(THE MICROCOSM): THE VISIONARY MUSIC OF CONTINENTAL EUROPE, 1970-1986.
(THE MICROCOSM): THE VISIONARY MUSIC OF CONTINENTAL EUROPE, 1970-1986.
As the seventies dawned, a new musical movement started to take shape across Europe. This new musical movement continued right through to the mid-eighties. By then, artists from Germany, Austria, Holland and France were part of this new musical movement. So were artists in Italy, Greece, Finland and Sweden. The tentacles of this new musical movement had spread far and wide, and showcased the combined and considerable talents of artists who created ambitious and innovative music. There was only one problem, critics had struggled to find a new for this new movement.
The new movement failed to fit neatly into one of the existing musical genres. It was neither rock nor progressive rock. Determined to pigeon hole the music, some critics began to refer to the music as ambient, while others described it as New Age. Meanwhile, other critics referred to the music as avant-garde. However, other critics begged to differ.
Some critics were describing the music as Krautrock. Other critics weren’t so sure. Especially critics in Germany, where many of the leading lights of this movement were based. This included Dueter, Ash Ra Tempel and Hans Joachim Roedelius. Many German critics felt their music was more closely aligned with the Berlin School, an offshoot of Krautrock. For many musicologists and music historians, this seemed a more accurate description. However, not everyone was convinced.
Fast forward thirty years, and still critics are debating which genre best describes this musical movement. Only one thing seems certain, that its finest practitioners have firmly rejected the term New Age. That is not how they want this new, ambitious and innovative music to be described. It represented the dawn of new musical dawn and era. This new era is documented on (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986. It’s a double album that was recently released by Light In The Attic Records.
(The Microcosm): The Visionary Music Of Continental Europe, 1970-1986 is the perfect introduction to this new, pan European musical movement. It showcases the music Hans-Joachim Roedelius, Ralph Lundsten, Ash Ra, Tempel, Ariel Kalma, Bernard Xolotl, Enno Velthuys, Peter Michael Hamel and Deuter. They’re among the fourteen artists that feature on (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986. Each produced ambitious and innovative music, and can be described as a visionary.
Disc One.
This includes Greek composer Vangelis, who opens (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986 with Creation Du Monde. This is a track from Vangelis’ soundtrack L’Apocalypse Des Animaux. It was released across Europe on Polydor in 1973, and features a minimalist, ambient sound. This was already growing in popularity, especially in Germany where Vangelis would later make his home.
In 1972, Ralph Lundsten was about to release the ninth album of his career, Fadervår (Paternoster) on HMV. By then, the thirty-six year old musician and composer had established a reputation as a pioneer of electronic music. That is apparent on the haunting and ethereal Bön 5 – Förlåt Oss Vâra Skulder (Prayer 5 – Forgive Us Our Debts). It’s a showcase for Ralph Lundsten considerable talents as a composer and musician, as he deploys an array of analog synths.
Ash Ra Tempel were one of the many bands that were formed in Berlin during the late-sixties. The band originally featured a triumvirate of musical pioneers, Klaus Schulze, Manuel Göttsching and Hartmut Enk. By 1975, Ash Ra Tempel’s lineup was very different. Manuel Göttsching was the only founding member that remained, as work began on the soundtrack to Le Berceau De Cristal. Manuel Göttsching at Studio Roma, Berlin was Lutz Ulbrich. They recorded seven tracks, including Le Sourire Volé, a futuristic fusion of Berlin School, electronica and Krautrock that’s truly timeless. Despite the quality of the music on Le Berceau De Cristal, the album wasn’t released until 1993. Somewhat belatedly, this hidden gem of a soundtrack was available for Ash Ra Tempel’s fans to discover.
Popol Vuh was another giant of German music. It was the vehicle of Florian Fricke a true pioneer, who used synths extensively in his music. To this he added organ and percussion, and created music that has a spiritual ambience. A case in point, is Brüder Des Schattens-Söhne Des Lichts (Abridged) a near fifteen minute epic. It’s taken from Popol Vuh’s album Brüder Des Schattens-Söhne Des Lichts. It was released in 1978 on Brain. A year later in 1979, Brüder Des Schattens-Söhne Des Lichts was reissued as the soundtrack to Nosferatu The Vampier. That is despite only a couple of the tracks featuring in the film. The highlight of both albums is the spiritual ambience of Brüder Des Schattens-Söhne Des Lichts (Abridged).
Originally, Orguitar Soir was recorded when Ariel Kalma was collaborating with Richard Tinti, on the album Osmose. It was released as a double album on the SFP label. For some reason, Orguitar Soir was left off the album. Twenty-eight years later, and a newly expanded version of Osmose was released in 2006. One of the new and welcome additions was Orguitar Soir. With its mixture of droning synths, pan pipes and birdsong, it’s a quite beautiful, thoughtful and ethereal fusion of ambient, avant-garde and Musique Concrète.
Up until 1980, Bernard Xolotl was content to spend his time painting, drawing, writing and recording. He was blossoming creatively. Then he rediscovered sacred geometry. This lead him to believe that music is was: “completely mathematical.” Since then, many critics and music fans have believed that Bernard Xolotl’s music is indeed; “completely mathematical.” This is something this musical pioneer denies. He released his Journey To An Oracle on cassette in 1981. It features the genre-melting track Cometary Wailing where element ambient, avant-garde and psychedelia combine to create a captivating soundscape.
Another French musician who created groundbreaking music was Peter Michael Hamel. His career spanned four decades. However, between 1980 and 1986, Peter Michael Hamel was signed to the Kuckuck label. During that period, he released a quartet of studio albums. Einklang which is an improvised piece, didn’t feature on any of these albums. Instead, it featured on a compilation of Peter Michael Hamel’s music, Let It Play (1979-1983 Selected Pieces). It was released by Kuckuck in 1987. Sonically and stylistically, Einklang has much in common with his Bardo and Organum albums, where Peter Michael Hamel’s music references ambient, modern classical, Musique Concrète and post modernism. It’s an enchanting combination of musical genres and influences.
Somewhat confusingly, the track listing on the reverse of the CD doesn’t match the track listing. Francesco Messina’s Untitled closes disc one, rather than opening disc two. The track was written by Italian composer Francesco Messina around 1979. It lay unreleased until 2013, when Raul Lovisoni and Francesco Messina’s 1979 collaboration was about to be reissued. Three bonus tracks were tagged onto the end of the reissue, including Untitled. Given its minimalist and mesmeric ambient sound this was a welcome addition. So is its addition on (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986.
Disc two of (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986 opens with Hans Joachim Roedelius’ Wenn Der Südwind Weht. This is a track from Wenn Der Südwind Weht, which was released on Sky Records in 1981. It’s one of over 200 solo albums and collaborations the former founder of Kluster, Cluster, Harmonia and Qluster has released. Wenn Der Südwind Weht is a mixture of avant-garde, electronica and experimental music that’s rhythmic, hypnotic, haunting and beautiful.
Back in 1981, Dorothea Raukes the keyboardist from the German rock band Streetmark dawned the alias Deutsche Wertarbeit. This also became the title of her latest musical vehicle’s debut album. It had been inspired by Asmus Tietchens, Hans Joachim Roedelius and even Kraftwerk. The album was a marriage of Berlin School and Krautrock, that was melodic and rhythmic. One of the album’s highlights, was Der Grosse Atem the album closer. Deutsche Wertarbeit was released on Sky Records in 1981. Despite the quality of music on the album, Dorothea Raukes decided that Deutsche Wertarbeit was purely a one-off project.
Anyone familiar with Gandalf’s albums, will know the name Robert Julian Horsy. The Austrian flautist and multi-instrumentalist made a guest appearance on several Gandalf albums. However, Robert Julian Horsy’s solo career began in 1982, when he released his debut album Tales Of Power on Seagull Music. It featured Dance For A Warrior, which showcased the multi-instrumentalist’s considerable skills on a mystical sounding mixture of ambient, Berlin School and Musique Concrète.
During 1984, Karl L. Schaffner and Lohar T. Grimm released a trio of cassette albums, Mountains In The Sea, Flying Carpet and Birds Of Passage. This trilogy of ambient albums had been influenced by Karl L. Schaffner’s travels in India. Especially Caravan, a track from the Flying Carpet album. It meanders melodically along its cinematic sounds painting pictures.
Suzanne Doucet and Christian Buehner met in 1978, and soon discovered that they shared a similar musical philosophy. So once Suzanne Doucet had formed her own label, she began to collaborate with Christian Buehner. They released several albums, including Transmission which was released in 1983. It featured Shiva’s Dance a rhythmic and atmospheric track where elements of ambient and electronic combine effectively.
By 1985, Dutch musician Enno Velthuys was about to release his fourth album, Landscapes In Thin Air. It was released on the Kubus Kassettes label and featured the meandering Morning Glory. It’s a beatific, dreamy and elegiac soundscape that’s truly timeless.
Gigi Masin’s Ship Beetel closes (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986. Ship Beetel was recorded when Gigi Masin was recording his debut album Wind. The song didn’t feature on the album, and lay unreleased until 2013. That was when Ship Beetel featured on Talk To The Sea, a compilation of Gigi Masin’s music. Somewhat belatedly, this beautiful, elegiacal ambient track was released. Three years later, and it’s a welcome addition to (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986, brings the compilation to a memorable close.
As compilations go, (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986 is a captivating album of groundbreaking music. It features sixteen tracks from musical pioneers. They had the vision and ability to take music in a new direction. This resulted in puzzled critics struggling to find a way to describe this new pan European musical movement. The best the puzzled critics could come up with, was New Age. That was nothing more than a lazy, catchall description.
The music on (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986 ranges from ambient and avant-garde to Berlin School and classical and Krautrock through to electronica and experimental and even Musique Concrete and a hint of psychedelia. Often, several musical genres were combined to create the one track. These tracks are variously, atmospheric, beautiful, blissful and cinematic, and sometimes, haunting and hypnotic. Other times, they meander melodically and dreamily along, their elegiac and ethereal sound continuing to captivate. That is still the case over forty years later. No wonder, as these tracks are truly timeless.
For anyone familiar with the music on (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986 this will come as no surprise. Each of these artists were innovators and visionaries. They were at the vanguard of pan European musical movement during the seventies and eighties. During this period, they recorded music that was ambitious, groundbreaking and often, way ahead of its time. Sadly, much of this music never found the audience it deserved first time round.
It was only many years later, that the music on (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986 somewhat belatedly, began to find the audience it deserves. Still though, there are many record buyers still to discover the delights of Dueter, Ash Ra Tempel, Hans Joachim Roedelius, Ralph Lundsten, Ariel Kalma, Bernard Xolotl, Enno Velthuys and Peter Michael Hamel. Hopefully, (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986 will introduce them to this body of groundbreaking music, and they’ll embark upon a musical voyage of discovery?
(THE MICROCOSM): THE VISIONARY MUSIC OF CONTINENTAL EUROPE, 1970-1986.
BARIS MANCO AND KURTALAN EXPRES-ESTAFURULLAH…NE HADDIMIZE!
BARIS MANCO AND KURTALAN EXPRES-ESTAFURULLAH…NE HADDIMIZE!
Even some seventeen years after his sudden and tragic death, Barış Manço is still remembered as one of the pioneers of modern Turkish music. His career began in 1958, and continued right up until his death in 1999. During his career, Barış Manço was one of the founding fathers of Anatolian rock. He helped popularise this hybrid of Turkish folk and rock. Soon, other artists were following in the footsteps of Barış Manço, and Anatolian rock’s popularity was growing.
It helped that at the vanguard of this new musical movement was a musician that was a pioneer and was capable of creating ambitious and innovative music. That was the case throughout Barış Manço’s thirty-seven year recording career.
Throughout his career, Barış Manço was a truly prolific artist. That was the case since the early days, when he recorded and collaborated with wide variety of groups and artists. Barış Manço recorded with Harmoniler, Jacques Denjean Orchestra, Les Mistigris, Kaygısızlar, Barış Manço Ve, Moğollar and Kurtalan Ekspres, who he first collaborated with in 1972.
Eleven years later, and Barış Manço and Kurtalan Ekspres recorded the album Estağfurullah…Ne Haddimize!, which will be released by Pharaway Sounds on 25th November 2016. When Estağfurullah…Ne Haddimize! was released later in 1983, Barış Manço was one of most successful Turkish musicians. This rise to the top had taken quarter of a century. It was changed days from the early days of Barış Manço’s career.
Barış Manço was born in Üsküdar, Istanbul, Turkey on the 2nd of January 1943. Music was in Barış Manço’s family. His mother Rikkat Uyanık has been a successful singer. Little did she realise that her son would later, follow in her footsteps.
By the time Barış Manço was a pupil at Galatasaray High School, he founded his first band, Kafadarlar. They mainly played to the students at nearby schools. This was enough to give Barış Manço a taste of life as a professional music.
Harmoniler.
When Barış Manço was nineteen, he formed a new band Harmoniler. They accompanied Barış Manço when he recorded his debut single, Twistin USA. It was released in 1962, with Do The Twist following later that year. The third and final single Barış Manço released with Harmoniler was Cit Cit Twist in 1963. These three singles were among the first Anatolian rock releases. Barış Manço was part of a new musical movement. Despite this, Barış Manço having graduated from high school, decided to spend some time travelling across Europe.
Initially, Barış Manço headed to France, and spent some time in Paris. This was where Barış Manço recorded a single with the Jacques Denjean Orchestra, Baby Sitter. It was released in 1964, but soon, Barış Manço was on the move again.
He then moved to Liege in Belgium, where he enrolled, and studied, at the Royal Academy of Fine Arts in Liège, Belgium. This was where Barış Manço encountered the other members of Les Mistigris.
Les Mistigris.
Before long, Barış Manço joined the band. They released three singles while Barış Manço was a member. The first was Il Arrivera in 1966. Later Bien Fait Pour Toi followed later that year. A third single Bizim Gibi was released in 1967. By then, Les Mistigris’ popularity was spreading, and the band were playing much further afield. Les Mistigris were playing not just in Belgium, but France, Germany and Turkey. However, Barış Manço time with Les Mistigris came to an end in 1967.
Later in 1967, Barış Manço was badly hurt in a car crash. It was then that he decided to grow a moustache to hide a scar. This would eventually become one of Barış Manço’s trademark’s, a familiar sight to music fans when commercial success and critical acclaim came his way. Before that, Barış Manço would form a new a new band, Kaygısızlar later in 1967.
Kaygısızlar.
Unlike the last couple of bands Barış Manço had been a member of Kaygısızlar featured just Turkish musicians. During his travels, Barış Manço had worked with musicians from different countries. This hadn’t been easy, given the language barrier. This time, Barış Manço was joined in Kaygısızlar by Mazhar Alanson and Fuat Güner. They would spend the next two years together.
Kaygısızlar’s debut single Kol Düğmeleri was released in later 1967. It was followed in 1968 by Kızılcıklar, Bebek, Karanlıklar İçinde and Bogaziçi. By the end of the 1968, Kaygısızlar’s popularity had grown. They had graduated from playing in venues in Turkey to touring internationally. Barış Manço’s new band had come a long way in a short space of time.
As 1969 danwed, Kaygısızlar released Runaway. They followed this with Aglama Değmez Hayat and Kağızma. This proved to be Kaygısızlar’s swan-song. The story came to an end later in 1969 when Mazhar Alanson and Fuat Güner told Barış Manço that they didn’t want to move, and live abroad. After eight singles, Kaygısızlar were no more. However, as the sixties gave way to the seventies, Barış Manço founded a new band, Barış Manço Ve.
Barış Manço Ve.
The newly founded Barış Manço Ve headed into the studio to record their debut single during early 1970. This multinational group’s debut single was Dağlar Dağlar (Mountains, Mountains!), When it was released later in 1970, the single sold in excess of 700,000 copies. Buoyed by the success of their debut single, Barış Manço Ve released their debut album Dünden Bugüne…in 1971. Alas, it was the only album Barış Manço Ve would release. Despite the success of Barış Manço Ve, its founder was ready to move on.
Moğollar.
Next stop for Barış Manço was Moğollar, who were one of the pioneers of Anatolian rock. They had been formed in 1967, were still growing strong when Barış Manço joined in 1971. He features on their 1971 single İşte Hendek İşte Deve. After this, Barış Manço decided to rejoin Kaygısızlar.
Kaygısızlar.
After reforming, Kaygısızlar only released one more single, Fil ile Kurbağa. It was released in 1972. However, after this, the members of Kaygısızlar moved on to new projects. Mazhar Alanson and Fuat Güner went on to form MFÖ. Meanwhile, Barış Manço formed another new band, Barış Manço and Kurtalan Ekspres.
Barış Manço and Kurtalan Ekspres-The Seventies.
Barış Manço’s latest band wasted no time beginning work on their debut single. Ölüm Allah’ın Emri was released in 1972. Little did anyone know that this fusion of Anatolian rock and psychedelia marked the debut single by one of the most innovative and influential Turkish bands of the seventies. They pioneered Anatolian rock, and took the genre in new directions.
Initially, Barış Manço and Kurtalan Ekspres combined Anatolian rock and psychedelia. By 1973, Anatolian rock was evolving as Barış Manço and Kurtalan Ekspres moved the genre towards progressive rock. This became apparent when they released their first single of 1973, Lambaya Püf De. It was followed by Gönül Dağı later that year. Sadly, Barış Manço and Kurtalan Ekspres’ singles failed to find the audience they deserved. Despite this, their music continued to be innovative and influence other bands.
This continued as Barış Manço and Kurtalan Ekspres released two new singles released during 1974. The first was Nazar Eyle, which showcased a folk-tinged sound. Then Bir Bahar Akşamı took on a psychedelic sound. Each single was different from its predecessor. Despite this, commercial success continued to elude Barış Manço and Kurtalan Ekspres as 1974 gave way to 1975,
As a new year dawned, Barış Manço turned forty-two in 1975. He was hoping commercial success was just around the corner. Alas, when Barış Manço and Kurtalan Ekspres released Ben Bilirim as a single in 1975, the single failed to find an audience. Barış Manço however, had a plan and was ready for one last throw of the dice.
Later in 1975,Barış Manço and Kurtalan Ekspres were about to release their debut album, 2023. It was a genre-melting concept album where songs rubbed shoulders with instrumentals. 2023 was an album of groundbreaking music, that when it was released in 1975 was meant to transform the fortunes of Barış Manço and Kurtalan Ekspres. Alas, the only countries where 2023 sold well, were Romania and Morocco. The album topped the charts in both countries. Elsewhere, 2023 failed to find the audience it so richly deserved. For everyone involved it was a frustrating time. Things didn’t get any better for Barış Manço and Kurtalan Ekspres.
When Kurtalan Ekspres’ released Çay Elinden Öteye Rezil Dede as a single in 1976, it too failed commercially. Barış Manço and Kurtalan Ekspres’ career was at a crossroads.
As a result, Barış Manço took stock of his and Kurtalan Ekspres’ career during 1977. The band had been together for nearly five years, but still hadn’t made a breakthrough. To buy themselves time, Barış Manço and Kurtalan Ekspres released a career retrospective Sakla Samanı Gelir Zamanı in 1977. Maybe it would act as introduction to Barış Manço and Kurtalan Ekspres, until they completed their next album?
Two years later, and Barış Manço and Kurtalan Ekspres returned with Yeni Bir Gün. It was released in 1979, and sonically and stylistically, followed in the footsteps of 2023. Sadly, it was an all too familiar story. Despite featuring ambitious and innovative music, Yeni Bir Günpassed record buyers by. It was a similar story when Barış Manço and Kurtalan Ekspres released their first album of the eighties.
Barış Manço and Kurtalan Ekspres-The Eighties,
As the new decade dawned, Kurtalan Ekspres’ thoughts turned to their first album of the eighties. This was 20, another album that followed sonically and stylistically in the footsteps of 2023. The music was ambitious, crossing and combining disparate musical genres and influences. However, just like 2023 Yeni Bir Gün it failed commercially. However, commercial success was just around the corner for Kurtalan Ekspres.
After the disappointment of 20, Barış Manço and Kurtalan Ekspres began work on their second album of the eighties, Sözüm Meclisten Dışarı. After it was written and recorded, it was apparent that Sözüm Meclisten Dışarı featured some of the best music of Barış Manço and Kurtalan Ekspres’ nine year career.
This proved to be the case. When Sözüm Meclisten Dışarı was released in 1981, it was the album that transformed Barış Manço and Kurtalan Ekspres’ fortunes. Sözüm Meclisten Dışarı became Barış Manço and Kurtalan Ekspres’ most successful album. That was no surprise, as it featured five hit singles, Alla Beni Pulla Beni, Arkadaşım Eşek, Gülpembe, Halhal and Dönence. After nine long years, Barış Manço and Kurtalan Ekspres’ were belatedly enjoying the commercial success that their music deserved.
The success of Sözüm Meclisten Dışarı and its singles resulted in music fans reevaluating Barış Manço and Kurtalan Ekspres’ earlier music. Before long, their popularity was soaring, and Barış Manço and Kurtalan Ekspres’ were one of the biggest names in Turkish music. Soon, though, Barış Manço and Kurtalan Ekspres’ had to start thinking of their next album. This would become Estağfurullah…Ne Haddimize!.
Estağfurullah…Ne Haddimize!.
For the followup to Sözüm Meclisten Dışarı, Barış Manço began writing what eventually became Estağfurullah…Ne Haddimize! He wrote seven of the album’s eight tracks, including Halil İbrahim Sofrası, Geçti Dost Kervanı Kazma, Balsultan, Aman Yavaş Aheste, Kol Düğmeleri and Eski Bir Fincan. Barış Manço also wrote the music to Selahaddin Eyyübinin Yeğeni Aslan Yürekli Rişarın Kızkardeşine Karşı. These songs were recorded in Istanbul during the summer of 1983.
Recording of Estağfurullah…Ne Haddimize! took place during July 1983. Barış Manço took charge of production, and played piano, organ, clarinet and synths. Among his array of synths, were an Omni 2, Minimoog and Prophet 5. Meanwhile, the members of Kurtalan Ekspres played a mixture of traditional and modern instruments. This included flautist Serdar Ertürk, and Caner Bora who played the davul, a type of bass drum. Bassist Ahmet Güvenç also played piccolo and added backing vocals. So did guitarist Bahadır Akkuzu and percussionist Celal Güven. Together, they recorded the eight songs during July 1983 that would become Estağfurullah…Ne Haddimize!.
Later in 1983, Estağfurullah…Ne Haddimize! was released. Just like Barış Manço and Kurtalan Ekspres’ previous album, Sözüm Meclisten Dışarı, Estağfurullah…Ne Haddimize! sold well enough to reach the upper reaches of the charts. Estağfurullah…Ne Haddimize! also featured two hit singles, Halil İbrahim Sofrası and Kol Düğmeleri. The latter was a new version of Barış Manço’s first single Halil İbrahim Sofrası. It was another song with an important moral message. This was a feature of many of Barış Manço’s songs by 1983, which had been another good year for Barış Manço.
Barış Manço had written another successful album Estağfurullah…Ne Haddimize!. Commercially and stylistically, it picked up where Sözüm Meclisten Dışarı left off, and ensured that Barış Manço and Kurtalan Ekspres’ success continued. Given the quality of music on Estağfurullah…Ne Haddimize! that was no surprise.
Halil İbrahim Sofrası opens Estağfurullah…Ne Haddimize!, and bursts into life. Guitars join the rhythm section as the arrangement flows smoothly and almost joyously along. Already it’s hard to resist the song’s charms. All of sudden it’s all change, as an element of drama is injected when the organ and vocal enters. Soon, Barış’ impassioned vocal delivers his moral message, and harmonies accompany him They prove the perfect foil, and add to the drama. As they drop out, still the arrangement flows and glides along. Synth strings sweep and join with washes of Hammond organ, as the piano plays and the rhythm section provide the heartbeat. Together, they create music with a moral message where beauty and drama, are omnipresent, as folk and progressive pop are combined seamlessly.
The tempo drops on Geçti Dost Kervanı, drums are joined by a flute and soon, keyboards and percussion. They create the backdrop for Barış’ heartfelt, emotive vocal. Meanwhile, the rhythm section play slowly and deliberately while a melancholy flute drifts in and out. It helps frame the vocal which oozes emotion in what’s a beautiful song.
Kazma is mixture of disparate and unlikely genres. Everything from traditional folk to funk and even a hint of disco are combined with rocky guitars. It’s a potent and heady brew from the opening bars. That’s when folk gives war to funk. Adding the funk are rhythm section and later, a clavinet. Meanwhilem synths strings sweep and provide part of the backdrop for a swaggering, powerful folk-inspired vocal. The next ingredient is a blistering rocky and later funky guitars. They enjoy their moment in the sun later, as this irresistible genre-melting song takes shape and makes perfect musical sense. Thirty-three years later, and it’s a truly timeless dance track.
Balsultan finds the tempo dropping as a melancholy song begins to share its secrets. Keyboards and elegiac synths combines with the rhythm section and guitar. They play slowly as synths shimmer and glisten, as the bass and guitar resonate. Barış’ vocal is deliberate and has a tenderness. Even when the tempo increases as guitars, synths and the rhythm section combine. The arrangement briefly becomes funky before meandering along. From there, the arrangement ebbs and flows, continually captivating as it shows its different sides. Then at 4.50 the bass takes the track in the direction of funk. Synth strings sweep as the meandering arrangement becomes smooth and funky.
Chic inspired chiming guitars open Aman Yavaş Aheste before the rhythm section increase the funk factor. Soon, they’re joined by backing vocalists and then synths. By then the rhythm section and guitars have locked into the tightest of grooves. Handclaps synth horns are added, and augment the backing vocals. Meanwhile, everything falls into the place on this glorious and irresistible fusion of boogie, disco and funk. For anyone interested in either genre, this makes Estağfurullah…Ne Haddimize! a must have album.
Wistful flutes floats combine with keyboards and piano on Kol Düğmeleri. They’re joined by the rhythm section, as the arrangement slowly and deliberately meanders melodically along. Then when Barış’ vocal enters, it’s tender, heartfelt and full of emotion. Behind him, the tempo quickens and the drama builds, as Barış’ lays bare his soul on this beautiful ballad.
From the opening bars of Eski Bir Fincan, it’s obvious something special is about to unfold. It does, another beautiful ballad. The rhythm section and scrabbled guitar combine create the heartbeat, while percussion, keyboards and synths prove a beautiful backdrop. Again, Barış delivers the lyrics with feeling. Then when his vocal drops out, an effects laden guitar takes centre-stage. When Barış’ returns, the arrangement flows, glides and glistens along, as elements of pop, funk and rock combine to create a beautiful, melodic and memorable ballad.
As Selahaddin Eyyübinin Yeğeni Aslan Yürekli Rişarın Kızkardeşine Karşı closes Estağfurullah…Ne Haddimize! it’s a case of all change. Percussion is to the fore before a shimmering flute is panned. Soon, it’s joined by a Hammond organ, synths and the rhythm section join the fray. They become part of a meandering, mesmeric genre-melting groove. The ebbs and flows, as instruments appear, disappear and later reappear. So do elements of folk, funk, progressive pop and rock. Later, electronica combines with the sound of a traditional marching band. Contrasts abound in this multilayered musical potpourri, which results in a captivating Oriental groove-jam. What better way to showcase the considerable talents of Barış Manço and Kurtalan Ekspres?
For anyone yet to discover the delights of Barış Manço and Kurtalan Ekspres, then Estağfurullah…Ne Haddimize! is the perfect starting place. It’s the perfect showcase for the combined and considerable talents of Barış Manço and Kurtalan Ekspres. They combine beautiful, heart-wrenching ballads with dance tracks. This includes the irresistible fusion of boogie, disco and funk that’s Aman Yavas! Aheste. Then there’s the album closer Selahaddin Eyyübi’nin, which is an Oriental groove-jam par excellence. Once it draws to a close, one can’t help but pressing play once again, and revelling in Estağfurullah…Ne Haddimize!’s delights all over again. No wonder.
It’s without doubt, one of Barış Manço and Kurtalan Ekspres’ finest albums. It finds Barış Manço deploying his dazzling array of analog synths, which play an important part in the sound and success of Estağfurullah…Ne Haddimize! So does Kurtalan Ekspres’ mixture of traditional and modern instruments. They contribute to another groundbreaking album of genre-melting music.
Barış Manço and Kurtalan Ekspres take as a starting point Anatolian rock, which is a hybrid of Turkish folk and rock. To this, they add elements of boogie, disco, electronica, folk, funk, Oriental and progressive pop. Then there’s a hint of jazz, progressive rock, psychedelia and rock. This musical poptpouri became Estağfurullah…Ne Haddimize!, which will be released by Pharaway Sounds on 25th November 2016. It’s a very welcome reissue, and hopefully, with introduce Estağfurullah…Ne Haddimize! and indeed Barış Manço and Kurtalan Ekspres to and even wider audience.
Estağfurullah…Ne Haddimize! certainly found a wide audience in Turkey. The album ensured Barış Manço and Kurtalan Ekspres remained at the top of Turkish music. That was where he remained for the rest of his career, until his sudden and tragic death in 1999. Since then, Barış Manço’s music continued to influence and inspire a new generation of musicians. That’s no surprise.
Especially given the quality of music on Estağfurullah…Ne Haddimize! Not once, do Barış Manço and Kurtalan Ekspres put a foot wrong musically, on what’s without doubt, one of their finest hours, Estağfurullah…Ne Haddimize! It’s a truly irresistible and heady musical brew, that features Barış Manço and Kurtalan Ekspres at their best, on what was their Magnus Opus, Estağfurullah…Ne Haddimize!
BARIS MANCO AND KURTALAN EXPRES-ESTAFURULLAH…NE HADDIMIZE!
BOB DYLAN-FALLEN ANGELS.
BOB DYLAN-FALLEN ANGELS.
Not many artists have enjoyed a recording career that spans fifty-four years. One man has. Bob Dylan. There’s a reason for this. Constantly, Bob Dylan has sought to reinvent himself. Having began life as a folk singer, he went on to release albums of country, gospel, blues, rock ’n’ roll and rockabilly and jazz. By constantly reinventing himself, Bob Dylan has enjoyed an unrivalled longevity.
His recording career began with his eponymous debut album Bob Dylan in 1962. Fifty-four years and 100 million albums later, and Bob Dylan is one of the most successful and decorated recording artists ever. He’s won Grammy Awards, Golden Globes, Academy Awards, and been inducted into the Rock ’N’ Roll Hall Of Fame. Then earlier this year, Bob Dylan won the Nobel Peace Prize for Literature. His late acceptance of the award resulted in a major controversy. Not as much as last year, when Bob Dylan decided to reinvent himself as a crooner.
Inspired by Frank Sinatra, Bob Dylan crooned his way through ten of his favourite jazz and pop standards. This became Shadows In The Night, Bob Dylan’s thirty-sixth album. However, Shadows In The Night however, has divided opinion.
Shadows In The Night divided the opinion of even the most loyal Bob Dylan fan. They seem to either love or loath Shadows In The Night. There appears, is no middle ground. Essentially, Shadows In The Night was a Marmite album. Many of his loyal fans hoped that there would no followup. Others, however, felt that Bob Dylan had reinvented himself as a crooner, and hoped he would return to the Great American Songbook. Their wish was recently granted when Columbia released Fallen Angels, another album where Bob Dylan dawns the role of crooner.
For Shadows In The Night, Bob Dylan dipped into the Great American Songbook. He chose twelve songs from some Johnny Mercer, Harold Arlen, Sammy Cahn and Carolyn Leigh. Just like the songs on Shadows In The Night, most of these songs on Fallen Angels had been recorded by The Chairman Of The Board, Frank Sinatra. The exception Skylark, which was penned by Hoagy Carmichael and Johnny Mercer. Apart from that, Bob Dylan once again, follows in the footsteps of Frank Sinatra.
Just like Shadows In The Night, Bob Dylan put great care in to choosing the material for Fallen Angels. Eventually, after some great consideration and no end of contemplation, he chose twelve songs. This included Johnny Richards and Carolyn Leigh’s Young At Heart; Rude Bloom and Sammy Gallop’s Maybe You’ll Be There; Jimmy Van Heusen and Johnny Burke’s Polka Dots and Moonbeams; Van Heusen and Sammy Cahn’s All The Way; Hoagy Carmichael and Johnny Mercer;s Skylark and Harry Ruby and Bert Kalmar’s Nevertheless. They were joined by Arthur Altman and Jack Lawrence’s All Or Nothing At All; Peter DeRose and Billy Hill On A Little Street In Singapore; Isham Jones and Gus Kahn’s It Had To Be You and Walter Schumann and Vick R. Knight Sr’s Melancholy Mood. Closing the album were two Harold Arlen and Johnny Mercer compositions, That Old Black Magic and Come Rain Or Come Shine. These songs would be recorded between February 2015 and March 2016.
At Capitol Studios, Los Angeles, where Frank Sinatra recorded many of classic recordings, work began on Fallen Angels. Producer Jack Frost and Bob Dylan were joined by a rhythm section of drummer George Recile, bassist Tony Garnier and guitarists Charlie Sexton, Stu Kimbal and Dean Parks. They were joined by Donnie Herron on viola and steel guitar. James Harper took charge of the horn section. Once the album was complete, Fallen Angels was mixed by Al Schmitt. It was then scheduled for release in mid 2016.
Before that, critics had their say on the album. Mostly, the critics appreciated and understood what was another successful excursion into the Great American Songbook.
Bob Dylan seemed to be growing into the roll of crooner and embracing it further on Fallen Angels. Just like on Shadows In The Night, producer Jack Frost is responsible for understated, spartan arrangements. They provide the perfect backdrop for Bob Dylan. That’s case from the opening track, Country Home with its country-tinged arrangement. It’s a similar case on Maybe You’ll Be There, a tale of love lost where a wistful Bob Dylan lives the lyrics. That’s the case on All The Way, Nevertheless and All Or Nothing At All, where Bob Dylan’s vocal seems tailor made for the songs. Other songs are reinvented by Bob Dylan and his band.
This includes Polka Dots And Moonbeams, Skylark and On A Little Street In Singapore. Their guitar lead arrangements set the scene for Bob Dylan’s lived-in vocal. One of his finest vocals comes on the jazz-tinged cover It Had To Be You. His vocal exudes hurt and heartache. This hurt and heartache becomes melancholy on another jazz-tinged song, Melancholy Mood. It is proof if any was needed, that Bob Dylan is a talented crooner. Sadly, all too soon, Fallen Angels is nearly over.
All that remains are the two Harold Arlen and Johnny Mercer compositions. That Old Black Magic is reinvented, as the tempo increases and Bob Dylan ensures the song swings. The latest crooner in town then takes his bow on a beautiful heartfelt cover of Come Rain Or Come Shine. What better way to close Fallen Angels?
It’s without doubt, the perfect followup to Shadows In The Night. However, the big question was how would Bob Dylan’s fans react? Some had loved Shadows In The Night, others loathed the album. When Fallen Angels was released, it seemed record buyers were embracing Bob Dylan’s role as a crooner. Fallen Angels reached number seven in the US Billboard 200, twenty-four in Canada and five in the UK. Across Europe, Fallen Angels sold well, reaching number one in Austria, three in Belgium, two in the Czech Republic, seven in Germany and Holland, five in Eire, two in Italy, eight in Norway, five in Sweden and four in Switzerland. Elsewhere, Fallen Angels reached number eleven in Australia and New Zealand. Fallen Angels was a resounding success, reaching the top ten in twelve countries and top thirty in twenty-one countries. Bob Dylan’s fans had spoken, and embraced his new role as a crooner.
This is just the latest change in direction from a musical chameleon. Alas, despite the success of Fallen Angels, it has attracted the slings and arrows of some Napoleonic music fans. They don’t welcome this latest change in direction from Bob Dylan. Many of these fans are same ones that objected to Bob Dylan plugging in 1966. It seems that what they haven’t quite worked out, is if Bob Dylan hadn’t constantly changed direction, he would neither have enjoyed the same relevance nor longevity.
Fallen Angels is the thirty-sixth studio album in Bob Dylan’s thirty-four year recording career. During his career, Bob Dylan has refused to stand still, and has sought to reinvent himself. The former folk singer has released albums of country, gospel, blues, rock ’n’ roll and rockabilly, jazz and now is dipping into the Great American Songbook. Bob Dylan it seems, is the original musical chameleon. Crooning, is just the latest reinvention of Bob Dylan.
Fallen Angels is the second album where Bob Dylan dawns the role of crooner. Just like on Shadows In The Night, it’s a role that suits him and is one that he should embrace and revisit in the future. His lived-in, world-weary vocal is perfect for crooning. It’s a role that’s suited to older vocalists, like the late, Leonard Cohen and of course, Bob Dylan.
He can breathes life, meaning and emotion into the twelve tracks on Fallen Angels. Bob Dylan sounds as he’s lived, loved and survived to tell the tale. Although he might not have the smooth voice of Frank Sinatra, he still has the ability to bring the songs to life. This ensures that songs speak to the listener and resonate emotionally. That was the case on Shadows In The Night, and is the case on Fallen Angels, which was recently released on Columbia. It’s Bob Dylan’s second excursion into the twilight world of crooner, and finds him following in the footsteps of Frank Sinatra.
Just like the Chairman Of The Board, the role of crooner suits Bob Dylan. His lived-in vocal is perfect for crooning, which is the latest reinvention of the chameleon-like Bob Dylan. This is the perfect role for Bob Dylan. It’s a role he has grown into later in his career. Now is the time for Bob Dylan to croon. His lived-in, worldweary vocals breath new life, meaning and melancholia into the late-night, smokey sounding songs Fallen Angels, which introduce the newest crooner in town, Bob Dylan.
BOB DYLAN-FALLEN ANGELS.
PERRY COMO-I THINK OF YOU, IN NASHVILLE, JUST OUT OF REACH AND TODAY.
PERRY COMO-I THINK OF YOU, IN NASHVILLE, JUST OUT OF REACH AND TODAY.
Nowadays, there’s been a resurgence in Easy Listening music. Just like many other musical genres, it’s fallen in and out fashion. However, nowadays, a new generation of music lovers are discovering the music of crooners. This includes everyone from Frank Sinatra to Nat King Cole and Tony Bennett through to Andy Williams, Matt Monro and Jack Jones. That is not forgetting Perry Como. Just the other crooners, Perry Como went on to inspired several generations of modern musicians during a career that spanned sixty-five years.
During his long and illustrious career, Perry Como was a prolific and versatile artist. He enjoyed widespread commercial success during the forty-four years he was signed to RCA Victor.
Perry Como signed to RCA Victor in 1943, and in 1987 released Today which was his last album for the label. Today is one of four albums on a two CD set that was recently released by BGO Records. It features I Think Of You, In Nashville, Just Out Of Reach and Today. These albums were released between 1971 and 1987, and show different sides to Perry Como. The first of this quartet of albums was I Think Of You.
I Think Of You.
As 1971 dawned, Perry Como was about to record his twentieth album for RCA Victor. This was I Think Of You, an album cover versions of pop and soft rock that had been released over the past year.
Among the eleven songs that were chosen for I Think Of You, were ones that originally been recorded by Bread, Glen Campbell, Lobo, Ocean, Simon and Garfunkel and The Carpenters. This included Roland Kent LaVoie’s Me and You and a Dog Named Boo; David Gates’ If; Cindy Walker’s Dream Baby (How Long Must I Dream), Gene MacLellan’s Put Your Hand In The Hand and Paul Simon’s Bridge Over Troubled Water. They were joined by other songs that were tailor made for Perry Como’s mellow baritone.
Among them, were Canache Armando Manzanero and Gene Lees’ and Yesterday I Heard the Rain; Francis Lai and Carl Sigman’s (Where Do I Begin?) Love Story; Francis Lai and Rod McKuen’s I Think Of You; Alex Harvey’s Someone Who Cares and Eddie Snyder and Richard Ahlert’s My Days of Loving You. The final song was For All We Know, which had been penned by Fred Karlin, Arthur James and Robb Wilson of Bread. Just like other songs on I Think Of You, it would recorded at RCA Victor’s Studio A, in New York.
Arranging and producing I Think Of You was Don Costa, who had worked with crooners Frank Sinatra and Tony Bennet and discovered Paul Anka. Accompanying Perry Como on nine of the eleven tracks, were The Ray Charles’ singers. The recording sessions began on January 14th and were completed on April 30th 1971. After that, Perry Como’s twentieth album was ready for release.
Before that, critics noted that the songs on I Think Of You were perfect for Perry Como. The veteran balladeer made them his own, and left his own indelible stamp on songs like If, Baby (How Long Must I Dream), Yesterday I Heard the Rain and (Where Do I Begin?) Love Story. These songs brought out the best in Perry Como. Record buyers agreed.
When I Think Of You was released as a single, it reached fifty-three in the US Billboard charts, but topped the US Adult Contemporary charts. Across the Atlantic, I Think Of You reached number fourteen. Buoyed by the success of the single, I Think Of You sold reasonably well upon its release. Perry Como was still, one of the most popular American crooners. He was also a versatile singer.
In Nashville.
Four years later, in 1975, and Perry Como was en route to the Nashville, to record a country album, In Nashville. RCA Victor had had booked a session with producer Chet Atkins.
At RCA’s Nashville Sound Studios, Chet Atkins had brought onboard a crack band that featured some of the city’s top session players. They were joined by Anita Kerr Quartet, who added backing vocals on the twelve tracks that Perry Como was due to record. Among them, were Willie Nelson’s Funny How Time Slips Away and My Own Peculiar Way; John D. Loudermilk’s That Ain’t All and Cindy Walker’s Gringo’s Guitar. When the album was completed, Perry Como was in for a surprise.
Rather than release In Nashville on the main RCA Victor, the album was released on their Starcall label. It was essentially, a label that specialised on releasing albums that were heavily advertised on the television. While this was meant to make In Nashville was available to a wide audience, it was a missed opportunity.
Releasing an album on Starcall hadn’t the same kudos as releasing the album on the main RCA Victor label. Some artists felt it devalued the product. What Perry Como’s thoughts were are unknown. However, it must have been a disappointment. Especially considering how Perry Como seemed embrace country music so successfully.
Especially on songs like Funny How Time Slips Away, Here Comes My Baby, I Really Don’t Want To Know, Stand Beside Me and My Own Peculiar Way. Perry Como sounded as if he had lived and survived some of the lyrics. Other times, his vocal veers between needy to full of hurt and heartbreak. He hadn’t however, turned his back on his trademark sound and incorporated this into several songs. The result was a very underrated album from Perry Como. It’s addition on BGO Records’ two CD set is welcome one. So is the addition of Just Out Reach.
Just Out Reach.
In Nashville wasn’t the only album that Perry Como recorded in Nashville with Chet Atkins. Later in 1975, Perry Como returned to record what would become Just Out Reach.
For Just Out Of Reach, ten tracks had been chosen. This included Tony Hatch and Jackie Trent’s Let’s Do It Again; John D. Loudermilk’s Then You Can Tell Me Goodbye and Lennon and McCartney’s Here, There And Everywhere. Two Ben Peters songs, Let It Be Love and Love Put A Song In My Heart were chosen. That was no surprise, as he was a successful songwriter. Among the other tracks were Gloria Shayne’s The Grass Keeps Right On Growin’; Virgil F. Stewart’s Just Out Of Reach; Bob Duncan and Peter Jordan’s Let Me Call You Baby Tonight; Kris Kristofferson’s Loving Her Was Easier (Than Anything I’ll Ever Do Again) and James Stein’s Love Put A Song In My Heart. These songs were recorded at RCA Victor Studios, in Nashville during 1975.
Recording of Just Out Of Reach took place throughout 1975. The sessions began on January 7th at RCA Victor Studios. Again, producer Chet Atkins had brought onboard a crack band that featured some of the city’s top session players. The rhythm section featured drummers Buddy Harman, Kenny Malone and Larrie Londin; bassists Henry Strzelecki and Mike Leech and rhythm guitarists Bobby Thompson, John Christopher and Paul Yandell. They were joined by guitarists Grady Martin, Pete Wade and Reggie Young and pianists David Briggs and Randy Goodrum. Beegie Cruser played electric piano and The Nashville Sounds adding harmonies. With such a talented band accompanying him the album was soon completed by 15th October 1975.
RCA Victor wanted to release Just Out Of Reach before 1975 became 1976. That wasn’t going to be easy. Critics had to have their say, and then the album had to be promoted. Somehow, RCA Victor managed to get Just Out Of Reach released just before the end of 1975.
By then, critics had had their say on Just Out Of Reach. It was hailed as one of the finest albums Perry Como had recorded in Nashville. Especially ballads like Then You Can Tell Me Goodbye, Let It Be Love and Just Out Of Reach. They play to Perry Como’s strengths, as he breathes life, meaning and emotion into the songs. Then on Let Me Call You Baby Tonight, Loving Her Was Easier (Than Anything I’ll Ever Do Again), Make Love To Life and Love Put A Song In My Heart The Nashville Sounds prove the perfect foil for Perry Como. The result was an album of country, easy listening and pop that again, found favour with his loyal fans. However, the next album on the BGO Records’ two CD set is Perry Como’s 1987 swan-song for RCA, Today.
Today.
Forty-four years after first signing to RCA Victor, Perry Como was about to record what would be his swan-song for the label, Today. It was the twenty-ninth album Perry Como had recorded for RCA Victor. He had also decided that Today would be the last secular studio album of his career. Perry Como was going out at the top, with his reputation in tact.
So great care went in to choosing the right material for Today. Eventually, ten tracks were chosen, including some familiar songs. This included Burt Bacharach and Carole Bayer Sager’s That’s What Friends Are For; Michael Masser and Gerry Goffin’s Tonight I Celebrate My Love For You and Larry Henley and Jeff Silbar’s Wind Beneath My Wings. Two Roger and Hart compositions, My Heart Stood Still and You’re Nearer were chosen. They were joined by Jerry Herman’s The Best of Times and Sammy Cahn’s Making Love To You. The other three songs featured music by producer Nick Perito.
This included Dee Williams’ Sing Along With Me; L. Russell Brown and Irwin Levin’s I’m Dreaming of Hawaii and Richard B. Matheson’s Do You Remember Me. These three tracks, and the rest of Today were recorded at Evergreen Studios, Burbank, in California.
Recording of Today began on 2nd of February 1987. By then, Perry Como was ready to record the songs. He had practised the songs on his boat, singing along to a copy of the master tape. This meany that when Perry Como entered the studio, he was ready to lay down his vocals with producer Nick Perito. This he did against lushly orchestrated arrangements. By the 3rd of February 1987, Today was completed. Perry Como was now about to release his final secular studio album.
Before Today was released, critics had their say on his final secular studio album. It was a polished and accomplished album, where Perry Como put his fifty-four years experience to good use on ballads and uptempo tracks. Many of the cover versions Perry Como gave a new twist. However, just like so many of his previous albums, Perry Como shawn on the ballads. With the lushest of strings for company, he came into his own on Making Love To You, The Wind Beneath My Wings, You’re Nearer and My Heart Stood Still. One of Today’s highlights is Perry Como rework of Tonight I Celebrate My Love For You. Later, on Today he delivers a wonderfully wistful version of Do You Remember Me. Then he signs of in style with The Best Of Times, which seems fitting as it was Perry Como’s RCA Victor swan-song.
When Today was released later in 1987, it was his first album to be released on both CD and LP. The album sold reasonably well, and Perry Como bowed out at the top, with his reputation in tact.
Unlike many of his contemporaries, Perry Como didn’t make a comeback. He was seventy-five when recorded Today. It was the last studio album of secular material he released.
The only other album Perry Como recorded, was an album of Christmas songs in 1994. By then, Perry Como was eighty-two. However, that was the only time Perry Como ever stepped foot in a recording career.
He was content to enjoy his retirement, after a long, illustrious and successful forty-three year recording career. That was spent at just one label, RCA Victor. Four of the twenty-nine studio albums Perry Como recorded for RCA Victor feature on the two CD set that was recently released by BGO Records. It features I Think Of You, In Nashville, Just Out Of Reach and Today. These albums were released between 1971 and 1987, and show different sides to Perry Como.
Seamlessly, Perry Como flits between easy listening and pop, to country on In Nashville and Just Out Of Reach. Still Perry Como’s trademark style is present on these two country albums, as he lives the lyrics. That is sometimes the case on I Think Of You and Today. Other times, Perry Como reinvents the songs, taking them in new direction. Having done so, he leaves his own indelible mark on familiar songs. They take on new life and meaning, in the hands of one of the greatest crooners in musical history, the late great, Perry Como.
PERRY COMO-I THINK OF YOU, IN NASHVILLE, JUST OUT OF REACH AND TODAY.
RECORDARE: THE SONGS OF ENNIO MORRICONE.
RECORDARE: THE SONGS OF ENNIO MORRICONE.
Although Ennio Morricone’s name is synonymous with film soundtracks, there’s much more to his career than that. This includes over 100 classical pieces that Ennio wrote between 1946 and the late-fifties. After that, Ennio worked at RCA as an arranger. He arranged over 500 songs, and worked with everyone from Chet Baker to Paul Anka. During that period, Ennio began to work as a composer.
Initially, Ennio Morricone began writing music for radio, and then television. He also wrote for variety of pop and jazz artists. Just like has work as an arranger, Ennio was soon working with a wide variety of artists. Then in the evenings, Ennio played with a jazz band. Ennio Morricone lived and breathed music. Despite that, he changed direction in 1959.
This was when he took his first tentative steps into the world of soundtracks. Ennio Morricone soundtrack debut came in 1959, when he wrote the soundtrack to The Death of A Friend in. This was the first of over 500 film soundtracks that Ennio Morricone would write. This it seemed, was what Ennio was born to do.
Five years later, and Ennio Morricone made a breakthrough as a film composer when. He had been asked by his childhood friend to write the soundtrack to his Spaghetti Western, A Fistful of Dollars. When it was released in 1964, and launched the career of Ennio Morricone and Sergio Leone. They further cemented their relationship with the followup For A Few Dollars More in 1965. Then in 1966 The Good, The Bad and The Ugly was released. This classic lifted the profile of Ennio Morricone and Sergio Leone. They returned for one more Spagetti Western, Once Upon A Time In the West in 1968. By then, Ennio Morricone was well on his way to becoming a household. His fruitful partnership with Sergio Leone would continue for three decades. However, Ennio Morricone’s career as a composer has spanned seven decades.
During that period, Ennio Morricone has never been one to shirk a challenge. The Maestro has written scores to everything from big-budget blockbusters right through to art-house films. His soundtracks have sold over fifty-million copies and he’s won awards worldwide. That’s why the eight-eight year old composer is without doubt, the most prolific and best respected film composers of the twentieth century. His music is documented and celebrated on the latest edition in Ace Records’ Songwriter series.
Twenty-one of The Maestro’s compositions feature on the recently released compilation Ricordare: The Songs Of Ennio Morricone. It’s features some of The Maestro’s best known compositions. They’ve been recorded by the likes of Milva, Mina, Amii Stewart, Dino, Catherine Speak, Romina Arena, Romina Arena, John Baez, Jackie Lynton, Scott Walker, Pet Shop Boys and Gérard Depardieu. Ricordare: The Songs Of Ennio Morricone is an eclectic introduction to one of the greatest composers of the twentieth century
Opening Ricordare: The Songs Of Ennio Morricone is Milva’s Chi Mai. This is an oft-covered composition. Carlo Nistri wrote the lyrics and Ennio Morricone wrote the music. Chi Mai featured on Milva’s 1972 album Dedicato A Milva Da Ennio Morricone. It was released on the Ricordi label. and was arranged and produced by Ennio Morricone. It’s a truly beautiful orchestrated ballad. Especially with Maestro using swathes of the lushest strings to compliment Milva’s tender, elegiac vocal.
Mina’s career began in 1959, and she went on to release seventy singles and 110 albums. They sold seventy-six million copies. That’s no surprise; given the quality of Mina’s 1966 single Se Telefonando. It was released on the Rifi label in 1966, and that same year, featured on the album Studio Uno 66. One of the highlights is Se Telefonando, an impassioned power ballad. It showcases the vocal prowess of Mina.
By 1990, a new chapter in Amii Stewart’s career was about to unfold. Her disco days were long behind her, as she began recording an album with Ennio Morricone. It became Pearls-Amii Stewart Sings Ennio Morricone, and featured Hurry To Me. It had featured in the film Metti Una Sera A Cena. A combination of Amii Stewart’s tender, soulful and heartfelt vocal and The Maestro’s lush, meandering orchestrated arrangement proves a potent and successful combination. This resulted in a truly beautiful ballad.
In 1964, just as Ennio Morricone’s soundtrack career was about to flourish, he cowrote, arranged and produced Catherine Spaak’s single Questi Vent Anni Miei. It also featured on her sophomore album Noi siamo i giovani. It was released on the Dischi Ricordi S.p.A. label. One of the highlights of the album was, without doubt, the chanson ballad Questi Vent Anni Miei.
Although Italian actress Lisa Gastoni would go on to star in over sixty films, in 1965 she embarked upon a musical career. Her debut single was Una Stanza Vuota, which was released on the Arc label in 1965. It’s a heart wrenching wistful, cinematic ballad. Despite its quality, Una Stanza Vuota, which was produced by The Maestro, was Lisa Gastoni’s only single. She decided to concentrate on her acting career. This worked out, and she enjoyed a successful career. However, Una Stanza Vuota is a reminder of what might have been?
Nowadays, Romina Arena is regarded as the Queen of Popera. She first met Ennio Morricone when she was just thirteen. He advised Romina Arena to study music. She took his advice, and studied music. Eighteen years laters, and the pair were reunited and worked together. This was the start of a successful partnership, and in 2012 Ennio Morricone and Romina Arena collaborated on an album, Morricone Uncovered. It features Il Tempo Sa, where Romina Arena shows why she’s regarded as the Queen of Popera.
Hayley Westenra was only thirteen when she self-released her debut album Walking In The Air. Eleven years and nine albums later, the New Zealand soprano and songwriter was about work with Ennio Morricone. He arranged and produced fourteen songs, including Amália Por Amore. This beautiful ballad is the perfect showcase for Hayley Westenra’s vocal. It’s one of the highlights of the resultant album, Paradiso. It was released on Decca in 2011, and features a truly talented vocalist who hopefully, we’ll be hearing more about.
Patty Pravo originally recorded Un Treno In Più in 1975. However, the song lay unreleased until 2005. By then, Patty Pravo’s popularity had soared. She was second most successful female singer in Italy behind Mina. Given her widespread appeal and popularly Patty Pravo was compiling a career retrospective, Canzoni Stupende. One of the songs that featured on Canzoni Stupende was Un Treno In Più, a beautiful hidden gem, that shows why Patty Pravo is one of Italy’s most successful recording artists.
Edda Dell’orso’s career has spanned over fifty years. During that period, she’s worked with Ennio Morricone on numerous occasions. This includes on A Fistful of Dollars, The Good, The Bad, and The Ugly and Once Upon A Time In The West which was released in 1971. That year, Edda Dell’orso released Veruschka as a single on on General Music. It was arranged and produced by The Maestro. He provides an orchestrated arrangement while Edda Dell’orso adds an ethereal and haunting vocal. It’s absolutely spellbinding.
Joan Baez and Ennio Morricone collaborated in 1971 for the soundtrack to a docudrama. This included Here’s To You which Joan Baez wrote the lyrics to. Ennio Morricone wrote the music, arranged and produced Here’s To You. It shows a very different side to Joan Baez, than her early days as folk singer in Greenwich Village.
In 1972, Scott Walker released his album first album in two years, The Moviegoer. It was released on Philips and comprised songs from Scott Walker’s favourite films. Among them, was The Ballad Of Sacco And Vanzetti. It’s from the Ennio Morricone soundtrack Sacco And Vanzetti. Producer John Franz and Scott Walker’s cover stays true to the original, and is akin to a homage to The Maestro.
Gérard Depardieu’s Ricordare closes Ricordare: The Songs Of Ennio Morricone, and lends its name to the compilation. It’s taken from the soundtrack to the 1992 film Une Pura Formalita. Ricordare is performed by Gérard Depardieu who played a starring role in the film. He delivers a thoughtful, almost melancholy vocal. This proves the perfect way to close Ricordare: The Songs Of Ennio Morricone.
For anyone new to the music of The Maestro, Ricordare: The Songs Of Ennio Morricone is a perfect starting point. It features twenty-one songs recorded between the sixties and 2012. They were recorded by artists from America, Britain, France, Italy and New Zealand. Among them are Milva, Mina, Amii Stewart, Dino, Catherine Speak, Romina Arena, Romina Arena, John Baez, Jackie Lynton, Scott Walker, Pet Shop Boys and Gérard Depardieu. Most of the songs were arranged and produced by Ennio Morriocone, and are part of the long and illustrious career of the man they call The Maestro.
His career is celebrated on Ricordare: The Songs Of Ennio Morricone, which was recently released by Ace Records as part of their Songwriter series. This is a very welcome addition to the series. That comes as no surprise.
Ricordare: The Songs Of Ennio Morricone features The Maestro in his prime. He was a truly prolific composer, who wrote the soundtrack to over 500 films. They range from low budget and art house films to blockbusters. That is only part of the story. The man they call The Maestro, also wrote the soundtrack to countless television series’ and documentaries. The twenty-one tracks on tracks Ricordare: The Songs Of Ennio Morricone are the perfect introduction to the seven decade of The Maestro, who is without doubt, one of the most important and success soundtrack
RECORDARE: THE SONGS OF ENNIO MORRICONE.
MIRACLE GLASS COMPANY-MGC 1.
MIRACLE GLASS COMPANY-MGC 1.
Scotland has always had a rich and vibrant musical scene. That’s been the case since the sixties, and is still the case today. A look at the albums released during 2016 proves this point. The year started with a new album from Emma Pollock. After that, the albums arrived thick and fast from familiar faces and old friends. This included Frightened Rabbit, King Creosote, Kris Drever, Mogwai, Mull Historical Society, R.M. Hubbert, Rick Redbeard and the Temperance Movement. Meanwhile, several bands hit the comeback trail.
This included The Pictish Trail, who returned with their first album in four years, Future Echoes. It was a welcome return to form. However, the comeback Kings of 2016 were the Trashcan Sinatras and Teenage Fanclub. These veterans of Scottish music returned with critically acclaimed albums. They weren’t the only veteran of Scottish music to make a return during 2016
Paul McGeechan returned with the debut album from his new project, Starless. Its lineup was like a who’s who of music. So, it was no surprise, when this eagerly awaited release won the approval of critics. This was just the latest release in what had been a very good year for Scottish music. However, it wasn’t familiar faces and old friends that had been releasing new albums. There was a new kid in town, Miracle Glass Company. They’ve recently released their debut album MG1 on VoxBox Records.
The Edinburgh based power rock trio have been around for several years. However, they first came to prominence in May 2016, when they released their single Higher Than High. Straight away, it was obvious that Miracle Glass Company were a cut above the competition. They were a much tighter and more accomplished band, who were capable of creating melodic psychedelic rock. That’s no surprise. The three members of Miracle Glass Company are all talented and experienced musicians.
Bassist and vocalist William Douglas previously, lead WD and the Wheel). His parter in the rhythm section, drummer and percussionist Andy Duncan, was previously a member of Miyagi and The Black Diamond Express. The third member of the Miracle Glass Company is Austen George. He plays guitar, piano and Hammond organ and previously, was a member of The Setup and The Alvas. Nowadays, he’s part of the heavy psychedelic groove machine that is Miracle Glass Company.
They’ve come a long way from their early days on Edinburgh’s live circuit. During 2016, Miracle Glass Company have toured Britain. This includes opening for The Bluetones during a mini tour in April. However, Miracle Glass Company’s biggest gig of 2016 was playing at Scotland’s premier festival T In The Park. That was proof that Miracle Glass Company were heading in the right direction.
Less than weeks after their appearance at T In The Park, Miracle Glass Company headed to Scotland’s musical city, Glasgow. They had been booked to play at King Tut’s, one of Scotland’s most prestigious venues. Some of the biggest indie bands have at one time, played King Tuts. On July 24th, Miracle Glass Company took to the same stage as Radiohead, The Killers, Pulp, My Chemical Romance, Biffy Clyro and Frightened Rabbit. Miracle Glass Company were now alumni of both T In The Park and King Tut’s. Surely, 2016 couldn’t get any better for Miracle Glass Company?
It did. Owen Morris agreed to co-produce Miracle Glass Company’s debut album. Thos was a real coup. Previously, Owen Morris had produced The Stranglers, Oasis, The Verve, Ash and The Fratellis. Now Owen Morris was about to work with Miracle Glass Company.
Owen Morris made the journey north to work with Miracle Glass Company. Just like many bands, they had already written the eleven songs that would become their debut album. They had honed these songs playing them live. Now it was a matter of recording these songs. This resulted in a journey from east to west.
Recording of Miracle Glass Company’s debut album was split between two studios. This included one of Scotland’s top studios, Cava Sound, in Glasgow. Owen Morris who has over 150 production credits to his name, would guide Miracle Glass Company through the minefield that’s recording a debut album. It can be fraught with countless difficulties, but Owen Morris was a veteran of many successful campaigns. He co-produced the sessions that took place at Cava Sound with Miracle Glass Company. Further sessions took place at Music Box in Edinburgh.Eventually, the eleven songs were completed. These songs became MG 1, Miracle Glass Company’s debut album.
With MG 1 complete, Miracle Glass Company began working towards the launch of their debut album. It was recently released and launched at the Liquid Rooms, in Edinburgh. MG 1 showcases the heavy psychedelic groove machine that is Miracle Glass Company.
Higher Than High opens opens MG 1, and finds Miracle Glass Company laying down their marker. A blistering guitar rings out, before the drums and then bass enter. The rhythm section set about creating a rocky backdrop. It’s soon joined by the vocal, as Miracle Glass Company kick loose. A searing guitar cuts through the arrangement searing and shivering. Soon, the vocal grows in power, as drums pound and guitars scream and soar. Tight harmonies are added, and veer between Byrdsian to punchy and powerful. They add to the lysergic sound. So does a powerhouse of a vocal. Reverb adds to the trippy sound. Meanwhile, thunderous, urgent drums, blistering guitars and harmonies play their part in a hard rocking slice of of and psychedelia. It whets the listener’s appetite for the rest of MG 1.
Especially, if the songs are as good as T.R.O.U.B.L.E. A hypnotic guitar sends out its siren call, before the rhythm section provide a blues rock backdrop. Having set the scene for the vocal, it sings call and response with the rest of Miracle Glass Company. Soon, a swaggering anthem is unfolding. Then at 1.38 the song briefly grinds to a halt. When it bursts back into life, the rhythm section lock into a groove as a scorching guitar solo. Soon, though, the vocal returns and sings call and response, on what’s an irresistible hard rocking anthem. It’s sure favourite of Miracle Glass Company’s live shows.
When How Long bursts into life, Miracle Glass Company play with a degree of urgency. It’s another slice of hard rocking music. Again, hooks haven’t been spared, as Miracle Glass Company play with speed and confidence. As the rhythm section provide the heartbeat, scorching guitar licks reverberate. Meanwhile, a strutting vocal, is accompanied by tight harmonies. Later, a blistering guitar solo is unleashed. It helps drive the arrangement along, before firing off machine gun licks. By then, Miracle Glass Company have become one, playing with confidence and an assuredness. The result is a track that’s not unlike the seventies classic rock that surely, must have influenced Miracle Glass Company.
There’s a drop in tempo on Look At You Now. Bristling, shimmering guitar licks are joined by the rhythm section and then a tender vocal. It hints at what’s to come. That’s a fusion of late-sixties psychedelia at its most melodic, Big Star and their rightful heirs Teenage Fanclub. This proves a potent and heady brew. Especially as Miracle Glass Company’s rhythm section combine with shimmering, glistening guitars. Meanwhile, a tender, thoughtful vocal delivers some of the best lyrics on the album. Adding the final piece in the jigsaw are Byrdisan harmonies. They play their part in what’s without doubt, Miracle Glass Company at their finest and most melodic.
Big Beat is totally different from anything that’s gone before. A lived-in vocal and guitar are joined by the rhythm section. Soon, Miracle Glass Company are fusing rock with pop and even a hint of reggae. The reggae influence comes courtesy of the rhythm section. Meanwhile, the lead vocal is reminiscent of Kelly Jones from The Sterophonics. It’s accompanied by harmonies. This adds a poppy sound. Later, there’s also a nod to The Beatles on this genre-melting track. It’s a potpourri of influences and inspirations, that will appeal to a very different audience than previous tracks. That’s no bad thing, as if it introduces Miracle Glass Company’s music to a wider audience.
After showcasing their versatility on the last couple of tracks, Miss Rain finds Miracle Glass Company return to psychedelic rock. A searing guitars reverberates as the rhythm section provide an ominous backdrop. Soon, Miracle Glass Company seem to be paying homage to The Byrds. Sonically and stylistically there are several similarities. Especially the guitars, vocal, harmonies and use of effects. Miracle Glass Company then take a rocky diversion as bristling guitars cut loose. When the vocal returns, there’s a nod to Big Star, as the song heads into an anthem territory. Later though, it becomes a jam, with Miracle Glass Company showcasing their considerable skills and versatility.
Miracle Glass Company throw a curve ball on Part Of Me. Briefly, they sing unaccompanied, before the song explodes. The rhythm section lock into a groove, and with the searing, screaming guitars drive the arrangement. There’s a similar urgency to the vocal. However, when the vocal drops out, the band kick loose. They rock harder than they’ve ever rocked before. Never once do the miss a beat, as they play like seasoned veterans. Later, when the vocal returns the arrangement is stripped back and the song latterly, becomes a melodic power ballad.
As Little Country Thing unfolds, harmonies are accompanied by just an acoustic guitar. The result is country ballad that sounds like it was recorded in Nashville. Soon, it’s all change. A rumbling bass and percussion join with a jangling, shimmering guitar. Miracle Glass Company combine elements of country, the West Coast sound and rock. There’s even the merest hint of Santana courtesy of the percussion. Meanwhile, tight, soulful harmonies play an important part in the sound and success of this ballad. It’s without doubt another of the highlight of MG 1, with Miracle Glass Company becoming musical shape shifters as they seamlessly switch between musical genres.
Searing guitars licks are joined by drums on Calling. The drums drift in and out, before driving the arrangement along. By then, a soul-baring powerhouse of a vocal is joined by tight harmonies. Midway through the track, harmonies intertwine and drums rumble, adding to the urgency. Not for the first time there’s a similarity to The Who. Later, Miracle Glass Company at their rockiest, kick loose as the song reaches its impressive crescendo.
Drums pound as guitars cut through the arrangement to Turnaround. As the vocal enters, it’s accompanied by harmonies as the arrangement flows along showcasing a vintage sound. Elements of power pop, psychedelia and classic rock are combined seamlessly. Stealing the show is guitarist Austen George. He unleashes what’s easily the best solo on the album. Effects are to the fore on what can only be described as a virtuoso performance. It’s defines a track that’s rocky, psychedelic, memorable and melodic. What better way to close MG 1?
It’s hard to believe that MG 1 is Miracle Glass Company’s debut album. It’s a slick, polished and accomplished album. That’s no surprise, as veteran producer Owen Morris co-produced MG 1 with Miracle Glass Company. The result is an album that’s a cut above the competition.
MG 1 features a tight, talented and versatile band. Over eleven tracks, Miracle Glass Company seamlessly switch between rocky anthems and ballads. Similarly, Miracle Glass Company flit effortlessly between disparate musical genres throughout MG 1. Sometimes, they combine several genres within the same track. This results in hard and psychedelia sitting side by side. Similarly, Miracle Glass Company combine country and rock. Other times, elements of Americana, blues rock, power pop, reggae and the West Coast sound are combined on MG 1. So are a myriad of musical influences.
Throughout MG 1, numerous musical influences can be heard. Among them, are The Doors, Big Star, The Beatles and The Who. That’s not forgetting fellow countrymen, Teenage Fanclub. All these musical influences and disparate genres have been combined by Edinburgh based Miracle Glass Company. The result is their debut album MG1, which was recently released on VoxBox Records.
MG 1 showcases a truly talented and versatile band, who are rising stars of Scottish music. Their star is in the ascendancy, and 2017 promises to be a big year for them. MG 1 is just the first step in what’s a long journey and perilous. However, Miracle Glass Company have the potential and talent. Proof of that is MG 1, which features a tantalising taste of the new kid in town, Miracle Glass Company.
MIRACLE GLASS COMPANY-MGC 1
THE CLUSTER STORY.
THE CLUSTER STORY.
The Cluster story began in the Zodiak Free Arts Lab in West Berlin. That’s where Hans-Joachim Roedelius first met Dieter Moebius. Little did they know that they were about to embark upon a musical journey that would last five decades.
During that period, Hans-Joachim Roedelius and Dieter Moebius were part of three of the most important, influential, and innovative bands of the Kominische era. This includes Kluster, Cluster and Harmonia. Each of these groups have inspired several generations of musicians. That’s still the case today. However, the Cluster story, Hans-Joachim Roedelius told me, began in the late sixties.
It was in 1968, at the height of the psychedelic era, that Hans-Joachim Roedelius “cofounded music commune Human Being. I also co-founded Zodiak Free Arts Lab in West Berlin with conceptual artist Conrad Schnitzler. At that period, I was a member of the group Human Being, a forerunner of Kluster.” For Hans-Joachim Roedelius: “this was an exciting time, where there was a sense that anything was possible. It was like a revolution. We were happy to have found this place to work. All the freelance musicians in the city found their way to Zodiak Free Arts Lab. There were members of Can, Tangerine Dream, Ash Ra, Neu! at Zodiak. They were great times.” The Zodiak Free Arts Lab was also where Hans-Joachim Roedelius met someone who would play a huge part in his career, Dieter Moebius.
“About the end of 1969, Dieter Moebius visited The Zodiak Free Arts Lab. He wasn’t a member. No. He just visiting, and we got talking.” The two men found they had a lot in common, including the way they believed music should be made. It was almost inevitable that Hans-Joachim Roedelius and Dieter Moebius would form a group.
Kluster.
“It was later, in 1970 that we founded Kluster.” Hans-Joachim Roedelius and Dieter Moebius joined with Conrad Schnitzler to form Kluster. However, Kluster was no ordinary band.
Initially, Cluster played an eclectic instruments and utensils. “Everything was spontaneous. Improvisation was key.” Kluster’s music was described in The Crack In The Cosmic Egg magazine as “unlike anything heard before.” Hans-Joachim Roedelius admits: “that was what Kluster set out to do. Kluster was about musical activism.” Soon, the musical activists would record their debut album.
Kluster’s debut album came about in the unlikeliest of circumstances. Although band were based in West Berlin; “one night we were playing a concert in Dusseldorf. A priest just happened to be walking past, and heard the music. He liked our music, and came in to the hall. Once the concert was finished, he asked if we would like to record an album of new church music? The answer was yes!” So Kluster made the journey to the Rhenus-Studio in Gordor.
When Kluster arrived at the Rhenus-Studio, “we met Conny Plank and producer Oskar Gottlieb Blarr. We went into the studio and recorded an hour of music in one take. Religious text was added to this, and became the ‘new church music.’ The music became our first two albums Klopfzeichen and Zwei-Osterei.
Only 300 copies of both albums were pressed. Klopfzeichen was released in 1970, with Zwei-Osterei following in 1971. Critics realised the importance of Kluster’s music. It was described as quite extraordinary, bleak, stark, unnerving and full of electricity. Despite the reviews, the sales of Klopfzeichen and Zwei-Osterei were small. However, later, Kluster would be recognised as one of the most influential groups of the early seventies. This influential and innovative group would only release one further album.
This was Eruption, which was recorded by Kluster during 1971. It featured an hour of experimental music, which was recorded by Klaus Freudigmann. Eruption is quite different from Kluster’s first two albums. There is no religious text, just Kluster at their innovative best. For many, Eruption is Kluster’s finest hour. However, 1971 marked the end of an era for Kluster. One group became two.
Kluster To Cluster.
In the middle of 1971, Conrad Schnitzler left Kluster, and briefly, worked with another band, Eruption. This was the beginning of the end for Kluster.
After the original lineup of Kluster split-up, “Dieter Moebius and I anglicised the band’s name, and Kluster became Cluster.” Between 1971 and 2009, Cluster would release twelve studio albums and four live album. Cluster’s debut was released later in 1971.
Cluster.
When Cluster recorded their eponymous debut album, they were joined in the studio by another legend of German music, Conny Plank. He featured on Cluster, which marked a change in sound. Gone was the almost industrial, discordant sound, which was replaced by an electronic sound. “Dieter and I played all the instruments and Conny added all sorts of effects. For us this was the start of a new era.”
Cluster was released later in 1971 on Phillips. “This was Cluster’s major label debut. It found Cluster at a crossroads.” They were ready to turn their back on the avant-garde, almost discordant and industrial sound of Kluster, and begin the shift towards the ambient and rock-tinged sound of the late seventies. That was the future.
Before that, Cluster began work on their eponymous debut album. In the studio, Cluster set about honing and sculpting a trio of soundscapes. Hans-Joachim Roedelius remembers: Cluster which had very little melody, is a series of improvised and atmospheric soundscapes.” They’re best described as futuristic, moody, dramatic and truly captivating. Heavy rhythms, beeps, squeak and drones drenched in effects assail the listener. It’s as if Cluster have been inspired by avant-garde, free jazz, early electronica, industrial, free jazz and even rock. This fusion of influences became Cluster.
Once Cluster was completed, the album was released on Philips. Little did anyone, even Cluster themselves, realise the effect album bearing the serial number Philips 6305074 would have. Nowadays, Cluster is regarded as an innovative classic, and in a sense, this was the start of Cluster’s career in earnest.
Cluster II.
“For the followup to Cluster, Conny Plank was no longer a member of Cluster. We were now a duo, consisting of Dieter and I. Conny had other projects he wanted to concentrate on.” With three becoming two, the two remaining members took a different approach to recording.
Cluster had added to their impressive arsenal of equipment. As Conny Plank watched on, two organs, analog synths, a Hawaiian guitar, a bass and an electronically treated cello were brought into the studio. Cluster weren’t finished yet. The two members of Cluster started setting up array of effects. This included audio-generators which usually, was found in an electrician’s toolbox. They became part of Cluster’s alternative orchestra. With everything setup, Cluster got to work.
“To some extent, it was trial and error. We tried different things. Some worked, others didn’t,” Hans Hans-Joachim Roedelius explains. The end result, Cluster II “saw a further shift towards a more electronic sound.”
The music veered between futuristic and dramatic to hypnotic, dreamy, lysergic and otherworldly. Sometimes the music becomes pastoral; other times understated and occasionally, explodes into life. However, for much of the time, Cluster II is melodic and mesmeric. Again, Cluster had produced an album that was way ahead of its time.
When Cluster II was released, it was on Germany premier label when it came to ambitious and innovative music, Brain. Cluster II was assigned the serial number Brain 1006, and when in was released in 1972, it was well on its way to becoming a groundbreaking genre classic.
Ironically, many German critics and record buyers overlooked groups like Cluster. Instead, they were more interested in the music coming out of America and Britain. Incredibly, they never realised that some of the most innovative music was being made in their own backyard. This includes that made by musical chameleons, Cluster whose music would continue to evolve.
Zuckerzeit.
Zuckerzeit, Cluster’s third album, was released in 1974, and was co-produced by Michael Rother of Neu! “Michael first met Dieter and I in 1971. By 1973, Michael was on a break from Neu! We decided to head into the countryside to Forst, to build our own recording studio.” This could’ve been fraught with problems? “No. We knew what we were doing and trying to achieve. All of us had experience in studios, so knew what was required.” The result was a studio “where Michael, Dieter and I recorded the two Harmonia albums, Musik Von Harmonia and Deluxe.” However, before that, Zuckerzeit was released.
On the release of Zuckerzeit, in 1974 Michael Rother’s influence is noticeable. He placed more emphasis on melody, rhythm and the motorik beat.” Hans-Joachim Roedelius explains that previously, Cluster didn’t place the same importance on melody or structure. Michael introduced structure and discipline.” The result was a very different album.
That’s apparent from the opening bars of Hollywood. A crisp Motorik beat provides the backdrop for Cluster’s synths. They create music that’s variously melodic, ethereal, evocative, haunting and cinematic. Especially on tracks like Hollywood, Rosa, Fotschi Tong and Marzipan. Then on Rote Riki, the music becomes futuristic, with the man machine adding sci-fi sounds that sound as if they’re from a distant planet. Meanwhile, Caramel would influence future generations of dance music producers. Although Caramba has futuristic sound, it’s melodic and contemporary. It sounds as if it belongs on the dance-floors of Berlin’s clubs. This is incredible, given Zuckerzeit was released later in 1972.
Cluster had released two albums on Brain during 1972. Both would become future genre classics, and both would show a different side to Cluster. Zuckerzeit with its mixture of electronic pop, art rock and avant-garde, was an album way ahead of its time. It’s a truly innovative and timeless album, where Cluster continue to reinvent themselves. The decision to bring Michael Rother onboard as producer was a masterstroke; and also resulted in the birth of a new band, Harmonia.
The Birth Of Harmonia.
After completing their recording studio in Forst, it seemed only natural that the three friends record an album. So Harmonia was born. It was meeting of musical minds. The two members of Cluster were receptive to Michael Rother’s way of working. Hans-Joachim Roedelius explains: “there were no problems, we wanted to learn. Previously, we improvised, which made playing live problematic. A song was merely the starting point, it could go anywhere. Michael however, taught us about structure. We influenced him. It was a two-way thing.”
Musik von Harmonia.
That proved to be the case. “Harmonia’s 1974 debut album, Musik von Harmonia, was a move towards ambient rock.” While Michael Rother influence can be heard, so can the two members of Cluster. Their influence is more prominent. They adds an ambient influence to what’s a groundbreaking classic. It saw this nascent supergroup seamlessly embrace and incorporate disparate musical genres. In the process, Harmonia set the bar high for future ambient rock albums. However, Harmonia changed tack on the followup to Musik von Harmonia.
The three members of Harmonia reconvened in their studio in Forst for the recording of Deluxe. Co-producing Deluxe was Conny Plank. This just happened to coincide with Harmonia changing direction musically.
Deluxe.
Deluxe saw a move towards Krautrock or Kominische music. The music was more song oriented. However, still Harmonia were experimenting, pushing musical boundaries. This was Cluster’s influence. Other parts of Deluxe had been influenced by Michael Rother. Hans-Joachim Roedelius agrees. “Michael Rother’s influence can be heard on Deluxe, more so than on Musik von Harmonia.” What was also noticeable, was that Deluxe had a more commercial sound. “This wasn’t a conscious decision. The music morphed and evolved, and the result was Deluxe.” It was released in 1975, to the same critical acclaim as Musik von Harmonia. However, the end was nigh for Harmonia.
Tracks and Traces.
Little did the three members of Harmonia realise, that Deluxe was the last album they would release for thirty-two years. For what was their swan-song, Harmonia were joined by another legend, Brian Eno.
At the studio in Forst, Hans-Joachim Roedelius, Dieter Moebius, Michael Rother and Brian Eno spent eleven summer days recording what was meant to be their third album. The working title was Harmonia ’76. However, by then, “Michael Rother was wanting to concentrate on his solo career. Once the album was completed, it became apparent Harmonia had run its course. It was evolution.” So Cluster returned to the studio to record their fourth album,
A New Cluster Album-Sowiesoso.
After “Harmonia ran its course, we returned to Cluster. We had never stopped being Cluster. We played live, but didn’t release a new album until Sowiesoso, in 1976, which we recorded in just two days.”
Despite being recorded in just two days, Sowiesoso found Cluster at their creative zenith. They had recorded an album of understated, beautiful, poignant and melancholy melodies, including Umleitung, Zum Wohl and Es War Einma. The arrangements are often minimalist, but always, cinematic. Sometimes, the music is evocative and atmospheric. Occasionally, there’s an air of mystery. Especially, Halwa, with its cinematic sound. Just like the rest of Sowiesoso, the music paints pictures. That was the case in 1976, and is the case in 2016.
When Sowiesoso was released in 1976, it was on Günter Körber’s Sky Records. It had been formed in 1975, and by 1976, was already regarded as a label that released ambitious, influential and innovative music. This described Cluster’s first album in four years. However, Sowiesoso was a very different album to Zuckerzeit.
That was no surprise to those familiar with Cluster’s music. They were like musical chameleons, constantly reinventing their music. The musical chameleons were about to enter a three year period where Cluster could do no wrong.
Enter Brian Eno.
In June 1977, the two members of Cluster were joined by three old friends. The first was Holger Czukay of Can. “Dieter and I knew Holger from way back, back to Zodiak Free Arts Lab. We hung around with members of Can. Back then, there was a great sense of community. Everyone helped and influenced each other. We even went on to tour together.” Another of the guest artists on Cluster’s 1977 album first met Dieter and Hans at a Cluster concert.
That was Brian Eno: “who Cluster jammed with in 1974. Brian joined us on stage, and we spent the second half of the concert jamming. That was how we first met Brian. Then in 1977, he joined as for the recording of Cluster and Eno. We learnt a lot from Brian. Similarly, I like to think we influenced him. That was the case when we recorded After The Heat.” Before that, Cluster and Eno was recorded.
Cluster and Eno.
The four great innovators got to work. They spent part of June 1977 recording enough for two albums. Conny Plank laid down bass lines, while Dieter and Hans-Joachim Roedelius played synths and keyboards. So did Brian Eno who added bass and vocals. Once the recording session was complete, the first collaboration between Cluster and Brian Eno was released later in 1977.
When Cluster and Eno was released later in 1977, the album was a meeting of minds. Elements of both Cluster and Brian Eno’s music melted into one. Cluster supplied elements of avant-garde, while Brian Eno’s supplied the ambient influence. When this was combined with drone and world music, the result was another classic album.
Widespread critical acclaim accompanied the release of Cluster and Eno. It was hailed a groundbreaking album, one that was way ahead of its time. Cluster and Eno is an album that Hans-Joachim Roedelius: “is proud of.” He remembers the recording sessions fondly, and sees both Cluster and Eno, and its followup After The Heat, as an equally “influential album.”
After The Heat.
Just a year after the release of Cluster and Eno, the second collaboration between Cluster and Brian Eno was released. It too, was released to critical acclaim. This fusion of ambient, art rock, avant-garde, experimental and Krautrock were combined by Cluster and Brian Eno. Again, both Cluster and Brian Eno were influencing each other.
“This was not one way. We both influenced each other. On After The Heat, I believe we influenced Brian’s production style. If you listen to David Bowie’s Low and Lodger albums which Brian Eno produced, Cluster and Harmonia’s influence can be heard. So while Brian influenced Cluster, we certainly influenced him.” After two albums with Brian Eno, Cluster’s next album saw them return to a duo.
The Return Of The Cluster.
Grosses Wasser.
Following two albums with Brian Eno, Cluster returned to the studio in 1979. This time, Cluster were joined by Peter Baumann of Tangerine Dream. He would produce Grosses Wasser, Cluster’s seventh album.
It was an album where Cluster drew inspiration from ambient, art rock and avant-garde to electronica and free jazz. The result was music that’s ambitious, challenging and experimental. Other times, the music becomes ethereal, elegiac, melancholy and cinematic. Sometimes, though, Cluster throw a curveball like on Breitengrad 20, and a track changes direction. This adds to avant-garde sound of Grosses Wasser.
When Cluster released Grosses Wasser later in 1979, it proved to be Cluster’s most avant-garde album. “This wasn’t a conscious decision. Instead, it was just a case of evolution. That was the way that the Cluster worked. It was the same live.” That became apparent on Cluster’s first live album.
Live In Vienna.
Despite releasing seven studio albums, Cluster had never released a live album. That changed when Cluster took to the stage at the Wiener Festwochen Alternativ, on June 12th, 1980. It was the only time that Cluster took to the stage with Joshi Farnbauer. The result was one of Cluster’s most experimental albums.
Sometimes, the music veered towards discordant, and was reminiscent of early performances by Kluster. Hans-Joachim Roedelius remembers: “a song was just the starting point. We never knew what direction it would take. It was improvisation at its purest. Partly, it was because we couldn’t replicate our music live.” That was the case on, Live In Vienna, which featured Cluster at their most ambitious and inventive. However, just like Harmonia four years earlier, the end was nigh for Cluster.
Curiosum.
Cluster recorded their ninth album Curiosum in 1981. Recording took place at Hamet Hof, in Vienna, which was now Hans-Joachim Roedelius adopted home.
At Hamet Hof, Cluster recorded seven tracks. Some were relatively short by Cluster standards. Given the title, the seven tracks on Curiosum were somewhat unorthodox. However, they were unusually melodic. It was a fitting way to end chapter one of the Cluster story.
Just like Harmonia, “Cluster had run its course. We decided to concentrate on other projects. There was no fall-out, Cluster just came to a natural end. After eight studio albums, Cluster was over. Or was it?
Apropos Cluster.
Cluster was put on hold until 1991, when Apropos Cluster was released. As the Hans-Joachim Roedelius and Dieter Moebius partnership entered its third decade, Cluster released their ninth album Apropos Cluster.
Recording of Apropos Cluster had taken place between 1989 and 1990. with Cluster seeming to pick up where they left off on Curiosum. The music was similar structurally, stylistically and sonically. The only difference was the rhythm nature of Curiosum was absent. Instead, the music was understated, as ambient, avant-garde and Berlin School combined on the five tracks. This includes four short tracks and the title-track, Apropos Cluster a twenty-two minute epic. It was a fitting swan-song to what was a very welcome addition to Cluster’s discography.
One Hour.
Four years after the release of Apropos Cluster, One Hour was released in 1995, and became Cluster’s tenth album. Hans-Joachim Roedelius and Dieter Moebius. It was one of the most ambitious albums of the second part of Cluster’s career.
To record One Hour, Hans-Joachim Roedelius and Dieter Moebius had returned to their experimental roots. They headed into the studio and for four hours, improvised. When the recording session was over, the two members of Cluster began to edit the music in one flowing piece of music that lasts One Hour. This was the longest album of Cluster’s career.
When One Hour was released, the album was presented as one continuous piece of music. For the CD version, the album became eleven tracks. They’re a mixture of avant-garde, Berlin School, classical, electronica and experimental music. The way the tracks are presented, they flow, meander and build, their eclecticism continuing to captivate. One Hour found favour with Cluster critics and fans old and new. Thirty-four years after making their recording debut, Cluster were still relevant. That would continue to be the case.
Cluster Live.
Japan 1996
Two years after the release of One Hour, Cluster returned in 1997 with their second live album, Japan 1996. It had been recorded during June 1996
By then, Cluster’s music was belatedly finding the wider audience it so richly deserved. Especially among a new generation of music fans. They realised how innovative and influential Cluster’s music had been. Many electronic musicians who came to prominence during the nineties, cited Cluster as an influence. So when Cluster toured, they were greeted by a new generation of fans. They joined their loyal fans during Cluster’s 1996 Japanese tour.
Among the venues Cluster would player, were On Air West Tokyo and at Muse Hall and Club Quattro in Osaka. These concerts were recorded, and later, would become Japan 1996.
Cluster’s second live album apan 1996 was released in 1997. It featured ten tracks that showcased Cluster at their most inventive and innovative. So would their third live album.
First Encounter Tour 1996.
Two live albums became three when First Encounter Tour 1996 followed later in 1997. This time, the genre-hopping First Encounter Tour 1996 featured recordings from Cluster’s 1996 North American tour.
During that tour, Cluster moved seamlessly between musical genres during each performance. Each night, Cluster switched between ambient or avant-garde to electronic or experimental music and even Krautrock. They veered from ambient and melodic to atmospheric as Cluster improvised. The resultant music owed more to Cluster’s later music. It seemed that Cluster took Grosses Wasser as a starting point and the result was the thirteen tracks that became First Encounter Tour 1996.
They’re named after the city where they were recorded in. An example was the thirty-three minute epic New York City. It was part of Cluster’s first double album which just like Cluster’s 1996, flowed seamlessly and took the listener on a journey that ebbed and flowed. However, after two albums in less than a year, it would be the next millennia before Cluster returned.
Berlin 07.
It wasn’t until 2008, when Cluster returned with the fourth live album of their career, Berlin 07. By then, Cluster had been making music for forty-six years. They had enjoyed unrivalled longevity. Their career began in 1969 when Kiluster were formed. That same time, Kraftwerk were formed. However, by 2008, Kraftwerk were reduced to an occasional touring band, who neither recorded nor released albums. That was unlike Cluster.
They were still touring and were even contemplating recording a new album. This sudden burst of activity began after Cluster played at the Kosmische Club, in Camden, London, earlier in 2007. It was the first time Cluster played had live since 1997.
Since then, Dieter Moebius and Michael Rother had toured extensively as Harmonia, Meanwhile, Hans-Joachim Roedelius concentrated on his solo career. However, taking to the stage with his old friend Dieter Moebius as Cluster, had whetted the two friends’ appetite to play future concerts.
This included a concert in the city where the Cluster story began, Berlin. The concert was scheduled for November 2007. This would the first time Cluster had played in Berlin since 1969. Kluster and then Cluster had recorded a lot of music since then. However, as Cluster rolled back the years, they drew inspiration from their most recent solo work. Elements of avant-garde, electronic, experimental and techno were combined by Cluster, as continued to push musical boundaries. This had been the story of their career, and was the story of their Berlin comeback concert. It was released the following year as Berlin 07.
When Berlin 07 was released in 2008, it was on Conrad Schnitzler’s Important Records. This was fitting, as Conrad Schnitzler had been a member of Kluster, which was the first chapter in the Cluster story. It had come full circle. Buoyed by the success of their comeback, the two members of Cluster decided to record a new album. The cluster story continued.
Cluster-A Return To The Studio.
Qua.
In 2009, Cluster returned with their twelfth album, Qua. This was the first studio album Cluster had released since One Hour in 1995. During that period, music might have changed, but Cluster remained relevant. They continued to innovate and release timeless music.
Qua was released in 2009 , some forty years after Kluster were founded. It was released to widespread critical acclaim, and featured fifteen understated, spartan soundscapes. They were atmospheric, cinematic and elegiac, and also dreamy, ethereal and pastoral, as Cluster combined elements of ambient, avant-garde, Berlin School, electronica and experimental music. The genre-melting Qua was a welcome return from Cluster. Sadly, it also proved to be their swan-song.
Six years later and after a brave and lengthy battle against cancer, Dieter Moebius died on 20th July 2015. The man who had collaborated with Hans-Joachim Roedelius on some of his greatest and most ambitious musical triumphs had passed away. “After a lifelong friendship, losing Dieter has left a void. We were friends since 1969, and spent a lifetime making music. Many a month we spent on the road, talking, and enjoying friendship as the kilometres passed by. We travelled the world together, and enjoyed every minute. So losing Dieter has come as a shock, albeit it was expected. However, I have great memories of a great man, and a great friend, who I’ll never forget.” Nor will anyone who loves Krautrock . They too, mourned Dieter Moebius’ death, but forever his memory will live on through his music.
This includes the music Hans-Joachim Roedelius and Dieter Moebius recorded as Cluster. They were one of the most important, influential, and innovative bands of the Krautrock era. That’s why nowadays, Cluster sit at the top table of Kominische alongside Can, Neu! Harmonia and Kraftwerk. Just like each of these groups, Cluster were musical pioneers, who created music that was innovative and influential. However, like many musical pioneers, Cluster’s music was ahead of its time. As a result, Cluster never received the commercial success and critical acclaim in their own country. Instead, Cluster were more popular abroad. Nowadays, as a man once said, the time they are a changing.
Somewhat belatedly, Cluster are being recognised for being musical pioneers, who released ambitious, groundbreaking and timeless music. It has gone on to influence several generation of musicians. They cite Cluster as one of the bands who influence and inspired them. That will continue to the case as the music Cluster made was timeless.
There’s a reason for this. Cluster weren’t afraid to push musical boundaries to their limits, and sometimes, way beyond. Musically, Cluster were willing to go, where others musicians feared to tread, This paid off, and Cluster released twelve studio albums and four live albums between 1971 and 2009. These albums of groundbreaking and genre-melting music document the Cluster story,
THE CLUSTER STORY.
THREE MAN ARMY-A THIRD OFA LIFETIME.
THREE MAN ARMY-A THIRD OFA LIFETIME.
Adrian and Paul Gurvitz were both experienced musicians before they formed Three Man Army in 1971. Especially Adrian. He had been playing professionally since he was fifteen. The guitarist’s career began in 1964, when he headed out on tour with Billie Davis, Crispian St. Peters and Screaming Lord Sutch. After serving his musical apprenticeship, Adrian formed his first band Rupert’s People.They enjoyed a brief brush with commercial success in 1967, when their single Reflections Of Charlie Brown reached number thirteen in Australia. Alas, that was as good as it got for Rupert’s People. For Adrian, the next stop in his career was The Gun.
That was when Adrian Gurvitz joined his brother Paul’s group, The Gun. The group had been founded in 1966, and originally, was called The Knack. However, in 1967 The Knack changed its name to The Gun. This wasn’t the only change that was about to be made.
Soon, The Gun downsized to a trio, featuring drummer Louie Farrell, bassist Paul Gurvitz and Adrian Gurvitz on lead guitar and vocals. The change in name resulted in a change in fortune for The Gun.
They signed to CBS Records in early 1968, and soon, began work on their eponymous debut album. Once it was complete, The Gun was ready for release. It featured The Gun’s best known song, Race With The Devil.
In October 1968, Race With The Devil was released a single. It reached number ten in Britain, thirty-five reached in Australia and number one in several European countries. For the followup, CBS Records chose Drives You Mad, which wasn’t on The Gun. This non album track was released as a single in 1969, but it didn’t enjoy the same commercial success as Race With The Devil. Despite this, they sent The Gun back into the studio in 1969.
The Gun recorded ten songs which became their sophomore album, Gun Sight. It was released in 1969. So was the lead single from Gun Sight, Hobo. Alas, neither Gun Sight nor Hobo, enjoyed same commercial success as Race With The Devil. For The Gun, this was a huge disappointment. Their last two singles had failed commercially. Surely, two wouldn’t become three?
When it came to releasing a followup to Hobo, CBS Records decided to release a non album chart, and settled on Runnin’ Wild. It was released later in 1969, but failed commercially. Two had become three, and time was running out for The Gun.
They released their final single Long Hair Wild Man in 1970. It was a familiar story, with single failing to trouble the charts. Record buyers within the underground counter culture failed to connect with, or identify with The Gun. Their music passed record buyers by. However, Jimi Hendrix knew who The Gun were.
At the Isle of Wight Festival in June 1969, Jimi Hendrix played a riff from Race With The Devil. This was a huge compliment to The Gun. Alas, they were about to become part of musical history. The Gun disbanded, and the brothers Gurvitz spent a while working on separate projects.
After The Gun disbanded, Adrian Gurvitz began work on what was meant to be his debut solo album. Eventually, though, the album became Three Man Army’s 1971 debut album, A Third Af A Lifetime. Before that, Buddy Miles was asked Adrian Gurvitz to join The Buddy Miles Express, on their US tour.
Having agreed to join The Buddy Miles Express, Adrian Gurvitz spent the best part of two years touring. Night after night, they played to huge audiences. Some nights, 50,000 came along to see The Buddy Miles Express. For Adrian Gurvitz this was the perfect showcase for his considerable skills as a guitarist. However, after two years on the road, the tour was over. What now for Adrian Gurvitz?
Back home in Britain, Adrian Gurvitz was reunited with his brother Paul. They decided to form a new band, which they called Three Man Army, whose debut album was recently released by Esoteric Records. .
A Third Af A Lifetime.
Having formed Three Man Army, Adrian and Paul Gurvitz began work on their debut album, A Third Af A Lifetime. This was the album that Adrian had been working on, before he headed out on tour with The Buddy Miles Express.
For A Third Af A Lifetime, Adrian Gurvitz wrote eight of the ten songs as Adrian Curtis. (Curtis was Adrian’s middle name, and the name he used until later in his career). Adrian penned Another Day, A Third Af A Lifetime, Nice One, Three Man Army, Agent Man, See What I Took, Midnight and Together. He also cowrote Butter Queen with Keith Ellis and Daze with Lou Reizner. Even then, Adrian was the creative force behind Three Man Army. He wrote the album, and when the album was recorded, would dawn the role of lead vocalist and lead guitarist.
With ten new songs penned, Three Man Army headed into the studio with producer Lou Reizner. There was only one problem, the Three Man Army didn’t have a permanent drummer. Spooky Tooth’s Mike Kelly was drafted in and played on nine tracks. He joined bassist Paul Gurvitz in the rhythm section. Meanwhile, Adrian laid down the guitar parts and sang the lead vocals. However, Three Man Army found themselves without a drummer to record Butter Queen. Fortunately, Buddy Miles was in Britain, and Adrian asked him if he could lay down the drum parts on Butter Queen. Not only did Buddy Miles do that, he also added bass on Nice One and organ Midnight. These were the finishing touches to A Third Af A Lifetime. It was released later in 1971.
Before that, critics had their say on A Third Af A Lifetime. It was well received by critics, who regarded the album as a minor hard rocking classic, where classic rock and blues was fused with hard rock. Among the album’s highlights were Hold On, the blistering and anthemic Come On Down To Earth, Mahesha, Take A Look At The Light and Can’t Leave The Summer-Part I and II. Take Me Down From The Mountain and Woman were much more melodic, rock tracks. So much so, that they’ve stood the test of time. However, back in 1971 critics felt that Three Man Army were carrying on the tradition of sixties power trios, and doing so with style and aplomb. The big question was, would Three Man Army’s debut album find favour with record buyers?
When A Third Af A Lifetime was released by Pegasus later in 1971, Three Man Army’s debut album failed to find an audience. For the Gurvitz brothers, and especially Adrian who creatively, was the group’s driving force, this was a huge disappointment. They could only hope that Three Man Army’s luck would change next time around.
Three Man Army.
Three Man Army’s luck changed when met drummer Tony Newman. He was a veteran of numerous groups, including the Rod Stewart Group and Sounds Incorporated. While they were quite different stylistically to Three Man Army, Tony Newman was a talented and versatile drummer. From the first time the Gurvitz brothers heard him play, they realised that he was the missing link in Three Man Army.
Now that Three Man Army’s lineup was complete, work could begin on their sophomore album. The album would be Three Man Army’s debut for their new record companies. Three Man Army had recently signed recording contracts with Polydor in Britain and Reprise Records in America. With the commercial and marketing might of two of the biggest record companies in Britain and America, things were looking up for Three Man Army. All they had to do was write and record their sophomore album.
Just like A Third Af A Lifetime, Adrian Gurvitz wrote most of their sophomore album, including Come On Down To Earth, Take Me Down From The Mountain and Can’t Leave The Summer, Parts 1 & 2. He teamed up with Lee Baxter Hayes Jr to write Take A Look At The Light. However, the addition of new drummer Tony Newman resulted in the formation of a new songwriting partnership.
When Tony Newman joined Three Man Army, it soon became clear that he wasn’t just a talented and versatile drummer, but someone who would become Adrian Gurvitz’s new songwriter also partner.Together, they cowrote Hold On, Woman, Mahesha and Trip. The other track on Three Man Army was a cover of Jack Yellen and Lew Pollack’s My Yiddishe Mama. These songs were recorded at Morgan Studio, in London.
Recording of Three Man Army took place during April of 1972. The new lineup of Three Man Army band had spent time honing their sound, and were ready to record their sophomore album. Producer Lou Reizner returned, but this time round, co-produced the album with Three Man Army. Their lineup featured drummer Tony Newman, bassist Paul Gurvitz and lead vocalist and guitarist Adrian Gurvitz, who also played organ. They recorded nine songs during April of 1972, and they would eventually become Three Man Army.
There was time lag between Three Man Army completing their sophomore album, and its eventual released in 1973. In Britain, the album was released as Mahesha. Across the Atlantic, the album was released as Three Man Army. What critics on both sides of the Atlantic agreed on, was the quality of the music.
Critics were won over by a soulful album of melodic, memorable and hard rocking music. Comparisons were drawn to Deep Purple, Black Sabbath and Led Zeppelin. Some critics saw Three Man Army as the natural successor to Cream. Especially given the consistency and quality of music on Three Man Army. It was hailed as minor classic by certain critics. However, they had said the same about A Third Af A Lifetime, and it had failed commercially.
History repeated itself when Three Man Army was released in 1973. The album failed to chart in America, and didn’t find the audience it so richly deserved. Despite the disappointment this caused, Three Man Army regrouped and began work on their third album.
Three Man Army Two.
Despite the disappointment of Three Man Army’s commercial failure, the band were determined to move forward. So Adrian Gurvitz began writing Three Man Army’s third album. He wrote Today, Flying, Space Is The Place. This time around, Adrian and Tony Newman cowrote just the one track, Irving. The pair joined with Paul Gurvitz to write Burning Angel. Adrian also renewed his songwriting partnership with Lee Baxter Hayes, and the pair penned Polecat Woman, I Can’t Make The Blind See and In My Eyes. These songs were recorded at Ramport Studios, in Battersea, London and would become Three Man Army Two.
When recording of Three Man Army Two began, there had been a number of changes made. There was no sign of producer Lou Reizner. He had produced A Third Af A Lifetime and co-produced Three Man Army with the band. For Three Man Army Two. Three Man Army and Cyrano co-produced the album. It featured Three Man Army and a few friends.
Just like Three Man Army, the lineup remained the same. Drummer and percussionist Tony Newman was joined in the rhythm section by Paul Gurvitz who also added acoustic guitar. Meanwhile, Adrian Gurvitz played lead guitar, slide guitar, organ and added lead vocals. Peter Robinson played piano on Space Is The Place and I Can’t Make The Blind See. It also featured backing vocals from Doris Troy, Ruby James and Madeline Bell. With a little help from their friends, Three Man Army recorded what became Three Man Army Two.
Casting around for a title, Three Man Army decided to call the album Three Man Army Two. Their reasoning, was that this was the second album from this lineup of the band. The album was delivered to Warners, who would release the album on Polydor in Britain and Reprise Records in America. Before that, critics had their say on Three Man Army Two.
Just like their two previous albums, Three Man Army Two caught the imagination of critics. However, when Three Man Army Two was released in 1974, the album failed commercially. Just like their two previous albums, Three Man Army Two and its fusion of blues, psychedelia and rock passed record buyers by. Three Man Army were out of luck. Despite that, they planned to record a fourth album.
That didn’t come to pass. Instead, Tony Newman got the chance to join David Bowie’s band. This was too good an opportunity to turn down. Three Man Army were to square one, and without a drummer.
Before the search for a new drummer began, Adrian and Paul Gurvitze joined with Ginger Baker the Baker Gurvitz Army. They released a trio of studio albums between 1974 and 1976. The formation of Baker Gurvitz Army spelled the end of Three Man Army.
Unlike many seventies rock groups, Three Man Army never reunited. Even when interest in their music began to grow. Three Man Army now have a cult following, who have discovered and appreciate Three Man Army’s three albums. They regard each of these albums as cult classics. The first of these three albums is A Third Of Lifetime, which a reminder of another British rock music’s best kept secrets, Three Man Army.
THREE MAN ARMY-A THIRD OFA LIFETIME.
ROZETTA JOHNSON-A WOMAN’S WAY: THE COMPLETE ROZETTA JOHNSON 1963-1975.
ROZETTA JOHNSON-A WOMAN’S WAY: THE COMPLETE ROZETTA JOHNSON 1963-1975.
Throughout the history of modern music, some of the most talented artists haven’t enjoyed the commercial success and critical acclaim that their considerable talent deserves. That was the case with Nick Drake, Jackie Leven, Gram Parsons, Townes Van Zandt, Michael Chapman, Tim Buckley, Alice Clark, Linda Perhacs and Vashti Bunyan. None of these artists went on to enjoy fame or fortune. Far from it.
The music of Jackie Leven and Townes Van Zandt was enjoyed by a small, but discerning coterie of music lovers until their death. Meanwhile, Michael Chapman continues to tour, but still, his albums fail to find the audience that they so richly deserve. Sadly, this is all too familiar a story.
It was also the case with Alice Clark, Linda Perhacs and Vashti Bunyan’s debut albums. Sadly, each of these albums failed commercially. This resulted in these three talented singers turning their back on music. Music was loser.
Music was also the loser when Nick Drake, Tim Buckley and Gram Parson’s careers were cut tragically short. Each of these artists joined the dreaded twenty-seven club. Ironically, the music of Nick Drake, Tim Buckley and Gram Parson would belatedly find the audience it deserved. That was also the case with Jackie Leven, Townes Van Zandt, Alice Clark, Linda Perhacs and Vashti Bunyan. Belatedly, these artists are reaching a much wider audience and receiving the critical acclaim it so richly deserves. It’s a similar story with Southern Soul singer, Rozetta Johnson.
Recently, her career was documented on a new compilation, A Woman’s Way: The Complete Rozetta Johnson 1963-1975. It was released by Kent Soul, an imprint of Ace Records, and features twenty-two tracks. They’re a celebration of the life and music of Rozetta Johnson.
She was born in Tuscaloosa, Alabama on the 11th of June 1942. From an early age, Rozetta Johnson loved music. She also loved to sing. This she did at the local church, and at home. That was until she said her prayers.
Rozetta Johnson’s family were church going, and God-fearing people. The rule in the Johnson house was that once Rozetta had said her prayers, there was to be no singing. This rule young Rozetta obeyed…usually.
Then one night, when Rozetta Johnson was about six, she went to her room and said her prayers. Later, when she was listening to the radio, her favourite song, Goodnight Sweetheart, came on the radio. Rozetta began to sing along. Her great-grandfather told her to stop singing. Young Rozetta began to hum along to the song. This her great-grandfather took as an act of disobedience. He left the room, and returned with his switch. For this perceived act of disobedience he beat young Rozetta. That night, she cried herself to sleep. For a while, Rozetta was too scared to sing. Her career was nearly over before it began. Thankfully, that wasn’t the case.
Growing up, Rozetta Johnson sang in church, and later joined a gospel group. Each Sunday, they would sing in several churches. As the group’s popularity grew, they were singing in five different churches. Still, though Rozetta chose to stay in the background. The beating she had suffered weighed heavily on her mind. Then one Sunday, Rozetta had no option but to move to the front of the gospel group.
The two lead singers had an argument, and decided that they couldn’t or wouldn’t perform. Rozetta Johnson stepped into the breach. That day she regained her confidence, are musical career began to blossom. Especially when the gospel group broke up.
While this was a disappointment, it allowed Rozetta Johnson to think about the future. By then, she was seventeen and hadn’t earned a thin dime singing gospel all these years. Up until then, Rozetta was happy just to be singing. However, deep down, Rozetta knew she could make a living as a singer. So she decided to head to the local club she passed each day, the 401 in Birmingham, Alabama.
That was where Rozetta Johnson lived with her grandmother. She though Rozetta was in church, as she headed to the 401. With more than a degree of trepidation, Rozetta took her first tentative steps into the 401. This was unknown territory for her, and for the family, the 401 would be the equivalent of Sodom and Gomorrah. Never having set foot inside a nightclub, Rozetta was totally unprepared.
Especially when the owner asked her to audition. Rozetta Johnson sung the only secular song she knew, Somewhere Over The Rainbow. When she was asked what key she was about to sing in Rozetta had no idea. Despite being so unprepared, Rozetta received a standing ovation. The next day, Rozetta was hired and from the following Sunday, she would receive $8 each night.
For a high school senior, this was a small fortune. More importantly, Rozetta Johnson was taking her first tentative steps in a career as a professional singer. Over the next few years, Rozetta served her professional apprenticeship. She honed her style singing sets that featured songs Rozetta heard on the radio. They were reworked by Rozetta. However, after three years singing professionally, she got her big break.
This came when Rozetta Johnson was spotted by Bill Doggett. He was looking for a female vocalist for the Bill Doggett Revue to cover maternity leave. Rozetta fitted the bill. Her brief spell with the Bill Doggett Revue was the next part of her musical apprenticeship. This was good experience. Working with such seasoned performers helped Rozetta to improve her stagecraft, and prepared her for when she made her recording debut. It’s the first of the songs that feature on A Woman’s Way: The Complete Rozetta Johnson 1963-1975.
By 1963, Rozetta Johnston was signed to Bill Lowery’s NRC label and about to make her recording debut. It wasn’t a solo single though. Instead, Rozetta as accompanied by The Organettes. They were backing vocalists that Rozetta met at the recording session.
They only recorded the one single, I Understand My Man, with Willow Weep For Me on the B-Side. When it was released in 1963, Rozetta Johnson was billed as Rosetta Johnson and The Organettes. The single failed to make any headway, and Rosetta Johnson and The Organettes’ recording career was over before it had even began. For Rozetta Johnston the whole experience had been disappointing.
Another two years before Rozetta Johnston returned with a new single. By then, she was signed to Jessica Records. It was a short-lived label, that released just a few singles. This included Rozetta’s
That Hurts, a soul-baring ballad. On the B-Side, was It’s Nice To Know You. When That Hurts was released later in 1965, it failed to make any impression. History was repeating itself all over again.
Or so it seemed. That was until Atlantic Records decided to take a chance on That Hurts. They licensed the song from Jessica Records, and it was released in July 1966. Despite Atlantic Records’ financial power and marketing expertise, That Hurts failed to trouble the charts. It seemed that Rozetta Johnston’s recording career had stalled.
For the next four years, Rozetta Johnston found herself singing mostly, in local clubs. Very occasionally, Rozetta headed out of Alabama, and sung in another state. Most of the time, she found herself singing in the same local clubs. It must have been a frustrating time. Especially with her recording career having stalled. However, as the sixties gave way to the seventies, Rozetta ’s luck changed.
In 1970, Rozetta Johnston’s recording career resumed when she signed to Clintone Records. They had recently signed a distribution deal with Atlantic Records. This meant there was more chance that Rozetta’s singles would find an audience nationwide. Especially if they were written by Sam Dees.
Rozetta Johnston met Sam Dees through her manager Jesse Davis. Sam was writing and producing for Clintone Records. That’s despite Sam Dees being a talented singer in his own right. Sadly, Sam Dees struggled to make a breakthrough. That would be the case throughout his career. However, Sam Dees was a talented and prolific songwriter, and would pen Rozetta Johnston’s Clintone Records’ debut.
Sam Dees penned A Woman’s Way under his Lillian Dees alias. He also wrote the B-Side Mine Was Real. Both sides were arranged by Dale Warren and produced by Sam Dees and Clinton Moon. They pull out all the stops, using strings, horns and harmonies to accompany Rozetta, as her vocal veers between tender to powerful and later, becomes a soliloquy. This would prove to be a masterstroke.
When A Woman’s Way was then released in October 1970, it reached ninety-four in the US Billboard 100 and thirty-nine in the US R&B charts. This was regarded as a success as Clintone Records was a relatively new label, and A Woman’s Way was Rozetta Johnston’s first single in four years. Belatedly, she was enjoying a tantalising taste of the heady brew that’s success.
After the success of A Woman’s Way, Clintone Records were keen to build on the momentum that had been created. So Rozetta Johnson was sent back into the single to record two more songs that had been penned by Sam Dees, Who Are You Gonna Love (Your Woman Or Your Wife) and Can Feel My Love Comin’ Down. The version of Can Feel My Love Comin’ Down on A Woman’s Way: The Complete Rozetta Johnson 1963-1975 is an alternate take that was recorded at the same session. These songs were arranged by Dale Warren and produced by Sam Dees. Once they were recorded, the single was scheduled for release in early 1971.
In February 1971, the string drenched ballad Who Are You Gonna Love (Your Woman Or Your Wife) was released as a single. Despite the quality of this future soul classic, it stalled at just forty-five on the US R&B charts. Although this was disappointing, Rozetta Johnson had just enjoyed another hit single. She was two for two.
The problem was, the two hit singles were only minor hits. Given their quality, they deserved to find a wider audience. It was a case of back to the drawing board.
Just like Rozetta Johnson’s two previous singles, Sam Dees wrote her thing single Holding The Losing Hand. This was another ballad, and one that seemed tailor made for Rozetta. She combined power and emotion, while gospel tinged backing vocals and string accompanied her. On the B-Side was an uptempo stomper Chained and Bound, where Rozetta delivers a vocal powerhouse. With Sam Dees taking care of production, surely Holding The Losing Hand would mark a change in fortune for Rozetta?
On Holding The Losing Hand’s release in September 1971, it failed to even trouble the lower reaches of the charts. This was the first single Rozetta Johnston released for Clintone that hadn’t charted. This was a huge disappointment.
After the failure of Holding The Losing Hand, five months passed before Rozetta Johnston returned with her fourth single. This time, there was no sign of Sam Dees. He was working on a new album for Atlantic Records, The Show Must Go On. With Clintone Records’ main source of songs unavailable, Rozetta covered Barry and Robin Gibb’s To Love Somebody for her next single. For the B-Side, Belford Hendricks and Clyde Otis’ Can’t You Just See Me was chosen. They were produced by the Moon, Gardner and Lewis production team and were due to be released in early 1972.
Despite reinventing To Love Somebody as a soul-baring Southern Soul ballad, the single failed to chart upon its release in February 1972. This was another blow for Rozetta Johnston. Her last two singles hadn’t come close to troubling the charts. It was a worrying time for Rozetta Johnston.
Later in 1972, Rozetta Johnston returned to the studio to record the Sam Dees and David Camon penned ballad How Can You Love Something You Never Had. With song recorded Personal Woman was chosen as the B-Side. This uptempo dancer seemed a good choice at the time.
Later, Rozetta later cast doubt upon whether the recording is actually her? It’s hard to tell. She was a versatile vocalist who seamlessly could switch between styles. Indeed, Rozetta could mimic a wide variety of singers, so there is every chance she features on Personal Dancer. It features on A Woman’s Way: The Complete Rozetta Johnson 1963-1975, allowing the listener to decide. However, later in 1972, when How Can You Love Something You Never Had was released the single failed commercially. Time was running out for Rozetta at Clintone Records.
Little did Rozetta Johnson realise, that she would only record one more single for Clintone Records. This was It’s Been So Nice, a slice of the deepest soul. On the B-Side was the hook-laden dancer (I Like Making That) Early Morning Love. Both sides were penned and produced by Sam Dees, who had played such an important part in Rozetta’s career. However, the single wasn’t released until 1975.
Initially, It’s Been So Nice was released on Clintone Records in 1975. Rozetta watched as the single failed to chart. She felt that Clintone Records hadn’t promoted the single sufficiently. It was a similar case when It’s Been So Nice was picked up by Columbia later in 1975. Again, it failed to even trouble the charts. By then, Rozetta was totally disillusioned with the music industry.
That was why Rozetta Johnston made the decision to turn her back on music. That was no surprise. Rozetta has released a string of singles that oozed quality. Especially the ballads. They featured Rozetta Johnston at her very best as she breathed life, meaning and emotion into the songs. However, when they were released as singles, they failed to find an audience. Maybe it would’ve been different if they had been released on a major label? Then Rozetta Johnston’s music might have found the audience it deserved. However, in 1975, that wasn’t the case.
Rozetta Johnston was struggling to make a living out of music. She was no longer getting the bookings she once had. To make matters worse, only two of her singles had charted. Even then, they were only minor hits. So Rozetta Johnston made the decision to embark upon a new career.
This meant going back to school, and then heading to college part-time. Rozetta Johnston worked her way through college, and eventually, graduated with a BA in sociology from the University of Alabama. After graduating, Rozetta Johnston began work as a teacher at Ramsay High School.
Little did the pupils know that their teacher had once been one of the best up-and-coming Southern Soul singers. Rozetta Johnston could’ve and should’ve become one of the most successful Southern Soul singers. Sadly, that never happened.
It was only later that the music Rozetta Johnston released between 1963 and 1975 has began to find a wider audience. It’s featured on a new compilation, A Woman’s Way: The Complete Rozetta Johnson 1963-1975. It was released by Kent Soul, an imprint of Ace Records, and features twenty-two tracks. This includes previously released alternate takes of I’ve Come Too Far With You (To Turn Back Now) Mama Was A Bad Seed, You Better Keep What You Got and I Can Feel My Love Comin’ Down. There’s also a version of For That Man Of Mine, which was first released on CD in 2007. By then, Rozetta Johnson had made a comeback.
She had reinvented herself as a jazz singer, before returning to her first musical love, gospel. Sadly, three years after releasing a gospel album in 2008, Rozetta Johnson passed away on the 24th March 2011. Her music is remembered on A Woman’s Way: The Complete Rozetta Johnson 1963-1975, which is a celebration of the life and music of one of the finest Southern Soul singers of her generation, Rozetta Johnson.
ROZETTA JOHNSON-A WOMAN’S WAY: THE COMPLETE ROZETTA JOHNSON 1963-1975.
I’M NOT TALKIN’-THE SONG STYLINGS OF MOSE ALLISON 1957-1971.
I’M NOT TALKIN’-THE SONG STYLINGS OF MOSE ALLISON 1957-1971.
During a career that spanned sixty years, Mose Allison influenced several generations of musicians. They were won over by Mose Allison’s unique mix of blues and modern jazz. It found favour with everyone from Van Morrison, Tom Waits, Jimi Hendrix, The Yardbirds, The Who, The Pixies, the Rolling Stones and the late Leon Russell. Each and every of these musicians and bands were influenced by a Mose Allison. He was described as: “one of the finest songwriters in twentieth century blues,” and wrote song that were “quirky,” and showcased Mose Allison’s “subtle ironic humour.” It will be much missed by his fellow musicians, friends and fans.
Sadly, just four days after celebrating his eighty-ninth birthday, Mose Allison passed away on the 15th September 2016 at his home in California. Music had lost another of its most talented sons. He left behind a rich musical legacy.
This includes the music features in a recently released compilation of vocal jazz, I’m Not Talkin’-The Song Stylings Of Mose Allison 1957-1971. It was released by BGP, a subsidiary of Ace Records and features recordings from Mose Allison’s time at Prestige Records, Atlantic Records and Columbia. This was where Mose Allison released some of his finest music. Twenty-four tracks from this period are documented on I’m Not Talkin’-The Song Stylings Of Mose Allison 1957-1971, which is now a celebration of the life of Mose Allison.
It was on 11th November 1927 that Mose Allison was born on his grandfather’s farm on the Mississippi Delta. By the time Mose Allison was five, curiosity got the better of him. He climbed onto the piano stool, and began to play the piano. Mose Allison it turned out, was a natural, who could play by ear. Soon, he was able to pick out old blues songs and boogie woogie. This was just the start of a lifelong love affair with music.
In high school, Mose Allison love affair with music continued.He joined the school marching band and later, several dance bands. Meanwhile, Mose like many students was drawn to the music of Duke Ellington, Fats Waller, Louis Armstrong and Louis Jordan. However, his hero and inspiration was Nat King Cole, who lead the King Cole Trio. Later, Mose like his hero Nat King Cole began to write songs. Already the seeds of his future career had been sown.
Unlike many musicians, Mose Allison didn’t embark upon a career as a professional musician when he graduated high school. Instead, he headed to the University of Mississippi. However, Mose’s studies were interrupted, when he received his call up papers in 1946.
Having joined the US Army, Mose Allison, like many musicians, found himself playing in the US Army Band. It was based in Colorado Springs, and this tight, talented band played everywhere from country clubs to NCO and Officer’s clubs. This was good practise for when Mose left the US Army.
After leaving the US Army, Mose Allison returned to Ole Miss. He joined a local dance band as its arranger, piano and trumpeter. This turned out to be a stepping stone.
The next step for Mose Allison was forming his own band. This was the Mose Allison Trio. Mose became the Trio’s pianist, singer and songwriter. However, as a singer, stylistically, Mose drew inspiration from his hero Nat King Cole, plus Errol Gardner and Louis Jordan. With his new Trio, Mose spent the next year touring and honing their sound. Just when it looked like the Trio were making progress, Mose’s circumstances changed.
Following a year spent touring with the Trio, Mose Allison married his then girlfriend. Now a married man, Mose was looking to the future. He decided to complete his studies, and headed to Louisiana State University. By 1952, Mose had completed his studies and graduated with a BA in English and Philosophy. Despite his degree, Mose returned to music.
Mose Allison was back to playing nightclubs in the across the Southeast and up and down West Coast. Night after night, week after week and month after month, Mose honed what was a unique fusion of disparate styles and influences. The first component was the raw and gritty delta blues Mose heard growing up. To this, Mose added the stylistic influences of a trio of jazz pianist. Al Haig, John Lewis and Thelonius Monk all had their own individual style, which influenced Mose. So had the vocal stylings of blues man Charles Brown and R&B singer Percy Mayfield. What Mose was honing, was a fusion of these styles and influences.
For four years, Mose Allison honed his style, playing a nightclubs and venues across the Southeast and West Coast. It was akin to serving a musical apprenticeship for Mose. Having “graduated” in 1956, Mose headed for jazz central, New York.
Not long after making the move to New York, Mose Allison first encountered Al Cohn. He took Mose under his wing, helping to get work. At first this was a playing live with The Al Cohn Quintet and the Stan Getz Quartet. This lead to Mose making his recording debut.
Mose Allison was part of The Al Cohn Quintet when they recorded their 1956 eponymous album. Then Mose was part of the Stan Getz Quartet when they recorded Live in 1956/57 and Stan Getz Quartet-The Soft Swing, which was released later in 1957. That same year, Mose made his recording debut as a solo artist.
Prestige Records saw the potential in Mose Allison, and quickly signed him to what was already, a prestigious label. Twenty-four tracks, including from the Prestige years feature on I’m Not Talkin’-The Song Stylings Of Mose Allison 1957-1971.
Back Country Suite was Mose Allison’s debut album, and was, which was released later in 1957. Each of the fourteen tracks had been inspired by the Mississippi Delta, where Mose grew up. This included the ten part suite Back Country Suite. One of these tracks was Blues, one of two vocal tracks. It was later covered The Who as Young Man Blues, on their Live At Leeds album. Just like Mose’s debut album it would also be hailed a classic.
When Back Country Suite was released, it was to critical acclaim, with critics hailing the album a poignant and evocative album from Mose Allison. His career had got off to the best possible start.
Later in 1957, Mose Allison returned with his sophomore album Local Colour. It featured the Mose Allison Trio, as they recorded Percy Mayfield’s Trouble In Mind and the Mose Allison composition Parchman Farm for the first time. Later, it would be covered by John Mayall and the Bluesbreaker, on their fourth album Blues Breakers with Eric Clapton. When it was released in 1966, it would be hailed a British blues classic. One of the artists who had inspired both John Mayall and Eric Clapton was none other than Mose Allison. He was about to embark upon the busiest year of his nascent recording career during, 1958.
During 1958, Mose Allison released a trio of albums, including Young Man Mose and the critically acclaimed Ramblin’ With Mose. However, Creek Bank was Mose Allison’s fourth album. It found Mose covering Willie Dixon’s oft-covered The Seventh Son. He brought something new to this familiar track. Another track from Creek Bank was another Mose Allison composition, If You Live. These two songs were among the highlights of Creek Bank, which found Mose at his most laconic as he delivered lyrics tinged with irony. Critics were won over by Creek Bank, and Mose’s career continued apace.
In 1959, Mose Allison released another two albums Autumn Song featured a cover of Sonny Boy Williamson II’s Eyesight To The Blind. Again, Mose gave the song a makeover, turning it into a slinky slice of vocal jazz. Alas, Autumn Song was Mose’s swan-song for Prestige. Next stop was Columbia.
For his Columbia debut, Mose Allison released Transfiguration Of Hiram Brown later in 1959. This “serio-comic fantasy” was the last album Mose released during the fifties.
As the fifties gave way to the sixties, The Mose Allison Trio released their debut album, I Love The Life I Live. It was produced by Ted Macero, and featured a mixture songs penned Mose and cover versions. One of the cover versions was the Willie Dixon penned title-track , I Love The Life I Live. It’s without doubt, one of the highlights of what’s a strong and cohesive album. Despite this, when Columbia decided to release a single, they chose a track that wasn’t on the album, Baby, Please Don’t Go. This familiar blues is reinvented by the Trio, taking on new life and meaning as Mose combines jazz, soul, and a hint of blues. Sadly, when the single was released in 1960, it failed to make an impression on the charts. So Mose returned to his solo career.
For his next solo album, Takes To The Hills in 1961, Mose Allison moved from the main Columbia label to their Epic imprint. Twelve songs, including ten cover versions and two new songs featured on the album. This included the Mose Allison composition Back On The Corner and Willie Love’s V-8 Ford Blues. It went on to become a favourite among Mose’s fans. So much so, that when Takes To The Hills was later reissued, the album was renamed V-8 Ford Blues. That was still to come.
Before that, 1962 proved to be an important year for Mose Allison. He signed to Atlantic Records and began work with producer Nesuhi Ertegun. Over the next few years, Mose would release some of the best music of his career.
In 1962, Mose released the album Swingin’ Machine, which featured If You’re Goin’ To The City. This was one of six Mose Allison composition, and one of the best. Later that year, Mose released one of his most important albums.
When I Don’t Worry About A Thing was released later in 1962, it marked Mose Allison’s transition from a pianist who occasionally sung, to a vocalist who just happened to play the piano. Mose showcases his considerable skills on Your Mind Is On Vacation and If You’re Goin’ To The City. They’re two of six tracks penned by Mose on I Don’t Worry About A Thing, which was a transitionary and landmark album.
Two years later, in 1964, Mose Allison released one of the most important albums of his career, The Word From Mose. Just like previous albums, it was a mixture of cover versions and new songs, including I’m Not Talking and Foolkiller. The Word From Mose was hailed by critics as one of his best, and most important albums. It feature Mose at his most laconic as he combined irony with wit, on an album that’s now regarded as a jazz classic.
By 1966, Mose Allison was now regarded first and foremost as a vocalist. Some critics seemed to overlook that Mose was a talented pianist and songwriter. Mose seemed to mature as a songwriter each year. He had had plenty of practise. His 1966 album Wild Man On The Loose was the sixteenth of his career.
For Wild Man On The Loose, Mose wrote eight of the nine tracks. Among them, were the title-track, Wild Man On The Loose and You Can Count On Me To Do My Part. Both songs showcase Mose’s skills as a singer, songwriter and pianist and are among without doubt the highlights of the album.
Another two years before Mose Allison released his next studio album. No longer were jazz albums selling in vast amounts. That hadn’t been the case for the last few years. Playing live was where artists were making money. So between 1966 when Mose released Mose Alive! and 1968, Mose concentrated on playing live. He returned with a new album in 1968.
I’ve Been Doin’ Some Thinkin’ was released in 1968. This was the first Atlantic Records’ album that Mose had produced himself. He also wrote eleven of the twelve songs, including Everybody Cryin’ Mercy, Jus Like Livin’ and Your Molecular Structure. When I’ve Been Doin’ Some Thinkin’ was released, critics remarked on the quality of the songs. Mose had come of age as a songwriter, on what was one of his strongest and most cohesive albums of recent years. That this just happened to be first album Mose produced, wasn’t a coincidence. He seemed be blossoming creatively. It was just a shame that his music wasn’t finding wider audience.
By 1970, Mose Allison had influenced a generation of musicians. Everyone from Van Morrison, Jimi Hendrix, The Yardbirds, The Who and the Rolling Stones were citing Mose Allison as an influence. Despite this, album sales were disappointing. This included 1970s Hello There, Universe.
For the Hello There, Universe sessions, Joel Horn came onboard to produce the album. The other change was Mose Allison was accompanied by a much bigger band. A horn section augmented the rhythm section as the ten tracks were recorded. Nine of the tracks were penned by Mose, including I’m Smashed and Hello There, Universe. They’re two of Mose’s finest hours on an ambitious and cerebral album. It received mixed reviews, and failed to find the audience it deserved. This was becoming a problem for many jazz musicians.
That was why so many jazz musicians changed direction, and jumped on the fusion bandwagon. Mose Allison who was a vocalist first, and pianist second, decided to plug in, and record an electric album, Western Man. This was a brave move, and one that could’ve backfired.
Western Man was produced by Joel Dorn, featured a slimmed down band. Just a trio of drummer Billy Cobham, Chuck Rainey on electric bass and Mose on piano, electric piano and vocals recorded eleven songs. This included nine songs penned by Mose. Among the highlights were If You Only Knew and the title-track Western Man. Once the album was complete, Western Man which was released in 1971. It showcased a new side of Mose Allison, as he reinvented himself to ensure that he stayed relevant. This worked and Mose Allison’s career continued for another forty-five years.
Although Mose Allison had retired from touring, he hadn’t retired from music. He was still active musically, right up until his death on the 15th September 2016. The eighty-nine year old poised away at his home in California. Music had lost another of its most talented sons.
Sadly, this week alone, three hugely talented musicians have passed away. Eighty-two year old Leonard Cohen passed away on the 10th November, with Leon Russell passing away three days later on the 13th November. Now Mose Allison is the latest in a long line of talented musicians who music has lost during 2016.
Although Mose Allison had retired from touring, he hadn’t retired from music. He was still active musically, right up until his death on the 15th September 2016. The eighty-nine year old poised away at his home in California. Music had lost another of its most talented sons.
Sadly, this week alone, three hugely talented musicians have passed away. Eighty-two year old Leonard Cohen passed away on the 10th November, with Leon Russell passing away three days later on the 13th November. Now Mose Allison is the latest in a long line of talented musicians who music has lost during 2016.
Mose Allison enjoyed a long and fruitful career, releasing around fifty studio and live albums between 1957 and 2010. To document and celebrate such a lengthy career would take a box set to do it justice. However, BGP, an imprint of Ace Records recently released a compilation of covering the early years of Mose Allison’s career, I’m Not Talkin’-The Song Stylings Of Mose Allison 1957-1971. This lovingly curated compilation is the perfect introduction into a period where Mose Allison released some of the best music of his long and illustrious career.
I’m Not Talkin’-The Song Stylings Of Mose Allison 1957-1971 features material that Mose Allison released for Prestige, Atlantic Records and Columbia. This was where Mose Allison released some of his finest music of his career. During that period, Mose Allison made the transition from piano player who occasionally sings, to a vocalist who just happened to play the piano. This transition occurred in 1966, when Wild Man On The Loose was released. For Mose Allison, the transition that began a few years earlier was complete, and he became know first and foremost as a singer. His unique mix of blues and modern jazz found favour far and wide.
Mose Allison’s music found favour with everyone from Van Morrison, Tom Waits, Jimi Hendrix, The Yardbirds, The Who, The Pixies, the Rolling Stones and the late Leon Russell. Each and every of these musicians and bands were influenced by a Mose Allison. Even today, a new generation of musicians are citing Mose Allison as an influence. That’s not surprising.
During his lifetime, Mose Allison was described as: “one of the finest songwriters in twentieth century blues.” He wrote songs that were “quirky,” and showcased Mose Allison’s “subtle ironic humour.” This will be much missed by his fellow musicians, friends and fans. However, Mose Allison leaves behind a rich musical legacy.
Part of Mose Allison’s rich musical legacy includes the twenty-four tracks on I’m Not Talkin’-The Song Stylings Of Mose Allison 1957-1971. It features Mose Allison during what was one of the most fruitful, and creative periods of his long and successful career. This is documented on I’m Not Talkin’-The Song Stylings Of Mose Allison 1957-1971, which is a fitting celebration of the life and music of late, great Mose Allison who will much missed.
I’M NOT TALKIN’-THE SONG STYLINGS OF MOSE ALLISON 1957-1971.
JIM REEVES-YOURS SINCERELY, JIM REEVES, BLUE SIDE OF LONESOME, A TOUCH OF SADNESS AND ON STAGE.
JIM REEVES-YOURS SINCERELY, JIM REEVES, BLUE SIDE OF LONESOME, A TOUCH OF SADNESS AND ON STAGE.
Gentleman Jim Reeves was, without doubt, a true legend of country music. He first came to prominence in 1953, when Mexican Joe reached number one on the US Country charts. This was the first of six number one singles Jim Reeves enjoyed. His last number one single came in 1960, when Jim Reeves released He’ll Have To Go. It went on to become a Nashville Sound classic.
Jim Reeves had been at the forefront of the Nashville Sound movement, and helped popularise this new sound. This was where elements of old style country music were combined with popular music. From the the late fifties until the early sixties, the Nashville Sound was King, and Jim Reeves was one of the most popular practitioners of this new genre. That was until Jim Reeves career was cut tragically short.
This tragedy occurred on Friday, July 31st 1964. Jim Reeves and Dean Manuel, his business partner and manager were due to fly from Batesville, Arkansas to Nashville. They took to the air in a Beechcraft Debonair single-seated aircraft, which Jim Reeves regularly flew. The flight was going to plan until the Jim Reeves encountered a violent thunderstorm over Brentwood, Tennessee. The last that was heard from Jim Reeves was at 4.51pm on Friday, July 31st 1964.What happened next is still disputed.
Some place the blame on spatial disorientation; while others believe that the plane stalled. Others believe that the rain was the cause of the crash that happened at 4.52pm on Friday, July 31st 1964. The plane had crashed nose first into the ground.
Forty-two hours later, the search party which included country singers Marty Robbins and Ernest Tubb discovered the crash site. When investigators looked in the wreckage, they discovered the bodies of Dean Manuel and Jim Reeves. Gentleman Jim Reeves was declared dead, aged just forty. One of the legends of country music’s career had been cut tragically short.
This wasn’t the end of the Jim Reeves’ story. During a recording career that began in 1953, Gentleman Jim had been a prolific recording artist, recording much more material than he had released. These songs would be released posthumously over a twenty-four years period, right up until 1988.
By then, forty-four studio albums and one live album bearing Jim Reeves had been released. Four of the earliest albums were Yours Sincerely, Jim Reeves, Blue Side Of Lonesome, A Touch Of Sadness and On Stage. They’ve been digitally remastered and reissued by BGO Records. These four albums are posthumous releases that cover the period between 1967 and 1969.
Yours Sincerely, Jim Reeves.
Country music was still reeling from the death of Jim Reeves when Yours Sincerely, Jim Reeves was released in 1967. He had done so much to broaden the appeal of country music, and introduced the genre to a new and wider audience. Jim Reeves had been at the forefront of the Nashville Sound from the late fifties onwards. The introduction of the Nashville Sound had ensured that country music stayed relevant. However, by the early sixties, change was afoot in country music, the Bakersfield Sound rivalling and replacing the Nashville Sound. It would’ve been interesting to see what direction Jim Reeves’ music would’ve headed in? When Yours Sincerely, Jim Reeves was released in 1967, it was an album that looked to Gentleman Jim’s past.
Unlike most Jim Reeves albums that were released posthumously, there was no new material on Yours Sincerely, Jim Reeves. Instead, much of side one features snippets of songs, which interspersed with parts of an interview Jim Reeves recorded with a DJ during a trip to Europe in 1964. They give a remarkable insight into Jim Reeves. Very different is Newscast Of 1948. It features snippets of a recording of Jim Reeves during his days as a television announcer. There’s also two almost completed songs recorded during the early years of Gentleman Jim’s career.Then on side two, some songs feature in their entirety. This includes some of Jim Reeves best known songs. That’s no surprise, as Yours Sincerely, Jim Reeves was aimed at his large and loyal fan-base.
When Yours Sincerely, Jim Reeves was released by RCA Victor in 1967, the album reached number three on the US Country charts. Elsewhere, Yours Sincerely, Jim Reeves reached number fifteen in Norway. This was regarded as a commercial success, as Yours Sincerely, Jim Reeves wasn’t a traditional album. With its mixture of interviews and music, Yours Sincerely, Jim Reeves was aimed at fans of Gentleman Jim, rather than casual record buyers. His next album would Blue Side Of Lonesome surely would appeal to a much wider audience.
Blue Side Of Lonesome.
The songs what would eventually become Blue Side Of Lonesome, had been recorded at Nashville Sound Studios with producer Chet Atkins.Accompanying Jim Reeves, were his regular backing band The Blue Boys. Ten songs were chosen from that session were chosen by Jim Reeves’ widow Mary Reeves, and became Blue Side Of Lonesome.
This included two songs penned by Jim Reeves, Crying Is My Favourite Mood and Deep Dark Water. They were joined by Leon Payne’s Blue Side Of Lonesome, Roger Miller’s atch Myself Crying, Jack Clement’s I Know The One, James Joiner’s Seabreeze and Gene Davis’ Won’t Come In While He’s There. Other songs included Henry Martin and Sonny Burnett’s Trying To Forget, Kenny Jacobson and Rhoda Roberts’ Blue Without My Baby and Bobby Ware and Charlie Williams’ Teardrops On The Rocks. These songs would become Blue Side Of Lonesome.
On Blue Side Of Lonesome, Gentleman Jim works his way through ten songs about betrayal, heartbreak, hurt and loneliness. Jim Reeves lives the lyrics, as if he’s experienced the pain in an album that mostly features ballads full heartache. It’s a poignant and moving album, where the late Jim Reeves stayed true to the Nashville Sound. In doing so, this resulted in one of his most successful albums of recent years.
Blue Side Of Lonesome was released as the lead single from the album, and reached number one on the US Country charts, fifty-nine on the US Billboard 100 and reached sixty-eight in the Canadian charts. Buoyed by the success of the lead single, the album was released later in 1967.
When Blue Side Of Lonesome,was released in 1967, it reached number three on the US Country charts and 185 on the US Billboard 200. That wasn’t the end of the success.
I Won’t Come In While He’s There was the second single released from Blue Side Of Lonesome. It reached number one on the US Country charts. Elsewhere, the single reached number twelve in Britain, seven in Norway and eleven in Eire. The only disappointment was when the third single Trying To Forget, failed to chart in America. However, it reached number thirty-three in Britain. Overall though, Blue Side Of Lonesome had been a massive success. Two number one singles in the US Country charts, and a number three in the US Country album charts was proof of this. The sad thing was that Gentleman Jim wasn’t around to enjoy this success.
A Touch Of Sadness.
So it was fitting that in 1968, the latest posthumous album of Jim Reeves songs was entitled A Touch Of Sadness. It featured another eleven songs from RCA Victor’s vaults. Again, these songs were chosen by Mary Reeves, the widow of Jim Reeves. She had curated Blue Side Of Lonesome, which was one of the most successful Jim Reeves of recent years. She began choosing the songs for A Touch Of Sadness.
Among the eleven songs, were the Jim Reeves’ penned You Kept Me Awake Last Night and I’m Glad You’re Better. Jim Reeves also cowrote three other songs, including Your Wedding with Re Winkler and Honey and Won’t You Please Come Home? with Luke McDaniel. The third song Jim Reeves cowrote, was When Your Are Gone with Dean Manuel. He was Jim Reeves’ business partner, manager and was also a member of Gentleman Jim’s backing band, The Blue Boys. Dean Manuel had also perished in the plane crash in 1964. Four years later, When Your Are Gone was about to feature on a Jim Reeves album.
So would covers of Carl Belew’s Where Do I Go to Throw a Picture Away; Gilbert Gibson’s I’m Crying Again; Eddie Pleasant’s Lonesome Waltz and Johnny Russell’s In a Mansion Stands My Love. They were joined by Joe Burke, Benny Davis and Mark Fisher’s Oh, How I Miss You Tonight plus Dale Noe and Red Sovine’s Missing You. These tracks would become A Touch Of Sadness.
Just like on the Blue Side Of Lonesome, Jim Reeves works his way through eleven songs about betrayal, heartbreak, hurt, loneliness and love lost on A Touch Of Sadness. Again, Jim Reeves lives the lyrics, as if he’s experienced the pain and hurt. The majority of the songs are ballads, where Gentleman Jim lays bare his hurt and heartache. That’s apart from Lonesome Waltz and In a Mansion Stands My Love. Still, though, A Touch Of Sadness is a poignant and moving album, where balladry is to the fore as Jim Reeves says true to his beloved Nashville Sound. This resulted in another successful album.
When A Touch Of Sadness was released later in 1968, it reached number three on the US Country charts. The lead single was When Your Are Gone. Not only did it reach number seven on the US Country charts, but number one on on the Canadian Country charts. There was no sign of Jim Reeves’ popularity waning even four years after his untimely death. So in 1969, RCA Victor decided to release a live album, On Stage.
Jim Reeves On Stage.
Never before had a live album been released bearing Jim Reeves’ name. A number of live recordings existed. However, when it came to choose just the one concert, RCA Victor eschewed the obvious. Rather than choosing a recording of Jim Reeves playing at one of the larger, sold out shows, a recording of a concert ar much more intimate venue was chosen for Jim Reeves On Stage.
The concert had taken place in a small park, on a mountain in Pennsylvania. Before and during the concert, the rain poured down. This didn’t bother Jim Reeves and The Blue Boys. Even when they had to leave the tour bus, and walk up the mountainside carrying their instruments. This was the case throughout the day, as Jim Reeves who was one of the biggest names in country music prepared for his show. That night, Jim Reeves and The Blue Boys worked their way through twenty songs, including three medleys.
That night, Jim Reeves and The Blue Boys pulled out all the stops, as they worked their way through familiar songs that included standards and country classics. Having opened the show with the a medley of Mexican Joe and Yonder Comes A Sucker, Jim Reeves and The Blue Boy head towards the second medley. It consisted of Four Walls, I Missed Me, Tennessee Waltz, I Really Don’t Want To Know and He’ll Have To Go, which was one of Gentleman Jim’s classic songs. This whets the audience’s appetite for the third medley.
It opens with Walking The Floor Over You, and Jim Reeves the consummate professional works his way through There Stands The Glass, One By One, Guess Things Happen That Way and I Want To Be With You Always. Despite the inclement weather, Jim Reeves and The Blue Boys give nothing less than 100%. That’s the case from Wildwood Flower, to The Blizzard, Your Old Love Letters, Am I Losing You, Bimbo, Stand At Your Window and a cover of the oft-covered standard Danny Boy. With that, the man that Jim Reeves and The Blue Boys’ left the stage. Little did they know by the time that the recording had been released as On Stage in 1969, five years would’ve passed since Jim Reeves’ death.
Jim Reeves On Stage was released in 1969, and reached a very credible five in the US Country charts. Often, live albums don’t enjoy the same commercial success as studio albums. Especially in country music. However, Jim Reeves On Stage bucked the trend, maybe because Gentleman Jim’s many fans wanted a reminder of what he was like live? The album certainly was a reminder of a truly talented singer-songwriter, whose career was cut tragically short.
Despite that, forty-four studio albums and one live album were released bearing Jim Reeves’ name. The majority of these albums were released posthumously. Some of these albums vary in quality. This makes separating the wheat from the chaff something a crapshoot.
A good place to start is BGO Records’ recently released four albums on two CD set. This includes Yours Sincerely, Jim Reeves, Blue Side Of Lonesome, A Touch Of Sadness and On Stage, which were released between 1967 and 1969. These albums have been digitally remastered and the sound quality is stunning. For a newcomer to one of the most important figures in country music, this is the perfect starting place.
Yours Sincerely, Jim Reeves with its mixture of music and dialogue offers a remarkable insight into Gentleman Jim. Blue Side Of Lonesome and A Touch Of Sadness were curated by Mary Reeves, Jim’s widow. She compiled two poignant and moving albums. They featured songs about betrayal, heartbreak, hurt and loneliness. Jim Reeves lived the lyrics, as if he’s experienced the pain and heartache. These two poignant and moving albums feature Jim Reeves as he lays bare his soul. Then Jim Reeves On Stage, is a reminder of a man who was one of the great entertainers of his generation. He appealed not just to fans of country music, but popular music. That was no surprise.
Jim Reeves had been at the forefront of the Nashville Sound movement, and helped popularise this new sound. It was a combination of old style country music and popular music. This new musical genre was popular from the the late fifties until Jim Reeves career was cut tragically short on Friday, July 31st 1964.
That day, music lost a truly talented singer and songwriter, Gentleman Jim Reeves. He was just forty years old. Who knows what direction Jim Reeves’ career would’ve headed, or what heights he might have reached? However, Jim Reeves left behind a rich musical legacy. His music continues to find a new audience, even fifty-two years after the tragic, and untimely death. Gentleman Jim Reeves will forever remain a true legend of country music, and one of the finest and most popular practitioners of the Nashville Sound.
JIM REEVES-YOURS SINCERELY, JIM REEVES, BLUE SIDE OF LONESOME, A TOUCH OF SADNESS AND ON STAGE.
AK MUSICK-AK MUSICK.
AK MUSICK-AK MUSICK.
By the early seventies, the West German music scene was thriving. Across the country, new bands were being formed, and releasing new, ambitious, innovative and experimental music. This had been the case since the late sixties, when the first wave of new bands were formed.
One of the earliest groups were Amon Düül, who were formed in Munich 1967. Originally, Amon Düül began life as a radical political art commune. Later in 1967, a group of musicians within the commune formed the band, Amon Düül. It would become famous for their free form musical improvisations. Soon, new groups were being formed across West Germany.
Among them, were Amon Düül II, Ash Ra Tempel, Can, Cluster, Faust, Guru Guru, Kraftwerk, Neu!, Popol Vuh and Tangerine Dream. Each of these groups were musical pioneers, who experimented musically, by pushing musical boundaries and combining disparate influences and genres. Sadly, this music was way ahead of its time, and it was only later that these bands received the recognition that their music so richly deserved. They would eventually be regarded as among the most important German groups of the seventies. However, these groups weren’t alone in recording and releasing ambitious and experimental music.
Across Germany, new bands were being formed in towns and cities. This included Ikarus, Kollektiv, Lava, McChurch Soundroom, Message, Sunbirds, Wake Up and Xhol Caravan. Despite their undoubted talent, and ability to record ambitious and innovative music, their recording careers were all too brief. Some bands recorded just the one album, while others recorded two and occasionally, three albums. Sadly, all too often, these albums failed to find an audience. It was a familiar problem. The music was way ahead of its time, and record buyers failed to understand such ambitious, experimental and innovative music.
This was also the case with AK Musick, whose 1972 eponymous debut album AK Musick will be reissue on the Mental Experience label on 25th November 2016. It’s a welcome reissue of one of the rarest German private presses of the early seventies.
The AK Musick story began in the early seventies, when Hans Kumpf was studying at a teacher training college in the city of Ludwigsburg, twelve kilometres from Stuttgart, in Southern Germany. One of the students was Hans Kumpf, a classically trained musician.
That wasn’t surprising. Hans Kumpf had attended a school the specialised in music. Over the years, he graduated from recorder to flute, piano, trumpet and the clarinet, which became his main instrument. This versatility would later serve Hans Kumpf well when he decided to found a new band, AK Musick.
At the teacher training college, Hans Kumpf decided to form a new group in 1972. That wasn’t surprising. Across West Germany, new bands were being formed, They ranged from the rock bands that were popular on both sides of the Atlantic, to avant-garde bands whose roots were in the free jazz movement. That was what Hans Kumpf envisaged, so he went in search of likeminded musicians.
Soon, Hans Kumpf had found the likeminded musicians he had been looking for. He found them within the teacher training college. Just like Hans Kumpf, Alfred Lell, Angela Weber, Helmut Grab and Winfried Koch were all classically trained musicians. They all shared an interested in avant-garde music, are were keen to join Hans Kumpf’s new improv collective.
This new improv collective, Hans Kumpf called AK Musick. There reasons for this were twofold. AK was an abbreviation of the German word for workshop; while Musick was a mixture of the English and German words for music. Now that the nascent band had a name, Hans Kumpf began setting out AK Musick’s musical philosophy.
The new collective would take a different approach to music. AK Musick were determined to: “make music in a very democratic way.” Each member of AK Musick’s would have their say and it everyone’s opinion was equally valid. With their musical philosophy in place, AK Musick began making music.
With each of the five members of AK Musick classically trained musicians, they were all on the same page musically. Classical music became the basis of their music. So did free jazz, improv and music of avant-garde composers, including Johannes Fritsch and especially Helmut Lachenmann. So much so, that Helmut Lachemann would accompany AK Musick to the studio when they recorded their debut album. That was still to come.
Before that, AK Musick set about honing their sound. Soon, the five likeminded and classically trained musicians were ready to take their tentative steps onto the live circuit. They soon came to the attention of the organisers of 1972 German Jazz Festival. It was being held in Frankfurt, and AK Musick were booked to play at the Newcomer’s Concert. For a relatively new and unknown group, this was a huge honour.
Every year, the Newcomer’s Concert featured the rising stars of German music. In March 1972, this included AK Musick. When they took the stage the audience numbered 1,000. Meanwhile, , the concert was being recorded live for German radio and television. Across Germany, listeners and viewers were able to hear and see AK Musick combined elements of avant-garde, free jazz and improv to create music that was ambitious and experimental music that was hailed as exciting and innovative.
After their appearance at the Newcomer’s Concert, AK Music didn’t rush into recording their debut album. Instead, they waited eight months. During that period, AK Music continued to practise and play live. They also had spent time preparing for the recording of their eponymous debut album. Nothing was left to chance, as Hans Kumpf explains: “time was money.”
Just like many other German bands who recorded their debut album in the early seventies, AK Musick hadn’t a recording contract. This meant they had to finance the recording and release of their eponymous debut. That was why such care and attention had gone into planning the recording of AK Musick. “Time was money,” and AK Music would be recorded at the Bauer Studios, in Ludwigsburg on the 14th November 1972 in just three hours. That wasn’t going to be easy.
Especially considering the amount of equipment AK Musick would use on their eponymous debut album. Each of the five band members switched between a variety of instruments during the recording of six track s. Founder Hans Kumpf played bassoon, clarinet, fiddle, kazoo, oboe, rattle, recorder, reeds, Styropor, trumpet, windlasso, zither and added vocals. Alfred Lell played cello, clarinet and windlasso. Winfried Koch switched between clarinet, ektare, flute, percussion, windlasso, recorder, tam-tam and added vocals. Meanwhile, Helmut Grab played jew’s harp, organ, Darbuka, windlasso, piano and zither. Angela Weber played windlasso and added vocals. Once the six tracks were recorded, work began on the release of AK Musick.
While some groups shopped their new album to major and independent labels, AK Musick decided to release their eponymous debut album on Hans Kumpf’s AKM Records. The only problem was money was tight. AK Musick could only afford to have 150 copies LPs pressed. This left no money to have a album cover professionally designed.
So the members of AK Musick, and members of the Student’s Association spent a weekend in December 1972 at the teacher training college. For two days, 150 handmade album covers were made using templates and spray paint. These copies of AK Music were then sold in shops and at concerts. Nowadays, they’re extremely rare and valuable. A copy of AK Music will cost upwards of $700. That’s beyond the budget of most record collectors. Thankfully, AK Music will be reissued on the Mental Experience label on 25th November 2016. It’s the opportunity to discover one of the hidden gems of German experimental music, AK Music.
Hava, which opens AK Music finds clarinets uniting. As one soars above the arrangement, another quivers. Soon, the other clarinets quiver and shiver. In the distance, hypnotic percussion bounces and draws closer. They join the braying, blistering clarinets as improv meets free jazz. AK Musick are at their most inventive, as they play with power and passion. The clarinets wail, soar and screech, before becoming melancholy, melodic and beautiful.
As Shace unfolds, a piano plays slowly and thoughtfully, while a zither is plucked and percussion plays. They’re soon, joined by rasping trumpet, while someone knocks urgently on the piano. It’s transformed into a makeshift instrument, as a wailing modal trumpet soars above the arrangement.They’re joined by a whispering ethereal vocal and flamboyant flourishes of piano. After two minutes, the arrangement becomes understated and minimalist. Less is more for the next two minutes. Just a few subtle sounds escape from the arrangement, as members of the band improvise sounds like an early human beatbox. The less is more approach continues when the strings of a zither are caressed and plucked. This is the calm before the storm.
A piano is pounded, the zither is plucked and array of percussion is briefly deployed. Soon, AK Musick then return to the earlier understated sound. Percussion shakes and rustles, while reeds are blown tenderly, producing a myriad of sounds and squeaks. They join the plink plonk and later, pounding piano and cooing vocal. Together, they play their part in captivating track that veers between understated to urgent, but always finds AK Musick at their most innovative and inventive.
Straight away, there’s an industrial sound to Impro-vision, which is joined by a myriad of beeps, speaks, shivers, scrapes and rasps. Some are improvised by band members, while the reeds and trumpet weep, wail, shiver and quiver. Meanwhile, an improvised vocal whoops and shrieks almost hysterically as the trumpet brays. Weeping, squeaking sounds emerge from the depths of the arrangement, and they too have a melodic beauty. So does the free jazz piano and clarinet. They add a thoughtful, poignant sound, before dropping out. Replacing them are washes of ethereal, elegiac and later, otherworldly vocals. They’re part of a multilayered soundscape that not only captivates but, is melodic, and full of subtleties, surprises and nuances.
A lone bassoon is joined by Angela Weber’s slow, heartfelt and elegiac vocal on My Ape and My Monkey. They’re soon joined bypercussion and a darbuka. It adds an African influence as it helps provide an accompaniment to the plaintive cry of the vocal. Later, though, the tempo rises and there’s an urgency to AK Musick. They improvise, as the track heads in the direction of free jazz. This is quite different from earlier. Still though, the haunting beauty of the vocal and African influence are omnipresent on this genre-melting track, where AK Musick continue to combined disparate genres and instruments.
Closing AK Musick is Baz, where distant squeaks, beeps, wheezes, whirs and drone and draw nearer. They became part of a multilayered arrangement. It’s dark, eerie and otherworldly, as a cello plays, shrieks and shivers. Then dramatic bursts of dark music are unleashed by an organ. They sound as if they belong on a horror soundtrack. Adding to the darkness and drama, are the free jazz reeds and cello. They’re matched every step of the way by Angela Weber’s vocal. Her vocal soars high above the arrangement, as she improvises and transforms her vocal into another instrument. By 4.00 the arrangement is understated and minimalist, before taking on a cinematic sound. Again, it sounds as if AK Musick are creating the soundtrack to a horror film, as the music becomes variously dark, eerie, otherworldly and sometimes shrill and almost discordant. Other times, it’s melodic and spine tingling, but and always cinematic. AK Musick it seems, kept the best until last.
Despite the undoubted quality of their eponymous debut album, AK Musick didn’t record a followup. Instead, they were just the latest in a long line of German groups who only recorded one album. However, AK Musick was a hidden gem of an album, which featured five multitalented multi-instrumentalists as they experimented musically, by pushing musical boundaries to their limited and sometimes beyond.
To do this, AK Musick combined disparate influences, instruments and genres. This included avant-garde, experimental, free jazz and even elements of African, Berlin School, industrial music and Krautrock. The music of avant-garde composers Johannes Fritsch and especially Helmut Lachenmann influenced Hans Kumpf’s new improv collective. They recorded ambitious, experimental and innovative. Sadly, the music on AK Musick was way ahead of its time, and record buyers failed to understand this groundbreaking, genre-melting album. It was only much later that AK Musick received the recognition that their music so richly deserved.
Forty-four years after the release of 150 copies AK Musick on Hans Kumpf’s AKM Records, the albvum is somewhat belatedly receiving the recognition it deserves. AK Musick is now recognised as an ambitious, important and innovative album. It’s also an album that even today, has the potential to influence a new generation of musicians. They will be able to discover AK Musick on the 25th November 2016, when it’s reissued by the Mental Experience label,which is an imprint of Guerssen Records. This will be the first time that AK Musick has been reissued since its release in 1972.
Back then, only 150 copies of AK Musick were pressed. This makes AK Musick one of the rarest German private presses of the early seventies. That’s why copies are changing hands for upwards of $700. Not for much longer. After the 25th November 2016, AK Musick will be within the budget of anyone who is interested music. They’ll be able to discover the delights of AK Musick, which is a truly innovative and groundbreaking album of timeless music from Hans Kumpf’s improv collective.
AK MUSICK-AK MUSICK.
THE GIRLS WANT THE BOYS! SWEDISH BEAT GIRLS 1964-1970.
THE GIRLS WANT THE BOYS! SWEDISH BEAT GIRLS 1964-1970.
Over the last few years, Ace International’s Beat Girls’ compilation series, has proved to be on the most popular series released by Ace Records. That is no surprise, as the compilers have travelled far and wide in search of the creme de la creme of music from the sixties’ Beat Girls.
Previous sojourns have found the Ace International team pitch up in Japan, before heading to Europe, for crate-digging expeditions in Italy and France. This time though, the destination was Sweden, which has a rich musical heritage.
That’s as true today, as it was when the twenty-four tracks on The Girls Want The Boys! Swedish Beat Girls 1964-1970 were recorded. These twenty-four tracks were recorded by eighteen artists. This includes Agnetha Fältskog, Eleanor Bodel, Lena Junoff, Doris, Mona Wessman, Britt Bergstrom, Sunnygirls, MAK Les Soeurs, Suzie and Susanne Wigforss. They’re part of The Girls Want The Boys! Swedish Beat Girls 1964-1970, which was recently released by Ace International, an imprint of Ace Records. It’s a welcome addition to what’s a long running and successful series.
Abba are, without doubt, one of Sweden’s most successful musical exports. So it’s fitting that a song from one of the future members of Abba, Agnetha Fältskog opens The Girls Want The Boys! Swedish Beat Girls 1964-1970.
Back in 1969, Agnetha Fältskog was about to release her sophomore album Agnetha Fältskog Volume 2 on the Cupol label. It had been produced by her boyfriend, Björn Ulvaeus, who would also go on to find fame and fortune with Abba. One of the songs on the album was Ge Dej Till Tals, which was originally written by Alan Hawshaw and Ray Cameron as Show Some Patience. For Agnetha Fältskog’s cover version, Bo-Göran Edling wrote the Swedish lyrics. Agnetha Fältskog delivers an emotive vocal, against an impressive orchestral arrangement and harmonies. It’s a fusion of easy listening and pop that provides the perfect backdrop for the vocal talents of Agnetha Fältskog.
Just like Agnetha Fältskog, Anni-Frid Lyngstad was embarking upon a solo career in 1969. She had just released Sa Synd Du Maste Ga (It Hurts To Say Goodbye) as a single on Columbia. This was a cover of a song penned by Arnold Goland and Jack Gold, which was produced by her partner Benny Anderson. Together, the two future members of Abba are responsible for a breathy, beautiful and timeless slice of Euro beat.
It was in 1968 that Eleanor Bodel’s recording career began. Previously, she had been working in a boutique owned by Lelle Hegland, the bassist of the Hep Stars. That was until he realised that Eleanor Bodel could sing. This lead to Lelle Hegland introducing Eleanor Bodel to songwriter Bengt Palmers. Soon, Eleanor Bodel was well on her way to becoming one of the stars of the Swedish pop music.
Eleanor Bodel went on to enjoy four hit singles between 1968 and 1969. This included a number one single with One Way Ticket in 1969. Later in 1969, Eleanor Bodel released her debut album, One Way Ticket on Olga Records. It featured the pounding sixties pop of The Girls Want The Boys, and To Love Somebody Is To Hurt Somebody. It’s a heartfelt, orchestrated ballad that shows another side to Eleanor Bodel. She was a versatile and talented singer. Despite this, and enjoying a successful career, Eleanor Bodel decided to turn her back on music in 1971, to concentrate on her studies.
After a period as lead singer of The Strangers and The Plums, Doris embarked upon a solo career in the late sixties. By 1970, Doris had released a string of singles and was about to release her sophomore album Did You Give The World Some Love Today, Baby on the Odeon label. It was produced by Håkan Sterner, and featured Don’t, one of the highlights of the album. Doris unleashes a vocal powerhouse on this jazzy dance track.Despite its undoubted quality, Don’t was relegated to the B-Side of the 1970 single Did You Give The World Some Love Today, Baby. Don’t which would later go on to become a favourite among dancers and DJs.
Bella and Me was a short-lived combo featuring Anna-Bella Munter And Gunnel Sandgren. They were staying in London when they came to the attention of Mike Bradley, who was Tom Jones’ assistant manager. Mike Bradley and Ralph Murphy co-produced Bella and Me’s one and only single Whatever Happened To The 7-Day Week? It was released on Columbia in 1967. Tucked away on the B-Side was Help Me Break This Habit. It’s dreamy and melodic pop song, with a stomping Motown beat that injects a degree of urgency into this hidden gem.
The Plums were one of the groups Doris Svensson was a member of, before she embarked upon a solo career. They only recorded a few singles, including Benny Law. Although this carefully crafted and catchy song failed to replicate the commercial success of Mama Didn’t Lie, it’s certainly melodic and memorable.
Britta Bergström was only sixteen when her recording career began in 1965. Over the next five years, she was a prolific artist, releasing around forty singles. This included her cover of You Really Have Started Something. It was cowritten by John Carter and Ken Lewis of The Ivy League, and released as a single by Britt Bergstrom on Piccadilly in 1966. It’s a timeless song, and one of the finest moments of Britt Bergstrom’s solo career. Sadly, just four years later, Britt Bergstrom retired in 1970, aged just twenty-one.
Given Anni-Frid Lyngstad’s contribution to Swedish music, it’s fitting that she features twice on The Girls Want The Boys! Swedish Beat Girls 1964-1970. Her second contribution is her 1970 single Dar Du Gar Lamnar Karleken Spar, which was released on Columbia. It’s another cover version, but is a song that many people will be familiar with, Edison Lighthouse’s Where My Rosemary Grows. Anni-Frid Lyngstad combines easy listening and pop, on what’s a memorable cover of a pop classic.
In 1970, Agnetha Fältskog returned with her third album Som Jag Är. Again, the album was produced by Björn Ulvaeus, and was released on the Cuplol label. One of the songs on the album was Spela Var Sang (Play Our Song), which was a cover of Petula Clark’s Melody Man that Agnetha Fältskog had written Swedish lyrics to. It’s best described as a fusion of Schlanger and pop with an arrangement the briefly heads in the direction of rock courtesy of the rocky guitars.
Although Maria Catharina Martina Pereboom, a.k.a. Suzie, was born in Tilburg, in the Netherlands in 1946, she moved to Sweden in 1960. By then, Suzie’s musical career was well underway. She had joined The Nicholls Family as a teenager, and performed with them across Europe. During her travels, Suzie became multilingual, and fluent in eight languages. This would serve Suzie well well, when she embarked upon a solo career in 1963, The seventeen year old’s debut single Johnny Loves Me gave Suzie a hit single in Sweden. A year later, Suzie released in Sweden was Det Far Ej Hända Igen. It was released on the Sonet label in 1964. It’s a hook-laden slice of sixties pop that was one of over fifty singles Suzie released between 1963 and 1976.
When Maritza’s career began in the sixties, she was a pop singer. It was only in the seventies that Maritza decided to change direction, and record jazz and folk. This change of direction paid off, and Maritza went on to enjoy a long and successful career. Om Bara Du Gav En Vink which was released on Decca in 1969, is a reminder of Maritza’s pop years. Maritza delivers an impassioned vocal against a lush, orchestrated arrangement. For those familiar with Maritza’s later work, this will show another side to a talented and versatile vocalist.
Closing The Girls Want The Boys! Swedish Beat Girls 1964-1970 is Susanne Wigforss’ jazzy cover of Sommartid (Summertime). It was released by the Euphoric label in 1968, and is a quite beautiful rework of a familiar and oft-covered song. Susanne Wigforss succeeds where many have failed, in bringing something new to Summertime. It’s a quite beautiful way to close The Girls Want The Boys! Swedish Beat Girls 1964-1970.
The recently released The Girls Want The Boys! Swedish Beat Girls 1964-1970 is a welcome addition to the Beat Girls’ series. It was compiled by Mick Patrick, and released by Ace International, an imprint of Ace Records. This is another of Ace Records’ longest running and most successful compilation series. They seem to have the Midas touch when it comes to compilations.
That’s no surprise. Great care and attention goes into each and every compilation. The Girls Want The Boys! Swedish Beat Girls 1964-1970 is no different. It features a mixture of familiar faces and new names. Two of the biggest names were Agnetha Fältskog and Anni-Frid Lyngstad in their pre-Abba days. However, they’re just two of the eighteen artists who contributed twenty-four tracks to The Girls Want The Boys! Swedish Beat Girls 1964-1970. Other include Eleanor Bodel, Lena Junoff, Doris, Mona Wessman, Britt Bergstrom, Sunnygirls, MAK Les Soeurs, Suzie and Susanne Wigforss. They were some of the most successful Swedish Beat Girls between 1964 and 1970.
As the seventies dawned, some artists went on to greater things, Other artists, including Eleanor Bodel, decided to turn their back on music. She had enjoyed her short, but successful musical career, but decided to return to her studies. Some artists had no option, as their career stalled or ground to a halt. For some artists, including Bella and Me, recording a single hadn’t been something they planned to do. A chance meeting resulted in them recording their one and only single Whatever Happened To The 7-Day Week. They never recorded another single, and their recording career amounts to just the one single. By contrast, Britta Bergström and Suzie were truly prolific artists. They’re among the contributors to The Girls Want The Boys! Swedish Beat Girls 1964-1970. This is Ace International’s first retrospective of the Swedish Beat. Let’s hope it’s not the last. Hopefully, compiler Mick Patrick is already planning a followup to The Girls Want The Boys! Swedish Beat Girls 1964-1970, which is a welcome addition to the Beat Girls series.
THE GIRLS WANT THE BOYS! SWEDISH BEAT GIRLS 1964-1970.
THE LIFE AND CAREERS OF MARY LOVE.
The Life and Careers Of Mary Love.
The day that Mary Love entered a talent contest in a local club was that the day that her life changed. She sang a cover of Etta James’ Somebody’s Got A Hold On Me and won. This resulted in Mary being hired to sing every Thursday.
She was paid $8 a night and accompanying Mary Love were The Vows who she had befriended. They were her friends and were protective of Mary.
The next big break came when Sam Cooke’s manager J.W. Alexander heard Mary sing and gave her his card. The next day, J.W. Alexander and Mary Love met. He offered Mary the chance to sing on demos. This was her opportunity to make a life for herself.
Having started singing demos, Hal Davis heard Mary. He liked what he heard and signed Mary to Modern Records. The only problem was her name. Hal though that Mary Love was a better name for a singer. So it was Mary Love that went on to record twelve tracks for Modern Records between 1965 and 1968.
Mary Love’s Modern Records debut was You Turned My Bitter Into Sweet. It was released in April 1965, and became one of Mary biggest hit singles. The single sold especially well around the Los Angeles area. This was enough to launch Mary Love’s career. Since then, You Turned My Bitter Into Sweet has become a favourite in the UK’s Northern Soul scene, and nowadays, is regarded as a Northern Soul classic.
Following Mary’s debut single, You Turned My Bitter Into Sweet, I’ve Got To Get You Back was released as Mary’s sophomore single in August 1965. Again, it sold well in the Los Angeles area, but failed to find an audience further afield. This would be a familiar story. The exception was Move A Little Closer.
Released in in October 1968, Move A Little Closer reached number forty-eight in the US Billboard 100. This was Mary’s biggest hit. Ironically, Move A Little Closer wasn’t the A-Side. This was Let Me Know. When Move A Little Closer proved more popular, Modern Records flipped the song over, and a hit was born. For Mary, she thought her career was now underway.
Sadly, Lay This Burden Down didn’t build on the success of Move A Little Closer, when was released in October 1966. Again, it failed to chart. It was a hit locally. So was the Ashford and Simpson penned Baby I’ll Come, where Mary mixes power, passion and emotion. It’s one of Mary’s best singles. Tucked away on the B-Side is the hidden gem Satisfied Feeling on the B-Side. Released in February 1967, Mary delivers a vocal tour de force on Satisfied Feeling. After this, Mary would only release one more single for Modern Records.
Talkin’ About My Man was released in July 1967. Written by Arthur Adams, here was a ballad that seemed tailor-made for Mary. Despite this, widespread commercial success and critical acclaim eluded Mary. She did release a duet with Arthur Adams, Is That You. He seems to bring out the best in Mary. Sadly, this didn’t result in a hit single to end Mary’s time at Modern Records.
During her time at Modern Records, Mary divided her time between her solo career and singing backing vocals. Everyone from The Ikettes, Vernon Garrett and Lowell Fulson were accompanied by Mary. However, Mary was determined to make a success of her solo career.
In 1968, Mary met producers Matt Hill and Skip Layne. She recorded the anthemic The Hurt Is Just Beginning and Don’t Let It Happen. The Hurt Is Just Beginning garnered radio play in Los Angeles. This just happened to be during the trial of the Black Panther’s Huey Newton. They took to singing lyrics from the song: “The Hurt Is Just Beginning and don’t let it happen.” Not long after this, the B-Side, If You Change Your Mind, started getting radio play. It was released nationally on Josie, reaching number forty-six in the US R&B Charts. For Mary this was her second most successful single. Despite this, another three years passed before Mary released her next single.
Ironically, it was back in Sacramento that Mary met John W. Cole, friends of Mary’s grandparents. He was a businessman, who ran a chain of chemist and record shops. John wanted to expand his business. Next for John was the music business, and knew Roger Spotts, who played alongside Johnny and Shuggie Otis, two hugely talented musicians, arrangers and producers. So Roger would and arrange Mary’s next single at Ray Charles’ Los Angeles studio.
The Mary Love penned There’s Someone For Me was chosen as Mary’s next single. Roger would produce There’s Someone For Me and the B-Side, Born To Live With Heartache. Ray Charles even helped out during the session. He took charge of engineering. Beautiful, cathartic and soul-baring describes There’s Someone For Me. As for Born To Live With Heartache, Mary raises the funk factor and shows another side to her music. Both sides of this 1971 single, which was released on Elco are among some of Mary’s finest work. Sadly, history repeated itself when the single flopped. This resulted in Mary taking time out from the music industry.
It wasn’t until 1975 that Mary returned to music. She’d been raising her family and singing in nightclubs. However, she’d taken a break from recording. During that time, she’d hung out with Lou Rawls, Barry White, Willie Hutch and Dennis Edwards. Through her friendship with comedian, Rudy Ray Moore, Mary landed a part in the Blaxploitation movie Dolemite. Appearing as herself, Mary sings When We Start Making Love and Power Of Love which were part of the soundtrack released on Generation Records. That would be the last we heard of Mary for a couple of years.
Again, Mary was featuring in another film. This time it was Rudy Ray Moore’s Petey Wheatstraw. Mary penned five tracks for the film soundtrack, which was released on the Magic Disc label. Two of the tracks feature on Mary Love-Lay This Burden Down: The Very Best Of Mary Love. Joy and Loving You are gospel tinged tracks, very different from the disco inspired title-track. Unfortunately, commercial success still eluded Mary. Her career as a soul singer was almost at an end.
Over the next few years, Mary toyed with disco. She released Dance To My Music in 1979, on Inphasion. Although it wasn’t a hit in America, it was a hit in Italy. Then Mary spent three months living in Osaka, Japan, where she was part of Ah Sweet Tastes. They released a single Keep On Dancing, where Mary sings in Japanese and English. Mary’s final two releases were a 1982 cover of Tit For Tat, which was released on Elco. Mary’s final secular single was Save Me, which was released on U-Tone in 1984. After that, Mary Love became a gospel singer. .
Turning her back on secular music, Mary Love became a successful gospel singer. Over the years she became one of the most successful gospel singers. Two of her gospel albums, 2002s Incredible and 2005s Mary, Mary were certified gold, while 2000s Thankful was certified platinum. Mary Love had at last enjoyed the success her voice and undoubtable talent deserved. This commercial success was on Mary’s terms. Sadly, Mary passed away on June 23rd 2013.
She was just sixty-none and that day soul music had lost one of its greatest female singers. Although Mary Love didn’t enjoy the commercial success and critical acclaim her music deserved, her music is popular throughout the world, especially in the UK, where Mary was always a welcome visitor. That music is a reminder of Mary Love who was one of soul’s finest female singers.
The Life and Careers Of Mary Love.
HARMONIA-“THE MOST IMPORTANT BAND IN THE WORLD.”
HARMONIA-“THE MOST IMPORTANT BAND IN THE WORLD.”
Throughout musical history, innovative music has often failed to find an audience upon its release. It’s only much later, that the music’s importance and innovation is recognised. Musical history is littered with examples. This includes the group that Brian Eno once called : “the most important band in the world,” Harmonia.
Despite such high praise, Harmonia’s albums failed to find the audience that they deserved, and the band struggled make a living. For Germany’s first ever supergroup, this was an inauspicious start to their career.
Just over twenty years later, and somewhat belatedly, Harmonia’s music was beginning to find a much wider audience, and receiving the recognition it deserved. At last, Harmonia had taken their place at the top table of Krautrock, alongside Can, Kraftwerk, Cluster, and Neu! This was somewhat belated, given The Harmonia story began back in 1973.
Harmonia featured members members of Neu! and Cluster. They decided to form Back in 1973, Neu! had just released their sophomore album Neu! 2. It failed to match commercial success and critical acclaim of their eponymous debut album. Neu! had sold 30,000 copies in Germany alone. This was good for an underground album. However, Neu! 2 was a different matter.
Neu! 2
The problems started when Neu! went into the studio to record Neu! 2. They had booked ten days to record their second album. This should’ve been plenty of time. Neu! had recorded their debut album in four days. However, Micahel Rother and Klaus Dinger spent too long recording side one of the album. With only three days left, the pair panicked. Desperation set in. Then they remembered a single Neu! had released, Neuschnee which featured Super on the flip-side. This was the solution to their problems.
So for side two of Neu! 2, Michael and Klaus recorded versions of Neuschnee and Super. Michael remembers “We did all sorts of things. I played the single on a turntable, and Klaus kicked it as it played. We than played the songs in a cassette player, slowing and speeding up the sound, and mangling the sound in the process.” Just like their debut album, Neu! 2 was completed just in time. It was another: “close shave.”
With Neu! 2 complete, it was scheduled for release later in 1973. When the album was released, critics were won over by side one. Neu! were refining the sound of their debut album. Für immer was Neu! 2’s masterpiece. However, critics weren’t impressed by side two.
Many critics saw the music as gimmicky, and accused Neu! trying to fool and rip off record buyers. Indignant critics took the moral high-ground. Some record buyers agreed. “They felt that we were trying to rip them off. That was not the case.” Side two was Neu! at their most experimental, deconstructing ready made music only to reconstruct or manipulate it. However, neither critics nor record buyers realised this, and Neu! 2 failed commercially. This left Michael Rother and Klause Dinger with a problem.
Both men decided to look for a solution to the problem. Klaus headed to London, where he tried to drum up interest in Neu! Meanwhile, Michael found the solution to his problem in a song.
After hearing “Im Süden, a track from Cluster’s sophomore album Cluster II,” Micahel Rother decided to turn Neu! into the first German supergroup. So Michael embarked upon a journey to the Forst Commune, where his he had a proposal for two of his friends, Dieter Moebius and Hans-Joachim Roedelius of Cluster.
As Michael made his way to the Forst Commune, he wondered if Dieter Moebius and Hans-Joachim Roedelius would be interested in joining an extended lineup of Neu!? Then Michael began to consider another possibility, a German supergroup consisting of Neu! and Cluster? This would be a first. Nobody had ever tried this before. It was the opportunity of a lifetime.
Soon, it became apparent that Michael’s idea of a supergroup was about to take shape, just not in the way Michael had originally envisaged. That initial jam later became Ohrwurm, a track from Harmonia’s 1974 debut album Musik von Harmonia. Following their initial jam session, Michael stayed at the Forst Commune to prepare for the recording of Harmonia’s debut album. Germany’s first supergroup had just been born. It wasn’t an extended version of Neu! Instead, it was a new band Harmonia.
Musik von Harmonia.
Soon, Michael Rother, Dieter Moebius and Hans-Joachim Roedelius started recording what became Musik von Harmonia in June 1973. It was meeting of musical minds. Over the next five months, Harmonia recorded eight songs. The two members of Cluster were receptive to Michael Rother’s way of working. Hans-Joachim Roedelius explained recently: “there were no problems, we wanted to learn. Previously, we improvised, which made playing live problematic. A song was merely the starting point, it could go anywhere. Michael however, taught us about structure. We influenced him. It was a two-way thing.”
That’s definitely the case. Michael Rother believes: “that working with Dieter Moebius and Hans-Joachim Roedelius made him a more complete musician.” Over his time working with the two members of Cluster; “I learnt so much.”
This became apparent when Musik von Harmonia was completed in November 1974. Harmonia’s 1974 debut album, Musik von Harmonia, was a move towards ambient rock. Both Michael Rother and the two members of Cluster’s influences can be heard on the nascent supergroup’s debut album. It was released in January 1974.
When Musik von Harmonia was released, many critics realised the importance of what’s a groundbreaking classic. It saw this nascent supergroup seamlessly embrace and incorporate disparate musical genres. In the process, Harmonia set the bar high for future ambient rock albums. Critical acclaim the release of Musik von Harmonia Brian Eno on hearing the album, called Harmonia: “the most important band in the world.” Despite the critical acclaim and the endorsement of Brian Eno, Musik von Harmonia wasn’t a commercial success. For Harmonia, this was a huge disappointment.
Michael Rother remember ruefully: “the seventies weren’t a good time for Harmonia. Our music was ignored, it was tough to survive during this period. So towards the end of 1974, Michael and Klaus reunited for Neu!’s third album.
That wasn’t the end of Harmonia though. Neu! spent December 1974 and January of 1975 recording their third album Neu! 75. It was scheduled for release later in 1975. By then, the recording of Harmona’s sophomore album began in June 1975.
The Reuturn Of Harmonia-Deluxe.
In June 1975, the three members of Harmonia returned to their studio in Forst for the recording of their sophomore album, Deluxe. Joining them, was a new face, Conny Plank, who was co-producing Deluxe. Conny Plank and Michael were good friends, and had worked together on three projects. This included Kraftwerk’s aborted album and Neu!’s two album. The addition of the man who Michael Rother calls: “the genius,” just happened to coincide with Harmonia changing direction musically.
Deluxe saw a move towards Kominische musik. Partly, this was down to the addition of Guru-Guru drummer Mani Neumeier. He played on some track, and added a Kominische influence. Another change was that Michael Rother’s guitar played a more prominent role. That wasn’t Michael’s only influence.
The music on Deluxe was more song oriented. This was Michael Rother’s influence. He had taught the two members of Cluster the importance of structure. However, still Harmonia were experimenting, pushing musical boundaries. This was Cluster’s influence. Other parts of Deluxe had been influenced by Michael Rother. Hans-Joachim Roedelius agrees. “Michael Rother’s influence can be heard on Deluxe, more so than on Musik von Harmonia.” What was also noticeable, was that Deluxe had a more commercial sound.
“This wasn’t a conscious decision. The music morphed and evolved, and the result was Deluxe,” Hans-Joachim Roedelius reflects. Michael Rother agrees. “Every album I’ve made I set out for it to be commercial. Sometimes, though, it doesn’t work out that way.” Sadly, that proved to be the case.
When Deluxe was released in 1975, to the same critical acclaim as Musik von Harmonia. The noticeable shift to what was a more commercial sound, surely would lead to a change in Harmonia’s fortunes?
That wasn’t to be. Deluxe was released on 20th August 1975, and sales of the album were slow. They never picked up, and history it seemed, was repeating itself. Michael reflects: “Still our music was being ignored. It was a difficult time for us. So much so, that Michael decided to record his debut solo album.
By then, it looked as if Harmonia had run its course. So Michael Rother decided to embark upon a solo career. That would take up the majority of his time. Michael’s first solo album was “Flammende Herzen which I recorded at Conny’s Studio,” during June 1976. Then later in the summer, Harmonia recorded their third and final studio album.
Tracks and Traces.
Little did the three members of Harmonia realise, that Deluxe was the last album they would release for thirty-two years. For what was their swan-song, Harmonia were joined by another legend, Brian Eno.
At the studio in Forst, Hans-Joachim Roedelius, Dieter Moebius, Michael Rother and Brian Eno spent eleven summer days recording what was meant to be their third album. The working title was Harmonia ’76. However, by then, “Michael Rother was wanting to concentrate on his solo career. Once the album was completed, it became apparent Harmonia had run its course. It was evolution.” So, Harmonia ’76 was never released until 1997.
During the next thirty-one years, it was thought that the master tapes had gone missing. “That was a rumour. Harmonia ’76 was released as Tracks and Traces in 1997.” Then ten years later, in 2007, Harmonia reunited.
Live ’74.
The reunion was for the release of their Live 1974 album. It featured a a recording of Harmonia’s concert on the 23rd March 1974, at Penny Station Club in Griessem, Germany.
Live ’74 features just five lengthy tracks. As Harmonia open the show with a near eleven minute version of Schaumburg instantly, the listener is transported back to that night on 23rd March 1974. Harmonia then work their way through Veteranissimo, which becomes a seventeen minute epic, Arabesque and the Magnus Opus that’s Holta-Polta. Then Harmonia close the set with Ueber Ottenstein. These five tracks are a snapshot of Harmonia at the peak of their powers. They were one of the greatest German bands, but very few people had realised this. By 2007, when Live ’74 was released, it was common knowledge that Harmonia were Komische royalty.
To celebrate the release of Live 1974, Harmonia played live for the first time since 1976. This landmark concert took place at the Haus der Kulturen der Welt in Berlin, on November 27th 2007. Sadly, it was the last time Harmonia played together.
After a brave and lengthy battle against cancer, Dieter Moebius died on 20th July 2015. By then, Harmonia were receiving the recognition that their music so richly deserved. Dieter Moebius with Hans-Joachim Roedelius and Michael Rother had been part of one of the most innovative groups in the history Krautrock. They’re now regarded as one of the finest purveyors of Krautrock. That’s why Harmonia sit proudly alongside Can, Cluster, Kraftwerk and Neu! at Krautrock’s top table.
Sadly, the recognition that Harmonia received, came long after they released their two classic albums, Musik Von Harmonia and Deluxe. Nowadays, Harmonia are regarded as one of the most important, influential and innovative Krautrock bands of the seventies. Forty years after the release of Musik Von Harmonia and Deluxe, Harmonia is more popular than ever. For Micael Rother, that’s ironic. He remembers how: “the seventies weren’t a good time for Harmonia. Our music was ignored, it was tough to survive during this period.” Now things are very different for Harmonia. They’re quite rightly regarded as one the giants Komische music. Harmonia are regarded as just as important, influential and innovative as Can, Kraftwerk and Neu! That’s why Brian Eno once called Harmonia: “the most important band in the world.”
HARMONIA-“THE MOST IMPORTANT BAND IN THE WORLD.”
SUPER DUPER LOVE-MAINSTREAM HITS AND RARITIES 1973-76.
SUPER DUPER LOVE-MAINSTREAM HITS AND RARITIES 1973-76.
Back in 1964, forty-four year old Bob Shad founded Mainstream Records. This was the latest label that he had founded in a career that had spanned over twenty years. During that period, Bob had had worked as a session musician, producer and A&R man. Bob Shad put all this experience to good use when he founded Mainstream Records in 1964.
When Bob founded Mainstream Records in 1964, it was originally a jazz label, which mainly released albums and a few singles. However, by 1965, music was changing, and rock was King.
Bob Shad decided that Mainstream Records should release a wider and more eclectic election of music. This included rock music. For the next five years, Mainstream Records’ new and expanded roster proved popular and profitable. That was until 1970. So Bob Shad decided to relaunch Mainstream Records.
The newly relaunched Mainstream Records would feature a newly designed label and would release just jazz. Mostly, Bob Shad intended to return to releasing mostly albums, with the occasional single. This was the way Mainstream Records had originally operated. However, Bob Shad had developed a criteria for chewing the albums he was willing to release.
He was going to only release what he saw as traditional jazz albums. Bob Shad didn’t want to release albums where synths and electronics featured. This was unrealistic given that fusion’s popularity was on the rise. It was no surprise that this new policy didn’t last long, and Mainstream Records began to release soul and jazz.
By then, the there had been a blurring of the lines between what was soul and jazz. Even critics and record buyers were confused. However, this blurring of the lines resulted in Mainstream Records’ musical policy changing, and the label releasing a much wider selection of music. This included the music on Super Duper Love-Mainstream Hits and Rarities 1973-76, which was recently released by Kent Soul, which is an imprint of Ace Records.
Super Duper Love-Mainstream Hits and Rarities 1973-76 features twenty-four tracks from Mainstream Records and its various subsidiaries. Familiar faces and new names sit side-by-side, including Afrique, Linda Perry and Soul Express, Lenny Welch, Sandra Phillips, Calvin Arnold, J.G. Lewis, Doris Duke, The Eleventh Commandment, Darlene Jackson, The Dramatics and Ellerine Harding. These are just a few of the artists on Super Duper Love-Mainstream Hits and Rarities 1973-76. It’s the companion disc to Mainstream Modern Soul 1969-1976 which Kent Soul released earlier this year..
Opening Super Duper Love-Mainstream Hits and Rarities 1973-76 is Sugar Billy’s Super Duper Love (Are You Diggin’ On Me). It was penned by Willie Garner a.k.a. Sugar Billy, and produced by Leonard Jones for Soundtrack Productions. He then formed the Fast Track label to release Super Duper Love (Are You Diggin’ On Me). Leonard Jones signed a distribution deal with Mainstream Records. With Bob Shad onboard, Super Duper Love (Are You Diggin’ On Me) was was released in December 1974. By early 1975, it reached number seven on the US R&B chart. It features a vocal powerhouse on this soulful and funky single.
Afrique were a studio band assembled by Bob Shad. The band featured some of Los Angeles’ top session players. Their debut album was Soul Makossa, which was released in 1973. One of the singles chosen from the album was Soul Makossa. It was penned by Manu Dibango and released May 1973. Soul Makossa reached forty-seven on the US Billboard 100 and thirty-three in the US R&B charts. This was the first of several singles that Afrique enjoyed. However, Soul Makossa, which is a fusion of Afrobeat, funk and soul was one of their finest and funkiest moments.
Terry Huff had joined Special Delivery in 1975. Since then, the group were billed as Special Delivery featuring Terry Huff. He cowrote their single The Lonely One with Al Clements and Richard Person. It was scheduled for release in April 1976. This was exciting time for Terry Huff, this beautiful, orchestrated ballad had hit potential. However, a mere four days before Mainstream Records release of The Lonely One, Terry Huff was sacked by the band. For Terry Huff this was a huge disappointment. Especially as the single reached number seventy-five in the US Billboard 100 and eleven in the US R&B charts. This presented a problem for Bob Shad.
After the success of The Lonely One, opportunities arose for Special Delivery to play live. With the group divided, Bob Shad recruited backing singers and sent them out on tour with Terry Huff as Special Delivery. Meanwhile, the rest of the lineup of Special Delivery who had recorded The Lonely One, were sidelined.
Originally, Linda Perry started off singing Southern Soul. By 1973, Linda had signed to Mainstream Records. In December 1973, Linda Perry was preparing to release her debut single. The song that had been chosen was the Eddie Billups’ penned I Cant Give You Up. Sadly, when it was released as a single, it failed to chart. That’s despite a needy, soul-baring vocal that oozes emotion and loneliness.
The story of Ellerine Harding is one of what might have been. She only ever released the one album Ellerine in 1972, and a handful of singles. This includes the Bert DeCoteaux produced Let The Other Woman Cry Some in 1974. It was released in 1974, on IX Chains Records. Ellerine Harding’s vocal is soulful and sassy, while Bert DeCoteaux deploys strings, horns and harmonies. The result is a truly timeless track that sadly, was Ellerine Harding’s swans-song. It’s a reminder of truly talented singer who should’ve reached greater heights.
Lenny Welch’s recording career began in the late-fifties. Since then, he had moved between record labels. Cadence, Kapp Records, Cadence, Columbia, Mercury and Atco Records had all been home to Lenny Welch. Then in 1973, Lenny Welch signed to Mainstream Records. By March 1974, he was ready to release Eyewitness News which he had penned with Rose Marie McCoy. It was arranged by Bert DeCoteaux and produced by Red Lion Productions. They play their part in song that’s slick, soulful and cinematic, with just a hint of disco stylings. Sadly, Eyewitness News failed to find the audience it deserved. Since, then it’s remained a hidden gem, that deserves to find a wider audience.
Before signing to Bob Shad’s IX Chains Records, Calvin Arnold was something of a musical nomad. He had wandered from label to label, searching for that ever elusive hit single. His luck changed when Satisfy My Love became his IX Chains Records’ debut single, and reached seventy-nine in the US R&B charts. Although it was only a minor hit single, it was Calvin Arnold’s breakthrough hit. For the followup, (I’m Your) Friendly Neighbourhood Freak was released. It was penned by Calvin Arnold and he co-produced the song with Barney Conway. When (I’m Your) Friendly Neighbourhood Freak was released in 1975, this smouldering fusion of soul and funk reached seventy-nine. NowCalvin Arnold had two hit singles to his name. Maybe his luck was changing? Alas, that was as good as it got for the journeyman soul man.
Back in 1975, Darlene Jackson entered the studio to record two versions of Does She (Sleep On My Side Of The Bed). It was penned and produced by Larry Tinsley, and released on the Black Dog label. The plan was that short version would be released as a single, and the long version which features on Super Duper Love-Mainstream Hits and Rarities 1973-76, would become the B-Side. Later in 1975, Does She (Sleep On My Side Of The Bed) was released on the Black Dog label. Sadly, the single failed commercially and Darlene Jackson’s career was over before it had even started. Since then, Darlene Jackson’s tale of betrayal has become a favourite on the Deep Soul scene, where it’s quite rightly considered a classic.
Pittsburgh born Johnny Louis Gilliam’s career began in 1965, when he released his first single for Bo-Mar. Since then, he had never stayed anywhere long. Johnny continued to move between labels in the search of that elusive hit. After ten years of trying, Johnny decided to take drastic action, and changed his name to J.G. Lewis.
Incredibly, this worked, when J.G. Lewis’ released Let The Music Play as a single. It was penned and produced by J.G. Lewis using his real name. When it was released on IX Chains Records, it entered the lower reaches of the US R&B charts.
Belatedly, J.G. Lewis had enjoyed a minor hit, with memorable and melodic slice of soulful music.
Doris Duke is another of soul music’s best kept secrets. She never reached the heights that her considerable talents deserved. That’s despite being able to breath life, meaning and emotion into lyrics. This she does on Business Deal which was penned by Rose Marie McCoy and Helen Miller. It features a tougher funkier sound, as s Doris Duke struts her way through this Deep Soul hidden gem. Although it was released as a single on Mainstream Records in June 1973, it sadly, never found the audience it so deserved.
Forty years ago in 1976, Trieste released their cover of I Can See Him Loving You as a single on IX Chains Records. It was written by Ray Dahrouge and co-produced by George McRee and Carmine Rubino. When it was released, it failed commercially. That’s despite being catchy, melodic, soulful and dance-floor friendly.
In August 1973, Lenny Welch covered Since I Don’t Have You. It was already an oft-covered song, that had given The Skyliners a hit in 1959. Since then, many artists had released their version. Lenny Welch’s is a cut above most covers. Against an orchestrated arrangement, Lenny Welch delivers a vocal that’s full of sadness, emotion and melancholy.
The Dramatics made the switch from Stax to Mainstream Records were The Dramatics. They had enjoyed critical acclaim and commercial success at Stax. This includes a number one single, In The Rain in 1972. Three years later, in 1975, the lineup of The Dramatics that signed to Mainstream Records was much changed. Only two of the original members remained. Despite this, No Rebate On Love gave The Dramatics’ a hit single on Mainstream Records. Tucked away on the flip-side is Feel It, which was penned by Jimmie Abston and Stella Petty. Leonard Jones took charge of production. He’s responsible for a beautiful Philly inspired ballad, that’s reminiscent of Thom Bell’s production style. Having said that, Feel It is a truly timeless and beautiful ballad.
Sandra Phillips closes Super Duper Love-Mainstream Hits and Rarities 1973-76 with I Need You Back Home. It was the B-Side to the 1975 single Miss Fatback, which was released on Black Black Dog. Need You Back Home was written by Fred Weekes and Gregory Carmichael, who took change of production. He’s responsible for a soul-baring Deep Soul ballad, that showcases another of soul music’s best kept secrets, Sandra Phillips.
That’s part of the story of Super Duper Love-Mainstream Hits and Rarities 1973-76, which was recent released by Kent Soul, an imprint or Ace Records. It’s features twenty-four tracks from Mainstream Records and its various imprints. Among the artists on the compilation, are many familiar faces and a few names. They sit side-by-side on a compilation that oozes quality. No wonder.
Linda Perry, Lenny Welch, Sandra Phillips, Calvin Arnold, J.G. Lewis, Doris Duke, Darlene Jackson, The Dramatics and Ellerine Harding are just a few of the artists on Super Duper Love-Mainstream Hits and Rarities 1973-76. They’re responsible for deeply soulful songs. This includes ballads and uptempo love songs. There’s everything from songs about betrayal and love to lost, to hurt and heartache, through songs about new love, where there’s hope for the future together. Many of these tracks are guaranteed to tug at the heartstrings. Some will cry while others will make the listener laugh. Each and every one of these songs on Super Duper Love-Mainstream Hits and Rarities 1973-76 are of the highest quality. As a result, Super Duper Love-Mainstream Hits and Rarities 1973-76 is the perfect companion to Mainstream Modern Soul 1969-1976 which Kent Soul released earlier this year. These two compilations are the perfect introduction to the soulful side Bob Shad’s Mainstream Records.
SUPER DUPER LOVE-MAINSTREAM HITS AND RARITIES 1973-76.
AUTOMAT-OSTWEST.
AUTOMAT-OSTWEST.
Back in 2014, Automat released their their eponymous debut album. This was no ordinary debut album. Automat was also the first in a trilogy of albums from the Berlin based trio. For a new group, this was an ambitious project.
The three members of Automat, Jocem Arbeit, Achim Färber and Georg Zeitblom were all experienced musicians. Collectively, Automat have over sixty years worth of music making experience. This they were determined to put to good use on Automat’s trilogy of albums.
Automat.
Automat released their eponymous debut album on the 7th of April 2014. It had been recorded with the help of a few of their musical friends, including Lydia Lunch and Blixa Bargeld. Together, they recorded the seven tracks that became Automat. Its central narrative was Berlin’s airports. This twenty-first century concept album was well received by critics and record buyers. Now it was a case of doing it all again for the second album in the trilogy.
PlusMinus.
This was PlusMinus, which was released on 1st June 2015, and explored the subject of space travel. However, sonically and stylistically, PlusMinus was a very different album.
Gone were the guest artists that featured on Automat. They were replaced by an array of vintage analog equipment from the fifties. Home to this equipment was Candy Bomber Studios in Berlin. Automat put the equipment to good use, when they recorded PlusMinus over just three days in January 2015. Each of these tracks were then named after pieces of equipment that had been used to record PlusMinus. This dub-infused album of atmospheric and futuristic music. Again, the second instalment in Automat’s trilogy found the favour of critics and record buyers upon its release in June 2015. Later in 2015, Automat recorded the third and final instalment in their trilogy, OstWest.
OstWest.
The final instalment in Automat’s trilogy is OstWest, which will be released by Bureau B on 11th November 2016. Ost West is described as Automat’s: “take on the failures of neoliberalism.” What prompted Automat to record OstWest, was the changes not just in Germany, but across Europe.
This began when thousands of refugees made their way from the Middle East to Europe. Germany was one of the countries that the refugees headed to. Many refugees settled in several of Germany’s biggest cities, including Berlin. Just like in several other countries in mainland Europe, the arrival of the refugees didn’t please everyone. There was a backlash from far right political parties. Suddenly, countries and cities across Europe were divided. Germany and Berlin were no different.
Sometimes, protests were met by counter protests, and conflict seemed almost inevitable. Europe seemed on the brink of meltdown. Meanwhile, the three members of Berlin-based Automat were watching, and readying themselves to document the events musically.
To do this, Automat returned to Candy Bomber Studios in Berlin, in October 2015. The Studios are situated at what was the former Tempelhof Airport. This proved a poignant place to record OstWest.
Many of the refugees who had arrived in Berlin, were being housed within the hangars of the former Tempelhof Airport. These refugees were Automat’s neighbours as they recorded OstWest, an album that documented the arrival of the refugees within Germany, and what the response to their arrival had been. To do this, Automat deployed an array of eclectic instruments.
At Candy Bomber Studios, the three members of Automat began setting up what was a mixture of traditional instruments and technology. Automat’s rhythm section featured drummer and percussionist Achim Färber; bassist Georg Zeitblom who also plays six-string bass, eight-string bass and takes charge of programming. Jocem Arbeit plays guitar, organ, mellotron, piano and is responsible for the electronics that features on OstWest. Augmenting Automat, are vocalist Matsuyams who features on Yuko. Max Loderbauer plays Fender Rhodes and EML ElectroComp 400 vintage synth on Yuko and West. Once the recording session in October 2016 were complete, so Automat thought was complete. Automat hadn’t banked on Britain voting to leave the EU.
On the 23rd of June 2016, Britain went to the polls. The British people were being asked whether they wanted to “remain a member of the European Union.” The answer was a resounding no. 52% of of those who voted, voted no. Britain was heading for the European exit door. This resulted in further outbreaks of xenophobia, as post Brexit Europe threatened to collapse. Automat who had watched events with interest, returned to Candy Bomber Studios, with co-producer Ingo Krauss in July 2016.
Eventually, Auntomat had completed the third and final instalment in their trilogy, OstWest. By then, it featured eight tracks penned and played by Automat, and co-produced with Ingo Krauss. They will be released by Bureau B on 11th November 2016.
Opening OstWest is Ost. Stabs of a dark bass synth sets the scene, before drums crack and percussion plays. They’re join by a myriad of samples, including an almost sinister half-spoken vocal. Ominously, it warns of: “crashing sounds.” Meanwhile, reverb is added to synths that shimmer and an organ meanders. Soon, a sample of a soaring, soulful vocal is adds a contrast to the big, bold and pulsating widescreen arrangement. It’s driven along, as layers of synths shimmer, glisten and sweep while drums click and crack and the vocal warns of: “crashing sounds.” It add the finishing touch to this melodic and dance-floor friendly fusion of dub, electronics, soul and techno.
Straight away, Fabrik der Welt (Factory Of The World) feels like a journey onboard one of Deutsche Bahn’s express trains.There’s an urgency as pulsating synths combine with the drums. Meanwhile, handclaps adds a somewhat sinister backdrop. Soon, Automat it seems, are paying homage to Kraftwerk, and classic albums like Trans Europe Express and Autobahn. By then, the tempo is rising as beeps and squeaks join the bass synth and vocal samples. Synths and drums power the thunderous arrangement along. They’re joined by vocal samples and strings. Together, they create a melodic and mesmeric, genre-melting track, where Automat successfully and seamlessly fuse elements of electronica, Krautrock and techno.
Tränenpalast (Tearful Palace) is named after the old border crossing between the former East and West Germany. Synths are to the fore, pulsating, grinding and whining. Meanwhile, drums, percussion and a shimmering Fender Rhodes have been added as the arrangement is powered along at a dance-floor friendly tempo. By then, the arrangement pulsates, buzzes and beeps, but sometimes, takes on an eerie, atmospheric sound. Always, it’s hypnotic. Even when the arrangement becomes understated, to make way for the eight-stringed bass. This signals the entrance of eerie, futuristic sounds and a myriad of beeps, bubbles and squeaks. That’s until a piano enters and plays slowly, signalling the arrangement is unwinding and will be stripped bare. All that remains are a deliberate piano that fades away, as a siren sounds. Maybe someone hasn’t escaped the Tearful Palace, and has been caught by Checkpoint Charlie in what’s a cinematic track with a poignant ending.
A drum roll is joined by Kraftwerk synths on Yuko. Soon, washes and pulsating synths join percussion, crisp drums and a mellotron. The arrangement is dark, slow and cinematic as it meanders moodily along. There’s an eeriness to the arrangement. Especially when a dubby, ghostly vocal and six-string bass join the plodding drums and washes of synths. Later, the ethereal synths adds a contrast and another layer of music, to one of the highlights of OstWest. It’s a dark, moody and cinematic sound is one that filmmakers should embrace.
The cinematic sounding West conjures up pictures of being onboard an express train as it crosses Germany. Maybe it’s carrying refugees hoping for a better life? As they make plans for the future, drums click and crack, and synths whine, beep, grind and bubble. They lock into the tightest of mesmeric grooves. Meanwhile, a vocal flits in and out. So do vocal samples, as Automat’s rhythm section joins with synths and a myriad of electronics. They join with a piano, Fender Rhodes and percussion. Each of these instruments are put to good use by Automat, as they carefully craft a track that’s variously dark, moody, mesmeric and melodic, but also hopeful, cinematic and captivating.
A vocal sample reverberates before the arrangement to Europa unfolds. Drums pound and join with a piano and percussion. Even then, the arrangement is melodic, memorable and mesmeric, as Automat again lock down the groove. A bass and mellotron join with a myriad of electronics and the recurring dubby vocal sample. Later, bursts of dark piano, join with beeps, squeaks and washes of synths. Still, the arrangement is joyous, melodic and memorable. It’s a dance-floor friendly anthem in-waiting, that shows another side to Automat.
Tempelhof was a place where refugees from the former East Germany sought refuge, after making their escape across The Wall. Automat provide the soundtrack to their escape. It’s dark, dramatic and moody, with the tension rising. Automat as the bass join the drums and percussion. Adding to the tension is piano as the arrangement creeps along, and a guitar chirps and cheeps. Meanwhile, it’s possible to imagine someone trying to make their escape across The Wall. Once across, they flee and aren’t safe to they seek sanctuary in the Tempelhof, which is also a powerful piece of music.
Transit closes OstWest. There’s a dubby sound to the arrangement which is also dark and moody. Drums and percussion are to the fore, while the bass rumbles and the distant piano plays. A vocal drifts in and out, reverberating as dark drones add to the tension. Meanwhile, thunderous drums and percussion provide the heartbeat. A myriad of beeps and squeaks are joined exotic percussion as the drama and tension never lets up. No wonder. Those fleeing from persecution in distant lands are seeking a better and safer life. Automat provide the soundtrack to their perilous escape in transit from East to West. It’s without doubt, the best track on OstWest. Just like so many bands, Automat keep the best until last.
That’s the case in more ways than one. OstWest which is the final instalment in Automat’s trilogy of albums, is there best album yet. It’s an album full of social comment, which is described as Automat’s: “take on the failures of neoliberalism.” However, Berlin-based Automat document the refugee crisis, which they saw firsthand last year. They watched as refugees arrived in Germany, and how German’s responded positively and negatively. This provided plenty of food for thought musically for Automat. Then came Brexit.
By then, Automat thought they had finished recording OstWest. However, Automat had to comment on the backlash cased by Brexit. After all, the EU was on the brink of collapse, as other countries demanded referendums to leave the EU. Meanwhile, there was a new wave of xenophobia was sweeping Europe. So Automat headed into the studio to record an addendum to OstWest. Now the album was complete.
And what an album OstWest is. It is, without doubt, the most accomplished album of Automat’s career. OstWest features music that’s variously cerebral, cinematic, dark, dramatic, poignant and powerful. The music is ruminative, and invites the listener to let their imagination run riot. Meanwhile, Automat provide the soundtrack. Other times, the music on OstWest is
melodic, memorable and melodic. Sometimes, it’s anthemic, hopeful, joyous and even dance-floor friendly. Always Automat captivate throughout their genre-melting third album OstWest.
Automat combine elements of avant-garde with Berlin School, dub, electronica, Krautrock, soul and techno. In just about every track, disparate musical genres, influences and instruments are combined seamlessly. This includes traditional instruments and technology, plus a goodly amount of samples. When they’re combined the result is Automat’s career-defining album OstWest, which will be released by Bureau B on 11th November 2016.
AUTOMAT-OSTWEST.
BLACK MOON CIRCLE-THE STUDIO JAMS VOLUME 2.
BLACK MOON CIRCLE-THE STUDIO JAMS VOLUME 2.
Nowadays, not many bands announce that they intend to release a trilogy of albums over the next couple of years. However, that’s exactly what Trondheim based psychedelic space rock band Black Moon Circle did in mid-2015. They announced their intention to release three albums of studio jams. The first instalment was The Studio Jams Volume I: Yellow Nebula In The Sky, which was released to critical acclaim on the 14th August 2015. This whetted the critics and record buyer’s appetite for the next instalments in the Studio Jams’ series.
Before that, Black Moon Circle returned with their much anticipated third album Sea Of Clouds on 15th April 2016. Black Moon’s timing was impeccable, as this coincided with their appearance at the prestigious Roadburn Festival, in the Netherlands. That day, Black Moon Circle showcased Sea Of Clouds, which had already won praise and plaudits from critics. Meanwhile, Black Moon Circle’s thoughts had already turned to their next album.
Nearly seven months later, and Black Moon Circle are preparing for the next instalment in The Studio Jams’ series. This is The Studio Jams Volume 2, which will be released on vinyl by Crispin Glover Records on 11th November 2016. The Studio Jams Volume 2 is an eagerly awaited fourth album from Black Moon Circle. Their career began in 2012.
That was when brothers Øyvin Engan and Vemund Engan formed Norwegian psychedelic space rock band, Black Moon Circle. This wasn’t the Engan brothers first band. No. They were previously, members of Trondheim-based punk rock band The Reilly Express. That was the past.
By 2012, the Engan brothers were ready to form their own band. However, it wasn’t another punk rock band. Instead, Black Moon Circle would become a psychedelic space rock band. Øyvin, played bass, guitar and takes charge of vocals. His brother Vemund was also a guitarist. Now all that Black Moon Circel needed was a drummer.
Completing Black Moon Circle’s lineup was drummer, Per Andreas Gulbrandsen on drums. He was the final piece of the jigsaw. Now Black Moon Circle could set about honing their sound.
Gradually, Black Moon Circle’s sound began to evolve. It’s essentially a combination of lengthy jams, searing guitar riffs and a myriad of effects added to the bass and guitar. This Black Moon Circle describe as psychedelic space rock. They’re not alone.
Black Moon Circle are just one of many Norwegian space rock bands. Earthless and Colour Haze are two other bands, who are flying the flag for space rock worldwide. In Black Moon Circle’s case, they’ve been doing this since 2013.
That’s when Black Moon Circle recorded their eponymous, debut, mini-album at Nautilus studios in 2013. Black Moon Circle was then released in February 2014 by Space Rock Productions, the label run by the Øresund Space Collective from Copenhagen, Denmark. However, Black Moon Circle aren’t the type of band to let the grass grow under their feet.
Andromeda.
Instead, Black Moon Circle returned to the studio in April 2014. That’s when Black Moon Circle recorded Andromeda, their first full length album. They worked quickly and efficiently. As a result, the five songs on Andromeda were recorded in one day. Six months later, and Andromeda was ready to be released.
Black Moon Circle’s sophomore album, Andromeda, was released by Crispin Clover Records, to critical acclaim in October 2014. A great future was forecast for the Trondheim based trio. They were already hatching a plan that sounded like something from the seventies, the golden age of rock.
The Studio Jams Volume I: Yellow Nebula in the Sky.
What Black Moon Circle had in mind was a trilogy of studio jams. The first of this trilogy of albums is The Studio Jams Volume I: Yellow Nebula in the Sky. Fittingly, it features a trio tracks. One of the tracks was recorded during the first jam session in April 2013, while the other two tracks were recorded in 2014. These three tracks became The Studio Jams Volume I: Yellow Nebula in the Sky, which showcases the hugely talented Trondheim trio, Black Moon Circle.
The Studio Jams Volume I: Yellow Nebula in the Sky was Black Moon Circle’s sophomore album. It features their unique brand of psychedelic space rock with elements of electronica, experimental music and free jazz added for good measure. Seamlessly, these disparate musical genres and influences merge into something new and innovative. It’s cinematic, dramatic, futuristic, moody, rocky and as Øyvin Engan says, “intense.”
This intensity is deliberate. It comes courtesy of the three members of Black Moon Circle. They deployed layers of fuzzy guitars, spacey, lysergic synths and a mesmeric rhythm section on The Studio Jams Volume I: Yellow Nebula In The Sky. However, for their fourth album, Sea Of Clouds Black Moon Circle add two new ingredients to their successful musical formula.
Sea Of Clouds.
With The Studio Jams Volume I: Yellow Nebula In The Sky recorded, but not yet released, Black Moon Circle’s thoughts turned to their third album. This wasn’t another instalment in the Studio Jams’ series. Instead, what became Sea Of Clouds found Black Moon Circle changing direction slightly.
Having written four new tracks, the Trondheim based trio returned to the studio in June 2015. Øyvin Engan played guitar and bass, while his brother Vemund Engan added another layer of fuzzy guitars. Providing the heartbeat was drummer Per Andreas Gulbrandsen. Together they recorded flour lengthy jams in just one day, However, that wasn’t the end of the story.
A month later, during July 2015, Black Moon Circle returned to the studio. This time, keyboards keyboards were added. Øyvin Engan also added vocals to the four lengthy tracks on Sea Of Clouds. This result was a very different album to The Studio Jams Volume I: Yellow Nebula In The Sky.
Nearly nine months later, and buoyed by the critical acclaim thatThe Studio Jams Volume I: Yellow Nebula In The Sky received, Black Moon Circle released A Sea Of Clouds on 15th April 2016. Øyvin Engan describes the new album as: “prolonged jams with heavy riffage, the extensive use of effects on bass and guitar and analogue synths oscillating with echoes and delays.” This was guaranteed to win over Black Moon Circle’s over growing fan-base.
That was the case. Sea Of Clouds was the most anticipated album of space rock pioneer Black Moon Circle’s four year career. It features the Trondheim-based space rockers at their groundbreaking best, as they continue to reinvent themselves. The music on Sea Of Clouds is melodic and anthemic. It’s also hard rocking.
This is what we’ve come to expect from Black Moon Circle. Their three previous albums have featured Black Moon Circle showcasing their hard rocking brand of psychedelic, space rock. On Sea Of Clouds, Black Moon Circle revisit this sound, but combine elements of heavy metal, Krautrock, avant-garde, free jazz and post rock. Black Moon Circle have also drawn inspiration from Black Sabbath, Can, Deep Purple, Emerson, Lake and Palmer, Hawkwind, Iron Maiden, Led Zeppelin, Hawkwind, Moster, Motorpsycho, Radiohead and Yes. These disparate musical genres and influences merged into something new and innovative on Sea Of Clouds, which was a musical tour de force. The big question was, what now for Black Moon Circle.
The Studio Jams Volume 2.
Having reinvented themselves on Sea Of Clouds, critics and their ever growing and loyal fan-base wondered what direction Black Moon Circle’s would. All will become clear on The Studio Jams Volume 2.
Black Moon Circle will return to the familiar sound of The Studio Jams Volume I: Yellow Nebula In The Sky on The Studio Jams Volume 2. This means a combination “lengthy jams, heavy riffage and the extensive use of effects.” They’ve used on the “bass, guitar and analogue synths, oscillating with echoes and delays.” These effects were created by none other than “Dr. Space.” They were put to good use when Black Moon Circle entered the studio.
With work due to begin on The Studio Jams Volume 2, Black Moon Circle headed to the Nautilus Studio. This had been the scene of Black Moon Circle’s past musical glories. It was where they would record one forty-five minute track live. It’s split into two parts on The Studio Jams Volume 2. The Head a twenty-four minute epic takes up side one of The Studio Jams Volume 2. Meanwhile, on the second side, The Tail is lasts the best part of seventeen minute. These two jams are the perfect showcase for the combined and considerable talents of Black Moon Circle. Their lineup had a familiar look when recording of The Studio Jams Volume 2 began.
At the Nautilus Studi, bassist and guitarist Øyvin Engan slotted into the rhythm section alongside drummer, Per Andreas Gulbrandsen and guitarist Vemund Engan. Dr. Space himself, Scott Heller plays analogue synths on The Head and The Tail. These two tracks were produced by Black Moon Circle and would become the eagerly awaited second instalment in the Studio Jams trilogy, The Studio Jams Volume 2.
The Head opens The Studio Jams Volume 2. A bass is plucked and slapped, as a brief burst of scrabbled guitar gives way to windswept synths. Delay is added to synths and they reverberate. Soon, sci-fi sounds are added, and the beeps, squeaks and squalls signal the entrance of the rhythm section. They play slowly and deliberately, as they lock into a dark, deliberate groove. Drums crack as the dark, mesmeric bass and eerie, futuristic synths flit in and out. Soon, what sounds like a rocket takes off, adding to the cinematic sound that comes courtesy of the syths. They’re joined by a blistering rocky guitar, as effects are added as it cuts through the arrangement. By now, the arrangement is building and growing.
As the rhythm section lock into a groove, synths and guitars play leading roles. Sci-fi synths and a scorching Hendrix-inspired guitar are to the fore, in this genre-melting jam. Elements of space rock, psychedelia, progressive rock and heavy metal combine with Krautrock. Later, a guitar soars and screams, as it threatens to feedback. Meanwhile, the synths and guitars unleash myriad of otherworldly, dramatic and futuristic sounds. Still the rhythm section create a moody, pulsating backdrop. This is omnipresent, as the synths and guitars become chameleon like. Ghostly washes and an understated chiming guitar joint this magical musical mystery tour, as it meanders along. Against the pulsating backdrop, a guitar wah-wahs and shivers as a ghostly synths becomes a dramatic vortex. Later, blistering guitar solos are added, as the tempo increases and sci-fi synths are added, Together, they create an impressive sound, as Black Moon Create an atmospheric, cinematic, futuristic, lysergic in this epic genre-melting jam.
Given side one featured The Head, it seems on logical that side two would feature The Tail. Gradually, the distant arrangement grows in power and explodes into life, as Black Moon Circle kick loose. Their rhythm section and guitars drive the thunderous arrangement along. Meanwhile, sci-fi synths are unleashed as the arrangement becomes an express train. Not for long though.
It’s soon stripped bare and just the rumbling bass and occasional bursts of futuristic synths are added. A guitar threatens to cut through the arrangement, but instead, allows the bass to enjoy its moment in the sun. It proves the perfect foil for the occasional sprays of dubby, space invader synths. Soon, though the effects laden guitar returns and shimmers into the distance. Still, the hypnotic bass anchors the arrangement, as the guitar veers between cinematic to uber rocky. Drums are panned as otherworldly synths soar, beep and squeak. By now there’s a lysergic, dubby sound to the arrangement. Especially the drums, guitars and even the bass. They’re joined by futuristic synths that beeps and squeaks, as a guitar scrabbles and squeals. Later, the rhythm section, scorching guitar and sci-fi synths unite. Gradually, the drama builds and the tempo rises, as Black Moon combine to create and and carefully craft one of the finest jams of their career.
Just over a year after Black Moon Circle announced they intended to release a trilogy of albums over the next couple of years, they’ve released the second instalment in the series, The Studio Jams Volume 2. It’s the much anticipated followup to the critically acclaimed The Studio Jams Volume I: Yellow Nebula In The Sky. When I reviewed the album I said: “if the next two volumes of The Studio Jams are as good as The Studio Jams Volume I: Yellow Nebula In The Sky, then they’ll be well worth buying.” That’s definitely the case, as The Studio Jams Volume 2 is the finest album of jams from the Trondheim based psychedelic space rock pioneers. However, that’s just part of the Black Moon Circle story.
The basis for Black Moon Circle’s music is the classic rock of the sixties and seventies, psychedelia and space rock. To this, Black Moon Circle add elements of avant-garde, electronica, experimental music, free jazz, Krautrock and post rock. Seamlessly, these disparate musical genres and influences merge into something new and innovative. It’s cinematic, dramatic, futuristic, moody, rocky and as Øyvin Engan says, “intense.”
This intensity is deliberate. It comes courtesy of the four members of Black Moon Circle. They deploy layers of fuzzy guitars, spacey, lysergic, futuristic, sci-fi synths and a mesmeric rhythm section. They create two “lengthy jams” which features “heavy riffage and the extensive use of effects.” They’re used extensively on the next instalment in the Black Moon Circle story, The Studio Jams Volume 2, where Black Moon Circle reach new heights.
Black Moon Circle are, without doubt, one of the most exciting, talented and innovative Norwegian groups. Considering how rich and vibrant the Nordic music scene is, that’s high praise indeed. They remind me of their fellow countrymen, Motorpsycho and Moster! That’s not all. It sounds as of Black Moon Circle have been influenced by Can, Deep Purple, Led Zeppelin, Hawkwind, early Pink Floyd, Radiohead and Jimi Hendrix’s guitar playing. All these influences shine through on The Studio Jams Volume 2 which will be released on vinyl by Crispin Glover Records on 11th November 2016. This hard rocking opus, finds the Trondheim based psychedelic space rockers Black Moon Circle, reaching new heights, on their much-anticipated fourth album, The Studio Jams Volume 2.
BLACK MOON CIRCLE-THE STUDIO JAMS VOLUME 2.
FEELING GOOD-FUNK, SOUL AND DEEP JAZZ GEMS: THE SUPREME SOUND OF PRODUCER BOB SHAD.
FEELING GOOD-FUNK, SOUL AND DEEP JAZZ GEMS: THE SUPREME SOUND OF PRODUCER BOB SHAD.
Bob Shad was a music man. He was someone who saw the bigger picture musically. As a result, Bob Shad he was always one step ahead of the competition. So it’s no surprise that Bob Shad enjoyed a long and successful career that spanned over forty years and five decades.
Originally, Bob Shad started life as a session musician, but in the later forties moved into production. Little did he realise that this was the start of a long and successful career as a producer. Then in 1949 Bob Shad founded his first record label, Sittin’ In With. It was the first of many labels Bob Shad would go on to found.
Fifteen years later, Bob Shad founded one of his most successful record labels, Mainstream Records. Key to its success and longevity, was Bob Shad’s ability to realise that music was changing, and to stay relevant, so should Mainstream Records.
Bob Shad relaunched Mainstream Records in 1970 as a jazz label. However, the lines between what was soul and jazz were blurring. So Bob Shad decided that Mainstream Records should released a more eclectic selection of music, including soul, funk and jazz. Many tracks from this period of Mainstream Records’ history is celebrated on a forthcoming compilation, Feeling Good-Funk Soul and Deep Jazz Gems: The Supreme Sound Of Producer Bob Shad. It’s been compiled in conduction with Bob Shad’s grandchildren, Mia and Judd Apatow, and will be released by Wewantsounds 18th October 2016. Feeling Good-Funk Soul and Deep Jazz Gems: The Supreme Sound Of Producer Bob Shad is a fitting tribute to one of the great music men. His career began back in the forties.
Back then, Bob Shad was a session musician. Not for long though. Even then, Bob made it his business to know everyone within the New York music scene. He knew everyone that mattered. Whether it was Dizzy Gillespie, Charlie Parker or Coleman Hawkins, Bob knew them. There was a reason for this. Bob Shad was looking to the future.
Bob Shad didn’t want to remain a session player. The role of musical hired gun wasn’t for Bob. He had ambition and saw the bigger picture. Soon, Bob Shad was working as a producer in post-war New York. Mostly, Bob was producing R&B. This was just the next step in Bob’s game-plan.
In 1948, Bob founded his first label Sittin’ In With. He was inspired to do this because of his love of jazz. This resulted in Bob discovering the blues. With his portable tape recorder, Bob Shad headed South and taped some of the greatest names in blues music. Lightnin’ Hopkins, Memphis Slim, Big Bill Broonzy and Smokey Hogg. Having recorded one blues player, they would tell Bob about another. So he crisscrossed the South taping blues players. Mostly, these singles appeared on his own labels.
Somehow, Bob still found time to freelance. Some of the artists he discovered were released on other labels. This includes Eddie “Cleanhead” Vinson and Savannah Churchill. While these records sold in vast volumes, Bob didn’t make much money. It taught him an important lesson. That was only to release music on his own labels.
Despite founding a series of labels during the early fifties, Bob agreed to work full-time for Mercury Records. Still, Bob founded a series of labels. This included the Castle, Harlem, Jackson, Jade, Jax and Spirituals’ labels. He realised the importance of having separate labels for separate genres of music. Bob realised that when record buyers saw a label, they had to know what type of music it would release. This was the case throughout his career.
By 1958 had tired of being a company man, and decided to focus entirely on his own labels. Bob Shad founded further labels, including Shad, Time and Warner. Then in 1959, Bob founded Brent Records which for eight years, was Bob Shad’s soul label. Between April 1959 and October 1967, Brent released seventy-five singles. However, midway through this, in 1964, Bob Shad released a new label Mainstream Records.
When Bob founded Mainstream Records in 1964, it was originally a jazz label, which mainly released albums and a few singles. However, by 1965, rock was king and Bob Shad decided that Mainstream Records should release a wider range of music. This included rock. For the next five years, Mainstream Records’ new roster proved popular and profitable. That was until 1970, that was no longer the case. So Bob decided to relaunch Mainstream Records.
The newly relaunched Mainstream Records would feature a newly designed label and would release just jazz. Mostly, Bob intended to return to releasing mostly albums, with the occasional single. However, Bob had a criteria for the albums he was willing to release. He was going to only release what he saw as traditional jazz albums. Bob didn’t want to release albums where synths and electronics featured. This was unrealistic given that fusion’s popularity was on the rise. So it wasn’t surprising that this new policy didn’t last long, and Mainstream Records began to release soul and jazz.
This was no surprise. By then, the there had been a blurring of the lines between what was soul and jazz. Even critics and record buyers were confused. However, this blurring of the lines resulted in Mainstream Records’ musical policy changing, and the label releasing a much wider selection of music. Suddenly, Mainstream Records were releasing singles and albums by Alice Clark, Afrique, Art Farmer, Barry Miles, Blue Mitchell, Carmen McRae, Clark Terry, Ellerine Harding, Hadley Caliman, Sarah Vaughan and Shelly Manne. They’re among the fifteen tracks on Wewantsounds forthcoming compilation, Feeling Good-Funk Soul and Deep Jazz Gems: The Supreme Sound Of Producer Bob Shad. They were released after the relaunch of Mainstream Records in 1970.
Opening Feeling Good-Funk Soul and Deep Jazz Gems: The Supreme Sound Of Producer Bob Shad, is House Of The Rising Funk from Afrique. They were a Los Angeles’ based studio band, that featured some of the city’s top session players. Afrique went into the studio and recorded their debut album Soul Makossa. When it was released in 1973, House Of The Rising Funk was chosen as the lead single. It features the combined talents of guitarists Arthur Wright and David T. Walker. Both break out their wah-wah pedals, in an uber funky, pulsating and cinematic track. Later, House Of The Rising Funk later became a favourite of sample hungry hip hop producers and DJs. No wonder, as it’s a funk classic.
Bob Shad signed trumpeter Blue Mitchell to Mainstream Records in 1971. By then, Blue Mitchell had released a dozen solo albums and had collaborated with some of the biggest names in jazz. That was the past though. Two years had passed since Blue Mitchell had released an album in 1969. However, Bob Shad believed in the veteran trumpeter, and signed him to Mainstream Records. This would become home for Blue Mitchell until 1974. The first of these albums was entitled Blue Mitchell. One of the highlights of this hidden gem of an album is Soul Village. It finds Blue Mitchell roll back the years, as this slow burner heads in the direction of fusion. In doing so, Blue Mitchell ensured his music stays relevant.
When Sarah Vaughan signed to Bob Shad’s Mainstream Records, she had released around fifty albums. However, Sarah Vaughan’s albums weren’t selling in the vast quantities that they once had. Despite this, Bob Shad decided to sign his old friend. He produced A Time In My Life, which was released later in 1971. One of the highlights of the album, was Magical Connection, a beautiful, heartfelt ballad where soul-jazz meets vocal jazz.
By 1972, jazz trumpeter and flugelhorn player Art Farmer had spent the best part of thirty years recording for various record labels. He had signed to Bob Shad’s Mainstream Records in 1971, and later that year, Homecoming became his Mainstream Records’ debut. Less than a year later, Gentle Eyes was released in 1972. One of the highlights was Soulsides, a meandering, dreamy and orchestrated slice of jazz funk. It’s a beautiful and captivating track that’s a reminder of the late, great Art Farmer.
When American jazz drummer Shelly Manne was thirty-two, he signed to Mainstream Records. The one and only album he released for Bob Shad’s label was Mannekind in 1972. One of the standout tracks was Mask. It’s another track that would become a favourite of sample hungry hip hop producers looking for ‘beats.’ No wonder. Shelly Manne was a talented and versatile drummer. He was also a musician who sought to reinvent himself. This he does on this smouldering version of Mask, where elements of funk and fusion are combined by the Shelly Manne and his band.
Alice Clark is without doubt, the greatest soul singer you’ve never heard. That might sound like a big statement, but one listen to Never Did I Stop Loving You and you’ll realise that this is no exaggeration. It’s a track from Alice Clark’s 1972 eponymous album. It features at impassioned and soul-baring vocal, where Alice Clark combines power, passion and emotion.
When Buddy Terry signed to Mainstream Records in 1971, he had only released two album. Soon, two became three, when he released Awareness, later that year. It featured the Stanley Cowell penned Abscretions, proved the perfect way to close the album. Buddy Terry and his talented and versatile band, take the listener on a magical mystery tour where elements of jazz, funk and fusion are combined. There’s even a brief excursion into free jazz during Abscretions, which is an ambitious and innovative, genre-melting track.
Maxine Weldon was another of the soul divas that Bob Shad signed to Mainstream Records . She went on to record two albums with members of The Jazz Crusaders. One of these albums was Right On, which was released in 1971. One of the highlights of the album is the title-track, Right On. It features Maxine Weldon delivering a vocal that veers between power and soulful to sassy and theatrical. She lives the lyrics, while her band combine funk, soul and jazz. Alas, neither of the albums Maxine Weldon released on Mainstream Records were a commercial success. However, three years later in 1974, Maxine Weldon’s third album Some Singin’ became her best-selling album when it reached number forty-eight in the US R&B charts.
Having signed to Mainstream Records in 1971, pianist Barry Miles released his third album White Heat later that year. It was followed up in 1972, with Scatbird. Just like White Heat, Scatbird was another album of fusion. Opening the album was Scatbird, which found the small but tight and talented band giving one of their finest performances. It’s features a mixtures past and present. A scatted vocal sits above the slow arrangement, as funk gives way to fusion. From there Barry Miles showcase their considerable skills and whet the listener’s appetite for what was about to unfold.
Jazz guitarist Jack Wilkins was twenty-nine when he signed to Mainstream Records in 1973. By then, he had played with some of the biggest names in jazz. However, there was still one thing Jack Wilkins had still to do…record an album. So producer Bob Shad took Jack Wilkins and his small band into the studio. Later in 1973, Jack Wilkins released his debut album Windows. It featured Red Clay, which features Jack Wilkins at his best. Effortlessly, he plays with fluidity and speed on Red Clay, which is a welcome addition to Feeling Good-Funk Soul and Deep Jazz Gems: The Supreme Sound Of Producer Bob Shad.
When Clark Terry recorded his 1966 album Rum and Mumbles, he was no stranger to a recording studio. His recording career began in the fifties. The bandleader, composer and jazz trumpeter had also worked with some of the biggest names in jazz, including Billie Holliday and Ella Fitzgerald, and influenced Miles Davis. So it was no surprise that Bob Shad signed Clark Terry in 1966. Later that year, he released the album Mumbles. One of the highlights was Rum and Mumbles, a delicious fusion of jazz and Latin music.
There are many artists who only ever release one album. This includes Alice Clark and Ellerine Harding. Her only album was Ellerine, which was released in 1972. It features the beautiful, needy and soulful ballad I Ain’t Got Much. It’s without doubt, one of the highlights of Feeling Good-Funk Soul and Deep Jazz Gems: The Supreme Sound Of Producer Bob Shad.
Blue Mitchell is the only artist to feature twice on Feeling Good-Funk Soul and Deep Jazz Gems: The Supreme Sound Of Producer Bob Shad. His second contribution is Granite and Concrete, a Hadley Caliman composition. In Blue Mitchell’s hands, it becomes a glorious slice of smouldering jazz funk.
1971 was the year that flautist Hadley Caliman signed to Mainstream Records, and released his much-anticipated, eponymous debut solo album. Just a year later, in 1972, Hadley Caliman returned with his sophomore albim Iapetus. It featured Quadrivium, where Hadley Caliman’s flute takes centre-stage in this ruminative, compelling and beautiful fusion of musical genres and influences. It’s the perfect introduction to one of jazz music’s best kept secrets, Hadley Caliman.
Closing Feeling Good-Funk Soul and Deep Jazz Gems: The Supreme Sound Of Producer Bob Shad is Carmen McRae’s Feeing Good. It’s a track from Haven’t We Met?, which was the first album Carmen McRae released for Mainstream Records. By then, she was an experienced recording artist, who had released over twenty albums since 1953. Carmen McRae puts all her years of experience to good use on Feeling Good, as she breathes life and meaning to the lyrics. This is a welcome reminder of the quality of music that Bob Shad’s Mainstream Records constantly released.
That was the case throughout the fourteen year history of Mainstream Records. It was founded by Bob Shad in 1964, and closed its doors in 1978. During that fourteen year period, Bob Shad ensured that Mainstream Records remained relevant.
Music was constantly changing between 1964 and 1978. Bob Shad saw this happening, and unlike many independent labels, ensured that Mainstream Records changed direction. Especially as the sixties gave way to the seventies. By then, the lines between what was soul and jazz were blurring. Bob Shad decided that Mainstream Records should released a more eclectic selection of music, including soul, funk and jazz.
So Bob Shad relaunched Mainstream Records in 1971.His ability to see the bigger picture, ensured that the Mainstream Records’ success story continued. Meanwhile, some of his competitors were shutting their doors. Not Bob Shad.
He continued to rejuvenate the career of artists whose careers had stalled, and launch the career of the artists. With his help, older artists reinvented themselves, while new artists released new and innovative music. This includes Afrique, Hadley Caliman and Jack Wilkins. That’s not forgetting soul divas Maxine Weldon, Ellerine Harding and Alice Clark. She was one of Bob Shad’s greatest discoveries, and a singer that should’ve gone on to enjoy a long and successful career. Alas, that wasn’t to be. However, Bob Shad ensured that Alice Clark and many other artists, had the chance of fulfilling their potential and enjoining commercial success and critical acclaim.
To do this, Bob Shad didn’t hesitate to employ top quality songwriters, musicians, arrangers and producers. Especially when he believed in an artist. In such cases, he brought onboard arrangers like Wade Marcus and Gene Page. Sadly, often the singles and albums Mainstream Records released, didn’t enjoy the commercial success they deserved. Part of the problem was, that Mainstream Records was a small fish in a big pond.
Major labels, and independent labels funded by majors had much bigger budgets, to promote and distribute their releases. Bob Shad was fighting a losing battle. Still, he continued his search for talented artists that might bring Mainstream Records that elusive hit single, during a period that soul music was enjoying a resurgence in popularity.
Since the early seventies, Hi and Stax in Memphis, and Philadelphia International Records were enjoying commercial success and critical acclaim. Sadly, Mainstream Records didn’t make the leap and join them at soul’s top table. That’s despite releasing music that’s timeless, and has stood the test of time.
Sadly, that music never found the winder audience it deserved. Unlike Hi, Stax and Philadelphia International Records there were neither number ones nor million sellers. Instead, the Mainstream Records’ story is a case of what might have been. The label that had been relaunched in 1970, closed its doors in 1978.
By the time Tamara Shad relaunched Mainstream Records in the early nineties, Bob Shad had passed away on March 13th 1985. Bob Shad was just sixty-five, but had enjoyed a long and successful career. He had founded numerous labels, including Mainstream Records in 1964.
Fifty-two years later, and the music Mainstream Records released between 1964 and 1978 is beginning to find a wider audience. Everyone from sample hungry hip hop DJs, to DJs and compilers have dipped into Mainstream Records’ illustrious back-catalogue. Recent compilations of music released by Mainstream Records have been introducing record buyers to the music of Bob Shad’s most famous label. So will Feeling Good-Funk Soul and Deep Jazz Gems: The Supreme Sound Of Producer Bob Shad. It’s been compiled in conduction with Bob Shad’s grandchildren, Mia and Judd Apatow, and will be released by Wewantsounds 18th October 2016. Feeling Good-Funk Soul and Deep Jazz Gems: The Supreme Sound Of Producer Bob Shad is a celebration of the life of a music man, Bob Shad, who for over forty years, and five decades, always saw the bigger picture musically, and was one step ahead of the competition, in an ever-changing music industry.
FEELING GOOD-FUNK, SOUL AND DEEP JAZZ GEMS: THE SUPREME SOUND OF PRODUCER BOB SHAD.
THREE MAN ARMY-THREE MAN ARMY AND THREE MAN ARMY TWO.
THREE MAN ARMY-THREE MAN ARMY AND THREE MAN ARMY TWO.
All too often, a truly talented group fails to find the audience their music deserves.As a result, the band only releases a few albums, which are cherished by discerning record buyers. That was the case with Three Man Army, which was founded by brothers Adrian and Paul Gurvitz in 1971. Their new group released just a trio of albums between 1971 and 1974.
Later in 1971, Three Man Army released their debut album, A Third Af A Lifetime in 1971. It was followed by Three Man Army in 1973, and 1974s Three Man Army Two. Sadly, this proved to be Three Man Army’s swan-song. A fourth Three Man Army was planned but was never recorded. Instead, the band split-up.
Forty-two years after Three Man Army released their final album, BGO Records have reissued a digitally remeasured versions of Three Man Army and Three Man Army Two on one CD. This reissue is a reminder of a British rock group, who should’ve reached greater heights, Three Man Army. Their roots can be traced to 1968.
That was when Adrian Gurvitz joined his brother Paul’s group, The Gun. The group had been founded in 1966, and was originally called The Knack. However, in 1967 The Knack changed its name to The Gun. This wasn’t the only change that was about to be made.
Soon, The Gun downsized to a trio, featuring drummer Louie Farrell, bassist Paul Gurvitz and Adrian Gurvitz on lead guitar and vocals. The change in name resulted in a change in fortune for The Gun.
Theu signed to CBS Records in early 1968, and soon, began work on their eponymous debut album. Once it was complete, The Gun was ready for release. It featured The Gun’s best known song, Race With The Devil.
In October 1968, Race With The Devil was released a single. It reached number ten in Britain, thirty-five reached in Australia and number one in several European countries. For the followup, CBS Records chose Drives You Mad, which wasn’t on The Gun. This non album track was released as a single in 1969, but it didn’t enjoy the same commercial success as Race With The Devil. Despite this, they sent The Gun back into the studio in 1969.
The Gun recorded ten songs which became their sophomore album, Gun Sight. It was released in 1969. So was the lead single from Gun Sight, Hobo. Alas, neither Gun Sight nor Hobo, enjoyed same commercial success as Race With The Devil. For The Gun, this was a huge disappointment. Their last two singles had failed commercially. Surely, two wouldn’t become three?
When it came to releasing a followup to Hobo, CBS Records decided to release a non album chart, and settled on Runnin’ Wild. It was released later in 1969, but failed commercially. Two had become three, and time was running out for The Gun.
They released their final single Long Hair Wild Man in 1970. It was a familiar story, with single failing to trouble the charts. Record buyers within the underground counter culture failed to connect with, or identify with The Gun. Their music passed record buyers by. However, Jimi Hendrix knew who The Gun were.
At the Isle of Wight Festival in June 1969, Jimi Hendrix played a riff from Race With The Devil. This was a huge compliment to The Gun. Alas, they were about to become part of musical history. The Gun disbanded, and the brothers Gurvitz spent a while working on separate projects.
After The Gun disbanded, Adrian Gurvitz began work on what was meant to be his debut solo album. Eventually, though, the album became Three Man Army’s 1971 debut album, A Third Af A Lifetime. Before that, Buddy Miles was asked Adrian Gurvitz to join The Buddy Miles Express, on their US tour.
Having agreed to join The Buddy Miles Express, Adrian Gurvitz spent the best part of two years touring. Night after night, they played to huge audiences. Some nights, 50,000 came along to see The Buddy Miles Express. For Adrian Gurvitz this was the perfect showcase for his considerable skills as a guitarist. However, after two years on the road, the tour was over. What now for Adrian Gurvitz?
Back home in Britain, Adrian Gurvitz was reunited with his brother Paul. They decided to form a new band, which they called Three Man Army.
A Third Af A Lifetime.
Having formed Three Man Army, Adrian and Paul Gurvitz began work on their debut album, A Third Af A Lifetime. This was the album that Adrian had been working on, before he headed out on tour with The Buddy Miles Express.
For A Third Af A Lifetime, Adrian Gurvitz wrote eight of the ten songs as Adrian Curtis. (Curtis was Adrian’s middle name, and the name he used until later in his career). Adrian penned Another Day, A Third Af A Lifetime, Nice One, Three Man Army, Agent Man, See What I Took, Midnight and Together. He also cowrote Butter Queen with Keith Ellis and Daze with Lou Reizner. Even then, Adrian was the creative force behind Three Man Army. He wrote the album, and when the album was recorded, would dawn the role of lead vocalist and lead guitarist.
With ten new songs penned, Three Man Army headed into the studio with producer Lou Reizner. There was only one problem, the Three Man Army didn’t have a permanent drummer. Spooky Tooth’s Mike Kelly was drafted in and played on nine tracks. He joined bassist Paul Gurvitz in the rhythm section. Meanwhile, Adrian laid down the guitar parts and sang the lead vocals. However, Three Man Army found themselves without a drummer to record Butter Queen. Fortunately, Buddy Miles was in Britain, and Adrian asked him if he could lay down the drum parts on Butter Queen. Not only did Buddy Miles do that, he also added bass on Nice One and organ Midnight. These were the finishing touches to A Third Af A Lifetime. It was released later in 1971.
Before that, critics had their say on A Third Af A Lifetime. It was well received by critics, who regarded the album as a minor hard rocking classic, where classic rock and blues was fused with hard rock. Three Man Army was carrying on the tradition of sixties power trios, and doing so with style and aplomb.However, would Three Man Army’s debut album find favour with record buyers?
When A Third Af A Lifetime was released by Pegasus later in 1971, Three Man Army’s debut album failed to find an audience. For the Gurvitz brothers, and especially Adrian who creatively, was the group’s driving force, this was a huge disappointment. They could only hope that Three Man Army’s luck would change next time around.
Three Man Army.
Three Man Army’s luck changed when met drummer Tony Newman. He was a veteran of numerous groups, including the Rod Stewart Group and Sounds Incorporated. While they were quite different stylistically to Three Man Army, Tony Newman was a talented and versatile drummer. From the first time the Gurvitz brothers heard him play, they realised that he was the missing link in Three Man Army.
Now that Three Man Army’s lineup was complete, work could begin on their sophomore album. The album would be Three Man Army’s debut for their new record companies. Three Man Army had recently signed recording contracts with Polydor in Britain and Reprise Records in America. With the commercial and marketing might of two of the biggest record companies in Britain and America, things were looking up for Three Man Army. All they had to do was write and record their sophomore album.
Just like A Third Af A Lifetime, Adrian Gurvitz wrote most of their sophomore album, including Come On Down To Earth, Take Me Down From The Mountain and Can’t Leave The Summer, Parts 1 & 2. He teamed up with Lee Baxter Hayes Jr to write Take A Look At The Light. However, the addition of new drummer Tony Newman resulted in the formation of a new songwriting partnership.
When Tony Newman joined Three Man Army, it soon became clear that he wasn’t just a talented and versatile drummer, but someone who would become Adrian Gurvitz’s new songwriter also partner.Together, they cowrote Hold On, Woman, Mahesha and Trip. The other track on Three Man Army was a cover of Jack Yellen and Lew Pollack’s My Yiddishe Mama. These songs were recorded at Morgan Studio, in London.
Recording of Three Man Army took place during April of 1972. The new lineup of Three Man Army band had spent time honing their sound, and were ready to record their sophomore album. Producer Lou Reizner returned, but this time round, co-produced the album with Three Man Army. Their lineup featured drummer Tony Newman, bassist Paul Gurvitz and lead vocalist and guitarist Adrian Gurvitz, who also played organ. They recorded nine songs during April of 1972, and they would eventually become Three Man Army.
There was time lag between Three Man Army completing their sophomore album, and its eventual released in 1973. In Britain, the album was released as Mahesha. Across the Atlantic, the album was released as Three Man Army. What critics on both sides of the Atlantic agreed on, was the quality of the music.
Critics were won over by a soulful album of melodic, memorable and hard rocking music. Comparisons were drawn to Deep Purple, Black Sabbath and Led Zeppelin. Some critics saw Three Man Army as the natural successor to Cream. Especially given the consistency and quality of music on Three Man Army. Songs like the hard rocking Hold On and the anthemic Come On Down To Earth caught the attention of critics. So did Woman which features Three Man Army at their most melodic and soulful. Can’t Leave The Summer Parts 1 and 2 closed the album, and proved the perfect showcase for Three Man Army’s considerable talents and versatility. Especially vocalist and guitar virtuoso Adrian Gurvitz. He was the band’s shining light, and played a huge part in an an album that was hailed as minor classic by certain critics. However, they had said the same about A Third Af A Lifetime, and it had failed commercially.
History repeated itself when Three Man Army was released in 1973. The album failed to chart in America, and didn’t find the audience it so richly deserved. Despite the disappointment this caused, Three Man Army regrouped and began work on their third album.
Three Man Army Two.
Despite the disappointment of Three Man Army’s commercial failure, the band were determined to move forward. So Adrian Gurvitz began writing Three Man Army’s third album. He wrote Today, Flying, Space Is The Place. This time around, Adrian and Tony Newman cowrote just the one track, Irving. The pair joined with Paul Gurvitz to write Burning Angel. Adrian also renewed his songwriting partnership with Lee Baxter Hayes, and the pair penned Polecat Woman, I Can’t Make The Blind See and In My Eyes. These songs were recorded at Ramport Studios, in Battersea, London and would become Three Man Army Two.
When recording of Three Man Army Two began, there had been a number of changes made. There was no sign of producer Lou Reizner. He had produced A Third Af A Lifetime and co-produced Three Man Army with the band. For Three Man Army Two. Three Man Army and Cyrano co-produced the album. It featured Three Man Army and a few friends.
Just like Three Man Army, the lineup remained the same. Drummer and percussionist Tony Newman was joined in the rhythm section by Paul Gurvitz who also added acoustic guitar. Meanwhile, Adrian Gurvitz played lead guitar, slide guitar, organ and added lead vocals. Peter Robinson played piano on Space Is The Place and I Can’t Make The Blind See. It also featured backing vocals from Doris Troy, Ruby James and Madeline Bell. With a little help from their friends, Three Man Army recorded what became Three Man Army Two.
Casting around for a title, Three Man Army decided to call the album Three Man Army Two. Their reasoning, was that this was the second album from this lineup of the band. The album was delivered to Warners, who would release the album on Polydor in Britain and Reprise Records in America. Before that, critics had their say on Three Man Army Two.
Just like their two previous albums, Three Man Army Two caught the imagination of critics. They were won over by the opening track Polecat Woman, which was heralded as one of Three Man Army’s finest hours. This was designed to whet the listen’s appetite as, Three Man Army Two unfolded.
Today is rocky ballad Today, where elements of blues and psychedelia shine through. Then on Flying, Three Man Army kick loose, on this melodic rocky anthem. It gives way to Space Is The Place an orchestral ballad that references Pink Floyd. Irving is a blistering slice of heavy rock, while I Can’t Make The Blind See is an orchestral power ballad. Burning Angel finds Three Man Army seemingly pay homage to Led Zeppelin. In My Eyes is a blues rocker where Three Man Army bid the audience farewell on Three Man Army Two. Little did they realise it would be for good.
When Three Man Army Two was released in 1974, the album failed commercially. Just like their two previous albums, Three Man Army Two and its fusion of blues, psychedelia and rock passed record buyers by. Three Man Army were out of luck. Despite that, they planned to record a fourth album.
That didn’t come to pass. Instead, Tony Newman got the chance to join David Bowie’s band. This was too good an opportunity to turn down. Three Man Army were to square one, and without a drummer.
Before the search for a new drummer began, Adrian and Paul Gurvitze joined with Ginger Baker the Baker Gurvitz Army. They released a trio of studio albums between 1974 and 1976. The formation of Baker Gurvitz Army spelled the end of Three Man Army.
Unlike many seventies rock groups, Three Man Army never reunited. Even when interest in their music began to grow. Three Man Army now have a cult following, who have discovered and appreciate Three Man Army’s three albums. They regard each of these albums as cult classics. That’s the case. Especially Three Man Army and Three Man Army Two which have been digitally remeasured and reissued on one CD by BGO Records. This is the perfect opportunity to discover, or rediscover one of British rock music’s best kept secrets, Three Man Army, who could’ve, and should’ve, become one of the giants of seventies rock.
THREE MAN ARMY-THREE MAN ARMY AND THREE MAN ARMY TWO.
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