, many new rock bands were being formed in American cities. Some were multiracial bands, while others featured members of the black population. They then embarked upon a career that they hoped would end with them releasing a single or album. These bands were the lucky ones, and the ones that enjoyed a degree of success. This includes the fourteen bands on Function Underground: The Black and Brown American Rock Sound 1969-1974.
1984 open Function Underground: The Black and Brown American Rock Sound 1969-1974 with There’s A Wrinkle In Our Time. It was penned by 1984 and produced by Michael Nise. There’s A Wrinkle In Our Time was released on the Pennsylvania based Round Records in 1970. It’s an irresistible fusion of rock, funk and soul, which sadly, was the only release by Round Records and 1984.
Purple Snow released Down By The River in 1969, on the short-lived Saquarius’ label. The label’s only release was Down By The River, where Purple Snow showcase their talents as they combine rock, psychedelia and soul. There’s even a hint of CSNY during Down By The River, which sadly, was the only single Purple Snow released.
Oe of the rarest singles on the compilation is Jimi Macon’s Jimi’s Guitar Raps With the Bass. It was released around 1970, on Doin’ Our Thing Records. It finds Jimi Macon unleashing a guitar masterclass. He deploys various effects including a wah-wah pedal, as he combines funk and rock on Jimi’s Guitar Raps With the Bass. It’s one of the finest moments on Function Underground: The Black and Brown American Rock Sound 1969-1974.
Creations Unlimited released Corruption Is the Thing on the Soul Kitchen label in March 1972. There’s a definite Jimi Hendrix as Creations Unlimited, who are obviously talented musicians, as they fuse elements of funk, rock, soul and social comment.
Straight away, the lead guitar on We The People’s Function Underground, which as released on Darlene Records around 1969. Function Underground’s lead guitar has also been influenced by Jimi Hendrix. However, that’s just one of a myriad of influences that play their part in Function Underground. This includes rock, psychedelia, funk and jazz, as this genre-melting jam unfolds and reveals its secrets.
Michael Liggins and The Super Souls With Duppa Jack released Loaded Back as a single the Arizona based Mighty label, in 1969. Loaded Back was produced by Mike Lenaburg, and is quite different from previous tracks. It’s a slow burner with a slow, spacious arrangement. Just drums accompany a flute, before a blistering rock guitar is unlashed, and the band lock into a groove. They fuse rock, jazz and funk, and create a long lost hidden gem that’s sure to appeal to sample hungry hip hop producers.
Stone Coal White released Stone Coal White in 1970, on the Shur ’N’ Tel label. It’s a lo-fi, guitar driven fusion of rock, funk and psychedelia which features another effects laden guitar masterclass.
On Blacklites’ BL Movement, which was released on Salt City Records, it’s keyboards that take centre-stage and jam. The rest of the band play a supporting role, as rock and funk are combined by Blacklites.
In 1969, the Ebony Rhythm Band were released Soul Heart Transplant as a single on the short-lived Lamp label. On the B-Side was Drugs Ain’t Cool which was produced by Herb Miller. As the song explodes into life, and the Ebony Rhythm Band deliver their message, and combine psychedelia, garage rock and rock on what was their only single. That’s a great shame, as the Ebony Rhythm Band being a talented band.
Cisneros and Garza Group released Funky Nassau as a single on L-Z-E Records in 1969. On the B-Side was I’m A Man. It’s a hidden gem, where Cisneros and Garza Group combine elements of funk, soul, jazz and rock to create a melodic and memorable song.
In 1970, LA Carnival released Blind Man as a single on Pacific Avenue Records. It features a heartfelt, soulful and an arrangement that’s a mixture of funk and rock. Together, they create another of the highlights of Function Underground: The Black and Brown American Rock Sound 1969-1974.
The Revolution throw a curveball during the introduction to The Siesta Is Over. An organ that sounds as if it belongs in a church plays, before The Revolution unleash a fusion of rock, funk and soul that was released during 1970, on M&M Records.
In 1971, The Black Conspirators released L-O-V-E as a single. On the B-Side was Just Gotta Be Free, a fusion of funk, soul and rock. From the opening bars, it’s obvious that The Black Conspirators are talented musicians. They create a genre-melting track were funk and soul combine with blistering rocky, guitars. Together they create an uber funky, dance-floor friendly, soulful song.
Black Maffia’s I Wanna Take You Higher has never been released before, and is thought to have been recorded by the Black Maffia around 1970. It’s another fusion of funky and rock that showcases another talented band during this live jam. It’s a welcome addition to Function Underground: The Black and Brown American Rock Sound 1969-1974, and closes the compilation.
As compilations go eclectic described Function Underground: The Black and Brown American Rock Sound 1969-1974. This isn’t rock in the traditional sense of the word. Instead, it’s rock given a twist. Elements of funk, jazz and soul are added to the mix, on Function Underground: The Black and Brown American Rock Sound. It’s a compilation that will appeal to many different music fans.
Especially anyone whose interested in funk, jazz, soul, rock and psychedelia. Similarly, anyone who buys compilations to discover new music, then Function Underground: The Black and Brown American Rock Sound 1969-1974 then will be of interest to them. It features fourteen rarities, ranging from singles, B-Sides and an unreleased track. There’s several hidden gems, and tracks that be of interest to sample hungry hip hop producers. Function Underground: The Black and Brown American Rock Sound 1969-1974 will appeal to a variety of people.
This also includes those who were unable to find a copy of the vinyl edition on Record Store Day. For many people, Function Underground: The Black and Brown American Rock Sound 1969-1974 was at the top of the their Record Store Day wish-list. That was no surprise, given the quality of Now Again Records’ previous releases. However, with only 2,000 vinyl copies of Function Underground: The Black and Brown American Rock Sound 1969-1974 for sale on Record Store Day 2017, many people were left empty handed and disappointed, Not any more, given the release of Function Underground: The Black and Brown American Rock Sound 1969-1974. That disappointment has been replaced by a big smile and a CD copy of Function Underground: The Black and Brown American Rock Sound 1969-1974, which is the latest lovingly curated release from Now Again Records.
Function Underground: The Black and Brown American Rock Sound 1969-1974.
LINDA PERHACS-MUSIC’S BEST KEPT SECRET.
Linda Perhacs-Music’s Best Kept Secret.
It was in 1970, that twenty-seven year old dental hygienist Linda Perhacs released Parallelograms, her debut album. Some people wondered why it had taken Linda so long? After all, she was a musical prodigy.
Linda Long was born in Mill Valley, which lies just north of San Francisco’s Golden Gate Bridge in 1943. By the time she was six or seven, Linda was able to write write quite complicated compositions. She was a gifted and prodigious child. However, as is often the case with gifted children, her teachers didn’t maybe realise this. This didn’t stop Linda enrolling in the University of Southern California.
At University of Southern California, Linda majored in dental hygiene. This allowed her to work and study. Her course also allowed Linda to explore what was unfolding around her. Remember, this was the start of the counterculture explosion. San Francisco was central to this. Being around this meant Linda was exposed to a many different cultures. It was the same with art and music. For Linda, this was creatively stimulating and would change the course of her life.
Having graduated from University of Southern California, Linda began working with periodontist. During this period, Linda immersed herself in the various philosophies that were popular. Essentially, she taught her to mediate and rid herself of negative energy. This helped her and her patients. It may also have helped Linda develop as songwriter.
Away from work, Linda and her sculptor husband used to enjoy walking in the city’s public parks. It was during these walks that Linda was first inspired to write songs. This was something Linda hadn’t done since she and her husband moved to Topanga Canyon.
Indeed, Linda hadn’t written songs for a while. Throughout her University days, Linda hadn’t been involved in making music. However, she loved music. Topanga Canyon was full of artists and musicians. So, it was the perfect place for an aspiring singer-songwriter. With an environment that inspired her, and the sense of hope that was prevalent during the second half of the sixties, this marked the cultural blossoming of Linda Perhacs.
What also inspired Linda was her travels. She spent time travelling up the Big Sur coastline, right through Mendocino, the Pacific Northwest and to Alaska. This was her road rip. So was a trip to Chimacum, on the Olympic Peninsula. These journeys were what inspired Linda to write songs. Linda stresses her journeys inspired her. Drugs played no part in stimulating her creativity. Her songs come from her experiences in life.
This includes the colours, patterns and shapes that she’s seen since she was a child. Again, they’re not the result of recreational drugs. No. They’re a phenomenon that many people experience. These colours, patters and shapes inspired Linda, who soon, would be one step nearer releasing her first album.
Linda was, by now, working in the office of Beverley Hills’ periodontist. That’s where Linda met film soundtrack composer Leonard Rosenman and his wife Kay. Linda would ask them about their forthcoming projects. Then one day Leonard said to Linda “I can’t believe that clinical work is all you do?” So, Linda told them about her music and played a tape of one of her songs. These were songs she’d recorded during her travels. Leonard took the songs home to listen to them. The next day, Linda was offered a record contract.
When Linda handed Leonard the tape, she thought that Leonard was wanting to hear a glimpse of the type of music younger people were making. After all, Leonard had a lot of projects on the go. However, that didn’t stop him offering to produce Linda’s debut album. The song that made him make that offer was the Parallelograms, which would be the title-track of Linda’s debut album. Leonard referred to this track as “visual music composition.”
Leonard who’d been a composer all his life, had never been able to achieve this. Linda had. He explained that Parallelograms was different from the other tracks. Each of the component parts were interactive to the composer as three-dimensional sound. It’s akin to sculpting with ice, where the result is essentially a type of light and dance. For Linda, this was the way she’d always written. However, now Linda was going to take this one step further and record what became Parallelograms.
Parallelograms.
Parallelograms featured eleven tracks. Linda wrote ten of them. The exception was Hey, Who Really Cares? which Linda cowrote with Oliver Nelson wrote. For the recording of Parallelograms producer Leonard Rosenman brought in an all-star cast of musicians.
When recording of Parallelograms began, Leonard Rosenman and Linda were aiming to sculpt a series of soundscapes full of textures, colours and shapes. The music Linda hoped, would be “softer and ethereal.” Accompanying her were some legendary musicians. This included Shelley Mann and Milt Jackson on percussion. The rhythm section included Reinie Press on electric bass and Fender guitar and Steve Cohn on lead and 12-string guitar. John Neufield played flute and saxophone, Leonard Rosenman electronic effects and Tommy harmonica. Brian Ingoldsby was tasked with using an electrified shower hose for horn effects. Parallelograms was no ordinary album. Instead, it proved to be a truly groundbreaking album.
Before its release in 1970, critics received an advance copy of Parallelograms. The resultant reviews realised the importance of Linda Perhacs’ debut. Here was a truly talented singer, songwriter and musician. She had discovered her musical soul-mate in producer Leonard Rosenman. He was an ambitious, innovator who wanted to push musical boundaries to their limits on album that Leonard Rosenman described as “visual music composition.” Intrigued, critics investigated Parallelograms.
They discovered a beautiful, understated and enchanting album. From the opening bars of Chimacum Rain, right through to the closing notes of Delicious, Linda Perhacs breathed life, meaning, beauty and emotion into Parallelograms. It was an absolutely captivating listen; and an album where the listener was spellbound. That’s not surprising, as Parallelograms featured hopeful, captivating, ethereal and dreamy music. Parallelograms was also an ambitious and innovative album of genre-melting music.
Parallelograms was a flawless fusion of Americana, country, folk, pop, psychedelia and rock. There’s even a twist of ambient, drone pop, experimental and jazz. It was potent and heady brew; and one that should’ve launched Linda Perhacs’ career.
Sadly, when Parallelograms was released, Linda Perhacs’ psychedelic folk classic wasn’t the huge commercial success it should’ve been. This wasn’t helped by the record company’s failure to promote Parallelograms. As a result, Linda, like so many other hugely talented artists, failed to enjoy the commercial success and critical acclaim her undoubted talent deserved. So Linda returned to her job as a periodontist.
Meanwhile, music industry insiders and the those that had bought Parallelograms awaited Linda Perhacs’ sophomore album. A year passed, and there was no sign of the followup to Parallelograms. Linda was still working as a dental nurse, and had settled back into her life pre-Parallelograms. Two and three years passed, and still, there was no sign of another album from Linda. Three years became five, and five became ten. Linda had settled back into her life pre-Parallelograms. By then, fans of Linda Perhacs had all but given up hope that she would release another album.
Nothing was heard of Parallelograms until the nineties. By then, Parallelograms had become a cult classic which a new generation of record buyers had discovered. Interest in Parallelograms grew with each year. Somewhat belatedly, did people realise that Parallelograms was a seminal, lost classic and Linda Perhacs should’ve enjoyed a long and successful career. It was only later that Linda Perhacs realised what might have been.
It was only later in life that Linda Perhacs admitted that much as she loved music, she didn’t seem to have the drive required to make a career as a musician. She did, however, have the talent. Linda was blessed with an abundance of talent. That had been apparent on Parallelograms, and Linda’s long-awaited comeback album.
Having spent her career working as a dental hygienist, Linda decided to make her musical comeback. She’d spent a lifetime observing people and the world. This meant she’d a wealth of material for her not just her sophomore album, but a series of albums. However, first things first, Linda had to get round to releasing the follow to Parallelograms. This would become The Soul Of All Natural Things.
The Soul Of All Natural Things.
For The Soul Of All Natural Things, Linda wrote four tracks and cowrote the other six tracks. She penned The Soul Of All Natural Things, Intensity, Prisms of Glass and Song of the Planets. Linda and Chris Price wrote Children. They also cowrote River of God, Freely, Immunity and Song of the Planets with Fernando Perdomo. Fernando and Linda collaborated on Daybreak. These ten tracks became The Soul Of All Natural Things, which was recorded between September 2012 and April 2013.
Recording of The Soul Of All Natural Things took place at Reseda Ranch Studios, Reseda in California. The sessions took place between September 2012 and April 2013. Linda core band included Chris Price on backing vocals, guitars, bass, keyboards, percussion, programming and effects. Fernando Perdomo contributed bass, guitars, keyboards and percussion. Julia Holter and Ramona Gonzales added vocals and keyboards. Other artists featured on one or some of the tracks on The Soul Of All Natural Things. It was produced byChris Price, Fernando Perdomo and Linda. Once The Soul Of All Natural Things was completed, Linda’s long-awaited sophomore album was released in March 2014. After a forty-four year absence, Linda Perhacs was back.
By then, a new generation of critics were already familiar with the story of Linda Perhacs ‘ debut album Parallelograms. These critics penned critically acclaimed reviews, and hailed Linda Perhacs the comeback Queen.
Although forty-four years have passed since Linda Perhacs released her debut album Parallelograms, she’s picked up where she left off on The Soul of All Natural Things. Accompanied by some of the best young musicians Los Angeles has to offer, they’ve played their part in a flawless fusion of classic rock, folk, pop and psychedelia. There’s even diversions via ambient, experimental, jazz and drone pop during what’s another captivating and innovative album.
Just like on Parallelograms, Linda Perhacs proves to be a versatile vocalist. Her vocal veers between tender and breathy to elegiac, ethereal and emotive. Sometimes, there’s a fragility and sense of confusion, frustration and melancholia in Linda’s voice. Other times, her vocal becomes impassioned, hopeful and hurt-filled. The on Immunity, Linda’s vocal is louder, stronger and full of sincerity. Just like on other tracks this allows her to breath meaning into the lyrics. Meanwhile, Linda’s accompanied by a choir of lysergic angels who add cascading harmonies, while crystalline guitars and lush strings join with the rest of Linda’s band. They play their part in the sound and success of The Soul Of All Natural Things.
The music on The Soul Of All Natural Things veers from bewitching to beautiful, to cinematic and cerebral. Other times, the music is powerful and spacious, but has an intensity. However, for much of The Soul Of All Natural Things the music is dreamy, ethereal and lysergic. That’s not unlike the album that started this tale of two albums, Parallelograms.
Both albums albums feature a truly prodigious singer, songwriter and musician, Linda Perhacs. She could and should’ve enjoyed a long and successful career. Alas, fate conspired against Linda Perhacs, when her debut album Parallelograms wasn’t promoted didn’t received sufficient promotion. As a result, Parallelograms failed commercially and Linda returned to her work as a dental nurse. The dream it seemed was over.
It was later in her career that Linda Perhacs reflected that maybe, she hadn’t been the most driven musician. That was a great shame, as Linda Perhacs was a hugely talented singer-songwriter. That’s apparent on Parallelograms and the long-awaited and much-anticipated followup The Soul Of All Natural Things. It was released forty-four years after Parallelograms, in 2014.
By then, a lot of water had passed under the bridge since 1970 and the release of Parallelograms, but Linda hadn’t lost her mojo. Far from it. Just like Parallelograms, The Soul of All Natural Things was an album of flawless, timeless music. The Soul Of All Natural Things was a reminder, if any was needed that Linda Perhacs had the talent to become one of the leading lights of the Laurel Canyon scene. Especially if Parallelograms had been released on a major label. Thing Linda Perhacs’ career might have been very different. However, Linda Perhacs seems to be content with her life. It’s a case of no regrets.
Linda Perhacs may only have released two albums, but Parallelograms and The Soul Of All Natural Things are both flawless, cult classics. They showcase one of music’s best kept musical secrets, Linda Perhacs. She could’ve, and should’ve, enjoyed a long and successful career. Instead, Linda Perhacs’ career is a tale of two albums, Parallelograms and The Soul Of All Natural Thing. Theseflawless cult classics, and are a reminder of Linda Perhacs whose one of music’s best kept secret.
Linda Perhacs-Music’s Best Kept Secret.
THE CLARENCE DANIELS ORCHESTRA FEATURING OBIE JESSIE AND SANDY MILLER-HARD WORKIN’.
The Clarence Daniels Orchestra featuring Obie Jessie and Sandy Miller-Hard Workin’.
Ace Records.
By the sixties, big bands were no longer as popular as they had once been. That was no surprise as music had changed beyond recognition. Bands like The Beatles, and the British Invasion groups in 1964 were game-changers for the big band leaders. They were in a similar boat to the blues men, and found themselves marginalised, and no longer part of mainstream music. However, there were still venues where the big bands were welcomed with open arms.
This included the lounge bars in some of the classier hotels, and the casinos in Las Vegas and Reno. Each night, the big bands took to the stage and played in front of those who grew up listening to the same big bands. In Reno and Vegas, the audience was mainly gamblers, ranging from high rollers, to the little old ladies who had spent much of their day playing the slot machines. After the show, many of the bands tried to sell a copy of their latest album, hoping patrons would want a reminder of the evening’s music. It was a far cry when the heyday of the big bands, and when their albums sold in vast quantities. However, things had changed since then. Even Count Basie and Duke Ellington’s albums were no selling in the same quantities as they once had. For the big bands, and the bandleaders it was a worrying time.
Still, though, some big bandleaders were taking their bands into the studios during the sixties to record albums. This included Clarence Daniels, a native of Phoenix, Arizona who started out as a bassist and singer. However, he was always destined for greater things and eventually, founded The Clarence Daniels Orchestra.
Initially, the newly founded Clarence Daniels Orchestra were a popular draw, when they played live. Over the years, Clarence Daniels brought onboard a series of guest vocalists. This included Obie Jessie and Sandy Miller, who would feature on singles and albums released by The Clarence Daniels Orchestra. Some of these recording feature on a new compilation from Ace Records, Hard Workin’ which features The Clarence Daniels Orchestra featuring Obie Jessie and Sandy Miller. Hard Workin’ features twenty tracks recorded between 1966 and 1967, and includes singles, B-Sides, album tracks and nine previously unreleased tracks. Quite simply, Hard Workin’ is a comprehensive overview of The Clarence Daniels Orchestra’s all too short recording career.
The Clarence Daniels Orchestra’s recording career began in 1966. By then, The Clarence Daniels Orchestra had signed to one of the many independent labels based on the West Coast, Affiliated 45. It was an imprint of Modern Records, which was owned by the Bihari brothers.
They were music industry veterans, who were well versed in the ways of the music industry. The Bihari brothers had owned a number of record companies over the years, including Modern Records, plus its imprints Kent Records and Affiliated 45. These two labels would release everything The Clarence Daniels Orchestra released between 1966 and 1967. This included the trio of singles and album that The Clarence Daniels Orchestra released on Affiliated 45.
The Clarence Daniels Orchestra featuring Sandy Miller recorded the album Do The Deal, for the Affiliated 45 label in 1966. By then, Clarence Daniels had put together a talented band. They showcase their talents on the ten tracks on Do The Deal, which was released later in 1966.
Four of the these songs feature on Hard Workin’. This includes the jazzy Do The Deal, And Then I’ll Stay which features a heartfelt and soulful vocal from Sandy Miller. Clarence Daniels then takes charge of the vocal on Baby I’m Gone and I’ll Never Let You Go, and breathes life and meaning into the lyrics. There’s also a previously unreleased version of Baby I’m Gone on Hard Workin’, which shows the songs taking shape. Among the other songs on the compilation are the three singles Clarence Daniels released for Affiliated 45. They all feature on Hard Workin’.
This includes the single that was released from Do The Deal, Baby I’m Gone. On the B-Side, was And Then I’ll Stay. The single was released in 1966, and was one of three released by Clarence Daniels that year.
The best known of the three singles was Hard Working Girl, which was released on Affiliated 45 in 1966. Hard Working Girl features twice on Hard Workin’. There’s the single version of Hard Working Girl which swings gently along, and a previously unreleased first take where the vibes play a more prominent role in rhythm. Tucked away on the B-Side of Hard Working Girl was I’ve Got My Walkin’ Papers. It’s an underrated song about someone getting their call up papers, and features a vocal that’s a mixture of machismo and trepidation. Just like Both Hard Working Girl, I’ve Got My Walkin’ Papers is a welcome additions to the Hard Workin’ compilation.
It’s a similar case with You Dig It, the third of the singles that The Clarence Daniels Orchestra released on Affiliated 45 during 1966. You Dig It allows The Clarence Daniels Orchestra to stretch their legs and kick loose. Especially the horn section, who play a leading role in the sound and success of this instrumental. It’s one of The Clarence Daniels Orchestra finest houses during their stay at Affiliated 45 in 1966.
By 1967, The Clarence Daniels Orchestra were being billed as Clarence Daniels and His Orchestra, and had moved to another Modern Records’ imprint, Kent Records. Clarence Daniels and His Orchestra released their sophomore album Love Affair during 1967. Love Affair featured eight tracks, including Check Out Time, Hello California and What Can A Poor Boy Do? They feature on Hard Workin’ and are among the highlights of Love Affair. Especially, Check Out Time which features a much more contemporary, modal sound. Hello California, which features a vocal from Clarence Daniels, has a bluesy sound. So does What Can A Poor Boy Do? where Clarence Daniels and His Orchestra combine elements of blues and jazz. In doing so, they showcase their talent and versatility.
Despite their talent and versatility, Clarence Daniels and His Orchestra didn’t release any further albums on Kent Records. Love Affair which was released in 1967, was Clarence Daniels and His Orchestra’s one and only release for Kent Records.
Clarence Daniels spent just two years signed to the Affiliate 45 and then Kent Records. He signed on the dotted line during 1966, and departed in 1967. Sadly, it wasn’t the most successful period of his career. Since then, the Do The Deal and Love Affair albums have been oft-overlooked by record buyers. Thankfully, not any more, as there’s been a resurgence in interest in Clarence Daniels’ music. As a result, Ace Records have released a new compilation of music from The Clarence Daniels Orchestra featuring Obie Jessie and Sandy Miller, Hard Workin’. It features twenty tracks, including nine previously unreleased track. They’ll be of interest to anyone with even a passing interest in Clarence Daniels’ music.
Especially, the alternate takes of Baby I’m Gone and Hard Working Girl. There’s also six previously unreleased instrumentals. This includes the modal big band sound of Instrumental #1,the Latin jazz of Instrumental #2 and the Latin boogaloo of Instrumental # 3. Daddy’s Got A Shotgun heads in the direction of R&B, while the Orchestra’s horns play a leading role on Lonesome Shack and Cream Sherry. Sandy Miller adds the vocal on I Got To Get Ready, while Clarence Daniels takes charge of the vocal on Lonesome Shack. It’s another of the hidden gems on Hard Workin’, which was recently released by Ace Records.
Hard Workin’ which features the talents of The Clarence Daniels Orchestra featuring Obie Jessie and Sandy Miller is a compilation that will appeal to many people. First and foremost, fans of The Clarence Daniels Orchestra will enjoy the music on Hard Workin’. It’s also an opportunity to enjoy the vocal prowess of Obie Jessie, Sandy Miller and bandleader Clarence Daniels. He put together a truly talented orchestra, who showcase their considerable skills throughout Hard Workin’.
This includes on the three singles and the album Do The Deal, that The Clarence Daniels Orchestra released on Affiliate 45 during 1966. A year later, and now billed as Clarence Daniels and His Orchestra, the album Love Affair was released on Kent Records. Just like Do The Deal, Love Affair featured one of the most underrated big bands of the sixties. By then, big band music was no longer as popular. Realising this, Clarence Daniels took big band music in different directions, incorporating blues, Latin jazz, Latin boogaloo, modal jazz and R&B into the two albums that they released. Clarence Daniels realised that standing still wasn’t an option. If he stood, then his Orchestra risked becoming irrelevant. However, by trying to reinvent his music, Clarence Daniels and His Orchestra ensured that their career continued.
In the case of Clarence Daniels and His Orchestra, this meant heading to Vegas, where he played in casinos and the lounges in upmarket hotels. Through constantly reinventing his music, Clarence Daniels and His Orchestra were able to continue to make a living out of music. Meanwhile, many bigs bands folded, or were reduced to playing in less salubrious establishments. However, Daniels and His Orchestra survived the change in musical fashions, and continued to release albums. These albums are more a reminder of the night they saw one of the last remaining big bands in all its glory, while Hard Workin’ is a reminder of The Clarence Daniels Orchestra featuring Obie Jessie and Sandy Miller at the peak of their musical powers.
The Clarence Daniels Orchestra featuring Obie Jessie and Sandy Miller-Hard Workin’.
FAZERDAZE-MORNINGSIDE.
Fazerdaze-Morningside.
Grönland Records.
Despite a population of just 3.8 million, New Zealand has always punched above its weight when it comes to music. That has been the case for the best part of fifty years. Proof of that is the roll call of artists and bands New Zealand has produced over the last five decades. This ranges from familiar faces like Split Enz, Crowded House and The Mutton Birds to Fat Freddy’s Drop, The Veils, Rhian Sheehan and The Phoenix Foundation, to relative newcomers Kimbra and Avalanche City. Recently, though, a new name can be added to this list Fazerdaze, which is the moniker of singer-songwriter Amelia Murray. Her career began as recently as 2014.
That was when Fazerdaze decided to record some of the songs she had been writing. However, she didn’t head into one of the local recording studios to record what would later, become her debut EP. Instead, Fazerdaze waited until late at night, and transformed her bedroom into a makeshift studio. In the relative calm of the late evening, Fazerdaze set up her guitar, drum machine and synths. With all her equipment setup, Fazerdaze pressed record, and began work on what she modestly refers to as “bedroom recordings.” This became a regular routine, and eventually, Fazerdaze had recorded enough material for her eponymous debut EP.
When Fazerdaze was released later in 2014, critics discovered a carefully crafted collection of dream pop, that had been penned, performed and produced by Amelia Murray. She was responsible for a collection of optimistic, sophisticated and laid back music. There was also a degree of intimacy and warmth to Fazerdaze, which won over critics on three continents.
Initially, the Fazerdaze EP received widespread critical acclaim from critics in New Zealand, Britain and America. Soon, though, Fazerdaze was receiving praise and plaudits from critics much further afield. Among Fazerdaze’s biggest fans were the UK-based NME, and New Zealand’s Sunday Star Times. They were so impressed that they included the Fazerdaze EP in their year-end Best of 2014. For Fazerdaze, her eponymous debut EP had launched her nascent career. The next three years would be a roller coaster ride.
As 2015 dawned, Fazerdaze was keen to build on the momentum created by her eponymous debut EP. Fortunately, Fazerdaze and her band were scheduled to embark upon what was a gruelling touring schedule. Before that, Fazerdaze opened the 2015 New Zealand Silver Scroll Awards with a breathtaking cover of Marlon Williams’ Dark Child. This was the perfect start to what would be one of the most important years of Fazerdaze’s nascent career.
By then, Fazerdaze and her band had been booked to support two major New Zealand acts during their 2015 tours. This included the Unknown Mortal Orchestra, which featured musicians from Auckland, in New Zealand and Portland, Oregon. Each night, a new and much wider audience were introduced to Fazerdaze’s music. Opening for the Unknown Mortal Orchestra so early in her career was the opportunity of a lifetime for Fazerdaze. Night after night, a much wider audience were introduced to her music. This opportunity of a lifetime Fazerdaze grabbed with both hands.
After touring with the Unknown Mortal Orchestra, there was no rest for Fazerdaze. Soon, she and her band would head out on tour to support another successful New Zealand musician. This time it was Connan Mockasin, from the small beachside town of Te Awanga, that Fazerdaze was supporting. Connan Mockasin had spent the last ten years touring the world, and was now beginning to reap the rewards. For an up-and-coming artist like Fazerdaze this showed what was possible.
Already though, Fazerdaze had already achieved a lot in a short space of time. She had released her eponymous debut EP, which received widespread critical acclaim and toured with two established acts. Not many artists achieved this so early in their career. It augured well for Fazerdaze’s future.
In 2016, Fazerdaze embarked upon what was her first British tour. She made many new friends in Britain, before heading home. Later in 2016, Fazerdaze appeared at Australia’s Bigsound music conference and at the Red Bull Music Academy in Montreal. Fazerdaze had packed a lot into the space of two years.
Especially considering she had been writing and recording her debut album Morningside, which was recently released on Grönland Records. Morningside marked the start of a new and exciting chapter in the career of Fazerdaze.
Last To Sleep opens Morningside and sounds like a guitar driven slice of indie rock. Just a bristling guitar accompanies Amelia Murray’s vocal which sits back in the mix. At 0.46 the thunderous rhythm section enter, and power the arrangement along. They’re joined by synths that beep, squeak and buzz as the song heads in the direction of dream pop. Latterly, the arrangement builds and Amelia’s vocal is dwarfed by buzzing synths, a driving rhythm section and bristling guitars during this memorable and melodic fusion of indie rock and dream pop.
Lucky Girl bursts into life with the rhythm section and choppy guitars and shimmering, effects laden keyboards power the arrangement along. They add an urgency to the driving, choppy arrangement. Meanwhile, Amelia delivers a hopeful, dream pop vocal, as the song heads into anthem territory. Later, the arrangement becomes a wall of sound, as Fazerdaze continue to inject a degree of urgency as this fist pumping anthem unfolds.
A buzzing synth and the rhythm section combine to create the dramatic backdrop to Amelia’s dreamy and soul-baring vocal on Misread. Although the vocal is mixed back in the arrangement, it still plays a leading role and is key to the sound and success of the song. Meanwhile, drums pound as the bass and a scorching guitar solo drive the arrangement along. Later, there’s a swagger to Amelia’s vocal, before the song reaches a crescendo. By then, it’s obvious that Misread is sure to be a festival favourite during the summer months.
Sci-fi synths give way to the rhythm section, chiming guitars and buzzing, droning synth on Little Uneasy. Together, they set the scene for Amelia’s wistful, angst-ridden, dream pop vocal. Meanwhile, the arrangement twists and turns, growing in power as it ebbs and flows, revealing its sonic secrets. They come courtesy of the rhythm section, guitar and synths. Together who create another powerhouse of an arrangement. Especially, Andrea Holmes’ drums. They provide the heartbeat, while Amelia’s guitar and vocal playing leading roles in this carefully crafted song that’s been inspired by both indie rock and classic dream pop.
Fazerdaze drop the tempo on Jennifer, which initially, features a much more understated arrangement. Mostly, it’s synths and the guitar which accompany Amelia’s dreamy, almost ethereal vocal. At 0.50 the rhythm section join the mesmeric synths and soon, cooing harmonies. By then, the understated arrangement is no more. Having said that, the rest of Fazerdaze take care not to overpower Amelia’s vocal. They realise a beautiful song that harks back to dream pop’s past is unfolding and revealing its secrets. It’s without doubt, one of the highlights of Morningside.
Straight away, it’s obvious that something special is about to unfold on Take It Slow. Guitars lock into a groove with the bass, while the drums lay down the heartbeat. Soon, the bass breaks free and ushers in Amelia’s tender, thoughtful vocal. It’s accompanied by bristling, chiming guitars and the rhythm section. Soon, though, they replace the vocal and enjoy their moment in the sun. That is until Amelia returns, and continues to deliver a tender, hopeful vocal. Later, harmonies that sit high in the carefully crafted arrangement and accompany Amelia, on a track which features Fazerdaze at their very best. For anyone who loves dream pop, this a song to cherish.
Keyboards open Shoulders and join with the rhythm section and bristling guitar. They accompany Amelia’s ethereal dream pop vocal as the arrangement literally floats along. At 1.03 the arrangement becomes understated and briefly, allows the vocal to take centre-stage. Before long, the arrangement rebuilds, with the keyboards, rhythm section and guitar creating the perfect backdrop to Amelia’s beautiful, ethereal vocal. All too soon, though, Shoulders is over after less than three magical and memorable minutes.
Just a lone bass synth opens Friends, before shakers accompany Amelia’s tender, wistful vocal. Then a wall of searing, blistering guitars join with the rhythm section and synth. A cymbal crashes as the song slowly unfolds. Sadness and emotion fills Amelia’s vocal which is akin to a confessional. Meanwhile, drums provide the heartbeat, as a bass synth buzzes and soon, a blistering guitar is unleashed. It soars high above the vocal and dominates the arrangement. Then the baton passes to the bass, before the guitar ushers Amelia’s vocal back in, before a buzzing bass synth enters and the song reaches a dramatic crescendo.
When Half-Figured unfolds, elements of indie rock, grunge and dream pop combine. Not for the first time, there’s even a nod to the Jesus and Mary Chain, and even Teenage Fanclub and the Cocteau Twins. Meanwhile Amelia’s vocal is mixed way back in the arrangement and is cocooned within a rocky vortex. This comes courtesy of the rhythm section and guitars, that play slowly and deliberately. Later, a bristling guitar accompanies Amelia’s distant vocal before all too soon, Half-Figured reaches a dramatic and rocky ending after two genre-melting minutes.
Beeps and squeaks combine with a chiming guitar on Bedroom Talks, which closes Morningside. Soon, the rhythm section enter, and combines with the guitar. They play slowly before Amelia’s dreamy, sleepy, ethereal vocal enters. It’s one of her best vocal and grabs the listener’s attention. Meanwhile, the rest of the arrangement is subtle and compliments the vocal. Guitars shimmer and glisten, while the drums reverberate and cooing harmonies float above the arrangement. It seems that Fazerdaze have kept one of the best until last on Morningside.
It’s hard to believe that it’s only three years since Fazerdaze released their eponymous debut EP. Fazerdaze have come a long way since then. This includes recently releasing their much-anticipated debut album Morningside on Berlin based Grönland Records.
Morningside is a carefully crafted album that was which was masterminded by the truly talented Amelia Murray a.k.a. Fazerdaze. She is responsible for an album of dream pop that quite simply, oozes quality. However, there’s much more to Morningside than just dream pop. There’s also elements of indie pop, indie rock, electronica and even grunge on Morningside. It’s a melodic and memorable album, where the hooks certainly haven’t been rationed.
Several songs on Morningside head into anthem territory, and are best described anthems-in-waiting. They’re sure to become festival favourites over the summer months and hopefully, will introduce singer, songwriter and producer Amelia Murray, a.k.a Fazerdaze to a much wider audience. After all, songs as good as those on Morningside deserve to reach as wide an audience as possible.
Especially anyone who loves dream pop. Morningside harks back to the glory day’s of dream pop, and is a reminder of the genre’s illustrious past. However, Morningside is also an album that will appeal to anyone who loves indie pop and indie rock. Quite simply, Morningside is an album that’s sure to appeal to a wide range of music fans. It’s the debut album of Fazerdaze who showcase their considerable skills during Morningside, which is the start of a new and exciting chapter in Fazerdaze’s career.
Hopefully, Morningside is the next step in what will be a long and successful career for Fazerdaze. If they can continue to release albums of the quality of Morningside, then the future looks bright for Fazerdaze, who maybe, one day, will be added to the roll call of artists from New Zealand who have found fame across the globe?
Fazerdaze-Morningside.
THE SEXADELIC DISCO-FUNK SOUND OF…SUSANA ESTRADA.
The Sexadelic Disco-Funk Sound of…Susana Estrada.
Espacial Discos.
Ever since 1939, the brutal Francoist regime had ruled Spain with an iron fist. This came to an end with the death of dictator Francisco Franco on ’20th’ November 1975. After Franco’s death, control of Spain passed to King Juan Carlos. By then, Spain was in a state of paralysis. It had been, during the last few months of Franco’s reign. The Spanish people hoped that things were about to change.
They hoped that after the death of Franco, that Spain’s transition to a liberal democratic state could begin. The transition began on ’20th’ November 1975 with the passing of Franco, and took nearly seven years until the electoral victory of the socialist PSOE party on the ‘28th’ October 1982. That seven-year period is nowadays remembered in Spain as the ‘transition’, and marked a new beginning for the Spanish people.
The transition to democracy saw a liberalisation of values and social mores. Suddenly, the Spanish people were enjoying their newfound freedom. This was something that hadn’t previously existed under the Francoist regime. Life, the Spanish people were realising, was for living. This coincided with a sexual revolution that began during the transition.
During the transition and sexual revolution, singer, model and actress and Susana Estrada represented the new Spain. She was independent and modern women, who lived her life on her terms. Susana Estrada wanted to bring about change, and was an advocate for women’s rights, sexual liberation and freedom. One of the ways she sought to bring about change was through her music. This includes the music that features on The Sexadelic Disco-Funk Sound of…Susana Estrada which will be released on the ‘19th’ June 2017, on Guerssen Records’ new label Espacial Discos. This new compilation features thirteen tracks from Susana Estrada, who was at the vanguard of change that took place during the transition in Spain.
Susana Estrada was born in the city of Gijón, in 1949. By then, Franco had ruled Spain since 1936. Growing up, Susana Estrada she watched as the Francoist regime crushed their opponents mercilessly. Many of Franco’s opponents were imprisoned, others disappeared in mysterious circumstances and some were murdered. For anyone who grew up in Spain the forties and fifties, life was tough. It certainly was for Susana Estrada.
By the time she was twenty-one, Susana Estrada had been married, had two children and was now divorced. She was left to bring up two children on her own. This she managed to do on the salary she received working as a librarian. However, Susana Estrada had dreams beyond working in a library. What she really wanted to do, was work as a fashion model.
Eventually, Susana Estrada left her job as a librarian, to embark upon a career as a fashion model. Initially, she worked for small, local companies, but within a year had been accepted into Madrid’s official model school. It looked like Susana Estrada’s dream was about to come true. However, it turned out that Susana Estrada wasn’t tall enough. Even when she took to wearing fifteen centimetre heels, she wasn’t tall enough. For Susana Estrada, it looked as if her career as a model was over before it began.
It looked unlikely that Susana Estrada would ever model for magazines like Vogue or luxury clothing brands, she found her own niche within the fashion world. Susana Estrada modelled the ready-made, pret-à-porter fashion lines. Sometimes, though, she was recruited by overseas model agencies, and occasionally found herself featuring on album cover. By 1971, Susana Estrada had gone up in the world.
She made her acting debut in El Zorro de Monterrey in 1971, which was the start of Susana Estrada’s acting career. During the second half of the seventies, Susana Estrada began to feature in a new genre of film, Destape which were erotic comedies. However, before long, Susana Estrada realised that to make a career in the movie industry “you had to pay a high price and do some things I didn’t want to do.” However, by then, Susana Estrada had embarked on a new chapter in her career.
This began in 1976, when she started acting in erotic musicals. Her debut came in 1976, in Historias del Strip-Tease which was roundly panned by critics. Despite the terrible reviews, it was a huge commercial success and turned Susana Estrada into a star. However, this came at a cost: “in the beginning, women hated me. They thought that I was lacking decorum, that I was shameless, lecherous, rude…Not all of them but the vast majority. People were not ready for this.”
After featuring in several erotic musicals, Susana Estrada became a sex counsellor in the magazine Play-Lady. At one point, she was receiving 7,000 letters a week. By then, Susana Estrada’s new role was attracting the attention of Franco’s regime. She was accused of public scandal, fined, had her passport cancelled and banned from voting for ten years. This was just the latest controversy for Susana Estrada, who was skating on thin ice. Any further controversy could see her receive further sanctions from the Franco regime. Most people would’ve kept a low profile.
Susana Estrada wasn’t most people, and was about to embark on a career as a singer. Her debut single Ya Me Voy De Tu Vida was released on Odeon in 1978. It was written by Alejandro Jaén, who co-produced the single with Marion Bronley. They were responsible for a single that had been heavily influenced by both classic disco, and the Munich Sound, which was pioneered by Giorgio Moroder. The release of Ya Me Voy De Tu Vida marked the start of a new chapter in Susana Estrada’s career. However, she continued her career in musicals.
Between 1978 and 1980, the musicals that Susana Estrada appeared in grew in popularity. However, they became increasingly explicit. By then, Spain was undergoing a period of transition, and Susana Estrada was campaigning for women’s rights, sexual liberation and freedom. Still, though, some women didn’t approve of what she was doing, and felt it was demeaning. However, Susana Estrada remembers: “I fought very hard for women’s rights. I knew that through sexual liberation you obtain total freedom. This was something which men knew at first and women discovered it late.” Susana Estrada was determined to bring about change, and didn’t seem to care if she caused controversy. Her sophomore single would certainly prove controversial.
Two years after releasing her debut single, Susana Estrada returned in 1980 with her sophomore single Acaríciame, which was released on the Barcelona based Belter label. Acaríciam was written by Carlos Moncada, Félix Lapardi and Óscar Rubio, with Josep Llobell Oliver taking charge of the production. On the B-Side was Machos, which was penned by Pepe Luis Soto and produced Ramón Rodó Sellés. Both Acaríciam and Machos, which feature on The Sexadelic Disco-Funk Sound of…Susana Estrada, and are sensual sounding disco tracks. The success of Acaríciam resulted in Susana Estrada releasing her debut album, Machos.
Unlike most albums released in 1980, Machos was released by Belter, but only on cassette. It featured songs from the musical Susana Estrada was appearing in, Machos. Nowadays, the cassette album Machos is a collector’s item, and changes hands for up to £100. Four of the eight tracks from Machos feature on The Sexadelic Disco-Funk Sound of…Susana Estrada. This includes Acaríciam and Machos. They’re joined by the robotic funk of Espacial and the space cosmic disco of Hagamos El Amor. Both these songs were written by the songwriting partnership of C. De Las Eras and Manuel Gas, but didn’t appear on what’s nowadays regarded as Susana Estrada’s official debut album, Amor Y Libertad.
When Susana Estrada came to record Amor Y Libertad, it featured ten songs penned by Carlos De Las Heras. They were recorded at the Belter Studio, in Barcelona, with producer by Josep Llobell Oliver. To accompany Susana Estrada, he had brought onboard Atlanta a talented and experienced funk group who were familiar faces on the local music scene. The combination of Susana Estrada, Atlanta and Josep Llobell Oliver resulted in what would eventually be regarded as a Euro Disco and cosmic disc classic, Amor Y Libertad.
Initially, Amor Y Libertad was underrated and didn’t receive the recognition many thought it deserved. Critics didn’t seem to ‘get’ Amor Y Libertad, despite its innovative fusion of boogie, cosmic disco, funk, Italo Disco, modern soul and the Munich Sound. Maybe critics were shocked by what many regarded as provocative lyrics, sensual vocals and moans and groans? If that was the case, then songs about sexual liberation and freedom were definitely going to get critics hot under the collar. The reception that Amor Y Libertad received was hugely disappointing for everyone involved in the project.
It was only later that Amor Y Libertad began to receive the recognition it deserved. Nowadays, though, Amor Y Libertad is regarded as a Euro Disco and cosmic disco classic, That comes as no surprise, given the quality of music on the album. Especially songs like Mi Chico Favorito, Voy Desnuda, ¡Gózame Ya!, ¡Qué Calor!, ¡Quítate El Sostén!, Un Sitio Bajo El Sol, Hagámoslo Juntos and Voy Desnuda. These songs which all feature on The Sexadelic Disco-Funk Sound of…Susana Estrada compilation, and among the highlights of Amor Y Libertad, which somewhat belatedly, received the recognition it deserved.
Playing an important part in the sound and success of the album was Atlanta, who were produced a genre-melting, dance-floor friendly backdrop for Susana Estrada. Meanwhile Josep Llobell Oliver produced Amor Y Libertad, and took a less is more approach to production. This worked well and resulted in what eventually became a Euro Disco and cosmic disco cult classic.
After the release of Amor Y Libertad, Susana Estrada released Mi Chico Favorito as a single later in 1981. This was Susana Estrada’s penultimate release during the eighties.
Susana Estrada’s eighties swan-song was the cassette mini album Historias Inconfesables. It was released by Star Grabaciones Originals later in 1981 and was billed as “porno-cassette.” The album featured just four songs, including two versions of Mi Chico Favorito and ¡Que Calor! (Canción). This includes X-rated versions of Mi Chico Favorito and ¡Que Calor! Nowadays, Historias Inconfesables is a real rarity which is almost impossible to find.
It’s a similar case with Tócame, which features on The Sexadelic Disco-Funk Sound of…Susana Estrada. It was recorded in 2007, and is best described as Hi-Energy meets Euro Disco. This is a welcome addition to The Sexadelic Disco-Funk Sound of…Susana Estrada, which documents the musical career of one of the most controversial figures in Spanish music, Susana Estrada.
She was the one time model who went on to enjoy a career as an actress, agony aunt and singer. Susana Estrada also fought for women’s rights, sexual liberation and freedom. Sadly, her campaigning is often overshadowed by parts of her career that caused controversy. This may not have been the case in America, Britain or other parts of Europe. However, Spain which was a conservative catholic country, which was in a period of transition from a dictatorship to democracy. Many people were unprepared for Susana Estrada, her campaigning and indeed, some of the music on The Sexadelic Disco-Funk Sound of…Susana Estrada. That was somewhat ironic.
What Susana Estrada was campaigning for was women’s rights, sexual liberation and freedom, which were things that many women in other parts of Europe, Britain and America took for granted. Alas, in the newly democratic Spain, Susana Estrada’s campaigns caused controversy in the corridors of power. Maybe Spain’s patriarchy were scared or intimated by a strong and independent woman, who was willing to make a stand for what she believed in? Despite being fined, having her passport cancelled and losing her vote for ten years, Susana Estrada wasn’t going to be silenced. She continued to speak for all the Spanish women who had no way of making their views heard. One way Susana Estrada was able to make her voice heard was through her music.
This includes much of the music that featured on her debut album Amor Y Libertad. Eight of the ten tracks from Amor Y Libertad feature on The Sexadelic Disco-Funk Sound of…Susana Estrada which will be released on the ‘19th’ June 2017, on Espacial Discos, a new imprint of Guerssen Records. The Sexadelic Disco-Funk Sound of…Susana Estrada also features singles, B-Sides and the unreleased track Tócame. Quite simply, The Sexadelic Disco-Funk Sound of…Susana Estrada is a truly comprehensive overview of Susana Estrada’s musical career, and is the perfect introduction to one of Spain’s Euro Disco divas.
The Sexadelic Disco-Funk Sound of…Susana Estrada.
LIGHTHOUSE-LIGHTHOUSE, SUITE FEELING AND PEACING IT ALL TOGETHER.
Lighthouse-Lighthouse, Suite Feeling and Peacing It All Together.
In 1968, Skip Prokop the former drummer and vocalist with the Canadian psychedelic rock band The Paupers, met Brooklyn born keyboardist Paul Hoffert in a New York nightclub. The men bonded over their mutual love of music. However, when they parted company at the end of the evening, they never thought that their paths would cross again.
That was until Skip Prokop boarded a flight from New York to head home to Toronto, and recognised one of his fellow passengers. It was none other than Paul Hoffert, who was studying at the University of Toronto. The two men started talking, and soon, were discussing the possibility of forming a band based around a rock rhythm section, jazz horn section, and classical string section. It this was an ambitious plan, but one that Skip Prokop and Paul Hoofers were determined to bring to fruition.
Fortunately, Skip Prokop was a familiar face within Toronto’s music scene, and knew plenty of musicians who would be interested in joining the band he planned to form with Paul Hoffert. Skip Prokop brought onboard some of his musical friends, several session musicians and members of the Toronto Symphony Orchestra. Gradually, Skip Prokop and Paul Hoffert’s group was taking shape.
Eventually, the nascent group featured thirteen musicians. The next step for the as yet unnamed band was to record a demo. Once the demo was complete, Skip Prokop sought the advice of one of his musical friends, Richie Havens. He suggested that Skip Prokop and Paul Hoffert take the tape to MGM Records, who Richie Havens was currently signed to.
On hearing the demo, executives at MGM Records were hugely impressed with what they heard. So much so, that they offered the band an advance of $30,000. Skip Prokop and Paul Hoffert signed on the dotted line. The band was now signed to MGM Records.
Having signed to MGM Records, the band acquired a manager within the space of two days. It was just a pity they hadn’t a manager when they signed to MGM Records.
Their new manager was Vinnie Fusco, who was an associate of Albert Grossman, who managed Bob Dylan. Vinnie Fusco was an experienced manager, who was well versed in the how the music industry worked. He decided that the MGM Records’ deal wasn’t good enough for his new client.
Vinnie Fusco decided to pay the executives at MGM Records a visit to discuss the contract his new client had signed. By the end of the meeting they were prepared to free the band from their contractual obligations. This left them free to sign to RCA Victor.
Not before Vinnie Fusco had negotiated a lucrative recording contract for the band. This time, it wasn’t $30,000 that the band would receive, Instead, they would receive hundreds of thousands of dollars over the course of the contract. During that morning, Vinnie Fusco had more than proved his worth.
Now that the band had a recording contract in place, the next step was to finalise the band’s lineup. Although the band had recorded a demo, this wasn’t the version that would make their live debut at Toronto’s Rock Pile on May ’14th’ 1969.
With the lineup of the band finalised, and having honed their sound, they were ready take to the stage at the Rick Pile. As the band prepared to take to the stage, a seventy year old man-made his way to the microphone to introduce the band. Some members of the audience thought his face was familiar. It was none other that Duke Ellington who uttered the immortal words “I’m beginning to see the Light…house.” With that, the thirteen members of the band that would become Lighthouse took to the stage and delivered a barnstorming set. By the end of the night, very few people were taking about Duke Ellington. Instead, they were taking about Lighthouse’s live debut.
After the success of Lighthouse’s live debut, Vinnie Fusco knew that he had signed a band with a big future ahead of them. He wasted no time in taking Lighthouse into the studio to record their eponymous debut album. Lighthouse is one three albums that feature on BGO Records’ recent released two CD set. It’s joined by Suite Feeling and Peacing It All Together, which covers the period between 1969 to 1970. This period starts with Lighthouse, which was written and recorded during 1969.
Lighthouse.
For Lighthouse, members of the band had written eight new songs, and covered The Byrds’ Eight Miles High and Richie Havens’ No Opportunity. Lighthouse’s songwriter-in-chief was Skip Prokop who cowrote three songs and wrote four more. This included If There Ever Was A Time, Follow The Stars, Marsha, Marsha and Ah I Can Feel It. He and Paul Hoffert wrote Whatever Forever, while Skip Prokop Peggy Devereux wrote Life Can Be So Simple. They also wrote Mountain Man with guitarist Ralph Cole. Brenda and Paul Hoffert Never Say Goodbye contributed. These ten tracks were to be recorded at Electric Ladyland Studios, New York.
At Electric Ladyland Studios, the thirteen members of Lighthouse prepared to record their eponymous debut album. By then, the lineup included a rhythm section that featured drummer and vocalist Skip Prokop, bassist and vocalist Grant Fullerton and guitarist and vocalist Ralph Cole. They were joined by keyboardist and vibes player Paul Hoffert and percussionist and vocalist Pinky Dauvin. The horn section featured Freddy Stone and Arnie Chycoski on flugelhorn and trumpet; alto saxophonist Howard Shore and trombonist Russ Little. This left just the string section, which featured cellist Leslie Schneider and Don Whitton; violinist Ian Guenther and Don DiNovo who switched between violin and viola. Taking charge of production was Skip Prokop and Paul Hoffert who was Lighthouse’s musical director. After the sessions got up and running, it soon became apparent things weren’t going to plan. Rather than waste time and money, they should head home to Toronto and record the album there.
When Lighthouse returned to Toronto, they deduced to record at Eastern Sound Studios. Suddenly, the band were in a groove and before long, had recorded the ten songs that became Lighthouse. Once it was completed, it was released later in 1969.
Before that, critics had their say on Lighthouse. It received plaudits and praise from critics who were won over by Lighthouse’s innovative genre-melting sound. Lighthouse was a mixture of jazz, rock, classical and fusion. There’s even avant-garde, blues, chamber pop, funk, pop and psychedelia, in an album that was designed to grab the listener’s attention.
That was the case from the explosive psych-funk of Mountain Man. With its call for freedom, it was an anthem-in-waiting. There was no let-up with the carefully crafted and uplifting If There Ever Was A Time. No Opportunity Necessary was a cover of a Richie Havens’ song, while Never Say Goodbye seems to have been inspired by George Martin’s production on Sgt. Peppers Lonely Heart Club Band. Very different was the orchestrated folk of Follow The Stars, which features a dreamy vocal. Whatever Forever seems to have been inspired by both The Doors, before a fleet-fingered Hammond organ transforms the track, and it heads in the direction of jazz. Lighthouse then pay homage to The Byrds on their cover of Eight Miles High, while Marsha, Marsha is a beautiful, blues-tinged ballad. Ah I Can Feel It is a slow burner where pop, rock and jazz play their part in the sound and success of the song. Closing Lighthouse was Life Can Be So Simple, where a faux classical, baroque introduction gives way to what should’ve been another genre-melting anthem as pop, rock and jazz combine.
Alas, when Lighthouse was released, the album failed to find the audience it deserved. Lighthouse failed to trouble the charts. It was a similar case when If There Ever Was A Time was released as a single. Despite the disappointment caused by the failure of their debut album and single, Lighthouse began work on their sophomore album, Suite Feeling.
Suite Feeling.
By then, Lighthouse were regarded as one of the top live acts in Canada. The band was hoping that their sophomore album would introduce the band to a much wider audience.
When Lighthouse began work on what became Suite Feeling, Skip Prokop and Paul Hoffert were starting to forge a successful songwriting partnership. They wrote Could You Be Concerned, Presents Of Presence, Taking A Walk, Eight Loaves Of Bread and What Sense. The pair also penned Feel So Good with Grant Fullerton, and the trio proceeded to write Places On Faces Four Blue Carpet Traces with Ralph Cole. Just like Lighthouse, there were two cover versions on Suite Feeling, Robbie Robertson’s Chest Fever and Lennon and McCartney’s Day In The Life. These nine songs were recorded in two studios.
Some recording sessions took place at Eastern Sound Studios, in Toronto. Other sessions took place in Los Angeles, at RCA’s Music Centre Of The World. This time around, Lighthouse’s lineup numbered fourteen.
There had been some changes in the lineup, especially in the string and horn section. Don Whitton and Ian Guenther departed and were replaced in the string section by Paul Armin and Myron Moskalyk who played first violin. It was also all change in the horn section, with Freddy Stone and Arnie Chycoski leaving and being replaced by Paul Adamson and Bruce Cassidy who played first trumpet. This new and expanded lineup of Lighthouse recorded Suite Feeling, which was produced by Skip Prokop and Paul Hoffert.
Once Suite Feeling was completed, RCA Victor scheduled the release for late 1969. Before that, critics got the opportunity to review Suite Feeling. Just like Lighthouse, it received praise and plaudits from critics, who going by Suite Feeling were forecasting a big future for Lighthouse.
Dramatic destined the introduction to The Robbie Robertson penned Chest Fever, which featured on The Band’s Music From The Big Pink. It’s a fusion of classical, Native Indian and rock music as they unleash an inventive rework of a familiar song. Quite different is the orchestrated ballad Feel So Good which has a commercial, radio friendly sound. Places On Faces Four Blue Carpet Traces was a near eleven minute epic, where Lighthouse showcase their considerable skills and versatility as they flit between musical genres. Then when it’s time for the solos, the members of Lighthouse unleash virtuoso performances. This closed side one, and set the bar high for the rest of Suite Feeling.
Could You Be Concerned is another carefully crafted song with a commercial sound. It finds Lighthouse successfully fusing funk and rock with classical music. Genres melt into one on the beautiful ballad Presents Of Presence, where horns, harmonies and swathes of strings accompany a heartfelt, needy vocal. Initially, the ballad Taking A Walk is a mixture of sunshine pop and rock, before incorporating elements of avant-garde and jazz to create a captivating and memorable track with surprises aplenty in store. Lighthouse combed gospel and blues on Eight Loaves Of Bread, as they deliver their sermon on peace and positivity. By contrast, What Sense is an impassioned protest song that sounds as if it’s been inspired by The Beatles. An imaginative cover The Day In The Life, closes Suite Feeling and finds Lighthouse reinventing a classic song and taking it in new direction.
With critics won over by Suite Feeling, it looked like their sophomore album was destined for the charts. Sadly, when Suite Feeling was released in late 1969, the album failed to chart. It was another disappointment for Lighthouse. Despite the disappointment, Lighthouse’s thoughts soon turned to their third album Peacing It All Together.
Peacing It All Together.
Just like Suite Feeling, the Skip Prokop and Paul Hoffert songwriting partnership wrote the majority of Peacing It All Together. Their songwriting partnership was flourishing. They wrote Nam Myoho Renge’ Kyo, The Country Song, Sausalito, The Fiction Of Twenty-Six Million, The Chant (Nam Myoho Renge’ Kyo), Mr. Candleman, On My Way To L.A., Just A Little More Time, Little People and am Myoho Renge’ Kyo. Skip Prokop and Paul Hoffert also wrote Let The Happiness Begin with Ralph Cole, and Every Day I Am Reminded where Beethoven receives a credit. The only song not written Skip Prokop and Paul Hoffert, was Daughters And Sons which Grant Fullerton contributed. These songs became Peacing It All Together which was recorded in the Big Apple.
Recording took place at RCA’s Studio C, in New York, where Lighthouse Mk. III recorded Peacing It All Together. Just like Suite Feeling, the lineup had changed. This time, it was there were changes to the horn and string section. First violinist Myron Moskalyk and first trumpeter Paul Adamson departed. Returning to Lighthouse’s lineup was trumpeter Arnie Chycoski. His addition meant that Lighthouse returned to a thirteen piece band. However, it wasn’t unlucky thirteen for Lighthouse.
Peacing It All Together was a much more eclectic album, with tracks ranging from folk and pop, to jazz and orchestral rock. This won the approval of critics, who hailed Peacing It All Together as Lighthouse’s finest hour.
When Peacing It All Together was released to critical acclaim in 1970, the album charted and reached 133 in the US Billboard 200. It was third time lucky for Lighthouse, who at last, had a hit album on their hands. That was no surprise given the quality of music on the album.
Peacing It All Together opens with the two-part suite, where the yoga chant Nam Myoho Renge’ Kyo gives way to the sunshine pop anthem Let The Happiness Begin. Every Day I Am Reminded was inspired by Beethoven’s Pathetique piano sonata, before a soul-baring pastoral ballad unfolds. The Country Song finds Lighthouse heading in the direction of country rock, before the cinematic Sausalito documents Skip Prokop and Paul Hoffert’s road trip across America after recording Suite Feeling. The Fiction Of Twenty-Six Million is memorable and melodic pop rock song which features Lighthouse in full flight. Very different is The Chant (Nam Myoho Renge’ Kyo), where further explore the yoga chant that opened the album.This captivating track closed side one.
Mr. Candleman is another carefully crafted, genre-melting song from Lighthouse, where Ralph Cole delivers a rueful vocal as he brings to the lyrics in the song. Suddenly, he sounds as if he too has lost his enthusiasm for his life. On My Way To L.A, is a joyous and anthemic slice of psychedelic rock. It gives way to Daughters and Sons, a ruminative sounding song about being brought up in the suburbs. One of the highlights of the album was Just A Little More Time, which is a hook-laden, soulful pop song. This leaves just Little People, where pay homage to hard-working people. Hooks haven’t been spared, in this early seventies anthem-in-waiting. It brought to an end Peacing It All Together, which was Lighthouse’s third album.
Peacing It All Together marked the start of the rise and rise of Lighthouse. However, this wouldn’t be at RCA Victor. After the release of Peacing It All Together, Lighthouse signed to GRT, where they enjoyed the most successful period of their career.
By then, Lighthouse had appeared at Canada’s Strawberry Fields festival in August 1970 and later that summer, starred at the Isle Of Wight Festival in Britain. The rise and rise of Lighthouse continued.
Sadly, it was without lead singer Pinky Dauvin, who left the group after the release of Peacing It All Together. By then, Lighthouse were touring 300 days a year, and when they weren’t touring they were recording. It was a gruelling schedule, and one that was taking its toll on Lighthouse.
When Lighthouse returned in 1971 with their fourth album Thoughts of Movin’ On, it featured a very different lineup of the band. Bob McBride made his debut as lead singer, and was one of four new members of Lighthouse, who were now an eleven piece band. The new lineup of Lighthouse hit the ground running, with the most successful album of the band’s four album career.
One Fine Morning was released in 1971, and reached number eighty in the US Billboard 200 in 1971, Back home in Canada, One Fine Morning was certified gold. When it came to release a lead single, One Fine Morning was chosen and gave Lighthouse an international hit single. It also reached number two in Canada and twenty-four in the US Billboard 100. At last, Lighthouse’s music was reaching the audience it deserved. However, it had taken four albums.
What the members of Lighthouse didn’t realise was, that they never replicate the success of One Fine Morning in America. Their fifth album Thoughts of Movin’ On stalled at 157 in the US Billboard 200, but was certified gold in Canada. Still, things would get better for Lighthouse.
In February 1972, Lighthouse recorded Lighthouse Live! at the Carnegie Hall, in New York. Later in 1972, Lighthouse Live! was released and stalled at 178 in the US Billboard 200. Across the border in Canada, Lighthouse Live! became the first Canadian album to be certified platinum.
Later in 1972, Lighthouse returned with their sixth studio album Sunny Days. While the album reached just 190 in the US Billboard 200, it was certified gold in Canada. When Sunny Days was released as a single, it reached thirty-four in the US Billboard 100 and was a hit in Canada. The Lighthouse success story continued apace.
Despite being at the peak of their popularity, Paul Hoffert who was still only thirty was tiring of life on the road. He left Lighthouse, but continued in the role of executive producer. This lead to the latest change in Lighthouse’s lineup.
When Lighthouse returned to the studio to record their seventh studio album Can You Feel It, lead vocalist Bob McBride failed to turn up. Skip Prokop and Ralph Cole wanted to cancel the sessions. However, producer Jimmy Ienner was determined the session continue, and even introduced a new rule that who wrote the song, sang it. This meant that Skip Prokop and Ralph Cole sung most of the songs, apart from No More Searching, which was penned by new saxophonist Dale Hillary. Eventually, Can You Feel It, which was the first Lighthouse album to feature multiple vocalists, was completed.
Can You Feel It was released in 1973, but failed to chart in America. In Canada, Can You Feel It sold well and the rise and rise of Lighthouse continued. Especially when Pretty Lady reached number nine in Canada and fifty-three in the US Billboard 100. For the followup Can You Feel It was released, and reached number nineteen in Canada. By then, Lighthouse were one of Canada’s most successful bands. The last four years had been a roller coaster ride for Lighthouse.
A year later, in 1974, Lighthouse returned with their eighth studio album Good Day in 1974. By then, the lineup had changed. Skip Prokop had switched to guitar on a permanent basis, and Billy King was drafted in as the new drummer. Still, though, Skip Prokop and Ralph Cole shared lead vocal duties. While Good Day failed to produce any hit singles, and failed to match the sales of previous albums it featured the song Wide-Eyed Lady, which quickly would become a favourite when Lighthouse played live.
Despite the disappointing sales of Good Day, Lighthouse returned to Thunder Sounds Recording Studios to begin work on their ninth album. However, by then all wasn’t well within Lighthouse. Founder member Skip Prokop quit the band, and the album was never completed.
While Lighthouse continued to tour without Skip Prokop, the band never returned to the studio. The only album GRT released was The Best of Lighthouse in 1976. By then, Lighthouse were on their last legs, and disbanded later that year. After seven years, eight studio albums and a live album, Lighthouse called time on their career.
Sixteen years later, and Lighthouse would later reformed in 1992. Skip Prokop, Paul Hoffert and Ralph Cole decided it was time to reform what was once one of Canada’s most successful bands. Twenty-five years later, and Lighthouse are still going strong. The reformed band released a new album Song of the Ages in 1996. Thirteen years later, and Lighthouse released 40 Years of Sunny Days a CD/DVD release in 2009. The following year, Lighthouse released the Best Of Lighthouse-20th Century Masters in 2010. This was the perfect introduction to newcomers to one of Canada’s best bands, Lighthouse.
In 2014, founder member Skip Prokop retired from Lighthouse. Waiting in the wings was son Jamie, who is a chip of the old block. He ensures Lighthouse keep on rocking as they tour Canada. Then in January 2018, Lighthouse will perform for the second time on the Moody Blues Cruise. That is nearly fifty years since the Lighthouse story began.
They released the best music of their career between 1969 and 1974. This included their first three albums, Lighthouse, Suite Feeling and Peacing It All Together which were recently remastered and reissued as part of a two CD set by BGO Records. These three album showcase a truly talented band, who would eventually become one Canada’s most successful bands of the early seventies.
They were led by Skip Prokop and Paul Hoffert who were Lighthouse’s songwriters-in-chief and producers. They were responsible for albums of carefully crafted albums. Especially, Lighthouse, Suite Feeling and Peacing It All Together which were recorded during Lighthouse’s RCA Victor years. While this wasn’t the most successful period of their career, their three albums oozed quality as Lighthouse switched seamlessly between and combined disparate musical genres.
Lighthouse were musical master craftsmen, who deserved to reach greater heights during the RCA Victor years. Sadly, Lighthouse, Suite Feeling and Peacing It All Together never found the audience it deserved, and it was only later that these three album were discovered by a new generation of music fans. For newcomers to Lighthouse, then Lighthouse, Suite Feeling and Peacing It All Together is the perfect introduction to one of Canada’s best bands of the late-sixties and early seventies.
Lighthouse-Lighthouse, Suite Feeling and Peacing It All Together.
MULATU ASTATKE-MULATU OF ETHIOPIA.
Mulatu Astatke-Mulatu Of Ethiopia.
By 1972, Ethiopian multi-instrumentalist Mulatu Astatke was twenty-nine, and had already spent time studying music in London, Boston and New York. This included spells at two prestigious institutions, London’s Trinity College of Music, Boston’s Berklee College of Music. The time he spent there, influenced and shaped Mulatu Astatke as a musician. This included the two albums he released in 1966, Afro-Latin Soul, Volume 1 and Volume 2. Six years passed before Mulatu Astatke returned with his third album Mulatu Of Ethiopia, which was recently rereleased by Strut Records. It was a very different album, and was his first album of Ethio-jazz from the man who nowadays, is regarded as the genre’s founding father, Mulatu Astatke.
He was born in the city of Jimma, in south-western Ethiopia, on ‘19th’ December 1943. Growing up, Mulatu Astatke developed a love of music, and over the next few years, learnt to play a variety of instruments. This included the vibraphone, conga drums, percussion, keyboards and organ. Mulatu Astatke developed into a talented multi-instrumentalist. It looked as if Mulatu Astatke would embark upon a career in music. Suddenly, though, any dreams Mulatu Astatke had of embarking upon a career in music were dashed.
In the late-fifties,Mulatu Astatke’s family sent him to Wales study engineering. That was the plan. Instead, Mulatu Astatke enrolled at Lindisfarne College near Wrexham which prepared him for his studies in London, New York and Boston.
After leaving Mulatu Astatke enrolled at Trinity College of Music, where he spent the next few years studying towards a degree in music. Having graduated, Mulatu Astatke began collaborating with jazz singer and percussionist Frank Holder. The pair formed a fruitful partnership, and for a while, Mulatu Astatke was part of London’s jazz scene. Eventually though, Mulatu Astatke decided to head stateside, where he would continue his studies and career.
Next stop for Mulatu Astatke was Boston, and the prestigious Berklee College of Music. He became the first African student to enrol and study at Berklee College of Music. For the next few years, Mulatu Astatke studied the vibraphone and percussion. He remembers: “ I learnt the technical aspects of jazz and gained a beautiful understanding of many different types of music. That’s where I got my tools. Berklee really shook me up.” His spell at Berklee College of Music proved an important period in Mulatu Astatke’s career. So did a journey to New York.
While studying in Boston, Mulatu Astatke would often travel to New York to play gigs, and other times, to watch concerts at venues like The Cheetah, The Palladium and The Village Gate. It was during one of these journeys to the Big Apple that Mulatu Astatke met producer Gil Snapper for the first time. “Gil was a nice and very interesting guy. He produced music and worked with all kinds of musicians.” This would eventually include Mulatu Astatke.
After graduating from Berklee College of Music, Mulatu Astatke moved to New York and continued his studies. It was during this period that Mulatu Astatke recorded two albums for Gil Snapper’s Worthy label.
The first album was Afro-Latin Soul Volume 1 which found Mulatu Astatke taking African music in a new direction. Gil Snapper describes what was at the heart of this new sound on the sleeve-notes to Afro-Latin Soul Volume 1: “he has taken the ancient five-tone scales of Asia and Africa and woven them into something unique and exciting; a mixture of three cultures, Ethiopian, Puerto Rican and American.” This new and innovative sound made its debut on Afro-Latin Soul Volume 1, which was an album of instrumentals that was released in 1966. It marked the debut of Mulatu Astatke and would influence the future direction of Ethiopian music.
Up until Mulatu Astatke released Afro-Latin Soul Volume 1 in 1966, Ethiopian musicians neither used congas nor bongos on when recording popular music. This would change when musicians back home in Ethiopia heard Afro-Latin Soul Volume 1 and its followup.
Later in 1966, Mulatu Astatke returned with his sophomore album, Afro-Latin Soul Volume 2. Stylistically, it was similar to his genre-melting debut album. It mostly featured instrumentals, apart from I Faram Gami I Faram where Mulatu Astatke sings in Spanish. Mostly, though, Mulatu Astatke’s vibes are accompanied by a piano and conga drums that ads Latin rhythms. While this was regarded as new and innovative back home in Ethiopia, some critics thought that Mulatu Astatke’s music was similar to many other Latin-jazz records released during the mid-sixties. However, by the time Mulatu Astatke returned with his third album, he would’ve founded a new musical genre.
As the sixties gave way to the seventies, Mulatu Astatke’s music began to change. This was a conscious decision, and one that was necessary. Mulatu Astatke needed and wanted to develop his own sound, and one that stood out from the crowd.
Mulatu Astatke had decided to develop the sound that had featured on Afro-Latin Soul Volume 1 and 2. To this, Mulatu Astatke decided to add elements of funk and Azmari chik-chikka rhythms to his existing sound. Gradually, this new sound began to take shape. The next step was to return to the studio, and record an album that showcased Mulatu Astatke’s new sound.
By 1972, Mulatu Astatke had gained the necessary skills to fuse the disparate musical genres to create Ethio-jazz. It had taken time and perseverance. Now the twenty-nine year old was ready to return to the studio to record his long-awaited third album, Mulatu Of Ethiopa.
Joining Mulatu Astatke at a studio in downtown Manhattan, were producer Gil Snapper and the band that would record eventually record Mulatu Of Ethiopa. Before that, Mulatu Astatke put his multitalented band through their paces. The band featured some of the Big Apple’s top Latin session musicians and several young, up-and-coming jazz musicians. They would spend the next four weeks rehearsing, and honing Mulatu Astatke’s new sound. He remembers that: “it took them a while to get the right feeling in the music.” Eventually, the band were ready to record what would become a landmark album, Mulatu Of Ethiopa.
When Mulatu Astatke and his band entered the studio, they recorded seven tracks that showcased his new sound. These tracks became Mulatu Of Ethiopa, where Mulatu Astatke and his band took as their starting point the Ethiopian five tonal scale. To the Pentatonic scale, Mulatu Astatke and his band added elements of jazz and Afro-American soul. This new and innovative musical fusion was christened Ethio-jazz, and Mulatu Astatke was its founding father.
The release of Mulatu Of Ethiopa was a turning point in Mulatu Astatke’s career. After spending several years searching for his own sound, Mulatu Astatke had eventually settled on what would become his trademark sound, Ethio-jazz. It’s the sound that eventually Mulatu Astatke would become famous for.
While Mulatu Astatke released his first album of Ethio-jazz in 1972, Mulatu Of Ethiopa wasn’t a hugely successful album, it influenced a generation of Ethiopian musicians. They adopted the new Ethio-jazz sound. For the second time in his career, Mulatu Astatke was influencing Ethiopian musicians from afar. At least his fellow countrymen understood the importance of this groundbreaking album.
It was until much later that record collectors discovered Mulatu Of Ethiopa, and realised just how important, influential and innovative an album it was. Sadly, by then, Mulatu Of Ethiopa was out of print, and very few original copies of the album were still available. Occasionally, record collectors chance upon a copy of Mulatu Of Ethiopa, and picked it up in the bargain bins. Mostly though, copies of Mulatu Of Ethiopa were changing hands for large sums of money. What had once been a £200 album was changing hands for upwards of £600. This was a reflection of the importance of Mulatu Of Ethiopa, which was the first album of Ethio-jazz, from the genre’s founding father, Mulatu Astatke.
Opening the stereo mix of Mulatu Of Ethiopa is Mulatu, which straight away, showcases the new Ethio-jazz sound. It’s a fusion of the music of two countries, Ethiopia and Mulatu Astatke’s adopted home of America. Sharp stabs of braying horns leave space for the rhythm section who lock down the groove. They’re joined by a wah-wah guitar, before the sultry horns flow across arrangement. It’s joined by glistening, shimmering vibes, percussion and later, a fluttering flute. Meanwhile, the rhythm section have locked down the tightest of grooves, as the blazing horns are played with power and passion. They join the vibes and wah-wah guitar in playing leading roles in the sound and success of Mulatu. Not only is it a beautiful, melodic and memorable example of Ethio-jazz, but it’s funky and soulful.
Just a pensive bass and then percusion open Mascaram Setaba before a wah-wah guitar, vibes and keyboards combine. By then, the arrangement is shuffling ruefully and cinematically along. Soon, a flute flutters high above the arrangement, as the bass provides the heartbeat. It joins with percussion, vibes and tough sounding keyboards, and they play their part in rueful, cinematic track that shuffles along as Mulatu Astatqe seamlessly combine elements of jazz, funk, fusion and Latin music.
Vibes shimmer, while horns head in the direction of free jazz on Dewel. Meanwhile, the rhythm section play with the same power and urgency as the horns. After nearly a minute, a calm descends as the rhythm section locks into a groove with the keyboards and horns. Before long, the rhythm and horn sections play with urgency, while the vibes, keyboards and percussion explore the groove. They then take charge, after the arrangement has been stripped bare. It skips along, as cymbals play. Soon, the rhythm and horn section return, but still the vibes, keyboards and percussion continue to explore the groove, as the arrangement almost dances along and right through to the closing notes continues to captivate.
The rhythm section, wah-wah guitar and vibes are panned right and create a funky a backdrop on Kulunmanqueleshi. It sounds as if it belongs on a Blaxploitation soundtrack. Soon, they’re joined by a Freddie Hubbard inspired flute and percussion are added. Later, the arrangement takes on a tougher, edgier sound. Partly, this comes courtesy of the vibes, percussion and to some extent, the wah-wah guitar. They’re play their part in what sounds like a lost track from a classic Blaxploitation soundtrack.
Slow and spacious describes the arrangement to Kasalefkut-Hulu as the rhythm section play slowly and deliberately, as the rolling bass is joined by vibes, keyboards and slow, rasping horns. Meanwhile, the drums create mesmeric beat, while the horns play a starring role, as the tempo quickens. The horns play in unison, while the rolling bass plays around the braying, ruminative horns. They play a leading role in this beautiful, emotive track that tugs at the heartstrings, as Mulatu Astatqe and his band reach new heights.
Although it’s just the rhythm section and wah-wah guitar that open Munaye, soon, the rest of the band make their presence felt. Especially the blazing, braying horns which soar above the rest of the arrangement. Their playing is powerful and inventive, as the wah-wah guitar and rhythm section create a funky backdrop. However, it’s the horns that are stealing the show, until all of sudden, they drop out at 2.22. This allows the rhythm section and guitar to showcase their skills. Soon, though, the horns sashay in, but occasionally leave space that the drums fill. Meanwhile the wah-wah guitar ploughs a lone furrow in the name of funk, before this genre-melting track reaches a crescendo.
Chifara which closes Mulatu Of Ethiopia, is the longest track on the album. It’s just over seven minutes long, which allows Mulatu Astatqe and his band to stretch their legs. A wah-wah guitar, keyboards and pounding drums join with the probing bass and braying horns. The horns are played slowly, but soon, with a degree of urgency. So are the keyboards, while the rhythm section provide the pulsating heartbeat. Later, a flute flutters above the arrangement as the rest of the band jam. By then, it’s obvious that the four weeks the band spent practising before recording began was time well spent. Not only does the band play with freedom and fluidity, but their playing is inventive. Especially when searing, growling horns embark on one last solo. Again, they’re at their blistering solo plays an important part in this Ethio-jazz epic.
For Mulatu Astatke, Mulatu Of Ethiopia was a game-changer of an album. At last, after years of searching for his own sound, Mulatu Astatke had discovered his own unique sound. This Mulatu Astatke called Ethio-jazz. It was a genre that influenced a generation of Ethiopian musicians when they heard this groundbreaking album. Forty-five years later, and Mulatu Of Ethiopia continues to influence a new generation of musicians.
Similarly, Mulatu Of Ethiopia is an album that continues to be discovered by record buyers. Sadly, it’s long been out of print and has never been officially reissued since then. That was until Strut Records reissued Mulatu Of Ethiopia on CD, triple vinyl and digital download. The CD version features both the stereo and mono mixes of Mulatu Of Ethiopia, which offers interesting comparisons. Obviously, the stereo mix has a much wider and detailed soundstage. Then with the vinyl version of Mulatu Of Ethiopia, there’s the stereo and mono versions, plus a selection of out-takes from the sessions. This offers a fascinating insight into the recording of the original Ethio-jazz classic.
While other artists would release Ethio-jazz classics, Mulatu Astatke had set the bar high for those that followed in his footsteps. Their albums were compared to Mulatu Of Ethiopia, which isn’t just as Ethio-jazz classic, but a jazz classic. It’s also an album that will appeal to anyone likes their music funky and soulful. However, Mulatu Of Ethiopia was a career defining album for Mulatu Astatke, the founding father of Ethio-jazz.
Mulatu Astatke-Mulatu Of Ethiopia.
FAUST-FRESH AIR.
Faust-Fresh Air.
Forty-six years ago, Faust released their critically acclaimed, groundbreaking, genre-melting eponymous debut album in 1971. The innovative and imaginative music on Faust was unlike anything else that was being released in 1971. Musically, Faust was a breath of fresh air, which was hailed as a revolutionary album that had the potential that to transform the future of rock music. However, Faust failed to find the audience that it deserved. Just like Can, Cluster and Kraftwerk, it seemed that Faust’s music was way ahead of the curve. Despite this, Faust continued to release albums of groundbreaking music, and are still doing so five decades later. However, it’s not all been plain sailing for Faust.
Far from it. In true rock ’n’ roll style, Faust have had their moments over the past forty-six years. There’s been breakups reunions and countless changes in lineup. To further complicate matters, since 2005, there’s been two different versions of Faust tour and recording.
This came about in 2005, when two of the original members of members of Faust, drummer Werner “Zappi” Diermaier and art terrorist Jean-Hervé Péron decided to form a new Faust with Olivier Manchion and Amaury Cambuzat of Ulan Bator. Each version of Faust would concentrate on different aspects of the original group.
Since 2005, the two versions of Faust have coexisted, and continued to tour and release new albums. The most recent album baring the Faust name is Fresh Air, which was released by Hamburg based Bureau B. Fresh Air was recorded by Werner “Zappi” Diermaier and Jean-Hervé Péron version of Faust.
While Werner “Zappi” Diermaier and Jean-Hervé Péron’s version of Faust started off as a quartet in 2005, it was a very different lineup that recorded Fresh Air during March and April 2016. By then, Faust were reduced to a trio, that included Werner “Zappi” Diermaier, Jean-Hervé Péron and Maxime Manac’h. The three members of Faust embarked upon an American tour, where they sought to also record their new album.
In typical Faust style, Fresh Air wasn’t going see the three members of the band head into studios during their twenty-eight day tour of America. It began in March and finished in April 2016. During the two months spent in America, Faust were looking to communicate with some of their musical friends and also, the audience.
As the tour began in March 2016, Faust’s musical friends and members of the audience played their part in the recording Fresh Air as the tour mades its way across America. Recordings took place at A1 Nico Studio in Austin in Texas, WPNU in New Jersey and CalArts in Los Angeles. Gradually, Faust gathered material for Fresh Air.
They recorded Barbara Manning in a live lecture, and wave-maker Ysanne Spevack as she played the viola. One night, Faust had the audience rewrite an updated versions of Marseillaise for the track Chlorophyl. For the title-track a poem that was written by a French school friend of Jean-Hervé Péron, which was translated into Polish and recited. To this, Jean-Hervé Péron adds a political reading and sobs, as if he’s been robbed of Fresh Air. By the end of the tour in April 2016, Faust had recorded plenty of material for Fresh Air.
There was still work to do before the album was ready for release. Playing an important part in the recording of Fresh Air was Jean-Hervé Péron’s now legendary database of field recordings. They would add texture to the recordings, and add nuances, subtleties and surprises. These field recordings would become part of the rich tapestry that became Fresh Air. So would the contributions of guest artists that was overdubbed on Faust’s return home to Berlin. This included Jürgen Engler of Die Krupps who appears on La Poulie. He’s one of nine guest artists who join Faust on Fresh Air. Eventually, the album was completed, and a new chapter in Faust’s forty-six year career was about to unfold with the release of Fresh Air.
Fresh Air opens with the seventeen minute title-track. Just a drone accompanies a poem, before scratchy, otherworldly strings quiver and shiver. Gradually, the strings soften and dominate the arrangement. While the poem is still audible, strings, a drone and Eastern sounds are to the fore. They grown in power, adding an element of drama as an ethereal vocal joins the multilayered soundscape. It adds a new dimension, as the drone, otherworldly strings and found sounds unite. Soon, a bell rings as the soundscape changes. The music changes from shrill and cinematic to dark, discordant and dramatic. Sometimes, it’s eerie and otherworldly as Faust fuse elements of avant-garde, experimental,Krautrock, modern classical and Musique Concrete. Later, the ethereal vocal returns adding a contrast, as the soundscape takes on an industrial influence. By then, there’s an urgency as machine gun drums pound and accompany the spoken word vocal during the dramatic, thunderous and mesmeric arrangement. Blistering effects laden, rocky guitars join thunderous drums as the arrangement takes on a life of its own, almost overpowering the spoken word vocal. It struggles for Fresh Air as the arrangement jangles, whines and reverberates as it powers along. Meanwhile, Jean-Hervé Péron makes an impassioned plea for Fresh Air, as this groundbreaking, genre-melting epic reaches a crescendo.
Partitur is just twenty-two seconds long, but features a recording of a Barbara Manning lecture. This is no droning lecture though. Instead, it’s more like enthusiastic audience participation, which is accompanied by drums. All too soon, though, this fascinating Faustian musical experiment is over.
A bass is played confidently and quickly on La Pouli, before features just a bass before a variety of sounds are being added. Meanwhile, Zappi adds a mesmeric beat, as crackling, whining and buzzing sounds accompany Faust’s rhythm section. It never misses a beat, while futuristic and sci-fi sounds are added to the soundscape. So to is Jürgen Engler’s impassioned message, which is the final piece of the musical jigsaw. Later, Faust kick out the jams, and fuse elements of Krautrock and space rock. Effects laden scorching guitars join with the rhythm section and sci-fi sounds. Although the vocal makes a brief reappearance, mostly, though, it’s the original rock ’n’ roll reengages, rocking, and rocking hard as they play with enthusiasm and invention.
For Chlorophyl, Faust had the audience rewrite the Marseillaise. The result was a hymnal about a world collapsing in disarray. Hypnotic drums and percussion set the scene for Jean-Hervé Péron’s spoken word vocal. It gives way to Barbara Manning’s vocal as the rhythm section lay down a tight, mesmeric groove and jarring, screeching and whining sounds flit in and out. So does the spoken word vocal. Meanwhile the vocal and sultry jazz saxophone compliment each other perfectly. Especially as the drama builds, and the vocal is accompanied by sci-fi sounds. Still the saxophone rasps as the rhythm section provides a mesmeric backdrop and accompanies Jean-Hervé Péron’s impassioned spoken word vocal. Later, a myriad of beeps, bleeps and squeaks as Ulrich Krieger’s saxophone unleashes a blistering solo, as this ambitious and thought-provoking mixture of music, dialogue and social comment reaches a ruminative ending.
Closing Fresh Air is Fish, where Faust remember their turbulent teenage years. It’s another cinematic soundscape, where Faust’s rhythm section combine with growling drones and otherworldly strings. They provide the backdrop for Jean-Hervé Péron’s impassioned spoken word vocal. Later, a rueful horn plays, and heads in the direction of jazz while strings are plucked, a drones buzzes and the rhythm section provide the heartbeat. By now, Faust and friends are tugging at the heartstrings with a soundscape that’s wistful, thought-provoking and powerful. It lasts eleven minutes, which allows Faust to sculpt an emotive and innovative soundscape where Faust put forty-six years of experience to good use. They seemed to have kept the best until last on their new album Fresh Air.
A new Faust album has always been something to celebrate. Fresh Air is no different, and features sonic explorers Faust continuing to combine disparate musical genres ad the push musical boundaries to the limits. To do this, Faust enlist a few friends who help them fuse disparate musical genres. Everything from avant-garde, electronica, and experimental, to industrial, Krautrock and modern classical through to Musique Concrete, rock and space rock. The result is Fresh Air another album of groundbreaking soundscapes from Faust which is without doubt, one of their finest albums of recent years.
For newcomers to Faust, the Fresh Air, which was recently released by Bureau B, is the perfect introduction to of one of the greatest bands of the Krautrock era. After Fresh Air, newcomers are advised to start at the beginning with, their 1971 groundbreaking classic debut album Faust. It marked the debut of a pioneering group who incredibly, were once accused of being mere dilettantes. How wrong were these misguided souls.
The truth was, that Faust were misunderstood, especially in their home country. However, in Britain and France, record buyers embraced, appreciated and understood Faust’s music. Eventually, so did German record buyers. Now forty-six years later, after Faust released their classic eponymous debut album, they’re regarded as one of Kings of Krautrock, who belong at the top table of German music, where they deserve to rub shoulders with Can, Cluster, Kraftwerk, Popol Vuh and Tangerine Dream. A reminder of what that is the case is Fresh Air, which features the welcome return of sonic pioneers, Faust
Faust-Fresh Air.
THE RISE AND FALL OF A MUSICAL EMPIRE.
The Rise and Fall Of A Musical Empire.
Musical history is littered with examples of entrepreneurs who thought they could make money out of running a record company. The only problem was, they lacked the specialised skills that were required. There was a way round this, by surrounding themselves with music industry professionals. Then they were in with a fighting change of running a profitable record company. However, some entrepreneurs have an ulterior motive when they a founded record company. This included Michael Thevis.
The story began in the early seventies, when Michael Thevis was looking for a legitimate way to get his substantial fortune into the financial system. By then, Michael Thevis was heavily involved in pornography. So much so, that he would later admit to a Louisville jury that he was: “the General Motors of pornography.” That was still to come.
In the early seventies, Michael Thevis had a problem. He discovered that he was under investigation from the FBI. Not wanting to follow in the footsteps of Al Capone and Dutch Schultz, who were brought down by federal investigations, Michael Thevis began looking for legitimate enterprises.
Casting around looking for a legitimate business, Michael Thevis hit upon the idea of forming not one, but three record labels. This included GRC (General Recording Corporation), Aware and Hotlanta Records. These labels would become part of Michael Thevis’ nascent musical empire.
Soon, there was a new addition to Michael Thevis’ musical empire, the Sound Pit Studio in Atlanta. It boasted some of the best equipment money could buy. Building the studio made financial sense. It saved hiring other studios, and meant artists signed to GRC, Aware and Hotlanta Records could record at the impressive Sound Pit Studio. When the studio wasn’t in use by Michael Thevis’ artists, it could be hired out, and bring in much needed income. However, as all this empire building continued, tongues began wagging, including Michael Thevis.
Veterans of the Atlanta music scene watched, as the state-of-the-art studio took shape. This was the most advanced studio in Atlanta. It was a similar case with the rest of Michael Thevis’ musical empire.
No expense was spared as Michael Thevis expanded his musical emprire. He added to his record labels and Act One publishing company, the Jason Management booking agency and a film company. They became part of Michael Thevis’ musical empire. He was proud of his empire, and wasn’t shy about telling people about it.
Rather than keep a low profile, Michael Thevis ran his musical empire from a lavish suite of offices in Atlanta. They were featured in Billboard in May 1974, when the magazine ran a feature on the Atlanta music industry. A bullish Michael Thevis told Billboard of his latest takeover, and his expansion plans.
Michael Thevis’ most recently acquisition was the Moonsong publishing company, which he had purchased from Bill Brandon. This became part of the GRC’s publishing division, alongside Act One, Michael Thevis’ own publishing company. To run the newly expanded publishing division, Bill Brandon joined GRC, and became the publishing manager of GRC’s R&B division. However, the acquisition of Moonsong was just part of Michael Thevis’ grand plan.
Michael Thevis told Billboard of his plans to build a brand new twenty-eight story skyscraper in Atlanta. This would be where he ran his musical empire. It would have outposts in Nashville, Houston, Los Angles, New York and London. What made Michael Thevis’ seem all the more convincing, was when he booked eight pages of advertising in Billboard’s Atlanta special.
To most people, Michael Thevis came across as a legitimate businessman, who had big plans for the future, and for Atlanta. By then, everyone seemed to buy into Michael Thevis’ grand plan. He was the local boy who had made good. It was a case of hail the conquering hero.
Incredibly, though, nobody seemed to be paying close attention to the numbers. None of Michael Thevis’ record companies were particularly successful. They were neither consistently releasing hit singles, nor successful albums. So where was all the income coming from? Was it the publishing company, recording studio, booking company or film company? Nobody it seemed, was in a hurry to find out. Given Michael Thevis past and his reputation for violence, maybe that wasn’t surprising?
Originally, Michael Thevis’ film company financed legitimate films. This included the Zhui Ming Qiang in 1973, and Seizure, one of Oliver Stone’s earliest films. It was released in 1974. A year later, Michael Thevis had gone up in the world, and released Poor Pretty Eddy 1975. Every film was bringing greater riches Michael Thevis’ way. However, although Michael Thevis was trying to build a legitimate business empire, he had reverted to type.
The film company he had acquired began producing pornographic films. If any journalist had even looked into activities of Michael Thevis’ empire, it could’ve come tumbling down. This looked unlikely in early 1975.
Country singer Sammy Johns had been signed to GRC for a couple of years. In early 1973, Sammy Johns released Chevvy Van as a single. It was reported to have sold over three million copies. Given that a GRC artist had just enjoyed such a successful single, surely the label’s finances would be on a sound footing as 1975 progressed?
While most people would’ve thought so, the truth was that many of GRC, Aware and Hotlanta Records’ releases weren’t particularly successful, and hadn’t sold in vast quantities. That was despite the labels having impressive roster an impressive roster of artists. This included Dorothy Norwood, John Edwards, Judy Green, Joe Hinton, Jimmy Lewis, Jean Battle, Bill Brandon, Floyd Smith, Sam Dees and Loleatta Holloway. The roster was like a who’s who of Southern Soul, and GRC, Aware and Hotlanta Records should’ve been among the most successful labels in the South. Instead, the losses were mounting up. Michael Thevis’ record companies weren’t particularly successful. However, they had their uses though.
Running a regional record companies offered Michael Thevis an opportunity and facility to launder dirty money. He could’ve used dirty money to buy his own companies’ releases. These phantom record sales would only exist on paper, and would have the effect of laundering the dirty money through the company’s accounts. Once the money was in the record company’s accounts, tax could be paid on the profit that had been made. This would further legitimise any dirty money the company was making. Especially, as the FBI were still watching Michael Thevis.
GRC and the rest of Michael Thevis’ musical empire all came crashing down in late 1975. Michael Thevis’ attempt to build a legitimate business empire had failed. Soon, it emerged that Michael Thevis’ musical empire was always doomed to failure. It had been for three years, ever since the FBI starting investigating his business activities.
That was when Roger Dean Underhill was involved in a routine traffic stop. An eagle-eyed traffic officer noticed a small cache of stolen guns under the passenger seat. This resulted in Roger Dean Underhill being arrested. Rather than face the consequences, Roger Dean Underhill decided to inform upon his business partner, Michael Thevis.
This lead to the start of a three year investigation that resulted, in the arrest and subsequent conviction of Michael Thevis. For all the artists signed to GRC, Aware and Hotlanta Records, this was the beginning of the end.
All the artists signed to GRC, Aware and Hotlanta Records were left high and dry. It was disaster for all the artists affected by the collapse. They were left without a label and some of the artists were also owed royalties, which in some cases, was a significant sum of money. For the artists signed to GRC, Aware and Hotlanta Records they had no idea what the future held for them.
It was a similar case for Michael Thevis’ whose grand plans were left in tatters. It looked like the beginning of the end for GRC, the company he had spent three years building.
It wasn’t the end of GRC. Michael Thevis’ wife Veld and son Michael Jr, took over the running of GRC. For a while, it was business as usual for GRC. However, for Michael Thevis things were about to get much worse.
He was convicted of conspiracy to commit arson, and distribution of obscene materials. The man who sparked the three year investigation into Michael Thevis, even testified in court. Roger Dean Underhill took to the stand, and the FBI’s informant testified against his former business partner. He thought this was the right thing to do.
I was a decision Roger Dean Underhill would later live to regret. In 1978, Michael Thevis managed to escape from prison. Straight away, he was placed on the FBI’s top ten most wanted list. By then, Michael Thevis and some of his ‘associates’ had placed an open contract on Roger Dean Underhill.
When the hit came, the shooter was none other than Michael Thevis. He shot and killed Roger Dean Underhill and one of his associates. Not long after the murders, Michael Thevis was arrested and taken to a high security facility. The Scarface of Porn was the convicted of the two murders. Over thirty years later, and Michael Thevis is still serving his sentence, and parole looks unlikely for the man who founded the GRC, Aware and Hotlanta Records.
The Rise and Fall Of A Musical Empire.
BOBBY HATFIELD-THE OTHER BROTHER: A SOLO ANTHOLOGY 1965-1970.
Bobby Hatfield-The Other Brother: A Solo Anthology 1965-1970,
When twenty-two year old Bobby Hatfileld met Bill Medley in 1962, and formed The Righteous Brothers little did the pair realise that this was the start of a journey that would see the pair become one of the most successful musical partnerships of the sixties. The most successful period of The Righteous Brothers’ career was between 1963 and 1965, when they formed a formidable partnership with producer Phil Spector.
During that period, The Righteous Brothers released eight albums and a string of hit singles on Phil Spector’s Philles Records. This included classic singles like You’ve Lost That Loving Feeling in November 1964; and Unchained Melody in July 1965. Three months later, in October 1965, The Righteous Brothers parted company with Phil Spector and signed to Verve/MGM Records.
The split with Phil Spector was acrimonious, with Phil Spector suing The Righteous Brothers. Eventually, the case was settled out of court, with The Righteous Brothers paying Phil Spector $600,000. This allowed The Righteous Brothers to embark upon a new chapter of their career at Verve/MGM Records.
While this might have seemed like a brave new world for The Righteous Brothers, there was a downside to the move to Verve/MGM Records. No longer would The Righteous Brothers be working with Phil Spector. At first, it looked as if The Righteous Brothers could manage without Phil Spector, when (You’re My) Soul and Inspiration was released in February 1966, and reached number one in the US Billboard 100. This gave The Righteous Brothers’ the first gold disc of their career. When the album Soul and Inspiration was released later in 1966, it reached number seven in the US Billboard 200 and was certified gold. However, that as good as it got for The Righteous Brothers.
They never reached the same heights during the rest of their stay at Verve/MGM Records. By 1968, The Righteous Brothers’ best days were behind them, and singles, like their twee cover of My Darling Clementine in 1967 and Here I Am in 1968 failed to chart. Meanwhile, the three albums The Righteous Brothers’ albums released between 1967 and 1968 all struggled in the lower reaches of the US Billboard 200. Music had changed, but The Righteous Brothers hadn’t. Maybe Bill Medley realised that, when he announced he was leaving The Righteous Brothers to resume his solo career in 1968 at MGM Records. It was the end of an era for The Righteous Brothers.
After Bill Medley signed to MGM Records, Bobby Hatfileld signed to Verve Records in 1968. With both Righteous Brothers resuming their solo careers, industry insiders wondered who the winner would be? It was going to be a close run race, that lasted five years.
Bobby Hatfield’s solo career has been documented on The Other Brother: A Solo Anthology 1965-1970, which was recently released by Ace Records. The Other Brother: A Solo Anthology 1965-1970 features twenty-four songs. This includes Bobby Hatfileld’s first two singles, the entire Messin’ In Muscle Shoal album and seven previously unreleased tracks. As an added bonus, there’s also three song from The Righteous Brothers, including: Unchained Melody, Ebb Flow and (I Love You) For Sentimental Reasons. It’s safe to say that The Other Brother: A Solo Anthology 1965-1970 is the most comprehensive overview of Bobby Hatfield’s solo career. It begins in 1965.
By the time Bobby Hatfileld’s solo career resumed, Verve Records had bought The Righteous Brothers and Bobby Hatfield’s recordings from Phil Spector’s Philles Records. This meant that the only company releasing Bobby Hatfield recordings would be Verve Records. This would included some of those recorded in Los Angeles, during his first recording session for Verve Records.
On the ‘15th’ March 1968, Bobby Hatfileld entered the studio to record his first solo recording for Verve Records. Five songs were recorded, including what became Bobby Hatfield’s debut single for Verve Records. This was a cover of Barry Mann and Cynthia Weil’s beautiful ballad Hang Ups. Among the other songs recorded were Bobby Hatfield’s rueful cover of Barry Mann and Cynthia Weil’s See That Girl, and a soul-baring cover of Goffin and King’s So Much Love. Previously unreleased versions of both tracks feature on The Other Brother: A Solo Anthology 1965-1970. It seemed released from the shackles of The Righteous Brothers, Bobby Hatfield was embracing this new start.
Three weeks later, in early April 1968, Bobby Hatfield returned to the studio and recorded two more songs. This included the Bobby Hatfield composition Soul Cafe, which would feature on the B-Side of Hang Ups when it was released as a single.
In May 1968, Hangs Up was released in May 1968, but failed to make any impression on the charts. This was disappointing for Bobby Hatfield and executives at Verve Records. However, two months later, and Bobby Hatfield was back in the studio.
When Bobby Hatfield entered the studio on ‘17th’ July 1968, it proved a productive session. He managed to record three songs, but none of these songs were ever released. This includes a cover of Harry Nilsson’s Paradise. Strings, horns and harmonies accompanying Bobby Hatfield’s impassioned vocal on this beautiful ballad. Sadly, the song was never released, and makes its debut on The Other Brother: A Solo Anthology 1965-1970.
Just a month after recording Paradise, Bobby Hatfield returned to the studio on ’21st’ August 1968 and cut three songs. This included In My Mind, which makes its debut on The Other Brother: A Solo Anthology 1965-1970. Another of the songs Bobby Hatfield recorded was Brothers which another of his own compositions. It was a poignant song that dealt with his time as one half of The Righteous Brothers. Brothers would become Bobby Hatfield second single for Verve Records, and featured a cover of What’s The Matter Baby on the B-Side.
When Brothers was released in October 1968, it also failed to find an audience. The song never even made it into the lower reaches of the charts. Bobby Hatfield’s solo career wasn’t going to plan.
Despite this, Verve Records weren’t about to turn their back on Bobby Hatfield. They scheduled another recording session for ’23rd’ December 1968. That day, Bobby Hatfield recorded four songs, including The Wonder Of You and I’ve Got My Eyes On You. The other two songs, My Prayer and Only You two, had previously given The Platters’ hit singles. This quartet of songs were intended to feature on Bobby Hatfield’s debut solo album. However, one of these songs became Bobby Hatfield’s next single.
The song chosen was Only You, which was released in February 1969, but stalled at a lowly ninety-five on the US Billboard 100. Only You doesn’t feature on The Other Brother: A Solo Anthology 1965-1970. Neither do the next two singles Bobby Hatfield released in his search for a hit single.
Bobby Hatfield returned to the studio in early 1969, including U Wish I Didn’t Love You So Much. It featured on the B-Side of Bobby Hatfield’s next single My Prayer, which was released in April 1969. Just like Only You, My Prayer failed to chart, and the search for a single continued.
In July 1969, Bobby Hatfield released his fifth single for Verve Records. This was Answer Me My Love, which featured I Only Have Eyes For You on the B-Side. It was a familiar story for Bobby Hatfield when Answer Me My Love never came close to troubling the charts. Little did Bobby Hatfield know that it was the final single he would release for Verve Records.
Later in 1969, Bobby Hatfield’s career took an unexpected twist. Having dissolved his partnership with Bill Medley, Bobby Hatfield recruited Jimmy Walker of The Knickerbockers’ as his replacement. The new lineup of The Righteous Brothers released a new album, Re-Birth which failed to even trouble the charts. It was a similar case when The Righteous Brothers released Woman, Man Needs Ya as a single. For Bobby Hatfield, this was a huge blow and he resumed his solo career.
When Bobby Hatfield resumed his solo career, Bobby Hatfield had been moved from Verve Records to MGM Records. This was as a result of MGM Records’ decision to reduce its roster, and move all pop and R&B artists to the main label, MGM Records. With the label reducing its roster, it was a worrying time for Bobby Hatfield, who after two years of trying, was still looking for his first hit single.
Despite this, Verve Records were still planning to release Bobby Hatfield’s debut album. A decision was made to send Bobby Hatfield to Rick Hall’s Fame Studios, in Muscle Shoals to record his debut album. It was hoped that Rick Hall could transform Bobby Hatfield’s fortunes. He had a good track record, and had worked with some of the biggest names in music. Now he was tasked with transforming the fortunes of Bobby Hatfield.
Having made the journey to Fame Studios, Bobby Hatfield began working with Rick Hall and his legendary studio band. However, it was chief engineers Mickey Buckins and Sonny Limbo who produced the sessions, with Rick Hall overseeing the recording. The sessions went smoothly, and before long, Bobby Hatfield had recorded more than enough tracks for an album.
Back at Verve Records, work began on choosing the songs for Bobby Hatfield’s debut album. Eventually, they settled on ten tracks which included You Left The Water Running, Let It Be, If I Asked You, The Promised Land, Shuckin’ And Jivin’, I Saw A Lark, You Get A Lot To Like, Show Me The Sunshine, The Feeling Is Right and Messin’ In Muscle Shoals. These ten tracks would become Bobby Hatfield’s debut album Messin’ In Muscle Shoals.
With the Messin’ In Muscle Shoals ready for release later in 1970, a single was chosen from the album. It was decided to release The Promised Land, with Woman Go No Soul on the B-Side. However, at the last minute, the single was cancelled, and since then, Woman Go No Soul has lain unreleased. It makes an overdue debut on The Other Brother: A Solo Anthology 1965-1970. The cancellation of The Promised Land was a huge disappointment. Despite this Messin’ In Muscle Shoals was released, but just like Bobby Hatfield’s five singles, failed to find an audience. For Bobby Hatfield it was the end of the line.
After the commercial failure of Messin’ In Muscle Shoals, Bobby Hatfield left MGM Records. It’s unclear if he was dropped, or left of his volition. It was the end of an era, which found Bobby Hatfield’s career at a crossroads.
Four years later, in 1974, Bill Medley and Bobby Hatfield decided to resume their career as The Righteous Brothers. While Bill Medley hadn’t enjoyed a huge amount of commercial success, he had enjoyed more success than Bobby Hatfield. That would be the case when they later resumed their solo careers. As a result, the blue-eyed soul of Bobby Hatfield music is often overlooked.
Hopefully, that will no be the case. Ace Records recently released The Other Brother: A Solo Anthology 1965-1970, which is, without doubt, the most comprehensive overview of Bobby Hatfileld’s solo career. It features twenty-four songs that Bobby Hatfield recorded for Verve Records and ultimately MGM Records. This includes Bobby Hatfileld’s first two singles and the entire Messin’ In Muscle Shoal album. There’s also seven previously unreleased tracks, including several hidden gems. They’re a reminder of Bobby Hatfileld’s blue-eyed soul. As an added bonus, there’s a trio of tracks from The Righteous Brothers, including their classic Unchained Melody, Ebb Flow and (I Love You) For Sentimental Reasons. They were recorded while The Righteous Brothers were signed to Phil Spector’s Philles Records, which was the most successful period of their career.
Sadly, Bobby Hatfileld was unable to replicate the commercial success that he enjoyed with The Righteous Brothers between 1963 and 1965. Looking back, it was a case of what might have been? Maybe if Bobby Hatfileld had been signed to another label, he would’ve enjoyed the commercial success his talent deserved?
Certainly, another label would’ve chosen different material for his third, fourth and fifth single. The songs chosen were oft-covered and familiar songs, Only You, My Prayer and Answer Me My Love and don’t feature on The Other Brother: A Solo Anthology 1965-1970. Choosing these three familiar songs as singles was maybe Verve Records an attempt to tap into the market for nostalgia? This didn’t pay-off, as music was changing, and changing fast. Bobby Hatfield needed to change direction. This didn’t happen until he made the journey to Fame Studios, in Muscle Shoals to record his debut album Messin’ In Muscle Shoals.
Sadly, it was another case of what might have been. By the time Messin’ In Muscle Shoals was released in 1970, MGM Records was reducing its roster. The MGM Records PR machined didn’t seem to get behind Messin’ In Muscle Shoals, and the album failed to find an audience. That marked the end of Bobby Hatfield’s time at Verve Records and MGM Records.
The Verve Records and MGM Records’ years are celebrated on The Other Brother: A Solo Anthology 1965-1970, which is the perfect introduction to the blue-eyed soul of Bobby Hatfield’s solo career.
Bobby Hatfield-The Other Brother: A Solo Anthology 1965-1970,
RUPTURE-ISRAEL SUITE/DOMINANTE EN BLEU.
Rupture-Israel Suite/Dominante En Bleu.
Over the last fifty years, bands and artists have penned ambitious concept albums about all manner of subjects. No subject matter it seems is off-limits when it comes to the concept album. There’s been concept albums about bureaucracy and censorship, death and dreams, evolution and revolution, heaven and hell, hurt and heartbreak, love and loss, power and politics and even wizards and warlocks. However, one of the most ambitious and powerful concept albums ever written and recorded was Rupture’s 1973 album Israel Suite/Dominante En Bleu.
It was a very different to most concept albums, and set out to document the history of the Israel. Israel Suite/Dominante En Bleu was released as a private press, in 1973. Very few copies of the album were released, which nowadays, is a spiritual jazz classic. However, it’s one of the rarest European jazz records of the past fifty years. Copies hardly ever come up for sale, and when they do, they’re beyond the budget of most record buyers. Fortunately, Sommor Records, an imprint of Guerssen Records, will reissue Israel Suite/Dominante En Bleu on CD and LP on the ‘2nd’ of June 2017. This is the perfect opportunity to discover one of rarest concept albums ever recorded. The story behind Israel Suite/Dominante En Bleu began in 1973.
That was when the French songwriter Boris Bergman decided to write and record a concept album that documented the history of Israel. This was very different to previous projects that Boris Bergman had been involved with.
By 1973, Boris Bergman was an experienced and well known songwriter. He was also a prolific songwriter, who from 1967 onwards, had been writing songs for some of the biggest names in French music. However, as the seventies dawned, Boris Bergman was penning songs for Aphrodite’s Child, Nana Mouskouri, Sophia Loren, Demis Roussos, the New Seekers, Charles Aznavour, Nicoletta and Patrick Juvet. Already, Boris Bergman had written well over 200 songs. They had been recorded by an eclectic selection of artists. However, these songs were very different to the concept album twenty-eight year old Boris Bergman was about to write and record.
Having made the decision to write and record a concept album based around the history of Israel, Boris Bergman decided to approach one of France’s top musicians, drummer, percussionist and singer Sylvain Krief.
Just like Boris Bergman, Sylvain Krief already had a wealth of musical experience. He had played alongside many artists, including Michel Fugain, Charles Aznavour, Clark Terry and Bud Powell. Now Sylvain Krief was about to join Boris Bergman in his new project.
Having secured the services of Sylvain Krief, who would play drums, percussion and add vocals, soon, many other top musicians were joining the band that eventually, became Rapture. This included J.-F. Jenny-Clark who played contrabass, and previously, had worked with Don Cherry, Steve Lacy and Karlheinz Stockhausen. The next recruit was Total Issue guitarist Georges Locatelli, who played acoustic, electric and 12-string guitar. Multi-instrumentalist and future soundtrack composer Jean-Pierre Mas joined Rupture, and played electric piano, guitar, organ, percussion, piano and added vocals. Jean-Louis Chautemps was drafted in to play soprano saxophone on Israel Suite and flute on Entre Ses Cils. He became part of what was essentially a European jazz supergroup. They were joined by Le Big Bazar choir, and vocalists Michel Fugain and Nicole Croisille. They would spend the next three months recording Israel Suite/Dominante En Bleu at Studio Davout, in Paris.
That was where Rupture recorded the six compositions that became Israel Suite/Dominante En Bleu. They were arranged by Sylvain Krief and Jean-Pierre Mas. This included Mes Histoires Bleues, Voyage Sous La Mer and Autrefois which were written by Jean-Pierre Kernoa and Jean-Pierre Mas. Jean-Pierre Kernoa wrote Alice Aux Miroirs and Entre Ses Cils with Sylvain Krief. He composed the music to Israel Suite while Boris Bergman wrote the lyrics. Israel Suite would feature on side one of Israel Suite/Dominante En Bleu when the album was released in 1973.
Once Israel Suite/Dominante En Bleu was completed, it was decided to release the album as a private pressing. This Rupture were able to do with the help of the Futura label. Only a small number of albums were pressed, and when Israel Suite/Dominante En Bleu was released, this genre-melting album has only heard by a small number of people. That was great shame, given then quality of music on Israel Suite/Dominante En Bleu.
Israel Suite opens Israel Suite/Dominante En Bleu and took up the entire first side of the original album. There’s an element of drama, as sounds emerge from the distance. Gradually, the grow in power, as the rhythm section combine with a wah-wah guitar. Suddenly, drum pounds and dialogue enters ominously. It’s akin to a newsflash, which adds to the drama. Meanwhile, the vortex of sound is omnipresent until a piano enters. It’s played quickly and accompanies the dialogue. The tempo slows and quickens, highlighting and nuancing the dialogue subtly. By then, Rupture hove switched between and combined jazz, funk, rock and avant-garde. Soon, though, it’s all change.
When the choir enter, they combine pop and soul, as the all-star jazz group provide a flowing accompaniment. That’s until they reprise an earlier part of the suite, before heading in a direction marked jazz. The piano plays a leading role, while the contrabass joins with the drums in powering the hopeful and uplifting arrangement along. It breezes along, picking up speed before dialogue interjects, and an impassioned, wailing soprano saxophone plays a leading role as the track heads in the direction of fusion. Seamlessly, Rupture cope with the changes, before dialogue interjects adding another newsflash.
After the dialogue drops out, much more understated and subdued jazz track emerges, while the soprano saxophone heads towards free jazz. It’s as if it’s reacting to the news and is pained and troubled by it. Later, the choir return and sing tenderly, before a gospel influence emerges. So does an impassioned solo, as the piano and rhythm section combine and drive the arrangement along. When the vocal drops out, Rupture enjoy another chance to showcase their skills and versatility as the tempo rises. The when it drops all that remains is a poignant piano, which accompanies dialogue. Soon, the track rebuilds with soulful vocals joining the dreamy arrangement as this eighteen minute Magnus Opus heads towards its conclusion.
Mes Histoires Bleues bursts joyously into life, with the rhythm section, guitar and piano powering the jazzy arrangement along. They accompany Jean-Pierre Mas’ heartfelt and emotive vocal, while he adds a breathtaking, fleet fingered piano solo. It plays a starring role. Meanwhile, the rhythm section anchor the arrangement, and with the piano, add pregnant pauses, which add an element of drama. Soon, Rupture rebuild, and continue to combine jazz with elements of funk and fusion over two memorable and melodic minutes.
The tempo drops on Voyage Sous La Mer which has a slow, spacious arrangement. Less is more, with just the contrabass and guitar accompanying an ethereal, cooing backing vocal. This signals the arrival of, Jean-Pierre Mas’ tender, but wistful vocal. By then, an electric piano has been added, and is soon, joined by and replaced by a piano. It’s played quickly and confidently, and replaces the vocal. Still, though, the rest of Rupture play slowly adding a dreamy, ruminative backdrop. When the rueful vocal returns, the piano fills in the gaps it leaves, and in the process,proves the perfect foil and accompaniment during this beautiful, melancholy ballad.
As Alice Aux Miroirs unfolds, a bass plays and is joined by keyboards which are panned quickly and ghostly harmonies. They’re replaced by Sylvain Krief’s impassioned vocal. Meanwhile, the rhythm section and electric piano combine with harmonies as the arrangement builds. Soon, it changes and heads in the direction of fusion and rock. This allows Rupture to stretch their legs, and jam. Guitarist Georges Locatelli and keyboardist Jean-Pierre Mas play starring roles, with drummer also enjoying his moment in the sun as Rupture showcase their skills and versatility.
A shimmering electric piano opens Autrefois. It’s played slowly, before the baton passes to the drums. They’re joined by Jean-Pierre Mas’ vocal, as he reminisces about “the old days,” while the Choir add soulful harmonies. They prove to be the perfect accompaniment to the vocal, as the vocal and harmonies take centre-stage. Later, when they drop out, Rupture jam, with the electric piano, bass and guitar enjoying their moment in the sun. Then when Jean-Pierre Mas and the Choir return, the rest of Rupture play a supporting role. That’s apart from the electric piano and bass which augment the impassioned vocal and soulful harmonies. They play their part in the sound and success of this beautiful, soulful ballad about “the old days.”
Closing Israel Suite/Dominante En Bleu is Entre Ses Cils, which is another ballad. Just a piano plays as the rhythm section enter and a flute flutters above the arrangement. They accompany Sylvain Krief’s slow, emotive vocal. Meanwhile, the piano is at the front of the mix, while the bass meanders and the subtle flute adds a wistful sound. Later, as the tempo rises, the vocal drops out and the drums play a more important role. Still, though, the piano plays a leading role, while the flute augments it. That’s the case when Sylvain’s impassioned vocal returns, before the song reaches a dramatic and poignant crescendo, and in the process, closes one of the rarest concept albums ever recorded.
Very few copies of Israel Suite/Dominante En Bleu were pressed when the album was released. As a result, for many years, Israel Suite/Dominante En Bleu remained one of music’s best kept secrets. Only a few connoisseurs of European jazz were aware of this genre-melting album’s existence.
Israel Suite/Dominante En Bleu which featured Rupture switching between and fusing jazz, funk, fusion, free jazz, pop, psychedelia and rock. There’s even elements of avant-garde, gospel, progressive and soul on Israel Suite/Dominante En Bleu. It features Rupture, who were essentially a French jazz supergroup. They put their considerable talents to good use on Israel Suite/Dominante En Bleu, which for far too long, was one of was one of music’s best kept secrets. Many jazz aficionados were even aware of the album’s existence. However, eventually, record buyers became aware of Israel Suite/Dominante En Bleu.
Just like many rare albums, it was like a gold rush as record buyers went in search of a copy of Israel Suite/Dominante En Bleu. Despite searching record shops, dusty warehouses, second hand shops and thrift stores, very few crate diggers discovered that elusive copy of Israel Suite/Dominante En Bleu. Those that had a copy weren’t for selling their copy. That was no surprise, given the quality of this
With each passing year, more record buyers discovered the delights of Rupture’s one and only album, Israel Suite/Dominante En Bleu. By then, the album was the Holy Grail for many record collectors. They couldn’t pass a record store or junk shop without searching the racks of records. It was all in vain, and for the majority of people searching for a copy of Israel Suite/Dominante En Bleu it looked like they would never find their own personal Holy Grail. That will change on the ‘2nd’ of June 2017, when Sommor Records will reissue Israel Suite/Dominante En Bleu on CD and LP. Now a copy of Rupture’s 1973 cult classic Israel Suite/Dominante En Bleuis within the budget of all record buyers.
The reissue of Israel Suite/Dominante En Bleu couldn’t have come at a better time. Two years have passed since the last recorded sale of Israel Suite/Dominante En Bleu. By then, the album had shot up in price, and was beyond the budget of most record buyers. This meant that record collectors were unable to hear Israel Suite/Dominante En Bleu. That was a great shame. After all, Israel Suite/Dominante En Bleu which finds Rupture documenting the history of Israel, is one of the most ambitious and powerful concept albums ever written and recorded. One listen to Israel Suite/Dominante En Bleu and that will become apparent.
Rupture-Israel Suite/Dominante En Bleu.
AIRTO FOGO-AIRTO FOGO.
Airto Fogo-Airto Fogo.
During the seventies, Paris born drummer and percussionist Sylvain Krief was one of France’s top musicians. He was also a talented composer, arranger and producer who founded and lead two bands. The first of these bands was Rupture, who released the spiritual jazz classic Israel Suite/Dominante En Blue in 1973.
Three years later in 1976, Sylvain Krief had founded a new band Airto Fogo, who had recorded a new album at Studio Davout in Paris. Little did they know that when Airto Fogo was released by Decca in 1976, it would go onto to become a cult classic.
Nowadays, Airto Fogo is regarded as one of the greatest instrumental jazz-funk and rare groove albums committed to vinyl in Europe. However, while Airto Fogo was popular within the jazz-funk and rare groove community, the album didn’t sell in huge quantities. As a result, copies of the original album are extremely hard to find, and nowadays, change hands for upwards of £250. That is way beyond the budget of most collectors of jazz-funk and rare groove. Fortunately, Pharaway Sounds, an imprint of Guerssen Records, will reissue Airto Fogo on the ‘2nd’ of June 2017, and the holy grail of European instrumental jazz-funk will be within the budget of most record collectors. This timeless cult classic transports the listener back to Paris, in 1976.
Three years after the release of Rupture’s critically acclaimed debut album Israel Suite/Dominante En Blue in 1973, drummer and percussionist Sylvain Krief was working on a new project, Airto Fogo. It would be an album of jazz-funk, which would feature some of Paris’ top musicians. Already, Sylvain Krief who had adopted the moniker Airto Fogo, had penned five tracks, Right On Bird, Tuesday In Jackson, Satine Dog, 1973 Carmne Avenue and Just Over. Three other tracks would feature on the album, including Lee Smocky’s High Stakers and On Tip Toe. They were joined by Shadowy and So Be It, which were penned by Gil Pawnee which it has been rumoured is an alias for bassist Gilles Papiri. These nine tracks would be recorded at Studio Davout, in Paris in 1976.
For the recording sessions, Airto Fogo had hand picked a band that featured some of Paris’ top musicians. Joining drummer and percussionist Arto Fago in the rhythm section was bassist Gilles Papiri. They were joined by Michel Coeuriot who switched between piano, keyboards and synths, while Jean Schultheis played percussion. The horn section featured saxophonist Jean-Pierre Thirault, trumpeter Kako Bessot and trombonist Christian Guizien. Lead by drummer, Airto Fogo the multitalented group combined jazz-funk with elements of Blaxploitation and Latin. Airto Fogo was a potent and heady brew, that should’ve proven successful.
When Airto Fogo was released later in 1976, it was to the same critical acclaim that accompanied Rapture’s Israel Suite/Dominante En Blue. However, while Airto Fogo found an audience amongst the jazz-funk and rare groove communities in France, Britain and Canada, the album didn’t sell in huge quantities. It was an underground album, at a time when disco was growing in popularity. As a result, many jazz, funk and soul albums weren’t finding the audience they so richly deserved. That was the case with Airto Fogo.
It was only much later that Airto Fogo started to find a wider audience. Partly, this was due to DJs at jazz-funk and rare groove club nights spinning tracks from Airto Fogo. Suddenly, dancers wanted to know what was the track they were dancing to. Many DJs were reluctant to reveal what was one of their secret weapons, reluctantly revealed that it was Airto Fogo. Soon, dancers and DJs were searching for their own copy of Airto Fogo. Meanwhile, the internet introduced record buyers across the world to Airto Fogo. However, finding a copy was almost impossible. Those who had a copy of the album weren’t selling, and collectors had bought up remaining copies. Suddenly, original French copies of Airto Fogo were changing hands for upwards of £250. Records collectors were desperate to add a copy of Airto Fogo to their collection. No wonder, as it’s one of the greatest European instrumental jazz-funk and rare groove albums. Here’s why:
Right On Bird opens Airto Fogo, and finds Airto Fogo toying with the listener. Tough keyboards join with a funky bass before a blazing saxophone soars above the arrangement. Soon, so do the rest of the horns, while thunderous drums power the arrangement along. Still, the keyboards and bass add a tough, funky sound. It’s omnipresent as the blazing horns dominate the arrangement. Then the saxophone breaks free, it unleashes a scorching solo. When it drops out, the drums nudge the arrangement along before the horns return. That’s until the saxophone breaks free one last time, and reaches new heights, as Airto Fogo powers his way around his drum kit accompanied by the tough, funky sound that comes courtesy of the bass and keyboards. All too soon, this blistering, blazing slice of jazz-funk is over, but it’s set the bar high for the rest of the album.
A dark pulsating keyboard opens High Stakers before the rhythm section, machine gun guitar and blazing horns are joined by stabs of shimmering Fender Rhodes. Soon, Airto Fogo is in full flight, and are unleashing their musical arsenal. This includes synths, choppy, funky guitar licks and glistening Fender Rhodes. Later, a growling synth takes centre-stage, adding a proto-boogie sound, while horns soar above the arrangement as the rhythm section power the cinematic track along. It sounds as if it belongs on the soundtrack to a seventies cop show. Meanwhile, horns and synths continue to play a leading role as Airto Fogo fuse jazz-funk, funk, fusion and proto-boogie before this uber funky and memorable cinematic opus reaches a crescendo.
Straight away, the rhythm section lock into a groove and provide the heartbeat to Tuesday In Jackson. They’re joined by growling, blazing horns, while a guitar wah-wahs and keyboards add a tough sound to the arrangement. By then, the rhythm section and horns are playing as one. They’re augmented by the guitar and keyboards who play important roles. Then midway through the track when a funky synth takes centre-stage, and is augmented by percussion. As the arrangement rebuilds, the synth still enjoys its moment in the sun. When it drops out, blazing horns, funky guitar and keyboards unite and Airto Fogo are in full flight. That’s still the case when the synth returns, and adds the finishing touch to this uber funky track.
Gradually, the arrangement to Satine Dog builds, with instruments being added at just the right time. At first, a lone bass plays and is joined by stabs of growling horns, a Fender Rhodes, drums and a funky, chiming guitar. The final part of the musical jigsaw is the synth which again, takes centre-stage. It’s played slowly but effectively adding a cinematic sound as Airto Fogo jam. When the synth drops out, stabs of synths add an element of drama before the Fender Rhodes makes a brief appearance. Dramatic horns signal the return of the synth, which at one point, is joined by the Fender Rhodes, before this jam reaches a memorable and cinematic crescendo.
A dark piano is joined by Latin percussion On Tip Toe. Soon, the rhythm section and searing guitar are joined by the horns. They play as one, while the rhythm section drive the arrangement along, and are joined by keyboards and a rocky guitar. When Airto Fogo apply the brakes, all that remains is percussion. That’s until Airto Fogo kick loose and a searing guitar, rhythm section and horns power this soulful slice of Latin-tinged jazz-funk towards the finishing line. In doing so, they create one of the highlights of Airto Fogo.
Stabs of horns, the rhythm section and a funky guitar open 1973 Carmen Avenue. They’re determined to grab the listener’s attention. Having done so, keyboards join with a jazz-tinged guitar and the Fender Rhodes. It’s the guitar that takes centre-stage, and unleashes a fleet finger solo. Fingers fly up and down the fretboard, while keyboards, horns and the Fender Rhodes join with the rhythm section which provides the heartbeat. However, it’s the guitar that steals the show, with what’s akin to a breathtaking musical masterclass. It encourages Airto Fogo to reach new heights.
Horns growl and climb slowly above the arrangement to Shadowy. They’re joined by a rasping synth, chirping, chiming guitar and deliberate keyboards. Meanwhile, the rhythm section prove the heartbeat as the horns and synth play leading roles. Later, a blistering guitar enjoys its moment in the sun. So too do the keyboards, albeit briefly. After that, the horns dominate the arrangement, and the rest of Airto Fogo play a supporting role, before Shadowy reaches its dramatic and memorable conclusion.
There’s an element of drama to So Be It, as a snarling synth joins with percussion, keyboards and rhythm section. The arrangement meanders menacingly along. When the horns and funky guitar enter, it’s all change. Suddenly, the darkness is gone. However, when the horns drop out, the dark, menacing sound returns as the arrangement prowls along. That’s until the return of the horns, and darkness gives way to light. Midway through the track, there’s a brief detour via jazz and Latin as the ever progressive Airto Fogo showcase their versatility. Seamlessly, they switch between genres, and at one point there’s a nod to the Blaxploitation soundtracks of early seventies. Later, an effects laden, funky guitar joins with keyboards and percussion before the horns soar dramatically above the arrangement. The guitar returns and joins with squealing horns as this innovative, genre-melting track reaches a dramatic ending.
Closing Airto Fogo is Just Over, where the thunderous drums anchor the 4/4 arrangement as a squawking bass, chiming guitar and tough keyboards join with the Fender Rhodes. Soon, the horns are added, and it’s obvious that they’re the final piece of the jigsaw. Airto Fogo lock down the groove and jam, playing as one. That’s until a scorching saxophone solo is unleashed. Soon, though, Airto Fogo is playing as one. While the horns play an important in Airto Fogo’s sound, the keyboards, guitar and bass all play starring roles in this melodic, memorable and dance-floor track. It seems that Airto Fogo have kept the best until last.
Just Over is one of nine reasons why Airto Fogo is, without doubt, one of the finest European instrumental jazz-funk and rare groove albums ever released. That may seem like high praise, but Airto Fogo is an almost flawless opus, where some of Paris’ top musicians create a cult classic in 1976. Sadly, Airto Fogo was the only album they recorded.
There was no followup to Airto Fogo, which was released by Decca, in 1976. Sylvain Krief who founded and lead Airto Fogo, decided not to record a sophomore album. Maybe that was for the best? After all, it would’ve been almost impossible to improve on Airto Fogo. The starts were all aligned when Airto Fogo was recorded and they had recorded an album that forty-one years later is regarded as the holy grail for collectors of European instrumental jazz-funk and rare groove albums.
That is no surprise given the quality of music on Airto Fogo. It’s primarily an album of jazz-funk and rare groove, but also incorporates elements of funk and fusion to jazz, Latin and rock. Seamlessly, the multitalented and versatile Airto Fogo switch between and combine disparate genres. In doing so, they create music veers between dark and dramatic, to joyous and uplifting, to melodic, memorable and dance-floor friendly. Sometimes, the music has a cinematic quality and on a couple of occasions sounds as if it belongs on a seventies police drama. Having said that, the music on Airto Fogo is truly timeless and forty-one years later, sound just as good as the day it was released.
Nowadays, Airto Fogo is receiving the recognition they so richly deserve for releasing one of the greatest European instrumental jazz-funk and rare groove albums. Having received the recognition it so richly deserved, there’s been another resurgence of interest in Airto Fogo. However, it’s almost impossible to find a copy of Airto Fogo nowadays, and those that become available, change hands for upwards of £250. Fortunately, Pharaway Sounds, an imprint of Guerssen Records will reissued Airto Fogo on the ‘2nd’ of June 2017, and at last, this epic album, which is one of the greatest European instrumental jazz-funk and rare groove albums is available for everyone to enjoy and cherish.
Airto Fogo-Airto Fogo.
THOS. RAPP AND PEARLS BEFORE SWINE-CITY OF GOLD AND …BEAUTIFUL LIES YOU COULD LIVE IN.
Thos. Rapp and Pearls Before Swine- City Of Gold and…Beautiful Lies That You Could Live In.
By April 1971, Pearls Before Swine were preparing to release their fifth album City Of Gold, which was BGO Records recently released alongside …Beautiful Lies That You Could Live In. City Of Gold would be Pearls Before Swine third release on Reprise Records, since signing to the label in 1969. However, City Of Gold would be the first album to be credited to Tom Rapp and Pearls Before Swine.
That seemed only fair, given that Tom Rapp was the only original member of Pearls Before Swine left. The rest of the band left en masse in 1969, before Pearls Before Swine signed to Reprise Records. Since then, Pearls Before Swine consisted of Tom Rapp, his wife Elisabeth and session musicians that were brought onboard for recording sessions and tours. It was no surprise that Tom Rapp wanted equal billing with Pearls Before Swine. However, that hadn’t always been the case.
Pearls Before Swine was founded by Tom Rapp in Melbourne, Florida in 1965. The nascent band featured Tom Rapp and his high school friends Wayne Harley, Lane Lederer and Roger Crissinger. Tom Rapp quickly became the band’s songwriter-in-chief, and wrote the material that would feature on the demo that Pearls Before Swine sent to the avant-garde label ESP-Disk. By then, the band were sporting the name Pearls Before Swine, which they took from a quotation in The Bible (Matthew. 7:6).
Not long after sending their demo to ESP-Disk, Pearls Before Swine were offered a recording contract by the label. This was what every new band dreamt of, and Pearls Before Swine signed on the dotted line. Soon, they began work recording their debut album, One Nation Underground with producer Richard L. Alderson.
One Nation Underground.
While Pearls Before Swine were a four piece band, they didn’t have a drummer. So session drummer and percussionist Warren Smith was drafted in before work began on One Nation Underground at Impact Sound, in New York.
The sessions began on the ‘6th’ of May 1967, and were scheduled to last just four days. The band planned to record ten songs, including the six penned by Tom Rapp. He had written Another Time, (Oh Dear) Miss Morse, Drop Out, Morning Song, Regions Of May and Uncle John. Lead vocalist and guitarist Tom Rapp also two songs cowrote Ballad To An Amber Lady and I Shall Not Care. It took just four days for Pearls Before Swine to record One Nation Underground, and the session was completed on ‘9th’ May 1967.
Five months later, and Pearls Before Swine released their debut album One Nation Underground. Critical acclaim accompanied the release of this minor psychedelic folk classic. When One Nation Underground was released, it was soon, well on its way to becoming ESP-Disk’s most successful recording. It’s thought that One Nation Underground sold anywhere between 100,000 to 250,000 copies. This should’ve proven profile for Pearls Before Swine.
Alas, contractual problems meant that Pearls Before Swine received very little in the way of royalties. Later, a rueful Tom Rapp alleged: “we never got any money from ESP. Never, not even like a hundred dollars or something.” For Pearls Before Swine this must have been disheartening, especially as they were still under contract to ESP-Disk.
Balaklava.
In early 1968, Pearls Before Swine’s begun work on their sophomore album, Balaklava. By then, there had been a change in the band’s lineup. Jim Bohannon had replaced Roger Crissinger. Meanwhile, Tom Rapp continued in his role as Pearls Before Swine’s songwriter-in-chief.
For Balaklava, Tom Rapp wrote eight of the ten songs on the album and cowrote Translucent Carriages. The other song on the album was a cover of Leonard Cohen’s Suzanne. These songs were recorded with producer Richard L. Alderson[ at Impact Sound in New York.
When the recording sessions began, Pearls Before Swine were augmented by session musicians. They added flute, English horn, piano, organ, guitar and strings. Overdubbing was used extensively, with recordings of Florence Nightingale and the original buglers from the Battle of Balaclava in 1854 added to Balaklava. They played their part in an album of evocative, cerebral and complex music which was full of allegorical classical references.
Just over a year after the release of One Nation Underground, Balaklava was released to the same critical acclaim as its predecessor in November 1968. Critics marvelled at the innovative way songs were arranged and the eclectic nature of instruments deployed on Balaklava. It was an album that the band were extremely proud of, and which critics hailed as more than a fitting followup to One Nation Underground. However, despite the critical acclaim Balaklava received, all wasn’t well within Pearls Before Swine.
Not long after the release of Balaklava, Tom Rapp managed to negotiate his way out of the contract with ESP-Disk. This left him free to sign with Reprise Records, which was home to many folk and folk rock artist. However, the rest of Pearls Before Swine didn’t follow Tom Rapp to Reprise Records and called time on their career with the band.
The rest of Pearls Before Swine had never played live during their time together. This wasn’t ideal for a band trying to make a breakthrough. After that, Pearls Before Swine consisted of Tom Rapp his wife Elisabeth and session musicians that were brought onboard for recording sessions and tours. The first album that this new lineup would feature on was, These Things Too.
These Things Too.
Having signed to Reprise Records, Tom Rapp was keen to get to work on the next Pearls Before Swine album. This would eventually become These Things Too, which marked the start of the Reprise Records’ years.
For These Things Too, Tom Rapp wrote ten new songs. He also wrote Green And Blue and Mon Amour with his wife Elisabeth and added music to W. H. Auden’s poem Footnote. The only cover version on the album was Bob Dylan’s folk anthem I Shall Be Released. It was covered in the familiar surroundings of Impact Sound, in New York.
This was the same studio where Pearls Before Swine recorded their first two albums. They were produced by Richard L. Alderson, who returned to produce These Things Too. He helped put together the session musicians who would feature on the album. One of the musicians Richard L. Alderson brought onboard was Jim Fairs who previously, had been a member of the garage band The Cryin’ Shame. Jim Fairs played on These Things Too and co-produced the album. It featured jazz drummer Grady Tate, bassist Bill Salter, electric violinist Richard Greene, who later would join Seatrain. This small, but tight and talented band recorded the fourteen songs that became These Things Too.
The release of These Things Too was scheduled for September 1969. Before that, critics had their say on Pearls Before Swine’s Reprise Records’ debut. While the album was well received by critics, it didn’t receive the same critical acclaim as previous albums. Critics described These Things Too as a mystical and “dreamy” sounding album. Later, it turned out a reason for the album’s dreamy sound. Tom Rapp later admitted that These Things Too was the first Pearls Before Swine album that: “reflected drug use in the writing of the songs.” This was a first for Pearls Before Swine.
Nowadays, These Things Too has been reappraised by critics, and is regarded as one of Pearls Before Swine’s most underrated albums.
It was also one of the Pearls Before Swine’s least successful albums. These Things Too didn’t sell in vast quantities, and was a disappointing start to Pearls Before Swine’s time at Reprise Records.
The Use of Ashes,
By the time that Tom Rapp began writing Pearls Before Swine fourth album, The Use of Ashes he and his wife Elisabeth were living in the Netherlands. That was where Elisabeth was born and brought up. Tom and Elisabeth Rapp had sailed from New York to the Netherlands on the maiden voyage of the QE2. This was idyllic journey and one that was sure to provide inspiration for Tom Rapp.
On their arrival in the Netherlands, Tom and Elisabeth Rapp spent several months living in a house near Utrecht. That was where Tom Rapp began writing The Use of Ashes.
Most of the ten songs that feature on The Use of Ashes were written by Tom Rapp in Utrecht. It was the first album he had written entirely himself. Elisabeth is credited as having helped pen God Save The Child, while Rocket Man was based on a short story by Ray Bradbury. Rocket Man was heard by Bernie Taupin, and would inspire him to write Rocket Man for Elton John. That was still to come.
Before that, a decision was made to record The Use of Ashes in Nashville. Peter H. Edmiston was brought onboard to produce the album, and some of Nashville’s top sessions musicians would feature on The Use of Ashes. This included many of the members of the country rock band Area Code 615. They made their way to Woodland Studios, in Nashville where they spent much of March 1970 was spent recording material for The Use of Ashes. By the time the sessions were over, Pearls Before Swine had more than enough music for one album. However, the albums wasn’t complete and some sessions took place at Impact Sound, in New York. After that, The Use of Ashes was ready for release.
In August 1970, The Use of Ashes was released to widespread critical acclaim. Critics hailed the album a return to form from Pearls Before Swine. They had reached the same heights as One Nation Underground and Balaklava. However, some critics preferred The Use of Ashes which featured country rock, folk rock and psychedelic folk. It was a much more eclectic album, which featured some of Tom Rapp’s finest songs. Especially The Jeweller, which was later recorded by This Mortal Coil, the cinematic Rocket Man and the jazz-tinged, playful Tell Me Why? One of the highlights was Riegal, a sobering song that was inspired by a newspaper article that told how 4,000 prisoners of war died after the prison ship MS Rigel was sunk. It’s a poignant song, that shows just how Tom Rapp was maturing as a songwriter. The Use of Ashes featured some of Tom Rapp’s finest songs. He seemed to have come of age as a songwriter, on what was Pearls Before Swine’s most successful album for Reprise Records. Things were looking up for Pearls Before Swine.
City Of Gold.
When it came time for Pearls Before Swine to begin work on their third album, and fifth album overall, Tom Rapp announced that he wanted equal billing with the band he had founded six years earlier in 1965. From City Of Gold, onwards the band would be billed as Thos. Rapp and Pearls Before Swine.
Much of what would become City Of Gold had already been recorded in Nashville, during the sessions for The Use of Ashes’ album. Further sessions would take place at Impact Sound, in New York with Tom Rapp taking charge of production. Eventually, eleven tracks featured on City Of Gold.
This included seven Tom Rapp compositions, including Once Upon A Time, Raindrops, City Of Gold, The Man, Casablanca Wedding and Did You Dream Of? Tom Rapp also added music to William Shakespear’s Sonnet #65. They were joined by cover versions Leonard Cohen’s Nancy, Jacques Brel and Rod McKuen’s Seasons In The Sun and Judy Collins My Father. These tracks became City Of Gold, which was Pearls Before Swine’s fifth album.
Once Upon A Time was scheduled for release in April 1971, and was a mixture of country folk, country rock and folk rock. The album was well received by critics, who noticed that Tom Rapp was continuing to mature as a singer and songwriter. He had come of age as a songwriter on The Use Of Ashes, and this continued on Once Upon A Time, much of which was recorded at the same time.
While Once Upon A Time, features some of Tom Rapp’s finest lyrics, the cover versions are tailor made for Pearls Before Swine. Especially the spartan cover of Leonard Cohen’s Nancy, which features an impassioned vocal. It’s one of several heartfelt vocal from Tom Rapp on Once Upon A Time. Elisabeth gets a chance to shine on the cover of Judy Collins’ My Father. However, for much of the album, the spotlight shines on Tom Rapp.
He had matured into a talented storyteller by the time Once Upon A Time was released in April 1971 Tom Rapp. who takes the listener on a journey on the songs that he had penned. Especially on songs like the poignant Once Upon A Time and Raindrops which is tinged with sadness. There was a cinematic quality to Casablanca and especially Wedding, which is a captivating and emotive song. However, it’s a case of keeping the best to last with Did You Dream, which is a perfect showcase for Tom Rapp’s as he delivers another heartfelt vocal that’s full of emotion. Just like he has done so often on Once Upon A Time, he breathes life and meaning into the lyrics. Sometimes, there’s a nod to Bob Dylan, and other times Neil Young. Mostly, though, Tom Rapp is happy in his own voice on Once Upon A Time.
Just like his two previous albums for Reprise Records, Once Upon A Time didn’t sell in vast quantities. Pearls Before Swine had a loyal fan-base, but their music deserved to reach a much wider audience. That hadn’t happened so far. Tom Rapp was hoping that things would change when …Beautiful Lies That You Could Live In was released.
…Beautiful Lies That You Could Live In.
Recording of …Beautiful Lies That You Could Live In had taken place in early 1971, so that Pearls Before Swine could embark on their first tour. That was highly unusual for a band that was formed in 1965. Most bands spent much of their time on the road. However, Pearls Before Swine weren’t most bands.
They were one of music’s best kept secrets, despite releasing five albums. Pearls Before Swine had still to make a breakthrough. Taking the band on the road it was hoped, would introduce Pearls Before Swine to a new audience. So with an all-star band that featured drummer Billy Mundi , guitarist Amos Garrett and pianist Bob Dorough, Tom and Elisabeth Rapp headed out on their first ever tour.
In November 1971, Pearls Before Swine were preparing to release their sixth album …Beautiful Lies That You Could Live In. It featured eleven songs, including nine from the pen of Tom Rapp. Elisabeth Rapp wrote music to A. E. Housman’s Epitaph On An Army Of Mercenaries. The other song on …Beautiful Lies That You Could Live In was a cover of Leonard Cohen’s Bird On A Wire. These songs were recorded at three studios with producer Peter H. Edmiston.
Recording of …Beautiful Lies That You Could Live In took place at A&R Studios and Aura Sound, New York, and at Bearsville Studios in Woodstock. This was where Tom Rapp and Pearls Before Swine recorded an album that moved towards what was a much more orthodox folk rock sound.
When critics heard …Beautiful Lies That You Could Live In, they hailed the album as one of Pearls Before Swine’s best albums. No wonder, as the music was beautiful, enchanting, evocative and captivating. The album opener Snow Queen, Butterflies, Simple Things, Island Lady and Freedom were among the album’s highlight of …Beautiful Lies That You Could Live In. It was one
a cohesive album that showcased Tom Rapp’s skills as a singer, songwriter and storyteller. Just like on previous albums, he had the ability to breath meaning and emotion into the lyrics and make the songs come to life. This he did on throughout …Beautiful Lies That You Could Live In, which surely, would introduce Tom Rapp and Pearls Before Swine to a much wider audience?
Sadly, that wasn’t to be, and when …Beautiful Lies That You Could Live In was released was a familiar story. The album didn’t reach the wider audience that it so richly deserved. That was despite the popularity of folk rock. It seemed that Tom Rapp and Pearls Before Swine were destined to remain one of music’s best kept secrets.
After the release of …Beautiful Lies That You Could Live In, Tom Rapp decided to embark upon career as a solo career. His debut solo album Familiar Songs, was released on Reprise Records in 1972. Despite what was another album of carefully crafted songs, it was a familiar story for Tom Rapp, when the album failed to find an audience. For Tom Rapp, Familiar Songs marked the end of era.
Not long after Reprise Records released Familiar Songs, they parted company with Tom Rapp. He signed to Blue Thumb Records, and released Stardancer later in 1972. Stardancer featured the impassioned underground anti-war anthem Fourth Day Of July, which was part of an album that won the approval of critics. Despite this, still, commercial success continued to elude him.
Tom Rapp returned in 1973 with Sunforest, which featured a mixture of folk rock, art rock and jazz. Although Sunforest wasn’t as strong an album Stardancer it showcased a talented a singer-songwriter. When the album was released in 1973, it failed commercially and Tom Rapp’s talents were no nearer to finding a wider audience. For Tom Rapp this was hugely frustrating.
So much so, that after his contract with Blue Thumb Records expired, Tom Rapp turned his back on music. He enrolled at Brandeis University and graduated in 1981. Tom Rapp then enrolled at University of Pennsylvania Law School and three years later, in 1984, embarked upon a career as a civil rights lawyer. This was the start of a successful legal career for Tom Rapp.
It wasn’t until 1997 that Tom Rapp returned to music, when he made a guest appearance at the Terrastock music festival. Although his comeback was successful, still Tom Rapp continued his career as a civil rights lawyer. However, two years later in 1999, Tom Rapp returned with a new album A Journal Of The Plague Year. This was the first album that Tom Rapp had released since Sunforest in 1973. Since then, Tom Rapp hasn’t released a followup to A Journal Of The Plague Year. Instead, he’s concentrated on his successful legal career. Law’s gain is music’s loss.
Twenty years have passed since Tom Rapp released A Journal Of The Plague Year. Since then, his quartet of solo albums and the six albums he released with Pearls Of Swine are starting to find a wider audience. This hopefully, will continue to be the case. Especially with BGO Records’ recent remastered reissue of City Of Gold and …Beautiful Lies That You Could Live In, which are the perfect introduction to Pearls Of Swine, who are one of the folk rock’s best kept secrets.
Thos. Rapp and Pearls Before Swine- City Of Gold and…Beautiful Lies That You Could Live In.
ANNELI DRECKER-REVELATION FOR PERSONAL USE.
Anneli Drecker-Revelation For Personal Use.
Anneli Drecker first came to prominence in 1987, when she was the lead singer of the Norwegian band Bel Canto. Back then, Anneli Drecker was just seventeen, but determined to make a career out of music. So Anneli Drecker made the brave decision to leave behind her Arctic hometown of Tromsø. This was a huge step into the unknown, but one that ultimately paid off for Anneli Drecker, who will release her fourth album Revelation For Personal Use on Rune Grammofon on ‘19th’ May 2017. Revelation For Personal Use is the perfect way for the Queen of Arctic Electronica to celebrate thirty years making music. It’s a career that started with a journey.
When Anneli Drecker her hometown Tromsø, she knew that she wasn’t leaving alone. Instead, Anneli Drecker made the move to Bruxelles with the other two members of Bel Canto, Geir Jenssen and Nils Johansen. Soon, Bel Canto were part of Bruxelles’ thriving and vibrant indie scene. Bel Canto stood head and shoulders above the rest. It was only a matter of time before a record company came calling for Bel Canto.
This soon proved to be the case when Belgian label Crammed Discs signed Bel Canto to their roster. Soon, Bel Canto were working on their debut album, White Out Conditions. Everything was going to plan until Bel Canto discovered a choir using the same name. So, Bel Canto were forced to release their debut album as Bel Kanto. This didn’t matter.
When White Out Conditions was released in 1987 by Crammed Discs, it was to critical acclaim. Critics and cultural commentators forecast a great future for Bel Kanto.
They weren’t wrong. Three years later, in 1990, and Bel Canto were about to release their sophomore album Birds Of Passage. By then, Bel Canto were back using their original name. This just happened to coincide with Bel Canto releasing an award winning album.
When Birds Of Passage was released it was to widespread critical acclaim. Reviews of Birds Of Passage hailed the album one of the indie albums of 1990. Back home in Norway, the organisers of the Spellemannprisens, which are the Norwegian equivalent of a Grammy Award, agreed. Birds Of Passage won Bel Canto their first Spellemannprisens. For Bel Canto, Birds Of Passage was a game-changer.
Birds Passage was then released internationally, and before long, Bel Canto star was in the ascendancy. However, what many critics remarked upon, was the ethereal quality of Anneli Drecker’s voice. It was almost inevitable that comparisons were drawn to the Cocteau Twins’ Liz Fraser. Both were the lead singer of successful indie bands and were blessed with a unique ethereal, enchanting and engaging vocal style. This would take Anneli Drecker far. However, another two years would pass before Bel Canto returned with their much anticipated third album.
It wasn’t until 1992, that Bel Canto released their third album, Shimmering, Warm and Bright on Crammed Discs. Just like Bel Canto’s two previous albums, it was released to critical acclaim. Superlatives were exhausted by critics who continued to champion Bel Canto. Back home in their native Norway, Bel Canto won their second Spellemannprisen with Shimmering, Warm and Bright. The critics had been right when they said Bel Canto were a group going places. That proved to be the case, in more ways than one.
After releasing a trio of albums on Crammed Discs, Bel Canto were signed by Atlantic Records. After five years and three albums, Bel Canto were leaving their indie roots behind.
Another three years passed before Bel Canto released their fourth album, Magic Box in 1995. This was Bel Canto’s major label debut. Magic Box was released on Atlantic and in America, on the Atlantic imprint Lava.
It seemed that making the move from indie to major hadn’t fazed Bel Canto. Nor did the fact that co-producing Magic Box was produced by Bel Canto were Jah Wobble, Mark Ferda, and Ulf Holand. This all-star production team were responsible for yet another critically acclaimed and award winning album.
Magic Box was released to same critical acclaim that had accompanied previous Bel Canto releases. It also won Bel Canto the third Spellemannprisens of their career. Now Bel Canto were one of the few artists or groups to have won three Spellemannprisens. How could Bel Canto surpass this?
Just two years later, in 1998, Bel Canto returned with the fifth album of their career, Rush. While it failed to win Bel Canto another Spellemannprise, Rush was hailed by some critics as a better album than Magic Box. This was fitting, because following Rush, Anneli Drecker embarked upon a sabbatical from Bel Canto.
Following Rush, Anneli Drecker decided to embark upon a solo career. It saw Anneli collaborate with some high profile musicians on Tundra. This included Hans Magnus Ryan and Bent Sæther of Motorpsycho, plus Martin Horntveth and Sjur Miljeteig. Former Cocteau Twin Simon Raymonde produced a track. So did Röyksopp. Torbjørn Brundtland of Röyksopp played on and produced four tracks. With this glittering array of talent aiding and abetting, Anneli Drecker, Tundra, promised to be one of the most anticipated debut albums of 2000.
It was no surprise that when Anneli released debut album her debut album Tundra in March 2000, it was to widespread critical acclaim. Critics were won over by Tundra’s more eclectic, genre-melting sound. Elements of electronica, rock and even post rock shine through on Tundra. As debut albums go, Tundra was the perfect album to launch Anneli Drecker’s solo career. However, Anneli’s solo career was put on hold after Tundra.
In September 2001, Röyksopp released their debut album Melody A.M. One of the songs, Sparks was written by Anneli Drecker and featured her vocal. Sparks played its part in the runaway success of Melody A.M, which was certified platinum in Norway, Britain and Holland. Later in 2001, Melody A.M. was nominated for, and won, the Spellemannprisen for the best electronic album. By then, Röyksopp’s Melody A.M. was a huge success. In the process, it introduced Anneli Drecker to a wider audience.
Having toured Melody A.M. with Röyksopp, Anneli’s thoughts turned to Bel Canto’s sixth album, Dorothy’s Victory. It was produced by the three members of Bel Canto, and released in February 2002. Bel Canto, it seemed could do no wrong.
When critics heard Dorothy’s Victory, it received the same glowing reviews as its predecessors. It was fitting that critical acclaim accompanied Dorothy’s Victory. This would prove to Bel Canto’s final album. Anneli never knew this, as she embarked upon the next chapter of her career.
Three years later, and Anneli Drecker released her sophomore album Frolic. It was released in April 2005, and marked a change in direction. Frolic was a much more downtempo album. This appealed to many critics, who lauded Anneli’s brave decision to reinvent herself. They wondered what direction Anneli’s third album would take?
Another ten years passed before Anneli Drecker’s thoughts turned to her third album. During that ten year period Anneli Drecker was busy. She joined A-Ha for two gruelling world tours. However, part of the time Anneli spent with Røyksopp.
Having recorded Melody A.M. with Røyksopp, Anneli Drecker joined them on several tours. A live album was released in 2006, Röyksopp’s Night Out. It featured Anneli’s vocals on What Else Is There? and Sparks, the two tracks she cowrote with Röyksopp. Four years later, Anneli rejoined Røyksopp for their third studio album Junior, which was released in March 2009. That would be the last Røyksopp album Anneli featured on. However, she continued to tour with them and also collaborated with a number of different artists.
That has been the case throughout Anneli Drecker’s career. Even during her early days with Bel Canto, many artists and DJs have collaborated with Anneli Drecker. This includes everyone from DJ Krush, Gavin Friday, and Jah Wobble, to Hector Zazou, Tim Simenon, Guy Sigsworth and Ketil Bjørnstad. Each of these artists have worked with Anneli Drecker. So have many others, including those that would go on feature on Anneli Drecker’s long awaited third album, Rocks and Straws.
It was an album that Anneli Drecker’s fans had been waiting ten long years for.While ten years was a long time to wait for an album, Rocks and Straws was well worth the wait. Rocks and Straws was a carefully crafted, career defining album, where Anneli Drecker pays homage to the town and region that shaped her. This the Queen of Arctic Electronica does in her own inimitable style on Rocks and Straws, which marked the comeback of Anneli Drecker.
Two years later, and Anneli Drecker makes a welcome return with her fourth solo album Revelation For Personal Use on Rune Grammofon on ‘19th’ May 2017. It’s a followup to Rocks and Straws, and finds the Queen of Arctic Electronica, continuing to pay homage to the town and region that shaped her. This time though, the songs on Revelation For Personal Use are based on lyrics by local cult poet Arvid Hanssen, which were translated to English by artist and writer Roy-Frode Løvland. This was the inspiration for the eight songs penned by Anneli Drecker. They were recorded at four studios in Oslo and Tromsø, and became Revelation For Personal Use.
Recording of Revelation For Personal Use took place at Kysten Studio and Propeller Studio, in Oslo, with further sessions taking place at Facing North Studio and Zenith Studio, in Tromsø. Anneli Drecker took charge of the arrangements, production and programming; played piano, organ, mellotron and vocals. She was accompanied by top Norwegian musicians.
The rhythm section featured drummer and percussionist Erland Dahlen; drummers Rune Arnesen and Wetle Holte who also played dulcimer; bassists Even Ormestad and Kjetil Dalland plus guitarist Eivind Aarset. They were joined by keyboardist Sindre Hotvedt, cellist Frida Fredrikke Waaler Wærvågen, vocalist Peter G. Aa. Drecker, who also featured on Rocks and Straws and vocalist Radik Tiuliush who also plays mouth harp. Per Martinsen programmed drum beats on Waiting Time, while Jon Marius Aareskjold, Jonas Lie Theis and Sindre Hotvedt were responsible for programming parts of Revelation For Personal Use. When it came to adding the strings, the Arctic Philharmonic Orchestra were brought onboard. Once the album was recorded, Anneli Drecker and Jon Marius Aareskjold mixed Revelation For Personal Use. All that was left was the mastering, and Anneli Drecker’s much anticipated fourth album was ready for release.
As Blue Evening opens Revelation For Personal Use, various subtle sounds glide in and out of the arrangement. Latterly, the sound of waves breaking on a deserted beach is replicatd. This gives way to a piano and shimmering strings that soon, accompany Anneli’s heartfelt, ethereal vocal as she sings: “look how calm the waves are falling.” From there, Anneli paints vivid and poignant pictures as the arrangement unfolds. Meanwhile, a piano adds an element of drama, the rhythm section provides the heartbeat and swathes of strings shiver and quiver. They help frame Anneli’s vocal until it drops out, and then replicate the landscape that she’s being singing about. Still though, the drama continues to build. In the midst of the arrangement, is what sounds like waves breaking on the beach. Later, when the arrangement reaches a crescendo, only a piano and Anneli’s vocal remain. She sings: “sitting on the rock I call my own, go to hear the forecast chanted, and walk lonely to my home.” It’s a beautiful and poignant way to end this epic cinematic song.
Pizzicato strings and a guitar are joined by the rhythm section on Sun Wave. Their raison d’être is to set the scene for Anneli’s tender, joyous vocal. It’s accompanied by the piano and swathes of glacial strings. They provide the perfect accompaniment to Anneli’s impassioned vocal as the arrangement ebbs and flows. With just a minute to go, Anneli bowls a curveball, as the arrangement pauses, as if pondering changing direction. The tempo drops, before the arrangement cascades before Anneli’s vocal is carried along atop sweeping strings. Latterly, it’s pizzicato strings that can be heard before this joyous, celebratory song reaches a memorable crescendo.
Compared to the previous songs, Days has a much rockier sound as it bursts into life. Drums pounds, strings sweep and a searing guitar cuts through the arrangement. They disappear leaving just Anneli’s ruminative vocal and her piano. When they drop out, the arrangement explodes back into life, with the piano, pounding rhythm section, blistering guitar and sweeping strings playing leading roles in this cinematic song. It sounds as if it belongs on the soundtrack to a blockbuster. Later, emotion fills Anneli’s vocal, while dancing and later, pizzicato strings accompany her piano, as the arrangement continues to builds. Still, the orchestra and rhythm section play leading roles as Anneli delivers an impassioned vocal that’s a mixture of power, emotion on this flawless Magnus Opus.
On A Road marks another change of style. The arrangement is much more understated, with electronics playing their part in this soundscape. So do the drums that provide pulsating heartbeat, subtle strings and the piano. They accompany Anneli’s vocal that veers between wistful to breathy and sensual. Soon, it grows in power and is full of emotion. Meanwhile, the bass weaves its way across the arrangement as the piano, strings, drums and rocky guitar join Anneli in taking the song into anthem territory. Latterly, though, it’s just the piano and rueful, melancholy strings that accompany Anneli as this anthem-in-waiting.
Swathes of sweeping strings accompany Anneli’s piano on Raindrops, before her tender, ethereal vocal enters as memories come flooding back. The strings are the perfect accompaniment as the arrangement meanders melodically along. Then when a chiming guitar enters, it’s all change. It joins with the rhythm section, piano and pizzicato strings as the tempo rises. Gradually, they set the scene for Anneli, before she delivers an elegiac vocal. By then, the carefully crafted arrangement features a jangling guitar, swathes of strings, piano and the rhythm section. They join with Anneli in creating a radio friendly slice of cinematic pop perfection.
The arrangement to Snow almost skips along, as the piano plays. Soon, a melancholy cello ushers in Anneli’s quivering, shivering ethereal vocal. It’s beautiful and captivating. Meanwhile, the multilayered arrangement begins to unfold. Drums pound before a mellotron and dulcimer join a siren as Anneli’s vocal soars high above the arrangement. When it drops out, the piano and cello remain. Then when the vocal returns, they provide the perfect accompaniment as Anneli’s vocal grows in power and emotion, before reaching a poignant, ruminative crescendo.
Closing Revelation For Personal Use is the title-track, where a piano combines with slow, hypnotic drums and the cello. They provide the backdrop for Anneli’s dreamy vocal, which floats along atop the understated arrangement. Quivering, flourishes of cello accompany Anneli’s vocal, before the baton passes to Radik Tiuliush. He unleashes an impassioned, emotive scats before Anneli returns. Her heartfelt vocal is accompanied by the mouth harp, deliberate stabs of piano and the cello. Later, it’s Anneli’s turn to improvise, before Radik returns, scatting and playing the mouth harp. This adds a new dimension to the final song in this second homage to the town and region where Anneli Drecker was born.
Two years after releasing her third album, Rocks and Straws, the multitalented Anneli Drecker will returns with the followup Revelation For Personal Use on Rune Grammofon on ‘19th’ May 2017. Just like Rocks and Straws, it finds Anneli Drecker pays homage to the town and region that shaped her. This the Queen of Arctic Electronica does in her own inimitable style.
The result is Revelation For Personal Use, which manages to surpass the quality of Rocks and Straws. That was never going to be easy, but Anneli Drecker has returned with an album that’s variously breathtakingly beautiful, cerebral, ethereal, hopeful, incisive and joyous. Other times, the music is melancholy and wistful, and results in reflection on the lyrics. Sometimes though, there’s a mysterious quality to Anneli Drecker’s cinematic lyrics, as she paints pictures of the barren Arctic landscape where she was born and brought up with her inimitable ethereal vocal.
Effortlessly, Anneli Drecker breathes life, meaning and emotion into the lyrics to the songs on Revelation For Personal Use. Her vocal veers between tender to dramatic and powerful. Sometimes, heartfelt and impassioned, while other times it’s tinged with sadness. That is no surprise, given how personal the songs on Revelation For Personal Use are. They’re about her hometown of Tromsø and the Arctic region where Anneli Drecker was born and brought up. They shaped Anneli Drecker before she embarked upon a highly successful musical career in 1987.
Thirty years later, and Anneli Drecker is regarded as one of the leading lights of the Norwegian music scene. She’s a singer songwriter, musician and producer, whose been crowned the Queen of Arctic Electronica. That is fitting, given Anneli Drecker’s impressive CV.
Nowadays, Anneli Drecker is concentrating on her solo, career and is about to released her much anticipated fourth album Revelation For Personal Use. It showcases one of Europe’s most talented female singer-songwriters, Anneli Drecker.
Her ethereal vocal has, quite rightly, been compared to Kate Bush and the Cocteau Twins’ Liz Fraser. Anneli Drecker belongs in such exalted company and can more than hold her own. While Kate Bush represents music’s past, Anneli Drecker represents music’s future.
That might seem strange given Anneli Drecker has been around since 1987. Despite that, Revelation For Personal Use is only Anneli Drecker’s fourth solo album. This is a new chapter in the Anneli Drecker story. Revelation For Personal Use is the finest album of Anneli Drecker’s solo career, and surpasses the quality of 2015s Rocks and Straws. That was never going to be easy. Rocks and Straws had set the bar high for future albums. Two years later, and the Queen of Arctic Electronica, Anneli Drecker, returns with her musical Magnus Opus, Revelation For Personal Use, which features music that ranges from memorable and melodic, to anthemic to heartbreakingly beautiful.
Anneli Drecker-Revelation For Personal Use.
KEB DARGE AND CUT CHEMIST PRESENT DARKSIDE: 30 SIXTIES GARAGE, PUNK AND PSYCH MONSTERS.
Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters.
“All things come to he who waits.” So said Violet Fane in her poem Tout vient ß qui sait attendre. That is very true. Especially for record buyers who spend a lifetime searching for obscure singles and LPs. After a while even the most determined crate digger is forced to admit defeat. Sadly, some singles and LPs are impossible to find, and the only way to hear them is if a record company decides to reissue the album or the singles as part of a compilation.
This includes those found on Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters which was recently released by BBE Records. It’s is the second compilation that Keb Darge and Cut Chemist have compiled for BBE Records. The first was the critically acclaimed Lost and Found-Rockabilly and Jump Blues, which was released in 2007. Ten years later, and the dynamic duo return with Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters.
It’s the perfect introduction to what was an important era in American music. During the second half of the sixties, new bands were springing up all over America, and recording singles like those that feature on Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters. These singles were often released in small numbers by independent labels, and nowadays, are almost impossible to find. They’re the type of singles that Keb Darge and Cut Chemist are constantly searching for.
Keb Darge however, is a relative newcomer to this intriguing and obscure genre, and came across it almost by accident whilst looking for Northern soul singles. He remembers: “DJ Shadow told me I would like garage years ago, but I didn’t listen.” This was a big mistake, but one that would eventually, would be rectified.
Three years ago, some collectors of garage decided to try and introduce Keb Darge to garage. They spun Keb some 45s that they though he would like. That proved to be the case and soon, he was hooked to Garage. Since then, Keb Darge had been constantly crate digging, hunting for hidden gems, obscurities, rarities and elusive, hard to find singles. This was what another DJ that Keb knew had been doing for many a year, Cut Chemist.
Unlike Keb Darge, who was a relative newcomer to the genre, Cut Chemist was a veteran collector who had amassed an admirable collection of garage 45s over the years. Many of these singles were rarities, which nowadays, change hands for ever increasing sums of money. These singles are beyond the budget of most record buyers, and the only way most people will hear them if someone was to compile a compilation. That was what Keb Darge suggested to Cut Chemist one day.
By combining their respective collections, Keb Darge and Cut Chemist had more than enough music for one compilation of Garage. Indeed, the hardest thing would be narrowing down their long-list to a shortlist that would feature on one CD or LP. Eventually, though, a shortlist of thirty songs was drawn up, and became Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters. It features obscurities, rarities and hidden gems and is the perfect introduction to the sixties garage music. Keb explains: “This compilation is not aimed at the many collectors of this wonderful style of music. I am a very late arrival on this scene, and still have a hell of a lot to learn, and buy. This is more for people like I was just three years ago, people oblivious to beauty, power, and excitement of the sixties garage sound.”
Choosing just thirty songs to introduce newcomers to the sixties garage sound can’t have been easy. Eventually, though, Keb Darge had chosen songs from Ty Wagner, The Banshees, The Deepest Blue, The Gentlemen, The Nobles, The Malibus, The Mach V, The Passions and Young Aristocracy. Meanwhile, Cut Chemist’s list included The Berkley Five, The Lyrics, The Spacemen, The Savoys, The Dogs, The Omens, The Chantes, The Spades, The Aventés and The Blue Velvets. These songs became part of Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters.
Cut Chemist’s Choices.
Nowadays, many music fans regard Ty Wagner’s 1965 single I’m A No-Count as his finest hour. Coming a very close second is Slander, which was penned by Ty Wagner and produced by Don Ralke. Slander was released on the Era label in November 1966, and is an atmospheric and eerie slice of surf psychedelia.
Anyone wanting a copy of Teddy and His Patches’ Suzy Creamcheese will have to part with the best part of £250. It was released on the San Jose based Chance label in 1967, and was the only single that Teddy And His Patches released. However, if a band is only going to release one single, make it one as good Suzy Creamcheese. It’s a riotous fusion of psych and punk, that lysergic, ruminative and dance-floor floor friendly.
It wasn’t just blues and soul that was being produced in Windy City of Chicago during the sixties. Between 1966 and 1968, The Del-Vetts released a quartet of underrated singles. Their finest hour has to be Last Time Around, which was released on Dunwhich in June 1966. It’s a blistering example of proto-punk which deserved to find a much wider audience. Sadly, The Del-Vetts were way ahead of the musical curve.
From the get-go, The Deepest Blue’s Hammond organ powered Pretty Little Thing sounds as if it’s been inspired by the Rolling Stones. There’s also a nod to the Caretakers Of Deception who also feature on Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters.When Pretty Little Thing was released on the short-lived Los Angles’ label Blue-Fin Records in August 1966, the Rolling Stones had made their mark on American music. Sadly, when The Deepest Blue released this storming slice of garage rock, it failed to find an auoence and proved to be their only single.
Two years after forming in Dallas, Texas, The Gentlemen released what proved to be their one and only single You Can’t Be True in December 1966. That might not have been the case had The Gentlemen chosen to release the B-Side It’s A Cry’n Shame. This Tom Brown production is a far superior song, and showcases a much heavier sound. It’s a fusion of garage and proto-punk, that may, to some extent, have been influenced sonically and stylistically by fellow Texans, the 13th Floor Elevators.
Captain Crunch and The Crew were formed in Drayton, Ohio in 1967 and were only together until 1968. However, they found time to release Nowadays People as a single on the Wildwood label. It’s a garage-psych-rock hidden gem, and is a welcome addition to Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters.
One of the Cut Chemist’s best choices is If I Could which was the B-Side to The Mach V’s only single Want To Stay. It was released in December 1967, on the Associated Artists label, which was based in Hendersonville, Tennessee. This makes sense, as The Mach V were from Savannah, Georgia. The organ driven psychedelia of If I Could is two majestic minutes of music which if you want a copy of the orginal, will cost in excess of £300.
Another group who released just one single, was the Young Aristocracy. They were formed in Tulsa, Oklahoma and released Don’t Lie in February 1967, on the Acropolis Record Company. This is another rarity, that will cost upwards of £150 for a copy. Hidden away on the B-Side is Look And See! It was written by Roger Burkitt and produced by Stephen Barncard who later, would work with The Grateful Dead, David Crosby, New Riders Of The Purple Sage and The Doobie Brothers. Stephen Barncard was at the start of his production career when he produced Look And See! He brings the drums to the front of the mix, where they drive the arrangement along, and plays its part in a lysergic, melodic and memorable song that could’ve only been produced in the late-sixties.
Keb Darge’s Choices.
The first of Keb’s choices is Larry and The Blue Notes’ In And Out, which explodes memorably into life. It was released by in July 1966. By then, Larry and The Blue Notes were familiar faces in the Fort Worth scene. They had enjoyed a hit with Night Of The Phantom in 1965. A year later, they released In and Out was penned by Larry Roquemore and Larry Slater. Alas, history didn’t repeat itself, and the single failed to match the success of Night Of The Phantom. Despite this, In and Out was released on five separate occasions by Charay Records, and is without doubt, Larry and The Blue Notes’ finest hour.
The Savoys were formed in San Diego, in the mid-sixties, and released a handful of singles. This includes a cover of So What which was written by Christopher Gaylord and produced by Don Ralke at Gold Star Studios in Los Angeles. It’s a defiant slice of garage rock featuring the vocal talents of Ray Clearwater a.k.a. Christopher Gaylord.
Another of the bands that only featured one single, are The Dogs. They released Don’t Try To Help Me on the Pennsylvania based Treasure label in 1967. It was penned by John Bowie, and features a despairing vocal on this garage rock hidden gem.
The Omens were a garage band formed byfive teenagers from Hammond, Indiana. They released Searching as a single on the Chicago based Cody label in July 1966. Searching was written by vocalist and guitarist Don Revercomb with bassist Larry Allen. Along with drummer Tim Jones, they drive the arrangement to this memorable anthem along. Sadly, it failed to find an audience upon its release, and makes a welcome return on Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters.
Joining the list of bands that released just one single, are The Chants a Dallas based garage band. Their one and only single was Hypnotized, which was penned by David Norfleet and released on the B. Ware label in 1966. It’s a blistering, memorable and melodic slice of garage rock that’s: “sure to put a spell on you.”
The Spades were a Florida based garage band who released I’m Alright on Ace Records in 1965. It’s a real rarity, and is much in demand by collectors. No wonder, given the quality of I’m Alright where garage meets proto-punk on this hidden gem.
In August 1965, The Avantes released what was their one and only single, Baby Go. It was penned by Kerry Gremp, and released on the short-lived Avant Records which it seems, was founded just to release Baby Go. Avant Records only pressed only a limited amount of copies of Baby Go and very few copies of this mellow sounding tale of hurt and heartbreak are still in existence. The remaining copies of Baby Go are now highly prized amongst collectors. So the addition of Baby Go to Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters allows a much wider audience to discover the delights of this long forgotten single.
It’s The Blue Velvets, who were founded in Leawood, Kansas that close Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters with Don’t Leave Me This Way. It was released in 1965, on the Damon label, which was setup to release singles recorded at the Damon Recording Studio in Kansas City. Only 500 copies of Don’t Leave Me This Way were pressed and nowadays this garage gem is highly prized among collectors.
For anyone wanting an introduction to garage, then Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters is the perfect starting place. It features a mixture of familiar faces, obscurities, rarities and hidden gems chosen by Keb Darge and Cut Chemist. They chose fifteen songs each, which are the perfect introduction to the sixties garage music. This could prove to be the first step on a voyage of discovery into the world of sixties garage music.
That can prove expensive, for the collector who goes in search of original copies of singles. However, for the budget conscious collector, then compilations like Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters are the way to go. They allow newcomers to discover a tantalising taste of Keb describes as the: “beauty, power, and excitement of the sixties garage sound” on Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monster.
Keb Darge and Cut Chemist Present Darkside: 30 Sixties Garage, Punk and Pysch Monsters.
THE BLUE NILE-PERFECTION PERSONIFIED.
The Blue Nile-Perfection Personified.
Enigmatic, reluctant and contrarian are words that best of describe The Blue Nile. They’re the complete opposite of most bands. The Blue Nile have been described as publicity shy. That’ is an understatement. Ever since Paul Buchanan, Robert Bell and Paul Joseph Moore formed the Blue Nile, they’ve been one of the most low-profile bands in musical history. It seems that when they were formed thirty-five years ago, The Blue Nile ticked the “no publicity” box. This has proved a double-edged sword, and resulted in The Blue Nile becoming one of the most enigmatic groups ever. Their story began thirty-five years ago.
The Blue Nile were formed in 1981, when two friends Paul Buchanan and Robert Bell, met Paul Joseph Moore, all of whom met at Glasgow University. Before forming the Blue Nile, Buchanan and Bell were previously members of a band called Night By Night. Try as they may, a recording contract eluded them. Night By Night’s music wasn’t deemed commercial enough. So Paul, Robert and P.J. decided to form a new band, The Blue Nile.
Once The Blue Nile were formed, they set up their own record label Peppermint Records. It was on Peppermint Records that The Blue Nile released their debut single, I Love This Life. This single was then picked up and rereleased on the RSO label. Unfortunately for the Blue Nile, RSO became part of the Polygram label and I Love This Life disappeared without trace. Despite this setback, Blue Nile persisted.
Still, The Blue Nile kept writing and recording material after the merger of RSO with Polygram. Some of that material would later be found on A Walk Across the Rooftops. That was in the future.
Recording of The Blue Nile’s demos took place at Castlesound studio near Edinburgh. That’s home to the man whose often referred to as the fourth member of The Blue Nile, recording engineer Calum Malcolm. He was listening to recently recorded demos through the studio’s Linn Electronics system. It had recently had a new set of speakers fitted. So the company founder, Ivor Tiefenbrun, decided to visit Calum Malcolm to hear his thoughts on the speakers. That’s when Ivor Tiefenbrun first heard The Blue Nile.
Calum Malcolm played Ivor Tiefenbrun a demo of Tinseltown In The Rain. Straight away, the founder of Linn was hooked. He decided to offer The Blue Nile a record contract to the label he was in the process of founding. Most bands would’ve jumped at the opportunity. Not The Blue Nile.
It took The Blue Nile nine months before they replied to Ivor Tiefenbrun’s offer. When they did, the answer was yes. The Blue Nile’s debut album A Walk Across The Rooftops would be released on Ivor Tiefenbrun’s new label Linn Reords.
A Walk Across the Rooftops.
Linn Records and The Blue Nile seemed a marriage made in musical heaven. Linn Records weren’t like a major label, pressurising The Blue Nile into making a decision and delivering an album within a certain timeframe. Instead, Linn Records allowed The Blue Nile to do what they did best, make music. From the outside, this looked as if it was working, and working well.
Years later, Paul Buchanan commented that during Linn Records didn’t operate like a record label. Mind you, he conceded that, during this period, The Blue Nile didn’t operate as a band. However, eventually, in May 1984 The Blue Nile’s debut album was released on Linn Records.
On the release of A Walk Across the Rooftops, it was released to critical acclaim. Critics described the album as a minor classic. A Walk Across the Rooftops was described as atmospheric, ethereal, evocative, soulful and soul-baring. It also featured the vocals of troubled troubadour Paul Buchanan. Despite the critical acclaim A Walk Across the Rooftops enjoyed, it wasn’t a huge commercial success, reaching just number eighty in the UK. However, since the A Walk Across the Rooftops has been recognised as a classic album. So has the followup Hats.
Hats.
Unlike most bands, The Blue Nile weren’t in any rush to release their sophomore album Hats. There was a five year gap between A Walk Across the Rooftops and Hats. It was worth the wait. The Blue Nile had done it again. Hats was a classic.
Featuring seven tracks, written by Paul Buchanan, Glasgow’s answer to Frank Sinatra He’s a tortured troubadour, whose voice sounds as if he’s lived a thousand lives. Producing Hats was a group effort, with Paul, Robert and P.J. taking charge of production duties. Guiding them, was Callum Malcolm. On the release of Hats, British and American audiences proved more discerning and appreciative of the Blue Nile’s sophomore album Hats.
On the release of Hats in the UK in 1989, it was critically acclaimed and commercial success, reaching number twelve in the UK. Then when it was released in America in 1990, audiences seemed to “get” Hats. Not only did it reach number 108 in the US Billboard 200 Charts, but The Downtown Lights reached number ten in the US Modern Rock Tracks charts. It seemed that The Blue Nile were more popular in America, than in Britain. Gradually, The Blue Nile’s music was beginning to find a wider and more appreciative album. Especially when The Blue Nile decided to embark upon their debut tour later in 1989.
Although The Blue Nile were formed in 1981, and Hats was The Blue Nile’s sophomore album, the band had never toured. Partly, The Blue Nile seemed worried about replicating the sound of their first two albums. They needn’t have worried, with The Blue Nile seamlessly replicating the sonic perfection of A Walk Across The Rooftops and Hats on the sold out tour. The Blue Nile’s star was in the ascendancy.
Their first ever tour had been a huge success. The Blue Nile had conquered Britain. However, The Blue Nile had also made a breakthrough in America. Hats had sold well, and their American tour had been successful. Most bands would’ve been keen to build on this and released another album before long. Not The Blue Nile.
Seven long years passed, where Blue Nile fans wondered what had become of Glasgow’s most enigmatic trio. However, they’d been busy. After Hats found its way onto American radio stations, The Blue Nile, who previously, had been one of music’s best kept secrets, were heard by a number of prestigious musicians. Among them were Robbie Robertson and Annie Lennox, Michael McDonald. After a decade struggling to get their music heard, The Blue Nile were big news. During this period, America would become like a second home to The Blue Nile, especially Paul.
Paul took to life in America, and in 1991, decided to make it his home. This just so happened to coincide with Paul’s relationship with actress Rosanna Arquette between 1991 and 1993. Hollywood starlets and Sunset Boulevard was a long way from Glasgow’s West End. In the midst of Paul’s relationship, disaster struck for The Blue Nile, they were dropped by their label.
Linn Records and Virgin decided to drop The Blue Nile. For some groups this would’ve been a disaster. Not for The Blue Nile.
They signed a million Dollar deal with Warner Bros. While this sounded like the ideal solution for The Blue Nile, Paul made the deal without telling P.J and Robert. He later explained that “none of the others were in town at the time.” With a new contract signed, The Blue Nile began thinking about their third album, Peace At Last.
Peace At Last.
So the band started looking for the perfect location to record their third album. They travelled across Europe looking for the right location. This location had to be private and suit their portable recording studio. Cities were suggested, considered and rejected. Among them, were Amsterdam, Copenhagen and Venice. Being The Blue Nile, things were never simple. Eventually, after much contemplation The Blue Nile ended up recording what became Peace At Last in three locations, Paris, Dublin and Los Angeles. For the first time, The Blue Nile recorded an album outside of their native Scotland.
For their first album for a major label, things began to change for The Blue Nile. They brought onboard drummer Nigel Thomas, a string section and a gospel choir. Peace At Last was going to be a quite different album to A Walk Across The Rooftops and Hats. However, one things stayed the same, The Blue Nile continued to work with Calum Malcolm. With his help, Peace At Last was ready for release in June 1996. Before that, critics had their say.
Critics remarked upon the change of sound on Peace At Last. It had a much more understated, restrained sound. Acoustic guitars and piano play important parts. Still, The Blue Nile’s beloved synths remain. Occasionally, The Blue Nile add strings. There’s even a gospel choir on Happiness. Gone was the sound of A Walk Across the Rooftops and Hats. Peace At Last showed a different side to The Blue Nile and their music, one that divided the opinion of critics and fans. Paul, Robert and P.J. were back, but it was a different sound. One constant was Paul’s worldweary vocal. Glasgow’s very own Frank Sinatra, Paul Buchanan plays the role of the troubled troubadour, to a tee on songs about love, love lost, betrayal, heartbreak, growing up and growling old. Paul was still the tortured soul, who wore his heart on his sleeve on Peace At Last.
On the release of Peace At Last, in June 1996, it reached just number thirteen and sold poorly. For The Blue Nile this was disappointing, given it was their major label debut. Worse was to come when the lead single Happiness failed to chart. The Blue Nile’s major label debut hadn’t gone to plan. Alas, Peace At Last was the only album The Blue Nile released on a major label.
High.
Following Peace At Last, it was eight years before The Blue Nile released another album. High was released in 2004. During the last eight years, the three members of The Blue Nile had been leading separate lives. While P.J. and Robert were content with their lives in the West End of Glasgow, while Paul had been spending his time between Glasgow and Hollywood. Now they were back and ready to record their fourth album, High.
Once High was recorded, all that was left was for The Blue Nile to find a label to release the album. The Blue Nile had been dropped by Warner Bros. So with the completed album, The Blue Nile shopped High to various labels. Eventually, they settled on Sanctuary, which would release High in August 2004. However, before that, critics welcomed back The Blue Nille.
Eight years after the release of Peace At Last, critics remarked that High was a much more grownup album. Songs of family life and heartbreak sat side-by-side. Paul who had been suffering with illness and fatigue, seemed to have found a new lease of life. His lyrics are emotional, observational, cinematic and rich in imagery. They’re also poignant, and full hope, hurt and anguish. Meanwhile, Paul’s vocals were worldweary and knowing, while the music is emotive, ethereal and evocative. Critics love High. So did music lovers.
When High in August 2004, the album reached number ten in the UK. High proved to be The Blue Nile most successful album. This proved to be fitting.
High was The Blue Nile’s swan-song. Nobody realised this when the album was released. It was only as years passed without a followup to High, that the reality sunk. There would be no more music from The Blue Nile. One of the greatest bands of their generation were now part of musical history.
Following High, critics thought that The Blue Nile would return, possibly after another lengthy break. Sadly, that wasn’t to be. The Blue Nile were no more. At least they did things their way. Right up until the release of High, The Blue Nile were enigmatic, almost reclusive and publicity shy. Mind you, The Blue Nile weren’t exactly your normal band.
The rock ’n’ roll lifestyle favoured by other bands wasn’t for The Blue Nile. Their music was much more cerebral, and had a substance that much of the music recorded between 1984 and 2004 lacked. During that twenty year period, The Blue Nile only recorded four albums. These albums are unique. Musical fashions and fads didn’t affect The Blue Nile. Their attitude was almost contrarian. Albums were recorded slowly and methodically as the Blue Nile strived for musical perfection.
Many have tried to achieve perfection. However, very few have come as close as The Blue Nile. Their debut album A Walk Across The Rooftops and the followup Hats, are nowadays both regarded as classic albums. Peace At Last and High show another side to The Blue Nile. There’s a much more grownup sound, to the albums. However, just like A Walk Across The Rooftops and Hats, both albums showcase one of the most talented bands in Scottish musical history, The Blue Nile.
While The Blue Nile never enjoyed the commercial success their music deserved, they stayed true to themselves. They never jumped onto a musical bandwagon in pursuit of fame, fortune or starlets. Quite the opposite. For The Blue Nile it was their way or no way. If an album took years to record, so be it. It was always worth the wait. After all, not many bands pursue perfection, and achieve that perfection four times. The Blue Nile did, and ended their career on a High.
The Blue Nile-Perfection Personified.
FREDDIE NORTH-WHAT ARE YOU DOING TO ME: THE COMPLETE A-BET RECORDINGS…PLUS.
Freddie North-What Are You Doing To Me: The Complete A-Bet Recordings…Plus.
Nine years after making his recording debut with The Rookies, Freddie North signed to Nashboro’s newly formed A-Bet imprint in 1967. This would be home to Freddie North for the next nine years, and where he would enjoy the most successful period of his career. It’s documented on a new compilation, What Are You Doing To Me: The Complete A-Bet Recordings…Plus, which was recently released by Kent Soul, an imprint of Ace Records. They’re a reminder of the Nashville born singer’s what was the most productive and successful period in Freddie North’s career.
Fredrick Carpenter was born in Nashville on ’28th’ May 1939 into a musical family. His father Fredrick was a successful and well respected gospel singer, so it was no surprise that growing up, Freddie decided to embark upon a musical career.
In Freddie’s case it wasn’t gospel he started singing. Instead, Freddie who had grownup listening to doo-wop, R&B and rock ’n’ roll formed a Freddie and some high school friends, The Rookies. They were soon signed to a local label, Athens and recorded Money Money Money and Take Me Back. When the single was released, the group were billed as Freddie North and The Rookies and sold well. So much so, that Atlantic Records picked the single up. It looked as if Freddie North and The Rookies had a bright future ahead of them.
When the single was released on Atlantic Records’ East West imprint, it was credited to Freddie. This must can’t have pleased The Rookies, and the band split-up not long after this.
Despite the disappointment surrounding The Rookies, Freddie’s career continued in 1960 when he recorded Okay, So What? with Charles “Buddy” Killen, who would go on to found the Dial label. That was a few months down the line, so Charles “Buddy” Killen took Okay, So What? to the University label. Everyone had high hopes for the release, but even with an appearance on American Bandstand the single failed to sell. For Freddie this was another disappointment in his nascent career.
Not long after this, Freddie decided to enrol at college and studied speech and drama. However, when he completed his course, Freddie ended up working for a cinema chain. This was one of several dead end jobs Freddie endured, including a spell as a singing waiter at the Executive Club. Still, Freddie hadn’t given up on his dream of making a career as singer.
Whilst working at the Executive Club, Freddie recorded Just To Please You as a single for Capitol Records. Meanwhile, Freddie was constantly in demand as a demo singer, and was a familiar face at many of Nashville’s recording studios. While this was good experience, it meant that Freddie’s career wasn’t progressing. When Freddie released It’s No Good For Me on the R.I.C. label, the single sunk without trace. Freddie’s career seemed to have stalled. These were worrying times for the twenty-five year old.
When it looked like Freddie wasn’t going to make it as a singer, with a heavy heart he made the decision to take a job at Nashboro which was Nashville’s biggest record company. This gave Freddie the safety net of a regular income. Freddie started off as a stockroom clerk, but soon, was climbing the corporate ladder and was the head of the press and promotion division. Still, though, Freddie continued to sing in Nashville’s clubs, in the hope that one day, he could resume his singing career.
When the opportunity arose, it was closer to home than Freddie expected. Nashboro decided to setup a soul imprint A-Bet in 1966. The nascent label was primarily a label to showcase the work of arranger, producer songwriter, Bobby Holmes. Soon, A-Bet began recruiting artists to join their roster. One of the artists they approached to join A-Bet’s roster in January 1967 was their head of press and promotion Freddie North. He was the fourth artist to join A-Bet’s roster.
Soon, Freddie North entered the studio to record his A-Bet debut single. Two Bob Holmes compositions were chosen, including the uptempo (I’ve Got To) Hold Back which was chosen as the single. Tucked away on the B-Side was a soul-baring ballad Don’t Make Me Look So Bad. When the single was released in February 1967, disaster struck for Freddie North when (I’ve Got To) Hold Back failed to trouble the charts. Freddie North had been here before.
A-Bet were in no hurry to release a followup. Fourteen months passed before A-Bet released I Have A Dream which was penned by Jerry Keller and Dave Blume. When I Have A Dream had been inspired by Martin Luther King’s speech was released, it also failed to find an audience. For Freddie North this was another disappointment.
After the failure of I Have A Dream, sixteen months passed before Freddie North released his third single for A-Bet, Oh Lord, What Are You Doing To Me. This was a much covered Ballad penned by Luther Dixon and Bert Keyes, and was arranged and produced by Bob Holmes. It features a vocal full of despair and showcases Freddie North’s vocal ability to breath meaning and emotion into the lyrics. So does the B-Side, Long Hard Road which is a ballad written by Bob Holmes. It’s one of his most underrated A-Bet sides. Sadly, very few people heard Oh Lord, What Are You Doing To Me and Long Hard Road, as the single failed to sell. This was becoming a familiar pattern, and something had to change.
For Freddie North’s first three singles for A-Bet, he had worked with producer by Bob Holmes. While the quality of music was indisputable, it hadn’t proven to be a successful partnership. It was decide later in 1969, that from thereon in, Freddie could produce his own sessions.
The first sessions that Freddie North took charge of, saw him record six songs, Got To See If I Can Get Mommy, Love To Hate, a poignant cover of Rainy Night In Georgia and Thank That Woman. This was almost enough for Freddie North’s debut album. To complete the album, Freddie included two of his first three singles, I Loved Another Woman nd From The Blind Side, The Sun Comes Up and included his two previous singles, Oh Lord What Are You Doing To Me and I Have A Dream. These eight songs became Freddie North’s debut album The Magnetic North, which was released on A-Bet in March 1970. Alas, The Magnetic North failed to find the audience it deserved, and Freddie North was no nearer making a breakthrough.
Not long after the release of The Magnetic North, Freddie North returned with his fourth single for A-Bet, which was another soul-baring ballad, Thank That Woman. Hidden away on the B-Side was Love To Hate, a carefully crafted, orchestrated song which was produced by Freddie North. Sadly, Thank That Woman passed record buyers buy and Freddie North found himself n last chance saloon.
For his fifth single for A-Bet, Freddie North covered Sammy Cahn and Jule Styne’s Follow The Lamb which featured in their musical Look At The Lillies. The gospel-tinged Follow The Lamb was a strange choice for single for Freddie North, who was desperate to make a commercial breakthrough. Especially with the cover of Dave Hall’s wistful From The Blind Side tucked away on the B-Side. It was a much stronger track, and when Follow The Lamb was released in October 1970, it failed to make any impact on the charts. For Freddie North this marked the end of an era.
Follow The Lamb was the last single that Freddie North released on A-Bet. He had released five singles and an album on A-Bet, but hadn’t come close to enjoying commercial success. Things were so bad, that Freddie North was seriously considering turning his back on music.
That was until Nashboro decided to found a new imprint in 1971, Mankind, which would replace A-Bet. It was no longer an active label, and for the time being, artists signed to A-Bet would join Mankind. Helping to run the nascent label, was Jerry Williams Jr a.k.a. Swamp Dogg.
He had just recorded albums with Irma Thomas, Sandra Phillips and Doris Duke for the Wally Roker’s Canyon group of labels in Muscle Shoals. Nashboro president Bud Howells suggested that Freddie North move to Muscle Shoals and work with Jerry Williams Jr. This it was hoped, might result in a change of fortune for Freddie North.
Bud Howells’ suggestion that Freddie North move to Muscle Shoals, soon paid off. For Freddie North’s Mankind debut, Jerry Williams Jr had a song lined up. The song he suggested was the Garry US Bonds’ song She’s All I Got as a single, with the Jerry Williams Jr composition Ain’t Nothing In The News (But The Blues) on the B-Side. Alas, neither track features on What Are You Doing To Me: The Complete A-Bet Recordings…Plus. However, when She’s All I Got was released on Mankind in July 1971, it charted and reached number ten on the US R&B charts and thirty-nine US Billboard 100. Eleven years after releasing his debut single, Freddie North had a hit single on his hands.
Mankind were keen to build on the success of Ain’t Nothing In The News (But The Blues), and Freddie North released his sophomore album Friends. It featured Freddie’s next hit single.
For the followup to She’s All I Got, Freddie North recorded You And Me Together Forever, which featured Did I Come Back Too Soon (or Stay Away Too Long) on the B-Side. Again, neither track features on What Are You Doing To Me: The Complete A-Bet Recordings…Plus. However, when Freddie North’s second Mankind single You And Me Together Forever was released in January 1972 stalled at twenty-six in the US R&B charts. Compared to Freddie’s A-Bet released, You And Me Together Forever was regarded as a success by those at Nashboro headquarters in Nashville. Now, Freddie North had to build on the success of his two hit singles.
Two months later in March 1972, Mankind released a promo of Freddie North’s recording of Did I Come Back Too Soon (Or Stay Away Too Long). However, the song never got made beyond the promo stage, and wasn’t released as a single.
In May 1972, Freddie North released the first of three singles in quick succession. Sweeter Than Sweetness was released in May 1972, but failed to trouble the charts. It was a similar case with Roll Over (Play Like Our Love Ain’t Dead) in June 1972 and Song # 29 (I’m Your Man) in September 1972. These three singles (which don’t feature on What Are You Doing To Me: The Complete A-Bet Recordings…Plus) marked the end of the Jerry Williams Jr era.
By late 1972, Jerry Williams Jr had fallen out with Nashboro, and headed off in search of the next chapter in his chequered career. Jerry Williams Jr who was a talented singer, songwriter musician and producer never seemed to stay anywhere long, and never came close to fulfilling his potential. Meanwhile, Freddie North was desperate to return to the heights he had enjoyed early on in his career with Mankind.
Freddie North returned with a cover of the Frank Johnson and Carl Lumbus composition You’re Killing Me Slowly But Surely. It had been recorded at the Quinvy Studios where the Mankind sessions had taken place. Taking charge of production was
David Johnson who had engineered the previous Mankind sessions. He was regarded as the natural heir to Jerry Williams Jr and produced You’re Killing Me Slowly But Surely which features a vocal that’s hurt-filled and full of despair. Despite its quality, the single failed to commercially when it was released in June 1973.
Two months later, Freddie North released a cover of Hugh King’s Lovin’ On Back Streets. It was the first Mankind single to produced by Freddie North. On the B-Side, was Love To Hate, which previously was the flip-side to the A-Bet single Thank That Woman in 1970. However, when Lovin’ On Back Streets was released in August 1973, it too, failed to find an audience. By then, two years had passed since You And Me Together Forever gave Freddie a hit single. He could really do with a hit single.
Later in 1973, Freddie North returned to producing his own singles. He produced the ballad Taking Her Love Ain’t Gonna Be Easy, which was arranged by Bergen White. While was one of the best singles that Freddie North had released since the early days of his career at Mankind, commercial success eluded Taking Her Love Ain’t Gonna Be Easy. For Freddie this must have been a frustrating time.
After nearly three years without a hit to his name, Mankind released Cuss The Wind as a single with Love To Hate again featuring on the B-Side. Cuss The Wind was one of the Jerry Williams Jr productions that had lain unreleased for the best part of a two years. It’s a poignant ballad, where strings and horns frame Freddie’s vocal. Mankind had high hopes for the single, and an album entitled Cuss The Wind was compiled.
Cuss The Wind featured eight tracks, including some songs that Freddie had already released on A-Bet. There were several new songs, including Cuss The Wind band the soul searching Southern Soul ballad My Whole World Ended. Songs of this quality it was hoped would bring commercial success Freddie North’s way.
Despite the quality of the single, it was a familiar story when Cuss The Wind failed to trouble the charts. When Mankind released Freddie North’s album in 1975, it took failed to find an audience. This was Freddie North’s second album of Southern Soul that passed unnoticed. For Freddie North, it was almost the end of the road at Mankind.
One further Freddie North single was released on Mankind in 1976, Rainy Night In Georgia. It was taken from Cuss The Wind, and featured Freddie North’s Loved Another Woman on the B-Side. Both were produced by Freddie North and showcased his skills as a singer and producer. However, when the single failed commercially, that was the end of the line for Freddie North and indeed Mankind.
Mankind closed its doors shortly after the release of Freddie North’s cover of Rainy Night In Georgia. A year later in 1977, A-Bet also closed its doors for the second time. This time though, it was for good. Freddie North also left Nashoro in 1977, after eleven years service. He had decided to turn his back on music for good.
Freddie North was no more. Instead, Freddie North reverted to his real name, Frederick Carpenter and started a ministry. While Pastor Frederick Carpenter occasionally sung in church, there would be no comebacks. The man once known Freddie North would never return to secular music.
Although Freddie North was lost to secular music, he left behind a rich musical legacy, including the music on What Are You Doing To Me: The Complete A-Bet Recordings…Plus. It features twenty-three tracks, including a quartet of previously unreleased Mankind recordings, including Running Back To You, Remember What I Told You To Forget, That’s How Much You Mean To Me and My Whole World Ended. Just Another Guy an A-Bet recording which first featured on the 1996 Kent Soul CD compilation Uptown Down South makes a welcome return on What Are You Doing To Me: The Complete A-Bet Recordings…Plus. It’s a lovingly compiled compilation of that documents what was the most productive and successful period of Freddie North’s career.
Sadly, Freddie North’s singles and three albums didn’t reach they audience that they deserved. Freddie North enjoyed just two hit singles during the nine years he spent at A-Bet and Mankind. However, there’s much more to this period of Freddie North’s career than just two hit singles. Proof of this is What Are You Doing To Me: The Complete A-Bet Recordings…Plus which features one of the most talented and underrated soul men of his generation, Freddie North.
Freddie North-What Are You Doing To Me: The Complete A-Bet Recordings…Plus.
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