JOHN MILES-MORE THAN MUSIC.
JOHN MILES-MORE THAN MUSIC.
Forty years ago in 1976, John Miles released his most successful single Music. Since then, every time John Miles’ name comes up in conversation, Music is mentioned. That must be frustrating for the English singer-songwriter. That must be frustrating for John Miles, who released ten albums between 1976 and 1999. This is a reminder that there’s much more to John Miles than Music. That’s what John Miles has spent over forty years making.
John Miles was born in Jarrow, in County Durham, England on 23rd April 1949. Growing up, music played a big part in John Miles’ life. While still at Jarrow Grammar School, John joined a local band, The Influence.
Three of the members of The Influence were keyboardist John Miles, drummer Paul Thompson and guitarist Vic Malcolm. Incredibly, they all went on to become successful musicians. Paul Thompson became Roxy Music drummer, while Vic Malcolm became Geordie’s lead guitarist. That was still to come.
In 1969, The Influence released a single on Orange Records, I Want To Live. This was just the start of what would be a long, and eventually successful recording career. Not with The Influence though.They disbanded not long after the release of I Want To Live.
Following his spell with The Influence, John Miles founded The John Miles Set, which featured bassist Bob Marshall. He and John would later form a successful songwriting partnership. That was in the future. Before that, The John Miles Set began to play the club circuit. However, in 1970, John decided to combine a solo career with playing with The John Miles Set.
This was a big step for John Miles. He was still only twenty-one. Already though, people were taking notice of John Miles. This included the owners of Orange Records who had released The Influence’s single. They released Why Don’t You Love Me?, John’s debut solo single in September 1970. While it failed commercially, John was attracting the attention of Decca Records.
They offered John Miles a recording deal for one single. It was akin to an audition, and also allowed Decca Records to test the waters. Josie was released on 7th July 1971. Alas, the single failed to trouble the charts and John was soon looking for a new record company.
Fortunately, Orange Records had just changed hands, and new owner Cliff Cooper was looking to add new artists to his roster. John Miles fitted the bill. Orange Records sent John into the studio, and he recorded Come Away Melinda. It was released as a single in February 1972. Just over a month later, Yesterday (Was Just The Beginning) was released in March 1972. Despite neither single sold in vast quantities, Orange Records kept their faith in John Miles.
Meanwhile, The John Miles Set featured on the British talent show Opportunity Knocks. They won their heat, and found themselves in the All Winner’s Show. For John Miles, this was a boost to his solo carer.
An even bigger boost to John Miles solo career during 1972, was getting the opportunity to support Roy Orbison at the Royal Albert Hall, in London. Gradually, people were beginning to know the name John Miles.
Orange Records continued to keep faith in John Miles. He released a trio of singles during 2013. This included Hard Road in March 1973, Jacqueline in May 1973 and One Minute Every Hour in August 1973. Still, though, commercial success eluded John Miles.
It was a similar story in 1974. Fright Of My Life was released in January 1974, but failed commercially. That was all that was heard of John Miles until he released What’s On Your Mind in November 1974. While it didn’t trouble the charts, John was improving as a singer and songwriter. His songwriting partnership with Bob Marshall was beginning to bear fruit. Similarly, over the last three years John’s band, which featured bassist Bob Marshall and drummer Barry Black, John Miles had matured and evolved into a tight, talented band. Maybe John’s luck would begin to change?
That was the case in 1975. As the year progressed, record companies began to take an interest in John Miles. Both EMI and Decca Records were vying for John’s signature. This was a huge decision for the twenty-six year old. Eventually, though, John decided that Decca Records who were looking to add to their contemporary pop roster, offered more of an opportunity.
By then, Decca Records’ pop roster had become stale, with Tom Jones and Englebert Humpererdinck looking like yesterday’s men. Decca Records was desperately seeking a transfusion of new talent. That was where John Miles came in. He was seen as part of Decca Records’ future. So, after opening for The Ohio Players at the Hammersmith Odeon, John and representative of Decca Records signed a recording contract.
Rebel.
With John Miles signed to Decca Records, the label decided to pair their latest signing, with one of Britain’s top producers, Alan Parsons. He had worked with Pink Floyd on their Magnus Opus, Dark Side Of The Moon in 1973. Since then, he had worked with some of the biggest names in music. So it was a something of a coup that he agreed to produce John Miles new single.
The song they chose Highfly, which in Alan Parsons’ hands, took on an art rock sound. It was released on September 1975, and eventually, reached seventeen in the UK charts and sixty-eight in the US Billboard 200. Exactly five years after he released his debut solo single, John Miles had his first hit single.
After the success of Highfly, John Miles would complete recording of his debut album. It featured nine songs, including six penned by John and Bob Marshall. The exceptions were Music, Lady of My Life and Music (Reprise) which John wrote. They were recorded at Abbey Road Studios.
During November and December John Miles and his band headed to Abbey Road Studios in November 1975. Drummer and percussionist Barry Black and bassist Bob Marshall accompanied John. He added lead vocals, and played keyboards, guitar and synths. Andrew Powell took charge of the orchestral arrangements and Alan Parsons produced, what would become Rebel.
As 1975 gave way to 1976, Decca Records began to think about what should be the lead single from Rebel. The song they chose was Music, a near six minute epic. It was released in March 1976 and reached the upper reaches of the charts across Europe. Music reached number three in the UK; number four in Holland; number number one in Switzerland and eighty-eight in the US Billboard 100. Later, Music won John Miles an Ivor Novello award for Best Middle-Of-The-Road Song. Before that, Rebel was released.
Critical acclaim accompanied the release of Rebel, which was hailed as an album of carefully crafted pop songs. Music may have been the standout track, but there was much more to the album, including the John Miles and Bob Marshall penned You Have it All, When You Lose Someone So Young and Lady Of My. They had matured into a talented songwriting team, while John brought each of the songs to life. It was no surprise that when Rebel was released later in March 1976, it reached number nine in the UK and 171 in the US Billboard 200. Elsewhere, Rebel reached the top twenty in Holland and Germany, and the top thirty in Sweden. For John this the perfect way to begin The Decca Years.
After the release of Rebel, John Miles embarked upon a lengthy tour. It marked the debut of Australian keyboardist Gary Moberley. John had brought him onboard to augment the band’s sound. He would make his recording debut in the summer of 1976, when Stranger In The City was recorded.
Stranger In The City.
During the summer of 1976, John Miles was touring, supporting both Jethro Tull and the Rolling Stones. Despite what was a gruelling touring schedule, John Miles still found time to begin work on his sophomore album, Stranger In The City.
This time around, the eight of the nine songs on Stranger In The City were penned by John Miles and and Bob Marshall. The exception was Barry Black penned Do It Anyway. Recording of Stranger In The City began in the summer of 1976.
Despite the success of Rebel, Alan Parsons didn’t return to produce Stranger In The City. Instead, singer-songwriter Rupert Holmes took charge of producing John Miles’ newly expanded band. Recording took place at Mediasound in New York and Utopia Studios in London. That was where the newly expanded lineup of the band got to work.
Drummer Barry Black and bassist Bob Marshall were joined by keyboardist Gary Moberley. John added lead vocals, and played piano and guitar. However, the album wasn’t completed during the summer of 1976. So John and his band returned in October 1976, before heading off on their European tour.
In January 1977, Manhattan Skyline was released as the lead single from Stranger In The City. It failed to chart on either side of the Atlantic. For John Miles and everyone at Decca Records, this was a worrying time. However, in February 1977, Stranger In The City was released.
Reviews of Stranger In The City had been mostly positive. The occasional critic wasn’t convinced that Stranger In The City was as cohesive an album as Rebel. It was a much more eclectic album, with everything from pop to blue eyed soul, funk, rock and soul. Slow Down even married rock and funk with disco. Now that critics had cast their vote on Stranger In The City, the album was released.
When Stranger In The City in February 1977, the album reached just thirty-seven in the UK. However, in America, Stranger In The City proved much more popular, reaching ninety-three in the US Billboard 200. Elsewhere, the album reached the top twenty in Norway and Sweden. That, however, wasn’t the end of the commercial success.
Slow Down was released as a single in May 1977. It reached number ten in the UK and thirty-four in the US Billboard 200. Given its dance-floor friendly sound, Slow Down gave John Miles a hit in the US Dance Music charts, when it reached number two. The John Miles’ success story continued apace.
Clive Davis at Arista Records was watching events unfold. He had an unrivalled reputation as a talent spotter, and wanted John Miles on Arista Records’ roster. This he soon discovered, would come at a price. That price was in the region of $500,000. Undeterred, Clive Davis wrote the cheque, and John Miles was now signed to Arista Records in America. Back home in Britain, The Decca Years continued.
Zaragon.
Following the release of Stranger In The City, John Miles spent much 1977 touring the album. Then in October 1977, John began to record his much-anticipated third album, Zaragon.
For Zaragon, the John Miles and Bob Marshall songwriting team wrote seven new songs. This included the eight minute epic Plain Jane, and the three part suite Nice Man Jack. These seven songs were recorded by John’s original band with Rupert Holmes again taking charge of production.
When recording began in October 1977, there was no sign of keyboardist Gary Moberley. He had left the band. This left just drummer Barry Black and bassist Bob Marshall. John added lead vocals, and played keyboards, synths and guitar. This time, it was decided that there should be no orchestral arrangements.
John Miles wanted to be able to replicate the songs live. Just like many progressive rock groups, including Emerson, Lake and Palmer, John had discovered the more complicated the arrangement, the harder it is to replicate live. It seemed John had learned his lesson after two years of trying to replicate the arrangements on Rebel and Stranger In The City. That may not have been the only reason.
Music was changing, with punk, post punk and disco among the most popular musical genres So were people’s opinions on orchestral arrangements. Many critics and record industry insiders thought that albums with orchestral arrangements were yesterday’s sound. For John Miles, he was moving towards rock epics, like Overture, which lasted nine minutes. Keyboards and synths were to the fore, and replaced the lush, orchestral arrangements of previous albums. Over the course of three months, John Miles had reinvented himself. The reinvention of John Miles was complete in December 1977, when Zaragon was handed over to Decca Records.
With Zaragon complete, John Miles was preparing for his next tour. He felt he needed another keyboardist to augment the band. The man he turned to was Brian Chatton, who would head out on tour with John Miles in March 1978. Before that, the lead single from Zaragon was released.
No Hard Feelings, a beautiful piano based was chosen. It was released in late February 1978, but failed to chart. This didn’t bode well for the release of Zaragon.
At least Zaragon was well received by most critics. This mixture of the occasional ballad and rock epics proved to be a popular and potent combination. Especially songs like Overture, I Have Never Been in Love Before, No Hard Feelings and Zaragon. They were among the highlights of Zaragon, which was released in March 1978.
Zaragon was released in UK on Decca Records, and reached forty-three. This was regarded as a success given how music had changed over the last year or so. Elsewhere, Zaragon reached number three in Norway and Sweden. John had built up a loyal following after years of constantly touring Europe. One place where John wanted his commercial success to continue was America.
In America, Zaragon was John Miles’ debut for Arista Records. John was hoping that Zaragon would get his career with Arista Records to a successful start. Especially since Clive Davis had spent $500,000 it took to buy John Miles out of his American recording contract. The pressure was on and John wanted to justify the $500,000 price tag.
Alas, John was out of luck, and Zaragon reached just 210 in the US Billboard 200. It was John’s first album not to chart in America. For John this was a bitter blow. All was not lost though.
Maybe though, a performance on British television and radio would help sales of Zaragon?
BBC In Concert (March 1978).
Back home in Britain, one of the BBC’s most popular music shows on television and radio was Sight and Sound In Concert. It allowed an artist to be heard by a vast audience. Many of them had a voracious appetite when it came to buying albums. A good performance on Sight and Sound In Concert, would given Zaragon and the rest of John Miles’ back-catalogue.
So on 11th March 1978, John Miles and his band headed to Queen Margaret’s College, London. Drummer Barry Black and bassist Bob Marshall were joined by keyboardist Brian Chatton. Lead by John, they worked their way through a ten song set.
Opening with Nice Man Jack from Zaragon, John Miles returned to Stranger In The City, for Music Man. Then it was a return to Zaragon, for Plain Jane, Overture, Zaragon and No Hard Feelings. Having showcased Zaragon, John returned to his sophomore album Stranger In The City. Stand Up (and Give Me A Reason gave way to Stranger In The City. With just two songs to go, John returned to Zaragon and played Borderline, before closing the show with Slow Down from Stranger In The City. One song was missing, from what had been another accomplished and polished performance from John…Music. What John would given for another song like Music, for his fourth album for Decca Records, MMPH-More Miles Per Hour.
MMPH-More Miles Per Hour.
John Miles’ decision to eschew orchestral arrangements on Zaragon had backfired. It was time to rethink his future musical direction. Maybe it was time for John to return to what had become his trademark sound. That wasn’t the other decision that he would have to make; did Rupert Holmes have a future as John’s producer.
Rupert Holmes had neither built on, nor replicated the success of the Alan Parsons’ produced Rebel. Maybe he should’ve cautioned John Miles about changing direction on Zaragon? What was clear, that neither Stranger In The City nor Zaragon, replicated the quality nor commercial success of Rebel. So a decision was made to bring Alan Parsons back to produce MMPH-More Miles Per Hour.
With Alan Parson back onboard, Andrew Powell returned to take charge of the orchestral arrangements on MMPH-More Miles Per Hour. It comprised eight songs penned by John Miles and Bob Marshall. Recording began in November 1978, at Super Bear Studios, near Nice, in France. That was where John Miles and his band began work. It featured drummer Barry Black and bassist Bob Marshall were joined by keyboardist Brian Chatton. The recording of MMPH-More Miles Per Hour was completed at Union Studios, in Munich, Germany. January 1979. Now John’s thought’s turned to the release of his fourth album.
Just three months later, MMPH-More Miles Per Hour was released in April 1979. Mostly, it was to critical acclaim. MMPH-More Miles Per Hour was a much more cohesive and focused album, which featured carefully crafted songs. They had been sweetened by Andrew Powell’s orchestral arrangements, and definitely benefited from Alan Parsons’ guiding hand. He seemed to able to get the best out of John Miles. Maybe this would result in a change in fortune for John?
Can’t Keep a Good Man Down was released as the lead single from More Miles Per Hour, but failed to chart. When MMPH-More Miles Per Hour was released, it stalled at forty-six in the UK, and failed to enter the US Billboard 200. A small crumb of comfort was that MMPH-More Miles Per Hour reached number six in Norway and ten in Sweden. That was as good as it got.
Neither of the other two singles from MMPH-More Miles Per Hour, Oh Dear, nor (Don’t Give me Your) Sympathy charted. For John Miles, it must have been a frustrating way to end The Decca Years. MMPH-More Miles Per Hour. like all of John’s Decca Records’ albums, deserved to fare better.
After More Miles Per Hour, John Miles parted company with Decca Records. After just four years and four albums, The Decca Years were over. Little did John Miles realise that they would be the most successful and productive period of John Miles’ career. Never again did he reach the same heights. That’s despite releasing another six studio albums.
Sympathy.
The first of these albums was Sympathy in 1980. By then, John Miles was still under contract to Arista in North America. Clive Davis the founder of Arista, had spent $50o,000 buying out John’s contract from Decca Records 1977. Zaragon in 1978, was the first of John Miles’ albums to be released by Arista in North America. However, the followup to Zaragon, MMPH-More Miles Per Hour hadn’t been released in North America. Instead, Sympathy became the followup.
For John Miles’ new North American album, eight songs were chosen. This included five songs from MMPH-More Miles Per Hour, including It’s Not Called Angel, We All Fall Down, C’est La Vie, Can’t Keep A Good Man Down and Fella In The Cellar. They were joined by three new songs penned by John Miles and Bob Marshall, Where Would I Be Without You, Sympathy and Do It All Again. These three new songs were recorded by John’s band, and a new producer.
When MMPH-More Miles Per Hour had been recorded, it was produced by Alan Parsons. His services were constantly in demand as a producer. So with Alan Parsons unavailable, producer Gary Lyons was drafted in. He and John Miles and his band began work. It featured drummer Barry Black and bassist Bob Marshall were joined by keyboardist Brian Chatton. John Miles played keyboards, guitar and added vocals. Once the session was complete, Sympathy was scheduled for release later in 1980.
Before that, critics had their say on Sympathy. Mostly, the reviews were positive. Despite this, Sympathy failed to chart in America. It was a case of so near, yet so far, when Sympathy reached just 202 in the US Billboard 200. This hastened John Miles’ departure from Arista.
After the end of Arista years, the next few years found John Miles move from label to label, in search of commercial success and critical acclaim. This began at EMI, where John Miles released Miles High.
Miles High.
For John Miles, signing to EMI was a fresh start. He hadn’t released an album in Britain since MMPH-More Miles Per Hour in 1979. 1980 had been spent fulfilling his contractual obligations to Arista. This meant John hadn’t released an album in Britain and Europe since MMPH-More Miles Per Hour in 1979. Now that John had fulfilled his contractual obligations to Arista, he could begin work on his fifth solo album.
John Miles and Bob Marhshall began writing what would become Miles High. They wrote eleven new songs. These song were recorded at Pye Studios, London, during May 1981.
When the recording session began, John Miles’s band featured drummer Barry Black, bassist Bob Marshall and keyboardist Brian Chatton. John Miles played keyboards, guitar and added vocals. He also took on a new role, that of producer. Miles High was the first album John would produce. Some may have seen this as a gamble. However, John had worked with some top producers, including Alan Parsons, so must have felt qualified to produce Miles High. Critics and record buyers would have the final say.
Reviews of Miles High were mixed. What most critics recognised, was that John Miles was a talented singer-songwriter. Some critics praised Miles High, where pop, R&B and rock were combined with jazz and reggae. Seamlessly, John Miles and his band switched between genres. They came into their own on the ballads Foolin’ and Peaceful Waters. However, other critics weren’t won over by Miles High, feeling the album was “bland” and unfocussed. What however, would record buyers think?
When Miles High was released in August 1981, John Miles was sent on a thirteen date UK tour. Alas, this didn’t help sales of Miles High, It stalled at just ninety-six in the UK. This was the last John Miles album that charted in the UK and twenty-eight in Sweden. Two singles were released from John Miles, but neither Turn Yourself Loose, nor Reggae Man charted. For John Miles this was a huge disappointment. EMI kept faith with their latest signing.
Play On.
So much so, that EMI promised John Miles that a top producer would be employed to produce Play On. Eventually, EMI settled on Gus Dudgeon, who had been working with Chris Rea, Elton John and Elkie Brooks. However, the addition of Gus Dudgeon wasn’t the only change that was made during the recording of Play On in 1983.
While Bob Marshall cowrote the ten songs on Play On with John Miles, that was his only role in the album. John’s usual band were replaced by session musicians. This must have been a huge blow for musicians who had spent the best part of ten years working with John.
Recording of Play On began at Maison Rouge studios, in London. John Miles’ ‘band’ featured John Miles included drummer Graham Jarvie, bassist Paul Westwood and guitarist Martin Jenner. Producer Gus Dudgeon ‘played’ the tambourine, while John’s role was reduced to taking charge of the vocals. This was just the latest example of EMI seeming to call the shots on Play.
EMI had chosen the producer, and were even dictating the direction that John Miles’ career would head in. This was ironic, as one of the songs John and Bob Marshall had written for Play On, was The Right to Sing. It was about record companies wanting to decide which songs artists recorded and released. The Right to Sing become the lead single from Play On, but reached just eighty-eight in the UK charts. It was John’s last single that charted. This didn’t augur well for Play On.
Just like Miles High, reviews of Play On were mixed. Some critics felt the album was an improvement on Miles High, and Gus Dudgeon’s experience resulted in a polished and accomplished album. Meanwhile, Bruce Baxter’s orchestral arrangements were the perfect backdrop for John’s vocals, as breathed life and meaning into the lyrics. However, others critics weren’t convinced, feeling that the album was too polished. Again, record buyers had a the final say.
When Play On was released in 1983, it failed to chart in the UK. The only place Play On charted, was Sweden where it stalled at twenty-eight. It was a huge disappointment for John Miles. Things didn’t improve when Song for You was then released as a single, but failed to chart. However, things were to get even worse for John Miles when after touring Play On he was dropped by EMI. The EMI years were over for John Miles.
Transition.
Despite being without a record label, John Miles and Bob Marshall began to write the nine songs that would feature on Transition. Meanwhile, John’s manager began looking for a new label.
With his manager looking for a new label, John Miles and his began concentrated on playing live. They had been booked to play a show on the island of Ibiza. After the show, John met, and began taking to Phil Carson. Little did John realise that Phil Carson was an executive at Atlantic Records. When he heard than John was without a recording contract, Phil Carson signed John Miles to a new record label, Valentino. John was back and was ready to record a new album.
Having used session musicians on Play On, John Miles wanted his own band to accompany him on Transition. Alas, the only member of John’s old band that featured on Transition, was bassist Bob Marshall. He was joined by former Jethro Tull drummer and percussionist Barriemore Barlow. John Miles played guitar, keyboards and lead vocals. To produce the album, John had settled on Trevor Bradin, That had been the plan.
It turned out that Trevor Bradin had too many commitments to produce Transition. He produced two songs, Blinded and I Need Your Love, before realising that he hadn’t the time to produce Transition. Not wanting to delay the album until Trevor Bradin was free, John Miles decided the recording with engineer Pat Moran should produce Transition. He produced six tracks, with Beau Hill producing the closing track Watching On Me. With the album complete, Transition was scheduled for release later in 1985.
Before that, critics had their say on Transition. It received mostly positive reviews. There were the a few dissenting voices, but mostly, critics felt John Miles was heading in the right direction.
That proved not to be case. When Transition was released in 1985, it failed to chart. The singles faired no better, with neither Blinded nor Need Your Love coming close to troubling the charts. John Miles never released another album for Valentino, Indeed, it would be another eight years before he retuned with a new album.
Upfront.
John Miles never released an album for eight years. After the release of Transition in 1985, John Miles didn’t release another album until Upfront in 1993. However, John was kept busy and worked on albums with Joe Cocker and Jimmy Page. John became one of the guest vocalists on several albums by The Alan Parsons Project. Then when Tina Turner headed out on tour, she asked John to accompany her. However, eventually, John decided to record a new album.
When John Miles began work on what became Upfront, there was no sign of Bob Marshall. They cowrote seven albums, but on Upfront, John decided to write the thirteen songs himself. Then he put together a small band that would record the album what was his first album in eight year.
For the Upfront, John Miles would play guitar and add the vocals. His small band included a rhythm section of Jack Bruno and bassist Neil Stubenhaus. They were joined by keyboardist Ollie Marland. Producing the album was American mix engineer Chris Lord-Alge. Once Upfront was recorded it was released later in 1993.
After an eight year absence, John Miles returned with Upfront. It received mixed reviews from critics. Some were won over by the album, while others felt it was one of John’s weaker albums. This didn’t bode well for the release of Upfront.
When Upfront was released in 1993, it failed to chart in the UK. The only place Upfront charted, was in Switzerland, where it reached twenty-six. Two singles were released from Upfront during 1993, but neither One More Day Without Love, nor What Goes Around charted. Oh How The Years Go By was then released in 1994, but it too failed to chart. This was the last that was heard of John Miles until 1999.
Tom and Catherine.
When John Miles returned in 1999, it wasn’t with a studio album. Instead, it was with the soundtrack to a musical about the life of novelists Catherine and Tom Cookson. It had been written by playwright Tom Kelly, who had worked with John on Machine Gunners. John Miles agreed to write the soundtrack, and enlisted the help of Sara Murray.
John Miles and Sara Murray wrote a total of sixteen songs. They then went into the studio, where Sara and John shared the lead vocals. Meanwhile, John laid down all the guitar and keyboard parts. Once the sixteen songs were recorded, they became the soundtrack to Tom and Catherine.
The soundtrack to Tom and Catherine was released in 1999, by Orange Records. This proved to be the last studio album that John Miles released.
Over a twenty-three year period, John Miles had released just nine studio albums. His first four albums, including his 1976 debut album Rebel, 1977s Stranger In The City, 1978s Zaragon and 1979s MMPH-More Miles Per Hour were the best albums of John Miles’ career. They were recorded when John Miles was signed to Decca Records. That was the most productive and successful period of his career.
After his departure from Decca Records, John Miles never reached the same heights. Nor did John Miles enjoy the same commercial success. While his two albums for EMI, Miles High and Play On divided opinion, several songs showcase a truly talented singer-sonngwriter. The problem was, John Miles two EMI album lacked the cohesion of earlier albums. That wasn’t John’s fault. Especially on Play On, where EMI seemed to be calling the shots, and even paired him with session musicians. As a result, John Miles never again did he record with tight, talented band that had served him so well for five albums. This included the quartet of albums John Miles recorded during the Decca Records’ years.
It’s hard to believe that The Decca Records years began forty years ago in 1976. Since then, John Miles has recorded nine studio albums and continues to play live. He’s also regular at the Proms Concerts across Europe, where he will regularly play his classic single, Music. That’s the song that’s become synonymous with John Miles. However, his career has spanned six decades and lasted over forty years. This is a reminder that there’s much more to John Miles than Music.
JOHN MILES-MORE THAN MUSIC.
JIMMY HOLIDAY-THE ACCIDENTAL SINGER-SONGWRITER.
JIMMY HOLIDAY-THE ACCIDENTAL SINGER-SONGWRITER.
Jimmy Holiday never set out to make a career out of music. instead, he wanted to be a boxer, and got as far as fighting in the annual Golden Gloves competition. Then Jimmy started to get beat. That wasn’t in his plans. Realising he was never going to be more than a contender, Jimmy Holiday hung up his gloves aged thirteen. That presented a problem. What was he going to do with his life?
Eleven years later, in 1958, Jimmy Holiday, who born on 24th July 1934, in Durant, Mississippi, was about to embark upon a career as a singer-songwriter. Jim Holiday and The Futuretones released their debut single Voice Of The Drums, on the Hollywood based Four Star label. Voice Of The Drums sunk without trace, and this proved an inauspicious start to Jimmy Holiday’s recording career. It would be another five years before Jimmy Holiday released his sophomore single.
It wasn’t until 1962, that Jimmy Holiday returned with How Can I Forget, which was the first of two singles he released on Everest Records. How Can I Forget, penned by Ed Townsend, proved to be one of Everest Records’ most successful singles of 1963. At last, it looked as if Jimmy Holiday’s career was going places.
With How Can I Forget proving a regional hit single, Jerry Wexler at Atlantic Records decided he wanted to license the single. Everest Records declined Jerry Wexler’s overtures. So, Jerry Wexler had Ben E. King cover How Can I Forget. This backfired on Atlantic Records.
The Ben E. King cover of How Can I Forget stayed in the US R&B charts for one week. Meanwhile, Jimmy’s version reached number fifty-seven in the US Billboard 100 and number eight in the US R&B charts. This looked like being the start of the rise and rise of Jimmy Holiday at Everest Records.
That proved not to be the case. None of the other singles Jimmy Holiday released on Everest Records failed to chart. So, Jimmy moved on, next stop K.T. Records.
At K.T. Records, one of many short lived labels, Jimmy Holiday released just one single, Shield All Round. History repeated itself when Shield All Round failed commercially. This resulted in Jimmy moving on.
Next stop for Jimmy Holiday was Tip Records, another indie label. He released just the one single, A Friend Of Mine. Still, commercial success eluded Jimmy. Like a musical nomad, he moved on again.
This time, Jimmy called Diplomacy Records home for some time. Jimmy released just two singles, 1965s The New Breed and 1966s I Can’t Stand It. Both tracks proved popular locally. So much so, that Joe Biharis’ Kent Records’ licensed The New Breed and I Can’t Stand It, releasing them in 1967. By then, Jimmy Holiday was signed to the label where he enjoyed the best music of his career, Minit Records.
Between 1966 and 1970, Jimmy Holiday was signed to Minit Records. It had been bought by Liberty Records in 1963, when they bought Imperial Records. A few months later, Minit closed its doors. Then in 1966, Minit arose, like a phoenix from the ashes, and became a dedicated soul label. Calvin Carter, formerly head of A&R at Vee Jay was brought in to take charge of A&R at Minit. His first signing was Jimmy Holiday in May 1966.
At Minit, Jimmy Holiday would go on to release a string of singles and two albums. . His time career at Minit began in 1966, when Jimmy Holiday released his minute debut Baby I Love You.
Accompanied by the studio band that Calvin Carter worked with at Vee Jay, Jimmy Holiday entered the studio to record Baby I Love You and the B-Side, You Won’t Go Away. Baby I Love You, a soul-baring ballad struck a nerve. On its release, it climbed up the US R&B charts, reaching number twenty-one. By then, Baby I Love You was a favourite of radio DJs. Following the success of Baby I Love You, the signing of Jimmy Holiday seemed like a masterstroke.
Especially when Jimmy’s second single for Minit, The Turning Point, proved to be a minor soul classic. Even nearly fifty years later, The Turning Point, penned by Jimmy, is still guaranteed to tug at the heartstrings. Tucked away on the B-Side, was I’m Gonna Move To The City. It’s a mid tempo, hidden gem, that might well have been autobiographical. Despite the quality of The Turning Point and I’m Gonna Move To The City, the single failed to chart. For Jimmy this was disappointing. However, after the success of Baby I Love You, surely this was merely a blip?
Still, Minit went ahead with the release of Jimmy’s debut album, Turning Point. Complete with a testimonial from Ray Charles, Turning Point hit the shops. However, Turning Point didn’t enjoy the same success as its namesake. For Jimmy this was a huge disappointment. Despite this, Jimmy’s thought turned to his third single.
The song that was chosen, was In The Eyes Of My Girl, a beautiful, needy, heartfelt ballad. It was scheduled to be released as Jimmy’s third single of 1966, with Give Me Your Love on the flip side. What should’ve been Jimmy’s third single, oozed quality. It could’ve relaunched Jimmy’s faltering career, and showcased the two sides of Jimmy Holiday. Sadly, at the last minute, the release of In The Eyes Of My Girl was cancelled. For Jimmy, this was a crushing blow.
As 1966 became 1967, Jimmy Holiday returned with his long awaited third single, which was the ballad Everybody Needs Help. The B-Side was Give Me Your Love, which originally, was destined to be the flip side of In The Eyes Of My Girl. On its release, Give Me Your Love stalled at number thirty-six in the US R&B charts. Although this was disappointing, at least the single had charted. A small crumb of comfort was Jimmy’s popularity was increasing in Britain.
On both sides of the Atlantic, Jimmy’s next single was a duet with Clydie King, Ready Willing And Able, an uptempo dancer. The flip side was We Got A Good Thing Goin’ a track from Jimmy’s debut album Turning Point. This mid tempo ballad, sees Jimmy and Clydie feed off each other, and transform the track. Sadly, Ready Willing And Able wasn’t a commercial success. However, Jimmy would write Clydie’s single I’ll Never Stop Loving You. Before that, Jimmy would’ve released his next single.
This was I Wanna Help Hurry My Brothers Home. It’s another ballad, full of social comment. With the Vietnam War raging, Jimmy with anger, emotion and sadness filling his voice, sings “ I Wanna Help Hurry My Brothers Home.” It’s an impassioned plea. On the B-Side is the rueful ballad We Forgot About Love. It featured on Jimmy’s debut album Turning Point. Sadly, I Wanna Help Hurry My Brothers Home wasn’t a Turning Point in Jimmy’s career. The single disappeared without trace. For Jimmy, his career seemed to be at a crossroads.
With 1967 drawing to a close, Jimmy recorded The Beauty Of A Girl In Love. It’s an impassioned, string driven ballad. Jimmy accompanied by backing vocalists combines emotion and power. However, despite the quality of The Beauty Of A Girl In Love, it failed to chart. Minit desperate for a hit single, decided something had to change.
So, Jimmy was sent South, to work with Buddy Killen. They recorded the funky, soulful Spread Love at Chips Moman’s American Studios, in Memphis. This was very different from what people expected from Jimmy Holiday. The B-Side, however, was business as usual. It featured the ballad, We Got A Good Thing Goin’ from Jimmy’s debut album Turning Point. However, on the release of Spread Love, the decision to bring Buddy Killen onboard was vindicated. Spread Love reached number thirty-five in the US R&B charts. This looked like being the boost Jimmy’s career needed.
Sadly, that wasn’t the case. Having just finished a concert in June 1968, Jimmy left the stage and collapsed. He was rushed to hospital, where it was discovered he required open heart surgery. Following the operation, Jimmy was told to rest. Stuck at home, Jimmy continued to write songs. This meant, when Jimmy’s health improved, he could head back down South and work with Buddy Killen again.
That’s what Jimmy did. Having recovered from the open heart surgery, Minit sent Jimmy South again. With Buddy Killen, Jimmy recorded the string drenched, ballad I’m Gonna Use What I Got (To Get What I Need). For the flip side, Minit chose another track from Turning Point. This time, it was the ballad I Don’t Want to Hear It. These two tracks became Jimmy’s comeback single, I’m Gonna Use What I Got (To Get What I Need). Although it was a far better song than Spread Love, Jimmy’s comeback single flopped. Despite this setback, two other tracks recorded at American Studios, Memphis became Jimmy’s next single.
For Jimmy’s next single, Baby Boy’s In Love was chosen. It’s an uptempo, driving slice of soul. Jimmy accompanied by a crack band of musicians and backing vocalists kicks loose. Here, we hear a very different side of Jimmy. The same can be said of the B-Side, a cover of If You’ve Got The Money, I’ve Got The Time. Originally recorded by Larry Frizzel, this hillbilly song heads in the direction of country soul and funk. There’s even a few yodels thrown in for good measure. This is Jimmy Holiday as he’s never been heard. However, still the commercial success that accompanied The Turning Point eluded Jimmy.
For Jimmy, this was hugely frustrating. He certainly wasn’t lacking in talent. Jimmy Holiday was, after all, a talented singer-songwriter. However, for whatever reason, he wasn’t a consistent hit maker. So, he spent much of 1969 writing with Jackie DeShannon and her brother Randy Myers. One of their compositions, Yesterday Died became Jimmy’s next single for Minit. It sees Jimmy head in another direction. Nobody Died sees elements of soul, gospel and rock unite. It’s a welcome stylistic departure. The flip side Would You Like To Love Me, had been recorded a couple of years before, but never release. It’s another ballad, where Jimmy’s vocal veers between wistful to hopeful. These two very different sides to Jimmy Holiday became his next single. Yet again, however, commercial success eluded Jimmy. This proved to the beginning of end for Jimmy at Minit.
With commercial succes proving elusive for Jimmy Holiday, it was only a matter of time before his career at Minit drew to a close. His swan-song was A Man Ain’t Nothin’ Without A Woman.It features an understated, gospel-tinged arrangement. A despairing Jimmy, accompanied by testifying backing vocalists ensures Jimmy’s time at Minit ends on a high. Especially, with I’m In Love With You on the B-Side. This should’ve been a recipe for success. Sadly, it wasn’t to be.
Worse was to come. Minit closed its doors for the second time. Its final release was Jimmy’s swan-song A Man Ain’t Nothin’ Without A Woman. This was the end of the line for a once great label.
Jimmy Holiday’s career at Minit spanned four years and two albums. He was Calvin Carter’s first signing when Minit reopened its doors in 1966. Having signed in May 1966, Jimmy Holiday released a string of singles and two albums. Sadly, success eluded him. Apart from a few minor hit singles, Jimmy’s time at Minit is a case of what might have been?
That’s a great shame. Jimmy Holiday deserved better. After all, he was a talented singer-songwriter. In some quarters, Jimmy Holiday is regarded as an equal of Marvin Gaye, Otis Redding and Stevie Wonder. Sadly, Jimmy Holiday never enjoyed the same success as a singer. However, he forged a successful career as a songwriter.
As a songwriter, Jimmy Holiday penned songs from everyone from Bobby Womack, Ray Charles, Ry Cooder, Jimmy Lewis, Jackie DeShannon, James Brown, Doris Duke, Z.Z. Hill and Little Milton. That’s not forgetting Al Perkins, Willie Hobbs, Jerry Lee Lewis and Velma Perkins. However, one of Jimmy Holiday’s best known songs is Put A Little Love In Your Heart.
Originally recorded by Jackie DeShannon, Put A Little Love In Your Heart was then recorded by everyone from Al Green, Ella Fitzgerald, Dolly Parton and David Ruffin. Put A Little Love In Your Heart became Jimmy Holiday’s most successful song and changed his life.
During the seventies, Jimmy enjoyed a successful career as a songwriter. His recording career took second place to songwriting. Then in the eighties, very little was heard of Jimmy Holiday.
Ill health had taken its toll, and during the eighies, Jimmy Holiday decided now was the time to take things easy. Sadly, on 15th February 1987, Jimmy Holiday died of heart failure. He was only fifty three. That day, soul music lost one of its most talented singer-songwriters.
Sadly, during the four years Jimmy Holiday spent at Minit, he never enjoyed the commercial success and critical acclaim his music deserved. Jimmy Holiday could’ve and should’ve become one of the biggest names in soul music. That wasn’t to be. Instead, Jimmy Holiday established a reputation as a talented songwriter. This sometimes, leads to Jimmy Holiday’s career as a singer being overlooked. Recently though, there’s been a resurgence in interest in Jimmy Holiday’s music, and belatedly the accidental singer-songwriter’s music is enjoying being discovered by a new audience.
JIMMY HOLIDAY-THE ACCIDENTAL SINGER-SONGWRITER.
BOPPIN’ BY THE BAYOU-DRIVE-INS AND BABY DOLLS.
BOPPIN’ BY THE BAYOU-DRIVE-INS AND BABY DOLLS.
The compilation market is without doubt, one of the most competitive in the music industry. Every week hundreds of compilations are released by labels in America, Europe and Britain. Some are released by major labels, while others are lovingly curated compilations that are released by small independent labels. Many of these compilations concentrate on one type of music.
This can be anything from progressive rock and psychedelia, to funk or fusion, throughout to blues, country, R&B, reggae and soul. Some record companies have taken to focusing on one of America’s great musical cities or states. Among the favourite cites for compilers have been Chicago, Detroit, L.A., Memphis, New York and Philly. Often though, some of America’s most musical cities and states were being overlooked. This included Louisiana. One man decided to rectify this, Ian Saddler.
He’s a renowned expert in Louisiana’s rich musical heritage. This made Ian Saddler the perfect person to compile Boppin’ By The Bayou for Ace Records. It was released in 2012, and was so successful that another instalment in the series was commissioned.
Boppin By The Bayou More Dynamite followed in 2013, and enjoyed the same commercial success as its predecessor. Since then, By The Bayou has become one of Ace Records’ longest running and most successful compilation series. The latest instalment is Boppin’ By The Bayou-Drive-Ins and Baby Dolls, which was recently released by Ace Records,
Boppin’ By The Bayou-Drive-Ins and Baby Dolls is the sixteenth volume in the series. Ian Saddler has dug deep for the twenty-eight tracks on Boppin’ By The Bayou-Drive-Ins and Baby Dolls. They’re taken from the vaults of some of Louisiana and South-East Texas’ best known producers. This includes some familiar faces, including J.D. Miller, Eddie Shuler, Sam Montel, Huey Meaux, and Joe Ruffino. That’s not forgetting Pappy Daily, George Khoury, Diamond Jim Wheeler and Melvin Dodge. In their vaults, Ian Saddler’s discovered what’s been described as: “hot rockers, cool boppers and Cajun thumpers.“ They come courtesy of a mixture of old friends, familiar faces and new names.
Among them, are Cookie Roberts, Fred Carter, Joe Jackson, Burl Boykin, Frankie Lowery, Zoro and The Zips, Doug Stanford, Terry Clement and Johnny Bass. They’re joined by Arnold Broussard, Tommy Todd, Rod Bernard and Jay Chevalier on what’s the sixteen instalment of the By The Bayou series, Boppin’ By The Bayou-Drive-Ins and Baby Dolls.
Opening Boppin’ By The Bayou-Drive-Ins and Baby Dolls is Cookie Roberts’ Draggin The Drive-Inn’s. This Jack Rhodes composition was produced by Huey P. Meaux. It found its way onto the B-Side of Cookie Roberts’ single The Black House. When it was released on on Texas based Eric Records in August 1962, commercial success eluded Cookie Roberts and there was no followup. Later, when curious record collectors flipped over to the B-Side, they discovered Draggin The Drive-Inn’s which is rockabilly at its finest.
By 1961, rockabilly singer Mickey Gilley was twenty-five. He had spent the last few years trying trying to make a breakthrough. However, hits eluded Mickey. Then in 1961, he teamed up with producer Huey P. Meaux. They would record a handful of singles together. However, the Ron Hargrave penned Drive In Movie was a song that Mickey had recorded in 1959 with producer George Khoury. It was rereleased on Huey P. Meaux’s Princess label in December 1961. It’s a blistering slice of rockabilly, where stylistically, Mickey draws inspiration from Eddie Cochran’s Something Else. While the single wasn’t a huge success, Mickey Gilley went on to enjoy a long and successful career.
Some artists feature on Boppin’ By The Bayou-Drive-Ins and Baby Dolls more than once. Terry Clement and The Tune Tones features three times. That’s fitting, as Terry Clement and The Tune Tones featured three brothers. Their first contribution is Rock Me Mama, which is a previously unreleased tracks that were also recorded with producer J.D. Miller. The other two songs Terry Clement and The Tune Tones recorded with producer J.D. Miller lay unreleased for two decades. She’s My Baby Doll was released on a Flyright Records’ compilation in 1980. It’s a raw and rocking stomper that falls into the category of hidden gem. Won’t Somebody Love Me is another quality cut that never saw the light of day until it featured on a Flyright Records’ compilation in 1980. That’s a great shame as it features Terry Clement and The Tune Tones at their best, as they combine emotion, energy and enthusiasm.
From the opening bars of Burl Boykin’s 1960 single Let Me Come Your Way, he sounds uncannily like Elvis Presley. So much so, that when Burl Boykin took to the stage with his first group The Rockin’ Rebels, he was nicknamed Little Elvis. By 1960, Burl was a solo artist, and about to record Let Me Come Your Way at ACA Studios in Houston, with producer Pappy Daily. The single was released on Pappy Daily’s Texas based Clover label in 1960. Alas, it never came close to troubling the charts. Later, the talented Texan reinvented himself as a country singer, and enjoyed a lengthy career.
Frankie Lowery, a veteran of four previous instalments of the By The Bayou series, makes a very welcome return, and features twice on Boppin’ By The Bayou-Drive-Ins and Baby Dolls. His first contribution is She’s Fine, which was released on Pappy Daily’s Dart label in 1961. Accompanied by a rasping saxophone, this catchy and memorable “cool bopper” is one of the highlights of the compilation. Very different is She’s Mine, a rockabilly song that Frankie Lowery recorded with producer J.D. Miller in the late-fifties. The band struggled with song for several takes, and this take is the best, and most complete version. Despite that, it was never released and is a welcome addition to the compilation.
Another veteran of the By The Bayou series is Jay Chevalier. This time around, he records under his own name and as Jay Chevalier and The Long Shots. However, in 1961 Jay decided to become a pro ball player. This career change inspired him to release Mr. Football as a single on Montel in 1961. Tucked away on the B-Side was a rocking hidden gem Cuttin’ Cane, where Jay contemplates spending time in the infamous Angola prison. The singer turned ball player returns later in the compilation.
Hey Joli was recorded by Terry Clement after he parted company with The Tune Tones. The accordion sets the scene, before Terry sings call and response with backing vocalists. They’re thought to be The Tune Tones, who play their part in the sound and success of a melodic and catchy song slice of Zydeco. It shows another side to Terry Clement and The Tune Tones.
After leaving the Hillbilly Ramblers, Cleveland Crochet founded a new band, Cleveland Crochet and His Band Of Sugar Bees. They recorded first with with producer George Khoury, before moving to Eddie Shuler’s Goldband Records. That’s where they recorded the Eddie Shuler composition, Sweet Thing. It’s one of their finest moments, and features a vocal powerhouse from Jay Stutes, while the Sugar Bees respond to his call. Meanwhile, accordion helps power the arrangement along, as zydeco, blues and swamp pop combine. Alas, when Sweet Thing was released on Goldband in 1961, it never found the audience it deserved. Its addition to Boppin’ By The Bayou-Drive-Ins and Baby Dolls means that somewhat belatedly, Sweet Thing will be heard by a much wider audience.
Roy Templin and The Credit Cards only ever released the one single, the aptly titled Charge It. It was written Roy Templin, and released on Bob Wheeler’s Houston based, Diamond Records. Charge It is an accomplished and catchy, novelty rocker. However, there was no followup, and Charge It was the only single released by the short-lived Roy Templin and The Credit Cards.
There’s a number of previously unreleased tracks Boppin’ By The Bayou-Drive-Ins and Baby Dolls. Three of these best unreleased tracks were recorded by producer J.D. Miller. This includes hillbilly singer Johnny Bass’ Love Can Wait. It’s a real find, and falls into the category of long lost hidden gem. Wiley Jeffers cut several rockabilly songs, during his first session with J.D. Miller. Among them were a prime slice of rockabilly, You’re So Square. Another rockabilly singer is Tommy Todd, which was the alias of Clifford Pee Wee Trahan. His contribution is Prisoners Song, where the listener can hear the song the song take shape. It stops and starts, as J.D. Miller and Tommy Todd work on the song. It’s an interesting addition, and is a reminder of a prolific singer who recorded for various labels.
In 1962, L.A. born Rod Bernard entered the studio with producer Huey P. Meaux. They were about to record a single. The song Rod had chosen to cover, was No Money Down. It was a favourite of Chuck Berry, and a staple of his sets. With Huey P. Meaux taking charge of production, No Money Down was recorded. Later in 1962, it was released on Huey P. Meaux’s Tear Drop label. Sadly, it failed commercially. Those that bought the single discovered what’s one of the finest covers of No Money Down. It’s bluesy and dramatic, with an arrangement that pays homage to Muddy Waters’ Hoochie Coochie Man.
Closing Boppin’ By The Bayou-Drive-Ins and Baby Dolls is Jay Chevalier’s Khrushchev And The Devil. It’s a song Jay cowrote with Dee Marais. Bill Tester produced the single, which was released on the Cotton Town Jubilee label in 1962. This is one of several political boppers that were released around 1962 and 1963. However, what makes Khrushchev And The Devil stand out, is the piano break. It ensures that Khrushchev And The Devil is a cut above most political boppers.
Boppin’ By The Bayou-Drive-Ins and Baby Dolls, which was recently released by Ace Records is a welcome addition to this successful series. It finds Ian Saddler digging deep, not just in Louisiana, but in South-East Texas. He’s found some hidden gems, which sit side-by-side with songs from old friends, familiar faces and new names. This includes singles, B-Sides and unreleased tracks. They’re part of compilation that’s all killer and no filler. That takes some doing, as there’s twenty-eight tracks on Boppin’ By The Bayou-Drive-Ins and Baby Dolls. They range from “hot rockers, cool boppers and Cajun thumpers.“ This is a potent and heady brew. However, that’s been the case throughout the By The Bayou series.
It’s now one of the longest running compilation series. Boppin’ By The Bayou-Drive-Ins and Baby Dolls is the sixteenth volume in the series. Still there’s no sign of the By The Bayou series running out of steam. That’s unlikely to happen, as Ian Saddler has a plentiful supply of music to choose from in Louisiana.
This time round, Ian Saddler searched through the vaults of producers J.D. Miller, Eddie Shuler, Sam Montel, Huey Meaux, and Joe Ruffino. Ian Saddler dug deep into the vaults of Pappy Daily, George Khoury, Diamond Jim Wheeler and Melvin Dodge. All his hard work paid off, and he discovered songs by Cookie Roberts, Fred Carter, Joe Jackson, Burl Boykin, Frankie Lowery, Zoro and The Zips, Doug Stanford, Terry Clement and Johnny Bass. They’re joined by Arnold Broussard, Tommy Todd, Rod Bernard and Jay Chevalier. The result was a compilation that oozes quality, Boppin’ By The Bayou-Drive-Ins and Baby Dolls, which is very welcome addition to the By The Bayou series.
BOPPIN’ BY THE BAYOU-DRIVE-INS AND BABY DOLLS.
LIGHTDREAMS-ISLANDS IN SPACE.
LIGHTDREAMS-ISLANDS IN SPACE.
Thirty-five years ago in 1981, the British Columbian band LightDreams, released their debut album, Islands In Space. It was a captivating, psychedelic sci-fi odyssey where LightDreams explored cosmic ideology. This was something that had fascinated and enthralled the band’s leader Paul Marcano ever since he first encountered the work and theories of author, physicist and space activist, Gerard K. O’Neill. So much so, that Paul decided to explore the subject on LightDreams’ debut album, Islands In Space.
Later, in 1981, LightDreams released Islands In Space. Normally, an album like Islands In Space would’ve found favour with fans of psychedelia and progressive rockers who embraced cerebral, innovative and epic albums. Alas, that wasn’t the case.
There was a quite simple reason for this. Unlike the majority of successful psychedelic and progressive rock bands, LightDreams weren’t signed to a record company. This meant there was no promotional budget to hep spread the word about slands In Space. Nor did LightDreams have the access to people with the expertise to promote what was a truly ambitious and innovative. Instead, LightDreams decided to self-release Islands In Space. They had 1,000 albums pressed on vinyl which the planned to sell themselves. Sadly, Islands In Space wasn’t the success that the members of of LightDreams had hoped.
It was only much later, that word began to spread about Islands In Space and its followup 10,001 Dreams. Occasionally, a few lucky record and tape collectors chanced upon a copy of Islands In Space or 10,001 Dreams. They paid their money and discovered tw groundbreaking hidden gems. Before long, collectors and aficionados of psychedelia were looking for copies of Islands In Space and 10,001 Dreams. This was a long shot, and most collectors came up short. The only hope was that a reissue company would eventually reissue both albums. Thankfully, Got Kinda Lost Records released Islands In Space earlier in 2016. It allows the listener to go back in time to British Columbia in 1981 when Paul Marcano met the musicians with whom he would form LightDreams.
Like most towns and cities in 1981, British Columbia had a vibrant and thriving music scene. Paul Marcano was part of this scene, and had been for eight years. By 1981, Paul deiced to look for likeminded musicians who he collaborate with, and maybe even form a band?
Having loked through the local music scene, and at his circle of friends, eventually, Paul found likeminded musicians he could work with. This included two of his friends, rhythm guitarist Cory Rhyon and keyboardist Andre Martin. They would be joined by bassist Alex Lowe, lead guitarist John Walker and Tim Moore on keyboards and saxophone.
Islands In Space.
With Paul Marcano’s search for likeminded musicians over, the search for a name. Eventually, they decided to call the newly formed group, LightDreams. This suited the type of music Paul intended to make. LightDreams was, to all intents and purposes, a vehicle for Paul Marcano. Compared to the other members of LightDreams, Paul had a wealth of experience.
He had been making music since 1973. Paul Marcano’s recording career began in 1973, when he recorded what should’ve been his debut album. For whatever reason, the album was never released. However, one of the songs would feature on 10,001 Dreams, which was LightDreams’ 1982 sophomore album. So would two songs from Paul’s unreleased sophomore album, It had been recorded in 1978, but just like its predecessor it lay unreleased. LightDreams offered Paul a new and fresh start.
Paul Marcano was brimming with ideas enthusiasm and energy. Not only had Paul been writing songs for a number or years, but he was also a talented multi-instrumentalis with a vision. That would become clear as LightDreams’ thoughts began to turn to their debut album.
With the encouragement of his friends Cory Rhyon and Andre Martin, Paul began writing Islands In Space. His creativity was about to blossom. Paul had already written I Ride With The Wind and Atmospheric Dreams/My Spirit Soars in 1976. They were perfect for the project Paul envisaged. However, two songs don’t make an album, so Paul penned four new tracks, The High Frontier, Islands In Space, Voiceless Voice, Solar Winds and Farewell Goodbyes during 1981. The other track was Atmospheric Dreams, which Paul and Cory Rhyon. These songs would become Islands In Space, where Paul shared his vision for the future.
The songs on Islands In Space had been influenced by the work and theories of author, physicist and space activist, Gerard K. O’Neill. This was someone who Paul Marcano had been enthralled by for several years. One of his theories was, that eventually, mankind would inhabit outer space. This Gerard K. O’Neill believed, would result in a much better world for those left behind inhabiting earth. No longer would there be problems with overpopulation and a reliance on natural resources. However. Paul took this proposition further, exploring whether mankind’s grasp of space-age technology could lead to a peace and cosmic presence on earth? This was the thread that ran through what was sure to a an album cerebral and ambitious music. There was a minor problem though.
Recording studios were expensive and beyond the budget of LightDreams. An alternative was, recording the album using the pro-sumer technology that was becoming popular in the early eighties. That still required funds, funds which for most new bands, were limited. However, one of LightDreams’ friends had another idea, and decided to approach executives at the TEAC Corporation, in the hope that they would let the band use some of their technology. This was a long shot, but one that paid off.
The TEAC Corporation, who were a market leader in early eighties recording equipment, allowed LightDreams to use a 144 track cassette recorder. This was beyond their widest dreams, and more than enough to the record the psychedelic opus that LightDreams were planning, Islands In Space.
Having secured what was start of the art recording equipment, work could begin on Islands In Space. Paul Marcano was joined by the rest of LightDreams. The rhythm section included just bassist Alex Lowe and rhythm guitarist Cory Rhyon. LightDreams didn’t employ a drummer on Islands In Space. Other musicians that featured on the album were lead guitarist John Walker, keyboardist Andre Martin and Tim Moore on keyboards and saxophone. These musicians were used on an ad hoc basis, and didn’t feature on every track. Some musicians only featured on one or two tracks. That’s apart from Paul, who played bass, rhythm and lead guitar, keyboards and added vocals and sound effects. He was able to use all sorts of sonic trickery and layer instruments instruments on Islands In Space. After all, he access to the latest musical technology.
To makes this music, which became Islands In Space, Paul Marcano who was producing the album would make good use of the 144 track cassette recorder. This was more than enough to record even the most ambitious Magnus Opus. Islands In Space had its very own Magnus Opus, Atmospheric Dreams; My Spirit Soars; Atmospheric Dreams a near eleven minute epic. It was just one of the seven tracks that were recorded and became Islands In Space.
Now that Islands In Space was completed, LightDreams decided to release the album themselves. This wasn’t unusual back in 1981, when there were many private pressings released. LightDreams had a 1,000 vinyl copies of Islands In Space pressed. These albums they hoped, they would be able to sell to their fellow British Columbians.
Alas, it wasn’t to be. Islands In Space, a captivating psychedelic and progressive sci-fi odyssey where LightDreams explored cosmic ideology passed record buyers by. Paul Marcano was unable to setup consignments to record shops. This was a disaster, and meant that record buyers were unable to find copies of Islands In Space in their local shops. At least a few local radio stations played tracks from Islands In Space. Later, the title-track was used on a Canadian television programme. Mostly, though, Islands In Space passed record buyers by. They missed out on an album that wasn’t just ambitious, but innovative and featured cerebral and thought-provoking lyrics.
Somewhat belatedly, word began to spread about Islands In Space. They paid their money a groundbreaking hidden gem. Before long, collectors and aficionados of psychedelia were looking for copies of 10,001 Dreams. This was a long shot, and most collectors came up short. Now though, Got Kinda Lost Records’ remastered reissue of Islands In Space allows the album to be heard by a much wider and appreciative audience.
The High Frontier opens Islands In Space, and is a guitar lead instrumental. Paul and lead guitarist John Walker take charge of the guitars. They chime and chirp, while a grinding sound is the recording of a guitar being played backwards. These guitars melt into one, with their glistening, crystalline sound being panned across the arrangement, and sometimes, back to front, At one point, it’s as if guitars are replicating the sound of a deserted beach, with seagulls flying overhead. Later, the arrangement grows in power and drama, as the guitars and bass create cinematic backdrop. That’s until a blistering, scorching guitar solo is unleashed, It’s then replaced by a sprinkling of space age sounds that come courtesy of the guitars.It seems that The High Frontier is a showcase for the LightDreams’ guitarists and their inventiveness and imagination.
On the title-track, Paul sings of his dreams that one day, there will be Islands In Space. A guitar is strummed urgently, and the sound of engine buzzing can be heard as the arrangement begins to reveal its secrets. Maybe it’s heading for one of the Islands In Space? Paul’s vocal is accompanied by guitars and washes of keyboards. Reverb is added to arrangement, adding lysergic sound. Soon, the bass is played firmly, as synths maunders and grind. Mostly this big, bold arrangement has a dreamy sound, with Paul’s impassioned vocal taking centre-stage Midway through the song, a saxophone is added,. and brings to mind Pink Floyd, and their Magnus Opus Dark Side Of The Moon. It drifts in and out, as Paul scats and guitars combine with keyboards. Together, the play their part in a carefully crafted, melodic song with cerebral and thoughtful lyrics.
The cinematic sounding Voiceless Voice sound as if it belongs on the soundtrack to the soundtrack to sci-fi movie. Glacial synths glide along, while beeps and squeaks tap out code. Meanwhile, dialogue between launch control and a spaceship is added. When the dialogue drops out, the ethereal, elegiac synths float along. They’re joined by a bass synth, which adds an element tension and drama. So too the bubbling synths and synth strings. Later, an alarm sounds and the dialogue returns “Columbia requests permission to dock?” This marks the end of this captivating voyage of discovery. Providing this cinematic accompaniment were LightDreams, who encourage the listener to let their imagination run riot? Those that do, will be richly rewarded.
I Ride With The Wind is a song Paul write back in 1976. He plays all the instruments on the track. This includes the acoustic guitar that sets the scene. It’s joined by another guitar and they provide the backdrop for Paul’s ruminative vocal. He’s contemplating space travel, and trying to imagine leaving planet earth behind and “I Ride With The Wind.” Meanwhile, just the guitars and bass accompany him. Briefly, reverb added to the vocal, before echo is added to the arrangement. It becomes dubby and beatific as if Paul’s is imagining and hoping that one day, this will be possible.
Atmospheric Dreams and My Spirit Soars are part of a twelve minute, two part suite. It’s the work of guitarist Cory Rhyon and Paul, who plays the rest of the instruments. This includes the bass that underpins the arrangement, guitar and wind chimes. Paul also adds another dreamy, beatific vocal and narrates the song with cinematic lyrics. Meanwhile, the arrangement meanders along, as Cory occasionally adds echo. He realises less is more, and this sparing use of echo proves effective. By then, elements folk rock, psychedelia and progressive rock combine. Later, a blistering rocky guitar cuts through the arrangement. Echo is added to this virtuoso performance before it drops out. Replacing it is a backwards guitar, before the scorching guitar makes a welcome return. It’s joined by an acoustic guitar before it’s all change.
Just guitars play, and add en elements of urgency as the second part of the suite unfolds. Musical genres melt into one as the guitars play. At one point, the guitars are reminiscent of Jethro Tull, as progressive rock and later folk combine. Later, the arrangement becomes understated, and there’s even a jazz influence to the guitar and bass. Things change when the buzzing bass synths makes it presence felt, before this on this genre-melting epic meanders to a close. It features Paul and Cory at their creative zenith, as they innovate and create music that’s imaginative and inventive.
Solar Winds is another instrumental. Cory’s acoustic guitar is combined with washes of Paul’s glacial synths. They’re responsible for a variety of futuristic sound, while what are described as Solar Winds are added. Together, they create a meandering backdrop that’s variously otherworldly, eerie, haunting, elegiac and futuristic. This conjures up images of the sounds and sights one would expect late at night in the desert, under the Joshua Tree.
Farewell Goodbyes closes Islands In Space. An acoustic guitar plays, as Paul dawns the role of narrator. That’s until the vocal proper enters. It’s interspersed with dialogue and sci-fi sounds, before a searing guitar is added. Later, Paul’s vocal and narration combine. They’re layered one on top of the other. Then another rocky guitar is unleashed briefly, before Paul continues his attempts to convince the listener that: “Islands In Space…are the next big taste.” These “Islands In Space.” Paul believed; “will save the human race.” Meanwhile, a guitar is panned, while there’s a beatific, hopeful sound to Paul’s vocal as he sings: “we’re on our way.” This thoughtful and cerebral song closes LightDreams debut album Islands In Space. It was a thought provoking album that deserved to be heard by a much wider audience.
Maybe things would’ve been different if Islands In Space had been released by a major label? Instead, the band self-released the album, and its release was beset with problems. Even setting up consignments of the album proved problematic. This meant that very few people outside of British Columbia got to hear Islands In Space. It was the album that got away.
Islands In Space was a polished and highly accomplished hidden gem of an album. Paul Marcano’s eight years of experience shine through on Islands In Space. By 1981 he was an experienced singer, songwriter, multi-instrumentalist and producer. He had recorded at least six albums, none of which he had released. Maybe Paul Marcano was searching for musical perfection? It may have been that Paul was searching for likeminded musicians, and only found them when he founded LightDreams in 1981.
LightDreams was essentially, Paul Marcano’s musical vehicle. He wrote six of the seven songs on Islands In Space, and cowrote the other song. Paul also produced and played many of the songs on Islands In Space. It’s a captivating, psychedelic sci-fi odyssey where LightDreams explored cosmic ideology. The lyrics are cerebral, ruminative and thought-provoking. That’s still the case thirty-five years after its release in 1981.
Alas, LightDreams’ debut album Islands In Space passed most people by. It was only discovered by a small group of discerning music fans living in British Columbia. Most collectors and aficionados of psychedelia got to the party late, as far as Islands In Space was concerned. That’s apart from a few lucky music fans who found a copy in second hand stores or bargain bins. They paid their money, and discovered a groundbreaking, genre-melting hidden gem. Before long, word was out, and collectors and aficionados of psychedelia were looking for copies of Islands In Space. The only problem was finding an original copy of the album.
Original copies of Islands In Space were incredibly rare. It was more good luck than good judgement when record buyers found a copy. Usually when they discovered a copy, the price was beyond the pocket of most record buyers. This meant a new audience who wanted to discover the delights of Islands In Space were unable to do so. Not any more though.
Got Kinda Lost Records released newly restored reissue ofIslands In Space earlier in 2016. It’s without doubt one of the most welcome releases of the year. Collectors and aficionados of psychedelia have dreamt of this day for many a year. At last, Islands In Space is belatedly available for music fans to discover and enjoy. It’s a truly genre-melting album, which is a voyage of discovery.
Islands In Space takes as its starting point psychedelia. However, Islands In Space is much more than psychedelic album. Elements of ambient, avant-garde, Berlin School, folk pop, Krautrock, progressive rock and rock can be heard throughout Islands In Spac. It’s a musical melting pot, where instruments and influences melt into one as LightDreams sculpt a captivating psychedelic sci-fi odyssey. LightDreams begin their exploration of cosmic ideology, which was continued on their sophomore album 10,001 Dreams.
Both Islands In Space, and its followup 10,001 Dreams are true cult classics, that showcase the considerable talents of LightDreams. Especially founder member Paul Marcano. He had been working towards releasing an album based on cosmic ideology for several years. This only happened when Paul Marcano met the likeminded musicians that joined him in LightDreams in 1981. Later in 19.81, Islands In Space was released. It’s the first, in a two part musical voyage of discovery, that features LightDreams’ unique, imaginative and innovative brand of cerebral and throught-provoking music on their captivating psychedelic, sci-fi odyssey, Islands In Space.
LIGHTDREAMS-ISLANDS IN SPACE.
DAVID SANCIOUS AND TONE-TRUE STORIES AND DAVID SANCIOUS-JUST AS I THOUGHT.
DAVID SANCIOUS AND TONE-TRUE STORIES AND DAVID SANCIOUS-JUST AS I THOUGHT.
By the late sixties, David Sancious was part of New Jersey’s vibrant music scene where he served the first part of his musical apprenticeship. Over the next few years, the multi-instrumentalist honed his chops in various rock bands. The music they played was very different to the classical music that David grew up playing.
David Sancious who was born on November 30th 1953, and started playing classical piano aged seven. Little did he realise that he had just made his first tentative musical steps and eventually, would play alongside the great and good of music. That however, was in the future.
Before that, eleven year old David Sancious began teaching himself to play guitar. This was no surprise. He was eleven in 1964, the year the British Invasion groups first arrived on the American shores. Suddenly, guitar bands were King. Despite this, he continued to dedicate himself to the piano over the next few years. By his late teens he was a classically trained pianist. Eventually, though,David Sancious decided to turn his back on classical music.
The future for him was rock music and he made his debut in the local scene in the late-sixties. However, as the sixties gave way to the seventies, the Asbury Park music scene was thriving and at its heart were David Sancious, Bill Chinnock, Southside Johnny, Bruce Springsteen and future members of the E-Street Band. They played in various bands including Glory Road, Dr.Zoom and The Sonic Boom, The Bruce Springsteen Band and The Sundance Blues Band. That was the case right through until 1972. This marked the end of the first part of David Sancious’ musical apprenticeship. The final part came, when David moved to Richmond, Virginia.
In early 1972, David Sancious moved to Richmond, Virginia. His destination was Alpha Studios where he worked as a studio musician who played on jingles and sessions. That was how he met Ernest “Boom” Carter, the E-Street Band’s drummer and how he came to spend two years in Bruce Springsteen’s employ.
Between 1972 and 1974, David Sancious was a member of the E-Street Band. He played keyboards on Bruce Springsteen’s 1973 debut album Greetings from Asbury Park, N.J.
Greetings from Asbury Park, N.J.
Recording of Greetings from Asbury Park, N.J. took place between July and September 1972. Four months later, on January 5th 1973, Greetings from Asbury Park, N.J. was released. It was well received by critics, and nowadays, features in Rolling Stone magazines list of 500 best albums of all time. Despite this, Greetings from Asbury Park, N.J. wasn’t a huge commercial success.
On its release, Greetings from Asbury Park, N.J. reached just number sixty in the US Billboard 200 charts. Little did anyone know that this was the start of the career of one of the most successful American musicians ever.
Even David didn’t appear to realise this. After Greetings from Asbury Park, N.J. was recorded, he didn’t head out on tour with Bruce Springsteen. Instead, he returned to Alpha Studios.
At Alpha Studios, David Sancious recorded some demos with drummer Ernest “Boom” Carter and bassist Garry Tallent. There was a problem though, the rights to the demos were owned by producer and songwriter Will Farrell. This would become a bone of contention when they were later released without David Sancious’ permission. That was still to come and before that he played on The Wild, The Innocent and The E-Street Shuffle.
The Wild, The Innocent and The E-Street Shuffle.
Recording of Bruce Springsteen’s sophomore album, The Wild, The Innocent and The E-Street Shuffle took place between May and September 1973 at 914 Recording Sound Studios. The sessions were the perfect showcase for David Sancious’ skills.
The multi-instrumentalist could seamlessly switch between musical instruments. He played piano on New York City Serenade, organ on Kitty’s back and a soprano saxophone solo on The E Street Shuffle. That’s not all. During instrumental breakdowns he enjoys the chance to showcase his versatility. Drawing inspiration from his eclectic musical taste he takes The Wild, The Innocent and The E-Street Shuffle in unexpected directions. In doing so, he played his part in Bruce Springsteen’s first great album.
When The Wild, The Innocent and The E-Street Shuffle was released in September 1973, it was too widespread critical acclaim. So much so, that The Wild, The Innocent and The E-Street Shuffle features in the Rolling Stone magazines list of 500 best albums of all time. Sadly, this didn’t translate into sales.
The Wild, The Innocent and The E-Street Shuffle stalled at just number fifty-nine in the US Billboard 200 charts. Although slightly better than Greetings from Asbury Park, N.J., it was a disappointing chart placing. Maybe this is why his time with The E-Street Band was soon at an end?
David Sancious toured with The E-Street Band from June 1973 right through to August 1974. He also played on the title-track to Bruce Springsteen’s third album Born To Run. However, he was about to leave the E-Street Band, albeit not for ever.
Having left The E-Street Band, David Sancious and drummer Ernest “Boom” Carter formed their own group Tone. The third member of Tone was bassist Gerald Carboy. Other members would come and go including vocalists Gail Boggs, Patti Scialfa, Brenda Maddison and Gayle Moran, of Return To Forever and The Mahavishnu Orchestra. Another future member of Tone was Alex Ligertwood, who had become Santana’s vocalist. These vocalists were part of Tone’s fluid lineup between 1975 and 1978. Their debut album was Forest Of Feeling.
Forest of Feeling.
For David Sancious and Tone’s debut album, 1975s Forest Of Feeling, they decided to change direction from the music they’d been making with Bruce Springsteen. To do this, they brought onboard a producer capable of making this happen.
Billy Cobham of The Mahavishnu Orchestra was brought onboard to produce Forest Of Feeling. Their debut album saw David Sancious and Tone’s music move in an innovative direction. Progressive rock and jazz fusion melted into one on Forest Of Feeling. There was more than a nod to The Mahavishnu Orchestra, Yes and Genesis. A captivating fusion of musical genes and influences, Tone’s debut Forest Of Feeling, was released in 1975.
On its release in 1975, Forest Of Feeling was well received by critics.They realised that Forest Of Feeling was an album of groundbreaking music. It was very much a mixture of music’s present and future. Despite this, Forest Of Feeling failed to chart. For David Sancious and Tone this a huge disappointment. So they started work on their sophomore album, Transformation (The Speed Of Love)
Transformation (The Speed Of Love).
For Transformation (The Speed Of Love), David Sancious penned Piktor’s Metamorphosis, Sky Church Hymn #9, The Play And Display Of The Heart and Transformation (The Speed Of Love). These four lengthy pieces were the perfect showcase for David Sancious and Tone.
Recording of Transformation (The Speed Of Love) took place at Caribou Ranch studios with Bruce Botnik producing. David Sancious played acoustic piano, Fender Rhodes, piano, Hammond and electric organ, Moog synth, clavinet as well as electric and acoustic guitars. Ernest “Boom” Carter played drums, percussion and added the vocal on Piktor’s Metamorphosis. Gerald Carboy played bass and wind chimes. Gayle Moran sang the vocal chorus on Transformation (The Speed Of Love), an eighteen minute epic that closes the album. Once these four songs were recorded, Transformation (The Speed Of Love) was released in 1976.
On Transformation (The Speed Of Love)’s release, it was released to widespread critical acclaim. A genre-melting album, everything from blues, boogie, classic rock, psychedelia, funk, fusion, jazz, progressive rock and rock feature on Transformation (The Speed Of Love). It’s three hugely talented musicians showcasing their considerable talents. Despite this, commercial success eluded Transformation (The Speed Of Love).
Transformation (The Speed Of Love) failed to chart. It passed record buyers by, upon its release in 1976. Since then, Transformation (The Speed Of Love) has found an audience within the rock and jazz community. That was still to come. Before that, David Sancious and Tone would begin work on album they hoped would result in a change of fortune for them, Dance Of The Age Of Enlightenment.
Dance Of The Age Of Enlightenment.
For David Sancious and Tone’s fourth album, the band’s founder began writing the material for the album. Eventually, David had written eight new tracks including Overture-Wake Up (To A Brand New Day), 1st Movement (Dance Of The Glory And Playfulness), 2nd Movement (Dance Of Purification) The Dawn, 3rd Movement (Part I and II), 4th Movement (Dance Of Serenity And Strength) and the Finale, which featured Gone Is The Veil Of Illusion (Part I) and Dance Of Gratitude And Devotion (Part II). The tracks were complex and would test the considerable skills of the members of Tone.
Recording of Dance Of The Age Of Enlightenment took place at Caribou Ranch studios with Bruce Botnik and David co-producing. The eight songs had been arranged by David Sancious who played acoustic piano, Fender Rhodes, Hammond and electric organ. He also played Moog synth, clavinet, electric and acoustic guitars. In the rhythm section were drummer and percussionist Ernest “Boom” Carter and bassist Gerald Carboy played bass and wind chimes. Gayle Moran added vocals. Once the eight tracks had been recorded, Dance Of The Age Of Enlightenment was scheduled for release later in 1977.
David Sancious was excited about the album he had recorded with Tone. Dance Of The Age Of Enlightenment had the potential he believed, to be a career defining album that featured ambitious and innovative music. That may have been the case, but Epic didn’t want to release Dance Of The Age Of Enlightenment. For David Sancious and Tone this was a huge blow. He found himself at loggerheads with Epic and was looking for an exit route.
What David Sancious needed, was a label that would release Dance Of The Age Of Enlightenment. This wasn’t going to be easy. Word gets round the music industry, and soon, many labels would be aware that Epic had refused to release Dance Of The Age Of Enlightenment. This meant David Sancious wasn’t going to be negotiating from a power of strength. Despite this, he thought he had found a label willing to release Dance Of The Age Of Enlightenment, Arista.
The Arista label had been founded by the former Columbia Records CEO, Clive Davis. When he heard Dance Of The Age Of Enlightenment he was keen to release the album and offered David Sancious and Tone a recording contract. He signed on the dotted line and Dance Of The Age Of Enlightenment was about to be released. Or at least so it seemed.
Executives within Arista’s A&R department weren’t so sure about Dance Of The Age Of Enlightenment. Suddenly, Arista were having second thoughts about releasing Dance Of The Age Of Enlightenment. Suddenly, Arista back-pedalling, and decided not to release the album. The A&R executives were unable to get their heads round the album. They felt it wasn’t the right album for Arista to release as the groups’ debut. David Sancious was backed into a corner and there were only two possible outcomes.
The first was that Arista didn’t release Dance Of The Age Of Enlightenment. If David Sancious agreed to this, and to record a more “commercial album,” they would honour the recording contract on the table. Should he not agree to this, all bets were off. David was in between a rock and a hard place. It was obvious that Arista weren’t going to release Dance Of The Age Of Enlightenments, so it was a case of cutting his losses, and beginning work on a new album. If that was successful, maybe Arista would’ve a change of heart about Dance Of The Age Of Enlightenments?
They didn’t. It wasn’t until 2004, that somewhat belatedly Dance Of The Age Of Enlightenment was released. By then, David Sancious and Tone were no more. However, the genre-melting Dance Of The Age Of Enlightenment, where David Sancious and Tone flit between classical and jazz, to fusion and funk and even progressive rock and rock. The listener had been denied the opportunity to hear what was one of David Sancious and Tone’s most accomplished albums. Dance Of The Age Of Enlightenment might have resulted in a change in fortune for David Sancious and Tone. As it was, David decided to expand Tone to a six piece band for their fifth album, True Stories.
True Stories.
Having made the decision to add to the lineup of David Sancious and Tone, the search began in earnest for three new band members. The first addition was lead vocalist Alex Ligertwood from Glasgow, in Scotland. He had an enviable pedigree, having been a member of The Jeff Beck Band and Brian Auger’s Oblivion Express. He sounded as if he was born to sing rock. Providing the perfect foil for Alex Ligertwood were backing vocalists Brenda Madison and Gail Boggs. Neither were newcomers to David Sancious and Tone and Both had already made guest appearances on previous albums. This time they were full members of David Sancious and Tone as work began on what became True Stories.
Just like previous albums, David Sancious wrote the majority of True Stories. He penned Sound Of Love, Move On, Prelude #3, On The Inside, Fade Away, Ever The Same and Interlude. David also cowrote Matter Of Time with bassist Gerald Carboy. These songs became True Stories, which was produced by David and L.A. based, but London born producer Eddy Offord.
Having written and practised the song that would become True Stories, the newly expanded lineup of to David Sancious and Tone headed to Woodstock where the Eddy Offord Remote Studio was situated. David Sancious arranged the album which he co-produced with studio owner Eddy Offord. It was a quite different to previous albums as the band played a myriad of traditional and electronic instruments.
Even one member of the rhythm section expanded his musical horizons on True Stories. Drummer and percussionist Ernest Carter added a bell tree, gong, handclaps, tambourine, timbales and tone bender. His partner in the rhythm section, was bassist Gerald Carboy. David Sancious played synths, Hammond organ, bass, crotales, finger cymbals, piano, tambourine and added handclaps. Lead vocalist Alex Ligertwood played finger cymbals and added handclaps. Augmenting his vocals were backing vocalists Brenda Madison and Gail Boggs. The new lineup of David Sancious and Tone guided by new co-producer set about recording an album that stayed true to the group’s principles and they hoped would meet the approval of Arista.
The result was True Stories, which was completed in 1978. It was scheduled for release later that year. That was as long as the album met with the approval of Arista. Whether this had been deliberate or not, True Stories lacked the grandiose and flamboyant flourishes of previous albums. However, aided and abetted by lead vocalist Alex Ligertwood and two backing vocalists, David Sancious and Tone, continued to create music that was ambitious, groundbreaking and genre-melting. This was was in David Sancious and Tone’s musical D.N.A.
A&R executives at Arista were greeted with a very different album from Dance Of The Age Of Enlightenment. True Stories was still an album that married disparate musical genres. Everything from faux-baroque, classic rock, classical, funk, fusion, jazz and progressive rock can heard throughout True Stories. Sonically and stylistically, David Sancious and Tone had much in common with Pink Floyd, Emerson, Lake and Palmer, Yes and Genesis on True Stories. It’s a complex but captivating album, which is also melodic and full of subtle hooks. This results in several radio friendly tracks. Especially, album opener Sound Of Love, with its marriage of progressive rock, fusion and classic rock. It’s the perfect showcase for lead vocalist Alex Ligertwood seems to draw inspiration from Peter Gabriel and Jon Anderson. Then on Move On, Alex’s vocal brings to mind Steely Dan before the track heads in the direction of fusion and progressive rock. After that, it’s all change.
Prelude #3 is the first of two tracks with classical influence. There’s a faux baroque sound to synth, before the the track gradually unfolds. The classical influence continues On The Inside, where beauty and flamboyant flourishes of piano are key to the track’s success. From there, David Sancious and Tone change tack once again.
Fade Away is something of a slow burner, with a Hammond organ and drums providing the backdrop for Alex’s vocal. The drama builds and then when the chorus kicks in it’s been worth the wait. It becomes a melodic anthem, where a hint of disco is combined with R&B and rock. Very different is the prayer for peace Ever The Same where elements of classic rock, fusion and progressive rock combine. This gives way to Interlude which is two memorable minutes of beautiful, elegiac music, where synths and keyboards are to the fore. Closing True Stories was Matter Of Time, a ten minute sprawling progressive rock epic where David Sancious and Tone stretch their legs musically and showcase their considerable talents.
Having been impressed by an album that originally started life as four suites, Arista scheduled the release of True Stories for later in 1978. It was a very different album than David Sancious envisaged. With the help of his co-producer Eddy Offord, the original concept had been rejigged into something that Arista would find acceptable, and indeed, commercial. Arista high hopes for True Stories, and believed it had the potential to transform the fortunes of David Sancious and Tone.
When critics received their copy of True Stories, they were impressed by the latest offering from the newly expanded lineup of David Sancious and Tone. It was hailed an album of ambitious music, where combined and flitted between disparate musical genres. However, the addition of Alex Ligertwood and the backing vocalists added a new dimension to David Sancious and Tone. This surely should result in commercial success coming David Sancious and Tone’s way?
Alas, it wasn’t to be. When David Sancious and Tone released True Stories in 1978, the album never even troubled the lower reaches of the US Billboard 200. The only small crumb of comfort for Arista and David Sancious and Tone was when True Stories reached number forty in the US Jazz charts. That however, was as good as it got for David Sancious and Tone. They released Move On as a single in the UK during 1978, but it failed commercially. To make matters worse, progressive rock was falling out of favour on both sides of the Atlantic.
Despite that, David Sancious wasn’t about to turn his back on progressive rock. He had already decided to record a new album, which became Just As I Thought. However, it wasn’t credited to David Sancious and Tone. Instead, it became David Sancious’ debut solo album.
Just As I Thought.
There was no fallout between David Sancious and Tone. Instead, the band seem to have run its course. Despite this, some members of Tone would be reunited with him once he had written his debut solo album, Just As I Thought.
For Just As I Thought, David Sancious wrote nine new songs. Most of them, including Run, Just As I Thought, Again, The Naked 1, Valley Of The Shadow, Remember, And Then She Said and Again (Part II) were much shorter songs. Especially when compared to songs on previous albums. The longest track was Just As I Thought, Suite (For The End Of An Age), an eight minute epic, which featured David Sancious at his most creative. However, for most of Just As I Thought, the songs were shorter and found him moving towards fusion. To help him do this, was a very different band.
Joining David Sancious to record Just As I Thought was a band that was a mixture of familiar faces and new names. They made their way to Eddy Offord’s Mobile Unit in Woodstock. One of the familiar faces, was drummer and percussionist, who returned to the rhythm section. Joining him were fusion bassist Jeff Berlin, and T.M. Stevens, who would invent heavy metal funk. Each bassist played on two tracks. Adding vocals on Again and Suite (For The End Of An Age) was Kabir Ghani. Brenda Madison added choir parts to Suite (For The End Of An Age) and Again (Part II). David played acoustic and electric guitar, bass, Hammond organ, piano and synths. He also arranged Just As I Thought, and co-produced the album with Eddy Offord. Once Just As I Thought was complete, a new chapter in David Sancious’ career began.
Not only was Just As I Thought David Sancious’ debut solo album, but changed direction musically. On the album opener Run and Just As I Thought, there’s a move towards fusion. This more than hints at what’s to come.
Before that, Again is a beautiful piano lead ballad featuring Kabir Ghani’s vocal. It’s one of Just As I Thought’s highlights. Then The Naked 1 is understated, atmospheric and melodic track wherea Spanish guitar playing a leading role. After this, there’s a return to fusion on Just As I Though.
This begins on Valley Of The Shadow while Suite (For The End Of An Age) is best described as progressive rock meets fusion as Ernest Carter’s drums power the arrangement along adding to the drama. Remember is short interlude where David Sancious unleashes flamboyant flourishes on the piano and this gives way to And Then She Said a progressive and later, blistering slice of fusion. David Sancious dawns the role of guitar hero and unleashes a scorching solo. There’s even a jazz influence during the solos on what’s another of the highlights of Just As I Thought. It closes with Again (Part II), a poignant and beautiful track where the drama begins to builds and reaches a crescendo after three minutes. Just as is often the case, David Sancious kept one of the best until last. Not only does is it the perfect way to close Just As I Thought but it whets the listener’s appetite for the followup.
Before that, critics and record buyers would have their say on David Sancious’ debut solo album, Just As I Thought. Critics were won over by Just As I Thought, welcoming the stylistic departure on an album where David Sancious. Just As I Thought with its move towards fusion, showed another side to David Sancious. However, he hadn’t turned his back on progressive rock, and combined this with rock, classical, jazz and even the dreamy ambient, acoustic sound of The Naked I. There was much for critics to praise on Just As I Thought.
When Just As I Thought was released later in 1979, it only charted in the US Jazz charts, where it reached thirty-six. While this was an improvement on David Sancious and Tone’s swan-song True Stories, Just As I Thought had failed to find the audience it deserved. For everyone involved, it was a huge disappointment.
Especially David Sancious. Just As I Thought could and should’ve been the start of a long and successful career for the talented multi-instrumentalist, composer, arranger and producer. However, his ambitious, groundbreaking and genre-melting music was only finding an audience within the jazz community. It had been a similar case with David Sancious and Tone. Maybe that was why David Sancious decided to reinvent himself as a solo artist? Alas, it didn’t pay off.
Instead, David Sancious only released one further album for Arista, The Bridge in 1981. After that, he decided to concentrate on his work as a sideman,
For the next nineteen years, David Sancious’ time was spent working with the great and good of music. He took to the stage, and recorded with Eric Clapton, Jack Bruce, Peter Gabriel, Sting, and Bruce Springsteen, Stanley Clarke and Santana. However, having worked with rock royalty for so long, this must have inspired him to return to the studio.
In 2000, David Sancious released 9 Piano Improvisations. Two years later, this was followed in 2002 by Cinema and Live In The Now in 2006. This meant that David Sancious’ back-catalogue now amounted to five official albums, plus the five albums David Sancious and Tone released. They’re a reminder of a truly talented musician, composer, arranger and composer, whose music is only belatedly finding the audience it so richly deserves.
For those yet to discover the delights of David Sancious and Tone, or David Sancious’ solo career, then BGO Records’ recent reissue is the perfect starting point. It pairs David Sancious and Tone’s 1978 swan-song True Stories with his 1979 debut album Just As I Thought. Both albums have been digitally remastered especially for this reissue and are the perfect introduction to a man who Peter Gabriel describes as: “a musician’s musician.” That has been the case for over forty years.
During that period, David Sancious has won the praise, approval and admiration of his contemporaries and peers. That’s why when Eric Clapton and Peter Gabriel, to Saatana, Sting and Bruce Springsteen are looking for a keyboardist, David Sancious has been and still is, their go-to-guy. One listen to True Stories and Just As I Thought, and you’ll realise just why, rock royalty have David Sancious ‘ number on speed dial.
DAVID SANCIOUS AND TONE-TRUE STORIES AND DAVID SANCIOUS-JUST AS I THOUGHT.
TOM ARTHURS AND ISAMBARD KHROUSTALIOV-VAUCANSON’S MUSE-VINYL EDITION.
TOM ARTHURS AND ISAMBARD KHROUSTALIOV-VAUCANSON’S MUSE-VINYL EDITION.
Trumpeter Tom Arthurs and electronic musicians Isambard Khroustaliov have been friends for the best part of ten years. During that time, they’ve been involved with the Not Applicable record label and collective. It organised an English tour of Graphic Scores back in October 2013, that inspired Tom Arthurs and Isambard Khroustaliov to record an album together, Vaucanson’s Muse.
The Graphic Scores tour was funded by the Arts Council, and began on the 3rd of October 2013. This was the first of six concerts by the Not Applicable collective. Their lineup featured the combined and considerable talents of Oliver Coates, Elaine Mitchener, Tom Arthurs and Isambard Khroustaliov. They were lead by pianist and band leader Joanna MacGregor and played composed and improvised music that had been realised with the use of graphic scores.
Each night, the Not Applicable collective charted the history of graphic scores. This was where composers used visual symbols to convey musical information. It was, and still is, often used instead of, or in combination with traditional musical notation. One of the pioneers of graphic scores was John Cage. So it was fitting that the Not Applicable collective revisited his 1952 composition Water Music. This pioneering composition paved the way for the other artists that the Not Applicable collective celebrated on the Graphic Scores tour.
Among them, were Cornelius Cardew who wrote Treatise between 1963-1967, and George Crumb who wrote Makrokosmos in 1972. Pulitzer Prize. Thirty years later, Pulitzer Prize winner Wadada Leo Smith’s wrote Luminous Axis in 2002. Bringing graphic scores to a new audience was Jenifer Walshe, who wrote This Is Why People O.D. On Pills and Jump From The Golden Gate Bridge. It became part of the Not Applicable collective’s setlist during what was essentially, a celebration of Graphic Scores. The tour ended on 11th October 2013, in Oxford. For then, two members of the collective, the tour had been an illuminating and inspirational one.
So much so, that trumpeter Tom Arthurs and electronic musicians Isambard Khroustaliov had changed over the course of just eight days. It had been an informative experience for the two friends, who came from very different backgrounds. Tom Arthurs was an experienced jazz musician, who had recorded for various labels. Sam Britton a.k.a. Isambard Khroustaliov, had a background in dance music and algorithmic composition. Despite coming from very different musical backgrounds, the pair decided to head straight to the studio and record an album.
This was a first for the pair. Tom Arthurs and Isambard Khroustaliov had been involved in projects, but had never recorded an album together. These improvised recordings became Vaucanson’s Muse, which was recently released via Not Applicable’s Bandcamp Page. Vaucanson’s Muse is a limited edition of only 300. It’s best described as a lovingly curated release, which oozes quality. That’s the case from the artwork of architect Will Alsop to the sleeve notes of author and musician David Toop. They strengthen the themes hinted at throughout Vaucanson’s Muse, and that’s the music of unknown worlds constructed through symbolic and geometric abandon. This is fascinating and thought-provoking, just like the music of Tom Arthurs and electronic musicians Isambard Khroustaliov.
Isambard Khroustaliov.
Both men have enjoyed lengthy careers, and from very different musical backgrounds. In the case of Sam Britton, he never intended to embark upon a career in electronic music. Instead, he enrolled at the Architectural Association in 1996. Not long after this, Sam began writing electronic music. Within a year, he was recording for an independent label. This included with Ollie Brown as Icarus.
They would release six albums between 1998 and 2010. Icarus released albums for labels on both sides of the Atlantic, including Output Recordings, Temporary Residence, Domino and The Leaf label. However, just a year after Icarus released their debut album, Sam’s time studying architecture was over. His musical career, however, was just beginning.
Over the next few years, Sam Britton juggled several careers. He was a member of Icarus, and a member of the trio Fiium Shaarrk. Sam had also dawned the moniker Isambard Khroustaliov, and collaborated on six albums between 2006 and 2013. Isambard Khroustaliov released his debut solo album Ohka in 2009. Meanwhile, Sam Britton was forging a successful career as a composer.
That had been the case ever since 2002. Sam Britton began composing music for television, film, animation and new media. He quickly established a reputation as a talented composer, and was working with many of the biggest British television companies. Despite this, Sam was keen to further his musical education.
Away from making music, Sam Britton was a keen student of music. In 2006 he completed a Masters course in electronic music and composition at IRCAM in Paris, France. Then in 2011, Sam began a Phd in composition under the supervision of Richard Barrett, Peter Wiegold and Christopher Fox at Brunel University. This Phd Sam was in the throes of, when he embarked upon the Graphic Scores’ tour and the recorded Vaucanson’s Muse with Tom Arthurs.
Tom Arthurs.
Trumpeter and composer Tom Arthurs has spent the best part of two decades honing his sound. Now he’s regarded as one of the most talented, and versatile British trumpeters of his generation. Almost seamlessly, Tom can switch between jazz and improvised music. As he does this, he draws inspiration from a wide range of influences. Everyone from John Taylor, Kenny Wheeler and Jimmy Guiffre to Berlin’s Echtzeitmusik scene and composers like György Ligeti, Luc Ferrari, Wolfgang Mitterer and Morton Feldman. That’s not forgetting filmmakers Andrei Tarkovsky and Jean-Luc Godard, baroque music, Gal Costa, David Sylvian and Arto Lindsay. They’ve shaped Tom Arthurs as a musician and composer.
By the time Tom Arthurs was in his mid-thirties, word of this musical pioneer had spread far and wide. On both sides of the Atlantic, and across Europe Tom Arthurs’ music had been discovered by both an appreciative musical public and critics. They hailed Tom as a “a world-class improviser,” and described his playing: “as vulnerable as Miles Davis at his fragile best.” There was a simplicity and beauty to Tom Arthurs’ music, which was exacting as he knocked on the door of perfection. So it was no surprise that Tom was constantly busy, as a bandleader and collaborator.
Tom Arthurs lead two different international trios. The first featured British pianist Richard Fairhurst and Finnish drummer Markku Ounaskari; while the second included French bassist Sébastien Boisseau and Swedish drummer Jon Fält. Away from his work was a bandleader, Tom has worked on a variety of collaborations and collective improvised projects.
He’s also played alongside, and recorded with, Julia Hülsmann, Theo Bleckmann, Ingrid Laubrock, Dine Doneff Denis Badault and Eric Schaefer. Tom Arthurs has also a shared the stage with an eclectic selection of musicians. This includes many familiar faces, including John Surman, John Taylor, Kenny Wheeler, Benoît Delbecq, Jack DeJohnette, Régis Huby, Iain Ballamy, Thomas Strønen, Jan Bang, Nicolas Masson, Julie Sassoon, and Eddie Prévost. Other times, Tom shares a stage with what are regarded as the finest musicians of his generation. Among them are Marc Schmolling, Miles Perkin, M Philipp Gropper, Ronny Graupe and Wanja Slavin. They’re among many artists that Tom has taken to the stage with Tom. This also includes the Not Applicable collective.
By October 2013, Tom Arthurs had been involved with the Not Applicable record label and collective for a number of years. The collective had recently secured funding from the Arts Council, for the six date Graphic Scores tour. It was scheduled to take place between the 3rd and 11th October 2013. So the Not Applicable collective headed out on the Graphic Scores tour.
Leading the collective was pianist Joanna MacGregor. She was joined onstage by the combined and considerable talents of Oliver Coates, Elaine Mitchener, Tom Arthurs, Isambard Khroustaliov. Each night, they celebrated and charted the history of graphic scores. To do this, the collective revisited the work of John Cage, Cornelius Cardew, George Crumb, Wadada Leo Smith and Jenifer Walshe. For six nights, the music of these musical pioneers reached a new and receptive audience. Fittingly, the critically acclaimed tour ended in one of England’s most learned cities, Oxford.
Buoyed and enthused by the tour, Tom Arthurs and Isambard Khroustaliov decided to record an album together. This was a first. Although the two friends had worked on albums before, they had never record an album together. Despite this trumpeter Tom Arthurs and electronic musician decided to record an album of improvised music, Vaucanson’s Muse.
Vaucanson’s Muse.
Recording of Vaucanson’s Muse took place at Coda to Coda Studios, in London during November 2013. A total of eight tracks were recorded. They were mixed by Tom Arthurs and Isambard Khroustaliov at Code Cole Studios, in February 2014. When it came to mastering, this took place at Abbey Road Studios. Alex Wharton mastered and cut what became Vaucanson’s Muse on a Neumann DMM lathe. It was then sent to Optimal in Germany to be pressed.
Meanwhile, architect Will Alsop was hard at at work designing the album cover and the rest of artwork. It’s his interpretation of the music on Vaucanson’s Muse. Similarly, author and musician David Toop waxes lyrical, as he interprets the music in his sleeve notes. By the time the artwork and sleeve notes were completed, Vaucanson’s Muse had been pressed and was ready for release via Not Applicable’s Bandcamp Page. Vaucanson’s Muse was recently released as a limited edition of 300 copies, which are pressed in heavyweight vinyl, and features two musical pioneers, Tom Arthurs and Isambard Khroustaliov.
Opening side one of Vaucanson’s Muse is On A Carpet Of Leaves Illuminated By The Moon. A trumpet wails, and soars high above the arrangement. It features a myriad of beeps, squeaks, clicks, crackles and bubbling sounds. They provide an alternative symphony, as Isambard Khroustaliov dig deeps into his array of sonic trickery. They’re manipulated, with sounds grinding as they’re played backwards. Other sounds tap out a code, that’s akin to computer’s chattering. Meanwhile, Tom plays with power and control. Later, he plays a with a subtlety, leaving space in the music that takes on a ruminative and wistful beauty.
Gently and tenderly, Tom plays his trumpet on Vaucanson’s Muse. It brays softly as Isambard adds a variety of clicks, crackles and rustling sounds. They beep, squeak and buzz menacingly, as he he becomes a modern day Jimi Hendrix unleashing, but somehow controlling this array of disparate sounds. They’re panned, as they move across and then up and down the soundscape. Meanwhile, the trumpet squeals, squeaks and shrieks becoming part of an alternative and futuristic orchestra. Later, the arrangement becomes minimalist, with rustles, beeps, squeak and bubbling sounds accompanying machinelike sounds and short bursts of trumpet. They merge into one, becoming part of captivating soundscape, that pays homage to not just the pioneers of graphic scores, but those that were at the forefront of improvised, avant-garde and experimental music. They’ve obviously influenced Tom Arthurs and Isambard Khroustaliov.
Grace Jones is one of the shortest, and most melodic tracks on Vaucanson’s Muse. Isambard puts his array of electronic equipment to good use. What sounds not unlike a fax machine is at the heart of the glistening, shimmering arrangement. It’s carefully crafted, and as it meanders along, takes on a space age sound. Later, Tom sprays bursts of trumpet, and takes care not to overpower the rest of arrangement. His trumpet becomes part of what’s a melodic, space age soundscape.
Trajets closes side one of Vaucanson’s Muse. Tom’s trumpet blazes, soaring high above the crackling, bristling and beeping arrangement. Occasionally, Tom answers his own call. By then, the arrangement has taken on a edgy, experimental sound. Other times, it veers between futuristic and understated, as it becomes a robotic symphony. Then when Tom’s trumpet enters, he plays within himself. There’s no blazing, scorching solos. Instead, he plays carefully and thoughtfully, adding a warm, melodic sound. It’s a contrast to other parts of this experimental sounding arrangementm which bristles, beeps and squeaks. They’re joined by washes of eerie chatter while the muted trumpet plays. Together, they create a captivating, cinematic soundscape that would be the perfect soundtrack for a short sci-fi film.
Cant’ Unsee opens side two of Vaucanson’s Muse. In the distance a droning synth plays. Soon, it’s joined by a rasping trumpet, that’s played softly. It picks out a melody, before embarking on brief sonic excursions. Always, Tom returns to the memorable melody. Meanwhile, the beeps, squeaks and bubbling sounds that provided a backdrop for the haunting beauty of the trumpet. Soon, it’s been joined by what sounds like an engine. Coupled with the futuristic beeps, cheeps and squeaks, and the haunting beauty of the trumpet, it again sounds like the soundtrack to another space age voyage of discovery.
Beeps, cackles, crackles and squeaks join the squealing, shrieking trumpet on Irina Piperin. They’re joined by samples of water dripping and a myriad of clicks and crackles. Tom’s transforming the trumpet, so that he can too can help shape this soundscape. To do this, he has to eschew playing with speed and fluidity. Instead, he improvises, as gruff, croaking notes fall from his trumpet. They’re part of what’s a understated but somewhat eerie, edgy soundscape. It’s not unlike walking down a dark, deserted city street as one’s mind starts playing tricks. This is the case here, with everything from clicks and crackles to a rumbling sound and the scampering, braying and squeaking trumpet. They’re part of a eerie and unsettling soundscape, that’s sure to set the listener’s mind racing.
Sea Interval closes side two, and indeed, Vaucanson’s Muse. A drone takes centre-stage, before Tom adds a rasping trumpet. It’s played with a subtlety, and becomes part of the meandering, multilayered arrangement. Still, the drone is at its heart, as the trumpet is omnipresent, as the trumpet probes and rasps, adding a melancholy hue. Later, short urgent blasts of the trumpet punctuate the arrangement as it takes on a melodic and thoughtful sound. It’s a case of saving the best until last. Key to the sound and success of Sea Interval is the relationship between Isambard and Tom. Isambard Khroustaliov is the perfect muse for Tom Arthurs, and ensures that he reaches new heights. As a result, Sea Interval showcases the considerable and combined talents of Tom Arthurs and Isambard Khroustaliov. That has been the case throughout Vaucanson’s Muse.
It features two musical pioneers, who come from very different musical backgrounds. They’ve worked together many times, but never have recorded an album together. That was until they returned from the Not Applicable collective’s Graphic Scores’ tour. Buoyed by the success of the critically acclaimed tour, Tom Arthurs and Isambard Khroustaliov entered the studio and recorded Vaucanson’s Muse back in November 2013. However, it was nearly three years before the album was released in late October 2016. Vaucanson’s Muse which was recently released via Not Applicable’s Bandcamp Page has been worth the three year wait.
From the opening bars of On A Carpet Of Leaves Illuminated By The Moon, right through to the closing notes of Sea Interval, Tom Arthurs and Isambard Khroustaliov push musical boundaries. To do this, they combine elements of ambient, avant-garde, experimental and improvised music. The result is music that’s variously cinematic, edgy, eerie, futuristic, melodic, melancholy and ruminative. It’s also music that’s guaranteed to set the listener’s mind racing, as Tom Arthurs and Isambard Khroustaliov take the listener on a sonic voyage of discovery. All the listener has to do, is submit to the music, and enjoy its nuances, subtleties and its plentiful supply of surprises. If they do, they will be richly rewarded. Vaucanson’s Muse finds two musical innovators uniting, to create a groundbreaking album of music, where Tom Arthurs and Isambard Khroustaliov follow in the footsteps of the pioneers of graphic scores.
TOM ARTHURS AND ISAMBARD KHROUSTALIOV-VAUCANSON’S MUSE-VINYL EDITION.
MILT JACKSON-SUNFLOWER AND GOODBYE.
MILT JACKSON-SUNFLOWER AND GOODBYE.
By 1967, Creed Taylor was a veteran of the music industry. He had worked numerous record labels, including Bethlehem, ABC and Verve. However in 1967, Creed Taylor left Verve to join Herb Albert and Jerry Moss’ A&M Records. This was something of a coup for A&M Records, as Creed Taylor had an impressive track record.
At ABC, Creed founded one of jazz’s most influential labels, Impulse! and signed John Coltrane in 1960. With one of the legends of jazz onboard, McCoy Tyner, Sonny Rollins, Art Blakey, Charles Mingus, Albert Ayler and Archie Shepp would then sign to Verve. Impulse! would go on to release some of the most innovative and influential jazz of the sixties. By then, Creed Taylor had moved on to Verve in 1961.
Now working for Verve Records, Creed Taylor introduced bossa nova to America. Creed signed artists like Antonio Carlos Jobim and Stan Getz. Their music caught the attention of Charlie Byrd and Dizzy Gillespie. Soon, Verve Records was one of the most successful jazz labels. However, after six years at Verve Records, Creed Taylor was on the move.
He signed to A&M in 1967. That’s where CTi Records was born. Originally, CTi Records was an imprint of A&M. A&M was responsible for distributing CTi Records’ releases. That was the case right through until 1969, when Creed Taylor left A&M. The following year, CTi Records become an independent record company.
Many people saw Creed Taylor’s decision to leave A&M as risky. Not Creed Taylor though. He saw it as a carefully calculated risk. Music was about to change. Especially jazz music. Creed Taylor foresaw the and was determined that CTi Records would be at the forefront of this change. So he began signing some of the most talented jazz musicians of that time to CTi Records. This included Chick Corea, Dave Holland, Ron Carter and Herbie Hancock. Another artist that Creed Taylor signed to Cti Records in 1970, was forty-seven year old vibes player Milt Jackson.
He would spend three years at CTi Records, and released a trio of albums. This included Sunflower and Goodbye, which have been digitally remastered, and were recently released by BGO Records on one CD. On both Sunflower and Goodbye, Milt Jackson’s is joined by an all-star band, which features many other artists signed to CTi Records.
By the time Milt Jackson signed to CTi Records, he was a musical veteran. He had released thirty-six albums, including collaborations with some of the biggest names in jazz. John Coltrane, Coleman Hawkins, Wes Montgomery, Oscar Peterson and Ray Charles had all collaborated with Milt Jackson. His first collaboration on an album came in 1948.
Milt Jackson was then twenty-five. He was born in Detroit on 1st January 1923. Music was omnipresent in the Jackson household. It played an important part in everyday. So did the church, where Milt Jackson would later sing gospel.
Before that, Milt Jackson began searching for the right musical instrument for him. This search began when seven year old Milt Jackson began to play the guitar. Then when he was eleven Milt switched to piano. However, when Milt started at Miller High School, he began playing drums and then timpani and violin. Somehow, Milt even found time to sing in the school choir. By the time he was sixteen, Milt began touring with the gospel group the Evangelist Singers. However, that wasn’t where his future lay.
For sixteen year old Milt Jackson, hearing Lionel Hampton playing the vibraphone in Benny Goodman’s band, changed not just his musical direction, but his life. Realising that the vibraphone was the instrument for him, Milt Jackson spent the next few years dedicating himself to learning how to play the vibes. This paid off.
In 1945, Milt Jackson was discovered by Dizzy Gillespie, and he became a member of his sextet. Before long, Milt was a familiar face in Dizzy Gillespie’s bands. This was something of a coup for the young vibes player, and certainly got him noticed. Milt went on to Milt play alongside Woody Herman, Thelonious Monk, Charlie Parker and Howard McGhee, with whom he recorded an album in 1948
Trumpeter Howard McGhee and Milt Jackson entered the studio in 1948 to record an album. They were joined by some of the top musicians of the day. Together, they recorded twelve tracks, which eventually, were released as Howard McGhee and Milt Jackson in 1955. Little did Milt Jackson realise that this was the first of a prolific career.
Milt Jackson’s career would eventually spanned six decades. His recording career began in earnest in 1952. By then, Milt had formed the Milt Jackson Quartet in 1950. It would later become the Modern Jazz Quartet, which right through until 1974, when it disbanded, would released ambitious and groundbreaking music. Still, though Milt managed to juggle his solo career with his would within the Modern Jazz Quartet.
Two years after the formation of the the Milt Jackson Quartet, its founder released his solo debut album, Wizard of the Vibes. It featured music recorded between 1948 and 1952. Three years later, and the Milt Jackson Quartet released their eponymous debut album on Prestige. The following year, was one of the most productive of Milt’s early career.
During 1956, Milt Jackson released a quartet of solo albums. By then, Milt had acquired the nickname Bags, after arriving at a gig with bags under his eyes. They were the result of too many nights carousing into the early others. However, Milt’s new nickname provided inspiration for many an album title, including Roll ‘Em Bags. It featured music that had been recorded between 1949 and 1956; while Meet Milt Jackson had been recorded between 1954 and 1956. Milt’s other releases were Opus de Jazz and The Jazz Skyline. They showcased Milt Jackson as developed and blossomed as an artist. That would be the case throughout the remainder of the fifties.
When Milt Jackson released Plenty, Plenty Soul in 1957, it proved to be his final release for Savoy. He would move to Atlantic Records, and later in 1957, released Plenty, Plenty Soul and Bags and Flutes. Milt continued to be a prolific solo artist, but still somehow, found time to record with the Modern Jazz Quartet and collaborate with other artists.
This included recording Soul Brothers with Ray Charles in 1958. Then in 1959, Milt Jackson recorded Bean Bags with Coleman Hawkins. That year, Milt released his last solo album of the fifties, Bags’ Opus. It’s regarded as one of the finest album Milt recorded for Atlantic Records during the late fifties. The Atlantic Records’ years continued into the sixties.
As the sixties dawned, Milt Jackson released Bags and Trane, his collaboration with John Coltrane in 1960. It was regarded as was one of Milt’s best collaborations, and featured a series of stellar performance from both men. The other album Milt released during 1960, was The Ballad Artistry Of Milt Jackson, where he works his way through a series of standards. Alas it wasn’t one of Milt’s finest hours. Reviews of the the album were mixed. Milt’s next album was another high profile collaboration.
This was Soul Meeting, a collaboration between Milt Jackson and Ray Charles. It was released in 1961, the year Milt’s time at Atlantic Records drew to a close. For the rest of 1961, he released albums on a variety of labels.
Among them, were Verve, who released Very Tall, Milt Jackson’s collaboration with jazz pianist Oscar Peterson. It was released in 1961, the same year that Milt released Statements on Impulse! However, it was Milt’s 1961 collaboration with Wes Montgomery, Bags Meets Wes! that resulted in him finding a new home, Riverside.
It was home for Milt Jackson for the next few years. Milt released Big Bigs and Invitation during 1962. For Someone I Love followed in 1963, with Milt Jackson Quintet Live at the Village Gate being released in 1964. By then, Milt had moved on again.
The next few years saw Milt Jackson flit between labels big and small. He released Jazz ‘N’ Samba on Impulse in 1964, and somewhat belatedly, Atlantic Records released Vibrations, which had been recorded in 1960 and 1961. That was when Atlantic Records was home for Milt. Not anymore. Home was now the Limelight label, which released In A New Setting in 1964. This would home for Milt for the next couple of years. Before that though, Milt would on the collaboration trail.
During 1964, released three collaborations. This included Milt Jackson with Orchestra Enrico Intra’s album Sings. Milt Jackson and Sonny Still collaborated on the album In The Beginning. However, the third collaboration was with Ray Brown, and would become Milt’s most productive and longest lasting musical of the sixties.
It was in 1964 that Milt Jackson and Ray Brown released the first of two collaborations on Verve, Much in Common. This was followed by Ray Brown-Milt Jackson. The other album Milt released during 1965 was Milt Jackson At The Museum of Modern Art. Just like In A New Setting, it was released on Limelight, which had become Milt’s new home. Limelight released Born Free in 1966, which was his swan-song for the label.
Milt Jackson returned in 1968 with a new ensemble, Milt Jackson and the Hip String Quartet. It included Hubert Laws who Ron Carter, who Milt would join forces with at Creed Taylor’s CTi Records. That was two years down the line.
Before that, Milt Jackson and Ray Brown released a trio of collaborations during 1969. That’s the Way It Is and Just the Way It Had to Be were live albums. The other album Memphis Jackson, was a studio album which featured an all-star cast, that included the Ray Brown Big Band. Despite the illustrious array of talent on display, critics weren’t impressed. It was an inauspicious end to the sixties.
During the sixties, Milt Jackson had been a prolific artist. Not only had released numerous solo albums, but he had continually collaborated. Then there was the albums Milt had recorded with the Modern Jazz Quartet. They recorded throughout the sixties, and were equally prolific. Despite this, the Modern Jazz Quartet were no longer regarded by the latest generation of jazz aficionados as pioneers. Instead, fusion was King where jazz was concerned.
Fusion was a marriage of jazz, funk and rock and psychedelia, that had been born in the late sixties. Among its founding fathers were Gary Burton, Larry Coryell and Miles Davis. They brought onboard Chick Corea, Dave Holland, Ron Carter and Herbie Hancock. With some of jazz’s big hitters joining the fusion revolution, Creed Taylor began signing some of this musical movement’s leading lights to CTi Records. However, Creed Taylor wasn’t just signing artists who played fusion. He had signed jazz guitarist George Benson and several Bossa Nova artists. His latest signing in 1970, was forty-seven year old Milt Jackson.
Signing to CTi Records was a no-brainer for Milt Jackson. He had been drifting for the last few years, and latterly, hadn’t reached the heights of his early career. Maybe Creed Taylor could rejuvenate his Milt’s career? CTi Records was regarded as a label that was going places. It was also a label that was home to some of the best and most innovative jazz musicians of a generation. These musicians would happily switch between bandleader and sidemen.
In the case of Milt Jackson, he made his CTi Records’ debut on Stanley Turrentine’s Cherry. He was one of the guest artists on the album when it was recorded in May 1972. Then seven months later, on the 12th and 13th December 1972, Milt Jackson released his CTi Records’ debut Sunflower.
Sunflower.
Before the recording of Sunflower began at Rudy Van Gelder Studio in Englewood Cliffs, New Jersey on the 12th and 13th December 1972, Milt Jackson set about choosing the material for the album. Four songs were chosen, Milt’s composition For Someone I Love (What’s Your Story); Alan and Marilyn Bergman’s What Are You Doing the Rest of Your Life?; Thom Bell and Linda Creed’s People Make the World Go Round and Freddie Hubbard’s Sunflower. These four tracks would be recorded by an all-star band.
At its heart, was a rhythm section that featured drummer Billy Cobham, bassist Ron Carter and Jay Berliner. They were joined by pianist Herbie Hancock, percussionist Ralph MacDonald, trumpeter Freddie Hubbard and Milt Jackson on vibes. Augmenting the core band was harpist Margaret Ross, plus string and woodwind sections. Arranging Sunflower and conducting the band was Don Sebesky. Creed Taylor took charge of production on Sunflower, which he hoped would transform Milt Jackson’s career and fortunes.
That proved to be the case. Prior to the release of Sunflower, critics hailed the album Milt Jackson’s finest album of many a year. Backed by a crack band of jazz’s top players, Bags rolled back the years, and was like a man reborn musically.
Someone I Love (What’s Your Story) opens that album, and just a lone acoustic guitar plays. It sets the scene, before for a Freddie Hubbard’s melancholy trumpet and a wistful lush strings. When it comes to the solos, Milt plays with fluidity and flamboyance, that comes with thirty years experience. Similarly, Freddie Hubbard’s trumpet and Herbie Hancock’s piano play leading roles, in a track that’s beautiful, ruminative and showcases the considerable talents of Milt and his band. There’s a similar beauty to the balladry of What Are You Doing the Rest of Your Life?, which has a widescreen, cinematic sound. After this, it’s all change.
People Make the World Go Round which had given The Stylistics a hit single, is then reinvented by Milt Jackson. It becomes a mid tempo track, where jazz, funk and soul are combined. Trumpeter Freddie Hubbard and Herbie Hancock on piano and Fender Rhodes are at the heart of everything good. Milt is content to play a supporting role, as his band reach new heights. Sunflower closes the album, and is an eleven minute epic. Lush strings ensure the arrangement soars, as Freddie Hubbard’s flugelhorn takes centre-stage. Later, so does the piano, and Milt’s shimmering vibes as jazz and 4/4, gives way to samba. However, it’s Freddie Hubbard that plays a starring role in what was the finest album Milt Jackson had released for many a year.
Record buyers agreed. When Sunflower was released in 1973, it reached number five in the US Jazz charts. This turned out to be the most successful album of Milt Jackson’s career. Not for the first time had Creed Taylor transformed an artist’s career. Now it was a case of doing it all again.
Goodbye.
After the success of Sunflower, Creed Taylor sent Milt Jackson into the studio to record another album in December 1973. Milt Jackson and his band would record four new songs. This included the he Milt Jackson penned S.K.J. and the jazz standard Old Devil Moon. Detour Ahead had been penned by Lou Crter, Herb Ellis and Johnny Frigo, while Goodbye was a Gordon Jenkins composition that for many a year, had been the closing song to the Benny Goodman Orchestra’s show. These tracks were recorded at Rudy Van Gelder Studio in Englewood Cliffs, New Jersey during December, 1973.
Joining Milt Jackson this time round was a much smaller band, than last time. The sextet featured a rhythm section of drummer Steve Gadd and bassist Ron Carter, plus pianist Cedar Walton, flautist Hubert Laws and Milt Jackson on vibes. Creed Taylor again produced Goodbye. These four tracks would form the basis of Goodbye.
There were tracks from the Sunflower sessions that hadn’t been used. The best of these tracks was the Horris Silver composition Opus de Funk. It had been recorded on December 12th 1972, at Rudy Van Gelder Studio in Englewood Cliffs. That day, the lineup featured drummer Billy Cobham, pianist Herbie Hancock, trumpeter Freddie Hubbard and Milt Jackson on vibes. Now Sunflower was complete, and would be released later in 1974.
When critics received a copy of Goodbye, it was credited to Milt Jackson with Hubert Laws. That was no surprise to those who heard the album. The Houston born flautist had played such an important role in the sound and success of album. None more so that than the languid, dreamy take on Old Devil Moon. It just meanders along beautifully, with Hubert Laws’ flute and Milt Jackson’s vibes playing leading roles.The rhythm section play slowly and carefully, never overplaying and always leaving space for the soloists. It’s a similar case on S.K.J., with its bop stylings. As it meanders along, Cedar Walton’s piano and the vibes playing starring roles, as an element of funk is introduced later as S.K.J. starts to groove and swing. Mostly, though, jazz is to the fore on S.K.J. Soon, though, the tempo rises.
Opus de Funk finds Milt Jackson and his band stretching their legs. The tempo rise on this oft covered hard bop number. With Steve Gadd’s drums propelling the arrangement along, a glorious and smoking slice of jazz unfolds. However, on Detour Ahead the tempo drops. Milt and his band take the opportunity to explore the track’s subtleties and nuances. That’s the case throughout from the opening bars to the closing notes, when the band never miss a beat. All too soon, Milt Jackson bids the audience Goodbye on the mid-tempo title-track.Just like the previous track, everyone more than plays their part in the sound and success of Goodbye. However, when the solos come round, Hubert Laws steals the show, with pianist Cedar Walton deserving an honourable mention. Milt seems content and secure enough, to allow other members of the band shine. He knows it’s for the greater good, and that it’s his name that’s on Goodbye. It was released later in 1974.
When Goodbye was released, most of the reviews were positive. The reinvention of Milt Jackson continued, on album where elements of post bop, hard bop and funk. This results in music that swings, and is melodic, harmonic and full of subtleties, surprises and nuances. Goodbye is also an accomplished and polished album, from a band that features seasoned jazzers. Despite this, Goodbye failed to replicate the commercial success of Sunflower. Goodbye still found an audience, but not like Milt, Creed Tylor and everyone at CTi Records had hoped. It was disappointing commercially, considering Sunflower had been Milt Jackson’s biggest selling album.
That remained the case throughout the rest of Milt Jackson’s career. He continued to record for record labels big and small right up until his death in 1999. However, never again, did one of Milt Jackson’s albums sell as many albums as Sunflower. It’s was, without doubt, one of the best albums Milt Jackson had released in many a year. His career was rejuvenated at CTi Records.
A reminder of this is Sunflower and Goodbye, which Milt Jackson released in 1973 and 1974. Both albums find Milt Jackson being accompanied by an all-star band, as he works his way through original songs and cover versions. Buoyed by such a talented band, Milt Jackson delivers a series virtuoso performances on his trusty vibes. Then on other tracks, he’s content to let other remembers of the band shine on Sunflower and Goodbye. Both Sunflower and Goodbye have been digitally remastered, and were recently released by BGO Records on one CD. They’re a welcome reminder of Milt Jackson, who is one of the greatest vibes players in jazz history.
MILT JACKSON-SUNFLOWER AND GOODBYE.
SANDY DENNY-WHO KNOWS WHERE TIME GOES?
SANDY DENNY-WHO KNOWS WHERE TIME GOES?
On the 21st of April 1978, Sandy Denny passed away aged just thirty-one. That day, the career of one of the finest British folk singers of her generation was cut tragically short. Music lost a hugely talented singer and songwriter. There was no doubt about that. Sandy Denny stood head and shoulders above many of her contemporaries, including some she had shared a stage with. The loss of Sandy Denny was a tragedy
Music was in mourning at the loss of Sandy Denny. She had achieved so much in a short space of time. This included a brief spell with The Strawbs, before becoming the lead singer of Fairport Convention. However, Sandy left Fairport Convention in December 1969 to hone her songwriting skills. That was the plan.
Not long after her departure from Fairport Convention, Sandy decided to form a new band, Fotheringay. So in the early 1970, Sandy began putting together a new band. One of the first musicians she brought onboard was guitarist Trveor Lucas.
He had been born in Australia, but was now based in Britain. Trevor was now a familiar face in the British folk scene. Previously, Trevor was a member of Eclection. That’s when Trevor met Sandy Denny. The pair started dating in May 1969, and eventually, married in 1973. However, Trevor’s career began back in Australia, in the early sixties.
Back then, Trevor Lucas was a solo artist. He released his debut solo album See That My Grave Is Kept Clean in 1964. Then on New Year’s Eve Trevor boarded a ship and made the journey from Australia to Britain. That’s when he became a member of Eclection, and met drummer Gerry Conway.
Eclection were a folk-rock band, who were formed in 1967, and broke up two years later in 1969. However, by then, Trevor Lucas and Gerry Conway were firm friends. They renewed their musical partnership in Fotheringay.
Gradually, Sandy’s new band was taking shape. The final pieces in the musical jigsaw were two former members of The Poet and The One Man Band. Guitarist Jerry Donahue had moved from Manhattan to Britain, where he quickly became stalwart of the folk scene. This wasn’t surprising. Jerry’s father was big band saxophonist Sam Donohue. However, Jerry wasn’t inspired by his father. Instead, Gerry McGee, Earl Scruggs, Chet Atkins and Duane Eddy inspired Jerry, who in 1970, joined Fotheringay with Edinburgh born bassist Pat Donaldson.
By 1970, Pat Donaldson was a familiar face in the London music scene. He had moved to London in the early sixties. Since then, he had been a member of Bob Xavier and the Jury, Zoot Money’s Big Roll Band and the reformed Dantalian’s Chariot. Fotheringay was just the latest group the twenty-seven year old bassist work with.
With the lineup of her new band finalised, all Sandy Denny needed was a name for the band. She decided on Fotheringay, after Fotheringay Castle where Mary Queen Of Scots was imprisoned. With its lineup complete and a name in place, Sandy Denny’s new band could begin work on their debut album.
Fotheringay.
Sandy Denny didn’t waste any time recording Fotheringay’s debut album. She wrote four tracks and cowrote Peace in the End with Trevor Lucas. He also penned The Ballad of Ned Kelly. Other tracks included covers of Gordon Lightfoot’s The Way I Feel, Bob Dylan’s Too Much Of Nothing and Banks of the Nile. These ten tracks were recorded between February and April, 1970 at Sound Techniques, in London with Joe Boyd producing what became Fotheringay.
Once Fotheringay was completed, the album was released in June 1970. It was one of the most eagerly awaited albums of the year. Critics and record buyers eagerly anticipated the release of Fotheringay.
They weren’t disappointed. Critics hailed the album a masterful debut. Sandy Denny was back, and better than ever. Her enchanting, ethereal vocal was complimented by a tight, talented band. They won not just the critics, but record buyers.
Fotheringay sold well upon its release in June 1970, and reached number eighteen in Britain. Good as this was, it wasn’t good enough for Island Records. Their expectations and Fotheringay’s differed. Island Records hoped the album would be one of the label’s biggest selling albums. That wasn’t the case. This resulted in Island Records’ pressurising Sandy to embark upon a solo career.
Sandy Denny dug her heels in. She was determined to continue with Fotheringay. So work began on what was meant to be Fotheringay’s sophomore album.
Fotheringay 2.
A total of eleven tracks were meant to feature on Fotheringay’s sophomore album. This time, Sandy Denny only wrote two songs. Trevor Lucas and Pete Roach penned Knights of the Road and Restless.Among the other tracks were traditional songs, a cover of Bob Dylan’s I Don’t Believe You and the Dave Cousins’ composition Two Weeks Last Summer. These eleven tracks were recorded by an expanded lineup of Fotheringay.
Joining the usual lineup of Fotheringay was Linda Thompson. She was going to add backing vocals when the sessions began in November 1970. The sessions continued into December 1970. Everyone thought that things were going to plan. Sadly, that wasn’t the case.
In January 1971, it was announced that Fotheringay were no more. The band split-up and what would eventually become Fotheringay 2 was shelved. It wasn’t released until 2008. With Fortheringay now consigned to musical history, Sandy Denny embarked upon a solo career.
Sandy Denny signed to Island records, and went on to release four studio albums, The North Star Grassman and The Ravens, Sandy, Like An Old Fashioned Waltz and Rendezvous. However, Sandy Denny’s career began in 1971 with The North Star Grassman and The Ravens.
The North Star Grassman and The Ravens.
After Fotheringay split-up, Island Records were keen for the latest signing to enter the studio. Sandy Denny, Island Records believed, could become one of the company’s biggest selling artists. So Sandy entered the studios in March 1971.
By then, Sandy Denny was maturing as a songwriter. That was what she set out to do, when she left Fairport Convention. For The North Star Grassman and The Ravens, Sandy wrote eight of the eleven songs, including Late November and John The Gun which had been recorded for the Fortheringay 2 sessions. Among Sandy’s other compositions, were The Sea Captain, The Optimist, Next Time Around, Wretched Wilbur, The North Star Grassman and The Ravens and Crazy Lady Blues. They joined a rework of the traditional song Blackwaterside, Bob Dylan’s Down In The Flood and Charles Robins’ Let’s Jump The Broomstick. These songs were recorded over a three month period, with some familiar faces.
The recording sessions began in March 1971, at Sound Techniques, with Sandy Denny, John Wood and Fairport Convention’s Richard Thompson tanking charge of production. Just two songs were recorded there Blackwaterside and Let’s Jump The Broomstick. Then things were moved in-house and the rest of the sessions took place at Island Studios, in London.
At Island Studios, Sandy was accompanied on some of the tracks, by the rest of Fotheringay. Other musicians were drafted in when needed. This included Buddy Emmons on pedal steel guitar; drummer Roger Powell; bassist Tony Reeves; violinist Barry Dransfield and Ian Whiteman on piano and flute organ. Royston Wood and Robin Dransfield added backing vocals on John The Gun. Richard Thompson played accordion, bass, electric and acoustic guitar. His vocal featured on Down In The Flood. Harry Robertson arranged the strings on Next Time Around and Wretched Wilbur. By May 1971, The North Star Grassman and The Ravens was complete. It would be released four months later.
Before the release of The North Star Grassman and The Ravens, critics had their say on Sandy Denny’s debut solo album. With its mixture of Sandy Denny compositions, and cover versions, it was a truly captivating album. Sandy’s vocals were compelling, as she breathed meaning and emotion into lyrics. Among the highlights were John The Gun, Late November, the wonderfully wistful Next Time Around and The North Star Grassman and The Ravens. That’s not forgetting Down In The Flood, where the interplay between Richard Thompson’s guitar and Sandy’s vocal is masterful. The only song some critics felt let the album down slightly, was Let’s Jump The Broomstick and Down In The Flood. Still, though, The North Star Grassman and The Ravens was a hailed a musical masterpiece and minor folk rock classic. Sandy Denny it seemed, could do no wrong.
When The North Star Grassman and The Ravens was released in September 1971, the album didn’t sell in the huge quantities that Island Records had hoped. They seemed to envisage Sandy Denny enjoying the commercial success that Joni Mitchell was enjoying. That wasn’t to be. However, Sandy Denny enjoyed the same critical acclaim that her American counterpart was enjoying.
Sandy.
There was no rest for Sandy Denny, after she returned from a tour to promote the release of her debut album, The North Star Grassman and The Ravens. Two weeks later, in November 1971, Sandy began recording his sophomore album Sandy at Sound Techniques and Island Studios.
Sandy had been busy, and written eight new songs. This included It’ll Take a Long Time, Sweet Rosemary, For Nobody to Hear, Listen, Listen, The Lady, Bushes and Briars, It Suits Me Well and The Music Weaver. These songs joined covers of Bob Dylan’s Tomorrow Is A Long Time, and the traditional song The Quiet Joys Of Brotherhood, which Richard Fariña had written lyrics for. These songs were recorded by a familiar faces and new names.
The first change was that Trveor Lucas had been hired to produce Sandy. John Wood who had played such an important part in the sound and success of The North Star Grassman and The Ravens was relegated to engineer. Similarly, Richard Thompson’s only part in Sandy was playing on five songs. However, one thing hadn’t changed, where the studios that were used.
Just like with Sandy Denny’s debut album, recording took place at Sound Techniques and Island Studios. The first sessions took place in November 1971 Sandy was joined by British folk royalty, including Fotheringay bassist Pat Donaldson. He was joined by four members of Fairport Convention, Richard Thompson on mandolin, acoustic and electric guitar, vocalist Linda Thomson, violinist Dave Swarbrick and Trevor Lucas on acoustic guitar. They were joined by some new names.
This included The Flying Burrito Brothers’ pedal steel player Sneaky Pete Kleinow. He was joined by organist and pianist John Bundrick. Both men played on It’ll Take A Long Time and Tomorrow Is A Long Time. The final member of Sandy’s band was John Kirkpatrick who played concertina on It Suits Me Well. Now the recording could get underway.
With her all-star band for company, Sandy recorded the ten songs over five sessions help during November 1971 and then in April and May 1972. Once the ten songs were recorded, the strings and horns were added.
Harry Robertson was brought in to arrange the strings on Listen, Listen, The Lady and The Music Weave. One change was the addition of on one of the tracks on Sandy. So, Allen Toussaint was drafted in to arrange the horns on For Nobody to Hear. Rather than travel to Britain, Allen Toussaint recorded the horn section at the Deep South Studio in Baton Rouge, Louisiana. Once the strings and horns were added, and Sandy was mixed and mastered, the album was ready for release.
Before that, critics received their advance copy of Sandy. The promotion of Trevor Lucas to the position of producer had paid off. He managed to combine the two sides of Sandy Denny’s music. This was the traditional folk sound, and the more modern folk rock sound. Part of this was in the choice of instruments. Traditional instruments like a mandolin and acoustic guitar harked back to folk music’s past; while the pedal steel and Hammond organ were its future. However, key to the success of Sandy were Sandy’s skills as a singer and songwriter.
Some of Sandy’s finest moments were on Listen, Listen, where strings and a mandolin accompany her vocals, and on The Lady, where Sandy delivers a heartfelt vocal. Then on Quiet Joys Of Brotherhood, the lushest of strings provide the perfect backdrop for Sandy. It was a similar case with the horns on For Nobody to Hear. Bob Dylan’s oft-covered Tomorrow Is A Long Time takes on new meaning thanks on Sandy. Critics were calling Sandy a minor classic. Surely the album would bring commercial success Sandy Denny’s way?
Sadly, it wasn’t to be. When Sandy was released in September 1972, history repeated itself. Sandy was the commercial success that Island Records were hoping for. Again, Sandy Denny had failed to find mainstream success. It was a huge disappointment for Sandy, and it would nearly two years before she returned with her third album Like An Old Fashioned Waltz.
Like An Old Fashioned Waltz.
After returning from a tour where she was promoting her sophomore album Sandy, Island Records wanted Sandy Denny to head back into the studio. The recording then touring schedule was relentless. However, the tour gave Sandy time to think.
She decided that she wanted to make her impression musically. Sandy Denny had been rubbing shoulders with two Britain’s biggest musical exports, Led Zeppelin and The Who. She had performed with both bands, and seeing how the other half lived, decided that she wanted to enjoy a taste of the commercial success both bands were enjoying. This was music to executives at Island Records’ ears. However, Sandy was disappointed by the commercial failure of her first two albums. It seemed folk rock wasn’t going to make Sandy rich. So Sandy had decided to broaden her appeal.
In her heart of hearts, Sandy Denny knew her music had to change if it was to appeal to a much wider audience. So for her third album Like An Old Fashioned Waltz, Sandy decided to make some changes. Elements of pop and jazz would join her usual folk rock sound on her next album, Like An Old Fashioned Waltz. Despite deciding to change direction musically, Sandy decided to stick with Trevor Lucas who had produced Sandy.
It would’ve been awkward if Sandy Denny decided to change producer, as Trevor Lucas and Sandy were married during 1973. The only change Sandy made, was to bring John Wood back as co-producer. They would co-produce Like An Old Fashioned Waltz in London and Los Angeles.
For Like An Old Fashioned Waltz, Sandy Denny had written eight new sings. The only cover versions were Doris and Fred Fisher’s Whispering Grass and Until The Real Thing Comes Along Sammy Cahn, Saul Chaplin and L.E. Freeman. Sandy remembered them from her father’s record collection, and gave them a jazzy makeover. These songs were recorded in Sound Techniques and A&M Studios, Los Angeles, between May and August 1973. Again, the great and good folk were present. Sandy Denny was joined by former Fotheringay bassist Pat Donaldson, and six
members of her former group Fairport Convention. This included Richard Thompson on mandolin, acoustic and electric guitar, guitarist Jerry Donahue, bassist Dave Pegg, drummer Dave Mattacks, violinist Dave Swarbrick and Trevor Lucas on acoustic guitar. They were joined by some old faces and new names.
The old face was John Bundrick, who played on Sandy. This time around, he played organ, piano and clavinet. New names included bassist Danny Thompson, who had previously worked with Nick Drake and John Martyn. Joining Danny Thompson was drummer Gerry Conway and saxophonist Alan Skidmore. Sandy’s band was shaping up nicely. Other new names included Diz Disley on acoustic guitar; organist Jean Roussel and pianist Ian Armit. They were part of a band that spent three months recording Like An Old Fashioned Waltz in L.A. and London. The album was completed in August 1973. This meant that Like An Old Fashioned Waltz would be released in late 1973. Or it should have been.
That was if Sandy Denny hadn’t dropped a bombshell. She was rejoining Fairport Convention. From Autumn 1973 to June 1974, Sandy toured with Fairport Convention. Eventually, Island Records scheduled the release of An Old Fashioned Waltz for June 1974.
When critics heard An Old Fashioned Waltz, they were struck by what was a very personal album. Many of the songs dealt with things that preoccupied and worried Sandy Denny. This included everything from loss and loneliness, the changing of the season, a fear of the dark and ironically, the passing of time. Like An Old Fashioned Waltz was a very different album from her two previous albums. Jazz and pop stylings featured on an album where the lushest of strings joined a subtle piano in creating a ruminative and wistful album. Highlights included the album opener Solo, Friends, Dark The Night, At the End Of The Day and No End, which gave some insight into who Sandy Denny was as a person. However, Like An Old Fashioned Waltz divided the opinion of critics.
While some reviews were positive, the usual suspects like self-styled Dean of American Rock Critics wasn’t impressed. In his Village Voice review he called Like An Old Fashioned Waltz a “slugging album.” Other critics took a more favourable view of Like An Old Fashioned Waltz. Some felt this was the album that would change Sandy Denny’s fortunes.
It wasn’t to be. When Like An Old Fashioned Waltz was released in June 1974, commercial success eluded the album. Whispering Grass was chosen as the lead single, and was released in 1973. This was a strange choice, as it wasn’t one of the stronger songs on the album. Unsurprisingly, it failed to catch the attention of record buyers. Worse was to come when the release of Like an Old Fashioned Waltz as a single was cancelled. For Sandy Denny, her dreams of becoming one of the biggest names in music had come to nothing. So, Sandy rejoined Fairport Convention for the third and final time.
Sandy embarked upon a world tour with Fairport Convention. Trevor Lucas, Sandy’s husband had also rejoined Fairport Convention. For the time being, her solo career was on hold. Then as 1975 drew to a close, Sandy’s thoughts turned to her solo career, and her fourth album Rendezvous.
Rendezvous.
As 1975 gave way to 1976, Sandy began writing Rendezvous. She penned Gold Dust, Take Me Away, One Way Donkey Ride, I’m A Dreamer, All Our Days and No More Sad Refrains. The other three songs on Rendezvous were cover versions. This included Richard Thompson’s I Wish I Was a Fool For You (For Shame of Doing Wrong); Elton John and Bernie Taupin’s Candle In The Wind and Jack Rhodes and Dick Reynolds’ Silver Threads and Golden Needles. Recording of these songs began in April 1976.
By then, Sandy Denny and Trevor Lucas had decided to try one more time, to move Sandy’s music towards the mainstream. This would mean Rendezvous would feature a contemporary rock sound. Rendezvous was recorded between April and June 1976 at Island Studios Basing Street and Hammersmith; CBS Studios in London; Strawberry Studios in Stockport and Sound Techniques in Chelsea, London. Accompanying Sandy was a band the featured over thirty musicians and backing vocalists.
This included Sandy Denny’s former colleagues in Fairport Convention, guitarist Jerry Donahue and Richard Thompson, bassist Dave Pegg, drummer Dave Mattacks and Trevor Lucas on acoustic guitar. They were joined reggae guitarist Junior Murvin, John Bundrick on synths and piano; Steve Winwood on organ, piano and clarinet and former Fotheringay bassist Pat Donaldson. Adding backing vocals were Benny Gallagher and Graham Lyle; Kay Garner and Clare Torry; Sue Glover and Sunny Leslie. Even The Silver Band made a guest appearance on Silver Threads and Golden Needles. Much of Rendezvous had been recorded between 23rd of April and 7th of June 1976 at Basing Street and Island Studios.
When the everyone arrived at the studio, Harry Robertson had arranged the strings on Candle In The Wind, I’m a Dreamer and All Our Days. Steve Gregory had arranged the horns on Take Me Away. Even The Silver Band’s appearance on Silver Threads and Golden Needles required the Robert Kirby to be brought onboard. John Wood again, returned to the role of engineer as Trevor Lucas produced Rendezvous. Now the sessions began. Straight away, there was a problem.
During these sessions, Sandy Denny’s voice no longer had neither the same purity nor ethereal quality. During the Fairport Convention tour, she had been drinking and smoking heavily. Eventually, this took its toll. However, still Sandy could still unleash a powerful vocal whilst always in control, and could breath life, meaning and emotion into lyrics. Sandy was still a great singer and storyteller. She recorded her parts, and took her leave. Little did Sandy know she would never enter a studio again.
Despite Sandy Denny having recorded her vocals, Rendezvous was still not complete. Another session took place between the 9th and 18th of June 1976. By then,Trveor Lucas was at the overdubbing stage. He added layers of string, and also overdubbed layer after layer of backing vocals and instruments. This would prove controversial.
With the album completed in July 1976, the original album title was Gold Dust. The release date was scheduled for October 1976. However, the release date kept being postponed. When the album was eventually released in May 1977, the album was called Rendezvous. It was an album that didn’t win over critics.
Many critics felt Rendezvous had been overproduced. This was a result of Trevor Lucas overdubbing of layers of strings, backing vocals and instruments. There were too many strings, backing vocalist and the lead guitars threatened to overpower Sandy’s vocals. That was a great shame, given the quality of Sandy’s songwriting, and vocals. If Trevor Lucas had taken a less is more approach, Rendezvous would’ve been a much better album. However, it was not without some fine moments.
Among them, where Gold Dust took on a Caribbean influence. Take Me Away and I’m A Dreamer became soulful torch songs. All Our Days was a seven minute pastoral epic, which seemed to draw inspiration from Vaughan Williams. I’m A Dreamer, All Our Days and No More Sad Refrains all showcased Sandy Denny’s talents as a singer and songwriter. However, when Rendezvous was released in May 1977, it was to mixed reviews.
When Rendezvous was belatedly released, the album passed record buyers by. It became Sandy Denny’s least successful album. The dream was almost over.
Gold Dust.
Not long after the release of Rendezvous, Island Records quietly dropped Sandy Denny. Despite being without a record label, she went ahead with plans to record a live album, Gold Dust.
After the release of Rendezvous, Sandy Denny headed out on tour to promote the album. The last date on the tour was at the Royalty Theatre in London on 27th November 1977. That night the tapes rolled.
Sandy Denny accompanied by her band, worked their way through the seventeen songs. Closing the set was a spine-tingling version of one of Sandy’s best songs Who Knows Where the Time Goes? That proved to a poignant way to end what was Sandy’s last public performance was on Gold Dust, which was released somewhat belatedly in 1998.
After Rendezvous failed commercially, Island Records dropped Sandy. She was already drinking heavily, smoking and snorting cocaine. Her behaviour became erratic. Sandy was also suffering from severe headaches. So a doctor prescribed a distalgesic. However, Sandy continued to drink. Whether this played a part in a fall she had in late March 1978 is unknown. What we know, is that tragedy struck on 17th April 1978.
That night, Sandy Denny was admitted to the Atkinson Morley Hospital in Wimbledon. She fell into a coma, and four days later, on 21st April 1978, Sandy Denny died. The cause of Sandy’s death was a brain haemorrhage and blunt force trauma. It’s likely that when Sandy Denny fell, this played a contributory factor in her death. Tragically, Sandy Denny was only thirty-one.
Despite her relatively youth, Sandy Denny had platted a huge part in the British folk scene. She had played a huge part in the success of Fairport Convention, and founded Fotheringay. Their music has only recently received the recognition it deserved. So to some extent have Sandy Denny’s solo albums. It’s only recently that they’ve been reevaluated and started to finds a wider audience. They’re a a reminder of British folk music’s greatest ever folk singer, Sandy Denny, who passed away thirty-eight years ago. As Sandy Denny sang in her finest song Who Knows Where Time Goes?
SANDY DENNY-WHO KNOWS WHERE TIME GOES?
JOHN MARTYN-GRACE AND DANGER-VINYL EDITION.
JOHN MARTYN-GRACE AND DANGER-VINYL EDITION.
With the vinyl revival in full flow, some of the biggest names in music are taking the opportunity to reissue their albums exclusively on vinyl. This includes one of Glasgow’s most talented sons, John Martyn. Two of his finest albums, including his classic One World and the hugely personal Grace and Danger were reissued on vinyl on 28th October 2016 by Commercial Marketing. Both albums include some of the best music of John Martyn’s long and illustrious career. One World is proof of this.
In November 1977, John Martyn released what’s was undoubtably one the finest albums of his career, One World. It was an atmospheric, experimental and genre-defying album. Everything from folk, jazz, reggae and rock melted together over eight tracks. Released to overwhelming critical acclaim, One World was hailed a classic album. This was the second classic album of John Martyn’s ten year recording career.
The first came four years earlier, in February 1973, when John released Solid Air. Released to widespread critical acclaim, Solid Air critics realised, was without doubt, the finest album of John Martyn’s career. It was also the album that saw the Glasgow born troubadour make a commercial breakthrough. This should’ve been the start of the rise and rise of John Martyn.
For his eighth album, Sunday’s Child which was released in January 1975, John reigned in his experimental sound. However, Sunday’s Child was a much more eclectic album, with John flitting between country, folk and rock. The result was an eclectic and critically acclaimed album. However, controversy wasn’t far away for John.
In 1975 Island Records refused to release Martyn’s live album, Live At Leeds. So, John resorted to selling signed copies by mail from his home. After the release of Live At Leeds in 1977, John headed to Jamaica on holiday.
What started out as a holiday, ended up with John collaborating with reggae producer Lee “Scratch” Perry. One World is seen by some people as the first ever trip hop album. As a resuly, John Martyn is perceived as the father of trip hop and One World a John Martyn classic. After One World, John didn’t release an album for three years. There was a reason for this.
By the end of the seventies, John’s marriage had broken down. This led to John pressing “the self destruct button” as he described it. John became addicted to alcohol and drugs. He later said this was a very dark period in his life. Grace and Danger, which was released in October 1980, was the album that came out of this period, and the start of a turbulent time for John Martyn, both personally and professionally.
Grace and Danger was an autobiographical album, that described what he was going through at that time. John’s marriage had broken down and divorce proceedings were underway. This makes the music on Grace and Danger very personal. It’s akin to a snapshot to the pain, hurt and regret John was experiencing. This shines through on Grace and Danger.
Eight of the nine tracks that became Grace and Danger, were written by John. They describe what he was going through emotionally. The only track not penned by John was Johnny Too Bad, which was written by Slickers. These nine tracks were recorded by a tight, but talented band.
For Grace and Danger, John played guitars and added vocals. His friend Phil Collins, played drums and sung backing vocals. Tommy Eyre played synths and keyboards, while John Giblin played bass. These three musicians and producer Martin Levan were responsible for a soul baring album from John Martyn’s, Grace and Danger.
Once Grace and Danger was completed, John delivered the album to Chris Blackwell at island Records. When Chris Blackwell realised just how personal an album Grace and Danger was, held the album’s release back a year. Partly, this was because of his friendship with both John and Beverley Martyn. However, Chris also felt that Grace and Danger was “too depressing and didn’t want it released.” This angered John Martyn.
When John heard what Chris Blackwell thought of Grace and Danger, he wasn’t happy. He responded to Chris Blackwell saying: “please get it out! I don’t give a damn how sad it makes you feel-it’s what I’m about: direct communication of emotion.’” Eventually, a year later, Grace and Danger was released.
By then, the relationship between John and Island Records was damaged beyond repair. Grace and Danger was released in October 1980. Contrary to Chris Blackwell’s expectations, Grace and Danger was well received by critics. They realised just how personal an album Grace and Danger was, and empathised with what John had gone through. He had just suffered the breakup of a relationship, and was hurting badly. This however, wasn’t the last relationship that broke down during this period.
After the release of Grace and Danger, John’s relationship with Island Records deteriorated. John submitted another album to Island Records, The Apprentice. Island Records rejected The Apprentice. However, John had the last laugh. The Apprentice was eventually released in 1990, it was hailed as John’s comeback album. By then, it was nine years since John Martyn parted company with Island Records.
A year after the release of Grace and Danger, John left Island Records. This was the end of a fourteen year relationship. During this period, John had released eight albums for Island Records. His Island Records’ swan-song, was Grace and Danger, one of his most underrated and personal albums.
Opening Grace and Danger, is Some People Are Crazy. Just a broody bass, shimmering synths and bold keyboards combine with drums and crystalline guitars. They provide the backdrop for John’s vocal. It’s more a confessional that a vocal. There’s an honesty in his vocal. Belatedly, John’s come the conclusion that people either loved or loathed the hell raising John Martyn of the late seventies. He sings “some people are crazy about him, some people can’t stand his face.” He’s even chased the woman he loves away. This hurts. As if in desperation, John delivers the lyric “yes this loving kind of business, might be the best find you ever had.” Whether John believes this, though, is another matter? His parting line in this confessional is“some people are crazy, some people are just like me.”
Searing guitars and the rhythm section drive the rocky arrangement to Grace and Danger along. John’s vocal has a melancholy quality, as he realises what he’s lost. Against a backdrop of chiming, blistering guitars, keyboards and the rhythm section, John’s vocal is akin to an outpouring of pain. Reflecting, he sings: “I never knew the road that carried me along.” It’s obvious he had no idea where it would lead. It lead to him losing the woman he loved. Despite his being broken, he wishes Beverley well. He’s loved, lost and wishes her “sweet grace, no danger.”
Lookin’ On has a jazz tinged arrangement. A bass plays, guitars chime and stabs of keyboards are joined by drums played tenderly. As the drama builds, a tormented John paints a picture. It’s easy to visualise John returning from a night out, to Beverley who quite rightly, is less than happy. John comes “stealing in, with an innocent grin, to leave you staring, at the empty ceiling, feeling nothing, lookin’ on, I’m just lookin’ on.” At that moment, John wonders what’s gone wrong with his marriage? Previously, this type of behaviour would’ve elicited a laugh. Not any more. Things have gone to far. That’s reflected in the urgent jazz tinged arrangement. It accompanies John’s despairing vocal, on this tale of love gone wrong.
While Johnny Too Bad wasn’t written by John, it sums up the situation he finds himself in. Just like John, Johnny Too Bad has a penchant for hard living. “With your running, and shooting,looting and tooting, you’re too bad, cos one of these days, you’re going to make your woman cry,” these lyrics could’ve been written about John. It’s as if he realises this, and delivers a gravelly, vampish vocal. Again, he makes the lyrics sound like a confessional. Accompanying him are the rhythm section and guitars. One of the guitars is played through John’s trusty echoplex. Then later, John dawns the role of guitar hero, unleashing washes of a blistering, crystalline solo. It’s the perfect foil for John as he vamps his way through the rest of what could be an autobiographical song.
Sweet Little Mystery marks a change in direction on Grace and Danger. It’s the first of a series of ballads. Against a backdrop of twinkling keyboards, synths strings and the rhythm section John tenderly delivers a beautiful, heartfelt ballad about a relationship that’s all but over. Accopanied by backing vocals, John lays bare his soul. His vocal is full of sadness, hurt and melancholy as he sings: “it’s not the letters you just don’t write, it’s not the crying in the dead of the night.” Instead, “it’s that sweet little mystery that’s in your heart, it’s just that sweet little mystery that makes me cry.” These lyrics show just how talented a lyricist John was. He wrote about what he’d experienced, including the breakup of his marriage. It was the inspiration for such a beautiful, poignant tale of love lost.
Deliberately, chords are played on the shimmering keyboards as Hurt In Your Heart unfolds. They’re joined by weeping guitars. They reflect the heartbreak in John’s weary vocal. It’s akin to a cathartic outpouring of hurt and regret, regret at the way he behaved, and how it caused his marriage to end. However, although his marriage is over, John hope that “when that hurt in your heart has gone, I’ll still be your friend, right to the end of our river, and further still.”
Baby, Please Come Home is another beautiful, soul baring ballad. Against a backdrop of an understated rhythm section, glistening keyboards and a sometime, scorching guitar, John delivers a needy, hopeful vocal. Full of regret, he wants to make things right, and almost begging and pleading, sings “Baby, Please Come Home.”
Save Some (For Me) sees John change direction. It’s a mid-tempo track with a punchy, spacious introduction. Drums and synths combine, before John’s tender vocal enters. He leaves space between the lyrics. This adds to the urgency of the arrangement. Soon, John, accompanied by backing vocals from Phil Collins, combines power, emotion and urgency. Behind him, sci-fi synths, shimmering keyboards and the rhythm section combine. They play a supporting role in another emotional roller coaster.
Our Love closes closes Grace And Danger, John Martyn’s Island Records’ swan-song. Phil Collins’ drums set the scene for the rhythm section, keyboards and John’s needy, hurt filled vocal. Memories come flooding back, back to a time when their love was young. Things were good, the future looked bright. “Our love, once was you and me against this world, made a man from a boy and made a woman from a little girl.” Not any more. Now I find I have to beg before you call my name, please call my name, please call my name, and baby take a look, take a good look, baby, baby take a look in your heart.” As John delivers these lyrics he wells up, regrets omnipresent at the hurt he caused, and the love he lost.
While Grace and Danger was well received upon its release, it wasn’t the commercial success that John Martyn classics like Solid Air or One World. This had nothing to do with the music. Partly, it was to do with the type of music that was popular in 1980. By then, John Martyn’s music was the polar opposite of the post punk, hip hop, electronica and new romantic music that filled the charts. Then there was the fact that Chris Blackwell didn’t like Grace and Danger which will was reissued on vinyl on 28th October 2016 by Commercial Marketing. It’s a welcome reissue of John Martyn’s soul baring opus, of a highly personal album.
Chris Blackwell found the music on Grace and Danger “too personal” and “depressing.” As a result, Island Records didn’t seem to cover themselves in glory when it came to promoting Grace and Danger. This was a huge mistake. After all, here was an album that spoke to many people. Grace and Danger was the story of many a failed relationship and marriage. For many, who had loved and lost, Grace and Danger spoke to them. It said everything that they wished they could. Thirty-six years later, that’s still the case.
Many suffering the heartbreak of a marriage breakup, have found solace in Grace and Danger. John speaks for, and too them on Grace and Danger. He’s been where they’ve been, and experienced the hurt, heartbreak and regret. Each song brings back a memory, often, a memory of better times. Especially Our Love, which closes Grace and Danger.
John is at his most eloquent, writing “Our love, once was you and me against this world, made a man from a boy and made a woman from a little girl.” Not any more. “Now I find I have to beg before you call my name, please call my name, please call my name, and baby take a look, take a good look, baby, baby take a look in your heart.” Not only does this prove the perfect way to close Grace and Danger, but sums up succinctly, the thin line between love and hate. That’s one of nine reasons why Grace and Danger is a forgotten classic in John Martyn’s back catalogue.
Quite simply, Grace and Danger is best described as the most personal album John Martyn ever released. It’ tells the story of one of the worst periods in his life, where the newly heartbroken John Martyn lays bare his soul for all to see and hear. What would’ve been fascinating, is if Beverley had replied to Grace and Danger. We could’ve heard her side to the story. Sadly, that never happened, and despite Beverley making a recent comeback, is unlikely to ever happen. As a result, Grace and Danger, one of John Martyn’s most underrated albums, remains one of the most soul-baring and cathartic breakup albums ever released.
JOHN MARTYN-GRACE AND DANGER-VINYL EDITION.
THE SUN RECORDS ROCK ’N’ COLLECTION-40 ROCKIN’ GREATS FROM THE SUN VAULTS-LIMITED EDITION VINYL.
THE SUN RECORDS ROCK ’N’ COLLECTION-40 ROCKIN’ GREATS FROM THE SUN VAULTS-LIMITED EDITION VINYL.
Back in late 2014, I was talking to someone who was then, the label manager at an independent record label. At the time, sales of vinyl were growing on both sides of the Atlantic, as well in Europe. Many independent labels were jumping on the vinyl bandwagon, and releasing many of their releases on vinyl. This made sense, as a new generation had discovered the delights of vinyl. When I asked this particular label manager why his label weren’t releasing their albums on vinyl, his response was that vinyl was a passing fad? How wrong he’s been.
Just over two years later, and sales of vinyl are booming. Both independent and major labels are releasing albums on vinyl to a captivate audience. This included the new generation of record buyers, and baby boomers keen to replace their much loved original pressings of albums they bought in the late sixties and early seventies. Vinyl has risen like a phoenix from the ashes.
So much so, that now, each week literally hundreds of albums are reissued on vinyl. Nearly all of the major reissue programs feature a vinyl version. Indeed, certain groups, Pink Floyd and Genesis, are in the process of reissuing their back catalogue on vinyl also. Similarly, so is the late, great John Martyn. For record buyers these are welcome reissues. However, this is just part of the vinyl phenomenon.
Another part of the vinyl phenomenon is the myriad of limited editions. Often, anything between 100-1,000 copies of an album are released, often in clear or coloured vinyl. They’re often sold through independent record shops, like recent releases by Teenage Fanclub, Mogwai, King Creosote and the Pictish Trail. However, another type retailer is jumping on the vinyl bandwagon,..supermarkets.
Previously, the British supermarket chain Tesco released a series of albums to celebrate Father’s Day. This included albums by Status Quo, Dexy’s Midnight Runners and The Clash. These albums were released in limited quantities, usually 1,000, so it was no surprise that they quickly sold out. For Tesco this was a profitable venture, and one that generated free positive publicity for the company. However, Tesco aren’t just the only supermarket chain to jump on the vinyl bandwagon.
Far from it. Sainsbury’s have recently jumped on the burgeoning vinyl bandwagon, and have released a series of limited editions. This includes The Sun Records Rock ’N’ Collection-40 Rockin’ Greats From The Sun Vaults, which was released as a double album by Charly, and retailed exclusively through Sainsbury’s. Only 1,000 copies were pressed on 180 gram orange heavyweight vinyl. This it appears, is meant to make the album look and feel like a quality product. That’s the case. Even the type of paper inner sleeve that’s been used, has been designed to save the vinyl being damaged. That’s a nice touch. My only gripe, and it’s is a minor one, is that it would’ve been nice if there was a booklet detailing even a brief history of Sun Records. After all, it’s without doubt, one of the most important labels in musical history.
It’s the label where rock ’n’ roll was born, and that was home to everyone from Elvis Presley, Carl Perkins and Jerry Lee Lewis to Johnny Cash, Roy Orbison and the Silver Fox Charlie Rich. That’s not forgetting Warren Smith, The Miller Sisters, Billy Lee Riley and Earl Hooker. They all feature on The Sun Records Rock ’N’ Collection-40 Rockin’ Greats From The Sun Vaults. Some of their best known tracks feature on this double album, and will be instantly recognisable to music lovers of all ages. That’s the case throughout The Sun Records Rock ’N’ Collection-40 Rockin’ Greats From The Sun Vaults.
Side One.
The compilers don’t hesitate to bring out their big guns on side of The Sun Records Rock ’N’ Collection-40 Rockin’ Greats From The Sun Vaults. Elvis Presley’s 1954 single Good Rockin’ Tonight gets the ball rolling and gives way to Carl Perkins’ original version of Blue Suede Shoes which was released in 1956. It’s followed High School Confidential which was released in 1958. Back then, it was credited to Jerry Lee Lewis and His Pumping Piano. Nowadays, though, it’s just credited to The Killer, who later makes a welcome return. Before that, stars of rock ’n’ roll take a bow
This includes The Man In Black, Johnny Cash. He encouraged the listener to Get Rhythm back in 1956. However, tucked away on the other side of Get Rhythm, was a future Johnny Cash classic Walk The Line. It features later in the compilation. Before that, Roy Orbison makes his debut with Ooby Dooby from 1956. Elvis then returns with I’m Left, You’re Right She’s Gone from 1955. However, Carl Perkins’ Dixie Fried from 1955, which was later recorded by James Luther Dickinson, is a very welcome addition. So is Billy Lee Riley’s Flying Saucer Rock And Roll, which was belatedly released in 1976. Closing side one is Roy Orbison’s Claudette, which was also covered by the Everly Brothers and Kris Jensen. Both versions more than do justice to the song, but for many people, The Big O’s version of Claudette is the best. That’s a matter of personal preference. Roy Orbison returns throughout The Sun Records Rock ’N’ Collection-40 Rockin’ Greats From The Sun Vaults.
Side Two.
It’s Jerry Lee Lewis and His Pumping Piano’s Great Balls Of Fire that opens The Sun Records Rock ’N’ Collection-40 Rockin’ Greats From The Sun Vaults. This explosive classic was released in 1957, and since then has been a favourite on oldies stations ever since. So has the music of Johnny Cash. He was only twenty-three when released Cry!, Cry!, Cry! in 1955. Already he had honed his inimitable style and delivery that would become a favourite of several generations of music fans.
A year later, in 1956, Carl Perkins released Blue Suede Shoes as a single. On the flip side was Honey Don’t. It’s a perfect showcase for the man who also penned Blue Suede Shoes. The same can be said of Charlie Rich’s 1959 single Rebound. It was released on Sam Phillips’ Phillips International label, and showed that the Silver Fox was destined for greatness. However, in when Elvis Presley released Let’s Play House in early 1955, he had still to make a commercial breakthrough. Let’s Play House was a game-changer, when it reached number five in the US Country chart. Buoyed by this success, Sun Records then released I’m Left, You’re Right. Alas, it failed to chart, but Elvis had taken the first steps on the road to being crowned The King.
Meanwhile, Carl Perkins continued to write and record for Sam Phillips’ Sun Records. He cowrote the irresistible Boppin’ The Blues, which was released as a single in 1956. The same year, 1956, Roy Orbison released Ooby Dooby, as a single with Go! Go! Go! (Down The Line) on the B-Side. It ensures side two finishes on a memorable and barnstorming high.
Side Three.
It’s Elvis Presley’s Mystery Train that opens the third side of The Sun Records Rock ’N’ Collection-40 Rockin’ Greats From The Sun Vaults. It was released as a single in 1955, reaching number ten in the US Country charts. Elvis was about to embark upon a period where commercial success was a constant companion. Alas, it was a different story for his another Sun Records’ artist.
Carl Perkins by 1957, had been enjoying hit singles single 1956. in 1957, Carl Perkins with Jerry Lee Lewis On 88 Keys released Put Your Cat Clothes On. Sadly, commercial success eluded what’s a hidden rockabilly gem. Meanwhile, The Killer was about to make a breakthrough.
Jerry Lee Lewis’ released Whole Lotta Shakin’ Goin’ On in early 1957. It reached number three in the US Billboard 100 and number one in the US Country charts. Since then, it’s been regarded as a classic. It’s a similar story with Johnny Cash’s I Walk The Line. Released in April 1956, it became synonymous with The Man In Black. Later that year, Jerry Lee Lewis and His Pumping Piano had released Crazy Arms in December 1956. This was The Killer’s debut single, which failed to trouble the charts. Commercial success was just round the corner for him. He wasn’t alone.
Charlie Rich’s career began in 1958, when he released Whirlwind on Phillips International. He went onto enjoy and long and successful career, and won two Grammy Awards. It’s fitting that he closes side three of The Sun Records Rock ’N’ Collection-40 Rockin’ Greats From The Sun Vaults.
Side Four.
Two Sun Records’ classics open The Sun Records Rock ’N’ Collection-40 Rockin’ Greats From The Sun Vaults. The first is Elvis Presley’s 1954 Sun Records debut single That’s All Right. Hot on its heels comes Johnny Cash and The Tennessee Two’s 1955 single Folsom Blues. Jerry Lee Lewis and His Pumping Pianp then fittingly, chips in with Wild One (Real Wild Child). It would later be covered by Iggy Pop and become one of his most memorable songs.
Back at Sun Records, had what nowadays, is regarded as an the enviable roster. Johnny Cash’s career was beginning to blossom. He recorded Rock Island Line in the late fifties, and it was released in various territories worldwide during the sixties and seventies. Meanwhile, Roy Orbison recorded a A Cat Called Domino 1957, which a reminder of a truly talented singer and songwriter. The same can be said of Carl Perkins, who sometimes, doesn’t receive the credit he deserved. Partly, that’s with having to live in Elvis’ shadow. Maybe if he had been signed to a different label, Carl Perkins would’ve enjoyed more commercial success. An example of this is Matchbox, which Carl Perkins wrote and released as a single in February 1957. Despite its undeniable quality, it failed to make an impression on the charts. Neither did Earl Hooker’s instrumental of The Hucklebuck when it was released in 1977. This lightweight novelty song is transformed courtesy of a driving piano and Earl Hooker’s guitar. It’s a fitting and irresistible way to close The Sun Records Rock ’N’ Collection-40 Rockin’ Greats From The Sun Vaults.
That’s the story of the latest Sun Records’ retrospective, The Sun Records Rock ’N’ Collection-40 Rockin’ Greats From The Sun Vaults. It was recently released on 180 gram heavyweight orange vinyl, and exclusively retailed through Sainsbury’s. It’s the perfect starting place for anyone whose yet to discover the delights of Sun Records. This should be part of their musical education. After all, Sun Records was one of the most important labels in the history of music.
Sun Records was home to everyone from Elvis Presley, Carl Perkins and Jerry Lee Lewis to Johnny Cash, Roy Orbison and the Silver Fox Charlie Rich. That’s not forgetting Warren Smith, The Miller Sisters, Billy Lee Riley and Earl Hooker. They all feature on The Sun Records Rock ’N’ Collection-40 Rockin’ Greats From The Sun Vaults. Some of their best known tracks feature on this double album, and will be instantly recognisable to music lovers of all ages. However, with only 1,000 copies available, anyone wanting a copy will have to be quick.
Already, copies are becoming hard to find. Sadly, as is often the case, scalpers not real music music fans bought many copies of The Sun Records Rock ’N’ Collection-40 Rockin’ Greats From The Sun Vaults. That’s been the case with previous limited edition releases from the ones released by HMV, Tesco and now Sainsbury’s. They’ve tried to ensure that customers are only able to buy one copy. Alas, this is very hard to police. Many parasites posing as music fans have managed to buy multiple copies. They then sell them on the after market at a huge markup. This means real music fans may be unable to discover the delights of The Sun Records Rock ’N’ Collection-40 Rockin’ Greats From The Sun Vaults. That to me is a great shame, as The Sun Records Rock ’N’ Collection-40 Rockin’ Greats From The Sun Vaults is reminder of what was one of the most important record label in musical history.
THE SUN RECORDS ROCK ’N’ COLLECTION-40 ROCKIN’ GREATS FROM THE SUN VAULTS-LIMITED EDITION VINYL
PAUL MARCANO AND LIGHTDREAMS-10,001 DREAMS.
PAUL MARCANO AND LIGHTDREAMS-10,001 DREAMS.
In 1981, British Columbian band LightDreams released debut album Islands In Space. It was a captivating psychedelic sci-fi odyssey where LightDreams explored cosmic ideology. Normally, an album like Islands In Space would’ve found favour with fans of psychedelia and progressive rockers who embraced cerebral, innovative and epic albums. Alas, that wasn’t the case with Islands In Space, which was released by LightDreams. Sadly, history repeated itself a year later.
LightDreams who were now billed as Paul Marcano and LightDreams, had returned to the studio to record their sophomore album 10,001 Dreams. The album picked up where Islands In Space left off, and went as far as exploring what was described as “utopian outer space colonisation.” This was something that fascinated and enthralled Paul Marcano since he first encountered the work and theories of author, physicist and space activist, Gerard K. O’Neill. His work and theories influenced Paul Marcano and the genre-melting music on 10,001 Dreams. It was recorded during 1982 and released that year.
This time around, Paul Marcano and LightDreams decided not to release the album on vinyl. Instead, it was released by the band on cassette. Just like Islands In Space, 10,001 Dreams found an audience within British Columbia, where the band were based. However, beyond British Columbia failed to find the audience it so richly deserved.
It was only much later, that word began to spread about Islands In Space and 10,001 Dreams. Occasionally, a few lucky record and tape collectors chanced upon a copy of Islands In Space or 10,001 Dreams. They paid their money and discovered two groundbreaking hidden gems. Before long, collectors and aficionados of psychedelia were looking for copies of Islands In Space and 10,001 Dreams. This was a long shot, and most collectors came up short. The only hope was that a reissue company would eventually reissue both albums. Thankfully, Got Kinda Lost Records released Islands In Space during 2015. Then recently, Got Kinda Lost Records completed the set by rereleasing 10,001 Dreams. It’s been restored and is one of the most welcome releases of 2016. 10,001 Dreams allows the listener to go back in time to British Columbia in 1981 when Paul Marcano met the musicians with whom he would form LightDreams.
Back in 1981. like most towns and cities, British Columbia had a vibrant and thriving music scene. Paul Marcano was part of this scene. He was looking for like minded musicians to collaborate with. Eventually, Paul found his circle of friends and like minded musicians. Among the members of the newly formed band which became LightDreams, were Cory Rhyon and Andre Martin. They would record their debut album Islands In Space, later in 1981.
Islands In Space.
Paul Marcano dawned the role of the newly formed LightDreams. He was brimming with ideas, enthusiasm and energy. Not only had Paul been writing songs for a number or years, but he was also a talented multi-instrumentalist. With Paul at the helm, LightDreams’ thoughts began to turn to their debut album.
There was a minor problem though. Recording studios were expensive and beyond the budget of LightDreams. An alternative was, recording the album using the pro-sumer technology that was becoming popular in the early eighties. That still required funds, funds which for most new bands, were limited. However, one of LightDreams’ friends had another idea, and decided to approach executives at the TEAC Corporation, in the hope that they would let the band use some of their technology. This was a long shot, but one that paid off.
The TEAC Corporation, who were a market leader in early eighties recording equipment, allowed LightDreams to use a 144 track cassette recorder. This was beyond their widest dreams, and more than enough to the record the psychedelic opus that LightDreams were planning.
LightDreams planned to record seven songs penned by Paul Marcano. These songs had been slightly influenced by the work and theories of author, physicist and space activist, Gerard K. O’Neill. This was someone who Paul Marcano had been enthralled by for several years.
One of his theories was, that eventually, mankind would inhabit outer space. This Gerard K. O’Neill believed, would result in a much better world for those left behind inhabiting earth. No longer would there be problems with overpopulation and a reliance on natural resources. However. Paul took this proposition further, exploring whether mankind’s grasp of space-age technology could lead to a peace and cosmic presence on earth? He was following in the footsteps of the progressive rockers, in making cerebral and ambitious music.
To makes this music, which became Islands In Space, Paul Marcano who was producing the album would make good use of the 144 track cassette recorder. This was more than enough to record even the most ambitious Magnus Opus. Islands In Space had its very own Magnus Opus, Atmospheric Dreams; My Spirit Soars; Atmospheric Dreams a near eleven minute epic. It was just one of the seven tracks that were recorded and became Islands In Space.
Now that Islands In Space was completed, LightDreams decided to release the album themselves. This wasn’t unusual back in 1981, when there were many private pressings released. LightDreams had a 1,000 vinyl copies of Islands In Space pressed. These albums they hoped, they would be able to sell to their fellow British Columbians.
Alas, it wasn’t to be. Islands In Space, a captivating psychedelic and progressive sci-fi odyssey where LightDreams explored cosmic ideology passed record buyers by. They missed out on an album that wasn’t just ambitious, but innovative and featured cerebral and thought-provoking lyrics. However, Paul Marcano and the other members of LightDreams, weren’t beaten. They decided to record a followup to Islands In Space. This would eventually become 10,001 Dreams.
10,001 Dreams.
After the disappointing response to LightDreams’ debut album Islands In Space, they dusted themselves down and returned to the studio in 1982. By then, LightDreams were now being billed as Paul Marcano and LightDreams. For many groups, one member receiving equal billing as the group could’ve torn the group apart. However, Paul was playing a huge role in LightDreams. Not only was he the group’s principal songwriter, vocalist and producer, he was also a multi-instrumentalist. He would would play an important part on what became 10,001 Dreams.
For the best part of a decade, Paul Marcano had been writing songs. Some of these songs he believed, were perfect for 10,001 Dreams. So Paul dusted down songs he had previously penned. The earliest of these songs was Follow The Stream, which Paul had written and recorded in 1973. It was part of an album Paul recorded, but never released. This wasn’t the only album Paul hadn’t released.
Five years later, and Paul had penned Everyone Grows and Grows and Who Is The One in 1978. Again, it was part of an album that Paul recorded, but decided not to release. Since then, he had kept the song awaiting the right project. 10,001 Dreams was it. However, more songs were required for the album.
The rest of 10,001 Dreams consisted of new songs, including Andre Martin’s Being Here and Paul’s composition 10,001 Dreams. They were augmented by a trio of instrumentals including Stream III, the twenty-three minute epic In Memory Of Being Here and Building Islands In Space (Reprise). These tracks became 10,001 Dreams, the followup to Islands In Space.
Again, Paul Marcano and LightDreams recorded 10,001 Dreams with the 144 track cassette recorder. With so many tracks available, Paul who was producing the album, was able to let his imagination run riot. Paul Marcano and LightDreams deployed a myriad of New Age synths and augmented this with the rhythm section and fuzzy, lysergic, languid and dreamy guitars. The result was a truly eclectic album, where a myriad of disparate influences seem to have influenced Paul Marcano and LightDreams.
The guitars that feature on 10,001 Dreams bring to mind Michael Rother’s first three albums, Flammende Herzen, Sterntaler and Katzenmusik. There’s also similarities to Manuel Göttsching’s Inventions For Electric Guitar. Similarly, the synths on 10,001 Dreams were reminiscent of those that played an important part of so many Berlin School and Krautrock albums. Other notable influences included sixties British psychedelia, seventies progressive rock, folk pop at its most melodic and ambient and avant-garde music. 10,001 Dreams was another ambitious and innovative album, which features aul Marcano and LightDreams at their most inventive and progressive. All that was left was to release the album.
With 10,001 Dreams completed, releasing the album on vinyl would’ve proved problematic. The album was the best part of ninety minutes long. It was far too long to fit on a one album. Instead, 10,001 Dreams would need to be a double album. This would’ve required significant investment from Paul Marcano and LightDreams. For the band, it was a big decision.There was always the possibility that the album might no sell, and they would fail to recoup their initial investment. A much simpler solution, was to release 10,001 Dreams on cassette.
This made sense, as this meant that Paul would be able to make the cassette himself. So 10,001 Dreams was released on cassette later in 1982. Now it was a waiting game how would the music fans react?
Sadly, just like Islands In Space, 10,001 Dreams never found the audience it so richly deserved. That only happened much later.
Somewhat belatedly, word began to spread about 10,001 Dreams. Occasionally, a few lucky tape collectors chanced upon a copy of 10,001 Dreams. They paid their money a groundbreaking hidden gem. Before long, collectors and aficionados of psychedelia were looking for copies of 10,001 Dreams. This was a long shot, and most collectors came up short. Now though, Got Kinda Lost Records’ remastered reissue of 10,001 Dreams allows the album to be heard by a much wider and appreciative audience.
Opening 10,001 Dreams, is the title-track, a fourteen minutes epic. Thematically, it picks up where Islands In Space left off. A guitar takes centre-stage, chirping and chiming urgently. It’s panned quickly, adding a lysergic hue. So does the vocal that’s buried in the midst of the arrangement. By then, the guitar is reminiscent of Manuel Göttsching’s on Inventions For Electric Guitar. Later, the guitar is multi-tracked and assails the listener, as genres melt into one. Elements of psychedelia, Krautrock, avant-garde and progressive rock combine. Guitars then envelop the vocal which sits back in the mix. When it drops out, guitars take charge before Paul returns and sings of his futuristic, utopian dream against a dreamy, psychedelic backdrop. His vocal is hopeful and delivered in a folk pop style, as the multilayered arrangement briefly becomes rocky and urgent. Much later, the guitar adds occasional Eastern sounds. It’s just one of the many secrets, subtitles and nuances, within this melodic, genre-melting epic.
Stream III is the first of a trio of instrumentals. Washes of crystalline guitars, break like waves on a beach. They chirp, cheep and wah-wah, and are at the forefront of this multilayered arrangement. Soon, they’re panned quickly adding a trippy effect. Remembering the maxim less is more, effects are used sparingly. Then a rhythm guitar is played with an element of urgency, and plays an important part, carving out rhythms aplenty. Later, when effects are used on a guitar, it becomes like the musical equivalent of the big dipper as the dry signal is bent out of shape. Mostly, though, the effects are used sparingly and effectively. They play their part on what’s a captivating and carefully sculpted soundscape. It paints pictures in the mind’s eye, with its innovative and timeless sound.
Guitar shimmer and glimmer on Everyone Grows and Grows unfold. The guitars are almost choppy, as Paul’s lysergic vocal enters. It sits atop meandering, fluffy synths that float dreamily along. Paul’s vocal evokes memories of sixties British psychedelia, including The Beatles at their most psychedelic. There’s even a stylistic nod to Pink Floyd’s Speak To Me around 1.20, as Paul becomes a carnival barker as he enthuses: “find yourself a dream.” Later, the guitars range veer between garage rock and take on an almost Eastern sound. However, Everyone Grows and Grows is psychedelic at purest. Especially the Paul’s vocal and harmonies than can only be described as lysergic and beatific as he enthuses about: “when I make the Great transformation…what a day it will be.” Similarly, what a song this is, psychedelia at its best.
Straight away, guitars glisten and shimmer on Visual Breakfast, while a bass probes before a blistering, searing rocky guitar cuts through the arrangement. It’s played with speed and accuracy, as the washes of guitar join the pulsating arrangement. It has a mesmeric quality, that’s reminiscent of many a Krautrock album. Soon, the rocky guitar assails the listener. When it drops out, cinematic guitars plays as synths augment the dreamy arrangement. Before long, it takes on a rocky sound, as which again, references The Beatles. Especially their psychedelic era. Synths are added and augment an arrangement that’s variously rocky, psychedelic, shrill and melodic as Paul delivers the cerebral lyrics. Always, though, he and the rest of LightDreams have the capacity to throw curveballs and continually captivating. At 7.42 they seem to pay homage to Pink Floyd as a quite beautiful psychedelic ballad unfolds. It gives way to a slice of Beatles-esque psychedelic rock, during what’s been a Magical Mystery Tour.
Guitars are to the fore on Who Is The One. Washes of lysergic guitar join the bass as another guitar is strummed with a degree of urgency. Then a searing rocky guitar is added. It’s panned before Paul’s lysergic vocal enters. Later, shimmering and celestial guitars are added to the multilayered arrangement. This includes dreamy synths, acoustic guitars, bass and Paul’s vocal, which is a mixture of folk pop and thanks to the effects, psychedelic. These effects have been used on a guitar, which panned and swirls, adding a psychedelic hue. It adds yet another layer, as the scorching, blistering guitar climbs and climbs, before soaring like an eagle above the genre-melting arrangement.
At first glance, In Memory Of Being Here might look like a twenty-three minute epic. It’s not. Instead, it’s a six part musical suite, which opens with Being Here. Guitars are the forefront of the arrangement, while Paul’s vocal has been treated with effects. Harmonies and chirping, chiming and bristling guitars on this slice of psychedelic rock. It gives way to Subtle Arrival, where washes of celestial synths ebb and flow, adding a futuristic, Berlin School inspired sound. Later, it rumbles ominously before echoing, and referencing Pink Floyd. From there, Something Out Of Nothing opens which scrabbled guitars cooing, before trippy synths beep and squeak as if covering in some obscure interplanetary language. Washes of guitar shimmer and glisten, before ethereal, elegiac and futuristic synths reverberate. Meanwhile, on Shuttle Departure the sound of an engine can be heard above the arrangement? It drones and glides, making its presence felt. In doing so, the script to this cinematic track takes shape. What follows is akin to the soundtrack to a sci-fi film. That’s until the penultimate part of this six part suite.
Maybe having reached the destination, Paul Marcano and LightDreams replicate the welcome they receive on Windsong For The Rain. Acoustic guitars are played quickly and join mesmeric persuasion that seems determined to replicate the sound of raindrops. Meanwhile, the guitars are played with speed and urgency, creating a joyous backdrop. Soon, though the arrangement almost grinds to a halt. A thunderstorm stops play as the arraignment meanders along. What sounds like traffic, a thunderstorm and wistful Eastern sound combine. This comes courtesy of synths and wind instruments. Later, as the storm passes just an understated but cinematic backdrop remains. It gives way to Erona Interlude, as world music is combined with sound of the shuttle returning. As the arrangement drones and buzzes, this epic musical journey is over and has showcased Paul Marcano and LightDreams at their creative zenith. In Memory Of Being Here deserves to be called a Magnus Opus.
Maj Moorhsum is another example of inventiveness. Layers of guitars, bass and synths combine. This includes a searing guitar that adds a melodic backdrop and a buzzing bass. Filters and effects are used, as a couple layers seem to be played backwards. This proves effective. Especially as panning has been used, adding to the psychedelic rock sound. It’s not just lysergic and strangely melodic, but vaguely hypnotic, experimental and ultimately, musically satisfying for anyone whose a sonic explorer.
Closing 10,001 Dreams is Building Islands In Space (Reprise).. Again, filters and effects are used throughout. Guitars chirp, chime and bristle, while synths augment the arrangement. The vocal is akin to a mesmeric, dreamy, chant that’s reminiscent of sixties gurus, offering spiritual and sometimes, psychedelic guidance. Essentially, there’s a cinematic sound to Building Islands In Space (Reprise), which like so many tracks on 10,001 Dreams is an invitation to let your imagination run riot. Those that do, will be richly rewarded.
That’s definitely the case, with Got Kinda Lost Records newly restored reissue of 10,001 Dreams. It’s without doubt one of the most welcome releases of 2016. Collectors and aficionados of psychedelia have dreamt of this day for many a year.
Although 10,001 Dreams, was self released in 1982, Paul Marcano and LightDreams’ sophomore album passed most people by. It was only discovered by a small group of discerning music fans living in British Columbia. Most collectors and aficionados of psychedelia got to the party late, as far as 10,001 Dreams was concerned. That’s apart from a few lucky music fans who found a copy of the tape in second hand stores or bargain bins. They paid their money, and discovered a groundbreaking, genre-melting hidden gem. Before long, word was out, and collectors and aficionados of psychedelia were looking for copies of 10,001 Dreams. It takes as its starting point psychedelia.
10,001 Dreams is much more than psychedelic album. Elements of ambient, avant-garde, Berlin School, folk pop, Krautrock, progressive rock and rock can be heard throughout 10,001 Dreams. It’s a musical potpourri, where instruments and influences melt into one as Paul Marcano and LightDreams sculpt a captivating psychedelic sci-fi odyssey. Just like Islands In Space, 10,001 Dreams finds Paul Marcano and LightDreams continuing to explore cosmic ideology. This may seem like an unlikely theme for an album. However, back in the the seventies, when Paul Marcano wrote three of the songs on 10,000 Dreams, that was the age of progressive rock epics. They were almost de rigeur. It was almost a rite of passage for any self-respecting progressive rock band. Paul Marcano and LightDreams weren’t progressive rockers. They were however, musical pioneers.
Proof of that, is Paul Marcano and LightDreams’ sophomore album 10,001 Dreams, which was an ambitious, innovative and cerebral Magnus Opus, that thirty-four years later, is truly timeless, and deserves to find its way into any self-respecting sonic explorer’s record collection.
PAUL MARCANO AND LIGHTDREAMS-10,001 DREAMS.
DAN WHITEHOUSE-THE REVEAL RECORDS’ E.P.s.
DAN WHITEHOUSE-THE REVEAL RECORDS’ E.P.s.
For Dan Whitehouse, 2016 has been without doubt, one of the most important and successful years of his eighteen year career. This began when Dan Whitehouse signed to Reveal Records. On April 22nd 2016, Dan Whitehouse released his Reveal Records’ debut Introducing. It was a mixture of new songs and cover versions, which showcased a truly talented troubadour. However, Introducing was just a tantalising taste of what Dan Whitehouse was capable of. The main event was the studio album he was in the process of recording.
Less than five months later, and Dan Whitehouse released That’s Where I Belong on the 2nd of September 2016. The track lent its name to the album was a hook laden, joyous anthem. It was just one the tracks that showcased Dan Whitehouse’s considerable talents as a singer, songwriter and storyteller. That’s also the case with Dan Whitehouse’s latest E.P.s.
Most artists are content to release one E.P. at a time. Not Dan Whitehouse. Instead, Reveal Records have released a quartet of Dan Whitehouse E.P.s on CD. These E.P.s are entitled E.P. 1, E.P. 2, E.P. 3 and the Dan Whitehouse Sings Boo E.P. These four E.P.s feature a total of twenty-five songs, and include Dan Whitehouse compositions and cover versions. They’re the most recent addition to Dan Whitehouse’s burgeoning back-catalogue. That’s not surprising, as Dan Whitehouse’scareer began back in 1998.
That was when nineteen year old Dan Whitehouse joined Naomi, a local band. Dan was a member of the band for two years, but left in 2000 to join the rock band Sonara.
Dan Whitehouse became Sonara’s frontman, and was a member of the band until 2007. During this period, Sonara played at the prestigious Reading Festival. However, by 2007 Dan announced he was leaving Sonara, to embark upon a solo career.
For the first two years of his career, Dan Whitehouse spent time writing songs, honing sound and playing live. This was akin to a musical apprenticeship. After two years, Dan felt confident enough to releases his debut E.P.
When Dan Whitehouse released The Balloon E,P. in early 2009, it featured seven tracks. This Dan explained, was only the first in a trilogy of E.P.s They would examine a variety of themes, including “life, love, loss and happiness.” The second instalment in the trilogy, followed later in 2009.
The Bubble E.P. picked up where The Balloon E,P. left off, examining “life, love, loss and happiness.” One of the most beautiful tracks on The Bubble E.P. was You Can’t Give Me Anymore. Unsurprisingly, it caught the attention of few discerning critics. Suddenly, people were taking notice of the young singer-songwriter. This included veteran pedal steel player B.J. Cole, who made a guest appearance on The Bubble E.P. This was be the start of a long working relationship between the pair that continues today.
Later in 2009, Dan Whitehouse released The Box EP., which was the final instalment in the trilogy. This brought the examination “life, love, loss and happiness” to an eloquent and heartfelt end. Now surely, Dan’s thoughts would turn to his debut album?
Surprisingly, it wasn’t until 2012 that Dan Whitehouse returned with his eponymous debut album. It had been in Dan’s flat, and featured mainly acoustic instruments. This worked though, and allowed Dan’s vocal to take centre-stage. Five years after embarking upon a solo career, Dan Whitehouse had released his debut album. His sophomore album followed the in 2013.
When work began on Reaching For A State of Mind, Dan Whitehouse found himself in a recording studio with a full band. The band featured some familiar faces. This included P.J. Wright from Fairport Convention; Ezio guitarist Booga. percussionist Chip Bailey and Helen Lancaster of The Old Dance School. This all-star band accompanied Dan in the eleven tracks that became Reaching For A State of Mind. It was released in autumn 2013.
Reaching For A State Of Mind was a genre sprawling album. Despite several folk musicians in Dan’s band, the album featured everything from Americana, folk, pop, rock and roots. Critics felt that Reaching For A State of Mind was a much more refined and polished album. It was launched in Dan’s adopted hometown of Birmingham, at the city’s Crescent Theatre. However, it wasn’t just Reaching For A State of Mind that was being launched, but Dan Whitehouse’s career.
Over the next year, Dan Whitehouse’s star was in the ascendancy. He spent the year touring and recording. Dan released his third album Raw State in 2013. It was well received by critics, and found Dan maturing as a singer and songwriter.Then later in 2014, Dan released the Reaching Further For A State of Mind E.P. It featured unreleased songs recorded during the Further For A State of Mind sessions. However, by then, Dan was on tour.
This included touring North America with German-American singer-songwriter Anja McCloskey. The pair even released the Still E.P. together. Then in August 2014, Dan played at the Moseley Folk Festival. He took to the stage after a set by The Felice Brothers, but quickly won the audience over. By the end of his set, Dan had the audience eating out of his hands. Watching from the wings was Richard Thompson, who followed Dan. The grand old man of British folk realised that he was watching one of genre’s rising stars. However, Dan was no stranger to working with some of the biggest names in music.
Over the years, Dan Whitehouse has toured with some major names. This includes Peter Green, 10CC, Maria McKee, World Party and Julian Cope. Dan has also opened for Josh Ritter, Caitlin Rose, Joseph Arthur, Willy Mason and Simone Felice since he embarked upon a solo career in 2007. Recently, Dan Whitehouse has toured with Eddi Reader, and opened for Kris Drever on his U.K. tour.
By the time Dan Whitehouse headed out on tour with Kris Drever, he had released his first album for Tom Rose’s Reveal Records. Introducing is a limited edition CD which features eight tracks from Dan Whitehouse. They’re a mixture of cover versions and songs penned by Dan Whitehouse.
Introducing.
Among the songs on Introducing penned by Dan Whitehouse, are That’s When I Belong, The Places We Have Been, Work and CCC. Apart from Work, which is a Radio Edit, the other three tracks are a taster of Dan’s forthcoming album. The other four tracks were recorded live at Kyoti Studios, in Glasgow without any overdubbing. This includes Dan’s duet with Jess Morgan on Close Up, which Boo Hewerdine cowrote. Other tracks include covers of The Cowboy Junkies’ Sun Comes Up, Its Tuesday Morning and Chris Wood’s Two Widows. These track introduce Dan Whitehouse on Introducing.
Dan Whitehouse’s Reveal Records’ debut Introducing, was his fourth album. It was released on 22nd April 2016, and showcased a truly talented singer-songwriter. However, Introducing was just the equivalent of a musical amuse-bouche. The main course now is about to be served, and That’s Where I Belong is a veritable musical feast.
That’s Where I Belong,
Now signed to Reveal Records, Dan Whitehouse began working on his debut album. He has been writing songs for the best part of twenty years, and draws inspiration from various types of music, including Americana and folk music. Many of Dan Whitehouse’s songs have a cinematic quality, as he paints pictures with his lyrics. These stories take shape in the space of three or four minutes, and leave a lasting memory. Other times, Dan Whitehouse’s song are observational.
Dan Whitehouse is a people watcher, who often, tells other people’s stories. On Close Up, Dan tells the story of refugees, displaced from their homeland. CCC and Little Left Unsaid deal with subjects like anxiety and mental health. Other times, Dan Whitehouse’s songs are reflective and poignant. He sings about subjects like family and love, and loss and compassion. It seems that singer, songwriter and storyteller Dan Whitehouse had drawn inspiration from a variety of sources for the nine songs he penned for That’s Where I Belong. These songs were recorded in Glasgow and London.
Recording of That’s Where I Belong took place at Reservoir Studios in London and at Kyoti Studios in Glasgow. Producing the That’s Where I Belong were Danny Wilson and Chris Clarke. Joining Dan Whitehouse when recording began, were veteran pedal and lap steel player B.J.Cole and folk singer Jess Morgan. She duets with Dan on Close Up. Once That’s Where I Belong was complete, there was no rest for Dan Whitehouse.
Instead, Dan Whitehouse headed out on tour with Kris Drever, and opened for him on his UK tour. This was perfect publicity for That’s Where I Belong. Meanwhile, That’s Where I Belong had been released to critical acclaim. It seemed that after all the years of struggling to make a breakthrough, Dan Whitehouse’s star was in the ascendancy. That’s Where I Belong was regarded as his finest album, and a welcome addition to his back-catalogue. Se are the quartet of E.P.s that have just been released by Reveal Records.
E.P. 1.
The first in the quartet of Reveal Records E.P.s is unsurprisingly, E.P. 1 It features five songs, which are a mixture of Dan Whitehouse compositions and cover versions. They included Matthew Sweet’s Your Sweet Love and Nada Surf’s Inside Of Love. Dan’s compositions included an old favourite That’s Where I Belong, which was the title-track of his recent album. They’re joined by two new songs, My Anchor and Tethered Together. These songs were recorded at Kyoti Studios in Glasgow, which previously, has been a happy hunting ground. That’s where parts of Introducing and That’s Where I Belong were recorded.
What better way to open E.P. 1, than with the radio edit of That’s Where I Belong. It’s an irresistible, hook laden and joyous anthem that’s radio friendly. It sets the bar high for the rest of E.P. 1.
Your Sweet Voice is a tender and beautiful ballad, where the sparse arrangement allows the vocal to take centre-stage. That’s where it belongs. It’s a similar case with Dan’s cover of Nada Surf’s Inside Of Love. Against the understated arrangement, Inside Of My Love becomes a soul-baring ballad in Dan Whitehouse’s hands. It’s another beautiful addition to E.P. 1. After the two cover versions, Dan showcases two excliusive songs.
The first is My Anchor, the first of the two exclusive songs on E.P. 1. Americana and country seem to have influenced Dan on this ballad. A piano and guitar play leading roles, while Dan’s vocal is akin to a confession, as he sings: “you are My Anchor.” Closing E.P. 1. is Tethered Together, which features a carefully crafted arrangement. Dan’s band and harmonies accompany him as he delivers a heartfelt and soulful vocal, on a truly memorable song. It’s another radio friendly song, that hopefully, will find its way onto Dan’s next album. However, before that, Dan’s thought’s turned to another E.P.
E.P. 2.
This was E.P. 2, which features fives songs penned by Dan Whitehouse. This includes Nothing’s Gonna Change It and four exclusive songs. Just like the two previous E.P.s, they were recorded at Kyoti Studios, in Glasgow. That was where Dan enjoyed one of his finest moments.
That’s Nothing’s Gonna Change a truly irresistible, anthemic and radio friendly song. It was without doubt, one of the highlights of That’s Where I Belong, so sets the bar high for the four exclusive songs.
This includes Somebody Loves You, which features some powerful and insightful lyrics. They’re part of what sounds like a very personal song, which has a confessional quality. Maybe Dan, or someone close to him has experienced and lived through what he’s singing about? Pebbles is piano lead ballad, where Dan lays bare his hurt and heartbreak. The Fire Of Lust is a song which showcases Dan’s ability to write cinematic lyrics. They unfold against, an spartan arrangement and show how two people’s lives can be changed in an instant. Coin which closes E.P. 2 is another ballad, where an acoustic guitar accompanies Dan as he delivers a tender, heartfelt vocal that’s full of emotion. It’s a beautiful track from a truly talented singer, songwriter and storyteller, Dan Whitehouse. When he recorded E.P. 2, he was enjoying one of the most productive years of his career, and this would continue.
E.P. 3
Having released two albums and two E.P.s during 2016, Dan Whitehouse decided to add to his burgeoning back-catalogue. So he headed to Kyoti Studios in Glasgow, and recorded five songs. This included five songs, including a cover of Ron Sexsmith’s These Days, and three songs written by Dan. This includes two versions of You Brought The Sunshine and CCC, which both featured on That’s Where I Belong. The other two songs, Looking For A Way Out Of My Head and There’s A Lot Of Things I Don’t Understand were exclusive to E.P. 3. These songs show different sides to Dan Whitehouse.
What better way to open E.P. 3 than with the radio edit of You Brought The Sunshine. Dan Whitehouse combines power and emotion on what’s akin to a confessional, as the song heads firmly into anthem territory. The other version of You Brought The Sunshine was recorded live at Kyoti Studios in Glasgow. Its arrangement is sparse, with Dan entering troubadour territory as he delivers an impassioned, emotive vocal. With just a guitar for company, Dan reinvents the song. It’s a similar case with CCC, which was another of That’s Where I Belong’s anthems. Again, the understated arrangement allows Dan to breath new life and meaning into the song. This Dan does with his beautiful cover of Ron Sexsmith’s These Days that bristles with emotion. However, this isn’t the end of E.P. 3.
There’s still the two exclusive songs left. This includes Looking For A Way Out Of My Head, where Dan’s joined by his band. Hooks certainly haven’t been rationed, on what’s a powerful song that showcases Dan’s talents as a singer and songwriter. So does There’s A Lot Of Things I Don’t Understand, which closes E.P. 3. Dan’s in a thoughtful and reflective mood, as his vocal sometimes veers towards a soliloquy. Later, though, the arrangement builds, and a wistful horn plays its part in a memorable fusion of pop and folk. It’s sure to whet the listener’s appetite for E.P. 4.
E.P. 4-Dan Whitehouse Sings Boo E.P..
Unlike the three previous E.P.s, the fourth E.P. is made up entirely of cover versions. Each of the nine songs on the Dan Whitehouse Sings Boo E.P. were penned by another Reveal Records’ artist, Boo Hewerdine. He wrote six of the songs, and cowrote the other three. Only one of these songs have been released before, Close Up which featured on That’s Where I Belong. Just like the rest of the songs, it was recorded in Glasgow, at Kyoti Studios by troubadour Dan Whitehouse.
Opening Dan Whitehouse Sings Boo E.P. is Hunger. Its arrangement is spartan and spacious, with guitars and a mesmeric keyboard accompanying Dan’s heartfelt, questioning vocal. This is a taste of the delights that are in-store for listeners.
Washes of guitar disappear into the distance, as Dan strums his guitar and delivers a wistful, emotive vocal on The Birds Are Leaving. Then on the country-tinged Last Cigarette, Dan delivers a vocal that’s tinged with sadness and has a worldweary quality. He sounds as if he’s living the lyrics, which in his hands, take on new meaning. It’s a smiler story on Graceland, with its spartan arrangement. Dan’s vocal veers between emotive and urgent, as he displays frustration and melancholia. His finest moment on Dan Whitehouse Sings Boo E.P. is Close Up. It’s a beautiful, moving, country-tinged ballad where Dan is joined by Jess Morgan. This balladry continues throughout the rest of Dan Whitehouse Sings Boo E.P.
Follow My Tears is another ballad, which is something that Dan Whitehouse excels at. This time, his vocal is tender and heartfelt vocal, but bristling with emotion. Just like previous songs, it’s a case of less is more when it comes to the almost jaunty arrangement. It’s the perfect accompaniment to Dan’s vocal. That’s the case on Wild Wild Wind, where an electric guitar adds a rockier sound. Meanwhile, Dan opens up and delivers a soul-baring confessional. He then gives thanks on It’s A Beautiful Night, which is without doubt one of the most beautiful and joyous songs on Dan Whitehouse Sings Boo E.P. It closes with Bars, where Dan dawns the role of troubadour on this duet, and paints pictures with lyrics that are rich in imagery and emotion. What better way is there to close Dan Whitehouse Sings Boo E.P., which is the fourth E.P. Dan has released for Reveal Records?
These four E.P.s showcase the considerable talents of troubadour Dan Whitehouse. He’s equally at home delivering cover versions and his own compositions. Similarly, Dan can seamlessly switch between delivering uptempo anthems and ballads. That was the case on Introducing and That’s Where I Belong. It’s also the case on the four E.P.s. Among the anthems on the E.Ps are That’s Where I Belong, Nothing’s Gonna Change and You Brought The Sunshine. These are among the finest songs that Dan has penned. However, he’s also a talented balladeer.
It’s no exaggeration to say that Dan Whitehouse is a truly talented singer, songwriter and storyteller. Almost effortlessly, he breathes meaning and emotion into carefully crafted songs. Their lyrics tell a series of stories, that often have a cinematic quality. Often, it seems Dan draws inspiration from his own life. Other times, Dan provides a voice for those who have none. This includes on Close Up, where Dan tells the story of refugees, displaced from their homeland. Then on CCC Dan deals with subjects like anxiety and mental health. Other times, Dan Whitehouse’s songs are reflective and poignant. He sings about subjects like family and love, and loss and compassion. Dan it seems, has drawn inspiration from a variety of sources. It’s a similar case with music that has influenced Dan.
Elements of Americana, country, folk, pop, rock and soul can be heard on That’s Where I Belong. So can the influences of artists like Bob Dylan and Ry Cooder. Both artists have influenced Dan. So has Boo Hewerdine, whose music Dan covers on the Dan Whitehouse Sings Boo E.P. He brings new meaning to the nine songs, which in some cases, are like short stories which Dan narrates. Framing his vocals are spartan arrangements, which prove hugely effective and show another side to the songs on Dan Whitehouse Sings Boo E.P. It’s the fourth and final E.P. that Dan is releasing just now, and brings to an end what’s been the most productive years of his eleven year solo career.
Dan Whitehouse has spent the last eighteen years making music.
However, since he embarked upon his solo career in 2007, Dan has been working towards making a commercial breakthrough. With every album and E.P., Dan Whitehouse is one step nearer making a commercial breakthrough. When it does, it will be richly deserved.
Hopefully, that will be soon. Dan Whitehouse deserves to enjoy adulation, commercial success and critical acclaim. He’s served his musical apprenticeship, and spent years honing his skills as a singer and songwriter. That’s been time well spent. Troubadour Dan Whitehouse Dan Whitehouse has an abundance of talent.That’s apparent in the music that he has released during 2016. From Introducing and That’s Where I Belong, through to E.P. 1, E.P. 2, E.P. 3 and Dan Whitehouse Sings Boo E.P. All this wonderful music should introduce singer, songwriter and storyteller to a much wider audience, who will embrace his hook-laden anthems and beautiful ballads.
DAN WHITEHOUSE-THE REVEAL RECORDS’ E.P.s.
KEB DARGE PRESENTS THE BEST OF LEGENDARY DEEP FUNK.
KEB DARGE PRESENTS THE BEST OF LEGENDARY DEEP FUNK.
For any serious record collector, the thought of having to sell their record collection fills them with dread. Sadly, that happened to DJ and record collector extraordinaire Keb Darge. He was in the midst of a divorce, and was forced to sell of his extensive collection of Northern Soul. While this would’ve been a huge blow for most serious record collectors, it was much worse for Keb Darge. The records he was forced to sell, were the tools of his trade. DJ-ing was how Keb Darge paid the bills. This presented a huge problem for him, and called for some lateral thinking.
It was then that Keb Darge remembered what he referred to as his “junk records.” They had been kept apart from his collection of Northern Soul. So Keb Darge started looked through his collection of “junk records.” Within this collection was a variety of eclectic records, which would provide the basis for a new club night Keb Darge was due to DJ at.
Armed with his boxes of “junk records,” Keb Darge headed out to the first of his new club nights. It became Madama Jo Jo’s Weekly Deep Funk night. Each night Keb Darge dug deep into his box of “junk records,” and deployed his secret musical weapons. This ranged from the rawest of funk and soul, to boogaloo and soulful disco. Keb Darge’s sets featured an eclectic and captivating mixture of music. This found favour with Pete Adarkwah, who had founded the BBE.
Originally, BBE had started life as a club night, but eventually evolved into a record label. The new label released its first release in 1996, Stop and Listen Volume 1 a compilation compiled by DJ Dr. Bob Jones. Less than a year later, and BBE were preparing to release a new two CD compilation, Keb Darge’s Legendary Deep Funk. What was BBE’s fourth release hit the shops on 10th March 1997. Little did Keb Darge realise that his “junk records” would result in a near twenty year relationship with BBE.
Buoyed by the success of Keb Darge’s Legendary Deep Funk, BBE eventually commissioned a followup compilation. Keb Darge’s Legendary Deep Funk Volume 2 was released on November 1997, and just like its predecessor, featured a myriad of hidden gems. That was no surprise.
By then, Keb Darge was heading off on crate digging expeditions seeking hidden gems to add to his burgeoning collection of “junk records.” He searched record shops, second hand shops, flea markets and charity shops. This was the case everywhere Keb Darge went. In towns and cities, he searched far and wide. Nowhere was off limits. Not even damp and dusty warehouses where most record collectors feared to tread. Keb Darge like many Scots, was made of hardy stuff, and often, his crate digging expeditions proved fruitful. So much so, that in 1999 BBE would commission a third instalment in Keb Darge’s Legendary Deep Funk series.
Keb Darge’s Legendary Deep Funk Volume 3 was released in 1999. Just like the two previous instalments in the series, it was released to critical acclaim. Soon, commercial success came the way of Keb Darge’s Legendary Deep Funk Volume 3. Those who frequented Keb Darge’s Legendary Deep Funk nights bought the new compilation. So did those who had to discover the delights of one of Keb Darge’s Legendary Deep Funk club nights was like. Keb Darge’s Legendary Deep Funk Volume 3 was a successful addition to what many thought was going to be a long running compilation series.
That wasn’t to be. After three volumes, there were no further instalments in Keb Darge’s Legendary Deep Funk series. Record buyers mourned the loss of one of the finest compilations of the early years of BBE.
Since then, Keb Darge has continued to be part of the BBE family, and has released a variety of compilations for the label. This includes compiling The Kings Of Funk with RZA in 2005. Two years later, and Keb Darge and Cut Chemist compiled Present Lost And Found-Rockabilly And Jump Blues. It was released in 2007, and was one a very welcome addition to the BBE discography. Keb Darge was about to enter the most productive period of his career at BBE.
In 2008 Kenny Dope and Keb Darge compiled Kay-Dee Volume 2. This was followed in 2009, by Keb Darge and Paul Weller’s compilation Lost and Found (Real R’N’B & Soul). Here was another welcome addition to BBE’s burgeoning discography. So was Legendary Rockin’ R’N’B in September 2010. Soon, though, a Keb Darge would form a new and what would successful partnership.
Keb Darge had met a new partner Little Edith. She shared Keb Darge’s love of music, and soon, the pair were dipping into his “junk records” to compile what became Keb Darge and Little Edith’s Legendary Wild Rockers. It was released to critical acclaim in June 2011, and was the first in what would become a successful compilation series. So much so, that it became an annual occurrence.
Keb Darge and Little Edith’s Legendary Wild Rockers 2 followed in July 2012. It built on the success of the first instalment in the series. Less than a year later, and Keb Darge And Little Edith’s Legendary Wild Rockers Volume 3 was released in June 2013. By then, Keb Darge And Little Edith’s Legendary Wild Rockers was following in the footsteps of Keb Darge’s Legendary Deep Funk. However, in July Keb Darge And Little Edith’s Legendary Wild Rockers Volume 4 was released, making it the most successful and longest running compilation series of Keb Darge’s career. The pair weren’t done yet, and Keb Darge And Little Edith’s Legendary Wild Rockers Volume 5 followed in May 2015. This made the series one of the longest running series BBE had released. Keb Darge’s “junk records” had triumphed again.
This had been the case since 1997, when Keb Darge released his first compilation for BBE. That was Keb Darge’s Legendary Deep Funk. Since 1997, he has played a big part in BBE’s history, compiling another twelve compilations. With BBE celebrating its twentieth anniversary during 2016, it’s only fitting that Keb Darge returns with a new compilation. However, it’s not as many people expected a new volume Keb Darge And Little Edith’s Legendary Wild Rockers. Instead, back by popular demand, is Keb Darge’s Presents The Best Of Legendary Deep Funk. It’s a two CD set, that will be released by BBE on 28th October 2016. For those who headed to Madama Jo Jo’s Weekly Deep Funk, it’ll be a journey down memory lane, while others can sit back and enjoy a myriad of eclectic music from Keb Darge’s collection of “junk records.”
For Keb Darge Presents The Best Of Legendary Deep Funk, Keb Darge has chosen twenty-one tracks. This includes King Tutt, Harris and Orr, Soul Drifter, Record Player, Dee Edwards, Leon Gardner, Family Of Eve, Joe Washington, ons Of The Kingdom, Golden Toadstools and Carleen and The Groovers. They feature on disc two of Keb Darge Presents The Best Of Legendary Deep Funk. It’s the unmixed disc. Disc one is a seventeen mix from another BBE stalwart, Mr. Thing. The DJ and record collector showcases his considerable skills on the wheels of steel. Then on disc two, Keb Darge Presents The Best Of Legendary Deep Funk.
Keb Darge realising the importance of the track that opens a compilation digs deep, and comes up with something just a little special, King Tutt’s You’ve Got Me Hung Up. It opens Keb Darge Presents The Best Of Legendary Deep Funk and is a fusion of funk, disco and soul. King Tutt was the brainchild of William Tutt, and they released a trio of singles between 1979 and 1980. Their debut was You’ve Got Me Hung Up, which was released on Fun City Records in 1979. Funky, soulful and dance-floor friendly, it’s an irrreisitible track that’s a sure floor filler.
There’s a funky, cinematic sound to the introduction of Cross Bronx Expressway’s Cross Bronx Expressway. Straight away, it’s reminiscent of traffic backed up on a hot summers day. Keyboards replicate the sound of car horns, as this funky instrumental unfolds. Keyboards and a wah wah guitar are to the fore on a track penned by Chris Wright. It was produced by Zell Sanders, and released as a single on Zell Records in 1974. It’s not just deep funk, it’s also uber funky with rocky guitars thrown into this uber funky jam.
In 1979, Record Player entered Kingsmill Studio, Columbus, Ohio to record their debut single Free Your Mind. It was written by Record Player’s trombonist Michael Jennings. His lyrics may have a late sixties sentiment, but Free Your Mind which was produced by Record Player, is funky, soulful and dance-floor friendly. This type of music was hugely popular in the late-seventies. However, the single was released independently on Gem City Records in 1979. Sadly, the single sunk without trace. It might have been a different story if Free Your Mind had been released on a major label. Then Record Player’s career would’ve lasted longer than just the one single, albeit one as good as Free Your Mind.
The Chefs’ Mr. Machine Part 1 is one three songs that were re-edited for Keb Darge Presents The Best Of Legendary Deep Funk. It’s the type of funky music that one can imagine Keb Darge spinning at Madama Jo Jo’s Weekly Deep Funk night. Mr. Machine was produced by The Chefs, and was released on the short-lived Pro-Gress Records. Sadly, Mr. Machine was Wisconsin based funkmeisters one and only single. It’s a smouldering slice of funky music, with a vampish and soulful vocal that owes a debt of gratitude to James Brown. It’s a very welcome addition to Keb Darge Presents The Best Of Legendary Deep Funk.
Dee Edwards’ recording career spanned three decades. During that period, she released over twenty singles. One of her finest moments came in 1977 when Dee Edwards covered the Billy Kyle composition (I Can) Deal With That. It was arranged by Floyd Jones and produced by Billy Kyle. (I Can) Deal With That was released on the short-lived De-To label in 1977. Although the single failed commercially, it features a vocal that defines the word soulful, as a defiant Dee Edwards lays bare her soul for all to hear.
In 1975, Total Experience released their debut single Illusion on TTE Records. Tucked away on the B-Side was Contradiction, a song that every bit as good, if not better than Illusion. It was a Jeff Owens composition, which featured a heartfelt, soulful vocal. Meanwhile, the rest of Total Experience fused elements of jazz and funk. This was the perfect accompaniment to the vocal, on what’s another long forgotten hidden gem. Sadly, Total Experience never released another single, and they’re best remembered for Illusion,
the B-Side to their one and only single.
Back in 1974, the Ronnie Keaton Ocean Liners entered the studio for the only time. They recorded the Ronnie Keaton and King Sporty composition Going Down For The Last Time Part 1. This was released as a single later in 1974, on Noel Williams’ Miami based Konduko label. Alas, the single failed to make an impression on charts. It wasn’t until DJs like Keb Darge started spinning Going Down For The Last Time Part 1, that the single was heard by a wider audience. With a rueful, defiant and soulful vocal, sitting atop an arrangement that’s a smouldering slice of funk, this proved a potent combination. It’s no wonder that belatedly, Going Down For The Last Time Part 1 became a favourite of DJs and dancers.
The Fabulous Originals’ wrote It Ain’t Far, But It’s Fun Parts 1 and 2, which was produced by Margaret Harris. It was released on Jewel Records in 1971, but failed commercially. As a result, there was no followup single released, and The Fabulous Originals’ recording career lasted just under five minutes. However, It Ain’t Far, But It’s Fun Parts 1 and 2 has been edited by Ian Wright for Keb Darge Presents The Best Of Legendary Deep Funk. In his hands, it becomes four minutes of good-time, funky music.
There’s more than meets the eye to The Sons Of The Kingdom. The trio released a trio singles between 1976 and 1980. This included their third and final single Men Believe in 1980. It was released on the K.O.G. label, (Kingdom Of God) and featured Modernisation on the flip side. This was no gospel group though. Instead, The Sons Of The Kingdom were part of what was known as the Black Hebrews movement. They were a group of African-Americans who travelled to a kibbutz in Israel, where they would establish a new zion. Their leader Ben Carter, a steel worker turned theologian. One of the ways The Sons Of The Kingdom spread their ‘message,’ was through music. Men Believe was their third musical message. Just like the two previous singles, this ‘message’ passed record buyers by. Hidden away on the B-Side was Modernisation, a fusion of soul and funk with another ‘message’ from The Sons Of The Kingdom. It was by far their finest hour, but everyone knows that the devil has the best songs.
Straight away, Ricky Calloway sounds uncannily like the self-styled Godfather of Funk, James Brown on Tell Me. This was Ricky Calloway’s debut single, which was released on Jayville Records in 1970. Whether vamping on delivering a vampish vocal, Ricky Calloway pays homage to the James Brown, and does so with style and aplomb.
Carleen and The Groovers’ Can We Rap is my final choice from Keb Darge Presents The Best Of Legendary Deep Funk. It was the B-Side to Carleen and The Groovers’ 1972 single Hot Pants. On the flip side was Can We Rap, which was also written by Clary Butler. Can We Rap is just over two minutes of glorious funky music, which builds and builds. The rhythm section and guitars provide a funky backdrop, while blazing horns punctuate the arrangement. Then at 1.12 the vocal enters. Again, there’s a nod to James Brown on Can We Rap, as The Groovers ensure that Keb Darge Presents The Best Of Legendary Deep Funk ends on an uber funky high.
These songs are just some of the highlights of Keb Darge Presents The Best Of Legendary Deep Funk. It’s a case of all killer, and no filler. That’s been the case with so many of the compilations that Keb Darge has compiled for BBE. Keb Darge Presents The Best Of Legendary Deep Funk is just the latest, and features the creme de la creme of deep soul. That’s a genre that’s close to Keb Darge’s heart.
Having had to sell his collection of Northern Soul during his first divorce, Keb Darge had to reinvent himself. All he had left were what he called his “junk records.” This eclectic collection of 45s was enough for him to reinvent himself. Before long, Keb Darge had one of the most successful club nights Madama Jo Jo’s Weekly Deep Funk. The one time Northern Soul DJ had now reinvented himself, and his name was synonymous with the deep funk movement. It made sense that it was Keb Darge who compiled the first compilation of deep funk for BBE.
In March 1997, Keb Darge’s Legendary Deep Funk was released in March 1997. Buoyed by its success, the followup, Keb Darge’s Legendary Deep Funk Volume 2 being released in November 1997. Sadly, there was only one further instalment in the series, Keb Darge’s Legendary Deep Funk Volume 3 whic was released in 1999. Since then, Keb Darge has continued to compile compilations for BBE. However, with BBE celebrating its twentieth anniversary in 2016, what better time for Keb Darge takes listeners on a trip down memory lane?
Seventeen long years after his last compilation of deep funk, Keb Darge Presents The Best Of Legendary Deep Funk will be released on the 28th Octiber 2016. It’s available on CD, LP and as a digital download, and Keb Darge’s Legendary Deep Funk is a welcome reminder of three volumes of. However, the forthcoming release of Keb Darge Presents The Best Of Legendary Deep Funk features the creme de la creme of deep funk, from the genre’s founding father, Keb Darge.
KEB DARGE PRESENTS THE BEST OF THE LEGENDARY DEEP FUNK.
SYREETA-THE RITA WRIGHT YEARS: RARE MOTOWN 1967-1970.
SYREETA-THE RITA WRIGHT YEARS: RARE MOTOWN 1967-1970.
When Rita Wright got a job as a receptionist at Motown in 1965, little did she realise that in the space of seven years her life would be transformed beyond all recognition. This transformation began when Rita Wright became producer Mickey Stevenson’s secretary. It was through him, that Rita met Brian Holland of Holland, Dozier and Holland. He became Rita’s mentor, helping and encouraging her to hone her vocal talents. Soon, this began to pay off, and Rita graduated to singing on demos. Then in May 1967, Rita Wright recorded the song that would become her debut single, I Can’t Give Back the Love I Feel.
Seven months later, and I Can’t Give Back the Love I Feel was released as a single on Gordy in January 1967. Alas, the single neither won over DJs nor record buyers, and failed to trouble the charts. For Rita Wright, this was a huge blow. It would be another four years before Rita Wright returned with her sophomore single.
Meanwhile, Rita Wright’s recording career continues. The only problem was, that none of these recordings were being released as singles. Most of them make their debut on Syreeta-The Rita Wright Years: Rare Motown 1967-1970 which was released by Kent Soul, an imprint of Ace Records. These songs feature the early years of Rita Wright’s career. Her story began in Pittsburgh, in 1946.
Rita Wright was born in August 1946, in Pittsburgh, Pennsylvania. For the first four years of Rita’s life, the Wright family lived in Braddock. Sadly tragedy struck when Rita was four, and her father was killed whilst serving in the Korean War. This resulted in the Wright family moving between Pittsburgh, Carolina, and Detroit. Eventually, though, the Wright family settled in Detroit.
By the time Rita Wright was a teenager, Detroit had vibrant music scene. She was already singing in local groups around Detroit. The members of these bands all dreamt of releasing a record, and enjoying a hit single. Especially if it was on Detroit’s most successful label,..Motown. Rita Wright was no different. However, when she first arrived at Motown, it was to work as a secretary.
This was in 1965, when Rita Wright was nineteen. Soon, though, she began to climb the corporate ladder. Rita progressed to working as a secretary for producer Mickey Stevenson. Then, Brian Holland of Holland, Dozier and Holland started working with Rita, helping her to hone her vocal prowess. Soon, she was singing on demos. That was how Rita Wright found herself recording the vocal for I Can’t Give Back the Love I Feel.
The songwriting partnership of Ashford and Simpson had recently arrived at Motown. They had penned I Can’t Give Back the Love I Feel with Brian Holland. He and Lamont Dozier would produce what would become Rita Wright’s debut single. She recorded her vocal on 17th May 1967. Now it was a waiting game.
Nearly seven months passed before I Can’t Give Back the Love I Feel was released on the Gordy label 11th January 1968. On the B-Side was the heartfelt ballad Something On My Mind, another Ashford and Simpson composition. When I Can’t Give Back the Love I Feel was released, it failed to find an audience in America. Without the all important radio play, Rita Wright’s debut single was dead in the water. Over the Atlantic, it was a different story.
In February 1968, I Can’t Give Back the Love I Feel was released in Britain on the Tamla Motown label. The single was played on radio, but didn’t sell sufficient copies to reach the charts. However, I Can’t Give Back the Love I Feel had sold enough copies that Rita Wright was something of a cult figure within the UK soul scene. This seemed to augur well for the future.
Following the commercial failure of her debut single, Rita Wright returned to the studio on 16th February 1968. She recorded Beware Of A Stranger which originally, had been assigned to Tammi Terrell, but was reassigned to Rita Wright. Maybe the song was being earmarked as a potential followup to I Can’t Give Back the Love I Feel? It certainly would’ve made a good single. This soulful warning shot was written and produced by Ashford and Simpson. With Beware Of A Stranger recorded, any thoughts of releasing it as single were shelved when I Can’t Give Back the Love I Feel flopped. Suddenly Beware Of A Stranger, the song which could’ve launched Rita’s career was shelved. Rita didn’t return to the studio until 26th June 1968.
That day, Rita Wright was due to record You Made Me Feel Like Everything Was Alright. It had been written by Stephen Bowden, James Dean and William Witherspoon. When Rita arrived at the studio on 26th June 1968, there was no sign of Ashford and Simpson. Instead, James Dean and William Witherspoon produced the session, where Rita unleashed a soul-baring, powerhouse of a vocal. She breathed life and meaning into the lyrics. Despite that, the song remained unreleased.
Just three weeks later, and Rita Wright recorded It Don’t Mean Nothin’ To Me on 14th July 1968, Stevie Wonder had entered her life. The pair were a couple, and Stevie Wonder cowrote and co-produced her next session. Rita was due to record Lulu Hardaway, Don Hunter and Stevie Wonder’s Ain’t I Gonna Win Your Love. It was produced by Don Hunter and Stevie Wonder. This was the first, but wouldn’t be the last time Stevie Wonder worked with Rita Wright. However, he was absent from the next recording session, on 29th July 1968.
This time around, Rita Wright was recording Robert Hamilton and Joanne Bratton’s That’s What He Told Me. It had been originally assigned to Brenda Holloway, but was later reassigned to Rita. With producer Richard Morris, she recorded a catchy slice of uptempo soul. However, it too remained in the Motown vaults.
Still, Rita Wright continued to record new songs . On the 12th of August 1968, she recorded the Jack Goga and Ivy Hunter composition, Where Is The Love. Producing the session was Ivy Hunter, who coaxed and encouraged a performance out of Rita. It’s a mixture of power and emotion, as Rita questions and wonders Where Is The Love? Having nailed an impressive performance, Rita wouldn’t return to the studio until September.
Rita Wright returned to the studios on 7th September 1968. This time, the session took place in Los Angeles, which would become Motown’s headquarters in 1969. Rita Wright would move to L.A., but in September 1969 was due to record two songs. The first was Helen and Kay Lewis’ penned Where There’s A Will There’s A Way on 7th September 1968. Producing the session, was none other than Hal Davis. He sweetens the song with swathes of lush strings, as the Motown sound is given a smooth L.A. makeover. This really suits Rita’s vocal on this ballad, but sadly, when she returned later in September, there was no sign of Hal Davis.
Rita Wright returned to the studio in L.A. on 19th September 1968. She was due to record Love Child. The rhythm track had been recorded, with strings added the day before Rita arrived. All that remained was for Rita to lay down her lead vocal. As Rita lay down her vocal, The Clan took charge of production. What followed was one of the finest moments of Rita’s early career at at Motown. It was a song that had a much more traditional Motown sound, and was reminiscent of The Supremes. That’s no surprise.
Motown’s golden girl, Diana Ross, entered the studio on 19th September 1968. She spent two days recording her vocal on Love Child and left the studio on 20th September 1968. This left just The Supremes to add their parts.
The Supremes entered the studio on 30th September 1968. By then, The Supremes had been relegated to La Ross’ backing band. They recorded their backing vocals, and the second version of Love Child was complete. However, only one version was going to be released.
Diana Ross and The Supremes won the day. Their version of Love Child was released later in 1968, it reached number one on the US Billboard 100 and two on the US R&B charts. Since then, Rita Wright’s version of Love Child has lain unreleased. If it had been released, it may have been the single that launched Rita Wright’s career? For Rita Wright, it was a case of what might have been
Less that two weeks after recording Love Child, Rita Wright returned to the studio to record (Touched) By The Hand Of Love on 8th October 1968. It was penned by Hank Cosby and Sylvia May, and originally, had been assigned to The Supremes. However, it was reassigned to Rita, who recorded the song with producer Hank Cosby. He had previously worked with The Supremes, and this shows on the arrangement. Rita sounds not unlike Diana Ross, in a song where hooks haven’t been rationed. Despite that, the song was never released. This was becoming a familiar story for Rita Wright. Maybe her fortunes would improve in 1969?
It wasn’t until 25th February 1969 that Rita Wright returned to the studio. That day, she recorded Give Me The Good Things, which had been written by Walter Fields and Jack Goga. He also produced the song. However, Jack Goga wasn’t sure about the vocal, and Rita returned to the studio and recut it on the 14th July and 15th August 1969. It was a case of third time lucky, with Rita nailing the vocal. Her vocal on third take was a mixture of urgency and emotion, from a singer who Motown’s best kept secret.
Over a year had passed since Rita Wright had released her debut single, and there was no sign of her releasing a followup. Rita had recorded with numerous producers, but none of the songs were released. Despite this, Rita got the call to record a new song in August 1969.
On 26th August 1969, Rita Wright returned to the studio, to record It Don’t Mean Nothin’ To Me. This beautiful ballad was penned and produced by Jimmy Roach. He was responsible for an arrangement where the Funk Brothers were accompanied by lush strings and horns. The result was a true hidden soulful gem, which showcases was perfect showcase for the talents of Rita Wright. She was maturing as a singer, but sadly, when it came to releasing singles, Rita remained on the sidelines at Motown.
To make matters worse, Rita Wright hadn’t been recording as many songs as she had during 1968. She recorded eight songs during 1968, but by the start of October 1969, had only recorded two tracks that year. Nor was Rita any nearer releasing her sophomore single. It must have been a frustrating time for the twenty-three year old single. However, Rita got the call to record a new song on the 25th October 1969.
This was Love My Lovin’ Man, which Leonard Caston and Mike Ossman had written. Leonard Caston had recorded the backing track and all that remained was for Rita Wright to lay down her vocal on the ballad Love My Lovin’ Man. Having done so, Rita’s luck changed.
Just over two weeks later, Rita Wright was asked to record May His Love Shine Forever. It had been written by Hank Cosby and Joe Hinton. So on the 12th November 1969, Rita recorded the song with Hank Cosby taking charge of production. It’s a beautiful ballad, where gospel and soul are combined by Rita. She seemed to reach new heights on May His Love Shine Forever, but the song was never released. However, Hank Cosby must have been impressed by Rita’s performance, and the pair were reunited for another session later that month.
This time, Rita Wright would record Since You Came Back, another song penned by Hank Cosby and Joe Hinton. Originally, the song had been assigned to The Supremes. However, it was later reassigned to Rita, and she was scheduled to recored the song on 20th November 1969. That day, Rita added her lead vocal while cooing harmonies were added. Gradually, Since You Came Back, with its joyous, feel-good sound took shape. Producer Hank Cosby had crafted a slice of poppy soul, that Motown seemed to specialise in. Despite having commercial potential, the song was shelved. That had been the story of Rita Wright’s first two years with Motown. Maybe her luck would change as a new decade dawned?
As the seventies dawned, most of Rita Wright’s recording took place in Los Angeles. It had become Motown’s headquarters in 1969. Despite that, Rita continued to record in Detroit. Not any more. From 1970, she was living in LA. That was where she recorded several tracks with Hal Davis, who Rita had worked with in 1968.
During 1970, Rita Wright recorded eight tracks at MoWest in LA with Hal Davis. This included I Want To Go Back There Again, a tender rueful ballad penned by Chris Clark and Berry Gordy. He also cowrote another Bad Boy with William “Smokey” Robinson. Hal Davis sweetens the arrangement, using swings and a piano whilst giving Rita delivers a vocal that’s a mixture of hurt and heartbreak. It’s a song that’s quite unlike the trademark Motown sound. Two of the songs recorded at the Hal Davis sessions, Hurtin’ Me (Became A Habit) and Can’t Stop were penned by Gloria Jones and Pamela Sawyer. They’re tailor made for Rita, who comes into her own under the tutelage of Hal Davis. His arrangements are the perfect accompaniment to her vocals. Gone is the stomping beat, allowing the vocals to breath. Mind, Body and Soul which Ronald Dunbar and Edythe Wayne cowrote, finds Rita delivering a vocal that’s a mixture of melancholia and soulfulness. Again, Hal Davis put all his experience to good use, with dancing strings and harmonies playing a leading role in the arrangement. It’s a similar case on You, which Jeffrey Bowen, Jack Goga and Ivy Hunter cowrote and the Sherie Matthews and Deke Richards composition Can You Feel It, Babe. The other two songs show different sides to Rita Wright.
Another of the songs covered during the Hal Davis sessions was a cover of Laura Nyro’s Save The Country. It becomes a beautiful ballad. Very different is Holland, Dozier, Holland’s Love’s Gone Bad, which is an uptempo track featuring a vocal powerhouse from Rita Wright. She showcases her talent and versatility in the space of two very different songs recorded during the Hal Davis sessions. This was when Rita Wright recorded some of the best music on Syreeta-The Rita Wright Years: Rare Motown 1967-1970, which was recently released by Kent Soul, an imprint of Ace Records.
Having worked with a variety of different producers and production teams, it was Hal Davis who was had three decades of experience behind him, that brought out the best in Rita Wright. She reaches new heights of soulfulness with Hal Davis’ guidance. His productions deployed strings and harmonies, which sweetened the nine songs he recorded with Rita between 1968 and 1970. He seemed to bring out the best in Rita, who was always destined for greatness.
That’s apparent throughout Syreeta-The Rita Wright Years: Rare Motown 1967-1970, where Rita breathes life, meaning and emotion into the lyrics. Sometimes she seems to live the lyrics, and have experienced the hope, hurt, heartbreak and joy. Many of these songs had been written by talented and top class songwriters, including Ashford and Simpson, Gloria Jones and Pamela Sawyer, Hank Cosby and Joe Hinton, Hank Cosby and Sylvia May and Holland, Dozier, Holland. Similarly, Rita was often paired with experienced producers, who play an important part in the sound and belated success of these songs. Many were recorded nearly fifty years ago, but have only made their debut on Syreeta-The Rita Wright Years: Rare Motown 1967-1970.
Belatedly, these musical hidden gems showcase Rita Wright before she went on to enjoy a successful career. Before that, Rita married Stevie Wonder in London, around Christmas 1970. The marriage was short-lived, and by 1972 the couple were divorced. This didn’t stop Stevie Wonder producing Rita Wright’s debut album.
In 1972, Rita Wright had reinvented herself as Syreeta. This was somewhat ironic, as it was the name that Berry Gordy had suggested back in 1967. It became Rita’s stage name, and the name that dawned her 1972 debut eponymous album. Two years later, came the followup Stevie Wonder Presents: Syreeta. Then in 1977, her third solo album Syreeta One To One, and her collaboration with CC Cameron Rich Love, Poor Love. However, it was in 1979 that Syreeta released a song that would become synonymous with her.
With You I’m Born Again was a duet Syreeta had recorded with Billy Preston for the soundtrack to the movie Fast Break. The single reached number four in the US Billboard 100 and number two in the UK. Belatedly, Syreeta had released a hit single after twelve years of trying.
Sadly, With You I’m Born Again was the biggest single of Syreeta’s career. She released a string of singles, and five further albums. However, Syreeta never reached the same heights. Syreeta’s career continued right up until her death in 2004, aged just fifty-eight. That day, soul music lost one of its most talented and best loved female vocalists, Rita Wright, a.k.a. Syreeta. A reminder of this truly talented vocalist can be found on Syreeta-The Rita Wright Years: Rare Motown 1967-1970, which features a myriad of hidden gems from the early years of Rita Wright’s Motown career.
SYREETA-THE RITA WRIGHT YEARS: RARE MOTOWN 1967-1970.
BOO HEWERDINE-STILL LIVING THE DREAM.
BOO HEWERDINE-STILL LIVING THE DREAM.
Boo Hewerdine’s life has always revolved around music. That’s been the case for over thirty years. The first job Boo Hewerdine had, was working in the warehouse of Andy’s Records in Bury St. Edmunds. However, Boo Hewerdine always had ambition beyond working in a record shop. Instead, he dreamt of making music.
This first materialised when he formed his first band with a friend. Placebo Thing may have been a short-lived band, but it gave Boo a tantalising taste of life as a musician. Suddenly, he wanted to be making records rather than selling them.
The Great Divide.
Fortunately, he didn’t have long wait. Boo Hewerdine joined The Great Divide in the early eighties. They were another local band, but one that looked as if they were going places.
By 1982, The Great Divide had signed to a local Cambridge label, Wimp Records. Twenty-one year old Boo Hewerdine made his debut on the single Who Broke the Love Bank. Not long after this, The Great Divide caught a break, when Mike Scott of The Waterboys heard the band.
He thought that The Great Divide had potential, so recommended them Ensign Records. Executives at Ensign Records agreed, and signed The Great Divide. They went on to release a trio of singles on Ensign Records. Alas, commercial success eluded these singles. By 1985, Boo Hewerdine was back where it all started for him.
With The Great Divide consigned to musical history, Boo Hewerdine was back working in a record shop in 1985. This time, Boo Hewerdine was behind the counter of the Beat Goes On record shop in Cambridge. While this allowed Boo to be around music, he hadn’t given up on his dream of making a living as a musician. So when Boo met jazz drummer Tony Shepherd, it looked like his time behind the counter could be coming to an end.
The Bible.
Originally, Tony Shepherd was a jazz drummer when he met Boo Hewerdine. While Tony sat in with other bands, he was like Boo, between bands. So the pair decided to form a new band, and The Bible were born. They drafted in Kevin Flanagan another former member of The Great Divide. Before long, The Bible began to make an impression locally.
Soon, The Bible were a popular band locally. They had quickly acquired a cult following. Word began to spread further afield about this new band from Cambridge. This was through word-of-mouth. So it was no surprise that a record company decided to sign The Bible.
The label that signed The Bible was Black Records, a Norwich based independent label. They released The Great Divide’s 1986 debut album Walking The Ghost Back Home. It reached number ten in the UK Indie Charts, and featured two hit singles. Graceland reached number eighty-seven in UK charts, before Mahalia reached number fifteen in the UK Indie Charts. Given the success of Walking The Ghost Back Home, it was no surprise that bigger record labels started to take an interest The Bible.
Eventually, The Bible decided to sign to Chrysalis. They began work on their sophomore album Eureka. The Great Divide had decided to produce the album with Pete Smith and Owen Morris. However, the initial sessions proved unsatisfactory for the band. It was then that their management suggested bringing country rocker Steve Earle onboard to produce Eureka. This worked, and the album was scheduled for release in 1988.
Prior to the release, the reviews of Eureka were positive. Despite this, the album stalled at just seven-one in the UK. For everyone involved, this was disappointing, considering how popular The Bible were. Surely this was a blip?
Just a year later, The Bible enjoyed the most successful single of their career. A rerecorded version of Graceland reached fifty-one in the UK. It looked like things were improving for them. Then Honey Be Good reached fifty-four in the UK. However, when The Bible released their third album Dodo, it failed to chart. Things were set to get even worse.
A year later, and The Bible split-up in 1990. After five years together, and a lineup that’s best described as fluid, it looked like the end of the road for The Bible. It wasn’t.
Since then, The Bible have reformed twice. The first time came in 1994, and the second in 2011. However, then Boo Hewerdine was a successful solo artist.
Boo Hewerdine and Darden Smith-Evidence.
Once The Bible split-up, Boo Hewerdine decided to concentrate on his solo career. He knew the direction his career was heading. A meeting a year earlier had influenced the direction his music was about to head in.
This meeting took place in 1989, while The Bible were still together. That was when an A&R executive introduced him to New Country singer Darden Smith. The two realising they had much in common, decided to write and record an album together. Time was short though.
Somehow, Darden Smith and Boo Hewerdine managed to write and record an album in just nine days. This album became Evidence, which was released to critical acclaim in 1989. This was the first, but not the last time Boo would collaborate with other artists. By then, he would be a solo.
The Solo Years.
Now that The Bible had split-up, Boo Hewerdine embarked upon a solo career. This solo career began in 1990. Since then, Boo has released eight albums and a string of E.P.s.
Two years after the demise of The Bible, Boo Hewerdine released his debut album Ignorance in 1992. Critical acclaim accompanied the release Ignorance. It was a much anticipated and highly accomplished album of carefully crafted songs. However, three years would pass before the followup was released.
The reason for the delay, was that by then, Boo Hewerdine was writing for other artists. This included writing for Eddi Reader and Clive Gregson’s 1993 album Wonderful Lie. Since then, Boo has written songs for many successful artists, including KD Lang, Kris Drever, David McAlmont, Natalie Imbruglia and Alex Parks. However, this sometimes curtailed his ability to release albums quickly.
It wasn’t until 1995 that Boo Hewerdine returned with his sophomore album Worlds End. Just like Ignorance, praise and plaudits accompanied the release of World’s End. Buoyed by the response and success of World’s End, Boo released Baptist Hospital in 1996. Some critics felt that was the best album of Boo’s career. With album he seemed to be maturing and growing as a singer and songwriter. Like a fine wine, Boo was maturing with age.
So when Nick Hornby was looking for someone to write the soundtrack to the film adaptation of his book Fever Pitch, Boo got the call. The film was released in 1997, the same year that the film Twenty Four Seven was released. Boo and Neil MacColl had written the soundtrack. The other soundtrack that Boo penned for the television film Our Boy. For Boo, writing for film and television was a whole new world, and one he would return to later. Before that, Boo released a new solo album.
Three years had passed since Boo Hewerdine had released Baptist Hospital in 1996. He returned in 1999 with his fourth album Thanksgiving. It featured a guest appearance by Martha Wainwright. By then, Boo’s music was reaching a wider audience. That wasn’t surprising given the quality of songs on Thanksgiving. The Birds Are Leaving, Hope Is A Name, Our Boy, Homesick Son and A Long Winter showcased a talented singer, songwriter and storyteller. However, in 2002, Boo added another string to his bow.
This came about when Boo Hewerdine was asked to co-produce Eddie Reader’s album Angels and Electricity. Boo had written a number of songs for Eddi, but was now co-producing her albums. Soon, Boo was producing The Corrs, Heidi Talbot and Chris Difford. Along with his work as a songwriter, Boo was constantly busy. Sometimes, his solo career seemed to take a backseat. However, in 2001, Boo’s contribution to music was recognised.
In 2001, Boo Hewerdine was named as the Performing Rights Society’s songwriter in residence at The Song’s The Thing concert series in London. Boo had come a long way from when he was working in a record shop warehouse and about to form his first band. Now he was regarded as one of Britain’s top songwriters. He took to the stage during one of The Song’s The Thing concerts, and got the opportunity to showcase his skills as a singer and a songwriter. However, another opportunity for Boo to showcase his songwriting skills arose during 2001.
This came when Boo returned to the world of soundtracks. One of his songs featured in Christine Lahti‘s My First Mister. For Boo, this meant a whole new audience would hear his music. This couldn’t have happened at a better time, as Boo would released a new album in 2002.
Anon, which was released in 2002, was Boo Hewerdine’s first album of the new millennia. By then, Boo’s star was in the ascendancy. It seemed that every album he released was welcomed with open arms by admiring critics. His new album Anon was no different. Boo was consistently releasing albums of carefully crafted, thought provoking songs. That continued to be the case.
When Eddi Reader entered the studio to record her critically acclaimed album Sings The Songs Of Robert Burns, Boo Hewerdine was drafted in to co-produce the album. The result was one of the most successful albums of Eddi Reader’s career. It found favour with Burns aficionados across the world. Buoyed by the success of Sings The Songs Of Robert Burns. 2003 had been a good year for Boo.
It got even better when Boo’s song Different God was chosen to feature on the soundtrack to the film Intermission. After such a successful year, Boo’s thoughts began to turn to his solo career.
Two years later, and Boo Hewerdine returned with a new album in 2005. This was his sixth album, Harmonograph. Boo it seemed had the Midas touch, and critics heaped praise on Harmonograph. However, Boo it seemed, was in no rush to release a followup.
That wasn’t surprising. Boo Hewerdine now spending more time writing songs for other artists. He was also in demand as a producer. He also recorded a comeback album with The Bible. Money and Time was released in 2007. However, Boo hadn’t turned his back on his solo career.
Still, though, he found time to play live, and when he had the time, headed into the studio. The fruits of his most recent sessions were his seventh album God Bless The Pretty Things. It was released in 2009, and just like the albums the had preceded it, was well received by the critics. They lavished praise on God Bless the Pretty Things, which was a welcome, and some felt overdue addition to Boo’s back-catalogue.
Little did they realise it would be six years before Boo Hewerdine released another album. During that period featured on State Of The Union’s two albums. He wrote much of their eponymous debut album and shared the lead vocals with Brook Williams. This was the case when State Of The Union released their 2012 sophomore album Snake Oil. These albums weren’t the only albums Boo worked on.
When Kris Drever was recording his solo album Last Man Standing, Boo featured on the album. Last Man Standing was released in 2015, the same year that Boo released his long-awaited comeback album.
Open was released in 2015, and found Boo Hewerdine crowned the comeback King. He may have been six years since his last solo album, but the fifty-three year old’s comeback album had been well worth the wait. Critical acclaim accompanied the release of Open. However, Boo’s fans wondered when they would hear from Boo again?
Little did they realise it would be so soon. Just a year later, and Boo Hewerdine recently returned with a new E.P. The Born E.P. is the first E.P. that Boo has released since Toy Box No. 2 in 2008. However, the Born E.P. is very different.
The best way to describe the Born E.P. is a very personal collection of songs. It’s a collaboration between Boo Hewerdine and his son Ben. They wrote the five songs at Boo Hewerdine’s father piano.Three of the songs, The Year That I Was Born, Bobby Fischer and Farewell were written by Boo Hewerdine.
Hometown and Swimming in Mercury were written by Boo and Ben Hewerdine. These five songs were recorded at Hub Studios, in Cambridge. Later in 2016, The Born E.P. was released to critical acclaim on Reveal Records. It was the latest addition to Boo Hewerdine’s burgeoning back-catalogue.
For thirty-three years, Boo Hewerdine’s life has revolved around making music, first as a member of The Great Divide and then The Bible. However, after the demise of The Bible, Boo embarked upon a solo career.
Since then, Boo Hewerdine has released eight solo albums and a string of E.P.s. Each of these releases showcase a gifted and talented singer-songwriter, whose music has found an audience not just on both sides of the Atlantic, but in Europe and Australasia. However, there’s much more to Boo than his solo career.
Away from his solo career, Boo Hewerdine has many strings to his musical bow. He’s collaborated with a variety of artist; made guest appearances on numerous albums and has forged a career as a successful producer. Then there’s Boo’s songwriting skills. Not only has Boo written songs for artists, but other artists have dipped into his burgeoning back catalogue, and covered his songs. Similarly, filmmakers have also discovered the musical delights of Boo Hewerdine’s music and his songs have featured on television and films. Boo Hewerdine has come a long way from when he was working in a record shop.
Back then, Boo Hewerdine dreamt of making music, not selling it. For Boo Hewerdine, that dream came true, and he’s spent thirty-three making music. He’s toured the world and released eight solo albums. They showcase Boo Hewerdine, a truly talented singer and songwriter, whose still living the dream.
BOO HEWERDINE-STILL LIVING THE DREAM.
JOHN MARTYN-MUSIC’S MAVERICK.
JOHN MARTYN-MUSIC’S MAVERICK.
John Martyn’s life revolved around music. His career began in 1967, when he was just seventeen. Back then, John Martyn was a folk singer. Over the next forty-two years, John Martyn continually reinvented his music. He flitted between folk and folk rock to blues, psychedelia, reggae, rock and trip hop during the five decades John spent making music. He had released twenty studio albums during his lifetime, including classics like Bless The Weather, Solid Air and One World. They’re part of the rich musical legacy that John Martyn left behind in 2009. His story started back in 1948.
John Martyn was born Iain David McGeachy, in 1948 in New Malden, Surrey, England. Both his parents were opera singers, so from an early age John Martyn was exposed to music. When John was five, his parents divorced and much of his childhood was spent at his grandmother’s in Glasgow.
His musical career began aged seventeen, playing a mixture of blues and folk music. Legendary folk singer Hamish Imlach was to prove to be an early influence, even a mentor, to John. Quickly, he became a leading figure on the London folk circuit. Thereafter, things started to move quickly for John Martyn.
Aged nineteen, John signed to Chris Blackwell’s Island Records in 1967. In October 1967, his debut album London Conversation was released. Just over a year later, his second album The Tumbler was released in December 1968. On The Tumbler album, the style of music was to change, to a much more jazz influenced sound. This would be the start of the evolution of John Martyn’s music.
By the time John Martyn released his third album Stormbringer in February 1970, he had met and and married Beverley Martin. Stormbringer was their first collaboration.
Previously, Beverley had been a solo artist, Beverley Kutner. She had worked with Jimmy Page and Nick Drake. On Stormbringer John’s sound changed again. John played his acoustic guitar through a fuzzbox, phase shifter and Echoplex. This would become part of John’s trademark sound, when he returned to his solo career. Before that, he released one further album with Beverley.
John and Beverley Martyn released one further album together. This was the The Road To Ruin, like Stormbringer released in November 1970. By then, Island Records wanted to market John Martyn as a solo artist. Beverley Martyn did make an appearance on further albums, singing backing vocals. Mostly though, Beverley returned to her career as a solo artist. So did John.
With Island Records now marketing John as a solo artist, he released six studio albums and one live album, 1975s Live At Leeds between 1971 and 1977. the first of these albums was Bless The Weather.
November 1971 saw the release of Bless The Weather. It was hailed as the finest album of John’s solo career. Mostly, it features acoustic music. The exception is Glistening Glynebourne, which showcased John’s echoplex. It would become part of John’s trademark sound. This was a hint of what was to come from John Martyn.
By far, the best album of the seventies was his seminal album Solid Air. Released in February 1973, Solid Air is seen as one of the best albums of the 1970s. The title track was a tribute to Nick Drake, a close friend of Martyn’s who died tragically of an overdose. During the recording of Solid Air, Martyn was to meet bassist, Danny Thompson. The pair collaborated right up until John’s death in 2009. John’s vocal style changed during the recording of Solid Air. At that time, he started to develop a new slurred vocal style. The timbre of this new vocal style resembled a tenor saxophone. Just like the echoplex, this new singing style became a feature of John’s future albums.
His next album Inside Out, was released in October 1973. It featured a much more experimental style of music. There was much more emphasis on improvisation. John’s sound and style it seemed, was constantly evolving.
For his eight album, Sunday’s Child which was released in January 1975, John reigned in his experimental sound. However, Sunday’s Child was a much more eclectic album, with John flitting between country, folk and rock. The result was an eclectic and critically acclaimed album. However, controversy wasn’t far away for John.
In 1975 Island Records refused to release Martyn’s live album, Live At Leeds. So, John resorted to selling signed copies by mail from his home. After the release of Live At Leeds in 1977, John headed to Jamaica on holiday.
What started out as a holiday, ended up with John collaborating with reggae producer Lee “Scratch” Perry. One World, John Martyn’s second classic album, now is seen by some people as the first ever trip hop album. As a result, John Martyn is perceived as the godfather of trip hop and One World a John Martyn classic. After One World, John didn’t release an album for three years.
The eighties were a turbulent time for John Marten, both personally and professionally. By the end of the seventies, John’s marriage had broken down. This led to John pressing “the self destruct button” as he described it. John became addicted to alcohol and drugs. He later said this was a very dark period in his life. Grace and Danger, which was released in October 1980, was the album that came out of this period.
Grace and Danger was autobiographical, describing what he was going through at that time. Chris Blackwell, realising just how personal an album Grace and Danger was, held the album’s release back a year. Partly, this was because of his friendship with both John and Beverley Martyn. Following Grace and Danger, which is one of John’s most underrated and powerful albums, he left Island Records.
After leaving Island Records in 1981, John Martyn joined two albums for WEA. They thought they could transform John’s career, and turn him into a commercially successful artist. The way to do this, they thought, was to move away from John’s traditional sound, to a more mainstream sound. This didn’t appeal to John. So he only stayed at WEA for two albums.
Glorious Fool was released in September 1981, with and Well Kept Secret following in August 1982. This more mainstream sound didn’t prove successful. So John returned to Island Records.
Back at Island Records, John Martyn only released two studio albums. Sapphire released in November 1984, had a poppy sheen. It was quite unlike John Martyn. So was Piece By Piece, which was released in February 1986. Neither album proved particularly successful. So Island Records released a live album
Foundations in 1987. This was much more representative of John Martyn. Sadly, still commercial success eluded John and Island Records dropped Martyn in 1988. This brought to an end a twenty year association with Island Records.
Two years later, John Martyn returned with a new album, The Apprentice. It was released on Permanent Records, and was hailed as a return to form from John Martyn. This would prove ironic and embarrassing for Island Records.
It’s thought that one of the reasons for John Martyn’s departure from Island Records, was that they didn’t like the demos what would became The Apprentice. So when John left Island Records, he set about proving them wrong.
Rather than sign to another record company, John paid for the recording of The Apprentice. He returned “home” to Glasgow, and with his band, recorded The Apprentice at the city’s Cava Studios. This seemed to inspire John, and when the album was complete, John went in search of a record company to release The Apprentice.
Given his track record, there would be no shortage of record companies willing to release a John Martyn album. However, it was Permanent Records that got the honour of releasing what became John’s best album of recent years. Sadly, John never came close to matching the quality of The Apprentice.
The closest he came was Cooltide, which was recorded at Cava Studios, Glasgow. Cooltide was released in November 1990, and featured a jazz sheen. This was well received by critics. They were won over by Cooltide, which critics felt, came close to the quality of The Apprentice. It seemed John’s career was enjoying an Indian Summer.
Despite this, it was another seven years before John returned with an other studio album. His only release was Live, a double album released by Permanent Records in 1994. This showcased what John Martyn live sounded like by the nineties. Nearly two decades after the release of Live At Leeds, and John was still a stalwart of the live circuit. Wherever he went, he still a popular draw. On tour, John embraced the rock ’n’ roll lifestyle.
John Martyn loved life. However, he loved life in the fast lane. During some part of his career, drink and drugs became part of John’s daily diet. This lead to addiction. Eventually, this caught up with John in 1996, when his pancreas literally exploded. For most musicians this would’ve marked the end of their career, and a much more sedate lifestyle. Not John.
He returned in 1997 with a new album And, which featured his old friend, and sometime collaborator, Phil Collins. And marked another stylistic change from John Martyn. There was a noticeable trip hop influence on And. That’s not surprising, as John is regarded as inventing the genre on One World. Reviews of And were mixed. The standout track was Sun Shines Better, which was remixed for the hidden track on the album. With its trip hop sound, the remix would become a favourite of DJs playing chill-out sets. Despite approaching his fiftieth birthday, John Martyn was still relevant.
After not releasing an album for seven years, John returned with his second album in just under two years. The Church With One Bell was a covers albums, where John and small band recorded ten tracks during one week at CaVa Sound Studios. John had covered songs by Bobby Charles, Ben Harper, Elmore James, Rev. Gary Davis, Lightnin’ Hopkins and Portishead. This eclectic selection of songs was released 1998.
The Church With One Bell, like many of John’s later albums, divided opinion amongst critics and fans. While some loved the albums, others weren’t so sure. It was a disappointing way for John to celebrate his fiftieth birthday.
Many people found it hard to believe John Martyn was just fifty. He seemed, had been around forever.. His career had began thirty-three years earlier. Since then, he had released eighteen studio albums. As the new millennia dawned, eighteen became nineteen.
Glasgow Walker was John’s first album of the new millennia. It was also the first album John wrote on a keyboard. Usually, John sat down with a guitar to write songs. Not this time. At Phil Collins’ suggestion, John wrote Glasgow Walker at a keyboard. The result was a genre-hopping album.
Seamlessly, John flitted between blues rock, folk-rock, jazz, psychedelia, rock and trip hop on Glasgow Walker, which was released in 2000. For his oder fans, Cool In This Life, a trip hop track came as a surprise. However, it showed that John Martyn was still determined to take his music in a new direction. The result was a much more eclectic sounding album, which won over critics. They felt Glasgow Walker was better than And and matched the quality of Cooltide. John Martyn’s first album of the new millennia one of the his best album of the post-Island Years. As a result, critics and fans eagerly awaited John Martyn’s next album.
Sadly, On The Cobbles proved to be the final album released during John’s life. It had been recorded in studios in Britain, Ireland and America. By then, John was suffering from health problems.
This had been the case for some time. For some time, John seemed to be jinxed. It started when had injured his head on a rock whilst swimming underwater. Then he stumbled as he took to the stage, and broke a toe. Next there was the time John dislocated his shoulder. One night when John driving home after a “celebration,” he had forgotten to put the car lights on. The car crashed and John broke his neck. Somehow, John survived to tell the tale. However, despite this close escape, John chose to ignore shooting pains in his right knee.
When John eventually sought medical advice, the pain was misdiagnosed as deep vein thrombosis. Eventually, John sought a second opinion. It turned out that John had a cyst on his knee. Poison had been pumping around his body for months. Soon, John was being operated on. Three operations later, and John’s right lower leg was amputated from the knee down. John’s fear of doctors had const him dearly. Despite the loss of part of his right leg, John’s career continued.
He recorded On The Cobbles from a wheelchair at various studios. A familiar face returned for the On The Cobbles, bassist Danny Thompson. The pair had been playing together for over thirty years. However, they hadn’t recorded an album together for nearly twenty years. It was fitting that they reunited on On The Cobbles.
When On The Cobbles was released in April 2004, it was John’s twentieth studio album. He was joined by Mavis Staples, Andy Sheppard and Paul Weller. They played their part on an album that was well received by critics. Sadly, On The Cobbles proved to be John Martyn’s swan-song.
Nearly five years later, on 29th January 2009, John Martyn passed away, aged just sixty. He had spent five decades making music, and released twenty studio albums. These albums were the soundtrack to many people’s lives. Especially classics like Bless The Weather, Solid Air and One World. Then there were hidden gems like the jazz-tinged Inside Out, the eclecticism of Sunday’s Child and the breakup album Grace and Danger. When it comes to live albums, Live At Leeds, which John sold from his house, is his best live outing. Each of these albums, are from the Island Years. For many, these were the best years of John Martyn’s recording career.
Especially the period between 1967 and 1980. When John returned to Island Records, he never reached the same heights as first time round. The glossy pop sheen of Sapphire and Piece By Piece seemed far removed from John’s classic albums. After that, John released six albums for various record companies.
Some of these albums divided the opinion of critics. However, The Apprentice and Cooltide marked a return to form of one of music’s true mavericks.
John Martyn never seemed willing to “play the game.” Just like Neil Young and Van Morrison, John Martyn preferred to do things his way. He was too much of a maverick, and wasn’t suited to life as part of the major label machine. Instead, he was happy to divide his time between the road, and the recording studio.
In the recording studio, John Martyn never stood still. Instead, he combined disparate musical genres, often on the one album. This was all part of John’s determination to innovate and push musical boundaries. He flitted between folk and folk rock to blues, psychedelia, reggae, rock and trip hop on the twenty studio album released during during his lifetime. Despite innovating, and creating several classic albums, commercial success eluded John Martyn. Maybe that’s why for much of his career, John spent large parts of the year on the road.
For much of his career, John Martyn’s natural habitat was the road. He was a free spirit, who enjoyed touring, and was happy to spend large parts of the year on the road. Especially, if Danny Thompson was by his side. Hi-jinks, hilarity and hell-raising often ensued. Sometimes, this meant getting out of Dodge in a hurry. However, they lived to tell the tale and laughed about it afterwards. Sadly, all the hell-raising and carousing caught up with John.
During large parts of his career, John was addicted to drink and drugs. This resulted in his pancreas exploding in 1996, and the car crash where he broke his neck. By the late nineties, John’s luck seemed to be running out.
Then when a cyst was misdiagnosed, this eventually resulted in part John’s right leg being amputated. John didn’t even let this get him down. Determination kicked in, and John overcame the loss of his lower right leg. With the aid of a prosthetic leg, John Martyn’s career continued.
In 2007, John and his keyboard player Spenser Cozens cowrote and recorded the score for Strangebrew. Then a newly reinvigorated John returned to the studio for what would’ve been his twenty-first album, Heaven and Earth. Sadly, before the album was complete, John Martyn died on on 29th January 2009. That day, music had lost one of its most talented sons.
Since then, many of John Martyn’s albums have been reissued. There’s also been box sets and best offs released. These reissues have introduced a new generation of music lover’s to John Martyn’s music. No longer is he one of music’s best kept secrets. Instead, John Martyn’s music is belatedly reaching a much wider audience, who are discovering an innovative and influential artist, who even today, continues to influence another generation of artists, seven years after his death,
JOHN MARTYN-MUSIC’S MAVERICK.
THIS IS FAME 1964-1968-VINYL EDITION.
THIS IS FAME 1964-1968-VINYL EDITION.
Back in the sixties, many record companies sent their artists to the Fame Recording Studios, in Muscle Shoals. This was home to Rick Hall and the legendary Muscle Shoals Rhythm Section. They had previously transformed ailing careers and worked on million selling albums. Rick Hall was fast becoming the go-to producer for the biggest names in soul. He and the Muscle Shoals Rhythm Section had worked with some of the biggest names in soul, including Aretha Franklin, Arthur Alexander, Arthur Conley, Candi Staton, Etta James, Otis Redding and Wilson Picket. However, that was just part of he story.
Rick Hall and the Muscle Shoals Rhythm Section had also worked with Jimmy Hughes, Clarence Carter, Art Freeman, Jeanie Greene, Dan Penn, George Jackson, Billy Young, June Conquest and James Barnett. They’re among the artists that feature on This Is Fame 1964-1968. It was recently released on Kent Soul, an imprint of Ace Records as a double album and will be a welcome release for anyone who loves Southern Soul. They’ll be aware of the Fame Records’ story.
The story starts during late fifties when Rick Hall, Tom Stafford and Billy Sherill founded a record label, and built their first studio above the City Drug Store in Florence, Alabama. However, by the early sixties, this nascent partnership would split-up, resulting in Tom Stafford and Rick Hall needing a new studio.
They decided to move to what had been a tobacco warehouse in Muscle Shoals, Alabama. As if by magic, Rick Hall soon recorded what would be his first hit single, Arthur Alexander’s You Better Move On. Wisely, he decided to invest the profit in a better studio, and moved to their current location Avalon Avenue in Muscle Shoals, Alabama. The first hit single Rick Hall recorded in his new studio was Jimmy Hughes’ Steal Away. Little did Rick Hall know it back then, but soon his new studio would see artists coming from far and wide to record at Fame.
After Rick’s success with Jimmy Hughes, word got out that Fame was the place to go to record a new single or album. Quickly, everyone from Tommy Roe to The Tams, and from Joe Tex, Joe Simon, George Jackson and Clyde McPhatter right through to Irma Thomas, Etta James and Mitty Collier. Even Aretha Franklin recorded at Muscle Shoals. Indeed, it was at Muscle Shoals that Jerry Wexler brought Aretha Franklin, to record her 1967 album I Never Loved A Man the Way I Loved You. However, why did all these artists choose to head to Muscle Shoals to Fame?
Part of the reason was the session musicians that worked with Rick Hall. This included the legendary Muscle Shoals Rhythm Section and Muscle Shoals Horns. They were some of the hottest and tightest musicians of that era. This included drummer Rodger Hawkins, bassist David Hood, guitarist Jimmy Johnson and keyboardist Barry Beckett. When they recorded together, they were one of the finest backing bands ever. Between 1961 and 1969, when they departed from Fame to found the rival studio Muscle Shoals Sound Studio. However, for eight years, they helped make Fame Records Southern Soul’s greatest label. They can be heard on numerous singles and albums. The Muscle Shoals Rhythm Section and Muscle Shoals Horns can also be found on many of the tracks on This Is Fame 1964-1968.
Side One.
Opening This Is Fame 1964-1968 is Jimmy Hughes’ 1964 single Steal Away. This is fitting, as it’s the single that transformed Rick Hall and the Fame Recording Co’s fortunes. When Steal Away, was released it gradually, began to climb the charts. Eventually, reached number seventeen in the US Billboard 100 and number two in the US R&B chart. Buoyed by the success of Steal Away, Jimmy Hughes had the confidence to quit his job in Robbins Rubber factory. He recorded his debut album Steal Away, which became the first album to be released bearing the Fame logo. However, Steal Away is also stonewall Southern Soul classic that even fifty-two years later, is truly timeless.
By the time Clarence Carter released She Ain’t Gonna Do Right in 1967, he had enjoyed two hit singles. Clarence had signed to Fame Records in late 1966. His first solo single was Tell Daddy, which reached number thirty-five in the US R&B charts. The followup Thread The Needle reached number ninety-eight in the US Billboard 100 and thirty-eight in the US R&B charts. Later in 1967, Clarence Carter covered Dan Penn and Lindon Oldham’s She Ain’t Gonna Do Right. It was produced by Rick Hall and Staff, and released later in 1967. Sadly, two didn’t become three for Clarence Carter, when She Ain’t Gonna Do Right failed to chart. That’s despite being an irresistible slice of soul-baring Southern Soul.
Otis Clay was one of soul music’s best kept secrets. He had an abundance of talent, and should’ve enjoyed commercial success and critical acclaim. Proof of this his cover of Don Covay’s That Kind Of Lovin’, which was produced by Rick Hall and Staff. It was the B-Side to Do Right Woman, Do Right Man. When it was released as a single by Cotillion in October 1968 it failed to trouble the charts. This became a familiar story for Otis Clay, who only enjoyed five minor US R&B hits during his career. Sadly, Otis Clay died in January 2016, and That Kind Of Lovin’, is the perfect reminder of one of the most talented Southern Soul men in full flight.
Side Two.
James Barnett only ever released the one single on Fame Records, Keep On Talking. It’s a Dan Penn and Spooner Oldham composition, which was released as a single in January 1966. Alas, commercial success eluded Keep On Talking. Most people expected the single to fade into obscurity. That wasn’t the case though. Later, James Barnett’s Keep On Talking found an audience within the UK Northern Soul scene, where even today, it’s still a favourite of dancers and DJs.
By August 1967, Jimmy Hughes was about to bid farewell to Fame Records. His swan-song was a cover of Hi-Heel Sneakers, which was produced by Rick Hall and Staff. When Hi-Heel Sneakers was released as a single, it failed to chart. This was Jimmy Hughes’ second single that failed to trouble the charts. Record buyers missed out on a barnstorming performance from Jimmy Hughes on this oft-covered song. However, it’s a welcome addition to This Is Fame 1964-1968.
Jeanie Greene was one of the female vocalists who made the journey to Muscle Shoals, and recorded at Fame Recording Studios. One of the songs she recorded was Don’t Make Me Hate Loving You. It was never released until it found its way onto Ace Records’ three CD box set The Fame Studios Story 1961-1973 in November 2011. Nearly five years later, Jeanie Greene’s impassioned plea makes an encore as with the help of the Muscle Shoals Rhythm Section, she combines gospel and Southern Soul. This results in a beautiful and moving ballad.
Side Three.
George Jackson played an important role in the rise and rise of Fame Records. He was a prolific songwriter, whose songs were covered by many artists. However, George Jackson also enjoyed a lengthy recording career. One of the labels he was signed to, was Fame Records where he recorded Back In Your Arms. It’s a heart-wrenching Southern Soul ballad, with gospel tinged harmonies. Incredibly, Back In Your Arms was never released as a single. That’s despite being a beautiful and timeless Southern Soul ballads that one will never tire of. It was the one that got away for George Jackson.
Having enjoyed a hit single with Tell Daddy earlier in 1967, Clarence Carter began working on the followup. He wrote Thread The Needle, which was produced by Rick Hall and Staff. It was released later in 1967 as Clarence Carter’s sophomore single on Fame Records. Thread The Needle reached number ninety-eight in the US Billboard 100 and thirty-eight in the US R&B charts. Stylistically and sonically, Thread The Needle is not dissimilar to Tell Daddy. There’s even a nod to Sam and Dave and even Otis Redding, on what’s another of Clarence Carter’s finest moments at Fame Records.
Art Freeman only ever released two singles on Fame Records.His second and final single, A Piece Of My Heart was Art Freeman’s finest moment. It was released in March 1967, but failed to make any impression on the charts. Nearly fifty years later, and A Piece Of My Heart is a welcome addition to This Is Fame 1964-1968. Quite simply, it epitomises everything that’s good about Southern Soul. It’s also an introduction to another of Southern Soul’s nearly men, Art Freeman who should’ve reached greater heights.
Side Four.
June Conquest’s recording career lasted just eight years. During that period, she released just six singles. This included one single on Fame Records, Almost Persuaded. It was a Rick Hall production, that was released in 1964. When Almost Persuaded wasn’t a commercial success June Conquest was dropped by Fame Records. This seemed somewhat hasty, as June Conquest was obviously a talented vocalist. She doesn’t so much deliver lyrics but live them. Her vocal is a mixture of melancholia, sadness and disappointment on Almost Persuaded, which is a real hidden gem. That’s almost an understatement. It’s much better than that, and is essential listening for anyone who likes their music soulful.
The only single James Barnett released on Fame Records was Keep On Talking. It was released in January 1966, but failed to even trouble the lower reaches of the charts. That was the end of James Barnett’s career at Fame Records. However, tucked away on the B-Side was Take A Good Look. It’s a beautiful Southern Soul ballad, where the Muscle Shoals Rhythm Section and Horns provide an understated backdrop. This allows James Barnett’s vocal to take centre-stage, as he lays bare his soul for all to hear. The result is another tantalising taste of James Barnett, and one of my favourite songs from This Is Fame 1964-1968.
Closing This Is Fame 1964-1968, is Jimmy Hughes’ I Worship The Ground You Walk On. It’s a Dan Penn and Spooner Oldham composition, which was released as a single in 1966. It reached twenty-five on the US R&B charts, and gave Jimmy Hughes’ his fourth hit single. It’s one of his finest moments, with Jimmy Hughes’ vocal akin to a confessional on this beautiful Southern Soul ballad.
It’s nearly five years since Kent Soul, an imprint of Ace Records began their comprehensive reissue of the music recorded at Fame Recording Studios, in Muscle Shoals. Their most recent release is This Is Fame 1964-1968, which is Kent Soul’s first vinyl release. It’s a double album which features twenty-four songs produced by Rick Hall and featuring the legendary Muscle Shoals Rhythm Section. With songs from Jimmy Hughes, Clarence Carter, Art Freeman, Jeanie Greene, Dan Penn, George Jackson, Billy Young, June Conquest and James Barnett, This Is Fame 1964-1968 is Southern Soul at its best.
Familiar faces and new names rub shoulders on This Is Fame 1964-1968. There’s singles, B-Sides and unreleased tracks on This Is Fame 1964-1968. That’s not forgetting more than a few hidden soulful gems. They’re among the twenty-four reasons for vinyl enthusiasts to buy This Is Fame 1964-1968. It’s a reminder, if any was needed, of one of Southern Soul’s premier labels, Fame Records, during what was its most successful years.
Key to the success of Fame Records were producer Rick Hall, and his house band the Muscle Shoals Rhythm Section. They can be heard throughout This Is Fame 1964-1968, which is a welcome addition to Ace Records ongoing and lovingly curated reissue program.
THIS IS FAME 1964-1968-VINYL EDITION.
JOAN AS POLICE WOMAN AND BENJAMIN LAZUR DAVIS-LET IT BE YOU.
JOAN AS POLICE WOMAN AND BENJAMIN LAZUR DAVIS-LET IT BE YOU.
Signing a distribution deal to Reveal Records in December 2005 was the turning point for Joan As Police Woman. Their new label rereleased their eponymous debut E.P. Meanwhile, Joan As Police Woman headed into the studio and recorded their debut album, Real Life. It was released to critical acclaim in June the 12th 2006 and reached 189 in the UK charts. This was just the start of Joan Wrasse’s latest musical adventure.
Eleven years later, and Joan As Police Woman are about to release their fifth album for Reveal Records. This isn’t just a Joan As Police Woman album. Instead, Let It Be You, which will be released on 21st of October 2016, is a collaboration between Joan As Police Woman and Benjamin Lazur Davies. It’s an album that was inspired by journeys to Africa to study traditional music.
In Joan Wrasse’s case, she headed to Ethiopia to study the country’s indigenous music with Damon Albarn’s Africa Express. Meanwhile, Benjamin Lazur Davies headed to West Africa, where he studied traditional music. It was only when they returned, that the pair met and realised they both shared an interest in African music. Especially, Central African Republic Pygmy musical patterns. Soon, the pair decided to write and record an album together. This album became the genre-melting Let It Be You, which is Joan As Police Woman’s first album in just over two years. It’s also the latest chapter in a musical journey that began for Joan Wrasse in 1991.
Back in 1991, Joan Wrasse was twenty-one and about to join a new band, The Dambuilders. This was no surprise to everyone who knew Joan Wrasse, who had been immersed in music since the age of six.
That was when she began taking piano lessons in Norwalk, Connecticut. Two years later, and Joan Wrasse began taking violin lessons. By then, it was obvious that the eight year old was a prodigious talent. Over the next few years, Joan played violin in both school and community orchestras. However, eventually, she musically outgrew Norwalk.
Joan Wrasse left Norwalk, and headed to college. By the time she was eighteen, this prodigiously talented musician was admitted early to the College Of Fine Arts, at Boston University. This was not an everyday occurrence. However, Joan Wrasse was not just any musician. She had an overabundance of talent, which maybe explained her eventual restlessness.
Despite studying classical music under some of the finest tutors, including Yuri Mazurkevich, Joan Wrasse began to tire of classical music. Joan came to realise that she didn’t want to spend the rest of her life playing classical music. So Joan joined a punk band, and tried: “to bridge the gap between the guitar and the bass and play the violin really loud.” Little did Joan realise that this was the start of her musical career.
The Dambuilders.
Having started life playing with punk bands, Joan Wrasse joined The Dambuilders in 1989. They were founded in 1989 in Honolulu, in Hawaii, but moved to Boston in the early nineties.
By then, The Dambuilders had signed to the Berlin based Cuacha! label. It released The Dambuilders’ 1989 album A Young Person’s Guide in 1989, and their 1991 sophomore album Greek Lust. It was after the release of Greek Lust, that Joan Wrasse replaced Debbie Fox as vocalist and violinist.
Joan Wrasse made her recording debut on The Dambuilders’ third album Islington Porn Tapes. It was released in 1993, and brought The Dambuilders to the attention of Elektra Records.
They signed The Dambuilders in 1994, and they released their major label label debut later that year. Encendedor was released on Elektra Records’ subsidiary East West Records, and caught the attention of critics. So did the followup Ruby Red, which was released in 1995. That same year, The Dambuilders delivered a barnstorming and memorable performance at Lollapalooza. The Dambuilders seemed to be rising stars of the indie scene.
Despite this, Joan Wrasse began to work with other artists. This is something she still does today. However, in 1996 Joan announced that she was moving to Brooklyn, in New York. For The Dambuilders this was the beginning of the end. Just a year later, in 19997, and The Dambuilders had disbanded. By then, Joan Wrasse’s life had been hit by a tragedy.
By 29th May 1997, Joan Wrasse’s boyfriend Jeff Buckley was working on his new album in Memphis. After working all day, Jeff Buckley went out for a walk, and on the spur of the moment decided to dive in the Wolf River Harbour for a swim. He dived into the river fully clothed, and tragically, drowned. Jeff Buckley’s body was found on the 4th of June 1997. Just like his father Tim, Jeff had died tragically young. For Joan Wrasse, the sudden death of her partner was one of the most traumatic events of her life.
She was grieving, but didn’t know how to grieve. Joan Wrasse it seems, was in shock and struggling to come to terms with the loss of her partner. Somehow, Joan continued to make music.
Those Bastard Souls.
This included with one of Joan Wrasse and Jeff Buckley’s friends, David Shouse. The Grifters’ founder and drummer had founded the indie rock band Those Bastard Souls. It had been founded by David Shouse in 1995, and Joan Wrasse had been the vocalist and violinist. In the aftermath of Jeff Buckley’s death, they began to work on a new album, Debt and Departure.
It was an album that tried to deal with, and respond to the death of Jeff Buckley. Joan Wrasse, his family, friends and bandmates were struggling to come to terms with Jeff Buckley’s death. Debt and Departure allowed the musicians to try and do so, through the means of music. This could’ve and should’ve been cathartic. Alas, it took several years before the album was released.
In 1996, Those Bastard Souls released their debut album, Twentieth Century Chemical in 1996. It wasn’t until 1999 that Debt and Departure was released. By then, Joan decided to form a new band, Black Beetle in late 1997.
Black Beetle.
Black Beetle was founded by Joan Wrasse, and featured the remaining members of Jeff Buckley’s band. They found themselves in a state of flux after the death of Jeff Buckley. Although they were grieving after the loss of a friend, it was only natural that eventually, they began to wonder what the future hold for them? Eventually, Joan Wrasse decided to take matters into her own hands, and founded Black Beetle. This was a whole new ball game for the twenty-seven year old.
Joan Wrasse had never been a bandleader. She was also the principal songwriter and lead singer. Despite all this being new for Joan, she wrote Black Beetle’s eponymous debut album. It was recorded, but alas, was never released. While this must have been a huge disappointment for Joan, she had coped admirably with all the challenges and met them head on. She had embraced her new role. However, in 1999, Joan was asked to join another band.
Antony and The Johnsons.
During 1999, Joan Wrasse was asked to fill in for Antony and The Johnsons’ violinist during a rehearsal. Joan headed along to the rehearsal, thinking that this was a one off. That was meant to be the case. However, by the end of the rehearsal, Joan had joined the band on a full-time basis.
By the time Joan Wrasse joined Antony and The Johnsons, they had recorded their eponymous debut album. It was released in 2000. Joan featured on Antony and The Johnsons’ sophomore album I Am A Bird Now. When it was released in 2005, it was to critical acclaim and commercial success. Later, I Am A Bird Now won the prestigious Mercury Prize in the UK. However, by then, Joan Wrasse had embarked upon a new adventure.
Joan As Police Woman.
This began in June 2002, after the demise of Black Beetle. It was then that Joan Wrasse decided to embark upon a solo career. She would still work with other artists, but her solo career took prominence.
That was the case over next couple of years. Although Joan Wrasse worked as a solo artist, there was an inevitability that somewhere down the line, Joan would form a new band. That proved to be the case, and Joan As Police Woman was born.
The newly formed Joan As Police Woman released its eponymous debut E.P. in 2004. It was self-released by the band. However, Joan As Police Woman caught a break when they signed a distribution deal to Reveal Records in December 2005 was the turning point for Joan As Police Woman.
Reveal Records rereleased their eponymous debut E.P. on February 27th 2006. For many British music fans, this was the first they heard of Joan As Police Woman. It certainly wouldn’t be the last.
Meanwhile, Joan As Police Woman headed into the studio and recorded their debut album, Real Life. It was released to critical acclaim in June the 12th 2006 and reached 189 in the UK chart. This was just the start of Joan Wrasse’s latest musical adventure.
Nearly two years to the day, Joan As Police Woman released their sophomore album To Survive on the 9th June 2008. Just like Real Life, critical acclaim accompanied the the release of To Survive.It reached fifty-five in the UK, and To Survive found its way onto many of the best of 2008 lists. After just two albums, it seemed as if Joan As Police Woman had arrived.
As if to celebrate, Joan As Police Woman released an album of cover versions via their own website and at their concerts. Cover found Joan As Police Woman covering everyone from Jimi Hendrix, Iggy Pop, Sonic Youth, David Bowie and Nina Simone on what was a captivating album. It showcased Joan As Police Woman versatility and talent. So would Joan As Police Woman’s fourth studio album, The Deep Field.
On January 24th 2011, Joan As Police Woman released The Deep Field on Reveal Records. Just like Cover, The Deep Field featured a variety of different songs. Ballads and uptempo tracks sat side-by-side on what was a slick, polished album that won over critics and record buyers. The Deep Field reached number forty on the UK Charts. For Joan As Police Woman, The Deep Field was their most successful album.
Despite the commercial success of The Deep Field, it was another three years before Joan As Police Woman returned with a new album. The Classic was released on March 10th 2014 to praise and plaudits. Some critics hailed The Classic, Joan As Police Woman’s finest hour. Meanwhile, The Classic began to climb the UK charts, eventually reaching forty-four. The success story that was Joan As Police Woman continued. Their next album, Let It Be You, would be very different from everything that’s gone before.
Let It Be You.
Unlike previous albums, Let It Be You is a collaboration between Joan As Police Woman and Benjamin Lazur Davies. Let It Be You was inspired by Joan Wrasse and Benjamin Lazur Davies’ respective journeys to Africa to study traditional music.
In Joan Wrasse’s case, she headed to Ethiopia to study the country’s indigenous music with Damon Albarn’s Africa Express. Meanwhile, Benjamin Lazur Davies who currently performs with Okkervil River, Cuddle Magic and Bridget Kearney, headed to West Africa, where he studied traditional music. It was only when they returned, that the pair met, and realised they both shared an interest in African music. Especially, Central African Republic Pygmy musical patterns. Soon, the pair decided to write and record an album together. This album became Let It Be You.
For Let It Be You, Joan As Police Woman and wrote ten tracks. They were recorded at various studios, including Vibromonk, ColorStudy, Guilford Sound, Trout Recording and Mochi Studios. At these studios, Joan Wrasse and Benjamin Lazur Davies were joined by drummer Ian Chang and bassist and guitarist Ryan Dugre. The rest of the album was recorded by Joan Wrasse and Benjamin Lazur Davies. He added vocals, bass and keyboards. Joan Wrasse took charge of vocals, strings, guitar and keyboards. Once the ten tracks were recorded, Luke Moellman mixed Let It Be You and then Chris Gehringer mastered the album. Only then was Let It Be You ready for release on 21st October 2016. It’s a captivating genre-melting album.
Broke Me In Two opens Let It Be You. A bit crushed guitar combines with a tack piano before the arrangement is transformed. Suddenly, the arrangement bursts into life, becoming big and bold, as the track seems to head into anthem territory. Drums and keyboards are added and accompany Joan’s powerful, soaring diva-esque vocal. Briefly, it’s akin to rap, before she vamps and revisits her soulful side. Later, the arrangement revisits its understated sound, before returning to the earlier anthemic sound as it reaches a glorious crescendo.
There’s contrasts aplenty in the arrangement to Overloaded. The arrangement is dark, and sometimes futuristic as an ethereal vocal soars above the arrangement. They give way to compressed drums, piano and bass as Benjamin takes charge of the lead vocal. Behind him, a myriad of beeps and squeaks are joined by ethereal, elegiac, soaring harmonies. They’re part of a multilayered mid tempo arrangement, where hooks certainly haven’t been rationed. It’s a memorable, genre-melting song where electronica, avant-garde indie rock and soul have been combined.
A crystalline guitar chirps and chimes on Magic Lamp, as Joan delivers a tender vocal. Soon, drums crack, as the mesmeric guitar plays. They’re joined by slow, dark, dramatic keyboards and a rumbling bass. Gradually, the arrangement begins to unfold and instruments are added at just the right time. This includes drums that crack and quiver and an electric piano. However, it’s the strings and what’s one of Joan’s best vocals that play leading roles, as the song reveals its secrets, subtleties and surprises. The result is a truly irresistible song, that’s a marriage of electronica and indie pop.
Handclaps are to the fore on Let It Be You as drums pound. They’re joined by Joan’s drawling and later, heartfelt vocal. By then, exotic percussion, keyboards and effects laden guitar are added. So is a bass synth that rumbles menacingly. Keyboards feature prominently, and sometimes, there’s an almost futuristic and experimental sound. This isn’t overdone though, as handclaps encourage Joan’s urgent and heartfelt vocal. It’s part of what’s a melodic, memorable and catchy song.
The drums on Hurts So Bad seem to have been processed as lumbering keyboards and the bass provide a backdrop for Benjamin’s needy vocal. Elegiac harmonies and a guitar accompany him as he lays his soul. From 1.11 to 1.30, Joan and Benjamin seem to pay homage to Prince. Their vocals intertwine with keyboards and the rhythm section as sweet soul and funk meets indie pop. This delicious musical potpourri gives way to a hopeful, needy vocal. Meanwhile, drums, keyboards and bass play a supporting role. Later, the delicious musical potpourri makes a welcome return, as Benjamin delivers a soul-baring paean. When his vocal drops out, string provide welcome replacement, before the vocal returns and the carefully crafted Hurts So Bad reaches its emotive crescendo.
There’s a lo-fi sound to the keyboards that open Satellite. They set the scene for Joan’s impassioned, but tender vocal. Soon, drums crack, while the lo-fi keyboards buzz. Contrasts abound, as Joan’s elegiac vocal is joined by an electric piano and harmonies. Gradually, the song is sculpted, and takes shape, as Joan and Benjamin deploy an array of disparate instruments and effects effectively.
Urgent drums crack on Easy Money, as stabs of keyboard punctuate the arrangement. Other keyboards drone, as filters are used on Benjamin’s vocal. Harmonies and handclaps are added, and add to the sense of urgency. Futuristic, sci-fi and dark keyboards are deployed. So are soaring harmonies, as Benjamin’s delivers a needy, hopeful vocal. When it drops out, keyboards pickup the baton, before the song reaches its dramatic and memorable ending.
A bit crusher is put to good use on Violent Dove. It transforms the keyboard sound, as Joan delivers a slow, thoughtful vocal. At .31 the arrangement blossoms. Keyboards, drums and the bass combine, while the bit crusher continues to make its presence felt. Again, contrasts abound, with a variety of disparate instruments and effects playing their part in what’s a spacious, but dreamy arrangement. So does Joan’s vocal. Sometimes, it’s multi tracked. That’s the case later, where synths and stringsare added, and once again, ensuring this dreamy, ethereal song ends on a high.
Hypnotic describes the introduction to Motorway. A myriad of whirs, scrapes and ringing sounds accompany the drums. Soon, so does Benjamin’s vocal. It fills in the gaps in the arrangement. It’s joined by harmonies and percussion, as there’s another nod to Prince. Later, a bass synth plays, and meanders across the arrangement while drums click and crack. They’re part of this alternative symphony. So are the vocal and harmonies, which play leading roles and are key to the sound and success of Motorway.
Station closes Let It Be You, and is the longest track on the album. It lasts 6.11, and allows for some experimentation. Right up until 1.42, just a hypnotic guitar chimes and accompanies Joan’s breathy vocal. A chord change just after 1.43 signals a change. Soon, a bass, electric piano and strings have been added. They play subtly, taking care not to overpower Joan’s impassioned, tender vocal. At 3.28 another chord change signals a change in sound and style. Over the next minute, the arrangement is transformed. A wash of sound feedbacks, as drums pound and a guitar plays. Joan’s vocal becomes ethereal, as drones emerge from the arrangement. The best, and most experimental and innovative soundscape has been kept to last. It’s Let It Be You’s Magnus Opus, and shows another side to Joan As Police Woman and Benjamin Lazur Davies.
Let It Be You is the much-anticipated, and genre-melting collaboration between Joan As Police Woman and Benjamin Lazur Davies. The wait however, is almost over, with Let It Be You due for release by Reveal Records on 21st October 2016. It’s been worth the wait, and is an album that will appeal to a wide range of record buyers.
No wonder. There’s elements of a wide range of musical genres on Let It Be You. Elements of electronica, indie pop and indie rock are combined with ambient, avant-garde and experimental music. Then there’s the influence of African music. That’s no surprise.
Both Joan As Police Woman and Benjamin Lazur Davies journeyed to Africa to study traditional music. Joan Wrasse headed to Ethiopia to study the country’s indigenous music with Damon Albarn’s Africa Express. Meanwhile, Benjamin Lazur Davies headed to West Africa, where he studied traditional music. Incredibly, neither Joan nor Benjamin knew of the other’s plans. That’s despite both living in the borough of Brooklyn, in New York.
It was only when they returned, and happened to meet that they realised they both shared an interest in African music. This lead to the pair deciding to write and record an album together. This album became the genre-melting Let It Be You. There’s an African influence on the album. Especially on staccato bit-crushed guitar line that plays throughout Broke Me In Two. That sound reappears elsewhere on the album. However, care is taken not to overuse it. It’s a similar case with the various effects that are deployed.
Effects are used throughout Let It Be You, and help sculpt and carefully craft the ten tracks. They may last just thirty-seven minutes, but it’s thirty-seven memorable and melodic minutes. The music on Let It Be You is variously beautiful, dreamy, elegiac and ethereal, but also dark and dramatic. Other times, the music is hypnotic and mesmeric, before becoming catchy and truly irresistible. It’s a case of don’t spare the hooks, as Joan As Police Woman and Benjamin Lazur Davies weave their musical magic and continually captivate on what’s hopefully the first of many collaborations, Let It Be You.
JOAN AS POLICE WOMAN AND BENJAMIN LAZUR DAVIS-LET IT BE YOU.
PIED PIPER -THE PINNACLE OF NORTHERN SOUL-VINYL EDITION.
PIED PIPER -THE PINNACLE OF NORTHERN SOUL-VINYL EDITION.
There’s always been a degree of oneupmanship within record collecting circles. That’s still the case today, with some record collectors willing to spend thousands of pounds on a rare record. Especially within the Northern Soul scene. That’s not surprising, and has been for the best part of fifty years.
Within the Northern Soul scene, not all singles are created equal. Some are more collectable than others. Indeed, some singles regularly change hands for several thousand pounds. Similarly, there’s a certain kudos to certain labels. Especially those who are renowned for the quality of music they produced.
Over the years, this has included labels like Chess, Dore, Era Record, Mirwood, Okeh, Revilot, Ric Tic and Shrine Records. Another favourite within the Northern Soul scene are singles produced by Pied Piper Productions. Their productions were released on various labels, and nowadays, have become collector’s items.
That’s why Ace Records have recently released a new vinyl compilation Pied Piper-The Pinnacle Of Northern Soul. It features twelve tracks from Nancy Wilcox, The Cavaliers, The Hesitations, Lorraine Chandler, Freddy Butler, September Jones, Mikki Farrow and Tony Hester. These tracks are a reminder of the music that Pied Piper produced, in Detroit between 1965 and
Pied Piper was founded in 1965 by Sheldon “Shelley” Haines, a music industry veteran. His first job in the music industry, was as a distributor for King Records. This was the late-forties. By, 1952, Sheldon and Jack Gale, a local DJ, formed the short-lived Triple A record label. It lasted a mere five released. After that, Sheldon became interested in Detroit’s emerging R&B scene.
Soon Sheldon was a familiar face on the Detroit R&B scene. By 1954, Sheldon and songwriter Perry Stevens found themselves working with doo wop group The Spartans, for the Capri label. A year later, Sheldon and Irving Lief formed a production partnership and several record labels. This included labels like Pix, Plaid, Sterling and Studio. Groups and artists like The Coronets, Cool Papa Jarvis and The Jet Tones. The pair also recorded The Womack Brothers, who later, became The Valentinos. Sheldon and Irving’s partnership lasted until 1960, where they recorded artists at their own studio. It wasn’t just artists signed to their own labels, but artists signed to RCA’s Groove imprint. This was a sign of how well thought of the production partnership were. Despite this, Sheldon returned to becoming a distributor in 1961.
For the next four years Sheldon was happy worked as a distributor. Occasionally, he produced artists, and in 1965, made his comeback. Ed Wingate hired Sheldon as Vice President and General Manager of Ric-Tic, Golden World and Wingate record labels. His remit was overseeing marketing, promotion and product control. For his new business venture, Sheldon called the company Pied Piper Productions. The first two single produced by Pied Piper Productions were releases by Bob Santa Marie and Frank Meadow and The Meadowlarks. While they were neither successful nor groundbreaking releases, once Sheldon put together his production team, success wouldn’t be far away.
The two men who masterminded Pied Piper Productions were Jack Ashford and Mike Terry. Jack Ashford had studied music at college. He was a vibes player and a familiar face in Philly’s jazz scene. When he was asked to become a member of Marvin Gaye’s touring band, Jack went from jazz musician to Funk Brother.
Through meeting the Motown musicians, Jack decided to base himself in Detroit. Soon, he became part of Motown’s legendary studio band, The Funk Brothers. Jack’s trademark tambourine sound became a staple of Motown recordings. However, Jack was more than a tambourine player. He studied arrangers, engineers and producer and soon, was able to learn from them. Jack was also a talented songwriter. Essentially, Jack Ashford was a musical all-rounder, which made him perfect for Pied Piper Productions. His partner would be Mike Terry.
Mike Terry played baritone saxophone first in Popcorn Wylie’s Mohawks, then with Joe Hunter’s band. Like many musicians, he gravitated to Motown, which is the sixties, was one of the most successful labels. He was part of the touring and studio bands, and his trademark sound features on numerous Motown recordings. Despite being on Motown’s payroll, Mike, like other musicians, including Jack Ashford, felt the fees they were paid weren’t enough. So the pair left Motown.
Having left Motown, Jack and Mike briefly worked for Ed Wingate’s Golden World label. Mike with George Clinton and Sidney Barnes, formed the Geo-Si-Mik songwriting and production partnership. At the same time, Jack and Mike formed a songwriting and production partnership. One of their songs, Lonely One, for The San Reno Strings album on Ric-Tic came to the attention of Sheldon “Shelley” Haines. He realised this was a partnership to watch.
Sheldon “Shelley” Haines was right. Jack and Mike head to Jack’s hometown Philly, to produce I Can’t Change for The Sensations with Yvonne Baker. This was their first production, which was released on the Junior label. Later in 1965, the pair produced Joe Douglas for the Playhouse label. With Bobby Martin penning the B-Side, this was a single that was made has Philly. Ironically, it wasn’t in Philly Jack made his name as a producer. No. It was in Detroit, where Jack Ashford and Mike Terry masterminded Pied Piper Productions, including the music on Pied Piper-The Pinnacle of Northern Soul.
Side One.
Side one of Pied Piper-The Pinnacle of Northern Soul opens with Nancy Wilcox’s cover of the Jack Ashford and Randy Scott composition More Than A Memory. It was recorded on the 21st July 1966 with producer Joe Hunter. Sadly, the song wasn’t released as a single, and only made its debut on the 2015 Ace Records’ compilation Pied Piper Follow Your Soul. More Than A Memory makes a welcome return on Pied Piper-The Pinnacle of Northern Soul, and proves to be the perfect showcase for Nancy Wilcox. She delivers a vocal powerhouse, where she sounds as if she’s lived and survived the lyrics. Alas, even the combined talented of Pied Piper Productions couldn’t transform Nancy Wilcox’s fortunes, and she remains one of soul’s nearly women.
23rd February 1967 was a date The Cavaliers hoped would change their fortunes. They were about to work with Pied Piper Productions, who by then, had established a reputation as a talented production team. The Cavaliers were due to record several tracks, including Larry Banks and Norman Kelley’s Ooh It Hurts Me. Once the session was complete, Ooh It Hurts Me was shopped to record companies. Incredibly, there were no takers, and the various versions of the song lay unreleased in the Pied Piper vaults. This includes the alternate take on Pied Piper-The Pinnacle of Northern Soul. It made its debut on Ace Records’ 2015 compilation Pied Piper Follow Your Soul, and returns for an encore on Pied Piper-The Pinnacle of Northern Soul. It’s Northern Soul at its most melodic and memorable.
Over the last fifty years, Cleveland, Ohio has produced many talented and successful groups. One of the earliest of the Cleveland bands were The Hesitations. They began work on their debut album Soul Superman in 1967. One of the songs they recorded, was I’m Not Built That Way, a Jack Ashford,Ed Hillert and Joseph Hunter composition. Later in 1967, Soul Superman was released by Kapp Records. One of the highlights of Soul Superman was I’m Not Built That Way, an irresistible Northern Soul stomper.
Rose Batiste recording career began in 1964, and over the next few years, she moved between record labels. Still, commercial success eluded her. She thought this might change when she signed to Pied Piper Productions. One of the songs she recorded was This Heart Is Lonely, which was penned by Jack Ashford, Randy Scott and Andrew Terry. Sadly, the song was never released and lay in the Pied Pier vaults until 2013, when it featured on Pied Piper Presents A New Concept In Detroit Soul. So good is Rose Batiste’s This Heart Is Lonely, that it makes a welcome return on Pied Piper-The Pinnacle of Northern Soul. Melodic and not short of hooks, this uber soulful dancer epitomises everything that’s good about Northern Soul.
Lorraine Chandler wasn’t just a singer, she was also a talented songwriter. Alas, she didn’t write You Only Live Twice. Instead, it’s Jack Ashford, Randy Scott and Andrew Perry composition. When it was recorded in 1967, the arrangement was big, bold and included more than an element of drama. This would make it a future favourite of the UK’s Northern Soul scene. That’s still the case even today, nearly fifty years after the recording of You Only Live Twice.
It wasn’t often that Jack Ashford got the opportunity to dust off his vibes. He did on Freddy Butler’s That’s When I Need You. I’s taken from his 1967 album on Kapp, With A Dab Of Soul. Jazz-tinged, soulful and understated, with a late-night sound, it’s one of the highlights of Pied Piper-The Pinnacle of Northern Soul.
Side Two.
Opening side two of Pied Piper-The Pinnacle of Northern Soul, is The Cavaliers’ We Go Together. It was written by Shelley Haims and Perry Stevens, and was recorded by The Cavaliers in 1966. This isn’t the original version. Instead, it’s an unreleased alternate take featuring a rap into. The addition of a rapped intro was relatively new in 1966. Its inclusion on Pied Piper-The Pinnacle of Northern Soul allows listeners to compare and contrast the original and the this alternate take. It’s a welcome release of a song that’s reminiscent of the type of music Chess were releasing during the first half of the sixties. As for the lyrics, they’re best described as innocent, as The Cavaliers combine soul and doo wop during what’s a reminder of another and more innocent musical era.
In 1966, September Jones enjoyed a hit with I’m Coming Home. This wasn’t the only recording she made for Pied Piper Production. One was Voo Doo Madamoiselle, which is very different September Jones’ other recordings. Instead, it’s moody and atmospheric, and is a real find. It wasn’t released until 2014, when it was released as a single on Ace Records’ Pied Piper imprint. However, it makes a very welcome return on Pied Piper-The Pinnacle of Northern Soul, where hopefully, it will reach a much wider audience.
In March 1966, Mikki Farrow released Could It Be as a single on Karate Records. Alas, commercial success eluded what was Mikki Farrow’s only single for Karate Records. However, tucked away on the B-Side of Could It Be, was the Gwen Smith penned Set My Heart At Ease. It’s another track that epitomises everything that’s good about Northern Soul. Braying horns, soulful harmonies and a driving beat accompany Mikki Farrow’s coquettish and sometimes sassy, powerful vocal. It’s a far better song than Could It Be, and begs the question, why wasn’t it chosen as a single?
Singer-songwriter Lorraine Chandler, played an important part in the Pied Piper Productions’ story. Away from her solo career, she wrote and produced other artists signed to Pied Piper Productions. Despite being a talented songwriter, Lorraine Chandler wasn’t averse to covering other people’s songs. Especially when they were as good as I Can’t Hold On. It was penned by Jack Ashford, Ermastine Lewis and Ray Monette. However, this isn’t the original version. Instead, it’s the alternate version that features on the 2013 Ace Records’ compilation Pied Piper Presents A New Concept In Detroit Soul. The only difference from the original, is the tempo to this truly irresistible track is quicker.
Back in 1967, September Jones has a released I’m Coming Home was released as a single, on Kapp. Moody, broody and dramatic describes a track written by Jack and Penny Ashford with Joseph Hunter. Waves of harmonies unfold, while September’s vocal is an outpouring of emotion. Nearly fifty years later, and this Northern Soul favourite has stood the test of time.
Closing side two, and indeed Pied Piper-The Pinnacle Of Northern Soul, is Tony Hester’s Just Can’t Leave You. It was penned by Tony Hester and was originally released on Giant Records. Later, Just Can’t Leave You Karate Records label in March 1966. It’s a melodic, mid-tempo track with a feel-good sound. Fifty years later, and Just Can’t Leave You is a truly timeless track that should find an audience outside of the Northern Soul scene.
That’s the case with Ace Records’ new vinyl compilation Pied Piper-The Pinnacle Of Northern Soul. It’s not just those that used to frequent the Blackpool Mecca, Twisted Wheel and Wigan Wheel that Pied Piper-The Pinnacle Of Northern Soul will appeal to. This is a compilation that will appeal to anyone who likes their music soulful. Especially those that enjoyed the two previous Pied Piper compilations, 2013s Pied Piper Presents A New Concept In Detroit Soul and 2015s Pied Piper Follow Your Soul. Just like these two compilations, there’s ballads and uptempo tracks on Pied Piper-The Pinnacle Of Northern Soul. They’re a reminder of the combined talents of the various members of Pied Piper Productions.
This included former Funk Brothers Jack Ashford and Mike Terry. They discovered that there was life after Motown. Their time at Pied Piper Productions was the first step in what would be long and successful careers.
At Pied Piper Productions, Jack Ashford and Mike Terry worked with Nancy Wilcox, The Cavaliers, The Hesitations, Lorraine Chandler, Freddy Butler, September Jones, Mikki Farrow and Tony Hester, who all feature on Pied Piper-The Pinnacle Of Northern Soul. They were among the artists that were discovered, careers that were rejuvenated and stars were born. Sheldon “Shelley” Haines’ decision to bring Jack Ashford and Mike Terry to Pied Piper Productions was vindicated. For a few short years, they were a potent and successful partnership. Proof of this is the music on Pied Piper-The Pinnacle Of Northern Soul. It’s a compilation that will appeal to anyone who likes their music soulful.
PIED PIPER -THE PINNACLE OF NORTHERN SOUL-VINYL EDITION.
LET IT BE-BLACK AMERICA SINGS LENNON, McCARTNEY AND HARRISON.
LET IT BE-BLACK AMERICA SINGS LENNON, McCARTNEY AND HARRISON.
In America, The Beatles are the best selling artists in the history of popular music. They sold an incredible, 178 million albums in America alone. What makes this all the more remarkable, was that America were latecomers to The Beatles.
The first Beatles album to be released in America, was Introducing…The Beatles on the 10th of January 1964. Soon, America was making up for lost time as far as The Beatles were concerned. That was the case right through to The Beatles’ swan-song, Let It Be, which was released on the 8th of May 1970. By then, many American artists were covering The Beatles’ songs.
That had been the case since 1964, when The Supremes covered A World Without Love. Soon,everyone from Aretha Franklin to The Four Tops, Junior Parker, The Temptations and Ella Fitzgerald were covering some of the Fab Four’s finest songs. This continued after The Beatles spilt-up in 1970. Everyone from Randy Crawford and Earth, Wind and Fire, The Undisputed Truth and Gary U.S. Bonds all covered Beatles’ songs. These songs feature on Ace Records’ much anticipated new twenty-two track compilation Let It Be-Black America Sings Lennon, McCartney and Harrison. It finds some of the biggest names in jazz, soul, funk and R&B paying homage to The Beatles. These songs were released between 1964 and 2009, and ensured that The Beatles remain one of the most oft-covered bands in musical history.
Opening Let It Be-Black America Sings Lennon, McCartney and Harrison is Aretha Franklin’s cover of Eleanor Rigby. With the entire Beatles songbook to choose from, the Queen Of Soul decided to cover Eleanor Rigby. It was released as a single in late 1969, reaching number seventeen in the US Billboard 100 and five in the US R&B charts. Then as the sixties gave way to seventies, Eleanor Rigby featured on
Aretha Franklin’s first album of the seventies, This Girl’s In Love With You. When it was released on January 15th 1970, it reached number seventeen on the US Billboard 200 and number eight on the US R&B charts. One of its most memorable moments was the cover of Eleanor Rigby. Aretha Franklin reinvents this familiar song, as she delivers a vocal powerhouse. Accompanied by gospel-tinged harmonies, Aretha Franklin transforms Eleanor Rigby, taking it in a direction that The Beatles could never have imagined.
It’s a similar case with Earth, Wind and Fire’s take on Got To Get You Into My Life. When it was released as a single by Columbia in 1978, it reached number nine on the US Billboard 100 and topped the US R&B charts. This was Earth, Wind and Fire’s fifth number one on the US R&B charts. However, when Got To Get You Into My Life was released, Earth, Wind and Fire were between albums. It never featured on one of their studio albums. That’s despite being one their finest moments, where seamlessly, Maurice White and Co. combine elements of soul, funk and jazz.
For Berry Gordy’s burgeoning Motown empire, The Beatles proved a rich source of music to cover. That had been the case since The Beatles first hit America’s shores in 1964. Since then, many Motown artists have covered the Fab Four’s songs, hoping some of their success would rub off on them. This included The Four Tops, who recorded Fool On The Hill for their album The Four Tops Now. It was released in 1969, and featured a ruminative, but soulful cover of Fool On The Hill. It’s one of the finest moments on The Four Tops Now, which reached number seventy-four on the US Billboard 200. This was The Four Tops’ most successful album since Reach Out in 1967.
Even Nina Simone wasn’t immune to the charms of The Beatles. She covered the George Harrison penned Here Comes The Sun, which lent its title to her 1971 album. Here Comes The Sun was released on RCA Victor, and found Nina Simone reworking eight cover versions. This included Here Comes The Sun. Accompanied by an understated, orchestrated arrangement, Nina Simone delivers a beautiful, tender jazz-tinged cover of this familiar ballad.
By 1970, Junior Parker was no stranger to The Beatles’ songbook. When recording his 1970 album for Capitol Records, he covered Taxman, Lady Madonna and Tomorrow Never Knows. When it came to releasing a single from the album, Lady Madonna was chosen. Tucked away on the flip side was a real hidden gem, Junior Parker’s rework of Tomorrow Never Knows. It has an understated, but mesmeric and mystical psychedelic sound. It’s a total transformation of Lennon and McCartney’s song that closed Revolver.
Forty years ago, in 1976, Randy Crawford released her debut album Everything Must Change on Warner Bros. Records. Sadly, the album failed to chart, and it wasn’t until the release of Raw Silk in 1979, that Randy Crawford began to make a commercial breakthrough. However, when she was recording Everything Must Change, Randy Crawford decided to The Beatles’ Don’t Let Me Down. In her hands, it becomes a beautiful, heartfelt ballad with soul and jazz stylings.
By the time Gary U.S. Bonds released his Dedication album in 1981, he had been making music for twenty-five years. During this period, Gary U.S. Bonds had influenced two generations of musicians. This included a young John Lennon. Alas, John Lennon never got to see Gary U.S. Bonds cover one of his songs. He had been murdered outside his New York home 8th December 1980.
Less than a year later, Gary U.S. Bonds released Dedication, which featured a cover of It’s Only Love. Just like the rest of Dedication, it was produced by Bruce Springsteen and Steven Van Zandt. Their influence can be heard on It’s Only Love, where R&B and rock melt into one. This new sound found favour with American record buyers. Dedication reached number twenty-seven on the US Billboard 200 and thirty-four on the US R&B charts, partly thanks to the songwriting skills of one John Lennon.
When Dionne Warwick recorded her 1969 Soulful album, she made the journey to Chips Momans’ American Studios, in Memphis. She wash neither the first, nor last to make this journey. It was a well trodden path for artists wanting to kickstart failing careers or change direction musically. Soulful was released in 1969, it reached number eleven on the US Billboard 200 and two on the US R&B charts. This meant Soulful was the second most successful album of Dionne Warwick’s twelve album. No wonder. Dionne Warwick sounds reinvigorated, as she unleashes a barnstorming version of We Can Work It Out. It takes on new life and meaning in Dionne Warwick’s hands, as she breathes new life and meaning into the song.
Five years after covering Can’t Buy Me Love in 1964, Ella Fitzgerald covered another Beatles’ song, Savoy Truffle. It was the B-Side to the Richard Perry produced single I’ll Never Fall In Love Again. For her 1969 Reprise Records’ album Ella, the Queen of Jazz dipped into The Beatles’ songbook, and covered Savoy Truffle and Got To Get You Into My Life. The single version of Savoy Truffle features on Let It Be-Black America Sings Lennon, McCartney and Harrison, and showcases the Queen of Jazz versatility and ability to reinvent even the most familiar song.
By 1970, Isaac Hayes was enjoying a rich vein of musical form. This continued with his third album The Isaac Hayes Movement. It followed in the footsteps of Hot Buttered Soul, and reached number eight on the US Billboard 200 and topped the US R&B charts. Without doubt, the highlight of The Isaac Hayes Movement was a cover George Harrison’s Something. It’s reinvented and becomes a near twelve minute epic, where Isaac Hayes marries funk and soul and deploys lush strings and backing vocalist. The result is a musical Magnus Opus from Isaac Hayes, whose rich vein of musical form continued apace.
My final choice from Let It Be-Black America Sings Lennon, McCartney and Harrison, is Bill Withers’ cover of Let It Be. It was produced by Booker T. Jones, and featured on Bill Withers’ 1971 debut album Just As I Am. On its release, it reached number thirty-five on the US Billboard 200 and number nine on the US R&B charts. Bill Withers’ cover of Let It Be is a fusion of soul, jazz and gospel, as he takes the song in new and unexpected directions.
For either fans of The Beatles, or anyone whose interested in soul, funk, blues, R&B and jazz, then Ace Records’ much anticipated new compilation Let It Be-Black America Sings Lennon, McCartney and Harrison, will be a must have. It features some of the biggest names in black music reinventing twenty-two songs from The Beatles’ back-catalogue.
The cover versions on Let It Be-Black America Sings Lennon, McCartney and Harrison were released between 1964 and 2009. This includes Aretha Franklin, The Four Tops, Junior Parker, Bill Withers, The Temptations and Ella Fitzgerald. That’s not all. Randy Crawford, Earth, Wind and Fire, The Undisputed Truth and Gary U.S. Bonds all covered some of some of the Fab Four’s finest songs. Each of these artists has takes a different approach to these songs.
Sometimes, artists stay true to the original version. Other artists, take the song in a new and totally unexpected directions. It becomes something of a magical mystery tour, as a familiar song takes on new life life and meaning. This can be through a change in style or tempo. Occasionally, a song is deconstructed and then reconstructed. However, regardless of whether an artist stays true to the original, or reworks a Beatles classic, each of the song on Let It Be-Black America Sings Lennon, McCartney and Harrison works, and works well. That’s why Let It Be-Black America Sings Lennon, McCartney and Harrison is, without doubt, one of the finest compilations of covers from The Beatles’ songbook, and for anyone with even a passing interest in soul or the Fab Four’s music, will be essential listening and a welcome addition to their music library.
LET IT BE-BLACK AMERICA SINGS LENNON, McCARTNEY AND HARRISON.
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