1982-CHROMOLA.
1982-Chromola.
Music like fashion, constantly continues to change. That has been the case since the birth of rock ’n’ roll. In 1964, a new type of rock group was born, the power trio. It consisted of just drums, bass and guitar. One of the earliest power trios The Mudders, was founded in 1964 by Frank Zappa. Over the next couple of years, the power trio became popular in both sides of the Atlantic.
Two years later, in 1966, Joe Walsh formed The James Gang in Cleveland, Ohio in 1966, while guitarist Rory Gallagher formed Taste in Cork, in Ireland. Meanwhile, Eric Clapton, Jack Bruce and Ginger Baker formed Cream in July 1966. History had just been made. Cream would become the most successful of the sixties power trios, selling fifteen million copies of the four albums they released in just under three years.
Soon, many more power trios were following in Cream’s footsteps. One of the highest profile and most successful was The Jimi Hendrix Experience. It was formed in 1966, continued right up until Jimi Hendrix’s death on September ’18th’ 1970. By then, power trios were de rigueur
The only problem was, that every three-piece band was referred to as a power trio, regardless of the instrumentation they used. All sorts of combinations of instrumentation has fallen under the power trio banner. However, there’s only one band that have successfully combined drums, harmonium and Hardanger fiddle, harmonium. That is the Norwegian group 1982, who will release their fifth album Chromola on Hubro Music on the ‘24th’ of March 2017. Chromola marks the welcome return of 1982, who were founded ten years ago in 2007.
That was when Sigbjørn Apeland, Øyvind Skarbø and Nils Økland formed 1982. The nascent group was a essentially a Norwegian supergroup. 1982 featured three of Norway’s most inventive, innovative and experienced musicians.
Each member of 1982 had a wealth of experience. They had all been members of a variety of bands and worked extensively as sidemen. The three members 1982 were no strangers to a recording studio, and had all previously worked as producers. In the case of Nils Økland, the most experienced member of 1982, he had already released a trio of solo albums. However, 1982 was a new chapter in his career. 1982 would become a vehicle to showcase the collective talents of Norway’s latest power trio.
Sigbjørn Apeland, Øyvind Skarbø, Nils Økland.
Two years after 1982 was formed, they released their much anticipated debut album, Sigbjørn Apeland, Øyvind Skarbø, Nils Økland. Critical acclaim accompanied the improvisational trio’s debut album. It was an ambitious, innovative and inventive album, while 1982 were called one of Norway’s most exciting bands.
The next chapter in the 1982 story took place at the Grieghallen Studio, in Bergen, on December the ‘7th’ 2010. That day, 1982 recorded the eight tracks that became their sophomore album Pintura. However, it wasn’t released for nearly a year.
Pintura.
In 2011, 1982 signed to Hubro Music which has been their home ever since. By then, word was spreading about 1982 and their unique improvisational style. It would continue to spread when 1982 released their sophomore album, Pintura on the ‘28th’ of November 201, 1982. It found 1982 picking up where they left off on Sigbjørn Apeland, Øyvind Skarbø, Nils Økland. This was a starting point for another critically acclaimed album featuring groundbreaking and genre-melting music. However, for their third album, 1982 would collaborate with a musical veteran.
1982 + B.J. Cole.
This was none other than the legendary pedal steel player B.J. Cole. He joined 1982 at Grieghallen Studio, Bergen on December ‘7th’ 2011. For many people, 1982 and B.J. Cole might have seemed like unlikely collaborators. Especially, given how different their respective musical backgrounds were. However, this is what people have come to expect from 1982. They were determined to push musical boundaries to their limit, and sometimes, beyond. This is what they did on what became 1982 + B.J. Cole.
Eleven months later, and 1982 + B.J. Cole was released on the ‘29th’ of October 2012. It was hailed by critics as another ambitious and innovative album from the pioneering power trio. Upon its release, 1982 + B.J. Cole proved to be the most successful album the Norwegian supergroup had released. So when it came time for 1982 to release their fourth album, A/B was another collaboration.
A/B.
When work began on what would be A/B, 1982 decided their fourth album would be another collaboration. This time, 1982 invited wind players Fredrik Ljungkvist of Atomic, Erik Johannessen of Jaga Jazzist, plus Sofya Dudaeva, Hanne Liland Rekdal, Matthias Wallin and Stian Omenås. They joined 1982 on what was a rather unorthodox collaboration.
When A/B was released on the ‘2nd’ of May 2014, critics discovered an album that harked back to the days of the vinyl album. Essentially, A/B was an album of two parts, the A-side and B-Side.
Just one lengthy piece, 18.16 featured on The A-Side, where 1982 were joined by a wind sextet. The rest of A/B was a series of groundbreaking sonic journeys that critics hailed as 1982’s finest hour. This set the bar high for 1982s future albums.
Chromola.
Nearly two years passed before 1982’s thoughts turned to their fifth album, Chromola. Just like their four previous albums, 1982 planned to record Chromola in their home town of Bergen. 1982 had decided to record Chromola over a two day period between ‘11th’ and ‘12th’ of May 2016. This was an ambitious plan, with little, or no margin for error. 1982 would need to bring their A game to Bergen for these two days.
As the ‘11th’ of May 2016, approached 1982 knew would be no ordinary recording session. On the evening of Wednesday the ‘11th’ of May, 1982 were due to give a concert at the Sandviken church in Bergen.
That night, 1982 took to the stage alone. No guest artists joined them onstage. This was very different to 1982s two previous albums, where they had collaborated with a variety of artists. Not this time around though.
The only person that would join 1982 at the Sandviken church, were producer Øyvind Skarbø and Davide Bertolini. He had engineered 1982s four previous albums and would oversee the recording of the concert.
Just before 1982 took to the stage at the Sandviken church, Davide Bertolini pressed play and the tapes started to run. Øyvind Skarbø took his seat behind his drum kit. Meanwhile Sigbjørn Apeland moved towards the pipe organ, and glanced towards his harmonium that sat nearby. Nils Økland moved towards the front of the stage holding his Hardanger Fiddle. Later, he would switch to the violin that sat nearby. As the lights were dimmed, 1982 began what was a very special concert.
The concert was a homecoming for 1982, who grew up in Bergen. They were the hometown heroes who were now one of Norway’s top bands. Soon, 1982 were in full flight, and the people of Bergen proved to be an appreciative and enthusiastic audience. By the time the concert drew to a close, 1982 were conquering heroes. However, as 1982 took their final bow, they knew that tomorrow they had an album to record.
On Thursday ’12th’ of May, 1982 returned to the Sandviken church to begin work on Chromola. For the first time since they released sophomore album Pintura in 1982, 1982 were about to record an album alone. There were neither collaborators nor guest artists waiting in the wings.
The only other people in the Sandviken church were producer Øyvind Skarbø and engineer Davide Bertolini. He was preparing to oversee the recording of the seven tracks 1982 had written for Chromola. Soon, the time came for 1982 to take their places.
Øyvind Skarbø settled behind his drum kit. Sigbjørn Apeland sat at the pipe organ, which would feature on six tracks. His harmonium only featured 03:52. For his parts, Nils Økland would switch between Hardanger Fiddle and violin. Over the course of the ’12th’ of May, 1982s fifth album took shape. By the end of the day, 1982 had achieved their goal and completed the recording of Chromola.
All that was left was for Chromola to be mixed and mastered. It was mixed by Davide Bertolini between the ‘29th’ and ’31st’ of August 2016. Morten Lund then mastered Chromola on the ‘30th’ September 2016, in Oslo. Once the album was complete, 1982 could begin the planning their tenth anniversary.
What better way for 1982 to celebrate ten years of making groundbreaking music, than with a the release of their new album Chromola.
Opening Chromola is 07:56, where drums pound, cymbals hiss and an organ drones. It’s played deliberately and dramatically, before flamboyant flourishes provide a contrast to the darkness and drama. Adding to the drama is the urgent violin, while Øyvind works his way around the drum kit. Soon, the violin transforms the soundscape, adding a ruminative sound, that allows for reflection. So does the organ, as it’s played slowly and deliberately. The drums are still played with speed and power adding a contrast. Meanwhile, the organ drones as the violin adds a beautiful, heart-wrenching sound and they unite Beauty, drama and a melancholy sound combine as the tempo rises and falls. As it falls, the violin sits above the drone, as the arrangement is stripped bare before the drama builds and music becomes ruminative on this powerful and poignant soundscape.
Drums play ominously as drone is joined by a thoughtful violin on 06:19. Gradually, the mesmeric arrangement unfolds. The organ is played slowly, while hypnotic drums add an element of drama on this cinematic soundscape. By now, the organ and violin unite and create wistful, but beautiful backdrop as the drums provide the heartbeat. Later, Sigbjørn enjoy their moment in the sun as they play a starring role. Soon, they’re joined by the expressive sounding violin. Just like the organ, it adds to the drama on this cinematic soundscape before it reaches its crescendo.
A distant drone is joined by a tender, melancholy sounding violin on 06:37. Soon, the pipe organ plays, while a brief shriek gives way to the a reflective, soul-baring violin. Meanwhile, the organ drones, but takes care not to overpower the violin. At one point, the violin wails, as if recalling hurt or heartbreak. Later, the organ takes on a liturgical sound, before sympathising with hurt or heartbreak suffered by the violin. As the soundscape builds, the organ plays, cymbals crash and join flourishes of fiddle. Suddenly, a beautiful, hopeful and joyous sound emerges. Before long, there’s a return to the reflective and liturgical sound on this musical emotional roller coaster.
Understated describes 07:00, as sounds flit in and out this experimental sounding track. Scratchy strings, a distant dark rumbiling drone and found sounds combine. Suddenly, a drum cracks, before the organ wheezes and the wistful violin play. Soon, it’s joined by an organ that ebbs and flows. When it drops out, all that remains is the distant violin, an industrial sound. This adds a cinematic sound, and at one point, it sounds like a boat’s engine as the wistful violin plays a lament.
There’s a military sound to the drums that open 04:03. It plays ominously, as the organ drones and is joined by the fiddle. They create a cinematic backdrop. It’s as if 1982 are marching off to battle. There’s a sense of melancholia, as the organ drones and grows in power. So do the drums. As they march off into the distance, all that remains is the fiddle playing its sad refrain.
Fingers scrabble across the fiddle strings on 04:45. Meanwhile, the pitter patter of drums can be heard in the background. Found sounds are added, as bursts of sound emerge from the organ. By then, the soundscape has taken on an experimental sound. Elements of avant-garde and free jazz, combine as 1982 improvise. The pipe organ is poked and stabbed, resulting in array of challenging, discordant and melodic sounds escaping. Meanwhile the scratchy fiddle wails, clicks and cracks emerge from Øyvind’s drums. All the time, 1982 are pushing musical boundaries on this ambitious and genre-melting soundscape.
04:09 closes 1982’s fifth album Chromola, which celebrates this innovative band’s tenth anniversary. Atmospheric sounds combine with the wistful violin, as the rest of 1982 transform everyday items into makeshift instruments. Crackles and squeaks join the violin, before the organ drones and cymbals are caressed. Soon, the organ takes centre-stage, adding a melancholy sound before droning dramatically. The drums play pound and rap, as the organ soars above the soundscape. Latterly, all that remains is the violin. Its ruminative sound allows time for refection on this poignant sounding soundscape, as 1982 take their leave on this very special album.
Chromola is the much anticipated fifth album from the Bergen based 1982. It will be released by Hubro Music on the ‘24th’ of March 2017, just in time for 1982 to celebrate their tenth anniversary. The Bergen based supergroup have come a long way since then.
Nowadays, 1982 are one of the leading lights of the Norwegian music scene. However, 1982s music has also found an audience much further afield. That is no surprise, as 1982 are musical poisoners, who have spent the last ten years creating ambitious, challenging, inventive and innovative music. However, 1982 reach new heights on Chromola.
After a three year absence, Norwegian improvisational trio 1982, return with Chromola, which is, without doubt, the best album of their ten year career. It’s an almost flawless album where the music veers between understated, wistful, melancholy and ruminative to dark, dramatic and intense to moody and broody and occasionally, hypnotic and mesmeric. However, Chromola is the musical equivalent of emotional roller, and the soundscapes can just as easily become beautiful, hopeful and joyous. Often the music is poignant and powerful, and offers the opportunity to reflect. Sometimes, though there’s a liturgical sound to Chromola, which is fitting as it was recorded in a church. Then on a couple of soundscapes, the music takes on an experimental sound. Always though, the music has a cinematic quality as 1982 seamlessly, mix musical genres on Chromola.
1982 fuse elements of avant-garde, drone music, experimental, free jazz, industrial, minimalist and progressive rock on Chromola. The influence of Terry Riley and John Cale can be heard on Chromola. So too, can bluesy, Eastern and Arabian sounds Chromola is an album that’s multilayered, spectral and full of textures, nuances and subtleties. Quite simply, Chromola is a captivating, ambitious, innovative and genre-melting album from musical 1982.
After ten years together, still, 1982 continue to push musical boundaries to limits to their limits and sometimes, way beyond. Sometimes, it’s as three musical mavericks have decided to rewrite the musical rulebook in their quest to continue creating groundbreaking music. This they certainly do on Chromola,which is a career defining album that ensures 1982 have much to celebrate, when their tenth anniversary arrives.
1982-Chromola.
GABRIELE POSO PRESENTS THE LANGUAGE OF TAMBORES (A SPIRITUAL JOURNEY THROUGH THE CULTURAL HERITAGE OF DRUMS).
Gabriele Poso Presents The Languages Of Tambores (A Spiritual Journey Through The Cultural Heritage Of Drums).
Many children are bitten by the music bug early on in life. This is often the start of a lifelong love affair with music. Soon, they’re spending all their free time listening to music. Then when they receive their weekly allowance, they make the weekly journey to the local record shop. Time is spent examining the new releases and the classic albums they’ve read about. Eventually, after careful consideration and contemplation, they choose a new album, which becomes the latest addition to their burgeoning record collection. For many music lovers, this is the start of a weekly ritual. However, for some, listening to music isn’t enough.
They want to learn how to play an instrument. Many young people want to emulate their heroes, and gravitate towards the guitar. This takes them one step nearer following in their footsteps. However, not every young musician dreamt of becoming a guitar hero.
Not Gabriele Poso, who was born in Italy on ’22nd’ October 1978. At an early age, he developed an interest in percussion. Soon, he was enjoying and understood percussion. Music was fast becoming his life and was Gabriele later explained: “a real reason to live.” He was a natural percussionist, who was blessed with flair and talent. Despite this, Gabriele wanted to learn from the best.
So in 1998, twenty year old Gabriele Poso enrolled at the Timba school of music in Rome, where he studied percussion under Roberto Evangelista. Once he had completed his studies in Rome, Gabriele journeyed to San Juan, in Puerto Rico in 2001. He studied at the prestigious Universitad Interamericana De Puerto Rico. After completing his studies in Puerto Rico, Gabriele headed to Cuba, where he studied at the renowned Escuela National De Arte, in Havana. This was where he completed his musical education.
By then, Gabriele Poso had only ever featured on the one recording. That was DJ Jazzy Jeff’s 2002 single Rock Wit U, where Gabriele was drafted in to play the congas. This would soon change.
Gabriele Poso was in Puerto Rico when he first met American producer, Osunlade. Soon, the pair became friends and decided to collaborate together. Having worked together, the next natural step was for Gabriele was to record his debut album. He returned in 2008, with From The Genuine World, which was released on Osunlade’s Yoruba Records. From The Genuine World was well received by critics and launched Gabriele Poso’s career.
Over the next few years, much of Gabriele Poso’s time was spent playing live. Sometimes, he worked alongside some of the highest profile producers, including Louie Vega, Boddhi Satva and Osunlade. On a couple of occasions he cowrote songs, but most of the time, Gabriele put his considerable skills as a percussionist and multi-instrumentalist to good use. It was a similar case when Gabriele recorded his sophomore album.
Gabriele Poso returned in June 2012 Roots Of Soul, which he wrote, recorded, produced and mixed. In the studio, Gabriel became a one man band, switching seamlessly between instruments. Joining him, were a trio of guest vocalists, Osunlade, Nailah Porter and Tanya Michelle. They played their part in the sound and success of Roots Of Soul. When it was released on ‘12th’ June 2012, critical acclaim. Roots Of Soul was hailed by critics as Gabriele Poso’s finest hour.
Later in 2012, Roots Of Soul Remix was released. This remix album showed another side to Gabriele Poso’ music, and introduced it to a new audience.
Nearly two year later, and Gabriele Poso returned with his eagerly awaited third album, Invocation in April 2014. It had been recorded between August and December 2012. Not only was Gabriele a one man band, but decided recorded all the vocals. This made sense, as Invocation was a very personal album, and one which Gabriele explained: “represents my feelings, all my emotions and all my fears.” This personal and powerful album won the approval of critics, and was showered with praise and plaudits upon its release.
Just over a year later, and the remix album Electric Invocation was released in May 2015. Again, the remix album introduced a new audience to Gabriele’s music.
Since then, Gabriele Poso has been busy touring Invocation internationally. Each night, he puts on a spectacular and memorable show. However, when he found some free time, the alt-jazz star compiled Gabriele Poso Presents The Languages Of Tambores (A Spiritual Journey Through The Cultural Heritage Of Drums) for BBE. It was recently released on a double LP and as a digital download. Gabriele Poso Presents The Languages Of Tambores (A Spiritual Journey Through The Cultural Heritage Of Drums) is a captivating and eclectic compilation from Gabriele Poso.
There was nobody better qualified to compile The Languages Of Tambores than Gabriele Poso. He had spent a lifetime immersed in the study of percussion. Gabriele’s appreciated and understood the history of drumming.Especially how drumming was once a means to communicate. This led to the concept behind The Languages Of Tambores. It’s a lovingly curated compilation. Gabriele Poso Presents The Languages Of Tambores (A Spiritual Journey Through The Cultural Heritage Of Drums) spans disparate musical genres and several continents and is a reminder of Gabriele Poso’s love of all things rhythmical.
Side A.
Opening Gabriele Poso Presents The Languages Of Tambores (A Spiritual Journey Through The Cultural Heritage Of Drums) is Malika B and Dave Hucker’s Injection Of Blackness. It’s guaranteed to bring back memories for music lovers of a certain age. They’ll remember Injection Of Blackness featuring on the compilation One Hell Of A Storm (Versemongers Meet Soundcreators) compilation. It was released on Tongue and Groove Records in 1994. Twenty-three years later, and this spiritual sounding, downtempo track still sounds timeless.
Nigerian born percussionist Guem’s career began in 1973 when he started playing traditional trance music. Since then, he’s released over twenty albums. This includes Patanga, which was released on the Voix D’Afrique label in 2003. One of Patanga’s highlights is the mesmeric and melodic sounding Naja, which features a percussive masterclass from Guem.
Many musicians would’ve shied away from including one of their own compositions on a compilation they were curating. However, Gabriele Poso has included one of his own recordings, Cafe De Ochun. It’s a new track, but one that harks back to traditional African music. Gabriele showcases his considerable skills as a percussionist on a melodic and memorable track. It’s the perfect introduction to one of the most talented European percussionists of his generation.
Side B.
Eleven years after his death in 2006, Babatunde Olatunji is remembered in Nigeria as much more than a drummer and recording artist. He was also an educator and social activist, who tried to bring about change and improve the life of those living in Nigeria. Still, Babatunde Olatunji found time to record over twenty albums during a career that spanned six decades. This included Love Drum Talk, which was released on Chesky Records in 1997. It includes Long Distance Lover, which closes the album. It’s a soulful slice of Afrobeat, which is also a reminder why Babatunde Olatunj is still regarded as one of Nigeria’s finest drummers.
In June 2014, Free Association self-released Free Association #3. Tucked away on the B-Side of this three track EP was Polyrhythm Jizm. The original track was later remixed by Lay-Far. However, it’s an edit of the remix that closes side B. Elements of Afrobeat, disco, funk and house melt into one on this dance-floor friendly track.
Side C.
Totó La Momposina’s career began in 1964, when she was just sixteen. Since then, the Columbian singer, songwriter and dancer has earned the respect and admiration of music lovers all over the world. They’ve been won over by Totó La Momposina’s fusion of Columbian and Afro-Latin music. This is apparent on Tembandumba, which was released on the Astar label in November 2008. If finds Totó La Momposina combining power, drama and a degree of spontaneity during a truly impressive performance.
Dudu Tucci was born in São Paulo, in Brazil in 1955. Sixty-two years later, he’s regarded as one of the world’s greatest living percussionists. However, Dudu Tucci is also a talented singer and songwriter who wrote all the tracks on his 2009 album Native Dreamer. It’s regarded as one of his best and most accessible albums. Proof of that is the soulful sounding Drum It Up, which is the perfect showcase for Dudu Tucci’s talents as a percussionist and singer.
By 2007, Nigerian percussionist Sola Akingbol was a vastly experienced musician. He had joined Jamiroquai in the late nineties, and played on 1999s Synkronized, 2001s A Funk Odyssey and Dynamite in 2005. Two years later, in 2007, Sola Akingbol released his debut album Routes To Roots-Yoruba Drums From Nigeria on ARC Music. One of the highlights of the album was Ninu Opon Ori Tiwa, which was later remixed. An edited version of Ninu Opon Ori Tiwa closes Side C. With its melodic and dance-floor friendly Ancestral Soul sound, it’s a tantalising taste of the multi-talented Sola Akingbol’s debut album Routes To Roots-Yoruba Drums From Nigeria.
Side D.
American Latin jazz percussionist Bobby Matos and Heritage Ensemble joined forces to record an album together. That album, Collage-Afro Cuban Jazz was released on Night Life Records in 1993. Nowadays, the album is a real rarity, that changes hands for large sums of money. That is no suprise, given the quality Guiro Elegua. It’s a traditional song that was arranged and produced by Bobby Matos. Although just two minutes long, they’re two magical and memorable minutes, as this irresistible track showcases the combined and considerable talents of Bobby Matos and Heritage Ensemble.
The next step on Gabriele Poso’s musical odyssey is Havana, the capital of Cuba. That was where songwriter and orchestra leader Silvestre Mendez was born in 1921. He went on to become one of the legends of Cuban music. A reminder of Silvestre Mendez in his musical prime is Ven Francisco, which featured on his 1998 album Oriza.
Closing Gabriele Poso Presents The Languages Of Tambores (A Spiritual Journey Through The Cultural Heritage Of Drums) is Coming Home, a track from Ghanian master drummer Mustapha Tettey Addy’s 2003 album Come and Dance. It was the second album he had released on the weltwunder label. However, Mustapha Tettey Addy’s recording career began in 1972, when he released the aptly titled Master Drummer From Ghana. By 2003, this was the perfect description of Mustapha Tettey Addy. Coming Home is a joyous and uplifting track that’s akin to a call to dance from the Master Drummer From Ghana.
After twelve carefully selected tracks, Gabriele Poso’s musical odyssey is at end. It started in England, before heading to Nigeria, and then to Italy where it all began for Gabriele Poso. From there, he takes the listener to South America, and Columbia and Brazil. There’s a return visit to Nigeria, before Gabriele jets off to America, and then to Cuba. The final destination on Gabriele Poso Presents The Languages Of Tambores (A Spiritual Journey Through The Cultural Heritage Of Drums) is Ghana, where the listener is introduced to master drummer Mustapha Tettey Addy. Soon the listener is Coming Home from an unforgettable musical journey.
They’ve been fortunate to hear twelve majestic tracks from some of the most talented percussionists and drummers music has to offer. Gabriele Poso Presents The Languages Of Tambores (A Spiritual Journey Through The Cultural Heritage Of Drums) has been a truly captivating, mesmeric and sometimes lysergic journey. Short two minute sketches rub shoulders with ten minute epics, as the music veers between beautiful and soulful to emotive and evocative and even visceral. Other times, the music is irresistible, melodic, memorable and dance-floor friendly. It’s akin to a call to dance.
That is no surprise as: “rhythm is the soul of life. The whole universe revolves in rhythm. Everything and every human action revolves in rhythm.” These are the words of another master drummer, Babatunde Olatunji. Anyone who doubts his wise words, should sample the delights of Gabriele Poso Presents The Languages Of Tambores (A Spiritual Journey Through The Cultural Heritage Of Drums). It’s sure to change their mind.
Gabriele Poso Presents The Languages Of Tambores (A Spiritual Journey Through The Cultural Heritage Of Drums).
EIVIND OPSVIK-OVERSEAS V.
Eivind Opsvik-Overseas V.
By 1998, bassist and composer Eivind Opsvik was a familiar face on Oslo’s vibrant jazz scene. He had been playing in the city’s clubs since the early nineties. Just like many young musicians, this was akin to a musical apprenticeship. Then in 1993, twenty year old Eivind Opsvik decided to complete his musical education, and enrolled at the prestigious Norwegian Academy Of Music. For the next four years, Eivind Opsvik studied classical bass and in 1997, graduated with a degree in music. It was a proud day for his family and friends. A year later, in 1998, Eivind Opsvik was leaving Oslo behind, and heading overseas to New York.
That has been home to Eivind Opsvik ever since. Nowadays, he’s a successful composer, musician, mixer and producer. Eivind Opsvik also runs his own record label Loyal Label, and formed his own band Overseas in 2002. They accompanied Eivind Opsvik on his 2003 debut album Overseas. This was the first in a series of critically acclaimed instrumental albums that Eivind Opsvik released. The latest instalment in the series is Overseas V, which was released on the Loyal Label on the ‘17th’ of March 2017. Overseas V is the latest chapter in the Eivind Opsvik story.
It began back in 1973, when Eivind Opsvik was born in Oslo, Norway. Growing up, music played an important part in the Opsvik household. Eivind Opsvik’s father, Peter, a famous furniture designer who created innovative and ergonomic chairs that became design classics, loved music. He introduced Eivind to a wide range of music. Soon, he was enjoying everything from The Beatles and Billie Holliday to Ornette Coleman. Peter Opsvik also enjoyed playing saxophone, and one night, encouraged young Eivind to jam along on the drums as he played A Hard Day’s Night. That night, it seemed, Eivind Opsvik was bitten by the music bug.
Fortunately, as Eivind Opsvik entered his teens, his elder cousin lent him a bass guitar. He started to learn how play the bass, and the next step on Eivind’s musical journey began. Over the weeks, months and years, he devoted much of his free time and energy into mastering the bass and then the double bass.
The rest of the time, Eivind Opsvik was immersing himself in music. He spent time listening to an eclectic selection of music. This was all part of his musical education. So was making music with his new four-track recorder. It allowed Eivind to experiment musically, and would prove to be good practise for the future.
Already it seemed Eivind Opsvik was about to embark upon a career as a musician. Especially as he made his tentative steps onto the Oslo jazz scene in the early nineties. Like many young Norwegian musicians, this was where Eivind served his musical apprenticeship. Soon, he was playing alongside Paal Nilssen-Love, Christian Wallumrød, Bjørnar Andresen, and Håkon Kornstad. Before long, Eivind was playing at festivals and clubs across Europe. He was, by then, one of the rising stars of Norwegian music. Despite that, Eivind Opsvik decided to complete his musical education.
So in 1993, Eivind Opsvik enrolled on a degree course at the prestigious Norwegian Academy Of Music, in Oslo. Over the next four years, Eivind studied classical bass. In 1997, Eivind Opsvik graduated with a degree in music. This was a proud day for all his family and friends. However, a year later, in 1998, Eivind Opsvik had made the decision to leave Oslo behind, and head overseas to New York.
The move to New York was a new start for Eivind Opsvik. It took him out of his comfort zone. Back home in Oslo, he was well known within city’s the thriving music scene. He regularly played alongside high profile musicians; had played all over Europe and featured on a couple of albums. Now he was starting his career all over.
Within a couple of years, Eivind Opsvik’s career was once again thriving. Eivind had featured on two albums that were released during 1999. He had joined Quintet, a Norwegian improv group, when they recorded their live album March ‘28th’ 1999 at the Vossajazz Festival, in Norway. It was released later in 1999. So was Sadigursky, Sacks, Opsvik, Peretz album Spiral. This was the first album that Eivind Opsvik recorded in New York. It certainly wouldn’t be the last.
As the new millennia dawned, Eivind Opsvik took to the stage at some of the Big Apple’s most famous venues. It was a dream come true playing at the Carnegie Hall, Village Vanguard, Le Poisson Rouge and The Stone. Eivind was aware of the musical legends that had previously played at each venue. Now he was following in their footsteps.
Meanwhile, Eivind Opsvik had decided to further his musical education, and enrolled at the Manhattan School Of Music, where he studied jazz. That was where he first met some of his future bandmates.
This included Loren Stillman and Jeff Davis. They shared the same musical philosophy as Eivind Opsvik, who for some time, had been contemplating forming his own band. He could only do this, if each of the musicians shared Eivind’s vision. Fortunately, Loren Stillman and Jeff Davis did and they joined him in his new band Overseas, which was formed in early 2002.
Gradually, Overseas’ lineup started to take shape. Two of the earliest recruits were Loren Stillman and Jeff Davis. Soon, they were joined by Craig Taborn, Wells Hanley, Gerald Cleaver, Dan Weiss and Jason Rigby. Some of the musicians were old friends, while others Eivind Opsvik had encountered as he played in New York’s clubs. Each of these musicians shared Eivind Opsvik’s musical vision and philosophy for Overseas.
Before long, Overseas began playing on New York’s live circuit. Given the band featured experienced and talented musicians, they soon, had honed and tightened their sound. It was a mixture of instrumental art rock and progressive jazz. Soon, the nascent Overseas were ready to make their recording debut.
Overseas weren’t recording their debut album. Instead, Eivind Opsvik was about to record his debut album. The resulting album became Overseas, which was the first in a series of genre-melting instrumental albums.
When Eivind Opsvik released his debut album Overseas in 2003, it was to plaudits and praise. This was the perfect start to Eivind’s nascent solo career. However, this was the only time this particular line of Overseas would record together. Over the next few years, Overseas lineup would change.
That would be the case throughout the band’s lifetime. Sometimes, jazz or improv musicians were brought onboard to augment Overseas. Other times, classical, electronic and noise musicians were recruited to Overseas’ ranks. They would add a new dimension to Overseas’ sound as they sought to reinvent their music. Overseas’ lineup changed from album to album.
Three years passed before Overseas returned with their sophomore album, Overseas II. While there had been several changes in Overseas’ lineup, what didn’t change was the quality of music. Overseas II was an ambitious genre-melting album that encompassed everything from art rock and avant-garde jazz to jazz-rock and progressive jazz. Critics were won over by Overseas II. However, this wasn’t the only album Eivind Opsvik released during 2005.
When Eivind Opsvik wasn’t working with Overseas, he formed an experimental pop duo Aaron Jennings. Having written some songs together, Opsvik and Jennings went into the studio and recorded an album together. That album became Fløyel Files, which was released to critical acclaim in 2007. It was a similar case with Opsvik and Jennings’ sophomore album Commuter Anthems, which was hailed as their pair’s finest hour. Despite that, the next album Eivind Opsvik released would his third solo album Overseas III.
This was just the latest album Eivind Opsvik had worked on. He had been kept busy over the last three years. Eivind had been involved in a couple of high profile collaborations and had recorded albums with the Marvin Charles Trio, the Jostein Gulbrandsen Quartet and Jon Irabagon’s Outright! Still Eivind continued to play live with Overseas, and when it came to recording Overseas III, they joined him in the studio. They pulled out all the stops, on Overseas. It was hailed as another inventive and innovative album from Eivind Opsvik. Somehow, each solo album seemed to surpass the previous one.
It was a similar case with the Opsvik and Jennings’ albums. After a two year absence, the pair returned with their third album, A Dream I Used to Remember. Just like previous albums, praise and plaudits accompanied the latest offering from experimental pop duo. Sadly, A Dream I Used to Remember proved to be the last album from Opsvik and Jennings. While this was a disappointment for the duo, it allowed Eivind Opsvik to concentrate on other projects.
Over the next four years, Eivind Opsvik worked on a variety of projects. He continued to play live Overseas and recorded an album with the Nate Wooley Quintet. Eivind Opsvik also recorded with albums with Jeff Davis, Jesse Harris, David Binneu, Harris Eisenstadt, John Escreet and Jesse Stacken. Fourteen years after leaving Oslo, was Eivind Opsvik had forged a successful career as a sideman and bandleader.
In April 2012, Eivind Opsvik returned with a new solo album Overseas IV. This was his first album in four years. Overseas IV was released to widespread critical acclaim, and hailed Eivind Opsvik’s most ambitious and finest solo album. It wasn’t going to be easy to surpass Overseas IV.
Four years passed before Eivind Opsvik returned to Sear Sound, Studio A, in New York City on June ‘20th’ 2016. He had written nine new instrumentals, which would be recorded by the latest lineup of Overseas. This included drummer and percussionist Kenny Wollesen who programmed the Oberheim drum machine and added hand claps, He was joined by guitarist Brandon Seabrook; tenor saxophonist Tony Malaby and keyboardist Jacob Sacks Eivind Opsvik switched between double bass, bass synths, Oberheim drum machine and hand claps. These five experienced musicians recorded the nine tracks that would eventually become Overseas V.
Nine months later, and Eivind Opsvik released what was the most eagerly awaited album of his fourteen year solo career, Overseas V. It marks the welcome return o true musical innovator, Eivind Opsvik.
I’m Up This Step opens Overseas V, and straight away, there’s an urgency and energy as layers of genre-melting music are unleashed. This includes a chirping guitar, scrabbled bass, galloping drums and stabs of grizzled saxophone. It soars above the jagged soundscape, and is joined by a jangling piano and waves of melodic feedback. Later, the saxophone becomes gnarled, as it rasps and brays. It’s joined by flourishes of piano while hand-claps signal their approval. Right up until the closing bars there’s an element of drama as Eivind Opsvik and Overseas fuse art rock and avant-garde with free jazz and improv. The result is a soundscape that veers between ambitious, edgy, inventive and melodic to challenging.
Drums are to the fore on Hold Everything, as drummer Kenny Wollesen works his way round the kit, providing a thunderous backdrop. Meanwhile, hi-hats hiss as synths beep, buzz and squeak. Soon, a bubbling bass is jounced by an electric piano and guitar. Effects are used heavily on the piano and searing guitar. It cuts through the melodic soundscape, as a rasping saxophone joins the frae. It adds degree of soulfulness, on as funk meets avant-garde jazz on this hook-laden and inventive soundscape.
As a saxophone drones, drums pitter patter and are joined by a drum machine. It’s joined by a ruminative piano while the drum machine taps out a code. Still, the saxophone drones as drums pound and the soundscape takes on a melodic and cinematic sound. Stabs of piano add an degree of drama, while strings are added. Just like the piano, thet add to the cinematic sound, before becoming scratchy. However, when they drop out the piano takes centre-stage as industrial sounds are added. They add to what’s a thoughtful, poignant and beautiful cinematic soundscape.
Straight away, musical genres melt into one on Brraps! Soon, elements of art rock, free jazz, funk, fusion and progressive jazz will make an appearance. Before that, a funky guitar joins the drums, piano and scratchy strings. They’re soon joined by a braying saxophone as stabs of piano punctuate the soundscape. Playing the starring role is the funky guitar. Then when a a drone soars above the soundscape, this signals the entrance of a blistering, blazing saxophone. Soon, it gives way to galloping bass, as the piano plays thoughtfully. After that, a short saxophone solo is unleashed, before the baton passes to the funky guitar. It’s akin to a genre-melting game of musical pass the parcel, where everyone is a winner.
Just a lone hesitant piano opens Cozy Little Nightmare. That’s until the bass, hand-claps and drums are added. Eerie found sounds, effects and brief bursts of a buzzing bass synth are added. Meanwhile, the piano, drums and bass pour all their energies into creating a dark, unsettling cinematic soundscape.
Urgent describes First Challenge On The Road as it bursts into life. The drums and saxophone lock into a groove, before they’re joined by the bass and hypnotic stabs of piano. They unite and create a mesmeric backdrop that cuts through the soundscape. Before long, the rhythm section and guitar are playing with a fluidity and freedom. Meanwhile sharp stabs of piano and saxophone provide a contrast. Later, Eivind Opsvik and Overseas play with a newfound freedom. It’s not just the rhythm section and searing guitar that power the soundscape along. So do the blazing saxophone and stabs of piano. By then, the ever versatile Eivind Opsvik and Overseas are in full flight and showing another side to their music, on what’s one of the highlight of Overseas V.
The tempo drops on Shoppers And Pickpockets, as a sultry saxophone joins a standup bass and drums. They create a melodic backdrop. Meanwhile occasional bursts of synth send out a warning, as the guitar rings out. By then, the music is thoughtful and cinematic. Especially as a saxophone soars high above the soundscape, and a piano adds drama and darkness. It’s as if the shoppers are keen to evade the pickpockets. They play a game of cat and mouse, which the piano and saxophone replicate. Later, as a prowling bass joins, it’s as if the pickpockets are about to pounce on their unsuspecting prey, on what’s the most cinematic track on Overseas V.
The saxophone and drums power the arrangement to IZO along. Soon, they’re being joined by a scorching electric guitar as art rock, fusion, free jazz and progressive jazz melt into one. By then, the playing is fluid and inventive. A jangling, fleet-fingered piano solo gives way a braying saxophone as a scrabbled blistering guitar threatens to cut loose. Still, Kenny powers his way around his kit and is matched every step of the way by Eivind. He and his band feed off each as they improvise. Still they play with freedom and fluidity on this innovative and genre-melting musical adventure.
Closing Overseas V is Katmania Duskmann. A growling saxophone joins stabs of piano and galloping drums as they add an element of darkness and drama. Soon, a probing piano adds to the darkness and with machine gun guitar riffs, add to the drama. It builds before a howling saxophone heads in the direction of free jazz. It’s joined by a blistering, effects laden guitar solo and beeps and squeaks. Still, the tempo rises and the drama builds for just over three minutes. Then Katmania Duskmann reaches a dramatic crescendo. Eivind Opsvik has kept one of the best until last.
Nearly five years ago, Eivind Opsvik released Overseas IV, which critics and cultural commentators hailed as his finest album. It was an album that set the bar high for future releases. Surpassing the quality of Overseas V wasn’t going to be easy. For Eivind Opsvik this was a challenge.
The forty-three year old Oslo born musician returned with Overseas V on the ‘17th’ of March 2017. It was released on Eivind Opsvik’s own Loyal Label, and is a career-defining album. Overseas V surpasses everything that has gone before. It’s the album that Eivind Opsvik has been working towards.
Overseas V is an album of ambitious, inventive, innovative and genre-melting music from Eivind Opsvik. Accompanied by his band Overseas, he combines everything from art rock and avant-garde to electronica and experiment to free jazz funk and fusion to improv and industrial music. Sometimes, Overseas V heads in the direction of post punk and progressive jazz as Eivind Opsvik switches between and combines musical genres during what’s captivating musical journey.
During that journey, Eivind Opsvik draws inspiration from far and wide. This includes the legendary Norwegian guitarist Terje Rypdal whose music ranged from avant-garde to fusion. Both genres can be heard on Overseas V. So can the influence of Brian Eno’s early avant-rock albums, and the post punk of Joy Division, New Order and Talking Heads. All these musicians and bands have influenced Eivind Opsvik on Overseas V.
While Overseas V is a solo album, Eivind Opsvik was fortunate to be accompanied by some of most captivating improvisers in New York’s music scene. Saxophonist Tony Malaby, guitarist Brandon Seabrook, keyboardist Jacob Sacks and drummer Kenny Wollesen all played their part in the sound and success of Overseas V.
It’s album where the soundscapes concise and immediate. There’s also an urgency and energy omnipresent throughout many of the soundscapes on Overseas V. They’re variously ambitious, atmospheric, edgy, challenging, melodic, hook-laden and rhythmic. Rhythm is more important than melody and atmosphere on Overseas V. However, still, some of the soundscapes on Overseas V have a cinematic quality. Always, though, the genre-melting soundscapes on Overseas V are inventive and innovative as they captivate and compes on what’s a career-defining album from Eivind Opsvik.
Eivind Opsvik-Overseas V.
LINDA JONES-THE LOST SOUL QUEEN.
Linda Jones-The Lost Soul Soul Queen.
As 1972 dawned, twenty-seven year old Linda Jones was a successful soul singer. She had already enjoyed five hit singles and her debut album had sold well. This looked like it was just the start of a long and successful career for a singer who had the potential to rival Aretha Franklin, Gladys Knight and Irma Thomas for the title Queen of Soul. Sadly, that wasn’t to be.
On March the 13th 1972, Linda Jones was resting at her mother’s home between a matinee and evening show at the Harlem Apollo. She took unwell and an ambulance was called. The following day, Linda slipped into a diabetic coma. Later that day, Linda Jones was pronounced dead on the 14th February 1972. Linda Jones was just twenty-seven. Tragedy had robbed soul music of his its talented and promising singers, Linda Jones.
Linda Jones was born, in New Jersey, on December 14th 1944, By the age of six, Linda Jones had joined the family gospel group The Jones Singers. They sang in churches in the New Jersey area. This was Linda’s introduction to music. However, as Linda became a teenager, she discovered another type of music…R&B.
Discovering R&B transformed Linda Jones’ life. This was a revelation. Suddenly, Linda knew what she wanted to do with her life…sing soul. So when she left high school, Linda had a plan. By days, she worked a series of dead end jobs. Then at night, she became Linda sang in local clubs in Newark, New Jersey. That was where she came to the attention of an A&R scout for MGM Records.
He spotted the potential in the nineteen year old Linda Jones. Soon, Linda was signed on a short term deal, and was net into the studio to record her debut single. The song that was chosen was a cover of Lonely Teardrops, which had given Jackie Wilson a hit single. When it was released, MGM billed Linda Jones as Linda Lane. Despite the change in name, Lonely Tears failed to make an impression on the charts. Linda’s time at MGM was over before it had even begun.
Despite the disappointment, Linda Jones remained stoic and returned to working dead end jobs by day, and singing in clubs at night. That was where she met Jerry Harris, a staff songwriter at Jobete Music, Motown’s publishing company.
Straight away, Jerry Harris realised that Linda Jones was a cut above most of the singers he came across. He promised Linda that he would do all he could to help her. Jerry Harris was as good as his word.
He introduced Linda Jones to producer George Kerr. Little did Linda realise, that this was the start of a six year partnership.
Not long after their initial meeting, George Kerr booked a session at a New York recording studio in October 1964. For the session, Jerry Harris had recorded some top session players. The rhythm section included drummer Bernard “Pretty” Purdie, bassist Cornell Dupree and guitarist Eric Gale. They were joined by pianist Richard Tee. This was the band that would be by Linda’s side for the next six years. However, during that first session, Linda recorded the two songs that featured on her next single, Take The Boy Out Of The Country, I’m Taking Back My Love.
After the recording sessions, George Kerr shopped the tracks to various record companies. When executives at Atco, a subsidiary of Atlantic Records, heard the two songs, they were keen to sign Linda Jones. When the contract was signed, Linda Jones’ Take The Boy Out Of The Country, was released in March 1965 as Linda Jones’ sophomore single. Tucked away on the B-Side was I’m Taking Back My Love. Despite the quality of both sides, Linda’s sophomore single failed commercially. This marked the end of her time at Atco.
George Kerr wasn’t about to give up on Linda Jones. After leaving Atco, Linda returned to the club circuit. This was the equivalent of serving a musical apprenticeship. It helped Linda hone her style. Eventually, George took Linda back into the studio, and they recorded Fugitive From Love and You Hit Me Like T.N.T. These two tracks George took to Blue Bird Records.
Again, executives at Blue Bird Records liked the two tracks, and agreed to release them as Linda Jones’ third single. Linda was maturing as a vocalist, and combined power and emotion on Fugitive From Love. It became her next single when it was released on Blue Cat Records in July 1966. On the flip-side was You Hit Me Like T.N.T. Sadly, Blue Cat Records lacked the funds to promote Fugitive From Love properly. Unsurprisingly, it failed to find an audience, and Linda Jones was once again, looking for a new label.
Still though, George Kerr continued to believe in Linda Jones. Undaunted he managed to find the funds to finance another session. One of the songs he planned to record was Hypnotised. George Kerr took Linda and her band into the studio and they cut the two tracks. Then Jerry went looking for a label to release Linda’s fourth single.
First stop for George Kerr was Brunswick. However, they weren’t in the market for any more female singers. They already had Barbara Acklin, who they were promoting heavily. However, a Brunswick staffer suggested that George head over to Warner Bros, and meet Ron Moseley. He was working for Warner Bros’ R&B imprint Loma. That’s what George decided to do.
At Warner Bros, George Kerr met with Ron Moseley. He took out a copy of Hypnotised and began to play it to Ron. At that moment, Jerry Ragovoy walked past. The song stopped the songwriter and producer in his tracks. He thought it had hit potential. Within a matter of minutes, a deal had been struck. After that, George headed home to Florida.
On his return to New York, Jerry Ragovoy and staffers from Loma had been looking for Linda Jones. They wanted her to play some shows to support Hypnotised. This she did, and when Hypnotised was released in May 1967, the single began to climb the charts. Eventually, it reached twenty-one in the US Billboard 100 and number four in the US Billboard R&B charts in 1967. After four years and four singles, Linda Jones had made her breakthrough. This was just the start of the journey for Linda.
Four months later, and Linda Jones released the followup to Hypnotised was released in September 1967. The song that was chosen was the soul-baring ballad What’ve I Done (To Make You Mad). Again, the single climbed the charts, and eventually, reached sixty-one in the US Billboard 100 and number eight in the US Billboard R&B. This gave Linda Jones back-to-back top ten single in the US R&B charts.
Buoyed by this success, Loma decided to send Linda into the studio to record her debut album. Hypnotised was released later in 1967. It featured the singles Hypnotised and What’ve I Done (To Make You Mad). Other songs included the rueful If Only (We Had Met Sooner), A Last Minute Miracle reached twenty-six in the US R&B charts. By then, great things were being forecast for Linda Jones.
As 1967 drew to a close, Linda Jones released her third single of the year. This was the hopeful power ballad Give My Love A Try. It was released in December 1967. Despite its quality, Give My Love A Try failed to make an impression on the charts. However, 1967 had still been the most successful year of Linda Jones’ career.
Just two months after the released of Give My Love A Try, Linda Jones returned with her first single of 1968, My Heart Needs A Break. This Sammy Turner composition was produced by George Kerr. When it was released in February 1968, the single charted but stalled at ninety-four in the US Billboard 100. In the US R&B charts, Give My Love A Try fared better, reaching thirty-four. It seemed that Give My Love A Try’s failure to chart had been a minor blip. Or was it?
In June 1968, Linda Jones returned with a new single, What Can I Do (Without You). When it was released, it failed to trouble the chart. This Lind hoped was another minor blip and the hits would soon resume.
Three months later, and Linda Jones returned with her new single It Won’t Take Much (To Bring Me Back). When it was released in September 1968, it too, failed to chart. This was a further disappointment for Linda Jones. Worse was to come.
By 1969, Warner Bros. had realised that there was more money to made in rock than soul. Warner Bros. called time on their Loma imprint. It wasn’t part of their future plans. Nor it seemed was Linda Jones. She only released one more single for Warner Bros.
This was My Heart (Will Understand), which was released the main Warner Bros. label in April 1969. When the single failed commercially, this must have made Warner Bros’ mind up. Linda Jones left Warner Bros not long after this.
Later in 1969, George Kerr took Linda Jones back into the studio with her usual band. They recorded a cover of The O’Jays’ I’ll Be Sweeter Tomorrow and That’s When I’ll Stop Loving You. These songs, George Kerr shopped to various labels.
Eventually, George Kerr agreed to lease the songs to Gamble and Huff’s Neptune Records. For Linda, this in a step down in career terms. She had previously, been signed to a major label, that was one of the most famous labels in music. Now she was about to release her next single small independent label.
The only saving grace was that Neptune Records had signed a distribution deal with Chicago based Chess Records. This should’ve helped get Neptune Records’ releases into more shops than other independent labels. One of these releases was Linda Jones’ single I’ll Be Sweeter Tomorrow.
It was released in October 1969, with That’s When I’ll Stop Loving You on the B-Side. Upon its release, I’ll Be Sweeter Tomorrow entered the US R&B charts, and eventually, reached forty-five. Meanwhile, some DJs took to playing the B-Side That’s When I’ll Stop Loving You on the radio. The song became so popular, that it too charted, reaching number forty in the US R&B charts. Linda had enjoyed two hit singles. Maybe Linda’s luck was changing?
She was certainly busy with live work when I’ll Be Sweeter Tomorrow and That’s When I’ll Stop Loving You charted in January 1970. Linda Jones was part of package shows that toured America. At each show, Linda appeared three times, singing between three and five songs. This introduced her to a much wider audience. However, this must have been taking its toll on Linda.
She had been diagnosed with diabetes at an early age. Like all diabetics, Linda had to take medication and be careful with her diet. Linda had to eat regularly and watch her blood sugar level. Out on tour, this wasn’t always easy, and sometimes, Linda suffered from diabetes attacks. Gradually, they began to happen more often. For Linda and her mother, this must have been a worry. Despite this, the twenty-five year old continued her career.
In May 1970, Linda Jones recorded a cover of Ooh Baby You Move Me. It had previously been recorded by Ben Aitken in 1968. On the B-Side, was Can You Blame Me? Again, producer George Kerr decided to lease Ooh Baby You Move Me to Neptune Records. This wasn’t his best decision.
At the time, Gamble and Huff were planning on launching a a new label, Philadelphia International Records. Neptune Records was being wound down, so the pair could focus their attention on the new label. Maybe George Kerr wasn’t aware of these plans? As a result, Ooh Baby You Move Me wasn’t promoted properly on its release in May 1970. This proved to be the last Linda Jones record leased to Gamble and Huff.
That wasn’t the only change in the offing. Linda Jones moved to Turbo Records, which was a subsidiary of All Platinium Group, a New Jersey funk, R&B, and soul label. This was the start of a new chapter in the career of Linda Jones. However, changes were afoot.
For Linda Jones Turbo Records’ debut, Stay With Me Forever was chosen. It was penned by George Kerr with Sharon Seiger and Nate Edmonds. He would co-produce Stay With Me Forever with George Kerr. On the B-Side was I’ve Given You The Best Years Of My Life, which Linda cowrote with Gerald Harris. He co-produced the song with Toby Henry. What was Linda’s thirteenth single was released in May 1971
This was Stay With Me Forever, Linda Jones’ first single for her new label, Turbo Records. It was released in May 1971 and featured a vocal tour de force from Linda. She showcased every vocal trick in the book during what was a musical masterclass. The record buying public agreed, and the single reached forty-seven in the US R&B charts. Given the success of Stay With Me Forever work began on the followup.
The song chosen was a cover of the Goffin and King composition, I Can’t Make It Alone. It was ‘produced’ by a veteran of the New York music scene, Sylvia Robinson. She would go on to found and become the CEO of Sugar Hill Records. Meanwhile, Al Goodman and Nate Edmonds co-produced the B-Side, Don’t Go (I Can’t Bear To Be Alone). The single was released in November 1971. However, the single failed to replicate the success of Stay With Me Forever.
As 1971 gave way to 1972, Linda Jones entered the studio to record her next single, Your Precious Love. It was released in February 1972. Soon, it had entered the charts and began to climb. Then tragedy struck and suddenly music no longer mattered.
On the afternoon of March the 13th 1972, Linda Jones performed at a matinee at the Harlem Apollo. She returned to mother’s home, where she lived to rest between shows. That was where tragedy struck.
Later that afternoon, Linda Jones became unwell. An ambulance was called and she was taken to hospital. The following day, George Kerr visited the Jones’ household. He was told by a neighbour of Linda becoming unwell and an ambulance taking her to the hospital. By the time George made his way to the hospital, Linda had slipped into a diabetic coma. Later, that day, 14th February 1972 Linda Jones was pronounced dead. She was just twenty-seven.
Meanwhile, Your Precious Love continued to climb the charts, reaching number seventy-four in the US Billboard 100 and fifteen in the US R&B charts. Ironically, this was Linda Jones most successful single since What’ve I Done (To Make You Mad) in 1967. However, Your Precious Love was Linda’s final hit single.
Despite her death, Turbo Records continued to release singles bearing Linda Jones’ name. This included Linda Jones And Whatnauts’ collaboration I’m So Glad I Found You. It was released in June 1972, but failed to chart. That wasn’t the last Linda Jones single Turbo Records would release.
Let It Be Me was then released in September 1972. It also features on an album released by the All Platinum Group, Your Precious Love.
It featured number of tracks had been stockpiled during various recording sessions. These tracks were somewhat hastily released as a Linda Jones’ sophomore studio album. Among the tracks that featured on Your Precious Love, were Your Precious Love, Behold, Stay With Me Forever, Not On The Outside and I Can’t Make It Alone. When it was released later in 1972, Your Precious Love didn’t replicate the success of the single. Despite this, Turbo Records released another posthumous album of Linda Jones’ music.
The second Turbo Records’ album was Let It Be Me. One of the highlights was a beautiful, soulful ballad I Do. It allows Linda Jones to use her full vocal range. It’s a poignant reminder of a truly talented singer. Meanwhile, however, Turbo Records continued to release singles bearing Linda Jones’ name.
This included a new versions of Fugitive From Love. It was released in 1973, with Things I’ve Been Through on the B-Side. However, the single failed to trouble the charts. Later in 1973, the single was flipped over and Things I’ve Been Through was released as a single. Still success eluded the single which marked the end of the Turbo Records years.
By then, the first anniversary of Linda Jones death was approaching. However, her music lived on. That’s still the case today.
Nowadays, her music is growing in popularity, and she is reaching a wider audience. No wonder. Linda Jones is now remembered for possessing one of the finest and most versatile voices in soul music. If she had lived, Linda Jones had the potential to rival Aretha Franklin, Gladys Knight and Irma Thomas for the title Queen of Soul. Sadly, Linda Jones passed away on 14th of December 1972 and Tragedy had robbed soul music of his its talented singers who could’ve gone on to become the Queen of Soul.
Linda Jones-The Lost Soul Soul Queen.
KROKOFANT-KROKOFANT III.
Krokofant-Krokofant III.
Krokofant has come a long way since they released their eponymous debut album on Rune Grammofon, in February 2014. Back then, Krokofant were regarded as one of the rising stars of the Norwegian music scene. Already great things were forecast for Krokofant. They were being described by critics as one of the most exciting and innovative Norwegian groups. This was high praise indeed, as Norway had a thriving, vibrant and successful music scene. However, the words of the critics proved to be prescient.
Three years after Krokofant released their eponymous debut album, they recently returned with their eagerly anticipated third album, Krokofant III. It was released on Rune Grammofon, and features Krokofant’s groundbreaking, genre-melting sound. This has been honed over a five year period. All Krokofant’s hard work, dedication and persistence has paid off, and nowadays, they’re one of the leading lights of the Norwegian music scene. However, the Krokofant story began in 2012.
Originally, Krofofant were just a duo, consisting of guitarist Tom Hasslan and drummer Axel Skalstad. Then in 2012, Tom and Alex met saxophonist Jørgen Mathisen, in a guitar shop in Kongsberg, a town in Southern Norway which is famous for its annual jazz festival. Straight away, Tom, Alex and Jørgen hit it off.
When Tom, Alex and Jørgen began playing together, it quickly became apparent that Jorgen was the missing piece in the musical jigsaw. No wonder; Jorgen was already an experienced musician. He had already played in groups like Shagma, The Core and Zanussi Five. Before long, Krofofant were a trio. Soon, the new lineup of Krokofant became part of an innovative musical movement that was sweeping the Norway.
Krokofant became one of the flag bearers for this new exciting and innovative musical movement. Their music epitomises what this new Nordic Wave movement is about. Part of Krokofant’s music is improvisational. They fuse improv with rock beats and driving rhythms. Essentially, it’s a marriage of avant rock, free jazz, fusion and progressive rock. That was a good description of Krokofant’s live sound as it began to take shape.
Like many bands before them, Krokofant’s sound was honed by playing live. The Kongsberg based trio earned their stripes by a relentless and gruelling live schedule. That was the case for the best part of two years. This constant touring paid off, and soon, Krokofant’s star was in the ascendancy. So the next step was for Krokofant was to record their debut album.
Krokofant.
Six songs were recorded at Engfelt and Forsgren Studio in Oslo. By then, saxophonist Jørgen Mathisen had been officially confirmed as a member of Krokofant. So it was with a spring in their step, that the three members of Krokofant went into the studio to recorded their eponymous debut album. It was released in February 2014, to widespread critical acclaim.
When critics heard Krokofant, they hailed Krokofant as a groundbreaking album, from one of the most exciting and innovative of the new Norwegian bands. Krokofant’s music was described as a marriage of the Joycean progressive rock odysseys of King Crimson and Henry Cow with Peter Brötzmann’s free jazz ensembles. The influence of early seventies jazz-rock pioneers like The Mahavishnu Orchestra, Terje Rypdal and Ray Russell also shawn through on Krokofant. It was a unique and captivating fusion of raw but refined power. However, Krokofant’s playing was disciplined, as they combine energy and enthusiasm. Seamlessly, they had fused disparate musical genres and influences on Krokofant which was released to critical acclaim.
Given the plaudits Krokofant had received, it was no surprise that upon its release that the album sold well. Soon, word was out, and across Europe and further afield, Krokofant’s star was in the ascendancy.
As the year drew to a close, critics began drawing up their best of 2014 lists. When they were published, Krokofant found its way into many lists. Given this was only Krokofant’s debut album, this was a remarkable achievement.
Krokofant II.
Nearly two years after the release of their eponymous debut album, Krokofant returned with their eagerly awaited sophomore album Krokofant II. Critics wondered whether Krokofant II would match the quality of Krokofant’s eponymous debut album?
Krokofant returned with another album of ambitious, genre-melting music. They continued to combine avant rock with free jazz, fusion and progressive rock. Meanwhile, a myriad of influences shown through on Krokofant II. This included many of the artists that had influence Krokofant’s eponymous debut album. Still, King Crimson, Henry Cow and Peter Brötzmann’s free jazz ensembles were influencing Krokofant. So were The Mahavishnu Orchestra, Terje Rypdal and Ray Russell. This myriad of musical genres and influences were combined by Krokofant to make a captivating musical potpourri on Krokofant II. Critics heralded the album as their finest hour.
Not only had Krokofant matched the quality of their eponymous debut album, but they managed to surpass it. This was a remarkable achievement. However, Krokofant II also set the bar high for future albums. Future albums would all be compared to Krokofant II.
Krokofant III.
After the critical acclaim and commercial success of Krokofant II, the three members of Krokofant’s thoughts turned to their third album. They were keen to build on the momentum created by their first two albums. Soon, work began on what became Krokofant III.
A total of five tracks were penned by the three members of Krokofant. They were Tommy Synth, Clazz, Juice, Double Dad and Wrong Turn. These tracks would eventually become Krokofant III. Before that, the album had to be recorded.
This time around, Krokofant decided to record Krokofant III at Studio Paradiso. It was a well equipped analogue studio, that was full of vintage equipment. This Krokofant knew would be perfect to capture their old school sound. The man entrusted to do so, was recordist Christian Engfelt. He had recorded Krokofant II, and returned for Krokofant III.
Just like on their two previous albums, Axel Skalstad drums would provide the heartbeat to Krokofant’s old school sound. He was joined by guitarist Tom Hasslan and Jørgen Mathisen who switched between saxophone and synths. The three members of Krokofant then began recording what became Krokofant III with recordist Christian Engfelt. Gradually, the album started to take shape. Once the album was completed, Christian Engfelt began mixing Krokofant III. Now, all that was left, was for Håkan Åkesson to master Krokofant III, and the album would be ready for release.
Just like Krokofant II, there was a sense of anticipation as the release of Krokofant III drew nearer. Critics wondered whether Krokofant III would come close to matching the quality of what Krokofant II? It was quite rightly regarded as Krokofant’s finest hour, and it wasn’t going to be easy to surpass such a critically acclaimed album. That would take a very special album, like Krokofant III.
Tommy Synth bursts into life, opening Krokofant III. Bursts of space invader synths, thunderous, rumbling drums and a machine gun guitar combine. They power the rocky, dramatic arrangement along. Soon, a blistering alto saxophone is added and soars above the arrangement, heading in the direction of free jazz. Meanwhile, Axel powers his way round the drum kit, while Tom unleashes a scorching, searing guitar. At the midway point, the arrangement is stripped bare, and all that remains are the drums. Then as the arrangement rebuilds, a guitar and probing bass combine. Tom then kicks loose, unleashing a blistering, fleet fingered guitar solo before the saxophone returns and Tommy Synth reaches a crescendo. In doing so, it sets the bar high for the rest of Krokofant III.
As Clazz unfolds, Krokofant play as one. Drums provide a degree of urgency and drama while a braying saxophone is joined by a scorching guitar. It unleashes machine gun riffs, before Tom’s fingers fly up and down the fretboard. Already, Krokofant fuse hard rock, jazz, fusion and progressive rock. Later, a buzzing synth is added, before Tom unleashes a guitar solo that sounds as if belongs on a seventies classic rock album. Axel then plays with a ferocity as he powers his way around his drum kit. Meanwhile, Tom plays with speed and precision, his guitar rising high above the arrangement as he unleashes a lengthy, solo. A growling synth and then a melodic, braying and rasping saxophone play their part in a genre-melting jam that features Krokafant at their inventive best.
Straight away, Krokofant kick loose on Juice. A blazing saxophone joins a scorching, searing guitar and thunderous drums. Axel’s drums powers the soundscape along while the saxophone is played with a similar power. Mostly, it flows and snakes across the soundscape. Sometimes, sharp bursts add an element of drama to this genre-melting soundscape. Tom’s guitar matches the saxophone every step of the way. At one point, they seem to be feeding off each. Axel even gets in on the act, powering his way round the kit rapping urgently and sharply on the drums. Then the saxophone breaks free, climbing high above the arrangement. It brays, rasps and quivers while Axel’s ferocious drums and Tom’s blistering, machine guitar provide an accompaniment. By now, Krokofant are in full flight as they head for home. It’s been an impressive sound as musical genres and influence melt into one. Seamlessly, Krokofant have fused classic rock, free jazz, fusion and progressive rock over seven breathtaking minutes.
Double Dad bursts into life.Axel pounds his drums, while an effects laden guitars join with a blazing saxophone. The arrangement is then stripped bare, before Krokofant throw a curveball. An accordion adds a mesmeric hypnotic backdrop before a ferocious rocky guitar enters and cuts loose. Soon, a dark, buzzing synth joins with the ominous rocky guitar. Meanwhile, the bass synth is played slowly and deliberately while Tom unleashes one of his finest solos. He adds effects as his fingers fly up and down the fretboard. Still, the bass synth lumbers along, as Axel pounds his drums. With just a minute to go, the accordion returns, and plays brief solo. Having enjoyed its moment in the sun, Krokofant unite before the soundscape reaches a memorable crescendo.
Wrong Turn closes Krokofant III. The growling saxophone joins with the scorching, rocky guitar as drums power the soundscape along. Before long, a braying, blazing saxophone takes centre-stage and is joined by the guitar which grows in power. That’s until the futuristic synth is added. It’s joined by a wash of feedback and shimmering guitar. This takes the soundscape in a new direction, before Tom picks out notes on his guitar and adds effects. Meanwhile, the otherworldly synth has awoken from its slumber and meanders across the soundscape. Then Tom unleashes a searing, blistering guitar solo that’s played with speed and precision. Later, a howling sound is emitted from the soundscape, signalling it time for Krokofant to return to their earlier sound. Thunderous drums, blistering guitar and braying, blazing saxophone play with an urgency as this epic soundscape reaches a crescendo. Krokofant have kept the best until last.
It was never going to be easy for Krokofant to surpass the quality of their previous album Krokofant II. However, Krokofant are no ordinary band. They’re one of the leading lights of the Norwegian music scene, and have returned with the first album of their five year career. Krokofant III finds Krokofant reaching new heights.
To do that, Krokofant combined an array of musical genres and influences. This includes avant rock, free jazz, fusion and rock, to avant-garde, progressive rock and post rock. There’s even hints of experimental music and psychedelia as Krokofant weave their unique musical tapestry.
Within this musical tapestry, the influence of an eclectic selection of artists can be heard. This includes the artists who have always influenced Krokofant. Among them, are King Crimson, Henry Cow, The Mahavishnu Orchestra, Terje Rypdal, Ray Russell and Peter Brötzmann. Two other artists that seem to have influenced Krokofant on Krokofant III are Van Der Graaf Generator and John Zorn. However, many other artists seem to have influenced Krokofant, including Jimi Hendriix, Led Zeppelin and John Coltrane.
Still it seems that Both Jimmy Page and Jimi Hendrix have inspired the virtuoso guitarist Tom Hasslan. John Bonham and The Who’s Keith Moon have obviously influenced Krokofant’s prodigiously talented, twenty-three year old drummer, Axel Skalstad. Krokofant’s saxophonist Jørgen Mathisen seems to have been influenced by two of the biggest names in jazz. Sometimes replicates Pharaoh Sanders’ sheets of sound, while other times, he seems to have been inspired by John Coltrane’s Impulse period. These influences have helped mould the members of Krokofant into one of Norway’s top bands.
No longer are Krokofant regarded as one of the rising stars of the Norwegian music scene. They’re now well on their way to becoming one of the biggest names in Norwegian music. Krokofant’s music is also popular across Europe and much further afield. It looks as if Krokofant are well on their way to becoming one of Norwegian music’s most successful exports.
That is no surprise. as Krokofant III features ambitious, inventive and innovative music. Continually, Krokofant push musical boundaries, and constantly seek to reinvent themselves and their music. Not many bands modern bands are willing to do that. However, have Krokofant continue to do so.
This becomes apparent throughout Krokofant III, as Krofofant take the listener on a genre-melting musical journey. Each and every song is different and full of subtleties and nuances. Sometimes, Krokofant throw a curveball, and the music heads in a different direction. Suddenly, the listener hears a new side to Krokofant. Especially, when the synths are introduced and replace the saxophone. This shows another side to Krokofant’s music. That’s what you expect from three musical pioneers.
That’s the perfect way to describe Krokofant. They’ve released a trio a groundbreaking, genre-melting albums over the last three years. However, Krokofant’s finest album is Krokofant III, a magnificent musical Magnus Opus, which was recently released by Rune Grammofon.
Krokofant-Krokofant III.
CONRAD SCHNITZLER-FILMMUSIK 2.
Conrad Schnitzler-Filmmusik 2.
On August the ‘4th’ 2011, German music was in mourning. The country had lost one of it’s most important and influential figures in modern music, Conrad Schnitzler. He had played a hugely important role in the development of German music over six decades.
At the start of his career, Conrad Schnitzler had been a member of Tangerine Dream and then Kluster. However, in 1973 Conrad Schnitzler embarked upon a solo career.
Over the next five decades, Conrad Schnitzler was a prolific recording artist. Each of his master tapes were stored in his own personal archive. By the time of Conrad Schnitzler’s death in 2011, his vast, sprawling archives featured the master tapes to several hundred recordings. The job of organising the master tapes fell to Conrad Schnitzler’s former musical partner Wolfgang Seidel.
He was appointed guardian of Conrad Schnitzler’s archive. This is a important role, and one Wolfgang Seidel has dedicated himself to. He realised the importance of the music within Conrad Schnitzler’s archive. This includes everything from the master tapes to albums, to recordings of concerts that were only ever committed to cassette. Some of the master tapes and cassettes Wolfgang Seidel discovered, only featured the one track. The archive was proving to be a treasure trove. Especially when Wolfgang Seidel discovered long lost, hidden treasure.
Tucked away in Conrad Schnitzler’s archive were two tapes which were mysteriously marked Filmmusik 1975 A and Filmmusik 1975B. Wolfgang Seidel dusted these down, and looked at them. However, there was no other information with the tapes. Conrad Schnitzler hadn’t noted down if the tracks were meant to accompany a film or video. The tapes were turning into a mystery.
So Wolfgang Seidel setup the tape machine and began to listen to the music that featured on Filmmusik 1975A and Filmmusik 1975B. In an instant, Wolfgang Seidel was transported back to 1975, and was listening to his old friend Conrad Schnitzler at his most accessible. Wolfgang Seidel realised that this was an important find.
As guardian of Conrad Schnitzler’s archive, Wolfgang Seidel set about finding a label to release the music on the two tapes. He decided to approach the Hamburg based label Bureau B, about releasing some of the music. When they heard the tapes they agreed to release a compilation of Conrad Schnitzler’s long-lost music. This became Filmmuzik 1, which was released to critical acclaim in October 2016. Just four months later, and Filmmuzik 2 was released by Bureau B.
By then, more was known about the two mysterious tapes. They were thought to have been recorded in 1975 and 1980. That proved not to be the case. All the tracks were actually recorded in 1975 and should’ve been labelled 1975A and 1975B. However, there was an error when the music was transferred from the master tapes to a data carrier. The second tape was erroneously labeled 1980B. This only came to light after the release of Filmmusik 1. So did the title of one of the tracks.
None of the songs on the two tapes had song titles. So they were given numbers. One of the tracks was given the title 02/1980, which after the error would’ve become 02/1975 B. However, it transpired that song was actually entitled Gute Fahrt.
This became apparent after Jin Kawa, the curator of the official Conrad Schnitzler website got in contact with Bureau B. He began recounting what had happened back in 2009.
In 20009, Jin Kawa had been looking through some films and listening to music before uploading it to the official Conrad Schnitzler website. That was when he first discovered a track entitled Gute Fahrt. Jin Kawa got in contact with Conrad Schnitzler to ask there were any similar recordings? Conrad Schnitzler sent Jin Kawa the rest of the tapes. Since then, these tracks haven’t been released.
It’s a similar case with the six tracks on Filmmusik 2. The first five tracks on Filmmusik 2 were recorded in 1975. However, the other track, Lichtpunkte Jin Kawa recognised a track Conrad Schnitzler had written for a film in 1978. It’s a twenty-three minute epic that closes Filmmusik 2.
05/1975 B opens Filmmusik 2. From the distance, pulsating, almost tribal drums enter and are joined by a futuristic buzzing, beeping synth. It soars high above the arrangement, while the drums provide the pounding heartbeat. Conrad toys with the modulator and adds filters to the synths. This transforms the dry sound. Later he applies filters to the drums, as an eerie, otherworldly synth meanders menacingly along. Still, the drums encircle the arrangement, providing a contrast in this moderne sounding soundscape that was way ahead of its time in 1975. Forty-two years later, and that is still the case in 2017.
Gradually, the cinematic arrangement to 05/1975 A starts to build. A drone joins with crisp drums and a futuristic, space age synth. It conjures up pictures of a spaceship arriving from a distant galaxy. Meanwhile, there’s an urgency to the drums, as they try to escape from the myriad of beeps and squeaks are emitted from the synths. This sounds like an otherworldly language. Later, the tempo rises, and it sounds as if spaceship is taking off. Still, the drums are determined to escape and head for safety. Eventually, the drums head into distance and disappears. However, have they made their escape on a soundscape that features Conrad Schnitzler at his cinematic best?
As 12/1975 A unfolds, futuristic, space-age synths join with a myriad of metallic percussive sounds. Beeps, squeaks, cheeps and chirps join mesmeric and otherworldly sound as the drama builds over two captivating minutes.
There’s an urgency to the stabs of synths that open 14/1975. They’re joined by a drone which adds to the dramatic, urgency and cinematic sound. Soon, a twisted synth meanders across the arrangement. It’s joined by a chugging synth, that sounds as if it’s trying to replicate a tugboat. The other part of the soundscape has an atmospheric and Eastern sound. When this drops out, the soundscape chugs along, before reaching its eventual destination.
A distant drone draws nearer, what sounds like a helicopter hovers above the arrangement. Meanwhile, a melody is picked out on a lo-fi, vintage synth, adding a ruminative, but elegiac sound. As it plays, the drone is joined by a chattering, industrial sound that encircles the soundscape. Still, the ethereal, thoughtful melody is played slowly and deliberately. This is a contrast to the urgency of rest of the soundscape. Later, the synth becomes hesitant, spacious and wistful. There’s a sense of sadness that may provides a clue to what’s happening in the rest of a soundscape, as it veers between industrial to otherworldly. Always, though, it’s compelling.
Closing Filmmusik 2 is Lichtepunkte Und Schwarze Zeichen, a near twenty-four minute soundscape written in 1978. Straight away, there’s a sense of urgency as drums gallop along and are joined by washes of otherworldly synths. Filters transform the soundscape and it takes on a futuristic sound. It’s akin to a journey on a seventies space shuttle. Suddenly and worryingly, the tempo drops and all that remains are the drums. Gradually, the soundscape rebuilds, with a drone providing an ominous backdrop to the clattering drums. They reverberate, skip and become mesmeric. Eventually, they struggle free and at last, make progress on their journey. Soon, it’s nearing its destination, on what’s a cinematic and dramatic Magnus Opus from the late, great Conrad Schnitzler.
Over the six soundscapes on Filmmuzik 2, Conrad Schnitzler combines a myriad of disparate influences.This ranges from ambient, avant-garde, Berlin School and Krautrock to drone music electronica, experimental and industrial music. Usually, several genres are combined to create just the one captivating and cinematic soundscape.
To create these soundscapes, Conrad Schnitzler deployed an array of keyboards, synths, drum machines, sound effects and found sounds. They’re Conrad Schnitzler’s sonic palette, which he put to good use throughout his long and illustrious career. That was the case on the music that became Filmmuzik 1, and now, Filmmuzik 2.
Each of the six soundscapes on Filmmuzik 2 have a cinematic sound. They’re guaranteed to set the listener’s imagination racing. Suddenly, the listener is conjuring up scenarios to fit the music. Some of the soundscapes have a futuristic sound, as Conrad Schnitzler combines space-age and sci-fi sounds. It’s as if these tracks are part of lost sci-fi soundtrack. That’s just part of the story of Filmmuzik 2.
Often there’s an element of drama, as the soundscapes becomes dark, eerie, moody, ominous and otherworldly. Sometimes, there’s a mesmeric or hypnotic quality, while other times, the music becomes ethereal, elegiac or melodic. Other times, it’sruminative, urgent and wistful. Always, Filmmuzik 2 captivates and compels with music that’s cinematic and always is timeless.
That’s despite five of the soundscapes being recorded in 1975, while Lichtepunkte Und Schwarze Zeichen was recorded in 1978. However, each of the soundscapes on Filmmuzik 2 have stood the test of time, and just like those on Filmmuzik 1 remain relevant today. The soundscapes on Filmmuzik 2 are also among the most accessible music that Conrad Schnitzler recorded during a long and illustrious five decade solo career.
That’s why Filmmuzik 2, just like Filmmuzik 1, is the perfect starting place for newcomers to the music of Conrad Schnitzler. Both albums are a gateway to the rest of Conrad Schnitzler’s back-catalogue. The Filmmuzik compilations will be the first step on a voyage of discovery through the discography of one of the important and influential figures in German music, Conrad Schnitzler.
His is no ordinary back-catalogue. Conrad Schnitzler’s back-catalogue is vast. He was a truly prolific solo artist and collaborator whose personal archive contains hundreds of recordings. This was where the tapes that contained the unreleased soundscapes that became Filmmusik 1 and Filmmusik 2 were discovered. Filmmusik 1 and Filmmusik 2 are the newest additions to Conrad Schnitzler’s illustrious discography, and are a reminder of a true musical pioneer at his creative zenith.
Conrad Schnitzler-Filmmusik 2.
JANKA NABAY AND THE BUBU GANG-BUILD MUSIC.
Janka Nabay and The Bubu Gang-Build Music.
After ten years, nine months and three weeks, the Sierra Leone Civil War ended on ‘18th’ January 2002. This should’ve been a new start for the people of Sierra Leone. However, a year later, and Sierra Leone was still a dangerous country. On ’13th’ of January 2003, a group of armed men tried to break into the armoury in Freetown. It seemed that all wasn’t well within Sierra Leone. So it was no surprise that one of Sierra Leone’s leading musicians, Janka Nabay, was preparing to flea the war ravaged country
Janka Nabay’s music was known throughout Sierra Leone. He had risen to prominence in the nineties, when he auditioned for a Liberian record company. They had left war torn Liberia, and moved across the border to Sierra Leone. With no roster, they set about auditioning local artists. One of the artists they auditioned at an open mic night was Janka Nabay. That night, he performed several traditional bubu songs. This captivated the owners of the record company, who signed Janka Nabay on the spot.
Before long, Janka Nabay was recording in Freetown’s only recording studio. That was where he set about single handedly modernised traditional bubu music. The basis for this new music was ceremonial procession music. Using a myriad of drum machines, samplers and bamboo bubu flutes, Janka Nabay transformed traditional bubu music into a new type of machine funk. This new genre proved popular throughout Sierra Leone. Janka Nabay was well on the way to becoming one of Sierra Leone’s most successful musicians.
He was determined to use his music as a force for good, and addressed and examined the problems of war. Janka Nabay became a hero to many with Sierra Leone. They saw him as a musical revolutionary who provided a voice for the downtrodden and disenfranchised. Later, though, Janka’s music was misappropriated by the rebels.
During the Civil War, the rebels began to use Janka Nabay’s tapes as a battle cry. It enticed people out of their hiding places. They were then captured or killed by the rebels. At one point, Janka was captured and held at gunpoint. He was only freed when he reluctantly agreed to perform for the rebels. When this happened, Janka began to think that the time had come to leave Sierra Leone.
By 2003 though, Janka Nabay’s mind was made up. Sierra Leone was still a dangerous country. If he remained in Sierra Leone, his life was at risk. He had leave the country. So Janka Nabay began making plans to flea to America.
When the day came, it was with a heavy heart that Sierra Leone left behind not just him home, but his family, friends and fame. He was leaving everything behind and making a step into the unknown. Janka Nabay was heading to America, where he would be an unknown and struggling musician. Nobody would know of his past life in Sierra Leone where he was one of the country’s top musicians. He would have to start again in the land of free.
Little did Janka Nabay know that it would take him nine long years to rebuild his career with a new band. Eventually, in 2012, Janka Nabay and The Bubu Gang released their debut album En Yah Say on the Luaka Bop label. Critical acclaim accompanied the release of En Yah Say, and the followup was eagerly anticipated. Nearly five years later, and Janka Nabay and The Bubu Gang will release their sophomore album Build Music on the Luaka Bop on the ’24th’ March 2017. It’s the latest chapter in the Janka Nabay story. He’s come a long way since he arrived in America in 2003.
Having arrived in America, Janka Nabay set about rebuilding his life and career in New York. He started off playing solo sets in the now defunct Brooklyn bar Zebulon. Soon, word was spreading about Janka Nabay and his music and local music fans began to seek him out. However, these gigs were low key affairs. It was going to take Janka Nabay time to rebuild his career.
By 2010, was living in Philadelphia and working in fried chicken restaurant. He had released the EP Bubu King as Bubu on True Panther Sounds as Ahmed Janka Nabay. This was his first recording since arriving in America seven years previously. It was a far cry from when he was one of the most successful musicians in Sierra Leone. However, his luck changed when journalist, academic and filmmaker Wills Glasspiegel came looking for Janka Nabay.
Chicago based Wills Glasspiegel had an impeccable musical pedigree. Previously, he had discovered South Africa’s Shangaan electro scene, and by 2010, was in the process of documenting Chicago’s footwork scene. Now he was turning his attention Janka Nabay. The story began when Wills Glasspiegel was listening to a box of tapes collected by a BBC journalist. Eventually, he came across a tape Janka Nabay had recorded in Freetown in the nineties. He was so impressed by the music, that Wills Glasspiegel decided to find out more about Janka Nabay and his music.
Before long, he had discovered that Janka Nabay had emigrated to America and was working in a fried chicken restaurant in Philly. So Wills Glasspiegel made the journey to Philly where he met Janka Nabay for the first time. With a cultural tastemaker like Wills Glasspiegel batting for him, maybe Janka Nabay’s luck was about to change?
Soon, Janka Nabay had put together a new band, The Bubu Band. This was the name of the band Janka Nabay left behind in Sierra Leone. Joining Janka Nabay in the initial lineup of The Bubu band were Syrian born singer and bassist Boshra AlSaadi and Jason McMahon of Chairlift. They began playing a few gigs. At first, they were low key affairs. This allowed the new band to hone their sound.
Having honed their sound, Janka Nabay and The Bubu Gang spent a year touring America. It was a gruelling schedule, but allowed Janka Nabay and The Bubu Gang to perfect his modernised take on traditional bubu music. Over the weeks and months, Janka Nabay and The Bubu Gang became a popular live draw.
Already, Janka Nabay and The Bubu Gang had starred at Tennessee’s Banner festival and played in New York’s prestigious Museum of Modern Art. They released their debut EP, An Letah in April 2012. The next logical step was releasing an album.
It looked as if Janka Nabay and The Bubu Gang were one of the rising stars of the New York music scene. New York based Luaka Bop label spotted the potential of Janka Nabay and The Bubu Gang, and signed the band. In August 2012, Janka Nabay and The Bubu Gang released their debut album En Yah Say on the Luaka Bop label. Critical acclaim accompanied En Yah Say, and the followup was eagerly anticipated.
Eventually, Janka Nabay and The Bubu Gang headed into the studio to record their sophomore album, Build Music. By then, the core group featured Janka Nabay on lead vocals; bassist and backing vocalist Boshra AlSaadi and keyboardist Michael Gallope. Other musicians, were drafted in to play augment the band. This included Chairlift’s Jason McMahon who plays bass on two tracks and percussion on I’ll Be Gone By Winter. When it came to recording the album, Janka Nabay used his tried and tested approach.
This required the help of collaborators and studio engineers, as Janka Nabay has no musical training. Instead, he works intuitively, and explains what he requires musicians and engineers to do. This works, and eventually, the twelve new tracks that became Build Music were complete .
Nearly five years after the release of their debut album, and Janka Nabay and The Bubu Gang will release their eagerly awaited and much anticipated sophomore album Build Music. It will be released on the Luaka Bop label on the ’24th’ March 2017 and marks the return of Janka Nabay and The Bubu Gang.
Kadiatu which opens Build Music is a thirty-one second amuse bouche. Janka Nabay sings against just a lo-fi backdrop, where the occasional drum cracks and accompanies this joyous paean.
Synths buzz, beep and squeak on Build Music. This is a just a curveball. As Janka sings: “Build Music,” the song explodes melodically into life. Drums crack and join with a guitar, keyboards and percussion in the multilayered arrangement. Still the synths squeak and beep while Janka is accompanied by soulful harmonies. By then, an irresistible genre-melting track unfolds. It’s soulful and funky with elements of Afro-beat and electro combining to create Janka Nabay’s trademark electronic bubu sound.
Slow deliberate keyboards play on Santa Monica before a probing bass ushers in the rest of the band. A myriad of percussion and drums joins with Janka’s vocal. He’s joined by harmonies and soon, a searing guitar. It’s the bass that underpins the dance-floor friendly arrangement. Meanwhile, as percussion, keyboards and drums create an uber funky, multilayered backdrop for Janka and his backing vocalists. They feed off each other as they reach new heights of soulfulness, before reaching a crescendo.
Bells rings and join percussion and drums on Popeneh 3, as the track bursts into life. Keyboards wheeze, beep and buzz as Janka adds an urgent, impassioned vocal. He’s accompanied by soulful harmonies, before a fleet fingered synth solo is added. Still, bells, percussion and drums are omnipresent, adding to the urgency, as the track unfolds at breakneck speed. They provide the perfect backdrop for Janka and the backing vocalists, who add a soulfulness to the urgency. When this is combined, the result is a dance-floor filler.
Drums almost gallop along on Bubu Dub, as a melody is picked out on a retro synth. They’re joined by Janka and his backing vocalists as the arrangement builds. Stabs of keyboards, a rumbling bass and synths accompany Janka’s joyous vocal. Still, the retro synth provides a hypnotic backdrop. It sounds as if it belongs on the soundtrack to an early computer game. When, Janka’s vocal drops out, a blazing saxophone is added. Meanwhile, the retro synth is omnipresent as Janka sings: “my baby loves to dance, she loves to sing, and listen to the music all night long.” This he does against a pulsating, percussive and mesmeric backdrop. It’s soulful, funky and dance-floor friendly.
Pounding drums are joined by washes of synths and a buzzing bass synths on Angbolieh. They’re joined by Janka’s heartfelt vocal and harmonies. Soon, keyboards, bass and guitar are added. So is a retro synth that floats melodically across the arrangement. It’s surrounded by buzzes, beeps, squeaks and a chiming guitar as drums pound and keyboards drone. Still, Janka’s vocal is impassioned and the harmonies sweet and soulful. Meanwhile, elements of Afrobeat, electro, funk and soul are combined by Janka Nabay and The Bubu Gang. They create a catchy, captivating and soulful slice of electronic bubu.
As Game Ova begins to unfold, percussion, drums and a bass accompany Janka and his backing vocalists. The vocal is delivered with a degree of urgency, as synths squeak, beep and creak. When the vocal drops out, keyboards, synths and percussion enjoy their moment in the sun. At one point, there’s a slight Eastern influence as drums drive the arrangement along and the track continues to build.When Janka and the backing vocalists return, they supply the soul to this urgent, genre-melting track. It’s one of the highlights of Build Music.
Sabanoh (Interlude) finds Janka singing soulfully, accompanied by a slow, thoughtful keyboard for thirty-three seconds. The main event is still to come.
That is Sabanoh 2016. A pounding, pulsating drum and percussion join with Janka and his backing vocalists. They’re at their most soulful, as synths join with the rhythm section. They power the arrangement along while Janka adds a heartfelt vocal and harmonies reply to his call. Later, Janka’s vocal is left hanging, like an unanswered question on this contemporary sounding track that would light up any dance-floor.
A chirping guitar, pounding drum, rattling percussion and bass open Stop Jealous. Janka delivers a tender, needy vocal, and is accompanied by harmonies. They prove the perfect accompaniment to his vocal. Later, a droning organ fires a warning shot across the arrangement. When it’s stripped bare, only the rhythm section and percussion remain. Then when Janka and the backing vocalists return, they add a soulfulness to a track where funk meets Afrobeat. This proves a potent and heady musical brew.
Tek Lak la Gben ba Kun 3 has an understated arrangement, with Janka accompanied by a probing bass. The lyrics are akin to a stream of consciousness, as one minute he’s asking “do you love me,” while the next is remembering airlines past and present. There’s a surreal quality, to a track that’s sure to put a smile on your face.
Closing Build Music is Combination. The bass plays and a guitar rings out and chimes, as Janka delivers a hopeful, heartfelt vocal. He’s joined by the backing vocalists who add to an already soulful track. Keyboards are added as a catchy, melodic and memorable reveals its secrets and subtleties. It seems that Janka Nabay and The Bubu Gang have the best tracks until last.
Nearly five years after Janka Nabay and The Bubu Gang released their debut album, En Yah Say they return with Build Music. It will be released on Luaka Bop on ‘24th’ March. Build Music has been much anticipated, but is well worth the wait.
Janka Nabay and The Bubu Gang return with a career defining album, where they continue to refine, hone and develop their electronic bubu sound. It’s a captivating fusion of Afrobeat, electro, funk and soul. This heady musical brew is Janka Nabay’s trademark electronic bubu sound. He’s spent a lifetime honing this sound, first in Sierra Leone and now in America. However, Build Music is a defining music in his career.
The music on Build Music is funky, soulful and dance-floor friendly. Sometimes it’s captivating, catchy and joyous, and other times it’s melodic, memorable and even mesmeric. Janka Nabay and The Bubu Gang aren’t afraid to throw a curveball, as the music heads in a totally different direction. However, always the music returns to Janka Nabay’s trademark electronic bubu sound as he continues to rebuild his career.
While Janka Nabay and The Bubu Gang were once one of the biggest names in the Sierra Leone music scene, nowadays, a new audience is discovering their music. However, Janka Nabay and The Bubu Gang’s much-anticipated sophomore album Build Music has the potential to be a game-changer. Build Music which is a career defining album could introduce a whole new audience to Janka Nabay and The Bubu Gang, and transform the fortune of the founding father electronic bubu.
Janka Nabay and The Bubu Gang-Build Music.
CHET IVEY-A DOSE OF SOUL-THE SYLVIA FUNK RECORDINGS 1972-1975.
A Dose Of Soul-The Sylvia Funk Recordings 1972-1975.
Most people won’t have heard of Chet Ivey. That’s despite him enjoying a recording career that spanned the best part of thirty years. It began in 1959 and continued until the mid-eighties. During that period, Chet Ivey released over thirty singles. The majority of these singles were released on small, independent labels.This included the seven singles Chet Ivy released on Al Sears’ Sylvia Records. They feature on a new compilation released by BGP, A Dose Of Soul-The Sylvia Funk Recordings 1972-1975. This marked a new start for Chet Ivey, who was born in North Carolina, in 1932.
Chet Ivey was born in Roanoke Rapids, in North Carolina, on November ‘26th’ 1932. Both his parents were Sunday school teachers in a Baptist church. They had six seven children, one daughter and six sons. The Ivey family moved to Washington DC in the forties. That was home to Chet Ivey until he joined the US Army.
The life of a soldier seemed to suit Chet Ivey. He spent several years in the US Army, serving in Germany and America. Chet Ivey won and the Good Conduct Medal and was promoted to Corporal Chet Ivey. By the late fifties, Corporal Chet Ivey was all set for a career change. He decided to embark upon a musical career. This was very different from life as a professional soldier.
By June 1959, Chet Ivey’s recording career was preparing to release his debut single Tater Patch. It was about to be by released Atlantic Records’ subsidiary Atco. Chet had written both Tater Patch and the B-Side The Slop. He had also signed a publishing deal with Al Sears. However, when Tater Patch was released, the R&B single failed to find an audience. For Chet Ivey, this was a disappointing start to his nascent musical career.
Despite the disappointing start to Chet Ivey’s career, he continued to release singles first on Atco, and then on ABC-Paramount. His first single for ABC-Paramount was Lady Bug which Chet cowrote with Jesse Stone. On the flip-side was another song Chet cowrote with Jesse Stone and Buddy Smith, Wash Your Feet. When Lady Bug was released in October 1961, history repeated itself and the single didn’t even come close to troubling the charts. This was the start of a familiar pattern.
In March 1961, Chet “Poison” Ivey and The Fabulous Avengers released Let’s Do The Pony. This was one of many dance craze songs that were being released at this time. Artists were hoping their song would be the new Twist. Ironically, the B-Side Just A Little Bit Of Love was a better song. Both songs were penned by Chet and produced by Al Sears. He was beginning to play a more important part in Chet Ivey’s career. Despite this, the single flopped. This proved to be the last single Chet Ivey released on ABC-Paramount.
Next stop for Chet Ivey was Al Sears’ new label Gator. Chet wrote Now We Must Part, which was released in the 1962 with Alpine Twist on the B-Side. Just like previous singles, Now We Must Part failed commercially. It proved to be Chet’s only release on the short-lived Gator label.
With the Gator label consigned to musical history, Chet Ivey signed to Al Sears’ new label B & C. It had been founded to release Chet’s recordings. He helped run the nascent B & C imprint which was based in Washington DC. Some, if not all, the singles were recorded in New York, which was home to Ernie Hayes who produced Chet’s singles. This included his B & C debut single, the raw R&B of Keep On Keeping On. Just like previous singles, commercial success continued to elude Chet. Three years after releasing his debut single, Chet Ivey was no nearer to making a commercial breakthrough.
Although Chet Ivey’s found an audience locally, they hadn’t attracted the attention of record buyers across America. Chet wasn’t going to give up though. He was determined to make a breakthrough, and released by 1964 had released a total of five singles on B & C.
For what should’ve been his sixth single for B & C, Chet Ivey had penned Something Else. When Al Sears heard the song, he thought it had the potential to transform Chet’s career. So he decided to release the single another of his other labels, Sylvia Records. Sadly, when Something Else was released, commercial success eluded the single, and Chet returned to the B & C label.
The search for a hit continued, and in 1965, Chet Ivey released as his with single, a cover Lieber and Stoller’s Poison Ivy. When it was released in 1965, the song failed to make an impression on the charts. Six years after releasing his debut single, and still he was no closer to a hit single.
By November 1968, Chet Ivey had released fourteen singles on B & C. Each single offered something different. When a single failed to find a wider audience, Chet Ivey changed direction. He tried releasing raw R&B, heart wrenching ballads and dance-floor friendly club soul. It was all to no avail. Then he caught a break when Al Sears was invited by Ray Charles to run his record label Tangerine Records.
Al Sears knew Ray Charles from their time at ABC-Paramount. He had plenty of experience running record and publising companies. Ray Charles needed someone to run Tangerine Records, and his new publishing company. The man that fitted the bill was Al Sears. He accepted the new role and headed to Los Angeles. Soon, Tangerine Records were releasing a few Al Sears’ productions.
One of them, was a new Chet Ivey composition, Shake A Poo Poo. This was about to be released in November 1968 as Chet’s new single. Al Sears would hoped that this would result in a new dance craze. Publicity photos were sent out to the press and the single was released. However, music had changed since dance crazes were all the rage in early sixties. By 1968, psychedelia was King. Still, Al Sears and Chet Ivey still thought that writing a song that spurned a new dance craze was the answer to their problems. It wasn’t. Shake A Poo Poo sunk without trace. For Chet this was a disaster.
With Al Sears living in LA, and concentrating on Tangerine Records, his own labels weren’t releasing much in the way of music. In 1969, B & C released The Poo Poo Man by Chet “Poison” Ivey And His Fabulous Avengers. This was the fifteenth single that Chet had released on B & C. It followed in the footsteps of the other fourteen, and failed to chart. It was the end of era for Chet Ivey.
By 1969, Chet Ivey had released fifteen singles for B & C between 1962 and 1969. While the singles were popular locally, they failed to find an audience further afield. Fortunately, he was a popular live draw and was a familiar face on the live circuit. That was where he spent much of the next three years.
After four years in LA, Al Sears returned home and revived Sylvia Records. One of his first signings was Chet Ivey. He would release seven singles between 1972 and 1975. They feature on A Dose Of Soul-The Sylvia Funk Recordings 1972-1975.
The first single that Chet “Poison” Ivey And His Fabulous Avengers released on the revived Sylvia Records was Funky Chit Chat (Part I). On the flip-side was Funky Chit Chat (Part II). Both sides were written by Chet Ivey. He arranged and produced the two sides at Sigma Sound Studios in Philadelphia, on April ‘17th’ 1972. Later in 1972, Funky Chit Chat (Part I) was released as a single. It’s best described as sixties R&B meets James Brown’s 1970 single Hey America. Despite being bang on trend, Chet’s adventure in funk was no more than a regional success. Still, Chet Ivey was looking for that elusive hit single.
Later in 1972, Chet “Poison” Ivey And His Fabulous Avengers returned with a new single, So Fine. This was a cover of The Fiestas 1959 single. It was given a funky, soulful makeover. Then on the B-Side was Bad On Bad, there’s a nod to James Brown, as Chet sings, raps and vamps while the His Fabulous Avengers reach new heights of funkiness. When So Fine was released in 1972, it was popular locally, but failed to find a wider audience.
When Chet “Poison” Ivey And His Fabulous Avengers returned later in 1972, it was with the soulful, funky Movin’. It saw the first Chet “Poison” Ivey And His Fabulous Avengers’ single to feature a horn section. This lead to comparisons with Sly and The Family Stone. On the B-Side was another Chet Ivey composition, When Love Comes. The horns play a leading role as Chet vocal veers between soulful to vampish. When Movin’ was released, it failed to trouble the charts and was Chet’s least the successful single he released on Sylvia Records between 1972 and 1975,
Late in 1972, Chet “Poison” Ivey And His Fabulous Avengers released the instrumental Don’t Ever Change. Chet unleashes a tenor saxophone solo above the Hammond organ driven groove. It’s akin to a funk masterclass from Chet “Poison” Ivey And His Fabulous Avengers. The B-Side Been So Long is a much more soulful sounding, mid-tempo song. There’s still a funky side to Been So Long, as the horns interject and accompany Chet. Don’t Ever Change was released late in 1972, it passed record buyers by. This was the last that was heard of Chet “Poison” Ivey And His Fabulous Avengers until 1974.
By 1972, Chet Ivey’s had embarked upon an alternative career as a radio DJ. He took over the 9-11 slot at WANN in 1972, and hosted the program until he became program controller. However, in 1974, Chet “Poison” Ivey And His Fabulous Avengers returned with a new single.
This was Dose Of Soul, which was recorded in Sigma Sound Studios in Philadelphia. Although funky and soulful, there’s a slicker, disco influence on Dose Of Soul. On the B-Side, was Get Down With The Geater Pt 1. It featured Chet “Poison” Ivey And His Fabulous Avengers’ old funky sound. The two different sides of Chet “Poison” Ivey And His Fabulous Avengers sat side-by-side. Despite the change in direction, Dose Of Soul wasn’t the commercial success that Al Sears and Chet hoped. For Chet Ivey, it was a case of back to the drawing board.
In 1975, Chet “Poison” Ivey And His Fabulous Avengers returned with a new single, Party People. This was a six minute epic, spread across two sides of the single. Party People Pt 1 was chosen as the single, and had a cinematic, dance-floor friendly sound. It may have sounded as if it belonged on a Blaxploitation soundtrack, but it was also a track that should’ve filled dance-floors. Alas, when Party People Pt 1 was released, the single failed commercially. For Chet this was a huge blow, it was the finest moment of Chet “Poison” Ivey And His Fabulous Avengers’ career at Sylvia Records. Sadly, Chet’s time was about to come to an end.
Having gotten over the disappointment of the commercial failure of Party People Pt 1, Chet “Poison” Ivey And His Fabulous Avengers returned with another two part single, Recipe To Get Down Part 1 and 2. It was released later in 1975. Recipe To Get Down Pt 1 was slick, soulful, funky and dance-floor friendly. Just like Party People Pt 1, Recipe To Get Down Part 1 should’ve transformed the fortune of Chet “Poison” Ivey And His Fabulous Avengers. Here was a single that should’ve appeared to DJs and dancers. Unfortunately, Recipe To Get Down Part 1 failed commercially. This was Chet “Poison” Ivey And His Fabulous Avengers’ seventh single that failed commercially. For Chet “Poison” Ivey And His Fabulous Avengers it was the end of their time at Sylvia Records.
The only other single the members of Chet Ivey recorded for Sylvia Records was One More Sunset. When it was released in the late-seventies, it bore the name Windell Ivey. The song became popular amongst club DJs. However, One More Sunset doesn’t feature on A Dose Of Soul-The Sylvia Funk Recordings 1972-1975. Four other tracks make an appearance on A Dose Of Soul-The Sylvia Funk Recordings 1972-1975.
The first is He Say She Say, which made its debut on BGP’s compilation The Mighty Superfunk in 2008. The other three tracks are alternate versions Get Down With The Geater, Chit Chat and Bad On Bad. This funky trio are welcome additions to A Dose Of Soul-The Sylvia Funk Recordings 1972-1975. It’s a reminder of Chet “Poison” Ivey And His Fabulous Avengers when they released some of the best singles of their long career. Sadly, these singles failed to find a wider audience.
Instead, they proved popular locally, and were regularly played by radio stations in the Maryland area. That was as good as it got for Chet “Poison” Ivey And His Fabulous Avengers. The former soldier turned bandleader, singer, songwriter and saxophonist rereleased over thirty singles, but never made the commercial breakthrough his music deserved.
Although commercial success eluded Chet Ivey, working in radio allowed him to remain involved in music for much of his life. When his radio career came to an end, Chet Ivey worked for several companies. His last job was with the US Department Of Transport, where he received several commendations. Just like his time in the US Army, Chet Ivey was highly regarded and respected by his contemporaries and peers.
Sadly, Chet Ivey died on the ‘10th’ May 2007, aged seventy-four. He had dedicated much of his life to music, and but sadly, neither enjoyed the commercial nor received the critical acclaim his music deserved. The release by BGP, an imprint of Ace Records, of A Dose Of Soul-The Sylvia Funk Recordings 1972-1975 is the perfect opportunity to discover the truly talented bandleader, singer, songwriter and saxophonist, Chet Ivey.
A Dose Of Soul-The Sylvia Funk Recordings 1972-1975.
LOVIN’ MIGHTY FIRE: NIPPON FUNK, SOUL, DISCO 1973-1983.
Lovin’ Mighty Fire: Nippon Funk, Soul, Disco 1973-1983.
Sometimes, record collectors can be somewhat myopic and overlook great swathes of music. That has long been the case. It was certainly the case back in the late-sixties and early seventies. This was a golden age for music. Especially for anyone interested in classic rock, progressive rock and psychedelia. During this period, many record collectors gravitated towards the music being released on both sides of the Atlantic. Critics assured record collectors that this was where the best music was being released. In doing so, they were overlooking psychedelia and rock elsewhere in the world.
As a result, record collectors failed to discover vibrant musical scenes in other countries. In Germany, the Krautrock scene was at the peak of its popularity; while some of the best progressive rock was being released Italy and Switzerland. Elsewhere, in Europe, and in across South America and Africa, psychedelia and rock was growing in popularity. Many groundbreaking albums were being released, and were selling in vast quantities. However, they failed to attract the attention of record collectors in Britain and America.
Later, history began to repeat itself in the soul and funk community. Record collectors set out to find the best in American soul and funk. Some even bought cheap transatlantic tickets as they headed to the home of soul and funk. This was no surprise.There was a degree of competitiveness as DJs and collectors as they sought out the long-overlooked hidden gems. Some had been released by the most famous soul and funk labels, like Atlantic, King, Motown and Stax. However, many hidden gems had been released by small, independent American labels.
Many of these labels were no longer in existence. Despite that, their releases were highly prized among collectors, and regularly changed hands for large sums of money. Those without deep pockets, resorted to crate digging in thrift stores, junk warehouses and backstreet record shops. Sometimes, collectors struck gold as they found a records issued by small, obscure labels. These finds quickly became popular and were soon, changing hands for large sums of money. Soon, the whole process began with another genre…disco.
Soon, record collectors had turned their attention to American disco. Again they were looking for the hidden gems that had slipped under the radar. This meant looking through the myriad of disco singles released before the bubble hurst. Record collectors weren’t interested in the commercial releases that were two a penny. Neither were they interested in singles released by bandwagon jumpers or releases cash-in singles by third rate celebrities. Instead, they were looking for private presses, or singles released by regional labels. However, just like the soul and funk collectors, the focus was always on American releases.
This was no surprise. Soul, funk and disco were born in America. Many record collectors, especially in Britain, thought that the best soul, funk and disco was released in America by American labels. As a result, very few record collectors even considered looking further afield for soul, funk and disco. They never even looked across the border to Canada, which was home to several successful disco production partnerships never mind halfway around the world.
Little did these record collectors know that disco was popular in parts of Africa and South America. Similarly, disco was popular in Japan. So was soul and funk. However, very few people in Britain and America were aware of Japan’s burgeoning and vibrant soul, funk and disco scenes. It was one of the best kept musical secrets, and until still was until BGP International released Lovin’ Mighty Fire: Nippon Funk, Soul, Disco 1973-1983. This fourteen track compilation is first official collection of Japanese soul, funk and disco to be released in the West.
For newcomers to Japanese soul, funk and disco then Lovin’ Mighty Fire: Nippon Funk, Soul, Disco 1973-1983 is the perfect starting place. It features Lily, Rie Nakahara, Yasuko Agawa, Pink Lady, Junko Ohash, Mari Natsuki, Miyako Chaki and Ebonee Webb. They’re just some of the fourteen artists that feature on Lovin’ Mighty Fire: Nippon Funk, Soul, Disco 1973-1983.
Lily was the stage name of singer-songwriter Kamata Saeko. She opens Lovin’ Mighty Fire: Nippon Funk, Soul, Disco 1973-1983 with By By Session Band. It was the B-Side to Lily’s fifth single Wind Pain, which was released by the Express label in 1974. By By Session Band is a real find. The arrangement is funky and heads in the direction, while Lily’s vocal is sassy and soulful.
In 1978, singer, actress, and TV presenter Rie Nakahara released Disco Lady as a a single on CBS/Sony. Tucked away on the B-Side was the hidden gem Sentimental Hotel. It’s a lush and soulful slice of disco that would featured on Rie Nakahara’s third album Killing Me in 1979.
Haruomi Hosono’s career began in 1969, when he was a member of Apryl Fool, one of Japan’s legendary psychedelic rock bands. Four years later, and Haruomi Hosono was about to embark upon a solo career. He had signed to Bellwood Records, who were about to release his debut album Hosono House. The eleven songs had been written, recorded and produced in Haruomi Hosono’s home studio. This included the genre-melting ballad Barato Yajuu. It features a heartfelt, soulful vocal while the carefully crafted arrangement combines of folk-rock, funk, pop, soul and even a hint of psychedelia. When this is combined, the result is a quite beautiful, timeless ballad.
Originally, Yasuko Agawa started out as an actor. Later, she started singing in a jazz band. This proved to be the start of Yasuko Agawa’s musical career. By 1980, she was about to release her third album Love Bird on the Victor label. Opening Love Bird was Why Don’t You Move In With Me, which was funky, soulful and dance-floor friendly. Thirty-seven years later, and it would still fill a dance-floor.
Pop duo Pink Lady released their debut single in 1976. Three years later, they were one of Japan’s biggest disco acts. When Pink Lady released Zipangu in March 1979, it reached number four in the Japanese charts and sold over 250,000 copies. Hidden away on the B-Side was Jiken Ga Okitara Bell Ga Naru (When A Bell Rings Something Happens). Pop, funk and Euro Disco are combined by Pink Lady on this slick sounding track.
For her fourteenth single, Yuko Asano decided to cover Sergio Mendes’ Summer Champion. It was totally transformed, and given a disco makeover. Swathes of strings and bubbling synths accompanied Yuko Asano’s tender, soulful vocal. This looked like the recipe for a another hit single. However, Summer Champion stalled at forty-eight in the Japanese charts. Despite not reaching the upper reaches of the charts, this memorable slice of soulful disco sold over 50,000 charts and gave Yuko Asano another hit single.
When it came to recording her tenth album, Junko Ohashi decided to record Point Zero in New York. It was produced by Junko Ohashi’s husband Ken Sato and featured some top musicians. This included former M.F.S.B. bassist Anthony Jackson. Once the album was completed, Point Zero was released by Phillips in 1983. Dancin’ was chosen as the lead single. It showcased the boogie sound, which had grown in popularity in the post-disco era. A year later, Dancin’ a funky slice of boogie featured on Magical, which was a compilation of some of the highlights of Junko Ohashi’s career so far.
Anyone familiar with the Vertigo label discography will know Masayoshi Takanaka’s name. He was a member of the progressive rock band Fried Egg, who released two albums on Vertigo. By 1981, guitarist and producer Masayoshi Takanaka was a successful solo artist. He had just released a new album, The Rainbow Goblins. One of the album’s highlights was Rainbow Paradise a dance-floor friendly slice of fusion which featured a guitar masterclass from Masayoshi Takanaka.
Former teen idol Mari Natsuki was twenty-four when she recorded Uragiri in 1976. It was the ninth single she had released since adopted the moniker Mari Natsuki. This allowed her to change direction musically. Mari Natsuki wanted to release music that featured tough, funky arrangements and a sensual vocal. That was the case on Uragir, where lush strings accompany Mari Natsuki as she delivers a breathy, sensuous vocal. Alas, when it was released in 1976, it failed to find audience. Uragiri was the one that got away for Mari Natsuki.
After releasing five solo singles, commercial success continued to elude Miyako Chaki. That was about to change in 1977, when she released her sixth solo single Maboroshi No Hito on Harvest Records. Maboroshi No Hito was the theme to a popular television drama The Inugumi Family. When Maboroshi No Hito single was released, it reached thirty-three in the Japanese charts and sold over 70,000 copies. This beautiful, heartfelt, soulful ballad was a game-changer for Miyako Chaki. Later, in 1977, Maboroshi No Hito featured on Miyako Chaki’s third album Rainbow Chaser. However, this was a different version to the original, which transformed Miyako Chaki’s career.
Five years after releasing her debut single, Kay Ishiguro released her seventh album, Yokohama Ragtime. It was released on the Invitation label in 1982. One of the songs on the album was Banana. Hooks haven’t been rationed on a funky sounding slice of J-Pop.
Masaaki Hirao’s career began in the fifties, during the rockabilly era. Over twenty years later and he released the album Disco Train, on Atlantic in 1976. The title-track was released as a single later in 1976. Tucked away on the B-Side, was another track from Disco Train, Funky! “Miyo” Chan. It was originally released in the sixties. A decade later, and the song has been reinvented and sounds as if it’s been heavily influenced by Herbie Hancock’s 1978 single I Thought It Was You. Suddenly, this familiar song is revitalised as Masaaki Hirao seamlessly fuse funk, fusion and soul.
In 1978, Ebonee Webb, an eight piece funk band from Memphis, Tennessee enjoyed a hit single in Japan with Disco Otomisan. Determined to build on this success, Ebonee Webb recorded their sophomore album Memphis Soul Meets Japanese Folk Songs. It was released on the Seven Seas label in 1979, and featured Yashow Macashow. The song was given a makeover by Ebonee Webb, who combined rock, funk and fusion, jazz with uber soulful vocals. This resulted in one of the highlights of Memphis Soul Meets Japanese Folk Songs, which saw Ebonee Webb’s popularity soar in Japan and the Far East. So much so, that Capitol Records signed Ebonee Webb.
Closing Lovin’ Mighty Fire: Nippon Funk, Soul Disco 1973-1983 is Naoya Matsuoka and Minako Yoshida’s 1979 single Lovin’ Mighty Fire. It was released by Atlantic, and was a collaboration between celebrated keyboardist Naoya Matsuoka and vocalist one of Japan’s top female vocalists, Minako Yoshida. This proved to be a potent partnership. Almost seamlessly they combine and switch between funk, fusion, electro and soul. In doing so, they create a melodic hook-laden track that ensures Lovin’ Mighty Fire: Nippon Funk, Soul Disco 1973-1983 ends on a memorable high.
For anyone looking to for an introduction to Japanese soul, funk and disco then Lovin’ Mighty Fire: Nippon Funk, Soul Disco 1973-1983 is the perfect starting place. It was released by BGP International, an imprint of Ace Records and features fourteen tracks.
There’s fourteen songs on Lovin’ Mighty Fire: Nippon Funk, Soul Disco 1973-1983. This includes Lily, Rie Nakahara, Yasuko Agawa, Pink Lady, Junko Ohash, Masayoshi Takanaka, Mari Natsuki, Miyako Chaki and Masaaki Hirao. They were some of the biggest names in Japanese music between 1973 and 1983. Some of the other artists didn’t enjoy the commercial success that their music deserved. These songs are best described as hidden gems. Thus is what many DJs and record collectors spend half their life looking for. However, until relatively recently, very few collectors of soul, funk and disco looked towards Japan.
That has all changed. Now record collectors realise that there’s a huge amount of music awaiting discovery in Japan. The music on Lovin’ Mighty Fire: Nippon Funk, Soul Disco 1973-1983 is a tantalising taste of that music.
Lovin’ Mighty Fire: Nippon Funk, Soul, Disco 1973-1983.
INNA DE YARD-THE SOUL OF JAMAICA.
Inna De Yard-The Soul Of Jamaica.
Back in June 2016, two generations of Jamaica’s greatest musicians were about to embark upon a musical adventure. Before that, they had to head high into the hills above Kingston. Their eventual destination was Kiddus I’s studio. It sits high above the vast forests that decorate the hills on the outskirts of Kingston. It’s an unlikely site for a recording studio.
Eventually, some of legends of Jamaica’s musical past, arrive at Kiddus I’s studio. This includes Ken Boothe, Lloyd Parks and The Viceroys. They’re soon joined by Cedric Myton from The Congos, Winston McAnuff and Cedric Mynton. Joining them, would some of the rising stars of Jamaican music, including Derajah, Kush McAnuff, Bo-Pee Bowen, Var and Steve Newland. As the musicians arrive, they head inside Kiddus I’s.
Copies of the records recorded in the studio hang on the wall. So do photos of the artists who recorded at Kiddus I’s studio. Soon, they’ll be joining this roll of honour. As they enter the main studio, Rastafarian paintings hang proudly on the wall. Old friends catch up before the recording gets underway. Some head out through the swing doors and sit on the balcony overlooking Kingston.
They catch up, joke and reminiscence. Some smoke or drink, while others gaze out at the spectacular view of Kingston and beyond. Always though, the musicians were thinking about what was about to unfold over the next few days. The two generations of Jamaican musicians were about to record an album together. This was an exciting project that nine months later, came to fruition when Inna De Yard’s album The Soul Of Jamaica was released by Chapter Two Records on March ‘17th’ 2017. However, that day in June 2016 when the two generations of musicians arrived at Kiddus I’s studio, the adventure was just beginning.
Meanwhile, Kiddus was inside setting up his studio and preparing to record history being made. He could hear laugher as the two generations of musicians got know each other. Some of the icons of the golden age of Jamaican music seemed to be enjoying the opportunity to spend time with the latest generation of roots musicians. They joshed, laughed and began to exchange ideas. It sounded as if they were getting on well. This was just was well, as they were about to spend the next few days recording an album together. Kiddus I knew, was a once in a lifetime opportunity.
He may never again get the opportunity to bring together this group of musicians. Kiddus I was determined to do whatever it took to capture these musicians at their best. This might mean going with the flow, and see where the music took him as he recorded The Soul Of Jamaica. With the studio setup, Kiddus I and the band he had brought together to record the album were ready to go.
For this very special recording session, Kiddus I wanted a backing band that featured top musicians. In his eyes, there was no better than pianist Robbie Lyn, guitarist Winston ‘Bo Pee’ Bowen and Ruel ‘Rice’ Ahsburn on contrabass. They would provide accompany the musicians who now, were preparing for the recording of The Soul Of Jamaica. The band Kiddus I hoped would play their part in music that was rich in Rastafarian spirit and oozed soulfulness.
In Jamaican music, the soul comes from the root. It was originally honed when musicians combined an standup bass, piano, guitar, percussion and vocal. They ware guided by Nyabinghi rhythm, which was originally, was a Rastafari ritual. Since then, it’s played an important part in Jamaican music. That was the case right through to when artists young and old began recording the songs that would feature on The Soul Of Jamaica.
Songs had been carefully chosen for each and every artist that would feature on The Soul Of Jamaica. For the artists that represented the golden age of Jamaican music, underground classics which were written in the sixties and seventies, were chosen. Meanwhile, some of the new generation of Jamaican musicians decided to cover songs penned by their contemporaries. Others decided to rerecord songs that had originally been recorded by artists on Earl Chinna Smith’s Inna De Yard label. However, the artist had the freedom to take the song in the direction they chose.
As the recording sessions began, Kiddus I had created a relaxed and informal atmosphere. He encouraged artists to dictate what sort of accompaniment they wanted. Some decided they wanted the full band to accompany them. Others wanted a much more understated backdrop accompanying their vocal. This would allow their vocal to take centre-stage as they delivered a heartfelt, poignant and positive message that spoke of love and harmony. Kiddus I, who knew each of the artists, concentrated on capturing vocals that were rich in Rastafarian spirit and oozed soulfulness from the moment he pressed record.
Only the piano and vocals were recorded within the environs of the studio. Other instruments were recorded outside of the main studio. Meanwhile, Kiddus I threw open the doors to the terrace and encouraged the musicians to relax and enjoy themselves. They laughed, reminisced, sang, played instruments, smoked and later, watched as the sun set. In allowing the musicians this freedom, Kiddus I knew he would get the best out of the two generations of musicians.
Over the space of four days, a total of twenty tracks were recorded for The Soul Of Jamaica project. This meant that Kiddus I had more than enough for the project. They would later cherry pick thirteen songs that found their way onto The Soul Of Jamaica. As Kiddus I had hoped, they were rich in Rastafarian spirit and oozed soulfulness.
The Viceroys open The Soul Of Jamaica with Love Is The Key. Before their vocals enter, briefly, the sound of birds and dogs barking in the distance can be heard. They accompany an impassioned lead vocal, until the rest of The Viceroys enter.
Their message is one of peace, positivity and understanding.
Meanwhile, the arrangement is slow and understated with the piano playing the leading role. It’s joined by the bass and percussion. However, it’s The Viceroys that play a starring role, with their heartfelt, soulful vocals.
Ken Boothe features twice on The Soul Of Jamaica. His first contribution is Let The Water Run Dry. Soon, he’s rolling back the years. Accompanied by chirping guitar, piano and harmonies, Ken brings the lyrics to life. It’s as if he’s lived and survived the scenario, as he sings: “I won’t make the same mistake again.” Even if: “you let the teardrops fall from your eyes.” It’s a case of once bitten, twice shy from veteran vocalist Ken Boothe.
Slaving is the first of two songs from Lloyd Parks. As it unfolds, a piano and guitar combine before the bass ushers in Lloyd’s despairing vocal. Meanwhile the studio band provide the shuffling heartbeat.A piano, percussion and chiming guitar are added. They frame the vocal. Later, percussion adds an element of drama, while harmonies sympathise with Lloyd’s plight. However, he sees hope for the future in this poignant song.
Kush McAnuff’s Black To I Roots has a much fuller arrangement, that has been influenced by the golden age of Jamaican music. A moody piano is joined by a braying horn before the bass, guitar and percussion combine. For a minute, the band enjoy the opportunity to stretch their legs. Then when Kush’s vocal enters, it’s heartfelt and soulful. He’s accompanied by cooing female backing vocalists, who match him every step of the way. When they drop out, horns and a fleet-fingered Spanish guitar take charge. Kush McAnuff returns and this powerful song reaches its memorable crescendo.
A piano, guitar and horns are joined by bass and percussion on Youthman. They set the scene for Cedric Myton’s urgent, hopeful vocal. It’s accompanied by tender harmonies, while stabs of horns and piano play leading roles. Later a wistful horn is added to the mesmeric backdrop. When the vocal and harmonies return they hope and plea for justice on a song which is rich in Rastafarian spirit and oozed soulfulness.
Var is another of the new generation of Jamaican up-and-coming musicians on The Soul Of Jamaica. His contribution is Crime, a song which deals with the social problems affecting young people in Jamaica. Still, there’s a soulfulness that comes courtesy of Var and female backing vocalists. Meanwhile,it’s a case of less is more with the arrangement. Just a piano, bass, guitar and percussion accompany Var. They play their part in powerful, poignant and soulful song from one of the rising stars of Jamaican music.
Kiddus I moves from behind the mixing desk and takes centre-stage on Jah Power, Jah Glory. Soon, he’s delivering an impassioned and soulful vocal. Meanwhile, his band pull out the stops, and combine piano, percussion, bass, guitar and an accordion. A frustrated Kiddus I sings of inequality, poverty, war and how the planet is becoming despoiled and polluted. There’s almost disbelief at what Kiddus I is watching happen to the world, on a thought, provoking and spiritual sounding song.
Artibella is a tale of love lost and betrayal that marks the return of the Ken Boothe. Again, he brings the lyrics to life as he sings of how his girlfriend left him for another man. Meanwhile, an accordion, bass, guitar, percussion and piano accompany Ken. He recounts how: “Artibella you took all my money, and told me you didn’t love me.” Despite this, he’s soon pleading: “Artibella my pretty little darling, please come home to me.” It seems love is blind.
Just a gently strummed guitar and piano are joined by the bass as Steve Newland delivers an urgent vocal on Sign Of The Times. Sharp stabs of piano accompany percussion and a crystalline piano join with a sweeping, soulful harmonies. They provide a foil for a vocal that veers between urgent, worldweary and soulful on a song that’s melodic and memorable.
Winston McAnuff is accompanied by sweet, soulful and cooing harmonies as Secret unfolds. Meanwhile, the arrangement chugs steadily along. Percussion and piano are to the fore. It’s the harmonies that play a leading role. They accompany Winston every step of the way, and respond to his call. Later, his vocal becomes a mixture of power and emotion. It soars hight above the arrangement and is akin to a heartfelt confessional. Still, though, the harmonies accompany him and play their part in the sound and success of the song.
Gradually,the arrangement to Stone begins to unfold. There’s an element of theatre, before the percussion, guitar and ethereal harmonies give way to Derajah’s vocal. It’s heartfelt and has a spiritual quality. Meanwhile, an acoustic guitar and percussion are augmented by the elegiac harmonies. They join with Derajah to create a truly beautiful song.
Money For Jam marks the return of Lloyd Parks. Horns, an accordion and percussion set the scene for Lloyd’s soulful vocal.
Tender harmonies accompany him as he delivers lyrics full of social comment. “Instead of walking down the street and robbing the people you meet, you got to work for the jam.” Soon, horns, an accordion and harmonies join the bass, guitar, piano and percussion. They all accompany one of the Jamaican music’s veterans, as he delivers a vocal masterclass.
Closing The Soul of Jamaica is Thanks and Praise by Bo-Pee. It features an understated and spartan arrangement. Just an acoustic guitar accompanies Bo-Pee’s vocal. That’s all that is needed. Anything else would risk overpowering the vocal. It’s sincere and has a spiritual quality, on what’s a beautiful song. Just like on so many albums, one of the best tracks has been kept until last on The Soul Of Jamaica.
It was recorded over four days at Kiddus I’s studio, high above Kingston. That was where two generations of musicians came together, and recorded the thirteen songs that became The Soul Of Jamaica. Legends of Jamaican music joined with some of the island’s rising stars. Nine months later, and The Soul Of Jamaica was released by Chapter Two Records on March ‘17th’ 2017. However, The Soul Of Jamaica is no ordinary reggae album.
Instead, The Soul Of Jamaica finds the eleven artists delivering poignant and positive messages of love and harmony. That is the thread that runs through each and every song on the album. They’re rich in Rastafarian spirit and ooze soulfulness. However, that is not all.
The music on The Soul Of Jamaica is also beautiful, melodic and memorable. Other times it’s powerful, spiritual and thought-provoking as artists discuss the social problems that blight not just Jamaica, but the wider world. Songs like Lloyd Parks’ Money For Jam the songs are akin to mini morality tales, that offer advice to those who have taken a wrong turning in life. These morality tales come filled with a powerful and positive message. This adds to the poignancy of the music on The Soul Of Jamaica. It was recorded by two generations of talented musicians.
Despite the difference in age, each and every musician played their part in the sound and success of The Soul Of Jamaica. It’s one of the finest reggae albums of recent years. There’s neither padding nor filler on The Soul Of Jamaica. Instead, it’s quality all the way. That’s not all. The Soul Of Jamaica is imbued with the Rastafarian spirit and soulfulness as eleven artists spread messages of love, harmony, positivity and togetherness.
Inna De Yard-The Soul Of Jamaica.
FRIGHTENED RABBIT-THE STORY SO FAR.
Frightened Rabbit-The Story So Far.
It’s at this time of year, that the Scottish music industry’s thoughts turn to the Scottish Album Of The Year Award. It’s Scotland’s most prestigious music prize. Already many albums have been nominated. This includes Frightened Rabbit’s Picture Of Panic Attack, which is regarded as a contender for the Scottish Album Of The Year Award. Picture Of Panic Attack was Frightened Rabbit’s second album for Atlantic Records. Frightened Rabbit had come a long way since Scott Hutchison founded the band.
Frightened Rabbit’s roots can be traced back to Scott Hutchison’s teenage years in Selkirk, Scotland. Back then, Scott Hutchison was chronically shy. So much so, that his mother christening her son Frightened Rabbit. This moniker Scott would later resurrect, when he began to play some live shows.
Before that, Scott Hutchison had spent the previous six months making recordings on a four-track recorder. By then, Scott was beginning to overcome his shyness. So much so, that he was thinking about playing a few live shows as a solo artist. This was when Scott decided to dust down the Frightened Rabbit moniker.
Having adopted the Frightened Rabbit moniker, Scott Hutchison made his first tentative steps into the local music scene in 2003. For the first year, Frightened Rabbit was just Scott and his guitar. After a year, Frightened Rabbit’s lineup expanded.
Frightened Rabbit’s latest addition was Grant Hutchison, Scott’s brother. He joined in 2004 and became the band’s drummer. A year later in 2005, bassist Billy Kennedy joined Frightened Rabbit. Already, word was spreading about Frightened Rabbit. This was no surprise.
For the first couple of years, Frightened Rabbit were a familiar face on Scotland’s live scene. They knew the only way to build a following was by plating live. There were no short cuts. It also allowed the indie rockers to hone their sound. At their early shows, Frightened Rabbit gave out their email address, promising to send anyone who wanted one , a demo and even biscuits.
Soon, demos were being sent not just to the four corners of Scotland, but rest of Britain, and even America. Frightened Rabbit knew the value of self-promotion. These demos would introduce Frightened Rabbit’s music to a much wider audience. So when Frightened Rabbit released their debut album, hopefully, they would have a ready made audience for their music.
Before long, Frightened Rabbit were attracting the attention of record companies. It was obvious that they weren’t going to remain an unsigned band for much longer. Frightened Rabbit signed to the Hits The Fan label, and began working on their debut album, Sing The Greys.
Sing The Greys.
For their debut album, Sing The Greys Frightened Rabbit had penned ten songs. They were recorded at The Diving Bell Lounge, in Glasgow. Co-producing Sing The Greys, was Marcus MacKay. Once the album was complete, Hits The Fan scheduled the release for the summer of 2006.
Before that, critics had their say on Sing The Greys. Frightened Rabbit’s debut album was well received by critics. Several critics thought that Frightened Rabbit were rising stars of the indie scene.
Despite this, the Hits The Fan label had only 1,000 copies of Sing The Greys pressed. Given the band already had built up a loyal following, this seemed a strange decision. When Sing The Greys was released on June 5th 2006, the album sold well, and is now something of a collectable. Frightened Rabbit were on their way.
Having released their debut album, Frightened Rabbit continued to play live, and spread their musical message. Sing The Greys had introduced Frightened Rabbit’s music to a new audience. This included some record companies who were watching the progress of Frightened Rabbit.
This included the Brighton based FatCat Records. They saw the potential in Frightened Rabbit, and signed the band in 2007. Straight away, FatCat Records decided to reissue Sing The Greys. Before that, some parts of the album had to be recorded, while the album was remixed and remastered. The reissue of Sing The Greys on FatCat Records took the pressure off Frightened Rabbit. Now they could spend time writing and recording their sophomore album, The Midnight Organ Fight.
The Midnight Organ Fight,
Just like their debut album Sing The Greys, Frightened Rabbit wrote the fourteen songs that became The Midnight Organ Fight. The main difference was that the album was recorded not just in Glasgow, but America.
While some of the recording of The Midnight Organ Fight took place at The Diving Bell Lounge, in Glasgow, much of the recording took place at Tarquin Studios, Bridgeport, Connecticut. That was home to producer, engineer, mixer and musician Peter Katis. After a month where Frightened Rabbit spent long hours recording The Midnight Organ Fight, the album was complete. Now Frightened Rabbit headed home to Glasgow, which was now home to the band.
With The Midnight Organ Fight recorded, Scott Hutchison was back in Glasgow for New Year. That was where Scott bumped into guitarist and keyboardist Andy Monaghan of Piano Bar Fight on New Year’s Eve. They had supported Frightened Rabbit, and knew each other quite well. However, Andy wasn’t prepared for Scott asking him if he would like to play a few shows with Frightened Rabbit. This wasn’t supporting the band, but as part of the band. Soon, Frightened Rabbit became a quartet.
They would make their debut supporting The Midnight Organ Fight, which was scheduled to be released in Spring of 2008. It would soon become apparent that all Frightened Rabbit’s hard work had been worthwhile.
When critics heard The Midnight Organ Fight, they spoke as one praising what was a highly accomplished and carefully crafted album. The lyrics met with the approval of critics, who were won over by the honesty. They played in album that was released to overwhelming critical acclaim. This bode well for release of The Midnight Organ Fight.
It was released on 15th April 2008. Alas, The Midnight Organ Fight reached just seventy-two in the Scottish album charts. This was a disappointment for Frightened Rabbit. The Midnight Organ Fight looked like it was set to be the band’s breakthrough album. However, Frightened Rabbit returned later in 2008 with their first live album, Quietly Now!
Quietly Now!
Recording Frightened Rabbit’s first live album took place in adopted hometown of Glasgow. Frightened Rabbit had chosen fourteen songs, that they would play at The Captain’s Rest, on 30th July 2008. That night Frightened Rabbit showed another side to their music,
When Frightened Rabbit took to the stage at The Captain’s Rest, the proceeded to play what was mostly, an acoustic set. The fourteen songs were mostly taken from The Midnight Organ Fight. Joining Frightened Rabbit, were James Graham from The Twilight Sad. He features on Keep Yourself Warm, while Ross Clark joins Frightened Rabbit on Old Old Fashioned. After fourteen songs, Frightened Rabbit left the stage to rapturous applause.
When Quietly Now! was released on October 21st 2008, the album only featured twelve songs. Two songs, the instrumental interludes Bright Pink Bookmark and Extrasupervery were omitted. However, that didn’t matter. They wrote glowing reviews of Quietly Now!, praising Frightened Rabbit’s mostly acoustic performance. Things however, were about to improve for Frightened Rabbit.
As 2008 drew to a close, The Midnight Organ Fight found its way onto the lists of best albums of 2008. It seemed that hardly a day passed without a magazine, broadsheet or website listing The Midnight Organ Fight as one of the albums of 2008. At least Frightened Rabbit knew they were on the right road. They were determined to come back stronger, with their third album, The Winter of Mixed Drinks.
The Winter of Mixed Drinks.
Now a quartet, the new lineup of Frightened Rabbit began work on The Winter of Mixed Drinks. This time though, Scott Hutchison headed to the Fife fishing village Crail.
Scott needed to unwind after a gruelling touring schedule. However, during his break in Fife, Scott mixed business and pleasure. He wrote the lyrics to The Winter of Mixed Drinks, in Crail. His surrounding influence the music on The Winter of Mixed Drinks, which has a nautical theme. During his stay in Crail, Scott even recorded some demos. The music would be written by Frightened Rabbit.
With The Winter of Mixed Drinks taking shape, Frightened Rabbit headed into the studio. Again, recording was split between Scotland and America. Castle Sound Studios, in Pencaitland, where The Blue Nile had recorded, was used to record much of The Winter of Mixed Drinks. Additional recording took place at Peter Katis’ Tarquin Studios, Bridgeport, Connecticut. By the middle of 2010, the album was complete.
Chris Hutchison was keen that there shouldn’t be large gaps between album. However, it wasn’t until March 2010 that FatCat Records released The Winter of Mixed Drinks. However, promotion of the album began in 2009. For the next six months, Frightened Rabbit were involved in a whirlwind of promotional activities and playing live. Then just before the release of The Winter of Mixed Drinks, critics had their say.
Just like their previous album The Midnight Organ Fight, The Winter of Mixed Drinks received praise, plaudits and critical acclaim. Critics were won over by the themes of escape, freedom and reinvention. They also welcomed what was a much more focused, polished and optimistic album. The Winter of Mixed Drinks looked as if it was going to be Frightened Rabbit’s breakthrough album.
And so it proved to be. When The Winter of Mixed Drinks was released on March 1st 2010, the album reached number ten in Scotland; sixty-one in the UK and eighty-four in the US Billboard 200. That wasn’t the end of the success for Frightened Rabbit.
They released four singles between 2009 and 2010 from The Winter of Mixed Drinks. The first was Swim Until You Can’t See Land, which reached number three on the US Sales charts in 2009. The followup Nothing Like You then reached number ten on the US Sales charts in 2010. By then, Frightened Rabbit had featured on American television. Their star was in the ascendancy.
Later in 2010, Frightened Rabbit’s luck looked as if it had run out, when Nothing Like You failed to chart. It was then business as normal, when The Loneliness and The Scream number eleven on the US Sales charts. Frightened Rabbit were determined to build on the success they enjoyed in America.
Before that, the announcement came that Frightened Rabbit had just signed to Atlantic Records. Frightened Rabbit were ready to make their major label debut, and came bearing gifts.
On 28th July 2011, Frightened Rabbit released the State Hospital E.P, which was produced by Leo Abrahams. This was three month’s before Frightened Rabbit’s US tour began. Subscribers to Frightened Rabbit’s newsletter were in for a pleasant surprise, as they could download the State Hospital E.P. free. For a band looking to grow their fan-base in America, this was a minor masterstroke.
By 6th December 2011, Frightened Rabbit announced that they were about to be begin pre-production of their major label debut album, Pedestrian Verse.
Pedestrian Verse.
Even by the time pre-production began, Frightened Rabbit were familiar with the songs that became Pedestrian Verse. They had been practising them on their US Tour. Just like The Winter of Mixed Drinks, Scott Hutchison had penned the lyrics and Frightened Rabbit wrote the music to Pedestrian Verse. It was recorded with Leo Abrahams, who co-produced the album with Frightened Rabbit.
Previously, Leo Abrahams had produced Frightened Rabbit’s State Hospital E.P. The vastly experienced musician and producer returned to co-produce Pedestrian Verse. Leo Abrahams brought with a huge amount of experience. He had released seven solo albums; worked on numerous collaborations and soundtracks; worked as a session musician and co-produced and produced a variety of artist. It seemed like Leo Abrahams was perfectly qualified to co-produce Pedestrian Verse.
Recording of Pedestrian Verse took place at Monnow Valley Studios, in Rockfield; The Distillery in Costa Mesa, California; Strongroom Music Studios, London; Brier Grove and The Flat. Once the album was completed, Craig Silvey mixed Pedestrian Verse. Then one of Britain’s top mastering engineers, Mandy Parnell. took charge of mastering Pedestrian Verse. Only then was the album complete.
With Pedestrian Verse ready for release, Atlantic Records began promoting Frightened Rabbit’s major label debut. While FatCat Records had spent the best part of six months promoting, The Winter of Mixed Drinks, this was a whole new ball game. Atlantic Records’ promotional campaign was much more extensive than anything Frightened Rabbit had been part of it. It paid off though.
When critics heard Pedestrian Verse, they were impressed by a much more eclectic selection of songs. They dealt with a variety of subjects. Critcis also felt Pedestrian Verse was a much more polished and cohesive album. Again, critics were won over by Frightened Rabbit and the reviews were mostly positive.
So with critical acclaim ringing in their ears, Pedestrian Verse was released on 4th February 2013. The album reached number two in Scotland; number nine in the UK; forty-nine in Ireland and sixty-three in the US Billboard 200. Pedestrian Verse was without doubt, the most successful album of Frightened Rabbit’s career. However, things got even better.
The Woodpile was released as a single in 2013, and reached seventy-four in Scotland and forty-two in the Mexico Ingles Airplay chart. Backyard Skulls then reached ninety-five in Scotland and forty-five in the Mexico Ingles Airplay chart. Although the singles were just minor singles, never before had Frightened Rabbit enjoyed a hit in Scotland or Mexico. The Atlantic Records’ years had started well for Frightened Rabbit.
After the release of Pedestrian Verse, Frightened Rabbit headed out on the longest and most gruelling tour of their career. Once the seemingly never ending tour was over, Frightened Rabbit decided to take “a break from all band related activities.” This left fans wondering what was happening Frightened Rabbit?
Especially when Scott Hutchison and his girlfriend decided to forego the delights of Glasgow for Los Angeles. The story took a twist when Scott decided to record an album as Owl John. Joining him in this new band were Andy Monaghan and Simon Liddell. Owl John was released on 4th of August 2014, and was well received by critics. By then, Gordon Skene had left Frightened Rabbit.
At the time, Gordon Skene released a statement on the 25th March 2014 that said: “there is no more to tell other than sometimes things just don’t work out and when people have differing opinions often the best option is to simply part ways and get on with life separately.” Scott Hutchison then had his say.
“Without going too far into it, Gordon’s personality didn’t fit with the band.” While that may well be the case, it had taken the other members of Frightened Rabbit the best part of six years to realise this. What wasn’t clear was whether, or when Frightened Rabbit would release another album?
Painting Of A Panic Attack.
Eventually, the situation became clear earlier in 2016. Frightened Rabbit released a statement via various social media outlets that their fifth album Painting Of A Panic Attack would be released later that year.
Frightened Rabbit had written ten of the twelve tracks on Painting of a Panic Attack. The other two, Little Drum and Break were written by producer Aaron Dessner. The twelve tracks that became Painting Of A Panic Attack were recorded in seven studios.
Recording of Painting Of A Panic Attack took place at 312, Glasgow; Audio Lounge, Glasgow; Bryn Derwen, Bethesda; Monnow Valley, Monmouth; Dreamland Recording Studios, in New York; Aaron’s Garage; 312, Glasgow; The Audio Lounge, Glasgow and Toast Studios, London. That was where Frightened Rabbit and a new face laid down the twelve songs.
As recording began Scott Hutchison took charge of lead vocals and played rhythm guitar. His brother Grant, played drums, percussion and added backing vocals. Billy Kennedy’s mostly played bass, but could play guitar, keyboards and aded backing vocals. Andy Monaghan was another multi-instrumentalist, who played guitar, keyboards and bass. The new face was Simon Liddell who toured with Frightened Rabbit during 2013 and 2014. He played guitar and keyboards, and replaced Gordon Skene. This latest lineup of Frightened Rabbit recorded Painting Of A Panic Attack. Once it was completed, it was ready for release.
Before that, Painting Of A Panic Attack was released to mostly critical acclaim. There was the occasional critic that wasn’t won over by Frightened Rabbit’s latest offering. Mostly, though, Frightened Rabbit’s fifth album Painting Of A Panic Attack was a return to form.
When Painting Of A Panic Attack was released on 8th April 2016, it reached number one in their native Scotland. In the UK, Painting Of A Panic Attack reached fourteen. Across the Atlantic in America, Painting Of A Panic Attack reached number seventy in the US Billboard 200. Frightened Rabbit were building on the success of Pedestrian Verse. Painting Of A Panic Attack was another carefully crafted album of anthems and ballads. Mostly, though, anthems are to the fore on Painting Of A Panic Attack.
Just like the ballads on Painting Of A Panic Attack, they feature lyrics that are variously cerebral, cinematic, dark, insightful and wistful. Lead singer and songwriter Chris Hutchison, brings these lyrics to life. He’s a storyteller who breathes emotion and meaning into the lyrics. That’s the case whether it’s on the ballads or anthems. There’s hooks aplenty on the anthems, which will be favourites when Frightened Rabbit play live.
They’ve been doing a lot of that since Scott Hutchison formed Frightened Rabbit in Selkirk, back in 2003. Since then, Frightened Rabbit have come long way. They’re now well on their way to becoming one of the most successful current Scottish bands. That’s no wonder. While other bands spend years navel gazing, and bemoaning their lack of luck, Frightened Rabbit have not only made their own luck. This has paid off.
When Frighted Rabbit released Pedestrian Verse in 2013, they were making their major label debut. Frightened Rabbit had signed to Atlantic Records and had the major label machine behind Pedestrian Verse. Atlantic Records had the budget and expertise to promote an album that had been released to Pedestrian Verse. It was hailed as Frightened Rabbit’s finest hour. Record buyers agreed, and Pedestrian Verse charted on both sides of the Atlantic. Pedestrian Verse was and remains Frightened Rabbit’s most successful album.
Three years later, and Frightened Rabbit returned with in April 2016. Critical acclaim accompanied the release of Painting Of A Panic Attack what was a career-defining album from Frightened Rabbit Painting Of A Panic. Just like Pedestrian Verse, Painting Of A Panic Attack sold well on both sides of the Atlantic. With its ballads and hook-laden anthems, Painting Of A Panic Attack was Frightened Rabbit’s finest hour and surely, must be a contender for the Scottish Album Of The Year Award?
Frightened Rabbit-The Story So Far.
ELECTRIC LIGHT ORCHESTRA’S SEVENTIES’ HEYDAY.
Electric Light Orchestra’s Seventies’ Heyday.
In 1970, Birmingham based songwriters and multi-instrumentalists Jeff Lynne and Roy Wood decided to form a new band with drummer Bev Bevan. This new group they christened the Electric Light Orchestra.
At first, the Electric Light Orchestra was regarded as an offshoot of The Move, which Jeff Lynne, Roy Wood and Bev Bevan were all members of. However, over the years The Move’s lineup had been fluent.
By the time The Move recorded Message From The Country during 1970 and 1971, this was the fourth lineup of the band. When Message From The Country was released on 8th October 1971, there had been another change to the lineup. Bassist Rick Price deported and was replaced by Richard Tandy. This was his second spell with The Move. The other new addition Bill Hunt, who played horns and woodwind. His addition was a strategic move.
Message From The Country proved to be The Move’s swan-song. It was their way of saying goodbye to their fans after five years. By 1972, The Move were no more.
Electric Light Orchestra.
Seamlessly, the fifth and final lineup of The Move became the Electric Light Orchestra. They were joined by violinist Steve Woolam. The first lineup of the Electric Light Orchestra recorded an album that had ben written by Roy Wood and Jeff Lynne.
He wrote 10538 Overture, Nellie Takes Her, Mr. Radio, Manhattan Rumble (49th Street Massacre) and Queen Of The Hours. Roy Wood penned Look At Me Now, The Battle Of Marston Moor (July 2nd 1644), First Movement (Jumping Biz) and Whisper In The Night. These tracks would eventually become Electric Light Orchestra.
Recording of Electric Light Orchestra began in July 1970 at Philips Studios, London, and was completed in June 1971. During that eleven month period, Electric Light Orchestra fused pop, rock, progressive rock, and classical music. Woodwind, strings and horns were favoured instead of guitars. This resulted in a very different,and much more experimental symphonic sounding album from what other bands were doing. Critics remarked upon this.
With Electric Light Orchestra, complete the album was scheduled for release in December 1970. Before that, critics had their say on Electric Light Orchestra. With its experimental and symphonic fusion of pop, rock and classical music, Electric Light Orchestra’s innovative Baroque-and-roll sound won the approval of critics.
When Electric Light Orchestra was released on Harvest in December 1971, it reached thirty-two in the UK. 10538 Overture was released as the lead single and reached number nine in the UK. Meanwhile, Electric Light Orchestra reached fifty-four in Australia. However, Electric Light Orchestra wasn’t in America until early 1972.
Three months later, Electric Light Orchestra was released in March 1972 America as No Answer. This supposedly came about after someone from United Artists tried to contact Electric Light Orchestra about the album. When they couldn’t contact the person, they wrote down “no answer.” This was mistaken as the album the title. However, No Answer just reached 196 in the US Billboard 200. While this wasn’t a huge success, it was something to build on.
ELO 2.
Just two months after the release of No Answer, work began on Electric Light Orchestra’s sophomore album ELO 2. However, during the early recording sessions, Roy Wood announced he was leaving Electric Light Orchestra to join Wizard.
This meant that Jeff Lynne became Electric Light Orchestra’s leader and songwriter-in-chief. He wrote four of the five tracks. The other track was a cover of Chuck Berry’s Roll Over Beethoven. These songs were recorded at AIR Studios, in London.
For the recording sessions, the original members of Electric Light Orchestra, multi-instrumentalist Jeff Lynne, drummer and percussionist Bev Bevan and keyboardist and guitarist Richard Tandy were joined by some new faces. This included bassist Mike de Albuquerque, violinist Wilfred Gibson and cellists Mike Edwards and Colin Walker. Roy Wood had played bass and cello on In Old England Town (Boogie No. 2) and From the Sun to the World (Boogie No. 1). Taking sold charge of production on ELO 2
was Jeff Lynne. He oversaw the recording of ELO 2 from May 1972 until late 1972.
Once ELO 2 was complete, Harvest decided to release the album in UK in January 1973. The album would be released in February 1973 as Electric Light Orchestra II. This would be the final time an Electric Light Orchestra would be given a different title on both sides of the Atlantic.
Before the release of ELO 2, critics had their say on the album. Once again, they were won over by the slick, polished progressive and symphonic sound of the Electric Light Orchestra in full flight. They continued to combine elements of rock and pop with progressive rock and classical music. To this, they added the what was being described as symphonic rock. ELO 2 seemed to catch the imagination of critics. Especially, the Electric Light Orchestra’s cover of Chuck Berry’s Roll Over Beethoven. It was totally transformed and become something Chuck Berry could never have envisaged. Critics too marvelled at Roll Over Beethoven, which part of truly ambitious album.
When ELO 2 was released in January 1973, it reached just thirty-five in the UK. A month later, ELO 2 was released in February 1973 and eventually reached number sixty-two. Just like many British bands in the early seventies, it looked as if the Electric Light Orchestra were going to be more popular in the US than UK
That was until Roll Over Beethoven was released as the lead single. It reached number six in the UK, fifty-three in Australia and forty-two in the US Billboard 100. Things were looking up for the Electric Light Orchestra in UK.
So much so, that after the Electric Light Orchestra’s two album deal with Harvest ran out, they signed to Warner Bros. This was the start of a new chapter in the Electric Light Orchestra story. Part of this story is documented on a recently released box set Electric Light Orchestra The Studio Albums 1973-1977 released by Sony Music Group. It features five albums On the Third Day, Eldorado, Face The Music, A New World Record and Out Of The Blue. However, this new chapter in the Electric Light Orchestra story began with On the Third Day.
On the Third Day.
Having signed to Warner Bros, the Electric Light Orchestra wanted no time getting to work on their third album On The Third Day. This was the first album that Roy Wood would play no part in. He had played a minor part on ELO 2. However, this time, it was Jeff Lynne who took charge of the Electric Light Orchestra.
Jeff Lynne wrote seven of the eight tracks on On The Third Day. The exception was a cover of Edvard Grieg’s In The Hall Of The Mountain King. It was reinvented by Jeff Lynne and became a memorable example of symphonic rock.
Recording of On The Third took place during April and May of 1973 at De Lane Lea Studios, London and AIR Studios, London. Never before had the Electric Light Orchestra recorded an album so quickly. Their first two albums had taken much longer to record.
This time, the Electric Light Orchestra worked quickly. Multi-instrumentalist Jeff Lynne produced On the Third Day. He was joined by a rhythm section drummer and percussionist Bev Bevan, bassist Mike de Albuquerque and guitarist and keyboardist Richard Tandy. They were augmented by cellists Mike Edwards and Colin Walker plus violinists Wilfred Gibson and Mik Kaminski, who was the latest new recruit. Marc Bolan added guitar on Dreaming of 4000 and In The Hall Of The Mountain King. After two months of recording at two separate studios, On The Third Day was complete.
Warner Bros. scheduled the release for November 1973. This left plenty of time to promote On The Third Day. Later, critics received their copies of On The Third Day. Again, the music was a fusion of rock and pop with progressive rock and symphonic rock. What was different, was who the album was structured.
The four songs on side one of On The Third Day became a continuous suite. However, side two featured shorter songs. They had been recorded not long after the ELO 2 sessions. On The Third Day was the original album of two sides. It found the Electric Light Orchestra’s music evolving On The Third Day.
Alas, On The Third Day didn’t find favour with all the critics. The reviews were mixed. One publication took a real dislike to On The Third Day…the contrarian Rolling Stone magazine. The
Electric Light Orchestra were just the latest group British group that Rolling Stone disliked. Mostly,the reviews were mixed. That was despite tracks of the quality of Bluebird Is Dead, Oh No Not Susan, Ma-Ma-Ma Belle and In The Hall Of The Mountain King. For the Electric Light Orchestra the reviews of On The Third Day were disappointing.
Six months after the completion of On The Third Day, the album was released in the UK in November 1973. Incredibly, the album failed to chart. Eventually though, On The Third Day sold enough copies to be certified silver in the UK. Before that, Ma-Ma-Ma Belle was released as a single, it reached number twenty-two in the UK. However, Daybreaker failed to chart. For the Electric Light Orchestra, the performance of On The Third Day had been disappointing.
Meanwhile, On The Third Day reached number ten in Australia. Across the Atlantic, On The Third Day reached fifty-two in the US Billboard and became the Electric Light Orchestra’s most successful album. Things were looking good for the Electric Light Orchestra stateside.
Eldorado.
Work began on the Electric Light Orchestra’s fourth album, Eldorado in February 1974. Eldorado was the first complete concept album that Electric Light Orchestra would release.
Eldorado was a project that Jeff Lynne had been working on for some time. He came up with the storyline first. It documents a Walter Mitty character whose disillusioned, so travels into fantasy worlds in his daydreams. This allows him to escape from his mundane and boring life. Having come up with the storyline, Jeff Lynne penned ten tracks. They would become Eldorado.
Recording of Eldorado took place at De Lane Lea Studios, in London. Unlike On The Third Day which was recorded in two months, the Electric Light Orchestra took their time recording the album. The recording began in February 1974, with multi-instrumentalist Jeff Lynne producing Eldorado.
Jeff Lynne was joined by a rhythm section of drummer and percussionist Bev Bevan, bassist Mike de Albuquerque and guitarist and keyboardist Richard Tandy. He had just been made a permanent member of the Electric Light Orchestra. However, he had additional responsibilities on Eldorado. This included arranging the backing vocals, orchestral and choral arrangements. Meanwhile, the other members of the band were playing an increasingly important role.
The strings were more prominent on Eldorado. Some of the strings were provided by the Electric Light Orchestra’s string players: cellists Mike Edwards and Colin Walker plus violinists Wilfred Gibson and Mik Kaminski. They were augmented by an orchestra.
This came about after Jeff Lynne’s father remarked that the Electric Light Orchestra’s back-catalogue were tuneless. So rather that over-dubbing strings, Jeff Lynne brought onboard an orchestra to sweeten Eldorado. The strings were arranged by Jeff Lynne and Richard Tandy with Louis Clark. Eventually, after seven months of recording, Eldorado was completed in August 1974.
Just over a month later, Eldorado was released. Before that, critics had their say on Eldorado. It found the Electric Light Orchestra companioning art rock and pop with progressive rock and symphonic rock on what was the band’s most melodic album. What many critics were quick to notice, was The Beatles’ influence on Eldorado. Especially on Mister Kingdom, which seems to owe a debt of gratitude Across The Universe. Critics hailed Eldorado the Electric Light Orchestra’s album. Even the usually contrarian Rolling Stone gave Eldorado a favourable. That was progress.
When Eldorado was released in September 1974, the album failed to chart in the UK. Neither Can’t Get It Out of My Head nor Boy Blue charted when released as a single. However, Eldorado fared better elsewhere.
Eldorado reached number four in Holland and thirty in New Zealand. In America, Eldorado reached number sixteen in the US Billboard 200, and was certified gold not long after the album’s release. Across the border in Canada Eldorado was certified platinum. However, when Can’t Get It Out of My Head was released as a single, it reached number nine in the US Billboard 100. The rise and rise of the Electric Light Orchestra continued in America.
Face The Music.
Buoyed by the success of Eldorado in North America, the Electric Light Orchestra headed out to tour the album. It was a lengthy tour, and featured the debut of bassist and cellist Kelly Groucutt. He replaced Mike de Albuquerque who left during the recording of Eldorado. Once the tour was over, the Electric Light Orchestra’s thoughts turned to their fifth album.
This would eventually become Face The Music. Just like previous albums, Jeff Lynne penned the eight tracks. He would also produce Face The Music, which found the Electric Light Orchestra heading to Munich, in Germany.
The Electric Light Orchestra’s destination was Musicland Studios, which was owned by the Italian musician, songwriter and producer Giorgio Moroder. Musicland Studios was where Deep Purple, Led Zeppelin, the Rolling Stones and Marc Bolan and T Rex had recorded albums. Now the Electric Light Orchestra were about to make the journey to Musicland Studios.
When the Electric Light Orchestra arrived at Musicland Studios, in May 1975, there had been a couple of changes in the band’s lineup. Joining multi-instrumentalist and producer Jeff Lynne was a rhythm section of drummer and percussionist Bev Bevan and new bassist and cellist Kelly Groucutt. They were joined by keyboardist Richard Tandy, violinist Mik Kaminski and new cellists Hugh McDowell and Melvyn Gale. The three new additions joined the backing vocals and orchestra which was conducted by Louis Clark. He arranged the orchestral and choral arrangements with Jeff Lynne and Richard Tandy. By June 1975, Face The Music was complete. For the second time in their career, the Electric Light Orchestra had recorded an album in just two months.
They were hoping that Face The Music would fare better than On The Third Day. It had received mixed reviews from critics. However, Face The Music was a very different album. The Electric Light Orchestra’s classic sound was starting to take shape. It was slick, polished and melodic. Two songs stood out,
Evil Woman and Strange Magic, as they had a commercial, radio friendly sound. Art rock combined with pop and symphonic rock on Face The Music. Evil Woman even a disco influence. This was a first. However, Face The Music won the approval of critics who regarded it as a worthy successor to Eldorado. It surely would enjoy the same success?
Alas, not in the UK, where Face The Music failed to trouble the charts on its release in September 1975. This was disappointing, as Face The Music was the Electric Light Orchestra’s debut album for Don Arden’s Jet Records. However, the lead single Evil Woman reached number ten in the UK. The followup Nightrider failed to chart, while Strange Magic stalled at a lowly thirty-eight. Elsewhere, Face The Music proved popular.
Face The Music reached thirty in Australia, eleven in Holland and forty-one in Sweden. However, it was in Australia where Face The Music was most popular. It reached number eight in the US Billboard 200. This resulted in Electric Light Orchestra’s second gold disc in America and a gold disc in Canada. That however, wasn’t the end of the success in America.
Evil Woman reached number ten in the US Billboard 100. The followup Nightrider failed to chart, while Strange Magic reached fourteen in the US Billboard 100. The Electric Light Orchestra’s new sound looked as if it was a game-changer.
A New World Record.
After the release of Face The Music, the Electric Light Orchestra headed out on another lengthy tour. They had now settled into the routine of recording an album, and then touring it. However, the Face The Music tour was one of the Electric Light Orchestra most important tours.
They had changed direction on Face The Music, and were moving towards what would become known as their classic sound. When Face The Music was released, the new sound had proved popular in three continents. So the Electric Light Orchestra headed out on tour to showcased their new sound. When they returned they were determined to build on the success of Face The Music.
Jeff Lynne, who had settled into the role of songwriter-in-chief and producer wrote the eight tracks that would become A New World Record. Just like Face The Music, A New World Record was recorded at Musicland Studios in Munich.
The Electric Light Orchestra arrived at Musicland Studios in July 1976 to record A New World Record. It was the same lineup that had recorded Face The Music. Multi-instrumentalist and producer Jeff Lynne was joined by a rhythm section of drummer and percussionist Bev Bevan and bassist and cellist Kelly Groucutt. They were joined by keyboardist Richard Tandy, violinist Mik Kaminski and cellists Hugh McDowell and Melvyn Gale. Backing vocals and an orchestra which was arranged and conducted by Louis Clark augmented the Electric Light Orchestra
By late July 1976, A New World Record was complete. Having recorded A New World Record in the space of a month, the album was scheduled for release in September 1976. This was exactly a year after Face The Music. That was what the Electric Light Orchestra were about to do.
Critics had received their promotional copy of A New World Record, and were about to have their say. On A New World Record, the Electric Light Orchestra continued to combine art rock with pop, progressive rock and symphonic rock. Again, the album was slick, polished and melodic. Many of the songs were shorter and sweeter, and didn’t lack hooks. Just like Face The Music, they had a much more commercial and radio friendly sound. Especially songs like Telephone Line, Rockaria and Livin’ Thing. They had single written all over them. Jeff Lynne was coming into his own as songwriter. He had also produced what many critics called Electric Light Orchestra’s finest hour.
Even the forever contrarian and hard to please Rolling Stone magazine gave A New World Record a positive review. So did Robert Christgau, the self-styled dean of American rock critics. This was high praise indeed. Mostly, it was critical acclaim that accompanied the release of A New World Record.
When A New World Record was released in September 1976, it reached number six in the UK and was certified platinum. Belatedly, the Electric Light Orchestra had made a breakthrough in their home country. Elsewhere, A New World Record reached number one in Australia and Sweden. A New World Record reached number nine in Austria and Norway; seven in Germany; two in Holland and four in New Zealand. Across the Atlantic, A New World Record reached number five and was certified platinum. Meanwhile, A New World Record was certified double platinum in Canada and gold in Holland. For the Electric Light Orchestra, A New World Record had transformed their fortunes. However, the success continued.
In October 1976 Livin’ Thing was released as a single, reaching four in the UK and thirteen in the US Billboard 100. Rockaria! was released as the followup in February 1977, and released number nine in the UK. Meanwhile, Do Ya was released as a single in America, and reached number thirteen in the US Billboard 100. The final single from A New World Record was Telephone Line. It reached number eight in the UK and seven in the US Billboard 100. For the Electric Light Orchestra, A New World Record had been a game-changer. Their music found an audience in Britain, Europe, Australia, New Zealand and North America. How were they going to surpass A New World Record, which has sold over five-million copies?
Out Of The Blue.
The answer to that, was with their seventh studio album Out Of The Blue. This was the most ambitious album of the Electric Light Orchestra’s career. It was a seventeen song double album penned by Jeff Lynne. This Jeff Lynne wrote over a three-and-a-half week period he spent in the Swiss Alps. Recording Out Of The Blue took slightly longer.
To record Out Of The Blue, the Electric Light Orchestra returned to Musicland Studios, in Munich for a third time. Between May and August 1977, Electric Light Orchestra recorded the seventeen songs. By then, the band’s lineup had changed.
Multi-instrumentalist and producer Jeff Lynne was joined by a rhythm section of drummer and percussionist Bev Bevan and bassist and cellist Kelly Groucutt. They were joined by keyboardist and guitar Richard Tandy and violinist Mik Kaminski.
Cellist Hugh McDowell is credited but didn’t appear. Melvyn Gale is also credited, but his only role was a playing the jangling, tack piano on Wild West Hero. Augmenting the Electric Light Orchestra, were an orchestra conducted by Louis Clark. He joined with Jeff Lynne and Richard Tandy to arranged the orchestral and choral arrangements. After two months, Out Of The Blue was completed in August 1977.
When critics heard Out Of The Blue, they hailed the album the Electric Light Orchestra’s Magnus Opus. It was a glorious fusion of art rock, pop, progressive rock and symphonic rock. Just like the Electric Light Orchestra two previous albums, the music was slick, polished, melodic and hook-laden. The Electric Light Orchestra seemed to have been inspired by The Beatles and Beach Boys on this critically acclaimed and almost flawless album. Somehow, the Electric Light Orchestra had managed to fill four sides with a major musical faux pas. Songs like Turn Ti Stone, It’s Over, Sweet Talkin’ Woman, Steppin’ Out and Sweet Is The Night were among Out Of The Blue’s finest moments. So was side three.
For many critics, side three was captivating. It was subtitled Concerto For A Rainy Day, and was a four track musical suite based on the weather and how it affects people’s mood. Jeff Lynne deployed recordings of rain and thunder as the suite moved melodically along from Standin’ In The Rain to Big Wheel and Summer and Lightning. However, Electric Light Orchestra’s had saved the best to last, the joyous and hook-laden Mr. Blue Sky, which was a single-in-waiting.
Out Of The Blue was released on October 3rd 1977. By then, four million copies had been ordered before the release. When Out Of The Blue was released, it reached number four in the UK and was certified platinum. Elsewhere, Out Of The Blue reached number three in Australia, six in Germany and New Zealand; three in Holland and Norway and two in Sweden. Across the Atlantic, Out Of The Blue reached number five in the US Billboard 200 and was certified gold. Meanwhile, Out Of The Blue was certified platinum in Canada and gold in Germany and Holland. This wasn’t the end of the success.
Five singles were released from Out Of The Blue. Turn To Stone was released in October 1977, reaching eighteen in the UK and thirteen in the US Billboard 100. Mr. Blue Sky followed in January 1978, reaching number six in the UK and thirty-five in the US Billboard 100. Sweet Talkin’ Woman was then released in February 1978. It reached number six in the UK and seventeen in the US Billboard 100. Wild West Hero followed in May 1978, and also, reached number six. The final single fittingly, was It’s Over in October 1978. Alas, it only reached thirty-four in the UK. However, Out Of The Blue had been a the most successful album of Electric Light Orchestra’s career.
Eventually, when all the sales were counted, Out Of The Blue had sold over ten million albums worldwide. For the Electric Light Orchestra, Out Of The Blue was by far, their most successful album. Now they were preparing to tour Out Of The Blue.
After the releases Out Of The Blue, the Electric Light Orchestra embarked upon a gruelling ninety-two date world tour. This was very different to previous tours. Electric Light Orchestra’s Out Of The Blue tour featured an enormous and spectacular set. It featured lasers, fog machines and a giant replica of the spaceship that featured on the gatefold cover of Out Of The Blue. In the arena shows, it would hover above the stage. Although spectacular is a hugely expensive set. However, it impressed concert goers and industry insiders.
In August 1977, veteran American DJ, Casey Kassem had christened the Electric Light Orchestra: the “World’s first touring rock ’n’ roll chamber group.” The Out Of The Blue tour was hugely successful. Especially when it reached America for The Big Night Tour in 1978.
During The Big Night tour, the Electric Light Orchestra played some of the biggest arenas. This resulted in The Big Night tour becoming the highest-grossing live concert tour in music history. That was no surprise, as American concert goers had witnessed the Electric Light Orchestra at the peak of their powers.
On their return to Britain, the Electric Light Orchestra played eight consecutive sold-out nights at Wembley Stadium. This was another record for The Electric Light Orchestra. However, once the Out Of The Blue tour was over, the Electric Light Orchestra’s thoughts could turn to their next album, Discovery.
Discovery.
Following the Out Of The Blue tour, the Electric Light Orchestra’s songwriter-in-chief Jeff Lynne, began writing what became Discovery. He wrote eight of the nine tracks. The exception was Little Town Flirt which was written by Maron McKenzie and Den Shannon. These nine tracks would become Discovery, which featured a different lineup of the Electric Light Orchestra.
When the Electric Light Orchestra arrived at Musicland Studios, in Munich, in March 1979, there had been changes to the lineup. The string section of Mik Kaminski, Hugh McDowell and Melvyn Gale didn’t feature on Discovery. The Electric Light Orchestra were now a quartet.
Multi-instrumentalist and producer Jeff Lynne was joined by a rhythm section of drummer and percussionist Bev Bevan and bassist and cellist Kelly Groucutt. They were joined by keyboardist and guitar Richard Tandy and bassist Kelly Groucutt. The orchestra was conducted by Louis Clark, who arranged the orchestral parts with Jeff Lynne and Richard Tandy. After two months of recording, Discovery was competed. Critics were in for a surprise.
While Discovery still featured the Electric Light Orchestra’s symphonic rock sound, the band moved towards a disco inspired sound. It seemed that the Electric Light Orchestra were keen to cash-in on the popularity of disco. That was ironic, as the disco bubble would burst in July 1979. By then, Discovery had been released to critical acclaim, and was hailed to perfect way to followup their classic album Out Of The Blue.
The Electric Light Orchestra released Discovery in the UK on 31st May 1970. It became the Electric Light Orchestra’s first number one album and was certified platinum. In America, Discovery was released in America on 8th, and reached number five. Having sold over two million copies, Discovery was certified double-platinum. Elsewhere, Discovery reached number one in Australia and Norway, and reached the top ten in Austria, Canada, France, Holland, New Zealand, Sweden and West Germany. This resulted in an array of gold and platinum discs. In France, Germany and Holland, Discovery was certified gold. However, in Australia, Discovery was certified double-platinum and triple-platinum in Canada. Incredibly, Discovery had outsold Out Of The Blue. That wasn’t the end of the success though.
A total of five singles were released from Discovery. Shine A Little Love reached number six in the UK and number eight in the US Billboard 100. The Diary Of Horace Wimp the reached number eight in the UK. When Don’t Bring Me Down then reached number three in the UK and number four in the US Billboard 100, this was their biggest hit in Britain and America. Confusion reached number eight in UK and thirty-seven in the US Billboard 100. The final single from Discovery was Last Train To London, which reached number eight in UK and thirty-nine in the US Billboard 100. This brought to an end what was the most successful period in the Electric Light Orchestra’s career.
This lineup of the Electric Light Orchestra released three more albums together, Time in 1981, 1983s Secret Messages and 1986s Balance Of Power. While each album enjoyed some success, they never came close to reaching the same commercial success of the Electric Light Orchestra’s Magnus Opus Out Of The Blue nor its followup Discovery.
Only two further albums were released bearing the Electric Light Orchestra name. However, Zoom in 2001 was an Electric Light Orchestra album in name only. Only Richard Tandy joined what was essentially Jeff Lynne and friends. Commercial success eluded the album which was for completists only.
By the time Alone In The Universe was released in 2015, the Electric Light Orchestra were now know as Jeff Lynne’s ELO. No other members of the original of Electric Light Orchestra featured on the album. It was essentially a Jeff Lynne solo album that sounded similar to the Electric Light Orchestra. Still, Alone In The Universe managed to sell over 300,000 copes and was certified platinum. This was a far cry from the Electric Light Orchestra in their seventies heyday, when their albums sold by the million.
The seventies were the Electric Light Orchestra’s most productive, prolific and successful years. Especially between 1973 and 1979, when everything the Electric Light Orchestra released turned to silver, gold or platinum. This resulted in the Electric Light Orchestra becoming one of true most successful bands in the world.
This success began in November 1973, when the Electric Light Orchestra released Face The Music. From Face The Music through A New World Record to Out Of The Blue, Electric Light Orchestra’s classic sound emerged. It was slick, polished, melodic and hook-laden. This was quite different to the first two albums that Electric Light Orchestra released.
Electric Light Orchestra and ELO 2 featured a very different band, whose roots were in progressive rock. This soon changed.The Electric Light Orchestratheir next five albums saw their trademark symphonic rock sound developing. It headed in the direction of disco with the release of Discovery in May 1979. This alienated many of their loyal fans, but introduced the Electric Light Orchestra’s to a new audience. As the seventies ended, the Electric Light Orchestra were one of the biggest bands in the world.
Four decades later, and the Electric Light Orchestra are belatedly receiving the recognition their music deserves. They were belatedly inducted into the Rock ’N’ Roll Hall Of Fame. This honour has been bestowed on Electric Light Orchestra as a group, not just one individual.
The success of the Electric Light Orchestra was a collective effort, where a group of multitalented musicians came together and became one of greatest and most successful British bands of the seventies. That was The Electric Light Orchestra’s heyday, and when they were at their creative zenith. Especially between Face The Music in 1973 and 1977s Out Of The Blue which was the Electric Light Orchestra’s Magnus Opus.
Electric Light Orchestra’s Seventies’ Heyday.
ROCK AND ROLL MUSIC! THE SONGS OF CHUCK BERRY.
Rock and Roll Music! The Songs Of Chuck Berry.
For the latest instalment in Ace Records’ long running and successful Songwriter series, the spotlight was shawn on the man regarded by many as the Poet Laureate of Rock n Roll, Chuck Berry. He celebrated his ninetieth birthday on October ‘18th’ 2016. This was a major milestone in the life of one of the pioneers of rock ’n’ roll, and someone who helped to refine and develop the R&B sound. So to celebrate this milestone, Ace Records released Rock and Roll Music! The Songs Of Chuck Berry. It’s the latest instalment in their Songwriter series and is a celebration of the most successful period of Chuck Berry’s career.
This period began in July 1955 and lasted until 1964. However, the Chuck Berry success story began in May 1955, when Chuck Berry entered the recording studio with Leonard and Phil Chess to record a Chuck Berry composition Maybellene. It was inspired by the Western Swing fiddle tune Ida Red. Two months later, when Maybellene was released, it made musical history when it became one of the first rock ’n’ roll songs.
When Maybellene was released by Chess Records in July 1955, it reached number five in the US Billboard 100 and number one in the US R&B charts. Eventually, Maybellene sold over a million copies, and launched Chuck Berry’s career.
For Chuck Berry, this was the start of one of the most productive, prolific and successful periods of his career. Over the next two years, Chuck Berry wrote and recorded Roll Over Beethoven, Too Much Monkey Business, School Days, Rock and Roll Music, Sweet Little Sixteen and Johnny B. Goode. Chuck Berry was a hit making machine and by late 1957. He had enjoyed five top ten hits in the US Billboard 100. However, in the US R&B charts, ten of Chuck Berry singles reached the top ten, with four reaching number one. Other artists looked on enviously.
During 1958, Chuck Berry continued to write and release singles. However, he didn’t scale the same heights as previous years. His The most successful singles were Carol with Sweet Little Rock and Roller. However, further success was just round the corner for Chuck Berry in 1959.
When Chuck Berry released Almost Grown in early 1959, it reached thirty-two in the US Billboard 100 and number three in the US R&B charts. Chuck Berry was back on form and released Back in the U.S.A. and Little Queenie as singles. By then, he was one of the most successful entertainers of the late fifties.
Apart from enjoying a successful recording career, Chuck Berry spent much of his time touring and had even made appearances on television and films. This was proving lucrative, and allowed Chuck Berry to invest in real estate and the first racially integrated nightclub in St. Louis. The future looked bright for Chuck Berry.
That was until December 1959, when Chuck Berry was arrested under The Mann Act. Americans were shocked as they heard the allegations. They were that Chuck Berry had sexual intercourse with a fourteen year old Apache waitress, Janice Escalant. She had been transported across the state lines to work as a hatcheck girl in Chuck Berry’s St Louis nightclub. These were serious allegations that if proven, would result in Chuck Berry quite rightly, losing his liberty.
When the case went to trial in March 1960, it lasted two weeks, and Chuck Berry was found guilty. He was, fined $5,000, and sentenced to a total of five years in prison. However, Chuck Berry decided to appeal the judgment.
His grounds for appeal were that the judge’s comments and attitude were racist. This his counsel argued prejudiced the jury against the appellant. The appeal was upheld, and a second trial was scheduled to take place during May and June 1961.
At the second trial, Chuck Berry was again found guilty. This time, Chuck Berry was sentenced to three years imprisonment. Again, he decided to appeal the sentence. This time though, the appeal failed and Chuck Berry started his jail sentence in February 1962. He was released in October 1963 having served just eighteen months.
During both trials and appeals, Chuck Berry continued. He played live and continued to release singles and albums. However, Chuck Berry’s popularity had slumped. Chuck Berry enjoyed two minor hit singles in 1960 with Let It Rock and Too Pooped To Pop. However, upon his release from prison, Chuck Berry resumed his career.
During 1964, he enjoyed a very brief resurgence in popularity. Chuck Berry returned to the charts. Six singles entered the US Billboard 100 and five made it into the US R&B charts. The most successful single was No Particular Place to Go, which reached number ten in both the US Billboard 100 and US R&B charts. Chuck Berry also enjoyed hits with Nadine, You Never Can Tell and Promised Land. For Chuck Berry, that was as good as it got.
Chuck Berry only enjoyed two further hit singles during his career. His last hit was Reelin’ and Rockin’ in 1972. While Chuck Berry continued to release singles, his time had passed. That had been the case since the mid-sixties. Music had changed and Chuck Berry no longer enjoyed the same success as a recording artist. Since then, many other artists have covered songs penned by Chuck Berry.
That has been the case throughout Chuck Berry’s long career, and twenty-four cover versions feature on Rock and Roll Music! The Songs Of Chuck Berry. This includes covers by Helene Dixon, Marty Robbins, Don Covay, Buddy Holly, Elvis Presley, John Hammond, MC5, The Beach Boys, John Prine and Dave Edmunds. They’re just some of the artists on Rock and Roll Music! The Songs Of Chuck Berry.
Helene Dixon’s cover of Roll Over Beethoven opens Rock and Roll Music! The Songs Of Chuck Berry. It was released by Vik, an imprint of RCA Victor in 1956. Accompanied by the Howard Biggs Orchestra and some blistering guitar licks from Mickey Baker, Helene Dixon unleashes a vocal powerhouse on what’s one of the best cover of Roll Over Beethoven.
By August 1955, Marty Robbins had been signed to Columbia since 1952. He was already a successful artist, who would later become one of the legends of country music. However, in August 1955, Marty Robbins released a lively and memorable cover of Maybellene as a single. It went on to reach number nine in the country charts, and is without doubt, one of the finest covers, of this oft-covered song.
After Brinsley Schwarz split-up in 1975, rhythm guitarist and frontman Ian Gomm embarked upon a solo career. By 1978, he had signed to Albion Records and was about to release his debut single Come On. A year later, in 1979, Ian Gomm had been signed by Stiff-Epic and had just released his sophomore album Gomm With The Wind. One of the highlights was his moody and emotive cover Come On, where Ian Gomm transforms the Chuck Berry composition.
In 1965, The Pretty Things were about to released their eponymous debut album in Britain and America. When Fontana released the album on both sides of the Atlantic, the American and British versions had different track listings. The American version didn’t include the two Chuck Berry covers. This included Oh Baby Doll, where The Pretty Things stay true to the original and pay homage to Chuck Berry. It’s one of the highlights of The Pretty Things which reached number six in the UK charts.
Four years after the tragic death of Buddy Holly, his cover of Brown-Eyed Handsome Man was released by the Coral label. They had added a few overdubs to the single. This paid off and Brown-Eyed Handsome Man reached number three in the US Billboard 100. It’s a reminder of a true musical legend, Buddy Holly as he unleashes a blistering cover of Brown-Eyed Handsome Man.
Despite commercial success eluding Chuck Berry’s singles in America by the mid-sixties, many British groups had covering his songs. This included one of the British Invasion groups, The Hollies. They covered Sweet Little Sixteen for their fourth album Would You Believe? It was released in 1966 on the Parlophone label. One of the album’s highlights was a scorching take on Sweet Little Sixteen, where The Hollies don’t stray to far from the original.
By 1968, Too Much Monkey Business was an oft-covered song. Several British Invasion bands, including The Kinks, The Hollies and The Yarbirds. Even The King, Elvis Presley had covered Too Much Monkey Business for a little known, budget priced album Singer Presents Elvis Singing “Flaming Star” And Others. It was only available from shops that sold Singer sewing machines. So the album passed many music fans by. However, those that discovered the album found Elvis delivering a irreverent and insouciant vocal as he rolls back the years.
John Hammond was only twenty-two when he released his sophomore album Big City Blues, on Vanguard in 1964. It featured a number of cover versions. Two of the cover versions were written by Chuck Berry, This included No Money Down, where John Hammond slows the tempo and reinvents this blues. It’s a tan tantalising taste of a future star of R&B and blues, John Hammond as he embarked on a long and successful career.
Originally, Havana Moon featured on Chuck Berry’s debut album After School Sessions in 1956. Twenty-seven years later, in 1983, Carlos Santana had recorded Havana Moon for his first album in three years. Havana Moon also lent its name to the album, which was released by CBS in 1983. It features a soulful vocal from Booker T as his all-star band combines blues rock and Latin.
After releasing their debut album Kick Out The Jams on Elektra in 1969, MC5 signed to Atlantic. They began work on their much anticipated sophomore album, which became Back In The USA. That is fitting. One of the songs that stood head and shoulder above the rest was MC5’s high energy and ironic take on Chuck Berry’s Back In The USA. It features MC5 in full flight, as they Kick Out The Jams.
By 1976, The Beach Boys were no longer the force they once were. The once successful group had been torn apart by internecine warfare. Despite that, The Beach Boys managed to record a double album 15 Big Ones. It opened with a melodic memorable cover of Chuck Berry’s Rock And Roll Music.
Closing Rock and Roll Music! The Songs Of Chuck Berry is Dave Edmunds’ cover of The Promised Land. It featured on Dave Edmunds’ 1972 debut album Rockpile. Recorded on a portable four-track tape machine, with Dave Edmunds playing every instrument, The Promised Land features the multi-talented Welshman as he embarks on what’s been a long and successful career.
The twenty-four songs on Rock and Roll Music! The Songs Of Chuck Berry are reminder of what was the most productive, prolific and successful period of Chuck Berry’s career. Although the period covers between 1955 and 1964, Chuck Berry’s popularity nosedived after the events of December 1959. Almost overnight, one of the most successful entertainers of that time, went from hero to zero.
During the two trials and appeals, Chuck Berry’s career continued. Apart from a brief fillip in 1964, that was the end of chart success for Chuck Berry. Top ten hits and number ones were a thing of the past. Chuck Berry had enjoyed the most successful period of his career was between July 1955 and late 1959. He was thirty-three.
By the mid-sixties, many bands, especially British Invasion bands, were covering Chuck Berry’s music. He was more popular in Britain than in America. It seemed that many Americans hadn’t forgiven Chuck Berry for what happened in December 1959. Just like Jerry Lee Lewis, he was seen as a pariah in America.
Despite this, many musicians and bands would cover Chuck Berry’s music. That is still the case today, just a few months after Chuck Berry celebrated his ninetieth birthday. Twenty-four of these cover versions feature on Rock and Roll Music! The Songs Of Chuck Berry, which is the latest instalment in Ace Records’ Songwriter series. There’s everything from R&B to rock ’n’ roll and rock to blues, country and pop. It’s an eclectic selection of songs. They were recorded by new names and old friends. Many songs were recorded by some of the biggest names in music. However, with each song the emphasis is on quality. That is the case throughout Rock and Roll Music! The Songs Of Chuck Berry, which features twenty-four of the finest songs penned by the man regarded by many as Poet Laureate of Rock n Roll, Chuck Berry.
Rock and Roll Music! The Songs Of Chuck Berry.
PIED PIPER: FINALE.
Pied Piper: Finale
Over the last four years, Kent Soul, an imprint of Ace Records has been documenting the history of Sheldon “Shelley” Haines’ Pied Piper Pied Piper Productions. Sadly, the journey is now at end with the recent release of Pied Piper: Finale. It’s the final compilation Kent Soul intend to release. However, they’ve kept some of their most exciting finds until last.
Nine of these finds have been languishing unreleased in the Pied Piper vaults for over fifty years. Not any more though, as they make their debut on Pied Piper: Finale. This includes the little-known King Louie’s Court; Jack Ashford’s first productions away from Detroit and Joseph Douglas and Yvonne Baker’s Philly releases from 1965. There’s also a previously unreleased alternate version of Joseph Douglas’ Crazy Things. However, one of the most exciting finds is Lorraine Chandler’s Ease My Mind, which until relatively recently nobody was aware of. That is not all that’s on Pied Piper: Finale.
There’s also contributions from familiar faces, new names and old friends. This includes The Pied Piper Players, The Hesitations, The Metros, Freddy Butler, Nancy Wilcox, Reggie Alexander, Four Sonics and The Persians. Then there’s alternate takes of Lorraine Chandler’s She Don’t Want You and Willie Kendrick’s American Dollar and Watch Yourself (She’s Fooling You). Compiler Ady Croasdell has certainly dug deep into the Pied Piper vaults for the twenty-four tracks that feature on Pied Piper: Finale. However, the Pied Piper story began back in 1965.
Pied Piper was founded in 1965 by Sheldon “Shelley” Haines, a music industry veteran. His first job in the music industry, was as a distributor for King Records. This was the late-forties. By, 1952, Sheldon and Jack Gale, a local DJ, formed the short-lived Triple A record label. It lasted a mere five released. After that, Sheldon became interested in Detroit’s emerging R&B scene.
Soon Sheldon was a familiar face on the Detroit R&B scene. By 1954, Sheldon and songwriter Perry Stevens found themselves working with doo wop group The Spartans, for the Capri label. A year later, Sheldon and Irving Lief formed a production partnership and several record labels. This included labels like Pix, Plaid, Sterling and Studio. Groups and artists like The Coronets, Cool Papa Jarvis and The Jet Tones. The pair also recorded The Womack Brothers, who later, became The Valentinos. Sheldon and Irving’s partnership lasted until 1960, where they recorded artists at their own studio. It wasn’t just artists signed to their own labels, but artists signed to RCA’s Groove imprint. This was a sign of how well thought of the production partnership were. Despite this, Sheldon returned to becoming a distributor in 1961.
For the next four years Sheldon was happy worked as a distributor. Occasionally, he produced artists, and in 1965, made his comeback. Ed Wingate hired Sheldon as Vice President and General Manager of Ric-Tic, Golden World and Wingate record labels. His remit was overseeing marketing, promotion and product control. For his new business venture, Sheldon called the company Pied Piper Productions. The first two single produced by Pied Piper Productions were releases by Bob Santa Marie and Frank Meadow and The Meadowlarks. While they were neither successful nor groundbreaking releases, once Sheldon put together his production team, success wouldn’t be far away.
The two men who masterminded Pied Piper Productions were Jack Ashford and Mike Terry. Jack Ashford had studied music at college. He was a vibes player and a familiar face in Philly’s jazz scene. When he was asked to become a member of Marvin Gaye’s touring band, Jack went from jazz musician to Funk Brother.
Through meeting the Motown musicians, Jack decided to base himself in Detroit. Soon, he became part of Motown’s legendary studio band, The Funk Brothers. Jack’s trademark tambourine sound became a staple of Motown recordings. However, Jack was more than a tambourine player. He studied arrangers, engineers and producer and soon, was able to learn from them. Jack was also a talented songwriter. Essentially, Jack Ashford was a musical all-rounder, which made him perfect for Pied Piper Productions. His partner would be Mike Terry.
Mike Terry played baritone saxophone first in Popcorn Wylie’s Mohawks, then with Joe Hunter’s band. Like many musicians, he gravitated to Motown, which is the sixties, was one of the most successful labels. He was part of the touring and studio bands, and his trademark sound features on numerous Motown recordings. Despite being on Motown’s payroll, Mike, like other musicians, including Jack Ashford, felt the fees they were paid weren’t enough. So the pair left Motown.
Having left Motown, Jack and Mike briefly worked for Ed Wingate’s Golden World label. Mike with George Clinton and Sidney Barnes, formed the Geo-Si-Mik songwriting and production partnership. At the same time, Jack and Mike formed a songwriting and production partnership. One of their songs, Lonely One, for The San Reno Strings album on Ric-Tic came to the attention of Sheldon “Shelley” Haines. He realised this was a partnership to watch.
Sheldon “Shelley” Haines was right. Jack and Mike head to Jack’s hometown Philly, to produce I Can’t Change for The Sensations with Yvonne Baker. This was their first production, which was released on the Junior label. Later in 1965, the pair produced Joe Douglas for the Playhouse label. With Bobby Martin penning the B-Side, this was a single that was made has Philly. Ironically, it wasn’t in Philly, Jack made his name as a producer. No. It was in Detroit, where Jack Ashford and Mike Terry masterminded Pied Piper Productions, including the music on Pied Piper:Finale.
Opening Pied Piper: Finale is The Bari Sax (aka This Heart Is Lonely), which is the first of four unreleased tracks from The Pied Piper Players. The Bari Sax (aka This Heart Is Lonely) was recorded on 30th August 1966, and is a dance-floor friendly hidden gem that would’ve gone down well on the Northern Soul scene. So would I’d Like To Know, an instrumental written by Joe Hunter. What Can I Do which features Mike Terry’s rasping saxophone features and features the soulful side of The Pied Piper Players.
One of the recent finds in the Pied Piper vaults was Lorraine Chandler’s Ease My Mind. Lorraine penned the song with Jack Ashford and Andrew Terry. Since it was recorded, it languished in the Pied Piper vaults. It was discovered on a tape that features the original version of the Jack Ashford and Andrew Terry composition She Don’t Want You. Neither track have been released, and are a reminder of the First Lady of Pied Piper Productions in full flight and at her most soulful.
In August 1967, The Hesitations released the Joe Hunter and Willie Kendrick penned You Can’t Bypass Love as a single. It was a dance-floor friendly single with Detroit drums. Tucked away on the B-Side was You’ll Never Know, which Jack Ashford and Lorraine Chandler penned. It features a soul-baring vocal and is another of the hidden gems on Pied Piper: Finale.
Another of the unreleased tracks is Crazy Things which was recorded by Joseph Douglas. He’s something a mystery man, and nobody at Pied Piper Productions can even remember the recording. It may even be that Joseph Douglas is an alias. Whoever Joe Douglas was, he breathes life, meaning and emotion into the lyrics to a song penned by the Jack Ashford and Andrew Terry partnership.
Back in 1967, Detroit born soul man Freddy Butler went into the studio to record his debut album With A Dab Of Soul. One of the songs he covered was the Phil Coulter and Bill Martin’s heart-wrenching ballad I Like Your Style. Later in 1967, With A Dab Of Soul was released on the Kapp label. Another song Freddy Butler recorded was Deserted a John V. Allen composition. It features a needy, heartfelt vocal from the Freddy Butler. They’re two of the highlights of With A Dab Of Soul.
Two years after The Metros were formed in Wayne County, Michigan, they signed to RCA Victor and in October 1966 released the James Anderson penned Sweetest One as their debut single. It reached forty-four on the US R&B charts. Five months later, in March 1967, The Metros released No Baby in March 1967. This Joe Hunter and Jack Ashford composition was another sweet slice of soul that brought out the best in The Metros. However, when The Metros released their debut album Sweetest One in April 1967, No Baby wasn’t included. Fifty years later, No Baby makes a welcome appearance on Pied Piper: Finale.
Reggie Alexander will be a new name to many people. He reorder four songs for Pied Piper Productions. In 1967, he recorded Joe Hunter and Herbert Williams’ It’s Better. It was released on the Detroit based Boss label in in 1967. It’s Better features a rueful, hurt-filled and wistful vocal from Reggie Alexander. He sounds as if he’s lived and survived the lyrics.
As 1967 dawned, Pied Piper Productions were needing a hit badly. The single that came up trumps was The Hesitations’ Soul Superman. It had been released in November 1966 on the Kapp label and reached number forty-two in the US R&B charts. No wonder, as Soul Superman features The Hesitations at their most soulful.
In 1967, the Four Sonics went into the studio with producer Shelley Haims to record their debut single. The song they had chosen to cover You Don’t Have To Say You Love Me. For the B-side, the Four Sonics covered It Takes Two. It was penned by Shelley Haims using her Randy Scott alias, with N. Johnson which was thought to be an alias of Jay Johnson. Later he claimed to have written the song with a local singer Anita Johnson. Regardless of who wrote the soulful, catchy and memorable It Takes Two, it deserved to fare better than being relegated to a B-Side.
It’s fitting that The Pied Piper Players close Pied Piper: Finale. They do so, with a cover of Tony Hester’s Love Will Find A Way. The Pied Piper Players played a huge part in the Pied Piper Productions’ story. Members of The Pied Piper Player also wrote, arranged and produced the music that Pied Piper Productions recorded. This includes Love Will Find A Way, where a small band are augmented by occasional backing vocals on what’s quite beautiful, thoughtful and soulful song. It’s a fitting finale to the Pied Piper: Finale compilation.
Pied Piper: Finale is a welcome addition to the series of Kent Soul’s compilation series that has been documenting the history of Sheldon “Shelley” Haines’ Pied Piper Productions. Sadly, the journey is now at end with the recent release of Pied Piper: Finale. It’s the final compilation of music from Pied Piper Productions thatKent Soul, an imprint of Ace Records intend to release. Fortunately, they’ve kept some of their most exciting finds until last.
This includes the nine unreleased tracks. They’re best described as hidden gems. Compiler Ady Croasdell dug deep into the Pied Piper vaults, and was rewarded by finding musical gold. The rest of Pied Piper: Finale features familiar faces, new names and what seem like old friends. They’ve featured on each instalment in this occasional compilation series, where Kent Soul turn their attention to soulful delights within the Pied Piper Productions.
Sadly, the series is now at end. However, for anyone whose yet to discover the delights of the music recorded by Pied Piper Productions, then Pied Piper: Finale is the perfect starting place. After that they can enjoy the other instalments in the series.
The series began in January 2013 with the release of Pied Piper Presents A New Concept In Detroit Soul. Just over two years later, and Pied Piper-Follow Your Soul followed in May 2015. Then in September 2016, Pied Piper: The Pinnacle Of Detroit Northern Soul was released on vinyl, and featured tracks from the first two CDs in the series. Recently, Pied Piper: Finale was released and brings to an this lovingly curated compilation series which focuses on the soulful delights of Sheldon “Shelley” Haines’ Pied Piper Pied Piper Productions.
Pied Piper: Finale.
IF MUSIC PRESENTS YOU NEED THIS-A JOURNEY INTO DEEP JAZZ VOL. 2
IF Music Presents You Need This–A Journey Into Deep Jazz Vol. 2.
For the best part of four decades, Jean-Claude Thompson has been one of the leading lights of London’s vibrant and eclectic music scene. He’s been one half of production duo The Amalgamation Of Soundz since 1990. They’ve released critically acclaimed albums, compilations, countless singles and remixes a plenty. Amalgamation Of Soundz also played a memorable DJ set at Glastonbury back in 2005. That was no surprise.
For many a year, Jean-Claude has been a top DJ, and is a familiar face in London’s club scene. He’s travelled far and wide DJ-ing, flying the flag for his genre-defying, jazz-tinged sound. Recently, when he’s not been involved in production nor DJ-ing, Jean-Claude has been busy with a variety of new projects.
This includes hosting radio shows on NTS and Soho Radio. Jean-Claude also finds time to run a record shop IF Music, and curate a series of compilations. The most recent compilation that Jean-Claude curated was IF Music Presents You Need This–A Journey Into Deep Jazz Vol. 2 for BBE.
IF Music Presents You Need This-A Journey Into Deep Jazz Vol. 2 is the latest and much anticipated instalment in BBE’s deep jazz series. This is no ordinary deep jazz compilation though. Instead, IF Music Presents You Need This-A Journey Into Deep Jazz Vol. 2 is a triple album that was released on heavyweight vinyl. It features eight eclectic slices of deep jazz. There’s something for everyone on IF Music Presents You Need This–A Journey Into Deep Jazz Vol. 2.
The music on something for everyone on IF Music Presents You Need This–A Journey Into Deep Jazz Vol. 2 veers between soulful and spiritual to free jazz. There’s obscurities, rarities and hidden gems that will have eluded even the most dedicated and determined collector. These tracks are sure to appeal to a wide range of record buyers.
This ranges from hipsters discovering jazz for the first time, to DJs, dancers and veteran collectors. IF Music Presents You Need This–A Journey Into Deep Jazz Vol. 2 is sure to appeal to a wide range of record buyers. They’re in for musical feast.
Opening IF Music Presents You Need This–A Journey Into Deep Jazz Vol. 2 is the Billy Bang Sextet’s Abuella. It’s taken from the Billy Bang Sextet’s third album Live At Carlos 1. It was originally released by Soul Note in 1987. One of the highlights is Abuella, which features the Billy Bang Sextet at their very best. They combine a myriad of Latin percussion with bursts of rapid fire drums and Billy Bang’s inventive violin solos. Together, they play leading roles in the sound and success of a near fourteen minute melodic avant-garde epic.
Forty years ago in 1977, Sestetto Giorgio Gaslini released their debut album Free Action. This was the first of two albums they released on Dischi Della Quercia. However, for many, Free Action, which featured five movements, was their finest hour. So it’s no surprise that Claude-Jean decided to choose two tracks from Free Action. The first is V Moviment, whose introduction, some listeners will notice, seems to owe a debt gratitude to John Coltrane’s A Love Supreme. Soon, though, horns lead the way and improvise. Before long Sestetto Giorgio Gaslini reach new heights. They play with freedom, fluidity, power and inventiveness during the first of two tantalising tastes of Free Action.
In 1979, American jazz trombonist Dick Griffin released his sophomore album Now Is The Time on the Trident label. It featured a talented band that included drummer Freddie Waits, bassist Calvin Hill, tenor saxophonist Clifford Jordan plus pianist, flautist and vocalist Donald Smith. One of the highlights of Now Is The Time is the title-track. It’s a deeply soulful and beautiful slice of spiritual jazz.
During her career, Tina Marsh was a stalwart of the music scene in Austin, Texas. She founded and lead the Tina Marsh Creative Opportunity Orchestra. Tina Marsh constantly championed eclectic big-band jazz that often, headed in the direction of avant-garde. That was the case on the two albums the Tina Marsh Creative Opportunity Orchestra released. This includes Benediction, which was released by Dennis Gonzalez’s Daagnim Records. Nowadays, copies of the original Benediction LP are almost impossible to find. So the inclusion of the two tracks from Benediction is to be welcomed. The first is the title-track Benediction. It veers between ruminative and contemplative before skipping and breezing along. Elements of spiritual and contemporary jazz combine before Benediction heads in the direction of avant-garde. Latterly though, Benediction takes on an ethereal and spiritual quality. It’s a true hidden gem, that’s a reminder of a musical pioneer Tina Marsh at her creative zenith.
Bradley Parker-Sparrow was born in the Windy City of Chicago, in 1954. By 1979, owned his own recording studio and Sparrow, the group he form and lead were about to release their debut album Latin Black. It was an ambitious double album, that was released on Bradley Parker-Sparrow’s own label Sparrow Sound Design. The highlight of Latin Black, was Latin Black Funk. It’s offers the septet the opportunity for invention and innovation on a twenty-two minute, genre-melting Magus Opus. It takes a series of twists and turns, as Sparrow spring surprises as they switch between and combine fusion and free jazz. This results in an ambitious, captivating, dramatic and melodic musical adventure.
Back in March 1970, the George Russell Sextet headed to Estrad, Sodertalje, in Sweden to play a concert. Joining the all-star sextet on three tracks that night, was Norwegian tenor and soprano saxophonist Jan Garbarek. Fortunately, the tapes were running and captured the George Russell Sextet’s performance. It was eventually released by Soul Note in 1982. Two of the album’s highlights were Theme and Souls which combined, last just over sixteen magical minutes. While everyone plays their part in the success of this free jazz epic, it’s saxophonist Jan Garbarek that steals the show. He unleashes blistering, braying, blazing solos at what was the start of his long, illustrious and successful career.
Pursuit is the second of two tracks from the Tina Marsh Creative Opportunity Orchestra. It featured on their sophomore album Benediction. Percussion gives way to the big-band jazz and Tina Marsh’s scatted vocal. She used her voice as an instrument, with her wordless lines conveying literal effects and emotions. Sometimes, she passes the baton to the horns, who enjoy their moment in the sun. However, it’s Tina Marsh that plays a starring role and whose star shines the brightest on Pursuit.
Closing IF Music Presents You Need This–A Journey Into Deep Jazz Vol. 2 is Giorgio Gaslini’s III Movimento. This is the second track from Giorgio Gaslini’s 1977 album Free Actions. It features Sestetto Giorgio Gaslini in full flight. It’s a joy to behold, as the braying saxophones head in the direction of free jazz and dance around a funky double bass that underpins the arrangement. The result is what’s without doubt, one of the compilation’s highlights. Jean-Claude has saved the best until last.
IF Music Presents You Need This–A Journey Into Deep Jazz Vol. 2 features eight tracks. They range from soulful and spiritual to free jazz. There’s obscurities, rarities and hidden gems that will have eluded even the most dedicated and determined collector.
To track down these eight obscurities, rarities and hidden gems would prove expensive. Several of the albums the tracks on IF Music Presents You Need This–A Journey Into Deep Jazz Vol. 2 are taken from are extremely rare. Copies don’t come up forsake very often, and when they do, they change hands for large sums of money. However, Jean-Claude Thompson lovinging curated IF Music Presents You Need This–A Journey Into Deep Jazz Vol. 2 is a tantalising taste of the music on these six albums.
While the Billy Bang Sextet, Sestetto Giorgio Gaslini, Dick Griffin, Tina Marsh Creative Opportunity Orchestra, Sparrow and George Russell Sextet are far from household names, they were all talented musicians who were capable of creating ambitious, innovative and inventive music. Proof of that can be found on IF Music Presents You Need This–A Journey Into Deep Jazz Vol. 2. It’s a lovingly curated compilation which BBE recently released on heavyweight vinyl as a triple album. For anyone interested in jazz, then this will be a welcome addition to their record collection.
It doesn’t matter if it’s hipsters dipping their toes in the world of jazz, DJs, dancers or veterans of jazz compilations past, IF Music Presents You Need This–A Journey Into Deep Jazz Vol. 2 is tantalising taste of inventive and innovative deep jazz from yesteryear.
IF Music Presents You Need This–A Journey Into Deep Jazz Vol. 2.
SCREAMIN’ JAY HAWKINS-THE PLANET SESSIONS.
Screamin’ Jay Hawkins-The Planet Sessions.
Inimitable and unique describe the late Screamin’ Jay Hawkins. He was one of the great musical showmen, whose performances were designed to leaving a lasting impression. They always succeeded in doing so.
As the lights were dimmed,Screamin’ Jay Hawkins would take to the stage wearing flamboyant and sometimes outlandish attire. Sometimes, he arose from a coffin that had been placed onstage Soon, though, Screamin’ Jay Hawkins was showcasing his powerful, operatic delivery as he launched into a performance that was a mixture of music and theatre. Meanwhile, the audience noticed that the set was decorated with macabre and ghoulish props. The sight of skulls and trinkets hinted at voodoo and proved controversial sights on both sides of the Atlantic. Especially during the late fifties and early sixties, which was the most successful period of Screamin’ Jay Hawkins’ long career.
He was still remembered for his 1956 million selling single I Put a Spell on You. That would be the song that was forever associated with Screamin’ Jay Hawkins, despite enjoying a recording career that spanned five decades. However, by the mid-sixties, Screamin’ Jay Hawkins was more popular in Britain and Europe, than he was in America.
In 1965, Screamin’ Jay Hawkins visited Britain. He was due to embark upon a lengthy and extensive tour. However, it was hoped that Screamin’ Jay Hawkins would also record his long-awaited sophomore album when he had some downtime.
In May 1965, Screamin’ Jay Hawkins entered Abbey Road Studios with some London based musicians. They recorded what became The Night And Day Of Screamin’ Jay Hawkins. The album was only ever released in Britain by Planet in 1965. Nowadays, copies are almost impossible to find. That is why Ace Records decided to release The Planet Sessions. It features The Night And Day Of Screamin’ Jay Hawkins plus twelve bonus tracks. At last, one of the rarest albums in Screamin’ Jay Hawkins’ back-catalogue can be heard by a wider audience, fifty-two years after its initial release. By then, Screamin’ Jay Hawkins was thirty-nine.
His musical career has been well documented. However, there’s contradictory versions of Screamin’ Jay Hawkins’ early years. He was born Jalacy Hawkins, in Cleveland, Ohio on July 18th 1929. Sadly, Jalacy Hawkins was an orphan, who growing up, developed an interest in music. Soon, the young Jalacy Hawkins was embracing everything from jazz to opera. Little did Jalacy Hawkins realise that one day, he would make a living out of music
Before that, Jalacy Hawkins spent several years serving in the US Army. That was where he discovered boxing. He had a largely unremarkable and largely unsuccessful career as a pugilist. Jalacy Hawkins certainly wasn’t going to embarking upon a career as a boxer when he left the US Army. Instead, he had set his sights on a career as a musician.
When Jalacy Hawkins left the US Army, he was able to play guitar, saxophone and piano. This versatility set him apart from many up-and-coming musicians. Jalacy Hawkins started looked for a band to join. Eventually, guitarist Tiny Grimes took chance on Jalacy Hawkins.
Initially, Jalacy Hawkins was was more like Tiny Grimes’ personal valet. Soon, though, Jalacy Hawkins was going up in the world. He quickly graduated to sideman, before becoming one of the featured vocalists on Tiny Grimes’ band the Rockin’ Highlanders. The future Screamin’ Jay Hawkins made his recording debut with Rockin’ Highlanders in 1953. Soon, though, Jalacy Hawkins was on the move.
He was briefly a member of Fats Domino, Lynn Hope and Bill Doggett’s bands. Always, it was as if Jalacy Hawkins was passing through, in search of something better. There was a sense of inevitability that Jalacy Hawkins would eventually embark upon a solo career.
By June 1955, Jay Hawkins was about to make his recording debut. He had signed to Wing, an imprint of Mercury and was ready to release You’re All Of Life To Me. However, the single failed to make an impression on the charts. Neither did the followup Even Though, when it was released on Wing in January 1956. That was the last single that Jay Hawkins released.
Jay Hawkins was dropped by Wing and soon, signed to Grand, a small Detroit based label. That was where he first recorded a song that he had just written, I Put A Spell On You. However, by the time I Put A Spell On You was eventually released on Okeh in November 1956, Jay Hawkins and his new song had undergone a transformation.
When Jay Hawkins came to record I Put A Spell On You for Okeh, he unleashed an otherworldly vocal. Grunts, groans, howl and haunting laughter punctuated the recording, thanks to some clever and judicious editing. I Put A Spell On You was unlike anything that had been released in 1956. So was Jay Hawkins newly created, flamboyant, outlandish and some thought, outrageous persona, Screamin’ Jay Hawkins. He had been encouraged by DJ Alan Freed to adopt the voodoo-horror, shock rock image. This new image and I Put A Spell On You would transform Screamin’ Jay Hawkins’ fortunes.
When Screamin’ Jay Hawkins I Put A Spell On You was released by Okeh in November 1956, the single started climbing the charts. It looked as if Screamin’ Jay Hawkins had a hit single on his hands. This was remarkable, as Screamin’ Jay Hawkins later admitted he didn’t remember recording the song. All he remembered was the producer: “ brought in ribs and chicken and got everybody drunk, and we came out with this weird version … I don’t even remember making the record.” Despite this somewhat unusual approach to recording a hit single, it proved successful.
Still, I Put A Spell On You continued to climb the charts. However, some radio stations banned the single. Some record shops also refused to stock what was regarded a controversial single. This however, wasn’t the only controversy surrounding Screamin’ Jay Hawkins.
Meanwhile, Screamin’ Jay Hawkins had embraced the voodoo-horror, shock rock image. He adorned the stage with skulls, toy snakes and trinkets that suggested voodoo. Then one night, DJ Alan Freed offered Screamin’ Jay Hawkins $300 to emerge from a coffin onstage. This was the assisted $300 Screamin’ Jay Hawkins had ever made. It also helped Screamin’ Jay Hawkins perpetuate his newly created voodoo-horror, shock rock image.
As the controversy continued, I Put A Spell On You continued to climb the charts. Eventually, it sold over a million copies. Despite the bans and controversy, Screamin’ Jay Hawkins had the last laugh.
Now came the difficult part, replicating the success of I Put A Spell On You. Screamin’ Jay Hawkins knew this wasn’t going to be easy, and over the next two years, never came close to replicating the success of I Put A Spell On You. Despite this, Screamin’ Jay Hawkins headed into the studio and recorded his debut album in 1958.
At Home with Screamin’ Jay Hawkins was released by Okeh in 1958. It was well received by critics and sold well on both sides of the Atlantic. Just like man R&B singers, Screamin’ Jay Hawkins’ was popular in Britain and Europe.
This would continue to be the case as the fifties gave way to the sixties. By 1962, Screamin’ Jay Hawkins was neither as successful nor popular in America. He continued to release singles, but on smaller labels like Enrica and Chancellor. Still, commercial success eluded singles like I Hear Voices. For Screamin’ Jay Hawkins it was a far cry from the success of I Put A Spell On You in 1958. However, he wasn’t alone.
It was a familiar story for other blues and soul singers. Pop and rock had overtaken blues and soul. They were struggling to make a living in America. Fortunately, Britain and parts of Europe still had thriving R&B scenes. That had been the case since the fifties.
Back then, blues men like Howlin’ Wolf, Muddy Waters, John Lee Hooker and Sonny Boy Williams made the trans-Atlantic journey. Since then, many other artists followed in their footsteps and made the journey to Britain. Backed by British musicians, they embarked on lengthy tours. Night after night they played to packed houses. Eventually, in 1965, Screamin’ Jay Hawkins agreed to make the journey to Britain.
A lengthy tour promoted by Don Arden was planned. Screamin’ Jay Hawkins would tour the length and breadth of Britain between February and May 1965. The Twisted Wheel’s house band the Blues Set would back Screamin’ Jay Hawkins. Then when he had some downtime, Screamin’ Jay Hawkins was going to record his sophomore album at Abbey Road Studios. Backing him during the recording sessions, would be some of London’s top session players. The resultant album would be released in Britain, by the Planet label.
In February 1965, the flamboyant showman Screamin’ Jay Hawkins arrived in London. He was dressed in his trademark cape and sported his usual assortment of voodoo trinkets. It was a grand entrance worthy of a musical showman.
Before Screamin’ Jay Hawkins began touring Britain, he appeared on Thank Your Lucky Stars and Scene At 6.30. For those unfamiliar with Screamin’ Jay Hawkins’ this introduced them to his music. Some of those watching, it was hoped would head to venues across Britain. That was the plan.
It turned out that many of Screamin’ Jay Hawkins’ concerts hadn’t been promoted properly. As a result, the attendances at the concerts were disappointing. Where were the packed houses Screamin’ Jay Hawkins had been told about by other musicians? For the thirty-nine year old, it was a disappointing experience. At least he would get the opportunity to record his sophomore album.
The Night And Day Of Screamin’ Jay Hawkins.
On May the 3rd 1965, Screamin’ Jay Hawkins and some of London’s top jazz musicians made their way to Abbey Road Studios. This wasn’t Screamin’ Jay Hawkins first recording session in Britain. He may have recorded in one of the top London studios during April 1965. A month later, and Screamin’ Jay Hawkins was joined by a band that’s thought to have included guitarist Joe Meretti and tenor saxophonist Ronnie Scott. They were part of the band that recorded The Night And Day Of Screamin’ Jay Hawkins. The tight, talented band recorded more than enough for one album. However, once the recording session was complete, the best tracks were cherry picked.
For side one of The Night And Day Of Screamin’ Jay Hawkins, Night And Day, In My Dream, I Wanna Know, Your Kind Of Love, Change Your Ways and Serving Time were chosen. They were joined on side two by Alright, O.K. You Win, Please Forgive Me, Move Me, I’m So Glad, My Marion and All Right. These twelve tracks would later be released by the Planet label later n 1965.
By then, Screamin’ Jay Hawkins’ British tour had ended in controversial circumstances. There had been problems between legendary manager and promoter Don Arden and Screamin’ Jay Hawkins throughout the tour. Partly, this was down to the perceived lack of promotion, finances and the way the backing band the Blues Set were treated by Don Arden. Screamin’ Jay Hawkins made his way to Don Arden’s office to confront the promoter. That was when Screamin’ Jay Hawkins alleged that Don Arden pulled a gun on him. After that, Screamin’ Jay Hawkins walked out of Don Arden’s office and hightailed it back to America.
Screamin’ Jay Hawkins’ British tour was over. The rest of the shows on the tour were cancelled. This was a huge disappointment for those who had waited years to see Screamin’ Jay Hawkins live. However, later in 1965, they were able to hear the album he recorded while in Britain, The Night And Day Of Screamin’ Jay Hawkins.
Fifty-two years after its original release, The Night And Day Of Screamin’ Jay Hawkins was recently reissued by Ace Records as part of The Planet Sessions. The first twelve tracks on The Planet Sessions feature The Night And Day Of Screamin’ Jay Hawkins in its entirety. It features Screamin’ Jay Hawkins rolling back the years, as he seamlessly switches between jazz, R&B, bluebeat and even rock on what was an eclectic album.
The jazz-tinged ballad Night And Day opens The Night And Day Of Screamin’ Jay Hawkins. By then, he was playing in jazz clubs, and this was a flavour of the music that featured in his sets. In My Dream is the first two soul-baring ballads. It gives way to the first R&B number I Wanna Know, while Your Kind Of Love features Screamin’ Jay Hawkins in full flight. He’s rolling back the years. Change Your Ways and Serving Time find Screamin’ Jay Hawkins continuing further down the road marked R&B. After that, it’s all change.
Alright, O.K. You Win is delivered in the then fashionable blue-beat style. Please Forgive Me is another ballad, where Screamin’ Jay Hawkins’ vocal veers needy, hurt-filled and hopeful. I’m So Glad is vintage Screamin’ Jay Hawkins as he returns to the earlier R&B sound. It’s followed by another soul-baring ballad, My Marion. Closing The Night And Day Of Screamin’ Jay Hawkins is All Night. It finds Screamin’ Jay Hawkins delivering a vocal powerhouse, as the album ends on a resounding high. That isn’t the end of The Planet Sessions.
There’s still twelve other tracks. Ten of these tracks are alternate takes. This includes two different takes of Please Forgive Me, Change Your Way and Your Kind Of Love. Their addition allows the listener to hear how gradually, the song begins to take shape. Apart from the alternate tracks, there’s two tracks that didn’t find their way on The Night And Day Of Screamin’ Jay Hawkins, Stone Crazy and the ballad, I’m Lonely. Both are welcome additions to The Planet Sessions.
For both newcomers to Screamin’ Jay Hawkins, and his long-standing fans, then Ace Records’ recently released The Planet Sessions will be a welcome addition to their collection. Especially for those who saw Screamin’ Jay Hawkins on his ill-fated 1965 tour. They were the lucky ones, who saw one of music’s flamboyant musical showmen. Screamin’ Jay Hawkins was still at the peak of his powers in 1965, and his performances were designed to leaving a lasting impression. They always succeeded in doing so.
Sadly, Screamin’ Jay Hawkins’ 1965 British tour was cut short. Music fans who had waited the arrival of Screamin’ Jay Hawkins in their town or city were left disappointed. Many have wondered why the tour was suddenly cancelled?
Later, Screamin’ Jay Hawkins alleged that his reason for cancelling the tour and returning home, was that Don Arden had pulled a gun on him during clear the air talks in his office. Whether this ever happened is debatable? Sadly, both men are now dead. However, it certainly makes for a good story.
The day Screamin’ Jay Hawkins left London in a hurry, he left behind a lasting legacy,.the music on The Planet Sessions. They’re a reminder of a maverick musician and flamboyant showman, Screamin’ Jay Hawkins, who seamlessly switches between genre on The Planet Sessions, and is sure to put a spell on you.
Screamin’ Jay Hawkins-The Planet Sessions.
SEA LEVEL-BALL ROOM.
Sea Level-Ball Room.
In 1980, Southern rockers Sea Level released their fifth album Ball Room, which was recently reissued by BGO Records. The release of Ball Room was a new start for Sea Level. They had been signed to Capricorn Records since the release of their eponymous debut album in 1976. After recording four albums for Capricorn Records, Sea Level signed to Clive Davis’ Arista label. This band leader Chuck Leavell hoped was the start of a new and exciting chapter in Sea Level’s career. Much had happened since the band was founded in 1975.
By August 1975, all wasn’t well within The Allman Brothers. It hadn’t been for the last couple of years. That was despite The Allman Brothers being at the peak of their popularity. Their last three albums had sold over a million copies and were certified platinum. Meanwhile, The Allman Brothers were one of the most successful live band. They regularly earned over $100,000 a show during their 1974 tour. This allowed The Allman Brothers to hire Led Zeppelin’s private jet Starship, and fly coast to coast in style. However, the constant touring was part of the problem,
Several of The Allman Brothers’ had developed serious drug problems. Now that the band had more money than ever, their drug problems began to spiral out of control. This wasn’t the only problem though.
Some members of The Allman Brothers were no longer as close as they once had been. It seemed the friendship had gone from the band. Gregg Allman and Dickie Betts had both released successful solo albums during 1974. The following year, three other members of The Allman Brothers decided to form a new band as a side project.
The the band was named We Three by its founding members. They were Jai Johanny Johanson a.k.a. Jaimoe, bassist Lamar Williams and keyboardist, pianist and vocalist Chuck Leavell. When the new band was formed they were keen to stress that We Three would work round The Allman Brothers’ schedule. They were going to be busy between August 1975 and May 1976.
In August 1975, The Allman Brothers release their sixth album Win, Lose Or Draw in August 1975. When it was released, it didn’t receive the same critical acclaim as previous albums. Still, though, Win, Lose Or Draw reached number five in the US Billboard 200 and was certified gold. By then, the Allman Brothers had headed out on the road and were playing forty-one arena shows. Some nights, the shows were disjointed and lacklustre. It was as if the Allman Brothers were merely going through the motions. This was very different to the band that some nights opened for The Allman Brothers, We Three.
Occasionally, the nascent We Three took to the stage. Those that saw the band play, were impressed by We Three. They were the complete opposite of the Allman Brothers, who some nights, looked as if they were on their last legs.That proved to be the case.
For the Allman Brother, their 1975-1976 tour wasn’t their finest hour. Some nights, they didn’t even bother with a soundcheck. They just headed out on stage and seemed to be going through the motions. The band didn’t play well, and were a shadow of their former selves. What didn’t help was the excessive drug use, bad feeling between the band and death threats.
The bad feeling and death threats stemmed from Gregg Allman’s decision to testify in the trial of security man Scooter Herring. This didn’t go down well with the rest of The Allman Brothers. They saw Gregg Allman as a snitch. Following the trial, the rest of the band stopped communicating with Gregg Allman. Meanwhile, he started to receive death threats. For Gregg Allman and the rest of the band, this only made a bad situation worse.
In May 1976, the Allman Brothers returned from their forty-one date tour. By then, the writing was already on the wall. The Allman Brothers split-up. Gregg Allman formed the Gregg Allman Band; Dickie Betts formed Great Southern while Jaimoe, Lamar Williams and Chuck Leavell decided to continue as Sea Level.
No longer were the three friends playing together as We Three. They had decided to changed the band’s name to Sea Level. This was a result of some wordplay surrounding Chuck Leavell’s name. His family always pronounced their surname as level. Chuck took the first initial from his christian name, and Sea Level were born. The newly named band began honing their sound.
By then, three had become four. Guitarist Jimmy Nail joined Sea Level as the band headed out on tour. Over the next few weeks and months, dedicated themselves to honing and tightening their sound. Some nights, Sea Level experimented, by heading in different directions musicians. Mostly, though, they concentrated on refining, tightening and honing their sound. This paid off, and eventually, Sea Level were ready to record an album.
By then, several record companies were chasing Sea Level’s signature. Eventually, the band settled on Capricorn Records, which had been home to the Allman Brothers. Once the contacts were signed, Sea Level began work on their eponymous debut album.
Sea Level.
For Sea Level’s debut album, Chuck Leavell became the band’s songwriter-in-chief. He wrote five of the eight songs. The other three tracks were covers of Edward Hoerner’s Shake A Leg, Neil Larsen’s Grand Larceny and the traditional song Scarborough Fair. These songs were recorded with one of the most successful producers of the seventies, Stewart Levine.
Recording took place at Capricorn Sound Studios, in Macon, Georgia. This was familiar territory for the three members of Sea Level, as the Allman Brothers had recorded at Capricorn Sound Studios. To augment Sea Level, guitarist Jimmy Nails and a horn section were brought onboard. Meanwhile, Sam Whiteside engineered the sessions. They progressed smoothy, with Sea Level combining Southern Rock and jazz funk. Once Sea Level was complete, it was ready for release on Capricorn Records later in 1976.
Before that, critics had their say on Sea Level’s eponymous debut album. Sea Level was well received by critics, who complimented the nascent band on their debut album. Despite the reviews, Sea Level failed to make an impression on the charts. Despite this, Sea Level decided to expand for their sophomore album, Cats On The Coast.
Cats On The Coast.
Shortly after the release of Sea Level became a sextet. Drummer and percussionist George Weaver joined, which allowed Jaimoe to switch to congas. The other two newcomers were guitarist Davis Causey and keyboardist, saxophonist and vocalist Randall Bramblett joined Sea Level. The newly expanded band began working on their sophomore album, Cats On The Coast.
This time round, Chuck Leavell wrote just two of eights songs, Storm Warning and Song For Amy. Davis Causey wrote Cats On The Coast and cowrote That’s Your Secret with Randall Bramblett. He penned Every Little Thing and also cowrote Had To Fall with Jimmy Nalls and Lamar Williams. The other two songs were cover versions, including Neil Larson’s Midnight Pass and Hurts to Want It So Bad which Charles Feldman, Tim Smith and Steve Smith penned. Just like their debut album, Sea Level returned to Capricorn Sound Studios.
At Capricorn Sound Studios, producer Stewart Levine and engineer Sam Whiteside began work with the newly expanded Sea Level. Other sessions took place in Los Angeles, at Hollywood Sound Recorders. Gradually, Cats On The Coast began to take shape and eventually was completed.
Cats On The Coast was scheduled for released later in 1977. Before that, critics had their say on Sea Level’s sophomore album. It found Sea Level switching between Southern Rock and fusion. While the album found favour with critics, Cats On The Coast passed record buyers by.While the album failed to chart, the lead single That’s Your Secret reached fifty in the US Billboard 100. It was a small crumb of comfort for Sea Level.
They had released two albums, but neither had come close to troubling the charts. It was frustrating for Sea Level. They knew that there was nothing wrong with the music. Instead, it was a case of the wrong albums at the wrong time. Southern Rock was no longer as popular as it had once been. Many Southern Rock bands weren’t enjoy the success they once had. For a new band like Sea Level, trying to make a breakthrough was doubly difficult. So much so, that two members of Sea Level decided to leave the band just before work began on their third album, On The Edge.
On The Edge.
Exiting stage left were Jaimoe and George Weaver. This left Sea Level without a drummer. However, George Weaver was recruited and Sea Level continued as a sextet.
Just like Cats On The Coast, several members of Sea Level contributed songs to On The Edge. Chuck Leavell wrote A Lotta Colada and Uptown Downtown, and penned On The Wing with Lamar Williams. Jimmy Nails wrote Fifty-Four while Randall Bramblett contributed This Could Be The Worst and Electron Cold. He wrote King Grand with Davis Causey. The two men also wrote Living In A Dream with Arch Pearson. These eights songs would become On The Edge.
Just like their two previous albums, On The Edge was recorded at Capricorn Sound Studios, with producer Stewart Levine and engineer Sam Whiteside. This was the third lineup of Sea Level they had worked with. However, they were all experienced musicians, and the recording sessions went to plan. Some additional sessions took place at The Hit Factory, in New York. After that, On The Edge was ready for release later in 1978.
Prior to the release, critics received their advance copies of On The Edge. They discovered an album where Sea Level switched between and combined elements of Southern Rock, fusion and jazz-funk. It was a slick, accomplished and well produced band that featured a tight and talented band. Praise and plaudits preceded the release of On The Edge. Despite this, the album failed commercially and didn’t come close to troubling the charts. For Sea Level, it was yet another disappointment.
Long Walk On A Short Pier.
Despite the commercial failure of On The Edge, Sea Level weren’t about to give up. They began work on their fourth album Long Walk On A Short Pier.
Chuck Leavell wrote two new songs for Long Walk On A Short Pier, Tear Down This Wall and Just A Touch. Lamar Williams penned Just A Touch, while Jimmy Nails wrote Twenty Miles From Nowhere and penned A Two ’n’ Two with Davis Causey. He contributed Canine Man and Thirsty, and then wrote Morning Light with Randall Bramblett. The other song was a cover of the Weaver-Walker composition Too Many Broken Hearts. With the material for Long Walk On A Short Pier complete, Sea Level made the journey to Macon, Georgia. They were joined by a new band member percussionist and conga player David Earle Johnson.
When Sea Level arrived at Capricorn Sound Studios, nothing seemed to have changed. The studio looked the same as ever. However, this time, Sea Level were going to co-produce Long Walk On A Short Pier with engineer turned producer Sam Whiteside. He had engineered Sea Level’s three previous albums, so knew how the band worked. Sam Whiteside had served his apprenticeship and was ready to step out of Stewart Levine’s shadow.
Despite his promotion to co-producer, Sam Whiteside still engineered Long Walk On A Short Pier. He brought David Pinkston onboard, to assist him with his engineering duties. They watched on as Sea Level switched between Southern Rock and fusion on Long Walk On A Short Pier. The music seemed to flow through Sea Level. Gradually, Long Walk On A Short Pier began to take shape and the album almost complete.
All that recorded was for a horn section to be overdubbed at Sea Saint Studio, in New Orleans. Then Long Walk On A Short Pier would be ready for release by Capricorn Records.
Little did Sea Level know that all wasn’t well at Capricorn Records. The label was teetering on the verge of insolvency as promotional copies of Long Walk On A Short Pier were sent out. Sea Level were totally unaware of this.
When reviews of Long Walk On A Short Pier were published, critics were impressed by Sea Level’s fourth album. Just like their previous album, Sea Level flitted between Southern Rock and fusion on Long Walk On A Short Pier. It was another accomplished album from Sea Level. Maybe it would’ve been the album that transformed their fortunes?
It wasn’t to be. Just as Long Walk On A Short Pier was released, Capricorn Records went out of business. They were insolvent and had no option but to file for bankruptcy. For Sea Level, this was a disaster. Their fourth album was dead in the water.
Copies of Long Walk On A Short Pier made it as far as distributors. That was as far as they got. Later, it became apparent that a few copies of Long Walk On A Short Pier made it into circulation. However, it wasn’t until 1998 that Long Walk On A Short Pier was heard by the wider record buying public.
After Capricorn Records filed for bankruptcy, the future looked bleak for Sea Level. They had recorded an album that was never released properly. That cost the band time and money. They could’ve been touring, as Sea Level were still a popular draw on the live circuit. All the time, expense and effort that went into recording Long Walk On A Short Pier had been for nothing. Now they were left with no recording contract. Despite this, Sea Level decided to record a new album with producer Sam Whiteside, Ball Room.
Ball Room.
Having made the decision to continue, there was a change in Sea Level’s lineup. Percussionist and conga player David Earle Johnson left the band. He was replaced by percussionist Matt Greeley, who was about to make his recording debut.
Before that, the members of Sea Level began work on writing their fifth album. Chuck Leavell wrote Anxiously Awaiting and Don’t Want To Be Wrong, while Lamar Williams contributed Struttin’. Randall Bramblett penned Wild Side, School Teacher, Comfort Range and Brandstand. He also wrote We Will Wait and You Mean So Much To Me with Davis Causey. These nine songs would become Ball Room, which was recorded at two studios.
For the first time since Sea Level were founded, they weren’t heading to Capricorn Recording Studios to record an album. Instead, Ball Room was recorded at Axis Sound Studio and Web IV Studios. Engineer Sam Whiteside co-produced Ball Room with Sea Level. They put their considerable talents were put to good use on Ball Room. Onlookers witnessed Sea Level in full flight, with Chuck Leavell and Randall Bramblett sharing lead vocals. Once Ball Room was complete, Sea Level started shopping the album to record labels.
Eventually, it was Clive Davis’ Arista Recorsd that expressed an interest in signing Sea Level. Clive Davis was the man with the Midas touch. He had transformed the career of countless artists and groups. Sea Level were hoping he could do the same for them. So they signed on the dotted line, and hoped that Clive Davis would work his magic.
Later in 1980, Ball Room was scheduled for release by Arista. After five albums, they were at last, signed to a label with the financial muscle and expertise to get behind Sea Level’s fifth album Ball Room. Arista Records go to work on promoting Ball Room.
Critics who were sent copies of Ball Room found Sea Level at the top of their game. The Southern Rock of Wild Side opened Ball Room, and set the bar high. Sea Level then kick loose on the anthemic bar room rock of School Teacher. Then there’s a drop in tempo on Comfort Range. It’s a mid-tempo, cinematic rocker that features one of Randall Bramblett’s best vocals. He brings the lyrics to life, and it’s possible to imagine the song’s protagonist as they live life on the edge. Anxiously Awaiting shows another side of Sea Level, as they drop the tempo on this rocky, ruminative and timeless ballad. After that, it’s all change.
Struttin’ is an instrumental, where Sea Level enjoy the opportunity to stretch their legs and showcase their considerable talents as they fuse rock, jazz and funk. The tempo drops on We Will Wait, a quite beautiful, dreamy and atmospheric song. It features Sea Level at their best and most inventive, as they combine elements of rock and jazz. You Mean So Much To Me is a heartfelt pean, with a languid groove. There’s a nod to Hall and Oates, as pop, rock and jazz combine seamlessly. Don’t Want To Be Wrong is an uptempo and rocky love song where Chuck Leavell takes charge of the lead vocal, while Randall Bramblett adds alto saxophone. This proves a potent partnership. Then one of Sea Level’s finest ballads Bandstand, closes Ball Room. It was, without, doubt, one of the best albums of Sea Level’s five album career.
When Ball Room was released, it followed in the footsteps of their previous albums, and failed to chart. For Sea Level this was a disaster. Things got worse when the lead single School Teacher never came close to troubling the charts. Sea Level were at a crossroads.
As 1981 dawned, Sea Level realised that after five years and five albums, they were no further on. Sea Level had nothing to show for fives years of recording and touring. All that hard work had been for nothing. Part of the problem was Sea Level released their albums at the wrong time.
If Sea Level’s five albums had been released earlier in the seventies, when Southern Rock was at the peak of its popularity then things would’ve been very different. Realising that music was changing, Sea Level tried to move away from their Southern Rock roots.
While Southern Rock featured on each of their albums, Sea Level’s first four albums headed in the direction of fusion, jazz-funk and even blues and rock. Then on Ball Room, Sea Level flit between Southern Rock to jazz, funk, pop and rock. They’re even transformed into a bar room band on School Teacher. It’s part of what was one of Sea Level’s most eclectic and best albums. Sadly, commercial success eluded Ball Room, which nowadays is an oft-overlooked hidden gem. Ball Room was Sea Level’s swan-song. They decided to call time on the band. There was only one problem.
Over the last five years, Sea Level had run up some debts. They were in the red and the time came to settle their debuts. Sea Level had to embark on one more tour. When the venues were finalised, it was apparent that Sea Level were going to be playing mostly dive bars. Many of them were situated in low rent shopping centres. Realising this, Sea Level decided to call the tour the Shopping Centre Tour. That was the last laugh Sea Level enjoyed.
The Shopping Centre Tour was a soul-destroying experience for Sea Level. They played dive bars and slept in the cheapest motels they could find. It was a miserable experience. Especially as Sea Level were only receiving expenses. Eventually, the tour was over and the band were free of their debts. That was the last time Sea Level played together as a band.
They had been together seven eventful years, and released five albums that showcase a truly talented band. Sadly, the five albums Sea Level released failed to find an audience. It’s only now that Sea Level’s albums are starting to find a wider audience. One of their finest albums was Ball Room, which is an oft-overlooked hidden gem that features Sea Level in full flight and their inventive best.
Sea Level-Ball Room.
BUDGIE-WHAT MIGHT HAVE BEEN.
Budgie-What Might Have Been.
The roots of hard rocking Welsh trio Budgie, can be traced to Cardiff, in 1967. That was where the band were formed. Originally, Budgie were known as Hills Contemporary Grass. However, after playing several gigs in 1968, Burke Shelley, Tony Bourge and Ray Phillips decided to changed the band’s name to Six Ton Budgie. Before long, this was shortened to Budgie. Little did anyone know that one of the most influential British heavy rock bands had just been christened.
The newly christened Budgie would go on to influence a new generation rock bands. They became known as the New Wave of British Heavy Metal. Bands like Judas Priest, Saxon, Iron Maiden, Raven and Def Leppard were among the bands that were inspired by Budgie’s music. This includes the five albums Budgie recorded between 1970 and 1975. These albums had the potential to turn Budgie into one of the biggest British rock bands of the early seventies. They should’ve launched band’s career as the capture Budgie at their hard rocking best. Budgie wouldn’t have looked out of place alongside Led Zeppelin, Black Sabbath and Deep Purple. Their story began in 1968.
Having changed their name to Budgie in 1968, the band began honing their sound by playing live. This was the tried and tested way that bands had honed their sound. There were no short cuts. Instead, it was just hard work and persistence.
Night after night, Budgie like many bands before them, pubs and clubs. Early on, Budgie played locally. Before long, Budgie began to play further afield. Gradually, Budgie began to attract a following. Their hard work and persistence was beginning to pay off. After nearly two years of playing live, decided to Budgie record their first demo.
Bassist and vocalist Burke Shelley, guitarist Tony Bourge and drummer Ray Phillips entered the studio and recorded what became their first demo in 1971. It was used to try and attract interest from record companies.
The first demo didn’t result in record companies rushing to Cardiff to sign Budgie. They were prepared to be patient, and play the long game. Eventually, Budgie’s patience paid off, and they were signed by MCA.
Budgie.
Once they had signed to MCA, the label began looking for the right producer for Budgie. Meanwhile, they were putting the finishing touches to the album they were writing. Eventually, Budgie were paired with Black Sabbath’s producer Roger Bain.
He had an enviable track record. Roger Bain had produced Black Sabbath’s first two albums. When Black Sabbath was released in February 1970, it was certified gold in the UK and platinum in America. Seven months later, Black Sabbath released Paranoid in September 1970. It was certified gold in the UK and four times platinum in America. Black Sabbath’s first two albums had sold five million copies in America along, and the man that produced the albums was about to work with Budgie.
For a band about to record their debut album, this was beyond their wildest dreams. Secretly, the three members of Budgie must have been dreaming that Roger Bain could do the same for Budgie.
They had finished writing the eight tracks that became debut album. Each of the tracks were credited to Burke Shelley, Tony Bourge and Ray Phillips. To record their debut album, Budgie were about to head to one of the prestigious studios, Rockfield Studios, in Monmouth, in Wales.
At Rockfield Studios, Budgie began recording the eight tracks with Roger Bain. Budgie decided to augment their core sound. Most things stayed the same though. Ray Phillips played drums and percussion and Tony Bourge guitar. Bassist and vocalist Burke Shelley played a mellotron on what became Budgie. It was completed during the first half of 1971.
The release of Budgie was scheduled for June 1971. Before that, the critics had their say. Mostly, the reviews of Budgie were positive. Alas, some critics weren’t convinced by Budgie. They were in a minority. Most were won over by heavy, hard rocking, blues rock sound and lightning fast, blistering guitar solos. Especially on Homicidal Suicidal and Nude Disintegrating Parachutist Woman, which were two of the highlights of Budgie, and why most of the reviews forecast that Budgie would be a success.
Upon the release of Budgie in 1971, the album failed to chart in the UK. Neither did the non-album single Crash Course In Brain Surgery. This was a huge disappointment for Budgie, Roger Bain and MCA. Later, like Metallica covered Crash Course In Brain Surgery. Thrush Hermit and Soundgarden would all cover songs from Budgie. However, back in 1971, it was back to the drawing board for Budgie.
Squawk.
After the commercial failure of their eponymous debut album, Budgie returned to the live circuit. They were starting to build a following. Eventually, though, Budgie began work on their sophomore album.
Just like their debut album, the three members of Budgie wrote a total of nine tracks. They would later become Squawk. Just like Budgie, recording took place at Rockfield Studios with producer Roger Bain.
Work began at Rockfield Studios, Budgie during the first half of 1972. Drummer and percussionist Ray Phillips was joined in the rhythm section by bassist and vocalist Burke Shelley. He also played mellotron piano. Completing Budgie’s lineup, was guitarist Tony Bourge guitar. The album was recorded live. Budgie it seemed, were trying to capture the essence of one of their live performances. When the album was completed it became Squawk.
For Squawk’s album cover, MCA commissioned Roger Dean. By 1972, he was already regarded as one of the top album designers. He produced a truly memorable and thought provoking album cover. The first people to see it were the critics.
Just like Budgie, the majority of the reviews of Squawk were positive. There were still a few critics who were yet to be convinced. Mostly, Budgie’s hard rocking sound found favour with critics. Tracks like Rocking Man, The Beatles’ inspired Rolling Home Again, folk-tinged Make Me Happy and anthemic Drugstore Woman were among the highlights of Squawk. It was released in September 1972.
When Squawk was released, the album failed to much of an impression on the charts. This was another disappointment for Budgie. They returned to the live circuit and considered their options.
Never Turn Your Back On A Friend.
By the time Budgie thoughts turned to their third album, they had decided to make some changes. They quickly became apparent as work began on what would become Never Turn Your Back On A Friend.
For Never Turn Your Back On A Friend, Budgie penned six tracks. The other track was a cover version. This was a first. Usually, Budgie wrote their own material. However, Big Joe Williams’ Baby, Please Don’t Go was a blues classic. This was fitting for a group who had started life as a blues rock band.
Although Budgie were originally a blues rock band, their music was beginning to change on Never Turn Your Back On A Friend. Progressive rock was King in 1973, and Budgie moved towards progressive rock on Never Turn Your Back On A Friend. Still, though, Budgie were primarily a hard rocking band. They combined the hard rock and progressive rock on Never Turn Your Back On A Friend.
When recording begn at Rockfield Studios, there was no sign of Roger Bain. Budgie had decided to produce Never Turn Your Back On A Friend themselves. They had learnt from Roger Bain, and were ready to make their production debut on Never Turn Your Back On A Friend. It had a much leaner sound.
There was neither a piano nor mellotron on . Instead, it was just drummer Ray Phillips, bassist and vocalist Burke Shelley and guitarist Tony Bourge. They worked their way through seven tracks. where Budgie switched between blues rock, hard rock, progressive rock and proto-speed metal. These tracks eventually became Never Turn Your Back On A Friend.
Once Never Turn Your Back On A Friend was complete, MCA sent copies of the album to critics. They hailed the album Budgie’s finest yet. One of the highlights was Breadfan, which Metallica later covered. Parents a ten minute epic, is regarded as one the track that launched the speed metal genre. However, Never Turn Your Back On A Friend was the album that had most influence on the new wave of British heavy metal. It would inspire a new generation of bands. Despite doing so, Never Turn Your Back On A Friend wasn’t a huge commercial success.
Far from it. When Never Turn Your Back On A Friend was released in June 1973, the album failed to chart. That was Budgie’s third album that had failed to trouble the charts. For one member of Budgie, that was enough for him to call time on career with the band.
In late 1973, Ray Phillips left Budgie. He was replaced by Pete Boot. His timing was impeccable. Budgie’s fortunes were about to improve.
In For The Kill.
After the departure of Ray Phillips, a new chapter began in Budgie’s career. For the first few weeks, Burke Shelley and Tony Bourge gave the new recruit a crash course in Budgie’s back-catalogue. The new drummer, Pete Boot, had three albums to learn. Budgie were also in the process of working on their fourth album, In For The Kill.
Unlike Ray Phillips, Pete Boot took no part in writing In For The Kill. Instead, Burke Shelley and Tony Bourge wrote six of the seven songs on In For The Kill. The other track was Crash Course In Brain Surgery, which had been released as a single in 1971. It had been penned by the original lineup of Budgie, Ray Phillips, Burke Shelley and Tony Bourge. However, rather than use the original track, Budgie decided to remix the track.
There was a reason for this. This would allow the guitars to play a more prominent role in the track. It was a track used effectively and successfully by Black Sabbath’s Tony Iommi. If had been good enough for Black Sabbath, then it was good enough for Budgie. They began work on remixing Crash Course In Brain Surgery, and recording In For The Kill.
This took place at the familiar surroundings of Rockfield Studios in Monmouth. It was where Budgie’s three previous albums had been recorded. Three was about to become four, when the new lineup pressed play. The new lineup of drummer Pete Book, bassist and vocalist Burke Shelley and guitarist Tony Bourge worked their way though the seven songs. Just like Never Turn Your Back On A Friend, In For The Kill was produced by Budgie. Once the sessions at Rockfield Studios were complete, some further recording took place at Lee Sound, in Birmingham. Only then, was In For The Kill complete.
With In For The Kill complete, MCA scheduled the release of the album for May 1974. They wanted to build in the increasing popularity of Budgie. Their star was in the ascendancy. They had continued to increase their fan-base over the last few years. It had taken time, patience and persistence. Maybe In For The Kill would be a game-changer? That would depend on what the critics said.
Critics on hearing In For The Kill, hailed the album Budgie’s finest hour. However, they had said the same thing about Never Turn Your Back On A Friend. There were plenty of reasons to justify the critics conclusions.
This included In For The Kill, which featured a blistering guitar solo from Tony Bourge. Hot on its heels came the remixed version of Crash Course In Brain Surgery. With the power chords playing a prominent role in the track, it was regarded as one of the album’s highlights. So was the thoughtful Wondering What Everyone Knows, which seemed to have been inspired by The Beatles. Hammer and Tongs found Budgie at their hard rocking best, while Burke Shelley’s vocal adding an element of drama. Closing In For The Kill was the nine minute epic Living On Your Own. In For The Kill was indeed Budgie’s finest hour.
When it was released in May 1974, record buyers agreed. In For The Kill reached twenty-nine in the UK charts. After four albums, and seven years hard work and persistence, Budgie had made a breakthrough.
The sad thing was that the original drummer had Ray Phillips left Budgie just before the band made their breakthrough. His replacement Pete Boot was enjoying the fruits of his labours. He hadn’t spent six years crisscrossing Britain playing in pubs in clubs. However, Ray Phillips would later form his own band Ray Phillips Woman in the mid-seventies. By then, Budgie had lost their second drummer.
In late 1974, Budgie’s ‘new’ drummer Pete Boot left the band. This left Budgie in the lurch. Luckily, Steve Williams filled the void when Budge toured In For The Kill. Steve Williams later became a permanent member, and played on Budgie’s fifth album, Bandolier.
Bandolier.
Despite the success of In For The Kill, it was over a year before Budgie returned with the followup album, Bandolier. They had spent much of 1974 and part of 1975 touring. Budgie’s popularity was continuing to grow and this meant spending more time on the road. However, the time came to return to the recording studio.
By then, Burke Shelley and Tony Bourge had written five of the six songs on Bandolier. They were joined by a cover of Andy Fairweather Low’s Ain’t No Mountain. These six tracks were recorded at what had become Budgie’s studio of choice, Rockfield Studios.
Drummer Steve Williams, bassist and vocalist Burke Shelley and guitarist Tony Bourge began work on Bandolier at Rockfield Studios. Much of the album was recorded there. However, some recording took place at Mayfair Sound, in London. Eventually, Budgie had recorded six songs. They would become their fifth album, Bandolier.
With Bandolier completed, it was delivered to MCA. They scheduled the release of Bandolier for September 1975. This left plenty of time to promote Bandolier. Meanwhile, the critics had their say on the album.
They were won over by Bandolier, which found Budgie at their hard rocking best. Critics pointed out that Budgie were maturing and improving with each album. After five albums, Budgie had the potential to become one of the biggest British rock bands.
This was helped by Budgie’s new drummer Steve Williams quickly settling into his new role. He playing was powerful and punchy as he played with a newfound freedom. His drums helped propelled the arrangements along. Meanwhile, some critics were comparing Burke Shelley to Led Zeppelin frontman Robert Man. The similarity is noticeable on Who Do You Want For Your Love ?/Never Turn Your Back On A Friend and See My Feelings/Rock Climbing. As usual, Tony Bourge’s scorching, blistering, soaring guitar solos were playing a leading role in the sound and success of Bandolier. Especially on tracks like Breaking All The House Rules and I Can’t See My Feelings/Rock Climbing and I Ain’t No Mountain. Everything was coming together for Budgie on Bandolier.
They were still working hard and continued to reassess and reinvent their music. Constantly, they tweaked their sound adding or changing it. Over the past five albums, Budgie had moved from their early blues rock towards hard rock. Later, they incorporated folk, drew inspiration from The Beatles and moved in the direction of progressive rock. However, for much of the time, Budgie were an inventive, hard rocking band that always featured talented musicians. Proof of this was their four previous albums, and their fifth album Bandolier.
When Bandolier was released in September 1975, the album reached thirty-six in the UK. Alas, Bandolier hadn’t quite matched the success of In For The Kill. It had reached twenty-nine in 1974. However, Bandolier was certified gold. This was a first for Budgie.
A gold disc was the perfect way for Budgie to end their time at MCA. After five albums, where Budgie’s sound continued to evolve, the inventive Welsh trio’s popularity blossomed. By the time Bandolier was released in 1975, they had reached new levels of popularity. It was ironic that Budgie were about to leave MCA and sign for A&M Records.
The A&M Years.
Budgie’s hard work and persistence seemed to be beginning to pay off. They were signed by A&M Records, who Budgie hoped would be album to take them them to the next level. Critics agreed. Many critics thought that within a year or two, Budgie would be rubbing shoulders with Black Sabbath and Led Zeppelin.
Having signed to A&M Records, Budgie returned with If I Were Brittania I’d Waive The Rules in April 1976. Reviews of the album were mixed. This didn’t auger well for the release of If I Were Britannia I’d Waive The Rules. It failed to chart. For Budgie, this wasn’t the best way to begin the A&M years.
It was nearly two years before Budgie returned in February 1978, with the band’s seventh album Impeckable. Just like If I Were Britannia I’d Waive The Rules, reviews of the album were mixed. When the album was released, it failed to chart. For Budgie, this was a disaster for more reason than one.
In late 1979, Budgie were dropped by A&M Records. For the first time since 1970, Budgie had no recording contract. Surely, things couldn’t get any worse?
It did. Founder member and guitarist Tony Bourge left Budgie in 1980. He was replaced by John Thomas, who would make his recording debut with Budgie
weren’t ‘t For The Kill reached twenty-nine in the UK and Bandolier thirty-six. That looked like it was the start of the rise and rise of Budgie. Many critics thought that within a year or two, Budgie would be rubbing shoulders with Black Sabbath and Led Zeppelin. Sadly, Budgie never built on the success in 1980.
The Active Records Years.
Kingsley Wards’ Active Records was a relatively new record company. It had only been founded in 1980, but already the label had signed a distribution deal with RCA. Even with this distribution deal in place, it was still something of a coup for Active Records to sign Budgie.
They released their eighth studio album Power Supply in October 1980. This was the first new album from the new lineup of the band. One thing didn’t change, was that the reviews were mixed. Budgie’s last three albums seemed to polarise the opinion of critics and fans. Power Supply became Budgie’s third consecutive album that had failed to chart. It was another disappointment for the hard rocking trio.
Despite the disappointing sales of Power Supply, Budgie returned to the studio and a year later, returned with their ninth album Nightflight. While there were still some dissenting voices amongst critics, mostly the album was well received. Things were looking up for Budgie. Especially when Nightflight charted and reached sixty-eight in the UK. Nightflight was Budgie first album to chart since Bandolier in 1975. Then when Keeping a Rendezvous was released as a single, it reached number seventy-one in the UK. It looked as if Budgie’s fortunes were improving.
The RCA Years.
RCA who distributed Active Records’ releases signed Budgie after Nightflight. This looked like perfect timing as Budgie were still a popular live draw. They had supported Ozzy Osbourne during his Blizzard of Ozz Tour in 1980 and 1981. Budgie a had a huge following in Poland, where they became the first band play behind the Iron Curtain. However, in Britain, Budgie popularity had been on the rise since the New Wave of British Heavy Metal began. This cumulated with Budgie headlining the Reading Festival in the summer 1982. It looked their star was once again in the ascendancy, For a band who were about to release a new album, it was perfect timing.
Budgie released their tenth album Deliver Us From Evil in October 1982. Deliver Us From marked the debut of keyboardist Duncan MacKay as a full member of Budgie. He was an experienced musician who previously, had been a member Steve Harley and Cockney Rebel and 10CC. However, Duncan MacKay didn’t play a part in the writing of Deliver Us From Evil.
It was written by the other three members of Budgie and was their first concept album. Given the political climate, Deliver Us From Evil was particularly relevant. Burke Shelley described the album as one that “attacks the power structures of East and West and the balance of terror…and…refers to all kinds of evil, not just The Bomb and war, but the main theme calls for world peace.” When Deliver Us From Evil was released in October 1982, critics heard a much more commercial sounding album. However, the reviews of Deliver Us From Evil were mixed. It reached sixty-two in the UK and became Budgie’s most successful album since Bandolier in 1976.
Despite the relative success of Deliver Us From Evil, Budgie never released another album for RCA. Their time at RCA was brief, and it would be twenty-four years before Budgie released another album.
Budgie continued to play live until 1988. However, Budgie stopped playing live in 1988 and the members of the band embarked on careers in production. After twenty-years, it looked as if the Budgie story was over.
Twenty-four years later, and Budgie were back. They were about to embark upon a thirty-five date tour of Poland. To coincide with the tour, Budgie released their eleventh album You’re All Living In Cuckooland. Only Burke Shelley and Steve Williams remained from the previous incarnation of Budgie. Despite touring You’re All Living In Cuckooland., it failed to chart. Budgie’s eleventh album was their swan-song.
For Budgie, it was a case of what might have been. Budgie were one of the hardest rocking bands of the early seventies. They had the potential to become one of the biggest names in British rock, and could’ve and should’ve gone on to become one of biggest names in British rock. Sadly, Budgie never reached the heights that their music deserved. It was a case of what might have been?
Maybe things would’ve been different if Budgie had stayed at MCA? That was where Budgie released the best music of their career. Their move to A&M Records coincided with the decline in Budgie’s fortunes. Never again did the band enjoy the same commercial success and critical acclaim. That was despite signing to A&M Records and RCA. However, the spells with both labels proved brief and unsuccessful. As a result, Budgie never built on the success In For The Kill and Bandolier. These two albums were the most successful of Budgie’s eleven album career.
When Budgie released In For The Kill and Bandolier, it looked as if they were destined for greatness, and soon, would be rubbing shoulders with Led Zeppelin, Black Sabbath and Deep Purple. However, while the unholy trinity released million selling albums and toured the world, commercial success started to elude Budgie.
What didn’t help was that Budgie’s lineup changed several times. Ray Phillips was the first to leave. He left after the release of Never Turn Your Back On A Friend and missed out on the success of In For The Kill and Bandolier. However, this was just the first of several changes in Budgie’s lineup. By1980, Burke Shelley was the last man standing. The other two original members of Budgie had left the band. Despite recruiting talented musicians, Budgie and releasing six further studio albums, they never came close to reaching the heights of In For The Kill and Bandolier.
Eleven years after Budgie released their swan-song You’re All Living In Cuckooland in 2006, the hard rocking trio are now regarded as one of the greatest hard rock groups of the early seventies. The music Budgie released on MCA is regarded as the best music of their long career. Especially, the trio released between 1973 and 1975. This began with Never Turn Your Back On A Friend, then In For The Kill and Bandolier. These three albums feature Budgie at their hard rocking best. Just like the other two albums Budgie released for MCA, they’re a reminder of an oft-overlooked and underrated band. However, Budgie had the talent to become one of the most successful, hard rocking bands of the seventies. Sadly, Lady Luck didn’t smile on Budgie. Instead, it’s a case of what might have been for Budgie.
Budgie-What Might Have Been.
CREAM-BRITAIN’S FIRST SUPERGROUP.
Cream-Britain’s First Supergroup.
It was in July 1966, when Britain’s first supergroup, Cream was born. Eric Clapton who was regarded as the greatest British blues guitarist of his generation, was looking beyond life with John Mayall and The Bluesbreakers. That was the group Eric Clapton had joined after his departure from The Yarbirds.
By July 1966, Eric Clapton was in his second spell with John Mayall and The Bluesbreakers. He originally joined in April 1965 and was a Bluesbreaker until August 1965. Three months later, Eric Clapton returned to the fold in November 1965. For the next eight months, Eric Clapton was a Bluesbreaker. During this period, John Mayall and The Bluesbreakers recorded their classic album Blues Breakers With Eric Clapton in April 1966.
Three months later, and Blues Breakers With Eric Clapton was released by Decca on the 22nd July 1966. Critical acclaim accompanied what’s regarded as a British blues classic. It reached number six in the UK charts. This should’ve been a reason to celebrate. However, Eric Clapton was neither happy nor feeling fulfilled musically.
Instead, he felt constrained musically. Eric Clapton was unable to stretch his legs within John Mayall and The Bluesbreakers. There was certainly no room for invention. This was frustrating for Eric Clapton. So much so, that he was even considering forming his own band. However, Blues Breakers With Eric Clapton had just been released and looked like being the band’s most successful album. For Eric Clapton, his nascent career was at a crossroads.
To take his mind off his problems, Eric Clapton decided to go and see blues guitarist Buddy Guy in concert. That night, Buddy Guy took to the stage with a trio. When Eric Clapton saw the trio live, he was so impressed that he decided to form a new band. They would also be a trio, Cream.
Having made the decision to leave John Mayall and The Bluesbreakers, Eric Clapton began looking for musicians to join his band. He knew drummer Ginger Baker, who was a member The Graham Bond Organisation. Ginger Baker was tiring of Graham Bond’s drug addiction and bouts of instability. So much so, that he was considering his future.
When Eric Clapton approached Ginger Baker about joining his trio, the answer was yes. However, there was a catch. Eric Clapton had to agree to hire The Graham Bond Organisation’s bassist Jack Bruce.
Eric Clapton already knew Jack Bruce and played alongside him on two occasions. The first came in November 1965 when Jack Bruce sat in with John Mayall and The Bluesbreakers during November 1965. More recently, Eric Clapton and Jack Bruce were part of Steve Winwood’s band Powerhouse, which also featured Paul Jones. During the two sessions, Eric Clapton had been impressed by Jack Bruce proficiency and prowess as a bassist. Jack Bruce who had previously enjoyed working with Eric Clapton, agreed to join the band. However, he was surprised that Ginger Baker had recommended him to Eric Clapton.
During their time with The Graham Bond Organisation, Ginger Baker and Jack Bruce had a volatile relationship. The two members of the rhythm section were known to argue onstage. Sometimes, things got so bad that they traded blows. However, that was the past. Ginger Baker and Jack Bruce agreed to put their differences aside. A musical truce was declared. Suddenly, there was peace in our time. All for the good of the new group.
With the lineup complete, the nascent band set about establishing the ground rules. They envisaged that songs would be collaborations, with each member playing a part in writing the lyrics and music. Next on the agenda was a name for the group. It didn’t take long for them to come up with the name Cream. The music press had been describing the new band as the: “cream of the crop” of British musicians. Cream was essentially the first British supergroup. They were about to make what was their unofficial debut.
This took place on the 29th of July 1966, at the Twisted Wheel nightclub in Manchester. That night, it was hosting the Sixth Annual Windsor Jazz & Blues Festival. Cream were special guests, and in absence of new material, ran through a set of blues covers. Little did those in the audience realise that they had just witnessed history being made.
Just three months later, in October 1966, Cream took to the stage with another legend of sixties music, Jimi Hendrix. He was a fan of Eric Clapton’s was keen to jam with his new band on his arrival of London. Little did anyone realise that by the end of the sixties, both Cream and Jimi Hendrix would’ve become two of the biggest names of the late-sixties music scene.
Later in 1966, Cream were still experimenting musically. They had yet to decide who would be the group’s lead vocalist. Eric Clapton’s shyness meant he was reluctant to take charge of the lead vocals. Instead, Jack Bruce became Cream’s lead vocalist. However, during Cream’s lifetime, Eric Clapton would add harmonies and the lead vocal on a number of tracks.This included a track on Cream’s debut album Fresh Cream.
Fresh Cream.
Almost straight away, work began on Cream’s debut album, which later became Fresh Cream. It featured ten songs. They were a mixture of new songs and cover versions.
The new songs included Jack Bruce’s N.S.U. and Dreaming. He cowrote Sleepy Time Time with his first wife and songwriting partner Janet Godfrey. She cowrote Sweet Wine with Ginger Baker, who wrote the instrumental Toad. Other songs included a cover of song Cat’s Squirrel, which was arranged by Cream and a quartet of blues classics.
This included Willie Dixon’s Spoonful. Cream decided to cover Robert Johnson’s From Four Until Late which Eric Clapton arranged. It was joined by Rollin’ and Tumblin’ which Muddy Waters penned using his real name, McKinley Morganfield. The final blues classic was Skip James’ I’m So Glad. These songs were recorded over a three month period.
Recording of Fresh Cream took place between July and October 1966 at two separate studios in London. Some sessions took at Rayrik Studios, while others took place at Ryemuse Studios. Drummer Ginger Baker joined bassist Jack Bruce in the rhythm section. He also played harmonica, piano and took charge of seven of the eight lead vocals. Guitarist Eric Clapton added the lead vocal on Four Until Late. Meanwhile, Robert Stigwood produced what would later became Fresh Cream. It was completed by October 1966.
The release of Fresh Cream was scheduled for the 9th of December 1966. Before that, Cream released their debut single Wrapping Paper in October 1966 . It was penned by Jack Bruce and Pete Brown, but didn’t feature on Fresh Cream. Wrapping Paper showcased a psychedelic pop sound that Cream returned to. This proved popular and reached thirty-four in the UK charts. Things were looking good for Cream.
Nearer the release of Fresh Cream, critics had their say on the nascent supergroup’s debut album. Nearly every critic lavished praise and plaudits on Fresh Cream. They were won over by an album that ranged from blues rock to psychedelia and a much more hard rocking sound. Cream’s debut was an eclectic and accomplished album. Especially the psychedelic sound of N.S.U, the bluesy Sleepy Time and the Jack Bruce penned ballad Dreaming. Four Until Late shakes off his shyness and makes his debut on lead vocal on the cover Robert Johnson’s Four Till Late. However, one of Cream’s finest moments on Fresh Cream was their reinvention of I’m So Glad. It’s transformed into something that Skip James could never have envisaged. Given the critical reaction to Fresh Cream, it seemed that the future looked bright for Cream.
They prepared to release Fresh Cream on the 9th of December 1966 on Robert Stigwood’s new independent record label, Reaction Records. The same day, Cream released their sophomore single, I Feel Free. Just like their debut single, it didn’t feature on Fresh Cream. Despite that, I Feel Free reached number eleven in the UK and fifty-three in Australia. Meanwhile, Fresh Cream reached number six in the UK, ten in Australia and twenty in France. This resulted in Fresh Cream being certified gold in Britain and France. The success continued when Fresh Cream was released in America.
The American version of Fresh Cream was released by Atco. It featured a slightly different track listing. I Feel Free opened the album, with the British version of Fresh Cream following. This proved popular among American record buyers. Fresh Cream eventually reached thirty-nine in the US Billboard 200 and was certified gold. For Cream, this meant that their debut album Fresh Cream had been certified gold in three different continents. Critics wondered how they could they followup such a successful album? Cream returned with a classic album, Disraeli Gears.
Disraeli Gears.
Following the success of Fresh Cream, Cream headed out on tour. In March they landed in America, to play their first American tour. They were part of a package tour, and were booked to play nine dates at the Brooklyn Fox Theater in New York.
Each day, Cream played three times. However, the early concerts weren’t well received. DJ turned promoter Murray the K wasn’t impressed. He placed Cream at the bottom of the bill. Towards the end of the run, they were reduced to playing just one song during each set. The New York part of their American tour had been a disaster. They wouldn’t forget Murray the K in a hurry.
Having returned home from their American tour, Cream’s thoughts turned to their sophomore album. They had been writing what later became Disraeli Gears for some time.
When Cream was formed, the plan had been for the band to collaborate on songs. Alas, none of the eleven tracks on Disraeli Gears were written by the three members of Cream. They arranged the traditional song, Mother’s Lament. Sometimes, the members of Cream wrote alone. Jack Bruce wrote We’re Going Wrong and Ginger Baker penned We’re Going Wrong. Mostly, the members of Cream wrote alone or formed songwriting partnerships with other musicians and songwriters.
Jack Bruce and Eric Clapton cowrote Sunshine Of Your Love with Pete Brown. It would become one of their known songs. So would Strange Brew, which Eric Clapton wrote with Felix Pappalardi Gail Collins penned. Meanwhile,Jack Bruce wrote Dance the Night Away, SWLABR and Take It Back with Pete Brown. Eric Clapton wrote just the one song. This was Tales of Brave Ulysses with Martin Sharp. However, Eric Clapton arranged Arthur Reynolds’ Outside Woman Blues. It was one of just three covers on Disraeli Gears. Another was World Of Pain, which the Felix Pappalardi and Gail Collins songwriting partnership wrote. Just like the rest of Disraeli Gears, it was recorded in New York, during May 1967.
The prestigious surroundings of Atlantic Studios, New York were where Cream began work on Disraeli Gears. This time around, Felix Pappalardi had replaced ‘musical impresario’ Robert Stigwood. Twenty-seven year old was a classically trained musician who having turned his back on classical music, became a successful singer, songwriter, bassist and producer. One of his biggest projects was producing Disraeli Gears. It was a much more complex album than Fresh Cream.
Ginger Baker played drums and percussionist and joined his cohort, bassist Jack Bruce in the rhythm section. Jack Bruce also played harmonica, piano and took charge of seven of the eight lead vocals. Eric Clapton switched between lead guitar, rhythm guitar and twelve-string guitar. He also added the lead vocal on Strange Brew, World of Pain and Outside Woman Blues. It seemed that Eric Clapton was well on his way to overcoming his shyness, as Cream changed direction musically.
Critics realised this when they received their promotional copies of Disraeli Gears. It took its name from a malapropism which alluded to the former British Prime Minister Benjamin Disraeli. Eric Clapton had been taking about buying a racing bike during a car journey. Mick Turner who was driving the car responded that it should have: “Disraeli Gears” when he meant derailleur gears. That malapropism gave birth to tittle of the album critics were holding. When they listened to Disraeli Gears, they soon realised that Cream were moving away from the blues’ roots.
That was apart from on the cover of Blind Boy Reynolds’ Outside Woman Blues and Take it Back. It had been inspired by American students burning their draft cards. These were the only bluesy tracks on Disraeli Gears. Mostly, Cream moved towards psychedelia on Disraeli Gears. Tracks like Strange Brew, Sunshine Of Your Love, Dance The Night Away, Tales Of Brave Ulysses and We’re Going Wrong found Cream embracing psychedelia on an album that stood head and shoulders above the competition. Critic acclaim accompanied the release of Disraeli Gears.
On 2nd November 1967, Cream released their sophomore album Disraeli Gears. In Britain, Disraeli Gears reached number six and was certified platinum. Meanwhile, Disraeli Gears reached number two in France and twenty in Norway. Halfway round the world, Disraeli Gears reached number one in Australia and was certified platinum. However, Disraeli Gears was a huge success across North America. It reached number ten in Canada and number four in America. By then, Disraeli Gears had sold over a million copies. This resulted in Cream receiving their first platinum disc in America. However, that wasn’t the end of the success for Cream.
They released Sunshine Of Your Love as a single in January 1968. It reached seventeen in the UK, eighteen in Australia, three in Canada and five in the US Billboard 100. This resulted in Sunshine Of Your Love being certified gold in Britain, Australia and America. After just two albums, Cream were one of the biggest bands in the world. They were keen to build on this success, and began work on their third album, Wheels Of Fire.
Wheels Of Fire.
For their third album Wheels Of Fire, Cream decided to release a double album. This was no ordinary album. The first album was recorded in the studio, while the second disc was entitled Live At The Fillmore. Wheels Of Fire was an ambitious project for one of the most successful bands in the world.
Some of the tracks that became part of disc one of Wheels Of Fire had already been recorded. Others were still to be recorded. A total of nine tracks were chosen.
This included White Room, As You Said, Politician and Deserted Cities of the Heart which were penned by the Jack Bruce and Pete Brown songwriting partnership. Ginger Baker formed a songwriting partnership with Mike Taylor, and cowrote Passing The Time, Pressed Rat and Warthog and Those Were The Days. They were joined by two cover versions, Walter Vinson and Lonnie Chatmon’s Sitting on Top of the World and Booker T. Jones and William Bell’s Born Under A Bad Sign. These nine songs were recorded between July 1967 and June 1968.
The Wheels Of Fire sessions took place at a variety of studios. This included the IBC Studios during July and August 1967. From there, Cream headed Atlantic Studios, New York. They spent January and February of 1968 recording at the famous studios. Later in 1968, Cream returned to Atlantic Studios, New York during June 1968. During the various sessions, Cream used a myriad of instruments.
Each member of Cream had expanded their musical arsenal. Ginger Baker played drums and percussionist. He also added bells, glockenspiel, timpani and add the spoken word part on Pressed Rat and Warthog. Bassist Jack Bruce played acoustic guitar, calliope, cello, harmonic and recorder. Jack Bruce took charge of the lead vocals. Meanwhile, Eric Clapton laid down the guitar parts. Augmenting Cream, was Felix Pappalard, who played organ pedals, Swiss hand bells, tonette, trumpet and the viola. This left just Live At The Fillmore to be recorded.
Despite being entitled Live At The Fillmore, only Toad was recorded at the Filmore in San Francisco on 7th March 1968. However, Toad is transformed and becomes a sixteen minute epic where Cream stretch their legs and improvise. At last, Eric Clapton had the freedom he missed so much during his last spell with John Mayall and The Bluesbreakers. After the show at the Filmore, Cream headed to another venue in San Francisco, Winterland.
Just like at the Filmore, Cream were due to play two shows each night. On first show of 8th of March 1968, Cream’s set included Traintime a Jack Bruce composition. It made it onto Live At The Fillmore. Two nights later, Cream played two more shows at Winterland. During the first show, Cream covered Robert Johnson’s Crossroad and Willie Dixon’s Spoonful. Eric Clapton’s takes charge of the vocal on Crossroads. Later in the set, Cream cover and transform Willie Dixon’s Spoonful. Cream enjoy the opportunity to improvise and take the song in new directions over a sixteen minute period. This was a tantalising taste of Cream live.
Critics agreed when they received their copies of Wheels Of Fire. They were won over by what was an ambitious double album of studio and live recordings. Cream seemed to be maturing as a band. Especially live, where they enjoyed deconstructing and reconstructing songs. That was the case with Spoonful and Toad, which featured Cream at their best live. Critical acclaim preceded the release of Wheels Of Fire
Wheels Of Fire was released during July 1968, and quickly became Cream’s most successful album. It reached number three in the UK, two in France, fifteen in Germany and sixteen in Norway. In Australia, Canada and America, Wheels Of Fire reached number one. This resulted in Wheels Of Fire being certified platinum in Australia, America and British. For Cream this should’ve been a reason to celebrate.
Sadly, all wasn’t well within Cream. It hadn’t been for some time. Musically, the three members of Cream were no longer on the same page. Eric Clapton was now interested in the music that Bob Dylan was producing. He also cast envious glances at Bob Dylan’s former backing band, The Band. He was interested in their music, and the way that it was heading. Meanwhile, the truce Eric Clapton had been brokered between Jack Bruce and Ginger Baker was over. Their arguing was putting pressure on the very future of Cream. It was almost inevitable that the three members of Cream would decide to call it a day.
What had hastened the demise of Cream was when Eric Clapton read a review of Cream in the contrarian publication, Rolling Stone. The reviewer in what was nothing more than a hatchet job of review, resorted to name calling. Cream the reviewer said were a: “master of the blues cliché.” When Eric Clapton read the review, he decided that it was the end of road for Cream.
They embarked upon a Farewell Tour that began in Oakland on 4th October 1968. The tour ended fifteen days later at the Forum, Los Angeles, on the 19th of October 1969. That show was recorded, and became part of of Cream’s final album, Goodbye Cream.
Goodbye.
For their fourth and final album, the three members of Cream returned to London to record three tracks at IBC Studios in London. This included Badge, which Eric Clapton wrote with Beatle George Harrison. Doing That Scrapyard Thing was penned by the Jack Bruce and Pete Brown songwriting partnership. It had been a source of successful song’s during Cream’s lifetime. Ginger Baker contributed What a Bringdown. This meant that each of the members of of Cream wrote new song on their swan-song.
Joining Cream at IBC Studios, was producer Felix Pappalardi. When recording Badge, Doing That Scrapyard Thing and What a Bringdown at IBC Studios, keyboards were used extensively. This was a first. Cream were innovating to the end. Cream also used a Leslie speaker on Badge and Doing That Scrapyard Thing. This added to the psychedelic sound of both tracks. The three tracks that were recorded at IBC Studios became half of Goodbye.
The rest of Cream consisted of a trio of live tracks. They had been recorded at the Forum, in Los Angeles, on the 19th of October 1969. Skip James’ I’m So Glad, Jack Bruce and Pete Brown’s Politician and Walter Vinson and and Lonnie Chatmon’s Sitting on Top of the World featured Cream at their very best.
So much so, that when critics heard Goodbye, they hailed the live tracks as better as those on Wheels Of Fire. This was a glimpse of what Cream were capable of producing live. Similarly, the three songs recorded at IBC Studios were regarded as groundbreaking, and saw Cream reinventing their music. Badge critics said, was the standout track, and without doubt one Cream’s finest hours. It looked as if Cream were about to bow out at the top.
By the time Goodbye was released in March 1969, Cream had been dissolved. They played a farewell concert at the Royal Albert Hall, in London. Despite this, Goodbye reached number one in the UK, three in France, nine in Germany and seven in Norway. In Australia, Goodbye reached number six. Meanwhile, Goodbye reached number five in Canada and number two in America. This resulted in Goodbye being certified platinum in the UK and gold in America and Australia. Cream bowed out at the top, with their fourth albums in just under three years.
Each of these albums were released to critical acclaim and went on to sell in vast quantities. Cream’s four albums were certified gold and platinum on three continents. Britain’s first supergroup became one of the country’s most successful bands. Cream sold over fifteen million copies of Fresh Cream, Disraeli Gears and Wheels Of Fire and Goodbye. That’s why, nowadays, Cream are regarded as rock royalty.
They were also the first British supergroup. Other followed in Cream’s wake. However, Cream achieved more than most in just under three years. Each of their albums found Cream’s music evolving as they continued to create groundbreaking music. This ranged from blues rock to hard rock and psychedelia. The quartet of albums Cream’s released between December 1966 and March 1969 are a reminder of the first, and many say best British supergroup, Cream.
Cream-Britain’s First Supergroup.
LOVE’S BEEN GOOD TO ME-THE SONGS OF ROD McKUEN.
Love’s Been Good To Me-The Songs Of Rod McKuen.
The latest instalment in Ace Records’ long running and successful Songwriters’ series focuses on American singer, songwriter and poet Rod McKuen. His career spanned four decades and is celebrated on Love’s Been Good To Me-The Songs Of Rod McKuen. It was released by Ace Records and features twenty-five songs from the most successful period of Rod McKuen’s career, the sixties and seventies.
During that period, Rod McKuen wrote everything from folk anthems and movie soundtracks to country, jazz, pop and even French chanson ballads. These songs were recorded by the great and good music. This includes Waylon Jennings, Glen Campbell, Frank Sinatra, Nina Simone, Jacques Brel, Petula Clark, Dusty Springfield and Perry Como. Then there’s Barbara Kay, Shelby Flint, Glenn Yarbrough, Jimmie Rodgers and Terry Jacks. They all feature on Love’s Been Good To Me-The Songs Of Rod McKuen. So does a trio of songs from Rod McKuen. His musical career began in the late fifties as a singer-songwriter. By then, Rod McKuen had had an eventful and sometimes traumatic life.
Rod McKuen was born on April 29th 1933, in a Salvation Army hostel. He never knew his biological father, and instead, was raised by his mother and step-father who was a violent alcoholic. Growing up, Rod McKuen was sexually and physically abused by various relatives. By the time he was eleven, Rod McKuen had had enough and ran away from home.
Over the next few years, Rod McKuen spent time in reform school and worked a variety of jobs. He spent time as a ranch hand, rode cowboy, lumberjack, stuntman sold shoes, worked in a cookie factory. Whatever he worked as, Rod McKuen sent some money home to his mother, who he would later be reunited with in Oakland.
After several years where the wanderlust got the better of Rod McKuen, he eventually reentered his mother’s life. By then, had had discovered poetry, movies and music. However, it soon became apparent that music was Rod’s first love. Especially the great American songwriters like Johnny Mercer Cole Porter and Jerome Kern. Rod had become interested in folk music, and the music of Pete Seeger and The Weavers. The great American songwriters and folk music would later influence Rod as a poet and songwriter.
Despite his burgeoning interest in music and poetry, Rod McKuen’s education had suffered. In 1951, eighteen year old Rod McKuen dropped out of Oakland Technical High School just before he should’ve graduated. By then, Rod had started keeping a journal and writing poetry and songs.
Now living in Oakland, Rod McKuen began working at a local radio station. Rod hosted the Rhonda With You Rod on KROW. He played records and then read romantic poetry that he had written. This was Rod’s entrance into the world of the world of show-business.
Rod McKuen’s poetry became so popular that a local newspaper gave him a column. Things were looking good for Rod, he with his radio show and newspaper column. However, Uncle Sam came calling in 1953.
Just like many teenagers, Rod McKuen had to spend two years serving in the US Army. This was at the height of the Korean War. Rod was put to work writing psychological warfare scripts which were broadcast to the Korean troops. One of Rod’s most memorable phrases was said to be “make love, not war.” However, during the time he spent serving his country, Rod still found time further his musical career.
During his free time, Rod McKuen singing in rock ’n’ roll club in the Ginza Strip, in Tokyo. This was good practise and preparation, as Rod’s time in the US Army would come to an end in 1955. He planned to make a career out of music.
Fortunately, on his discharge from the US Army, Rod McKuen was reacquainted with Phyllis Diller, an old friend from KROW. They gave Rod a heaping hand, as he embarked upon a career as a singer and performance poet. One of places he performed was the Purple Onion, where Rod shared the stage with beat poet Jack Kerouac. However, before long, Rod’s career took an unexpected twist.
He decided to head to Hollywood, where he hoped to embark upon an acting career. He was signed by Universal Pictures, and featured in B Movies like Rock, Pretty Baby and Summer Love. Around this time, Rod’s musical career began.
In 1958, Rod McKuen released his debut album Songs For A Lazy Afternoon on Liberty. It featured mostly songs penned by Rod. Alas. the album failed to find an audience. Despite that, the following year, Rod released two quite different albums.
Beatsville which was released in 1959, was a spoken word album It featured Rod McKuen’s poetry and was released by Hi-Fi Records. The other album Rod released during 1959, was Anywhere I Wander, which was released by Decca. Rod wrote Jump Up (In A Field Of Clover). Just like Songs For A Lazy Afternoon, Anywhere I Wander was overlooked by record buyers. This was disappointing for Rod, who continued to juggle several careers.
Rod McKuen was working as a songwriter and could turn his hand to everything from folk and pop. Later, he would even write classical music. Soon, though he would get the opportunity to write television themes.
This opportunity arose in 1959, when Rod McKuen was approached by CBS TV. They wanted him to write the theme to television shows and quiz programmes. This came at a cost though. Rod would need to move from Los Angeles to New York. He decided to do so, and turn his back on Hollywood.
As the fifties gave way to the sixties, Rod was about to begin what was the most important two decades of his career. The sixties began with Rod McKuen releasing Alone After Dark in February 1960, which was released on Decca. Just like previous albums, commercial success eluded the album. Later in 1960, Dick Jacobs and Rod McKuen released Written In The Stars, an album the pair had collaborated on. However, it failed to find an audience.
By 1961, Rod McMcKuen had left Decca and signed to Kapp Records. He released just the one album on Dave Kapp’s label. This was Stranger In Town in 1961. After the album failed to find an audience, Rod began to concentrate his efforts on songwriting.
He didn’t return until 1963, when he released New Sound In Folk Music on Horizon Records. By then, some of the biggest names in music had started covering Rod McKuen’s songs. His solo career continued, but it was as a songwriter that Rod McMcKuen enjoyed most success. Twenty-five of his songs feature on Love’s Been Good To Me-The Songs Of Rod McKuen.
Opening Love’s Been Good To Me-The Songs Of Rod McKuen is Waylon Jennings and the hurt-filled country ballad Doesn’t Anybody Know. My Name. It featured on Waylon Jennings’ 1966 album for RCA Victor Leavin’ Town. This was just the third album from Waylon Jennings, who would go on to become one of the legends of country music.
So would Glen Campbell, who in 1967 released the album Gentle On My Mind on Capitol Records. It featured The World I Used To Know, which like many of the songs penned by Rod McKuen has a nostalgic quality. Glen Campbell breathes meaning and emotion into this cinematic and wistful song.
Without doubt, the Chairman of The Board, Frank Sinatra is the biggest name on Love’s Been Good To Me-The Songs Of Rod McKuen.Lonesome Cities featured on his 1969 album A Man Alone and Other Songs Of Rod McKuen. Frank Sinatra rolls back the years, and sounds as if he’s living the lyrics as he delivers a melancholy cover of Lonesome Cities.
From the early sixties, Rod McKuen wrote songs with some of the top chansonniers. This included Jacques Brel. They cowrote Les Amants De Cœur which was recorded in 1964. However, it wasn’t released until 1982. That was when it featured on the L’Œuvre Intégrale box which was released by Barclay. Somewhat belatedly, this hidden gem from Jacques Brel was released. Thirty-five years later, it makes a welcome appearance on Love’s Been Good To Me-The Songs Of Rod McKuen.
So does Petula Clark’s cover of The Wind Of Change. It featured on her album Petula 1971, which was released by Pye in 1971. Four years later, and Pye released this beautiful, ballad as a single in 1975. It features a heartfelt, emotive vocal from one of the best and most successful British female vocalists of her generation.
Rod McKuen features three times on Love’s Been Good To Me-The Songs Of Rod McKuen. His first contribution is the ballad A Boy Named Charlie Brown, which lents its name to his 1969 album for Stanyon. The other two Rod McKuen songs have never been released before. This includes Nancy Sinatra and Rod McKuen’s duet Kaleidoscope, which was recorded in 1969 for The Kraft Music Hall TV Show. Three years later, and Rod McKuen recorded the ballad Because We Love in 1972. It was never released and and just like Kaleidoscope, makes its debut on Love’s Been Good To Me-The Songs Of Rod McKuen
By 1967, Dusty Springfield wasn’t enjoying the success she had over the last few two years. Top ten hits were eluding her, and she only enjoyed two top thirty hits during 1967. In October, Dusty Springfield released a new album on Phillips, Where Am I Going? It stalled at forty in the UK charts. One of the highlights was a cover of Rod McKuen and Jacques Brel’s If You Go Away (Ne Me Quitte Pas). Dusty Springfield delivered an emotive rendition of a song originally recorded by Jacques Brel.
In 1968, Rod McKuen was commissioned by 20th Century Fox to write and record the soundtrack to Joanna. When it came to record the vocals, Barbara Kay was drafted in to record Hello Heartaches. She delivers a breathy, impassioned vocal and is accompanied by an orchestra. Gradually, the arrangement unfolds and builds until it reaches a crescendo. Later in 1968, the soundtrack to Joanna was released by 20th Century Fox in 1968. One of its highlight is Barbara Kay’s vocal on Hello Heartaches.
Five years the release of Joanna, Rod McKuen was commissioned to write and record the soundtrack to The Borrowers. He brought Shelby Flint onboard to record the vocals to the opening and closing songs. Shelby Flint delivers a tender vocal on the ballad This Is Our House, which will bring back memories for anyone who remembers film or soundtrack to The Borrowers. Both were released in 1973, with Stanyan Records releasing the soundtrack.
When Glenn Yarbrough released Baby The Rain Must Fall as a single in 1965, on RCA Victor, record buyer who turned over to the B-Side were in for a pleasant surprise. Tucked away, on the B-Side was a I’ve Been To Town a beautiful, heart-wrenching ballad that’s a welcome addition to Love’s Been Good To Me-The Songs Of Rod McKuen. So much so, that it’s one of the highlights of the compilation.
Ten years after his recording career began in 1957, Jimmie Rodgers recorded I’ll Say Goodbye. This was a song that Rod McKuen cowrote with Gilbert Bécaud. I’ll Say Goodbye was released by Jimmie Rodgers on A&M Records 1967. It’s a string drenched ballad where Jimmie Rodgers’ delivers a vocal that’s a mixture of sadness, and regret. Fifty years later, and the song has stood the test of time is still poignant and moving.
Closing Love’s Been Good To Me-The Songs Of Rod McKuen is Terry Jacks’ cover of Seasons In The Sun. The song was based on Le Moribond (The Dying Person), which was penned by Jacques Brel. Originally, it was a sardonic ballad. When Rod McKuen rewrote the song, it was transformed and became Seasons In The Sun.
It became the title-track to Canadian singer-songwriter Terry Jacks’ 1973 debut solo album. He released the album on his own label, Goldfish Records. When Seasons In The Sun was released as a single in 1974, it reached number one in fifteen countries and sold over fourteen million copies. It’s a timeless song and the perfect way to close Love’s Been Good To Me-The Songs Of Rod McKuen.
The twenty-five songs on Love’s Been Good To Me-The Songs Of Rod McKuen were recorded during what was the most successful period of Rod McKuen’s career, the sixties and seventies. It was also the most prolific period of Rod McKuen’s career. He would eventually write around 1,500 songs that sold over 100 million copies. This included everything from folk anthems to film soundtracks to country, jazz, pop and even French chanson ballads. They all feature on Love’s Been Good To Me-The Songs Of Rod McKuen, which was recently released by Ace Records. It’s a reminder of the most successful period of Rod McKuen’s career, the sixties and early seventies.
Rod McKuen began to change direction musically later in the seventies. He started to focus more on writing and recording film scores. By 1981, Rod McKuen retired from live performances. A year later in 1982, he was diagnosed with clinical depression. This was the beginning a ten year battle with depression. During this period, Rod wrote another four books of poetry. They would become hugely successful.
By the time of Rod McKuen’s death on January 29th 2015, he had sold over sixty million books of poetry. Rod McKuen had come a long way after a difficult start in life. He had enjoyed a successful career as a poet and songwriter. One of the few disappointments that Rod McKuen had, was that he never enjoyed more success as a singer. That had how Rod McKuen had hoped to make a living. Sadly, that wasn’t to be, and nowadays, Rod McKuen is better known as a songwriter. However, two years after his death aged seventy-eight, Ace Records released Love’s Been Good To Me-The Songs Of Rod McKuen which celebrates the career of one of the most successful and prolific songwriters of the sixties and seventies, Rod McKuen.
Love’s Been Good To Me-The Songs Of Rod McKuen.
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